I was wrong – Hasselblad seems to be determined to continue its partnership with Sony in ways we find somewhat…questionable. They have recently announced their third rebranded Sony camera, the Hasselblad HV. This time it is not based on Sony’s mirrorless system, however, but is built around their flagship DSLR/SLT camera, the A99. As with Hasselblad Lunar, which we failed to understand, the changes are purely cosmetic – the sensor and all other internal bits are exactly the same between the two. And, as with Lunar, the new HV carries a premium price tag of, wait for it, around $11,500 for the camera body with the Zeiss 24-70mm f/2.8 lens. Interested?
It has been a while since I have cleared out my stack of camera gear. After going through everything last week, I decided to put a few items that I no longer need on sale. Although I initially thought about keeping most of it, I just hate to see lenses and cameras gathering dust for too long – I am sure someone else could find better use for it. Most of the money will be used for upgrades and other equipment for the business. If you are interested in multiple items, feel free to make me an offer via the contact form. I am the first and only owner of all below items and I have all the original manuals, boxes, soft cases, warranty cards, etc. A few extras are included, see more below.
Fuji’s latest cameras have been so good, they rival each other almost as much as other systems. And as we saw in our X-Pro1 vs X-E2 comparison, the oldest current model in the X-mount compact camera system, the X-Pro1, already struggled against its lower-end sibling. In this article, we will compare it against the newest member in Fuji’s line-up of mirrorless cameras, the weather-resistant, DSLR-style Fujifilm X-T1.
Thanks to the rise of the mirrorless camera market, manufacturers are now creating more and more segments in their camera lines. With the introduction of the X-T1, Fujifilm now boasts a total of 5 different cameras, all targeted at different segments. Today Olympus also extended its line of mirrorless cameras by introducing the new Olympus OM-D E-M10, a budget version of the OM-D premium mirrorless cameras. Next to the OM-D E-M1 and OM-D E-M5, this is now the third premium camera designed to appeal the enthusiast crowd. It borrows most of its guts from its bigger brother, the OM-D E-M5, but in a smaller and lighter package. Priced at $699 MSRP, it is significantly cheaper than other OM-D series cameras. In a way, it is a confusing release, because it is even cheaper than the PEN E-P5 (currently at $799). Since all PEN series do not come with a built-in electronic viewfinder or weather sealing options, they are technically inferior to OM-D series. Now with the the OM-D E-M10, it is hard to say exactly what market this camera is targeted for, with its features and price range in comparison. Let’s take a look at the camera in more detail.
The new Fujifilm X-T1 has been greeted with great enthusiasm. Based purely on specifications, the newer camera seems to be at the top in Japanese manufacturer’s line-up, at least until X-Pro2 comes along. In this article, I will compare the new X-T1 mirrorless camera from Fujifilm to Olympus’ top offering, the OM-D E-M1.
The Internet has been buzzing with details about the new Fujifilm X-T1 mirrorless camera, yet we are still excited to see it officially unveiled. Slotting between the flagship X-Pro1 (see our review) and the capable X-E2 (see our review), the new model takes a formerly vacant spot in the line-up of attractively designed, innovative cameras from the Japanese manufacturer. But it is not just the price tag of $1,299 that differentiates the X-T1 from its siblings. Its design and ergonomics also hint at, possibly, new priorities.
Our friends over at Fstoppers.com posted this funny review of the Nikon Df yesterday. Regardless of which side of the Df debate you’re on, you will find this video entertaining. While we don’t typically re-post other people’s work here at PL, we enjoyed this one so much that we thought we’d share it with our readers:
This is an in-depth review of the Sigma 18-35mm f/1.8 DC HSM Art lens, world’s first constant f/1.8 zoom lens for DSLR cameras that was announced in April of 2013. Despite the recent trend of manufacturers to move their customer base to full-frame format, Sigma took a bold move and announced the professional-grade Sigma 18-35mm f/1.8 Art for DX/APS-C format only. With a focal range equivalent to 27mm-52.5mm in 35mm format, the lens provides a good range to work with for a variety of different needs and applications. And with its fast constant aperture of f/1.8, the Sigma 18-35mm opens up opportunities to shoot in low-light situations, something that was previously only possible with fast aperture prime lenses. Lastly, Sigma’s pricing of $799 MSRP for the lens made it the top choice in terms of value when compared to pro-grade lenses such as the Nikon 17-55mm f/2.8G DX, which sells for almost twice as much and does not offer the same low-light advantages.
When asked what gear I use most for my work, I will first of all give tribute to the classic fifty and talk about how useful and versatile it is for my style of shooting. And yet I would never willingly rely on that lens alone, no matter how much I liked it. Nor should someone else, really. In this follow-up article I will describe the two most popular lens combinations used among professional wedding photographers. Both of these lens combinations are enough to cover the biggest part of the wedding and, in that context, can be called workhorse lenses. One of the duos is used primarily by fixed focal length lens shooters, the other is very successfully used by photographers who largely prefer zoom lenses. Each of the combinations has their advantages and disadvantages when compared to the other, but whether one is better than the other remains very subjective. Please note that lens choices presented below are a result of a mini-research, where we asked a number of wedding photographers what two lenses were their favorite / most used.
When using Lightroom, you might be wondering why the highlight recovery between different camera models allows for different room. Given the “color of light” (light source color temperature and tint) is the same, the highlight recovery difference depends primarily on baseline exposure compensation applied to a raw file when it is opened in Adobe raw converters (Adobe Camera Raw, ACR; or Lightroom, LR). This baseline exposure compensation is applied behind the scenes, the exposure compensation slider after the file is opened stays at zero. This is Adobe’s way to equalize cameras.