The Phoblographer

In my 12 years of running The Phoblographer, I’ve either owned a camera or lenses from every manufacturer. They’re all good. No one makes a bad camera or bad lenses. But very few of them are great. Lots of photographers talk about getting rid of their gear acquisition syndrome (GAS). And as Arts and Culture Editor Dan Ginn has talked about before, I don’t always think it works. In an ideal world, all cameras would share the same lens mount and the same hot shoe. But that’s not happening anytime soon. Most photographers don’t need or use the hot shoe at all. And for those passionate photographers, I think it makes so much sense to just lean into their hobby and gear lust. I think that every photographer should have more than one camera system.

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Each camera system have its own advantages. I knew a photographer that shot on Nikon DSLRs for a while and then shot with Fujifilm when he wanted to shoot for fun. Eventually, he fully moved to Fujifilm. Reviews Editor Hillary Grigonis moved completely to Fujifilm from Nikon. Lead Reviewer Brittany Smith owns Canon DSLRs and shoots Hasselblad medium format film.

For the record, I’m going to say something that is completely nonsensical for most photographers and then hone in on my point. I own almost every camera system. A Canon EOS R and Canon EOS R5 along with a few lenses stay in one camera bag for testing and certain shoots. My Sony a7r III and Sony a7 original along with Sony lenses and Tamron lenses are great for travel because they’re lightweight. My Leica SL2S is by far the most durable camera I own, and it pairs well with Leica, Sigma, and Panasonic lenses. An Olympus OMD EM1 Mk III and a few lenses are kept around for very serious wildlife photography. My Fujifilm X Pro 3 and X Pro 1 along with a few lenses are probably my favorite cameras for a multitude of reasons. Then I sometimes shoot with two Leica M-mount rangefinders. Plus there’s a Mamiya 6 that’s for testing and travel. But best of all, my Instax cameras and Fujifilm Natura S are for parties and special occasions because they’re just so fun.

I’m not saying every photographer should own every camera system. That’s just stupid. But passionate photographers who truly love photography and have GAS should just lean into it. I’m not saying this to promote affiliate sales, but to promote doing what feels good to you. And more importantly, you shouldn’t feel ashamed of how you feel about your hobbies.

There’s nothing wrong with owning the cameras that appeal to you in some way. You also don’t need to buy the newest cameras. Some folks love the Nikon Df and the Olympus Pen F. That doesn’t mean they’ll buy the Nikon ZFc.

We don’t need to be loyal to one camera company or another. We can be loyal to ourselves and buy the camera systems we truly like and admire. There’s nothing wrong with owning a Fujifilm X100V and a Sony a7s III because they suit completely different purposes. Similarly, a Canon EOS R6 would suit a completely different purpose than a Mamiya 7.

And don’t even get me started on what your cell phone can do.

The Leica M11 answers the demands of many a photographer. It boasts image quality that looks like slide film while balancing the needs for both resolution and dynamic range. Plus, there’s a cool brass version. We reviewed the Leica M11 already and really loved working with it. So if you’re considering buying one, make sure you’ve got good lenses. Here are some of the best lenses for the Leica M11. And trust us, we’ve reviewed pretty much every Leica M-mount lens.

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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 that 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 the Leica M11

Leica 35mm f2 Summicron APO

Leica 50mm f2 Summicron APO

Leica 28mm f1.4 Summilux

Pro Tips on Using the Leica M11

If you’re going to buy the Leica M11, here’s what you should know first:

The Leica M11 has a special sensor and processor. At the highest resolution of around 60MP, the dynamic range is 14 stops. But you get the highest resolution from your Leica lenses. At the lower resolutions, you get up to 15 stops of dynamic range.

The best lenses for the Leica M11 have been reviewed by our staff independently. And you can see our entire guide to Leica M lenses right here.

We’re choosing these lenses for a combination of their image quality, capabilities, and their size. Leica M cameras like the Leica M11 are best paired with smaller lenses.

Just because you’ve got an older lens, doesn’t mean it won’t work on the Leica M11. But it won’t be able to resolve all of the different resolutions.

In our minds, the best lenses for the Leica M11 are in the wide to normal range. Rangefinder lenses in general are much better with these types of optics.

Leica 35mm f2 Summicron APO

Best For: This lens is great for general photography, street photography, documentary work, etc. It’s especially great because of how closely it can focus without the Leica Macro adapter.

In our review, we state:

“Usually, lenses designed for Rangefinder cameras can only focus down to 0.7m (2.29ft). This is no fault of the lenses themselves. It is just to do with how Rangefinder cameras work. However, in the digital age, we have LCDs and EVFs that can help us focus Rangefinder cameras closer than ever before. The Leica APO Summicron f2 ASPH, with the help of LCDs and EVFs, can achieve focus at 0.3m, which is just 0.98ft.”

Buy Now

Leica 50mm f2 Summicron APO

Best For: This is genuinely considered to be one of the most popular Leica lenses for M-mount. It’s small, fairly affordable, lightweight, and gives that signature Leica-look that photographers crave.

In our review, we state:

“The Leica 50mm f2 Summicron APO lens offers a modern look without losing its Leica heritage. Images are superbly sharp with beautiful bokeh. It is the perfect size to take with you anywhere and versatile for a variety of shooting applications.”

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Leica 28mm f1.4 Summilux

Best For: This is the lens you want when you want to shoot in super low light. You can shoot at the slowest shutter speed with the least camera shake. It also helps that the render is beautiful!

In our review, we state:

“The Leica 28mm f1.4 Summilux is quite honestly second to none. The closest thing you might compare it to is the Nikon 28mm f1.4, but that is a DSLR lens. Then there is...

In any discussion about tripods and monopods, the name Manfrotto is sure to crop up. At the top of many professional photographers’ accessory lists, the brand has been around for close to six decades. Synonymous with quality and durability, many products proudly display the “Made In Italy” branding. And not one to deviate from this norm is their all-new Manfrotto Move Quick Release ecosystem of “interconnectable parts and products.” It’s an innovative system designed to help photo and video shooters move their cameras between sliders, tripods, and gimbals.

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Table of Contents

Too Long, Didn’t Read

Pros and Cons

Pros

Cons

Innovations

Gear Used

Tech Specs

Ergonomics

Build Quality

Ease Of Use

Conclusions

Likes

Dislikes

Too Long, Didn’t Read

With an easy attach and one-twist detach system, the Manfrotto Move Quick Release system ensures that you can move your camera between multiple accessories in the least amount of time. Simply screw the QR plate onto your camera and the QR Base onto any accessory (tripod/gimbal/slider). The rigid build quality ensures that the QR Plate remains firmly attached to the QR base with no jiggling yet allows for 360° rotation of the camera on the base. You’d definitely need at least two QR Base units to utilize the system properly. I’m a little surprised that these aren’t sold in pairs, as even if you purchased a QR Catcher System Set (1 base + 1 plate), you’d still need the 2nd base.

If you’re the kind of photographer or filmmaker who needs to move your camera between multiple accessories during a shoot, the Manfrotto Move QR system might just be what you need to speed things up.

Pros and Cons

Pros

Attaching and detaching mechanism are really quick. Very easy to get a camera onto and off the QR Base.

Minimal and recycled packaging for the system. Environmentally friendly move by Manfrotto.

You can swiftly but smoothly rotate your mounted camera 360°.

Feels expensive in the hands.

Cons

Bulkier than I expected it to be.

Can’t quite use the QR Base with a sling strap. You’d need the QR Base attached to your sling mount and I’m not sure if the Base will hold a camera and QR Plate while it’s against gravity.

You’ll need more than one QR base (each USD 89.99) for sure.

Innovations

It’s a new kind of mount system, and I’m not sure if there’s one quite like it on the market. The ever-popular Arca system isn’t as quick as this one to attach and release the camera from the base accessory. Even the edelkrone QuickRelease system needs the user to twist the plate twice to remove or attach the camera. In terms of speed alone, it seems like Manfrotto has a clear winner over other similar systems available today with this Move system.

Gear Used

Manfrotto Move Quick Release Catcher System set which includes:

Move Quick Release Base

Quick Release Plate

Nikon D810

Nikon Z6 II

Manfrotto MT190CXPRO4 tripod

ManfrottoMHXPRO3W X-PRO 3-Way Head

Syrp Genie Mini

Tech Specs

For the QR Base, as seen on the webpage for the Manfrotto Move Quick Release System.

Weight0.22 kg (approx 0.49 lb)MaterialAluminiumAccessory Size Height3.8 cm (approx 1.5 in)Safety Payload Weight20 kg (approx 44 lb)Base Diameter60mm (approx 2.36 in)

Ergonomics

At just 0.22 kg, the Manfrotto Move QR Plate is pretty lightweight. It was definitely more prominent in size than I expected for a camera mount. The bottom of the base is in the traditional metallic red colour of the brand, while the rest of the unit, minus the labeling, is black metal. The twist ring is comfortable to grip thanks to the knurled, raised points across it.

The Manfrotto Move QR Plate, which attaches to the base of your camera, comes with a 1/4″ screw as well as a 1/4″ – 3/8″ adapter inbuilt. A much-appreciated addon by Manfrotto saves users the hassle of looking elsewhere for one of these adapters. Keeping it inbuilt into the plate itself means you’re probably not going to lose t...

All of this is a bit odd, for sure. Last December, Fujifilm quietly announced their new Fujifilm 200 ISO film. It received updated packaging, and on the surface seems like a really cool thing. But there have been murmurs on the internet. It was discovered by looking at technical charts that it exhibits a range similar to a, ahem, competing film. So we reached out to Fujifilm to ask what’s going on.

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Fujifilm’s Statement on Fujifilm 200 Film

Photo by Charbel Kamal. Used with Creative Commons Permission.

Let me start off by saying that I wasn’t even aware a new film had come out from Fujifilm. For the record, I never read other blogs because I strive to keep us super original. So most of the time I’m clueless. When I asked Fujifilm why they hadn’t reached out, it was because they didn’t release a formalized press announcement on this.

I asked about the technical specs, packaging, and any other details that they could share. I did this while not having any idea of the controversy online. However, there are claims that it’s the same film as Kodak Gold 200. This was discovered by Reddit. And so I asked Fujifilm about it as wel.

Photo by fs999. Used with Creative Commons Permission.

Below is Fujifilm’s official statement on Fujifilm 200 film:

– Christine Jackman, Director, Corporate Communications, FUJIFILM Holdings America Corporation

With the welcome shift in market demand for color film driven by younger generations (i.e., GenZ/Millennials) discovering, and revitalizing film photography, Fujifilm is pleased to have introduced in December 2021 the updated release of “FUJIFILM 200” (ISO200 color film) in single roll and three packs.

To address the new target audience for consumer film, Fujifilm has updated the packaging of the film to appeal to the Gen Z/Millennial audience. The new product packaging includes friends celebrating and having fun – situations to use film to capture the everyday moments.

Fujifilm works with a pool of valued partners around the world as part of the production process to ensure we can continue to deliver high-quality imaging products to delight customers.

Fujifilm is pleased to continue the legacy of analog photography and film so all generations can experience the joy of photography.

I pressed Fujifilm a bit, but all Christine could say was, “We are unable to share the changes to the emulsion due to confidentiality, but we are pleased to share that we will deliver FUJIFILM 200 (ISO200 color film) that will have the quality that Fujifilm consumers are accustomed to.” As a journalist, this is odd because Fujifilm was super transparent about everything they did with Acros II. So in my mind, I’m hypothesizing that it is indeed Kodak Gold. If it wasn’t Kodak Gold, they’d flat out say it wasn’t.

The film is only available in 35mm. Beyond that, Fujifilm’s dealers and retailers will set the price. The MSRP for FUJIFILM 200 single roll is $6.99 and $18.99 for a three-pack.

Honestly, I Don’t Care. And You Shouldn’t Either

Photo by McMac70 used with Creative Commons Permission.

Here is a big, dirty secret in the photography world: there’s a lot of recycling. Look at a few competing photo blogs for a good idea. Then consider Nikon, Panasonic, Leica, Canon, Sigma, and others sometimes use Sony sensors in their cameras. Granted, Canon does it in some of their point and shoots. Camera companies will often say things like, “We’re not saying where the sensor is from,” which to us, means Sony made it. The same thing is done with lenses: there are maybe three companies that make all the optics for all camera companies. And then there’s the questionable new Nikon 28-75mm f2.8 lens.

That’s digital photography. But it happens in film photography too. Years ago, a General Manager at Lomography told me that a lot of their film is rebranded Kodak emul...

Dear Fujifilm, I think we can all collectively agree that when it comes to retro ergonomics and modern tech, you’re the undisputed leader. The Fujifilm X Pro 3 gives us all those great rangefinder aesthetics, a titanium body, and a coating that’s difficult to scratch. But why not lean more into it? Why not go back to brass and give us the cameras that we’ll be proud to display for years to come? Just imagine how great a brass camera could be!

Fujifilm, you’ve updated cameras with new firmware many years after their discontinuation. You’ve worked to uphold all that you’ve done in the past. And of course, that’s what makes people want to be your customers. Just this past year, our Reviews Editor switched over from Nikon to your system. Our Lead Reviewer is considering leaving Canon for you. Our Copy Editor owns a Fuji. The site’s Arts and Culture Editor uses Fuji. And I, personally, have purchased a Fujifilm product every year X-series has existed.

Why do I think you should go with brass? The answer is simple yet something I know you understand: the looks.

Why would I not want to flash around my Fujifilm X100v with black paint and brass after five years of continued abuse? Can you imagine the patina it would develop? Or what about the lenses? Better yet, how about an XT4 or an X Pro 3?

Please, if you will, take inspiration from the cameras you sort of strive to emulate: Leica and the Hexar AF. Let’s be honest, everyone compared the X Pro 1 and the X100 series to Leica cameras when they first hit the market. And these days, everyone wants a Leica camera that will patina with time. I know folks that would pay extra money for it. Those are the same folks who wouldn’t mind the extra heft to the camera. They’ll hit the gym. They’ll learn to lift Sigma lenses. I’m sure that as long as they’ve got that one-of-a-kind experience, they’ll be forever sold. A brass Fujifilm camera will be something they’ll bring with them every single day.

Combine this brass camera with all the tech you’ve established over the years. What’s more, make the camera weather sealed yet still able to develop patina. Just think about the Instagram posts, the Tik Toks, the way YouTubers will gush over the looks, and the coverage you’d get.

The world is still not over the global pandemic, but a brass Fujifilm camera that develops patina could be something to remind us of some better times in our lives. It could also help a photographer remember where they started.

For a few ideas:

X series turns 10 this year. Why not a special edition X100v with brass?

A X Pro 3 with brass?

A GFX 50R with brass?

A special edition of the XT4 with brass

Special Fujifilm lenses with brass and black paint that will patina over time

Is there a market for it? I totally think so. I know that lots of folks at Fujifilm consider the Fujifilm X Pro 3 to be a failure, but it’s the perfect camera to do this with.

Please consider brass. There’s a ton of it out there that can easily be recycled and made into cameras. And more importantly, it could add some much needed spice to the current photography market.

There are a lot of things to know when it comes to photography terminology. More importantly, you can know what things mean, but can you apply them? Well, we’re going to talk about that a little bit here in this article. Back when I started this site, I wrote about photography terminology. And today, I’m revamping that piece with a bit of modernization for what’s happened.

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Shutter Speed- This is how long your camera’s shutter stays open for and it can be read on either the back of your screen or within the viewfinder. It is typically a fraction or a whole number.

For example:

1/15 = a fifteenth of a second

1/1000= a thousandth of a second

1”= 1 second

15” = fifteen seconds

Here are the basic rules to follow:

The longer the shutter speed the more motion that will be captured and the stiller you need to remain. This is great for capturing nighttime scenes.

The faster the shutter speed the less motion will be captured. This is great for capturing fast-moving objects like sports action.

The longer your shutter speed is, the more the camera is going to pick up your own shaky hands. So you’ll get the effects of camera shake. Image stabilization can help with this. But the best thing to do is to use a tripod or hold the camera in an efficient way.

On your camera, this can be seen with the S mode.

Aperture- This is also known as an F stop. It controls how much of your image is in focus or not (IE what is clearly and sharply seen and what is blurred out.) It also controls how much light comes into the lens of your camera and hits the sensor (the equivalent of film.)

In general:

f1.4 = Enables high shutter speeds, not much is in focus.

f2.8 = Enables almost as high shutter speeds, more is in focus. Great for portraits.

f11 = Needs slower shutter speeds, much more is in focus.

f22 = Needs the slowest of shutter speeds. Everything you point your lens at should be in focus. Best used with a flash unless there is tons of available bright light.

If you have a smartphone or a drone, it most likely won’t have a variable aperture. It will be locked at one setting because the sensor is so small. It’s a bit useless to have a working aperture. So the blur is created using software.

On your camera this is also known as AV mode.

Bokeh- Bokeh can mean a few different things. Colloquially, it will refer to the quality of the out-of-focus area in a photo. But it’s been adapted into the vernacular to just mean out of focus area. Various things affect the bokeh. The coatings on the lens elements can add more or less contrast. More contrast can sometimes mean that your subject pops out from the background. We’ve typically seen with Leica Apochromatic lenses that you’ll get some of that special “pop.” Further, the number of aperture blades also affects bokeh. The fewer aperture blades there are, the less pleasing the bokeh balls in the background can be. But this also depends on the focal length.

Depth of Field- This is what is the range of distance within the subject that is acceptably and sharply in focus. It can be controlled using your F stops.

ISO- Light sensitivity of your camera’s sensor. The higher the ISO, the more sensitive your camera will be to light and the grainier your images will be. The lower the ISO, the less sensitive the camera will be to light and the less grainier your images. Higher ISOs allow for faster shutter speeds.

ISO 100 = great for daylight use, no image grain.

ISO 400 = great for twilight use, a bit more grain.

ISO 1600 = much more suited towards low light or high action where you need to stop fast movement.

ISO 6400 = Even better suited to low light and fast action, but delivers grainy images.

In recent years, cameras have gotten so good that ISO 6400 can print images at 17×22 inches with little to no grain. ISO is something that’s a lot more flexible with digital cameras than it is on film. With film emulsions, yo...

The Panasonic S5 is everything I wanted in a camera from Panasonic.

The truth about the photography market is that no one is making a bad camera. But bad decisions are surely made. And the Panasonic s5 is one of the best decisions the company ever made at the worst time. Released and announced during the pandemic, it’s a way to get people into their system pretty cheaply. However, I think if the Panasonic S5 were released ahead of the S1 and S1r, the system would have a ton more converts. The Panasonic S5 is seriously the first camera that’s made me consider the L mount with any seriousness. Not only is the camera the best thing currently in Panasonic’s lineup, but it’s probably the best L mount camera aside from the Leica SL2. With a 24MP full-frame sensor, great image quality, and good enough autofocus, I think photographers will really like it.

Editor’s Note: This review has been updated in January 2021

Table of Contents

Pros and Cons

Pros

Cons

Gear Used

Tech Specs

Panasonic S5 Ergonomics

Panasonic S5 Build Quality

Panasonic S5 Ease of Use

Panasonic S5 Autofocus

Panasonic S5 Image Quality

JPEG Output

High ISO Output

RAW File Versatility

Update: January 2022

Extra Image Samples

Panasonic S5 Review Conclusions

Likes

Dislikes

Pros and Cons

Pros

Nice feeling

Dual card slots

Image stabilization is solid

Feels great in the hand

Beautiful JPEGs

High ISO output is solid

Panasonic’s full-frame colors continue to put me in awe.

Live composite is SO FUN!

Panasonic’s menus continue to be some of the best.

I ADORE the shutter sound.

Probably the fastest autofocus camera I’ve seen from Panasonic in the full-frame range

L Monochrome D continues to be one of the most beautiful and wonderful features of Panasonic cameras.

These RAW files are great

Cons

Much improved autofocus, but face detection could be better. As of November 2020, it’s really improved with firmware 2.0.

Multiple exposure mode and how it’s used is a mess. It needs more versatility.

Battery life is much improved

Focus peaking has a lot of improvement to be done before it’s perfect

Gear Used

The Panasonic S5 was tested with the:

Panasonic 20-60mm f3.5-5.6 lens

Panasonic 24-70mm f2.8 Lumix Pro

Panasonic 16-35mm f2.8 Lumix Pro

Tech Specs

Specs are modified from the LensRentals listing.

24.2MP Full-Frame CMOS Sensor

V-Log, HDR, and Dual Native ISO

UHD 4K60 Video, 10-Bit Internal Recording

2.36m-Dot 0.74x-Magnification OLED LVF

4K 60p, 4:2:2 10-bit

Anamorphic mode support

Slow & Quick Motion including FHD 180fps

96MP High Resolution mode

Improved Auto Focus with enhanced Eye/Face/Head/Body detection

Dust and Splash Resistant and optimized heat dispersion

In-Body Stabilization: 5-Axis Digital

Panasonic S5 Ergonomics

The Panasonic S5 is a DSLR style, mirrorless camera body. It’s significantly smaller and lighter than Panasonic’s other options. In fact, they’ve created one of the smallest full-frame cameras out there. This is incredible, as they’ve also made some of the largest full-frame mirrorless cameras out too.

The top of the camera is where you’ll find lots of Panasonic S5’s controls. On the left, you’ll see the drive modes: those will come in handy. Then there is a mode dial, video record button, on/off switch, ISO button, white balance, exposure compensation, and exposure dials. Everything you need is here.

One of the other cool things is the focus switch selector. There is a switch around it, and in the middle you can choose the focus type.

Then there is a big LCD screen on the back of the camera. The rest here is laid out well. The buttons you’ll mostly use are the joystick, the AF selector, and the playback button. Maybe you’ll also use the menu button often.

On the side, you’ll find ports. The most important one here is USB-C. On the other side, you’ll find the dual SD card slots. This is perhaps one of the best things about the new Panasonic S5.

Panasonic S5 Build Quality

We took the Panasonic S5 out into the rain a few times. It stood up to the weather just like we...

The flash modifier can be intimidating to some photographers. First, there’s the idea of having to work with a flash. Then there’s the idea of shaping the light. Crazy, right? But in all honesty, it’s not. The truth about all this is that it requires you to know and understand your own creative vision. What do you want in the photo? How do you want the final image to look? And most importantly, what can these flash modifiers do for you? We dove into our reviews index to find some of our favorites.

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Pro Tips on Using Flash Modifiers for Your Photography

The best flash modifiers don’t get in the way of you making great images. We’ve tested a lot over the years, and here’s what we’ve found.

Generally speaking when shooting with a speedlight and a flash modifier, you’ll have to either shoot in manual mode or TTL mode with exposure compensation. Consider raising the ISO on your camera.

Get a fast lens. Faster lenses can help you take more advantage of the light a flash can emit.

Some of these flash modifiers are great for the on-the-go type of photographer. One is best for being a bit more stagnant, but still great for travel.

All of these flash modifiers can be used strobist-style. We think you should definitely try them out.

We’re basing this list of great flash modifiers on our own personal experiences. We still, to this day, use these products in some situations.

ExpoImaging Rogue FlashBenders

Standout Features

Rogue Flashbenders let you take the light from your existing flash and bend or shape it pretty much however you’d like to. They’re incredibly versatile and just require your imagination.

In our review, we state:

“The Rogue Flashbenders V3 are very good at what they do. For event photographers, it’s worth the upgrade when your older ones die off or become unusable. If you like this style, go for them. Your best value is going for the Extra Large one and getting a flash with a head that won’t be weighed down by the heavy design.”

Buy Now

Roundflash Beauty Dish

Standout Features

It’s a collapsible beauty dish that can mount onto pretty much any flash you’d like to use. They’re portable and can be thrown into your camera bag. Anytime you want nice light, these can do it easily.

In our review, we state:

“The Roundflash Dish is an affordable alternative to an actual beauty dish that is collapsible, effective, and delivers some of the most punchy and specular light output of any flash modifier that we’ve tested. The image quality that it can deliver is really, really good. In fact, we recommend it for any photographer that wants the effectiveness of a beauty dish, but doesn’t need the actual dish itself for appearances on a photo set.”

Buy Now

Phottix Luna Octa Softbox

Standout Features

The Phottix Luna Octa can be a pretty large flash modifier. But it’s primarily designed to work with your speedlight flash off-camera. And trust us, it does a fantastic job doing just that.

In our review, we state:

“The Phottix Octabank does the job that it is intended to do. And if you’re looking for this particular look, then it will satisfy you to no end. The American Apparel, Terry Richardson, and direct flash look is very highly prized by many folks and editors.”

Buy Now

If you told me years ago that nearly every lens on the market made today would be super sharp wide open, I’d be incredibly excited. But if you also told me that a lens could be too sharp, I wouldn’t believe you. I mean, how is that possible? Years ago, you’d just consider the best fstop on a lens based on sharpness. And these days, that’s not necessarily the case. Photography has changed, and people want something different. So, with over 12 years of testing lenses under our belt, we’re going to talk more about the best fstop and how it’s changed over the years.

How it Used to Be: The Story of the Best Fstop

When I first started the Phoblographer over 12 years ago, lenses were much different. They were mostly developed for film cameras and then were ported over. Very few were developed with the idea of being digital first. And back then, you used to have to stop the lens down to get to the best fstop. On full-frame 35mm, it used to be around f8 to f11. It varied based on which medium format option you were using, but you’d try to get the same equivalent. This also applied to APS-C and Four Thirds sensors.

Shooting a lens wide open set you up for a host of problems back then:

Your lens would be very soft wide open, which is nice these days.

Your lens could have a whole bunch of color fringing, which can be seen as lens character these days.

Vignetting was abound, which is easily correctable these days.

You’d also probably not get your subject in focus because DSLR and Film SLR autofocus wasn’t so great.

Then things changed.

And Then The Zeiss Otus Line Happened

I remember that there was a short period of time where a lot changed. A bunch of tsunamis and storms destroyed lots of factories out there. Then, oddly enough, the industry bounced back with curiously good optics. They came to Zeiss and Sigma first. The Zeiss Otus lens lineup was pretty much unbeatable. The Sigma Art lens lineup was also unbeatable for image quality. Then Sony got it, Tamron caught on, Nikon, Tokina, etc. Optics just got a ton better.

This was incredibly curious because Zeiss specifically started to market that you didn’t necessarily need to stop the Otus lens lineup down. They went about showing the press tons of MTF charts where the Zeiss 55mm f1.4 Otus lens would have equivalent sharpness of the nearest competing lenses. However, the Otus was doing it wide open while the competition was doing it at f5.6 or f8. It was remarkable technology; if not incredibly flawed. Zeiss did what they do with an insane price tag, no weather sealing, and a few other things. Then Sigma’s 50mm f1.4 Art started to outdo the Otus. Sigma has always been strong with clinical image quality at the cost of build quality, character, and autofocus speed. It was the same back then as it is today.

So by all means, back then, Zeiss started to say that the best fstop is shot wide open. That started to change the rest of the industry. Combine this with the rising megapixel count on camera sensors and improved flash technology and you’ve got a winner.

Today, What is the Best FStop?

It’s hard today to find a lens that isn’t sharp wide open. Lensbaby purposely does this, and that’s awesome. But otherwise, all the other camera and lens manufacturers strive to get sharp wide-open performance. By all means, the best fstop and all it means has changed since then. There used to be the idea of the sweet spot: which referred to when the lens was at its sharpest. And today, arguably, it’s more about a balance between pleasing bokeh and sharpness. It depends on what sensor format you’re using. But generally speaking, most photographers think the best fstop is either wide open, f4, or f5.6. Lenses are super sharp wide open, and honestly, most of us on staff here rarely have good reasons to want to stop down unless the exposure calls for it. High megapixels on camera sensors mean that much more value is given to a lens. Combine that with flash and what specular highlights do, and you’ve got a wi...

A conversation that we tend to have with camera manufacturers over and over again has to do with weather sealing. For the most part, every high-end camera has some sort of weather sealing built into it. And sadly, from what we understand, brands don’t cover weather sealing damage in manufacturer warranties. That’s likely not to change unless consumers file a class-action lawsuit of some sort. So in the meantime, we’d like you to understand the differences here.

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How The Phoblographer Does Our Weather Sealing Tests

We’ve had to refine our tests over the years. Some brands let us do some crazy things. OM Digital Solutions has always let us run their higher-end cameras under faucets or even hose them down. Leica’s SL series cameras have IP ratings attached to them. But most camera manufacturers will just say their products are splash, moisture, or dust-resistant. In that case, we end up trying to figure out a whole bunch of things. First off, we try to use those cameras and lenses in the rain or snow. But, some brands will put the sealing only at the mount and will tell us that the product will be fine otherwise, so how we test them varies. However, we can’t say that in our reviews with any sense of responsibility to consumers. This can make things complicated. A while back, a Fujifilm rep responded to our claims that the Fuji XS10 wasn’t weather resistant. He froze it in ice and it kept working. If we did that, we’d be promoting reckless behavior with your camera.

We also feel that running something under a faucet to simulate hurricane-like rain is more practical.

Sometimes splash the units down with handfuls of water. At the moment, our reviews team is revamping this test to make it more strict.

At other times, we may take a camera and lens to the beach, in the forest, or somewhere else where it might get a bit dirty.

What Is Weather Sealing?

Weather sealing is basically a few things. It involves a design that typically keeps out moisture, splashes, and dust. Rokinon and Samyang will say that their units have weather sealing, but the diagrams show there to be vulnerabilities. If you dive into our Samyang 85mm f1.4 AF review, you’ll see this in the build quality section. Where’s the sealing around the front element, for example?

Some brands only put it at the mount to protect the contacts.

Typically speaking, all of this involves rubber gaskets put into the cameras or the lenses. At times, it may also mean some different designs, like with the Nikon 40mm f2 and the area that goes over the mount. It’s all important. The more weather sealing your product has, the longer it’s likely to keep functioning in tip top shape. There’s also maintenance to consider, and we’ve written at length about isopropyl alcohol and how to clean lens contacts.

What Is Waterproofing?

A Sony rep explained waterproofing best to me and said that their products aren’t designed to be submerged. When you think about waterproofing, you think about the idea that something can work underwater. Your phone probably has a degree of waterproofing to it. But cameras and lenses don’t; they can’t keep working if they’ve been submerged.

A Push for More IP Rated Cameras

The way to get brands to make sure weather sealing is understood is to add IP ratings to cameras and lenses. Who knows, it may even mean more people start buying cameras again. Phones are marketed as being waterproof! And so why is it that my phone can withstand a lot of water but my multi-thousand dollar camera can’t?