Sony camera users rejoice: you’ve got yet another autofocus lens in the form of the new Samyang 35mm f1.4 FE offering. Just announced today, the Samyang 35mm f1.4 FE is the fourth offering of autofocus lenses Samyang has created for the Sony FE lineup of cameras. That means that the Sony Zeiss 35mm f1.4 has a competitor, though this one is slated to be a lower end option (it doesn’t include weather sealing). To that end, you won’t want to take your camera and lens out in the rain unless you’ve got some Sony or Zeiss glass on there.
The Nikon D850 surely has to be one of our new favorite DSLRs.
If you look around at various reviews of the Nikon D850 on the web, they’ll most likely rate it as one of the best cameras ever made thus far. In truth, it really does perform very admirably and it absolutely does have a great sensor at the heart. Professional photographers considering making some sort of move since the Nikon D810 hadn’t been updated in awhile have an option that is going to last them a few more years before the industry changes yet again. That statement is more or less the basis of my review. The days of being able to know that your camera won’t be updated for four years are probably gone, but that doesn’t mean you won’t be able to take great photos with it long after it has been updated by some shiny new thing. The Nikon D850 is a fantastic image taking device and tool in the hands of the right photographer. It has a lot of great technology at the heart, but a part of me is wondering about its futureproofing.
There are few lenses that have the extra versatility that something like the Sony 100-400mm f4.5-5.6 G Master FE does–it’s a decent option for wildlife, landscapes, outdoor sports, and a variety of other applications that really need longer focal lengths. Though at the same time, I don’t expect it to be one of Sony’s most popular lenses. Why? Well, the 70-200mm f2.8 with teleconverters provide photographers with a fair amount more versatility. But in addition to that, I just don’t see most photographers using it vs something like the 70-200mm f2.8 G Master. That’s an obviously given fact. And with all that in mind, that doesn’t at all mean that the Sony 100-400mm f4.5-5.6 G Master FE is a bad lens. In fact, it’s fantastic!
But at the same time, its release was a curious one. The Sony 100-400mm f4.5-5.6 G Master FE was released with the Sony a9. In terms of the sports world, that makes sense; but where are Sony’s long telephoto fast primes for this type of photography? At the time of publishing this review, they’re nowhere to be seen.
The Fujifilm 80mm f2.8 R LM OIS WR Macro is a lens that seems really interesting. It’s one of Fujifilm’s largest prime lenses, and though it doesn’t sport as wide of an aperture as the 90mm f2, it has lots of features like close focusing abilities. Due to this feature alone, it may be an attractive option not only for shooting macro photos but also as a portrait focal length. When used with the latest camera options from Fujifilm, it’s a lens that offers pretty fast focusing abilities in addition to a fully weather sealed package.
The Sony 12-24mm f4 G FE was announced earlier this year hot on the heels of Sigma’s own lens–and for the photographer who loves to shoot wide this lens could be the only lens you’ll care to travel with. The Sony 12-24mm f4 G FE was designed with weather resistance and is being touted as a G lens, not to be mistaken with the company’s G Master offerings. Like many of Sony’s higher end lenses, it’s a pretty pricy offering but we need to expect that from a wide angle lens. Lenses like the Sony 12-24mm f4 G FE are most suited for travel photography, landscapes, astrophotography, architecture and to some degree extreme sports. It’s also fun at parties if you’re looking to get a unique perspective. But photographers may have a tough choice between the Sony 12-24mm f4 G FE and the 16-35mm f2.8.
I want to get something straight that not a lot of reviews are putting out there: the Canon 6D Mk II isn’t a bad camera, in fact for most people, it will be a pretty darned good one. But for the rest of us who are at a point where we are demanding more from our cameras and image quality, we shouldn’t even be looking at this one. In many ways, the Canon 6D Mk II is the modern Canon full frame Rebel. What do I mean by that? Canon has squarely given the camera enough features to please the folks who just want to move up to full frame and their current lineup of users. There’s nothing incredibly revolutionary about it and the folks at the NYTimes aren’t bound to write praises about it; but at the same time it isn’t a terrible camera at all.
But in every single way, it isn’t something I’d recommend to any sort of working pro or semi-professional except for perhaps portrait photographers.
I’m really glad that Fujifilm announced the Fujifilm X-E3 partially because the Fujifilm XE2s was such an absolute failure in my eyes. In many ways, it felt half-assed and due to its release after the announcement of cameras with the new 24MP X Trans sensor, its usage of the 16MP sensor seemed odd. Nonetheless, I believe that sensor’s output looked much more analog than the newer ones. With the Fujifilm X-E3 though, photographers are getting a camera that is perhaps one of Fujifilm’s most straightforward creations in a while. However, there are things that are sort of odd. It uses the same sensor as the company’s flagship cameras and includes 4K video, the joystick that every Fujifilm user pretty much demands at this point, and a shutter speed dial without the ISO setting incorporated (lest someone who doesn’t understand how to use the dial goes onto YouTube and creates a video about how terrible this one thing is when they’ve probably never shot with a film camera in their life).
No, with the Fujifilm X-E3 you’ve got a heavy emphasis on just the basics: exposure.
When the Nikon 28mm f1.4 came in for review and was announced, I was a bit hesitant. Why? Well, while I was excited about the lens for sure, I’m still not a person that believes that DSLRs are necessarily the future despite the fact that I acknowledge how good they are. And to that end, I believe that if Nikon has a full frame mirrorless camera system and made this lens for it, it would be an even bigger winner than it really is. But the current Nikon 28mm f1.4 is a dream lens in so many ways. If you’re a street photographer, portrait photographer, or a photojournalist then you may really enjoy what this lens offers.
In fact, this is hands down my favorite Nikon prime lens with the exception of the company’s 105mm f1.4.