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.
Full frame vs. crop: which one should you buy? Whether you’re getting your first camera or want to upgrade from the one you already own, this is one of the decisions you need to make. Photographer Sheldon Evans shares his experience with both types of DSLRs. He switched from full frame to APS-C, now he’s going back to full-frame, and he’ll give you some reasons why you should choose one over the other.
It seems Canon weren’t kidding when they said they were willing to cannibalise their DSLR sales to go full on into mirrorless. Canon Rumors report that they have “confirmed” Canon’s new mirrorless camera is out there in the hands of “select Canon pro photographers”.
They note that a survey was sent out to some Canon Explorers of Light in January, asking what they wanted to see in a “professional” mirrorless camera. It seems that now, we may actually be closer than we thought to Canon actually announcing something.
If you’d like to pair your full-frame Sony mirrorless camera with a 28-75mm f/2 lens from Tamron, you’ll soon have a chance to do it. Tamron has announced that they are developing a fast standard zoom lens: the 28-75mm F/2.8 Di III RXD (Model A036), intended for full frame Sony E-mount cameras. They promise high-quality image, weather sealing and quiet autofocus in a lightweight lens. So let’s see the rest of the specs.
Samyang has now officially announced their new XP 50mm f/1.2 lens. It’s the third in the “XPert” series designed specifically for full frame Canon EF users. It adds to the XP 24mm f/2.4 and XP 85mm f/1.2 announced last September. Unlike the 24mm f/2.8 EF lens announced last month, this is a manual focus lens, to match rest of the XP series.
Designed to take advantage of 50MP+ and 8K resolutions, the XP line is built for premium quality. It houses 11 elements in 8 groups, with ultra multi-coatings to minimise distortion, aberration, flare and ghosting. 9 aperture blades help to create pleasing out of focus “bokeh” with that bright, wide, f/1.2 maximum aperture.
Leica has just announced a pair of APO-Summicron lenses for its full frame mirrorless cameras. Those would be the Leica APO-Summicron-SL 75mm f2 ASPH and Leica APO-Summicron-SL 90mm f2 ASPH. While designed for full frame, they will also work on Leica’s crop sensor cameras, too. These lenses aren’t cheap, though. One’s a little under five grand, the other’s slightly over.