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Welcome to the B&H Online Video Center
Watch and learn with hands-on product demos, tips, buying guides and reviews, plus workshops from B&H Event Space.
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Posted 04/13/21
Continuing to round out its full-frame mirrorless system, Canon has just launched a trio of RF-mount prime lenses that contribute to this maturing and expanding system. Focusing on the long end of the focal length spectrum, Canon is introducing a fresh take on the popular 100mm f/2.8 macro option, as well as releasing 400mm and 600mm super-telephoto primes for the sports and wildlife crowd. As might be expected, all three lenses are L Series primes, indicating their optical excellence and durable physical designs. Also, in a surprise move, Canon has revealed the development of the EOS R3 —a brand-new full-frame mirrorless model designed to sit between the R5 and 1D X Mark III. More details on the R3 are coming soon but you can read about what we know right here on Explora. The RF 100mm f/2.8L Macro IS USM is the first true macro lens for the RF system and is the natural follow-up to the beloved EF 100mm f/2.8L Macro lens for SLRs. Taking the same short-telephoto focal length but upping the maximum magnification beyond life size, to 1.4x, and shortening the minimum focusing distance to 10.6", this new close-focusing prime also features a unique SA (spherical aberration) Control Ring. Canon RF 100mm f/2.8L Macro IS USM Lens A new feature for Canon, this control ring provides the opportunity to fine-tune bokeh rendering: At one end, images have smooth and blurry bokeh and at the other, imagery takes on a more prominent ring-shaped bokeh. Beyond the optics, this lens has been fitted with an Optical Image Stabilizer, which corrects for up to 5 stops of camera shake, or up to 8 stops when used with a compatible camera body featuring IBIS, and the lens also features a Dual Nano USM focusing system for smooth, responsive, and silent AF performance. © Creative Soul © Creative Soul © Dennis Prescott © Dennis Prescott © Rebecca Nichols © Rebecca Nichols Canon RF 100mm f/2.8L Macro IS USM Lens sample photos For sports and wildlife shooters, nothing beats a fast and long-reaching telephoto prime, and this is where the RF 400mm f/2.8L IS USM fits in. It’s a versatile focal length with an impressively bright design and uses trusted technology and a proven optical design comprised of fluorite and Super UD glass. In fact, if you were a fan of the EF 400mm f/2.8, there’s a lot of similarities between these two lenses; optically, they’re identical, and physically, the lens has just been updated for the RF mount. Canon RF 400mm f/2.8L IS USM Lens The Optical Image Stabilizer compensates for up to 5.5 stops of camera shake, and the USM focusing system yields snappy AF performance and works with programmable AF preset buttons for faster performance. It’s compatible with the RF 1.4x and 2x Extenders and works with drop-in 52mm screw-in filters. © Tyler Stableford 2x Extender © Tyler Stableford © Tyler Stableford © Tyler Stableford © Tyler Stableford 1.4 Extender © Tyler Stableford Canon RF 400mm f/2.8L IS USM Lens sample photos Even longer is the RF 600mm f/4L IS USM lens, which adds a respectable amount of reach, compared to the 400mm, while being just one stop slower. Cherished for working with smaller or even more distant subjects, this super-telephoto is a choice lens for birders, wildlife shooters, and some sports applications, too. Like the RF 400mm, this 600mm gets its optics from its EF 600mm f/4L predecessor, including the fluorite and Super UD glass that helps it achieve impressive sharpness, clarity, and color accuracy throughout the aperture range. Canon RF 600mm f/4L IS USM Lens The lens has been updated for the mirrorless RF mount and features an Optical Image Stabilizer to compensate for up to 5.5 stops of camera shake, and the USM focusing system offers quiet and quick focusing performance. Both super-teles also sport a rotating tripod mount with a removable foot, both accept the same 52mm drop-in filters, and this 600mm also has the same dust- and weather-resistant exterior for use in harsh weather. © Zak Noyle © Zak Noyle © Zak Noyle © Zak Noyle © Zak Noyle © Zak Noyle Canon RF 600mm f/4L IS USM Lens sample photos What are your thoughts on Canon’s latest RF-mount lenses? Have you been waiting for any of these telephoto options for your RF camera? Let us know your thoughts on Canon’s new lenses, in the Comments section, below.
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Posted 03/25/21
Never afraid to be unique, Sigma has just released the fp L mirrorless camera. The second member of the fp Series of compact, modular, hybrid cameras, the fp L storms in with an all-new, higher-resolution sensor, improved focusing performance, and even brings an accessory electronic viewfinder to the system. When the original fp was released in 2019, it stood out due to its minimal design and distinct feature set that clearly catered more to video applications over stills. The fp L is a revised take on this approach, with more attention given to photography needs, overall speed, and even handling, without giving up its characteristically small stature and customizable ergonomics. Using the 61MP sensor to show off detail and texture. Taken with the 65mm f/2 DG DN Contemporary lens. The Top Features What are the new features the fp L brings to the plate? Here’s everything you need to know in quick form. Full-frame 61MP BSI CMOS sensor: Up from the 24MP sensor of the original model, the higher-res sensor boosts detail while still keeping an impressive dynamic range and sensitivity range. Its back-illuminated design also yields an especially clean image with low noise. Phase-detection and contrast-detection AF: Compared to the contrast-detection-only design of the original, the hybrid focusing system of the fp L proves to be faster, better for tracking moving subjects, and more precise in tricky lighting conditions. There’s now an EVF for the system: The EVF-11 Electronic Viewfinder is an accessory component for both the fp L and the fp and is a 3.68m-dot OLED panel with a 90° upward tilting design for low-angle shooting. It’s available in a bundle with the fp L or separately for use with existing bodies. Same exact body design as the original fp: Not necessarily a new feature but, rather, a reaffirmation of the successful design of the compact and portable form factor of the first fp. This also means that all previous accessory grips, cages, the hot shoe unit, and loupe are all compatible with the new model. Continuous power via USB-C: The original fp allowed charging the battery inside the camera while it was turned off. The fp L lets you continuously power the camera via USB-C, which is perfect for time-lapse work, recording longer clips, or for working with the camera in a stationary position, like if using it as a webcam. Improved focusing speeds help catch a quick-moving train. Taken with the 100-400mm f/5-6.3 DG DN OS Contemporary lens. A Look Back Before digging more into the new features of the fp L, it’s important to take a look at Sigma’s history of camera design, and why the fp feels like a significant step for the company as a camera manufacturer. Prior to the original fp, Sigma was best known for its use of Foveon sensors, which are still to this day among the most unique sensors available due to their immense color depth and sharpness, albeit with the tradeoffs of reduced sensitivity, dynamic range, and higher noise levels. The fp from 2019 was Sigma’s first camera to adopt the more conventional Bayer array sensor, which offers improved flexibility in terms of dynamic range and sensitivity; as well as benefits video recording capabilities. More than the unique-for-Sigma Bayer sensor, the original fp stood out in the field of mirrorless camera designs for a number of other reasons: It’s still one of the most compact full-frame models available; it doesn’t contain a physical shutter, rather relying on an electronic shutter function; and it’s designed to be modular so each user can build the camera up however they see fit—two different hand grip options are available from Sigma, along with a loupe viewfinder, an accessory hot shoe, compatible third-party cages and grips, and so on. Late afternoon scene mixing harsh, deep shadows with bright, sunlit surfaces. Taken with the 65mm f/2 DG DN Contemporary lens. Looking Forward The fp L doesn’t stray from these unique features but does offer a wealth of refinements to push this bold release further, especially with how photographers approach the concept of a modular and multimedia camera. The original fp didn’t quite click with many photographers due to its relatively slow focusing performance, the lack of an electronic viewfinder, and because of the lack of a built-in hot shoe and subsequently cumbersome method for working with flash. Responding to this, Sigma made sure to address most of these points—faster phase-detection focusing and a new accessory EVF—although it still has the electronic shutter only design, and associated 1/15-second flash sync speed, and likely won’t be anyone’s first camera choice for flash photography applications. Conversely, though, the plus side to omitting a physical shutter from a camera’s design is the smaller, lighter-weight design, quiet operation, and theoretically improved durability since there are fewer moving parts. Assuming you’re a photographer who can forgo the need for faster flash sync, then the fp L rewards with the sensor design that includes phase-detection AF for accurate moving subject tracking. In use, this felt like one of the more apparent upgrades over the fp, along with the higher resolution. Focusing is snappier and more accurate, regardless of the type of subject with which you’re working. The 61MP sensor is great for picking out and emphasizing details in ordinary scenes. Taken with the 65mm f/2 DG DN Contemporary lens. And then there is the 61MP resolution, which puts the fp L squarely in the realm of an objectively high-resolution camera. In practice, this spec is sometimes a bit too much resolution, but I don’t think that’s necessarily a bad thing. With the spare resolution, so to speak, Sigma also incorporated a new Crop Zoom feature for “zooming into” the scene by simply cropping in from the full-frame image area. It’s a nice tool to have in-camera, since you can preview the look of a tighter crop while shooting, especially if you’re just working with a single lens that’s a bit too wide for the shot you want. In addition to the major updates, the fp L also received some more minor, but welcomed, additions: There is now a true 24.00 fps frame rate for video recording, Duotone and Powder Blue color modes have been added, custom camera settings can be saved and shared to other cameras via a QR code, you can take screenshots of the camera’s rear LCD, and the Director’s Viewfinder has been updated with new cine cam models and custom frame line options. More emphasis on details with this shot of peeling paint just before sunset. Taken with the 65mm f/2 DG DN Contemporary lens. fp L vs fp Comparing the fp L to the original fp, you’ll see the few changes between the models and how they look on paper. The interesting thing about comparing the two cameras, though, is that most of the differences are just an “on paper” matter, since they share the same body design and user interface. On the other hand, this comparison goes to show how just a few changes to a camera’s spec list can truly shake up how one interprets a camera. fp L fp 61MP BSI CMOS 36 x 24mm; Bayer Array Sensor 24.6MP BSI CMOS 35.9 x 23.9mm; Bayer Array UHD 4K up to 30p FHD 1080 up to 120p CinemaDNG 8-bit recording Video (Internal) UHD 4K up to 30p FHD 1080 up to 120p CinemaDNG 8-bit recording DCI 4K at 24p Raw 12-bit recording Video (External) DCI 4K at 24p Raw 12-bit recording Phase-detection and contrast-detection Autofocus Contrast-detection only ISO 100-25600 Expandable ISO 6-102400 Base ISO—Stills: ISO 100/400 Base ISO—CinemaDNG 12-bit and raw output: ISO 100/1250 Base ISO—MOV/CinemaDNG 10-bit, 8-bit: ISO 100/250 ISO Sensitivity ISO 100-25600 Expandable ISO 6-102400 Base ISO—Stills: ISO 100/640 Base ISO—CinemaDNG 12-bit and raw output: ISO 100/3200 Base ISO—MOV/CinemaDNG 10-bit, 8-bit: ISO 100/640 Electronic shutter 1/8000 sec to 30 sec Bulb up to 300 sec Flash sync up to 1/15 sec Shutter Speed Electronic shutter 1/8000 sec to 30 sec Bulb up to 300 sec Flash sync up to 1/30 sec Up to 10 fps Continuous Shooting Up to 18 fps Compatible with EVF-11 EVF Compatible with EVF-11 via future firmware update 3.15" 2.1m-dot touchscreen LCD LCD 3.15" 2.1m-dot touchscreen LCD BP-51 lithium-ion battery Approx. 240 shots/charge Battery BP-51 lithium-ion battery Approx. 280 shots/charge USB 3.1 Gen 1 Type-C HDMI Type-D 3.5mm Microphone Remote and timecode via microphone port Interface USB 3.1 Gen 1 Type-C HDMI Type-D 3.5mm Microphone Remote and timecode via microphone port 4.4 x 2.8 x 1.8" Dimensions 4.4 x 2.8 x 1.8" 15.1 oz with battery and SD card Weight 14.9 oz with battery and SD card Who Is the fp L For? When the original fp was released, most of the reviews and debates talked about who the camera was actually designed for. While I got along with it, surprisingly from a photographic perspective, most saw it as a compact cine camera that could handle photo tasks in a pinch. The fp L is clearly setting out to sway this balance back to a 50/50 split of users, welcoming both the photographers who want to shoot video and the cinematographers who want to shoot photos to the user base. I’m much more of a photographer, and I see the fp L as a valuable tool despite its apparent drawbacks. The compact size, quietness, and uniquely customizable design far outweigh the slow flash sync for the type of shooting I mainly do. Landscapes, travel shooting, natural light portraiture and lifestyle imagery, and even product shots and still lifes using constant light are all perfect subjects to tackle with the fp L. It’s a bird! It’s a plane! It’s the fp L using phase-detection focusing to keep up with fast-moving distant subjects! Taken with the 100-400mm f/5-6.3 DG DN OS Contemporary lens. Another strength of Sigma’s fp-series cameras, too, is their participation in the L-Mount Alliance —a three-way partnership between Sigma, Leica, and Panasonic—that further contributes to it being one of the most adaptable systems out there, which is perfect for shooters who like to dabble between manufacturers. And Then the EVF Directly confronting the many requests for a “real viewfinder” on the original fp, Sigma has responded with the EVF-11 Electronic Viewfinder. In fp system fashion, this finder is an auxiliary EVF and attaches to the side of the camera body, much like the included HU-11 Hot Shoe Unit does. This optional EVF connects via the USB-C port and is secured via the side ¼"-20 mount, and the EVF itself has additional headphone and USB-C ports and another ¼"-20 mount for the strap. The finder has a 90° upward tilting design that suits shooting at low angles, and it has an integrated switch for changing between the EVF and LCD for shooting and reviewing images. While the switch works great for changing, it would have been great to see Sigma incorporate an eye sensor for automatic switching between the body and the finder. Otherwise, this 3.68m-dot OLED is just as good as pretty much any other EVF on the market and felt like it had minimal impact on overall battery life in a regular day of shooting. The EVF-11 is the perfect tool for working in bright and direct light conditions, such as during sunset. Taken with the 65mm f/2 DG DN Contemporary lens. It’s no surprise that I am a fan of the original fp, and it goes without saying that the fp L makes even more sense to me from a photographer’s standpoint. It’s still an undeniably quirky camera, but the fp L tames the quirkiness quite a bit and stands as a serious offering for a variety of image-making tasks. What are your thoughts on Sigma’s sophomore L-mount mirrorless effort, the fp L? Are you a fan of the modular design and unique feature set of the fp L? Let us know your thoughts in the Comments section, below.
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Posted 03/16/21
Sony has officially entered the realm of extremely fast glass with its newest addition to the G Master family: the FE 50mm f/1.2 GM lens. Not only does the new lens add one of the most popular prime focal lengths to Sony’s top-tier lineup, but it also becomes Sony’s fastest E-mount lens to date. The flexibility of the 50mm focal length and brightness of an f/1.2 aperture make this lens an ideal candidate for portraiture and fashion, whether working in the studio or out on location. The impressively compact and lightweight build of this lens—its length and weight match that of its ½-stop slower predecessor—should attract street, event, and even landscape photographers looking for a high-performing prime. Sharp Focus and Soft Bokeh To capture exacting images with razor-thin depth of field, the new G Master takes advantage of Sony’s latest advances in lens technology and consists of 14 elements arranged in 10 groups. Three XA (extreme aspherical) elements join forces to combat aberration, maintain corner-to-corner sharpness, and produce smooth out-of-focus areas. A newly developed 11-blade circular aperture further contributes to clean and natural bokeh, whether in the foreground or background of an image. Combine these attributes with a minimum focusing distance of 1.3' and maximum magnification of 0.17x and the lens becomes a solid option for capturing close-up subjects. Fast AF and Intuitive Design The 50mm f/1.2 utilizes four XD (extreme dynamic) motors for fast, precise, and quiet autofocusing. Responsive manual focusing permits quick and smooth adjustments when shooting stills and expanded creative possibilities when recording video. Like other G Master lenses, a focus mode switch is included on the side of the lens barrel for quick toggling between focus modes. New is the addition of a second focus hold button on the lens barrel, which can be customized to your preference. Familiar to G Master veterans is the inclusion of a de-click switch for the aperture, a useful feature when recording video. Built to Last Like past G Master lenses, the 50mm f/1.2 features hybrid metal-and-plastic construction to balance weight and durability while providing protection against dust and moisture. The front element features a fluorine coating to prevent fingerprints, dirt, water, and other contaminants from sticking to its surface. How Does It Compare? The FE 50mm f/1.2 GM is a major upgrade compared to Sony’s Planar T* FE 50mm f/1.4 ZA lens and a direct competitor to Canon’s RF 50mm f/1.2L USM and Nikon’s NIKKOR Z 50mm f/1.2 S lenses. One of the most impressive aspects of the new prime is how Sony was able to maintain the same size and weight as its f/1.4 model while adding 36% more optical surface to achieve an extra ½ stop of brightness. It matches the length and weight of Canon’s f/1.2, making them both lighter and smaller than Nikon’s version. From a usability standpoint, the Sony features more on-lens tactile controls than the Canon, while the Nikon offers a unique OLED display on the barrel of the lens. Model Maximum Aperture Length Weight Optical Construction Diaphragm Blades Sony FE 50mm f/1.2 GM f/1.2 4.25" 1.7 lb 14 elements, 10 groups 11 Sony Planar T* FE 50mm f/1.4 ZA f/1.4 4.25" 1.7 lb 12 elements, 9 groups 11 Canon RF 50mm f/1.2L USM f/1.2 4.25" 2.1 lb 15 elements, 9 groups 10 Nikon NIKKOR Z 50mm f/1.2 S f/1.2 5.9" 2.4 lb 17 elements, 15 groups 9 Also New from Sony: Camera-Mount Bluetooth Wireless Audio Sony’s announcement of the FE 50mm f/1.2 GM lens follows the release of a pair of audio upgrades aimed at mirrorless video shooters: the ECM-W2BT Camera-Mount Digital Bluetooth Wireless Microphone System and ECM-LV1 Compact Stereo Lavalier Microphone. The ECM-W2BT was designed for vloggers, journalists, and other video content creators seeking an on-camera wireless mic solution. The system consists of a receiver that attaches directly to the MI shoe of compatible Sony cameras and a clip-on transmitter with built-in omnidirectional microphone for quick setup. Each features built-in rechargeable lithium-ion batteries that can last up to 9 hours when attached to the MI shoe or 3 hours on their own. Utilizing Bluetooth connectivity, the system can operate up to 650' in good visibility. Microphones are built into the transmitter and receiver, allowing the camera operator and talent to be recorded at the same time. A moisture- and dust-resistant design means you can use the system outdoors with confidence under less-than-ideal conditions. For low-profile audio recording scenarios, the ECM-LV1 lavalier connects with the ECM-W2BT’s transmitter via a 3.3' cable and 3.5mm TRS connector, minimizing the visible footprint of your audio setup. The lav records stereo audio via two omnidirectional capsules. A foam windscreen is included to minimize noise during recording. What do you think of Sony’s latest announcements? Are you itching to shoot with your Sony camera at f/1.2? Ready to incorporate wireless audio into your video setup? Share your thoughts in the Comments section, below!
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Posted 02/24/21
Sigma has announced a fascinating new f/2.8 standard zoom lens as part of its Contemporary lens line, and true to the Contemporary’s core concept, this 28-70mm f/2.8 DG DN Contemporary lens affords that elusive balance of performance and portability. It is currently the smallest and lightest full-frame f/2.8 standard zoom lens on the market and is available for Sony E-mount and Leica L-mount mirrorless cameras. Based on the optical design of the successful Sigma 24-70mm f/2.8 DG DN Art lens, this 28-70mm lens is decidedly lighter and more compact than its slightly faster stablemate. By still maintaining a common and convenient range of focal lengths, along with the bright f/2.8 constant maximum aperture, this lens should entice many photographers looking for a standard zoom that doesn’t overwhelm their smaller size mirrorless camera body. The advanced optical design of the new lens includes three aspherical, two FLD, and two SLD elements, and despite using fewer total elements than the 24-70mm f/2.8 Art lens, the design corrects axial chromatic aberration and sagittal coma aberration for sharp images, from the center to the edges of the frame. Along with its anti-ghosting design, the use of a Super Multi-Layer Coating controls flare for high-contrast results. The lens features a water- and oil-repellent coating on the front element, has a dust- and splash-proof structure only at the mount, and features fewer and smaller switches on the barrel than the Art lens. Each of these design refinements result in the smallest and lightest lens in its class. The new lens also houses just one lightweight focusing element, which keeps the AF unit small, and with a quiet stepping motor, the internal focus system provides near-silent autofocus performance that is useful for both stills and video capture. Sigma continues to evolve its compact lens options while maintaining the optical performance of its most notable lenses. In my experience using Sigma’s Contemporary and Art series lenses, they both are able to withstand the dings of day-to-day use. If anything, the smaller size protects the Contemporary lenses from the heavier bumps and “strap swing” caused by bigger lenses. Not to mention they are often better balanced on the camera, more comfortable on the neck, and have simple control settings. This Contemporary series 28-70mm f/2.8 L-mount lens weighs just 1 lb, compared to the 1.8 lb of the 24-70mm Art lens, and its barrel diameter is 72mm (67mm filter) compared to 88mm (82mm filter). Some photographers may choose to note the slightly wider angle of view and robustness of the Art series lens, but I see this new Contemporary lens as truly leveraging the technological and design attributes of mirrorless cameras to provide a simple, efficient, and—foremost—compact, wide aperture, zoom lens. Let us know your thoughts on the Sigma Contemporary series lenses and your prospective uses for this new 28-70mm f/2.8 lens in the Comments section, below. Previous Pause Next
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Posted 02/17/21
Expanding its L-mount portfolio, Panasonic has just announced the Lumix S 70-300mm f/4.5-5.6 Macro O.I.S. lens, a flexible telephoto zoom with unique close-focusing capabilities. Fitting into the full-frame L-mount lens lineup as a lighter-weight, longer-reaching telephoto zoom than the 70-200mm options, this lens adds on to these benefits with the inclusion of a 1:2 macro designation and apt image stabilization to promote sharper handheld shooting. Considering its portrait-length to super-tele zoom range, this lens is perfect for portraiture, sports, and even wildlife shooting applications. Its quick-focusing Linear AF motor pairs with Panasonic’s DFD technology for responsive subject tracking, and the lens’s physical design, with a built-in focus mode switch and focus range limiter, offers intuitive handling in quick-paced scenarios. Also, benefiting video creators, this lens has well-controlled focus breathing for consistent rendering throughout the zoom and focusing ranges. In addition, one of the spotlight features of this tele zoom is the impressive 1:2 maximum magnification ratio, at the 300mm focal length and 2.4' focusing distance, for half life-size shooting. Optically, this lens features two ED elements, one ultra ED element, and one ultra-high-refractive index element, which all help to suppress various aberrations and distortion throughout the zoom range to achieve high sharpness and clarity, along with accurate color fidelity. An 11-blade diaphragm is featured, too, and yields soft bokeh, along with distinct 22-point starbursts when stopped down. Contributing to intuitive handling, this Panasonic 70-300mm also includes a 5.5-stop effective image stabilization system, which works in conjunction with Dual I.S. 2 on select Panasonic cameras, for robust shake correction to enable sharper handheld shooting. Additionally, this lens is dust, splash, and freeze resistant to suit working in harsh weather conditions. What are your thoughts on Panasonic’s new L-mount telephoto zoom? What lenses do you think are still needed for the L-Mount Alliance? Let us know your thoughts in the Comments section, below. Previous Pause Next
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Posted 01/21/21
Breaking the status quo of medium format, FUJIFILM has announced the GFX 100S. This mirrorless medium format camera ups the resolution to 100MP, shrinks the body size to something highly portable, and packs in a full suite of multimedia recording features to suit both photo and video needs. Alongside the camera body, FUJIFILM has also introduced the fastest autofocus-enabled medium format lens to date: the GF 80mm f/1.7 R WR. Combined, the new camera and lens make medium format approachable and viable for the contemporary image maker, together bringing more speed, more resolution, and more versatility. When FUJIFILM entered the medium format realm in 2017, the company changed the genre with the GFX 50S. This was one of the smallest medium format cameras to date, as well as being one of the more affordable cameras relative to the category. Four years later, FUJIFILM is once again shaking things up with the GFX 100S. Stated simply, this camera is putting 100MP and medium format within reach (and physical grasp) of many photographers. Besides coming in at an impressive price point, this camera is also among the smallest, lightest, and most portable medium format cameras around, feeling more like a full-frame camera than something containing a large 44 x 33mm BSI CMOS sensor. Up until this camera, FUJIFILM’s medium format lineup has consisted of three separate models that were distinct due to physical traits and sensor details. This GFX 100S feels like it’s picking the best features of all three models—the 102MP sensor of the GFX 100, the sleekness of the GFX 50R, and the forethought and presence of the original GFX 50S—and combining them into something truly useful. Statement piece aside, the GFX 100S is, undoubtedly, characterized by its huge, high-res sensor along with its X-Processor 4 image processor, which help to achieve up to 5 fps continuous stills shooting at full-res, along with expandable sensitivity from ISO 50 to 102,400. The slimmed-down body design required an updated 5-axis in-body image stabilization mechanism, which successfully reduces the appearance of camera shake by up to 6 stops when combined with an OIS-enabled GF lens. The new body design also required a new shutter design, which offers increased accuracy and reduced vibration to suit the sensor’s resolution. Both of these elements help facilitate the Pixel Shift Multi-Shot mode, which can be used to create 400MP composited shots in-camera. Beyond stills, the GFX 100S uses its huge sensor area to provide a unique look when recording video, with DCI/UHD 4K recording possible up to 30p with 10-bit F-log or 12-bit ProRes RAW output supported. Complementing stills and video, FUJIFILM has also released a new Film Simulation mode with this camera: Nostalgic Neg, which further emphasizes the filmic look achievable with this camera. The sensor’s design also offers a hybrid autofocus system, which employs 425 selectable points to achieve focus in as little as 0.16 of a second, with AF sensitivity down to-5.5 EV. Phase-detection points cover the full width of the sensor, for high accuracy across the frame, and the processing capabilities afford responsive subject tracking and Face and Eye-Detection AF. Equally as impressive as the high resolution is the compact body, which looks and feels decidedly smaller than your typical medium format body—weighing just about 2 lb for the body and measuring 5.9 x 4.1 x 3.4". Despite the attention given to portability, FUJIFILM has still ensured durability by featuring a magnesium-alloy chassis and full weather sealing around the body, making it suitable for working in inclement weather and freezing temperatures down to 14°F. The body also features a fixed, built-in 3.69m-dot OLED EVF, which offers 0.77x magnification, along with a three-way tilting 3.2" 2.36m-dot touchscreen LCD. A top settings LCD is featured, too, along with a control set that feels like a balance between the GFX 50S and the original GFX 100. The single adjustable mode dial gives quick access to six custom modes, while the top LCD offers immediate confirmation of shooting and exposure settings. Finally, announced alongside this compact beast of a camera, FUJIFILM is also announcing the GF 80mm f/1.7 R WR lens, the fastest autofocus lens available for medium format. Historically, medium format lenses have never been known as being “fast,” and one of the most frequently heard requests from shooters, especially since medium format’s recent bump in popularity, has been to make brighter lenses that are akin to the focal length and aperture combos we’re familiar with in the 35mm format world. FUJIFILM is taking on this challenge with this 80mm f/1.7—a short portrait-length prime that should feel like a 63mm lens on full frame. It’s wide enough to give some context to the scene, tight enough to home in on your subjects, and the bright f/1.7 design will certainly contribute to shallow depth of field to help blur away busy backgrounds. Beyond getting the bright maximum aperture right, FUJIFILM has also made sure to limit the physical size of the lens so as not to be too unwieldy. It weighs 1.75 lb and measures 3.7 x 3.9", making it suitable for location-based jobs and all-day handheld shooting sessions. Optically, the lens features one aspherical element and a pair of ED elements, which boost sharpness and color accuracy, and the lens has a rounded nine-blade diaphragm that further contributes to smooth, round bokeh. And, complementing the camera body, the lens is also weather sealed, capable of performing in freezing temps, and has a protective fluorine coating on the front lens element. FUJIFILM is certainly making big moves with the announcement of the GFX 100S and the GF 80mm f/1.7 R WR. It definitely feels like the company is making a pointed attempt at blurring certain barriers between full-frame and medium format while relying on medium format’s inherent strengths to keep the two formats distinct and separate. It’s exciting to see an attainable 100MP medium format mirrorless camera out in the world, as well as relatively compact and impressively fast lens for the system. What are your thoughts on FUJIFILM’s latest splash in the medium format realm? Do you think the GFX 100S is helping to bridge the gap between full-frame and medium format? What about the fast lens? Let us know your thoughts on FUJIFILM’s announcement in the Comments section, below.
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Posted 01/21/21
FUJIFILM has just rolled out a trio of new products for the FUJIFILM X-Series: the X-E4 mirrorless camera, the XF 70-300mm f/4-5.6 R LM OIS WR telephoto zoom, and a redesigned XF 27mm f/2.8 R WR compact prime lens. With a little something for every photographer, these new offerings add even more depth and versatility to an already-impressive camera system. The X-E4 brings FUJIFILM’s top APS-C sensor, processor, and video capabilities to the sleek X-E rangefinder body; the long-ranging XF 70-300mm lens is designed for landscape and wildlife shooting, when keeping your kit light and streamlined is of the essence; and the improved XF 27mm f/2.8 R WR lens retains all of the stealth and portability benefits of a traditional “pancake” lens for those looking to stay discreet while capturing moments. FUJIFILM X-E4 with the XF 27mm f/2.8 R WR Lens, and the XF 70-300mm f/4-5.6 R LM OIS WR Lens The FUJIFILM X-E4 is armed with the same 26.1MP X-Trans CMOS 4 sensor that is in the flagship X-Series cameras—the X-T4 and X-Pro3—but this sensor is now living in the smaller and sleeker X-E rangefinder-styled body. Besides a new sensor, this latest generation X-E camera also features a 3.0" 1.62m-dot, 180° forward-tilting LCD touchscreen and sports a 2.36m-dot OLED EVF. Autofocus has been clocked at 0.02 second and functions down to-6 EV for true low-light use. Equally at home capturing stills or video, the X-E4 records both DCI and UHD 4K at up to 30p in 4:2:0 8-bit color to an SD card or 4:2:2 10-bit color to an external device via HDMI. The camera can also make super-slow motion Full HD videos at 240p. FUJIFILM X-E4 in silver and black The X-E4 body only is available, or with the new XF 27mm f/2.8 R WR lens in kit form. The camera can also be accessorized with a leather case, metal handgrip, and thumb rest. The new XF 70-300mm f/4-5.6 R LM OIS WR is a versatile lens, designed to give the telephoto reach demanded by nature and landscape photographers in a portable, hand-holdable form factor weighing just 1.5 lb and measuring 5.2" long. Offering an equivalent 107-457mm focal-length range, this reach is benefited by an advanced optical design that includes a pair of ED elements to suppress chromatic aberrations and color fringing throughout the zoom range for high clarity and color accuracy. A close minimum focusing distance of 2.7' suits working with nearby subjects, and the lens is also compatible with both the XF 1.4x TC WR and XF 2x TC WR teleconverters to extend its reach even further. Balancing the optics and improving handheld shooting is an Optical Image Stabilization system that compensates for up to 5.5 stops of camera shake, and the lens is also dust and moisture resistant and can operate in temperatures as low as 14°F. FUJIFILM XF 70-300mm f/4-5.6 R LM OIS WR Lens On the other end of the lens spectrum is the new, redesigned XF 27mm f/2.8 R WR, which serves as an update to the popular pancake XF 27mm f/2.8. A lens that has always been popular with photographers looking to travel light and blend into their surroundings, this compact prime adds a couple of new features to make it an even more useful lens: 1. A marked aperture ring that functions even when the camera and lens are powered off 2. Weather sealing. With a 35mm equivalent focal length of 41mm, this lens strikes a balance between the traditional 35mm and 50mm focal lengths and gives street, travel, and everyday photographers a light and unobtrusive optical tool for creating images. Available as an add-on option, the lens can also be equipped with a hood and dedicated lens cap for the hood. FUJIFILM XF 27mm f/2.8 R WR Lens What are your thoughts on the latest X Series additions? Are you a fan of the rangefinder-styled design of the X-E4? Happy to have a sleek telephoto zoom option? Or looking forward to the improved 27mm pancake lens? Let us know your thoughts in the Comments section, below.
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Posted 01/13/21
Among the madness that is CES, Sony slipped in a surprise photo announcement: the FE 35mm f/1.4 GM lens. Sony has been very clear that this full-frame E-mount lens is aiming to deliver top-tier image quality in a compact package, and it looks like the company absolutely hit the mark. The 35mm GM appears to be one of the best and most versatile prime lenses to join Sony's ever-growing mirrorless system. The Basics As stated earlier, the FE 35mm f/1.4 GM is designed for use with full-frame E-mount cameras. This includes options like the a7/a9 series, as well as the Cinema Line cameras, including the FX6 and FX9. It will also work well with APS-C and Super 35mm models where it will offer a 52.5mm equivalent focal length. If you shoot practically any contemporary Sony camera, you should be happy with this lens. Photographs © Stephanie Gross The FE 35mm f/1.4 GM is a perfect match for a7-series cameras and creates a compact and versatile system. With this G Master lens, Sony has once again put the emphasis on resolution and bokeh. Using two eXtreme Aspherical (XA) elements, it retains sharpness out to the edges. Assisting is an extra-low dispersion (ED) element that practically eliminates chromatic aberrations—a common problem with fast-aperture lenses. These specialized elements also contribute to smooth bokeh, and an 11-blade diaphragm ensures circular bokeh shapes. And there is a Nano AR Coating II to minimize ghosting and flares. The lens can focus down to 10.6" with AF or 9.8" in manual, and it makes use of two eXtreme Dynamic (XD) linear motors for fast, quiet focus, and is internally focusing. There is a large, rubberized focus ring that benefits from linear response manual focus for better control, too. If you are familiar with the FE 24mm f/1.4 GM, you will find the 35mm GM is quite similar in terms of design. The 35mm is only slightly larger, which makes it incredibly compact for its particular combination of focal length and aperture. It measures 3.0 x 3.8" and weighs less than 1.2 lb. It's impressive. Other matching features include a physical aperture ring, de-click switch, focus hold button, AF/MF switch, fluorine coating, and dust- and moisture-resistant construction. Hands-On Thoughts This lens is beautiful and feels great in the hand. Sony has done wonders lately with the 24mm and, now, the 35mm GM as the company shows that you can still make lenses that are extremely compact and don't compromise on image quality. The 35mm GM is another winner. The lens is very similar to the 24mm GM, which is good. Images are sharp and distortion is very well controlled. Resolving power does not seem to be an issue as it appears to maintain detail even with the demanding 61MP sensor in the a7R IV. You can make out individual hairs and threads on clothing, with no issue. Sony a7R IV; f/5; 1/100 sec; ISO 125 Bokeh is smooth with the fast f/1.4 aperture, and the close minimum focusing distance allows users to create images with extremely shallow depth of field. This makes it useful for a variety of applications, including portraits. Also, the fast aperture is good for low-light situations. It might be a little too shallow in some cases, so be careful not to just have it at f/1.4 all the time. It also does get a little bit sharper if you stop down to f/2 or f/4, though it isn't a dramatic jump. Wide open is still very sharp. Sony a7R IV; f/1.4; 1/80 sec; ISO 80 Vignetting at wider apertures is very minimal and is very easily cleaned up in Photoshop or any other raw developer. And, as I wrote earlier, distortion is not a problem in the slightest. This shouldn't be too surprising since 35mm isn't that far off from normal 50mm and shouldn't display much distortion in the first place. Sony a7R IV; f/1.4; 1/100 sec; ISO 500 Autofocus is fast, as is expected, and it tracks well with Sony's features, including Eye AF. There really haven't been issues with AF and Sony lenses in a good long while. Video shooters will also appreciate this because the focus motors are silent and work very well with the a7S III's speedy system, and I would expect similar performance on the FX6 and FX9. The linear response manual focus is also very good, though I'm not sure it's quite to the level of mechanically linked focus; it's as good as focus-by-wire can get. And the de-clickable aperture ring is always nice. Previous Pause Next There isn't anything I can pick out as a flaw with this lens. It's smaller than many competing options, is able to deliver on promised image quality, and, while not cheap, isn't truly that expensive—considering its feature set. Sony knocked it out of the park with this one. Compared to Sony's Other 35mm Lenses Now, you might be wondering how this is different from the older Sony Distagon T* FE 35mm f/1.4 ZA Lens since they share core specs and premium branding. It's a good question. Primarily, since the 35mm GM is newer, it is able to make use of Sony's latest optical technologies, such as XA elements and the Nano AR Coating II. It also has an improved focus system that includes a linear response manual focus and smoother performance that is great for video. Plus, it is 0.6" shorter and lighter by about 3.7 oz—a notable savings on both fronts. You might simply call the 35mm GM "better," but I would say they are just different, and they hit different price points to appeal to different users. Sony Distagon T* FE 35mm f/1.4 ZA Lens | Sony FE 35mm f/1.8 Lens | Sony FE 35mm f/1.8 Lens Beyond the 35mm f/1.4 ZA, Sony has two other full-frame 35mm lenses to choose from—the FE 35mm f/1.8 and Sonnar T* FE 35mm f/2.8 ZA. The 35mm GM still sits far above these in terms of optics performance and speed. Even though this new f/1.4 is relatively compact, when compared to the f/1.8 and f/2.8 it looks large. The 35mm f/2.8 is incredibly small and is one of my favorite lenses because of that. However, most folks will likely be drawn to the 35mm f/1.8 because it offers a bit more speed with only a bit more bulk. The f/1.8 still doesn't have everything since it lacks a physical aperture ring and the more advanced AF of the new GM. Still, it is likely the best choice for most photographers. If you want the best, the choice is clear: Get the FE 35mm f/1.4 GM. Breakdown: FE 35mm f/1.4 GM: Incredible resolution, compact design, fast f/1.4 aperture, and the latest tech. The top-of-the-line 35mm. FE 35mm f/1.4 ZA: Excellent resolution, the "ZEISS Look," and a fast f/1.4 aperture. FE 35mm f/1.8: Best all-arounder with lightweight design, advanced optics, good f/1.8 aperture, and middle-of-the-pack feature set. FE 35mm f/2.8 ZA: Incredibly compact, near-pancake design, excellent optical quality. Specialty optic if you want the smallest lens without compromising image quality. What are your thoughts on the Sony FE 35mm f/1.4 GM Lens? Share them in the Comments section, below. This might just be my next purchase and, considering that the 35mm is my favorite focal length, could quickly become my most-used lens. See more of Stephanie Gross's photographs on Instagram @yungstephie.
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Posted 11/12/20
Doug Guerra tries the Tamron 70-300mm f/4.5-6.3 Di III RXD Lens using the Sony a7R IV. This Tamron lens offers a good balance of size, reach, and image quality for your full-frame, mirrorless Sony camera. Previous Pause Next Click here to learn more about the Tamron 70-300mm f/4.5-6.3 Di III RXD Lens at B&H Explora.
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Posted 10/13/20
FUJIFILM's new X-S10 mirrorless digital camera packs an impressive set of features for hybrid photo and video creators into a lightweight yet ergonomic body. An APS-C format 26.1MP BSI sensor, 5-axis in-body image stabilization, and the ability to record 4K video all set in a body 30% lighter than past X-series cameras make this camera an excellent choice for on-the-go creatives. It is also available kitted with a 16-80mm or 18-55mm lens. Accompanying the X-S10 is the updated XF 10-24mm f/4 R OIS WR lens, which now features dust and weather sealing, an additional stop of image stabilization, and an updated aperture ring. FUJIFILM X-S10 Mirrorless Digital Camera The X-S10 uses a 26.1MP BSI X-Trans CMOS 4 sensor to create the kind of high resolution and color-accurate images for which FUJIFILM cameras have become known. Its quad-core X-Processor 4 CPU enables the X-S10 to achieve focus in less than 0.02 seconds and shoot continuously at up to 20 fps. Responsive Tracking, Face, and Eye-Detection autofocus take the onus of keeping your subject in focus off your shoulders. For scenarios that require immediate action, the X-S10 also includes an updated Auto/Scene Positioning mode for fast and intuitive capture. Finally, a working sensitivity range of ISO 160-12800, expandable to ISO 80-51200, equips the X-S10 to tackle a variety of lighting environments. Optimized for handheld shooting, the X-S10 incorporates a noticeably deep grip into its build for confident handling with various lens sizes. This is complemented by 5-axis in-body image stabilization (IBIS), which provides up to 6 stops of compensation so you can shoot at lower than usual shutter speeds or attach long lenses without worry. For ultimate stability, combine it with any of FUJIFILM's OIS system lenses for even greater stabilization benefits. A final level of protection is provided by a mechanical shock absorber, which prevents vibrations from the camera's shutter from affecting images. The X-S10 follows the trend of hybrid mirrorless cameras designed for today's generation of still and video creators and includes a 180-degree vari-angle touchscreen LCD that makes it easy to monitor capture and make adjustments from behind or in front of the camera. The X-S10 offers DCI/UHD 4K recording up to 30p as well as Full HD recording up to 240p for super-slow motion applications, and a micro-HDMI port allows external 4:2:2 10-bit color using an optional recorder. Additionally, 4-axis digital image stabilization is also applicable to video capture to minimize shake during handheld use. Following in the tradition of past FUJIFILM mirrorless cameras, the X-S10 incorporates 18 film simulation modes for analog converts. New with this camera is the ETERNA Bleach Bypass simulation, a desaturated, high-contrast look perfect for creative applications. Alongside the X-S10 camera is the freshly updated XF 10-24mm f/4 R OIS WR lens, a fast zoom with a 15-36mm equivalent focal length range that is perfect for landscape, architectural, street, and other wide-angle applications. While maintaining the same optical design that made this lens popular upon its first release, the new version adds dust and weather sealing so you can use it in less-than-ideal conditions without fear. The updated version also offers improved stability in the form of an additional stop of stabilization, making it capable of 3.5 stops of vibration reduction. An aperture lock has also been added, and the aperture and focusing rings have been reduced in size. What do you think of FUJIFILM's latest camera and lens? Share your thoughts in the Comments section, below!
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