Without a doubt, the announcement of the medium format Fujifilm GFX 50S and its revealed price of $6,500 has sent a shockwave across many different photography communities across the world, sparking many discussions and debates about the future of the camera industry. We now have a medium format mirrorless camera that is lighter and more compact than a typical full-frame DSLR, with a price point of a top-of-the-line DSLR like the Nikon D5. Significantly cheaper than any other digital medium format camera on the market today and less expensive than the recently-announced Hasselblad X1D-50c, or even the discounted Pentax 645Z. This is a groundbreaking and brave move on behalf of Fuji, which jumped directly to medium format from its current APS-C X-series cameras, completely skipping over full-frame. In this article, I would like to go over some information on why it may or may not make sense to invest in the Fuji GFX 50S for photographers who have been shooting with Fuji X-series or other full-frame cameras.
Fuji so far has only released a total of 3 full resolution sample images to demonstrate the capabilities of its new Fujifilm GFX 50S medium format camera, one from each lens. While the images were shot at relatively low ISOs, the provided sample images give us a glimpse of what to expect from both the camera and the lenses in terms of image quality. As expected, the amount of detail in the images is exceptionally high, with all three lenses capable of resolving a lot of detail. Of particular interest is the GF 32-64mm f/4 WR, which shows exceptional performance in terms of sharpness from the center all the way to the extreme corners.
Some of you may remember how pleased I was with how my little Fujifilm X100T performed on my trip to France last June (My Self-Imposed 23mm Challenge with a Fuji X100T). As an experiment, I limited myself to just this camera and its fixed 23mm focal length (35mm equivalent) lens. At that time I was feeling like my creativity was waning. However, after limiting myself to this small, light-weight camera, I began to have fun with my photography again. I also began to realize that lugging my heavy pro-Nikon camera and glass around with me was becoming less and less enjoyable! Since writing that article, I have found myself using my DSLR less and less. My go-to camera is my X100T. This Christmas though, I found a new toy under the tree. A Fuji X-T2! The X-T2 is one of Fuji’s new flagship mirrorless cameras. It has the same 24MP APS-C X-Trans sensor that the X-Pro2 has. It has a huge and bright electronic viewfinder, and a 3-inch tilt screen. It is weather-proof, has two SD card slots, and its autofocus speed has been significantly improved over the older X-T1.
Nighttime photography is something that a lot of photographers enjoy; I certainly do, along with countless others. Modern cameras can capture more detail at night than we can see with our naked eyes, revealing entire worlds that couldn’t exist otherwise. However, more than almost any other genre, night photography also challenges your camera equipment to its most extreme. In this article, I will go through some of the top lenses for Nikon cameras if you want to take pictures at night, including information about their low-light performance and depth of field. I cover 20 lenses in this article, so it’s pretty extensive — hopefully, you’ll learn something new about the equipment you need in order to capture good star and nighttime landscape photos.
On any photographic forum, it doesn’t take much effort to find old or new discussions on how to set the “proper” exposure while shooting, and even what exactly “proper exposure” is. The question of setting exposure was and is one of the most commonly-discussed topics on forums and blogs. Newbies (and not) bring it up again and again and receive all sorts of explanations – long and short, deeply “scientific” and completely “practical”, starting with advice to use the in-camera histogram, “zebras”, manual exposure mode, corrections and compensation, special camera modes to increase the dynamic range and increase the reliability of the histogram and other overexposure indicators, a separate exposure meter, Adams’s exposure formula, metering the incident light, spot measurement, a grey card, the back of one’s hand, green grass, an ExpoDisk, the sunny 16 rule, Magic Cube, etc., etc.
With Nikon announcing the new 70-200mm f/2.8E FL VR just two days ago, it was a bit surprising for us to see a pre-production sample circulating at the Nikon booth at the PhotoPlus Expo today. We had a chance to check out the lens and while we were not allowed to take any pictures with it, Nikon allowed us to do a quick video about the handling aspect of the lens. I was certainly concerned about the reversal of the zoom and focus rings on the new 70-200mm f/2.8E FL VR and today John and I were able to see whether it presents a potential problem with handling. Unfortunately, both us were in agreement, that it was not a good decision on behalf of Nikon to make this design change.
As smartphones are getting better at capturing images year after year, one might be wondering when, if at all, we will see smartphones directly competing with larger cameras. Are we at the point, or perhaps might be soon approaching one, where it won’t make any sense to buy a high-end DSLR or a mirrorless camera to capture professional-looking images? Now that smartphones like the iPhone 7 Plus are shipping with dual lenses (one standard wide-angle lens and one telephoto lens to capture portraits) and some manufacturers are even pushing larger sensors to specifically appeal the photography market, it is no wonder why some photographers might think that a smartphone is all they need to get professional results. During the past few years, I have been using a variety of different cameras with sensors ranging from tiny 1/3″ all the way to medium format, so I thought it would be a good idea to write an article about this particular topic, with some images to represent different cameras and sensor sizes.
When Olympus first announced the M.Zuiko Digital ED 300mm f/4 IS PRO telephoto lens for the micro-four thirds format there was understandably much enthusiasm for its arrival. After all, it would give users the equivalent field of view of 600mm at F/4 in a far more compact and lighter lens than a DSLR equivalent. I wasn’t personally that aroused by the prospect but curiosity prompted me to ask Olympus if I could borrow the lens to write up a user experience and they very kindly lent me a copy.
Having been primarily shooting with the Nikon D810 ever since the camera was announced (which as of today is my primary camera for most types of photography I am engaged in), I have been compiling a list of features that I would like to see on the upcoming Nikon D820, so I decided to share this list with our readers. My goal with this article is not only to share my list of most wanted features, but also to potentially expand it based on the feedback I get from other D800/D800E/D810 shooters out there. Once we put together a list of highly desirable and realistic / implementable features, I am planning to send a letter to Nikon to request the features to be incorporated into the future design of the camera. 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.
Canon’s newest 5D Mark IV camera has a lot of exciting specifications — the fast frame rate and 4K video capabilities, for example — but there is more to this camera than what first meets the eye. One new feature buried in Canon’s promotional material is a technology called Dual Pixel RAW. This isn’t something that we have seen before, but it seems like it could be one of the most interesting features of this new camera. So, what is Dual-Pixel RAW?