While Kodak Portra, Fujifilm Velvia, and some of the others tend to steal the spotlight, there are a number of pretty good yet affordable color films on the market. George from Negative Feedback decided to put a number of them to the test in a video released earlier last year. All the images were taken on the Leica M7, MP, and M3, using a 50mm and 35mm summicron f2 with Kodak Colorplus 200, Agfa Vista 200, and Fuji Superia 400. The images were taken portrait style in a studio and using natural light.
Images by Patrick Temme. Used with permission.
Great environmental portrait photography usually shows people in a situation they live in (or sometimes at work and play), that says something about who they are. Patrick Temme’s environmental portrait approach in his documentation work beautifully captured the grace and charisma of the people he encountered in Tigray, Ethiopia in Africa.
All images by David Gleave. Used with permission.
To create street photography with impact, one of the proven methods is to go dangerously close to the subjects. David Gleave, a Licentiateship distinction holder in the prestigious Royal Photographic Society (RPS), adopted the “in your face” approach in his street photography work.
Based in Manchester, David Gleave is a street photographer shooting people documentary style. Inspired by the popular “if your pictures aren’t good enough, you are not close enough” mantra by Robert Capa, David chose to go extremely close up to the strangers on the street.
Screenshot taken from video.
Kaiman Wong (who has recently left DigitalRev TV) continues to create video contents on his own Youtube Channel. Most recently, he took on a comparison of popular street photography lenses, 50mm vs 35mm vs 28mm, to be educational and useful especially for newcomers to street photography. The best part: Kai was himself in his videos with his usual wit, charm, and a tad of silliness which made the video so entertaining to watch.
It’s no secret: lots of photographers are drooling over the idea of shooting with the Fujifilm GFX 50S medium format camera. The idea of owning something bigger than full frame 35mm (though not even the size of true digital 645) is something that is bound to attract a whole lot of photographers. Then consider the fact that everyone and their mother is a photographer these days. Everyone will want a medium format camera because they’re becoming more and more affordable. Though for what it’s worth, I’m very positive that not everyone understands medium format.
In fact, you may honestly want to stick with 35mm, APS-C, or even Four Thirds.
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.
While many manual focus lenses obviously lack AF mechanisms, they surely make up for it with cool features like fast apertures–and that’s the case with the new Samyang 35mm f1.2 lens. Aimed at APS-C mirrorless camera users, those with Sony E, Micro Four Thirds, Fujifilm X series and Canon M cameras will be able to use this new lens on their cameras. The new Samyang 35mm f1.2 boasts Ultra Multi Coating, two aspherical lenses as part of nine glass elements in seven groups. These are designed to minimize aberration and unnecessary light dispersion. Plus, it’s got a 62mm filter threat–which is fairly large for an APS-C lens based
The release of the Sony Zeiss 50mm f1.4 for full frame E mount cameras begs the question “just how many 50mm lenses does one need?” In truth, just one–but the strategy is a smart one for the company. You see, years ago camera manufacturers used to offer loads of different lens options. You’d get a 50mm f1.8, f1.4, f2, etc. Leica still does this and to some degree, Zeiss does too. But with Sony, you’re getting something different.
This new lens isn’t part of the company’s G Master series of optics and instead it’s a lens that was created in collaboration with Zeiss. It boasts dust/moisture resistance, 11 aperture blades, and other cool features including Zeiss T* coatings that are bound to give you that Zeiss-like look though probably not as clear as their Milvus lineup of lenses.
Editor’s note: this review is now complete