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Posts Tagged ‘Sony’

Sony 70-200mm F2.8 GM OSS II sample gallery

13 Oct

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Sony’s latest lens, the FE 70-200mm F2.8 GM OSS II, brings all new optics to one of the core products in the company’s G Master line of premium lenses. We’ve had a chance to see how Sony’s latest 70-200mm F2.8 performs in a variety of situations with some sunny Fall weather around Seattle. Take a look and see how it performs for yourself.

Articles: Digital Photography Review (dpreview.com)

 
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Tamron Announces an Eye-Catching Travel Zoom, the 35-150mm f/2-2.8 for Sony

02 Oct

The post Tamron Announces an Eye-Catching Travel Zoom, the 35-150mm f/2-2.8 for Sony appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Tamron announces the 35-150mm f/2-2.8 zoom lens

Tamron has unveiled a uniquely versatile zoom lens, the 35-150mm f/2-2.8 Di III VXD for Sony E-mount cameras.

Perfect for travel and other on-the-go photographers, the lens features an impressive focal length range, spanning from wide-angle (35mm) through standard (50mm) to telephoto (150mm) focal lengths. At the wide end, capture beautiful landscapes, architectural scenes, and environmental portraits; in the middle, shoot tighter landscapes, portraits, and street scenes; toward the end, capture headshots, architectural details, and even the occasional bird or animal.

But the most impressive feature of the Tamron 35-150mm lens is not its focal length, but its aperture range:

f/2 at 35mm, narrowing to f/2.8 by 150mm, in what Tamron is billing as the “world’s first mirrorless zoom lens with a maximum wide-open aperture of f/2.”

It feels groundbreaking. Even versatile f/2.8 zooms are hard to come by, yet Tamron’s 35-100mm takes this a step farther, guaranteeing tremendous low-light performance at the wide end (and a respectable low-light performance at 150mm, too). And Tamron promises another wide-aperture benefit: “enhanced, beautiful bokeh…even on the wide-angle end of the lens’s focal range.”

Image quality will be top-notch, according to Tamron, “[t]hanks to the latest optical design featuring four LD (Low Dispersion) and three GM (Glass Molded Aspherical) lens elements optimally arranged.” Expect outstanding sharpness at every focal length, both in the image center and in the corners, ideal for detailed landscape photography, architectural photography, and even commercial work.

Tamron is pushing the 35-150mm as a “travel zoom,” and the wide maximum aperture and versatile zoom range ensures that the lens will satisfy even the most demanding of travel shooters. It’s compact, too, especially for an f/2.8 (and f/2) lens, and Tamron’s VXD focusing motor offers fast focusing, useful for those travel photographers who enjoy photographing action – or for sports and action photographers more generally.

Unfortunately, a pro-level, all-in-one zoom lens doesn’t come cheap, though the $ 1899 USD price tag is reasonable given the outstanding feature set. The lens is currently available for preorder, and you can expect a ship date toward the end of October, though Tamron does note that, “[d]ue to the current global health crisis, the release date or product supply schedule could change.” 

Regardless, if you’re interested in a powerful zoom lens for travel photography, landscape photography, and so much more, check out the Tamron 35-150mm f/2-2.8.

Now over to you:

What do you think of this new lens from Tamron? And what do you think of the price? Will you consider purchasing it? Share your thoughts in the comments below!

The post Tamron Announces an Eye-Catching Travel Zoom, the 35-150mm f/2-2.8 for Sony appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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The Sony a7 IV Will Launch in October With a 33 MP Sensor

29 Aug

The post The Sony a7 IV Will Launch in October With a 33 MP Sensor appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

the Sony a7 IV will launch in October with a 33 MP sensor

The long-awaited Sony a7 IV will likely debut in October, boasting a brand-new sensor, improved in-body image stabilization, and more.

This comes from Sony Alpha Rumors, who recently reported on an a7 IV announcement delay; thanks to a chip shortage, the a7 IV’s original September 2021 announcement date has been pushed to October. Unfortunately, the shortage will affect a7 IV availability, and you can expect “that supplies will be limited during the first months” of a7 IV shipments.

While few a7 IV specs have been released – and none have been unveiled directly by Sony – Sony Alpha Rumors has managed to paint a picture of the upcoming camera. Most notably, the a7 IV will include a new 33 MP sensor, not a redesign of the standard 24 MP sensor found in the a7 III. This will offer users enhanced cropping and printing capabilities over previous a7 models, and will undoubtedly appeal to the “do-everything” camera crowd, who require a camera that can handle action, detail work (e.g., landscapes, product photography), and more.

A 33 MP sensor would also push the a7 IV past the 30 MP Canon EOS R and far beyond the 20 MP EOS R6. Sony Alpha Rumors claims that “Sony’s goal with the a7 IV is to really fight back with Canon,” and that you can expect the new camera “to be more than an ‘updated’ Sony a7 III.”

What else will the a7 IV offer? The new camera will feature slightly improved in-body image stabilization over its predecessor (5.5 stops versus 5 stops). And older rumors hint at an updated electronic viewfinder – 3.69M-dot resolution versus the a7 III’s 2.36M dots. While the a7 III’s EVF was respectable for its time, a resolution boost is certainly in order, though no doubt some Sony fans will wish for a 5.76M-dot viewfinder to match the a7R IV and the Canon EOS R5.

And you can also expect 4K/60p video, “top-notch” autofocus and image quality, plus improved sensor readout speeds.

As for the price: Back in late 2020, Sony Alpha Rumors suggested a $ 2499 USD tag – $ 500 USD more than the a7 III at the time of launch, yes, but given Sony’s aims for the a7 line, the price seems plausible.

Regardless, if you’ve been waiting for the a7 IV, it won’t be long now. So keep an eye out for the official announcement!

Now over to you:

What do you think of the rumored a7 IV specifications? Are you pleased? Frustrated? What do you hope to see in an a7 IV? Share your thoughts in the comments below!

The post The Sony a7 IV Will Launch in October With a 33 MP Sensor appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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The UK’s largest news agency announces partnership with Sony

23 Aug

The largest national news agency in the United Kingdom and Ireland, PA (formerly known as the Press Association), has announced a deal with Sony to have its photographers shoot with Sony cameras and lenses.

PA was founded 153 years ago, in 1868, and its parent company is PA Media Group Limited. PA Media Group Limited is a private company owned by 26 shareholders that are primarily UK-based newspapers, like the Daily Mail.

PA has over 90 staff photographers and video journalists working in the UK and Ireland, and the process of switching them all over to Sony’s full-frame Alpha mirrorless cameras and Cinema cameras, like the FX3, has begun.

Sony UK writes, ‘With developments in the quality of still and video technology and specifically the introduction of Sony’s full frame silent shutter mode and remote capture it has meant that journalists and photographers have been able to adapt and shoot in situations not possible before – for example silently during broadcast – a key requirement for official engagements, where most recently the Sony Alpha 9 II has been used. Remote shooting is becoming a more common requirement, so being able to control cameras and send images quickly and efficiently to the newswire, is key for success. Along with a close working relationship with the Sony UK Pro team, it is for these reasons that Sony imaging kit was selected as the preferred choice.’

Beyond Sony A9 II and Sony FX3 cameras, additional full-frame cameras will be used. Cameras will be paired with a wide range of Sony E-mount lenses, including several G Master models, like the FE 24-70mm f/2.8 GM, FE 70-200mm f/2.8 GM OSS, FE 135mm f/1.8 GM and FE 400mm f/2.8 GM OSS.

PA members will be receiving their kit personally from Sony, along with product setup support and regular training. After all, some photographers have likely been working with non-Sony equipment for a long time, and there will probably be an adjustment period.

‘We are extremely honored to announce this collaboration with PA Media, the largest press agency in the UK and Ireland. We are incredibly proud to be working alongside them to deliver best in class photography and videography for news and sports to their clients,’ said Yasuo Baba, Director Pro Business, Sony Europe, ‘The partnership and on-going relationship will not only help us develop our camera system further but allow us to better serve their professional photographers and video journalists in future, giving them the opportunity to capture, transmit and deliver imagery in ways they never could before.’

Martin Keene, Group Picture Editor at PA Media Group, added, ‘Sony’s silent shutter, superb lenses and brilliant sensors, along with the relationship that we have built-up with them over the past few years made the switch an easy choice.’ Keene also discussed the support PA has received from Sony as a reason for the switch. Keene added, ‘It’s a big investment, but the opportunity to have all of our team using the same brand new, state-of-the-art kit is both rare and really worthwhile, and will make a real difference to the quality of the pictures that our customers see.’

This news from the UK and Ireland comes just over a year after The Associated Press announced that it partnered with Sony to exclusively provide its visual journalists with Sony camera gear. The AP’s undertaking was massive, including journalists in more than 250 locations across 100 countries being supplied with Sony cameras, lenses and accessories. Last July, the AP said, ‘A wide variety of Sony’s imaging solutions products will begin delivery immediately, including the full-frame mirrorless Alpha cameras, FS series professional video cameras and an assortment of Sony’s 57 E-mount lenses including G Master models.’

At the time of AP’s big move, we interviewed J. David Ake, Director of Photography at The Associated Press, to discuss the switch to Sony equipment. To learn more about the switch, including what motivated the AP’s partnership with Sony, read the full interview.

It wasn’t long ago that photojournalism was dominated by Canon and Nikon DSLR cameras. How things have changed in a short period.

Press release:

SONY BECOMES KEY CAMERA SUPPLIER FOR PA MEDIA GROUP

Sony Europe announces partnership making Sony supplier of Imaging kit for PA Media Group’s (formerly the Press Association’s)still photographers and video journalists.

With over 90 staff photographers & video journalists working for PA, based in the UK and Ireland, the process for switching has begun and kit lists are made up of Sony’s full-frame mirrorless Alpha™ camera series, includingthe Cinema Line Camera FX3. These will be paired with a broad selection from Sony’s E-mount lenses including several G Master™ modelsFE 24-70mm F2.8GM, FE 70-200mm F2.8 GM OSS, FE 135mm F1.8GM and the FE 400mm F2.8GM OSS. The PA team members have been receiving their kit personally along with a product setup support from the Sony UK Pro team.

Being the largest press agency in the UK and Ireland, the PA team providesimages from key events throughout the year including major annual sporting events through to the biggest news stories and momentous official events and engagement.

With developments in the quality of still and video technology and specifically the introduction of Sony’s full frame silent shutter mode and remote capture it has meant that journalists and photographers have been able to adapt and shoot in situations not possible before – for examplesilently during broadcast – a key requirement for official engagements, where most recently the Sony Alpha 9 II has been used. Remote shooting is becoming a more common requirement, so being able to control cameras and send images quickly and efficiently to the newswire, is key for success. Along with a close working relationship with the Sony UK Pro team, it is for these reasons that Sony imaging kit was selected as the preferred choice.

Regular training and support will also be available for the PA team to ensure that this continues, and to keep them at the forefront of what Sony imaging technology can deliver

“We are extremely honoured to announce this collaboration with PA Media, the largest press agency in the UK and Ireland. We are incredibly proud to be working alongside them to deliver best in class photography and videography for news and sports to their clients,” said Yasuo Baba, Director Pro Business, Sony Europe, The partnership and on-going relationship will not only help us develop our camera system further but allow us to better serve their professional photographers and video journalists in future, giving them the opportunity to capture, transmit and deliver imagery in ways they never could before”

Martin Keene, Group Picture Editor at PA Media Group, said: “Sony’s silent shutter, superb lenses and brilliant sensors, along with the relationship that we have built-up with them over the past few years made the switch an easy choice.

In addition, we have had first-class support from the Sony team in the UK to make the swap and ensure that our photographers can go out and use the kit the next day. Having both stills and video cameras from the same manufacturer simplifies the workflow and colour balance across both genres.

It’s a big investment, but the opportunity to have all of our team using the same brand new, state-of-the-art kit is both rare and really worthwhile, and will make a real difference to the quality of the pictures that our customerssee.

Articles: Digital Photography Review (dpreview.com)

 
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Tamron Unveils the 28-75mm f/2.8 G2 for Sony, With Enhanced Image Quality and AF

06 Aug

The post Tamron Unveils the 28-75mm f/2.8 G2 for Sony, With Enhanced Image Quality and AF appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Tamron unveils the 28-75mm f/2.8 G2 with enhanced IQ and AF

Three years ago, Tamron announced the 28-75mm f/2.8 Di III RXD for Sony, a powerful lens that made its way into the bags of many photographers – and now the company is back for more. This week, Tamron revealed the 28-75mm f/2.8’s successor: the 28-75mm f/2.8 Di III VXD G2, which packs several significant upgrades, along with all the features that made the first 28-75mm f/2.8 such a hit.

And the original 28-75mm f/2.8 certainly was well-received. According to many a reviewer, the lens combined a compact build, a wide maximum aperture, speedy autofocus, and stellar image quality, not to mention a focal length range that performed well in pretty much every scenario, from portraits and landscapes to events and more. And then, of course, was the price; at well under $ 1000, the 28-75mm positioned itself as the affordable alternative to Sony’s 24-70mm f/2.8 GM lens and even undercut Sigma’s low(ish)-cost 24-70mm f/2.8 Art lens for Sony.

So what does the upcoming 28-75mm f/2.8 offer over its predecessor?

Mainly optical and autofocus upgrades. According to Tamron, you can expect “significantly improved optical and autofocus performance” – specifically, the 28-75mm will likely offer enhanced sharpness thanks to an optical redesign, and Tamron promises “higher autofocus speed with greater precision,” perfect for photographers who tackle sports and other action subjects.

The lens will also feature an increased maximum magnification (from 1:2.94 to 1:2.7), helpful for the occasional detail shot. And Tamron hints at “a new design in the pursuit of enhanced operability and ergonomic texture,” though the company also makes clear that the 28-75mm f/2.8 will offer “the well-received compact size of its predecessor.” In other words: better ergonomics, but in the same small package.

While we don’t yet know the price of the new 28-75mm, expect it to match or only slightly exceed that of the original lens – a bargain, giving the lens’s undoubtedly outstanding optical performance, speed, and low-light capabilities. 

Tamron also emphasizes the lens’s integration “with [a] new ‘Tamron Lens Utility’ software” for “personal customization [that] gives flexible shooting options to match the shooting situation.” For instance, the Lens Utility software will let you adjust the aperture via the focus ring, focus at predetermined positions, and more. 

If you’re after a budget f/2.8 lens for Sony, one that spans from wide-angle to standard telephoto and punches far above its weight in optics and autofocus, then keep an eye out for the 28-75mm f/2.8 G2. Tamron suggests a 2021 release date, so you shouldn’t have long to wait!

Now over to you:

What do you think of the new 28-75mm f/2.8 for Sony? Have you used the original? Are there any upgrades you would like to see that are missing from the updated version? Share your thoughts in the comments below!

The post Tamron Unveils the 28-75mm f/2.8 G2 for Sony, With Enhanced Image Quality and AF appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Sony to announce a new camera in the next 24 hours

26 Jul

Earlier this month, Sony was set to release a new camera. However, the July 7th announcement was postponed for unspecified reasons. At the time, no information was provided as to when we could expect the new camera, but Sony has updated its website to announce the product will be released via a YouTube Premiere at 23:00 JST on July 27, 2021 (10am EDT, 7am PDT July 27).

The initial announcement graphic, which shows the original expected announcement date of July 7, 2021. The updated announcement graphic, which shows the new announcement date of July 27, 2021.

The updated graphic shows the same ‘Capture more of your world’ tagline seen in the original announcement as well as a microphone windscreen atop a rainbow-gradient background. No further information is provided, but the graphic does confirm we will see a new camera within the next 24 hours (barring a last-minute postponement).

You can set a reminder to be notified and watch the announcement on Sony Japan’s YouTube channel (or just keep this page open in your browser and watch using the above embedded YouTube video).

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Nikon Z7 II versus Sony a7R IV for landscapes

24 Jul

In this week’s episode of DPReview TV, Chris compares the Nikon Z7 II and Sony a7R IV for landscape photography, with a close look at their displays, image quality, lens lineups and more.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • Sample photos
  • Displays
  • Important differences
  • Dynamic range
  • Resolution
  • High ISO
  • Lens lineup
  • Focus stacking
  • Time-lapse
  • Which should you buy?

Articles: Digital Photography Review (dpreview.com)

 
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Tamron Launches Gorgeous 18-300mm Zoom for Fujifilm (and Sony)

23 Jul

The post Tamron Launches Gorgeous 18-300mm Zoom for Fujifilm (and Sony) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Tamron launches 18-300mm zoom for Fujifilm and Sony

Earlier this week, Tamron unveiled the 18-300mm f/3.5-6.3 Di III VC VXD, an all-in-one lens designed for both Sony E-mount and Fujifilm X-mount cameras.

While Tamron has spent several years perfecting mirrorless lenses for the Sony E-mount, the company has not yet launched glass for Fujifilm users. The announcement hints at a new direction for Tamron; assuming the X-mount version is sufficiently popular, you can expect future Fujifilm-compatible lenses, a major win for Fujifilm’s dedicated fanbase.

The lens itself draws on Tamron’s experience with flexible zooms and will sit alongside products such as the 28-200mm f/2.8-5.6. According to Tamron, the 18-300mm “is the world’s first all-in-one zoom lens for Sony and Fujifilm APS-C mirrorless cameras featuring a 16.6x zoom ratio,” and indeed, the zoom range is remarkable. At 18mm, you can capture landscapes, wide street shots, and architectural shots. And at 300mm, you can photograph tight telephoto landscapes and even some birds, thanks to a near-500mm field of view (with the crop factor applied). Then there are the midrange focal lengths, and you can use these for portrait photography, sports photography, and much more.

If you enjoy capturing the occasional close-up shot of insects or flowers, then you’ll love the 18-300mm’s close-focusing capabilities. You can shoot at up to 1:2 magnification, perfect for casual macro photography (and you’ll even be able to capture an abstract close-up or two for variety).

Tamron also promises “extremely fast and precise autofocus – the highest level in its class.” As you can imagine, this is a big deal for fast-paced travel and street shooting, not to mention bird and wildlife photography. Users will need to be content with a relatively narrow maximum aperture (f/6.3 on the long end, f/3.5 on the wide end), but the Vibration Compensation should offset this problem somewhat when shooting in low light.

Of course, when purchasing a lens, a lot hinges on optical quality, and superzooms are notoriously finicky – though Tamron promises “high-resolution performance” and “high image quality that is among the best of all all-in-one zoom lenses.” Bottom line, the 18-300mm is bound to work for photographers aiming to keep their backpack lightweight and minimalistic. For the right shooter, this lens could genuinely replace an entire bag of glass, saving on space, money, and more.

So if you like the sound of a convenient superzoom and you’re a Fujifilm or Sony user, keep an eye out for the 18-300mm f/3.5-6.3. While the price hasn’t yet been revealed, bank on a Fall 2021 release date and prepare for some fun photoshoots!

Now over to you:

What do you think about the Tamron 18-300mm? Is it a lens you’d be interested in? What would you use it for? Share your thoughts (and images) in the comments below!

The post Tamron Launches Gorgeous 18-300mm Zoom for Fujifilm (and Sony) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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New Sony a1 firmware update (version 1.10) addresses EVF and IBIS issues some users were experiencing

29 Jun

Sony has released a firmware update for its a1 camera that addresses, amongst other things, in-body image stabilization (IBIS) and electronic viewfinder (EVF) blackout issues some users have been experiencing.

Before getting to the new details of the version 1.10 firmware update for the Sony a1, let’s look at what led to the EVF and IBIS issue being discovered.

Last month, photographer and DPReview forum member Jamieson Dean (f1point4andbethere) shared in a post on our Sony E-mount forum that he was having issues with the IBIS in his then-new Sony a1. In the video demonstration (embedded below) he shared in the post, Dean shows how his Sony a1 unit would delay the activation of the IBIS mechanism with both Sony and third-party lenses.

In replies to Dean’s original forum post, other photographers chimed in and said they too had been experiencing IBIS issues with their respective a1 units, while others also noted there was an issue with the EVF of their a1 units blacking out at times. Eventually, Dean was able to get in contact with Sony to replace his a1, but the new unit had the same IBIS problem. In fact, as visible in the below comparison video, the problem was even more pronounced in the replacement a1.

‘I don’t believe my usage of the camera is outlandish,’ said Dean in a follow-up post. ‘I have had this issue with both my original A1 as well as the replacement that Sony gave me […] It occurs with all non-stabilized lenses, and happens roughly 50% of the time for me during normal use.’

Now, over a month later, it seems Sony has addressed EVF and IBIS issues, even if it hasn’t specifically addressed the latter in its firmware update changelog:

  • Improves overall AF performance and stability
  • Improves operability when using the Remote Camera Tool app Note: Make sure you have updated the Remote Camera Tool app to the most recent version
  • Improves eye sensor detection performance with strong light sources, such as sunlight [this is believed to be the issue behind the EVF blackout problem]
  • Improves operational stability when using the Imaging Edge Mobile apps
  • Improves operational stability when using the SEL100400GM, SEL200600G, or SEL600F40GM lens
  • Improves the overall stability of the camera

As visible in a new video from Dean, the 1.10 firmware update fixes the lag previously seen in both of Dean’s a1 camera units. Dean says ‘the ibis is flawless now’ and notes ‘it’s working at least on par with [his] a7 III now’ in new forum posts made today.

Regardless of whether or not you were experiencing any of these issues, firmware version 1.10 for the Sony a1 appears to be substantial from a reliability and usability standpoint, so be sure to download it using the link below.

Download firmware version 1.10 for Sony a1

Articles: Digital Photography Review (dpreview.com)

 
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Scoring explained: Why we think the Fujifilm GFX 100S’ peers are cameras half its price (NOT the Sony a1)

23 May
I’m, at best, a keen enthusiast photographer but the GFX 100S’ strengths are all in areas that benefit the kinds of photos I like to take (everyday scenes, landscape, portraiture), whereas the a1’s aren’t: its speed would be utterly wasted on me.

The GFX 100S is one of the highest-end cameras we’ve ever reviewed, which has the effect of making it a difficult camera to review. I wanted to write a little bit about that challenge, why we compared it with full-frame cameras, and yet didn’t compare it to others.

The main difficulty of reviewing a medium-format camera is that there’s a class of wildly expensive, essentially pro-only camera bodies beyond it, that we don’t cover. And, while Phase One has been kind enough to lend us some cameras and digital backs in the past, I wouldn’t claim to have used them enough to form an opinion worth publishing. It could be argued that without testing it in a series of studio shoots, it’s not really practical to form an opinion worth publishing.

The GFX 100S seems pricey when compared to most full-frame cameras but is comparatively affordable for something offering beyond full-frame image quality.

It’s a similar challenge with the more ambitious video gear we’re starting to encounter. Obviously the world of ALL CAPS cinema cameras from ARRI and RED exists beyond the more accessible likes of the Sony FX3 and Panasonic S1H, so how can we put the more affordable models in context? How can you review them properly?

The clue both for ‘affordable’ medium-format and video-focused hybrids, is that they’re at the upper extreme what we test. In other words, they’re the option you might reach for, if you go beyond the level of gear we usually cover. And, in turn, that explains why we tend to compare them to the level of gear below: because that’s the alternative you might otherwise settle for.

The comparative accessibility of the GFX 100S means it’s likely that some photographers who’d otherwise buy something like a Canon EOS R5, Sony a7R IV or Nikon Z7 II might consider stretching their budget to get one. At which point, it’s important that our review makes sense of the difference.

So why didn’t we compare it with the Sony a1 if we’re comparing it to full-frame cameras?

It’s understandable why some people draw parallels between the Fujifilm GFX 100S and the Sony a1. For a start, they were released at a similar time, so the earlier camera will have still been very fresh in the mind when the second was launched. Also, both cameras cost a similar amount of money. Finally, they’re both cameras that try to offer something beyond the latest fast-ish high resolution full-frame models. So why, if it makes sense to compare both with the likes of the Canon EOS R5, aren’t we comparing them to each other?

The Canon EOS R5 is high res, fast, and a pretty capable video camera. You have to spend a fair amount more money to get something significantly more capable. The Fujifilm and Sony offer very different types of ‘more.’

Quite simply because, while all the above is true, the comparison falls apart as soon as you look at precisely what they offer over high-res full-frame. The a1 offers speed (of both shooting and autofocus), along with 8K video and photojournalist-friendly communication options. The GFX 100S offers resolution and image quality in a way that is likely to delight landscape shooters and studio-based pros. There’s no real overlap in the things they offer over the more affordable cameras.

There’s no real overlap in the things they offer over the more affordable cameras.

The context for each camera is also rather different. Whereas $ 6500 is fairly typical for a flagship sports camera, it’s comparatively inexpensive for a medium-format camera offering a step up in image quality.

It’s easy to argue that the a1 is the more impressive technological achievement: its cutting-edge sensor raises the level of what mirrorless cameras can do (at least until we’ve seen what Nikon and Canon’s Stacked CMOS cameras are capable of). And it’s a project with no obvious corner cutting: none of the stripped-down video capabilities of the a9 series, for instance. By contrast, the GFX 100S has been reworked by the engineering and marketing departments to make the original GFX 100’s capabilities accessible to a wider audience.

In addition to speed of shooting, speed of AF and impressive video, the a1 offers a range of pro-friendly features, including an Ethernet connection.

Which is why, as hard as we’ve tried to make our scoring system coherent across categories, you can’t just look at the numbers and say ‘the Sony scored 3% more, and hence is better, without qualification, than the Fujifilm’. It’s a level of nuance that is never going to be conveyed by a single number (or a single number and an award).

Instead our reviews spell out the basis on which the conclusion was drawn. The ‘How it compares…’ section of our reviews lists what we believe a camera’s peers to be, and why. We then explicitly detail the pertinent real-world differences after the conclusion.

Reviewing always gets more difficult when it comes to extremes of price and performance, which is why we try to contextualize how these exotic outliers compare to the more affordable options. Because ultimately, our job is to provide a basis from which people can make informed decisions (whichever way they decide), not to award bragging rights.

Articles: Digital Photography Review (dpreview.com)

 
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