This review of the Yasuhara Momo 100mm f6.4 soft focus lens is both the strangest and most unorthodox review I think I’ve done of a product in a while. Yasuhara is known for creating some really weird things, and so when the company announced their soft focus lens I truthfully expected something with plastic instead of something that looks like the world when I take my glasses off and my astigmatism rears its ugly head.
If you’re a Micro Four Thirds camera user, you’re most likely the type of person that loves to shoot street photography–but the Olympus 300mm f4 IS Pro is pretty much a far fetch from anything that a street photographer would use. Billed as one of Olympus’s Pro lenses, this one is designed for wildlife, sports, etc. Complete with weather sealing and a fairly light weight overall, what you’ll be most happy with is the fact that it’s also pretty small.
With an f4 aperture, you’ll probably never want or need to stop it down.
Sony’s 50mm f1.8 for the full frame E mount cameras is one of the lenses that photographers waited for for a while. When it was launched, it made everyone ecstatic. The system finally had its nifty 50 and would make loads of photographers very happy. As the first lens full frame 50mm lens designed for mirrorless cameras with autofocus, it’s bound to be exciting.
So how is it? If you’re a Sony user, you’ll probably want to get one.
The Leica M-D is a crazy idea–seriously, who decides to remove the LCD screen from a camera? It makes no sense, right? Honestly, you’d be amazed at how wrong you are. The Leica M-D is the closest thing that Leica has that fuses both digital and film. Indeed, it’s the true film photographer’s M camera. Scoff all you want at this camera, but after three weeks of time with it and the wonderful 24mm f1.4 Summilux, I genuinely started to understand it. You could indeed call it the Anti-Instagram camera, but I personally see it as one of the most important M cameras that they’ve released since the original M9 and the M Monochrom.
If you’re a true photojournalist or documentary photographer, this could be the only camera you’ll ever need. And before you sit there and hate on all the things about Leica cameras being so expensive, at least hear me out.
Few cameras will make a photographer’s mouth water like the Hexar AF. When it comes to some of the best point and shoot cameras that use 35mm film, it’s tough to get anything better (though there arguably are other options.) The Hexar AF is often said to be one of the best available for street photographers and has a fixed 35mm f2 lens stated to be a copy of a Leica Summicron. Everything about it is designed to be low profile.
The design of this camera is so good that it can be seen in many today–with it likeness most prominently compared to the Fujifilm x100 series of cameras. If you’re a street photographer, there’s a lot that you’ll like about this camera. In fact, even if you just want a fixed lens point and shoot, you’ll adore this camera. At the same time, there are things that could drive you a bit nuts if you crave more full control.
All film was generously processed by the Lomography Gallery store here in NYC.
When using your camera phone there is a statement that cannot be any more true, it goes something like “It’s not the camera, it’s just in the way you use it.” This is the Gospel that so many photographers have based their work off of and still adhere to today. A smartphone is very capable as a photographic tool and in the hands of the photographer that thinks a bit out of the box and instead just focuses on the basics, it can become a tool that captures photos that will impress even the editors at big publications.
Part of it involves basic common sense if you’re a photographer that uses dedicated cameras.
All images and review by Edward Inzauto.
Just like the pros, getting “that full-frame look” is a growing desire among enthusiast amateur photographers. The topic is a trend in gear-obsessive online discussion and a bug in the brains of those who feel that only a larger sensor will allow them to fully express their creative visions. And while many have taken advantage of the fact that buying into the full-frame DSLR and mirrorless camera market is less expensive than ever, still others will find that the upfront cost of a modern full-frame camera body and compatible lenses is still a significant and insurmountable barrier to entry.
But what if you could go bigger than full-frame — even-fuller-frame, per se — for significantly less money? Well, my friend, you absolutely can. The solution you’re looking for is medium format film, and one fine entry-level option for exposing that timeless, removable, chemical “sensor” technology is the Zenza Bronica ETR line of cameras.
Editor’s Note: All processing was kindly done by the Lomography Gallery store here in NYC. You should check out all the services that they can do.
When you consider a camera system, one of the most important lenses to look out for is a 70-200mm equivalent–and Sony has been working on delivering that in the form of the Sony 70-200mm f2.8 OSS G Master lens for full frame E mount cameras. With weather sealing, a white body, 18 groups with 23 lens elements, and a constant f2.8 aperture throughout the zoom range coupled with a small size overall–there is a lot of love about this lens.
Editor’s Note: In conjunction with the changes we’ve been doing here on the site, we’re once again changing our review format. First impressions reviews will be completely replaced with a fuller and fuller review that will be updated overtime. Readers will be given notifications on when the full review is complete. Each section will also be rated with stars and an overall cumulative rating. Additionally, comparisons will be made. If parts seem incomplete it’s because they’re still being worked on