Earlier this year, Laowa announced the 10-18mm f/4.5-5.6 for Sony E-mount. And now it’s finally here: the widest zoom lens for full-frame Sony cameras is ready for preorders. We bring you more details and some sample images taken with the new addition to the Laowa family.
Should you switch from APS-C to full-frame? Or perhaps shoot large format? Does it matter? What will it change? Ah, so many questions. In this video, Jay P. Morgan and Kenneth Meryl have decided to test four sensor sizes side by side and give you the answers. They shot with a large format, a full-frame, an APS-C and a micro 4/3 camera. Here you can compare the images side-by-side and see for yourself how much of a difference there is.
A lot of folks expected more from Sony during Photokina 2018’s announcements. The “baby A9” rumoured to come in the form of the A7000 was nowhere to be mentioned. Instead, we’ll just get better cat photos thanks to Sony’s new Animal Eye AF.
But Kenji Tanaka, global head of Sony’s interchangeable lens camera business, has confirmed in an interview with Pronews.jp that they will once again start focusing on higher-end APS-C cameras.
Panasonic has just finished their Photokina press event and officially announced the new Panasonic S series full frame mirrorless camera. And they’re starting off the new line with two cameras and three lenses. They’ve also confirmed the L mount collaboration between Panasonic, Leica and Sigma.
At least, that’s what the latest rumours say. 43Rumors has put up a list of “confirmed” and possible specs for a potential upcoming full frame mirrorless camera from Panasonic. The specs do look very impressive, and quite logical given Panasonic’s reputation amongst filmmakers and video creators.
The long-awaited Nikon mirrorless camera is going to be launched in just three days. After four teasers that didn’t tell us quite so much, the fifth one shows a bit more of the upcoming camera. It also shares the first impressions of the people who used it, and there’s even a quick look on the F-mount adapter.
Tamron couldn’t stop shouting about its new 28-75mm f/2.8 Di III RXD full frame lens for Sony leading up to its launch. I must’ve received a dozen press releases from them since the beginning of the year announcing its release. Now that its out, though, it seems that it has one big flaw. The autofocus randomly dies, requiring a power cycle of the camera in order to get it working again.
The issue was reported by That1CameraGuy during his initial review of the lens. But now, Tamron has acknowledged the existence of the problem. They don’t know what’s causing it, but they say that they’re trying to figure that out and that a fix will be coming via a firmware update which can be applied through the camera.
When it comes to the discussion fo bokeh, we often hear of the “benefits of full frame”. There are many comparisons out there all over the web, extolling the virtues of a larger sensor, and how a full frame mirrorless or DSLR is the “ultimate”. It’s really not, though, if that’s your goal, which this video from photographer Bill Lawson sets out to prove.
In this side-by-side shootout, he compares a Nikon D7000 DX body, along with a Nikon D700 full frame DSLR and 4×5 large format. He uses 50mm, 85mm and 300mm lenses to achieve a similar field of view with each of the different cameras, and gets to work.
When I do macro photography, I do it mostly freehand, outdoors, and when possible, in natural light. I love my Sony A7 and the abundance of affordable macro lenses available for it via adapters. But one thing that I often struggle with, and sometimes damn my full frame sensor for, is the minuscule depth of field.
So one day, I got the idea to pick up a macro lens for my newly purchased Micro Four Thirds camera: The Panasonic Lumix G80 (known as G85 in the United States). In this article, I want to briefly go through some important aspects to consider when you pick between full frame and crop sensor for macro photography.