The Phoblographer

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I love the 35mm focal length, and the Leica 35mm f2 Summicron SL APO is no exception to that rule. Mount it to your camera and go! You’ll have fun! You’ll know it’s there to stick by you through and through. Like many lenses for the L mount alliance, you’ll appreciate the lens for what it is, but you’ll need to understand that the L mount is still a pretty flawed system. Once it sorts itself out, this lens will be all that much better. However, you’d better make this the only lens you’ll ever use because it’s expensive.

Pros and Cons

Pros

Fairly well balanced with the entire L mount system.

Beautiful image quality

Sharp

I like the lens hood

Pretty fast to focus

Weather sealing

Feels great in the hand

Probably my favorite L mount lens

Better autofocus performance on Leica, but slightly so

Good autofocus performance on Panasonic

Cons

Very pricey

Probably the largest 35mm f2 I’ve ever used.

At this size, I’d expect image stabilization inside

Gear Used

We tested the Leica 35mm f2 Summicron SL APO with the Leica SL2s, Panasonic S1, and the Panasonic S5.

Tech Specs

These technical specifications have been summarized from the LensRentals listing.

5 aspherical surfaces

Weather sealing

2.9′′ in diameter

4′′ in length

Close focusing of 0.89 feet

13 elements in 11 groups

750 grams. That’s around two times a can of soup.

67mm filter thread mount

Ergonomics

The Leica 35mm f2 Summicron SL is unlike the company’s L mount lenses in design. It’s autofocus, and if anything, it looks more like a lens from the company’s S system. But it’s nowhere as large! The exterior is metal, and there’s a giant rubber ring for grip and focusing.

The front filter thread on this lens is 67mm. That will give you an idea of how large it is, or rather how moderate the size is. The optics have an AquaDura coating on them.

As always, the lens hood makes the lens look larger and more intimidating than it really is.

Build Quality

By and large, this is the biggest 35mm f2 lens I think I’ve ever held. And it’s odd. It feels like a small bottle of hairspray chocked full of glass. With all this said, it’s still not as heavy as other primes I’ve used for L mount. And most of all, it’s very well built. The Leica 35mm f2 Summicron SL APO is also weather sealed. So you don’t have to worry about it in the rain or most other situations.

Ease of Use

There’s nothing particularly complicated about the Leica 35mm f2 Summicron SL APO. You mount it to a camera, point, focus, and shoot. It’s that simple. If you want to manually focus it, you’ll need to set that through the camera. Anyone that picks this lens up should know that it’s going to be business as usual.

Editor’s Note: the book, The Blind Photographer, pictured in these product photos, is a dear gift from my friend Brian. Thank you dearly for it.

Autofocus

Below is a quick test I did with the SL2s and Face detection with tracking.

Whenever I’ve complained about the autofocus speed of a lens, Sigma always tells me that it’s a problem of the camera manufacturer. And if that’s true, then the Leica 35mm f2 Summicron SL APO is really just problematic to itself. But with that said, I think that the entire L mount has autofocus issues.

Let’s start with the good stuff. The autofocus isn’t bad. But that’s easy to do today. Anyone and everyone are making good autofocus for their cameras. Few are making truly fantastic autofocus, though. It’s possible to get moving subjects tracked and sharp. But when shooting wide open, that’s significantly more difficult. Face detection can be fast. And the overall performance can be pretty solid for a camera system by 2016’s standards.

But then there are times that the autofocus just isn’t that awesome. Panasonic has told us that third-party lenses’ autofocus performance varies on their cameras because of the motors bei...

The beautiful bokeh from these lenses will hit you right in the heart! You’ll fall in love all over again!

While easy to get lost in the beautiful bokeh of your lenses, some lenses are just better than others. Lenses like those from Leica combine gorgeous colors with a jaw-dropping out of focus area. Further, there’s something to be said for lining up the shot and getting an idea of how gorgeous the image will be. We dipped into our Reviews Index for a better idea on lenses with hypnotic bokeh. Here are some of our favorites.

Leica 35mm f2 Summicron ASPH

It’s tough to beat the beautiful bokeh of an f1.4 lens. And the Leica 35mm f1.4 Summilux FLE has absolutely gorgeous bokeh. But we believe most photographers are more inclined to tote the 35mm f2 along with them. The Leica 35mm f2 Summicron ASPH is much smaller and lighter. And what’s great bokeh without a great lens to begin with? We thoroughly enjoyed using this lens in documentary settings with the Leica M10-P.

We’ve previously said about this lens:

“When shooting wide open with the Leica 35mm f2 ASPH Summicron and focusing closely, you’re bound to get nice bokeh. I’m aware that lots of photographers will love it.”

Sample Images

Buy Now: $3,495

Leica 28mm f1.4 Summilux ASPH

Arguably my favorite lens on this list is the Leica 28mm f1.4 Summilux. I’d make a strong argument that this is the perfect walkaround lens for the Leica M system. You can go from striking, beautiful bokeh one second to an entire scene in focus the next. It’s commendable that Leica created a lens this spectacular. And the colors from it are incredibly vivid.

We’ve previously said about this lens:

“...When combined with effective white balancing methods, the bokeh will really, really pop. And this is where I think things are pretty interesting because the bokeh from the Leica 28mm f1.4 Summilux is gorgeous and creamy...”

Sample Images

Buy Now: $6,000

Leica 75mm f1.25 Noctilux ASPH

This list couldn’t be complete without at least one Noctilux lens, and the new Leica 75mm f1.25 Noctilux is spectacular. We’ve used it to shoot digitally and with film. Personally speaking, I haven’t seen sharpness like this from a lens for the 35mm format on Ektachrome. It’s unreal, and I’d expect this from a medium format camera instead! And of course, there’s the gorgeous bokeh with the wide f1.25 aperture and the telephoto focal length.

We’ve previously said about this lens:

“No matter how many photographers say that you should stop fixating on perfect bokeh, I’m not sure how many photographers can truly gawk at what the Leica 75mm f1.25 Noctilux is capable of. “But the price!” is what the IRL version of the Simpson’s Comic Book guy will say behind the protection of his PC screen and the broadband internet that he uses from his mom’s basement. Yes, the Leica 75mm f1.25 Noctilux is expensive. But the Leica 75mm f1.25 Noctilux isn’t a purchase you make because it’s logical or because you’ll get the greatest images out of it. Quite honestly, you buy it because you want it.”

Sample Images

Buy Now: $14,095

Leica 28mm f2 Summicron ASPH

If you’re a photographer doing environmental portraits, I strongly recommend the Leica 28mm f2 Summicron ASPH. You’re not going to stick out with a large lens attached to your camera. And you’ll be able to document exactly what you need to get in focus and blur the rest out with the beautiful bokeh. We strongly recommend it with the Leica M10, or Leica M10 Monochrom which is exceptional in low light.

We’ve previously said about this lens:

“The bokeh from the Leica 28mm f2 Summicron ASPH is hazier than it is creamy. It’s pleasing for sure. Because of the muted look, you don’t really get the pop that you would otherwise from faster lenses. There isn’t a lot of micro-contrast. And if you’re looking for a more subtle look, then you’ll adore the Leica 28mm f2 Summicron ASPH.”

Sample Images

Buy Now: $4,895

Editor’s Note: This blog post is presented in...

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We’ve already seen the destruction that has been left in the wake of smartphone cameras. Still, it seems that Samsung wants to inflict more damage on an industry it used to be a part of. We love being able to carry capable cameras in our pockets at all times. Still, we wonder just how much longer it will be until Smartphones outperform dedicated cameras. If news of a 600MP phone sensor from Samsung turns out to be true, it might be sooner than you think. Let’s talk about this.

A recent post on TNW talks about a possible 600MP phone sensor from Samsung. We’ve already seen phone sensors hitting 108 Megapixels. There’s even noise being made about a 192 Megapixel sensor that could launch in 2021. It will likely be a long while before a 600MP phone sensor is available to the public. However, this doesn’t mean it won’t happen. In fact, according to one Twitter user, the sensor is already being worked on.

The 600MP Phone Sensor Is Happening

Ice universe tweeted: Samsung is really doing 600MP sensors!

Quite how Samsung will get this 600MP phone sensor to work is anyone’s guess. The biggest sensor (in terms of physical size) used in a phone has been the PureView from Nokia. That was a 1/1.2 sensor, and it took up just under half the phone. Still, we’ll never say never simply because of the rapid rate at which technology is advancing. However, as we questioned above, just how long will it be before Smartphones completely replace dedicated cameras?

For the vast majority of people, that time has already come. The smartphone camera has destroyed much of the camera market that catered to casual photographers. Long gone are the days of the masses buying a dedicated point and shoot. Now, most consumers won’t even look at entry-level DSLRs and Mirrorless cameras. Smartphone cameras have simply become too good and are much more convenient and easier to use. AI takes all the guesswork out of capturing images. Being able to instantly share images to social media is also a fatal blow to the once-thriving camera market.

Will Dedicated Cameras Survive?

Will smartphone cameras ever fully replace dedicated cameras? It’s doubtful. One thing that dedicated cameras will always excel at is image quality. Not so much because of the sensors, but because of the lenses. You could argue that the much bigger sensors in cameras will always dominate the smaller phone sensors. However, any shortcomings in small sensors will be negated by AI. No, it’s the lenses that will create the divide between Smartphone cameras and dedicated cameras. Smartphone manufacturers are doing a good job by including multiple lenses on their phones, but they will never be able to compete with bigger glass.

Smartphone manufacturers like Samsung have done a good job at replicating what dedicated cameras can do. However, if camera manufacturers want to stop the industry’s destruction, they need to look at smartphones too. It’s time for better touchscreens, better user interfaces, and wireless connectivity with instant network sharing. Add these features into cameras, and you’ll find that consumers might choose a Mirrorless ILC instead of their phones.

What do you think about the potential 600MP phone sensor? Do you think we’ll reach a point where Smartphones wipe out dedicated cameras entirely? Let us know in the comment section below.

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There’s no shortage of exceptional portrait lenses for Fujifilm cameras. You have the 56mm f1.2, the fantastic 90mm f2, and even the 23mm and 35mm f1.4 lenses, do a fine job. However, Fujifilm shooters have another portrait lens option in the premium Fujifilm 50mm f1 R WR. This ultra-fast, super rugged, weather-sealed prime promises to be the only portrait lens you’ll ever need, but is it worth the $1,499.95 asking price? Find out in our full review.

Pros and Cons

Pros

Stunning bokeh

While big for a Fujifilm prime, it handles very well

For as much glass as there is to move, it focuses quickly in most situations

Nice, natural color renderings

Weather sealing

It’s not cheap ($1,499.95), but it’s well priced for an innovative f1 lens

Dislikes

The autofocus motors are quite loud

At f1, the center is sharp, but the edges are a little soft

Some flaring and contrast issues when shooting into the sun

Gear Used

We used the Fujifilm 50mm f1 R WR with the Fujifilm XS10.

Technical Specifications

All technical specifications for the Fujifilm 50mm f1 R WR have been taken from our first impressions post:

F1 aperture

Weather sealing

Metal body

9 aperture blades

Close focusing of 0.7 meters (2.29ft)

77mm filter thread

12 elements in 9 groups

1 Aspherical element

2 ED elements

“The Fujifilm 50mm f1.0 R WR is incredibly minimalist when it comes to its design. It’s a sharp-looking lens that looks good when paired up with any Fujifilm camera body.”

Brett Day – Gear Editor

Fujifilm 50mm f1 R WR – Ergonomics

Taken from our first impressions.

The first thing that will come to mind when you see the Fujifilm 50mm f1.0 R WR will be the lens size. The Fujifilm 50mm f1 R WR is a big boy for sure, but don’t let that put you off. Sure, it’s bigger than any other Fujifilm prime except the 200mm f2, but the lens still handles well.

A quick look around the body of the lens will please Fujifilm shooters. You’ll find the wonderful aperture ring nestled at the rear of the lens. Right in front of that, you’ll find the larger manual focusing ring.

Around the business end of the lens, you’ll find the front element that has a filter thread size of 77mm. One interesting design feature is that the front element seems to be ever so slightly concave. In the above image, you can see the large lens hood. When attached, the lens hood adds about half the length of the lens onto the front. As we said earlier, this is a big prime for Fujifilm.

Apart from the manual focusing and aperture rings, there are no other physical controls on the lens itself. The Fujifilm 50mm f1.0 R WR is incredibly minimalist when it comes to its design. It’s a sharp-looking lens that looks good when paired up with any Fujifilm camera body, and it feels great in the hand.

“The Fujifilm 50mm f1 R WR is priced like a premium lens, and we can assure you that it definitely feels like one.”

Brett Day – Gear Editor

Fujifilm 50mm f1 R WR – Build Quality

There are no two ways about it; the Fujifilm 50mm f1 R WR is a massive chunk of a lens. However, you’ll be surprised at just how well balanced the lens is. Chris Gampat, our Editor In Chief, used the lens with his X-Pro 3 and X-T4 and found that it balanced very well. I have used it with the new Fujifilm XS10, and while being a little front heavy on the smaller camera body, overall, it was still straightforward to use. I never thought that the combo was unmanageable. The lens is on the heavier side of things at 1.86lbs. This, however, is due to the all-metal build and the massive pieces of glass.

We’ve had this lens with us for a few weeks now, and we have no doubts about its durability. I couldn’t test the lens out in the rain due to it being paired with the non-weather sealed Fujifilm XS10. However, we’re certain that it will perform just as well as Fujifilm’s other WR designated lens...

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What is Speed Edit? Speed Edit is a unique to Capture One feature, allowing photographers to edit photos without the need to navigate to any editing tools. Keyboard shortcuts hook up to designated adjustment tools and are then simply adjusted by scrolling your mouse or using another input method like your trackpad or Wacom.

Editor’s Note: All images in this post are ©Eric Ronald. They are being used with permission.

It allows for an extremely rapid and immersive adjustment workflow and one that allows for true precision and refined edits without the need for external devices like a Loupedeck or Tangent.

Setup

Let’s first look at the Keyboard Shortcuts Editor to see how Speed Edit Keys are designated.

By default, several keys are already assigned to compatible Speed Edit adjustments. If it doesn’t make sense for you or your keyboard, feel free to change them!

It’s also important to mention that if you have any existing shortcuts that use the same keys as Speed Edit, they won’t be affected as Speed Edit requires you to hold the shortcut key, not tap it.

In Use

Let’s go! It’s incredibly simple to use Speed Edit. Let’s take the following photo and make a few basic adjustments.

First, I’d like to increase the exposure. Simply by holding down “Q” on my keyboard, an exposure slider pops up at the bottom of the photo. Now, by scrolling my mouse, I can increase or decrease as I see fit.

If you prefer, you can also use:

Arrow keys (up-down, or left-right)

Click-drag with your mouse anywhere on the screen, just like adjusting a virtual slider! Again, you can go left-right or up-down.

If you’re a Wacom user, the same applies; just click-drag.

Before long, the shortcut keys become muscle memory, and you can edit rapidly without taking your eyes off the photo.

Editing Multiple Photos

Selecting more than one photo in Capture One tiles them up in the viewer. Following the same method as above, the Speed Edit adjustment bar now shows up under each photo with the current adjustment for that photo. In this case, let’s take a look at the Kelvin adjustment in the White Balance Tool by holding the shortcut key 1.

The useful thing here is that now a Speed Edit adjustment will be an incremental change to each photo. Therefore, if I want to warm up everything a little, a quick Speed Edit change lets me do that.

Each photo won’t end up with the same Kelvin value.

It’s also a great way to give a set of photos an Exposure bump, as another example.

Editing in Full Screen

Because you don’t have to physically see Capture One’s tools when using Speed Edit, editing in Full Screen is a great option. It really allows an immersive way to edit without the distraction of the interface.

If you prefer to change the background color in full screen, just right-click anywhere on the background and choose a different one. I’ll choose white for this photo.

If you want to keep an eye on the histogram (or indeed have access to any other tools whilst in full screen), just drag them out of their tool tab before entering full screen.

Sensitivity

Finally, if you feel that the Speed Edit adjustments are not responsive enough or too responsive, they can be adjusted in Capture One’s preferences.

Increasing the sensitivity simply means your adjustments will happen more rapidly using Speed Edit.

Conclusion

Hopefully, this has given some insight into Speed Edit and its potential, as this only scratched the surface. It needs to be experienced to fully see what a difference it makes – and of course, it saves you from the need to purchase external devices and is more practical. You can learn more about it, and even better, download the trial of Capture One here and give it a go!

Editor’s Note: This is a sponsored tutorial from Capture One.

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“It’s kind of cool that this thing, which was used to document death and destruction, is now being used to photograph bubbles and as a teaching tool for kids,” says Pat Brownewell. Pat is truly something special, and we know this from our previous feature! After honing his digital techniques to be flawless, he went back to large format film. And he’s done that with wedding photography. With the pandemic being what it is, wedding photography dried up, but Pat continued his craft by teaching. And now, he’s showing high school students how to get it right in-camera.

The more time you spend behind a computer for silly mistakes, the fewer shoots you can squeeze in, which equates to real lost income.

Pat Brownewell

What’s it like teaching these kids about some very old school photography?

The kids’ reactions are really fun. A couple kids helped me dial in our ambrotype lesson, which meant that we poured and did test shots 10-15 times only to have the photos fail. When it came time for the actual lesson, everyone had a good time pouring their plates and developing. However, in the end, there was so much light variation and development problems that only two out of 25 photos came out. Kids still laughed and had a good time, but most were happy that digital is a thing.

The 8×10 macro camera was over their head. It’s intimidating because of its size and how different it is. Then, there’s the math involved. I also didn’t have any examples of what the camera could produce when giving the lesson. All in all, I’m pretty sure that it went over most kids’ heads. I’m counting on a couple of them to go out and find a tutorial on photographing snowflakes, see the bellows or extension tubes, and then have the lightbulb go off in their head.

“Because it’s ridiculous! I bought it six or seven years ago to shoot hummingbirds in flight at 2:1 reproduction ratios.”

-Pat Brownewell

Do you feel it makes them have more of an appreciation for the art of photography? You know, the whole not photoshopping thing?

I’m not certain about the art of photography but certainly the process. I stress the importance of getting it right in camera because of the costs involved. The more time you spend behind a computer for silly mistakes, the fewer shoots you can squeeze in, which equates to real lost income. For our ambrotype project, when you screw up, you have to cut the glass, pour the plate, let it dry, etc. For the 8×10 camera, it’s $27 per frame and a 10-day turnaround.

Why this camera specifically? And the lens? Please tell us about the lighting too.

Because it’s ridiculous! I bought it six or seven years ago to shoot hummingbirds in flight at 2:1 reproduction ratios. I think I have 16 Vivitar 283s wired up in a box in my garage for it as well. The 2:1 version was simply because that would fill an 8×10 sheet of film with a hummingbird. I cut it in half and added another plywood sheet to it, and now it shoots 4:1. That reproduction ratio was settled on because it’s just absurd.

The lens was chosen because of it’s focal length and price. The focal length was important because I needed it to allow me to have the hummingbird rather far from the camera at 2:1. It’s a 610mm Bausch and Lomb that I picked up on eBay for $70. It was originally used in WWII for reconnaissance and as a telescope after that (it came with this cool housing with a T-mount that I still have). I added a Nikon shutter to it by using the camera’s iris to hold the shutter in place. That way, I could use it for the hummingbirds, and it would have a PC port for flashes (I didn’t use it for this, though). It’s kind of cool that this thing, which was used to document death and destruction, is now being used to photograph bubbles and as a teaching tool for kids.

The lighting is provided by two Photogenic Powerlight 2500s, which can each produce 1000 w/s. Then, I used a homemade...

If you’re buying your first real camera, then ask yourself these questions.

How does one buy a camera these days? Do you still even care about megapixels? These are essential questions for any budding photographer. Of course, there are tons of professional features. But most people who buy cameras these days are hobbyists. And those hobbyists care about the things that pros get simply because they want them. They don’t need them. In fact, you don’t even need a real camera–but you buy one because it’s your passion. So if you’re considering buying a new camera, then check out these questions you should ask yourself.

How Patient Are You?

This is a two-pronged question. First off, it could relate to how long of a wait you have until the successor to the current generation comes out. Luckily, there are tons of rumor sites that report on this. If you want to wait, then that’s your decision. I always personally say that the best time to buy a new camera is now if you’re really passionate about it. If you have one already, then stick with what you’ve got until you feel the upgrade is well worth it.

The other part of the question has to do with how patient you are. Some cameras are more complicated than others. Some are more targeted to newbies than others. Some have lots of big tech in them, while various cameras focus on specific features more than others. Maybe you hate lots of buttons because you came from the touchscreen side of life. But different cameras have different learning curves. Modern point and shoot cameras and most interchangeable lens cameras have an Auto mode on them. While some folks will hate on us for saying this, don’t buy a new camera if you’re going to spend your first six months with it shooting in Auto mode. Considering all the tech that’s in your phone, there’s no point. If you’re going to buy a camera, you ideally should use it for what it’s capable of doing. There are tons of free videos on YouTube to teach you about this as well as many a blog post for you to read about how they work.

Oh, and you’re going to have to read the manual.

As a photography and camera instructor, I’ve seen people want to take their cameras and throw them right out the window on top of never wanting to read the manuals. Because of their impatience and sometimes the complexity of the manuals, they get frustrated and never learn to use their camera to its fullest potential. Further, they never get the most out of the money they spent. If you don’t have a real willingness to learn about your camera, don’t buy a more advanced one.

What Do You Shoot/Want to Shoot?

Ask any hobbyist that’s just getting into buying a real camera, and they’ll say, “Anything.” It’s never quite clear what they want to shoot partially because they don’t have a photographic identity yet. What this translates into is some cameras being better for sports while others giving you all the details in that gorgeous sunset right in front of you. Here’s how you find out what you want to shoot with it: go through your daily routine. And when you think about each and every part of your life, consider whether or not you imagine a camera being around your neck. Is there a camera around your neck, chest, or in your hand? When would there be one? And what’s in front of you that you want to photograph? Do you want to get into street photography? Are you enamored with buildings? Do you want to shoot portraits?

When you go to buy the camera, let your customer service rep know what you’ll be using the camera for. A good rep can help you.

How Will You Use it?

Battery life is essential for your camera, but so too is another significant factor: weather sealing. What are you doing with this camera? In general, how careful are you with the products you use? Let’s put it this way: look at your phone. Is there a screen protector? Does the protector have a crack? If so, I’d probably spring for either a camera that doesn’t have interchangeable lenses or one that ...

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Fujifilm has gone from strength to strength over the last few years. Photographers who appreciate stunning design have flocked to the platform for the gorgeous retro-inspired cameras and the great images that X-Trans sensors can help produce. However, newer photographers are put off by the vintage-style controls. Enter the Fujifilm XS10. Fujifilm adopted a new design philosophy for the XS10 so that those who aren’t comfortable using so many manual controls can have a camera they can call their own. On paper, the Fujifilm XS10 sounds impressive. It has the same 26 Megapixel sensor found in the bigger X-T4, and it even has IBIS. How does it perform out in the wild, though? Find out in our full review.

Pros and Cons

Pros

The XS10 is a perfect balance of form and function

Superb image quality, even at ISOs up to 6400

Very effective IBIS

The tilty/flippy screen is great

Very nicely priced at $999

Cons

No weather sealing

Only one UHS-I card slot. It’s time to ditch this old standard

Battery life is mediocre at best

Max shutter speed is 1/4000

Some pretty big issues with tracking subjects

Gear Used

We used the Fujifilm XS10 with the Fujifilm 50mm F1.0 and the Fujifilm 16-80mm f4.

Technical Specifications

All of the tech specs for the Fujfiilm XS10 were provided by Fujifilm:

All magnesium alloy construction

5-axis IBIS provides up to 6 stops

IBIS unit is 30% smaller and lighter than the IBIS in X-T4

2.36 million dot EVF with 100fps refresh rate

Same autofocus system as the X-T4

8fps mechanical – up to 30fps with the electronic shutter

4 custom settings on the mode dial

Fully articulating screen with 1.08 million dot LCD

Same X-Trans sensor (26mp) and processor as X-T4

The control set has been simplified to attract a new customer base

4K 4:2:2: 10-Bit external

30 min record time at 4K30

240 FPS mode in video

RAW capture in auto mode

New auto film simulation will apply either Provia, Velvia, or Astia based on the scene

Controllable focus points in auto mode

Foolproof video capture button that will record straight into video program mode

“Fujifilm cameras have a unique look, and despite the company’s simpler design language, the camera still looks the part.”

Brett Day – Gear Editor

Fujifilm XS10 – Ergonomics

Just look at that grip!! Seriously, this is the first feature you will see when opening the Fujifilm XS10’s box, and it will fill you with glee. For too long, smaller cameras have had tiny grips that make them very uncomfortable to hold. This is especially true for people with large hands. As soon as I picked up the Fujifilm XS10, it felt like it belonged in my hand. The camera feels secure when held, and there’s enough room for all five fingers to fit on the grip. That’s right, no more pinky dangling. Nicely done, Fujifilm.

While Fujifilm has kept the same vintage aesthetic, you can see that the controls have been thinned out and simplified. In the image above, you can see a control wheel on the top left. This selects film simulations and filters. At the base of this dial is a lever to pop up the built-in flash. To the right of the EVF, you can see the main mode dial. There’s an on-off switch, a dedicated ISO button, and a Q button, which brings up the quick menu. You’ll also see the shutter dial towards the back of the camera and a dedicated record button. The design is simple yet elegant.

The XS10 looks every bit a Fujifilm camera. Fujifilm cameras have a unique look, and despite the company’s simpler design language, the camera still looks the part. The whole front of the camera is nicely textured. The aperture control wheel is placed nicely at the top of the grip. The only other control on the front of the camera is the lens release button.

To the left of the EVF, you’re going to find the shooting modes button and a playback button. To the right of t...

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After a slow start to life in the Mirrorless world, Canon is now almost at full steam. Along with launches of some spectacular lenses, we have seen the brilliant Canon EOS R5 and EOS R6 hit the streets. There’s even speculation that we might see a high-resolution (90+ Megapixel) Canon body early next year. Hot on the trails of that news comes word of a potential return to the Rebel series of cameras. A new Canon EOS Rebel R that’s cheaper than the current EOS RP (it’s just $999) might just kickstart the faltering camera market. Let’s talk about this after the break.

A post that recently went live on Mirrorless Rumors talks about Canon’s potential camera roadmap in 2021. On the road map is the high-resolution EOS R5S that we talked about here. There’s also some noise being made about a Mirrorless version of the 1DX III, which makes sense seeing as the Olympics will be held in 2021. However, the possible appearance of a new Canon EOS Rebel R has me more excited than anything.

The Rebel series of cameras has always been about affordability. Still, despite their low price, Rebel cameras were always able to deliver a nice experience that the masses could afford. Any cameras that are priced low enough to entice new people to the art are A-Okay with me. This is apparently what we’ll be getting with the new Canon EOS Rebel R. Cameras like this have been sorely lacking, and the drop off in them has harmed the camera market. So, let’s look at what we think would make a Mirrorless Canon EOS Rebel R successful.

What We Want To See In The Mirrorless Canon EOS Rebel R

Let’s just talk about Canon’s EF-M line of cameras for a minute. Outside of Japan, M series cameras have never really caught on. It’s a shame because they are capable cameras. The problem is that marketing around them has been quite terrible. However, I have a feeling that in Europe and the States, if Canon had called them Rebel cameras, they would have been snapped up by a lot more people. This is simply because consumers knew what they were getting with the Rebel brand. I think it’s time for Canon to retire the M series of cameras, and they should be replaced with new RF Mount Rebel cameras. This just makes sense.

The Sensor and Image Processor

As mentioned above, some of the M series of cameras from Canon are quite good. The EOS M6 II is a great camera with a fantastic 32.5 Megapixel APS-C sensor. This is sensor should be repurposed and should be the heart of a new Canon EOS R Rebel. Yes, the new low-cost Rebel should be APS-C. These sensors are more than capable of producing images that will blow away the consumers and enthusiasts these entry-level cameras will be geared towards.

Not having to develop a new APS-C sensor will also help keep costs down. Using the processor found in the M6 II will also allow this entry-level Canon EOS Rebel R to have a fantastic autofocus system. Combined, the sensor and processor produced some of the best JPEGS we’ve seen out of any recent camera. In fact, every single image in our review was a JPEG. That’s how impressed we were with the image quality. This is what photographers who use Rebel cameras will care about. To me, it’s a no-brainer for Canon to go this route.

The Lens Mount

The new Canon EOS Rebel R should adopt the RF mount. Yes, Canon focused on premium Full-Frame lenses for a while. Now, though, there are some solid, affordable options out there, and more will follow. You can now get the excellent and affordable 24-105mm f4-7.1 STM. The RF 35mm f1.8, an RF 50mm f1.8, an 85mm f2, and an RF 24-240mm f4-6.3 IS USM lens. All of these lens options would pair perfectly with an entry-level Canon EOS Rebel R camera.

Yes, these lenses are all designed to be used with Full-Frame cameras. That won’t stop them from working on an APS-C body, though. It will also mean that should a consumer decide to upgrade to a Full-Frame ...

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I am Florian Pagano. I am a French professional photographer based in Indonesia for 11 years. I started photography 20 years ago when I got an analog camera SLR and lenses from a retiring fashion photographer (Nikon F90x with 80-200mm and 50mm AF lenses). At that time, I wanted to exclusively use a process that didn’t involve a computer as I was spending most of my time on a computer as an architect.

I am now a professional event photographer. I shoot mostly weddings, events, and fashion photography in Bali, Indonesia. I use digital photography and a lot of photoshop when I shoot for my clients (Nikon d750 with 24-70mm and 80-200mm lens), but I still use film photography for my everyday life and personal projects, so it doesn’t involve any editing.

This process goes from shooting film, send it to the lab to be processed and directly printed and stored. Digital scans are only used as a backup. I always ask my lab to not process or enhance or crop the photos as I want to see the real results, which I think makes me progress as a photographer.

I only use cheap stock film like Kodiak Gold 200 or Fuji Industrial 400 as fancy films like Portra are expensive and difficult to find in Indonesia.

My creative vision is I want to document people and life on the island as true as possible, in their everyday life and also focusing on traditions (Bali is a small Hindu majority island in the largest Muslim country in the world).

Thousands of photographers and tourists come to Bali to shoot beautiful landscapes and pretty lifestyle photos for their Instagram, hiding the reality behind filters, and heavy photoshop edits, so I try to document a more realistic side of the island.

Why did you get into photography?

I got into photography when I started my studies as an architect. I had access at that time to a free lab that was entirely paid for by the university. So I started shooting architecture as part of my studies. It really got serious when I moved 11 years ago to Indonesia, and I started to shoot street life and portraits.

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

The biggest influences are all the masters, of course (HCB, Salgado, Meyerowitz, Fan Ho & co.) but also Magnum photographers for their authentic storytelling.

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

I started with Analog as a tool as I was working as an architect, and since 2016 I am now a professional wedding and event photographer. I am now starting to have a small reputation that helps me sell prints. I started some documentary projects in Indonesia for two years, hoping to get better and get published. My only published story is at My Modern Met.

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

As a photographer, I try to be honest; even in my professional work where I use lightroom and photoshop, I try to stay true to the events.

Also, I speak many languages that help me be more relaxed when approaching people in the street. When I started photography, I was shy, and I was mostly stealing portraits with my 80-200mm lens, and I realized that I couldn’t get good results like this. I am now more relaxed and can approach people easily to ask and get the picture that I want, and now I shoot mostly with a 50mm lens.

Tell us about the gear you’re using. Please give us a list of the gear and the reasons why you choose it.

I use a Nikon F90x with a 50mm f1.8 and an 80-200mm. I didn’t choose them. I inherited them at an excellent price from a retiring photographer.

For digital, I use a d750 because it is compatible with all my analog lenses. I use my digital camera for B&W works that can be found on my Instagram.

Natural light or artificia...