Vintage Camera Review: Fujifilm GW690 III (6×9 Medium Format)

When Fujifilm announced their medium format digital camera, a whole lot of people really wanted it to be something along the lines of the Fujifilm GW690 III camera–also known as the Texas Leica. This rangefinder camera shoots in the 6×9 format–which is one of the largest formats to use 120 film. For many years it was used by hobbyists, travel photographers, landscape photographers, and even a few portrait shooters. Due to its 90mm lens equivalent, you’re getting around a 38mm f1.2 equivalent when it comes to field of view converted to full frame.

When I purchasef this camera, I genuinely thought it would be the perfect medium format rangefinder for me, doing pretty much everything the Mamiya 7 II is capable of sans interchangeable lenses. But with more experience, I learned that I was wrong.

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Review: Zeiss 21mm f2.8 Loxia (Sony E Mount, FE)

The first time  I handled the Zeiss Loxia lenses I didn’t truly understand them considering they also have the Batis lineup. But after using the Zeiss 21mm f2.8 Loxia lens I’ve begun to understand it a bit more. Think about the system as a Leica M camera: you’ve got small, high quality glass that is manual focus and well built with great image quality. That’s what the Loxia lineup is, and considering what the Zeiss 21mm f2.8 Loxia lens is capable of there is very little to complain about aside from the price point.

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5 Older But Excellent Digital Cameras Still Worth Buying

In the film days you could buy one camera and use it for years upon years, in order to change your look you used different films. These days that dynamic has changed, and now photographers are pressured into buying the latest and greatest cameras after just a couple of years. But taking into account where digital photography is these days, there are still some great cameras out there to be had, many times for a significant discount over their cutting edge brethren.

So here are 5 picks for great older cameras for you to consider. Continue reading…

Review: Kodak Ektar 100 (35mm and 120; Various Formats)

For a really long time, if you wanted very vivid colors in your film photos you needed to go to a slide film–but when Kodak introduced Kodak Ektar 100 things changed. Photographers were able to get punchy, vibrant, saturated colors with the ease of use that negative film provides. To this day, Kodak Ektar 100 is used to a variety of applications with one of the most common ones being landscapes. However it is also in use for portraiture as its low ISO value allows for incredibly sharp photos.

And for many lovers of digital cameras, this may also be one of your favorite Kodak film emulsions.

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Film Review: Kodak Portra 400 (35mm and 120, Various Formats)

Years and years ago, Kodak announced something that would endure for quite a while: Kodak Portra 400. Available in the 120, 35mm, and large formats, the film was and still is incredibly popular with photographers who like shooting portraits. It’s highly valued for its muted tones–which tends to go against much of what digital photography seems to offer straight out of the camera. However, Portra is in use for much more than just this. Lots of photographers use it as their every day film because they just like it. But this tends to be more the thought process of those that shoot 35mm. At 120, you’re getting far less shots per roll and often work to get the best photos you can in one single shot due to higher stakes–even more so than with 35mm.

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Review: Canon 28mm f3.5 IS STM (Canon EF-M)

Not many macro lenses have impressed me in the mirrorless camera category, but the Canon 28mm f3.5 ( $299.00 ) is probably an underrated lens that you haven’t heard a whole lot about. However, it’s got a few great features to it that make it very useful in various situations. Besides its compact size, it also has a cool macro light built into it. The light can be controlled using a button on the lens and can be very useful in many situations.

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Fujifilm’s Prime Lens Trinities: Which Is Right For You?

Fujifilm shooters find themselves in an interesting dilemma of late with there now being two clear prime trinity setups that one could choose from. On one hand you have the newer, weather sealed, and smaller F2 variants in 23mm, 35mm, and 50mm. On the other hand, you have the F1.4 23mm and 35mm, and the F/1.2 56mm.

Each trinity has its pros and cons, and each has uses that work better for some niches of photography than others. So today we wanted to look at Fujifilm’s two prime trinities and sort of break them down to share which you should be considering based on what you shoot and what you are looking for from your prime lenses. Continue reading…