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Chris Gampat The Phoblographer Zeiss Rokinon Sigma 85mm f1.4 three way comparison (1 of 3)ISO 4001-125 sec at f - 3.5

With Zeiss’s new 85mm f1.4 Otus reviewed, we took it upon ourselves to do an informal comparison of two of its biggest and closest competitors: the Rokinon 85mm f1.4 and the Sigma 85mm f1.4. Now granted, neither of these lenses are said to be targeted at the higher end photographer. But with Sigma’s offering being a couple of years old and Rokinon’s not being so old either, we decided that it would be great to see just how the three perform against one another.

Editor’s Note: Again we are saying that this is an informal comparison to see how the three stack up against one another. We’d like to remind our readers though that each offering is pretty darn solid, but if anything this is more of a measure of how the technology has progressed.

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Chris Gampat The Phoblographer Panasonic 42.5mm f1.2 review product images (4 of 7)ISO 2001-400 sec at f - 1.7

When it comes to choosing an interchangeable lens camera and a system, consider the fact that you’re not really just buying a camera per se. Indeed, what you’re actually doing is buying into a membership club of some sort. And with that club you get the ability to do certain things. The camera will give you some features and the basic ability to take images to begin with. But then you’ll need to pair it with things that will help you to get the images you want. With that said, it’s about the lenses. And to get even better images, you’ll need lighting. Now consider this: your newer lenses will always make an older sensor look better, but a new sensor may not necessarily make older lenses deliver an image that looks better. Additionally, older lenses may not make the output from a new sensor look better.

But one thing is guaranteed: no matter how old the sensor and lens are, adding artificial lighting to your scene will make the output sharper and perhaps even look better when used correctly.

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Howard with his homing pigeons. Brooklyn, New York

All images by Agaton Strom. Used with permission.

In NYC, many folks hate pigeons. The birds are seen by many as pests and vermin that defecate everywhere and carry diseases because of the fact that they often eat garbage and scraps from the floor. But what many don’t know is that there are folks who breed pigeons on their roofs–and that’s the center of one of Agaton Strom’s photo projects. It’s a very old practice that is mostly gone these days–but some still in exist in the boroughs of NYC.

His documentary images capture a world not known to many NYers and may even give you a new view on the birds.

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Chris Gampat the Phoblographer Sony A7s product images (3 of 8)ISO 4001-80 sec at f - 5.6

We have an announcement: upon reviewing what gear the staff of the Phoblographer owns, we’ve come to a big conclusion. Many of us use a mirrorless camera of some sort on a daily basis or it has at least has become one of our main cameras. Additionally, we all own at least one. While DSLRs are still seemingly the dominant cameras amongst many consumers, we’ve collectively agreed that it’s time for mirrorless cameras to shine even more than they do already.

And here’s why we all switched over.

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There are many 50mm lenses out there that come in a variety of options. You can get a Sigma 50mm f1.4 Art lens at just above $1000, or you can get a lens like Leica 50mm f0.95 at around $11,000. However not all lenses are expensive super stars. Some are meant to be a common man workhorses. This is where the 50mm f1.8 lenses come in, and I have a few. They are the Volkswagen beetles of photography and just may be the best lenses for street photography. Here’s why.

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All images by Bill Wadman. Used with permission.

NYC Photographer Bill Wadman is no stranger to the Phoblographer. He’s been featured here a number of times. First was on Creating the Photograph, then on his post on dynamic range, and this time around we’re captivated by his Portraits in the Corner series that he has been featuring for a while now on his blog. The idea was incredibly simple: get a bunch of folks, choose a corner, and shoot a portrait that tells a bit about who they are as people. Bill used photojournalism, traditional portrait posing and environmental portrait tactics to get the images in the series.

Unlike many other photographers, Bill did something that few of us have the fortitude to do. He worked through his obstacles and still commits.

We talked to Bill about Portraits in a Corner and the commitment it took.

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