How Much Bigger is the Sensor in the Fujifilm GFX 50S vs Full Frame?


At Photokina 2016, the medium format Fujifilm GFX 50S camera was announced. It features a medium format sensor that is larger than full frame 35mm sensors, but isn’t larger than full frame 645 format sensors. To see just how large they all are in comparison, we put them all in a comparison chart together. In truth, it’s really not much larger; but it is indeed larger than full frame and effectively targets the photographers that want something more.

In Digital Photography, The New 645 Format is Even Smaller


If the trends in medium format photography have been any indication at all, then the idea of getting a truly large 645 medium format sensor is something to truly aspire to, but what most professional photographers may never accomplish. Years ago, back when film was king in photography, the 645 medium format size was something of a joke in some circles of photography. In photojournalism, it was a format valued for its smaller size yet larger negative than what 35mm film offered. Many professionals tended to want to reach for the 6×7 format instead. At this size, the photographer got a larger negative yet still retained a manageable size to work with. Photojournalistic applications tended to favor the 645 format.

But today, it sincerely seems like we’ve got what I’d like to call a new 645 format in some ways. At least that’s what Photokina 2016 makes it seem like.

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Portrait Photographer Tracie Maglosky on Using the New Olympus 25mm f1.2


All images by Tracie Maglosky. Used with permission.

One of the more exciting announcements to come out of Photokina is the arrival of the new Olympus 25mm f1.2 PRO lens. This surely is a lens that many have been waiting for for a long time and considering the design, it seems very worth it. Olympus went through the trouble of completely redesigning the lens to make only a single element move when it focuses. This ensures that the lens has fast focusing. Surely, you also get the light gathering benefits of f1.2 and weather sealing. With the Four Thirds crop, you’re getting the equivalent of f2.4 on a full frame camera–which means that there is no real reason to stop the lens down when shooting portraits or anything for that matter.

But to get more insight in to how the lens works, we talked to Olympus Visionary Tracie Maglosky about how she’s using it for her work.

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A Crisis of Purpose in the Age of Instagram


This is a syndicated blog post from Street Silhouettes. It and the images here are being republished with exclusive permission from Horatio Tan.

Photographing for likes. Has the world come to this? Everyone is a photographer, and photographs are manufactured voluntarily by the thousands per second, streamed instantaneously to handheld devices around the world. We’ve seen everything there is to be seen. We’ve seen beauty in abundance. We’ve seen torrents of cruelty. We’ve seen gross excesses. We’ve seen notoriety. And we’ve seen nothing of consequence. We’ve seen more than we need to see, and so we’ve become desensitized. Nothing moves us, and nothing shocks us. We’ve seen it all with the swipe of a thumb.

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Upgrading from the Canon Rebel: A Guide on Choosing Your Next Camera

Chris Gampat The Phoblographer Canon Rebel SL1 product photos review (5 of 9)ISO 4001-40 sec at f - 4.5

One of the most popular dedicated cameras out there today has to be the Canon Rebel in all its iterations. They’re honestly fantastic cameras that are quite capable of producing professional level results. At a certain point in a photographer’s progression though, you’ll often find they’re a bit lacking and that you may want more. But at the same time, a photographer also has to make the decision on whether they want to stick with the same system or move to another.

To help you out, we’ve gone through our reviews index to figure out what’s best for you.

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For Photographers, Instagram Is Tumblr All Over Again

Chris Gampat The Phoblographer Epson Instagram app (1 of 1)ISO 12501-20 sec at f - 2.0

When it comes to learning and understanding how to use Instagram, pretty much most people fail at it. In fact, pretty much most people fail at social media because everyone and their mother (literally) are (literally) all about themselves. Broadcasting things about yourself as a photographer is important on social media, but also developing content that people will actually care about is too. Further, so is the actual interaction part. You’ll need to build connections.

But more importantly, you’ll need to figure out that hacking the platform isn’t totally just about creating or capturing images. It’s also about curating them.

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Gina Manning on Shaping Your Photos With Lighting

Photo by Amanda Macchia | @megalomandee

This is a syndicated blog post from photographer Gina Manning. It and the images here are being used with permission.

In this post I’m going to talk about how I used lighting in my last shoot! MOST OF ALL, I want to show just how much fun experimenting with light and its seemingly endless possibilities can be. You should start looking at lighting differently, if you in anyway find the thought of lighting your own photos scary or overwhelming – do read on.

Check out the BTS video of the shoot I’ll be talking about and breaking down in this article!

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Why I Think Film Photography is Horrible


In partnership with Format MagazineClick here to build your Format portfolio website today with a free 14-day trial, no credit card required. This is a syndicated blog post from Format Magazine. It and the content here are being used with exclusive permission. Original piece by Benjamin Kanarek.

Shooting since the 1980's, fashion photographer Benjamin Kanarek calls the analog trend "slow and cumbersome."

I remember the first time I picked up a digital camera. It was 2003 and I got this little Canon G5, a good point-and-shoot, and it was 5MP.

Before that, I used film. It had to be scanned into a computer, then manipulated digitally. That was alright—but when I picked up this Canon, I thought it was amazing. It’s instant feedback. You see exactly what you’re going to get. You adjust your lighting as you go, you’re thinking on your feet.

What you can learn on digital in one year is probably five to ten times what you can learn on film in the same time. Film is a very slow feedback loop.

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