Panasonic has been a strong player in the Micro Four Thirds arena, providing a number of cameras for that format, including its GH4 and GH5, which have become very popular with video makers.
While Panasonic isn’t abandoning the consortium, it is embarking on a new journey by jumping into the full-frame mirrorless market.
Pentax is one of the beloved names of photography, first capturing a generation with the Spotmatic and then introducing 35mm film via the K1000.
In the digital space, the Pentax name hasn’t been at the top of the leaderboard. Even with the Pentax brand now being part of Ricoh.
But that doesn’t mean Pentax doesn’t have a viable digital camera. In 2016, Pentax released its first full-frame DSLR, the K-1. This year, the camera has undergone an update.
Rather than making huge strides in its technology, the Sony A7R III improves on what already is a very popular full-frame mirrorless digital camera.
And there is much to mention with this camera.
Like its predecessor, the A7R III uses a backside-illuminated 42.4-MP Exmor sensor with an ISO range of 100-32,000, which is expandable to 50-102,400. The sensor has no low-pass filter, which should yield sharper images out of the camera.
Ricoh is now offering potential buyers of its full-frame Pentax K-1 camera a second option when it comes to body color. The Pentax K-1 Limited Silver is otherwise the identical to the black-bodied K-1.
Pentax says this camera will visually match up with silver FA Limited lenses.
This is the first and only silver-bodied full-frame SLR. Silver bodies began to fall out of favor in the 1980s, and there haven't been any silver full-frame SLRs in the digital era.
Nikon's newest full-frame digital SLR brings increased resolution and 4K video.
The Nikon D850 uses a full-frame 45.7-MP DX CMOS back-side illuminated sensor, its first DSLR to incorporate BSI technology. This model replaces the D810 in Nikon's lineup.
The sensor has an ISO range of 64-25,600, which can be extended lower to 32 and upward to 102,400. Nikon has removed the low-pass filter in front of the sensor, which should provide for sharper photos.
Sony is going wide with its newest lenses for full-frame E-mount cameras.
The f/2.8 G Master 16-35mm and f/4.0 12-24mm lenses represent two approaches in the wide-angle zoom category.
While both are intended for Sony’s full-frame A7 and A9 mirrorless cameras, they also can be mounted to its bodies with APS-C sensors. Factoring in the 1.5X crop, the 16-35mm becomes a 24-52.5mm, while the 12-24mm becomes an 18-36mm.
Sony has officially put Canon and Nikon on notice. The Sony A9 full-frame mirrorless camera takes a big leap forward in terms of professional features and price.
Photographers who shoot with Sony’s E-mount mirrorless cameras have been limited to a handful of Sony-branded telephoto lenses.
The addition of the Sony FE f/4.5-5.6 100-400mm GM OSS is the third pro-level telephoto zoom for the E mount. This lens also is Sony’s fifth lens in its premium G Master series.
After being silent for more than a year, Konost has posted a brief update on its site.
The three-sentence announcement doesn’t provide any information on the status of its project. Konost said it will overhaul its site and provide an update.
Konost made a good-sized plash two years ago among digital photographers when it announced that it was developing a full-frame digital rangefinder camera.
Sony’s E-mount cameras seem to have gotten most of the attention this year, with its A-mount family standing on the sidelines.
Unknown to most, Sony was working behind the scenes and has announced the full-frame A99 II.
Priced at US$3,199, the A99 II ups the resolution with a 42.4-MP backside-illuminated full-frame CMOS sensor – a big increase in resolution from the 24.3-MP CMOS sensor of the original model. The A99 II omits the low-pass filter.
