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  • Hands-on with the Fujifilm X70

    Hands-on with the Fujifilm X70

    In addition to its X-Pro2 and X-E2S, Fujifilm also announced the X70, a compact camera with a fixed 28mm equiv. F2.8 lens (shown here with a lens hood). Focal length aside, the X70 is in many way a Fujifilm X100T minus the hybrid viewfinder but with the addition of a tilting touchscreen.

    It uses the same 16.3MP APS-C X-Trans II sensor as the X100T and features a similar layout of control points. We had the opportunity to get our hands on the X70 at a press event in Japan – take a look. 

    Hands-on with the Fujifilm X70

    The X70 looks quite a bit like a classic rangefinder film camera shrunken down. It features direct controls for shutter speed and exposure compensation, both of which are made from milled aluminum. It also has a dedicated aperture ring around the lens barrel, offering 1/3-stop aperture adjustments ranging from F2.8 to F16.

    The focus ring on the front of the lens can be set to toggle focus when shooting in MF, or be used as a digital teleconverter, to switch the field of view to a 35mm and 50mm equivalent. The top also offers a hotshoe, video record button, drive button and Auto switch. When flipped down, the Auto switch overrides all other exposure parameters (just like the Auto switch on the X-T10).

    Hands-on with the Fujifilm X70

    Just because the X70 has a touchscreen doesn’t mean there aren’t ample physical controls as well. Quite the contrary. The back alone offers a four-way controller, custom function button and a Q button for direct access to the Quick menu.

    The touchscreen, by the way, is 3″ in size with 1.04 million dots. In addition to offering touch-to-shot and touch-to-focus capabilities, it can also be used in playback to swipe through images, and even offers pinch-to-zoom functionality.

    Hands-on with the Fujifilm X70

    The grip on the X70 is made from a rubber-material; it is moderately-sized and comfortable to hold. The camera can easily be used with just a single hand, but offers enough real estate on the body to also be comfortably gripped with two.

    While it’s easy to draw comparisons between the X100T and the X70, spend a little time holding the latter and you’ll quickly find it handles like a very different camera. In addition to its use of a 28mm equiv. F2.8 lens, compared to the 35mm equiv. F2 of the X100-series, it is also substantially smaller than a X100, thanks to its lack of a viewfinder. Moreover, the addition of an articulating touchscreen makes the X70 an even more discreet option than the X100T, especially for street photography.

    Hands-on with the Fujifilm X70

    The 28mm equiv. F2.8 lens is composed of 7 elements, arranged into 5 groups. Two of those elements are aspherical to help cut chromatic aberration. The lens itself uses a 9-blade aperture. 

    The X70 offers Fujifilm’s latest AF system, and features both Zone AF and Wide/Tracking AF, first introduced on the Fujifilm X-T10 (and X-T1 via firmware 4.0). The Hybrid AF system comprises a total of 77-points.

    Like all recent X-series cameras, the X70 offers Face Detect and Eye Detect. We had the chance to briefly try Face Detect on the X70 in a press meeting and our initial impressions were positive, despite the fact that Fujifilm cameras have historically lagged behind the competition at AF speed and accuracy when using Face and Eye Detect.

    Hands-on with the Fujifilm X70

    The X70 has an articulating touchscreen that flips up 180 degrees and down 90 degrees; this is the first X-series camera to offer a touchscreen of any kind. We had the chance to try out the touch-to-shoot functionality during a product briefing and found the camera to be quite responsive. Street photography purists might scoff at the idea of using a touchscreen to make images, but we’ve found in use, it can be an incredibly handy way to shoot discreetly.

    Hands-on with the Fujifilm X70

    For those tempted by the small size and touchscreen of the X70, but afraid they might miss having a viewfinder, Fujifilm will be selling the VF-X21 hotshoe-mountable optical finder, shown here, for $ 200. 

    Hands-on with the Fujifilm X70

    The X70 uses the same NP-95 battery as the X100-series. However the most logical comparison to the X70, both in terms of price and design is the Ricoh GR II. Both cameras use 16MP APS-C sensor and offer 28mm F2.8 equiv. lenses. It’s clear that Fuijifilm has set its sights on street shooters with the release of the X70; perhaps trying to snag those tempted by the Ricoh GR (and GR II), which is somewhat of a cult classic among urban shooters.

    But while both cameras have similar bells and whistles, like Wi-Fi connectivity, direct controls and comfortable ergonomics, all in a nondescript body, the GR II has a fixed LCD, while the X70 has an articulating touchscreen. Furthermore, the X70 has a high ISO of 51,200, compared to the 25,600 on the GR II.

    And for those nostalgic for the days of film, the X70 offers 13 baked-in film simulations including the much-loved Classic Chrome.

    Articles: Digital Photography Review (dpreview.com)

  • GoPro’s poor holiday sales lead to staff layoff

    In its preliminary Q4 financial report this week, GoPro revealed it expects the last quarter’s revenue to be about $ 435 million, a figure significantly lower than the $ 512 million analysts had estimated. Due to poor sales over the holidays, GoPro states it will layoff 7% of its workforce as part of a restructuring effort.

    The company announced its fourth quarter financial estimates on Wednesday, saying the quarter’s ‘revenue reflects lower than anticipated sales… due to slower than expected sell through at retailers.’ The company’s workforce had increased more than 50% annually over the last two years, eventually growing to 1500+ workers. With revenue down, GoPro will restructure its workforce to focus on ‘key growth initiatives,’ letting about 105 workers go in the process.

    The company’s final Q4 financial numbers will be reported on February 3.

    GoPro Announces Q4 and Calendar Year 2015 Preliminary Results

    16% Annual Revenue Growth to $ 1.6 Billion for 2015

    SAN MATEO, Calif., Jan. 13, 2016 /PRNewswire/ — GoPro, Inc. (NASDAQ: GPRO) today reported certain preliminary financial results for the fourth quarter and year ended December 31, 2015.

    GoPro expects revenue to be approximately $ 435 million for the fourth quarter of 2015 and $ 1.6 billion for the calendar year. Fourth quarter revenue reflects lower than anticipated sales of its capture devices due to slower than expected sell through at retailers, particularly in the first half of the quarter. Fourth quarter revenue includes a $ 21 million reduction for price protection related charges resulting from the HERO4 Session repricing in December. Non-GAAP gross margin for the fourth quarter of 2015, excluding the impact of price protection and a charge of between $ 30 million and $ 35 million to cost of revenue for excess purchase order commitments, excess inventory, and obsolete tooling is anticipated to be between 44.5% and 45.5%. Non-GAAP gross margin for the fourth quarter of 2015 is anticipated to be between 34.5% and 35.5%. Non-GAAP operating expenses for the fourth quarter of 2015 are estimated to be between $ 150.0 million and $ 152.5 million.  Cash, cash equivalents and marketable securities at December 31, 2015 totaled approximately $ 475 million.  

    These preliminary, unaudited results are based on management’s initial review of operations for the quarter and year ended December 31, 2015 and remain subject to the completion of the Company’s customary annual closing and review procedures. Final adjustments and other material developments may arise between the date of this press release and the dates GoPro announces fourth quarter 2015 results and the filing of the Company’s Annual Report on Form 10-K with the SEC.

    Zander Lurie Appointed to GoPro Board
    Zander has resigned from his role as Senior Vice President of GoPro Entertainment and has been appointed to serve on GoPro’s board of directors. Mr. Lurie has deep experience working with Internet-based business models across digital and traditional media. At GoPro Entertainment, he built a team dedicated to pursuing new formats and revenue streams from user-generated content and the Company’s large cache of digital entertainment. Prior to GoPro, he served as an executive at CBS Corp. which he joined with the acquisition of CNET Networks where he served as CFO and head of Corporate Development. Mr. Lurie began his career in the technology investment banking group at J. P. Morgan where he led equity transactions and mergers and acquisitions in the Internet sector.

    Reallocation of Resources
    Over the past two years, GoPro’s headcount has grown by more than 50% annually, to more than 1,500 employees at the end of 2015. To better align resources to key growth initiatives, GoPro has implemented a reduction in its workforce of approximately 7 percent. The Company estimates it will incur approximately $ 5 million to $ 10 million of restructuring expenses in the first quarter of 2016, substantially all of which will be severance costs.

    Fourth Quarter and Full Year 2015 Earnings Conference Call
    GoPro will release its financial results for the fourth quarter and full year 2015 after the market closes on February 3, 2016.

    GoPro management will host a conference call and live webcast for analysts and investors on February 3, 2016 at 2 p.m. Pacific Time (5 p.m. Eastern Time) to discuss the Company’s financial results.

    To listen to the live conference call, please dial toll free (888) 806-6221 or (913) 981-5588, access code 4243159, approximately 15 minutes prior to the start of the call. A live webcast of the conference call will be accessible on the “Events & Presentations” section of the Company’s website at http://investor.gopro.com. To access the live webcast, please log in 15 minutes prior to the start of the call to download and install any necessary audio software. The webcast will be recorded and the recording will be available on GoPro’s website, http://investor.gopro.com, approximately two hours after the call and for six months thereafter.

    GoPro reports gross margin and operating expenses, in accordance with U.S. generally accepted accounting principles (GAAP) and on a non-GAAP basis. Non-GAAP gross margin and non-GAAP operating expenses exclude, where applicable, the effects of stock-based compensation and acquisition-related costs. A reconciliation to the comparable GAAP guidance has not been provided because certain factors that are materially significant to the Company’s ability to estimate the excluded items are not accessible or practically estimable at this time.

    Articles: Digital Photography Review (dpreview.com)

  • Hasselblad gives away a camera each to the winners of its Masters competition

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    Medium format equipment manufacturer Hasselblad has announced the winners of its Masters competition, and has awarded the winners of each category a high end medium format camera. The company does not specify which cameras will constitute the prizes, but they will be presented at a ceremony during September’s Photokina show in Germany, at which the company is speculated to be launching major new products. 

    The competition winners will have their work featured in the Hasselblad Masters book, and will be able to use the title Hasselblad Master for ever. 

    This year’s theme was ‘Inspiration’, which Hasselblad says was chosen to commemorate the 75th anniversary of the company’s founding. There were ten categories to enter, and the competition was open to ‘all photographers who have been active professionals for more than three years and who are using digital cameras of at least 16 Megapixel, or film cameras, regardless of brand and format.’ The ‘Project 21’ category was open only to those under the age of 21. 

    The judging panel was made up of 23 professional photographers and editors, including some past competition winners. 

    For more information see the Hasselblad website. 

    Press release:

    Hasselblad has announced the ten winners of its Masters Awards 2016 – widely acclaimed as one of the world’s most prestigious professional photography competitions. The winners were selected by a combination of a public vote and a professional Masters Jury – comprising internationally renowned photographers and imaging experts.

    For the first time in Hasselblad Masters Awards history each winning photographer not only gains ‘Master’ status but also a brand new Hasselblad medium format camera.

    Winners will receive their awards, cameras and trophies at a special photokina 2016 ceremony in Cologne this September.

    The Hasselblad Masters Awards 2016 winners:

    • Swee Oh (USA) Architecture
    • Roy Rossovich (Sweden) Fashion/Beauty
    • Katerina Belkina (Germany) Fine art
    • Lars Van De Goor (Netherlands) Landscape
    • Natalia Evelyn Bencicova (Slovakia) Portrait
    • Georgio Cravero (Italy) Product
    • Jake Reeder (Australia) Project//21
    • Ali Rajabi (Iran) Street/Urban
    • John Paul Evans (UK) Wedding
    • David Peskens (Netherlands) Wildlife

    Perry Oosting, Hasselblad CEO: “The Masters Awards have always been the ultimate showcase to capture talent that flourishes across the globe. Our 2016 Masters has again demonstrated the outstanding skills out there across the entire spectrum of photo-disciplines”.

    Judges scrutinised thousands of supreme quality images from professional veterans to aspiring young photographers determined to make their mark.

    Masters Jury member Jonathan Beer said: “Picking my favourites from the 2016 finalists was immensely tough. Some categories had obvious stand-out entries but others were much closer to call. Exciting creativity backed-up with technical excellence was what I was looking for.

    He added: “The Hasselblad Masters has always been one of the most prestigious competitions in the industry. The winners can take pride in and benefit from the coveted title ‘Hasselblad Master’ for the rest of their careers. I cannot wait to see what the winners create for the 2016 Masters Book.”

    * The ten winners will be tasked to create a new and unique set of images embracing the theme ‘Inspire’ (coinciding with Hasselblad’s 75th anniversary) for the latest edition of the Hasselblad Masters Commemorative Book.

    Articles: Digital Photography Review (dpreview.com)

  • Behind the Camera: Sue Bryce’s contemporary portraiture

    If there’s been a theme to Sue Bryce’s career, it might be one of evolution. She started making portraits when she was 18 with a Hasselblad film camera, and with grit and sheer determination she built and marketed her own business. Classifying her work as contemporary fashion portrait photography, she’s evolved through decades in a shifting industry, and in addition to running her highly successful studio now offers online workshops for newcomers. We sat down with her recently to learn more about her work, vision and history with photography. 

    See more videos on our YouTube channel

    Articles: Digital Photography Review (dpreview.com)

  • DxOMark Mobile report: HTC One A9

    In the HTC device lineup the One A9 sits just below the flagship One M9. However, in the camera department, with its faster F2.0 aperture and optical image stabilization, it actually offers some advantages over the M9. On the downside it has to make do with a lower 13MP pixel count and Full-HD video instead of the M9’s 21MP still images and 4K video footage. There is also a dual-LED flash and the A9 is, like the M9, capable of recording DNG Raw files.

    With a DxOMark Mobile score of 78 the HTC A9 achieves a result 9 points better than the M9 but cannot place itself among the best current smartphone cameras. Read the full analysis and see how it performs.

    HTC One A9 DxOMark Mobile Report

    Read the full report at DxOMark.com

    Articles: Digital Photography Review (dpreview.com)

  • Olloclip launches Studio accessory-mount case for Apple iPhone

    Mobile phone add-on-lens manufacturer olloclip has announced it is to introduce a new case for the iPhone 6 series that makes it easier to fit additional accessories to complement the process of shooting movies and stills with its products. 

    The olloclip Studio features a rail on the lens side that allows finger grips, a tripod thread and a cold-shoe to be attached to the case. The idea is that the case then provides the means for the photographer to fit an LED light panel or a microphone, as well as mount the phone on a tripod, a grip or shooting handle. 

    Included accessories: 1. Studio Case 2. Finger Grip 3. Cold-shoe (x2) 4. Kickstand 5. Tripod thread clip (x2)

    The case has a cut away section so that the olloclip lenses can be attached, and a kick-stand allows the phone to free-stand to make reviewing images more comfortable.  

    The olloclip Studio is due to arrive in February, and will come in two form-factors to be compatible with the iPhone 6/6s or the iPhone 6/6s Plus. Both versions will cost £79.99/$ 89.99, without a lens. 

    For more information visit the olloclip website. 

    Articles: Digital Photography Review (dpreview.com)

  • Fujifilm announces development of EF-X500 flash

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    Among all of its new cameras announcements, Fujifilm also made public the development of a new external flash. The EF-X500 is a high-end, weather-sealed model with a guide number of 50m at ISO 100, the ability to control up to three sets of TTL off-camera strobes, and a high-speed sync mode that supports the X-Pro2’s maximum 1/8000 sec shutter speed. The zoom head range is 24-105mm equiv., and can go as wide as 20mm with the wide panel pulled into place. 

    It has a large, backlit display on its back side along with a control dial for easy setting adjustment. As you’d expect, the flash can tilt and rotate – 10° down, 90° up, 135° left and 180° right. It uses four AA batteries and also supports Fujifilm’s EF-BP1 external battery pack.

    The EF-X500 is expected to ship in May at a price yet to be determined.

    Press Release:

    FUJIFILM ANNOUNCES THE DEVELOPMENT OF A NEW HOT-SHOE MOUNT FLASH FOR X-SERIES CAMERAS

    A new high-end external flash is being developed to complement FUJIFILM X cameras with high-speed synchronization and multiple flash TTL auto functions

    Valhalla, N.Y., January 14, 2016 – FUJIFILM North America Corporation, a leader in premium mirrorless cameras, today announced that it is developing a new high-end external shoe mount flash, the FUJIFILM EF-X500. The EF-X500 allows users to expand their photography with high-speed synchronization and multiple flash TTL auto functions. It will be added to the premium X-Series camera accessory line-up in May 2016. Price to be confirmed.

    Designed with FUJIFILM X cameras in mind
    The new FUJIFILM EF-X500 external flash will feature a low-profile, premium design that is perfectly suited to complement the style of the compact and lightweight X-Series cameras.

    With high-speed synchronization (FP), the new EF-X500 supports the 1/8000 sec. shutter speed featured in the new, flagship model FUJIFILM X-Pro2, as well as other Fujifilm X cameras.

    The multiple flash-unit TTL auto function unleashes users’ creativity by allowing them to control any lighting conditions so it will accompany their X-Series camera in all low light and studio applications.

    Fujifilm has added a weather and dust resistant build making the EF-X500 flash the perfect companion for the FUJIFILM X-T1 and X-Pro2 to further enhance their rugged, weather resistant capabilities.

    Specifications

    Type Hot-shoe mount flash
    Guide Number 50/164 (ISO100?m/ft.) at 105 mm zoom head position, equivalent to 35mm format.
    Zoom 24mm-105mm equivalent to 35mm format.
    When the extendable wide panel is pulled out, the flash coverage is approx.. 20 mm.
    Bounce capability Flash head tilts down to 10° or up to 90° and rotates horizontally 135° to the left and 180° to the right.
    Color temperature Approx. 5600K
    Flash modes TTL / Manual / Multi.(repeating flash)
    Flash exposure compensation -5.0 – +5.0, 1/3 step
    (The available range and step depend on camera models)
    High-speed synchronisation (FP) Capable (supported camera only)
    Manual 1/1 – 1/512, 1/3 step

    Multi.(repeating flash)

    		 1/4 – 1/512, 1/3 step, 1-500Hz, 2 – 100 flashes
    Wireless communication type Optical pulse communication (in multiple flash-unit photography operation)
    Wireless modes Master and Remote
    Communication cannels From 1 to 4.
    Remote groups Up to three groups (A/B/C)
    Power source Four LR6 (AA-size) alkaline batteries,
    four FR6 (AA-size) lithium batteries, or
    four HR6 (AA-size) rechargeable Ni-MH batteries
    (optional).
    External Power Source BATTERY PACK EF-BP1 (optional)
    Dimensions W67.5 x H123.9 x D106 (mm)

    * Specifications subject to change without notice.

    Articles: Digital Photography Review (dpreview.com)

  • Sample galleries from preproduction Fujifilm X-Pro2 and X70 posted

    We’ve got our hands on preproduction versions of Fujifilm’s X-Pro2 and X70 and have put together a sample gallery for each. Keeping in mind that these are ‘beta’ cameras, have a look at some photos from both Seattle and Japan.

    View our Fujifilm X-Pro2 beta sample gallery

    View our Fujifilm X70 beta sample gallery

    Articles: Digital Photography Review (dpreview.com)

  • Leica updates wide-angle M lenses with new optical and design features

    Left to right, and not to scale, Leica Elmarit-M 28mm F2.8 ASPH, Leica Summicron-M 28mm F2 ASPH and Leica Summicron-M 35mm F2 ASPH

    German camera brand Leica has introduced upgraded versions of three of its wide-angle M lenses that offer improvements to both build and performance, according to the company. The trio of reportage favorites are the Leica Summicron-M 35mm F2 ASPH, the Leica Summicron-M 28mm F2 ASPH and the Leica Elmarit-M 28mm F2.8 ASPH. Each is a direct replacement for the current equivalent model. 

    All three of the lenses will be fitted with metal lens hoods and a ring to cover the hood mount when the hoods aren’t in use, and metal lens caps will replace the current plastic units.

    The company hasn’t been absolutely clear about the optical changes that it has made, making general statements about sharpness improving across the frame. The 35mm Summicron though now has 11 aperture blades, while the previous versions of the lens had only seven, eight or ten blades. 

    The company also comments that both 28mm lenses have significantly improved curvilinear distortion controls that provide better drawing, as well as flatter field projection for increased resolution in the corners of the frame.

    The new Leica M lenses are scheduled to be available as follows:

    • Leica Elmarit-M 28mm F2.8 ASPH. (black) – end January 2016, price £1,650
    • Leica Summicron-M 28mm F2 ASPH. (black) – end January 2016, price £2,975
    • Leica Summicron-M 35mm F2 ASPH. – beginning of February 2016, black version price £2,250, silver anodised version price £2,350

    For more information see the Leica website. 

    Press release: 

    Leica introduces new generation of classic Leica M lenses with improved performance

    • Leica Summicron-M 35mm F2 ASPH.
    • Leica Summicron-M 28mm F2 ASPH.
    • Leica Elmarit-M 28mm F2.8 ASPH.

    Leica Camera has introduced next-generation models of three of its classic M lenses: the Leica M Summicron-M 35 mm F2 ASPH., Leica Summicron-M 28 mm F2 ASPH. and Leica Elmarit-M 28 mm F2.8 ASPH., each delivering enhanced image performance and quality, thanks to their new optical design.

    Additional improvements to the lenses include a more robust construction, now featuring a full metal rectangular lens hood with thread mount, and a threaded protection ring for the front of the lens when the hood is not attached. The lens cap is now also made of metal.

    As with all Leica products, this classic trio of reportage lenses offers both optical and technical excellence. Made in Germany, the combination of state-of-the-art technology, the highest quality materials and meticulous manual construction ensures consistent quality, resulting in reliable products with outstanding durability.

    The new generation Summicron-M 28 mm F2 ASPH. and Elmarit-M 28 mm F2.8 ASPH. lenses are scheduled to be available from the end of January. The Summicron-M 35 mm F2 ASPH. is scheduled to be available from February in black and, for the first time, also in a silver anodised finish.

    The impressive Summicron-M 35 mm F2 ASPH. fast, classic prime lens delivers superior image performance and a unique bokeh. Despite its high speed and exceptional image quality, its dimensions are astoundingly compact. Furthermore, with its eleven blade iris, this new generation lens creates a circular aperture, lending out of focus areas an extremely smooth look and feel. Images are pin-sharp with rich contrast, and almost completely free from distortion with superb bokeh at all apertures and distances – and even when shooting wide open.

    High performance and speed are also distinct characteristics of the Summicron-M 28 mm F2 ASPH. wide-angle lens. Its outstanding speed makes it particularly versatile and produces brilliant imaging results, even in difficult lighting conditions. At its maximum aperture, the Summicron-M 28 mm F2 ASPH. delivers rich contrast, differentiated reproduction of even the finest structures, a soft and smooth bokeh, and extremely high resolution. Improvements within the optical design in this new generation lens have made it possible to achieve superior image performance across the entire image field. The significant reduction of image field curvature guarantees better resolution of details from corner to corner within every picture.

    The Elmarit-M 28 mm F2.8 ASPH. is the most compact lens in the entire portfolio of Leica M lenses. Thanks to its small size and light weight, this lens is a particular favourite with street and reportage photographers. Compared to the previous model, this new generation lens offers significantly reduced image field curvature, which brings considerably improved image performance with high resolution and brilliant resolution of details. The Elmarit-M 28 mm F2.8 ASPH. is practically distortion-free from infinity to its closest focusing distance of 0.7 metres, and provides an exceptionally clear view through the Leica M viewfinder.

    Articles: Digital Photography Review (dpreview.com)

  • Nikon 24-70mm F2.8 ED VR real-world sample gallery

    Winter can be a stark wonderland in the Pacific Northwest, especially east of the Cascade mountain range. Editor Barney Britton spent some time with the new Nikon 24-70 F2.8 ED VR lens amongst the snow-covered rolling hills, waterfalls, forests, and even sunny beaches our beautiful state provides. VR brings a level of hand hold-ability to a popular range of focal lengths that should make it easier to make sharp images with the 36MP Nikon D810.

    Before you follow the link below to see how the lens performed in the set of real-world samples we provide here, it’s worth keeping some things in mind. A high-resolution camera demands critical focus: even the slightest misfocus will be easily visible, and small focus errors aren’t uncommon when using DSLRs in the field. Furthermore, on full-frame, even an aperture of F8 has limited depth-of-field, so infinity-focused shots may show a slight decrease in sharpness for objects closer in the foreground. With these caveats in mind, we still found the sharpness of the lens to be somewhat lacking relative to our high hopes.

    We’ve only tested one copy of this lens, and it’s always hard to determine if the sample we received is truly a representative sample. We’ll be requesting a second copy to verify that our sample isn’t an outlier, but based upon findings from both DxOMark and Roger Cicala over at LensRentals, the less-than-stellar sharpness results aren’t too surprising. 

    While sharpness is generally good, particularly across the field, absolute sharpness in the center doesn’t appear to be better, or even as good as, the original non-VR 24-70mm F2.8 Nikkor. Roger’s results, as well as DxO’s findings, confirm somewhat decreased central sharpness but increased consistency across the frame. Roger suggests this may in part be due to a prioritization of minimal field curvature and astigmatism with absolute sharpness perhaps being the cost. Our samples do appear to confirm a relatively flat field of focus – which will be useful for many applications. Close-up sharpness sometimes suffers, as does sharpness at the long end, while chromatic aberration continues to be an issue much like the original.

    That said, overall build appears to be – at least subjectively – improved, and Nikon’s Vibration Reduction (VR) promises to be a boon for photojournalists. Paired with the D810, our experience and preliminary testing indicates VR to be incredibly effective, and we expect it’ll prove indispensable at times, while overall raising the convenience factor of the body and lens combo. For some, this may even make up for the less-than-ideal sharpness which, by the way, we only call out because of the high bar set by recent primes and venerable zooms like the Canon 24-70 F2.8 II (which lacks VR, mind you). In isolation, this new lens is plenty sharp. 

    But without further ado, have a look at the sample gallery yourself, and let us know what you think in the comments!

    Nikon AF-S Nikkor 24-70mm F2.8 ED VR Real-World Samples Gallery

    Articles: Digital Photography Review (dpreview.com)