Fujifilm have placed themselves squarely at both ends of the sensor-size war, skipping 35mm full frame altogether and instead concentrating on APS-C and medium format. In this review we'll be taking a look at the second addition to their GFX series of cameras, the rangefinder-styled GFX 50R.
I stumbled across this lens in a consignment shop in Gloucester, Massachusetts last fall. I was aware of its existence but had never considered it as a lens for my needs, but the price was too good to pass up and if I didn't end up using it, it’d go into the ever-revolving, buy and sell, gear pile.
With the amount of used camera gear I come across in my adventures across Southern California, I often run into pieces that invariably need some sort of minor repairs. The more labor intensive or skilled technician tasks get sent off to an appropriate repair-person. It sucks to eat that cost but reserving it for pieces that command a higher sales price means eating that cost is much more palatable.
Larger images provide a world of options for photographers, but if you're not careful, more pixels could mean more problems. If you're one of the many photographers finding yourself with a new high resolution camera after the holidays, here's a guide to wrangling that newfound resolution.
Every now and then, it's nice to be reminded of how spoiled we are and how much information really lives inside our raw files. Whenever we capture a raw image, we have a plethora of information at our disposal. That's all well and good, but this one example really helps bring it home.
What do you do if you want a camera that has the quality and gorgeous depth of field of medium format with the immediacy and fun of an instant? Well, if you're a hardware interaction designer, you take the front half of a Hasselblad 500C/M and attach it to the back half of a Fujifilm Instax Mini 9.