The Phoblographer

The 35mm lens is incredibly essential for every photographer at one point or another in their life.

It took me a while to grow out of the nifty 50 idea and into the love of my life: the 35mm lens! We’ve tested so many of them in the past 11 years. Some are better than others, but not a single one of them is bad. Lots of them have a bit of charm, while others boast the clinical perfection some photographers crave. We went into our Reviews Index to look up some of our favorites. Lots of them aren’t new, so that means KEH will have them at a much more affordable price! Here are some wonderful 35mm lenses you’re bound to adore!

Editor’s Note: This is a sponsored blog post from KEH! You can head to their website to snag some of the best 35mm lenses at incredibly low costs.

Sony 35mm f1.8 FE: One of Our Favorite 35mm Lenses

“Portrait photographers, event photographers, travel photographers, and street photographers will all be thoroughly pleased with the results from the Sony autofocus system and the Sony 35mm f1.8 FE lens. Combine this with the quality of the imaging sensors and the fact that the operation can together acquire focusing of moving subjects at f1.8 and you’ll see just how incredible it really is. At this price point, Sony is hitting the ball out of the park. Here are some example images that I shot on the streets with the Sony a7r III.”

Buy Now: As low as $660.68 at KEH

Sigma 35mm f1.4 Art: Saturated Colors

“The bokeh quality from the lens is also really quite creamy. Again, something about it almost reminds me of Mamiya or Bronica lenses that have some beautiful bokeh to them. Because of the fact that there is no micro-contrast in this lens, you won’t see your subject popping out from the bokeh as much as you would on a Zeiss or Leica lens.”

Buy Now: $626.90 at KEH

Pro Tip: Some of these are DSLR lenses. And the fun part about that is that you can adapt them to your mirrorless camera for more fun experiments. We’ve done just this with the Sigma 35mm f1.4 Art on the Canon EOS R and the Sony FE system. Getting that classic look with newer cameras is hard to come by with new lenses. For full frame, 35mm lenses hit the spot every time!

Tamron 35mm f1.8: A Practical Choice

“One of the strongest points of this lens is the bokeh. The Tamron 35mm f1.8 Di VC is designed with 9 aperture blades and has a very close focusing distance. It can seriously render better bokeh than almost everything we’ve seen except for the Sigma 35mm f1.4 and Sony’s 35mm f1.4.

Bokeh fiends will really appreciate not only the affordable price and the weather sealing, but also the bokeh that they’ll get. It’s easy to get mesmerized and awestruck in what this lens can do when it comes to out of focus areas.”

Buy Now: $416.77 at KEH

Zeiss 35mm f2 Distagon: A Classic Among 35mm Lenses

In our review, we stated:

“Zeiss could use an update to their 35mm f2 lens to put it against more modern optics, but at the same time we’d be totally wrong if we said that there aren’t those around us that still love the old school lens look–and not the clinical precision looks engineered into modern optics. If you want that old school look and feel without having to apply loads of filters in post-production, then you’ll really digg this lens. However, you’re still paying quite the price for it.”

Buy Now: $682.95 at KEH

Editor’s Note: This is a sponsored blog post from KEH! Head on over to their website to snag some of the best 35mm lenses at incredibly low costs.

Crop sensors aren’t dead yet; I think their future is bright!

The internet loves to predict doom and gloom for cameras with crop sensors. How many years have we heard that Micro Four-Thirds is dead? Current offerings remain quite capable cameras. However, camera technology has been advancing rapidly. Brands like Fuji and OM-Digital Solutions (referred to as OMDS from here on) heavily rely on these cameras to survive. What do they need to do to remain relevant? Read on to find out.

AI May Play a Big Role for Crop Sensors

It seems that AI and deep-learning tech are here to stay. Interviews with people at Fuji and OMDS seem to confirm this. Fuji has mentioned to Imaging-Resource that they are looking at AI for more than just autofocus. OMDS told DPReview that they plan to take advantage of the fast readout of their smaller sensors. What does this mean for us? New technology could help to negate the downsides of crop sensors. Denoise technology has also jumped leaps and bounds. DxO Lab and Topaz have really begun to show us what AI Denoise is capable of.

What if we could see Full Frame level low-light performance from Micro Four-Thirds? If processing power and new sensor tech can deliver better signal-to-noise ratios, the possibility is there. We saw a great example of this with the Nikon Z50. However, I hope they don’t go overboard here. There’s definitely something about the organic feel of an image that isn’t clinically clean. And of course, AI will continue to play a large part in new autofocus technology.

Olympus Had Great Ideas, More Please

Olympus has pioneered some excellent technology in their newer cameras. Everyone knows Olympus IBIS is crazy good. They also came up with other great ways to ditch the tripod. The Live ND features in the EM1X are fantastic. I’d love to see that feature become even more useful. Handheld high-resolution mode is useful but could still use improvement. A big selling point for crop sensor cameras is size. The more features that allow us to leave the tripod at home, the better.

As a result, I’d love to see a handheld focus stacking feature. Deep depth of field is hardly a problem for crop sensors. However, they do get used quite a lot for macro work. Being able to easily get everything in focus in one action would be stellar. I’d also love to see Live ND pushed harder. If it could pair with Live Comp, imagine the possibilities!

Could Modular Cameras Be the Future?

Former Phoblographer staffer Robin Wong recently made a video about the future of Micro Four-Thirds. He thinks we could be looking at cameras that interface with smartphones. As much as I respect him and his opinion, I’m not so sure I agree. Hasselblad tried it with Motorola. Olympus tried it with the Air. Sony even tried it with the DSC-QX10/B. All of these were met with rather little enthusiasm. I think we would need a big breakthrough for manufacturers to try this more. I also doubt many people would want the hassle. You’d still have to carry a separate device. People would still want interchangeable lenses. So what would be the point of attaching your camera to your phone?

I think the better solution would be building phone features into the camera. We’ve been saying this for a while. Let us have apps in-camera. Lightroom Mobile built-in would be a great start. Why not let us install Instagram? Also, a UI built like a cellphone would be great for attracting new users. Nearly everyone can operate a smartphone. Can the same be said about an X-T4?

Crop Sensors Are Still Great for Video

Video specs on future crop sensor cameras could still be an area to watch. As stated earlier, OMDS touched on their sensors’ fast readout speeds. I fully expect to see more high framerate options. Being able to shoot 4k120p shouldn’t be far off. One-inch sensor cameras like the Sony ZV-1 are reaching near 1,000 fps in 1080. It would be great to see those options on more cameras.

I don’t personally hope for 8k in crop sensors soon. I’d prefer 6k or 4...

Fujifilm could be planning huge things for their next X-H camera.

The internet has been speculating that the new Fujifilm X-H2 could have 8k video. This would be a huge implication if real. To achieve 8k video, Fuji would need an entirely new sensor. As a result, they would need at least 32 Megapixels. However, if they shoot for DCI 8k, we could see a 45 MP camera. Beyond those potential updates, I’d love to see Fujifilm go crazy on this new camera. Could the Fuji X-H2 be an S1H killer? Read the awesome possibilities after the break.

Could Fujifilm Ditch X-Trans for the X-H2?

Fuji will have to decide on a new sensor design for the X-H2. Fuji Rumors reported this camera could have 8k video. If that’s true, it is going to be high resolution. At higher resolutions, things like moiré and aliasing become lesser problems. However, the X-Trans sensor was developed to battle those without anti-aliasing filters. This camera could be perfect for Fujifilm to experiment. This wouldn’t be the first Fuji camera with a Bayer array sensor. The X-T200 and GFX cameras feature Bayer sensors. Fuji has done an excellent job maintaining its famous colors in those cameras. Also, a traditional sensor would grant the Fujifilm X-H2 the ability to have features like pixel shift. It would also alleviate “worming” issues some RAW processors have with X-Trans files. However, they could still opt to design a high-resolution X-Trans sensor as well. It will be exciting to see which route they take.

Tech That Could Take the X-H2 to the Top

The X-H line of cameras was supposed to be Fuji’s flagship line for the X-series. However, the X-T3 and X-T4 quickly made the X-H1 seem irrelevant. Fuji will really need to knock it out of the park this time. I expect the Fujifilm X-H2 to come loaded with all the tech they can pack into it. It would be great if they can improve the IBIS mech. The X-T4 already does great. However, I’d love to see them get closer to what Micro Four-Thirds cameras achieve. If they go with a Bayer sensor, a pixel shift resolution mode will rock.

Fuji is also getting much better at autofocus. However, they have a bit of catching up to do compared to Sony and Canon. As a result, I’d love to see them incorporate more deep learning technology regarding autofocus. It will also be interesting to see if they move towards CF Express. If this camera is fast, it could be an excellent stills platform.

Video Tech The Fujifilm X-H2 Needs

Let’s not forget that the X-H1 was the camera that got videographers interested in Fuji. The X-H2 will need loads of video features. Of course, we’ll expect F-log 4:2:2 10-bit internal recording. We know the Eterna film simulation will be there. The Fuji XH2 will most certainly deliver great bit rates and record options. On the software side of things, 8k is exciting. That could also give the Fujifilm X-H2 a 4k HQ mode like the Canon R5. More monitoring options would be great as well. Give us waveforms to get our exposures right. Zebras should be mandatory for a great video-capable camera. Also, vectorscopes would be a nice touch.

It would be awesome to see Fuji work with Blackmagic. Getting ProRes Raw to an Atomos Ninja is nice. However, having the option to also get BRAW with a Blackmagic Video Assist would be nicer still. On that topic, I’d love to see a full-sized HDMI port. While we’re at it, please don’t make the battery grip a requirement. Give us a headphone jack on the body. The USB adapter is a nice workaround, but this camera deserves a dedicated port. Fuji could even go whole-hog and add a fan ala S1H. No one wants another overheating 8k camera fiasco.

Fuji Needs to Evolve the X-H Ergonomics

Many of the features I’ve listed would require a slightly bigger body. Fuji has done well to offer ergonomics for everyone. They have the rangefinder bodies like the X-Pro 3 and X100V. The traditional film ergonomics of the XT line are great and unique. They also have a compact, DSLR-style body in the X-S10. The Fuji XH2 s...

The Fujifilm XT4 is a winner all around, and these are the best lenses for it.

In our review, we awarded the Fujifilm XT4 with five stars. It’s everything most photographers would want. The Fujifilm XT4 boasts image stabilization, fast autofocus, video capabilities, weather sealing, and more. Perhaps best of all, it’s got those beautiful film simulations that make everyone on Instagram drool. So we delved into our Reviews Index to find the best weather-sealed lenses for the camera.

Fujifilm 16mm f1.4 R WR: The Essential Wide for the Fujifilm XT4

“But besides the fact that it can shrug off the rain, the lens feels great in the hand. The focusing ring is smooth, the aperture ring has decent clicks, and it just feels like a solid lens meant to do lots of work. For what it’s worth though, the rings are nowhere as nice-feeling as Leica’s, Voigtlander’s and Zeiss’s. The advantage that Fujifilm’s rings have over the others though has to do with the grooves that allow the rings to be easily gripped. While Leica’s focusing tabs can also be rather nice, the more conventional way to shooting is also preferred sometimes.”

Buy Now: KEH has it for as low as $833.77.

Fujifilm 23mm f2 R WR: The Walkaround Lens

“Overall the lens feels pretty solid in the hand. When you hold it, it seems to be made of some sort of metal. Plus considering how both of the rings on it are fairly large, you’ll have plenty of gripping power. But for what it’s worth, it’s a bit too small for my paws. I personally much prefer the 23mm f1.4. However, the f1.4 lens doesn’t have weather sealing. This lens can take an excess amount of abuse in the rain and keep clicking. In fact, if you’ve been following us on Instagram, you’ll know this.”

Buy Now: KEH has it starting at $375

Pro Tip: The Fujifilm XT4 and the entire system make great use of the film simulations. If you’re not using them, you’re missing out on a considerable part of the magic of Fujifilm. Try Classic Negative or Classic Chrome. And do it in-camera! There’s no need to spend extra time in post-production when you can have perfection straight out of the camera. And if you’re looking for more of those classic but not weather-sealed lenses, check these out.

Fujifilm 50mm f2 R WR: A Classic Portrait Lens for the Fujifilm XT4

In our review, we state:

“Even with the rain downpouring, the camera and lens didn’t fail to get critical autofocus. If something is even slightly off it’s because at times it was easier and faster for me to focus and recompose. Of course, this is all with the Fujifilm X Pro 2. When using the Fujifilm 50mm f2 R WR with the Fujifilm X Pro 1 (which I still to this day I think has better film simulation) the autofocus is noticeably slower. This goes for both the use of the EVF and the OVF; but time and time again the EVF will be ever so slightly faster with the Fujifilm 50mm f2 R WR.”

Buy Now: KEH has it for as low as $400.90

Editor’s Note: This is a sponsored blog post from KEH! It’s pretty tough to get your hands on brand new gear right now, so why not get it with a bit of patina! KEH sells only the highest quality used camera gear. Check them out today!

If you need some new Sony lenses or a new Alpha camera, act now and save!

Are you in the market for a new Sony E mount zoom? How about a new fast prime? If so, you’re in luck as Sony has a huge sale going on right now. You can save $300 on the Sony 24-105mm f4 G OSS. The Sony 24-70mm f2.8 G Master has dropped to just $1,798. And the brilliant Sony 24mm f1.4 G master has a steep discount too: you can pick one up for only $1,298! Lenses aren’t the only thing on sale. Sony has slashed prices of the a7r IV ($2,998), the a7r III ($2,298), and many more cameras like the a6600, the ZV-1, and the RX100. If you need new Sony lenses or have been thinking about jumping to Sony, now’s the time to do it.

Don’t forget that we also review cameras, lenses, camera bags, and much more. Head to our reviews index, and you’ll find real-world reviews of the Sony a6600, the a7r III, the a7r IV, and every other Sony camera you can think of. You’ll also find reviews on all the lenses on sale as well! Why should you trust our reviews? Because we’re photographers too, and we use these cameras in real settings on real shoots. There are no labs or charts used here. Pull up a chair and check out the discounts on the Sony a7r IV and more below.

Sony Lenses on Sale

Zooms

Sony Alpha 16-55mm f2.8 G Standard Zoom APS-C Lens $1,298 (Save $101.99)

Sony 18-135mm f3.5-5.6 OSS APS-C E-Mount Zoom Lens $548 (Save $100)

Sony 24-70mm f4 Vario-Tessar T FE OSS $698 (Save $200)

Sony E-Mount Camera Lens: FE 24-70 mm f2.8 G Master $1,798 (Save $400)

Sony – FE 24-105mm f4 G OSS Standard Zoom $1,098 (Save $300)

Sony FE 70-200mm f4 G OSS Interchangeable Lens $1,298 (Save $139.48)

Sony FE 70-200mm f2.8 GM OSS $2,298 (Save $338.71)

Sony FE 70-300mm f4.5-5.6 G OSS Lens $1,173 (Save $100)

Prime Lenses

Sony E-mount FE 24mm f1.4 GM Full Frame Wide-angle Prime Lens $1,298 (Save $100)

Sony 55mm f1.8 Sonnar T FE ZA Full Frame Prime Lens $898 (Save $99.76)

Sony 85mm f1.8-22 Medium-Telephoto Fixed Prime $548 (Save $50)

Sony FE 85mm f1.4 GM $1,698 (Save $219.17)

Don’t Forget About These Sony Camera Deals

Sony RX100 III 20.1 MP Premium Compact Digital Camera w/1-inch Sensor and 24-70mm f1.8-2.8 ZEISS Zoom Lens $598 (Save $150)

Sony ZV-1 Camera for Content Creators, Vlogging and YouTube with Flip Screen and Microphone $698 (Save $100)

Sony Alpha A6600 Mirrorless Camera $1,198 (Save $200)

Sony a7R II Full-Frame Mirrorless Interchangeable Lens Camera, Body Only $1,298 (Save $500)

Sony Alpha A6600 Mirrorless Camera with 18-135mm Zoom Lens $1,598 (Save $201.99)

Sony a7R III Mirrorless Camera: 42.4MP Full-Frame High-Resolution Interchangeable Lens Digital Camera $2,298 (Save $501.99)

Sony a9 Full-Frame Mirrorless Interchangeable-Lens Camera (Body Only) $2,998 (Save $1,001.99)

Sony α7R IV Full-frame Mirrorless Interchangeable Lens Camera $2,998 ($501.99)

Here’s a simple photography tip that will make you a better editor.

Today’s photography tip has nothing to do with how you use an editing tool but instead when you use it. Many photographers like to get home after a long photo walk, fire up the computer, and start editing. I’m guilty of doing this many times over the years. But such an overzealous approach may lead to poorly edited photographs – here’s my solution.

Photography Tip for Better Editing

No matter what genre you shoot, the feeling of getting “the shot” is the same. It feels amazing! When you look at your tiny LCD screen, you get butterflies in your stomach and endorphins in your brain. At that moment, I know you’re thinking, “I can’t wait to get home and edit it!”

But my photography tip is to do the opposite of what your instincts are telling you. Rather than going home and immediately editing, wait a little longer. Edit the next day, or even the following weekend. Why?

Photography is full of emotions. When we connect to something emotionally, it’s difficult for us to look at it objectively. In the heat of making photographs, when adrenaline is often running wild, it’s easy to convince ourselves, “this is the best shot.” But once time has passed, our mind has settled, and we may not feel the same way. However, by the time that point arrives, we may have already edited and shared the photograph with the world. Ever looked at a photo on your social media and thought, “that’s not as good as I thought it was.”?

Photography Tip: Image Selection Is Key to Better Edits

One of the most essential parts of the editing process is image selection – in my opinion, it’s the most crucial part. Selecting the wrong images can lead to better photographs being left behind. But by adding some time between making photographs and editing them, you can sit in front of your computer with a more composed way of thinking. The excitement will have likely died down, especially if you’ve been out again to create more images.

Maybe the image you fell in love with will still be the best – both emotionally and objectively. But I also believe there’s a good chance you find yourself saying, “I don’t think this photo is as good as I first thought. I prefer this one instead.” And that’s not a bad thing – it’s an extremely good thing. Because selecting the best photos only benefits you. And patiently waiting to edit, rather than running in all guns blazing, will help you achieve the best results!

Bonus Tips

There are many elements to better editing. Many photographers tend to overthink the process, which leads to sloppy or overdone editing. Below are a couple of points that should help you simplify the process and create better edits.

“I’ve hardly done anything to it.” If you find yourself saying this, give yourself a big pat on the back! Because if an image feels complete without much editing, you’re doing something right!

But don’t think, “I need to do more!” This way of thinking can easily lead to over editing, which spoils a photograph. Remember, editing is there to enhance the quality of the image. If you can do that with minimal effort, then that’s a positive, not a negative.

“Oh, that will do.” If you say this when editing a photograph, then walk away from your computer immediately. It likely means you’re bored of editing and don’t have the energy to continue. Never export a photograph right after saying, “oh, that will do”. Instead, take a break, and return when you feel more focused.

Enjoy the Process!

Editing can be tedious and time-consuming. But with these simple and easy photography tips, it can be so much more enjoyable. These main photography tips will make you a better editor and strengthen your overall body of work. So relax, choose your images wisely, and, above all, enjoy the process.

Film photography has undoubtedly made a comeback, but it needs differentiation from digital.

Some of you may think I’m nuts to say that film photography is back. But it really, truly is. In the pandemic, more people decided to take it up and start their own darkrooms. It’s fun and a completely different way of creating images that everyone should try–at least for a month! However, I only see the current film renaissance as a way for film to truly find its own place. And to do that, I think film needs to do something that digital doesn’t do. For that, it will come down to the final image.

Let’s be honest; everyone and their mother made film presets. And they’ve also made presets that can be emulated digitally. Many folks aren’t trained to tell the difference between film and digital. And to them, presets have the tones and the vibe they’re going for. So film needs to evolve into something else. It’s already reborn, and we just need to think about it lightheartedly.

With that said, we need to make film do the things digital doesn’t currently do:

We need more pre-exposed film. Years ago there were disposable cameras with ghosts, stars, etc. pre-exposed on them. Seriously, few folks in digital know how to do double exposures. Less know how to do it in-camera. Why not give film that power?

CineStill did the smart thing a while back and removed the remjet layer from cinema film. The result is a very iconic look. This is especially true with their Tungsten film.

How about more Tungsten film?

What about more Infrared film like Aerochrome?

Film can get to ISOs far lower than digital color sensors. Why don’t we have more super-low ISO film? There are a few, but not many. It will totally change the way someone creates.

How about film that’s been souped?

These are just a few ideas, and I think the film manufacturers have a very big opportunity here. Kodak, Ilford, and Fujifilm are financially in the best places to get this done. But it’s likely that the newer companies are going to do it instead. Lomography has already been doing it. CineStill has as well. Plus, Kono film is characterized by a whole bunch of crazy cool effects that digital just doesn’t create.

On top of this, I think it’s very important that we continue along the path of authenticity. It’s a controversial opinion, but I think that a final photograph should be something that was done at least 80% in-camera. If you’re compositing a ton of images together, then you’re a compositor. That’s fine! But this is far different than it was back in the earlier days of photography. One can also even argue that folks like Ansel Adams weren’t really photographers.

If you’re using Photoshop to make the magic of your images come to life, or you’re absolutely reliant on post-production, then consider your work. Do you really need to shoot in RAW to get the final result? Why can’t you get it in-camera? These are the things film photography can often make you think about too!

And for film photography to keep surviving, it needs to gain traction with an audience that wants something totally different. Please, feed our appetites.

All the bells and whistles of modern cameras can be yours in these cameras that cost much less than you’d imagine.

Technology has come a long way. What used to be high-end features are now present in entry-level camera models. However, don’t let the term entry-level fool you. For under $1,000 these days, you can get Mirrorless cameras with IBIS, eye autofocus, excellent motion tracking, tilty flippy touchscreens, Wi-Fi, Bluetooth, fast burst rates, and so much more. If you’re in the market for a camera that you can step up to from your smartphone, you have options. We’ve listed three cameras bursting at the seams with tech that used to be reserved for cameras costing much more. After the break, check out three cameras that will wow you for under a grand.

Olympus Pen E-PL10

“This camera is perfect for those who perhaps want to do some macro photography, some everyday journaling, street photography, food photography, and even more advanced genres like astrophotography thanks to the tremendous live composition mode. The image quality is excellent, the touch interface will make those who used to smartphones feel right at home, and the battery has enough about it to last a day or more of casual shooting. It’s a great little camera that packs a punch.”

Buy now: $649.99 with Kit Lens

Fujifilm XS10

Brett Day – Gear Editor

“This camera is for photographers who were put off with Fujifilm’s usual vintage-style controls and dials. The Fujifilm XS10 is an entry-level camera with more bells and whistles than the competition. The XS10 is certainly a compelling option because of the great image quality, fantastic handling, and price.”

Pro Tip: Cameras with IBIS and other modern tech can certainly make using them easier to use. Still, if this is your first traditional camera, you might become a little overwhelmed with all the things they can do. Fear not; there are tons of guides that can help you overcome any fears you have. This one will teach you everything you need to know. You’ll get the most out of your new camera in no time at all.

Olympus OMD EM5 Mark III

In our review, we said:

“We were able to pull out a lot of details from the original raw file by adjusting the highlights and shadows and making minimal adjustments to exposure, contrast, levels, and curves. As you can see, the EM5 Mark III’s raw files contain a ton of information for you to work with during post.”

Buy now: $999

Tamron is announcing two new lenses tonight for the outdoor photographer.

If there were any brand that I’d trust to use outdoors on Sony cameras, it would be Tamron. Pretty much all their lenses are weather sealed, built well and lightweight. Tonight, Tamron is announcing two new lenses. The Tamron 150-500mm f5-6.7 Di III VC VXD is for Sony full frame camera and designed more for the birding crowd. Then there’s the new Tamron 11-20mm f2.8 Di III-A RXD for APS-C. Tamron continues to show that it’s making the best lenses for Sony’s APS-C system with this entry. It shares a lot with the 17-70mm, which we gave an award to.

Tamron 150-500mm f5-6.7 Di III VC VXD

25 elements in 16 groups

1 XLD Element

5 LD elements

Two hybrid aspherical

VXD Linear motor

82mm filter size

8.3-inch length collapsed and 11.1 inches long when extended

3.8 lbs

7 aperture blades

Sony E mount

Vibration compensation

23.6-inch close focusing

$1,399

What’s going to be very fun to see is how the autofocus works with birding. The Tamron 70-300mm doesn’t take full advantage of the Sony autofocus for animals the way Sony lenses do. However, it’s light years ahead of what Sigma is doing. It’s also very nice that the aperture is changing less than a stop throughout the entire range. Some folks might be begging for a lens with a faster aperture. But then it would be much larger. Realistically speaking, f5 at 150mm can be a nice portrait lens.

I think those of us who love shooting wildlife with cameras will really love this lens. Same for those who shoot sports. To make the most of it, I think you might need the Sony a1 with its weather sealing. The rest of the lineup can’t compete.

Considering this lens has an 82mm front filter, don’t expect it to be all that small. We’re curious to see how it fits into various backpacks. We’re also curious to see how the Vibration Compensation works in conjunction with Sony system’s own.

Tamron 11-20mm f2.8 Di III-A RXD

3.4″ size

Sony E mount, but APS-C only

Weather-resistant

67mm filter thread

Can use various Sony autofocus modes

5.9-inch close focusing

11.8 oz

12 elements in 10 groups

$829

Tamron says this lens has a similar filter thread size as their 17-70mm f2.8 lens. This is the perfect accompaniment if you’re committed to sticking with Sony’s APS-C lineup. Still, I feel like Tamron’s talents are being wasted here. These lenses deserve to be on the Fujifilm X series system. Let’s hope that Fujifilm finally opens doors to partners.

If they don’t make them for Fujifilm, I hope that Nikon honestly gets some love. The Nikon Z50 would be fantastic with these lenses. Of all the APS-C cameras we’ve tested, the Nikon Z50 has the cleanest high ISO output.

This lens is going to be for landscape photographers, interiors, etc. It’s really nice that Tamron is making fast zooms for the APS-C system. But I also wonder how long it will be until they make a few primes. Just imagine a trio of Tamron pancake primes for your Sony a6xxx series camera. Better yet, imagine they were weather sealed! As it is, Tamron made a bunch of small primes for full-frame E-mount.

The faces of photography are changing, and many of us need to get comfortable with that.

Like most of society, the photography community is protective of its elders. Those that came before and paved the way are held in the highest regards – and rightly so! People see names like Henri Cartier-Bresson and Diane Arbus as the masters. While the likes of Annie Leibovitz and Steve McCurry have long been some of the industry’s poster boys and girls. But times are changing, and here’s why we need to accept it.

The Faces of Photography

In the past, to be considered a top-level photographer, you likely had to work in photojournalism, documentary, or portraiture. You were linked to established galleries, collectives, and publications. The work you produced had to carry meaning, challenge society, and change the landscape of the discussion. These are very hard things to do. And for those that did it well, they were rightly hailed as the best in business.

We should never forget the original innovators. But they can’t hold their place at the top of the mountain forever. None of them are bigger than the craft.

Once established, certain names became the foundation of teaching in photography. New photographers learned from them, while established photographers aspired to be them. Certain photographers have such a long, deep history within the industry that for decades – almost centuries – they have dominated the conversation when it comes to being the faces of photography.

But a shift is coming, and understandably, people have a problem with it.

The Future of Photography

Today, if you want to be a big name in the industry, the route is rather different. Most big names in the photo industry have become so through platforms like YouTube and Instagram. The old school don’t like that. They often look down on today’s route to success, arguing it’s more of a popularity contest rather than a credible body of work that takes people to the top. At times, I’ve felt the same.

But times change, and society changes with it. Whether we agree with the route or not, it’s how it is now, and I’ve come to the realization that it’s no less credible than that path of the past masters. It’s just different.

Also, in my opinion, today’s standard of photography is way better than it was 50 years ago, for example. Like sports, where athletes get better and more technical, photographers become more skilled. Some people won’t like to read that – but it’s true. Photography has evolved and with that, so have the names that are dominating the space.

They are plenty of photographers active today that are awesome. And many photographers are better than the masters we’ve been told to love.

A Shift in Interest

As new generations come through and have an interest in photography, the names they’re taught will change too. In the future, the desire to learn about a photographer from 150 years ago will rapidly decrease. New names will be at the forefront of photography and history. Kids won’t want to know about photographers from the 1950s. They’ll want to know about the trendsetters of the social media era.

Without naming names, I’ve interviewed famous photographers who are treasures of the photo industry. In terms of raw numbers, fewer people were interested in reading about them than some photographers I’ve featured who started out more recently. It’s a small sign that times are changing. And that’s a good thing.

They are plenty of photographers active today that are awesome. And many photographers are better than the masters we’ve been told to love. And for those of us – including me – that looked down on the popular nu-breed, it’s time to get comfortable with their existence.

Because if we don’t, and we hold onto nostalgia and what people taught us, we could become bitter and resentful. We could close the door to enjoying new, awesome photographers just because their names are not the same as we were told to love. And that would be sad because photography is a beautiful gift...