Both Hasselblad and Fuji got quite a bit of buzz in 2016 when they introduced the first mirrorless medium format cameras. The Hasselblad X1D-50c stole the show with its beautiful design, compact build and leaf shutter lenses, whereas the GFX 50S got Fuji fans excited with its functional camera body, modular EVF, tiltable LCD screen and a lower price point. Both cameras compete head to head when it comes to image quality, since they feature a very similar 44x33mm sensor, which is why I will be bringing them up quite a bit for side-by-side comparisons in this Fuji GFX 50S review. I have now been shooting with the GFX 50S for approximately six months, so the experience that I am sharing with our readers is based on quite a bit of field work, including international travel.
It is a well-known fact that there are some rather serious diseases that plague photographers out there. While we have all heard of the Gear Acquisition Syndrome and other photography addictions, it is time to expand the photography jargon to include the many types of photographers we deal with today. Some of these have been around for years, while others have been recently bred in the darkest corners of the Internet. Without further ado, let’s get down to it!
Less than a year ago, Apple introduced the iPhone 7 and iPhone 7 Plus phones to the market. The iPhone 7 Plus was the first Apple phone to have a dual lens design (28mm wide-angle and 56mm telephoto equivalent), so Apple put quite a bit of emphasis on photography with this model. Although I was quite happy with my iPhone 6 Plus at the time of the announcement, I decided to upgrade to the latest version, primarily because of these camera features the phone offered. Since then, I have captured thousands of images in different environments, which not only allowed me to get a deeper understanding of the camera capabilities of the phone, but also understand its many issues and limitations. In this review, I will be going over my experience with the iPhone 7 Plus camera and discuss its pros and cons.
The news of Nikon developing the next generation high-resolution D850 DSLR camera have been generating a lot of buzz all over the photography community. The Nikon D810 has set such a high benchmark for a DSLR, that any thought of an upgrade is certainly getting a lot of people excited. Nikon’s promise to deliver a product that will exceed customer expectations is surely intriguing Nikon fans, and there are all kinds of talks in regards to the not-yet-revealed specifications of the camera. One of the hot topics that is surrounding the upcoming Nikon D850 is its viewfinder – people are speculating whether the camera will feature a hybrid viewfinder, something we have never previously seen on a DSLR before. If Nikon does indeed make it happen, we could see the very first DSLR with a hybrid viewfinder. Interestingly, I wrote a detailed article about how this could happen two years ago in an article titled “Transitional DSLR with EVF Capability“. Let’s revisit that article and shed a bit more light on how this might change the way DSLRs work today.
It is a big day today at Nikon, since the company is celebrating its 100th year anniversary. Nippon Kogaku K.K. was founded on July 25th 1917 and the company has been making everything from consumer cameras to industrial optical equipment ever since. As part of this important day and celebration, Nikon’s president Kazuo Ushida gave an important statement that reassures the future of the company, particularly when it comes to addressing the “rapidly changing consumer needs”. With the announcement of the development of the Nikon D850, the company wants its customers to know that it is working on a next generation DSLR that will exceed their expectations. That’s a bold claim for sure, and many of us Nikon shooters cannot wait to see what Nikon is planning with the D850. There is a lot of excitement surrounding the camera and we at PL really hope to see a true D810 successor! And let’s not forget that Nikon has also promised to release a mirrorless camera, something many of us also are very excited about. For now, sit back, relax and enjoy some of the great videos Nikon put together for its 100th year anniversary.
Earlier this year, I published an article with a long wishlist of features that I would like to see on the Nikon D820. Since Nikon decided to skip this model number and jump directly to D850, I figured it was time to revisit that article with more realistic goals and features many of us would be willing to upgrade our D810 DSLRs for. I think as a large community of Nikon shooters, we should do our best to reach out to Nikon directly and put in our requests, so that the company knows what its dedicated user base expects from the future generations of their cameras.
Tomorrow is the 100th year anniversary of Nikon. While we have been patiently waiting for the company to announce something new for this big date, it looks like we will only be seeing a teaser in the form of the Nikon D850 “development announcement”. Unfortunately, aside from the teaser video (see below) that does not reveal much aside from the ability to shoot 4K video and 8K timelapses, no additional information is provided as part of this development announcement, which is quite unfortunate! Perhaps Nikon is still going through some changes to the camera features, or perhaps there are other reasons for not giving us any further details, but it will be a painful few months of waiting for additional details on this highly anticipated camera…
With the release of high-quality modern lenses that are made to satisfy our insatiable appetite for sharpness, it seems that they also come with a curse. Unlike older classics that shone with their stunning look and feel, along with their beautiful rendition qualities that resulted in particularly attractive photographs with subjects popping out of the scene (also known as “3D pop”), it seems like modern lenses are no longer equipped to give us this magic – they are made to look flat and dull, lacking the character of the old classics. In this article, we will go through a number of different images shot with modern lenses and compare them to their classic counterparts and see how they do. Grab a cup of coffee, sit tight and put on your glasses, because you will need them. And yes, that even applies to those with 20/20 vision.
Note: Since this is a rather controversial subject, I highly recommend that you read the whole article through, especially the last paragraph.
Color calibration should definitely be an essential part of every photographer’s workflow. Otherwise, it is impossible to tell whether the colors that are displayed by your monitor are truly accurate and whether what you see will match the print. There are many ways to do it and the process can be fairly simple or complex, depending on how accurate you want to reproduce the colors and whether you are also printing your work in-house. The simple method involves a hardware colorimeter for color profiling your monitor for everyday photo editing and image viewing, and there is also an end-to-end professional-grade color profiling that requires very concise calibration of all display and output devices, such as printers. In this article, I will only focus on simple methods to make your monitor show more or less accurate colors, so that you could rely on it for everyday photography needs.
Hasselblad created quite a bit of buzz when it released the Hasselblad X1D-50c in June of 2016. With its 44x33mm image sensor, 2.36 MP electronic viewfinder (EVF), dual SD card slots, 3″ touchscreen LCD, built-in Wi-Fi, leaf shutter, a super lightweight construction weighing only 725 grams with a battery and a very compact size, the X1D looked absolutely stunning both in terms of its specifications and its stylish design. Hasselblad priced the camera at $8,999 MSRP at introduction, which when compared to the traditional Hasselblad prices, looked like a bargain for the first time. Hasselblad called the X1D a “groundbreaking” camera and a game changer – pretty bold, but valid statements given “the world’s first medium format mirrorless” status. Despite the fact that the camera was delayed a number of times since its announcement due to high demand, I was able to get a hold of a sample unit back in March of 2017. So this review is based on 4 months of heavy shooting with the camera in different shooting environments.