Almost everyone goes through times when the belt need to be tightened because money just isn’t abundant. During these times when income dips, we need to take care to avoid spending as much as possible. Photography, however, is an expensive vocation that seems to be an endless drain on the bank account. It becomes increasingly helpful to avoid having to replace gear you already own due to wear or damage.
One of the primary reasons many have given for stalling in making the switch to mirrorless is the lack of solid fast aperture zooms. With the newly announced Sony G Master series and initial debut of a FE 24-70mm f/2.8, FE 70-200mm f/2.8 OSS, and FE 85mm f/1.4 lenses, not only are we getting the highly requested fast zooms, but we are getting some of the best precision optics overall for the Sony Alpha system.
Today Sony has announced a follow-up to the insanely successful Sony a6000. The new 24.2-megapixel Sony a6300 with internal 4K video recording once again pushes autofocus capabilities into uncharted territory. Take a closer look at all the specs of this prosumer beast and tell me you aren’t impressed.
Getting accurate Autofocus must be one of the most frustrating things an event or wedding photographer deals with on a daily basis. How many times have you been in the right place at the right time, taken a photo at the absolute peak of the action, and then found yourself cursing under your breath when you review the image only to find it wasn't in focus? This used to happen to me a lot at weddings, and I still see many of my assistants struggling with autofocus in extremely low light situations. Luckily there is a very simple solution that works everytime.
We fell head-over-heels when we saw CineStill’s 35mm 800T film, repackaged from Kodak cinema film. Beautiful golden skin tones, cool shadows, and that ever-difficult-to-explain magic glow, brought the beauty of true filmmaking to the still format. It’s been a long wait since the 35mm format was introduced in 2012, but today, CineStill launches their high-speed, tungsten-balanced cinema film in the 120 format.
Just behind Nikon's announcement of the D5, Canon comes with their own anxiously-awaited update to their flagship DSLR: the new EOS-1D X Mark II. Building on the experience of both the 1D X and the 1D C, the 1D X Mark II features a modest increase in resolution to 20 megapixels, instead counting its improvements mostly in the areas of image quality, autofocus, and speed.
The Westcott Ice Light has been around for awhile, and a number of photographers in the community on our site have shown it to be a part of their kits. Whether they're being used to light cars for an automotive shoot, or for food or small product photography, one thing that's been noted more than a few times is the steep price.
Jay P. Morgan with The Slanted Lens has released a new video that demonstrates how he and his team were able to precisely capture the exact moment they wanted, using the laser mode on the MIOPS trigger system. Morgan breaks down the tricks for getting just the right shot, without having to rapid-fire a bunch of extra, useless images.
Last month we wrote about Sigma's announcement of their new ceramic filters which promise to add an extra level of protection for your front element over traditional glass filters, among a few other benefits. Well now there is a video to accompany those claims which goes to show just how much extra protection you can expect, and it looks very promising!
Since its release, the Nikon D750 has been praised as one of the best full frame cameras that money can buy. It has features that outperform cameras that are twice the price. One of the little frustrating elements of this camera though, that I still see being discussed to this day, is the finicky hot shoe.
It’s safe to say that this camera doesn’t suck, and in the hands of someone like Tim Kemple, who’s at the top of their game, the results are pretty incredible. I got the chance to chat with Tim about his thoughts on using the new Phase One XF 100MP camera, including what happened when he flew it on a drone over a waterfall.
A few years back, I rented the Nikon 70-200mm f/2.8G ED VR II and absolutely fell in love. The focus speed, stabilization, and sharpness of this lens are top-notch and make it a truly versatile, high-quality telephoto lens. For a while now, I have been drooling over Nikon's 200mm f/2G ED VR II prime, the type of lens dreams are made of. In this video, Matt Granger does a side-by-side comparison of the Nikon 70-200mm f/2.8 and the 200mm f/2. So, if you're a Nikon user thinking about getting your hands on either one of these, or just want to learn about a couple of great lenses, check out this video.
The X-Pro1 started it all as it cemented its place while paving the way for its segment — the mirrorless rangefinder-style APS-C camera — as the way of the future. But until today, Fuji’s focus has been on further diversifying the segment with other high-end, mid-range, and budget mirrorless systems. Today’s announcement brings a new, true compact flagship to XF platform in the form of the 24-megapixel, professional-level X-Pro2.
In addition to the X-Pro2 announcement, Fujifilm also announced the release of the X-E2S, X70, and XF 100-400mm f/4.5-5.6 lens, each helping to further refine and round out Fuji's mirrorless lineup. The X-E2S is largely similar to it's predecessor (the X-E2), but improves ISO performance and offers several software enhancements. The X70 offers the same 16-megapixel X-Trans II CMOS sensor as the X-E2S in an appropriate update to Fuji's more affordable, fixed-lens XF line-up with an 18.5mm f/2.8 (28mm in 35mm equivalent) lens. And the 100-400mm lens fills out a part of Fuji's XF platform that has historically been in sore need of bolstering: it's lens selection.