The Phoblographer

It’s a little bigger than its F mount equivalent but feels considerably lighter. It also improves on the optical performance a bit.

I have to admit, I like the performance of the new Nikon Z MC 105mm f2.8 VR S a little more than what the F-Mount VR Micro-Nikkor 105mm f2.8G IF-ED version offers. I immediately noticed the difference in weight when I first held the two lenses together (22.3 oz / 630 g vs 25.4 oz / 720 g). The other key factor is the absolute lack of chromatic aberration, especially purple fringing. This issue was prevalent in images taken on my 105 macro AF-S lens, and it was a constant headache for me to edit out. Unlike the improvements in the Z mount 50mm 1.8s over F mount equivalent, the differences aren’t night and day between the 105mm macros. But some improvements might make you pick this lens over using an F-mount version with an FTZ adapter.

My entry into macro photography was back in 2010 when I had a Nikon D300 and a Nikon AF 50 mm f1.4 D. It was just a couple of years after I got into digital photography, and I didn’t have any budget for a macro lens. That’s when I read that I could flip around my 50mm using a Nikon Br-2A 52Mm Reversing Adapter Ring and magically get closer than the lens’s minimum focus distance. This opened up a whole new genre of photography for me: something I couldn’t get enough of for a very long time. Years later, I dived in when I saw a fantastic deal on eBay for a 105mm macro F mount. It’s also served as a portrait lens for me, and I prefer it to the 85mm focal length.

The Z mount 105mm f2.8 macro is a member of the S series of Z lenses. While it doesn’t have any of the gold banding of the premium F mount lenses, it does get top-grade optics, newer coatings, and weather sealing.

Tech Specs

Taken from the Nikon USA website

Z mountF mountMaximum Aperturef/ 2.8f/ 2.8Minimum Aperturef/ 32f/ 32FormatFXFXMaximum Angle of View (DX-format)15°20′15°Maximum Angle of View (FX-format)23°10′23°20′Maximum Reproduction Ratio1x1xLens Elements1614Lens Groups1112VR (Vibration Reduction) Image StabilizationYes Lens shift using voice coil motors (VCMs)YesDiaphragm Blades9 Rounded diaphragm opening9ARNEO CoatYesNoNano Crystal CoatYesYesED Glass Elements31Aspherical Elements1NAFluorine CoatYesNASuper Integrated CoatingYesYesAutofocusYesYesAF ActuatorSTM (stepping motor)–Internal FocusingYesYesMinimum Focus Distance0.96 ft.( 0.29m)1.0 ft.(0.314m)Focus ModeAuto/ManualFocus limit switch with two positions: FULL (∞ to 0.29m) and 0.5m to 0.29mAutoManualManual/AutoFilter Size62mm62mmApprox. Dimensions (Diameter x Length)3.4 in. (85 mm) x 5.6 in. (140 mm)3.3 in.(83 mm)x 4.6 in.(116 mm)Approx. Weight22.3 oz. (630 g)25.4 oz.(720 g)

Gear Used

I used a production Nikkor Z MC 105mm f2.8 VR S lens with my Nikon Z6 II camera.

Ergonomics

The Nikkor Z MC 105mm f2.8 VR S lens is noticeably bigger than the AF-S VR Micro-Nikkor 105mm f2.8G IF-ED but is somehow lighter despite having two more lens elements inside.

It’s got a thin control ring closer to the lens mount, which can be customized in your Z camera menu. This can be set to adjust ISO, exposure compensation, or aperture quickly.

A tiny OLED panel also acts as a digital distance scale (along with a DISP button to activate it). What’s not all that nice is that the display turns off every few seconds. You have to press it to reactivate it. I really hope a future firmware upgrade gives you an option to keep this display on permanently when the camera is on.

Next to the DISP button is an L.fn button, again customizable in the menu.

There’s also an AF/MF switch to toggle between these two focus settings. A second switch gives you focus limiting options between FULL and 0.5m to 0.29m. This prevents focus hunting which I will touch on later.

The filter thread size is the same 62mm as the F-mount version, so if you’re swapping that out for this version to use with your Z camera, you can keep all your screw-in filters. That’s not a movable ring seen here (closer to ...

Speaking as an owner, you’ll take my Leica M6 from my cold, dead hands. And even then, you’ll need to have a boss fight with my ghost for it. The Leica M6 is a fantastic camera that lots of photographers love. It’s incredibly popular among film shooters. A few years ago, photographers would’ve said that the Leica M4-P would’ve been Leica’s most popular camera ever. But arguably speaking, the Leica M6 is better. I’ve owned one for years now. Is it the perfect Leica M camera? Not at all. But in the film world, it’s pretty darned close.

Just an FYI, this isn’t a sponsored blog post. But Leica is a current advertiser on the site. We’re transparent about that in the sponsored posts. The idea for this blog post came from search data. Leica has even supported our vision of promoting lenses for the Leica M6.

Editor’s Note: Peer Kugler who wrote in to give corrections that I missed in my writing. The Leica MP has a mechanical shutter and has the old film rewind. The Leica MP is better, but more expensive. And for many of us, it’s not worth justifying the expense.

Understand this: after the Leica M6 came the Leica M7 and the Leica MP (not the Leica M-P). Both are good cameras. In fact, I think anyone could truly enjoy them. But the big issue with the M7 is with reliability. The M7 has an electronic shutter that can go faster than the Leica M6’s 1/1,000th. The Leica MP is at 1/1,000th. But M7 does this only because of electricity. That shutter require the cameras have a battery to work. For most film photographers, that’s enough to turn them off. It opens itself up to a host of problems, including possible repairs, reliability, etc. If the battery dies when you’re shooting, then the camera is useless, and you’ll need to replace the battery.

“Using the Leica M6 TTL is pretty straightforward. If you’ve never used a Leica before, then so much about it may annoy you. But if you’re willing to understand the philosophy of why and how it works, you’ll discover that it’s wonderful. To use the Leica M6 TTL you simply load some film, set the ISO, half press the shutter, meter the scene, adjust your exposure, and shoot. Of course, you need to pre-focus and all that good stuff, but the process makes you much more a part of the image than most modern picture taking.”

Our Leica M6 review

Trust me, that sucks a whole lot more than it sounds.

The Leica M6, on the other hand, is the perfect bridge between worlds. The Leica M6 has an entirely mechanical shutter. The battery in the camera only powers the light meter. This is similar to the Leica MP, Leica CL and all the variants of those cameras. Sure, your Leica M6 isn’t going past 1/1000th. But you can stop the lens down instead or use an ND filter. And best of all, it will mean that the camera can continue operating reliably. If the battery dies, your Leica M6 basically turns into a Leica M4. In fact, the Leica M4 is pretty much the same camera as the Leica M6 except that there’s no light meter in the former. I’ve owned both. The Leica M4 is genuinely fantastic, but sometimes a light meter can be convenient.

Also, they are pretty affordable. It’s easy to find one reasonably priced on eBay.

The later Leica M7 has the aperture priority mode you probably really want. But the M6 makes you focus harder on what’s going on. And in all honesty, this is perhaps the extra beauty of the camera. You really, genuinely have to think and act carefully to get a good photo. It forces you to be much more calculating. And in the end, that makes you a better photographer.

The 50mm lens puts photographers into one of two camps. Some subscribe to it like they’re going to church. They listen to its every word and receive joy similar to being part of a passionate community. Other photographers think the 50mm lens is also like church, but they’re the folks who sleep during the sermon until someone lets them know they’re snoring. Those people will keep a 50mm lens around just because they might need one. But in the past few years, I’ve found ways to make the 50mm lens less boring.

Give It Cool Lens Filters

Lots of folks may scoff at putting a filter on a lens. It’s not the same as applying the Gingham filter on Instagram or the Mastin filters in Lightroom. Instead, you’re doing it in-camera. Why? Why the heck not? You’re bored. You’re trying something new and breaking out of the stale monotony of modern photography. Shooting with a 50mm lens shouldn’t be boring. If you want to be bored, you could call your phone provider, be placed on hold, and then ask them to place you back on hold. Photography should be fun, and passionate photographers end up creating the best work when they’re motivated and enjoying the process.

One of our favorite things to do is put filters like those from PrismFX on the lens. These aren’t just softening and hazing filters. They change the image pretty drastically. I’m personally really loving the Radiant filter. Put it on a lens, and you’ll appreciate the spark of new life your photos will have.

Don’t Shoot at All Using the Viewfinder

Here’s a big one. Lots of photographers shoot with the viewfinder most of the time. Well, stop it. Shoot using the LCD screen instead. More importantly, work with different angles; don’t just shoot at eye level. Get lower. Lay down on the ground. Get up high. Shoot using the LCD screen from an angle where you can barely see the screen.

Better yet, load up the app that’s supposed to be used with your smartphone and your camera. Shoot from a completely different perspective and use the phone as the remote.

Maybe It’s Time to Buy a Different 50mm Lens

Last but not least, it could just be the 50mm lens that you’ve got on your camera. It’s true. Some 50mm lenses are just better than others. Get something unique and different. If you’re going to get a new lens and then edit the photo in post-production for a while, then you’re not embracing the 50mm. You can do what you’re doing in post-production with any lens on the market. So it’s your job to get something completely different.

What does that mean?

Get a vintage lens

Buy a third party 50mm

Get a lens with a different maximum aperture

Try a 50mm lens with a macro setting

Rent another 50mm

I think that this was the case for me. I own a few different camera systems. But, the only 50mm lenses I personally like are the Sony Zeiss 55mm f1.8 (not a true 50mm), the Canon RF 50mm f1.2 L USM, and the Fujifilm 35mm f1.4 R. The latter has a very unique character and look that can’t be beaten. The Canon lens looks like medium format. And the Sony Zeiss is one of Sony’s sharpest lenses but also beautiful.

Shoot with a 50mm in a way that makes you happy.

I don’t know a single photographer who wouldn’t go crazy for an 85mm f1.2 lens. But some just seem incredibly expensive. And that’s what’s making us scratch our heads about this Canon 85mm f1.2 FD SSC Aspherical lens. Various reviews and folks online say it’s one of the best lenses ever made. Of course, Canon lens users have always loved their f1.2 lenses; it’s part of what makes the system so special. But can a lens really be worth nearly $23,000 and have so much variation?

The Canon 85mm f1.2 FD SSC Aspherical for $22,999.99

Seller otani.camera.tokyo is offering the Canon 85mm f1.2 FD SSC Aspherical for $22,999.99. That’s quite a lot of money. But why is it so expensive? Well, they say it’s a mint edition copy despite there being slight scuffs. The lens was released in 1979 and sports nine aperture blades according to Phillip Reeve. Naturally, it was targeted at portrait photographers. And this lens is for the older Canon FD mount, which came before Canon EF and way before Canon RF.

Of course, that also means you can adapt it to various camera systems. I’d go for Sony E, Nikon Z, Canon Rf, or Leica L mount if anything.

What Does Everyone Say?

This is a pretty fascinating lens. Otani is selling it for a lot, but the prices vary a lot. Check out the search for the lens on eBay. Some went for only a few thousand. And of course, it’s valuable and highly sought-after. But even we are scratching our heads about the price here.

So what do other folks say about it?

Phillip Reeve said this:

“I don’t think there is a better classic 85mm lens than the Canon FD 85mm 1:1.2 S.S.C. Aspherical and I was generally quite pleased with the images I got out of it. None the less I found myself often hesitate to take it with me because of its size and weight. If you like to take images with very shallow depth of field though I wouldn’t hesitate recommending the lens.”

And on his website, he’s got beautiful images shot with the lens on the Sony a7 and Sony a7 II.

Ken Rockwell said this:

“It’s way beyond anything ever from Nikon or LEICA. It’s got more technology in it than anywhere else, and more importantly, has out-of-this world performance. This is why it’s so sought-after by astronomers; it’s super-sharp even wide-open at f/1.2.”

Usually, when Ken is that head over heels about something, he’s pretty honest. Ken can be the perfect combination of troll and serious, but not in this case.

A guest blog post by Dirk De Paepe on Steve Huff’s website said:

“Many have considered this as one of the best lenses ever made. I don’t have the authority for such a bold assertion, but I do want to state that I believe it delivers stunning performances, even to current standards. In fact, when combined with a modern high resolution sensor, like the 42MP Sony, I find it opening a whole new world of detail, sharpness and shallowness, granting me a level of satisfaction, way beyond what was possible when shooting it on an old FD film camera. However, to get access to this higher performance level, one must proceed with the greatest care. Regular, faster taken shots show this good old 85/1.2 like it’s always been known and appreciated for. But in those carefully focused shots, taken with a hi-res sensor camera, I truly believe there’s some new mojo going on.”

So if you go ahead and purchase one, take a look at the search, first.

All images from otani.camera.tokyo: the seller of this lens.

Some photographers aim to challenge societal views. Others like to make bold statements with their images. Not all photography is pretty, and not all of it will make you feel good. There’s an important space for the type of work. But we’re not visiting that space today. Instead, we’re here for the feel-good and the heartwarming photography. The six photographers below will give us everything we need to wear a smile on our faces.

Want to get your work featured? Here’s how to do it!

Nicholas Lindsey’s Heartwarming Photography of Dogs

Most people love dogs. They show us love like no other species on earth. They’re cute, adorable, and fun to be around. So when you take the world’s favorite domestic pet and put it in front of a camera, only good things are going to happen. Nicholas Lindsey’s heartwarming photography came through a series of doggy portraits. Having a hard day? Take a look at the series here, and you’ll be sure to feel better in no time!

Peter Thorne’s Heartwarming Photography of Fat Cats

Cats like to do their own thing. They’re the rebellious teenager of the household. But when they interact with humans, they make our hearts melt. Peter Thorne saw the potential in making eye-catching portraits of cats as they sat in front of vibrant backdrops. His long-term goal was to create a coffee book that everyone could enjoy. That was back in 2016, and sadly the book is yet to arrive. Don’t worry, you can enjoy the work here.

Heartwarming Photographs of Newborns

A baby is the beginning of a new life. These tiny humans can even make a heart of stone melt. So it’s no surprise photographer Amanda Steinbacher saw the potential in photographing them. But while a lot of newborn shoots lack creativity, Steinbacher’s photos come with an abundance of it, and we love them. Powerful colors and stylish props, working alongside these beautiful newborns. Lovely stuff. Take a look here.

The Heartwarming Story Behind This Pentax Spotmatic

Here at The Phoblographer, we love stories that you don’t read every day. The story behind this Pentax Spotmatic certainly caught our attention. Daimon Wright purchased the Pentax from who he describes as “a pretty young guy.” The previous owner had taken it traveling and used it as a creative way to propose to his girlfriend. Passing the camera to her, she took it to her eye, and at that point saw the words on the sensor “Marry me.” Read the full story here.

Krysada Phounsiri’s is Powerful And Heartwarming

Scares, however they appear, are seldom associated with feel-good stories. Many people with scares suffer with anxiety and a lack of self-esteem. However, it doesn’t always have to be that way. Photographer Krysada Phounsiri aka Snap Pilots wanted to help people embrace their scares and fall in love with themselves. Speaking on his motivation, Snap Pilots had this to say, “I am an advocate for empowering voices, and my goal is to help bring visibility to the under-represented.” Take a look at the series here.

Michel Leroy Made The Most of The Pandemic

COVID-19 has been a tough time for all of us. Quarantine put many of us in a situation we had never experienced before. Many photographers used it as an opportunity to get creative. Michel Leroy was one of them. Having not made a single photograph for a month, Leroy got his family together, set up his home studio, and got to work. He created this image based on the AC/DC’s classic Highway to Hell cover. Back in 2020, he took us through the full process of creating the photograph. You can read about it here.

Send us Those Feel Good Photos!

Photography is an awesome way of taking your mind away from the doom and gloom of life. While we’ll always show the world’s important stories, despite how sad they may be, we also want heartwarming photography. So, if you’re working on something that you think will make our hearts melt, send it in. You can use the form above to send us your work. If we like it, you may get featured and your work shown to our millions of...

Recently, I saw a heartbreaking post on a Facebook group about cleaning a vintage camera lens with Hydrogen Peroxide. The photographer wanted to get rid of fungus on the lens. But instead, they ended up destroying the optics. They cited photographers on YouTube who say this is the thing to do. And unfortunately, that’s the problem. Lots of photographers on YouTube aren’t experts. If you wanted official information on something more pressing, it’s often best to check out .edu, .org. or .gov websites. Don’t get me wrong, we’re a .com website. But we’re also an accredited source of information. And besides, over the past decade, we’ve asked some of the best and brightest minds how to do this.

Here’s a screenshot from the thread that I’m referencing. Personally, I’ve never heard anyone talk about Hydrogen Peroxide. So I did some Google searches on “cleaning your camera lens” and a few other inquiries. Crazily though, our own website came up. Indeed, we are pretty big on researching and squashing misinformation on this. But here are a few refreshers.

Isopropyl Alcohol: All the Experts Agree When Cleaning a Lens

Some of you folks are probably wondering what isopropyl alcohol is. It’s a standard alcohol that you can find at a pharmacy, electronics store, and a load of other places. You can’t drink it. It’s much different from the alcohol that’s in beer, wine, whiskey, etc.

We’ve primarily written about it with cleaning your lens contacts. And indeed, that’s what it can be used for. Here’s a reference from a previous article we’ve written:

“So why would you go about cleaning the contacts of your lenses? You’d be amazed what it can do. If suddenly you start finding the autofocus of your camera to be sluggish, then part of it could have to do with the contacts.

Cleaning the contacts removes dirt, grime, dust, and anything else that can hinder the communication between the camera and the lens.

With isopropyl alcohol, just use the cotton swab dipped in the alcohol and rub it into the contacts. That should take away any sort of dirt blocking the full communication.”

You can find more about how to do this in the previously linked article. And indeed, isopropyl alcohol is pretty great at cleaning both lens and camera contacts. You don’t need to worry about whether the camera or lens is weather-resistant either.

So what about the glass itself? What if the lens elements get dirty? What if there’s fungus? Well, believe it or not, years ago, Pop Photo did an article about cleaning your lens with Vodka. It sounded pretty sketchy and much unlike something the once stellar publication would do. So we asked experts to verify this. Indeed, many manufacturers said that it probably isn’t such a great idea when we talked to them. Brandon Remler, National Account Director of Fujifilm North America, told us it’s not such a great option.

“I would run my vodka first through a Brita or similar filter system 2x to remove any of the impurities that exist in cheap vodka,” explained Mr. Remler. “Vodka is good but not great since it is lower in sugar content than say dark rum and less residues. The impurity is what messes up the cleaning process, of course. Don’t want sticky fingers or sticky lenses.” He continued to say that he believes it’s less than ideal compared to isopropyl and rubbing alcohol.

And believe it or not, a bunch of other industry folks supported him:

The late Chuck Westfall of Canon said they only recommend conventional lens cleaning fluids.

Our Nikon reps pointed us to an article on their own website.

John Carlson, a former VP at Pentax, said that they only recommend isopropyl alcohol.

Tom Curley, a former head of Business Development at Panasonic, said using Vodka is a myth.

Tokina said that it’s not the best cleaner, but it won’t hurt the optics.

Sony said that it depends on the level of impurities.

Zeiss said this is a bad idea. They also make their own cleaning wipes.

A former Leica Product Manager told me that it’s a bad idea and to no...

The Phoblographer is the best place on the web to find independent, unsponsored, and editorially sound real-world camera lens reviews. We’ve reviewed the most. And today, we’re super excited to announce that we’ve updated our Tamron Prime Lens guide. You should go take a look. For years, we’ve been keeping an updated guide of Tamron’s prime lenses. It includes everything pretty much from the past decade. They might not have a ton of lenses, but each one is special and unique.

Specifically, we updated the Tamron Prime Lens Guide to do a few things:

Take up more screen real estate on the desktop

List official Tamron tech specs for each lens

Include a sample photo from our independant reviews

The guide contains affiliate links, and if you make a purchase, we may receive affiliate commissions. They’re small and at no extra cost to you. If anything, they keep the site running. This year, we’ve seen that you folks have bought a ton of Tamron lenses through our affiliate links. You sure seem to love them. And in the past few years, there’s a whole lot to like.

Further (saying this as Founder, Editor in Chief, and Publisher), Tamron has been a site advertiser this year. But the revamped Tamron Prime Lens Guide isn’t part of the sponsorship. We created the guide a long time ago. We’re just getting geared up for the holiday season. Since we know a lot of you folks bought them this year, there might be more of you who want to take the plunge. I personally bought two Tamron lenses.

Tamron has focused really hard on the Sony E mount in recent history. They’ve also announced they’re now creating lenses for Fujifilm X mount. So maybe it’s a matter of time before we see more lenses for X mount. But in the meantime, Sony E mount users can enjoy lots of great Tamron benefits. Tamron’s lenses are weather-resistant. And across the board, the staff has found the least sensor debris on Sony cameras after using their optics. The company gives you a lot of great value.

What’s more, Tamron lenses focus significantly faster than some of the others out there. Of course, Sony lenses will focus the fastest on their own system. But Tamron lenses focus much faster than Sigma lenses, for example. This is because Tamron is partially owned by Sony. Because of that close relationship, it’s hard to beat what the two companies have made together. Plus, you can use pretty much all of Sony’s autofocusing tricks. We’ve used face/eye detection on both animals and humans.

Are Tamron’s lenses good enough for a professional photographer? Totally. We also think they’ll be right at home with any passionate photographer who wants something more affordable. They’re handy, small, and highly capable. We hope Tamron makes even more prime lenses in the future. Want a wide-angle? Check out their 20mm f2.8 lens. What about a general-purpose lens? Well, you can’t beat the 35mm f2.8 or even their 35mm f1.4!

We think you’ll like our Tamron Prime Lens Guide. It’s chock full of the information you need. And it contains quotes from all our reviews. The reviews have been worked on by various journalists over the years. They’ll give you all the information you’re looking for. We go into things like bokeh, weather-sealing, autofocus performance, sharpness, and a lot more. Go ahead, dive in! Take a look at our Tamron Prime Lens Guide and all the reviews inside.

On this week’s episode of Inside The Photographer’s Mind, we’re joined by Vanessa Charlot.

Charlot is a documentary photographer based in Miami. Her commissions include The New York Times, Rolling Stone, Vogue, and Gucci! For her personal work, Charlot focuses on minority groups, aiming to give a voice to those who are often silenced.

It’s a fantastic hour of photography conversation: be sure to subscribe and share.

Links

https://www.thephoblographer.com/

https://www.instagram.com/phoblographer/

Vanessa Charlot

https://www.vanessacharlot.com/

https://www.instagram.com/vanessa.charlot/

It’s been a few years since the Panasonic S1R and S1 came out. We reviewed both cameras. And we’ve since updated our reviews of both cameras. It’s prime time for a refresh. To be honest, I don’t know anyone who bought the originals. The Panasonic S5, on the other hand, was very popular. When these cameras were announced, people were much more excited for them than what Canon delivered around the same time. Canon ended up causing more commotion, but Panasonic has done a whole lot to improve. And I’m hoping that the successors to the Panasonic S1 and Panasonic S1R are better. Here’s what they need to do.

Jeez Man, Make the Panasonic S1 and Panasonic S1R Successors Smaller

I’m convinced that whoever designed the Panasonic S1R and the Panasonic S1 had just returned from a trip to Texas. So when these cameras were being developed, they were fed sustainably sourced steroids so that they could get swole. And unlike the Olympus, the EIPA awards don’t do drug tests. That’s how the Panasonic S1R and Panasonic S1 became some massive chonks of cameras. I’m kidding, but they really are enormous. A while back, I shared that the Fujifilm GFX 100S was as large as the Panasonic S1. If Fuji can make a smaller medium format camera, Panasonic can indeed make a smaller full-frame camera.

Or, If It’s Going to Be So Mammoth, Give Us a Reason for That

Alternatively, I’d like to believe that I shouldn’t body shame the Panasonic S1 and Panasonic S1R. It’s what’s inside that counts, right? So there should be ample reason for the cameras to be just that large. How about a larger LCD display instead of a variant of the same recycled one in the industry? Or a tilting EVF? We all know that bigger bodies are better for heat displacement. But all that space should be utilized to the fullest.

Better Image Stabilization

For what it’s worth, I found the Image stabilization of the first-generation cameras to be just okay. If you’re like most city-dwellers, you take your coffee black and intravenous. Folks probably also don’t know all the best methods to hold a camera. So if the Panasonic S1R and Panasonic S1 camera bodies will continue to be mammoth, maybe they should have better image stabilization.

Improved Battery Life

This was a huge problem that got fixed a bit with firmware updates. But these cameras haven’t always had the best battery life. That needs to be improved on, majorly. Maybe use the same excellent batteries the Leica SL cameras use.

Take the Autofocus to the Next Level

It’s time to add more AI algorithms into the autofocus, Panasonic. The Panasonic S1 and Pansonic S1R got some autofocus tweaks to improve them. Bravo! But take them even further. They should be faster, smarter, and able to recognize more subjects.

CineLike Tungsten Color Profile

This would seem as easy as just locking a white balance, right? But there can be a lot more subtleties to it. To anyone who says you’ll just do this in post-production, you’ve got it wrong. Panasonic’s CineLike profiles can be applied to the RAW files in Lightroom. And if they end up working with Capture One, they can do this to the RAW there as well. This isn’t just a matter of applying a setting to a RAW file. It starts with the capture of the colors and the white balance. Indeed, I’ve love for this to happen.

Live Composite in the Panasonic S1R and Panasonic S1 Successors

Put this in those cameras! Seriously, it’s one of the best things about the Panasonic S5. And the more flagship Panasonic cameras should have it too. It’s handy for astrophotography, but it should also be instrumental for lots of other things.

Work with Capture One, Please

This is a huge one. I feel Panasonic doesn’t work closely with Capture One. But the software does a much better job at RAW rendering than Adobe does.

In 2022, the Fujifilm X series will be hitting a few milestones. The X100 series will be 11 years old, and the X Pro series will be a decade old. A lot has happened since the original 12MP Fujifilm X Trans sensor. The processors and sensors have majorly improved. What’s more, a lot more film simulations have come out. Fujifilm made their best improvements yet with the Fujifilm X100v. We reviewed it positively, and they can’t even keep them in stock. But how else can the x100 series improve?

We Don’t Need More Megapixels

Megapixels are a significant issue with APS-C sensors. At the moment, there’s no need to achieve higher resolution; the images are more than good enough. If anything, maybe improve the high ISO noise. Or improve ways to embrace it with a nicer film-grain effect.

Fully Weather-Seal the Lens and Camera

The Fujifilm X100v is pretty much fully weather sealed. But to complete it, you have to put a filter on the front of the lens. Otherwise, it’s going to run into issues. Come on, Fujifilm. Just weather seal the entire Fujifilm X100 series camera. No one will complain about it getting just a bit larger.

Majorly Improve the Autofocus Speed

The autofocus on the Fujifilm X100v is good. But in the next Fujifilm X100 series camera, the autofocus needs to be faster and wiser. Face and body detection, and tracking autofocus should all see improvements. This camera should be comfortable in the quickest situations out there. The APS-C sensor lets this happen too, because it’s a smaller sensor. At any given aperture, more of a scene is in focus vs. a full-frame camera.

Make a Brass or Titanium Edition

This is a personal request. The X Pro 3 has a titanium top. And I’d love that to come here. But with the next Fujifilm X100 series camera, there should also be a brass edition. Let it age beautifully and acquire some patina to it. Just imagine all the hype around the camera because of that! I’d surely buy one. Anyone that loves the vintage feel and look will too.

Give It the X Pro 3’s Screen, But Make It More Practical for Amateur Photographers

Lots of photographers complain about the brilliant X Pro 3 screen. So I guess we should let the amateurs have their way with a “point and shoot” like the Fujifilm X100 series. Let that screen swivel out and tilt around. Then a photographer can use the e-ink side or the actual LCD. It will be a perfect hybrid camera for many photographers out there.

How to Improve the Battery Life

There are a few ways to improve the battery life. If the Fujifilm X100 successor has the e-ink screen we talk about, the camera will automatically last a while. My X Pro 3 can last for months with little to no change in the battery depending on use. Alternatively, they can make it bigger and embrace the new battery. This is less ideal, so I think the best way to do this is to use the e-ink screen. We talked about these recently, and they could be fantastic.

The Natura Film Simulation

Lastly, this is something I know tons of photographers have asked for. Why not give it to them? Fujifilm Natura has been dead for years. They only made it available in Japan, and I doubt they’ll ever bring it back. So why not give it digital life? The Fujifilm Natura film simulation would be wonderful for folks who shoot at night. Please, Fujifilm, give it to us in the next Fujifilm X100 series camera.