Finally a really great article about “Sensor Crop Factors and Equivalence” from Nasim Mansurov!


On 43rumors plenty of commenters keep saying that there is a “4 times factor” difference between Full Frame and Micro Four Thirds. For those people a f/2.8 PRO zoom from Olympus actually has an “equivalent” Full Frame aperture of f/5.6. Now, while I agree that this is in a very abstract theory correct… it is actually absurd and wrong if you look at the full aspects of the camera technology.

And without me having to explain you why it is so just read the super well written “”Sensor Crop Factors and Equivalence” article written by from Nasim Mansurov on Photographylife. Particlualry point 8) Total Light explains you why that “virtual equivalence” made by so many bloggers and commenters is de facto nonsense:

8) Total Light
“Equivalence” created another ugly child: total light. This theory, which is brought up by some photographers, says that smaller sensors get less total light than larger sensors just because they are physically smaller. That’s how they explain that small sensors have worse noise performance / overall image quality. That a full-frame sensor looks cleaner at higher ISOs than say Micro Four Thirds, just because its sensor area is four times larger. I don’t know where these theories originate from, but I fond the idea of “Total Light” and its relevance to ISO absurd. Explaining why sensor of one size has a cleaner output when compared to a smaller sensor just because it is physically larger has one major flaw – it is actually not true once you factor in a couple of variables: sensor technology, image processing pipeline and sensor generation. If larger sensors did receive more “total light” than smaller sensors, then every full-frame sensor made to date would beat every APS-C sensor, including the latest and greatest. Consequently, every medium format sensor would beat every full-frame sensor made to date. Is that true? Absolutely not. Just compare the output of the first generation Canon 1DS full-frame camera at ISO 800 to a modern Sony APS-C sensor – have a peek at this review from Luminous Landscape and have fun comparing. Surprised to see APS-C beat full-frame? No, not really. Newer sensor technologies, better image processing pipelines and other factors make modern sensors shine when compared to old ones. Simply put, newer is better when it comes to sensor technology. APS-C has come far along in terms of noise performance, easily beating first generation full-frame sensors in terms of colors, dynamic range and high ISO performance. CMOS is cleaner than old generation CCD that struggled even at ISO 400! Until recently, medium format cameras used to be terrible at high ISOs due to use of CCD sensors (which have other strengths). But if we look at the theory of “total light”, medium format sensors are supposed to be much better than full-frame just because their sensor sizes are bigger. But if we look at high ISO performance and dynamic range, it turns out that it is actually not the case. So these folks now add a few words / disclaimers at the end of their statements like “as long as the sensors are of equal efficiency and generation”. When we talk about aperture or shutter speed, there is no such thing as a new generation aperture and shutter speed, and yet they think they can slap on those words for sensor performance. Don’t be fooled by such statements, as they make no sense. The theory of “total light” is too darn confusing, so it is not worth wasting time on.

Thanks Nasim Mansurov for bringing down that discussion to a very “practical – reasonable” level :)

A bit of everything…

Panasonic LX100 Hands-on Review feat. Lok in London

Panasonic LX100 review at ThePhoBlographer.
Panasonic Varicam 35 Has a duel native ISO of 800 and 5000. How do they do it? (Newsshooter)
Panasonic GM5 test at
Panasonic TZ60 review at Camerahoarders.
Limited Number of Panasonic’s DMC-CM1 to Make a Welcome Arrival to the UK (Panasonic UK).
40-150mm PRO lens test at Kasayapa
Nur echt mit…. und News zum Kamerabuch zur E-PL7 (Pen And Tell).

Riccardo:gh3 + 14-42 @ real world studios

Ivan Mazza:GH4 4K reportage in Sicily on Youtube“.

Mohammad: Captured using GH4 with Panasonic 12-35 2.8 & 35-100 2.8

This is the strangest Micro Four Thirds camera to date…from JVC!


As you know JVC recently announced a “cheap” and very well specced GY-LS300 4KCAM you can get at BHphoto (Click here). But along that camera they also announced another “unusual” looking GW-SP100E remote head 4KCAM Micro Four Thirds camera system! (Source: JVC UK).

This is the full press release:

The JVC GW-SP100 is a 4KCAM remote camera head and recording unit; the system includes the camera head, a recording/playback device with built-in monitor and a RCU controller. This tiny camera produces beautiful 4K video, with 3840×2160 resolution, at up to 50/60p recorded locally to SDXC UHS-I U3 memory cards. It has an interchangeable MFT lens mount system, chosen due to its very shallow flange depth, which offers the greatest flexibility to end users who have already invested in lenses.

The GW-SP100 camera system features a video unit with a foldable and detachable 7-inch full HD LCD monitor and includes a wired dedicated remote and camera control panel. For connection between the camera head and the recording/playback device, optional longer cable lengths of 5m and 15m are also available. The camera records at 4K Ultra HD and HD at 4:2:2 150Mbps, and supports up to 50/60p recording in both HD and 4K. 4K footage is recorded as a single file in AVC H.264 format at 150Mbps. Thanks to the system’s two dual codecs and four card slots (two for 4K, two for HD), the camera can record 4K+4K and HD+HD (continuous/dual recording), making it a very flexible system. Recording is via cost-effective SDHC/SDXC cards; a single 64GB UHS-I U3 SDXC card provides around 50 minutes of recorded 4K footage at 60p.

Since the camera head is separate from the recorder, this opens up many dedicated applications for the system, including use for industrial or film applications, on special vessels/cranes/trucks, or as a high-resolution microscope camera and recording system. The mini 4K camera can also be attached to a gimbal option; this may be used with a helicopter system for aerial shooting, with anti-shaking and anti-blurring technology ideal when used with a handheld system. So, while the mini 4K camera produces images suitable for cinematic applications, the system also has applications for broadcast news and could open a whole new world for broadcasters.

  • Super 35mm bayored 13.6 Megapixel CMOS sensor
  • Micro Four Thirds mount
  • Connection to camera head via optional 1m, 5m or 15m wired cable
  • Separate recording and playback device
  • Separate RCU controller
  • Up to 4K Ultra HD 50/60p recording at 4:2:2 150 Mbps
  • 4K single file recording at 150Mbps
  • 2x dual slot recording (4 slots) for continuous or back up recordings
  • SDHC and SDXC memory card support
  • AVDHD / AVC H.264 / MPEG-4
  • 7-inch full HD LCD display
  • HDMI outputs up to 4K Ultra HD at 50/60p
  • 4x 3G SDI outputs (4K UHD)
  • 1 HD-SDI output (HD)
  • Video output for control (3.5mm)
  • 2x XLR for mic or line input
  • 3.5mm headphone socket
  • 2.5mm remote control
  • Mini-DIN interface for RCU

Weekly 43rumors readers pictures roundup.

Finn Gonschior‎
Olympus E-M1 + Olympus 40-150mm — at Huacachina-Las Dunas- Ica.

1) You can share your pics by using the message box on our 43rumors Facebook page (Click here).
2) All 43rumors readers pictures can be seen here: Like the pictures you like and chat with the authors if you want to know how they took the shot!
3) The most liked pictures and some pics selected by myself will be posted weekly on 43rumors

This is the weekly selection:

Read More

A bit of everything…

Parkour // DJI Ronin / Lumix GH4 12-35mm f2.8 from CMashini on Vimeo.

Olympus M.Zuiko Digital ED 60mm f/2.8 Macro Review (Photographyblog).
E-M5 review by Graverholtfoto.
Asian design award for the E-M10 (Dfaaward PDF file)
LX100 follow up (Mirrorlessjourney).
Three days – Three different cameras – Panasonic FZ1000, Sigma DP2 Quattro, Nikon Df (Soundimagesplus).
One of the Taylor Wessing Portrait Prize 2014 pictures has been taken with the GF1 (Telegraph and Npg)

FlowerBug:The following link goes to a pretty good (and humorous) explanation of the various filters Panasonic puts in their cameras. It’s based on the filters in the LX100 and ties them to the various films and film experiences we all know.