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.
At Photokina 2016, the medium format Fujifilm GFX 50S camera was announced. It features a medium format sensor that is larger than full frame 35mm sensors, but isn’t larger than full frame 645 format sensors. To see just how large they all are in comparison, we put them all in a comparison chart together. In truth, it’s really not much larger; but it is indeed larger than full frame and effectively targets the photographers that want something more.
If the trends in medium format photography have been any indication at all, then the idea of getting a truly large 645 medium format sensor is something to truly aspire to, but what most professional photographers may never accomplish. Years ago, back when film was king in photography, the 645 medium format size was something of a joke in some circles of photography. In photojournalism, it was a format valued for its smaller size yet larger negative than what 35mm film offered. Many professionals tended to want to reach for the 6×7 format instead. At this size, the photographer got a larger negative yet still retained a manageable size to work with. Photojournalistic applications tended to favor the 645 format.
But today, it sincerely seems like we’ve got what I’d like to call a new 645 format in some ways. At least that’s what Photokina 2016 makes it seem like.
Today, Tokina is introducing us to a major new addition to their current lineup of lenses: the Tokina FiRIN 20mm f2 FE MF prime lens for Sony E-Mount cameras. This is an all manual focus lens with a wide angle field of view that also boasts manual aperture settings around the lens. It’s electronically coupled though, so it can transmit EXIF data, distance, can use the 5-axis image stabilization system in the newer a7 II series of cameras, and has a setting that allows it to be clicked or de-clicked for video use.
The company’s press release is after the jump.
Canon hasn’t really made a big splash when it comes to the mirrorless camera world; but if Canon Rumors is to be believed then we’ve got something to really look forward to. According to their report, there’s a chance that Photokina 2016 may give us an EOS M camera with a full frame 35mm 24MP. The same report also states that it could take Canon EF lenses, but that doesn’t really make sense.
This camera is supposed to be a prosumer type of camera and may have lots of appeal to those with lots of Canon lenses already in their kit–which are a lot of people!
If Canon does this just right, they could end up dominating the market almost immediately overnight.