Hiking camera backpacks are fast becoming one of the more sought-after pieces of gear. More often than not, manufacturers overlook the best qualities of hiking backpacks. Lowepro is no stranger to this market. The Lowepro PhotoSport Backpack is the company’s newest offering. It’s made with recycled and upcycled materials which are in-line with their green initiative. The backpack is lightweight and versatile. So how does it fare? Keep reading to find out more.

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Table of Contents

Too Long Didn’t Read

Pros and Cons

Pros

Cons

Gear Used

Tech Specs

Innovations

Ergonomics

Build Quality

Ease of Use

Conclusions of the Lowepro PhotoSport 55L Backpack Review

Likes

Dislikes

Too Long Didn’t Read

The Lowepro PhotoSport Pro 55L Backpack is very comfortable and can carry a lot of stuff. Lowepro put a lot of thought into designing this bag for photographers. Plus it’s made primarily of recycled material. The shoulder straps and back panel aren’t as breathable as they could be for long hikes. And although it isn’t perfect, there’s a lot they got right.

Pros and Cons

Pros

Lightweight

Sternum strap fit is great

Shoulder straps and waist belt are comfortable

Plenty of versatility

Offers both front and back panel access to gear

Can carry a lot of stuff

Constructed with recycled material

It comes with a waterproof cover

Cons

Lack of breathability on the back panel and shoulder straps

Materials used don’t feel as premium as the $469 price tag suggests

The shoulder strap height is difficult to adjust

There’s not a lot of room for bulky camera lenses

Main compartment zippers are not weather-resistant

Gets dirty easily

Gear Used

We tested the Lowepro Photosport 55L backpack with a Canon 5D Mark III and Canon 50mm f1.2L lens attached, as well as a Canon 85mm f1.2L II lens.

Tech Specs

All tech specs are provided by the manufacturer.

Weight: 6.61lbs

Internal Dimensions: 3.39 x 7.48 x 25.20 in

External Dimensions: 16.14 x 14.17 x 27.56 in

Total Volume: 57 L

Main Color: Gray

Camera Compartment Dimensions: 11.42 x 5.91 x 8.27 in

Gearbox Exterior Dimensions: 12.40 x 6.50 x 8.86 in

Gearbox Interior Dimensions: 11.42 x 5.91 x 8.27 in

Primary Device: Camera

Size: S/M and M/L

Device Volume: 8 L

Exterior Material: 420D nylon w/ Carbonate (recycled)

Interior Material: 200D polyester (recycled)

Innovations

The Lowepro PhotoSport backpack is not very innovative. Its design closely models a hiking backpack. The removable top panel and inner cube with the extra straps are thoughtful touches for added versatility.

Ergonomics

The top panel of the PhotoSport backpack houses both external and internal mesh pockets. These will fit small items like keys, SD cards, a wallet, a cell phone, and other personal items.

You will find a drawstring enclosure underneath the top panel to access more oversized items like a coat. This is also the easiest way to insert the removable cube.

The top panel and inner cube are removable and can be worn with the included straps as a cross-body pouch. The straps can also double as a camera strap.

On the front is a T-shaped pouch that can secure a jacket or cardigan. Unzip the front lower panel for access to the removable cube.

There is a zippered pocket on the bottom of the front panel. It will fit large items like tennis shoes, a large water bottle, and even a jacket.

Each side of the Lowepro PhotoSport has a stretchy pouch and clips to secure items like a tripod. A smaller water bottle will also fit.

Here is a view of the backside of the PhotoSport bag. A grab handle is located at the top. The padded shoulder and sternum straps are adjustable to accommodate most heights.

Located underneath the shoulder straps is the back panel access. The removable cube can be secured facing either the front or the back for easy access. It will fit a DSLR with a 70-200 lens attached and an additional lens or two, depending on size. The cube will also ac...

Backpacks distribute weight on both shoulders for more comfort, but shoulder bags offer fast access to gear. For photographers stuck in the middle, there’s the Manfrotto Advanced Hybrid III camera bag. Part backpack, part shoulder bag, the Advanced Hybrid III allows photographers to convert from a backpack to a shoulder bag with just a few zips and clips. But, is the Manfrotto Advanced Hybrid III a useful convertible, or is it a bag that’s just stuck in the middle?

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I took the Manfrotto Advanced Hybrid III for a hike — and then easily converted it to a laptop bag. While the bag doesn’t have room for more than two lenses and a body, the versatility could make it a favorite for flexible photographers — or just the indecisive.

Table of Contents

Too Long, Didn’t Read

Pros and Cons

Pros

Cons

Gear Used

Innovations

Tech Specs

Ergonomics

Build Quality

Ease of Use

Conclusions

Likes

Dislikes

Too Long, Didn’t Read

The Manfrotto Advanced Hybrid III is both a backpack and a shoulder bag. Made for a smaller camera body, two lenses, a laptop and/or tablet, and tripod, it’s a versatile, comfortable bag. A dedicated backpack and a dedicated shoulder bag may have more room, but it’s hard to top the Advanced Hybrid’s versatility

Pros and Cons

Pros

Versatile design that works as a backpack or messenger bag

Laptop and tablet slot

Luggage pass through

Water resistant fabric

Room for personal items

Tripod straps as well as two side pockets

Removable divider system with quick, versatile shelf

Cons

No smaller dedicated pockets for SD cards or pencils

Limited room for gear with up to two lenses

Quality of the rain cover is poor

Gear Used

I stashed my Fujifilm X-T4 with the 50mm f1 WR, 90mm f2, and 16-80mm f4 lenses. (Lenses were stored only two at a time, not all three at once.) I strapped the Manfrotto BeFree aluminum travel tripod to the front. I also carried this as a laptop bag with my 15-inch MacBook, a computer mouse, and two external hard drives.

Innovations

What sets the Manfrotto Advanced Hybrid Backpack III apart from other bags is that hybrid in the name. It works just as well as a backpack as it does a shoulder bag or even carried by the grab handles. It is the third reiteration of this bag, however, so there’s nothing that’s crazy innovative here. Compared to earlier versions, it updates the divider system and makes a few small adjustments to pockets.

Tech Specs

Manfrotto lists the following specifications for the Advanced Hybrid III:

Weight: 2.67 lbs

Internal Dimensions: 10.63 x 5.91 x 16.54 in

Camera Insert Dimensions: 7.48 x 4.53 x 8.27 in

External Dimensions: 11.02 x 7.48 x 16.93 in

Color: Black

Volume: 15 L

Tripod Connection: Yes

Laptop Compartment Dimensions: 10.63 x 0.79 x 16.14 in

Material: Synthetic Fabric

Number Of Lenses: 2

Personal Compartment Dimensions: 0.79 x 4.33 x 3.35 in

Storage For Personal Items: Yes

Types Of Gear: Mirrorless, Tripod, Foldable drone

Type Of Bag: Backpack

Water Repellent: Yes

Ergonomics

The Manfrotto Advanced Hybrid III is both backpack and shoulder bag. A removable shoulder strap clips onto two loops at each end. Or, hidden inside a zipper at the back panel, you can pull out backpack straps that clip to the bottom of the bag. There’s also two grab handles for a third way to carry. If you’re traveling, there’s a slot in the back panel that allows you to slip the bag over a rolling luggage handle.

The main compartment is accessible from what would be the side if worn as a backpack or the top when worn as a shoulder bag. Gear sits in a removable cube. This will accommodate a mirrorless camera or DSLR with one or two lenses. It won’t fit camera bodies with a built-in battery grip like the Canon EOS R3. The cube has a drawstring closure that can also be folded completely out of the way. With the new divider system, you can fold the divider to tuck a shorter lens underneath the camera body along with ...

Nikon’s previously-teased super-telephoto prime is no longer shrouded in mystery. The Nikon Z 400mm f2.8 TC VR S, announced today, is the mirrorless line’s first super-telephoto with a built-in teleconverter. The telephoto lens boasts several new features, including a new autofocus motor, Fn ring, and lens coating. All of this comes wrapped in a weather-sealed magnesium alloy lens that’s still two pounds lighter than its DSLR cousin.

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But, even for photographers who can’t afford the steep $14,000 price point, it brings in a few exciting features that will hopefully spread to other future Z mount lenses. As a former longtime Nikon photographer, I’m eager to not only see the 400mm in person, but see Nikon bring these new features to other future optics. Here’s why Nikon photographers should be geeked about today’s launch.

A super-telephoto prime

The Nikon Z 400mm f2.8 is the company’s first super-telephoto prime for its young full-frame mirrorless series. Prior to today’s launch wildlife and sports photographers that wanted a super long reach had to adapt an F-mount lens. Only the Nikon Z 100-400mm f/4.5-5.6 VR has a similar reach, but as a brand new lens it’s is hard to find and currently out of stock.

Nikon’s Z lenses are the best thing about the entire series. The S line lenses tend to be very sharp with rich colors — you don’t get that same level of sharpness by adapting an F mount lens. I’ve tested several S-line lenses with such a great mix of sharpness and color that I was tempted to purchase a Z body just to use that lens.

I’m hoping the new Nikon Z 400mm, which is also part of the same S line, will deliver that same blend of sharpness and rich color. The images shot from the lens that Nikon has shared so far tend to have those more golden colors, while the subjects look sharp and the backgrounds beautifully blurred. It’s difficult to determine image quality from a selection of company-provided images, but, still, it’s enough to spark my interest.

The contrast looks great as well, which could be part of Nikon’s new Meso Amorphous Coat. The company says the new coating is the best anti-reflection coating in Nikon history. Ideally, anti-reflection coatings should boast contrast and limit aberrations while still allowing photographers to create flare when they want it. Hopefully, this new coating will do just that. I wouldn’t be surprised to see future Z lenses, especially within the S line, adopt it as well.

The following images were provided by Nikon:

A new autofocus motor

If the reason to buy the Z system is the lenses, the reason to not buy the Z system is the autofocus. It’s decent, but it’s not quite as good as Canon and Sony’s. (We’ve yet to get our hands on the Z 9 to see how the latest stacks up, so that could change).

This new lens has an entirely new autofocus motor. It’s called the Silky Swift Voice Coil Motor. Yes, those first two words sound like a bad stage name, or perhaps a bad Taylor Swift tribute band. But, Nikon says the SSVCW is faster and more accurate. The company says that it’s designed to move a lot of lens elements quickly. It’s also paired with a new guide for smoother movement. There’s talk here of this motor being quiet as well.

It’s hard to separate the marketing-speak without actually testing out the lens, but I’m hopeful that Nikon is taking yet another step in the right direction here. The company has made a lot of great strides forward since the first Z bodies and I would love to see even more here. Telephoto lenses are especially difficult to focus — perhaps SSVCW is just what the company needs. (Though clearly, they also need someone who’s a bit better at naming these things.)

This new lens has an entirely new autofocus motor. It’s called the Silky Swift Voice Coil Motor. Yes, those first two words sound like a ...

Travel photography with the Fujifilm camera system is strongly recommended for various reasons. They’re small, lightweight, and often have exceptional image quality. We’ve tested most of them, and our staff prefers the prime lenses. What’s more, most of the staff here at The Phoblographer shoots with Fuji. We’re leading you to choose the best Fujifilm lens for travel photography. Take a look with us!

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The Phoblographer’s various product round-up features are done in-house. Our philosophy is simple: you wouldn’t get a Wagyu beef steak review from a lifelong vegetarian. And you wouldn’t get photography advice from someone who doesn’t touch the product. We only recommend gear we’ve fully reviewed. If you’re wondering why your favorite product didn’t make the cut, there’s a chance it’s on another list. If we haven’t reviewed it, we won’t recommend it. This method keeps our lists packed with industry-leading knowledge. Some of our stories include affiliate links. If you buy something through one of these links, we may earn an affiliate commission.

Table of Contents

Pro Tips on Using Your Fujifilm Lens for Travel

Fujifilm 33mm f1.4 R WR

Tamron 18-300mm f3.5-6.3 Di III-A2 VC VXD

Fujifilm 18mm f1.4 R WR

Pro Tips on Using Your Fujifilm Lens for Travel

Fujifilm’s major strength is its prime lenses. So with that said, here are some tips to consider before choosing a lens:

The Fujifilm X-mount zoom lens lineup is good, but not exceptional. A few of their zoom lenses feel like primes. But overall, we recommend other brands when it comes to zoom lenses.

If you’re choosing a Fujifilm lens for travel, reach for Fuji’s excellent primes. They’re small, lightweight, and many of them have weather resistance.

Make sure your cameras have the latest firmware.

Know that when you choose a Fujifilm lens for travel, the image quality is mostly defined by the camera sensor. Choose a film simulation and get to shooting!

In Capture One, you can apply the Fujifilm film simulations with ease. So that should make choosing a Fujifilm lens for travel photography a bit simpler.

Fujifilm 33mm f1.4 R WR

In our review, we state:

“It’s hard not to like the image quality of the Fujifilm 33mm f1.4 R WR LM. It’s sharp, the bokeh does the job, and you’ll always get those Fujifilm colors you adore. Any passionate photographer would be crazy not to want this lens or at least not appreciate it for everything it can do. If Fujifilm had something like the Canon L or Sony G Master lineups, this lens would be included in that easily.”

Buy Now

Tamron 18-300mm f3.5-6.3 Di III-A2 VC VXD

In our review, we state:

“As I’ve stated, I’ve been using the Tamron 18-300mm f3.5-6.3 Di III-A2 VC VXD with the X Pro 3. Most of the time, I really wish it had Bird autofocus detection. Fujifilm doesn’t have it, but it would’ve made birding in NYC so much easier. Fujifilm’s ergonomics let you quickly choose an autofocus point, but it would be faster if bird detection were built in. For the most part, though, the Tamron 18-300mm f3.5-6.3 Di III-A2 VC VXD is quick to focus and very accurate. Any inaccuracies I’ll blame on Fujifilm and the company’s negligence to the Fujifilm X Pro 3. I’m sure the performance will be even better on the Fujifilm XT4.”

Buy Now

Fujifilm 18mm f1.4 R WR

In our review, we state:

“There’s a lot to love about this lens. It’s sharp. The lens boasts good bokeh that you’ll enjoy. It also keeps any majorly annoying, traditional lens issues at bay. And then there’s Fuji’s color, which comes primarily from its sensor output. No matter what simulation you use, you’re going to adore this lens.”

Buy Now

In preparation for the launch of an iPad OS app, Capture One is discontinuing the separate branded versions of its photo editor, including Capture One for Fujifilm, Capture One for Nikon, and Capture One for Sony. The company says each of these camera brands are supported in Capture One Pro 22 and that moving to a single program will help prepare for upcoming launches, including an iPad version. The move to one program, the company says, is to prepare for upcoming launches including the iPad app, which the company teased last year for arrival in “early 2022.” The change is also preparing for Capture One Live, a beta program that takes tethering one step further and allows shoots to be viewed live from anywhere with an internet connection. The Capture One family is now simpler but also pricier for some users.

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Capture One Pro 22 already supports RAW files and color profiles for Fujifilm, Nikon, and Sony. One of the headlining features of version 22, in fact, is that the software has hand-calibrated camera profiles for more than 500 cameras. This, Capture One says, creates more vibrant colors and crisper images. While a few years ago the software didn’t offer in-camera profiles across all the major camera brands, now even Fujifilm users can select the camera’s different color profiles to apply to the RAW file. As a new Fujifilm convert primarily for color, this is the first step in my editing process and a non-negotiable feature I need in any editing software. But, Capture One is going to need to have some key features when the iPad app launches in order to avoid alienating some users. Here’s what I’m hoping to see in the upcoming iPad app.

A Budget-Friendly Alternative?

By axing the brand-specific versions, Capture One has eliminated its budget-friendly option. Will the iPad app replace it, serving as a more affordable way to use the software? Or, is Capture One going to price the app with the current Windows and Mac software? Only time will tell. But, there will likely be some photographers a bit miffed about the change.

Discontinuing the brand-specific program makes the software pricier for photographers who only shoot with one camera brand. For example, a perpetual license for Capture One Pro is $299, but the same license for Capture One Pro Fujifilm was $199. In a way, this was the company’s budget-friendly software. But, unlike choices like Photoshop Express, the brand-specific programs still offered the full gamut of features. An iPad version could potentially serve as a gateway into the program, enticing beginners with a lower price.

Capture One is acknowledging this price difference. Photographers with the latest version of Capture One for Fujifilm / Nikon / Sony (version 22) will receive Capture One Pro for free on April 5th. Owners of older versions of the branded software can upgrade to the full Capture One Pro for the same upgrade price as the branded version until April 18th. Subscribers get a lucky break — the price will remain the same for as long as the subscription is active. There’s no deadline that raises the price, but if branded version subscribers cancel at any time, they’ll be paying the full price if they sign up again later.

Faster Updates

A simplified Capture One line could also help move updates along faster. If Capture One developers are only writing code for desktop and mobile, perhaps updates will come at a faster pace. Or, at the very least, updates won’t slow down after the app launch. Often, if I’m testing a newly released camera, I have no choice but to use Lightroom because Adobe is often the first with RAW support for new cameras. More frequent updates would be welcome to many photographers using the Capture One system.

Smaller Catalogs

One of the things that annoy me about Capture One on the desktop is the catalog ...

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There are lots of awful things that can be associated with the name Yashica. But this is more so the case if you’re considering a modern Yashica. Vintage Yashica, on the other hand, is as appealing as vintage Rolex. That’s to say that there’s a ton of hype, and it’s well deserved. So after Junior Photo Editor Feroz Khan interviewed Terry Godlove, I thought I’d buy one of his creations. Luckily, I scored the Yashica 45mm f1.7 lens. This is the legendary lens that was on the GSN Electro 35. Let me tell you, it’s a dream on digital.

Essentials is a series featuring products we’re currently lusting over in quick, easy-to-digest posts.

The Yashica 45mm f1.7 is a beautiful lens. And here are the reasons why:

Solid build quality. It’s made of metal.

Typical old school design that won’t be sharp when focusing to infinity unless you stop the lens down.

Aperture ring

Smooth focusing

Sharp, but not too sharp

Beautiful bokeh

None of those reasons sound very specific, for sure. The amount of times that we’ve said a lens has beautiful bokeh is uncountable. But this lens is far different. It’s a vintage design on a brand new Sony sensor. Unlike modern Sony lenses which are very overbaked, the Yashica 45mm f1.7 isn’t the case. The bokeh isn’t perfectly round. You’re not going to pixel peep and stare at the pores on a subject. And the way this one was designed is quirky. Terry positioned the aperture and focusing on the bottom instead of on top. Why? It probably just worked out that way. But I continued to work with it because, well, it’s better to just work with an issue than fight it and potentially negate a good lens. In this situation, it made me shoot with more care and consideration.

Take a look at the image above and below. You’ll see how the bokeh very slightly changes based on the focus. It’s really nice, isn’t it?

The Yashica 45mm f1.7 is also not very contrasty. So, even when shooting against a strong backlight, it won’t seem too sharp. If anything, it will give off a really gorgeous lens flare. There’s also some extra character where the lens seems to have a bit of bokeh swirl.

Quite honestly, I’m flabbergasted here. The Yashica 45mm f1.7 is a fantastic lens, but that’s I could go on saying that over and over again. So, I’ll tackle this a bit differently.

The Yashica 45mm f1.7 is for a photographer who wants something completely different. They don’t want a 40mm. They don’t want a 50mm. And they want a sharp lens that’s not overly sharp. They also want great colors and bokeh.

The photographer who wants this lens wants something totally unique.

What makes this lens so special is a sharpness that isn’t overdone. There’s also beautiful colors and bokeh.

I’d be careful with this lens. It’s not weather sealed. And we tested it on a Sony a7r III. Sony cameras are great, but their sensors get dirty quickly.

The best thing to do is find this lens on eBay and have it adapted to your camera.

Why use this lens specifically? It’s kind of a token look with a je ne sais quoi about it I really put my finger on. But let the sample images do the speaking for me.

One of the hallmarks of Canon cameras is Dual Pixel AF. First introduced on DSLRs at a time when Live View was often faltering autofocus, the technology turns each pixel into two focusing sensors. But, can Canon make the autofocus system that ranks among the best, if not the best, even better? A technology called Quad Pixel Autofocus could be Canon’s next big move. Recent patents have fueled rumors about the technology. But, just this week Canon shared that it was the only company to rank among the top five for the number of U.S. patents filed for 36 years in a row. With 3,022 patents filed in the U.S. last year, there are bound to be some ideas that never lead anywhere. Will Quad Pixel AF be one of them?

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Canon Rumors recently spotted a patent spelling out additional details on Quad Pixel Autofocus. Instead of dividing each pixel into two separate sites to measure focus, the technology divides it into four. The patent documentation says that, in phase detection autofocus, the system performed best when the subtle differences measured are going in the same direction that the pixel is divided in. By having more divisions of that pixel, the technology could potentially improve autofocus speed and accuracy, the patent suggests.

Canon has published patents on Quad Pixel autofocus before, fueling rumors that such a system could launch on an R1 body. Of course, rumors are just rumors — and Canon Rumors was originally calling for Quad Pixel to arrive in 2021. The latest patent introduces additional technology to solve one of the issues Quad Pixel creates: the light gathered by each pixel varies. Having pixels that do not uniformly gather light would be bad for suppressing noise and could fuel other issues. The new patent works to solve that irregular sensitivity by “increasing the division direction.”

The patent also discusses using an RGBW color array over the sensor, modifying the traditional RGB pattern that allows a camera sensor to see color by adding a white square in the mix. This design, the patent language suggests, would help the Quad Pixel system increase accuracy when working in limited lighting.

Understanding the patent language, which is translated from Japanese, is difficult. When asked about the technology, Canon declined to discuss future products. It’s unclear when or even if a Quad Pixel AF system would make its way to an actual camera body. Similarly, there could be errors in understanding the translated documents. Photographers won’t get a full look at how the technology works until Canon makes an official product announcement.

Canon often sits at the top of the list of companies that publish the most patents per year. Just this week, Canon said it was third in the most published patents in the U.S., with more than 3,000 patents filed in 2021. Certainly, Canon has published ideas that have never made it beyond paper. So, the latest patent may not ever make it into a camera. But, with several patents already published on Quad Pixel AF, it shows where their innovation is focused.

I’ve long been impressed by Canon’s Dual Pixel Autofocus. I was blown away when I used autofocus on a jar of fireflies at dusk with the EOS R6, and impressed again when the R3 could find and focus on a bird in flight at a moment’s notice. While impressive, it’s good to see Canon isn’t resting smugly with the success of their latest mirrorless cameras. It’s always good to see companies that make the products that allow photographers to be creative be creative themselves. Whether or not the rumors fueled by the latest patents are correct, the patents are a sign that Canon hasn’t stagnated.

When the Fujifilm X-H1 launched in 2018, it was heralded as Fujifilm’s flagship X Series camera. But, that was five years ago and, since that launch, the X-H1 lost flagship status as cameras like the X-T4 and X-Pro3 arrived with better specs. The years that have passed without an upgrade to the X-H1 — outside of firmware — have Fujifilm fans wondering if an upgraded X-H1 is even in the cards. But, as Fujifilm prepares to celebrate ten years of the X mount series in 2022, the rumors have started up again, with hopes that Fujfilm celebrates double digits with a new flagship.

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As a new Fujifilm convert myself, I’m itching to see what the company launches during their X Summit in May. During last year’s X Summit, Fujifilm said a new flagship would be coming in 2022 with a stacked, backlit X-Trans sensor. But, they didn’t say if that new flagship would be an X-H2. Earlier this week, a teaser video announced the fifth generation of the X series coming during the Summit and a Tweet from Fujifilm Africa suggests that evolution includes an X-H2. Whether or not the fifth-generation includes an X-H2, there are a few things I’d love to see in the next reiteration of the X Series. Fujifilm, if you’re listening, could you grant this Fujifilm girl a few wishes?

Re-claim flagship status

Five years is too long for a flagship to go without an update. The Fujifilm X-H1 no longer has the best specifications in the series. If Fujifilm plans to launch a new flagship, it’s going to have to surpass the newer specs inside the X-T4, and to some extent the X-Pro3. There are five key areas Fujifilm will have to address if the X-H2 is going to warrant a higher price tag than the X-T4: sensor, speed, stabilization, video, and battery life.

A Stacked Sensor

The X-T4 and X-Pro3 have the fourth generation of the X-Trans sensor, a 26.1-megapixel option. The X-H1 houses the third generation, which is 24.3 megapixels. I don’t think a huge jump in megapixels is necessary — with the APS-C sensor, higher resolutions come at the expense of increased noise. But, I expect a boost here, and Fujifilm has already teased that there will be a flagship with a stacked sensor design. That means it’s not going to be the same sensor that’s in the X-T4.

A concept first launched by Sony, a stacked sensor allows faster readout speeds. That allows for faster burst speeds with a higher resolution. A faster reading on the sensor can also allow for a faster autofocus system.

A stacked sensor isn’t unique, but I’m itching to see a stacked sensor with X-Trans color. The number one reason I switched to Fujifilm last year is color. I’ve already saved hours of editing because I rarely have to touch the color.

Faster burst speeds

With that stacked sensor is going to come a faster burst speed. Fujifilm isn’t typically the first brand that comes to mind for sports and action (as much as I love the colors). But, a flagship would at least need to catch up to the 30 fps electronic and 15 fps mechanical on the X-T4. I wouldn’t be surprised if a stacked sensor went well beyond that.

More Stabilization

The X-H1 has 5.5 stops of stabilization; the X-T4 has up to 6.5 stops. I expect a flagship to at least catch up to that 6.5 stops. More than that is pretty tricky, but it would be pretty incredible if Fuji jumped up to Olympus’ and Canon’s level, which is up to 7.5, eight stops of stabilization when combined with stabilized lenses.

Enhanced video

The X-T4 also outpaces the X-H1 in video. I expect the new flagship to at least catch up with the uncropped 60 fps 4K. But, if Fujifilm wants to compete with flagships from other brands in video, they’re going to have to step up to 8K.

A bigger battery

The X-T4 has a bigger battery than the X-H1, which is a bit ironic since the X-H1 has a larger grip. The X-H1 was Fujifilm’s first ...

When the L-Mount Alliance formed, it allowed companies like Panasonic to jump into full-frame mirrorless with a list of lenses already available. But, one thing the L-Mount family was missing was a zoom, with optics from Leica topping out at 280mm and, later, Panasonic at 300mm. When Sigma started converting its line-up of lenses to mirrorless, however, the L-Mount family gained a super-telephoto, the Sigma 150-600mm f5-6.3 DG DN Sports.

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The lens launched as the longest modern L-Mount, while competing with optics like Sony’s 200-600mm in E-Mount. Eager to see how Sigma’s lens fare as the longest L-Mount, I tried out the Sigma 150-600mm with the Panasonic S5 on birds and winter sports. Here’s how the lens held up.

Table of Contents

Too Long, Didn’t Read

Pros and Cons

Pros

Cons

Gear Used

Innovations

Tech Specs

Ergonomics

Build Quality

Autofocus

Ease of Use

Image Quality

Bokeh

Sharpness

Lens Character

Color Rendering

Extra Image Samples

Edited

Unedited

Conclusions

Likes

Dislikes

Too Long, Didn’t Read

If you want a 600mm lens on L-Mount, the Sigma 150-600mm is currently the only option. It’s not a bad one, with great image quality and a sturdy build, but at least on the S5 the autofocus isn’t perfect.

Pros and Cons

Pros

Longest reach among current L-Mount lenses

Customize the speed of the zoom ring

Great stabilization

Slightly lighter than Sony’s 200-600mm E Mount

Lovely mix of detail and, at 600mm, bokeh

Weather-sealed

Cons

Autofocus isn’t the best

Use of the AF limiter switch is a must

Gear Used

I used the L-mount version of the Sigma 150-600mm f5-6.3 DG DN Sports, tested with the Panasonic S5.

Innovations

The Sigma 150-600mm is the company’s first Sports lens to migrate over to a mirrorless mount. But, it’s also the L-Mount zoom lens with the longest reach that’s currently available. So far, zooms from Panasonic just reach 300mm and Leica 280mm. On E-Mount, it’s a bit less unique, competing with optics like the Sony 200-600mm f5.6-6.3 G OSS or the Tamron 150-500mm f5-6.7 Di III VC VXD.

Tech Specs

LensRentals lists these tech specs for the 150-600mm f5-6.3 DG DN Sport:

“F” Low-Dispersion Elements4Angle of View16.4° to 4.1°Aperture Blades9, RoundedAutofocusAutofocusBrandSigmaDiameter4.3″Extra Low-Dispersion Elements2Filter Size95.0mmFocal Length150.0-600.0Groups/Elements15/25Hood IncludedYesImage StabilizationYesItem TypeLensLength10.4″Lens TypeSupertelephotoMacro Reproduction Ratio1:2.9Max Aperture5.0Maximum Magnification0.34xMfr. Model Number747969Minimum Aperture22.0Minimum Focusing Distance1.9’MountL MountTripod CollarRemovableWeight4.3 lbs.

Ergonomics

At nearly five pounds, the Sigma 150-600mm makes me wonder, “Can I skip my arm workout now?” It’s actually not too bad to hike around with. I hiked four miles in my longest stint with this beast — half around my neck, half inside a backpack — and I didn’t regret my decision to bring it along. Where I started to feel the weight was training this lens on a bird and then, well, just waiting for the bird to do something interesting.

But, all of this is rather expected — and in fact, better than the competition. Sony’s 200-600mm lens is actually four ounces heavier. So, while I think you should maybe start doing some arm curls while you wait for this lens to ship, the weight is manageable and not a deal-breaker.

Photographers will need a larger backpack for this lens — the lens will need a vertical slot, not side-to-side. It’s roughly 10.5 inches long. The front is big enough to require 95mm filters.

The lens widens out quickly from the mount, then features a bank of control switches. These controls include an auto to manual focus switch, a focus limiter, stabilization mode, and a custom mode switch.

Next up is the tripod collar. It’s not removable. But, a dial loosens the collar, and it then clicks nicel...

“The best photos are the ones that don’t need to be heavily altered, in my book!” Those are the wise words of the photographer Lance Wilson. Such wisdom is often delivered by those later down the road in life. But Wilson is 14 years old, already displaying a mature mind. He picked up a camera when he was 13, and already he’s producing work seasoned folks should envy. He’s also the creator of an incredible wave shot that went viral on Reddit. Exactly who is this boy wonder? Let’s find out.

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Gear Used by Lance Wilson

Canon EOS 7D Mark II

Canon 100-400 mm lens

“On that day, I brought my dad’s Canon EOS 7D Mark II, with a Canon 100-400 mm lens. I shot handheld. I really wish I could do that day over with my newer lens, but I still managed to get some pretty fun ones!”

Lance Wilson

Phoblographer: Talk to us about how you first got into photography.

Lance Wilson: I first started to get into photography during COVID, when I was 13. I was extremely bored and looking for something creative to do with my time, which was when I had the idea. My dad has been into photography his whole life, and he taught me everything I know. I slowly started to develop my style and skill, and now I am addicted to taking photos!

Phoblographer: How long did it take you to get “the shot.” Were you experimenting with different settings? What worked and what didn’t?

Lance Wilson: To get that wave photo, it really took me a couple of days. We had some huge swells coming in, and my dad and I went out every day for about a week. There were some awesome waves, but I didn’t have the light I wanted. Then this day came along. It was clear, unlike the other days which had been almost completely cloudy. The sunlight really added to the atmosphere, but it was pretty challenging at the same time. It was really bright, and I had to mess around with my shutter speed quite a bit. I ended up missing quite a few good waves because of this. I believe my settings for this shot were 1/1600 sec, f.5.6, and Auto ISO with -2/3 exposure compensation.

Phoblographer: You describe yourself as “lucky” to get the shot. Why do you feel you were lucky?

Lance Wilson: I feel like I was lucky to get this shot because so much had to align for it to happen. The wind had to be from the right direction and strong, it had to be clear, the tide had to be perfect, and the waves had to be big. Not only that, but I almost left shortly before taking the photo. I figured the best had passed but decided to stay a little longer. Boy oh boy, am I glad I did!

Phoblographer: At what moment did you realize you had made such an awesome photograph?

Lance Wilson: To be honest, I didn’t really know what I’d captured until later. Because of how I was firing down on the shutter, I didn’t get to really see it for myself, and I didn’t realize how cool it really looked until I loaded the photos later. I didn’t have time to look at it on the camera because I was shooting wave after wave after wave, and they all blurred together. As soon as I saw it on the computer, I knew it was “the shot.”

Phoblographer: Did you spend much time in post, editing the image? What was the process like?

Lance Wilson: This photo didn’t require too much editing, contrary to popular belief. Many people who saw it were accusing me of seriously changing the photo in post because of how unreal the shape was. I really just applied some contrast, did a little bit of dodging and burning, and sharpened it using Topaz Denoise AI.

Phoblographer: I see you sell prints. As a young photographer, have you thought about entering the NFT market?

Lance Wilson: Absolutely! In fact, I am currently planning my first collection on OpenSea that is centered around my connection with the ocean and how it has helped me grow as a person. Prints are super fun to do, but the truth is that it...