The Phoblographer

Essentials is a series featuring products we’re currently lusting over in quick, easy to digest posts.

If you have been around The Phoblographer for a while, you’ll know that we take gear cleaning pretty seriously. I mean, why wouldn’t we? We, like you, spend lots of money on cameras, lenses, and gear that we want to last for a long time. Cleaning plays a big role in making your equipment last longer, and it ensures that it performs at its peak. We were recently given a chance to put some Zeiss Optics cleaning solutions to the test. We have to say that we’re pretty impressed. Not only can the Zeiss Optics cleaning solutions keep your cameras and lenses clean, but they can even stop your glasses from fogging up! This is huge for photographers who wear glasses in this new masked age we find ourselves in. Find out more about these cleaning solutions after the break.

Editors Note: Zeiss kindly sent us these samples to review and keep. The thoughts and opinions expressed in this essentials piece are our own and have not been influenced by any outside party. We also want to make it clear that this is not a sponsored post.

Products Tested

In all, we tested four Zeiss cleaning solutions. Below, we’ll break them down and list their use cases, benefits, and how they fared during our tests. After reading our thoughts and views, you can decide if you’d like to add them to your camera care kit.

Zeiss Cleaning Solutions – Pro Lens Care

This cleaning solution is perfect for cleaning camera lenses, eyeglasses, binoculars, microscopes, and many other items. The pre-moistened wipes in the Zeiss Pro Lens Care Kit are single-use only and come individually packaged. They are lint and ammonia-free and are made from soft micro-fine tissue. They are non-abrasive and are safe to use on anti-reflective coatings.

These wipes have been used on multiple pairs of eyeglasses and on my camera lenses. I have to say I’m impressed. I keep this small kit in my camera bag to clean my glasses and lenses while on the go. You simply remove any loose dust or dirt first, then open a wipe and use gentle circular motions to clean. It’s easy, and it works like a charm. If you’d prefer to use the spray cleaning solution you just spray the microfiber cloth and use circular motions to clean as well. If you’re out and about on a shoot and your lenses get dirty, you can clean them off quickly and effortlessly. This is a must-have item for any photographer.

Get yours: $15.19

Zeiss Cleaning Solutions – The Fog Defender System and AntiFOG Wipes

The fog defender system employs a microfiber cloth and a spray bottle filled with a solution. The anti-fog spray is easy to use. After you have cleaned your camera lenses, you just spray the included cloth and wipe it on. If you’re cleaning your vision glasses, you can spray the solution onto them directly. Then you just dry them off and you’re good to go. The pre-moistened wipes are gentle, non-abrasive, and are individually packaged. They are safe to use on all optical lenses too.

If you wear glasses, you know how quickly they can fog up when you have a mask on and bring a camera up to your face. It’s incredibly frustrating! If you haven’t experienced that, then surely you have experienced your camera lenses fogging up (equally as frustrating.) The Zeiss Anti Fog Defender system and the Anti-fog wipes are fantastic! I wasn’t expecting too much, to be honest. I have used similar products in the past with fairly low rates of success. However, these wipes and the spray help a ton. I have seen a dramatic improvement. I can wear a mask with no problems now. When I bring a camera up to my face, only a tiny bit of fogging occurs on my glasses. These have been a game-changer for me. If you’re a photographer who wears glasses, you should have these in your bag.

Get yours – Anti Fog Defender System: $8.13

Get yours – AntiFOG wipes: $9.88

Zeiss Cleaning Solutions – Mobile Screen Wipes

The last of the Zeiss cleaning solutions we’ll be taking a q...

The Olympus EP3 was one of the most important digital cameras ever made, whether you realize it or not.

I remember being in the offices in Manhattan when the Olympus EP3 was presented to me. My jaw dropped. The company made a camera that would finally make folks take mirrorless seriously. Yet because it was a Micro Four Thirds camera, folks looked the other way. They wanted at least APS-C sensors. They wanted a full-frame. And DSLRs were still doing well. It wasn’t until the Olympus EM5 that folks looked at mirrorless more seriously, but the EP3 is what started it all.

Part of how Olympus did it was the implementation. Olympus developed the FAST autofocus system. (Literally, that’s what it was called.) It was designed mostly to be used with the touchscreen. If you tapped a spot on the screen, it would focus and shoot. More importantly, it was always fast. It worked with street photography, portraits, landscapes, etc. To this day, it still ranks as one of the most amazing things I’ve ever seen.

The EP3 turns ten this year. You can still find good, working versions of the camera on eBay. But to think that this camera is what started the autofocus revolution. I remember when DSLRs and older mirrorless cameras would grind away to get autofocus. But that wasn’t the case with these. It was quick, effortless, easy, and enjoyable! It was refreshing and fun!

Later on, other camera systems got better too. Sony, Fujifilm, Canon, Nikon, Panasonic, and Samsung all gained better autofocus. This helped start more of a revolution. Eventually, Sony made the a7 and a7r series. The autofocus at first wasn’t the best or mind-blowing–despite the cameras being so. The Sony a9 would eventually kill the DSLR. And today, I’m shocked when people use one. Admittedly, both Brett and Hillary own and use DSLRs every day.

Autofocus continues to improve these days, but it’s Sony and Canon who seem to truly be doing the innovation. Olympus is now OM Digital. And I hope the split means that they can deliver more. At times, I felt the larger company was limiting what they could do. For what it’s worth, I believe in Micro Four Thirds, but I think they need to become very different cameras. The sensor format is basically the film equivalent of 110. So why can’t they be smaller, more fun, less serious, and even more consumer-friendly? Why can’t they have full-touch screens? Why can’t they be the visually stunning cameras that the Pen series was? Of course, I’m hoping this all changes.

More importantly, I hope OM Digital keeps its prices up and finds a way to justify it. I think companies need to try harder with every iteration. We can’t wait around every two years for a Photokina announcement. Instead, cameras need to split into two directions. They need to become even more serious tools that we can use in our lives. But they also need to be luxurious items that we can enjoy for our hobbies. And if you’re a photographer that doesn’t find time to shoot for fun, I weep for you.

Photography doesn’t need to be serious all the time. OM Digital has a great spot with birding and landscape. But at the same time, I can’t think of a single photographer that wouldn’t want a new Pen F camera.

There’s no need for a beauty filter when you’ve got lenses like these!

The secret to flattering portraits starts with an attitude. Part of it could be word choice when working with a subject. Some subjects need music to make magic happen. Then there’s the outfit choice, the lighting and all. Of course, a lot of it has to do with your creative vision. So we dove a bit into our reviews index to find some of the best lenses for flattering portraits. With the right lens and communication skills, you can shoot photos that don’t need any post-production. Here are three lenses we love for flattering portraits–and a pro tip for you too!

The Phoblographer’s various product round-ups 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 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. This method keeps our lists packed with industry-leading knowledge.

Canon RF 85mm f1.2 L USM: A Gem for Flattering Portraits

“Sure, it’s bulky and weighs a ton, but boy are the resulting images worth lugging the lens around. Portrait photographers will appreciate the f1.2 aperture–especially if you miss that from the old Canon EF lenses.”

Pro Tip: If you talk with your hands, you can surely direct someone. Try this: hold up a finger at around eye level. Ask a portrait subject to follow the tip of your finger with their nose. This is a fantastic way to ask someone to turn their head just the right amount without touching them. Want to adjust the shoulders? Use both hands in the air and move them as if you’re moving someone’s shoulders physically. To adjust the chin, try putting your index finger and thumb together. Then bring them up or down accordingly. Give it a shot! This is bound to help you get more flattering portraits.

Sony 50mm f1.2 G Master: Details You’d Never Dream of

“Before I go on, I should state a huge obvious fact. The Sony 50mm f1.2 G Master is great. For the folks who want clinical sharpness, you’re getting it. For the folks who complained about onion bokeh, there is none. And if you are bothered by beautiful lens flare, its soul has been sucked dry. You’ll need to put all that stuff in via post-production instead. Basically, if you don’t like sitting in front of a computer, create a camera profile instead. Otherwise, get a Pro-Mist filter or something. You’ll probably need it. Sony does this thing that adds extra contrast, clarity, and sharpness. Lots of you will like it.”

Fujifilm GF 110mm f2 R LM WR: The Perfect Lens for Flattering Portraits?

In our review, we state:

“Jeez, this lens is stupidly sharp. The Fujifilm GF 110mm F2 R WR lens somehow or another delivers such sharp images but with just enough softness on skin to not make you want to pull your hair out when it comes to retouching. At least that’s the case when shooting wide open. When you stop down, you’re going to; 1. Need a lot of power from a flash, and 2. Get a whole lot more details. This lens is sharpest at F11 but even so it can be thoroughly enjoyed wide open.”

Buy Now

The Sony Xperia 1 II makes long exposures a piece of cake.

Long exposure photography is a genre that once required big, bulky cameras. Now, you can create jaw-dropping long exposures with nothing but a phone. The Sony Xperia 1 II is a smartphone with the abilities of Sony Alpha cameras. including a manual mode. These features make creating long exposures incredibly easy. After the break, we’ll show you how to capture stunning long exposures using nothing but the Sony Xperia 1 II.

The Sony Xperia 1 II Can Do Much More Than Other Smartphone Cameras

If you’ve ever used Sony Mirrorless cameras, you’ll feel at home with the Sony Xperia 1 II. Installed on the phone is an application called Photo Pro. This app gives you all of the controls you’ll ever need in a familiar-looking interface. The UI you’ll be greeted with looks the same as the interface in most Sony Alpha cameras. Let’s take a quick look at the camera specs of the Sony Xperia 1 II:

16mm f2.4 12MP, 24mm f1.7 12MP, and 70mm f2.4 12MP cameras with Dual Phase Detection AF

0.3 MP 3D depth camera

LED Flash

HDR Mode

Eye-tracking

8MP f2 Front-facing camera

Dedicated shutter button

All of the lenses feature optics from Zeiss

1/1.7″ sensor that’s 50% larger than the one in the previous Sony Xperia 1

20fps with autofocus and autoexposure when shooting in JPEG mode

The Sony Xperia 1 II is chock-full of features that will help you create on the go. We’ve already shown you how you can use this phone for street photography and pet photography. Now we’ll show how you can use the full manual mode to create incredible long exposures.

Manual Mode Gives You Control Over the Sony Xperia 1 II

Manual mode in the Sony Xperia 1 II is fantastic! When in manual mode, you can control ISO and shutter speeds easily. This is what will let you create magic. Being able to set your ISO low and your shutter to slow speeds is what you need to create long exposures.

RAW Files Help a Lot with Long Exposures

The fact that you can shoot both RAW and JPEG images with the Sony Xperia 1 II is another blessing. You’ll be able to process your RAW images just like you do from a traditional camera. You can make your image look exactly how you want it to look.

The best part is that you can use image processors like Adobe Lightroom Mobile to edit your images instantly on the phone. This means that you’ll be able to capture, edit, and post your long exposures to social media in no time at all.

Creating Long Exposures with the Sony Xperia 1 II Is Easy

Only a couple of accessories are needed to make long exposures with the Sony Xperia 1 II. You’ll need access to a sturdy tripod and a smartphone bracket that attaches to the tripod. Once you have these things, you’re ready to go.

The next step involves you finding a scene that will work well for long exposures. A cityscape where you can capture images of cars whizzing through a downtown area. A dark site to capture the stars in the sky. The possibilities are endless. Once you have a project in mind, it’s time to set the camera up.

Settings Are Important

Once you compose your image, you need to adjust your settings accordingly. If you’re shooting a night scene, you can use longer shutter speeds than you can during the day. This will allow you to capture even more dramatic images. During an overcast day, you’re going to want to set the ISO as low as it can go. With the Sony Xperia 1 II, the ISO goes all the way down to 64, and the shutter speed goes down to 30 seconds.

For light trail images, anywhere from two to four-second exposures will be more than enough. You can slow down flowing water with shutter speeds of around one second. Astrophotography shots can take up to 30 seconds. Each scene will be different based on ambient lighting, so play around.

Make use of the delayed shutter. Set the camera to a three-second delay so that you can remove any tripod shake. This will help you get nice, sharp images. Don’t be afraid to experiment: the Xperia 1 II has 256GB of storage....

The Nikon Z 20mm f1.8 S delivers some impressive images, but in a minimal package.

Just 4 mm from the more standard 24mm, the 20mm lens offers a happy medium between ultra-wide distortion and the narrower view of a 24 or 35mm. The Nikon 20mm f1.8 S blends in with a growing list of Z mount lenses. On the outside, the 20mm looks nearly indistinguishable from all other f1.8 primes in the series. But, on the inside, the lens hides a new dual-motor autofocus design.

At a $1,050 list price, the Nikon Z 20mm f1.8 S is one of the more expensive f1.8 lenses in the series. The widest Z prime is significantly more expensive than the 35mm, but just $50 more than the 24mm. The question is whether an f1.8 is prime worth all that cash. I tried out the Z 20mm on some landscapes and environmental portraiture to find out.

Too Long, Didn’t Read

The Nikon Z 20mm f1.8 S delivers excellent images with ideal sharpness and great bokeh. But, the design of the lens itself isn’t as excellent: it’s big and has minimal controls for such a pricey lens.

Nikon Z 20mm f1.8 S Pros and Cons

Pros

Excellent sharpness

Good color and bokeh

Minimal distortion

Dust and moisture-sealed

Cons

Lacks separate control ring and focal distance scale

Larger than the similar F mount

Pricey

Gear Used

I used the Nikon Z 20mm f1.8 S with the Nikon Z 6 II.

Innovations

The Nikon Z 20mm f1.8 S is the first Nikkor lens to use a new multi-focus system. This design uses two autofocus motors that work in sync. Nikon says this design helps speed up autofocus as well as reducing aberrations. Since the launch, Nikon has also added the design to the new Z 50mm 1.f2 S.

Nikon Z 20mm f1.8 S Tech Specs

These tech specs were taken directly from the Nikon USA website:

Mount Type: Nikon Z Mount

Focal Length: 20mm

Maximum Aperture: f/1.8

Minimum Aperture: f/ 16

Format: FX

Maximum Angle of View (DX-format): 70°

Maximum Angle of View (FX-format): 94°

Maximum Reproduction Ratio: 0.19x

Lens Elements: 14

Lens Groups: 11

Diaphragm Blades: 9 Rounded diaphragm opening

Nano Crystal Coat: Yes

ED Glass Elements: 3

Aspherical Elements: 3

Super Integrated Coating: Yes

Autofocus: Yes

AF Actuator: STM (stepping motor)

Internal Focusing: Yes

Minimum Focus Distance: 0.66 ft. (0.2m) from focal plane

Focus Mode: Autofocus, Manual

Filter Size: 77mm

Approx. Dimensions (Diameter x Length): 3.4 in. (84.5 mm) x 4.3 in. (108.5 mm). Distance from camera lens mount flange, based on CIPA guidelines

Approx. Weight: 17.9 oz. (505 g) Based on CIPA guidelines

Lens Type: Prime

Ergonomics

The Z 20mm f1.8 S follows the standard set by several earlier Z lenses. It has a streamlined, modern look, but it’s actually larger than the comparable F mount lens. The Z lens is quite long for a wide-angle lens at 4.3 inches, nearly as long as the Z 24-70mm f2.8. At 17.9 ounces, it’s also a little heavy for the category. In comparison, the Nikon F mount 20mm f1.8 is 3.17 inches long and about 12.5 ounces, and Sony’s 20mm f1.8 is 3.33 inches long and 13.16 ounces.

The controls on the lens are bare bones. The lens houses just an auto to manual focus switch and a single control ring. Nikon advertises that control ring as a custom control ring — and it is. But it’s also how the lens focuses. If you customize that control ring, you lose the ability to use manual focus. The lens is more than four inches long — why couldn’t Nikon fit another control ring on the barrel? Nikon uses a similar minimalist design in the 24mm f1.8, 35mm f1.8, 50mm f1.8, and 85 f1.8.

The front of the lens accepts 77mm filters. Thankfully, this wide-angle doesn’t have a dramatic curve at the front that would prevent filters.

Build Quality

Nikonians who aren’t picking up their first Z lens will feel right at home with how the 20mm feels in the hand. It’s a plastic barrel, but it still feels sturdy. That’s likely thanks in part to the weather sealing. Nikon says the lens is sealed against dust and moisture. I shot with this lens in a snowstorm and also gave it a good splash wi...

To create portraits that are as vivid as paintings, you need a lens that makes them look that way.

Color in portrait photography is so important. We use neons to add separation to our subjects. We also specifically choose wardrobes that add contrast to an image. So with portrait photography, there’s a big need for more vibrant colors. Luckily we dove into our Reviews Index to find just the things for you. In our 11 years of reviewing over 700 lenses, we believe that sometimes the newest ones aren’t always what you need. But these three lenses for portrait photography are fast, weather-resistant, and have unique colors.

Editor’s Note: This is a sponsored post from Tamron! We’ve reviewed and handled all of these lenses. We’d only recommend them to you because we actually believe in them.

Tamron SP 35mm f1.4 Di VC

The Magic Recipe: The 35mm f1.4 is the latest lens Tamron has made for DSLR cameras. We tested it adapted to the Canon EOS R. It renders a look unlike what we’ve seen from competing lenses. It’s got bright, vivid colors, yet it somehow renders skin tones beautifully.

In our review we state:

“Photographers who use the Tamron SP 35mm f1.4 Di USD will be ecstatic not only with the colors but also the quality of the bokeh. The bokeh is super creamy and well complemented by the colors this lens produces. In addition to that, it’s also very sharp.”

Buy Now: $899

Tamron 28-75mm f2.8 Di III RXD

The Magic Recipe: The 28-75mm f2.8 Di III RXD is incredibly special. First off, it’s the lightest standard zoom with a constant aperture for Sony FE. It’s also incredibly weather-sealed. Most of all, we really enjoyed the color render. If you’re a fan of the classic Sony look vs. the modern one, this lens should be in your camera bag.

“Here’s where I really like the Tamron 28-75mm f2.8 Di III RXD: the colors are vivid and punchy. When combined with the Clear or Deep color profile on the Sony a7r III, the Tamron 28-75mm f2.8 Di III RXD can deliver super punchy colors that make editing in Capture One Pro after locking your white balance even less of a chore.“

Buy Now: $879

Pro Tip: To get more sharpness from these lenses, use an off-camera flash. It will bring out the specular highlights that your camera just can’t do. Combine them with a shoot involving glitter or water for even more colors that will pop.

Tamron 70-180mm f2.8 Di III VXD

The Magic Recipe: Tamron’s 70-180mm f2.8 Di III VXD is a fun lens for sure. We found that missing the extra zoom range is a bit negligible. And that’s especially true if you’re using a higher megapixel camera. What you get is lightweight, weather-sealing, and affordability. And who can forget about those colors!

In our review, we state:

“Colors rendered by the Tamron 70-180mm f2.8 are vibrant and saturated but lean towards the warmer side straight-out-of-camera. This is preferred by some photographers, lending a more organic tone to images. Those seeking more color-accurate images will want to shoot using custom white balances.“

Buy Now: $1,199

Editor’s Note: This is a sponsored post from Tamron! We’ve reviewed and handled all of these lenses for portrait photography. We’d only recommend them to you because we actually believe in them.

The new Razer Blade 15 Advanced is showing a whole lot of promise for photographers.

The last Razer Blade 15 laptop we reviewed was back in 2020, and we really liked it! Razer has been known for appealing to gamers, but in recent years they’ve been making moves in the creative space. Today, they’re introducing the new Razer Blade 15 Advanced. It’s important to note that they have keyboards more akin to what we’re used to with Apple computers. They’re also bringing Wifi 6, a UHS-III SD Card Reader, a full HD webcam, two Thunderbolt 4.0 ports, and USB-C charging. This sounds positively fantastic and very promising.

Razer Blade 15 Advanced Essential Specs for Photographers

Specifically, photographers will probably be most interested in the new Razer Blade 15 Advanced. This is the one that’s always been targeted to us. The key upgrades are:

11th generation processors

New Core i9 processor in the highest-end model

4k touch display on the highest end version

Memory speed of 3200 MHz and up to 32GB of ram

A Per-Key Chrome RGB keyboard that’s more similar to that of a MacBook

PCIe Gen 4 storage

Anti-fingerprint coating

Glass precision touchpad

1080p HD webcam

4.9mm thin bezel

6500K white point (this one might be a bit weird for us creatives)

A matte screen!

A gorilla-glass touch screen

The screen covers 100% of the DCI-P3 spectrum. That’s very similar to the Adobe RGB spectrum, but P3 leans more towards the warmer spectrum than Adobe, which leans bluer.

100% of sRGB, obviously

You can upgrade the storage just as you can with any PC.

Aluminum body

You can expand the SSD to 4TB if you wish

Starts at $2,299 and goes up to $3,399 when fully configured. The fully configured version is the only one that has the i9 processor.

Is It Time for Photographers to Give Up on Apple?

I’ve been an Apple convert since around 2008. But before that, my dad and I used to build PCs in our basement fairly often. It was fun. However, I simply enjoyed everything working with Apple. Ever since the upgrade to BigSur, I’ve been scratching my head. Lots of things like my Drobo started acting up. I own a 2019 iMac, which is great for a few more years, but my laptop is the 2015 MacBook Pro. It was the last one with an SD card port. I haven’t upgraded because I haven’t found anything I really like. For the record, we’ve been testing laptops and computers for creatives for a few years now. There isn’t a lot that we like enough to pull the trigger.

With Apple’s latest iMac announcement and removing the SD card port, I’m losing more and more faith in Apple. I don’t need to bring along many dongles, and I refuse to pack more than I already do. However, I played with previous versions of the Razer Balde. They’re great. And honestly, I could see myself using the new Razer Blade 15 Advanced.

Come this fall, if Apple doesn’t put an SD card reader into their next MacBook Pro, I think it will finally be time. This new laptop from Razer seems really sleek. I like the idea of tons of crazy cool colors. And more importantly, I like the idea of being listened to. Things like a matte screen can go a long way when it comes to editing.

Razer Blade 15 Advanced Product Photos

No one wants to drag along something heavy, so check out these lightweight lenses!

If you’re a passionate photographer, then you probably love photo walking. It’s a fantastic social activity that can also be done solo. And no matter what, it’s a great idea to bring along a lightweight lens. There’s nothing worse than having extra weight on your hike. Similarly, a lightweight lens is just what the doctor ordered to help you clear your mind on a photo walk. So we went into our Reviews Index and found some of our favorites. These lightweight lenses are bound to be some of your favorites.

Tamron 17-28mm f2.8 Di III RXD

How Light Is It?: The Tamron 17-28mm f2.8 Di III RXD lens is 14.82 oz. That’s around as heavy as an American football! But it’s nowhere as large and it’s much easier to grip onto. It’s one of our favorite lightweight lenses for photowalks.

“The autofocus on the Tamron 17-28mm f2.8 Di III RXD is mostly what surprised me. Of course, it’s going to be fast to focus because this is a wide angle lens. But then I remembered that Sony owns part of Tamron. And so I’m pretty sure the two are probably talking and working together in some ways. Photographers using the AF-C function with face detection and AF-Lock tracking will have a lot of joy using the Tamron 17-28mm f2.8 Di III RXD. Not only is it fast, but it’s also accurate most of the time. We had very few misses and mostly a lot of hits. Tamron should be thoroughly praised for this. In our tests, it even worked for wide angle street photography. It surely works for travel work and leisurely shooting. Even better, it also didn’t suffer when working with the Sony a7r III in low lighting. Lots of third party lenses do, but this lens’ performance was still right up to par!”

Tamron SP 35mm f1.4 Di USD

How Light Is It?: The beautiful Tamron SP 35mm f1.4 Di USD weighs 28.7oz. That’s almost as heavy as a liter of water. Mounted to your camera, you’ll realize it’s one of the most pleasant lightweight lenses you’ll use. Plus, there’s that beautiful f1.4 aperture and color!

“If you’re worried about the weight, don’t be. It’s a larger lens than Canon’s 35mm f1.8 IS, but it also lets in slightly more light. To be honest, it was a joy to use the Tamron SP 35mm f1.4 Di USD, and is small enough for most uses.”

Buy Now: $899

Pro Tip: Every single lens in this roundup is weather resistant. We painstakingly tested each one in the rain, and they all held up. Make sure that when you use them you’re also using a weather-resistant camera. That’s the only way you’ll get the full effect.

Tamron 28-200mm f2.8-5.6 Di III RXD

How Light Is It?: The Tamron 28-200mm f2.8-5.6 Di III RXD weighs 1.27 lbs. That’s around four times as heavy as an American Baseball. Ergonomically speaking, there’s a lot more real estate to grip onto with this lightweight lens.

“We used the Tamron 28-200mm f2.8-5.6 Di III RXD in the rain a bit. NYC was subject to a dust storm that came across the Atlantic ocean and hit us pretty hard for a few days. The Tamron 28-200mm f2.8-5.6 Di III RXD on the Sony a7r III survived it all. Its design lets you grip it with ease while remaining usable–even in slippery conditions. More and more, I’ve wanted metal lenses, but I’m not sure I’d want a zoom lens that’s metal because of the apparent weight issues. With that said, the Tamron 28-200mm f2.8-5.6 Di III RXD doesn’t have a lousy plastic feeling to it. Instead, it’s pretty solid. Tamron does indeed have lenses with metal built-in, but this isn’t one of them. So, in this case, I’m very impressed with the build quality of the Tamron 28-200mm f2.8-5.6 Di III RXD. If it can survive the abuse we gave, you’ll be happy to know that you’re bound not to have an issue in most situations with this lens.”

Buy Now: $729

Tamron 17-70mm f2.8 Di III-A VC RXD

How Light Is It?: The Tamron 17-70mm f2.8 Di III-A VC RXD weighs only 18.5oz. That’s like one and a half cans of soup. It’s one of the best lightweight lenses you can get for the Sony system. Eve...

Have you been holding back on getting a new Fujifilm camera or lens? Then you can get a refurbished or renewed one that’s pretty much brand new.

There have been lots of problems with supplies and getting new cameras. But luckily, there is a lot of renewed and refurbished gear out there. If you’re wondering about refurbished cameras, have no fear. It’s basically a floor unit that was redone. Essentially, it’s a brand new camera or lens that went through stricter quality control. Most of the gear that I own is renewed or refurbished. These cameras and lenses will serve you just as well as a brand new one. Why not get it at a lower price after all? So we found some great renewed Fujifilm cameras and lenses that you’ll find below.

Renewed Fujifilm Cameras

We found a bunch of cameras for you to choose from. There are some as brand new as the Fujifilm X-T4 that we’ve reviewed. But then there are a few like the XH1 that are a bit older. Either way, you’re going to be very happy with whatever you buy.

Fujifilm X-T4 kit: $2,068.16

Fujifilm XT2: $949

Fujifilm X-T3: $949

Fujifilm X100v: $1,339

Fujifilm X-E3 Kit: $905.47

Fujifilm X-H1: $1,339.95

Renewed Fujifilm Lenses

The convenience of zoom lenses means that you don’t need to do as much walking. And these zoom lenses will work just fine on your Fujifilm camera. Be sure to check out our reviews index or our Fujifilm lens guide for more.

Fujifilm 10-24mm f4 R OIS: $683.57

Fujifilm 16mm f1.4 R WR: $839.99

Fujifilm 16-55mm f2.8 LM R WR: $1,126.21

Fujifilm 55-200mm f3.5-4.8 LM R OIS: $579.95

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Necks weren’t designed for holding much more than your head. Sling straps hold the weight of the camera on the shoulders instead. Made with the ability to switch back and forth from shoulder to neck carry, this type of strap design often offers more comfort for all-day shoots. The Wandrd Sling is one of those straps. Made from incredibly soft nylon material, the strap is a happy medium between the expensive leather and the cheap, scratchy numbers that ship with your camera.

Priced at $54, the Wandrd Sling sets itself apart with an easy attachment system that doesn’t leave anything dangling on your camera. Even the tool for adjusting the anchor that sits in the tripod socket is hidden right inside the strap. While sturdy and comfortable, a few minor changes could have helped the strap reach perfection.

Pros and Cons

Pros

Constructed from a sturdy but soft nylon

Quick length adjustments

Easy to mount on the camera

Built-in tool for camera anchor

Reasonably priced

Tested to 100 pounds to accommodate any handheld camera

Cons

Need to remove the bottom anchor to switch to neck strap

A wider strap would have been a little more comfortable

Needs a little more grip

Tech Specs

Adapted directly from Wandrd:

Recycled soft-touch nylon & hypalon

Custom metal “quick-connect” hardware

Non-slip silicone print

Smooth adjustment sliders

Max Length: 46.75″ (118.7 CM)

Minimum Length: 29″ (73.6 CM)

Width: 1.25″ (3.2 CM)

Maximum capacity: 100 pounds

Gear Used

I used the Wandrd Sling on the Nikon Z 6 II with the Nikkor Z 24-70mm f2.8 lens. I also briefly tested the sling with heavier gear — the Nikon D850 and F-mount 24-70mm f2.8.

Ergonomics

The Wandrd Sling is a 1.25 inch-wide, soft, black nylon strap. A small, roughly ten-inch section of the underside has a stripped silicone pattern.

Just above the camera mounting gear is a quick slide loop. Located on both sides of the strap, a small loop allows you to loop a finger through and quickly lengthen or shorten the strap. This loop is backed by stiffer fabric. On one side, that thicker leather-like piece hides a small metal part that screws in the tripod mount anchor.

When worn as a neck strap, the Wandrd attaches to both of the hooks at the top of the camera. A Hypalon adapter is included. This is to help attach to cameras, like Canons, that have the anchor built right into the body. As a Sling, one side attaches to the top, and the other loops around the included metal anchor that sits in the camera’s tripod mount.

The strap uses a hook attachment with a loop of rubber-like Hypalon cord. The flexible loop easily went through the attachment loops on the Z6 II and slid into the hook. While the cord looks a bit thin, it feels sturdy, and I didn’t notice any wear signs.

The soft nylon construction is comfortable and doesn’t chafe or dig. While the strap is relatively comfortable, it’s not perfect. I wish it were wider: wider straps tend to better distribute the weight. The silicone grip wasn’t quite enough to keep my camera on my hip when not shooting, It tended to want to pull around a bit to the front of my thigh.

Build Quality

The Wandrd Sling is largely constructed of new nylon made from recycled materials. Wandrd calls this nylon soft touch, and it lives up to its name: the nylon is quite soft. Unlike the cheap nylon straps that ship with the camera, the strap doesn’t have rough edges. The construction feels high-end.

The buckles and attachment hooks are largely made from plastic, save for a metal tooth on the hook. While I can nitpick and wish for metal, it’s rated for 100 pounds even with the plastic clips. And, frankly, if a 100-pound camera-lens-flash-combo exists, I wouldn’t be wearing it around my neck or shoulder.

A Hypalon cord loops around the camera’s anchor and attaches to that plastic hook. Hypalon is a durable, rubber-like material. Because it’s thin and flexible, it’s much easier to get on ...