Field Test Report

Leica M9 Digital Camera Review: Field Test Report

Jack Neubart takes a step back in time to test this century’s classic manual-focusing, full-frame 18 MP CCD interchangeable-lens camera for the ages (along with the Summilux-M 21 mm f/1.4 ASPH).

Leica M9 (front). A ruggedly built, Euro-styled digital rangefinder in which quality, performance, and price go hand in hand. Photo courtesy Leica.

It has been a very long time since I last worked with a rangefinder camera. And likely just as long since I last had the distinct pleasure of working with a Leica, although, as I recall, that was an SLR. The one thing that did stand out in my mind was how crisp the images were that came out of the Leica lenses I used.

Given that digital is, in a sense, a more complex image-forming process involving any number of variables mediating from the moment of capture on an imaging sensor and in-camera processing until the final image springs to life, I’m not sure that we’ll ever see quite the same quality, regardless of the lens or camera, or sensor. And yet we as photographers still manage to evolve our art with the technology and find ways to take that technology to new levels of creativity and bring new heights of awareness to every moment and scene we capture with our cameras.

The Leica M9 brings to mind my very first camera, the one that my dad bought me when I was a wee lad, and which he wouldn’t let me use for some years, afraid I’d break it (okay, I eventually did-but it wasn’t my fault, dad, I swear). So I bided my time and when the New York World’s Fair of 1964/65 rolled round, I finally got the chance to take the camera out on my own.

I loved that 35mm camera-a Neoca (Japanese top to bottom). It was no Leica by any stretch of the imagination. Didn’t even have a light meter inside. But it was a rangefinder. And what I remember about that rangefinder is that I was never entirely comfortable using it-I just didn’t feel it gave me the speed I needed or the certainty. And that’s still how I feel about rangefinder focusing. (However, I’m certain that many of you may feel just the opposite and would take a rangefinder over autofocusing or any other type of focusing any day of the week.)

And that brings us full circle to the M9, a full-frame, 18MP CCD digital camera featuring coincident-image rangefinder focusing-with the added benefit of interchangeable Leica lenses. (more…)

Pentax K-7 Digital SLR Camera: Field Test Report

Peter Burian tests this rugged, well-sealed 14.5MP camera with pro caliber versatility and extras such as Movie mode and in-camera HDR

The flagship of the Pentax DLSR series, the K-7 is an unusually rugged semi-professional 14.5 MP camera that’s built like a tank: with a splash-proof magnesium alloy body over a stainless steel chassis. While the 14.5 megapixel K20D is less pricey, the K-7 is even more desirable. This newer model retains all of the K20D’s best features but provides significant benefits: faster (5.2 fps) drive speed, larger 3″ LCD with 920,000 dot resolution, a viewfinder with 100% coverage, plus upgrades for the sensor, processor, autofocus system, built-in image stabilizer and evaluative metering (now with 77 zones). More importantly, the K-7 offers some entirely new functions, including HD Movie mode. (more…)

Sony Alpha A850 Digital SLR Review: Field Test Report

The World’s Most Affordable Full-Frame DSLR

Boasting the highest resolution available in a 35mm size DSLR, the latest Sony camera is also the most affordable full-frame model on the market. Priced to sell at about $700 less than the Sony A900, the Nikon D700 and the Canon EOS 5D Mk II, the A850 is a downright bargain (from Amazon Sony Alpha DSLRA850 24.6MP Digital SLR Camera (Body Only); from B&H Photo).

In spite of the moderate price, it’s identical to the A900 in most aspects, including the 24x36mm CMOS sensor with 24.6 million effective pixels. Each light-sensitive dot is quite large: 5.9 microns squared. In addition to excellent light gathering ability, analog-to-digital conversion and noise reduction processing- right on the sensor-combine to provide optimal image quality.

Because the A850 employs a sensor that's the same size as a 35mm film frame, there's no field of view crop. Hence, even a 24mm focal length includes a very wide portion of any scene. The 24.6 MP CMOS chip provides superlative resolution at commonly used ISO's, making this camera an ideal choice when huge prints are required. (Carl Zeiss 24-70mm zoom at 24mm) ©2009 Peter K. Burian

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Sony A500 and A550 Digital SLR Review: Field Test Report

Peter Burian tests this affordable prosumer-grade duo with some digicam-style features for novices

A very prolific manufacturer, Sony markets more DSLR models than any other company. The new A500 (Amazon: Sony Alpha DSLRA500 12.3MP Digital SLR Camera (Body only); B&H: Sony A500) and A550 (Amazon: Sony Alpha DSLR-A550 14.2MP Digital SLR Camera (Body Only); B&H: Sony A550) target photo enthusiasts and they’re identical except for a few aspects. The A550 boasts a 14.2 megapixel CMOS sensor and an ultra-high resolution LCD while the more affordable A500 is a 12.3 megapixel camera with a more typical LCD. While they will satisfy experienced photographers, with their digicam-style features these cameras should be equally attractive to novices.

These DSLRs retain the best of the earlier A350 including live view with remarkably fast autofocus. Their most notable new benefits include much faster continuous drive speed, face detection plus Smile Shutter technology-plus a second, new live view mode. (more…)

Nikon D3000 Review: Field Test Report

Peter Burian tests Nikon’s latest affordable 10.2 MP camera which has great ease of use and surprising speed and versatility as well

Nikon’s D40 and D40x were very popular entry-level DSLRs but the replacement model is even more desirable. While it’s also very budget-friendly, the equally small D3000 offers some valuable benefits in spite of the pleasantly low price (about $600 with 18-55mm VR lens.) The primary improvements include a more effective AF system with 11 points plus 3D tracking focus, a larger 3-inch (7.62cm) LCD screen, a faster 3fps continuous framing rate and far more image retouching options in playback mode. The D3000 is also equipped with a new automatic sensor cleaner, employs a more powerful battery and provides even more convenient operation.

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Canon EOS 5D Mark II Review: Field Test Report

A full-frame EOS DSLR gets even better-with 21.1 MP CMOS sensor and much more.

Canon EOS 5D Mark II + 16-35mm lens. This is a versatile combination, which proved itself street shooting in New York City, with subjects ranging from street scenes to candid portraits-even a celebrity sighting at a film premiere. Copyright ©2009 Jack Neubart. All rights reserved.

I remember when long intervals would go by before a new SLR was introduced, back when we were shooting film. Today, those intervals are growing remarkably shorter and shorter, although not short enough for some of us who eagerly await the next iteration. Technology, it seems, waits for no man or woman.

When the original, and very reasonably priced, EOS 5D came out, I bought it and chucked my APS-C Canons. I had heretofore resisted buying EF-S glass expecting to make this move one day. And while I’d considered the pricier 1Ds-series cameras, I felt that, for my needs, the 5D would do. In fact, for the same price as a 1Ds, I could buy the 5D and several lenses.

More to the point, I bought a Canon fisheye for starters, to take advantage of the full-frame sensor. So I felt like I had my cake and could eat it too. To top it off, all my Canon EF lenses would now be true to form. No more dealing with sensor factors. My wide-angles would be truly wide, although I did miss that extra boost my telephotos got with the 1.6X factor (applicable to Canon APS-C). But coming back to that fisheye, I now could take pleasure in that unique fisheye perspective. (Sadly, it wasn’t till I bought the Tokina fisheye zoom-for an APS-C camera, no less, namely the D300-that I truly began to exploit the possibilities of fisheye optics.)

With continued use, I could sense that there were certain features lacking on my original 5D, but I wasn’t really looking forward to upgrading too quickly. Besides, for me to take the plunge, a new 5D would have to be packing some serious new hardware-or software (technically, firmware).

Well, I’ve finally got my hands on the 5D Mark II. But is it all it’s cracked up to be, enough so for me to upgrade? Having tested the 1Ds Mark III adds another twist to this story. That 1Ds is a marvelous piece of machinery, if pricey. Should I continue to play the waiting game? Well, the only way to find out is to put the new 5D through its paces and see how it compares. (more…)

Comparative Digital SLR Lens Review: Fast, Wide Aperture Lenses

Peter Burian tests five lenses with great light gathering ability: the Canon EF 70-200mm f/4L IS USM, Tamron AF 70-200mm f/2.8 Di LD (IF) Macro, Tokina AF 50-135mm f/2.8 AT-X Pro DX, Nikon 17-55mm f/2.8G ED-IF AF-S DX and the Sigma AF 30mm f/1.4 EX HSM DC

Because most digital SLR camera owners demand compact, lightweight lenses, the vast majority of zooms feature a small maximum aperture. A typical kit lens is designated as f/3.5-5.6 indicating that the maximum aperture is quite small at the short end and becomes very small at longer focal lengths. In practical terms, that translates to moderate light gathering ability. The larger the numeral the smaller the opening in the lens and the less light that will reach the camera’s digital sensor.

A wide aperture lens is ideal for fast shutter speeds in low light conditions when you cannot use flash or a tripod. Shooting at f/2.8 allowed me to get many sharp photos at 1/125 sec. during a stage performance, using ISO 1000. With a more typical (smaller) aperture, much higher ISO levels would have been required for the same shutter speed and the images would have been seriously degraded by digital noise. (Nikon 17-55mm at f/2.8.) (c) 2009 Peter K. Burian

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Olympus E-P1 Review: Field Test Report

Peter Burian tests this 12.3 megapixel interchangeable-lens camera with HD Movie mode and a wealth of SLR-style features

The first Olympus Micro Four Thirds system includes the E-P1 camera, two lenses, adapters for other types of lenses and a compact flash unit.

In their promos for the 12.3 megapixel Olympus E-P1 camera, the company often referred to the heritage provided by their Pen series SLRs first introduced in 1959. That’s understandable, because the Pen models were unusually compact and featured classic styling.

Those qualities also apply to the E-P1, available in a white or silver stainless steel body with silver or black (optional) lenses. That’s where the similarities end however, since the Pen SLRs were small format cameras, taking two photos on a single frame of 35mm film. The E-P1 also accepts interchangeable lenses, but it’s not an SLR nor a small format camera in terms of sensor size. Even so, the new Olympus Micro Four Thirds concept certainly has a great deal of appeal and it should be as successful as the Pen concept was in the 1960’s and 1970’s. (more…)

NIKON D90 Review: Field Test Report

Similar in many respects to the 10.2 megapixel D80, the Nikon D90 is even more desirable since it benefits from technology developed for the semi-professional DSLRs. The primary improvements include a 12.3 megapixel CMOS (not CCD) sensor and upgraded processor, larger 3-inch LCD with ultra-high 920,000 point resolution and Live View with three distinct autofocus modes. Other benefits include faster 4.5fps continuous drive speed (vs. 3fps) an automatic sensor cleaner, plus some valuable new features in capture mode and in Playback mode (for image retouching.)

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