TTartisan is back with its latest lens, an ultra-affordable 35mm F1.4 lens for APS-C mirrorless camera systems.
The fully-manual TTartisan 35mm F1.4 lens retails for just $ 80 and is available for Canon EOS M, Fuji X, Micro Four Thirds and Sony E mount camera systems. It’s constructed of seven elements in six groups, has an aperture range of F1.4-F16, uses a ten-blade aperture diaphragm and has a minimum focusing distance of 28cm (11”).
The front filter thread is 39mm and the lens measures in at 44mm (1.73”) long, 56mm (2.2”) diameter and weighs just 180g. Below is a sample gallery of images captured with the lens, provided by Photo Rumors, an authorized retailer of TTartisan gear.
You can purchase the lens over on Photo Rumors’ online shop or any other authorized TTartisan retailer.
Meyer Optik Görlitz is back at it again with the release of a new prime, the Lydith 30mm F3.5 II. While it bears the same name as its predecessor, which was released under the previous owners of the Meyer Optik Görlitz brand via Kickstarter back in 2017, this new version features an entirely new optical design and construction.
Like its predecessor, this mark II version is based on the original Lydith lens, released back in 1964. OPC Optics, the new owners of the Meyer Optik Görlitz brand, doesn’t share the exact optical construction, but if it’s true to the original 1964 lens, it will feature five elements in five groups.
The original Lydith F3.5 lens and its optical construction.
The lens features a minimum focusing distance of 15cm (6in), features a stepless aperture (F3.5–16) and has a 52mm front filter thread. It comes in a variety of full-frame and APS-C lens mounts, including Canon EF, Fuji X, Leica L, Leica M, M42, MFT, Nikon F, Pentax K and Sony E.
Below are a few low-resolution sample photos, captured with the lens:
In a video shared to YouTube yesterday, Ricoh offered more information on its upcoming Pentax APS-C DSLR. The video, embedded above, is the latest in a series that Ricoh is creating ‘to reinforce its commitment to DSLR photography.’
The 24-minute video, which offers embedded translated subtitles in English, is a dialogue between professional photographer Keita Sasaki and Wakashiro Shigeru of Ricoh’s Product Planning department.
The pair give a little hands-on with the new camera and lenses and discuss many facets of the upcoming Pentax APS-C DSLR. Here are a few of the highlights from the conversation:
The new optical viewfinder will be brighter and clearer than the one found in the Pentax KP; it uses a new high-refraction glass pentaprism first developed back in 2017.
It will be compact and offer a new grip for ‘increased comfort.’
The camera will have a joystick on the back (for autofocus and more) and use larger buttons for better tactile feedback
The shutter release will use the same ‘leaf switch’ mechanism found in the Pentax 645Z and Z-1.
The rear LCD display will be ‘extra large’ (no specific size is shared, however).
The new sensor will be improved across the board, at lower and higher sensitivities
Shigeru also reveals the camera will come in silver (alongside the standard black version) and have a set of silver lenses to match (a 70–210mm F2.8, 50mm F1.4 and 85mm F1.4). A silver version of the K-1 Mark II will also be released in the near future alongside the silver D FA 21mm lens announced back in May.
The post Fujifilm X-T4 Review: The Best APS-C Camera on the Market (For a Price) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
If you’re trying to decide whether the Fujifilm X-T4 is the right camera for you, then this comprehensive Fujifilm X-T4 review is exactly what you need.
For several weeks, I’ve been putting Fujifilm’s newest camera through its paces, with the goal of answering a few key questions:
What does the X-T4 offer over the X-T3?
How does the X-T4 compare to other options on the market?
And, ultimately, is the X-T4 worth the price?
All these questions, and more, will be answered in this review.
The Fujifilm X-T4 comes as the latest addition to Fujifilm’s flagship lineup, previously headed by the Fujifilm X-T3. Note that Fujifilm explicitly indicated that the X-T4 does not replace the X-T3, but enters the lineup as a sister model.
In many ways, the X-T3 and the X-T4 are the same; the ergonomics and aesthetics are exceedingly similar, plus you get 26 MP X-trans sensors, dual card slots, and 4K/60p video.
But there are also some fundamental differences. While there’s certainly still room for the X-T3 in a Fujifilm lover’s gear bag, the truth is, the X-T4 is the better camera (though significantly pricier!).
In fact, I’d go so far to say that the X-T4 is one of the absolute best cameras I’ve ever used, and certainly one of my favorites, thanks to its Fujifilm retro charm, as well as its generally strong performance across the board.
Fujifilm X-T4 | Fujifilm XF 16-80mm f/4 | 32.5 mm | 1/250s | f/8 | ISO 200
Fujifilm is in the business of making all-around cameras: Mirrorless models that can do pretty much anything at a high level, from action to landscape to video. The X-T4 is simply another level of this superb well-roundedness, giving a combination of top-notch handling, improved autofocus, blazing-fast continuous shooting speeds, high-powered video, and excellent image quality.
Here are a few key Fujifilm X-T4 specifications:
26 MP APS-C sensor
4K/60p video
Continuous shooting up to 20 fps with electronic shutter (15 fps with mechanical shutter)
3.68M-dot electronic viewfinder
500 shot-per-charge battery
Dual SD card slots
In-body image stabilization
Note that, in purchasing the X-T4, you also get access to Fujifilm’s very impressive array of lenses. Many of these are very reasonably priced, not to mention optically stellar, which is why I consider Fujifilm to be something of a dark horse in the photography world.
That said, there are some drawbacks to buying the X-T4.
While it’s a fantastic all-around camera, it has no particular specialties, which means that it’s probably not the right choice if you’re seeking to capture, say, high-level sports or nothing but detailed HDR landscape photos.
So to find out more about the X-T4, both the good and the bad, read on.
If you’re a long-time Fujifilm shooter, the design of the X-T4 will feel familiar to you. It’s very much in line with the X-T3’s thin, metallic form, though it’s gained a slight amount of bulk, presumably due to the inclusion of IBIS.
For non-Fujifilm shooters, however, holding the X-T4 for the first time may offer a bit of a shock.
First, it feels like a squashed brick; you get a very well-made body, compressed into a compact form. And while the X-T4 does offer a decent-sized handgrip, it’s not as large as what you might expect from a Nikon or Canon camera (and certainly not a Nikon or Canon DSLR), which might take some getting used to.
The Fujifilm X-T4 is weather-sealed, and it feels it; honestly, the whole body just screams durability, which means that you can feel comfortable taking the X-T4 in inclement weather (always important for serious outdoor and nature shooters).
I know I mentioned it above, but I really am a huge fan of the Fujifilm retro aesthetic, which somehow makes the X-T4 feel like less of a finely-crafted tool and more of a camera that works with you.
Handling
As with all Fujifilm cameras, handling is excellent, assuming you don’t mind the old-school dials and switches.
Note that this old-school aesthetic manifests in the form of a dedicated aperture ring on Fujifilm’s lenses, which means that you have to select the aperture by turning the ring on the lens rather than turning a dial on your camera. Also part of the old-school aesthetic is the dedicated ISO, exposure compensation, and shutter speed dials on the top of the X-T4.
I can see how this very external, dial-based handling would annoy some photographers. It’s certainly not built for speed and muscle memory in split-second action, but there’s something really wonderful about setting your shutter speed and ISO via dials on the top of the camera, as opposed to through your camera knobs or touchscreen.
The X-T4’s buttons are well-placed, and I like the focus mode dial on the front (also present on other Fujifilm models); it’s much easier to access in the heat of the moment.
A noticeable upgrade over the X-T3 here is the addition of in-body image stabilization, which allows you to get up to 6.5 extra stops of handholding. This is a huge deal for anyone who frequently shoots in low light, and is a fantastic addition to the X-T4 over the X-T3. In fact, if you haven’t used IBIS before, then you’re going to want to check the X-T4 out immediately. It’s a big help for handheld landscape photography, macro photography, walkaround photography, and much more, further increasing the X-T4’s versatility.
One last handling upgrade worth noting:
The X-T4 comes with a brand-new battery, one that’s rated at 500 images per charge. As with most battery ratings, this one seems to (happily!) undershoot reality. There were at least a few days when I shot over 500 images and still had significant charge left to work with.
For me, and for many shooters out there, this is a big deal. For one, if you’re shooting in adverse conditions, you want to swap batteries as infrequently as possible.
Plus, the better the battery life, the fewer batteries you need to take with you when traveling, for outdoor trips, etc.
The electronic viewfinder looks spectacularly life-like and features a 3.68M-dot resolution. Personally, I neither love nor hate EVFs (they can be great in some situations and terrible in others), but I do think that a minimum resolution of 3.68M-dots is required for good viewing, at least for me, personally, and the X-T4 brings that to the table.
There was never a time when I wished for an optical viewfinder while using the X-T4, and the clarity of the EVF was a huge benefit when working with Fujifilm’s Film Simulation modes (more on these later!).
You also get a fully-articulating rear LCD. This is useful for anyone who prefers to shoot without the EVF to their eye, but it’s especially important for macro photographers, architectural photographers, and landscape photographers in particular; basically, anyone who sets up their camera at odd angles.
With the X-T4’s articulating screen, you can get down-low perspective shots without having to get dirty (and without having to hurt your neck!).
Note that the X-T4’s screen does offer touch functionality, though it’s pretty much limited to setting the autofocus points. This is just fine in my book, because that’s really all I like to use touch screens for since it’s far faster than moving between points with the AF joystick.
Autofocus and Continuous Shooting
The Fujifilm X-T3 was a decent autofocus performer in its own right, but the X-T4 improves on this AF prowess, primarily in terms of tracking. Honestly, I’ve always been impressed by the X-T3’s focusing capabilities, which makes me all the more pleased with the X-T4.
Focusing on still subjects was extremely snappy, even in more difficult lighting situations.
In terms of tracking, I found the X-T4 able to follow predictably moving subjects with ease (e.g., cars), and while my keeper rate wasn’t 100 percent, I was very pleased with the results. Face and eye detection are a bit variable, especially in lower light, but are far from bad.
One of the great things about Fujifilm cameras is the continuous shooting speeds, which are blazing-fast by any metric. On the X-T4, you get 20 fps shooting using the electronic shutter, and this drops to a very respectable 15 fps using the mechanical shutter (up over the 11 fps mechanical shutter on the X-T3).
In fact, continuous shooting is one of the many reasons why the X-T4, and Fujifilm’s top cameras more generally, are such excellent all-around options. While they aren’t really designed as action cameras, you can certainly use them for fast-paced street photography, sports photography, and wildlife photography, assuming you can get the autofocus to work for you.
The X-T4 packs a 26 MP, APS-C sensor, and while it doesn’t offer many changes over the X-T3, it’s still pretty darn powerful.
I tend to be conservative in terms of my tolerance of noise levels, but I feel comfortable pushing the X-T4 to at least ISO 800. Really, noise doesn’t start to become noticeable until around ISO 1600, and images can remain usable through ISO 6400 or so, depending on your purpose.
This is a good performance, especially for an APS-C camera; to my eye, it’s around a half-stop better than the Sony a6600 and pretty much on par with the Nikon Z50. And while the X-T4 can’t quite compete with the full-frame heavy hitters, it’s still plenty useful for photographers seeking a camera that can handle itself in low light.
As mentioned above, one of the benefits of a Fujifilm camera is the film simulation modes, and here the X-T4 doesn’t disappoint. You get 12 high-quality options; it’s a lot of fun to toggle between them, just to see how the world will look with different types of film.
I find these modes to be especially useful for types of shooting where noticeable color grading is acceptable, such as street photography and portrait photography. However, you always have the option of experimenting with film simulation and making changes in post-processing if you’re not pleased.
At the time of writing, the Fujifilm X-T4 costs $ 1700 USD, which is $ 500 USD more than its X-T3 sibling, and is nearly $ 1000 USD more than the X-T30.
And this is where things get a little tricky because while the X-T4 does offer some serious upgrades over the X-T3, I’m just not sure it’s enough to justify $ 500. If I were trying to decide between the X-T3 and the X-T4, I’d feel more tempted by the X-T3, unless I desperately needed the IBIS or autofocus improvements.
Another issue with the X-T4’s price point is that it puts the camera on par with full-frame options such as the Nikon Z6, and only a few hundred dollars cheaper than the Sony a7 III. This isn’t going to make the X-T4 compelling for DSLR photographers looking to make the leap to mirrorless, or non-Fujifilm mirrorless shooters looking for a more powerful camera.
That said, if you’re already a Fujifilm shooter, or you’re a photographer who appreciates the unique design and all-around capabilities of the X-T4, the $ 1700 may be worth it.
But I’m an even bigger fan of the X-T4, mostly thanks to the addition of in-body image stabilization, which makes the camera even more impressive for low-light shooting. It’s the ultimate generalist camera for hobbyists and professionals, and it’s an excellent addition to any kit.
Is the X-T4 the best APS-C camera out there?
Truthfully, I think it is. You get excellent image quality, blazing-fast continuous shooting, great handling, dual card slots, good autofocus, and more.
My only reservation is the price, which feels a bit high compared to the X-T3. But you do get in-body image stabilization, as well as improved autofocus, so if you have the extra money to spend, go for it!
You won’t be disappointed.
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The post Fujifilm X-T4 Review: The Best APS-C Camera on the Market (For a Price) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Tokina has announced the upcoming release of its new SZX Super Tele 400mm F8 Reflex MF, a mirror (or reflex) lens for select full-frame and APS-C camera systems.
The 400mm F8 lens manages to pack an impressive focal length into a relatively compact frame thanks to its catadioptric design. Usually reserved for telescopes, this design choice makes the smaller design possible, but at the cost of having the signature ‘donut’ bokeh, the lack of autofocus and having a fixed aperture.
The lens is constructed of six elements in five groups, offers a 1:2.5 magnification ratio and measures in at just 355g (11.82oz). It’s 74mm (2.91”) diameter and 77mm (3.03”) in length.
To make the lens as versatile as possible, the SZX Super Tele 400mm F8 Reflex MF has a 0.75mm pitch and 42mm thread mount that can be used with adapters to work with nearly any camera system. In addition to offering the base lens without an adapter, Tokina is also selling versions with included adapters for Canon EF, Nikon F, Sony E, Fujifilm X and Micro Four Thirds camera systems.
Below are a few sample photos taken with the lens, provided by Tokina:
Tokina says the lens is set to launch on August 7, but no pricing information has been given at this time. You can find out more about the lens and its design philosophy on Tokina’s product page.
The post Nikon to Release Full-Frame Z5 and APS-C Z30 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
For months now, we’ve been hearing rumors about several new Nikon cameras debuting in 2020.
But just last week, Nikon Rumors revealed several nuggets of information regarding these new mirrorless models.
First, one of these cameras will likely be called the Nikon Z5, and will be a full-frame mirrorless body a step below Nikon’s current Z6.
The other Z-series model is labeled the Nikon Z30, which will sit underneath Nikon’s Z50 as the second APS-C mirrorless model in Nikon’s lineup.
Nikon Rumors also predicts a Nikon professional mirrorless camera (often referred to as the Nikon Z8 or the Nikon Z9) coming in “late 2020 or in early 2021.”
Thus far, Nikon’s mirrorless lineup has remained fairly limited, especially when ranged against competitors such as Sony and even Canon. Aside from the Nikon Z50, which debuted in October 2019, we’ve seen no new mirrorless models from Nikon. So the predicted Nikon Z30 and Nikon Z5 should inject some much-needed options into the Nikon ecosystem, especially for entry-level snappers who require a more powerful alternative to compact cameras, smartphones, and APS-C DSLRs.
The truth is, Nikon has lagged behind both Sony and Canon in the mirrorless race. It wasn’t until last year that Nikon offered a single APS-C mirrorless body, the Z50, a camera that remains out of the reach of many consumers thanks to its near-$ 1000 USD price tag. The addition of a Nikon Z30 should help round out the bottom part of Nikon’s lineup, and hopefully indicates Nikon’s commitment to expanding into the affordable mirrorless market.
On the other end of Nikon’s lineup, we have the Z6 and Z7. But while these two cameras are well-regarded in the photography community, Nikon still lacks a full-frame model positioned against the Canon EOS RP, as well as (potentially) the upcoming Canon EOS R6, a gap which the new Z5 will likely seek to fill.
Interestingly, another recent rumor suggests that the Z5 may not include a built-in electronic viewfinder, but will instead offer it as an accessory. Personally, I find this questionable; if Nikon decides to test this design, I’d expect it to happen in one of the lower-end cameras, potentially even the Z30. But not in the Z5, Nikon’s only full-frame mirrorless body to debut since 2018.
Regardless, we should know soon enough! And if you’re a photographer looking for a cheaper Nikon mirrorless body, keep your eyes peeled. We should have more news before long!
Now over to you:
Which of these mirrorless models are you more excited about? And do you think Nikon would drop the built-in EVF on the Z5? Let us know your thoughts in the comments!
The post Nikon to Release Full-Frame Z5 and APS-C Z30 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
In a video published on YouTube, Ricoh has announced details of its upcoming flagship Pentax APS-C DSLR. The company was originally going to make tshe announcement at CP+ 2020, but the show was cancelled due to the coronavirus. A prototype of the camera was shown at an event in the Netherlands last fall.
According to Ricoh, the most notable feature on this as-yet-unnamed camera is its entirely new optical viewfinder, which uses a special glass that ‘excels in refraction’. The company is targeting a magnification of 1.05x (0.7x 35mm-equivalent), which is the same as on the full-frame K-1. An eye sensor below the viewfinder automatically dims the LCD panel, and the eye cup protrudes further away from the back of the camera than previous models. The shape of the pentaprism is a bit different, as well.
Ricoh claims that autofocus subject tracking has been improved, without providing further detail.
A battery grip will be available for the camera, which will share the same dials and AF joystick as the body.
Ricoh says that despite the coronavirus delaying the introduction of the camera, the company hopes that it will still ship on schedule by the end of the year.
Yongnuo has announced the YN50mm F1.8S DA DSM, it’s newest autofocus ‘nifty/thrifty fifty’ lens for Sony E-mount APS-C camera systems.
Yongnuo currently offers 50mm F1.8 lenses for both Canon EF-mount and Nikon F-mount, but this new ‘nifty fifty’ is designed specifically for use with Sony’s a6000 series mirrorless cameras.
The lens is constructed of eight elements in seven groups, including one low-dispersion element to minimize aberrations. Yongnuo says the lens also features a seven-blade aperture diaphragm, gold-plated contacts with a metal bayonet mount and a ‘nanometer multi-layer coating’ to minimize ghosting and flares. The internal autofocus is driven by a digital stepping motor (DSM) and the lens offers an onboard Micro USB port for upgrading the firmware.
The lens doesn’t currently have a price or release date, but considering Yongnuo’s previous lenses sought to undercut the already-affordable ‘nifty fifty’ lenses on the market, you can count on this one coming in very cheap when it hits retailers’ shelves. The lens measures in at 58mm (2.3in) long, 64mm (2.5in) diameter and weighs roughly 146g (5.15oz).
Viltrox has announced the release of its new 33mm F1.4 APS-C autofocus lens for Canon EF-M mount, Sony E-mount and Fujifilm X-mount camera systems as well as the impending arrival of a 20mm T2 cinema lens for L-mount camera systems.
33mm F1.4 APS-C lens
The Viltrox 33mm F1.4 APS-C lens is one of the three APS-C lenses it teased back in August 2019. The autofocus lens is constructed of ten elements in nine groups, including one extra-low dispersion (ED) element and one high-refraction element.
It features Viltrox’s ‘noiseless’ stepping motor (STM focus motor) for driving the autofocus unit, features an aperture range of F1.4 through F16, uses a nine-blade aperture diaphragm, has a minimum focusing distance of 40cm (15.75in) and uses an ‘HD Nano’ multilayer coating on an unspecified number of elements to help improve water resistance and minimize chromatic aberration.
No dimensions are given for the lens in the press release, but it weighs 270g (9.5oz) and uses a 52mm front filter thread. Viltrox says pre-orders will open tomorrow on its website, with a retail price of $ 279.99.
Viltrox also told us to expect other ‘lens(es)’ to launch sometime in May, likely a nod to the 23mm and 56mm F1.4 lenses in Viltrox’s APS-C lineup.
20mm T/2 L-mount cinema lens
Viltrox has also shared the details of its forthcoming 20mm T/2 cinema lens for L-mount camera systems.
The lens will be constructed of 12 elements in 9 groups, include one double-sided aspherical element, four ED elements and one short wave-length, highly-transparent element. Like the 33mm F1.4 APS-C lens, the 20mm T/2 lens offers Viltrox’s ‘HD Nano’ coating on an unspecified number of elements.
The lens has a minimum focusing distance of 25cm (9.8in), has an aperture range of T2 through T16, uses a 14-blade aperture diaphragm and uses an 82mm front filter thread. It will measure in at just over 100mm (4in) long, 80mm (3.15in) diameter at the front and will weigh 808g (28.5oz).
No specific release date or pricing information has been given at this time, with ‘coming soon’ being the only indicator so far. We have contacted Viltrox for more information and will update this article if we receive further information.
New lenses are getting better than ever, but sometimes it feels like prices are rising to stratospheric levels. Chris and Jordan share their picks for the best budget lenses for Canon APS-C DSLRs.
Want us to make similar videos for other brands? Let us know in the comments! Also make sure to check out our sample galleries for some of the featured lenses below.
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