A Look at How Digital Cameras Lose Their Value Compared to Film Bodies

If you’ve even decided to click on this article then you’re probably aware of some of the frustrations some of your fellow photographers feel. Let’s preface this: four or five years ago you may have purchased a Fujifilm X Pro 1. Last year it was updated, giving it a sufficient four year life span. Now you want to upgrade, and you’re finding they’re still going for at a ridiculously low price brand new and only a few hundred used. But the newer cameras like the Fujifilm X Pro 2 costs around $1,699. Fujifilm isn’t exclusive to this: so too is Sony and the Micro Four Thirds coalition.

Now if you look at some of the film camera bodies, you’ll start to realize just how well they hold their value–especially if the system is still current.

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Three Years Ago, Hasselblad Announced the Sony a99. Let’s Be Thankful They’re Not Doing This Anymore

A few years ago, the weirdest thing happened: Hasselblad announced the Hasselblad HV–which as much as they claimed otherwise, is a rebadged Sony a99 camera. In fact, my headline upset them and cut me off of their press list for a while. Now what Hasselblad did isn’t exactly new. Companies have been working together on collaborations for a while. Leica and Minolta did it years ago to create one of the most famous ones: the Leica CL. Leica also works closely with Panasonic in a similar respect. Hasselblad decided to try this with Sony and unfortunately for them, it backfired pretty hard.

We all laughed, all of us. If you enter forums, Reddit, or other conversations on the web you’ll read someone saying that they’re so glad that the Hasselblad of today is actually trying to innovate. And they truly have with the Hasselblad X1D. With their old CEO out of his position though, the company is going to see some new steering and we’re going to need to see how they pan out. But I’m sure that we won’t anything like the Hasselblad HV happen again.

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Want to Shoot Film with Sony Lenses? You May Want a Minolta a9 With SSM Support

If you look at the surviving DSLR manufacturers out there, you’ve got Canon, Nikon, Sony (Minolta), and Pentax. All of the brands have made big advancements and changes in the years since digital took over film, but none probably as much as Sony. In fact, using a camera like a Canon 1v, Canon EOS Elan 7, or others are very straightforward and compatible with most of the newer lenses. Sony lets you do the same thing with the Minolta camera bodies, but if you want to utilize the SSM technology in some of the lenses then you probably need a Minolta a9 with SSM support.

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This New 17mm F4.5 Lens Makes Your Pancake Lens Look Huge

Leica owners have a new 17mm F/4.5 handmade lens from MS Optics to spend their hard earned money on, and this lens makes pancake lenses look huge. The Perar Ultra-Wide 17mm f4.5 Retrofocus features a viewing angle of 100 degrees and weighs almost nothing at 60g.

MS Optics notes in their press release that the lens itself features four elements in four groups, with a wide open aperture of F/4.5 and minimum aperture of F/16. The Perar Ultra-Wide 17mm f4.5 Retrofocus can also focus on subjects as close as 0.4m meters to infinity.

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Review: Leica M10

The Leica M10 has to be one of the worst kept secrets from Leica in a while. Perhaps it’s because it generated a whole lot of excitement, and indeed it’s worth the hype. For the purist photographer, this is bound to be a tool that they’ll closely look at. With a 24MP CMOS full frame sensor, this camera is the company’s smallest M digital camera and this was done by creating a camera that more or less is super densely packed. It’s around the same size as the company’s film M cameras.

We’ve been playing with the Leica M10 for a while now, and in truth, we really like it.

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The Leica Summilux-SL 50mm f1.4 ASPH for the SL System Finally Makes a Splash

Today, Leica announced their new Summilux-SL 50 mm f/1.4 ASPH lens for the Leica SL camera system. It’s most likely a very exciting time for lots of photographers who own the absurdly expensive system due to the fact that Leica’s 50mm f1.4 Summilux lenses are typically very good.  In fact, this is the SL’s first prime lens. With 11 elements in nine groups and two aspherical elements, you should also note the lens’ E82 filter mount–which only the 21mm f1.4 for the M system has. And the price? $5,295–which is quite a bit of money.

Plus there’s a new firmware update for the SL. Tasty bits from the press release are after the jump.

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Leica Releases an APO-SUMMICRON-M 50mm f2 ASPH With a Red Finish (No, They Really Did This…)

One of Leica’s most popular lenses is their 50mm f2 Summicron; and so they just went and completely ruined it oh my god why would you do something like this it makes no sense painted it all red–you know, just in case you want that. It’s a special anodized Red version that will be available in December for $8,950.00.

On the inside, it’s the same as the silver and black versions. It has eight elements in five groups, and focuses as close as a little bit under a meter away from the subject. Of course, it’s also a Leica M mount lens–which means that it will mount to Leica M cameras, some Voigtlander Bessas, and some Zeiss Ikon rangefinders. It’s also compatible with pretty much any and every mirrorless camera system out there via adapters.

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The Leica M10 Leaks Online; Reported to Come Later this Year

Leica has been reported to be working on a new M camera for some time now, and if these recent leaks (which seem to be pretty cut and dry) are legit, then it appears that upcoming M will be called the M10. This will be a pretty big change overall in Leica’s history as they’ve never had an M camera with two numbers in the name overall.

So far the rumors are not specific about that the internals will be, other than that they expect it to carry the same 24MP sensor as the Leica SL. That would also mean a similar ISO range of up to 50,000 ISO. Considering its predecessor’s (The Leica M) design, it’s also bound to have video upgrades and weather sealing of some sort.

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