My favorite things to review for this website are flashes. Most people read about cameras and lenses. But the true creators care about light. Flash is, unfortunately, a place where there needs to be a lot more innovation. That’s the case with the Sony HVL-F60R M2 especially. Being announced today, this is Sony’s new flagship flash. For such an incredibly innovative company, they’re surely holding back on their flashes. In fact, the Sony HVL-F60R M2 flashes feel like a bit of an afterthought. And to be frank, we’re still not sure who would buy them.

Too Long, Didn’t Read

The Sony HVL-F60R M2 is a humdrum update to their flash lineup. It’s competent, but there are much more effective lights out there for cheaper. And for a few hundred bucks more, you can get an Elinchrom One. For what it is, it’s a good flash. But it’s one that the market didn’t need. Sony is an incredibly innovative company when it comes to lenses and cameras. You wouldn’t think so when you look at the flashes, though.

Pros and Cons

Pros

Cobra head continues to unlock so much potential

Stills turns on and off with the camera

Faster flash sync with the a1 is pretty awesome, but not necessary at this point

Feels well built

Comes with Gels and diffuser.

Insanely easy to pair with the Sony wireless radio transmitter.

Fantastic and incredibly fast recycle speed, but I never machine gun shoot with a flash anyway.

Can be used as a receiver with lower end flashes

Rear sync and slow sync is a lot better than the previous version

Solid white balance performance, except when gelled

Improved durability.

Never once overheated, but that’s not really an issue with flashes these days anyway.

Cons

Why is it still using Double A batteries? It’s 2021

Sony touts auto white balance accuracy that only first-party equipment can achieve. But I haven’t had that problem with other brands in years.

There is no point in using this this off-camera except if you’re indoors, at night, or have a lot of light control. For the money, you may as well get an Elinchrom One or a Flashpoint flash instead.

While the faster flash sync abilities with the Sony a1 are awesome, high speed sync is incredibly accessible these days without issue.

A touchscreen would’ve been a nice addition.

The need to constantly pair with other flashes is kind of annoying.

Pretty weak for the price point.

Sony’s own TTL is really weird compared to Profoto’s

It’s $599.99. Why? Just get a Flashpoint Zoom Li-on X R2 TTL that will give you more power output for less money.

If you have an older Sony camera body, there’s no point in getting this.

It’s 2021 and Sony released a flash without a USB-C interface. Even a far cheaper Flashpoint flash has USB-C.

Gear Used

We tested the Sony HVL-F60R M2 with the:

Sony a1

Sony a7r III

Sony 35mm f1.8 G

Sony 55mm f1.8 Zeiss

Sony 85mm f1.8

Tamron 17-28mm f2.8

Sony FA-WRC1M Wireless Radio Commander

Sony HVL-F46RM flash, also being announced today.

Roundflash beauty dish

Phottix Luna Octa softbox

Innovations

The Sony HVL-F60R M2 has better durability at the hot shoe. They’re also touting better white balance, but otherwise, it’s not an innovative flash at all. Compared to Canon’s EL1, which is more pricey, the Sony HVL-F60R M2 can’t adapt its power output accordingly. It also lacks a fast flash duration that more affordable Flashpoint lights boast. Overall, the Sony HVL-F60R M2 is an incredibly disappointing update in that it just brings Sony flashes up to par with others in some ways and doesn’t innovate at all.

Tech Specs

Guide number 60

Overheating protection

Linked to camera face detection

Enhance auto white balance accuracy

More rugged shoe

240 flashes

1.7 second recycle time

Up to 200 continuous flashes at 10 fps

$599.99.

Ergonomics

The Sony HVL-F60R M2 is a flash that, for the most part, looks like all other hot-shoe flashes on the market. But it’s indeed much different. However, it’s also akin to much of what Sony has done for years.

Turn to the back of the flash, and you’ll find the...

Sometimes I find myself shaking my head at what cameras can do these days. The jury is still out as to whether it’s shaken in disbelief or wonderment. That is the case with the long-awaited and fairly priced Sony a7 IV. It packs a lot of features that photographers have been asking for along with capabilities that are overkill. I think Sony’s next camera could take an entirely black or even stark white image and recover almost every detail.

Alas, It has been fun watching the community pine for the newest Sony a7 IV leading up to its announcement. Based on what photographers have been asking for online, they will be delighted with the versatility of this camera. Its premise is to build a bridge for hybrid shooters and make their creativity more attainable. While the video functionalities are sure to pique interest, this review will focus on its photographic capabilities. Does it live up to the beloved a7 series? There’s no question that it does. The short answer is it’s an excellent option for most genres of photography. It’s sweeping an even broader net at who this camera is for. Keep reading to find out why.

Table of Contents

Too Long Didn’t Read

The long-anticipated Sony a7 IV is finally here and aims to bridge the gap for still photographers and videographers. It’s received a bit of a facelift with a beautiful, new OLED screen and a more comfortable grip. The updated face and animal detection with tracking is impressive and fun. It now comes with in-camera skin smoothing to significantly reduce post-processing time. Plus, its price is pretty great for an all-in-one option.

Pros and Cons

Pros

Face detection and tracking

Animal face detection and tracking

Bird face and eye detection

Updated OLED screen and menu

Comfortable grip

Suitable for a variety of applications

Weather-sealed and sensor dust issue is improved

Fast autofocus

Impressive Dynamic Range

Sharp – almost too sharp for some womens’ portraits

In-camera skin softening to combat incredibly sharp skin pores

Cons

High ISO performance could be better

Color noise in out-of-focus areas at lower ISOs

Shutter freezes and the camera becomes unresponsive at times when shooting bracketed

High burst mode currently only works if shooting compressed RAW

Gear Used

We tested the new Sony a7 IV with the Sony 35mm f1.4GM lens, Sony 50mm f1.2 GM lens, and Tamron 17-28mm f2.8 lens.

Innovations

As far as cutting edge, the new a7 IV isn’t revamping the world of mirrorless cameras. What it does is borrow some of the great features of the flagship a1 and is a welcome upgrade to the lower-tier lineup. The upgraded OLED screen, real-time human/animal autofocus, and impressive dynamic range are welcome additions.

Tech Specs

All technical specifications are provided by the manufacturer.

33.0 MP (appx/effective) full-frame Exmor R™ CMOS image sensor

Latest generation BIONZ XR™ image processing engine

High resolution with color reproduction accuracy & low noise

15 stop dynamic range for natural gradations

Creative Look / Soft Skin Effect

10-bit HEIF format (4:2:2 or 4:2:0)

5.5-step advantage 5-axis in-body image stabilization

828 continuous RAW+JPEG shooting

759 phase-detection AF points (94% coverage)

Improved AF-S speed / Improved low light AF down to EV-4

AF tracking for continuous shooting at f22

Real-time Eye AF for Human/Animal/Bird

More tenacious Real-time Tracking

4K 60p recording in Super35 format for slow-motion

4k 30p recording, 7k oversampling for high resolution

S-Cinetone™ and Creative Look for delivery work

10bit S-Log3 with 15+ stops of dynamic range

10-bit depth, 4:2:2 color sampling Intra-frame encoding (XAVC S-I)

High-efficiency MPEG-H HEVC/H.265 (XAVC HS)

Optical “Active Mode” image stabilization

Digital Audio Interface for cleaner, clearer audio recordings

Ergonomics

The Sony a7 IV is slightly larger than its predecessor with an improved grip. The camera looks much like the a7R IV except for a few button locations. It is very ergonomic and comfortable enough to shoot wit...

There isn’t much that is really, truly exciting in the lens world. Mostly, companies just try to make their own versions of something else. But that’s not the case with the Nikon 40mm f2 Z. There aren’t many 40mm lenses on the market with autofocus. And this one is checking off all the right marks. It’s small, has autofocus, and boasts beautiful image quality. But perhaps best of all is that it’s only $299.95. Quite honestly, it’s an impulse buy. And it’s the best lens outside of a nifty 50 you can get for that price.

Editor’s Note: We tested a pre-production Nikon 40mm f2. But we’ve got a full production unit in now for the review. Expect our review to be coming soon!

Table of Contents

Tech Specs

Taken from our original report

A compact, versatile prime lens that is ideal for everyday applications such as close-ups, casual portraits and food photography.

Delivers fantastic bokeh and a dramatic separation of the subject from the background.

The standard focal range hits the sweet spot of a natural angle of view, while still being wide enough for street photography. When mounted on a DX-format camera, the lens is equivalent to 60mm, which is a great focal length for flattering portraits.

Ultra-compact, weighing in at merely 170g and only 1.8” long, making it easy to carry around for day-long outings.

Built with 6 elements in 4 groups with a 9-blade diaphragm that creates a gorgeous, circular bokeh that draws attention to the subject.

Utilizes an electromagnetic diaphragm for precise aperture control and stable exposure during continuous shooting.

The NIKKOR Z 40mm f2 offers a short 0.96ft (0.29m) minimum focusing distance, which is excellent for capturing food and top-down photos of décor and tablescapes.

Designed with consideration for dust and drip-resistant performance with a sealing that prevents dust and water droplets from entering the lens.

Video shooters will benefit from the quiet operation, natural focus shift that allows for fluid changes when going from close focusing to infinity, reduced focus breathing and smooth aperture control.

The lens features an integrated control ring, which can be customized and assigned to adjust focus, ISO, aperture and exposure compensation.

$299.95 price point.

Ergonomics

The Nikon 40mm f2 Z isn’t very complicated. Looking at the front, you see the 52mm filter thread, which means this is a small lens. As we’ve said before in many blog posts, Nikon truly embraces the idea that mirrorless should be small while also being functional and having great ergonomics.

Look at the top of the lens. Besides the focusing ring, there aren’t any other controls on it.

Build Quality

The Nikon 40mm f2 Z lens is said to be weather resistant, or at least those considerations were incorporated into the design. Granted, this was a pre-production version we were testing on the Nikon z6 II. There’s no way I’m taking this into the rain. But we’ll do that with the production version for sure.

Overall, there’s nothing that makes this lens stand out much. It’s made of plastic on the outside, but it isn’t plasticky feeling in a bad way. It’s solid, hard plastic. It’s also quite small. If I were to get a single prime lens for the Nikon Z series, this would probably be it. However, I’d really love it to have the same sealing as the S series products.

Ease of Use

The Nikon 40mm f2 Z is simple enough to use. In fact, it’s very straightforward. Mount the lens to the camera, point, focus, and shoot. It’s that simple. The only control on this lens is the manual focus ring. If you want to manually focus, you have to first engage that control through the camera. Again though, there’s no point in doing this. The Nikon z6 II doesn’t have the most advanced autofocus, but it’s reliable enough for most of what a passionate photographer may need.

Autofocus

Focusing with the Nikon 40mm f2 Z is quick in single focus situations. I spent some time walking around the neighborhood having fun with it and not doing anything too seriou...

There isn’t anything more anxiety-inducing than a tripod that might suddenly drop your camera. Luckily, that didn’t happen with the 3 Legged Thing Brian 2.0 Tripod. In fact, I was astounded at how sturdy it is. This tripod is designed to be lightweight, reasonably compact, and sturdy. If I were traveling, I could see it being a fantastic travel tripod. But even if you just wanted something versatile and sturdy, the 3 Legged Thing Brian 2.0 is very tough to beat.

Too Long, Didn’t Read

Table of Contents

The 3 Legged Thing Brian 2.0 hits all the nails on the head perfectly. The tripod head is very sturdy, as are the plates. The tripod is amazingly light yet well built. It collapses down pretty well. And it also gets surprisingly tall. It does everything that a tripod of this kind should while remaining versatile and not getting in the way.

Pros and Cons

Pros

Well built

Rugged

Can hold a decent amount of gear

This plate can easily be affixed with a car or house key

Compact

Strong

Cons

Sometimes twisting to unlock can start to unscrew the leg

Gear Used

The 3 Legged Thing Brian 2.0 was tested with the:

Canon EOS R5

The 3 Legged Thing Brian 2.0 hits all the nails on the head perfectly. The tripod head is very sturdy, as are the plates. The tripod is amazingly light yet well built. It collapses down pretty well. And it also gets surprisingly tall. It does everything that a tripod of this kind should without getting in the way while remaining versatile.

Canon EOS R

Canon RF 50mm f1.2 L USM

Canon RF 24-105mm f4 L IS USM

3LT Bracket for Canon

Innovations

The 3 Legged Thing Brian 2.0 doesn’t necessarily have anything really unique about it. Each leg can become a monopod, but we’ve seen that in other tripods before. It’s also incredibly light for what it is. But perhaps the best thing about the 3 Legged Thing Brian 2.0 is that it does everything very well. We’ve tested other tripods where some feature is thrown off just enough to annoy us. But that’s not the case here. The center column can also extend upward twice.

Tech Specs

Specs provided by 3 Legged Thing

Max Height with AirHed Neo 2.0: 1.66m / 65.3”

Min Height without centre column, without AirHed Neo 2.0: 11.8 cm / 4.6”

Folded Length: 45.7 cm / 17.9”

Kit Weight, including AirHed Neo 2.0: 1.57 kg / 3.46 lbs

Maximum load capability: 18 kg / 40 lbs

Suggested retail price in US $ is $339.99

Ergonomics

The 3 Legged Thing Brian 2.0 is a very special tripod. Here’s what it looks like unfurled. The tripod legs can allow the whole thing to go even lower if you wish. And, of course, the center column can come down even lower than this.

Here’s a closer look at the tripod legs. The feet are rubber with a screw-on attachment to protect the metal inside. Then there are the height adjustment knobs. I’m not the most giant man, and I can only put my hand around three of these at a time. That basically just means that I can’t undo all the sections at once. But all you need to do is grab and twist. Be careful, though, because you can inadvertently twist the legs off.

Higher up on the tripod legs, you’ve got these angle adjusters. They work well enough. here’s nothing innovative or unique about them per se.

Now here’s the super fascinating part. The center column has two adjustment knobs. It can be raised up twice! Be careful here, too, as sometimes the knobs can be a bit confusing and end up loosening the tripod head. Around this area, you’ve also got places for you to hook a carabiner if needed.

The 3 Legged Thing Brian 2.0 doesn’t necessarily have anything really unique to it. Each leg can become a monopod, but we’ve seen that in other tripods before too. It’s incredibly light, too, for what it is. But perhaps the best thing about the 3 Legged Thing Brian 2.0 is that it actually does everything very well. We’ve tested other tripods where something is thrown off just enough to annoy us. But that’s not the case here. The center column can also extend upward twice.

The head on the 3 Legged Thing Bria...

The great outdoors are a fantastic place to clear your mind. Bring a camera with you. Distract yourself with your passion. And better yet, don’t give yourself anything to worry about later. By that, we mean you don’t need to break the bank. We dove into our reviews index to find some of the best Sony E-mount lenses to survive the great outdoors. Companies like Tamron make fantastic ones that don’t really make any compromises. Check out what we’ve tested!

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 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.

This piece is presented in partnership with TAMRON. We’ve independently and ethically reviewed all the products in this round-up already without sponsorship. And we worked with them to recommend a few key gems to you.

Pro Tips for Using Sony E Mount Lenses in the Great Outdoors

Sony photogs, here are some pro tips on using your e-mount lenses in the great outdoors:

Every Sony E-mount lens by Tamron in this roundup has been tested in inclement weather. Trust us, they work.

If you take your camera into the rain or snow, take the hot shoe cover with you.

Exposure preview will slow down the autofocus performance of your Sony E-mount lenses. Take it off.

Photographing birds? Make sure you’ve got the appropriate settings on your camera for photographing animals. The AI technology in Sony’s cameras is pretty amazing.

Tamron lenses for the Sony E-Mount will always autofocus quickly. But make sure the lens contacts are clean. Use Isopropyl alcohol and cotton swabs to get this done.

Tamron 20mm f2.8 Di III OSD: Part of a Trio of Small Sony E Mount Lenses

ModelF050Focal Length20mmMaximum ApertureF/2.8Angle of View(diagonal)94°30′(for full-frame mirrorless format)Optical Construction10 elements in 9 groupsMinimum Object Distance0.11m (4.3 in)Maximum Magnification Ratio1:2Filter SizeΦ67mmMaximum DiameterΦ73mmLength64mm (2.5 in)Weight220g (7.8 oz)Aperture Blades7 (circular diaphragm)Minimum ApertureF/22Standard AccessoryFlower-shaped hood, Lens capsCompatible MountsSony E-mount

“The Tamron 20mm f2.8 Di III OSD was tested for a few hours in the cold and rain of late January, 2020. Specifically, we took it into the rain during the opening ceremonies of NYC’s Chinese New Year. It also traveled with us to a very foggy salt marsh. This lens shrugged off all that mother nature threw at it. For $350 you’re getting a fantastic value when it comes to build quality.”

Tamron 150-500mm f5-6.7 Di III VC VXD: The Call of the Wild

ModelA057Focal Length150-500mmMaximum ApertureF5-6.7Angle of View(diagonal)16°25′-4°57′(for full-frame mirrorless format)Optical Construction25 elements in 16 groupsMinimum Object Distance0.6m (23.6 in) (WIDE) /1.8m (70.9 in) (TELE)Maximum Magnification Ratio1:3.1 (WIDE) / 1:3.7 (TELE)Filter Sizeφ82mmMaximum Diameterφ93mmLength209.6mm (8.3 in)Weight1,725g (60.8 oz) (without tripod mount included) /tripod mount 155g (5.5 oz)Aperture Blades7 (circular diaphragm)Minimum ApertureF22-32Standard AccessoryRound-shaped hood, Lens caps, Tripod mountCompatible MountsSony E-mount

Giant telephoto lenses are hard to hold. But, the Tamron 150-500mm f5-6.7 Di III VC VXD is equipped with stabilization. Tamron doesn’t list how much in the tech specs, but the company says it’s enough to use the lens handheld. Combine this with the image stabilization in Sony’s cameras, and you’ve got a winning combo. For the record, The Phoblographer’s editors are care...

The day has come. Fujifilm is finally game for working with third-party lens manufacturers. And Tamron is the first to do it The Tamron 18-300mm f3.5-6.3 Di III-A2 VC VXD is the first lens to come to the system and fills a much-needed niche. And of course, Tamron didn’t skimp on quality. This lens is lightweight, reliably fast to focus, and delivers darned good image quality. We’re doing our full review of the lens on the Sony system, but we called one in for the Fujifilm system too. Here’s what we’re finding.

Table of Contents

Tech Specs

Taken from our initial news post

The world’s first 16.6x all-in-one zoom.

Extremely fast and precise autofocus—the highest-level in its class— with TAMRON’s VXD linear motor focus mechanism.

MOD: 5.9“ / maximum magnification ratio: 1:2 at 18mm wide end.

The best image quality in its class.

Outstanding VC.

Comfortably compact.

User-friendly features (Moisture-Resistant Construction, Fluorine Coating, Zoom Lock switch)

Ergonomics

Here’s a look at the Tamron 18-300mm f3.5-6.3 Di III-A2 VC VXD. Doesn’t it look gorgeous on the X Pro 3?

First things first! It’s got two controls. There’s a focusing ring near the mount and then there’s a big zoom ring. Both are rubberized and easy to grip. The focusing ring feels like it could easily be an aperture ring. There’s also a locking mechanism to ensure the lens doesn’t extend unexpectedly.

Here’s the lens fully extended next to an iPhone 12 Pro Max and a Cocoa Butter tube. As you see, it gets a lot bigger when extended.

Here’s a look at the front of the lens. It sports a 67mm filter thread. So, this lens isn’t massive.

Build Quality

The Tamron 18-300mm f3.5-6.3 Di III-A2 VC VXD is said to have moisture-resistant construction. That’s typical Tamron weather-sealing speak. In our tests, Tamron lenses have been incredibly durable. We didn’t take it out into the rain, but we made sure to splash water on it. Even after a bit of a shower, it kept working just fine on the Fujifilm X Pro 3.

What’s more is the fact that it just feels great on the camera. You don’t need a big grip for it. And you don’t necessarily need the XT4. Instead, it gives the X Pro 3 a bit more versatility. Truly, this is a lens that Fujifilm didn’t know it needed for years.

Ease of Use

The first thing to realize about this lens is that it lacks an aperture ring. So you’ll need to use the dials on your camera to make sure you’re controlling the aperture. That’s easy enough. On the X Pro 3, I set the back dial to aperture control. I was super curious about how it would work with OVF mode. And of course, it worked mostly fine. There comes a point where it’s too far telephoto, but it’s not unusable if you have good vision. Still, it’s kind of fun to use it in the optical viewfinder setting.

Otherwise, this lens is a point-and-shoot affair.

One thing to note is just how good the image stabilization is when you’re as still as possible. When I did this, I was able to shoot at 300mm (450mm equivalent) down to a little over 1/8th of a second and got a pretty clear shot. This is very impressive. On the Fujifilm XT4, I have to do more tests as I’m not sure if the camera’s image stabilization is working against the lens or not.

However, when photographing birds above me, I’m not in an ideal shooting position. And then, the image stabilization isn’t as effective.

Autofocus

As I’ve stated, I’ve been using the Tamron 18-300mm f3.5-6.3 Di III-A2 VC VXD with the X Pro 3. And most of the time, I really wish that it had Bird autofocus detection. Fujifilm doesn’t have it at all, but it would’ve made birding in NYC so much easier. Fujifilm’s ergonomics let you quickly choose an autofocus point, but it would be faster if bird detection were built in. For the most part, though, the Tamron 18-300mm f3.5-6.3 Di III-A2 VC VXD is quick to focus and very accurate. Any inaccuracies I’ll blame on Fujifilm and the company’s negligence to the Fujifilm X Pro 3. I’m sure the performance will be even better on the Fujifilm ...

Fact: your lenses are often more important than your camera. What’s more, the condition of your lenses will really matter when it comes to image results. With today’s high-resolution cameras, the slightest imperfections can be picked up easily. Spotting lens and sensor dust is pretty simple. But all that dust can affect how your camera and lens perform. We’re going to teach you how to care for your lens, like the ones from Tamron, to keep them operating just like the day you got them.

Editor’s Note: This is a sponsored blog post by Tamron. Here at The Phoblographer, we’ve done the most independent, non-sponsored lens reviews in real-world settings. And Tamron has consistently been a top choice for us when it comes to build quality meeting the price. We hope this info is useful to you.

The Lens Contacts

First and foremost, it’s always important to check the lens contacts. Over time, debris tends to get into the crevice between the lens and the camera. Luckily, Tamron’s moisture and dust-resistant lenses are exceptional at keeping the elements at bay. Trust us, we’ve done the tests. For ease of nomenclature, we’re just going to call it weather sealing within this article. You really want and need weather sealing in your lenses. Without it, all the debris can get in and mess with the lens contacts. More grit and grime on the lens contacts means that the communication between the body and camera isn’t as efficient.

Think of it like an air conditioner’s filter. When your AC is brand new, it runs really smoothly. But after a while, it picks up a lot of dirt and dust. So you need to clean or change the filter. In the case of weather-resistant lenses like those from Tamron, you don’t have a filter, you just need to keep the contacts as clean as possible.

Even if you don’t shoot outdoors often, environmental dust just builds up. A simple, clean pencil eraser can work, as can Isopropyl alcohol. We’ll discuss this more later.

The Lens Elements and Glass

Tamron’s weather-sealed lenses are built really well. So in most situations, you’ll only need to worry about the front element. The front can get pretty dirty before needing to be cleaned unless you’re stopped down heavily. But the back element is the closest to the camera sensor and dust there can more easily show up in your images. Keeping the glass clean means that your photos will always have the best quality. This is especially the case with modern, high-resolution image sensors. So keeping the rear element clean is good practice.

In most situations, we recommend not using your shirt to wipe off anything that gets on your Tamron lens.

Isopropyl Alcohol and Other Solutions

“Here at HQ, we use Methanol Alcohol which cleans great and dries quickly unlike Isopropyl which may leave streaks or spots. I personally would rather see the photographer use Windex instead of Isopropyl Alcohol. Make sure they don’t spray the lens, but rather spray into a cleaning tissue like Kimwipes.” – Pat Simonetti, Director of Operations, Tamron USA.

Isopropyl alcohol can be used to clean and maintain your lens if you don’t have access to other chemicals. At Tamron, the techs all use a combination of Methanol alcohol, Windex, and rarely used Acetone. (It is highly recommended to wear protective glasses when using any chemical.)

For cleaning the lens contacts on your Tamron lens, use a cotton swab, lens cloth, or makeup swab. Apply a bit of isopropyl alcohol and rub the contacts carefully. Shake off any excess alcohol and then reattach the lens to the camera.

Lens Cleaning Wipes

There are lens cleaning wipes on the market, too. Kimwipes are a good brand. Some folks don’t go for these and instead opt for cleaning their lens off with their shirt (not recommended). Wipes are much better. Some come pre-moistened and have an alcohol solution that helps. Don’t ever attempt to clean the elements dry.

Hand Powered Air Blowers

The last thing to always use are air blowers. We’re not talking about compressed air but ra...

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There have been times I’ve considered buying a medium format camera. Mostly, I’ve looked at the Fujifilm GFX series of cameras. But I’ve also really liked the old Leica S cameras with a CCD sensor. In 2021 though, the medium format camera world is very quiet. Phase One has some very high megapixel DSLRs that we hear nothing about. Hasselblad has some DSLRs and mirrorless cameras, but the latter misses the mark. Leica has a medium format camera system, but there isn’t much development for it. So the only viable possibilty is Fujifilm. What’s more, the company often says that it is their future.

The Traditional Benefits of Medium Format Over 35mm Full Frame

Let’s state a fact; film and analog photography have been around far longer than digital. To this day, there is no single photographer that has had a lifelong career only shooting digital. It hasn’t been around long enough. So why did photographers in the past reach for medium format over 35mm film?

Image quality: 120 film offered a variety of formats. There wasn’t a major benefit at 645, but at 67 format, the difference was massive. These differences aren’t exactly available with modern-day options, at least with Fujifilm. Full 645 sensors are the biggest we can go for commercial shoots. In fact, Fujifilm GF format isn’t even 645 sized.

Depth of field and distortion: Traditionally, if you wanted a shallower depth of field at a given focal length, you’d go with medium format. With a 67 format, you could shoot pretty wide and get little in focus. That’s changed over the years, though. With that said, distortion has also been highly correctable with medium format. We haven’t even started to talk about all that’s possible with modern-day software.

Printing larger: Back in the day, we printed a whole lot. These days, we don’t. Most images end up being seen on our phones or on computer monitors. Even then, modern-day full frame-digital is more than good enough for digital screens.

The Modern Benefits of Medium Format Over 35mm Full Frame

So what’s the benefit of modern-day medium format cameras over 35mm full-frame?

Distortion: On average, there’s still better distortion control with medium format vs. full frame.

Colors: Fujifilm colors are some of the best. But they’re not using an XTrans sensor, they’re putting it all in the processor. The modern full-frame just can’t match it.

Dynamic range: Modern-day GF has more megapixels and more details than what full-frame offers. With a lot of work in post-production, full-frame can match GF format.

High ISO Output: ISO 6400 on GF format is much cleaner than full frame. You can theoretically fix this in post-production.

Is It Worth it?

Truthfully, it seems like GF format makes sense for anyone who wants to do a lot of post-production. Personally, I’m not always that guy; I already spend enough time in front of a computer screen. However, there are some who think the magic of a photo must be made in post-production. The bottom line is that modern cameras give you so much power, and that power is amplified by the 10th degree with medium format.

I think modern-day Medium Format needs to not just catch up to full-frame, but surpass it. The Fujifilm GFX100S has fantastic image quality and autofocus (check out our review). But it’s also large.

In conclusion, I think modern-day medium format is indeed better than full frame. But I don’t know how long that advantage will exist. And I think Fujifilm GF format needs to go even further.

You’re about 40 if you’re on your way out soon from this demographic, and 25 if you’ve just made your entry into this select age group. We’re the generation that grew up with the internet in our teens, and contributed to making it the over-utilized, super-connected global network that it is today. As millennial photographers, we’re also probably the youngest generation to have made a foray into digital photography. Before that, we’d pop a roll into an autofocus compact or an SLR and head over to a studio to develop after 36 clicks. But when it came to developing them, we were at the mercy of two significant factors: the film stock we used, and the developer at the lab we went to.

All images in this article are used with permission from their owners.

Digital photography was a whole new ballgame. The first digital camera my family owned was an Olympus (possibly one of the early CAMEDIA models) in 2003. I think it barely had 2 megapixels of resolution (keep that in mind before all you Generation Alpha photographers whine about your 24-megapixel files). And it probably was another four or five years before I began to understand the intricacies of editing software like Adobe Photoshop. It took two more years of having digital files all over my hard drive before I was introduced to Adobe Lightroom (3.0?). Things started becoming streamlined here with the presence of a sound file management system. Saturation, Contrast, Curves, Hue – a few things that I began playing with each time I took would start my photo editing.

Easy to Get Carried Away

The possibilities were endless, but so were the errors. What made it a fun process was the fact that it was all non-destructive in nature. Tapping away on my ancient Dell laptop, I was able to do, undo, redo, undo, and correct to my heart’s content. It didn’t matter that the results weren’t professional looking. Unbeknown to me, I was learning something new that would one day be valuable in my professional career. Editing an image was something I enjoyed thoroughly and something that, for the most part, I still enjoy today. The thought process behind this has probably changed entirely, though. I would previously click a photo and then try umpteen edits to see what could make it look better.

I don’t hate presets, and I think they are sometimes an excellent way to have an editing starting point. But I can say with surety that you can get carried away by them. Because when you have 1,000 different instant looks at your fingertips, you tend to feel overwhelmed. I now firmly shoot with a vision to edit. I will always compose and expose my photos, as best possible, with an end edit in mind. This prevents me from becoming distracted when I sit down to edit a picture, but it also means I need to edit an image shortly after I click it. I was curious to know what other millennial photographers thought about photo editing. Do they enjoy taking a shot from “nice” to “wow,” even if it means spending a significant amount of time before a screen?

The Evolution of Editing

“I used to enjoy editing my photos a lot when I first started out. I believe it distinguishes some of us,” says photographer Atamash Javed. Originally from Pakistan but based in the UAE now, Aljvd (as he is more commonly known in the local photography circles) likes to keep his photography process simple. “More recently, I have been finding myself not to edit as much. I guess it’s part of an evolution,” he says about his photos.

Altamash Javed

“.where heavy editing is required I am capable of doing it, but I mostly try to keep it very simple now.”

I enjoy Altamash’s work and find him a source of inspiration on how to produce striking images out of seemingly simple, everyday surroundings. I also agree with Altamash on a critical point he makes about revisiting older images. “As I have learned more in general and the usage of new software, I actually enjoy going back and editing old photos,” he says. “Sometimes, you just have to be in the rig...

I want to preface the rest of this article by saying that I’m team photography NFTs. Despite the reservations I’ve written about, I fully welcome photographers making money by any ethical means necessary. Experimenting with art and technology is fun; no industry should aim to limit that. But photographers are often consumers, and I question those intrigued by NFTs, especially those who seem to favor them over a traditional printed photograph.

Photography Prints Vs. Photography NFTs

Whenever a new form of photographic consumption springs to life, the natural thing to do is compare it to similar products. A digital image and a printed photograph are the same product but delivered differently.

And that’s something important to note: delivery. Because the manner in which a photographer presents an image dictates how it’s received. We’re big on emotions here at The Phoblographer. And, of course, photography NFTs can make you feel something. But compared to a printed photograph, the experience can never be the same. Here’s why.

My Trip to a Photography Gallary

I recently visited a small museum in Mexico. The museum had a whole section dedicated to photography. From beautiful landscapes to the details of Volcanos, the curators hung prints small and large upon the historic walls. It was breathtaking.

Upon seeing the first print, I was in total awe. The level of detail was so incredible it felt as though I stood in front of the scene itself. I was fixated, unable to look away. Forgetting my surroundings, I was transported into new lands and away from the museum. That’s not hyperbole, either. The mental impact of seeing such a beautifully presented print threw me off guard completely, and I was lost in an overwhelming feeling of love for photography.

It’s not often I visit a gallery, especially because of the pandemic. But being there reminded me of what a photograph was always meant to be: physical.

Photography NFTs in the Digital World

In many ways, the digital world has removed our ability to connect to our emotions. Look at how we interact with each other. We have dehumanized our experience when it comes to how we behave online. Anything that happens online happens through a screen 13-15 inches in size. No smells, no feeling, no expert judgment can happen through a screen. That’s a very streamlined way of living life.

Photography NFTs, in my opinion, continue a similar trend: an online product lacking in emotion. That’s not to say they’re not impressive. The industry has many talented photographers creating impressive NFTs. Cath Simard, a guest on our podcast Inside the Photographer’s Mind makes some exceptional NFTs. But if you were to ask me if I wanted the physical or digital version of her photographs, the former would win ten times out of ten. Her work already blows me away. Seeing her photographs in a large 20×30 print would be insane.

But in my opinion, photography NFTs are not about consumption; they’re about the game of blockchain and money.

I’m not going to pretend I’m an expert in NFTs. I know photographers have to invest money when minting their NFTs through third-party platforms. I also know most of them don’t break even. My belief, however, is that NFTs are a trend in our ever-growing digital world, and that’s okay. Photographers can make money, and consumers can have their egos rubbed by saying they own an original. That’s the department where prints and photography NFTs share something in common, but in my opinion it’s the only one.

Thoughts from a Curator

I visited another little photo gallery in Mexico because I wanted to repeat the feeling I had the first time. I wanted to remind myself why I love this craft so much. While there, I spoke to one of the curators. Sadly, I was unable to catch their name. During our conversation, I asked them what they thought about the digital consumption of photography and NFTs. Smiling, they told me:

“The beautiful thing about art is that you can consume it in many different way...