Continuing on the excitement of the Hasselblad X1D, the company has introduced a brand new lens: the Hasselblad 120mm f3.5 macro. For most digital photographers, this won’t sound like a very fast aperture lens but you have to keep in mind this is a medium format camera lens designed for a sensor that is larger than full frame 35mm sensors.
Ahead of the 2017 Camera & Photo Imaging Show (CP+) set to start February 23rd, some eagle-eyed Pentax fans snagged a “hidden” page on Ricoh’s website showcasing a new reference product that will be unveiled at the show. The site (translated from Japanese) notes a new lens currently in development with a tentative designation: DFA 50mm F1.4.
Chances are that a lot of you may have picked up a sweet deal on a Sony A7 series camera or kit while those holiday deals were hot, so now you may find yourself wondering about where to go next after your kit lens. Well, just as we did with Fujifilm and Canon, today we are taking a look at just that for the Sony mirrorless system.
Let’s jump into it.
Back in early 2015, we covered a promising start up project called Konost that aimed to create a full frame digital rangefinder. Konost has been silent with their development status ever since, with intermittent social media postings. Recently they posted an update on their official website stating they will revamp their website and have news on their current project status by the end of this year.
Based on the original project descriptions, the promised Konost digital rangefinder camera shall have a full frame sized image sensor directly compatibility with Leica M-mount lenses, high resolution electronic viewfinder, full manual control similar to the rangefinder shooting experience, and a body made of aluminum construction.
In a nutshell, Konost wanted to make a Leica-esque camera that is fully digital and, of course, at an affordable price point.
There have been reports that Sony plans to release a higher end ‘true pro’ level mirrorless full frame camera for some time now, going back at least a year and a half or so. The general consensus of these reports centered around the naming of this newer camera being called something along the lines of an A9, to signify the unit being a class above the current crop of A7 series bodies. Continue reading…
Canon took a big step towards giving the world a serious mirrorless camera offering this year with the release of their EOS-M5, but that APS-C offering does not satisfy the needs of professionals wanting another option to Sony’s full frame A7 series cameras. It would seem though, at least according to recent reports, that Canon is aware of this and that development on their own full frame mirrorless offering is underway. Continue reading…
Take a look at the lead image for this story: what do you think it was shot with? It’s a photo I use often here on the site. That photograph was shot with Kodak Portra with a Bronica ETRS. No editing was done. It looks like it could have been done with a modern full frame camera or some other digital camera, right? To be honest, I could have done it with 35mm, Micro Four Thirds, APS-C, etc. What really mattered was the lighting and the situation because the further truth is that the laws of exposure don’t change.
Here’s the absolute truth about sensor sizes and image quality: in the hands of a photographer that sits there and uses a camera for what it is, the camera will produce fantastic images. All dedicated cameras these days produce more than good enough image quality, but they all require you to do certain things to make their peak image quality really come out. The results from an APS-C sensor or a Four Thirds sensor can all product jaw dropping images.
The secret: it’s in you. The laws of exposure don’t change; but you should have an understanding of how the rules of depth of field, contrast, and colors interact with one another.
No doubt, one thing many photographers have likely asked themselves since the Fujifilm GFX system announcement just over a week ago is about what one could expect from that camera and the six announced GF lenses. The process of figuring it out is easy enough, but if you are lazy, someone else has done all the math for you.
Basically, those APS-C crop calculations that you do when trying to relate an APS-C lens to Full Frame, we are doing that in reverse, multiplying the full frame focal length by 1.7x. What you get when you do this is the following results which indicate that the fastest GFX will have an equivalence FF aperture value of F/1.6.