It isn't lovely to hold or look at in hand, no particular thrill in ownership, but that sucker just works, and for what we do that is precisely what we need.
It isn't lovely to hold or look at in hand, no particular thrill in ownership, but that sucker just works, and for what we do that is precisely what we need.
Let's wrap it up this way: as good as these new 1.4s are, as solid as the 33mm f/1.4 is, it's no longer just about the lenses, although frankly every new APS-C lens Fujifilm introduces from here on out has to be spectacular and keenly priced because this is the new benchmark.
My head hurts, so let's wrap it up this way: the Sigma 20mm f/2 DG DN Contemporary is an excellent lens.
If we didn't have the wherewithal to invest in Leica for our personal work, we'd invest in Nikon.
[T]he Sigma 150-600mm f/5-6.3 DG DN Sports zoom is a well-built, weather-sealed monster of a lens that in the real world offers superb image quality, not only at the long end [...] but at intermediate fields of view as well, irrespective of price.
It is the sweet spot in Fujifilm's current medium format lineup.
I'm excited to explore real life at ISO 50,000 and the Leica SL2-S is a wonderful partner for it.
I'll just cut to the chase on this one: at that price, the Panasonic Lumix DC-S5 is untouchable among full-frame hybrids, which doesn't make it perfect, let alone the right choice for you.
None of this is to say the Leica M10-R is perfect, but to me it is absolutely the pinnacle of digital M's thus far.
It strikes me that no one else in the market has hit upon as keenly balanced a set of trade-offs among image quality, size, weight, speed, weather sealing, focus performance, build quality appropriate to the task, and price as you have for full-frame primes.
[M]y personal focusing issues and budget notwithstanding, for the right person, clearly for that rare person, the Leica M10 Monochrom is awesome.
Let me sum it up this way: the X-Pro3 at the end of the day is in fact a modest technical upgrade to the X-Pro2, wrapped in a clear appreciation for whimsy, character, and what street photographers especially want, need, and enjoy.
I just wish I could give you answers, but at a practical level the net of all of it is this: that Q2 is an incredible package.
The camera is doing precisely what it is supposed to do, that is, get out of the way, except if the battery dies too soon.
If you do street or travel photography, you want to carry light, and you already have an A7, A7R, or S1, 2, or 3, the Zeiss Batis 40mm f/2 CF is almost a no-brainer.
If you have the skill, clients, display size, display medium, viewing distances, ambition, a real but limited budget, and can live with the ergos, the Sony a7R III with its lens ecosystem is extraordinary and truly worthy.
