Though Sony was the first to the game with full frame interchangeable lens mirrorless cameras with autofocus, the company has traditionally played catch up in the digital photography world–and there seems to be a bit of that with the Sony a99 II. Granted, they’re now very much the leader in many ways and create understandably fantastic products–but the a99 II’s announcement after around four years or more feels a bit like what Canon and Nikon do. Granted, that makes sense in some ways; but Sony is now mostly known for their mirrorless cameras and that begs the question of whether or not the company is too late with this announcement.
It’s been years since Sony has updated the a99, and at Photokina 2016 the company announced the successor–the Sony a99 II. Chock full of upgrades like a 42.2MP full frame sensor, hybrid autofocus detection, 4K video without pixel binning, 12 fps shooting capabilities in raw with a buffer of up to 56 images, and a new three way tilting LCD screen there is surely a lot to love here.
We got a chance to play with the camera–like 15 minutes if anything. And though we weren’t allowed to take home sample images, we’re quite impressed with what we’ve seen so far.
For a few minutes at Photokina 2016, I was able to personally fondle the hottest camera announced at the show: the Fujifilm GFX 50s. This is a medium format camera targeted at the full frame 35mm camera user and is the second medium format mirrorless camera in the digital market. Oddly enough though, it isn’t designed to resemble a Mamiya 7 II or anything else from the film days despite the retro aesthetics. A number of jounalists and I were taken through a presentation where we were introduced to the team who worked on the camera’s design and specifications. Fujifilm’s intention here is to find a way to appeal to professional photographers and high end enthusiasts without competing in the pool filled with sharks that produce full frame 35mm sensor cameras.
So far: they seem to have the world’s attention.
At Photokina 2016, Sony has announced their new Sony a99 II; making it the company’s new flagship Alpha camera. It’s about time too, it’s been a number of years now. At the heart there is 42.4 BSI MP full frame sensor that can shoot at 12fps while using tracking AF, hybrid face detection af, 399 AF points, 5 axis stabilization, 4k movie without pixel binning. They’re targeting this camera at professionals and sports shooters and wildlife photographers.
Compare the Fujifilm 100-400mm f4.5-5.6 R LM OIS WR lens to anything else on the APS-C camera market, and you’ll find pretty much no sort of equivalent product. It’s weather sealed, has optical image stabilization, doesn’t change its aperture very much throughout the range, and is built incredibly well. Then tag onto it the fact that it’s made by Fujifilm–one of the best lens makers of all time. Keep moving forward, and consider the fact that you’re putting this glass in front of the company’s excellent X Trans Sensors; designed by Fujifilm but manufactured by Sony. If you’re a sports, photojournalism, wildlife photographer
or professional creeper then this lens may indeed by an option that you’ll want to consider.
Announced quite a while back, the Fujifilm 100-400mm f4.5-5.6 R LM OIS WR may also be the company’s most expensive lens. But if you need something like this, it’s worth every penny.
There is very little on the market that can truly be compared to the Sony 70-300mm f4.5-5.6 G OSS lens; and for that reason it’s truly considered something unique. Very little, if anything at all, even compares to this lens in the mirrorless camera world.
For a little over $1,000 you’re getting a dust and splash resistant lens with quite a zoom range and a fairly compact size. Sure, it’s not an internal zooming lens but it’s still not too bad. On top of that, it’s designed for full frame mirrorless cameras. Considering Sony’s reputation, you can bet that it’s also going to be pretty darn good.
If you’re a Canon EOS photographer then you’ve probably considered getting a Canon film body to use with your lenses at one point or another–and the Canon EOS Elan 7 was bound to come up in your choices of available cameras. For years, I’ve been using my Elan 7 as a backup body to my 5D Mk II and my 6D. Crazily enough, I’m also not alone–I know a number of photographers that do the same thing. These photographers shoot film at times and photograph subject matter ranging from portraits to campaigns on the American political trail.
If you’re a Canon EOS Lens mount owner, the Elan 7 will make a lot of sense to you.
If you’re a Micro Four Thirds camera user, you’re most likely the type of person that loves to shoot street photography–but the Olympus 300mm f4 IS Pro is pretty much a far fetch from anything that a street photographer would use. Billed as one of Olympus’s Pro lenses, this one is designed for wildlife, sports, etc. Complete with weather sealing and a fairly light weight overall, what you’ll be most happy with is the fact that it’s also pretty small.
With an f4 aperture, you’ll probably never want or need to stop it down.