There are times and moments where even the best autofocus from the most advanced cameras won’t be able to deliver the image that you really want from them. In a situation like this, more advanced photographers often opt for a different method: zone focusing. Way before autofocus was even a concept, this is the method that was tried and true from many photographers out there. Lots of the world’s most iconic images were taken using this method and what you’ll find overall is that this old way of doing things can greatly help you out.
Personally speaking, film camera reviews like those of the Mint Camera InstantFlex TL70 are the most fun for great reasons–there is no pixel peeping, no RAW file versatility, none of that stuff that people bitch and complain about in forums. Instead, it’s all about the moment and capturing or creating it. Then there are the lenses, the experience, and knowing that the photo you shoot is a one of a kind.
The Mint Camera InstantFlex TL70 2.0 camera’s biggest upgrade is its brighter viewfinder over the predecessor. This is a proper TLR (Twin Lens Reflex) camera with aperture priority control, exposure compensation, manual focusing, a flash, accessories, and an overall solid build quality. Most importantly for many of us, there are glass elements in the lens. Considering that Instax Mini basically covers a 645 area, this is important.
This can be a tough camera for many of us to learn; but at the same time you’re bound to have fun doing it.
Many years ago, Rokinon wasn’t as much of a household name amongst photographers as they are moreso today–and I would never have thought that they’d come out with a 135mm f2 lens. They were associated with the likes of Vivitar–and indeed it took a long time for them to erase that history. Today, they’re regarded amongst the photography community as being synonymous with a budget Zeiss option.
In fact, that’s kind of what the Rokinon 135mm f2 performs like.
Autofocus is incredible; and the technology has come a very far way with it–but I personally really enjoy manual focusing my lenses despite an astigmatism that causes legal blindness in my left eye. When I first purchased a Sony A7 a while back, one of my concerns was finding a way to get more lenses for the system. I’ve got a Metabones adapter that lets me put my Sigma DSLR lenses on the camera, but the experience is just not the same as what I get with my manual glass. Again, the experience is not the same.
For years now, I’ve been a collector of really nice and interesting pieces with some of them sadly being sold off. But there are so many reasons why I prefer to manually focus.
This isn’t a love letter to Zeiss as much as it’s a love letter to manual focus lenses, but I’ll admit that Zeiss had a bit to do with it. At the moment of writing this piece, I’m in the middle of testing a ton of manual focus lenses. In my personal work, which I haven’t had any time to pay close attention to in the past two years, I’ve always used manual focus lenses. the reason why is because there are a wealth of reasons behind the idea of how they make you create better images.
Again, they don’t take better images–they make you create better photos.
When it comes to lenses, one of the most legendary lens manufacturers is Zeiss. Most recently, the company announced its brand new Milvus lineup of lenses that are designed for DSLR cameras. The Milvus line falls between the standard DSLR lens lineup and the creme de la creme: Otus lenses. As a result, these lenses are weather sealed, well constructed and exhibit the best of what I’d always expect from Zeiss.
So when the Zeiss Milvus 35mm f2 first came to me, I was a bit confused. Why f2? Why couldn’t they go all the way to f1.4? It made no real sense to me, though I decided to just roll with it.
And as I found during the testing period, it’s quite the beautiful lens despite its very high price tag.
With today’s announcement of Zeiss’s new Milvus lenses, one of the first that the company is offering is their Zeiss 21mm f2.8 Milvus. As the widest angle lens of the bunch, its construction consists of 16 lens elements in 13 groups and those elements can move in such a way that the lens can focus to a bit more than just under a foot.
But trust us when we say that that’s the least of what you’ll care about.
It seems like Micro Four Thirds cameras are never really big secrets; at least that’s what Four Thirds rumors seemed to have right on point with the Panasonic G7. This is the company’s latest camera in their G series and is targeted at enthusiasts by combining the best of come of their other cameras and putting it all into this one. The G7 has the sensor of the GF7 and the processor of the GH4, shoots 4K video, and has improved autofocus performance that Panasonic claims works down to -4 EV.
We put a big emphasis on the word claims there; especially since we spent less than five minutes with the prototype that we handled at the company’s headquarters. The big feature that Panasonic seems to be pushing is the new 4K Photo mode that essentially just snaps full 4K video sized photos.
Providing this camera really can perform like this, it’s bound to win awards and drop jaws–but this camera still has some weird ergonomics.