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 review. I have now been shooting with the Fuji 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.
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.
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.
This is an in-depth review of the Fuji X-Pro2 mirrorless camera, an upgrade to the top-of-the-line X-Pro1 of the X-series cameras that was announced in January of 2016. It is hard to believe that it has been five years since Fuji first announced its mirrorless X system with the launch of the Fuji X-Pro1, along with the first three lenses. It was a pretty rough ride for Fuji, since the system looked very appealing and yet the initial feedback and reviews indicated that the camera was full of bugs and autofocus issues. But despite the negative reactions, Fuji did not give up, since it wanted to make the X system successful at all costs. Within a year, the X-Pro1 was transformed into a whole different camera – major firmware issues were taken care of and the AF system became much more polished and reliable. Fuji decided not to leave its original customers behind, letting them get the latest and greatest through “Kaizen” firmware upgrades. And although Fuji released a bunch of new X-series cameras, the X-Pro1 continued to receive firmware feature upgrades for another 4 years, something no other manufacturer has done in the past. That level of commitment did not go unnoticed by the photography community, creating a large and loyal Fuji fan base. After a long wait, Fuji finally revealed the much anticipated X-Pro2 that many photo enthusiasts and professionals have been waiting for. Last Christmas, an amazing gift from FujiFilm Italia gave me the opportunity to experience the Fuji X-Pro2. Since Nasim also had some thoughts to share with PL readers after using the camera for a few months, we decided to combine our efforts into a single review.
This is an in-depth review of the Fuji X-T2, a second generation mirrorless camera in its class that was announced in July of 2016 as a replacement of the X-T1. It has been a few years since the Fujifilm X-T1 shook the photography world when it was announced, thanks to its amazing ergonomics, superb autofocus system, great image quality and a strong line of lenses, making the X-T1 one of the most desirable mirrorless cameras on the market. It took two years for Fuji to bring out the much anticipated update in the form of the Fuji X-T2 and given the status of its predecessor, the expectations were very high, making it tough for Fuji to deliver something truly outstanding. With the X-Pro2 already out, many of us thought that there would be very few differences between the two. However, Fuji engineers did manage to pack many more features into the X-T2 to make it stand out from the X-Pro2, with 4K video, faster EVF, faster continuous shooting rate with a grip, dual UHS-II memory card slots and a slightly lower price, making it a truly appealing camera on its own. In this review of the Fuji X-T2, I will be taking a closer look at the camera, which I have been heavily using for the past 4 months. The X-T2 was not an easy camera to obtain and Fuji is still struggling with meeting the heavy demand, which speaks volumes about the positive perception of the camera by the photography community.
Although the Pentax 645Z medium format DSLR has been out for a few years, I only had a chance to try it out earlier this year, during my trip to Death Valley. I have been wanting to try the 645Z for quite some time, since I heard so many good things about it. With medium format digital being traditionally out of reach in terms of cost for most photographers out there, including myself, I did not really have much interest in trying out cameras that are as expensive as some nice cars. However, the Pentax 645D changed the game back in 2010, by being the first sub-$10K medium format digital camera at launch.
I never did completely lose faith. I think in the end it was probably just myself, Thom Hogan and one or two others – the true believers. Nikon would give us a legitimate successor to the D300S. I think that the many who told us to give up and move on to FX because DX is dead, or that the D7200 was the real D300S replacement, perhaps missed the point. The D7200 is an absolutely excellent camera, but I have always thought it pretty obvious that Nikon was holding back on the D7x00 series. And as far as moving on to FX, well we were already there shooting D4s, D800s, etc., but looking back to DX for the potential advantages that a smaller format, high-performance body could bring to shooting wildlife and other action. There was room at the top of the DX model lineup for a specialist camera and now we have it – the
D400 D500. Nevertheless, I was caught off-guard, along with most people I think, when the D500 was announced alongside the D5 in early 2016. We all knew the D5 was coming, but just how did Nikon manage to keep the D500 a secret?
Although Sony has already made the fourth iteration of its RX100 camera, sadly, I have not had a chance to test and review any of the earlier models. After the Sony RX100 IV was announced, I told myself that I had to give this camera a try. Partly because our readers have been asking about it and partly because it looked like a killer camera based on its long list of features. Right before my trip to Death Valley, I was able to obtain this little monster of a camera for a real field test. I am really glad I did, because I have been really impressed by the Sony RX100 IV – it turned out to be the best pocket-friendly point and shoot camera I have used to date. Let’s take a look at this camera in more detail and see what it has to offer in its tiny body.
One of my resolutions for 2016 is to do a better job at timely completion of projects, and one of such tasks is to catch up with all the long-overdue reviews of gear that I had a chance to use, but never had a chance to write about. I will start off by reviewing the Sony A6000, an interchangeable lens mirrorless camera that has been Sony’s flagship APS-C product since it was released almost two years ago (and soon to be be replaced with a Sony A6100). Sony dumped the “NEX” name in its line of mirrorless APS-C products and merged everything into the “Alpha” ecosystem with the launch of the A3000, A5000 and A6000 cameras, so it looks like all the future iterations of these cameras will be labeled similarly. Let’s take a look at the A6000 in more detail, see what it has to offer and compare it to other popular mirrorless cameras on the market.
Earlier this year, I wrote a detailed review of the Sony A7R, where I expressed a number of serious concerns with the camera, some of which were serious enough to be categorized as “deal breakers”. Soon after, Sony announced the much-anticipated A7R II mirrorless camera, a second iteration of the high-resolution line of A7-series cameras. Although many of us knew what to expect from the A7R II based on what we have previously seen on the Sony A7 II, there was new technology incorporated into the A7R II to make it a very appealing camera among both enthusiasts and professionals. Just like the A7 II, the A7R II gained five-axis in-body image stabilization (IBIS) and a different ergonomic design with a much more comfortable to hand-hold protruded grip. And those are relatively minor changes compared to the changes from the original A7R. Not only does the A7R II get a faster and much more reliable AF system with a whopping 399 focus points, but it also gains a brand new 42 MP back-illuminated (BSI) sensor. In addition, Sony addressed the serious shutter-shock issue by not only reducing the overall noise and vibration caused by the shutter mechanism, but also by introducing an electronic front-curtain shutter release option, which completely gets rid of shutter-related blur in images. And lastly, with the latest firmware upgrade, the Sony A7R II also gained the ability to shoot uncompressed RAW, giving the ability to take a full advantage of the sensor. I have been shooting with the Sony A7R II since it was announced, so let’s take a closer look at the Sony A7R II and see how it performed both in real world and lab environments.