Holiday Sale! Secret Bundle + 30% Off

Your content will be up shortly. Please allow up to 5 seconds
Gear Rumors

Canon 5D4 Different Than Expected? New Sony FE Lensmaker To Join Fray in 2016? Panasonic and Fuji Leaks! {Daily Roundup}

By Anthony Thurston on December 30th 2015

Welcome to our roundup series where we will hit on several gear news and rumor topics each day. This gives you a chance to get caught up on all of the day’s news and rumors in one place. Make sure to check back daily for the latest gear news, rumors, and announcements.

5D3 Replacement May Be Different Than Originally Thought?

Canon_5260B009_EOS_5D_Mark_III_1330618907000_847546.jpg

An interesting rumor today from the guys over at Canon Watch seems to indicate that the Canon 5D Mark IV may be a very different camera than what we have all been envisioning.

First, we are not even sure if this camera will have the 5D Mark IV name. Some rumors point to a possible split, which means two more cameras. Other rumors point to just one new camera, but possibly splitting off from the 5D moniker.

Another model split, like the 5DS and 5DS R seems unlikely to me; it would mean 4 different 5D models…that seems silly, and excessive.

Another controversial point is whether or not the camera will have 4K video. Some say it will, but others say that 4K will be reserved for the new 1D camera only. In my opinion, with all of the competing mirrorless cameras offering 4K recording, it would be a mistake by Canon to exclude 4K from the next 5D. Even if its primary focus is stills, when people are comparing cameras and see 4K in one and not the other, that will be a disadvantage for the new Canon offering.

Lastly, a new source has indicated that the 5D3 replacement will, in fact, be something very different and new, not having the 5D moniker (though they were unable to produce specs to illustrate why it will be different).

It seems to me, that despite all of the rumors and speculation, one thing remains constant: we really don’t have a clue what Canon is going to do with the 5D3 replacement. We will just have to wait and see.

New FE Lens Maker to Join the Fray?

sony-a7r2-a7-fe-mirrorless-photography-slrlounge-2

The latest buzz over in Sony Land is that another lensmaker will soon join Sony & Zeiss in producing new FE lenses. We don’t know who it will be, but the price point will be a ‘bit below Zeiss level.’

It seems that the lens maker is not Voigtlander, and the only other clue we have is that it is ‘not who you would think’. Sigma and Tamron are obvious choices, so that seems to indicate it may not be them. But if it is not Sigma, Tamron, or Voigtlander, who else would it be?

The only other lensmakers I can think of are all OEMs like Canon, Nikon Olympus, Panasonic, Fuji, and Leica. I guess there is one other option; could we maybe see some Hasselblad FE lenses? They already have a relationship with Sony, but I don’t see them pricing their lenses below the Zeiss lenses…so that wouldn’t seem to fit with what we know from this rumor. Maybe Samsung? Their camera business seems to be phasing out, so maybe they are going to switch focus and produce more lenses?

What do you all think? Who could this new FE lens maker be?

New Images Leak of Upcoming Fuji 100-400mm

The rumors say that the next Fuji lens will be announced on or around January 15th and that lens is expected to be the 100-400mm F/4.5-5.6. These rumors would seem to be confirmed today with a few leaks of this upcoming lens.

full-zoom

This lens will be Fuji‘s second true long range telephoto option, after their 50-140mm, and will be a breath of fresh air for Wildlife and Sports photographers who have been tempted to move to Fuji.

January 15th is not too far off, but this lens is rumored to cost around 1800 Euros. It will be interesting to see what other goodies Fuji will have in store for us at the beginning of 2016.

Panasonic’s New Tz100 Coming Soon

It would seem that Panasonic has a new compact camera with a 1″ sensor coming soon and will be called the TZ100. A rather large leak of images hit the web this morning featuring this new camera. You can see them below:

pana_tx100_b001 pana_tx100_f001 pana_tx100_t001

The camera is rumored to have a 20.1MP sensor and feature a 25-250mm F/2.8-5.9 lens. This would seem to match up well against Sony’s RX100 M4 and would be much more pocketable than their own LX100.

It will be interesting to see where this falls on the pricing spectrum and how well it matches up to other high-end compacts like the RX100 series and Canon’s G7X.

What are your thoughts on today’s roundup? What news/rumors did we miss? What would you like to see covered in future roundups? Leave a comment below and let us know what you think!

Anthony Thurston is a photographer based in the Salem, Oregon area specializing in Boudoir. He recently started a new project, Fiercely Boudoir to help support the growing boudoir community. Find him over on Instagram. You may also connect with him via Email.

Q&A Discussions

Please or register to post a comment.

  1. Maykell Araica

    I am not too hung up in the whole “Must have new and improved gear Now” thing.My 6D is still very capable and able to achieve what I shoot. I get it, there is a market for these cameras, and as a Canon shooter I can only hope that the camera manufacturer in which I have invested so much would be continue to improve and keep up with technology.
    But seriously, as cool as all these features may be, they don’t make you a better photographer. What good are the tools if you don’t have the mastery?
    You make the photo, not the camera.

    On the Sony lenses thing…behold the Yongnou FE lens for Sony HAHAHAHA

    | |
  2. Rafael Steffen

    Great article on new technologies that are promissing superior image quality for 2016.

    | |
  3. Clay Cooper

    Missed a couple fuji long range telephoto lenses that also already exist, 55-200 xf and 50-230 xc.

    | |
  4. adam sanford

    My prediction: the 5D4 will have 4K on-board but no one will know or be able to use it. They will do this to protect 1D and Cinema rig sale prices. If sales for the 5D4 tank because of no 4K availability (or if Nikon’s D820 / D900 is launched later *with* 4K onboard) — SHAZAM — a firmware rev will drop and 4K will be unlocked. Easy peasy.

    I’d be stunned if Canon didn’t hedge their bets this way.

    | |
    • Joseph Ford

      interesting, but if they don’t publish the feature in advance with purchase then you must pay for the enhancement to 4K. So the ability to provide additional features via firmware is not a possibility.

      | |
    • Stan Rogers

      That’s a definite possibility, but it’s just as likely that the hidden 4K will less than optimal because of the stills resolution choice they’re most likely to have made. (4K is the reason for the α7R II’s resolution numbers; I can’t see the majority users of the 5D wanting either the Sony’s full-frame high number or their Super 35-size low number, since volume shooters won’t want huge files but they won’t settle for a 4K frame grab either.) I can see them enabling 4K as a “me too” if they have to, but I can also see them not wanting to make it a flagship marketing feature.

      | |
    • adam sanford

      Joseph, charging extra after sale for a firmware release is not a certainty. Canon jazzed up their original 7D with a raft of new functionality a couple years back, and they did it for free.

      I see a free 4K firmware update very possibly being Canon saying “Ok, we made a bad call to hedge our bets on price points — we hear you. Here’s your 4K. Thanks for undercutting our 1D and Cinema EOS sales, but we’d rather keep you as customers than lose you to Sony, Panasonic, Nikon, etc.”

      All that said, I see no reason why they *couldn’t* charge for it. If all that separates you from buyer’s remorse / future-proofing neurosis over this feature is $X (which presumably would be a small fraction of the camera price), people who truly care about 4K will gladly pay.

      | |
    • Joseph Ford

      I understand that, but there is a law that many companies get caught up in and that is adding additional features on a product after purchased. You can see that with adobe and why they adopted the subscription model. It allows them to upgrade the product and add additional features without charging for it. It’s an obscure tax law that works against the company.

      | |
    • adam sanford

      Sure, but when the 5D line is only updated every 4 years and hundreds of millions of dollars tied to Canon loyalty are tied to what it does / does not have on-board, ‘to 4K or not 4K’ is a massive gamble for Canon. Why not hedge their bet? I think Canon will be profit-first jerks and force folks upmarket to 1D / Cinema at launch and course-correct it down to the 5D line if that gamble fails.

      Consider what happens if they *don’t* do this and just go with 1080 video on the 5D4 as most rumor sites are speculating. In that case, an angry mob leaving Canon over that decision could only be placated with an altogether new FF SLR with that feature, which would infuriate those who bought the 5D4 without 4K.

      | |
    • Joseph Ford

      Adam, I must agree.. I’m only saying that announcement must be made with the release. They can’t do it via a firmware upgrade on a device that does not publish the feature at release. At least not here in the United States. IRS will blast them. This is exactly why Adobe adopted the subscription model, it allowed for feature upgrades in the product cycle. Good example look at the difference with Lightroom CC and Lightroom 2015. If you buy the product (Lightroom 2015) no new features will be added.

      | |
    • Paul Nguyen

      I still don’t think that 4K on a DSLR is relevant. In fact, I don’t think video on DSLRs is relevant any longer due to mirrorless cameras.

      I love DSLRs, don’t get me wrong, I like how they are reliable, focus better and have access to better lenses, but they’re just not suited to video and not cut out for being video cameras.

      After having used a Panasonic G7 for video for a few months now, I will never use a DSLR for video again and would be more than happy with a Nikon Df, which has no video capabilities altogether.

      Let me explain why. I have several reasons.

      1) The inability to use the viewfinder whilst recording. This is a big, big plus for the G7. I can use the EVF whilst filming which markedly increases my stability and smoothness and the footage looks like it was shot with a shoulder rig. With DSLRs, you have to shoot at arm’s length. Your arms will get tired after a while and you really need a shoulder rig to achieve the same stability. Let’s not mention the other benefits such as the fact that you can see in direct sunlight.

      2) The form factor is not suited to being a video camera. This is because, ultimately, stills shooters and video shooters want different things. For stills, I believe that the best sort of screen is a tiltable screen (e.g. D750, A7,…etc.). It allows you to shoot up high and down low. I don’t like fold out (e.g. 70D, D5500) style LCDs on stills cameras because you have to flip it out to tilt it, which means that you are no longer on axis with the camera making composition harder. For video, however, I often prefer a flip-out screen because I can record myself (which is something I would assume many people do as well).

      3) Lack of IBIS. The difference between making video that looks reasonably good and making video that looks like it was shot on a 1980s camcorder is stabilisation. The fact that the 5D Mark IV will most likely not have IBIS and the fact that most Canon lenses don’t have IS will mean that you’ll need a full rig or gimbal to shoot smooth video. For the cost of a rig, just get an A7SII (or A7RII) which has such good quality IBIS you won’t even need a rig. At least M4/3 has a lot of stabilised lenses, unlike Canon.

      4) Lack of community. Let’s face it, the community has moved away from Canon already. They’re all on the GH4 or A7RII/A7SII now and those are the video cameras of choice for most shooters. Regardless of whether Canon has 4K or not, they’re not going to get back those customers they’ve already lost. Nobody is going to buy or not buy the 5D Mark IV for its 4K capabilities.

      5) The things more important than 4K. The GH4 is a real video camera. Think about things such as timecode, options for SDI interconnects,…etc. These are things that the 5D Mark IV will not have regardless of whether it shoots 4K.

      Sure features are always good and I’ll always prefer more features to less, but 4K won’t make or break the 5D Mark IV and I think it’s already irrelevant in most people’s minds anyway.

      | |
    • Dave Haynie

      I agree 4K on the 5D4 isn’t important to me… I’d pick up a Panasonic GH4 if I was doing more serious video these days. No IBIS (and I already have the Olympus lenses), but for serious video, the A camera’s pretty much on a tripod at all times, anyway.

      Thing is, for Canon, the 5DII pretty much created the market for video/cinema shooting on a DSLR. And sure, lots of companies have been gunning for that — at its peak reportedly half of all 5D sales. If Canon still considers this an important thing, they need 4K on the 5D4. If not… well there are Blackmagic Design cameras that take my EOS lenses. And the Canon adapter has got pretty good on A7 bodies. Both much more reasonable moves than a 1D C or C500.

      | |
    • Rafael Steffen

      Nikon is rocking 2016!

      | |
    • Rafael Steffen

      The 4k will be introduced later on the D750 or D810.

      | |
    • Dave Haynie

      I would be a little surprised if the 5D4 does 4K… and also if it doesn’t.

      On the first point, today’s Canon makes good gear, but they seem fairly incapable of competing with any company not called Canon. Basically, they’re far more concerned I’ll buy a $2,000 body rather than a $4,000 body, that they cripple that $2,000 model too much, and don’t notice that the competition has 90% of those features in their $1500 body.

      And now that Nikon is doing 4K (at least in the D500… I don’t think the 3-minute clip in the D5, if that’s real, is selling anyone on D5s for video), that would make Canon the holdout… even counting Olympus if you consider the recently added 4K timelapse mode (the 5D has one of those too).

      And mentioning Olympus, whether you believe in Micro four-thirds or not, the way they do their updates is super customer friendly. Take the thee tiers of the OM-D. The EM-1, top of the line, was introduced in 2014, very nice camera. The mid-range E-M5 mark II came out in early 2015, and included features that weren’t in the E-M1. Useful stuff, too. Then the new E-M10, the lower end, came out with stull more new features. Then in November, E-M5II and E-M1 users got a firmware update that, unless hardware limited, added all new features. Pretty cool,

      | |
  5. Fisnik Islami

    but in the end, sony a7rII is better

    | |
    • adam sanford

      The A7R II is a hell of a rig, but it’s not aimed at the same photographers as a 5D4.

      Those rigs are apples and oranges to compare. That’s like comparing a workhorse to a Ferrari.

      | |
    • Stan Rogers

      Better — unless you need access to TTL/HSS flash, or want the assurance of dual cards, or need to rent anything, or…

      It’s not that the α7R II isn’t ready for prime time, but it’s not the right tool for every job. The Sony that *will* fill the 5D’s niche (careful but fast shooting in moderately high volume with little chance to repeat, such as at weddings and events) is still a rumour. There’s no reason why an α9 couldn’t happen (other than a bit of gun-shyness from the repeated failure of 9-series Minoltas and Sonys to catch on with pros over the years), but until they’ve got battery life, dual cards, a critical few more lenses and third-party support from a couple of major players (like Profoto, Phottix/Elinchrom, or even Godox), they’re not ready to step to the plate without also forcing the photographers to step back in time a decade or two.

      | |
    • adam sanford

      +1 to Stan. Summed up nicely.

      There’s more to a rig than a drool-worthy spec sheet and a great sensor. The A7R II’s BSI sensor, IBIS, 4K, etc. are great selling points, but pro SLRs do other things that the DXOs of the world aren’t talking about — like nailing moving targets, taking years of abuse, having large and robust first and third party lens/flash/accessory ecosystems to leverage, etc.

      I love Sony’s innovation and energy to commercialize new stuff, but they should prioritize delivering a supporting cast to complement their starring actors.

      | |
    • Paul Nguyen

      Sony’s cameras aren’t targeted at photographers, they’re targeted at DPR geeks who love seeing good DxOMark numbers. Whilst their image quality is good, everywhere else, they simply flop and offer nowhere near the performance of other systems already available.

      My Nikon D600, which is known for its crap AF and has perhaps the crappiest AF of any prosumer (and above) Nikon camera available still tracks and focuses far better than the Sony A7RII with its supposedly amazing focusing capabilities. On top of that, I can shoot my Nikons in complete darkness with my SB-910 because it has an IR AF assist beam which none of the Sonys have. In the dark, they rely on annoying white LEDs that blind everyone and piss people off on the dance floor. Let’s not even talk about the higher end Nikons, such as the D750, because in terms of AF, they blow away the A7RII.

      On top of that, Sony doesn’t even seem to get that photography isn’t about cameras, it’s about systems. Their flash system is crap (no HSS, crap TTL metering), their lens lineup is not even acceptable from a professional standpoint and they don’t have the handling and layout that is required in a professional level camera.

      Look at what Fuji is doing. You pick up an X-T1 and you instantly know how to shoot it. There are clear dials for ISO, shutter speed, aperture rings are on the lenses, buttons are clearly labelled and it’s quick to make adjustments. You pick up a D750 and it handles like how a DSLR should. The dials are in the right place, the buttons are nice and soft and feel like they’ll last. Sony’s buttons feel like they’re from a toy or a 1980s television with their clickiness.

      Now look at Fuji’s lens selection. You want a 24/35/50/85 prime set, they have the equivalents, at reasonable prices too. You want that for Sony, well prepared to pay twice as much as any other system. Look at how much the Sony 35mm f/1.4 is. Now compare that against something like the Sigma 35mm f/1.4 ART. Compare it against the Canon 35mm f/1.4 L II (which gets so much crap for being expensive). Now who is expensive?

      You want a nice mid-range zoom? You can get it on Fuji with their excellent 16-55mm f/2.8. You can even get it on Samsung with their 16-50mm f/2.0 – 2.8. You want it on Sony? There’s only that crappy Zeiss 24-70mm f/4 that feels like a kit lens. That’s the problem with Sony, they don’t understand photography. That’s why their cameras hype well, but end up flopping when it comes to sales. Check out Flickr data, the D750 has more daily uploads than the entire A7 lineup combined. Why do you think that’s the case? The A7 is a toy for Sony to push their marvelous sensors, not a real camera with a real system.

      | |
    • Rafael Steffen

      I Totally Agree. Nikon AF is still better than Sony!

      | |
  6. Lauchlan Toal

    Even though I’m not a Canon shooter, I’m looking forward to seeing what they do with the 5D. That’s the one camera that seems to have defied all rumours so far and is still a complete mystery – I’ll keep an eye out for more news from you, there should be something in the grapevine eventually!

    | |
  7. Yael DeFaye

    For the new FE lens line, why not Tokina?
    Pentax could go there too since they will have a Full frame camera coming up but would Pentax produce both Pentax lens with their K mount and FE mount?

    | |
    • Anthony Thurston

      Very true, both Pentax and Tokina are also possible options.

      | |
    • John Cavan

      I love Pentax glass, but their history of lens production in recent years suggests that they’re having a somewhat hard time keeping up with their own lens mounts, let alone making for another. Having said that, if they’re retaining and building on their relationship with Sony, who knows? Just seems like a bit of stretch for them at this stage, especially since a fair bit of their current lineup isn’t actually FF suitable and will likely vignette as a result.

      | |
  8. Joseph Ford

    Interesting choices with the 5D, with the 5DS out how do you differentiate the models. Maybe a new line is warranted.

    | |