Just as Fujifilm promised in their latest roadmap, the last quarter of 2014 sees the announcement of their first professional-grade telephoto zoom lens, the XF 50-140mm f/2.8 R LM OIS WR. The surprise release, however, is the revised version of the already-very-popular XF 56mm f/1.2 lens that features an apodization filter. Let’s take a closer look at the specifications of both lenses.
Along with the new X100T and a couple of lenses, Fujifilm has also announced a “Graphite Silver” version of their well-received X-T1 mirrorless camera. Unlike other silver/black versions of mirrorless cameras that Fujifilm offers – X-E2 immediately springs to mind – X-T1 has a darker shade body. It is definitely more conspicuous than the black body of the original X-T1, but not as much as a regular silver camera would be. It is also more expensive. And don’t worry, there are indeed some better news that owners of black X-T1’s will find very welcome.
Back in 2010 – has it really been that long? – Fujifilm started their Renaissance with the release of X100, a compact camera with a fixed, 35mm equivalent lens and a large APS-C sized image sensor at its heart. It was a camera towards which few remained indifferent. Plagued by Fujifilms quirks, most of which have been attended with most thorough and impressive firmware upgrades since, the camera also had a beautiful design and brilliant, unheard of feature – hybrid EVF/OVF. Whether you liked the original X100 or not, most will agree it was a breath of fresh air in the camera industry where most products were, for the lack of a better word, soulless and slightly boring. Four years later, the mark III version is out – called X100T.
Do you remember the bonkers Zeiss Otus 55mm f/1.4 lens? If you’ve forgotten, here’s a quick reminder. With Otus lenses, Zeiss is basically trying to show the legendary brand’s worth. You might find that somewhat bewildering since most current Zeiss lenses for DSLRs are very, very good and worthy of the name. But with Otus, the German manufacturer wants to release simply the best lenses available for DSLRs from an optical standpoint. And so the first lens of the series was extremely big, heavy, complex and expensive, but also rather beautiful and astonishing optically. As anyone could guess, a 55mm lens with a price tag of $4000 is bound to spawn differing opinions, not least because Otus line-up is manual focus only. Suffice to say the new 85mm family member with the same impressive size, performance and a price tag of, as near as makes no difference, $4500 is going to be no different.
In a recent announcement, Zeiss introduced its new line of full-frame compatible lenses for mirrorless cameras. So far, with only one full-frame system available (not counting Leica M), the Loxia line is best suited to the Sony A7 and A7r, and consists of two prime lenses – the Loxia 35mm f/2 and 50mm f/2. It is interesting to note this line of lenses holds far more in common with ZM (that Zeiss for Leica M) than it does with the other recent lineup for mirrorless cameras, Touit.
After buying the Nikon D4s and Nikkor 800mm earlier this year I thought I was cured. I made it for months without a single sip of Nikon Rumors. Then I had a relapse. Thank goodness the only news was Nikon was releasing the D810, a camera I clearly had no need for as I like shooting wildlife, not lens charts. But one sip led to another and before I knew it I was on The Photo Website That Dare Not Speak Its Name. The pundit there gushed about the D810’s specs, then declared that nobody really needs a DSLR with such ridiculously high resolution unless they shoot for Arizona Highways. Whew, I just saved 3300 bucks. But hang on a second, I do shoot for Arizona Highways. Oh crap. I needed to check out the D810 to see how it performs in practical situations in the field. While I was at it I’d try my best to compare the 36 MP Nikon D810 side-by-side to the 16 MP Nikon D4s and 24 MP Nikon D600, other Nikon full frame offerings.
With us moving closer and closer to the announcement madness that is Photokina, we are working on bringing our readers (and ourselves) up to speed. This time we will be taking a closer look at a new lens by (a rather well known by now) South Korean manufacturer, a classic 50mm with a widest aperture setting of f/1.4. Something to get excited about? Let’s see.
We’ve fallen behind with announcements and it’s time we caught up! Firstly, let’s talk about the new Fujifilm X30 compact camera. Fujifilm has actually been a lot in the news lately. They’ve been spurring up the market with innovative approach to product design and functionality. But if you glance at the X30, it’s not really that different compared to its predecessor. Perhaps a closer look will tell us more.
So, my poor little 35mm lens was looking a little despondent after I had finished extolling the virtues of my 50mm. The 35mm just sat on the shelf looking at me, forlorn and with a glint of sorrow in its glass. Had I forgotten how much I liked using it? Did I not have dozens of favourite images from around the world taken with it? Indeed I did, and thus I took it upon myself to ensure due credit was given to this gem. Well, that plus another request from a reader to talk about using it.
My post about my one night stand with the Tamron 150-600mm generated a lot of comments. A lot of people bemoaned the fact that they couldn’t get one because it was backordered at B&H, Adorama and the like. In 10 days, I’m departing on an exciting 18-day raft trip down the Grand Canyon and didn’t want to lug my expensive 500mm down the river in the raft. Nevertheless, I really wanted to shoot the wildlife down there and felt the more compact Tamron would be ideal. So yesterday, while out shooting ospreys, I ordered one and will have it in a couple days.