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How does the Fujifilm GF 30mm F3.5 stack up to other lenses for Fujifilm’s medium format system? In this gallery from DPReview TV we feautres samples that assess sharpness, bokeh, flare and more.
The GF 30mm F3.5 R WR is a wide angle prime lens for Fujifilm’s medium format GFX system, with a focal length equivalent to 24mm on full frame. It offers impressive sharpness, but not without a few compromises. Watch our review to learn more.
Subscribe to our YouTube channel to get new episodes of DPReview TV every week.
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Articles: Digital Photography Review (dpreview.com)
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Venus Optics has announced it’s now offering six of its most popular Laowa lenses for L-mount camera systems. The new lenses feature the same optical designs as their respective DSLR and mirrorless equivalents but are designed specifically for use with Leica CL, Leica SL, Panasonic S1 and Sigma fp cameras.
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The six ‘new’ L-mount lenses are as follows:
Aside from dimensions and weight, which vary only slightly, the specifications for each of the lenses are the same as the other mirrorless-mount versions of each lens. As a refresher though, Venus Optics has provided the following specification overview chart.
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As noted in the above chart, each lens retails for the same price as their other mirrorless mount equivalents. You can find out more about each of the lenses by going to Venus Optics’ website.
Press release
Press Release
Anhui China, Jun 24, 2020 – Venus Optics, the manufacturer specialized in making unique photo and cinema lenses, add the L-mount option on six of their existing Laowa wide angle & macro lenses. These L-mount lenses can currently be used on Panasonic S1 series , Sigma FP and Leica SL/CL cameras.
Wide Angle
Macro
Laowa 10-18mm f/4.5-5.6
Laowa 10-18mm is currently the widest rectilinear zoom lens available in the market for full frame cameras. With the small form factor, the lens is extremely handy for landscape and travel photographers. A rear filter slot is designed for using ND filters.
Laowa 12mm f/2.8 Zero-D
Laowa 12mm is the flagship model of Venus Optics and is currently the widest rectilinear f/2.8 lens in the market for full frame cameras. The lens features a close- to-zero distortion as well as a ultra-fast aperture. It is extremely popular among astro and landscape photographers.
Laowa 15mm f/2 Zero-D
Laowa 15mm f/2 Zero-D lens is another flagship model of Venus Optics and it features an extremely fast f/2 aperture. Unlike other wide angle lenses with bulgy front element, the 72mm filter thread is an extremely convenient feature for landscape and astro photographers. The lens is good for both photographers and videographers. Similar to the 12mm f/2.8, this 15mm can also cover the full frame sensor as well as having a close-to-zero distortion.
Laowa 15mm f/4 Wide Angle Macro
Laowa 15mm f/4 lens is currently the widest 1:1 macro lens in the market. The combination of deep depth of field and 1:1 magnification enables photographers to take photos like nobody else. Not only can small subjects appear huge in the photos, its background information (e.g. habitat) can also be visible in the photos. This lens can cover full frame sensor and is equipped with a simple +/- 6mm shift mechanism.
Laowa 65mm f/2.8 2X Ultra-Macro
Laowa 65mm f/2.8 2X Ultra-Macro is a 2:1 macro lens that Venus Optics have designed specially for mirrorless APS-C cameras. The extended macro range is extremely welcomed by macro photographers who was having difficulty in shooting small subjects. The compact and lightweight lens body matches balance with the camera really well.
Laowa 100mm f/2.8 2X Ultra-Macro APO
The award winning 100mm macro lens is one of the flagship macro lens offered by Venus Optics. Apart from the 2:1 magnification, the lens also features an extremely good control of chromatic aberrations control. The lens is able to focus from 2:1 magnification till infinity focus and cover full frame sensor.
Pricing & Availability
The new L-mount lenses are currently available to order in Venus Optics official webstore and their authorized resellers. Pricing is the same as the other available mounts and they vary in different countries. Shipping will start from August onwards.
Canon has made it known that heating issues place limitations on video recording with its new EOS R5 and R6. However, as Johnnie Behiri of Cinema5D has pointed out in his new ‘First Look’ video, the practical impact is ‘completely different’ than you might expect, from seeing an estimated capture time on paper.
To test out his pre-production EOS R6 camera, Behiri shot a mini-documentary in Japan titled ‘Never Say No.’ While the mini-doc, which is sandwiched inside the ‘First Look’ video, looks fantastic, capturing it wasn’t nearly as great an experience as Behiri was hoping.
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| A screenshot from the video showing what the camera’s display looks like after the unit overheats. |
Behiri starts the video by saying that he had hoped to report back on the in-body image stabilization (IBIS) and autofocus capabilities of the EOS R6, but that those features ended up taking a backseat to the limitations created by overheating while shooting.
‘When you see [the time limitations] on paper and experience it in the field, it’s completely different,’ says Behiri. While he shot most of the mini-doc at 4K/24p, he at times had to resort to shooting footage at 1080/24p so he could get the footage he needed after his EOS R6 unit overheated. He even went so far as having to use fans and bags of ice to cool his camera down.
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| A still image Behiri shares in the video showing his attempt to cool off the camera using a household fan. |
Wrapping up his experience with the pre-production EOS R6, Behiri says ’It’s a tool [and] on one hand it has a lot of useful features and really nice features [but] on the other hand, [those features are] a bit meaningless because you can’t work with the camera and execute what you want.’ He effectively summarizes his experience with the camera saying that ‘instead of controlling the camera […] the camera controls you.’ He says ‘it will overheat badly and you don’t know how long it will be until you can shoot again.’
‘Instead of controlling the camera […] the camera controls you.’
Behiri shared an accompanying blog post on Cinema5D that further dives into his experience with the camera. While he was happy to report that its autofocus ‘worked like a treat’ most of the time and he appreciated the camera’s articulating screen, that’s where the positives end. He notes rolling shutter was ‘horrendous’ during his time filming and ultimately concludes that the camera is ‘not working for [him].’
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| Even a bag of ice (which we don’t suggest you use on your unit) failed to keep the camera shooting, even at 4K/24p. |
While this was a pre-production unit, Behiri notes Canon representatives told him it was ‘almost final.’ He was also shooting pretty much the exact type of assignment you’d expect the EOS R6 to be perfect for and the weather in Japan, although warm at around 82 degrees F, was far from extreme.
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Another one of my film cameras has died, and now my drawer of working ones is looking bare, while my junked camera drawer is crammed full. Loss seems to be an inevitable part of the experience of collecting, using and appreciating old analog gems. So what can we learn from this?
For starters, it teaches us to accept the fact that most film cameras, especially those with plastic components, will eventually break beyond repair with frequent use. And so we must avoid paying sky-high prices for something that won’t last (looking at you, Olympus mju-ii). But we can also prepare for inevitable loss: If you own a film camera you love (and the price has yet to inflate too much), snag a couple minty ones and set them aside for posterity. Even if you never use them, they will almost certainly appreciate in value. Likewise, hang on to broken models to harvest for parts.
But perhaps the most important lesson shooting with old analog relics teaches us is to enjoy our time with the cameras we love! Baby them if you must, but not to the point of leaving them at home or in your bag. With that said, what follows is a requiem of sorts for some of my favorite film cameras lost in the line of duty. Some of these served me well, while others didn’t even make it through their first roll. But all of them brought me joy and / or taught me lessons. None were babied.
Above: My sad collection of busted film cameras. The XA (lower left) died this past weekend.
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The year was 2012, I was in my early 20’s and had just moved to New York City and was ready to dream big. At the time I naively thought that by searching long and hard I could track down a bargain on a fully functional Ricoh GR1, the hottest little film compact camera I’d ever laid eyes upon (despite knowing that most have faulty LCDs). These cameras were already fetching too-high an asking price at the time, but I was determined.
Eventually I hunted down a sweet deal on eBay and pulled the trigger on the one you see above. The top LCD worked for the first two weeks then fried out. The seller refunded me some of the cash, and I kept on using it, that is, until one revelrous evening with some friends in Philadelphia, and we’ll leave it at that.
Sweet Ricoh GR1, you taught me to be realistic in my quest for film cameras, to avoid too-good-to-be-true deals and to be wary of overpriced, trending models, especially ones with known faults.
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Shortly after the GR1 fiasco I became fascinated with rangefinder cameras after spending a little time with a Leica M Monochrome for work. I loved the ability to see subjects before they entered the frame. So I set out to find a budget Leica-like model and ultimately settled on the Yashica Electro-35.
The first two copies I picked up both ended up being duds with various issues. One had completely fried electronics despite the sellers’ insistence it was ‘fully functional.’ I should’ve taken those experiences as a sign that perhaps this wasn’t the model for me and given up, but I was stubborn.
The third Electro-35 appeared fully functional upon its unboxing. I loaded it up with film and shot maybe three frames. On the fourth frame the manual focus locked up completely, never to budge again, despite various lubrication attempts. It’s now a big, lovely looking paperweight.
Dearest Yashica Electro-35, I barely knew you but taught me the valuable lesson to trust my instincts and give up on cameras with too many quality issues.
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Several years after the Yashica debacle, the urge to once again shoot with a film rangefinder became too much to bare. I spent considerable time doing my research this time around and settled on the Leica CL (Leitz Minolta CL).
I quickly found a solid deal on one that included a mint camera and a Rokkor 40mm F2 for just under $ 500 (circa 2015-ish). I can only guess that the lack of ‘Leica’ branding on the camera helped save me a few bucks. I gobbled the deal up quickly and proceeded to shoot with the combo for several years. Eventually, though, one dips one’s toes in the Leica tide and is swept out to Leica sea: And the time came for me to upgrade my CL to a Leica M6.
But one fall evening I was feeling nostalgic and decided to toss the 40mm back on the CL and take it for a spin. A little later that evening I slipped on wet leaves while walking up a steep incline (damn Seattle hills) and the camera hit the pavement hard, busting the film advance mechanism. Fortunately, the 40mm Rokkor escaped unscathed (they now go for nearly $ 500 on their own in mint condition).
Sweet Leica CL, you taught me to look for camera models listed / sold under their less-obvious names. You also lead me to my Leica M6 and Rokkor 40mm combo, thank you.
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Many years after first getting my hands on a Ricoh GR1 I once again became intrigued by Ricoh point-and-shoots while testing one of their modern GR’s for DPReview. After some heavy research I learned the GR1 lineage began with the Ricoh R1, which has a 30mm F3.5 lens and fewer features.
I was able to find one for around $ 100 and was blown away by its sleek design and outstanding results, even if the body felt like it would crack if you pressed the shutter release too hard. I love this style of camera for low light photography, but when the flash died one day, so too did my interest in shooting with it.
Beloved Ricoh R1, you were a real pleasure and maybe someday I will fix you.
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Oh Olympus mju-ii, how can I count the ways I love thee? Once my R1 died I decided it was time to find a film point-and-shoot with a better reputation for reliability. After much reading, the Olympus mju-ii (Stylus Epic) seemed to be the camera for me, with its weather-resistant body and sliding lens cover. I picked up two for a little over $ 100 a piece (haha).
This was in 2015 and the price of these cameras has skyrocketed since. The one shown above died only a few weeks prior to my most recent camera loss. But I will say, in the 5 years I had it, I easily sent 60 rolls through the camera, many of which from the pit of rowdy concerts (not the most gentle conditions). So I think I got my money’s worth with this one.
My cherished mju-ii, you are probably my favorite film point-and-shoot I’ve ever owned. I’m glad I was able to get past your hideous 1990’s-era design to find true love. And I’m even more glad I hard the foresight to tuck away a third minty one before the price got insane.
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Last but not least is my dear Olympus XA, which just died a few days prior to publication while out on a kayak trip. I was photographing some crazy teenagers jumping off a bridge into Lake Washington (if your friends jumped, would you?) when the film advance suddenly locked up and then slipped. I rescued the roll, but the camera will advance film no more.
This loss is still a little too recent and I do not have words for my loved Olympus XA at this time. Please check back later.
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Losing a camera sucks and it’s easy to get caught up on a particular model, but the world is filled with a seemingly endless buffet of used film cameras, just waiting to be uncovered. And nothing beats stumbling upon one you’ve never heard of and being delighted by its quirks. So the next time one of your cameras goes to the big Yodobashi Camera Store in the sky, I implore you not to replace it with a carbon copy: Use it as an opportunity to try something new.
When my aforementioned Olympus XA died, I used it as a chance to get my hands on a half-frame camera, something I’ve long wanted to try. Now I’m shooting with a Canon demi EE17 and couldn’t be more excited (though I still purchased a minty XA to save for some time far in the future). Ultimately, life is full of fleeting moments. Good times come and go, as do good film cameras. Enjoy them while they’re here and be excited for what’s to come!
Do you have a favorite film camera that died a noble death? We’d love to hear about it, share your story in the comments below.
Above: My latest acquisition, a Canon demi EE17, procured for about $ 100.
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Nikkei Asian Review Deputy Editor, Masamichi Hoshi, has written an article that outlines a grim picture for the future of the Japanese camera business in the aftermath of Olympus’ recent sale to private equity firm, Japan Industrial Partners (JIP).
The usual suspects are mentioned in Masamichi’s overview: the rise of smartphones and the ongoing COVID-19 pandemic. ‘Japan’s digital camera industry was once considered on par with the country’s auto sector in terms of international competitiveness,’ says Masamichi. ‘But smartphones have driven camera makers to the brink of extinction, and this year the novel coronavirus slammed the already hobbled industry.’
More fundamentally, Masamichi believes the camera industry itself is to blame, as ‘excessive competition’ has created a fast-moving, unsustainable market that will inevitably lead to camera manufacturers paying the ultimate price:
‘Smartphones are not the only reason Japanese camera makers, who had established an oligopoly nearly everywhere around the world, have come to this point. Japanese industry, which has a penchant for competing against its own products, can also blame itself.’
Masamichi references an unsourced quote he says was shared 11 years ago by Hiroshi Hamada, the former Chief Operating Officer of Hoya, who had acquired Pentax around the time of his tenure:
‘Digital camera companies intend to strangle their rivals through excessive competition, but in the end they’ll strangle themselves’
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| A Canon assembly line Meister (her badge tells us she’s been a Meister for 17 years) works on the front assembly of a telephoto prime lens inside Canon’s Utsunomiya lens factory. |
Pricing and shortened product cycles, in particular, are to blame, according to Masamichi. While the near-annual 10% price drops in camera products (roughly a decade ago) and shortened product cycles due to fast-paced technological advancements were beneficial to consumers, Masamichi says it also ‘reduces manufacturers’ investment capacity.’ As a result, the ability to invest in research and development — as well as the ability to stash away savings for dire times — has decreased dramatically. Or, at the very least, started to affect the bottom-line of Japanese camera manufacturers.
Citing Camera and Imaging Products Association (CIPA) figures, Masamichi highlights that 2020 camera sales are on track to be roughly 1/10th what they were back in 2010, when digital camera sales peaked at 121 million units.’
As dire as the numbers are and outlook is, there’s no hope in only dwelling on the negatives of the inevitable. Instead, Masamichi asks ‘where do these iconic brands go from here?’
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| Lens testing taking place at Panasonic’s Yamagata lens factory. |
There is no one-size-fits-all solution, but Masamichi quotes a senior executive at an unnamed investment bank as well as unnamed analysts, who all seem to agree that reform and restructuring is going to be necessary if the Japanese camera industry is to survive:
‘With the market shrinking at such speed, companies are at great risk of falling into a fixed-costs crisis1. Some analysts believe the entire industry will collapse unless companies undertake major reforms, like splitting design and development from manufacturing, and consolidating production.’
The aforementioned investment banker executive specifically said ‘a camera foundry model is one option,’ suggesting the outsourcing of parts and components to third-party factories could help cut manufacturing costs. This method is currently seen in the imaging sensor side of photography, as multiple manufacturers use Sony sensors in their cameras, but further outsourcing of production could help cut overhead even more.
There is likely to be much change ahead; whether it be acquisitions of smaller manufacturers or outright departures from the market, there could be other casualties beyond Olympus. But, if the transition from film to digital taught us anything, it’s that people will keep on taking pictures, and as long as there are photographers out there still in need of a camera and lens, there will be manufacturers vying for their money.
1 Fixed costs in this context are the expenses that companies have incurred throughout the ongoing pandemic, which – as sales have slowed around the world – have not been offset by revenue.
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| The R6 need not necessarily be overshadowed by the R5 |
I’ve been guilty of it myself: describing the EOS R6 and R5 as the mirrorless successors to the 5D and 6D lines of DSLRs. Guilty because, while it might be literally true, it risks obscuring a subtle re-positioning of the two cameras. Personally, I think the R6 is a much more interesting camera than the 6D series DSLRs were and, consequently, more interesting than the R5.
Just in case it needs to be said: we’ve not fully tested the R6 yet and I’m not suggesting you should go out and buy one. But here’s why I think it’s the more interesting one, for more people.
Yes, the price is higher than for the 6D series. Canon has always felt confident in pricing its cameras a little above its rivals, but the R6 goes beyond this. Obviously it was always going to look particularly expensive next to the relatively elderly Nikon Z6 and Sony a7 III which, as they approach what’s likely to be the end of their product life, are being sold for considerably less than their original prices, but the R6’s launch price is significantly above even that.
In the US, at least, the R6’s launch price is 25% higher than those of its closest peers (though only 8% up on the somewhat disappointing EOS R). But, then again, its specs are higher, too. It shoots faster, comes closest to offering full-frame 60p video capture and promises a greater degree of image stabilization than anything else can. It’s hard to find an obvious weak-point on the spec sheet: even in areas such as battery life and viewfinder resolution, where it is out-gunned, it’s still competitive with the majority of its rivals.
It’s no R5, of course. Market segmentation and product differentiation are a fact of life. No one is going to give you all their best features in anything less than their range-topping model, not if they want to sell any of their flagship product. And not if they want to stay in business.
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| Placing them side-by-side showed how distinct the 5D and 6D series are: for example the 5D IV (right) has a more substantial rear dial and a joystick, while the 6D II (left) has an articulating touchscreen. |
If you get segmentation right, it means enthusiasts don’t have to pay professional prices to get a camera that suits their needs. Get it wrong and it can start to look… well, petty. But, ultimately, the question is not necessarily ‘how many features can we squeeze out of this hardware?’ but a balance between ‘which features would these users appreciate?’ and ‘which features can we include without undermining the R5?’
From any reasonable perspective, the R6 gives you an awful lot of R5’s performance. Its IBIS system is supposedly a match for the more expensive model, including that headline-grabbing claim of up to 8 stops of correction. That in itself is a stand-out feature. Similarly, the R6 will shoot at the same rates as the R5, and will do so using the same AF system. This means non-pro photographers (and, no doubt, some pros) get most of the core capabilities of the much more expensive camera.
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The R6/R5 differences are far fewer (the R6 is on the left). The R6’s construction isn’t quite as solid-feeling, it lacks a top LCD or the ability to add audio notes to images, but the handing is otherwise all-but-identical. |
Most significantly, you get the same multi-dial-and-joystick user interface and shooting experience in the R6 as you do in the R5. It would have been easy to omit the joystick from the R6 (they use different exterior panel moldings), but instead you get a camera that’s every bit as usable.
This is a world away from the 6D series, which lacked the 5D’s joystick, 4K shooting and a host of other core features.
What you don’t get is resolution. Depending on what your current camera is, 20MP may well feel like a step backwards. 20MP is more than enough resolution for a lot of applications (including those at which the Canon EOS-1D X and Nikon Dx cameras are targeted). But you’re unlikely to be getting the most out of those exotic new RF lenses and, much as you might like to kid yourself, you’re unlikely to see any significant low-light benefit. Realistically though, it’s only a 10% reduction in linear resolution, compared to its 24MP peers so probably not worth losing sleep over.
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| It doesn’t shoot 8K and doesn’t have an All-I capture option but the in-body IS and more-than-competent video spec make the EOS R6 a reasonable option both for video and stills shooters. |
The R6’s lower pixel count also highlights that the camera lacks the current feature du jour: a high-res pixel shift mode. The inclusion of stabilization means it should be possible, depending on how many patents surround the technology (most brands’ implementations are subtly different, which could suggest there’s IP being skirted around). But personally I’ve not found it very useful for much of my photography, since it is most effective for static or close-to-static subjects.
I’m not a full-frame shooter, myself, but I have a lot of friends who take their hobby seriously enough that they’ve owned 5Ds over the years. Looking at the R6, I can imagine an awful lot of these 5D owners being happy with the R6, for considerably less money than they paid for their DSLRs. So although you could see the R6 as an overpriced 6D replacement, I think that, at least for some users, it might be a credible, more affordable substitute for a 5D.
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Our team at DPReview TV hit the streets to test the new Leica M10-R. Find out what 40MP from a Leica rangefinder looks like in our sample gallery.
The M10-R is Leica’s newest rangefinder camera. It’s also the first M-series model to push resolution beyond 24MP, making the jump to a 40MP sensor. We take a look at what’s new – and what stays the same – in our hands-on review.
Subscribe to our YouTube channel to get new episodes of DPReview TV every week.
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Articles: Digital Photography Review (dpreview.com)
The Associated Press (AP) has announced it’s partnering with Sony to make the Japanese electronics manufacturer the sole supplier of photo and video equipment for its visual journalists around the globe.
This massive undertaking will see visual journalists in more than 250 locations across 100 countries supplied with Sony cameras, lenses and accessories to capture the more than 3,000 photos and 200 videos submitted every day. AP says ‘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.’
To find out more about the collaboration, we had a conversation with AP’s Director of Photography, J. David Ake. In the interview, he explains why the partnership happened now, how long it’s taken to get this collaboration together and what it means for the hundreds of AP visual journalists around the world.
Our interview with AP’s Director of Photography
Press release:
Sony Electronics to become AP’s exclusive global imaging provider for photo and video journalism
July 23, 2020 – SAN DIEGO, CA – Sony Electronics Inc. a global leader in imaging, and The Associated Press, the trusted global news organization, announced today a new collaboration that will make Sony the exclusive imaging products and support provider for AP news photographers and video journalists around the world.
With journalists in nearly 250 locations in 100 countries, AP provides factual, compelling journalism in all formats, including 3,000 photos and 200 videos each day. The news agency has a distinguished history of powerful visual journalism, winning the 2020 Pulitzer Prize for Feature Photography — AP’s 54th Pulitzer and 32nd for photography — and garnering recognition from the Royal Television Society for excellence in video.
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.
“We are extremely honored to announce this collaboration with The Associated Press, an organization with an incredible history in journalism that continues to raise the bar for global news reporting and delivery,” said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics. “The Associated Press is a universally trusted brand for news information in the world. We are honored to equip AP’s journalists with our technology and support, giving them the opportunity to capture, transmit and deliver imagery in ways they never could before.”
“Sony’s history of innovation aligns well with AP’s, and with our vision for the future of visual journalism,” said Derl McCrudden, AP deputy managing editor for visual and digital journalism. “AP is committed to providing the best imagery to our member news organizations and customers across the globe. Adopting Sony’s cutting-edge equipment and technology allows us to do that, by enabling our photographers and video journalists to be faster and more flexible, ultimately creating better visual journalism.”
When the transition to Sony is complete, AP’s video journalists and photographers will for the first time be equipped with the same brand of cameras, allowing for seamless collaboration among the news agency’s journalists as they tell the world’s stories in whatever medium is right for the moment.
AP visual journalists will be able to share Sony cameras and lenses, as well as the images they capture, to produce a news report unhindered by technical limitations.
“The new mirrorless technology in Sony’s cameras allows for a completely silent operation, meaning our photojournalists can work in environments without interrupting the scene around them,” said AP Director of Photography J. David Ake. “This is a huge leap forward in photojournalism.”
In addition to delivery of product, AP and Sony will work together to improve workflow and efficiency of field operations, including testing of 5G capabilities.
Sony offers 5G through its Xperia™ product line, which uses technology from its professional monitors, cameras and audio devices.
