The Phoblographer

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For more than 70 years, Nikon has proudly manufactured most of their cameras in their home country of Japan. However, times have changed, and the camera market has faltered. In a bid to save money, Nikon has announced that all cameras will be made in Thailand by the end of 2021. While this might not sound like a big deal, this news has sent shockwaves through the industry. It certainly helps paint a clearer picture of just how bad cash flow is in the industry. Nikon is the latest to try and slash costs, but will more manufacturers follow? Let’s talk about this.

According to reports on Nikon Rumors, Nikon has taken the bold step of ceasing all manufacturing of cameras in Japan. By the end of 2021, all cameras will be made at a plant in Thailand. As it stands, the Nikon Z6 and Z7 are already produced at the facility in Thailand, while the remaining camera produced in Japan (the D6) will join them later. Nikon’s plant in Sendai, Japan, has been the crown jewel in Nikon’s production line for years. It’s here where cameras were meticulously crafted and checked before being shipped around the world. Nikon is known for great build quality and reliability. Still, Nikon has said that they will continue to produce high-performance, high-precision parts required for products at their Thailand facilities. Time will tell if this will be the case.

The Writing’s on the Wall

This latest news is just one piece of a much larger picture. This year, we learned about Olympus’s sale to JIP as the camera market just wasn’t sustainable for Olympus anymore. Olympus themselves had already moved production to Vietnam in an attempt to lower production costs. It seems as though Nikon is on a similar trajectory. We know things have not been rosy for Nikon for quite some time now. It’s a shame to see a one time giant struggling to gain traction in the market. Still, the writing has been on the wall.

Obviously, we hope that these cost-cutting measures at Nikon do the trick. Nobody wants to see any camera manufacturer go out of business. But what has caused Nikon’s fall from the top? We could sit and argue that Nikon’s reluctance to jump into the Mirrorless market sooner could be the cause. It may well have played a part. Their current Z cameras are good, but they’re not great, and in many ways, they are still playing catch up to Sony and now Canon. However, this goes back much further than just the leap from DSLR to Mirrorless. This goes all the way back to 2007 when the first iPhone hit the market.

No One Saw This Coming

All camera manufacturers have been in an uphill race ever since the smartphone wars began. The death of point and shoots (and the cash cow they were for Nikon and others) is continuing to take its toll. With that income gone, and the price of doing business rising, this was just a matter of time. Cameras in smartphones continue to get better month after month. In 2007, when Apple launched the iPhone with a 2 Megapixel camera, nobody knew just how big an impact phones would have on the camera industry. Whether or not other camera manufacturers will shift into sustainability mode is yet to be seen. Still, don’t be shocked if they do.

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Photography submissions come in thick and fast here at The Phoblographer. Each week we’re overwhelmed with photographers stating their case for why the world needs to see their work. Thankfully we love what we do, so spending time with new photographs isn’t a problem for us. Photographers have sent us some spectacular work throughout the year. And as 2020 comes to a close, it’s the perfect opportunity for us to reflect on the best photography submissions we received over the past 12 months.

Barbara Cole / Photography Submissions

When we first set our eyes on Barbara Cole’s work, we asked ourselves, “Are these photographs or paintings?” Of course, they’re photographs, but with Cole’s unique underwater style, she’s managed to replicate paintings, which in turn makes her work captivating. Cole is an interesting character too, which is why the interview we did with her was one of our most popular. You can read it here.

Yuri Benitez / Photography Submissions

We’re always extra selective when deciding whether we should publish nude photography. We get a lot of photography submissions that include nudes, and unfortunately most of them lack substance. But when Yuri Benitez sent us his work, something clicked. Yes, it’s nude photography, but it’s also minimalist and textural. Benitez blends all the elements to create exciting images that hold more value than other submissions.

Mitchel Wu / Photography Submissions

Photography needn’t always be serious. Often it can be fun, something to make you smile and chuckle. Mitchel Wu is an exceptionally gifted toy photographer. And while he takes his craft very seriously, he intends to make you feel silly and laugh when you view his images. His work is some of the best toy photography we’ve seen. He clearly thinks about his scenes in great detail, which is evident by the high standard of work he produces.

The Portrait Kitchen / Photography Submissions

If you don’t believe in fate, you might after reading this. The Portrait Kitchen (a married couple) sent us a photography submission soon after global lockdowns began. Their concept is simple; they use their kitchen as a home studio. The timing couldn’t have been better, as we were doing our best to show photographers how they could keep active at home. But that’s not the only reason we published them. They do their work to a professional standard, and their business is thriving. It was an excellent education for photographers of all levels.

Alessio Trerotoli / Street Photography

Italian street photographer, Alessio Trerotoli, sent us some of the most gripping street photography somebody has sent us for a while. His double exposure street photography provided something fresh, mixing the streets’ darkness with the tranquility of the rain. Trerotoli’s interview was a fascinating read, as he shared his full creative process. Top marks for this street photographer, offering something new in an oversaturated scene.

Matteo Verre / Self Portraits

When it comes to photography submissions, Matteo Verre certainly sent us the most noticeable. His quirky self-portraits, which he describes as an “exploration of self,” certainly stand out from the pack. We liked how he’s not afraid to do something different. Happy to make himself publicly vulnerable, Verre certainly has some images that verge on the peculiar, but in the right kind of way.

Maren Klemp / Personal Essay

Maren Klemp’s submission hit us right in the heart. After her daughter became sick, Klemp began to develop anxiety and PTSD. Although her daughter was okay, she lived in constant worry that something may happen to her or another family member. To help herself heal, Klemp took the worries in her mind and turned them into photographs. It’s an inspirational read about how photography can help heal our deepest wounds.

Phil Penman / Sheltering in Place

When Covid-19 struck, m...

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My name is Adrienne Catanese, and I am a female emerging fine art photographer living and working in Long Island, NY. My current work is mostly conceptual still life created in my “studio” (read: tiny kitchen), but I also love shooting on-location portrait sessions, street photography, etc.

I am primarily a digital photographer; my gear is minimal: one Canon 5D Mark III body, one Canon 24-105 f4 lens (L series, came with the MarkIII), a cheap Amazon tripod, cheap Amazon speedlights, cheap Amazon triggers. I have a Canon T6 Rebel and a nifty-fifty that I carry for back-up when shooting weddings / paid jobs.

I make my own light modifiers like reflectors, snoots, grids, gobos, etc., using Dollar Tree materials, garbage, even things I find on the side of the road. I also hand-build my own props using thrift store materials and eBay items, often gluing, painting, sanding, even burning objects before meticulously arranging them in still life compositions.

My “creative vision” when making photos is usually very *obsessive* but in a good way. When working on a series, I can barely sleep as ideas, and even fully-formed images will appear in my mind as I lay in bed. In the middle of the night, I wake up to write notes and diagram shots in a notebook I keep next to the bed.

I got into photography because I was inspired by a photographer friend; she did self-portrait based “365 Projects” for several years running. I then started my own “365 Project” (also self-portraits), and that was how I began teaching myself photography. First, I was shooting daily on my iPhone 5c. After a couple months of daily shooting, I bought a used Canon T3 Rebel from my photographer friend for $150. On that simple, beat-up camera, I taught myself all the basics of manual exposure using library books and online resources. I firmly believe that consistent daily practice with a “beater” camera and studying photo-books (both instructional and monographs) formed my skill set foundation.

One of my biggest influences, especially for my more conceptual / studio (especially self-portrait) work, is Cindy Sherman. Her technical mastery and attention to detail inspire me; also, her embrace of “the grotesque,” her willingness to revel in ugliness, to critique the feminine identity, and to explore the darker places of the human mind...she’s nothing short of heroic. I also adore Mary Ellen Mark. I’m in awe of her eye and her compassion. Her images seem to elevate the mundane and the disenfranchised to an almost holy place; I view her as one of the greatest photographers of all time. When I’m shooting street or documentary, I often am inspired by her work on a subconscious level–but even if I were to shoot for a thousand years, I would never approach her level of mastery.

I’ve been shooting since 2015, so five years total. I’m 36 now, so I found photography pretty “late” in life compared to some. Back in the late 90s, I took darkroom film photography in high school, but I (stupidly) was more concerned with cutting class to smoke pot with my friends, so I don’t count those years

What’s the point of using a flash during the daytime if you can just edit the photo later on?

Though the more experienced photographers may already know the answer, there are lots of folks who don’t understand why you’re supposed to use a flash during the day. I mean, why not just overexpose the image or go into the shadows to shoot the photo? Well, life isn’t always that plain and simple. And if you’re really hellbent on fixing it in post-production, please believe me when I say that using a flash during the day will make it much more manageable. You can probably do this with your on-camera flash, but in most other cases, an off-camera flash will do this the best.

Notice how tough it is to get both the subject and the background perfectly exposed without a flash?

The Science Behind It

There are two ways to do this, and each approach has its own science. The first is HSS–otherwise known as high-speed sync. Different companies call it different things, but it basically lets you shoot a photo with a flash at a crazy fast mechanical shutter speed. The other method is by using a flash that has a quick flash duration. In layman’s terms, what it does is act as a second shutter speed.

High-Speed Sync

Typically speaking, when you use a flash, it will sync up to no more than 1/320th. But with the high-speed sync method, it will often sync up to 1/8000th. With the way that light works when a flash is firing:

Shutter speed controls the ambient light

ISO controls overall sensitivity

Aperture controls how the flash affects the scene depending on TTL or manual modes

This is sometimes called overpowering the sun, and you’re getting just that here. The point is for you to underexpose the ambient light. And to provide some fill on the subject, you use the flash. If you were to otherwise expose the scene, you wouldn’t get the details of the subject and the background: one or the other would be either blown out or underexposed. Photographers usually use this method when they’re photographing an editorial or commercial campaign on location. It’s also very popular with portraiture and weddings.

The way this works is that the flash switches from firing one powerful blast to a bunch of rapid bursts. The flashes happen so fast that the human eye can’t even see them. But one of those blasts is bound to hit the imaging plane (sensor or film) at one point or another. This means that it uses a lot more energy, and you can drain the battery power a lot faster, but you’ll get a much better shot.

To do this, you need a flash that can do high-speed sync with your camera system. Set the flash to high-speed sync, and then just fire at your subject. Be sure to diffuse the light in a softbox, umbrella, octabank, or whatever you prefer.

Flash Duration

The idea behind flash duration is quite a bit more complicated than High-Speed sync. The way that this works is by using a studio strobe or something a bit more powerful than a typical flash. Each flash has what’s called a flash duration. The flash duration is how fast it will pop, and it’s measured in fractions of a second–the same way that shutter speeds are mentioned. The quicker the flash duration, the faster it can act as a second shutter speed. The faster this second shutter speed is, the more it can overpower the sun and kill ambient lighting.

That’s really all that there is to flash duration. All you need is a higher-end light. Check the tech specs; most cheaper flashes don’t have a fast flash duration. The quick flash duration also can stop fast-moving subjects pretty easily, so it’s ideal for sports or anything you want to shoot that’s fast-moving.

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I’ve lived in cities my entire life. Through my photography and journalism career, I’ve moved between messenger bags and backpacks. Very few camera bags seem to get everything right. Trust me, we’ve reviewed the most of any photo publication. We’ve known about the OneGo backpack for a while now. It addresses the needs of a photographer who lives in the big city. Innovation with camera bags is pretty rare these days, but the OneGo backpack is doing things a bit differently.

Editor’s Note: This is a sponsored post by PGY Tech.

OneGo BackPack Standout Features

Waterproof design. It’s got a new coating that really makes this possible.

Dustproof build quality for when you’re going on a hike.

YKK zippers.

Proper loops on the bottom of the OneGo Backpack for storing a tripod. This is HUGE for balancing weight on your back.

It’s got a waist strap and a chest strap, which keep it from hurting your back. And they really make the difference when you’re ready to go walking from one airport terminal to the next.

It’s got what they call an AirFiber back panel as well as a honeycomb-structured TPR strap padding to dispersing the pressure by up to 50 %. This basically makes sure that your back isn’t sweaty from a day of photo walking, and that you’re comfortable.

The OneGo has dual side quick access zippers.

The top section uses a magnetic buckle system.

There’s enough space for a 16-inch Macbook Pro.

You can store your passport safely.

Inside the bag are Magnetic battery power indicators—these double as a 1/4′′ wrench to undo a tripod plate.

It comes in Obsidian Black, Deep Navy, Sand Beige, and Shell Grey.

OneGo has a clamshell design that can fully open in the front, which makes it easy to access the contents of the bag while enjoying the large compacity.

The main compartment uses the detachable dividers with the latch and loop design for customizable storage.

The OneGo Backpack Takes Build Quality Seriously

If you’ve read our website for a while, you’ll know that we test gear in rough conditions all the time. So camera bags that can handle rain and snow are super important. In the past few years, the photo industry’s customers have seen just how important that is. What’s more, the OneGo Backpack is a nod to long term durability. And who doesn’t want that? These days, there’s something to be said for camera bags that can probably be handed down to a future generation the way many others have. Similarly, you’d be ecstatic to inherit your grandfather’s old Leica camera set.

Perhaps for me, the biggest thing is all the straps. Too many backpacks have come out that don’t have both chest straps and waist straps. They should be an industry standard at this point. If you just have a chest strap, then the weight can be too much on your shoulders. With just a waist strap, your backpack straps can sometimes feel too loose unless you tighten them a lot. But with the backpack straps, waist straps, and chest straps working together, you’ve got better balance.

What’s more, one of the core feature of the design is that the shoulder strap uses the honey-structured TPR padding that can disperse pressure up to 50%, And don’t forget about the AirFiber Back panel, which makes things breathable for your shirt.

All this means so much when you consider the lower strap system. The OneGo Backpack does what I’ve been asking the industry for years. It puts the tripod carrier on the bottom. Sure, you can still put it on the side if you wish. But why would you bother throwing off your back like that? If you’ve walked around with 35lbs of camera gear, you know that weight management is important. In the past two years, I changed my lifestyle and lost 35lbs of bodyweight. So when I carry a lot of camera gear these days, my body works a lot less.

Specifically, putting things like heavy tripods on the bottom lets me manage the wei...

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“The driver was able to reach up to 142 miles per hour,” says Dewey Keithly to us in an email interview. “We mounted the Fujifilm GFX 100 and the Red Komodo to the front of the fastest camera car in Utah on the salt flats...The in-body image stabilization worked flawlessly on the GFX.” I’m sure that if anyone wanted a really cool COVID 19 pandemic photo project, this would be it. I mean, working with the GFX 100 is great. And Dewey says that it’s flawless. But they all worked with a 1966 Porsche 906 LH and the owner/driver.

These are seriously cool, but what’s the concept behind this series?

The photos will compliment a short film piece about the car. The concept was to make some timeless images of the car and driver. I worked closely with the film crew to capture images of the car so we can have a different angle and not have to use screen grabs.

Tell me about this subject of the stills.

The car is a 1966 Porsche 906 LH replica which was used in the movie Ford vs Ferrari. The talent in the images is the owner Cary Decker who looked the part and drove the car very well. It was very lucky to achieve both with the owner of the car. When I heard some guy named Cary with the old Porsche was coming to drive, I immediately thought it was a retired guy who may not play out well on film. Luckily he was quite the opposite and really made for a great shoot.

Why choose the middle of the desert?

The location for this part of the shoot was a call made by the Director, James Winegar. He was wanting a look that almost resembled being on another planet. Also, the salt flats allow for us to drive very fast and get those dynamic moving shots.

What sort of logistical challenges were there for you guys? IE. what was some of the most frustrating parts of executing this?

There are a few, but for the most part it wasn’t bad. I’d say fighting harsh light was one of them because of the surface we were shooting on at the Salt Flats. We had to move quickly and get all the shots on the list before the sun got too high. I guess that’s something we are always battling against as photographers. Another thing that came up was shooting the GFX with the phone app. We had tested it prior to the shoot and it worked great. Out on the salt flats it didn’t do so well so we had to go tethered. I’m not sure why there was the interference, but we got it figured out.

Why the GX100? What’s so special about it that made you want to use it?

The main reasons were because of the large sensor and the IBIS. While shooting cars it’s good to have a larger sensor because of what the images could be used for. I can crop in depending on what the creative director is seeing too. We really wanted to test the IBIS while mounted to the car. I’ve shot moving objects with this camera before and it went well. It was really important to make sure it could withstand the speed of the camera car. It worked very well. Also, shooting digital medium format with a body that isn’t 20lbs is pretty cool.

Talk to us about the post-production. It doesn’t look like there is any.

Like I mentioned before we wanted a timeless look, so I went with Kodak Portra 400 pushed 1 stop. Only kidding. But I did want to get it close to what that may look like.

Besides all the COVID safety precautions, what other precautions were taken to execute this?

The other precaution besides covid safety protocol was to keep the driver safe. “Don’t get dead” is a good slogan to go by. When riding in a fast camera car, while shooting an even faster race car, there are plenty of things that could go wrong. We had a small crew to keep it safe with covid, but everyone was prepared beforehand to make sure we would all be safe. We had coms from the camera car to the driver in the Porsche and also to crew on the ground. We had people in place to stop traffic, which there was very little of at 5:00am on the s...

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For a while now, we’ve been rounding up the most popular lenses with our readers at the end of every month. Now, we’ll take a look at the most popular lenses for 2020. There have been plenty of new lenses across all of the major platforms this year. However, quite a few of the most popular lenses are now a good few years old. In fact, you really will be quite surprised with some of the glass on this list. If you want to take a peek at what has been selling well and what your fellow readers have been picking up to use, you’ll enjoy this roundup. The list is presented to you in order of popularity, with the best selling lens listed first. Take a look at the most popular lenses of 2020 after the break.

There has been a clear trend in regards to the most popular lenses in 2020. While we have seen quite a few expensive lenses ($1,500 and up) sell, all of the popular lenses on this list are under $1,000. Quality lenses are now more affordable than ever. The list of popular lenses includes offerings from almost every brand across every platform. Fujifilm, Tamron, and Sony have topped the list, though, with more popular lenses on the list than other manufacturers. Take a look at 2020s most popular lenses below.

Tamron 20mm F2.8 Di III OSD

In our review, we said:

“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 now: $299

Sigma 16mm f1.4 DC DN Contemporary

In our review, we said:

“It’s sharp, has nice bokeh, contrast, manageable fringing, and autofocuses at a fair speed. Plus it has weather sealing. There isn’t a whole lot to hate with the Sigma 16mm f1.4 DC DN Contemporary. If you’re the type of photographer who shoots wide, does documentary-style work, and needs a reliable lens in their bag, this is one of the best options you’ve got if you’re a Sony shooter.”

Chris Gampat – Editor In Chief

Buy now Canon EF-M: $375

Buy now M4/3: $379

Buy now Sony E: $369.95

Fujifilm 10-24mm f4 R OIS

In our review, we said:

“This lens produced great images with vibrant colors and sharp lines. This the kind of lens that has myriad applications, but it works particularly well with event and street photography that can often call for wider perspectives.”

Buy now: $999

Sony 50mm F1.8

In our review, we said:

“Generally speaking in terms of nifty 50 lenses, you can’t really get much better here. Sony’s 50mm f1.8 is right up there with the Canon 50mm f1.8 in terms of image quality. It’s got great color output, is very sharp, very little chromatic aberration (and even then you’ve really got to look for it), and bokeh that isn’t bad overall.”

Chris Gampat – Editor In Chief

Buy now: $198

Canon 50mm f1.8 STM

In our review, we said:

“The Canon 50mm f1.8 STM is a lens that, like its predecessors, is still priced rather affordably and also performs very well for the price point. In every single way, this lens is a step up and improvement from the previous version and with that in mind, it will surely serve a new generation of budding photographers very well.”

Chris Gampat – Editor In Chief

Buy now: $125

Fujifilm 35mm f2 R WR

In our review, we said:

“The lens is also weather-sealed, which means that it’s really designed to do work for the photographer that demands more from their gear. Pair it with the X-T1 and you’ll not only have a fast focusing combination but one that can stand up to the rain.

Chris Gampat – Editor In Chief

Buy now: $399

Tamron 28-75mm F2.8 Di III RXD

In our review, we said:

“One of the things that make the Tamron 28-75mm f2.8 Di III RXD so appealing is just how good the image quality is. Not only is the lens capable of delivering sharp images, but ...

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“I think the pandemic has stifled me emotionally,” photographer Brandon Kidwell tells us in an interview. “I’ve been trying to keep a sense of normal for myself and my family here, but it’s been a challenge when there isn’t a line between work/home and play anymore; it’s all blurred together.” Brandon created the Sawdust of our Youth in early 2019. But I can imagine that in time, his creativity will blossom even more. Brandon is one of those photographers who I look fondly at when I dive into the site’s archives. His work is stunning and so much of a technical masterpiece. What’s more, Brandon uses no Photoshop when he creates his personal double exposures. Now, more than ever was a great time to talk about those with him.

We’ve previously featured your work for the incredible skill you’ve got. And we feel it’s more important now more than ever. So in this series, you seem to be exploring the growth of your youngest son. Before we go deeper, it seems like you only really do projects like this when you’re emotionally invested in them. Am I right?

Thank you for your very kind words and for the chance to share with you again. I think you’re right, I am always looking for satisfying compositions in general and often try a lot of multiple exposures but if I don’t have a personal or emotional connection to the purpose or context of the image or series I tend to view it as flat or lacking dimension or meaning. I think visually interesting images can be incredible alone but for me, a series requires something deeper that inspires it. More often than not, I am trying to capture something that I feel or have experienced and struggle to translate into the image. I think the challenge of translating an idea, a feeling, or an emotion is what keeps me motivated.

Where did the sawdust metaphor come from?

This series was inspired by context and timing. We were providing some wood rounds for a family wedding, so I was cutting a lot of 1′′ slices out of some trees we recently cut down. We had piles of sawdust. My son was four at the time, and he started pronouncing words correctly, even the cute and endearing mispronunciations that often lead to nicknames for family or inside jokes. He was developing a real wonder about the world, and his thinking was becoming more grounded. I started to imagine the sawdust as a metaphor for shedding the first layer of skin as a toddler or small child. It was symbolic of a noticeable change in maturity and intelligence.

So what are the patterns used here? These are obviously photos of your son, but the rest look like leaves.

The patterns here are actual sawdust. My son and I used a single strobe and an octa. We dropped handfuls of sawdust in front of the strobe, timing the fall to achieve the dissipating or dissolving effect. It took a lot of tries at first, but we started to learn the cadence and timing within a few minutes.

Why is only one image in color? It stands out a whole lot!

The series was meant to be about the metaphor, the effect. The color image is about my son. This image was the only one that captured how he truly was on that day and time. He enjoys it when I ask him to participate in my experiments, but his patience is temporary, so I thought this was important to preserve that mixed emotion, willing yet growing impatient.

How did you get him to stay still for these photos?

Honestly, he’s pretty good about it if I show him the idea and he’s into it, but generally I have to come up with some sort of bribe; if you do this, then we can...

Talk to us about the gear you’re using these days, and tell us how it’s helping you creatively. This will be a section itself in the article.

I have a lot of different cameras and gear for all occasions. I don’t have a strong brand loyalty, picking the best tool for the job, but mostly I’m using the Canon EOS R these days with the lens adapter...

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A lot of gear roundups we do focus on affordable, feature-packed cameras. Those cameras are honestly more than enough for 99% of photographers. However, what if money was not a problem? What if some luxurious cameras were calling your name? We’re talking cameras that feature the most beautiful build materials, cameras from brands that are steeped in history and heritage, luxurious cameras that are meticulously designed and crafted. In this roundup, we’ll take a quick look at five of the best luxury Mirrorless cameras that money can buy right now. If we had deep enough pockets, these are the five Mirrorless luxurious cameras that would be high on our most-wanted list.

Leica SL2s

In our review, we said:

“By and large, the Leica SL2s is the most rugged camera on the market for a working journalist. There’s no question about that one. It’s incredibly reliable, and I know that I’d be able to use it in any weather or environmental situation. It feels good in the hand. You’re getting a solid menu system. The lenses are wonderful. And best of all, the high ISO images are super clean.”

Chris Gampat – Editor In Chief

Buy now: $4,895

Fujifilm GFX 50S

In our review, we said:

“The Fujifilm GFX 50s is an absolutely fantastic camera in so many ways. It boasts the fastest medium format autofocus system that we’ve seen (to date) on top of some exemplary image quality. I argue that the lenses, when used with a flash, are even too sharp for portraiture. The camera also has weather sealing, versatility for viewfinder or LCD screen use, a lightweight body, fair battery life when shooting in just RAW, WiFi, and when used with the excellent 63mm f2.8 lens, isn’t that large.

Chris Gampat – Editor In Chief

Buy now: $5,499

Hasselblad X1D II

In our review, we said:

“The camera body itself is a single, machined piece of aluminum that exudes class and opulence. Every inch of this camera has been crafted to perfection. The dials and buttons feel great and offer positive feedback when pressed. The overall fit and finish are simply exquisite, and the textured grip feels terrific in the hands. The Hassy X1D II is weather sealed excellently as well. I had it with me when the heavens opened up for a brief period and encountered no worries or problems.”

Brett Day – Gear Editor

Buy now: $5,750

Pro Tip: You might spend a ton of money on these luxurious cameras, but if you don’t know how to get the most out of them, they’ll be lost on you. Fortunately, some fantastic tutorials will help you get the most out of any camera. Practice what you learn from these tutorials and you’ll be creating world-class images in no time.

Leica M10-D

In our review, we said:

“The Leica M10-D is a great camera for the photographer–not really for the video shooter or the photographer who sometimes needs to shoot video. However, for those of us who shoot stills, the Leica M10-D will make itself out to be not only a quiet camera but a great documentary tool in the right hands.”

Chris Gampat – Editor In Chief

Buy now: $7,499.95

Hasselblad 907X 50C

In our review, we said:

“...I adore the JPEGs from the Hasselblad 907X 50C. When you get the exposure to your liking, the RAW files sing with color. Hobbyist and passionate photographers will greatly appreciate that. Since the camera has dual card slots, you can write JPEGs to one card and RAW files to another. Use the camera’s WiFi and beam them to your phone, then share them as you’re vacationing. And just think: this little camera can do that. This is an excellent camera if you’re an experienced photographer who yearns for top-tier quality just for fun.”

Chris Gampat – Editor In Chief

Buy now: $6,399

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One of the biggest complaints we’ve had about new cameras has been that images from them all look the same. That’s not entirely a bad thing. However, when you sit down to review camera after camera, and there’s little difference between models, it’s hard to get excited. This, in part, is due to Sony’s domination when it comes to selling camera sensors. However, all this could soon change as Canon has entered the sensor segment and is now selling their camera sensors to third parties. Let’s talk about why this is music to our ears.

This news about Canon sensors being sold to third parties was originally posted on Photo Rumors. They talked about how they reported that Canon might branch out into this segment a few years ago. Sure enough, this has indeed happened. Why Canon has kept this news on the down-low though is perplexing. The news was broken on an official Canon website, though, as far as we know, there have been no press releases.

Canon Sensors For Everyone

So, what sensors are Canon offering up to others? Right now, it seems as though the camera sensors on offer are going to be better suited to commercial applications. There are four camera sensors in all. Two of them are high Megapixel APS-H sensors (a 250MP and 120MP). One sensor is a 2/3-inch Global Shutter sensor, and the final sensor is a 1/1.8-inch HDR sensor. So, while these sensors might not be snapped up by other mainstream camera makers for use in Mirrorless cameras for the masses, this is still exciting news. Canon has shown with the sensors in the EOS R5 and EOS R6 that their new silicon has the chops to compete with the best sensors out there.

Sony has been supplying camera sensors to other camera manufacturers for a long time now. Most mass-produced cameras feature Sony sensors, so many cameras these days produce images with similar characteristics. Samsung is another player in the camera sensor market. However, they focus more on smartphones and other industrial cameras. However, we really wish they would enter the ILC fray again.

Having another company, like Canon, selling camera sensors to third parties is definitely a step in the right direction, though. Hopefully, going forward, the camera sensors available to others will become more diverse because, honestly, right now, cameras are becoming quite stale. There needs to be some serious sensor innovation (i.e., full-frame and APS-C global shutters). If Canon entering the sensor market can help speed the development of new sensor technologies along, we’re all for it.

What Do You Think About Canon Selling Camera Sensors?

We always value your opinion here at The Phoblographer. It’s the reason why we always want you to tell us what you want to see too. How do you feel about Canon selling camera sensors? Do you think this is a good move for them? Do you think there needs to be more competition for Sony in this segment? Are camera manufacturers doing enough when it comes to differentiating their products? Lets us know in the comment section below.