APS-C Cameras Are More Exciting Than They Ever Were

APS-C hasn’t received much love over the past few years. The EF-M mount hasn’t seen any development in a long time. Sony, which used to be a big player there, has been focusing on Full Frame, bringing in an entry-level Full Frame (A7c) camera that cannibalizes their own flagship APS-C offering (A6600). It even became difficult to imagine a bright future when Sony halted the production of their ZV-E10 or A6400 in the chaos of the chip shortage. But things are starting to change.

Continue reading…

How a Wedding Made Me Not Miss My DSLR

This is the story of how I was reminded that I do not miss the DSLR days, and how I am very happy mirrorless has arrived in full. A childhood friend of my companion got married last weekend and I found myself photographing her wedding, a little against my will. That story needs a bit of context first. My girlfriend was invited to a wedding. She could bring a +1 and, being the boyfriend, that ended up being me. Nothing special. During cocktails, the wedding photographer came down with some sort of food poisoning. She turned red and could barely stand on her feet. After a little bit of panic, my girlfriend had the great idea to remind everyone that her +1 happens to be a wedding photographer who can help out while the hired photographer rested in the back room.

Continue reading…

The State of Medium Format in 2021. Is It Better Than Full Frame?

For more articles like this, be sure to please subscribe to The Phoblographer.

There have been times I’ve considered buying a medium format camera. Mostly, I’ve looked at the Fujifilm GFX series of cameras. But I’ve also really liked the old Leica S cameras with a CCD sensor. In 2021 though, the medium format camera world is very quiet. Phase One has some very high megapixel DSLRs that we hear nothing about. Hasselblad has some DSLRs and mirrorless cameras, but the latter misses the mark. Leica has a medium format camera system, but there isn’t much development for it. So the only viable possibilty is Fujifilm. What’s more, the company often says that it is their future.

Continue reading…

What We Want to See in the Panasonic S1R and Panasonic S1 Successors

It’s been a few years since the Panasonic S1R and S1 came out. We reviewed both cameras. And we’ve since updated our reviews of both cameras. It’s prime time for a refresh. To be honest, I don’t know anyone who bought the originals. The Panasonic S5, on the other hand, was very popular. When these cameras were announced, people were much more excited for them than what Canon delivered around the same time. Canon ended up causing more commotion, but Panasonic has done a whole lot to improve. And I’m hoping that the successors to the Panasonic S1 and Panasonic S1R are better. Here’s what they need to do.

Continue reading…

The New Fujifilm 23mm f1.4 and 33mm f1.4 R WR LM are Super Exciting!

We’re streaming daily on Apple PodcastsGoogle PodcastsStitcherPocket Casts, and Spotify! You can also listen to it right here on the Phoblographer.

There’s some really good news today! Fujifilm is announcing two new lenses for the X series of cameras. We’re getting a brand new Fujifilm 23mm f1.4 R WR M. That’s incredibly exciting because the older version really needed an update. But we’re also getting a new 33mm f1.4 R WR LM. Fujifilm seems a bit enamored with the idea of a 33mm lens. And veteran Fuji shooters might be wondering. 

Continue reading…

You Need to Hold This! Fujifilm GFX 100S First Impressions

Holding the Fujifilm GFX 100S gave me a lot of hope for the future of cameras.

Cameras these days are boring. Well, most of them are at least. Everyone is making a good camera. But few are exceptional. In the little time I’ve used it, the Fujifilm GFX 100S seems exceptional. In fact, it’s the first camera I’ve held in a long time to get me excited. Think of it as the big brother to the Fujifilm XH1. If you took that camera, made it medium format, a bit bigger, and changed a few things, this would be it. Fujifilm took their prized winning 100MP GF format sensor and stuffed it into here. Plus, they’re giving us the new Nostalgic Negative film simulation. What’s most impressive, though, is the autofocus. All of this for under the cost of the Sony a1. But of course, those are different cameras. But the Fujifilm GFX100s is showing me that medium format is truly their future.

Continue reading…

Know Yourself: How to Buy Your First Real Camera

If you’re buying your first real camera, then ask yourself these questions.

How does one buy a camera these days? Do you still even care about megapixels? These are essential questions for any budding photographer. Of course, there are tons of professional features. But most people who buy cameras these days are hobbyists. And those hobbyists care about the things that pros get simply because they want them. They don’t need them. In fact, you don’t even need a real camera–but you buy one because it’s your passion. So if you’re considering buying a new camera, then check out these questions you should ask yourself.

Continue reading…

They Finally Did It! Full Frame Rangefinder Style! Sony a7c Review

The Sony a7c is the company’s first rangefinder-style camera with a full-frame sensor at heart.

I’m incredibly elated that Sony made a camera like the Sony a7c. The entire industry is lacking rangefinder-style cameras. Putting a full-frame sensor into one is the icing on the cake. Maybe it will mean other brands follow suit. Sony made a few sacrifices to create the Sony a7c. This is a real innovation that was proven long ago with the RX1 series. But this camera is different; you can swap the lenses out. The image stabilization isn’t up to par with the other Sony a7 camera bodies. And in some ways, I feel the autofocus isn’t either. You’re also missing a joystick. But otherwise, the Sony a7c has a whole lot going for it.

Continue reading…

On Photowalking: Exploring the Sony E Mount and Its Options

On Photowalking is a short series where EIC Chris Gampat talks about his experiences with different camera systems and photowalking.

On a very personal note, I think I’ve only ever grabbed my Sony cameras a few times to go out photowalking purely for myself and not for work. I’ll admit that there is something great about them. The Sony E mount is host to both APS-C and Full-frame cameras. Both are fantastic. At the heart of the photowalking experience for the Sony E mount is the small lenses, the autofocus, and the overall small package. Well, it’s small if you choose to make it so. And it’s also lightweight if you decide to make it so. Best of all, there are super affordable options and super pricey ones too. And no matter what, you’re going to get image quality that you like. But my reservations about the Sony system are ones that I’ve heard amongst many an experienced photographer–they don’t feel like cameras.

Continue reading…

No IS, But the Tamron 28-200mm F2.8-5.6 Di III RXD for Sony FE is $729

The previously teased Tamron 28-200mm F2.8-5.6 Di III RXD is aiming to be an all-in-one zoom lens for Sony FE cameras.

If the Sony FE platform needed something, it’s an all-in-one zoom lens. And today, the cat is out of the bag with the Tamron 28-200mm F2.8-5.6 Di III RXD. Previously teased on their website, this new lens is coming in at $729. For that price tag, photographers are getting a package of all these focal lengths in a lens that’s just under five inches and weighs 20.3 oz. There’s also a 67mm diameter, so there’s extra proof that it’s not all that large. Tamron is also big on pointing out specific apertures at different focal lengths: f3.5 at 50mm, f4.5 at 100mm, and f5.6 at 150mm through 200mm. Believe it or not, these are very important. Tamron is gearing this lens up for rough conditions in making it moisture-resistant. There are lots of good things about this lens despite there being no image stabilization.

Continue reading…

Why Are Compact Cameras the Best for Street Photography?

For most, compact cameras happen to be the best things for street photography.

While the answer to “What camera is the best?” is the proverbial “The one you have with you,” some cameras are better suited than others for specific genres of photography. For example, if you wanted to freeze the action at the Daytona 500, you would reach for a Canon 1DX instead of a Pentax 67, just like if you wanted close-up images of Aunt Pearl’s Poinsettias, one of the last lenses you would reach for is a 28mm. Street photography is one of the easiest genres of the craft to get into, and everything from the cameras in phones to 4×5 press cameras has been used for it. But, while the genre is easily accessible, certain kinds of cameras are more appropriate for the task than others. Let’s take a look at why compact cameras are the best cameras for street photography.

Continue reading…

Does the Nikon 58mm f0.95 S Noct Really Justify a $7999.95 Price Tag?

The Nikon 58mm f0.95 S Noct Lens is a truly unique and special lens option from Nikon, but they need to keep making lenses like this and more.

Today, the Nikon 58mm f0.95 S Noct Lens is finally fully announced with detailed specs and all. Perhaps most shocking is the fact that the lens will command a nearly $8,000 price tag. That means that this is a lens that commands a higher price point than some medium format mirrorless cameras. Granted, this is a unique lens. Earlier on, we got to play with it. Besides the lens being pretty much as large as my forearm, it’s a manual focus optic. While I certainly understand the value of manual focus lenses, I don’t really condone them being so rotundas. I mean, it’s massive. The Nikon 58mm f0.95 S Noct should quite honestly be badged as a cinema lens and not a lens designed for stills shooting. I’d expect something like this from Zeiss. But with the Nikon Z series system still being so young, it doesn’t make sense for a lens like this to be launched now. But at the same time, I’m torn to say that Nikon needs it.

Continue reading…

5 Reasons for a Photographer to Love Their Prime Lens Over a Zoom

The staff at the Phoblographer love their prime much more than zooms.

It’s long been a well known fact that prime lenses are better than zooms, even though zoom lenses can be much more useful for professional reasons. If you’re looking for the penultimate of image quality, prime lenses are hard to beat. Not only are they often sharper and have better bokeh, but they’re smaller in comparison to many zoom lenses. For years, photographers used prime lenses exclusively. That is happening less and less in the professional world, but many pros still keep at least one prime in their kit. Here’s why you should love your primes.

Continue reading…

Review: JPEGmini Capture One Plugin (You’ll Want It)

JPEGmini is bringing its fantastic algorithms to Capture One, finally!

When we first reviewed JPEGmini, we were pleased with the results it gave us. I never ended up using it as it couldn’t integrate easily into Capture One Pro. But that’s over now; today there is a release for JPEGmini as a plugin for Capture One accompanying the announcement that it will finally be available for PC too. If you’ve ever seen the show Silicon Valley, think of JPEGmini as Pied Piper for images. It’s an algorithm that heavily compresses images without quality loss. For a publication like ours that regularly uploads 100 images roughly to reviews, JPEGmini is going to be a significant space saver.

Continue reading…

Three Tips for Beginners on Using a Softbox for Photography

Using a softbox for photography really isn’t difficult. Here’s how a total noob can do it.

When photographers first start using lighting, they often work with softboxes. I’m not exactly sure why; umbrellas and octabanks are superior in every way. But softboxes are still the light modifiers that everyone just knows and starts with. They’re the old reliable. But when photographers start out with lighting, they often don’t know the first thing about how to shape it. So here’s what you need to keep in mind with a softbox (in a bite sized package.)

Continue reading…

The Explore 30 Backpack by Shimoda Is for All Types of Adventures

Shimoda is back with yet another cool creation – the Explore 30 backpack – created with photographer-slash-explorers in mind.

Photographers who have an affinity for the great outdoors would love the latest backpack that adventure camera bag company Shimoda recently launched. Called the Explore 30, it claims to be the perfect companion to whatever adventure any photographer’s embarking on – from hitting the streets of a bustling city to exploring somewhere far, new, and exotic.

According to Shimoda’s website, the Explore 30 has the same maximum camera carrying capacity as the previous Explore 40 but is shorter and has a new removable belt system. Its maker claims that these new features “open up new worlds of possibility for Shimoda users, and they allow the Explore 30 to fit in everywhere.”

Continue reading…

The Yashica digiFilm Camera Gets Delay in Part Due to Optics Refinement

The Yashica digiFilm Camera everyone gawked at is delayed

I’m sure that no one can forget about the great photography bait and switch of 2017: the Yashica digiFilm Camera. It teased something analog film photographers drooled for and became really excited about. But when announced, it left analog photographers really angry and digital photographers cackling with laughter. To add a bit more salt to the wound, news has come that the camera is getting a delay. While some may be willing to quickly blame this on a Chinese company and how so many cheap products just seem to fall apart, that isn’t really the case. In the company’s latest Kickstarter Update, quite the opposite is the case. The Yashica digiFilm Camera is getting even more refinement.

Continue reading…

First Impressions: DJI Mavic Air (The Drone That Fits Into a Coat Pocket)

The new DJI Mavic Air is so small it can fit into a coat pocket with ease.

Today, the new DJI Mavic Air was announced to an absolutely astounded crowd. Designed to be put into a coat pocket and carried anywhere along with the remote, your phone, and all the other stuff you normally bring with you, the new DJI Mavic Air also brings with it a lot of technology. For starters, there is a three axis gimbal that works in conjunction with the 12MP camera. At the heart of the camera is a 1/2.3″ CMOS sensor – not that big, we know – but everything you’re shooting also has a very deep perspective. There are cameras and sensors all over the body to help protect it from crashing into things. Additionally, the antennae were designed to be fit into the landing gear yet face outward to ensure that the signal connection stays strong. It’s designed to be high wind resistant and has some pretty cool features such as a smart pathing technology and hand gestures that are built in.

Continue reading…

The Hasselblad H6D-400C Can Shoot Up to 400 Megapixels

With the Hasselblad H6D-400C, you can get 400MP images using the multi-shot feature.

Though you may rarely need it, the new Hasselblad H6D-400C multishot camera is claiming to have some really big tech inside. For starters, it’s a camera body using the Hasselblad full frame 645 100MP sensors with 16 bit RGB color readout and 15 stops of dynamic range. If you shoot in TIIF multishot with 6 images to create a 400MP photo, your photos can be up to 2.4GB in size. Additionally, it had flash sync up to 1/2000th. When you’re in the studio, you’ll be able to utilize the USB 3.0 C readout when you’re tethered. What’s more, it also shoots 4K video and has a 3″ touchscreen LCD.

Continue reading…

Unraveling the FUJIFILM GFX: Bigger Sensors and Editing

The FUJIFILM GFX 50S, with its larger than full frame sensor, provides photographers with a whole lot of editing power

We know what a medium format imaging sensor can do for depth of field, but photographers who are considering moving up to the FUJIFILM GFX system should know about the power of RAW files. Every photographer could always use more versatility from their digital negatives, and medium format sensors can provide that due to their larger pixels and overall larger imaging area. When you combine this with the GFX lens system, Fujifilm’s film simulations, and a solid editing program, you’re going to get images that stand out from the rest.

Continue reading…

On Imagining the Idea of a Medium Format Sony a7s II

The idea of a medium format Sony a7s II isn’t really a completely farfetched one when you consider how photography and technology have evolved hand in hand. For years, medium format photography has been stated to be better than 35mm photography–at least in terms of the analog film world. In the digital world though, the two tend to be able to hold their ground with one another due to algorithms, processors, etc. The medium format world has also always been about getting higher megapixels, more emulsion, more details, more surface area, etc. In the film world, it results in grain that could look less unsightly and more pleasing than film typically allows.

So with that said, why can’t a medium format sensor have less megapixels and an incredibly clean high ISO output?

Continue reading…