The Tamron 10-24mm F3.5-4.5 Di II VC HLD is a lens that has been sorely needed for a while: it delivers a wide angle zoom option to APS-C DSLRs while putting in weather sealing, good autofocus performance, light weight, and overall great image quality. It’s a fantastic option for the photographer that has been looking for a way to shoot wide landscapes and cities with their APS-C DSLR while on vacation–or even just for fun. When you consider the weather sealing abilities built into the lens along with the relatively recent major improvements that Tamron has been making to their lenses, there is almost no reason to not consider the Tamron 10-24mm F3.5-4.5 Di II VC HLD lens.
The FlashQ Q20 is a response to the need for small, simple to use flashes that also do double duty as LED lights. For today’s creative content creator, it’s a dream–but the implementation of the FlashQ Q20 is something far more likely to be in the hands of an amateur or photographer getting started than an actual working photog. To be fair, it doesn’t seem like it was designed to take on the likes of Adorama’s Flashpoint, B&H Photo’s Impact, Godox, Yongnuo, etc. Instead, the FlashQ Q20 sort of fills a totally different niche. Though it’s marketed as being versatile and easy to use, my independent analysis believes the opposite to actually be true–to a point.
The logic behind the Canon 77D is one that in some ways doesn’t really make sense to me. But if Canon believes that it will get them sales, then so be it. However, with at least three Rebels, two mid tier, and one high end tier APS-C camera there’s a lot of head scratching to do. I mean, why not do something similar between the 5D series and the 1D series? Or between the Canon 5D and 6D? Either way there are surely a number of really interesting things about the Canon 77D such as the 24MP APS-C sensor, the interestingly pleasant ergonomic controls, the autofocus that almost never missed a shot, and Canon’s incredibly simple and straight forward menu interface that I wish everyone else would get half as right.
Though to be fair, it shouldn’t be this expensive.
The Fujifilm 50mm f2 R WR is the third lens addition to the f2 weather sealed compact prime offerings from Fujifilm–and in many ways it’s an excellent portrait lens. But it’s also great for much more than that. You see, Fujifilm developed the Fujifilm 50mm f2 R WR lens to be pretty versatile. It can focus fairly close and it has weather sealing built into the design. Combine this with naturally sharp optics, fast autofocus performance, and the not too large size and you’ve got yourself a pretty powerful, compact longer focal length.
Most photographers picking this lens up may opt for shooting portraits. In all honesty, there are better options for portraiture in the Fujifilm X series system, and also a few fantastic third party options. But if you’re the type of photographer who shoots candids on the streets and like to do street portraits, you may want to give this lens a try. Yes, the street photographer and the street portrait photographer are the ones who will want to go for this lens.
No, this isn’t the Sony a7, but the Minolta a7 is perhaps one of the best film Alpha mount cameras that you can still get your hands on used. While the Minolta a9 is considered the flagship, there are features built into the Minolta a7 that can make it much more appealing. For starters, it’s much lighter. And there is also a built in data back that lets you change a whole lot of parameters in a very simple way.
And to be honest, it’s one of the best autofocusing film SLR cameras I’ve ever used–completely putting a lot of what Canon and Nikon created to shame.
It took Sony long enough, but earlier this year the company announced a true flagship mirrorless camera: the Sony a9. The Sony a9 is designed to take on the likes of the Canon 1DX Mk II and the Nikon D5. It’s a camera designed for a photojournalist who needs not a whole lot of resolution but a balance between that and good high ISO output. To appeal to these photographers, Sony gave the Sony a9 an impressive 20 fps shooting ability with no blackout of the viewfinder. The autofocus is also very effective, and can be used with a variety of lenses designed for the Sony E mount. Other connections such as a built in ethernet port and dual card slots are also bound to be very valuable to these photographers. Indeed, the Sony a9 is a camera for the working pro who brings in gainful employment and taxable income using their camera. With that said, you’d be absolutely stupid to purchase this for street photography unless you’re making some serious money off of it–so just stop right there.
Despite how fantastic it is, Sony still hasn’t gotten it 100% perfectly right. But to be fair, neither have Canon or Nikon.
As I’ve become slightly older (at 30) and more conscious of my personal health, I’ve also mostly moved away from messenger bags. They’re not so great for your back, though some of them encourage you to carry less gear. Despite the fact that the BlackForest Vinson is designed to help you take less gear, it’s nice to know you can stuff a whole lot of camera into there. Not only that, but it’s also pretty comfortable, deceptively durable, nice looking, and they’re hand made in India.
In regards to that last statement, I didn’t think much of it until it actually came out of the box. Then I was completely shocked.
In many ways, the Fujifilm X100F is both the closest thing to a perfect camera and the most infuriating camera at the same time. By itself, the Fujifilm X100F boasts quite a bit of upgrades over its predecessor, the X100T, that truly make it competitive and viable. And as always, it isn’t at all a bad camera; but it could have been something much better. With the same 24MP X Trans Sensor at the heart of the company’s two flagship cameras, and that retro-gorgeous camera body that makes lots of photographers weak in the knees, the Fujifilm X100F will undoubtedly sell well–and it deserves to.
But after four iterations of the camera, there are things about it I still don’t understand.