The Phoblographer

Today, Panasonic is announcing the new Panasonic GH6 development and the Panasonic GH5 II.

Most of my briefing on the new Panasonic GH5 II and the Pansonic GH6 had to do with many video features. Indeed, Panasonic has always leaned more towards video with Micro Four Thirds. OM Digital Solutions always leaned more towards photos and stills. So rumors started to circulate about the Panasonic GH6 and the Panasonic GH5 II. Well, they’re both coming, and they’re both going to do different things. More importantly, they’re both going to be flagship cameras.

Why the Panasonic GH5 II?

The Panasonic GH5 II is totally real. The biggest issues for Panasonic are regarding the processor and the sensor. So, the Panasonic GH5 II is getting a slightly upgraded sensor and the same processor in the Panasonic S1H. That means it’s going to be a lot more capable. The Panasonic GH5 II is also getting Live streaming capabilities. That’s all going to be best managed through Panasonic’s app. You’ll be able to stream live to YouTube and Facebook. A future firmware update will also let you use RTP and RTSP streaming codes. They’re really trying to make it work for stuff like Twitch. With that in mind, it’s targeted to video content creators who earn money from streaming videos.

This site is mostly targeted at photographers, so you’re probably then wondering what benefit you’ll see. The most significant thing is that this is a new Live MOS 20.3MP Four Thirds sensor. It’s got an anti-reflective coating on it that will suppress flare that hits the sensor. That doesn’t mean that the lenses you buy will lose their flare, but it was a big problem with the GH5. Couple this with the engine in the S1H, and you’ve got a camera that should perform very well.

That new processor promises an autofocus performance boost. Plus, it boasts deep learning for animals and humans. They’re claiming the camera will keep tracking a person who moves behind a tree in focus after they reappear. Other camera systems have demonstrated this already. But this is the first time we’re seeing it in Micro Four Thirds, to my knowledge.

The Panasonic GH5 II will also have 6.5 stops of image stabilization on the sensor. That’s quite impressive. We’ve known way too many photographers who drink excessive amounts of coffee: many of them don’t know how to hold cameras properly or stabilize their breath. This should help them. It’ll also hopefully help you when you’re shivering in the cold.

Other big upgrades:

3 inch LCD screen with a 1.840K dot display

Moisture and dust resistance

Bluetooth 4.2

5GHz Wifi. Perfect for those of us vaccinated and that have 5G in us (kidding!)

Live Composite is coming in a future firmware update. This is the biggest head-scratcher. I really think it should be ready at launch for photographers, but Panasonic says it’s not ready yet.

We’re going to see the Panasonic GH5 II launch this month. And it’ll launch for $1,699.99 for the body alone. If you want the 12-60mm kit, you’ll pay $2,299.99. This is a pretty steep price point for a Micro Four Thirds camera. But Panasonic mentioned that they’re going after the Fujifilm XT4, the Canon EOS R5, and the Sony a1 with video.

As a tester, I really hope this sensor is capable for still photographers. With that said, I also hope Panasonic starts working closer with Capture One. It’s by far the more superior photo editing software to Lightroom. And I’m sure it would render things like L Monochrome, Cinelike D2, Cinelike V2, etc., so much better.

The Panasonic GH6: Is It for Photographers?

The GH6 is coming before the end of 2021. In my mind, that means we’re probably going to see it in September or October. Most of what we knew is centered around using it for video and that it will cost $2,500. We also know it’s going to have a new Micro Four Thirds sensor. So what do I hope from this?

I really hope this isn’t a Sony sensor. We’ve seen patents for a Micro Four Thirds sensor in the 32MP range, and those patents are with Sony. ...

Leica’s tiny M-mount lens balances sharpness, character, and great design.

Camera lenses are typically small or bright, but not both. The Leica 28mm f2.8 ASPH Elmarit may not be as bright as its f1.4 siblings, but it takes up barely any room in a camera bag. I rarely throw around words like cute when writing about technology, but the 28mm is so small that it’s adorable. And, more practically, it’s less in-your-face while out shooting, better balanced on an M-mount body, and easier on the neck.

While the tiny size piqued my interest, the Leica 28mm f2.8 ASPH Elmarit won me over with an ideal mix of sharpness and character. It’s the Little Lens That Could. And, while Leica and cheap never belong in the same sentence, the 28mm isn’t priced as high as other M-mount wide-angle lenses.

Too Long, Didn’t Read

The Leica 28mm f2.8 ASPH Elmarit is the M-mounts smaller, less expensive wide-angle. It delivers solid sharpness, yet enough flare and vignetting for some character. Unfortunately, the bokeh has a bit of an onion ring to it at times, and like other M-mount lenses, it’s manual focus and without weather-sealing.

Leica 28mm f2.8 ASPH Elmarit Pros and Cons

Pros

Excellent build

Tiny size

Sharp images that still have some character

Easier to focus than brighter apertures and longer focal lengths

Not as expensive as other M-mount wide-angle lenses

Cons

Manual focus only

Some onion ringing to the bokeh

No weather-sealing

Gear Used

I used the Leica 28mm f2.8 ASPH Elmarit with the M10-R and the add-on electronic viewfinder. The Wandrd PRVKE Lite stored my loaner Leica gear during this review.

Innovations

The Leica 28mm f2.8 ASPH Elmarit has been around for a few years, but it’s the M-mount’s most compact lens. It’s also designed to reduce the barrel distortion typically found in wide-angle lenses.

Leica 28mm f2.8 ASPH Elmarit Tech Specs

Leica provides these technical specifications for the Leica Elmarit 28mm f2.8 ASPH:

Angle view: For 35 mm (24 x 36 mm): 75°/65°/46°;for M8 (18 x 27 mm): 60°/51°/36°, corresponds to a focal length of approx. 37 mm with 35 mm-format

Number of elements/groups: 8/6 Entrance pupil for bayonet: 11,8 mm

Focusing range: 0,7m to infinity

Scala: combined meter-/feet-incrementsSmallest object field: for 35 mm: 533 x 800 mm, for M8: 400 x 600 mm

Highest reproduction ratio: 1:22,2

Setting/type: preset, with click-stops, half values available

Smallest aperture: f/22Number of aperture blades: 10

Lens hood: Leica M quick-change bayonet E39 available, screwable (supplied)

Length: approx. 30,7/49,4mm (without/with lens hood)Largest diameter without lens hood: approx. 52mmWeight: approx. 175g/211g (without/with lens hood and covers)

Ergonomics

When I first pulled the Leica 28mm f2.8 ASPH Elmarit out of the box, I reacted a bit like I would to baby shoes and kittens. This lens is so tiny that it’s cute. It’s just 1.2 inches long without the hood (1.9 inches with the hood) and narrow enough for tiny 39mm filters. At just over six ounces, it didn’t make the M10-R front-heavy.

Closest to the camera body, the lens houses a depth of field scale. The focus ring has no textured grip, but it does have a small finger rest to grab onto when focusing. This finger rest is a u-shaped piece that you can rest your left thumb or pointer finger on to turn the ring.

Next up is the aperture ring. Unlike the smooth focus ring, the aperture has both a texture on the outside and a click as you turn. It was easy to reach for the finger rest to focus and the ring to adjust the aperture with just a little bit of use. Differentiating between the two would have otherwise been more difficult on such a tiny lens barrel.

Nearly as long as the lens itself, the optics ship with a screw-on metal hood. The hood blends in seamlessly with the design of the lens. The lens is so small that I even tucked it into the bag with the hood still on. (The hood is not reversible.)

Build Quality

Like other M-mount lenses, the Leica 28mm f2.8 ASPH Elmarit is constructed f...

There’s a bit of wizardry going on with these lenses.

No one can deny that corny, romantic feeling that you get around the golden hour. If you’re a natural light portrait photographer, you know that it’s one of the best times for it. Everything naturally looks better as the world turns from golden to blue. To that end, certain lenses and cameras are just better at helping you capture and create that magic moment. Essentially, it’s all about color and light. So we dove into our Reviews Index to round up some of our favorite lenses.

The Phoblographer’s various product round-up features are done in-house by the staff. 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 ever recommend gear that we’ve done full, thorough reviews with. If you’re wondering why your favorite product didn’t make the cut, there’s a chance that it’s on another list. If we haven’t reviewed it, we won’t recommend it at all. This method keeps our lists packed with industry-leading knowledge.

Pro Tips for Shooting Your Best Natural Light Portrait

Face detection and Body Tracking: Activate this mode. It’s going to make shooting portraits so much easier for you. Combine this with continuous autofocus.

White Balance: Typically, we tell everyone to work with 5500K Daylight or 3200K Tungsten. But you’re also welcome to leave it to however you wish. However, our settings will help the colors stand out from one another much better.

Get an idea or a theme. Our favorite place to curate storyboards is Behance. If you have an Adobe account, just log in with those credentials.

Backlight your subjects. This is how you’ll get beautiful lens flare that you’ll be absolutely enamored with.

Start off at ISO 400. But by the end of it all, you’ll probably be shooting at ISO 1600.

Go for contrasting colors. There should be three primary ones: their skin tone, their outfit, and the background area. Each of these should be discerning enough from one another.

Leica 28mm f2 Summicron SL ASPH: Environmental Portraits

Cast Your Spell: The Leica 28mm f2 Summicron SL ASPH is fantastic for its fast autofocus speed. If you’re the type of photographer who likes fast-paced shoots, then choose this lens. Leica put some of their fastest autofocus motors in the 28mm f2. On the Leica SL2-s, this lens will focus fastest thanks to the new firmware. Combine that with face and body detection, and you’ll always have your subject in focus. The speed is just really that good. Since this is a wider lens, don’t get in close for headshots. Shoot wider portraits instead.

“…by all means, the bokeh is delicious due to the closer focusing. However, I still want more as I think this is good but not incredibly fantastic. To date, there also are no 28mm f1.4 lenses for contemporary mirrorless cameras. Considering this, the bokeh is still wonderful for a mirrorless camera. When a 28mm f1.4 hits the market, things are going to change.”

Leica 50mm f1.4 Summilux SL: A Standard Natural Light Portrait Lens

Cast Your Spell: The Leica 50mm f1.4 Summilux SL is a big lens that’s also big on image quality. There’s a lot of great things to say. It’s sharp. There’s nice bokeh. The colors are beautiful in various conditions. Honestly, it’s hard to create bad photos with it. This is what’s considered a normal focal length. So you can get a bit closer with this than you can with the 28mm.

“Typically, what we do is lock the white balance to Daylight, Tungsten, or auto. And, no matter what, you’re going to find workable colors that will be very nice. Ideally, you’re working with a high megapixel body, and the color depth will be even better. Again, in terms of portrait photography, one really just needs to choose the right colors in the scene and light it up. Then you’ll get a photo you’ll be very proud of.”

Leica 75mm f2 Summicron SL: The Classic

Cast Your Spell: The truly wonderful thing a...

Fujifilm cameras and lenses are available at great prices if you don’t necessarily want a brand new one.

Fujifilm has to be one of our favorite brands. They offer a whole lot to customers at very good prices. I mean, who else offers an image stabilized 100MP medium format camera for under $6,000? The cameras we’ve found today are available both brand new or used. But if you aren’t afraid to get them used, then they’ll find them at phenomenal prices. Here’s a short list that we found.

Here are some of the best that you can get your hands on. To get these prices, please click on the used section of each listing.:

Fujifilm XE3 at $949

Fujifilm XT3 with 16-80mm for $1,199

Silver XT-4, Body only for $1,699

Silver Fujifilm XT-4 Lens kit for under $2,000, click on the Used Prices.

Used Fujifilm XS10 for under $900

Used Fujifilm X Pro 3 for under $1700

Used Fujifilm GFX 50r for under $3,400

Be sure to also visit the Fujifilm store on Amazon.

If you want a wide-angle with unique bokeh and plenty of flare potential, look no further.

The latest high-end lenses brag about uniform sharpness across every pixel of the photograph. But, for those who find uniformity boring, there’s the Leica 21mm f1.4 Summilux ASPH. The ultra-wide, ultra-bright M-mount lens delivers more character than technical perfection. But, more than that, the lens delivers a variety of character, from the varying shapes of the bokeh to several different types of flare.

Of course, as an M-mount lens, it’s also manual focus only — and pricey. The $8,795 lens is a luxury item for photographers that want the feel of a classic lens on a digital body. The question is, did Leica find the right balance between character and image quality? That’s going to depend on the photographer behind this lens.

Too Long, Didn’t Read.

The Leica 21mm f1.4 Summilux ASPH falls in line with what I’ve come to expect with Leica — a well-built lens that delivers images with more character than technical perfection. The metal build is great, while you can get lots of different types of flare and even different shapes of bokeh.

Leica 21mm F1.4 Summilux ASPH Pros and Cons

Pros

Metal build

Classic design with full depth of field scale

Virtually undetectable barrel distortion

Plenty of character

Great color

Cons

Aberration prevents perfect circular shape for stars and bokeh balls

Some softness at the center when shooting wide open and at the edges even when stepping down

Manual focus only

No weather sealing

Gear Used

I used the Leica 21mm f1.4 Summilux ASPH with the Leica M10-R body and an add-on EVF. I stashed my loaner Leica gear in the Wandrd PRVKE Lite bag.

Innovations

The Leica 21mm f1.4 Summilux ASPH is designed to minimize barrel distortion and vignetting. This lens has been around for a few years; however, it still features a design and build that is hard, if not impossible, to find outside of Leica optics.

Leica 21mm F1.4 Summilux ASPH Tech Specs

According to Leica, the 21mm f1.4 Summilux ASPH is constructed with the following specifications:

Angle of view (diagonal, horizontal, vertical) 92° / 81° /

Number of lenses/groups: 10 / 8

Focal length: 21.6 mm

Position of entrance pupil: 24.4 mm (related to the first lens surface in light direction)

Focusing range: 0.7 m to infinity

Distance setting Scales: Combined meter/feet graduation

Smallest object field: 685 x 1027 mm

Largest reproduction ratio: 1:29

Aperture Setting/Function: With click-stops, half values available, manual diaphragm

Lowest value: 16

Bayonet: Leica M quick-change bayonet with 6-bit lens identification bar code for digital M models

Filter mount: Series filter VIII in lens hood

Lens hood: Separate, screw-on type

Length: 66 / 77 mm (without / with lens hood) Largest diameter: approx. 69.5 mm

Weight: approx. 580 g

Ergonomics

Wide angles and wide apertures tend to create obnoxiously large lenses. However, I found the Leica 21mm f1.4 Summilux ASPH surprisingly small. At just over three inches long with the hood, the 21mm still fit in the palm of my hand. Without the screw-on hood, it’s just a touch over 2.5 inches long.

As one of Leica’s metal lenses, the lens is a little heavy for the short stature, but not terribly so. It weighs about 20 ounces. The weight of the lens pulls the M10-R forward a bit. It didn’t feel so front-heavy that the camera was hard to grip, however.

Like other Leica M-mount lenses, the 21mm takes on a classic look reminiscent of film. Closest to the lens mount is a focal distance scale. A depth of field scale is fixed on the lens’s barrel, while the rotating focus ring houses the focal distance in both feet and meters. This will give you an idea of what will be in focus at what aperture. Many modern lenses are eliminating the focal distance scale, and the lenses that have it typically don’t have a depth of field scale. Of course, most modern lenses have autofocus, but the feature gives the lens a classic look and makes the lens easier to u...

Black and white film lovers rejoice!

Film has to be one of the most fun photography experiences we have! Some of us just want to create in a completely different way. Indeed, film does a lot of things that digital doesn’t. When used properly, it will ultimately make you think more about your photos before shooting. You’ll pay a lot of attention to the frame before you shoot. And eventually, you’ll become a master of the format. If you’re looking for the best Leica lenses for black and white film photography, check out our selects.

Editor’s Note: This blog post is presented by Leica. Leica M mount lenses have a long history. And they’ll work on both vintage and new cameras alike. The spirit of all this is present in the Leica Q2 Monochrom.

Kodak T-Max P3200: Leica 50mm f1.4 Summilux ASPH

How They Develop: The high-speed Kodak T-Max P3200 is a fantastic option for Summilux lovers. Specifically, we’ve used the Leica 50mm f1.4 Summilux with this film. P3200 is actually an ISO 800 film that’s designed to be pushed to ISO 3200. This means that you’re bound to need a fast aperture lens. And the Leica 50mm f1.4 Summilux offers the right balance of sharpness, 3D pop, and overall weight with a film camera. We enjoyed it, and think you will too! That fine T-grain will blend right in with the bokeh.

This lens is one of the most versatile options around, and we’re confident it’s one of the best Leica lenses for black and white film photography. If you’re shooting during the day, you can just stop the lens down. If you’re shooting at night, then open it up fully. If you’re at a consistent ISO 800 on the roll of film, there isn’t anything the 50mm f1.4 Summilux won’t be able to handle.

Kodak Tri-X 400: Leica 28mm f5.6 Summaron

How They Develop: The Leica 28mm f5.6 Summaron is based on a vintage design. To that end, we think it’s perfect for the classic look of Kodak Tri-X 400. Tri-X basically does this thing that looks like you shot a black and white photo and used the clarity slider. And it’s also been responsible for many of the world’s most iconic images. So, if you’re going for that more authentic, photojournalism experience, reach for the 28mm f5.6. It’s surely one of the best Leica lenses for black and white film photography.

The small size, weight, and aperture make it perfect for street photography. With summer coming up, we encourage you to pick one up and throw it on your camera. This lens’s rendering is more vintage than super sharp. So when paired with Tri-X, you’ll get a much more grungy feel to it.

Pro Tip: The 28mm lens is nearly perfect for street photography. If you’re stopped down and focused a few feet away, you’ll be all set. The way that most zone focusing works lets this lens get subjects in focus. As an extra tip, keep your camera in your hand at all times. When someone is close enough to you, just shoot. You don’t even need to put the viewfinder to your face. Shooting from the hip is such a fun and great method. But you should really do this after you understand what the 28mm focal length will give you.

Fujifilm Acros 100: Leica 35mm f2 Summicron ASPH

How They Develop: The cool thing about Acros 100 is that it’s been reformulated in the past few years. To that end, it’s a sharper film than the original was. Such a lens like the Leica 35mm f2 Summicron might be perfect for it. Think of it this way: it’s an ISO 100 film. And according to Sunny 16 rules, you’ll basically shoot at f16 and 1/125th in bright sunlight. That’s perfect for not missing a moment with street photography! But as the day wanes, you can open the lens up to f2 and take advantage! The bokeh from this lens is very beautiful.

Best of all, the Leica 35mm f2 Summicron is probably the best Leica lens for black and white film photography, ergonomically speaking. Attach it to a camera, and it will feel like a perfect companion to the camera. The overall package will be much smaller than most of what’s on the market. And the image quality will speak for it...

3D lenses and cameras sound intriguing, but how relevant are they to consumer photography?

Looking into the patents registered by camera manufacturers can be a double-edged sword. On one side, you have the excitement and hope of an upcoming product release. On the other, complete confusion over why a company would file a patent for something which isn’t in demand. Patents also aren’t a strong indicator of release dates and more often than not, a patent remains in limbo forever. Canon’s latest patent for a 3D lens system has me a little confused

3D stereoscopic film cameras have been around for decades. There have also been a few digital ones like Fuji’s Finepix W1 and Panasonic’s Lumix DMC-3D1, but possibly none yet with a Full-Frame sensor. Nikon has had 3D patents in the past, but those were to create 3D images from a single 2D image. Canon might be hoping to pioneer 3D Full-Frame imaging with the registration of this patent, filed some weeks ago

What Does the Patent Say?

The patent for a 3D lens for Canon was first spotted by the folks at Hi Lows Note. Patent application P2021-51282A (Japan) details the requirement of a design for a “stereoscopic lens device capable of obtaining a natural three-dimensional effect by appropriately setting a baseline length” (translated from the original Japanese). What’s interestingly though is the lens design, with each lens appearing to house two mirrors. The internal mirrors appear to be added to produce both image circles inside one Full-Frame sensor. And there is sufficient distance between the two front elements to provide a proper stereoscopic 3D effect.

L1 in the diagram below is the distance between the two optical axes of the first lens element, while L2 is the distance between the two axes of the innermost lens elements.

As the patent states, “The average distance between the human eyes is about 60 to 65 mm, and in order to obtain a more natural three-dimensional effect similar to that of the human eye, it is necessary to use an optical system having the same baseline length. However, to realize this, it is necessary to make the aperture of the lens mount larger than 60 mm, so that the lens device and the image pickup device become large” (translated).

The patent notes also state that this system is designed to work on a 24x36mm sensor. Section 0031 further says that the focus ring (205) can be configured to adjust focus, aperture, or zoom. Canon’s DSLR system of lenses does not have such a configurable option. Thus it would indicate that this 3D patent is designed for their current mirrorless RF Full-Frame mount. Keeping the lens compatible with existing bodies is a good idea, maximizing the sensor area for the image circles being projected onto it. Add AI into the equation somewhere, and it might be a unique product that everyone takes notice of in the future.

Do We Really Need a 3D Lens and Camera System Outside of Hollywood?

My personal experiences with 3D haven’t been too memorable. Testing the stereoscopic Nintendo Virtual Boy as a teen at a gaming fair in 1996 gave me a disorienting headache. The last 3D movie I saw was the nearly two hour-long ‘The Adventures of Tintin’. I remember walking out of the cinema wishing I’d just gone for the 2D version instead. It wasn’t just that I didn’t find the format interesting (how often can you be amused by things on-screen flying directly at you). I couldn’t fathom why others would bother putting their eyes through such a strenuous experience for hours. 3D TV sets haven’t been very different. I still maintain that 3D TVs wouldn’t have made it into people’s homes over the past decade if not for James Cameron’s idea to film Avatar in this format. Most mainstream TV manufacturers have discontinued the production of such units, which makes you wonder if there really is a future for consumer 3D technology.

My personal feelings on 3D tech aside, you don’t hear of big-name photographers talking about it or of consumer camera brands saying ...

The 50mm lens is the standard for many photographers, and everyone grows from it.

When photographers start out, they usually go for a 50mm lens if they don’t reach for a zoom. It’s indeed the best way to grow as a photographer. A 50mm lens is incredibly versatile. In fact, some of the best lenses made are 50mm lenses. So, we dove into our Reviews Index to choose some of the best. Specifically, we looked for options under the $500 mark. Trust us, you’re going to love these. Here are the best 50mm Lenses under $500.

The Phoblographer’s various product round-up features are done in-house by the staff. 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 thoroughly 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.

Pro Tips for Making the Most of a 50mm Lens

Here are a few tips on making the most of your 50mm lens.

Shooting a portrait of your furry friend? Get low. Shooting from their perspective helps create a different view.

If you’re a street photographer, stop the lens down to f8 and manually focus away to around six feet. Then just walk around and shoot. This is called Zone Focusing.

In photography, the aperture is also known as the F-stop. The lower the number, the more light a lens lets in. It also helps create a beautiful, blurry background.

A 50mm lens is a fantastic place to start for any photographer. After spending a year with it, you’ll figure out if you like it, or if you want something wider or longer.

Always turn your camera off when you’re changing your lenses. This is a big mistake new photographers make.

These lenses are nice and sharp, but you can get even more sharpness when you use a flash. Flash works better over LEDs because of a physical process that happens in the camera.

Canon RF 50mm f1.8 STM: The Classic, Evolved

“The RF 50mm f1.8 doesn’t slow down the autofocus on the Canon R6. At a walking pace, the camera-lens combo rarely missed a beat. It was only slightly off when it did — focusing on the hair instead of the eyes, for example. That’s even more impressive, considering those images were shot at f1.8 using 12 fps.”

Rokinon 50mm f1.4 AF FE: A Fascinating Choice

“Wow, that’s really what I need to say first and foremost about the new Rokinon 50mm f1.4 AF FE. It’s sharp, contrasty, has gorgeous bokeh, no major aberrations, and is really gorgeous. The lens has a bit of character to it, but I sort of wish there was more of it such as more lens flares, etc. Most photographers who aren’t looking for that and instead want something technically pleasing they can pixel peep will enjoy this lens.”

7Artisans 50mm f1.1: One of the Best 50mm Lenses, period.

In our review, we state:

“Oh man, am I in love with this lens. Want that soft look? You can get it. Want that super sharp look? It’s got that. Want lens flare? Oh man, does this lens control it just right! The 7Artisans 50mm f1.1 surely has character to it. In the same way that I’ve always felt that Leica, Zeiss and Voigtlander lenses have a specific character to them, so too does this one. I don’t think that it’s meant to be 100% perfect but it’s surely gorgeous in every single way.”

Buy Now

The temptation to upgrade your camera is stronger than ever.

Companies release new cameras all the time. From budget to professional systems, all the brands are fighting for your money. They entice you to their new product by offering incremental upgrades on their previous best-in-class system. Sometimes, the lure to upgrade your camera is worth your attention, but more often than not, it isn’t. And as companies produce more gear, photographers begin to get FOMO – looking for new justifications to get that shiny new camera!

Do You Really Need to Upgrade Your Camera?

I recently held a poll on my Instagram. I wanted to understand what made photographers invest in a new camera. While technological advancements and improved functionality were common responses, there was one reason that I didn’t quite understand. A primary motivator for some photographers to shell out over $1,000 on a new system was that their current system had wear and tear.

Essentially, for those who may not know what that means, photographers didn’t like that their current camera had scratches and scuffs on it. So, to get the feeling of having something in perfect condition again, they were willing to hand over their hard-earned money to buy a new camera. This seemed crazy to me, and a terrible reason to upgrade your camera.

Because of advertising and social pressure, people are always gunning to have the best product in the best condition. Society programs us to believe that what we own is a measure of our social worth and status. So, when some people look at their camera and see it eroding, they feel they’re not good enough. And we need to change this way of thinking.

Don’t Upgrade Your Camera – Learn to Love It Instead

When I look at my Fujifilm XT2, I see a camera that’s certainly lived a good life. I’ll be the first to admit that keeping it in immaculate condition has never been at the forefront of my mind. I throw it in my travel bag, drop it regularly, and eat food while it hovers below my chin. While I don’t recommend this carefree approach, the point I’m making is that although it looks far from new, it’s a camera that’s had a life!

Because when I look at my XT2, I see so many amazing memories. I think about the time we climbed mountains, wandered the Taj Mahal, and made portraits of strangers on the street. We’ve had an awesome time together, and both of us are showing a bit of age because of it – I wouldn’t change a thing.

And the most important point is, it works perfectly fine. Sure it looks like it’s done a few rounds with Mike Tyson, but it still helps me create amazing photographs.

If your camera has all its functionality and allows you to do the work you want to do, then it’s not time to upgrade your camera. If you upgrade because of wear and tear, you’re essentially laying to rest a system that’s still got plenty of life in it. Why do that?

Don’t Upgrade Your Camera – Keep It in Good Condition

An alternative loving the scuffs and scratches is to take proper care of your system. Like I said, you don’t have to be carefree like me. And although I have been a little slack over the years, I know how to keep a camera in great condition for as long as possible. Here are some tips.

Buy a Camera Bag Right Away

It seems obvious, but so many photographers avoid it. After spending thousands of dollars on a new camera, they think, “What, and now an extra couple of hundred dollars on a camera bag? I’ll just put it in my backpack.”

A standard backpack isn’t designed to keep a camera safe. It doesn’t have the same compartments, interior padding, and exterior materials. Spending a little more money at the point of purchase is a wise investment. A camera bag keeps your camera safe and compact, and is robust enough to withstand harsh elements and environments.

Always Leave the Body Cap On

The sensor is the most precious part of your camera. Yet the amount of times I’ve seen photographers pull out their camera body with no cap on is worrying! It’s easy to get ...

Word on the street is that the Canon RF 35mm f1.4 L lens will be coming this year.

“That’s a camera I bring out when I need to work, not just for fun,” is what a buddy told me the other night at dinner. We were discussing camera systems. He owns the Canon EOS R5 and the Canon RF 50mm f1.2 L USM. It’s an excellent combo and probably one of the best on the market today. But like me, he complained about the weight and size. I think we can all agree that Canon is one of the most innovative lens manufacturers around. That’s not even a question. But there is a huge problem with just how big and heavy their lenses are. So if the Canon RF 35mm f1.4 L is coming this year as reported, Canon needs to fix this.

“Why do I have to feel like I’m working out when photographing birds?” is what another friend told me about Sigma lenses. And I agreed with them. Sigma has always been another company that just hasn’t known how to make small, weather-sealed lenses. Like their 40mm f1.4 and the 35mm f1.2, some of their lenses are very innovative. But they’re not lenses you want to bring with you everywhere. I’d know: I wrote about it. When Sony released their 35mm f1.4 G Master, we fell for it pretty hard. Granted, it’s not an f1.2. But it’s the smallest 35mm f1.4 lens we’ve seen in a while. They gave it weather sealing, a bit of lens character, fast autofocus, etc. What’s not to love?

I think that if the pandemic taught us anything, it’s that life is too short to do things you don’t like. So why shoot with a big, heavy lens that you don’t like? And why spend so much time in front of computer screens to get an image that you could’ve gotten without post-production?

Essentially, the Canon RF 35mm f1.4 L needs to do something better. In their last version for the Canon EF mount, they put in a blue light refractive element that cuts down on how blue light hits the image. That showed us a bit of innovation. But now, we’re really wondering about what they’ll do differently. Here are some theories.

The Aberration Control Ring

The new Canon RF 100mm f2.8 L Macro has a really cool aberration control ring. This can make you have soap bubble-style bokeh if you wish. Or it can be used as just a normal lens. I’d be a bit shocked if Canon did this for the Canon RF 35mm f1.4 L, but I can’t say I’d be let down. The Canon RF 35mm f1.4 L is high on my list of the next RF lens I’d buy. With this and the 50mm f1.2 L, I’d be set to shoot nearly anything.

Some Other Sort of Image Quality Control

I’ve been asking the photo industry to give us more image control for years. I think it’s a great time to do things like polarizing control, so we can cut down on reflections. But more specifically, I look to folks like Lensbaby to make something different. Maybe controlling how the bokeh is shaped? Flare control? I don’t know, honestly. But I’d just prefer something different. I’m incredibly sick of the clinically perfect scenes that we can get from cameras these days. And I don’t want to have to spend extra money in post-production to get the looks I want.

The fact is that the photo industry has spent the past two decades telling software and camera companies to make images super clean. Now, we’re at a point where everything can be sterilized in post-production easily and cheaply. But to get that lens character back is a whole other issue.

I recently used a Contax 35mm f2 adapted to Leica M., And the flare I got is unlike anything else I’ve seen.

Finally Making the Canon RF 35mm f1.4 L Small

Maybe the Canon RF 35mm f1.4 L will be super small? I really wonder if they can make it smaller than what Sony can do. If there is a brand that can do it, I think Canon could. The only other brand that might be able to is Tamron.

Image Stabilization

Could we see a Canon RF 35mm f1.4 L IS USM lens? Image stabilization is surely needed for all the newer passionate photographers picking up cameras. It could help even more for video.

What do you want in the new Canon RF 35mm f1.4 L? Let us ...