Ah finally some Reviews of the Fujifilm S5 Pro!

It seems it’s much as expected, fantastic Dynamic Range, but slow, slow AF and slow shooting speed. Definitely not for sports or wildlife shooters.

A good camera for skin tones though, excellent white balance (with the new firmware) and very good rendition of highlight details.

No bunching up on the histogram like normal digital camera, apparently it has wide ‘shoulders’ and gives more leeway like film.

It also has pretty interesting film simulation modes.

If you shoot in the studio, or you do a lot of portraits and wedding, and don’t like post-processing much, this could be the camera for you.

Although many might say the Canon 5D might be a better choice.

You can find some sample pictures here and here.

Fuji S5 Pro vs D200 Dynamic Range Test.

Fuji Finepix S5 Pro Experience Report

Overall we find the Fuji S5 a very exciting camera. The highlight extension paired with excellent noise characteristics raise the bar for image quality and shows that not only Megapixels matter.

Fujifilm FinePix S5 Pro CNET Editor’s Review

The bottom line: While a wide dynamic range lets it serve up tons of highlight detail and impressive overall image quality, the S5 Pro isn’t for high-speed sports photography, and it could use more resolution.

Popular Photography – Fujifilm FinePix S5 Pro

But this is not really a sports shooter’s camera. The S5 will no doubt please its intended audience — wedding and portrait shooters. The bigger question is whether it will appeal to the broader market of serious amateur photographers. Actually, we think it will. A lot.

Fuji FinePix S5 Pro Digital Camera Body Only

The Fujifilm FinePix S5 Pro’s image quality makes it a viable choice for pros and other quality-conscious photographers. Dynamic range, noise and color are all excellent. The S5′s mechanicals – a Nikon D200 body, with Nikon autofocus, metering and flash – are also big assets. The drawbacks of the S2 and S3 bodies are gone.

This is a case of photographer photographs photographer, the following photographs were taken by photographer Hans van de Vorst at the Grand Canyon, Arizona and the descriptions are his own.

The identity of the photographer IN the photos is unknown.

I was simply stunned seeing this guy standing on this solitary rock IN the Grand Canyon.

The canyon’s depth is 900 meters here. The rock on the right is next to the canyon and safe.

Watching this guy in his thong sandals, with a camera and a tripod, I asked myself 3 questions:

1. How did he climb that rock?
2. Why not take that sunset picture on that rock to the right, which is perfectly safe?
3. How will he get back?

This is the point of no return.

After the sun set behind the canyon’s horizon he packed his things (having only one hand available) and prepared himself for the jump. This took about 2 minutes.

At that point he had the full attention of the crowd.

After that, he jumped on his thong sandals. The canyon’s depth is 900 meters here.

Now you can see that the adjacent rock is higher so he tried to land lower, which is quite steep, and tried to use his one hand to grab the rock.

We’ve come to the end of this little story. Look carefully at the photographer.

He has a camera, a tripod and also a plastic bag, all on his shoulder or in his left hand.

Only his right hand is available to grab the rock and the weight of his stuff is a problem.

He lands low on his flip flops, both his right hand and right foot slip away…
At that moment I take this shot.

He pushes his body against the rock.

He waits for a few seconds, throws his stuff on the rock, climbs and walks away.

This folks, is TRUE dedication, or just plain insanity..

*P.S. This is actually staged, you too can do it if you dare*

A lot of people have been waiting for the Canon Powershot G7 to come out, a solid replacement for it’s very well received predecessors (some of the only PnS type cameras with a f/2.0 aperture! This made then excellent for low light photography).

Basic Features

• 10.0-megapixel (effective) CCD, delivering image resolutions as high as 3,648 x 2,736 pixels
• 6x optical zoom lens, 35mm equivalent of 35-210mm
• 4x maximum digital zoom
• Real-image optical viewfinder
• 2.5-inch color LCD monitor
• Full Manual through Automatic exposure available, including Aperture and Shutter priority and 17 preset Scene modes
• Built-in flash with five modes and an intensity adjustment
• Topside external flash hot shoe
• SD/SDHC/MMC memory storage (32MB card included)

It seems like Canon made a bit of a goof with the G7 and didn’t hit the spot quite right, the build quality is there but the features, the hardware (widest aperture of f/2.8) and the picture quality are definitely not there.

I’ve seen quite a few people buying it with the underwater casing for dive photos, it’s quite a reasonably priced package at around RM2300 (less than US$1000) for the camera and casing, and as it has pretty good high ISO and decent bright lens it should be ok.

I’m leaning towards the more versatile (And cheaper) Canon Powershot A710 IS though, with the underwater casing it comes in at around RM1900.

I also agree with the reviewers who say there is a gap in the market that could have been filled by the G7, by people who don’t need or want to carry an SLR but need more than a PnS can offer, people like myself, and most of you reading this site I imagine.

Personally I was looking forwards to the G7, but I am a bit disappointed, I’m still holding off my purchase of an underwater kit, to see what else comes out.

I’m tempted by the Fuji F31 too, but no stabiliser and only 3x zoom feels limiting.

G7 Reviews:

Canon PowerShot G7 – CNET

Though the reasons for buying the PowerShot G7 have dwindled, they haven’t disappeared entirely. It’s an optimal choice as a second camera, when you can’t or won’t schlep a dSLR with you, if you’re not quite ready to take the leap from a point-and-shoot to a full-fledged interchangeable lens system, or if you need the flexibility of a movie-capture mode.

Canon Powershot G7 – Steve’s Digicams

Bottom line – I was very pleased with this latest addition to Canon’s legendary “G” series line. While we miss the Vari-Angle LCD, the new 6x IS lens is a definite plus. The only negative issues we found were the problem with the optical viewfinder and the higher image noise at ISO 800 and 1600. That said, the G7 is a good choice for the beginner, novice, or enthusiast that wants a less bulky alternative to carrying around a dSLR and a bag of lenses

Canon PowerShot G7 Review – imaging resource

Those SLR owners looking for a second or third shooter should give both the Canon G7 and the A640 a close look. In addition to IS, the G7 has the advantage of a long-lasting Lithium-ion battery, like you’re used to with your SLR. But I have to warn you that you might be disappointed with the speed of the Canon G7 relative to your digital SLR. Once you’re tuned to one type of shutter, it’s very difficult to return to a slower mechanism, but not bad if you’re already accustomed.

DCRP Review: Canon PowerShot G7

While a disappointing G-series camera, the PowerShot G7 stands on its own, and it earns my recommendation. If you don’t mind parting with almost $600 for it, it’s worth a look. Don’t forget to check out the just as capable — and less expensive — competition closely, though.

Canon PowerShot G7 Review – DPReview

Specification aside, the G7 is a camera I’d find a lot easier to wholeheartedly recommend if the cons list at the top of this page were a bit shorter, but as I discovered, once you tame it, most of them can be overcome. It’s not for everyone (and it’s not the best ‘social camera’ as the focus can struggle in low light unless you stick to the short end of the zoom), but after a month or so of testing I find myself liking it more and more.

G7 Review – Luminous Landscape

As it is, the G7 will still have a lot of appeal due to its really good noise characteristics and a sharp lens with a decent focal range. A solid metal body and appealing assortment of additional features such as IS and audio recording contribute to its attractiveness. I don’t know of any current digicam that offers as much quality for the money. That same money will now by you a DSLR with kit lens, but then this won’t fit in your pocket, doesn’t have the same reach, and can’t shoot silently. There is a place for both, regardless of Canon’s apparent fears of cannibalization.

Basically looks a Nikon D200 with SuperCCD technology, effectively 12 megapixels but the images will only be 6 megapixels.

The S5 Pro features the same SuperCCD SR design sensor although now called ‘SR Pro’, it features 6.17 million ‘S photodiodes’ (normal DR) and 6.17 million ‘R photodiodes’ (highlight DR) for a total photodiode count of 12.34 million. Other headline improvements are the new body (which is obviously based on the Nikon D200) and all that includes; better AF, i-TTL flash, metering, Lithium-Ion battery. Other improvements include better DR control, up to ISO 3200 sensitivity and LAN / WiFi accessories.

This is the beast everyone is looking for, solid body, high ISO, amazing lack of noise and a wider dynamic range than other cameras.

A lot of people are still using the Fuji S3Pro as a portrait camera due to the beautiful colours it gives and the fact they can use Nikon lenses.

I’m really glad manufacturers are stopping the megapixel race and concentrating on quality.

Nobody ever really needs more than 10-12 megapixels.

And the difference between 8-10mp and 10-12mp is negligible.

It’s strange there’s no reviews out for this camera yet, it’s set to be around RM8500 in Malaysia.

There was an uproar a while back about the media in Malaysia altering press pictures to make them more attractive or slightly change the meaning/context by removing/adding people or merging two pictures.

It also happens to big shot AP photographers and many other press agencies, there is a full gallery that shows the extent of the manipulation and the stories surrounding them. And it’s been happening for a long time.

Like this for example:

Trotsky…now you see him, now you don’t.

And this LA Times pictures which turned out to be a composite of two pictures to ‘improve the composition’.

In most of these cases the photographers were fired. I believe this is rightly so, in the case of media photography or photojournalism, you are taking the scene, the reality, what occurred, it’s not down to artistic interpretation or manipulation.

Source: News.com