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The Panasonic Lumix S1R II, just announced, features a new 44.3MP sensor offering high-resolution imaging with a wide dynamic range (14-stop V-Log/V-Gamut) and impressive low-light performance.

Powered by the latest L2 engine, it balances high resolution with low noise, offering a flexible ISO range of 80-51,200 (expandable to 40-102,400). It’s equipped with advanced 779-point phase-detection AF and AI-driven subject recognition. The camera also offers a 177MP high-resolution mode and supports 8K video recording, as well as 6.4K 30p 10-bit Open Gate, making it a powerful tool for both photographers and filmmakers.

• New 44.3MP full-frame sensor
• 14-stop dynamic range
• Fully articulated rear screen
• Latest processor with L2 technology
• ISO 80-51200 (expandable to 40-102400)
• AFC/AFS at 40fps, blackout-free
• 8.1K (17:9) / 8K (16:9) 30p 10-bit with V-Log/V-Gamut
• 779-point phase-hybrid AF with advanced AI Tech
• AI subject recognition for People. animals, cars, planes and more
• 8.0-stop 5-axis sensor-based stabilisation
• Sensor shift 177MP high resolution capture
• Weather-sealed pro body in magnesium alloy

It is priced at £2,999 body only, £3,799 with 24-105mm f/4 Macro OIS lens.

We are happy, a month after paying subscribers received their link or were sent printed editions, to make the download of the latest issue Retina resolution PDF free for your midwinter reading.

Just use this link: https://cameracraft.online/wp-content/uploads/2023/10/CCNovDec2023-app.pdf

What does this mean? Well, it means that unless Tamron – the undoubted OEM of this lens just as they are the OEM of the Nikon Z 28-75mm f/2.8 – have redesigned the lens to differ in the rear mount baffles and design from their 70-180mm for Sony E-mount, a 2X converter for the Sony SHOULD be possible despite Sony’s long-standing ban on any third party 2X.

Here is the Sony rear mount.

Below is the Nikon Z-TC2 converter, which has an unusually slim intruding optical tube.

The Nikon Z mount has a register (back focus) of 16mm compared to Sony’s 18mm, which is a fairly neutral aspect as there is more room for the length of a converter barrel, but with the optical design of the Tamron and Nikon counterparts being identical the Sony rear group is 2mm closer to the bayonet mount. This should not affect how a suitably sized optical tube could be positioned.

Sony’s mount is however very much smaller in diameter than Nikon Z, a mere 46.1mm compared to 55mm. That’s nearly 9mm. so looking at the Sony rear mount photo and comparing it with the Nikon can be deceptive. That optical tube is 29mm is diameter, and the rear baffle in the Tamron E-mount would limit any intruding tube to 22mm. However, a modified Tamron E-mount with its rectangular baffle replaced (perhaps a Mark 2?) could have enough clearance with provision for the contact bezel .

We should not forget that Tamron invented the modern teleconverter with the Twin Tamron 135mm f/4.5/225mm f/7.7 (not a 2X, but a 1.7X) launched in 1958 – the lens which pretty much started Tamron’s journey to where they are now.

– David Kilpatrick

All of our direct digital download subscribers have now been sent their link to get a high-res PDF of the latest edition – and all those subscribing through Pocketmags or reading on Apple, Amazon or Google devices are enjoying their favourite photographic title.

Every picture tells a story, and we ask our photographers to tell the stories connected with their images. Faye Yerbury explains how someone copied her work by shooting over the shoulder, Paul Hands reveals his best-selling ever jigsaw – a perfect Christmas scene in Olde England! We visit the Beamish Living Museum of the North and a night time shoot with a World War II bomber, see how the Sony A7IV shapes up with major firmware updates, try Tamron’s lovely little 20-40mm f/2.8 zoom, and make prints for D-I-Y photo books and greetings cards using doubled sided inkjet papers

To subscribe on Pocketmags (currently they have a sale on) just go to https://pocketmags.com/f2-cameracraft-magazine

We also have printed copies ready to post – we don’t keep a large stock of back issues so move fast! New subscriptions taken out in November will start with this issue.

Your compact environmentally friendly photo magazine is less than 10% advertising and every printed copy reaches a reader – no ‘returns’ or landfill from the news trade, subscription only! Sign up here and join our readership helping create a truly independent mag. The digital edition is even better for the environment, you can get it as a top quality PDF download to keep (on this site) or an App from Pocketmags for Kindle, Apple, PC and all devices – https://pocketmags.com/f2-cameracraft-magazine

The latest issue, September/October 2022, takes us to the end of summer with a preview of The Photography Show (Sept 17-21) and tech tests of the £5,000 Leica Q2, Tamron’s £239 24mm f/2.8, the 7Artisans 50mm f/0.95 and the Rogue Round Flash kit which makes ordinary old camera-top flash work like circular reflector systems. It goes lives at 1.00am on September 1st, after our copies go out in the August 30th mail.

We kick off with Danny and Ted’s amazing adventure – our rock photographer’s encounter with heavy metal’s Ted Nugent. Kevin Wilson takes Sigma’s 105mm f/1.4 to Sicily for his daughter’s long-delayed wedding – Iain Poole shoots cars and bikes on the sands of the Yorkshire coast. Kenny Martin pushes the value of learning and training, while in Boston USA we meet Jaypix Belmer and her Hiphop and street culture projects.

Ian Knaggs perseveres despite creating images which he doesn’t like. Mark McNeill’s new book on Amazon, Britain by Night, gets four pages with a following feature on dark sky astro photography from Kate Hughes. Tim Goldsmith wonders which of today’s cameras will ever be as legendary as the Nikon F – and we show the results of our second Assignment, plus a Rearview Gallery devoted to black and white.