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  • DPReview 20th Anniversary: Founder Phil Askey on the first ten years

    As DPReview enters its 20th year of publishing, we spoke to the site’s founder, Phil Askey – DPReview employee #1. In this interview, Phil remembers the first ten years of DPReview’s development from its original conception, through a period of massive growth, to the site’s acquisition by Amazon.


    Pre-DPReview, what were you doing?

    Before starting DPReview I was the lead developer for a software company based in Singapore, working on a web based business-to-business hospitality marketplace. The “world wide web” was still very new in 1998 but I had already established a sort of tech blog (before they were called that), mostly at that time discussing the Palm Pilot and similar electronic PDAs. The rough design for the PDA site ended up being the foundation for DPReview (including the love / hate black background).

    How was the idea for DPReview born?

    My passion for photography began with my first proper camera, a gift from my parents, an Olympus OM-10 with a 50mm F1.8. At the end of 1998 digital cameras were just starting to appear. I took an interest immediately, being a bit of a geek, loving my tech toys and being into photography.

    I created a new sub-domain on my “blog” called photo.askey.net (props to anyone who can remember that) and began writing news articles about digital cameras, at that time quite a lot of my news leads came from Japanese digital camera sites like dcwatch. My first camera review covered the Canon Pro70 (at that time a groundbreaking product), supplied to me by the marketing department at Canon Singapore and the first proper DPReview review was born.

    When you first started DPReview, what did the setup look like?

    In the very early days, in our Singapore flat it was a very makeshift setup: a few fixed tables, tape marks on the floor, items arranged in a certain way, home printed charts, etc. Nobody was really trying to test digital cameras in a repeatable way, and that was my aim, to have tests we could apply over and over and get the same results (within a margin of error). When we returned to live in London in early 2000 we had a more permanent setup with a cove for product photography, permanently mounted professionally printed charts, studio lights and so on.

    The DPReview homepage complete with its ‘love it or hate it’ black background, in November 1999 – just under a year after the site was launched.

    From 1998 to 2008 all of the backend software (i.e., the site code), the testing, news, reviews, forums management was my job. My wife, Joanna, handled the growing load of actually running a business (paperwork, bills, invoicing) as well as being a fantastic photographer and model for the reviews. Many of the better gallery photographs from those days were taken by her. Simon Joinson joined us in mid-2004 contributing news and reviews (click here to check out Simon’s first review). At the beginning of 2008, after the Amazon acquisition, we established a larger office in London and grew the team out.

    What was your ‘mission’ for DPReview?

    Initially I had no particular expectations but as traffic grew I knew we must have been doing something right, and in hindsight I would pick out these four key values.

    First, always be honest. Write a review truthfully as though you’re writing it for a family member. If a product has an issue, talk about it. Manufacturers may not like to hear it but it’s the right thing for the buyer and in the long term for the manufacturer. I also had a strict no-advertorial policy.

    Second, try to be first, and most in-depth. Despite the massive amount of work involved in producing a review I always aimed to be the first to publish and to have the most detailed reviews. This became a little easier later as manufacturers provided us with pre-production units before launch.

    Despite the massive amount of work involved in producing a review I always aimed to be the first to publish and to have the most detailed reviews

    Third, always listen to your community – I spent hours and hours analyzing logs and trying to understand how people used the site. I scrapped many an idea when it didn’t work, and added lots of features based on user requests. We always had an open “feedback” system which I believe to be invaluable.

    Finally, build a strong relationship with the manufacturers through mutual respect. This might seem slightly counterintuitive for an independent review site but as long as your testing is rigorous and your writing is honest you will earn respect on all sides.

    What were the biggest challenges, running DPReview in the early days?

    The single biggest issue back in those days was simply technical; scaling the servers to cope with the massive growth in visitors. A good 30% of my time was developing, optimizing and maintaining the site code and the servers. There weren’t many “small businesses” running servers out of hosting facilities dealing with the amount of traffic we had, and cloud services had yet to be invented.

    Also as a small business there is also a lot of pressure to keep the site up. My phone would always be with me and there were many instances of early morning panic getting the servers back up and running.

    Phil (left) and his son Kai.

    Has anything surprised you about how the digital photography industry has evolved over DPR’s lifespan?

    I was pleasantly surprised by how receptive the camera manufacturers were / are to our often critical feedback, this I believe has had a direct influence on the development of certain models. I can think of a few cameras that I can say “it’s that way because we pointed out X, Y and Z on the previous version” or “that’s the camera we always talked about”.

    I remember one factory tour trip in particular to Tokyo where we labelled “VIP” which took me by surprise

    When did you realize that DPReview had the potential to be very influential?

    When we moved back to London in early 2000 and begun working full time on the site, we had already surpassed any other digital camera site in terms of visitor numbers and were being taken seriously by the manufacturers, I remember one factory tour trip in particular to Tokyo where we labelled “VIP” which took me by surprise as we were sharing the trip with many industry veterans. It was I think at that time I realized we had earned enough respect to be taken seriously.

    What were those first years of growth like?

    Crazy is probably the correct adjective. We went from around 40,000 visitors per month in January 1999 to 600,000 by January 2000, to over 3 million per month by January 2002. By January 2006 we were seeing almost 20 million visitors per month. All this though simply drove us to keep doing more and building the site out.

    How did Amazon approach you and how did the acquisition affect DPReview?

    Amazon simply emailed me and a long, long conversation began, it wasn’t the first M&A approach we’d had but it was the most attractive, in terms of Amazon’s track record of helping sites at that tipping point (and we were definitely there) to grow without spoiling them. Amazon was by far the best fit for DPReview and we knew their assurances about editorial neutrality and supportive site development were invaluable to growing the site.

    After the acquisition we opened an office in London and grew out the staff, creating a whole new studio space and introducing a host of new site and review features.

    Announcement of Amazon acquisition (May 2007)

    What are you most proud of from those early years?

    This question took me the longest to answer, I guess I’m proud that we built up such a loyal and strong community, I put a lot of effort into the forums and I still believe it’s the backbone of the site (remember, back then discussion “boards” were far less feature-rich). I guess today I’m still very proud that we made the right choices at the right time and that Amazon are giving the site everything it needs to continue to be the leading voice for everything photography related.

    What are you up to these days, post-DPReview?

    These days I’m likely to be found at the side of a race track somewhere in Europe (mostly Italy) supporting my son’s racing career.


    Keep an eye on the site tomorrow, when Simon Joinson, DPReview’s general manager during the period when the team moved from London, UK, to Seattle, USA, will share his memories.

    Articles: Digital Photography Review (dpreview.com)

  • Darktable 2.6.0 update brings new retouch, color balance modules and much more

    Darktable, an open source Lightroom alternative, has released a major update with a number of new modules, features and updates.

    Darktable version 2.6.0 is the result of more than 6 months of work, consisting of more than 1600 commits, 260 pull requests and 250 issues that have been resolved. The resulting updates include a new retouch module, a filmic module, a redesign of the color balance module and more.

    The updated retouch module is essentially an updated version of the spot removal tool that includes a whole new collection of tools to get unwanted artifacts out of images. Cloning has been drastically improved and a built-in split frequency module makes it easy to remove blemishes without losing texture.

    A subsection of the retouch module new to darktable 2.6.0

    The new filmic module in darktable ‘was designed to reproduce the good properties of analog film, while giving you the easy controls of digital photography,’ according to the darktable 2.6.0 announcement post. The filmic module is effectively a spin-off of the curves tool with more adjustments to precisely dial in the exposure. Blacks, whites, contrast, local contrast and more can all be adjusted within the new filmic module.

    A subsection of the new filmic module in darktable 2.6.0

    Also added in darktable version 2.6.0 is a new duplicate manager. This new tool makes it easy to create multiple versions of Raw files and keep them in a stack for simple organization. Other features include new zoom options, mask previews and an updated color picker tool.

    For a full rundown of all the new features, modules and tools, head over to darktable’s announcement post. It’s a long read, but full of the wonderfully geeky insights we’ve come to expect from the darktable team.

    Darktable is available to download for free for a macOS, Windows, and a number of Linux distros. Find out more information on how to download darktable here.

    Articles: Digital Photography Review (dpreview.com)

  • The dPS Top Photography Tips of 2018

    The post The dPS Top Photography Tips of 2018 appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

    This week on dPS we’re featuring some of the top articles in different categories that were published on the site over 2018.

    To begin, this one is all about the best all-round photography tips of the year.

    Here are the top all-round photography tips articles of 2018:

    1. 3 Misunderstood But Important Buttons on Your Camera Explained

    3 Misunderstood But Important Buttons on Your Camera Explained

    2. 5 Camera Settings That All Macro Photographers Should Know

    5 Camera Settings That All Macro Photographers Should Know

    3. Adobe RGB Versus sRGB – Which Color Space Should You Be Using and Why

    Adobe RGB Versus sRGB – Which Color Space Should You Be Using and Why

    4. 5 Reasons Your Sunrise or Sunset Photos Don’t Look Stunning

    5 Reasons Why Your Sunrise or Sunset Photos Don’t Look So Stunning

    5. How to Create Colorful Artistic Images Using Oil and Water

    How to Create Colorful Artistic Images Using Oil and Water

    6. 9 More Great Apps You Need for Your Smartphone

    9 More Great Apps You Need for Your Smartphone

    7. 8 Ways to Create More Dramatic Flower Photos

    8 Ways to Create More Dramatic Flower Photos

    8. 4 Tips for Photographing Fog to Create Mystical Images

    4 Tips for Photographing Fog to Create Mystical Images

    9. A Quick Guide to Using Bounce Flash for More Natural-Looking Photos

    A Quick Guide to Using Bounce Flash for More Natural-Looking Photos

    10. Five Simple Exercises to Improve your Photography

    Five Simple Exercises to Improve your Photography

    11. How to Choose the Right ISO for Landscape Photography

    How to Choose the Right ISO for Landscape Photography

    12. Aperture Versus Shutter Priority – Which Shooting Mode to Use and When

    Aperture Versus Shutter Priority – Which Shooting Mode to Use and When

    13. Five Ways to Take Your Macro Photography to the Next Level

    Five Ways to Take Your Macro Photography to the Next Level

    14. 5 Ways to Invest in Your Photography Over the Next 365 Days

    5 Ways to Invest in Your Photography Over the Next 365 Days

    15. 9 Water Photography Ideas to Make a Splash

    9 Water Photography Ideas to Make a Splash

    Next up, we’ll show you The dPS Top Photography Gear Tips of 2018.

    The post The dPS Top Photography Tips of 2018 appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


    Digital Photography School

  • Sigma releases X3F Raw conversion plugin for Photoshop

    Sigma has released ‘Sigma X3F Plug-in for Photoshop’, a Raw conversion plugin for processing files from its Foveon Merrill and Quattro cameras.

    The plugin allows users of the DP Merrill and dp Quattro large sensor compacts, along with Quattro mirrorless camera shooters to bring X3F files into Photoshop without having to use Sigma Photo Pro. The SD1 and SD1 Merrill cameras are also supported.

    Both Mac and PC versions of the plugin are available.

    As the name suggests, Sigma X3F Plug-in for Photoshop only supports X3F files: X3I files generated by the multi-shot ‘Super-fine detail’ mode will still need to be process with Sigma Photo Pro.

    Users of older Foveon camera are advised to use Adobe Camera Raw or SPP.

    On Twitter, CEO Kazuto Yamaki described the software as ‘a small Christmas present to our camera users’, adding ‘Ho, ho, ho!’

    The download page can be found here

    Articles: Digital Photography Review (dpreview.com)

  • Gear of the Year 2018 – Dan’s choice: Tamron 28-75mm F2.8 Di III RXD

    My past Gear of the Year choices – the Nikon D750, DJI Mavic Pro and Sony a9 – were based on the strong emotional connection I made with each, as a photographer and videographer during the given year. This year I’ve picked the Tamron 28-75mm F2.8, a lens I’ve recommended more than any other in 2018 and one Sony desperately needed for its system.

    It’s the first third-party zoom for Sony E-mount to offer autofocus and it plays nice with all AF modes; even Eye-AF. It’s also the piece of gear in the DPReview cupboard I’m most excited to get out and shoot with once Seattle’s weather turns.

    The Tamron 28-75mm F2.8 is a lens I’ve recommended more than any other in 2018

    Last year’s pick, the a9, was an admission that I’ve finally come around to enjoying Sony’s cameras. But for me as a reviewer, a camera brand is only as good as its best budget lens options. In my opinion, Sony (in common with quite a few other brands) has done a poor job ensuring budding photographers on a tight budget have access to affordable, fast zooms.

    ISO 200 | 1/60 sec | F8 | 28mm
    Photo by Carey Rose

    At $ 800, the 28-75mm F2.8 isn’t exactly cheap, but it does offer a-single-lens-solution to new E-mount customers and is a great companion to the a7 III – for about $ 2800 total, you’ve got a killer combo. It also makes Sony’s own 24-70mm F4, which costs about the same, seem irrelevant.

    But the price is not the only thing Tamron got right: it nailed the size and weight, too. Sony’s F2.8 zooms tend to be large and heavy: the $ 2200 24-70mm F2.8, for instance, weighs 886g, compared to 550g in the Tamron. Size-wise, the Tamron is also much smaller, about the same size as a can of soda pop (until you zoom, that is).

    It offers good center sharpness throughout its zoom range and for most photographers, that’s what counts

    And just because it’s priced a lot lower than comparable native glass doesn’t mean it’s built with a ‘budget’ mindset. Sure, the body is made of polycarbonate, but it feels and handles like a high-quality piece of gear. It also well-suited to take on the elements: a fluorine coating on the front repels grime and a moisture-resistant construction, including gaskets around the barrel and at the mount, keeps water out.

    It can also handle both stills and video capture as well as Sony’s modern full-frame cameras. A ‘Rapid eXtra-silent stepping Drive’ – the RXD at the end of its name – is virtually silent, ensuring accurate focus with no unwanted focus motor sounds in your videos.

    It’s the most sensible zoom currently available for E-mount

    Now some will argue Sony’s heavier, pricier lenses offer sharper results, nicer bokeh, etc., and honestly, this might be true. But who cares? The Tamron offers good central sharpness throughout its zoom range and for most photographers, that’s what counts. Those who want to spend 3x the cash on Sony’s version can go right ahead, while the rest of us use the Tamron.

    ISO 1250 | 1/160 sec | F2.8 | 35mm
    Photo by Carey Rose

    The Tamron 28-75mm F2.8 my choice for 2018 Gear of the Year because it is a wonderful solution to a problem Sony has long had: the lack of a fast, affordable zoom full-frame zoom. For years, Tamron has concentrated on producing lenses that fill gaps in the market and this might be its most successful to date – there’s a reason it was back-ordered months after its launch.

    Ultimately, it’s a lens for the many, not the few and in this writer’s opinion, the most sensible zoom currently available for E-mount.

    Articles: Digital Photography Review (dpreview.com)

  • Happy Holidays 2018 from the dPS Team

    The post Happy Holidays 2018 from the dPS Team appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

    Merry Christmas from the dPS Team! Here in Australia, where most of the team are based, it’s Christmas day already.

    Happy Holidays 2018 from the dPS Team

    Thank you for being a regular reader and fan of dPS and for helping us to continue to provide quality photography education for you and other photography enthusiasts.

    However you celebrate this holiday season, we hope you have a fantastic Christmas and Holiday Season.

    We look forward to our continued journey together!

    Cheers!

    The post Happy Holidays 2018 from the dPS Team appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


    Digital Photography School

  • Thieves steal more than $50,000 in equipment from camera store in less than a minute

    This past week, Hunt’s Photo and Video, a small camera store located in Manchester, New Hampshire, had thousands of dollars worth of camera gear stolen from its stands and cases overnight.

    Detailed in a video produced by NBC10 Boston, CCTV footage shows four thieves breaking through the front of the store with the help of an axe. Once the entrance is cleared, the thieves run inside with four containers and smash the display cases to access the gear. The thieves subsequently fill each container with thousands of dollars in camera equipment and slide them across the floor as they make their way towards the exit.

    In less than a minute, the smash and grab netted the thieves more than $ 50,000 in equipment, according to Mike Mitchell, VP of Hunt’s Photo and Video. The high quality CCTV footage captured a partial identification on one of the thieves when their mask was lifted, but hasn’t led to any definitive identifications as of the publication of this video.

    Four months prior to this break-in, Hunt’s experienced a nearly identical break-in wherein the thieves made off with another $ 50,000 in gear. Local authorities are working alongside Hunt’s Photo and Video to identify and capture the suspects and believe the two break-ins are related to each other.

    DPReview has contacted Hunt’s for more information on what was stolen and what the serial numbers are. This article will be updated accordingly if Hunt’s responds with the information.

    Articles: Digital Photography Review (dpreview.com)

  • Video: Zeiss shows hands-on footage of its ZX1 camera with Lightroom integration

    In September 2018, Zeiss announced the ZX1, a fixed-lens, full-frame camera that has onboard Adobe Lightroom CC integration. Yesterday, Zeiss shared a two minute video that gives the world its first hands-on look at the ZX1 and its onboard editing abilities.

    Throughout the video, portrait photographer and photojournalist Sabrina Weniger walks around the streets of Little Tokyo in Düsseldorf narrating her experience with the ZX1 and the features she most enjoys about it. Unsurprisingly, she doesn’t hit on the negatives.

    In addition to her overall positive thoughts on the camera, Zeiss shares a glimpse of the camera itself, including the 35mm F2 lens and the massive 4.3-inch touchscreen display that’s used to compose, view and edit photos using the onboard Lightroom. The video also details the onboard version of Lightroom CC in action, as she edits a portrait captured inside a small shop right on the rear display of the camera.

    Nothing new is necessarily learned from the video, but it’s the first time Zeiss has shown off the camera in action before its yet-to-be-determined launch date said to be in the first part of 2019.

    Articles: Digital Photography Review (dpreview.com)

  • Gear of the Year 2018 – Barney’s choice: Nikon Z7

    This year seems like it went by in a flash (although thinking back to some of the news headlines I’m still tempted to say ‘good riddance’). In the photo industry, 2018 has definitely felt like a year of transitions: not least because this was the year that Canon and Nikon finally entered the full-frame mirrorless market, and in so doing began the slow process of moving beyond their respective legacy EF and F mounts.

    Appropriately, perhaps, I sold a lot of camera equipment this year too, including my long-serving/suffering DSLR and several lenses. It’s always hard to say goodbye to gear, but there’s no point keeping expensive cameras and lenses around if they’re not getting used. The end result is that without a ‘main’ camera to reach for I’ve been feeling a little transitional myself. Of course I’m lucky that I can raid the DPReview gear cupboards when I need to, but more often than not I’ve been grabbing one of my old film cameras when I want to go out shooting. Sometimes I’ll even remember to grab a roll of film, too.

    But enough about me – let’s talk about me!

    My pick for Gear of the Year is the Nikon Z7, which is actually one of the few digital cameras released in the past 12 months that I’ve enjoyed spending any significant amount of time shooting with. That doesn’t mean I’m writing about it by default, just because I can’t think of anything else – far from it. For the kind of photography that I do, it’s close to being the perfect camera.

    When the light gets low, the Z7’s autofocus system can start to struggle. Usually, though, if you can point it at a contrasty line or point of light (like the frames of the windows reflecting the sunset in this shot) it’ll lock on just fine.

    My preferred style of photography (“interesting boring” to quote a friend whose opinion I don’t remember asking) rarely stresses any camera’s continuous autofocus system. I actually shoot manual focus lenses much of the time, and I almost never need to fire off images faster than 1-2 frames per second. As such, two of the major shortcomings of the Z7 are pretty much irrelevant to me. I’d love a taller handgrip, but I’ll take the Z7’s rather short, stubby one for the sake of a smaller and lighter body. Ditto a single card slot.

    Speaking as someone who lugged a D850 (my favorite camera of last year) up and down four mountains in a day in 90+ degree heat in Japan this August,* I can tell you that the Z7 is a very pleasant traveling companion by comparison. And shooting the production of a music video back in August, coming from a D810/D850 I was very impressed by how easy the Z7 was to get to grips with, too, even without an instruction manual (the camera was still strictly embargoed at the time and the manuals were still being translated).

    It’s only been very recently that electronic finders have started to compete with the best DSLRs in terms of sharpness and responsiveness

    Jumping back to earlier in the summer, when Nikon first briefed us on its then-unnamed camera, it was clear that the company’s engineers had set some pretty tough internal benchmarks for what became the Z7. One of those was image quality, and another was the viewfinder experience – both of which had to be comparable to the D850. I’ve never been particularly nostalgic about the optical viewfinders in DSLRs – the sooner they’re replaced by good EVFs the better in my opinion. But note my use of the crucial word ‘good’ in that last sentence. It’s only been very recently that electronic finders have started to compete with the best DSLRs. The Z7’s EVF is one of the sharpest and most detailed out there. So sharp and detailed, in fact, that I often find myself forgetting that its electronic at all, except in really high-contrast situations.

    Ruby Beach, on the Olympic Peninsular, a few hours’ drive west from Seattle. Shot with the compact Z 24-70mm F4, this shot demonstrates the lens’s high contrast and almost clinical sharpness.

    Where I tend to run into the Z7’s limitations, though, is with low-contrast subjects in subdued light when, even in AF-S mode, its autofocus system becomes… let’s say… unpredictable. If you’ve ever used first-generation Nikon AF systems such as those found in the likes of the F/N90X and F4, you’ll be familiar with the need to find a bright point of light or a contrasty line or something around the desired plane of focus for the AF system to lock onto. If you can’t find one, good luck and happy hunting. Literally.

    Fortunately, the Z7’s EVF remains sharp and contrasty even in poor light, so if autofocus gives up completely I just pop it into magnified manual focus mode and do things the old fashioned way. The effort is usually worth it, especially with the 35mm F1.8, which – while it might not have the nicest bokeh around – is sharp enough for landscape work at F1.8.

    Another shot taken with the 24-70mm, in Japan. At F13 (for the sunstar) diffraction is taking a bite out of critical sharpness.

    In fact, Nikon appears to have designed all three of the new ‘S’ lenses for optimal sharpness, with admirable success. The result is images which are phenomenally detailed across the frame, but lack the pleasant bokeh of certain Nikon and third-party F-mount lenses. Of course, if you have a favorite F-mount lens that you want to use instead, there’s an adapter for that.

    Thanks to the built-in stabilization and wide, shallow dimensions of the Z mount, the Z7 has a lot of potential as a 46MP digital back

    What I’m most looking forward to, though, is trying out the Z7 with my collection of older third-party primes. High quality adapters from the likes of Novoflex are slowly starting to become available, and thanks to the built-in stabilization and wide, shallow dimensions of the Z mount, the Z7 has a lot of potential as a 46MP digital back. I have a Leica M to Nikon Z adapter on order, and I can’t wait to try out: there’s an uncoated 1936 Leica 50mm Summar on my shelf just crying out for some love…

    The Z7 pictured next to one of my personal cameras, a much-used mid-60s F. As you can see, the new Z mount is significantly larger than the old F mount, despite covering the same imaging area. This gives Nikon’s optical engineers a lot more flexibility when designing certain kinds of lenses for the new mount.

    Nikon could have played it safe with the Z7, but its engineers decided to aim for high-end and professional photographers and launch the Z7 with their best sensor. It was a risky decision, and I can completely understand why some of the photojournalists I’ve spoken to haven’t taken to the Z7. Without a doubt, its autofocus isn’t on a par with the D850 or D5, particularly in dull, low-contrast conditions. Speaking to wildfire photographer Stuart Palley recently, it’s obvious that Nikon has some work to do before he’ll feel comfortable leaving his DSLRs at home. But while the Z7 isn’t quite the ‘mirrorless D850’ that we had hoped for, it’s close enough for me. I think I might buy Stuart’s.

    Nikon Z7 Sample Gallery

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_4819511289″,”galleryId”:”4819511289″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

    * Impressed? I think I was trying to prove a point about how much of a pain DSLR photography is, with the intention eventually of writing an article about it. I suppose this is that article. [Return to text]

    Articles: Digital Photography Review (dpreview.com)

  • Gear Review: Fujifilm 50-140mm vs 55-200mm

    The post Gear Review: Fujifilm 50-140mm vs 55-200mm appeared first on Digital Photography School. It was authored by Suzi Pratt.

    One of the biggest questions all Fujifilm X-Series users have to contend with is, “which telephoto zoom lens should I buy?” Luckily, there are three great Fujifilm X telephoto lenses to choose from:

    • Fujinon XF 18-135mm f/3.5-5.6 OIS WR
    • Fujinon XF 55-200mm f/3.5-4.8 R LM OIS
    • Fujinon 50-140mm f/2.8 OIS

    Fujifilm Telephoto Lenses: 50-140mm vs 55-200mm

    All three lenses are fantastic in their own rights, but which one is best for you? In this article, we’ll take a look at two telephoto lenses in particular: the 55-200mm and 50-140mm. Why these two? Because they’re intended to fill the role of the standard 70-200mm zoom lens, an important tool in every professional photographer’s gear kit. If you’re unfamiliar with Fujifilm, note that all X-Series cameras are crop sensors, so these lenses have a 35mm equivalent.

    Specifications

    Fujinon XF 55-200mm f/3.5-4.8R LM OIS

    • Released in June 2013
    • Price (MSRP): $ 699 USD
    • 35mm Equivalent: 83.6-304mm
    • Aperture Range: f/3.5-4.8
    • Dimensions: 75mm (diameter) x 118mm-177mm (length)
    • Weight: 633 grams (with hood and caps)
    • Image Stabilization (OIS): Yes
    • Weather Sealed: No

    Fujinon 50-140mm f/2.8 OIS

    • Released in November 2014
    • Price (MSRP): $ 1599 USD
    • 35mm Equivalent: 76-212.8mm
    • Aperture Range: f/2.8
    • Dimensions: 82.9mm (diameter) x 175.9mm (length)
    • Weight: 1,184 grams (with hood and caps)
    • Image Stabilization (OIS): Yes
    • Weather Sealed: Yes

    1 - Gear Review - Fujifilm 50-140mm vs 55-200mm

    Specs Summary

    Based on specs alone, there are big differences between these two lenses. The 50-140mm is much larger, heavier, and more expensive. Although, it doesn’t even cover nearly as much range as the 55-200mm. What gives? For starters, the 50-140mm is one of few Fujifilm lenses to receive the Red XF Zoom Badge. It’s similar in concept to Canon’s L-lens designation, indicating that red badge lenses are more premium and geared toward professionals.

    There are two qualities in particular that make the 50-140mm more premium: weather sealing, and the constant f/2.8 aperture. Both features make this lens more flexible in terms of shooting in bad weather and in low lighting conditions. Both important features for professional photographers. Unfortunately, that also means the price is much higher with the 50-140mm costing more than double the 55-200mm.

    2- Gear Review - Fujifilm 50-140mm vs 55-200mm

    Build quality

    Specs aside, let’s talk about how these two lenses compare in terms of handling and physical construction.

    Buttons and rings

    Both telephoto lenses are made of a combination of metal and rubber. There’s a rubber ring to control the zoom and another rubber ring for manual focus. The lenses also have Fujifilm’s signature aperture ring that allows the user to twist to select the aperture. There’s a key difference in that the 50-140mm has a marked Auto Aperture ring, whereas this takes the form of a switch on the 55-200mm. Both lenses also have a switch to turn OIS on or off.

    3- Gear Review - Fujifilm 50-140mm vs 55-200mm

    Zoom

    Another big difference between these lenses is how they zoom. The 55-200mm has an external zoom, which means it extends as the zoom ring is turned. When fully extended, the 55-200mm is nearly the same length as the 50-140mm. This can be positive in that the lens ends up being quite compact when not fully extended. However, when fully extended, there’s an added risk of damaging the lens. On the other hand, the 50-140mm lens zooms internally, meaning it physically remains the same length even as you zoom in and out.

    Lens Hoods

    Both the 50-140mm and 55-200mm come with plastic lens hoods. The 50-140mm’s lens hood is scalloped and has an opening allowing easy access to lens filters (ie. circular polarizers).

    4- Gear Review - Fujifilm 50-140mm vs 55-200mm

    Tripod collar

    Likely due to its size and weight, the 50-140mm comes with a metal tripod collar. This allows for the lens to be mounted to a tripod, rather than the camera body, resulting in better overall balance. The tripod collar has several knobs that allow it to easily be turned in any position, or removed altogether. Compared to other telephoto zooms such as the Canon 70-200mm f/2.8, Fujifilm’s tripod collar is much lighter and easier to remove. Overall, the tripod collar seems to be one of the best and most surprising features of this lens.

    The 55-200mm lens does come with a tripod collar.

    Lens performance

    Let’s start with the 55-200mm f/3.5-4.8 lens as its price point and size makes it the easiest to add to your kit. Overall, the lens performs extremely well. Images are sharp and in focus. Even when shooting at 200mm f/4.8, image bokeh is smooth and there’s a good separation between the photo subject and background. However, it’s still a variable aperture lens. When shooting in low lighting or needing to isolate your subject with creamy bokeh background, this lens is blown out of the water by the 50-140mm.

    5- Gear Review - Fujifilm 50-140mm vs 55-200mm

    The 50-140mm at f/2.8 performs incredibly well in low lighting.

    Moving on to the 50-140mm f/2.8 lens. This lens is definitely much beefier and you’ll need more room in your bag to lug it around. Its size can make it an awkward match for some of Fujifilm’s more compact cameras such as the X-E bodies. If your camera comes with an optional battery grip, using it can help the lens and camera feel more balanced. Personally, I had a hard time turning the aperture ring with the tripod collar attached, although the collar did help hold the lens steady.

    In terms of image quality, the 50-140mm offers sharp, crisp images at all focal lengths and apertures. It has an obvious upper hand when it comes to low light shooting and bokeh with that f/2.8. However, if you’ve gotten used to shooting with the 55-200mm, you might miss that extra zoom range that you can’t get with the 50-140mm.

    7- Gear Review - Fujifilm 50-140mm vs 55-200mm

    55-200mm at 55mm f/3.5

    8- Gear Review - Fujifilm 50-140mm vs 55-200mm

    50-140mm lens at 140mm f/2.8

    Conclusion

    So which of these two Fujifilm telephoto lenses is best for you? It’s hard to say. If you’re on a budget, don’t want a bulky lens, or don’t shoot in a lot of low lighting scenarios, the 55-200mm is a great deal that will still give you sharp, clear images. However, if your budget can stretch a bit and you really value having a constant f/2.8 aperture, splurge on the 50-140mm. Despite being larger, pricier, and offering less range, the 50-140mm is a sturdy, reliable lens that will last you a long time.

    Video

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    9- Gear Review - Fujifilm 50-140mm vs 55-200mm

    50-140mm lens at 140mm f/11

    10- Gear Review - Fujifilm 50-140mm vs 55-200mm

    55-200mm at 200mm f/11

    11- Gear Review - Fujifilm 50-140mm vs 55-200mm

    55-200mm

    12- Gear Review - Fujifilm 50-140mm vs 55-200mm

    50-140mm

    Have you used either of these lenses? We’d love to hear your thoughts in the comments below.

    The post Gear Review: Fujifilm 50-140mm vs 55-200mm appeared first on Digital Photography School. It was authored by Suzi Pratt.


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