PANASONIC UNVEILS LUMIX GH5 MARK II... PENTAX KEEPS THE DSLR ALIVE

RE-ASSERTING THAT IT is “absolutely invested” in the Micro Four Thirds sensor format, Panasonic has introduced the GH5 Mark II and confirmed that a GH6 pro-level flagship model is on its way.

The Mark II model shares the same body as the GH5, but has a new processor, a revised sensor design and a number of hardware revisions to enable features that could not have been added via a firmware upgrade. Noting a massive increase in the requirement for live video streaming, Panasonic has equipped the GH5 II with direct-to-platform wireless live streaming, while wired IP streaming and tethered mobile streaming is to be available via a firmware upgrade due by the end of this year. The GH5 II is the first Lumix G series model to offer high-quality wireless live streaming – using simply the camera and a smartphone – via the Lumix Sync app. The camera complies with H.264 in RTMP/RTMPS protocol, allowing streaming directly to platforms such as YouTube or Facebook without the need for a paid cloud streaming server. In addition, 1080p Full HD can be streamed at up to 60fps with a bit-rate of 16Mbps to optimise video quality.

On the video recording side, the GH5 II has 4K DCI and 4K UHD internal recording at 50/60p with 10-bit 4:2:0 colour using the full sensor width (i.e. no cropping). At 30, 25 and 24fps, 4K video is recorded with 10-bit 4:2:2 colour. Simultaneous internal recording and an external output via HDMI is available with 10-bit colour. The V-Log L gamma profile is now pre-installed and there’s also Cinelike D2 and V2 presets. A total of 35 conversion LUTs for the VariCam cinema cameras can be downloaded free of charge. The MonochromeS and L.ClassicNeo Photo Styles, which were first introduced on the full frame Lumix S5, have also been added to the GH5 II.

The camera has a host of video-related tools including a waveform monitor, vector scope, zebra patterns, V-Log L view assist, frame markers, broadcast specific aspect ratios and a ‘REC Frame Indicator’ feature – red for recording, blue for live streaming.

On the camera side, the GH5 II retains an effective resolution of 20.3MP, but the sensor has an improved Anti-Reflective (AR) coating, and a slight increase in its dynamic range (by one-third of a stop). The in-body image stabilisation has been upgraded and uses the same algorithm as the S1H to give 6.5 stops of correction for camera shake when synced with optical image stabilisation (which Panasonic called Dual IS). The autofocus has also upgraded to the Lumix S level with the addition of human eye, face, head and body detection. Real-time detection ensures tracking is maintained even if the subject turns away, tilts their head or moves far away from the camera. Improvements to Panasonic’s Depth From Defocus (DFD) technology improves tracking reliability with small or fast-moving subjects. The GH5 II promises to detect the eye and face at twice the recognition speed of the GH5, even if they are around 50% smaller in the frame. A highercapacity battery – the 2,200 mAh BLK-22 – powers the GH5 II and in-camera charging is possible via USB-C. The body is compatible with the existing DMW-BGGH5 vertical/battery grip.

Available in Australia now, the Lumix GH5 II is priced at $2,699 for the body only and $2,999 when packaged with the Lumix G 12-60mm f/3.5-5.6 ASPH Power O.I.S. zoom.

For more information visit www.panasonic. com.au.

IT’S BEEN OVER a year since there was a new DSLR and much longer than that as far as APS-C models are concerned, but Pentax’s parent, Ricoh, is sticking with tradition, launching the third-generation version of its K-3. There’s obviously still a market for DSLRs as the first Australian shipment of the Pentax K-3 III sold out before it had landed, but globally sales are in sharp decline in the face of the mirrorless onslaught.

Nevertheless, Ricoh has packed the K-3 III with goodies so, if anybody is making the comparison, it stacks up pretty well against the APS-C format mirrorless offerings.

Styling and size is largely unchanged from the previous model, and the body is magnesium alloy with weather sealing and insulation to allow shooting in subzero temperatures down to -10º Celsius. On the inside, however, there’s a new sensor, new processor, new autofocus system, new metering system and a new optical viewfinder. The OVF increases the magnification to 1.05x and gives 100% coverage. The camera’s monitor is fixed, 3.2-inch TFT LCD panel that now has touchscreen controls – a first on a Pentax DSLR.

The BSI-type CMOS sensor has an effective resolution of 25.73MP, which is slightly up on the previous model, but the native sensitivity range now extends from ISO 100 to 1,600,000 thanks mainly to upgraded noise reduction processing. The sensor is matched with the latest generation PRIME V processor that enables, among other things, continuous shooting at up to 12fps and 4K UHD video recording at 30, 25 or 24fps. The shooting speed drops slightly to 11fps with continuous AF/AE adjustment. Sensor shifting is used to provide in-body image stabilisation over five axes and with correction for camera shake of up to 5.5 stops. It also has a panning mode.

The K3 III’s phase-detection autofocusing system is based on the new SAFOX 13 module, which has 101 measuring points and low-light sensitivity down to -4.0 EV at ISO 100. Exposure metering is based on an RGB+IR sensor that uses 370,000 measuring pixels and works with the AF as part of the Pentax’s Real Time Scene Analysis. This employs AI-based ‘deep learning’ detection and recognition to better match both the focus and the exposure to the subject or scene. There are dual memory card slots for the SD format, one with UHS-II speed support.

Other features include Pentax’s anti-aliasing filter simulator (the sensor doesn’t have an optical low-pass filter), Wi-Fi and Bluetooth connectivity, an ultra-high-res capture based on pixel-shifting, 12 Custom Image presets (with the option of auto selection), a USB-C terminal (allowing for in-camera battery charging) and a 300,000 cycles rating for the mechanal shutter.

The Pentax K-3 III is priced at $2,799 body only, and available in either black or silver. A limited edition ‘Premium’ version packaged with a vertical/battery grip is priced at $3,299. Pentax products are distributed in Australian by C.R. Kennedy & Company. Visit https:// crkphotoimaging.com.au.

IS THERE NO stopping Sony in its quest for world domination of the interchangeable lens camera market? It continues to expand its FE-mount lens system at a great rate and the latest addition takes the model count up to

64. That’s pretty impressive for a system that started out with just one dedicated lens back in October 2013.

The FE 14mm f/1.8 G Master is comparatively compact for an ultra-wide prime and weighs in at 460g. The optical construction comprises 14 elements in 11 groups with quite a collection of special types designed to optimise sharpness and minimise aberrations.

These include two of Sony’s XA extreme aspherical elements and one Super ED extra-low dispersion type. Sony’s Nano AR Coating II is employed to minimise flare and ghosting, and the maximum aperture of f/1.8 makes this lens suited to a range of low-light applications, including astrophotography.

The new ultra-wide has a weather sealed construction, and the exposed surfaces of both the front and rear elements have a fluorine coating to help repel both moisture and grease. Dual XD (extreme dynamic) linear motors are used for autofocusing and the minimum focusing distance is 25cm. The aperture collar has a de-clicked setting for seamless adjustments, and there’s a holder at the lens’s rear for cut filters.

The FE 14mm f/1.8 G Master is priced at $2,299 and is available now.

For more information visit www.sony.com.au.

THE 39TH LENS in Fujifilm’s X-mount APS-C mirrorless system is the XF 18mm f/1.4 R LM WR wide-angle prime, which has an effective focal length of 27mm. The new lens has a weather-sealed construction using metal alloy barrel tubes and is also insulated to enable shooting in subzero temperatures down to -10º Celsius.

The optical construction comprises 15 elements in nine groups, which includes three aspherical types and one with extra-low dispersion (ED) characteristics. The focusing group comprises six elements that move in unison and has a travel of just 2.5mm to give faster operation, which Fujifilm quotes at 0.04 seconds. This also helps optimise sharpness across the focusing range. The minimum focusing distance is 20cm.

Despite the fast maximum aperture of f1/1.4, the new XF 18mm still has a comparatively compact and lightweight design. It measures just 76mm in length and has diameter of 69mm (giving a screwthread filter fitting of 62mm). It weighs a manageable 370g.

The Fujinon XF 18mm f/1.4 R LM WR is available now priced at $1,749, but a lens hood is an optional extra at $99.

For more information visit www. fujifilm.com.au.