As we recently did with the Fujifilm cameras, today we wanted to take a look at the current Canon lineup of cameras to discuss the best options for you in low-light performance is something that you are looking for from your next camera purchase.
The Fujifilm EF-X500 flash may be an option for photographers who want and need to use a flash when documenting and doing photojournalistic work; but it absolutely baffles me that a camera company with a fantastic medium format camera system hasn’t started to work with some sort of third party lighting manufacturer like Profoto to get some sort of integration into their system. To be fair, this isn’t Fujifilm alone. Canon’s radio system is crippled. Nikon’s isn’t what it used to be. Sony’s flash system is laughable. Olympus and Panasonic have never had such a great option. Pentax? Don’t even get me started.
We have all seen those really sweet shots on the web or social media where everyone is asking the photographer how they created an effect or produced a shot, and the answer is some silly item they had on hand at the shoot that they shot through to create the effect. It is counter intuitive to most of us, being used to the insane prices on everything associated with photography, but it is true, you don’t need to spend a lot of money to create sweet practical effects at your shoots.
If you’re a person that has been looking to just get into photography, there’s a strong chance that you’ve considered the Canon Rebel T7i. The Canon Rebel lineup of cameras often sell well due to Canon’s name, bundles, and aggressive marketing/pricing. They’ve always been considered very entry level and they really still are. But one thing that I’ve always been fascinated by is the fact that their image quality is pretty good when you’re looking at other cameras comparatively speaking. The Canon Rebel T7i is surely better than your smartphone and has much more capabilities in some ways.
Doing night photography or shooting in low light is pretty easy when you’re using digital gear, but it’s certainly more challenging to do when you choose to work with film. Going blind and shooting unprepared with a film camera has been the source of frustration for many who are just getting into it. The good news is, you don’t have to.
Canon has always been a company that is a bit slower to change things, and so when the Canon 24-105mm f4 L IS USM II was announced, I was pleased to see that they did a number to fix many issues with the previous lens. With that said though, years have passed now and the Canon 24-105mm f4 L IS USM II more or less looks like every other option on the market. Some of the new welcome additions are the prevention of lens creep incorporated into the design, a lock to keep the lens locked in at 24mm, better weather sealing, faster autofocus, and less issues with image quality. For years, the previous version of the lens was my bread and butter option. While many photographers reach for the 24-70mm f2.8 lenses, I tend to go for the longer focal range option.
We have all seen great images over the course of our lives, be that images you have taken, or that you have just come across that inspired you. But few images have ever reached the level of greatness to where they were ingrained into the psyche of the modern world as a whole. These are images that aren’t just worth a thousand words, they are so much more than that.
We recently did a post where we recommended our favorite cameras from each brand for low light performance – mix of low light AF and high ISO image quality. But now that we have talked about all of the brands on a market level, we wanted to dive into the individual brands to talk about the low light performance from their cameras – today we start with Fujifilm.
One of the most popular picks in the compact film camera scene, the Contax T2, has retained its allure almost three decades after it was introduced. It was created with the professional market in mind, at a time when the “luxury compact” was in vogue around the 90’s. Its titanium body (for which the “T” stands for), sleek design, handy size, and excellent optics (an f2.8/38mm multi-coated Carl Zeiss T* Sonnar lens) cemented this superstar status in the photography world.
The Rokinon 35mm f2.8 FE comes in at a significantly more affordable price point than what Sony’s offering is–and the only major difference is its lack of weather sealing vs it’s Sony counterpart. In fact, that’s the only difference that most people may consider besides marginally slower autofocus performance. The lenses even look alike in some ways in that they’re pretty much the same size but with different casings. But Rokinon has brought out autofocus abilities with the Rokinon 35mm f2.8 FE–making this the company’s first autofocusing lens for the Sony full frame E mount system. Indeed, it fills a niche of the photography market that is not really saturated: a place for good, affordable lenses of the Sony FE camera space.