Reviews

For all you hipster and pro photogs out there, I’m sure you already know that the X100S has already been out for quite some time now. So if you’re looking for another one of those lengthy, technical, in-depth pixel peeping reviews about this camera? Then you’ve most definitely came to the wrong place.

This is about a four-month adventure with a piece of technology that the good folks from Fujfilm generously offered to let me put on my left shoulder. A journey through life as someone who makes pictures for a living.

There’s been a lot of interest in the newly released Tamron 150-600mm f/5-6.3 SP Di VC USD lens. (For those wondering what the initials mean, VC means vibration control, the others all read ‘marketing drivel’.) But meaningless initials or not, with a price under $1,100, a superior range, and vibration control, this lens has created a lot of excitement.

The Fujifilm Instax Mini 90 might just be that unusually sexy gem that will intrigue the masses and add a dash or two of fun into your photography. A camera that is going to have clients talking and friends gawking.

I have to admit I didn’t get too worked up when the Sony A7 and A7R were released. The last time I wrote about Sony it was how there were so few lenses for the NEX system years after introduction. So now we’re going to a system requiring a whole new lens mount. Sure the camera’s specs were interesting. But the idea of yet another camera body good mostly for shooting lenses on adapters wasn’t very exciting. So I planned to ignore it.

Metabones, maker of the impressive Speedbooster adapters is back at it again. When the Speedbooster first came out, I wrote about it being like magic, increasing the aperture and field-of-view of Nikon and Canon full-frame lenses mounted to NEX and micro 4/3 cameras, while maintaining or even improving image quality. Now they’ve brought the Metabones magic to the Blackmagic cinema and pocket cinema cameras.

I’m probably setting myself up for a replay of the Exo Tria Arxidia scene, but my friend Bernhard introduced me to the German term scharf the other day. It can mean both sharp and hot (as in spicy, or as in, you know, hot). After testing our first copies of the Zeiss 55mm f/1.4 Otus lens I felt the term scharf was just perfect to describe this lens.

The Sony RX10 was in shorter supply than the other two cameras during my time with Sony in Nashville, so getting my hands on it was a little bit more challenging. But get my hands on it I did, and even though I spent less time shooting with it than I would have liked, what I found was a camera that really blew away whatever expectations I had.

This last week, I had the great pleasure of joining many of my fellow writers from other major photo and tech news outlets for a week of fun and photography with Sony in Nashville, TN. Basically, the event gave us all a chance to test out the new mirrorless full-frame a7 and a7R cameras (as well as the RX10, which I'll hit on in another post) in a variety of situations, with Sony artisans and engineers on hand to answer all of our questions.

When Sigma announced a new version of the much loved 120-300 f/2.8 I immediately kicked myself for buying a much pricier 300mm Nikon about 6 months earlier. The reasons why may not be readily apparent, but we'll get to that. First let's discuss the aesthetics and specs.

Recently there’s been a fair bit of hullaballoo about these new cameras Fuji has been bringing out – the X-series. X100, X-Pro 1, XE-1 and most recently the X-M1 or something like that. All touted as great cameras – the perfect blend of retro styling and cutting edge sensor technology, paring away anything extraneous to the act of shooting.

The Fuji X series – peerless walk-around cameras that can be adapted for wedding work, editorial work heck, even commercial work. Photography bloggers whom I respect and admire all clambered over each other to shout the praises of these lightweight wonder-cameras. They could do no wrong on the digital camera review sites, and quickly developed a cult following which exploded into a massive fanbase. The Fuji X-series. Messianic.

In the Iron Man movies, billionaire Tony Stark developed exoskeleton suits to gain superhero prowess, and refined every generation of his armor with slight upgrades. Up to Mk 7 of his suit, the changes had always been slight and incremental, and in many ways it is the same story with the Canon EOS 70D – the Mk 7 of a successful and evolving EOS DSLR line from the billion-dollar business.

So how does the new tech compare against the EOS 60D? Looking at the brochure it is like another version of the Volkswagen Golf – every generation gains more buttons and dials, more screens, more features, more efficiency and more speed.

Today I received an Experimental Lens Kit from Lomography and immediately took it on a test ride while having my lunch break.

When I first heard of the CamRanger in October of 2012 in New York City at PhotoPlus Expo I was immediately intrigued.

I don’t actually own a laptop, so tethering to an iPad tablet has been a long awaited process with trial and error. My first experience was with the Eye-Fi Wireless SD Card; a memory card you place in your camera, the card transmits a wireless signal and supposedly you connect to that signal source, boom, you're tethered. Except it didn’t really work.

It's the newly released Olympus E-P5 PEN. A 16.1MP Micro Four Thirds retro-styled pocket shooter capable of 9FPS. But will it raise your heartbeat to 100BPM? Let's find out.

The third EF-M lens – finally! The Canon EF-M 11-22mm f/4-5.6 IS STM is an important lens for Canon. Since the launch of the EOS M, Canon has been trying to quell the dissatisfaction of consumers who lament about the lens selection, which until recently has been limited to the EF-M 18-55mm and EF-M 22mm.

Alien Skin Software's Exposure 5 is a starting point for building stylish and creative photos that will impress even the harshest of critics. With hundreds of ideas to pick, layer and build upon there's really no limit to what you can make. Opening an image for the first time in Exposure 5 may prove a little overwhelming with the vast array of filters there are to tinker with. Everything from a subtle film look still available at your local shop to the original daguerreotype feel. It is impressive to say the least.

From the moment of its announcement, Hasselblad's Stellar camera's purpose has been controlling the damage done by the same company's Lunar crash landing. The latter camera is (was?) a ridiculous thing as noted in my Hasselblad Lunar review.

In addition to catching up on Hasselblad's lost dignity, the Stellar also needs to introduce as little damage as possible. After all, the Sony RX100 camera that the Stellar is based on was already discontinued at the time the Stellar was launched, but the latter's price is almost $2000 (~€1500). That is more than 2.5X the price of the RX100 successor, the RX100 II.

“Monochrome is the new color” The world was introduced to color photography when Kodak introduced the revolutionary Kodachrome film in 1935. But fast forward to 2012, Leica decided that “monochrome is the new color”, and wants to turn back the clock with a digital rangefinder that shoots only black-and-white for $7,995. At this point, I can hear you screaming, “That’s the silliest way of spending eight grand!”

Bang. Pop. Zip. Zop. Welcome to the review of the Nero Trigger, a lightning, laser and sound sensor that will crank that shutter faster than you can. It also includes a timelapse, HDR and a DIY mode allowing utilization of external sources to trigger the Nero. As their ad copy claims, "Nero Trigger is built to help you shoot high speed photos for the occasions that your shutter finger would not be sufficient."

The original title for this article was going to be “Group Buying Deal Review: Why WagJag Can Suck It”. After receiving an “offer” to participate in a group buying deal (also known as social buying or deal-a-day. Examples include Groupon and LivingSocial) from one of the larger local group buying companies in my area, it took me a few days, and some good advice from my wife to cool down and write this (mostly) rational analysis of the group buying deal economics.

I’ve done it. I’ve switched over from a DSLR to a compact camera -- the Fujifilm X100. Well, technically, that’s not true since I didn’t really consider myself a DSLR user to begin with, but regardless of that, my main (and only) digital camera is now an X100. Here are my impressions after three weeks with the camera.

How should I describe the Leica X Vario? It's as if Leica engineers met at the cafeteria and decided Fuji wasn’t kicking their a** hard enough with the X100/X100s. “Hey, let’s challenge the Fuji XE-1 with a new camera. We will up the ante this time… let’s be double the price of Fuji, AND we will not have interchangeable lens!” Guffaws exploded across the cafeteria as the engineers outlined more specifications to make life living hell for the Leica sales team.

There is something eerily unsettling about old hospitals, even more so when a portion of that old hospital is abandoned and once housed psychiatric patients.

In his collection entitled "Library of Dust", fine art photographer David Maisel gives us a glimpse into the Oregon State Hospital, formally known as the Oregon State Insane Asylum.

“Commerce makes progress. Fortune passes everywhere.” – Frank Herbert

A few years ago I was accused of being a Sigma hater. (For the record, I did hate their quality control and so-called repair service at that time, and I didn’t hesitate to say so.) For the third or fourth time in the last year, I’m about to be accused of being a Sigma fanboy.

If you're here to read about the Zeiss Touit 12mm f/2.8 for the Fujifilm X-mount, you've probably heard words like "great", "amazing", "superb", "lovely" and "well damped" used to describe this lens. It's wider then the Fuji 14mm and maybe, just maybe, as sharp as the Fuji 35mm. These too are all things others will say about this lens. The jury, however, is still out for this guy.

If camera manufacturers were high school boys, building super telephoto zooms would be their equivalent of a pissing contest to see who can shoot the farthest or most accurately. Sports photographers would arrive at the stadium packing the biggest lens to win bragging rights, acting like Arnold Schwarzenegger slinging his Gatling gun in Terminator. But Canon’s super telephoto zoom, the EF 100-400mm f/4.5-5.6L IS USM, is getting long in the tooth, and it’s time to say, “hasta la vista, baby” to that lens.

When I first began looking at the new Sigma 35mm f/1.4, I made judgements about its quality. "It's plastic, yuck." "I bet that focus control feels like a rusty zipper." "The AF selector switch will tick me off." "It won't match the speed of my Nikon's and my focusing tendencies." My preconceived notions were that I was set for a so-so experience.

I recently began contributing to Stocksy United (AKA Stocksy), the new(ish) stock photography agency that is headed up by Bruce Livingstone of iStockPhoto notoriety fame.

This is a “first look” preview of a pre-production unit of the Ricoh GR, which I have been fortunate enough to get my hands on -- for a day. My time with it is limited to the half-day of shooting I had, and I am only sharing my initial impressions of it.

The images are selected to demonstrate the fast response of the Ricoh GR, and not the noise performance because it will not be fair to make any judgment based on a pre-production unit. Most of the images are in monochrome because I prefer black-and-white in street photography. None of the images have been cropped, to demonstrate the focal length effect of the Ricoh GR.

Hasselblad's luxury Lunar mirrorless camera is set to arrive in June 2013, but hands-on reviews of the camera are slowly trickling onto the Web. Photography blogger genotypewriter managed to get his hands on a Lunar recently, and published a short article sharing his thoughts.