On paper the Fujifilm X-A7 appears to address many of its predecessor’s shortcomings, but do those improvements add up to a better real-world experience? Chris and Jordan head to Calgary’s awe-inspiring, fire-breathing Beakerhead festival to get a feel for how it handles.
The Fujifilm GFX 100 is the new 100 megapixel flagship from Fujifilm. It features a newly designed sensor which offers some of the best dynamic range I’ve seen on any camera to date. This medium format camera is also unique in that it has features not found on any other medium format camera such as in body image stabilization (IBIS) and the ability to record 4k video.
Compared to other camera such as the Hasselblad X1D, Pentax 645Z, or Phase One XF IQ3 – Fujifilm represent a serious change not only in possibilities with the camera, but also in price point.
Robin Wong writes:
This actually refers to telecentric lens design, meaning having the optics designed in a way that the light will hit the sensor more linearly without too much straying off, and this was already adopted by Four Thirds system lens mount in 2003! Yes, Olympus and Panasonic that started the Four Thirds DSLR system, with Olympus releasing their first DSLR Olympus E-1 in 2003 alongside their first fully realized telecentric design lens, Zuiko Digital 14-54mm F2.8-3.5. These technical concerns and approach to optimize lens mount and subsequent optical design have been fully implemented by Olympus and Panasonic’s Four Thirds system 16 years ago. 16!
Dave Maze has tested the new EF-mount Design Pocket Cinema Camera 6K (available for $2,495 at BHphoto):
Oh this is quite a statement made by Engadget:
Is the S1R worth $3,700? If you had asked me this even a month or two ago, I would have said yes. However, Sony’s incredible new 61-megapixel A7R IV has put me in a tight spot here, based on the brief look we had. For $200 less, you get a lot more, including much higher resolution, phase-detect autofocus with incredible AI powered eye detection, and video features on par with the S1R.
Sony simply hasn’t given Panasonic an inch in performance, and has a proven track record with three previous A7R models. It’s a shame, because the S1R is a pretty incredible camera, but like Canon and Nikon, Panasonic is simply getting lapped by Sony in the mirrorless race.
This week Chris and Jordan review the Nikon 24-70mm F2.8 S for Z-mount, a lens many photographers consider to be the foundation of the ‘holy trinity’ of zoom lenses. Does it measure up to the high expectations set by Nikon? Tune in to find out.