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Chris Gampat The Phoblographer Sony 28mm f2 lens review product photos (2 of 7)ISO 4001-125 sec at f - 2.8

Besides the 55mm f1.8 and 35mm f2.8, the only other compact autofocus prime lens that we have for the full frame E-mount is the Sony 28mm f2. It was recently introduced as part of the growing line of full frame E mount lenses. Targeted at street photographers, architecture shooters, candid shooters, and many more this lens is one of the few primes that also isn’t Zeiss branded.

With nine aperture blades, nine elements in eight groups, no image stabilization, and weighing in at 7.05 oz this lens has the potential to become a very standard lens for many.

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Chris Gampat The Phoblographer Fujifilm 16mm f1.4 first impressions product photos (7 of 7)ISO 4001-60 sec at f - 2.8

Two years ago in a meeting with Fujifilm, I asked the Marketing Director for Fujifilm USA if anything like  24mm focal length at f1.4 would be coming our way. She very clearly stated “No.” Lo and behold though, Fujifilm announced the 16mm f1.4 lens earlier on and we foundnd it at our doorsteps. This is the company’s first weather sealed prime lens and with the 1.5x crop factor comes out to 24mm f2.1 when translating it into full frame depth of field and equivalency.

Like their other wide angle primes, Fujifilm gave this lens a snap back manual focus ring to make it more appealing to street photographers and candid shooters. We’ve had the chance to play with the new lens for a few days now, and so far it’s shaping up to be one of our favorites.

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Chris Gampat The Phoblographer Sigma 150-600mm f5-6.3 Contemporary Review product images (3 of 7)ISO 4001-180 sec at f - 2.5

Sigma offers the 150-600mm f5-6.3 lens in two different flavors: Sports and Contemporary. For those of us that failed Phys Ed, the company designed the Contemporary lens with a smaller size and lighter weight over the Sports’ better image quality and better optics. But that doesn’t mean that this lens is a slouch at all–and for what you’re paying for it, it shouldn’t be.

This lens is aimed at the high end enthusiast, though at its current price point it’s really not badly priced considering what you’re getting in a package like this. But at the same time, we think that the person using this lens really has to know what they’re doing–and a couple of specific ergonomic changes are only part of what makes us think that.

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Chris Gampat the Phoblographer Panasonic G7 first impressions images (1 of 7)ISO 4001-80 sec at f - 2.8

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.

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Camera FV-5

We’ve currently got the new Sony 28mm f2 lens for the full frame E-mount camera system in for testing, and so far it seems about as impressive as many of Sony’s other lenses. It’s a tad larger than their 35mm f2.8 but no where as large as the 35mmm f1.4. The focusing performance is quite snappy with the Sony A7 and as far as the image quality goes, it’s not a slacker. If you’re a stickler about vignetting and distortion, then you’ll need to be wary of the corners but otherwise there is very little to complain about. Even with the vignetting, the images still look incredible.

We’ve got to do more testing with this lens first, but more will come in the future. Here are some of our first image samples.

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OLYMPUS DIGITAL CAMERA

A while back, Olympus took a bunch of journalists on a trip to Whistler, CA and allowed them to play with two new lenses: the 7-14mm f2.8 PRO and 8mm f1.8 fisheye for its Micro Four Thirds system. Both of these options are on the wider end of the spectrum and when you consider the 2x crop factor then you get 14-28mm and 16mm accordingly. We don’t exactly consider 16mm to be a fisheye these days, but in the right situations it surely did perform like a fisheye lens.

Please note that these images were taken with prototype lenses, and that they weren’t the final production, though they were darn close.

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