Good news! SIRUI just expanded their anamorphic Saturn lineup – In addition to the already existing Saturn 35mm, they have just introduced two new anamorphic lenses: the Saturn 50mm and the Saturn 75mm. Each is a T/2.9 full-frame anamorphic lens that is smaller than a phone, light enough to mount on a drone, and best of all? They are all budget-friendly at under $1,000. We took the entire set for a spin!
SIRUI just announced their first autofocus lens ever – the SIRUI Sniper. The Sniper is a set of three lenses for APS-C sensors. We took the set for a ride, and they are a great pick for the price. Once you read the review, there is a good chance you’d wanna grab them. They are now pre-selling on Indiegogo for $299 a lens.
For a super deep drill down on the set, hit the jump.
Insta360 has announced their newest camera, the Insta360 Ace Pro (buy here). There’s also a non-pro Insta360 Ace (buy here), but I’ve been testing the Insta360 Ace Pro for a couple of weeks, so that’s what we’re going to talk about here.
When Kelvin brought the Kelvin Epos 300 ($2,499) to the market, they reignited a (not so old) debate: are RGBACL lights better than RBGWW lights? I mean, there is definitely a price difference between the two technologies, so it’s interesting to see if the extra juice is worth the squeeze.
We took the Epos 300 for a spin and put it against the Prolycht Orion 300 ($2,150) – the closest light in the market right now, as well as some RGBWW comparisons. You can probably guess from the title we were impressed. Hit the jump for the rest of our findings.
The new tiny smoke machine, the PMI Smoke Ninja (249$), is only 142mm tall. 5mm shorter than an iPhone 15. It’s the size of a phone but a fully-fledged smoke machine. Well, a light smoke machine. Let me explain.
The PMI Smoke Ninja was funded on Kickstarter with over $640,000 of funding dollars. It is a hyped entry-level alternative to the PMI Smoke Genie. It is about 30% smaller and much simpler to use. But don’t discount it just yet. The Smoke Ninja can provide all professional needs on set, with only one real exception.
Underwater photography is a niche art form and the ultimate underwater camera needs to be equipped with a niche feature set – one fulfilled by the Nikon Z8. As the world transitions away from DSLR cameras, Nikon devotees have waited for the brand’s answer to its competitors’ smaller and more effective mirrorless models such as the Sony A7R V and Canon EOS R5. Finally, that wait is over and Nikon enthusiasts have a compelling reason to upgrade.
Here are some good news for fans of wide-angle lens, 7Artisans just launched their new full-frame 7Artisans 9mm f/5.6 lens. The lens costs 479$ and is available for the Nikon-z, Canon-RF, Sony-E, and Leica-L mounts. Oh, and here are some even better news, the lens is rectilinear. Meaning? it’s not a fish-eye lens.
The 7Artisans 9mm f/5.6 is a non-fish-eye full-frame lens. Yes, full-frame. Ultra wide-angle lenses that actually cover a full-frame sensor are few and far between. The last one in recent memory is the Laowa 9mm F5.6, which costs 799$. It is nearly twice as much as the budget-friendly 7Artisans one.
About two months ago, rode released their $400 Rode Wireless Pro, a set of wireless microphones that catches up with the wireless lavalier industry and then some. We took the set for a test drive, and unsurprisingly, this is the best wireless lav that RODE released to date.
As the name implies, this set is an upgrade to the $300 RODE wireless GO II, which, in itself, is an upgrade to the (now discontinued) RODE Wireless GO, which was the first microphone in this Dual Wireless Lav category. Obviously, we were very curious to see how this kit performs. Click on to find out.
Just a few months ago I reviewed the Sony FE 20-70mm F4 G lens, an intriguing lens that went wide enough at 20mm that many people could use it as their wide angle lens while still getting a “normal zoom” that reached as far as 70mm. I found it a great lens for travel, and I agreed with the argument from Sony that with modern, high resolution cameras it is relatively easy to crop in for more reach, but that doesn’t solve the problem of going wider. Tamron seems to have mirrored that argument, but taken it a bit further.
Their newest lens is the interesting Tamron 17-50mm F4 Di III VXD, a lens that essentially works in reverse of the Sony design. Sony essentially take a standard zoom and made it wider, while Tamron has a taken a wide angle zoom and stretched it to reach 50mm. What’s more, their lens is an internally zooming lens that makes for a really intriguing gimbal lens due to the balance point staying constant. They have also aggressively priced the 17-40mm F4 at just $699 USD, which helps alleviate the biggest negative feedback I heard about the $1100 USD Sony lens; it was just too expensive. But is the Tamron a worthwhile option? We’ll explore that in the video review below or in the rest of this article.
I’m down in San Diego, about to go on a safari. And I’ve got with me the Panasonic G9 II. This is the second generation in the G9 series from Panasonic.
This is a micro-four-thirds camera, 25.2 megapixels, in the same housing as the S5 II. So natural for me when I grab ahold of this camera. I’m excited to shoot with it. It has reworked autofocus. It’s got some features that they’ve really beefed up in this micro-four thirds camera. So let’s take a look at those.