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The Pentax MX, one of the smallest 35mm film cameras

The Pentax MX, one of the smallest 35mm film cameras

We all know for sure that a Pentax full frame camera is coming this year, but Sony Alpha Rumors is adding some very interesting news. Apparently, Ricoh will be using a full frame sensor of some sort in the camera from Sony–specifically the same one in the Sony A7r that is also in many Nikon DSLRs. Essentially, that means that there are going to be more than one DSLR on the market with the same sensor and probably comparable image quality.

For what it’s worth, this is also probably a great move because the sensor works so well with older glass–which Pentax has lots of in the prime selection. This also means that the company may start to update even more of their older lenses like the 31mm and 43mm which are weird focal lengths but can be very nice to work with on a full frame sensor.

What we’re very curious about will be the autofocus interface. In many previous camera models, Pentax made it so that the user needs to specifically tell the camera to set the directional buttons to choose a focusing point or to set another parameter like flash and white balance.

But beyond this, we’re also wondering how the camera will overall fair at the end of the year with such an old sensor and what full frame lenses will be able to resolve that kind of detail–sans their newly announced zoom lenses. It’s going to need to be jam packed with features that are useful for editors to state something like “we should’ve had this years ago.”

OLYMPUS DIGITAL CAMERA

While the world is all amazed with 50MP full frame sensors and a bajillion autofocus points, you may be pleasantly surprised by some technologies that years ago were absolutely incredible and in some ways should be brought back to the world. We’re not talking about putting 1080p HD video into a DSLR, but instead we’re going back much further into time. Plus, we’re exploring how the focusing systems would work in today’s world.

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Chris Gampat The Phoblographer Sony 28mm f2 lens review product photos (2 of 7)ISO 4001-125 sec at f - 2.8

Besides the 55mm f1.8 and 35mm f2.8, the only other compact autofocus prime lens that we have for the full frame E-mount is the Sony 28mm f2. It was recently introduced as part of the growing line of full frame E mount lenses. Targeted at street photographers, architecture shooters, candid shooters, and many more this lens is one of the few primes that also isn’t Zeiss branded.

With nine aperture blades, nine elements in eight groups, no image stabilization, and weighing in at 7.05 oz this lens has the potential to become a very standard lens for many.

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Chris Gampat The Phoblographer Fujifilm 16mm f1.4 first impressions product photos (7 of 7)ISO 4001-60 sec at f - 2.8

Two years ago in a meeting with Fujifilm, I asked the Marketing Director for Fujifilm USA if anything like  24mm focal length at f1.4 would be coming our way. She very clearly stated “No.” Lo and behold though, Fujifilm announced the 16mm f1.4 lens earlier on and we foundnd it at our doorsteps. This is the company’s first weather sealed prime lens and with the 1.5x crop factor comes out to 24mm f2.1 when translating it into full frame depth of field and equivalency.

Like their other wide angle primes, Fujifilm gave this lens a snap back manual focus ring to make it more appealing to street photographers and candid shooters. We’ve had the chance to play with the new lens for a few days now, and so far it’s shaping up to be one of our favorites.

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Chris Gampat The Phoblographer Sigma 150-600mm f5-6.3 Contemporary Review product images (3 of 7)ISO 4001-180 sec at f - 2.5

Sigma offers the 150-600mm f5-6.3 lens in two different flavors: Sports and Contemporary. For those of us that failed Phys Ed, the company designed the Contemporary lens with a smaller size and lighter weight over the Sports’ better image quality and better optics. But that doesn’t mean that this lens is a slouch at all–and for what you’re paying for it, it shouldn’t be.

This lens is aimed at the high end enthusiast, though at its current price point it’s really not badly priced considering what you’re getting in a package like this. But at the same time, we think that the person using this lens really has to know what they’re doing–and a couple of specific ergonomic changes are only part of what makes us think that.

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Camera FV-5

We’ve currently got the new Sony 28mm f2 lens for the full frame E-mount camera system in for testing, and so far it seems about as impressive as many of Sony’s other lenses. It’s a tad larger than their 35mm f2.8 but no where as large as the 35mmm f1.4. The focusing performance is quite snappy with the Sony A7 and as far as the image quality goes, it’s not a slacker. If you’re a stickler about vignetting and distortion, then you’ll need to be wary of the corners but otherwise there is very little to complain about. Even with the vignetting, the images still look incredible.

We’ve got to do more testing with this lens first, but more will come in the future. Here are some of our first image samples.

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