The Phoblographer

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Dearest Tamron,

You’ve made some of the biggest strides of any lens manufacturer. Congratulations. You should be proud. In some eyes, you’re overshadowed by the swath of products Sigma has. But you’ve got loads of fully weather-sealed and small lenses for incredibly affordable prices. No one else has that. You provide value in a market for passionate photographers. It’s time you let your wings spread and embrace your history. There is no better time than now to bring back the Bronica brand.

I know folks have said this before. And you’ve probably laughed at the idea. It’s been done across the board. I know Sony Artisans that have told Japan to create film cameras. And they’ve said this with all seriousness due to their own experiences. They’ve been met before with laughter. The more industry ignores the market, the more it will shrink. You don’t adorn your home with plants and not water them. We, the passionate photographers, are your peace lilies and firs. If we are not watered and fed, we will shrink and die.

Some of us are newer to photography, so we won’t know the Bronica brand. Bronica is an old school medium format camera brand. They were positively fantastic, well made, and affordable. This is a pillar of the current iteration of the Tamron company. This is even more of a reason why the Bronica brand should come back.

Now, there are two ways that Bronica can come back.

The Fujifilm GF System: Becoming a third party supporter of the Fujifilm brand will be huge. Fujifilm considers GF to be their future. And if they’re going to thrive, they need friends.

High Megapixel Cameras: The Zeiss Otus line tried to create no-compromise lenses. Optically speaking, they did a great job. But they shot themselves in the foot with a lack of weather-sealing. Tamron can do the job better with a return of the Bronica brand.

I’m personally estimating that the camera industry will take another decade to repair itself. But the market has shown that they still love vintage products. It’s not just within the photo industry, but you can see it with cars, lifestyle, watches, etc.

So here’s another big reason to bring back Bronica–because we’re a passion industry. Many professionals who declare taxable income from photography still look down on the hobbyist. But those don’t really exist anymore. All that exists is passionate photographers. You can be a professional photographer and absolutely hate your job while having no passion. But you can also be a weekend warrior and love photography. The important folks for us to focus on in the future is anyone and everyone who cares about and supports the photography industry. If you look at watches, they’ve turned to the past. We need to do the same and stop pretending like we can always outdo the smartphone.

To do that, we need to be passionate about our brands again. Do we need Bronica cameras? Not really. But if you do, I beg you to return to using CCD sensors and give us unique image quality.

Whether you’re just a reader or a passionate photographer, think about how wonderful it would be to say that you’ve got a Bronica 80mm f1.8 Di USD on your Fujifilm GFX 100. Alternatively, think about a Bronica 85mm f1.2 RF for the Canon RF lineup of cameras. Or, what about something on par with the Sony G Master series? A Bronica 40mm f1.4 Di VC USD would be super awesome. Of course, Sony owns part of Tamron. And so I hope that Tamron works to keep their brand evolving.

The Fujifilm GFX100S is a fantastic camera and one of the most innovative we’ve seen.

We’re very, very excited about the Fujifilm GFX100S. This is the company’s smallest medium format camera yet. They packed a 102MP medium format sensor into a camera the size of the Panasonic S1. It’s also incredibly light, well built, and fun to use. We’re very excited to be testing the prototype we’ve been sent. And we decided to summarize our thoughts in a 5-minute segment. For more like this, you should subscribe to us on YouTube.

Fujifilm GFX100S Tech Specs

Pulled from our original news post:

102M pixels 43.8×32.9mm CMOS Sensor

X processor 4 (4:2:0 10bit / 12bit ProRes Raw 4K/30p)

5.0fps Continuous Shooting with AF-C / 64Gb DRAM

New Smaller Shutter & IBIS in smaller & Lighter weight body

Up to 6.0 stops Sync. Lens/IBIS / 4K30p non-crop recording

100% Phase Detection AF up to [email protected]/ F13~16

All of the features from X-T4 and GFX100

DIS for Movie / ProRes Raw 12bit Output

400 Megapixel Multiple Shot, Drone & Gimbal support

GFX S (shooting) style Body H150 x V104 x D44mm

New Battery NP-W235 in grip makes the body thinner

Weather and Dust resistant, Freeze Proof to -10°C

Initial Shipment: Feb/Mar 2021

Launch Price: US $5,999

The Fujifilm GFX100s is probably going to sell like hotcakes. It’s under $6,000. And you’re getting medium format quality. Additionally, you can track with continuous autofocus for five frames a second. Even better, you can do that with image stabilization (up to six stops of it in this camera). Then there’s weather resistance, phase detection, dual card slots, and more. It’s hard to not like what Fujifilm is doing here.

Of course, no camera is complete without lenses, and the company has to deliver there. We need smaller, faster, medium format lenses. For medium format, this is an incredible innovation. It’s likely to be compared to full-frame systems, and so Fujifilm has a lot to do to keep up. But one thing that they’re doing is very promising. We tested a prototype of the camera, and even with the 45mm f2.8 GF, it focused fast. Specifically, it focused very quickly in low light. I was shocked by this. It can keep pace with the Canon EOS R/R6/R5 and the latest firmware update. That also means it can keep pace with Sony. This perhaps is the most spectacular thing.

Then here’s the new film simulation: Nostalgic Negative. It basically warms up the image a bit. I’ve been using it for portraits and really like it. Between this, Acros, Classic Chrome, and Classic Negative, Fujifilm users have lots of image options. More importantly, it’s a shame if you’re not applying these to your RAW files. That’s literally one of the biggest draws of shooting on the Fuji system.

Here’s a quote from our first impressions:

“We’re so far very impressed with the Fujifilm GX 100s. This is indeed where we think the future of medium format will be. It’s also still Fujifilm’s best weapon against both Canon and Sony. I’m interested to see where this goes, and I’m hoping Fujifilm continues to be an innovative company. More importantly, we’re really interested to see what kind of support this gets. Firmware updates are going to be very important here.”

5 Minute Camera Review: Fujifilm GFX100s

Check out our video below.

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Before deep dive into this article, you should know this. I adore Fujifilm’s cameras. Professionally speaking, I use Sony gear simply because it just does everything I need. They do it at the right price and with the right variety. Canon comes in close. But I wish Fujifilm did even more. We could start with the lack of third party lens support. However, we can go even further into it. And I want to start with the autofocus.

Most of the time, the autofocus in Fujifilm’s cameras are good. But there are surely oddities. With Sony and Canon, it won’t usually think something is a face unless it’s actually a face. But with Fujifilm, I’ve had issues where the X-H1 and X Pro 3 have both thought that something in the trees was a face. And no, no one was hiding in the trees. Then there are issues with autofocus tracking. This is really important in low light when shooting parties or events. And it’s even bigger for us passionate photographers shooting street.

I’ve always been so incredibly frustrated by it all. From my understanding of all the companies who buy Sony sensors, there is a bundle. When you buy a sensor, a processor comes with it. And if this is the case, I wonder if the same processor and sensor are really in all of the Fujifilm cameras. I’ve never totally gotten full clarity on this. If this is true, then why can’t the XS10, X Pro 3, and XT30 have the same autofocus performance as the X-T4? I know Fujifilm has explained the differences and nuances with film simulations. But why not with autofocus speed? More importantly, why not with accuracy? And what about using AI to detect what a face is, animals, etc.?

I’m writing this partially as an incredibly frustrated Fujifilm X Pro 3 owner. How can a company that I’ve been with since the X Pro 1, then got the XH1, then the XT2, X Pro 3, and five lenses, do this? Fujifilm has always been a company that updates the firmware often on their cameras. It essentially gives the cameras a new life. But with later camera generations, I haven’t always felt this is the case. Sure, they add in compatibility, and that’s awesome. However, the tools just end up failing.

With this piece, I’m not asking for more from the company for less. But if someone purchases their most expensive X series camera, it should get all the bells and whistles. Further, I honestly think that it’s time that Fujifilm starts charging more money. On that note, they should provide longer product life cycles and support. Leica does it. And they’ve found a way to make cameras sustainable for them. Do I think a Fujifilm camera should be as pricey as a Leica? Not necessarily, but I’d understand why it could be for the right features. If I kept getting new firmware, more refined autofocus, etc., I’d gladly pay more money for a solid companion camera.

And more importantly, when I’m done with it, I’d be happy to hand that camera down to someone else. If Fujifilm’s cameras have the same processors and sensors, it all makes no sense for the autofocus to be different. At least, that’s how I feel. But then again, I also believe that every single product should be weather-sealed these days, and some of it should even have IP ratings.

Essentials is a series featuring products we’re currently lusting over in quick, bite-sized posts.

Like many of you, I didn’t think the pandemic would last this long. But, here we are in February 2021. And I’ve been on the hunt for the right mask. I’ve searched for a mask that doesn’t fog my glasses up when shooting. For lots of us, that’s already a problem even without a mask. The thought occurred that maybe I needed something better than multi-layer neck gaiters and standard hospital masks. So, the credit card came out for a $55 mask. Specifically, I bought the Filson X Runabout collaboration mask. In fact, I bought four of them after my first experience.

Editor’s Note: This is not a sponsored post. Filson’s products are only sold direct, and we don’t receive any affiliate commission or money from it. This post is being written out of the pure goodwill of the Editor In Chief.

I gawked a bit at the idea of paying so much for a mask. The photos you see here are of the green one. (They’re sold out, but they have a plaid one.) That version is thicker than the green cotton one I wear in the photos here. Granted, these masks aren’t medical-grade or N95 grade, but they’ve worked for me. I’m still being super careful and keeping a distance of at least six feet away from folks: it’s rewired my entire way of going about life.

The Filson X Runabout mask is different than lots of the others out there. It’s a two-layered mask with no space for a carbon filter. The inner layer is a bit thinner, and the outer layer is very thick. I’d liken it to the thickness of a cashmere winter scarf.

What makes this mask so different is the fit. It’s a bit difficult to make it hug your nose and mouth super tightly the way a gaiter will, but it’s tight where it counts. This mask has a large metal frame that conforms to your nose and upper cheeks. Otherwise, it uses adjustable straps. I strongly suggest putting the Filson mask on and then putting on your glasses. If your glasses slip off, then wrap the straps around your ears and adjust the straps. Otherwise, I found the straps dig into your ears.

Once it fits correctly, you’ll notice the nice part about it. There’s some room for you to actually breathe. So when you exhale, your breath won’t leave the mask and travel upward to your glasses. It’s the only mask I’ve found that can do this. Otherwise, I’ve had to use surgical tape to really make sure the air doesn’t escape.

When you’re putting a viewfinder to your eyeglasses to shoot for a while, it’s easy to fog them up. I’m one of those photographers who holds their breath when shooting as much as possible. Combine that with this mask, and you’ll have no fog. The experience is very refreshing! Of course, this is even better if you’re using a tripod and an LCD screen. Then you’ll just need to worry about the fog of your own breath. And of course, it won’t happen!

In the cold, New York winter, I still encountered one problem. If you wear glasses and go from cold exteriors to warm interiors, you’ll get fogged. The good thing is that if you’re breathing a bit heavier, the air won’t escape. Just bring a Microfiber cloth with you.

Shooting with the Filson mask worked just great. I’ve been wearing and testing it out since early December. And because of this mask, I haven’t used any others. I’ve washed it once and haven’t had any problems with it. Filson masks are basically like clothing. I also tend to spray them with Lysol or something like that when I get home.

The Sony a7 IV will need to be something special to pull away from the entry-level market competition.

Sony has made waves with their a7 series of cameras since 2013. Every subsequent upgrade has set a new standard for what entry-level Mirrorless cameras should be, and each new model has sent the competition scrambling to catch up. The Sony a7 III was perhaps the model that really shoved Sony into the limelight. Since then, the entry-level market has stagnated somewhat. All eyes are now turned toward Sony, and the hopefully soon to be announced Sony a7 IV. Sony will have to make a statement with this Camera now that Canon, Nikon, and Panasonic have solid options in this category. After the break, we’ll break down what we want to see from Sony’s entry-level Full Frame a7 IV.

A recent post over at Sony Alpha Rumors suggests that the Sony a7 IV launch is just around the corner. In all honesty, it would not surprise us to see the Sony a7 IV in the first half of 2021. Sony is now the manufacturer playing catch-up in the entry-level camera space, so they need to get this camera to market soon. I’m sure we all have our lists of needs and wants regarding this potential new model. Here’s our wish list for the Sony a7 IV.

It’s Time to Retire the 24MP Sensor

Seriously, it’s time to move on from the current 24MP sensor. It has been used in so many cameras in this category that all of the offerings in this space produce identical looking images. There needs to be some separation between cameras to make them interesting again.

Speculation suggests that we could see a 30 Megapixel sensor in the Sony a7 IV. That would be fine, but we’d like to see more. You could argue that now a 36MP sensor should be standard for entry-level cameras. Sony’s higher-end cameras, the a7r IV and the new a1, use 60 and 50 Megapixel sensors, respectively. With this in mind, a 36 Megapixel camera in an entry-level offering is not too much to ask for. It would put the Sony a7 IV leaps and bounds ahead of the Panasonic S1 and S5 (both 24MP), Canon’s R6 (20MP), and Nikon’s z5 and z6 models (both 24.5MP). With a potential price of $2,499, 36 Megapixels should be the minimum for this camera.

The Sony a7 IV Needs a Better LCD and EVF

We’re not expecting the impressive 9.44 million dot EVF used in the new a1 and a7s III to be used in the a7 IV. Still, we want to see a better unit than the one used in the a7 III. The aging EVF found in the current a7 III needs to be retired. That EVF was okay back in 2018 (and only just okay). A 3.76 million dot EVF has been touted. However, we’d like to see a 5.76 million dot EVF with a 120hz refresh rate in the Sony a7 IV. The LCDs on Sony cameras have always left us wanting more as well. It’s time to start increasing the quality of these displays. Today’s cameras produce stunning images. Sony, it’s time to give us a screen that can show us that while we’re out in the field. While you’re at it, make it a fully articulating screen too.

Improved Storage Options, User Interface, Autofocus, and AI

It would be nice to future proof the new Sony a7 IV by including at least one CFexpress card slot. There’s no need for dual CFexpress/UHS II slots, but perhaps one CFexpress and one UHS II slot. Let’s face it. CFexpress is the future and it will become the dominant format. Having a camera that can support this format in the entry-level segment would be great. Dual UHS II slots would still be okay, but we’re hoping that Sony can find room for the former.

We’re sure the Sony a7 IV will feature the new touch-friendly menus found in the a1 and a7s III. Still, will put this here just in case anyone from Sony is thinking about sticking with the old user interface. Just, no, Sony! Just say no. Bring all of that touch glory to the a7 IV. If the new interface is used, that means the new, more powerful processor is included.

This means that Sony could increase AI capabilities. The focusing system in the a7 III was state of the art, b...

The Tamron 20mm f2.8 Di III OSD has also dropped in price to just $249 as well!

Tamron has made it their mission to create high quality, affordable lenses for Sony’s E mount cameras. The new 20mm, 24mm, and 35mm f2.8 Di III OSD M1:2 lenses have set a new standard for affordable, weather-sealed fast primes. For a short amount of time, you can pick up each of these Tamron f2.8 prime lenses for as little as $199! That’s right, the 20mm f2.8 ($249), the 24mm f2.8 ($199), and the 35mm f2.8 ($199) are on sale! We have reviewed all three and were incredibly impressed, and we’re sure you will be too. Join us after the break for all the details.

If you like deals, you’re going to love the prices on these Tamron f2.8 prime lenses. They’re fast, sharp, weather-sealed, and they focus incredibly quickly too. You can get these lenses and build up your collection of primes on the cheap! They should be considered must-haves for Sony’s E mount. Don’t miss out. Learn more about these Tamron f2.8 prime lenses below.

Tamron Mirrorless Lenses – 20mm f2.8 Di III OSD

Do you need a small, lightweight, weather-sealed, fast prime that’s nice and wide? If so, check out the Tamron 20mm f2.8 Di III OSD M1:2. We really enjoyed our time with the lens during our review period. Here’s what we had to say about it in our review:

“This lens has great image quality with nice bokeh (when possible), very good sharpness, and beautiful colors. On top of all that, it’s lightweight and built like a tank. Best of all, the price and portability are things you’ll be very happy with.”

Chris Gampat – Editor In Chief

Buy it now for just $249 and save $100!

Tamron 24mm f2.8 Di III OSD

If you’re not looking to go quite as wide as 20mm, but still want a wider lens, the Tamron 24mm f2.8 Di III OSD M1:2 could be the one for you. The 24mm flavor of this series features the same robust build as the 20mm lens, it is weather-sealed to the nines, and has excellent optics. Here’s what we had to say about the lens in our review:

“The Tamron 24mm f2.8 Di III OSD M1:2 (Model F051) is an affordably priced lens for Sony Full Frame Mirrorless cameras that combines outstanding image quality and robust weather sealing with a compact and lightweight form factor.”

Buy it now for just $199 and save $150!

35mm f2.8 Di III OSD

The 35mm focal length is classic and loved by many thanks to its sheer versatility. Want to shoot portraits? Go for it. Landscapes? Do it! Events, food, weddings: 35mm lenses can do it all. The Tamron 35mm f2.8 Di III OSD M1:2 is a steal at its current price! Like others in this lineup, you’re going to get weather sealing, excellent optics, and fantastic all-around performance. Here’s what we said about it in our full review:

“Tamron has been introducing affordably priced Sony Full Frame Mirrorless lenses that are robustly built and deliver excellent image quality, and the Tamron 35mm f2.8 Di III OSD M1:2 (Model F053) is no exception. It can easily hold its own against pricier competing offerings.”

Buy it now for just $199 and save $150!

For Black History Month, we want to tell the stories of African Americans and more.

Hi folks,

We took a very firm stand against racism last year by being forthright. But in the past 11 years, we’ve worked to feature as many POCs as possible. That means you folks who identify as African Americans, and Black. For Black History Month, we want to bring that even more to the front. We’ve always believed that Black Lives Matter. If you follow us on Flipboard, you’ll see our storyboards on African Americans, and the two we did on POCs. I’ll admit that we’re doing more than other publications. But we can always do more. So we’re asking you to help us.

The Phoblographer often features inspiring photos by various photographers. With the site’s most recent approach and vision, we’re working on finding ways to translate tech and gear into art through the process of education. So we’re very interested in your artistic approach for sure, but our aim is to help people understand how one does that through the tools they use. Here’s how you can get a chance at being featured.

PLEASE CAREFULLY FOLLOW THESE DIRECTIONS. SUBMISSIONS MAY NOT BE CONSIDERED OTHERWISE AND MAY HEAD STRAIGHT TO THE SPAM FOLDER.

The subject line of your email should be: Photography Submission: (Your name here)

Shoot an email at editors[at]thephoblographer[dot]com. You’ll also probably notice the little call to feature you on the sidebar.

Describe yourself as a photographer. Think about the who, what, when, where, how and why. Tell me about who you are as a photographer, list what cameras, lenses, lights, films (or plates, or papers) and other gear you use. Tell us about your creative vision when you create and take photos.

Then answer these questions:

Why did you get into photography?

What photographers are your biggest influences? How did they affect who you are and how you create?

How long have you been shooting? How do you feel you’ve evolved since you started?

Tell us about your photographic identity. You know, you as a person have an identity that fundamentally makes you who you are. Tell us about that as a photographer.

Tell us about the gear that you’re using. Please give us a list of reasons why you choose it. Please be descriptive. We want to know how it helps you translate your creative vision.

Natural light or artificial light? Why?

Why is photography and shooting so important to you?

Do you feel that you’re more of a creator or a documenter? Why? How does the gear help you do this?

What’s typically going through your mind when you create images? Tell us about your processes both mentally and mechanically? PLEASE BE DESCRIPTIVE

Please walk us through your processing techniques?

Tell us about the project that you’re pitching, or your portfolio that you’re pitching to us. Be descriptive with the who, what, when, where, how, and why.

What made you want to get into your genre?

What motivates you to shoot?

List a number of your websites

Explain why the readers want to see your work., or why your project is really cool.

Show 10 photos at 3000 pixels on the long side that demonstrate some of your best work.

I will review all of your submissions and get back to you based on the volume of emails. Don’t let this discourage you, it’s just the introductory pitch. And if you have a photo that makes great use of lighting, submit it for our Creating the Photograph series.

Thanks folks!

Sincerely,

Chris Gampat

Editor in Chief

We love a good photography documentary, and there are plenty of them on Netflix.

A photography documentary is a great way to consume the art form you love. From the educational to the eye-opening, there’s a photography documentary for all your wants and needs. Popular streaming site, Netflix, has hours of awesome content for the photography fan. So, in an invitation to “Netflix and chill,” (in the clean sense) let’s take a look at some of the best photography documentaries you can watch on Netflix.

The B-Side: Elsa Dorfman’s Portrait Photography

Friends with the likes of Bob Dylan and having photographed people like Anne Sexton, Elsa Dorfman is a big deal. Her career spans over 50 years, and in this photography documentary she takes you through it step by step. Sharing her passion for Large Format Polaroid, Dorfman explains why she loves the medium so much. Expect gripping tales of her career, as well as a showcase of some of her early works. It’s a fascinating watch, and one you need to see.

Tales by Light

Tales by Light is a photography documentary on Netflix spread across three seasons. Developed by Canon and National Geographic, the show follows professional photographers around the world, as they document different environments and stories. The show includes photographers such as Art Wolfe, Angela Scott, and Eric Cheng, plus plenty of others. You’ll be able to get an in-depth look at how the pros photograph tribes, sea life, and nature. This program is certainly binge-worthy!

Hondros

Written by Greg Campbell and Jenny Golden, Hondros is a documentary that looks at the life and work of the late war photographer, Chris Hondros. It’s an eye-opening (and heartbreaking) insight into the world of war photography. Hondros had an indestructible passion for showing the world the turmoil humanity faces. So much so, he was prepared to put his own life at risk in order to document wars around the world. It’s the kind of documentary that once you start watching you won’t be able to stop. It’s a beautiful sign of respect for a photographer who risked so much.

Abstract: The Art of Design – Platon

This episode of the popular Netflix series focuses on the work of portrait photographer, Platon. It offers a much-needed insight into the work that happens beyond the camera. Platon expertly demonstrates the power of human empathy and the importance of building rapport. From photographing the world’s most famous people to the painful story of abuse, Platon provides a masterclass on how to get the best out of your subject. No matter what genre you enjoy, this should appeal to all types of photographers.

Your Favorite Photography Documentary

Depending on where you are in the world, you’ll have access to different photography documentaries. After enjoying the five featured above, drop a comment below and let us know what we and everyone else needs to watch.

Be sure to check the best photography documentaries on YouTube!

It’s no surprise that Tamron’s affordable, sharp, weather-sealed E mount primes top our list of most popular lenses.

Many of you have made the most of some great lens prices during January. Our readers who shoot with Sony, Nikon, and Fujifilm cameras have been snapping up lenses that reviewed incredibly well. These popular lenses are sharp, fast to focus, and most offer weather sealing. They all render gorgeous colors and bokeh too. After the break, we will share the five most popular lenses with our readers during January 2021.

Tamron 35mm f2.8 Di III OSD

In our review, we said:

“The Tamron 35mm f2.8 Di III OSD M1:2 (Model F053) renders colors accurately with buttery smooth bokeh and negligible chromatic aberrations. When it comes to sharpness, the Tamron 35mm f2.8 wins against the pricier Sony 35mm f2.8 Zeiss hands down. If the Tamron was any sharper, you’d have to handle it with gloves on.”

Buy now: $199

Tamron 24mm f2.8 Di III OSD M1:2

In our review, we said:

“The Tamron 24mm f2.8 Di III OSD M1:2 (Model F051) is an affordably priced lens for Sony Full Frame Mirrorless cameras that combines outstanding image quality and robust weather sealing with a compact and lightweight form factor.”

Buy now: $199

Nikon Z 14-24mm f2.8 S

In our review, we said:

“The Nikon Z 14-24mm f2.8 S is a fantastic lens. It’s one of the first Nikon Z lenses that has truly made me say, “wow.” The Nikon Z 14-24mm f2.8 S is a genuine contender for the top dog award in this lens category. It’s smaller and lighter than options on other full-frame platforms. It has stellar image quality. It controls distortions, flares, and CA very well, and it renders nice colors and interesting yet pleasing bokeh. This is an incredibly fun lens to use, and it’s hard to fault.”

Brett Day – Gear Editor

Buy now: $2,396.95

Pro Tip: Have great glass is one thing: knowing how to get the most out of the lenses is another. This month’s popular lenses are fantastic, but if you want to get the most out of them, you might consider picking up a tutorial or two. Check out these offerings, and then put into action what you learn. You’ll be creating bangers in no time at all.

Fujifilm 35mm f1.4

In our review, we said:

“The 35mm f1.4 is truthfully best experienced if not wide open, nowhere past f5.6. Otherwise, you’re doing an extreme injustice to yourself by not taking advantage of the beautiful bokeh and extreme sharpness that the lens has to offer wide open.”

Chris Gampat – Editor In Chief

Buy now: $599

Sony 35mm f1.4 GM

In our review, we said:

“The Sony FE 35mm f1.4 GM is a joy to use, and the photos a joy to look at. I found little to complain about. The lightweight design is excellent; the de-click aperture ring a pleasure to spin. The weather-sealing handled some light snow. I love both the colors and sharpness of this lens, while distortions and flare are kept to a minimum.”

Hillary Grigonis – Reviews Editor

Pre-order now: $1,399.99

In Pro Camera Reviews, we recently looked closer at the Sigma 35mm f2 DG DN Contemporary lens.

The Sigma Contemporary lineup have sort of struck us as odd. And the Sigma 35mm f2 DG DN Contemporary is just that lens. In fact, we still don’t totally know what to think of it. It’s a solid lens, but Sigma does some things that are very odd to us. And we discussed that in our recent episode of Pro Camera Reviews.

In This Episode:

Is the Sigma 35mm f2 DG DN Contemporary Worth It?

We’ve spent the last month or so testing the Sigma 35mm f2 DG DN Contemporary lens. This is Sigma’s third 35mm lens. It’s also their most affordable of the bunch. While being stuck mostly inside with the pandemic, we found ways to be creative with the lens. We’re going to talk about our findings with the L mount version of the lens. And in the end, we’re going to decide whether or not it’s right for you. Will this be your next 35mm lens?

On the Next Episode

Canon R5, Sony a1 or Fujifilm GFX 100s: Which One?: Canon, Sony and Fujifilm are at the top of the innovation game right now. And we’re going to break down their three top cameras. We’ll weigh them by lens systems, autofocus, build quality, ease of use, image quality, and talk about their innovations. Hopefully, by the end, you’ll be able to make a more informed decision on which camera to buy. Yes, they’re all expensive. But let’s be honest, photography is an expensive hobby and profession!

What Are Speed Boosters? First Impressions of Hasselblad’s XH 0.8 Converter: Most photographers have heard about and know about teleconverters and what they do. However, far fewer photographers know about speed boosters and what they can do. In this episode of Pro Camera Reviews, we will take a quick look at what these converters are, what they do, and the pros and cons of them. We will also give a first impressions look at the new Hasselblad XH 0.8 converter (speed booster) that allows Hasselblad H lenses to be used on Hasselblad X mount bodies like the X1 D II and the 907X.

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. Episodes are done on Zoom and are recorded. 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.