The Phoblographer

We’re putting the Leica 35mm f2 APO Summicron through its paces.

The new Leica 35mm f2 APO Summicron was announced, and it costs over $8,000. But why? Well, it’s got 11 aperture blades just like a Sony G Master lens. It can also focus as close as 11 inches away. That’s incredible for a rangefinder lens! On top of that, it’s also about an inch and a half long. Crazy, right? We discussed that in our recent episode of Pro Camera Reviews.

In This Episode:

So How Is the Leica 35mm f2 APO Summicron ASPH?

In our announcement post, we found the new Leica 35mm f2 APO Summicron ASPH to be pretty innovative. It’s only around an inch and a half long. Plus it has 11 aperture blades, and can focus under a foot away. That’s incredible for a rangefinder lens! Of course, all this comes with a high price tag. At a little over $8,000 we’re very curious to see if it’s really all it’s being hyped up to be. There are some very cool things going on here for sure. Gear Editor Brett Day is testing this out, and it’s his first Leica experience. Tune in to see what we think!

On the Next Episode

Canon EOS M50 II – First Impressions: The original Canon M50 was a Mirrorless camera that found favor with newcomers to traditional cameras and with vloggers. While it was a great camera for video creators, it was a little bit lacking when it came to stills performance. The Canon M50 II was quietly released late last year. The new camera should boast improved autofocus performance and a few other features that cater more to videographers. Brett will be talking about his first impressions of the Canon M50 II as a stills camera during this segment. Join us for a lively discussion and to see some image samples from this tiny Mirrorless camera.

Gitzo Legende Backpack Overview: The brand new Gitzo Legende backpack is in for review. This is a positively beautiful camera bag! Currently being funded on IndieGogo, we managed to get one of the 100 units available in America. Targeted clearly to the outdoor photographer, it boasts beautiful green canvas and brown leather. Gitzo is also building this bag with very sustainable materials. That’s good for folks who care about the environment! So far, Chris likes it, but as he’s talked about with Gitzo, there are a few concerns. We’ll discuss in this episode of Pro Camera Reviews!

About Pro Camera Reviews

Pro Camera Reviews happens every Sunday. Sign up to join us! Please Register here.

Pro Camera Reviews is a web show by the Reviews Team of The Phoblographer. Join them as they candidly discuss the products they’re actively reviewing and the gear they’ve just reviewed. Open Q and A from the audience towards the end of the show. Every Sunday at 7pm EST.

Please register here.

If you’re looking for a fun time while staying safe, we strongly recommend that you tune in for Pro Camera Reviews. It’s a weekly show where the staff tackles a couple of issues in the Photo World. They mostly pertain to cameras and lenses, but sometimes things get a bit more serious. This is partly because we still feel that we need to be educators and leaders in this space. Additionally, we also need to be responsible. They’re Live Streamed to our Facebook Page, then shared on Flipboard TV and YouTube. We recommend that you subscribe to us on Youtube to keep up.

Astrophotography is incredibly fun, and capturing subjects like the Milky Way is easier than you think.

Have you ever wanted to capture stunning pictures of the night sky but weren’t really sure what you need to do? If so, this beginner’s guide to astrophotography is for you. This quick guide will look at astrophotography basics and cover things such as camera settings and the 500 rule. We’ll also take a quick look at how to plan your shoot and how to stack images. So, if you’re ready to try your hand at astrophotography, head on past the break.

Astrophotography scares a lot of photographers. Many people think capturing images of the Milky Way is hard. However, it’s actually pretty easy if you remember a few key settings. Most cameras these days are more than adequate at high ISO levels. This means you don’t even have to use ultra-fast, expensive lenses (although it will obviously help). You can see three of our favorite lenses for Astrophotography here. You can also check out three of our favorite cameras for Astrophotography in this roundup. If you want to try capturing the Milky Way this astrophotography season, follow the quick guide below. You’ll be amazed at what you can capture.

Camera Settings and the 500 Rule

There are just a few things to remember when it comes to settings for Astrophotography. For some of us, these will be obvious, so this section is a warm welcome to the newcomers. Become familiar with your camera; the best way to shoot is in manual mode. If you’re new to manual mode, don’t worry. It’s really not as complicated as it may seem. Also, make sure you are shooting RAW. You will need to work on your files during post, and you’re going to want as much data to push and pull as possible.

Astrophotography ISO Settings and White Balance Settings

Selecting a higher ISO will introduce noise into your image, but there are ways to remove it later. You need to use a high ISO so that your camera can pick up as many stars in the night sky as possible. Remember, those dots of light are tiny, and your camera has to be able to see them. A good starting point is ISO 2000. Take a test shot and see how it looks. Usually, I end up between ISO 3200 and ISO 6400 in really dark areas and around 1600 to 2000 if there is ambient light. Use these numbers as a base and play around. There is not one ISO setting that fits all. When it comes to ISO, you can manually set it to around 4000k. If you are shooting RAW (which you should be), you can also alter it to your taste when editing.

Astrophotography Aperture Settings

Aperture settings for astrophotography are as easy as pie. Just set your lens as wide open as it will go. Have an f1.8 lens? Set it at f1.8. If your lens can only go to f2.8, set it to f2.8. If your lens is slower than this, no worries. Set it wide open and just increase your ISO or shutter time. Let all of that glorious starlight in! This is one setting that just needs to be set and forgotten about.

The 500 Rule and Avoiding Star Trails

The 500 rule dictates how long your shutter speed can be in relation to the focal length of your lens. Divide 500 by the focal length, and you’ll get your maximum shutter speed. This number is the longest amount of time you can shoot before you start to get star trails. For example, if you have a 14mm lens, your max shutter speed would be 35.7 seconds (500/14). Here are a few examples of common focal lengths used in astrophotography:

12mm: 500/12 = 41.6 secs

14mm: 500/14 = 35.7 secs

18mm: 500/18 = 27.7 secs

24mm: 500/24 = 20.8 secs

10 second exposure at ISO 1600

If you’re shooting with a crop sensor camera, you’ll need to multiply your focal length by x1.5 (x1.6 for Canon) and divide by 500. For example, if you shoot with a 14mm lens on a Canon APS-C camera, your focal length would be 14 x 1.6. This equals 22.4mm. You then just divide 500 by 22.4, and you’ll get your max shutter speed. It would be 22.32 seconds. Just remember that you don’t always have to use the maximum exposure l...

Landscape photographers can get big performance from lenses with smaller price tags.

Spring is upon us, and that means flowers will soon be blooming. The landscapes around us are about to change drastically. It’s this reason that many decide to pick up a camera. When it comes to landscape photography, you don’t need a super expensive, ultra-fast lens. You can actually pick up more affordable options with slower apertures. Landscape photography is about slowing down. When I say this I mean slowing yourself down so you can enjoy the views and slowing down your aperture. You need smaller apertures to get more in focus during landscape photography. The lenses we’ve rounded up after the break are perfect for those new to the genre. You’re going to get sharp lenses that produce gorgeous colors. Best of all, they won’t make your wallet cry. See our picks for the best affordable landscape photography lenses after the break.

Canon RF 24-105mm f4-7.1 IS STM

Brett Day – Gear Editor

“Overall, you’ll be delighted with the images from the Canon RF 24-105mm. Colors are beautiful and natural, images are very sharp, you can create some beautiful bokeh, and there’s not a hint of fringing or chromatic aberration.”

Buy now: $399

Olympus 12-45mm f4 PRO

“I really like the Olympus 12-45mm f4 PRO as an enthusiast’s lens. And that’s who it’s being targeted to. This is a fantastic walkaround lens that you’ll enjoy mounting on your camera. It’s as small as a prime, and it’s versatile. You never need to stop it down, really.”

Buy now: $549

Panasonic LUMIX S 20-60mm f3.5-5.6

“Lucky for you, the Panasonic LUMIX S 20-60mm f3.5-5.6 is weather sealed. So when you buy the lens as a kit with the camera, you’ll get maximum build quality. That’s very refreshing. It’s nice to know you can take it out anywhere. In fact, we’ve taken this lens out into the rain, and it’s survived. But besides the weather sealing, the lens is nice and compact.”

Buy now: $597.99

Pro Tip: There’s a lot more to landscape photography than just pointing your camera at a pretty scene. You need to take both lighting and your overall composition (including foreground elements) into consideration. You also need a sturdy tripod and possibly some filters. There’s a lot to learn. Fortunately, you can learn all about it with this great tutorial from Scott Kelby. Read up on techniques and then go and practice. Your landscape photography skills will increase dramatically.

Tamron 17-28mm f2.8 Di III RXD

” We’re very happy to say that when it comes to colors, the Tamron 17-28mm f2.8 Di III RXD really excels. Most types of photographers will appreciate the colors, but those who don’t like Sony’s super-saturated look will perhaps be happiest. Instead, Tamron mutes it just a little bit.”

Buy now: $799

Sigma 16mm f1.4 DC DN Contemporary

In our review, we said:

Chris Gampat – Editor In Chief

“The Sigma 16mm f1.4 DC DN Contemporary’s absolute strongest point is the image quality. Photographers who use APS-C cameras will really fall for the Sigma 16mm f1.4 DC DN Contemporary. Not only is it one of the sharpest lenses we’ve seen for APS-C cameras, but it also has really nice bokeh, great colors, and keeps fringing to a minimum.”

Buy now EF-M: $399

Buy now M4/3: $399

Get for Sony E: $374.99

Instagram doesn’t care about you as a photographer; it’s done, and other platforms are better.

I’m writing this post after a year away from Instagram. It was more than just a detox. I still logged onto The Phoblographer’s Instagram to check and focus us as needed. But for the most part, Arts and Culture Editor Dan Ginn runs it. A year away from it, and so much has changed. We’ve got cool things like ClubHouse. Photographers are trying to promote themselves on Tik Tok. Then there’s Foundation, where photographers are selling images for blockchain. And a few tried and true options like Tumblr and Behance still keep me inspired. But if you put all your eggs into the Instagram bucket, they’re going to rot.

For The Phoblographer, we’ve traditionally used Instagram to get pageviews. But we stopped. Why? It sucks for that. So we switched it up to getting sales. And I’m not sure that’s working. As it is, social media is awful for us for traffic, but Social News platforms like Flipboard are great. And lots of folks still discover us through a good old Google search.

Personally, I’ve used Instagram a few ways. I used to use it to find and work with new models. But after a while, I just ended up using my own network. It’s much better to build up trust with a few models and work with them on a referral basis. People attract like-minded folks. And it explains why our industry is so incestuous at times.

So instead, I opted to use my Instagram personally. It turned into a spot for looking at photographers, cameras, watches, tea, and other interests. But, I do yearlong challenges for myself all the time, and Instagram had to go for a year.

I honestly didn’t feel like I was missing out on anything. If I wanted to talk to someone, I texted them, called them, sent them an email/message, etc. Life went on. On top of that, The Phoblographer not only broke its traffic records, we also grew!

For photographers, I think there are lots of other options. Behance is a spot where big names go all the time. Foundation is a spot where you can sell images for blockchain. Clubhouse is a spot to network. And, of course, you can just become a content creator for platforms as needed. But the industry has needed a change.

When I left Instagram, I was still Vice Chairman for the NY Chapter of American Photographic Artists. Many times, I felt like I was trying to teach a whiny grandparent a new trick. That was just the tip of the iceberg. With a year now passed, there’s so much more. And if you’ve struggling with Instagram, I think now is a great time to jump ship. It’s also a time to network again. Get on zoom calls. Talk to people. Embrace your inner extrovert.

Life doesn’t end with Instagram. I know too many photographers that are sitting there feeding it hoping to get more work. Sometimes it just doesn’t work. We’ve reported on lots of folks who took time off Instagram. Charlie Naebeck and Jens Krauer are just two of those photographers. And they kept going. Give it a shot! You’ll surprise yourself with what’s possible!

We’re streaming daily on Apple Podcasts, Google Podcasts, Stitcher, Pocket Casts, and Spotify!

Shooting without a neck strap is both a bit liberating and terrifying. Liberating because there’s no neck or back pain, even with long shoots. Terrifying because of the constant threat of a catastrophic drop. Thanks to a loose-fitting design that instantly tightens when dropped, the new Wandrd Wrist Strap is the next best thing to shooting strap-free.

Made from partially recycled nylon, the Wandrd Wrist Strap is part of a recently launched trio that includes a sling and a neck strap. The series is characterized by nylon construction and a quick attachment system. Selling for $30, it’s an affordable way to carry your gear without straining your neck.

Wandrd Wrist Strap Pros and Cons

Pros

Wears loose around the wrist but tightens for drops

Eco-friendly design with some recycled materials

Easy to attach and remove from the camera

Affordable

Minimalist design

Cons

Not quite as soft as expected

Uses a thin cord to attach to gear

Tech Specs

Adapted directly from Wandrd:

Recycled soft-touch nylon & hypalon

Custom metal “quick-connect” hardware

Max Length: 13.25″ (33.6 CM)

Capacity: Up to 75 lbs

Gear Used

I used the Wandrd Wrist Strap on the Nikon Z 6 II, primarily with the Nikkor Z 24-70mm f2.8 lens.

Ergonomics

The Wandrd is a stiffer style wrist strap. Unlike a flexible strap, the Wandrd doesn’t need to fit snug around the wrist the entire time you’re shooting. The stiffness of the wrist portion of the strap allows it to be worn loosely. It’s almost like not wearing anything at all. Even when worn slack around the wrist, a quick-adjust loop around the strap pulls tight if you drop the camera.

The stiffer wrist and quick-adjust loop make the Wandrd more comfortable than a strap without that feature. Wearing a strap snug around your wrist can chafe and pull. The strap only loosely touches one side of the wrist unless you drop the camera.

More than a foot long when stretched out, the strap is a good length. It’s long enough to comfortably grip the camera, but not so long that it’s going to get in the way. While my wrists are on the small side, the strap still looked sufficient for photographers with larger hands.

Build Quality

Soft nylon stretches almost the entire length of the camera strap. Made from new recycled nylon that Wandrd calls “soft touch,” the Wandrd Wrist Strap is a happy medium between soft and hard. The part designed to wrap around your wrist is reinforced with a stiffer material on the outside. The cuff section of the strap that circles the wrist is more rigid than I expected, but because that softer nylon is on the inside, it’s not uncomfortable. That stiffness helps the strap keep its shape.

The quick-adjust loop is, unfortunately, plastic, but it does its job. That allows you to wear the strap loosely around your wrist without worrying about dropping gear.

The quick-connect system is a plastic and metal hook. But, this hook attaches to a thin cord. That cord is what attaches to the strap. This cord looks frighteningly thin to be supporting up to 75 pounds. But, while it looks thin, it doesn’t yet show any signs of wear, and it handled harsh tugs without issue. My initial concerns over the thin cord began to dissipate the more I used the strap.

Ease of Use

That thin, flexible cord that loops through the camera’s anchor points makes the Wandrd Wrist Strap incredibly easy to put on and take off. The cord is flexible. I tested the cord on the type of camera anchor with the triangular metal piece built into the camera. I could easily see the strap fitting through several different types of anchors.

Because the strap is so easy to get on and off, it’s ideal for photographers who want to regularly swap straps. If you find straps dangling from a tripod annoying, for example, it only takes a few seconds to install and remove this wrist strap. (Wandrd also has a neck strap and sling strap with similar attachment points, which I’l...

The Nikon Z9 is indeed real, but will it be enough for them to come back?

In 12 years of journalism, I really thought Nikon was going to be next. When I first started, Pentax was bought by Hoya. Then they were passed off to Ricoh. And who can forget the Irish goodbye that Samsung gave us! I never expected that from Nikon. But considering the last few years, I think the Nikon Z9 has to be the camera. You know, the one that they’re relying on to open the gates of heaven for them again. And indeed, Nikon is giving the world a bit of hope with a pre-announcement. But let’s dive into this. Believe it or not, we don’t think Nikon makes bad products: they’re just not innovative, and that makes me concerned for their future.

What We Know About the Nikon Z9

It’ll record 8K video the same way Canon and Sony do.

It’s the first full-frame mirrorless camera we see with an integrated vertical grip.

It will have a full-frame stacked CMOS sensor. Probably similar or exactly what Sony is doing with the Sony a1 or the Sony a9 II.

Considering that it’s a Nikon, it’s going to be built like a tank.

Nikon Has Fantastic Lenses

Back in 2019 BC (Before Covid), we published our Nikon Z mount lens guide. We’ve been working on updating it since. And we’ve currently got lots of their lenses on hand. We’ve arguably reviewed the most Z mount lenses of any publication out there. And trust me, they’re good. They’re all excellent. Their 24-70mm f2.8 is one of the best on the market. A constant comment in our reviews is that the lenses deserve better. And by that, we mean better cameras. In some ways, the Nikon Z5 was the first to give me a bit more hope. The autofocus improved on that one. But, after reading Reviews Editor Hillary Grigonis’ review of the Nikon Z6 II, I was still disappointed. The Nikon Z9 really has to be a winner. The lenses deserve it.

But at the same time, these lenses are mostly just what everyone else is doing. And that’s a huge problem.

Say It with Me: Nikon Needs to Innovate with the Nikon Z9

The Nikon Z9 needs to be an innovative camera that blows everything else out of the water. It can’t just shoot 30 frames a second at 50 megapixels. It can’t just have up to 10 stops of image stabilization with some of its lenses. The Z9 needs to be more. It needs to be incredibly unique and has to make people want it. And the game is even more dangerous for Nikon. The staff here have been wondering something important: why would anyone want to buy a camera that has the same sensor as a Sony? Sony does so many things very well. And in terms of image quality, you’ll get something similar. Instead, you need to really differentiate yourself. But can you really tell me that Nikon is going to outdo Sony? I want to see it! I want to see them do something different from Sony. I want to see them creating their own sensors again. I think the industry needs more variety in order for it to survive. If a whole bunch of cameras have the same sensor, then there’s little reason to buy one over the

other.

These are words I feel Nikon really needs to hear and acknowledge. For years, we haven’t seen anything different. I all but lost hope when the Nikon Z6 II and Z7 II were almost the same cameras as their predecessors.

These speedy Mirrorless cameras make sports, wildlife, and any action photography as easy as 1,2,3.

Sports and action photography have been hard to master for many. Being able to anticipate the action and keep subjects in focus can be very challenging. These photography genres are now easier than ever, thanks to Mirrorless cameras and their autofocus systems. Now, you can rely on your camera to lock on and track subjects without missing a beat. You’d think you would have to spend big sums of money to get these cameras. You can, but don’t have to. After the break, we will look at three cameras at various price points that make action and sports photography easy.

Sony A9 II

“In a word, the AF system is magic. Pure, unadulterated magic. Put the Sony a9 II into C-AF and select wide-area focusing, and you won’t miss a beat. The same thing goes for tracking too. The Sony a9 II locks on and doesn’t let go, no matter what might get in between you and your subject. Then there’s the real-time eye AF and animal eye AF; it’s just crazy impressive.”

Buy now: $4,498

Canon EOS R6

Brett Day – Gear Editor

“The autofocus system in the Canon EOS R6 is nothing short of extraordinary. It’s hard to believe just how far Canon has come since the EOS R. The new Dual Pixel Autofocus II system is easily on par with offerings from Sony cameras, and in some cases, it beats what Sony can do. There are 6,072 selectable positions for stills, 4,968 focus points for video, and 1,053 zones that the AF system can choose from. This is one of the best autofocusing systems I have used. My keeper rates, even in challenging conditions, have never been higher.”

Buy now: $2,499

Pro Tip: These cameras are truly fantastic for sports photography, wildlife, and any action. Still, if you’re new to these genres, you need to have some basic understanding of them. With a little knowledge, you’ll be creating world-class action shots in no time. This tutorial will teach you all you need to know. You’ll learn about settings, composition, and how to anticipate action; it’s a must-have.

Fujifilm XT4

In our review, we said:

“Throughout our time with the XT4, the autofocus system was quick and mostly consistent, even in low light scenarios. You can shoot up to 15fps when using the mechanical shutter, or up to 20 fps by switching to the electronic one.”

Buy now: $1,699

I’m hoping that the Fujifilm GFX 100R is possible, as it would be incredible!

Rangefinder-style camera bodies are the best. The SLR style is way too prevalent and they all start to feel the same after a while. But Fujifilm’s rangefinder-style camera bodies have always appealed to me. So with the Fujifilm GFX 100S being announced a while back, I got to thinking. Is the Fujifilm GFX 100R possible? Can the company cram an image-stabilized, 100MP sensor into a rangefinder-style camera body? More importantly, can they make it smaller? I’m hoping Fujifilm can do it.

The cool thing about the Fujifilm X series is that it’s small. You can take it with you anywhere. Sling a camera around your chest, and you’ll be happy with it all day. But with the GFX series, that’s not always the case. Now, you may say that the GFX series is meant for professional photographers, but I’d counter and say any camera that’s made these days can do what a professional needs. I invite you to peek into Facebook groups around the GFX system. Everyone using them is a hobbyist. They’re passionate photographers who care a lot about their craft. So why not make something smaller that they can tote around with them everywhere? This is why I think that a camera like the Fujifilm GFX 100R could do very well!

But imagine that Fujifilm didn’t just try to make the body smaller and hold a large sensor. Imagine they went above and beyond here. I’m talking about:

IP rated weather sealing

Hybrid OVF/EVF like with the X Pro 3.

Full touch screen menu system

Major autofocus enhancements with AI. Human-based AI is fine. I don’t think animal AF is practical for medium format.

Better ports for video shooting because you’re appealing to professionals after all

Faster flash sync

Yet another film simulation

How cool would this be? This would be an everything camera! A camera that a professional can bring with them for fun and even do serious work with. I’m aware that something like this wouldn’t be cheap, but I think camera manufacturers must succeed in trying new things. And in the rangefinder-style world, Fujifilm has really proven themselves. Sony, Olympus, Hasselblad, and Panasonic are also in that world, but none of them are going Medium Format except for Hassy. The Sony a7c is a nearly perfect full-frame camera. The Olympus (or OM Digital Solutions now) Pen F always had my heart. And Panasonic’s GX series was always great too.

Returning to Fujifilm, the Fujifilm GFX 100R could have some extra awesome features. For example, what about a collapsible kit lens? Even more interesting, why not a series of collapsible prime lenses? They wouldn’t be the fastest lenses, but at least they’d be doing something much different and innovative.

Brett and I often discuss ideas like this. The point is this: so many cameras are way too similar. You can put a blindfold on and realize they’re all doing the same things. But reviewers aren’t the only ones who realize this: consumers do too. That’s what happens when variations of the same SLR body are used over and over again. What’s more is when the same sensors are constantly in use.

But we need variety. We need more differentiation that makes one camera company stand out from another.

All images by Matt Yessian. Used with permission. Matt was a runner up in our recent contest with Leica.

“The earliest memory of the medium was from my grandfather,” passionate photographer Matt Yessian tells us. “He shot with a Canon AE-1 and let me play around with it (I still have it!). He took a lot of pictures and would do a good job of telling a story in each photo.” Matt continues to tell us that he found inspiration in National Geographic and Life magazine when growing up. But he also admits that he got into it to impress his former boss. Now he brings his Fuji cameras with him everywhere.

– Matt Yessian

“Then the hobby increased to obsession when our first child was born.”

What made you want to pick up a camera vs using your phone?

It has to do with intention. If I have a camera with me, I am more aware of the environment and moments that are occurring. My phone just reminds me of my day job and doesn’t provide that same trigger. I have tried multiple times to use my phone, but it is not as responsive and tactile as a dedicated camera. I envy people that can make their phone work for them because it would be a lot easier.

Lots of what you do is personal family photography and travel. You’re a passionate hobbyist! Have you ever analyzed what makes you snap the shutter when a moment arises? What do you think the reasons are?

I am a lucky man to have such a great family, but I probably need my therapist to provide a good answer, though. When I first started, I always tried to create something for the sake of having a “nice picture.” Then it turned into trying to take pictures for the adulation of people on social media. That failed miserably because it was so empty and put me in a bad spot emotionally. Finally, today, I take it to capture a moment. One that is not technically perfect but one that is memorable. My goal is for me or my family members to look at a photograph and instantly take them back to that moment as if it just happened. To actually feel that moment again.I have done a little paid work for families and it is enjoyable. I would like to do more work for others at some point but it’s tough with my day job so I concentrate on my family. The challenge with photographing family is capturing the moment versus being in the moment. It’s not a perfect science because sometimes I don’t put the camera

down at the right moment so I either miss a shot or miss some life. It’s a hard balance to strike.

How has documenting your life changed during the pandemic?

We don’t travel as much or see other people often, so it’s tough to get a variety of settings. Thus, it has forced me to work on noticing the smaller things. Taking the camera while walking the dog, noticing a small kid crisis (like clipping toenails), and the kids laughing/playing are those moments to remember and capture.

Tell us about the gear you’re using. And how do you edit?

Currently I am using a Fuji X100V and XT4 with a variety of lenses. I edit in Capture one.

What photographers influence you and your work?

There are too many to count but here are a few. I love the style, tutorials, and postings of Kevin Mullins, Sean Tucker, and Benj Haisch, but find fascinating (from a color perspective) the works of Tyler Shields, Thomas Mangelsen and Joel Grimes. And then there are the legacy photographers of Vivian Maier, Henri Cartier-Bresson, and Fan Ho for whom I always draw inspiration.

OLYMPUS DIGITAL CAMERA

The 35mm lens Renaissance is long overdue, and it’s finally happening.

There’s a sad and unfortunate problem with the lens world. Typically when camera systems and reviewers want something, they need it ASAP. But the camera and lens world is often a few years behind. They’re adapting to consumer needs rather than creating them. And years ago, I felt we needed more 35mm lenses. But now, we’re experiencing a 35mm lens renaissance. This is truly awesome. There are currently more 35mm lens options in the camera market than I can remember.

Let’s think about this right now based on March, 2021.

Canon RF: one 35mm lens

Nikon Z: one 35mm lens

Sony FE: seven 35 lenses

Fujifilm: three major 35mm lens equivalents

L mount: four 35mm lenses

Micro Four Thirds: a whole lot!

This is genuinely wonderful. Remember how everyone was saying you should get a 50 years ago? But the industry started to change. Now, almost no one says you should get a 50mm lens as your first. Loads of folks tell you to reach for a 35mm. I was saying this before the Canon 5D Mk IV was out (around 2016 or 2017). Since then, camera manufacturers have been playing catch up. They’ve been getting their mirrorless lineups situated. So if I want to be picky, they’re behind by about five years. That’s half a decade. And in today’s time, that’s a large span of time. I could’ve started college, finished my Bachelors Degree, and come out to a market that only then wanted to cater to my needs.

Isn’t that nuts to think?

Now, we’ve got more 35mm lenses than we know what to do with. For some reason, they’re still not at kit lens level, but there are loads of affordable 35mm lenses on the market. This 35mm lens Renaissance is fantastic, but at the same time, I think we’re behind. We need a variety of focal lengths, and we need something different. There needs to be more innovation. And it needs to happen faster. Camera manufacturers aren’t dictating the market anymore: they’re adapting and still fighting the megapixel and high ISO wars. While there’s a market for that, if we’re going to keep fighting that way, cameras need to become luxury devices. For sure, the prices are hinting at that.

What’s next, though? We need vibrant app environments for sure. Third-party support for cameras should be paramount. One of the worst decisions I think Canon made was shrugging off Magic Lantern years ago. Now, they give consumers what they want. Canon isn’t alone in this. Fujifilm still refuses to work with third parties, and Sony killed their PlayMemories app store. Cameras need to become an integrated part of our lives. And camera manufacturers need to find a way to do this again.

The megapixel and high ISO war isn’t going to solve that. Instead, they need to look at the apps. Augmented reality is a sure win! So is connectivity. They need to do a lot more, and I’m not sure that slow and steady will win the race. Of course, that could change if they just brand themselves as being more of a lux experience. Looking at and understanding what gathers photographers together for meetups can help with this.

So while we’re experiencing a wonderful 35mm Lens Renaissance, I don’t think it will help us in the long run. But, I could be wrong and just pessimistic.