GearComments Off on A Review of the Sony FE 200-600mm f/5.6-6.3 G OSS Lens
We would all love to have the absolutely astounding supertelephoto primes that the pros use, but with prices well into five figures, they are simply not in the cards for most of us. Luckily, in the last few years, companies have been releasing better and better long zooms at more affordable prices. This great review takes a look at the Sony FE 200-600mm f/5.6-6.3 G OSS lens.
Gear, MirrorlessComments Off on Tokina Expands its Full Frame Lineup with the atx-m 85mm F/1.8 FE Lens
Tokina has released a new lens for Sony E-mount cameras: the Tokina atx-m 85mm F/1.8 FE. This latest addition to the Tokina lineup covers Full-Frame sensors. Let’s take a closer look at this perfect portrait lens for photographers and filmmakers!
Image credit: Tokina
Tokina atx-m Lineup
The Tokina ATX line of lenses is out for a couple of years now, and the most famous one is probably the AT-X 11-16mm F/2.8 wide-angle zoom lens for Super35 cameras. Today, Tokina has just announced the launch of a new lineup of lenses for mirrorless cameras with the Tokina atx-m 85mm F/1.8 FE. According to Tokina, the atx-m series of glasses will be available in various mounts – probably Nikon Z and Canon RF mounts – and new lenses will be announced this year.
I recently got the chance to use the new Hasselblad X1D II for a week. It was my first experience with medium format and required a bit of adapting on a learning curve. Here are my first impressions about the body, design, lenses, and general usability of the camera.
You know the feeling you get when you’re walking down the street and there’s a shiny new Lamborghini parked outside? You pull out your phone and snap a picture to send to your friends. You even look around to see if anyone is around and think to yourself: “how close can I get to it? Should I touch it? I wonder if it’s unlocked? Man, this leather is soft. Why are they putting me in handcuffs? I was just smelling it!?” Just me? Well, I get the same feeling when I see a Hasselblad. To be totally honest, I thought my chances of using a Hasselblad were about the same as getting to joy ride that Lamborghini. When Hasselblad agreed to send me an X1D II and a couple lenses to test out, I was kind of in shock, but obviously jumped at the chance. I’ve always said a camera is a camera is a camera. If you call yourself a photographer, I should be able to give you any camera and you should take a good picture. But there is something to be said about nice gear that inspires creativity. It puts you in a new mindset and excites you. This camera definitely did that for me.
GearComments Off on Laowa 4mm f/2.8 Fisheye Lens Now Available for EF-M-, X- and E-Mount
Venus Optics launched their Laowa 4mm f/2.8 Circular Fisheye lens in three new versions for popular mirrorless cameras. New mounts include Canon EF-M, FUJIFILM X-Mount, and Sony-E. The lens in all its versions is available now for around $199.
Laowa 4mm f/2.8 Fisheye lens for new mirrorless mounts. Source: Venus Optics
GearComments Off on Sony Unveils Wireless Shooting Grip for Mirrorless Cameras
In a continued attempt to woo vloggers and travel shooters, Sony today unveiled the GP-VPT2BT: a “wireless shooting grip” for mirrorless cameras that lets users switch seamlessly between shooting video and stills on the run.
The GP-VPT2BT is a “shooting grip with wireless remote commander” that’s compatible with all of Sony’s latest mirrorless cameras—the a9 II, a9, a7R IV, a7R III, a7 III, a6600, a6400, and a6100—as well as the RX100 VII and RX0 II, as long as you’re running the latest firmware. The grip allows you to securely use the camera at arm’s length, while putting control of key camera functions right on the handle.
Gear, MirrorlessComments Off on Is Fuji About to Release the X-T4 and Two Other New Cameras?
It appears that Fuji may have a busy couple of months coming up, with rumors that the X-T4, X100V, and X-T200 may be announced as soon as February 4. Is Fuji beginning to match Sony’s aggressive release schedule? Will we see some major changes to the successor of the incredibly popular X-T3?
FujiAddict reports that the X-T4 will be ⅓ of an inch thicker and up to 5 oz heavier than its predecessor, also touting 6K 60p with 10-bit internal recording and a fully articulating screen. The larger size would make sense, as the smart money is betting on the X-T4 having in-body image stabilization, one of the few features that videographers felt was missing from the X-T3. It would also accommodate a larger battery, which will be greatly welcomed by Fuji shooters used to carrying a handful of NP-W126S batteries with them, a model that’s been used across a wide range of Fuji bodies for several years now.
Canon’s mirrorless lenses have been quite successful for the company, offering impressive optical quality that sets the bar quite high. However, Canon fans are still waiting for a stronger mirrorless body that pushes the boundaries a bit more from the company. The good news is that it seems that will be changing soon, as the company is likely to release two new mirrorless cameras in the coming months.
GearComments Off on A Review of the Panasonic S1’s After 10 Months
The Panasonic S1 is a nicely balanced stills and video camera that brings with it quite a few top-shelf features all packaged in a rugged, versatile, and well-designed body. This great video takes a look at how the camera has held up after using it for almost a year.
Cinematography, GearComments Off on Panasonic Announces Three New 4K 60p Camcorders – HC-X1500, HC-X2000 and AG-CX10
During CES 2020 in Las Vegas, Panasonic announced three new compact camcorders with 1/2.5″ sensors. The HC-X1500, HC-X2000 and AG-CX10 all offer 4K 60p recording capability (4:2:2 10-bit up to 4K 30p) along with 24x optical zoom (25mm-600mm full-frame equivalent) lens. They offer 5-axis O.I.S, two manual rings, ND filters, a built-in LED video light, 24-bit linear PCM audio recording, a built-in Wi-Fi module for streaming, and more.
New Panasonic Camcorders. Image source: Panasonic
With the recent rise of full-frame cinema cameras, it might look like that large sensors are taking over the whole video industry and Super 35 will become the bare minimum. In reality, there is always the right tool for the right job, and often a larger sensor is actually counter-productive. Compact broadcast cameras with smaller sensors still have their use and camera manufacturers want to offer such camcorders for this market segment – albeit it’s admittedly shrinking.
During CES 2020 in Las Vegas, Panasonic announced three new camcorders with small image sensors, but all are capable of 4K 60p recording, H265, and 4:2:2 10-bit internal video in some modes. Let’s take a quick look at what they offer.
Gear, MirrorlessComments Off on Canon Unveils the G1X: A Large Sensor Compact Answer to the Mirrorless Craze
Unlike Nikon, which jumped headfirst into the interchangeable lens mirrorless game last year, Canon appears to be content with simply upping the sensor size in its existing compact cameras. Today the company announces the G1X, a new camera into the G-series line that offers a sensor large enough to compete with existing mirrorless camera systems.
Action cams, GearComments Off on Insta360 Unveils the One R Modular Action Cam ‘Co-Engineered’ with Leica
Insta360 has just revealed the (painfully) teased Insta360 One R “adaptive” action camera. The modular creation was co-engineered with Leica, and features a “unique interchangeable lens design” that lets you swap between modules for standard 4K, 360° video, 5.3K with a 1-inch sensor, and more.
It’s hard to see the Insta360 One R as anything other than a more versatile version of the GoPro Hero 8. While GoPro is showing off their Media Mods with attachable mics and lights at CES 2020, Insta360 just released an even more versatile creation that combines a “core” processing unit with a bunch of very useful modules.
“The concept is simple — one battery, one processor and a selection of quick-swapping lens Mods,” explains Insta360. “In an instant, ONE R transforms from a dual-lens 360 shooter to a standard action cam.”
Here’s the One R intro video just released by Insta360:
GearComments Off on Nikon Launches the COOLPIX P950: A Compact, Zoomy Camera to Make Flat Earthers Go Crazy
Nikon has announced the launch of the COOLPIX P950, its latest bridge camera and the dream of every flat earth conspiracy theorist thanks to the 83x optical zoom — and 166x digital zoom — that is somehow wedged into this compact body.
The fixed lens has a range that’s the equivalent of 24-2,000mm on a 35mm camera, offering excellent reach for those keen on distant objects such as birds in flight or cities located on the other side of large lakes. Those seeking to deny the curvature of the earth using woefully naive techniques will be delighted to learn that there’s the bonus of 166x digital zoom, giving the equivalent reach of 4,000mm in 35mm terms.
Cinematography, GearComments Off on Nikon Gets Closer to a Z Mount Trinity by Announcing the NIKKOR Z 70-200mm f/2.8 Lens
Nikon has announced the launch of the NIKKOR Z 70-200mm f/2.8 VR S for its full-frame mirrorless cameras, filling one of the two gaping holes in its lens lineup for professional shooters.
Nikon says that this high-end zoom has been “reimagined” in order to exploit the newly designed lens mount. With a constant f/2.8 aperture, it brings Nikon a step closer to completing the trinity of fast zoom lenses that are regarded as critical to any system due to their quality and versatility.
The NIKKOR Z 70-200mm f/2.8 has a stepping motor for quiet autofocus and reduced focus breathing, a minimum focus distance of just under 20″ (50cm), a nine-blade diaphragm, weather-sealing, and five stops of stabilization. It’s one of two Nikon lenses to feature the company’s newly-developed Short-Wavelength Refractive (SR) lens element for better control of chromatic aberration.
Cinematography, GearComments Off on Dull, Brilliant, Disappointing, Fun: Fstoppers Reviews the Tamron 24mm f/2.8 for Sony
There isn’t exactly a wealth of affordable options when it comes to 24mm prime lenses for Sony full-frame cameras, so Tamron’s new lens is a welcome addition to the line-up, though it does have its idiosyncrasies.
Following on from the success of its two affordable Sony mount zooms made with some smart compromises (the 17-28mm f/2.8 and 28-75mm f/2.8), Tamron has launched a batch of f/2.8 primes. Prior to their release, fans were excited at the prospect of relatively quick glass that was compact and reasonably priced, so when Tamron announced this selection of f/2.8 lenses, there was a degree of disappointment.
In Tamron’s defense, with the 24mm f/2.8 Di III OSD M 1:2, it has released something relatively unique at this focal length. With one notable exception, all of the other options start at more than double the price, albeit with much wider maximum apertures, so if you’re looking for a compact, lightweight, low-cost 24mm prime that’s not going to get anyone excited, the Tamron may be a smart choice.
Back in mid-2017, I was tasked with reviewing Sigma’s first 24-70mm lens, the 24-70mm f/2.8 DG OS HSM IF Art lens, and I was extremely disappointed. You can read my whole review here, but in summary, I found it to be sadly inconsistent with its sharpness. Most notably, I found that edge sharpness was really quite bad.
There is one photo I took that pretty well shows my problems with the lens, and it’s this one:
Photo by Jaron Schneider, taken with the Canon 1DX Mark II w/ Sigma 24-70mm F2.8 DG OS HSM Art
Taken from a helicopter over Los Angeles, I really like the composition of the image and was looking forward to printing it. When I got it back to my edit station, however, I was very much let down with how soft anything other than the middle of the frame was. I was so disappointed that I put this photo in a digital folder and hadn’t looked at it again until I started writing this story.
Cinematography, GearComments Off on Nikon Z 6 and Atomos Ninja V ProRes RAW Recording Option – First Look
The Nikon Z 6 and Z 7 have been around for quite some time but now it’s getting a new life. Something that will greatly elevate its performance thanks to the collaboration with Atomos. While Nikon is bringing to the table a full frame sensor camera, 12 bit RAW output via HDMI and a flat picture profile recording option (N Log), Atomos is contributing to this duo its external monitor/recorder expertise together with the built-in Apple’s ProRes RAW 12 bit recording option. There are many “industry firsts” in this exciting combination, including transferring the information between the camera and monitor/recorder on a consumer HDMI protocol interface. Now, openly speaking, is offering full frame, up to 4K, 12 bit ProRes RAW external recording option, enough to bring Nikon back to the center of attention of the aspiring filmmakers and content creators? Please read on.
Gear, MirrorlessComments Off on Leaked Photo Shows Canon 1D X Mark III with Silver-and-Black Color Scheme
A low-res leaked photo published by Canon Rumors today purports to show a Canon 1D X Mark III… but it doesn’t look like any 1D camera we’ve seen in recent years. The color scheme looks more like a film SLR from years past.
The photo has been modified by CR to cut out the photographer holding the camera, but otherwise this is a real photo of a real Canon camera being used in the wild. The question is what exactly are we looking at? Either Canon is planning to differentiate the 1D Series by adding another color option to the mix with the 1D X Mark III—which is currently only shown in black at online retailers—or this is just an unpainted prototype currently being tested in the wild.
GearComments Off on SIRUI 50mm Anamorphic Lens Review and Sample Footage
The new SIRUI 50mm anamorphic lens is promising to revolutionize a territory that, up until now, was out of reach for many. For $700 this lens sounds too good to be true, so I took it for a short spin and I’m happy to share my thoughts with you guys.
SIRUI 50mm anamorphic lens on a FUJIFILM X-T3. Image credit: cinema5D
Earlier this year during IBC, we had the chance to talk to Sonny from SIRUI who was kind enough to share with us some details about their upcoming 50mm f/1.8 1.33x anamorphic lens, and while the idea of developing such lens was great, I was a bit skeptical in what the end product would look like or better said, how well it would perform optically-wise. Fast forward to the present time, and I have this lens on my desk. Now, before proceeding to talk about the lens, let me take a quick step back.
GearComments Off on Wooden Camera Sony FX9 Accessories Announced
Wooden Camera has announced their accessory kits for the new full frame Sony FX9 Camcorder. The Sony FX9 accessories range from top handle and 15mm rails to dovetail baseplate with monitor mount.
Sony’s new full-frame cinema camera Sony FX9 has been introduced during this year’s IBC show in Amsterdam and it will start shipping soon. If you want to know more about the camera, make sure to check our previous articles:
GearComments Off on In Depth Comparison of the DJI Mavic Mini, Air, Zoom, and Pro Drones
With the latest Mavic Mini release, DJI now offers four drones in the Mavic line-up, ranging from entry level aircraft to professional grade quadcopter. But picking the right model might be confusing. Here is clear and comprehensive comparison based on direct, hands-on experience.
Criteria of Comparison
Price: The price point is an obvious criterion, but one must not forget all the associated costs of ownership, especially spare batteries which can run up to $159 each.
Portability: The drone size and weight will often dictate which model to buy. While the DJI Mavic Mini falls below the FAA registration threshold (250 grams), the Mavic Pro will take more space in your bag. The size also plays a role in public perception. Larger or louder drones look more intimidating to the public and attract more attention (visibility and noise).
Image quality: Larger drones tend to carry better sensors and optic. Entry-level models are often limited to lower video resolution format and can only record JPEG images.
Flight performance and features: While small aircrafts may struggle in windy conditions, larger drone can be more stable. The maximum speed may be an important feature when filming moving subjects such as racing cars and boats. The battery life is also a critical factor to consider.
Additional features: Anti-collision system, type of radio transmission technology, etc.