The Phoblographer

If you’re a portrait photographer looking for something new, consider a Lensbaby Edge 35.

I often preach about how sterile every lens is on the market. But Lensbaby optics have a character that should be appreciated. Their standard lenses and their Omni kits are fun, but the most tantalizing product they have is their Edge optics. These are tougher to use as they integrate with the Composer Pro system, but if you slow down and have a patient model, you’ll have a lot of fun. More importantly, you’ll create an image that you wouldn’t get otherwise.

Full transparency before we go ahead: this isn’t a sponsored post. I was going through my archives and found this image to be cool. Earlier today, I wrote about how I think all image quality is too similar. But a Lensbaby and any other tilt-shift lens can alleviate that. There’s no point in doing this in PhotoShop. If you want everything in focus the way you’d generally get it, you can do that with a Lensbaby. But the secret weapon this has is the tilt-shift abilities. It can also be super sharp or very soft. There’s a lot of versatility. The only issue is that they’re admittedly more difficult to use, as you’re manually focusing and tilting. You have to have a patient model and ask them to hold poses for a while. It can be super challenging to get this done and so you should practice a lot before you work with models.

Of course, you need to combine this with other portrait techniques. My favorite process involves working with just three colors. In this case, there’s the background, her dress, and her skin tone. Those three colors stand out a lot from one another. Combine that with a pose, effective directional lighting, and the tilt-shift effect, and you get a solid image.

Then you need to consider all the tips for shooting 35mm portraits. For starters, this isn’t a lens for headshots, but it’s great for full body portraits and environmental portraits. With a 35mm lens, I wouldn’t shoot tighter than the whole torso and head. The quality of the lenses varies too, and it can determine a whole lot of the final image. The edges of these lenses tend to render more distortion. (Though arguably, that’s been flattened out in the past few years.) Keeping a distance from your subject will prevent any distortion from happening. And more specifically, we’re talking about a full-frame 35mm lens. On APS-C, you’ll have a bit more leeway because you’re framing your images in the center.

Again though, the main draw of using a Lensbaby Edge optic is the tilt-shift feature. There are other optics they offer with this too. Some are just regular lenses, and they’re all well built and made from metal, but they lack weather sealing. They’re all also manual focus, so you need to use focus peaking and focus magnification together. By far, Lensbaby lenses are for creatives who think about portraits and photos beforehand and then use the tools to bring them to life. It also really depends on what lens you’re using.

We reviewed the Lensbaby Edge 35 a while ago, so go check out that review. They’re also pretty affordable.

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Wow, November has been a whirlwind month. There have been huge sales on the most popular cameras on the market, and you, our readers, have been busy shopping. At the end of every month, we take a quick look at the most popular cameras among our readers. How do we decide which cameras are the most popular? We look at our sales data to see which cameras you guys and gals have been snapping up. This month, there are a couple on the list that may surprise you. Find out which models of popular cameras have found new homes during November.

Popular Cameras – Sony A7R IV

In our review, we said:

“The Sony A7R IV is a remarkable, Swiss army knife of a camera that comes packed with features that will benefit many professional photographers. The Sony A7R IV’s 61MP BSI sensor surpasses even those found in select Medium Format cameras on the market, making the Sony A7R IV the pound for pound resolution king at the moment when it comes to dollars to megapixel ratio.”

Paul Ip – Former Reviews Editor

Buy now: $3,499

Fujifilm XT4

In our review, we said:

“The Fujifilm XT4 is a prime example of how good a camera can be when camera manufacturers listen to customer feedback. As the old adage goes, “Give the people what they want.” With the X-T4, that’s precisely what Fujifilm’s done. The outgoing X-T3 was already a very capable camera (we gave it Editor’s Choice for a reason). The XT4 packs even more under the hood with the addition of in-camera image stabilization, a fully articulating touchscreen, and a larger battery.”

Paul Ip – Former Reviews Editor

Buy now: $1,699

Popular Cameras – Panasonic S1

In our review, we said:

“When it comes to digital files, the Panasonic S1 delivers very clean ISO 6400 images. You can even push it a stop or two in post-production and get files that look great in regards to high ISO noise.”

Chris Gampat – Editor In Chief

Buy now: $2,497.99

Pro Tip: These popular cameras will help you capture the world around you with ease. Still, if you’re new to photography and need guidance to get the most from your gear, have no fear. If you want to learn how to get the most out of your new lens, there are guides that will help you create gorgeous images in no time at all.

Popular Cameras – Fujifilm X100V

In our review, we said:

“The Fujifilm X100v is the closest thing that we have to a perfect point and shoot on the market. It’s got great autofocus capabilities, wonderful image quality, weather sealing, a revamped lens, and a simple interface. What more could you need?”

Chris Gampat – Editor In Chief

Buy now: $1,399

Panasonic GH5s

In our review, we said:

“The Panasonic GH5s is a fantastic camera for the working photographer who needs great high ISO output and wants a massive selection of lenses with some serious weather sealing and build quality overall.”

Chris Gampat – Editor In Chief

Buy now: $1,797.99

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It’s not often that I’m baffled by a flash. And that’s not to say that the Profoto a10 is a tough flash to use. But I’m trying to understand who’d buy it. I had to consult with a trusted friend of mine to help me understand, but neither of us could make the case. It’s not because the Profoto a10 is bad: it’s honestly a stellar flash! It even has a few proprietary innovations. However, most photographers probably won’t be able to justify the price to themselves.

Pros and Cons

Pros

Small

Lightweight

Good battery life

Solid menu system

Switch for TTL and manual

Connection via the app, you can update the firmware this way too

Cons

I wish you could lock the TTL and manual switch

Gear Used

We tested the Profoto a10 with the Sony a7r III.

Tech Specs

Taken from the specs on the LensRentals listing

Built-in Profoto AirTTL, AirX

Powerful flash with 0.05 to 1 second recycle

High-capacity Li-ion battery with fast recharge

Bluetooth smartphone sync

Size dimensions are 3 × 4.3 × 6.5′′

1/800 to 1/20000 Second

Approx. 1 Second

1.23 lbs.

Zoom head is 32 – 105 mm in full-frame

Ergonomics

The Profoto a10 is a really nice looking flash. Everything about exudes Euro design and appeal. When you look at it, you’re greeted by this big, beautiful head. It looks almost like a fresnel, but it’s not. At the front, you’ll find the battery and an AF assist lamp. And just in case you need it, the modeling lamp is also on the flash head.

On the side of the Profoto a10 is a switch, an important one. You’ll set the flash to manual or TTL mode here. On the other side is a USB port. Notice that the head is a tilt and swivel head.

The flash battery comes out pretty easily. It doesn’t integrate as seamlessly as it does with Profoto’s higher-end lights, but you’re also not going to end up complaining about it too much.

The back of the Profoto a10 has a bunch of controls. The white button operates the test and power function. The big dial does a whole bunch of stuff. And the other buttons change depending on the menu.

Build Quality

The Profoto a10 is better and more substantially built than that of a standard flash. It feels pretty solid. As I reviewed the Sony version, though, I’ve got a few qualms. First off, I own the Profoto AirTTL trigger for Sony. That hot shoe foot and the pins have been messed up a few times over. With this flash, I worry that the same thing will happen. I strongly recommend rarely using it on the camera. And when you’re not using it, cover the hot shoe foot.

Besides this issue, the Profoto a10, I’m sure, will be more reliable in other mounts. Comparatively speaking to the Flashpoint R2, it’s a ton more robust. Everything about it feels more high quality. However, I’m not sure it justifies being nearly 10 times the price. Of anything on this list, though, this is where Profoto has a major advantage.

Ease of Use

The Profoto B10 isn’t for the standard flash user. However, you’ll be able to navigate it fairly easily. If you’re used to Profoto’s products, you won’t have much trouble at all. Hold the test button to turn the flash on and off. To ensure the flash comes on, you’ll need to unlock it by turning the dial. The other cool thing is the manual and TTL auto switch on the side. That makes things super easy. However, I wish this switch locked into place more tightly. Further, this flash has features like being able to be triggered by the Profoto mobile app. Updating the firmware is also pretty straightforward.

Overall, I’ve got very few complaints here about the Profoto a10. Compared to the more affordable Flashpoint R2 flash, this isn’t more or less complicated: it’s just a different interface. Flashpoint prefers lots of buttons and switches. Profoto prefers a clean interface that relies on the screen to adapt the buttons accordingly.

Image Quality

The cool thing about Pro...

The Canon 6D Mk III would satisfy the hobbyist photographers that the series was designed for.

Canon has proven that they’re capable of creating great mirrorless cameras. They’ve also said there will be no more EF lenses made unless there was a specific and high enough demand for them. But that obviously hasn’t stopped third party lens manufacturers. I also think the Canon DSLR deserves one last hurrah. This would be perfectly immortalized in the Canon 6D Mk III. And just think: Canon would basically take existing technologies that they’ve had for years and recycle them enough to not cannibalize their other products. If it ever came to be, the Canon 6D Mk III would possibly be a final hit for all DSLR lovers.

Through the Canon EOS R, Canon EOS R5, Canon EOS R6, and the Canon EOS RP the company has created a full line of mirrorless full frame cameras. Parts of one or two of them could be use to create a final 6D iteration. While I’m not quite sure it should have IBIS, it could totally use one of the current sensors. The one in the Canon EOS R6 or the Canon EOS RP would work fine. Heck, the one in the Canon EOS R is the sensor in the latest Canon 5D camera. Why not just use that? It’s a pretty good sensor!

This camera would have pretty much every other body aspect of the Canon 6D Mk II. It wouldn’t need much more unless they wanted to recycle an old Canon 5D body of some sort. The 6D lineup was always well weather sealed and they were just very good cameras overall. If you needed a backup DSLR, a 6D is a great choice. If you wanted to shoot astrophotography, the Canon 6D Mk III could probably be a great option. Canon could even make the Canon 6D Mk III A for astro shooters.

Beyond this, it would make sense for them to take some other tech inside of their 1DX lineup of cameras and bring it down to this level of camera. It wouldn’t cannibalize sales, but instead would be a great way to send off the DSLR lineup of cameras. To really make it sell, Canon should offer it at low price point. They got the Canon EOS RP to a very low price point and the Canon EOS R isn’t that high either. Canon’s final 6D and DSLR camera should be pretty affordable to drive sales of both the camera and the lenses. Then after that, wish it goodbye. The EF mount has done a great job for them for years but it’s obviously time that the RF mount shines. And indeed, it can. It’s very possible for it to do so with all the tech Canon puts into it.

Most of all, Canon should prioritize the viewfinder experience. I’d be so bold as to suggest they bring back the technology from the film days where you could look at an autofocus point and it would be selected. But if not, then make this viewfinder, big, bright and beautiful the way that medium format, Pentax, the Sony a900 or the final Olympus DSLRs were. This is of course a very big experience with using the camera.

Think about it, Canon. In a time where COVID 19 sees no real end, it’s probably not too difficult to get done.

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They’re now called the Sigma I series. Today, the three new lenses were announced to join the Sigma 45mm f2.8 DG DN Contemporary as a subset of the Contemporary branch. The Sigma 24mm f3.5 DG DN Contemporary is for wide-angle shots. The Sigma 35mm f2 DG DN Contemporary is for every day shooting. And the weirdest one is the Sigma 65m f2 DG DN Contemporary. Indeed, Sigma has two normal focal lengths.

Sony E Mount Doesn’t Need These, But Leica L Mount Does

Let’s be honest here, the Sony full-frame E mount doesn’t need the Sigma I Series lenses. In fact, I’m not sure if you’d buy these over Tamron’s fully weather-sealed and super affordable options. In fact, those are the biggest flaws of these lenses. They all have some weather sealing, but nothing like Tamron’s. The Sigma 45mm needs a UV filter on the front to complete the weather sealing. Further, they’re more expensive than Tamron’s lenses. And if you want a minor quibble, they all also don’t share the same front filter thread.

Here are the specs that Sigma gives about these new lenses.

All I series lenses feature an all-metal body, with high-precision metal internal parts and a metal lens hood. The 24mm f3.5 is a petal-type hood.

All I series lenses feature manual aperture rings and knurled surfaces for an enjoyable tactile experience.

The 35mm F2 and 65mm F2 lenses feature a newly-designed arc-type auto/manual focus mode switch.

The 24mm F3.5, 35mm F2, and 65mm F2 lenses all feature a dust and splash-proof mount

The three new lenses each ship with both a plastic lens cap and a magnetic metallic cap.

Surely, the E mount doesn’t need these lenses. Instead, the L mount desperately does! It needs more affordable, small, and lightweight glass. So far, the Sigma FP and the Panasonic S5 cameras are the only ones that are small and lightweight. But the system will surely come out with more.

The Leica L mount system has a lot of issues. The autofocus needs to be improved, and none of the L Mount makers have agreed to use a unified hot shoe. But at least these lenses will solve the affordability and heft issues. Cost is another issue; comparatively speaking, they’re pricier than other camera systems but don’t necessarily offer a whole lot more.

But if you’re a Sony user, you’re probably curious about Sigma’s advantages. Well, the Sigma I Series lenses all have faster apertures, except for the 24mm. Sigma also went for longer focal lengths, where Tamron went for 20mm, 24mm, and 35mm. Sigma’s lenses are made with metal, which some folks might like more. Indeed, I called the Sigma 45mm f2.8 DG DN Contemporary the closest thing to a Leica I’ve held in a while. And I’m not sure yet about image quality. Without testing the new Sigma I Series lenses, I hypothesize that they’ll be better than the Tamron offerings. Tamron’s lenses are excellent, but I don’t think they’ve brought their A-game yet with the Sony E mount.

Sigma 24mm f3.5 DG DN Contemporary Technical Specifications

10 elements in 8 groups

STM autofocus motor

7 aperture blades

4.3-inch close focusing

1:2 magnification

55mm filter thread

7.9 oz for L mount and 8.1 oz for E mount. That’s about as heavy as a hampster or 2/3rd of a can of soup.

$549 price point

Sigma 35mm f2 DG DN Contemporary Technical Specifications

10 elements in 9 groups

STM autofocus motor

9 aperture blades

10.6-inch close focusing

58mm front filter thread

11.5 oz. That’s around as heavy as a basketball.

$639 price point

Sigma 65m f2 DG DN Contemporary Technical Specifications

12 elements in 9 groups

STM autofocus motor

9 aperture blades

21.7-inch close focusing

62mm front filter thread

14.3 oz. That’s around the weight of an American football.

$699 price point

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I always knew this day would come, but I never thought that the traditional camera manufacturers ever took it seriously. However, today, the Profoto Camera App is available for Android phones in Beta mode. It’s been out and available for iPhone. I’ve barely ever used it or taken it seriously. However, Profoto sent us photos shot with the Samsung Galaxy S20 Ultra and the Profoto B10. And quite honestly, I’m stunned.

Profoto Camera on Android

Profoto’s Marko Pirc sent me the details in an email. “It works with all of our LED and Xenon lights and has a working auto-exposure algorithm (TTL), which is far better than any such thing on DSLR or mirrorless cameras,” he tells me. The latter, I can’t necessarily verify. But I’ve used the Profoto AirTTL system on Canon, Sony, and Fujifilm cameras. With each of them, the TTL works differently. And it’s quite odd. You’d think that metering is metering, right? At least that’s what Sunny 16 tells us. But each of these camera systems has made super complex metering systems for their sensors and flash systems.

The key to all this, though, is with the way smartphone cameras work. “Under the hood, we are utilizing phone’s brains and multi-frame capture technology,” explains Marko. “So our app measures ambient light intensity and color along with flash impact and color.” He continued to say that it mixes the effect based on the user’s preference.

“This is technically not possible to achieve on a DSLR or MILC (at least not today).”

According to Mr. Pirc, the new Profoto Camera app for Android has creative, non-technical controls. They are:

“Natural,” “Balanced,” or “Dramatic” to control the ratio between flash and ambient light in the final photo.

Users can control the photo’s mood through a smart color setting (going from Cold to Warm). Here algorithms precisely mix flash and ambient light to achieve the desired color mood of the final photos.

The Profoto Camera App on the iPhone does a similar thing, but I’ve admittedly barely used it. I’ve been using flash for years, though. And I know how to get exactly what I want.

According to the press release, the app is available for the Samsung Galaxy S8, S9, S10, S20, Note 9, Note 10, and Note 20 lines. The press release makes no mention of Google Pixel, Huawei, LG, or Sony Xperia phones. All of those use the Android platform. You can shoot with the app if you own the Profoto B10, B10 Plus, a10, C10 or C10 Plus.

The Camera Manufacturers Need to Evolve

You’re probably going to say, “Well, it’s the photographer who shoots the images and not the gear.” And I agree with you. But the longer I’ve run this site, the more I’ve realized that gear is important. And it’s paramount now more than ever. You probably can’t get the look you want without Photoshop, Lightroom, or Capture One, so you need those specific pieces of gear or software to get your particular look. You can’t get the look of the Canon RF 50mm f1.2 L USM from anything Sony or Fujifilm has. And you can’t get the specific look of the older Leica M9 anymore either, now can you?

Your tools matter. And more specifically, the photographer’s skill and creative vision matter. If a photographer can get a shot in-camera with little to no post-production, they have something special. On our Flipboard channel, we created a storyboard a while back. It features photographers who don’t use Photoshop. And I believe that’s important now because anyone can use Photoshop, but not everyone understands stroboscopic flash. And how many people know how to perfectly meter a scene with high-speed sync? Or how to stop super fast motion? Profoto lights let you do that far better than any LEDs do.

Quite honestly, camera manufacturers need to start figuring out what they’re going to do. It’s not likely that they’re going to leapfrog ahead of the rapid innovation smartphones produce. So they need to fin...

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When you’re first starting out, lighting can be really difficult. We’re just naturally trained to not pay much attention to it. But the skill in photography comes with understanding lights. Best of all, you don’t need the most expensive or highest end lights to get the job done. Instead, it’s easy to do for a few hundred bucks in most cases. For when you’re first starting out, we recommend the following lights to you.

How We Selected These Lights

If you’re skilled, most people can’t tell if you used a flash or not when shooting a photo. And even more people can’t tell what light was used to shoot an image. Lighting is far unlike camera presets, specialty lenses, filters, etc. They’ve all got different qualities about them. But there are many ways to get to a solution with lighting. So we chose lights that we feel are going to stick with you for a really long time. Nothing here is over the $500 mark. And most importantly, all of these lights are very versatile. Nissin is the priciest, but it can be used for both photo and video. Flashpoint is the most affordable with the best battery life by far. And Litra is flat out the easiest to use. Best of all, we’ve done full reviews of each of these.

Nissin MG80 Pro

In our review, we said:

“When using the Nissin MG80 Pro at a party, I’d accidentally tap the settings or move the scroll wheel. So to prevent that, I locked the system down. After compensating for the exposure by +1 stop, I locked the flash down and kept shooting as needed. It was a breeze. I, for one, am not one to really like shooting with the flash in the camera. Instead, I’d use radio on-camera and have my flash in my other hand with a light modifier on. But in this case, the Nissin MG80 Pro kept delivering an output that I really liked.”

Pro Tip: Think of light like it’s a hose spewing water. You wouldn’t shoot someone directly with a blast. But a light, residual spray can be very pleasant! Generally speaking, it’s never a good idea to bounce your flash output directly up and off a ceiling. Angle the head a little bit behind you.

Buy Now: Around $399.95

Flashpoint Zoom Li-on X R2 Round

In our review, we said:

“The Flashpoint Zoom Li-on X R2 that we tested was designed for Sony hot shoes, but it’s also available for Canon, Fujifilm, Nikon, Olympus, Panasonic, and Pentax. You can mount it onto your camera’s hot shoe and use it as an on-camera flash. It can also function as an off-camera flash by controlling it using one of Flashpoint’s R2 transmitters. You can even use the Zoom Li-on X R2 as a transmitter to control other lights that use Flashpoint’s R2 (Godox X) transmission protocol: useful for event photographers who prefer having both on- and off-camera lighting options.”

Pro Tip: If you’re photographing a person, you’re best off putting a flash in a modifier like an umbrella or a softbox. The rule of thumb: the larger the light source in relation to the subject, the softer it will be. If your subject within the frame is a person’s face, make sure you’re using an umbrella that’s larger than their face to get soft lighting.

Buy Now: Around $229

LitraPro LED

In our review, we said:

“Using the LitraPro is honestly pretty simple. Turn it on, adjust your color temperature and light output intensity, and you’re off to the races. You can also control the LitraPro remotely via Bluetooth from an Android or iOS device using Litra’s free companion app. While you can turn the LitraPro off from the app, turning the light on must be done physically on the LitraPro itself. The light intensity can only be adjusted at 5% increments from the LitraPro itself or via the app. If you’re looking for a constant LED that offers step-less output adjustments, the LitraPro is not the light for you.”

Pro Tip: If you’re using an LED, know that it’s nowhere as strong as a flash in the same price point. So you’ll need t...

A landscape photography course from someone who finally gets it.

Do a quick search on Google for landscape photography guides, and you’ll quickly get a few million results thrown back at you. Sure, you could pick one of those courses, and you might learn a thing or two. Still, it’s important to know that not all photography courses are created equal. I recently had the chance to sit through and learn from the $29 Ian Plant’s Ultimate Landscape Photography Course. As a landscape photographer myself, I was interested to see what Ian’s course had to offer over others out there. To say I was pleasantly surprised is an understatement. Whether you’re a seasoned landscape photographer or a beginner, find out what makes this course so good in our essentials review.

One of the best ways to improve yourself as a photographer is to invest in training materials. While I’ve been capturing landscapes for roughly 20 years, I know there are still things for me to learn. We can all learn something new. When we think we know it all, that’s when we start to regress and get left behind. As mentioned above, training courses these days are a dime a dozen, but some are truly better than others. Ian Plant’s Ultimate Landscape Photography Course definitely falls into the better than most category.

How the Ultimate Landscape Photography Course Is Broken Down

After you buy the course (it’s only $29), you’ll be presented with your purchase. You simply take the code, go to the website that hosts the videos, enter the code, and you’re in. Don’t worry. You can download the videos if you would like to. However, there are many, and you’ll need plenty of storage space. You’ll also get a landscape photography cheat sheet—a 128 page eBook, and a one-year subscription to The Landscape Photography Magazine.

Right off the bat, you’ll see that this course covers a lot of ground. After you go through the introduction, Ian Plant gets right into the course. The first half of the course covers everything from Ian’s views on planning and research, the importance of scouting locations by car and on foot, why you shouldn’t take inspiration from others, and his order of operations. He also covers finding compositions and understanding a sense of place.

Great Production Value and Easy To Watch

The first seven videos are presented in a way in which Ian explains his thought process. Ian explains why he spends so much time scouting locations. How he likes to become connected to the landscape he’s about to capture. Why he hates talking about gear, how it’s not the be-all and end-all, and how your eyes and vision are more important. It’s actually quite a refreshing approach as most guides just jump right into sometimes boring technical demonstrations. Here, you’re going to get to understand Ian and dive a little deeper into his mind. It’s a great way to get to know Ian and his style. It’s also incredibly easy and enjoyable to watch.

Watching demonstrations is one thing. However, you can always learn more when someone’s teaching you about their thought process. It can be very eye-opening and can help you approach things differently in the future. The first seven videos range in length from six to fifteen minutes, and they are well put together. You’ll get a lot of of the first half of this course.

Find Out How To Save An Extra 20% On This Course and Hundreds More

You can now sign up for a Plus Membership from Photowhoa for just $9 per month! This membership will save you 20% on all of Photowhoa’s items. It will also score you six free photography bundles per year too! This is a bargain of a deal at just $9 per month! If you buy tutorials or preset packs regularly, you’ll save a ton!

A Deeper Dive Into Techniques

The first half of the course covered the whys of landscape photography. The second half of the Ultimate Landscape Photography Course covers the how-tos. There are eleven videos where Ian will teach you about balancing exposures, focus stacking, w...

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It’s no secret that Nikon, the once giant of the photography world, is struggling. Sales of the company’s Mirrorless cameras have been sluggish due to a lack of innovation. However, one shining beacon for them has been their DSLR cameras. So, it should really be no surprise that there might be at least two new Nikon DSLRs next year. Apparently, they’ll be released along with some new F mount lenses too. Is this the right move for Nikon, though? Should they just forget about DSLRs and focus on Mirrorless? Let’s talk about this after the break.

According to a new report on Nikon Rumors, there will be two new Nikon DSLRs next year. As well as the new cameras, there will be various new F mount lenses as well. This is not entirely shocking, though. We’ve already seen two new Nikon DSLRs in 2020 in the D780 and the D6. The D780 was well received. Photographers who loved the D750 flocked to it rather than to its Mirrorless counterpart, the Z6. The D6 was mocked for being nothing more than a minor refresh to the D5. While we can roll our eyes at Nikon for continuing to produce DSLRs, their Mirrorless cameras haven’t exactly been setting the world ablaze. Maybe they’re on to something.

Is’s Nikon’s Future In DSLRs or Mirrorless Cameras?

The report on Nikon Rumors also states that between now and the end of 2021, there will be eight new Z mount lenses. These new lenses include five prime lenses, along with a 400mm S and a 600mm S. There will also be two new 60mm and 105mm macro lenses. So, it would seem that Nikon is still heavily investing in its Z mount. However, there was no mention of any new Z mount cameras coming. As we head into 2021, we will have the Z6, Z7, Z6 II, Z7 II, Z50, and the Z5.

Sales of the Nikon Z6 and Z7 have been sluggish at best. The Z5 and the Z50 have also suffered similar fates. It’s still too early to tell how well received the Z6 II and Z7 II will be. However, given that they’re basically minor refreshes with features that should have been in the originals, I’ll say people probably won’t rush out to buy them.

While these current Nikon Mirrorless cameras are nice, there’s simply nothing about them that makes them stand out. In a world where every camera manufacturer is innovating, Nikon has found a way to release incredibly vanilla Mirrorless cameras that simply do not inspire. That’s not to say they aren’t good cameras; they are, but that’s the problem. They’re just good. They’re not great. It’s no surprise that Nikon’s faithful have decided to hang on to their DSLRs or jump ship to a competitor.

The Money’s In Nikon DSLRs

Nikon’s reluctance to jump into Mirrorless sooner than they did has hurt the company in so many ways. Nikon was likely scared that new Mirrorless cameras would impact their DSLR sales. So, they released half-hearted Mirrorless efforts to start with. That decision has had a knock-on effect. The fact that Nikon DSLRs still outsell their Mirrorless cameras has proven this. Still, Nikon believes Mirrorless sales will overtake DSLR sales within 60 days. We’re not so sure.

Honestly, we’re not sure that Nikon truly believes this either; why else would they be releasing DSLRs instead of going all-in on Mirrorless? Is it because Nikon knows their fans simply don’t believe in the Mirrorless system it has created? Does Nikon realize they screwed up by not coming out with all Mirrorless guns blazing? Perhaps. However, they do know that they create some of the best DSLRs in the business. The D850 is one of the best DSLRs ever made.

The Nikon D500 and the D750 are also legendary. Anyone who owns these cameras really has no need to upgrade unless they want eye AF and other Mirrorless bells and whistles. So it makes sense that Nikon would be coming out with new F mount glass. What could the new Nikon DSLRs be? Well, I would expect a D880, perhaps with the 61.2 Megapixel Sony sensor found in...

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Did you just pick up a new camera during the Black Friday sales? If so, congrats on the new addition to your family. If your new camera came with a kit lens or two, they’ll be fine for a little while. However, if you really want to get the most out of your Mirrorless camera, we suggest stepping up to prime lenses. Prime lenses are sharper, focus faster, and have fast apertures, which means you can create gorgeous bokeh. You’ll notice the difference in quality compared to kit lenses instantly. After the break, we’ll show you which prime lenses you should buy first for various platforms.

Not only will you notice a huge bump in image quality with prime lenses, but you’ll also find that they’ll make you a better photographer too. Not being able to rely on a zoom lens will force you to think differently. So, prime lenses will open many doors to new photographers or for photographers who are just new to primes. The prime lenses listed below are affordable. They’ll produce incredibly sharp images. You’ll be wowed at the colors they render and just how fast they’ll obtain focus. If you want to get the most out of your Mirrorless camera, consider buying these prime lenses.

Canon RF 35mm F1.8 USM IS

In our review, we said:

“The Canon RF 35mm f1.8 USM IS is a lens that photographers will pick up if they’re looking for a good 35mm lens for the Canon system that has image stabilization. In addition to that, the image quality is also very sharp for what it is. Then consider the bokeh and the fact that you can not only get this from a 35mm lens, but the f1.8 aperture lets you really blow your backgrounds out. I can’t really complain about the Canon RF 35mm f1.8.”

Chris Gampat – Editor In Chief

Buy now: $499

Olympus 25mm f1.8 (Micro Four Thirds)

In our review, we said:

“In fact, the 25mm f1.8 is one of the most affordable and bang for your buck lenses out there for the Micro Four Thirds system. In general, we’re quite impressed with the sharpness, bokeh, fast focusing speed (coupled with accuracy), small size, and the overall feel that it is the single-lens that you may want to keep mated to your camera forever.

Chris Gampat – Editor In Chief

Buy now: $299

Pro Tip: These prime lenses will make you interact with the world differently compared to zoom lenses. So, if you’re new to photography and you still need guidance and help to get the most from your gear, have no fear. If you want to learn how to get the most out of your new lens, there are guides that will help you create gorgeous images in no time at all.

Fujifilm 35mm f1.4

In our review, we said:

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

Chris Gampat – Editor In Chief

Buy now: $599

Sony 35mm F1.8 FE

In our review, we said:

“Photographers, both professional and hobbyist, will thoroughly enjoy the image quality the Sony 35mm f1.8 FE lens produces. With a flash, it’s incredibly sharp when shooting wide open. Stopped down to f4; it’s also noticeably sharp. What photographers will really like is the creamy bokeh that they get combined with the fact that the colors are cinematic.

Chris Gampat – editor In Chief

Buy now: $748

Nikon 50mm f1.8 Z S

In our review, we said:

“We found the Nikon 50mm f1.8 Z S’s image quality to be very good in our tests. It’s sharp, has very pleasing bokeh, doesn’t exhibit any major problems, and has an overall beautiful look to it.”

Paul Ip – Former Reviews Editor

Buy now: $596.95