The emphasis on the 4:3 image aspect ratio sets Four Thirds apart from other DSLR systems, which usually adhere to the 3:2 aspect ratio of the traditional 35mm format. Incidentally, the imaging area of a Four Thirds sensor is almost identical to that of 110 film. The sensor's area is about 30–40% smaller than APS-C sensors used in most other DSLRs, but still around 9 times larger than the 1/2.5" sensors typically used in compact digital cameras. The usual size of the sensor is 18 mm × 13.5 mm (22.5 mm diagonal), with an imaging area of 17.3 mm × 13.0 mm (21.63 mm diagonal). Sizes of the sensors used in most current digital cameras relative to a standard 35mm frame The image sensor format, between those of larger SLRs and smaller point-and-shoot compact digital cameras, yields intermediate levels of cost, performance, and convenience. Thus, the Four Thirds System has crop factor (focal length multiplier) of about 2, and while this enables longer focal length for greater magnification, it does not necessarily aid the manufacture of wide angle lenses. For example, a Four Thirds lens with a 300 mm focal length would cover about the same angle of view as a 600 mm focal length lens for the 35 mm film standard, and is correspondingly more compact. ![]() The size of the sensor is significantly smaller than for most DSLRs and this implies that lenses, especially telephoto lenses, can be smaller. Lens design has been tailored to the requirements of digital sensors, most notably through telecentric designs. Many lenses are extensively computerised, to the point that Olympus offers firmware updates for many of them. Unlike older single-lens reflex (SLR) systems, Four Thirds was designed from the start to be entirely digital. Proponents describe it as an open standard, but companies may use it only under a non-disclosure agreement. Patent 6,910,814 seems to cover the standard. The system provides a standard that, with digital cameras and lenses available from multiple manufacturers, allows for the interchange of lenses and bodies from different manufacturers. Many Leica enthusiasts claim to recogise this special Leica signature but I am not so sure.The Four Thirds System is a standard created by Olympus and Eastman Kodak for digital single-lens reflex camera (DSLR) and mirrorless camera design and development. Inevitably, however, there will be a price increase and the arrival of a new model is perhaps the best time time go for a used Q2 from a reputable retailer such as Red Dot Cameras in London.Īs for the Leica “glow”, the jury is out. This is likely to have a 60 MP sensor which would mean that crops up to, say, 90mm or even 100mm equivalent would be feasible. When to buy? Well, there are rumours of a Q3 coming in a few months, possibly even before Q3 (as in Quarter 3). For landscape, however, I think the Q2 is a great tool. ![]() But the Q2 acquits itself well at a 70mm-equivalent crop. The M route is obviously much more expensive, with the body alone costing more than the Q2 and a 28mm Summilux-M lens itself costing nearly as much as the Q2 (if not more, I haven’t checked recently).Īfter the 24-200 zoom on the Sony, however, you would have to live with one fixed focal length and sacrifice a touch of width. It’s reasonable because the package includes that lovely Summilux lens. If you are tempted to take the plunge, Chris, I would recommend the Leica Q as the best all-rounder at a “reasonable” price. Read more on micro four-thirds Stefan Daniel and the end of the Leica CL ![]() What do you think? Is APS-C really in decline, or will manufacturers continue to develop the format? And what is the future for micro four-thirds? Could heavier micro four-thirds bodies and lighter full-frame bodies squeeze APS-C out of existence? Leica’s decision to pull out of APS-C last year offers support to Mr Yamaki’s belief that this format is in decline, with more photographers choosing to replace their crop-format sensors for the rapidly developing full-frame mirrorless designs. There are rumours that hybrid autofocus, recently introduced on the new Lumix S5 II, will soon be adopted for some Lumix micro four-thirds bodies. Nevertheless, there is still demand for the format, particularly in the video sector, where Panasonic Lumix has created a strong reputation. Panasonic’s GH6, shown here, is the company’s flagship offering, although in weight and size, it is almost identical to the company’s full-frame S5 Despite rumours of a decline in the micro four-thirds market, both OM-Systems and Lumix continue to develop the format and report strong demand.
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