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Nangi www.juzaphoto.com/p/Nangi  |
The following opinions have been automatically translated with Microsoft Translator. | Sony A1 II Pros: Refined ergonomics with new grip (in particular shutter button and hand grip), improved menu but still at times "incomprehensible", shutter anticipation up to 1 sec, new articulated monitor a9 III style (practically the same), high ISO grip improved by 2/3 of a stop vs a1 mark II; stabilization not comparable to A1, wide dynamic range with faithful colorimetry especially in backlit photos; Double battery charger included. Interesting crop capability at 21MPX (very useful in the field). A new feature is the dedicated microphone for voice notes, which is integrated directly into the back of the camera. Speed boost on the C5 button (customizable) Cons: Price TOO HIGH considering the "upgrade" package ... but it is practically the top for every photographic genre! Much more could/should have been done considering the purchase figure Opinion: My review will be limited to the first impressions of using AF (in particular continuous): absolutely the best autofocus system on the market, with "crazy" features!! Almost full coverage of the sensor by the focus points, AF performance above a1 in near-dark conditions (up to EV - 5.0), continuous operation up to f/22, new tracking function that allows you to adjust the AF sensitivity according to the speed of the subject "stable/standard/responsive". As already present on the a9III, a novelty is the introduction of XL and XS size AF points; There is the possibility to create custom focus areas via rings and wheels without any problem in an intuitive way. This allows for greater flexibility in composition, which is especially useful for wildlife and sports photography. Introduction of an AI chip dedicated to AF that improves the recognition of complete human poses (not only face/eyes), animals etc. (I don't think that modules for plane, car and train are needed in the field ...); Also introduced is an auto mode of "intelligent" autofocus adjustment that selects the subject to be tracked in an "intelligent" way by importing all the orange flegs set in the individual menus (human, animal, bird, etc.) so that you no longer have to worry at the beginning/during a session or even more if during the shooting of a scene there are sudden and unexpected "subject variations". One of the most interesting functions among those implemented is the pre-shooting, which records up to 30 fps with AF/AE tracking active before the full press of the capture button, allowing you to never miss the decisive moment, particularly useful in "dynamic" photography in general. In deadly backlight the AF-C without any uncertainty ... Practically the pinnacle of the updated Sony by importing the latest news on the a7R5 and a9III. I don't write anything about the video because I don't use it. As far as ISO invariance is concerned, this camera has a sensor that is certainly ISO-invariant: it holds well from -5 to + 2 EV without significant variations in chrominance with a change towards magenta or false colors. Almost in closing, I emphasize that one of the main features of the Exmor RS sensor of the A1 II is its read out, or the speed with which it can sample the scene: in any mode, both video and photographic, it is always high and therefore the classic defects due to the rolling shutter are very (really) reduced (not even remotely comparable to the a7RV), I didn't run into the rolling shutter in nature which was too invasive on the A7R5 I owned. In photography you can count on an excellent mechanical shutter, very quiet and active up to 1/8000s, while the electronic allows you to go up to 1/32000s. In closing, if a photographer owns a1 and manages to monetize "well" by selling it as used, in my opinion it makes sense to take a1 MKII because it has improved in everything ... Not improvements, however, from the "blast of trumpets": I would say made even more performing than an already high-level flagship in the previous model. However, I emphasize that Sony's real "technological" flagship of the year 2024 remains in my humble opinion the a9III (but it is very specialized and extremely sectoralized). sent on December 21, 2024 |
 | Sony A9 III Pros: Global shutter = definitely FINISHED the "rolling shutter", which leads, among other things, to the "diagonalization" of vertical lines on horizontal panning and also goodbye banding. Improved ergonomics with dials that are perhaps a little soft, but customizable on the 3 fundamental parameters; display and buttons in general. Sensor protection and viewfinder which is really excellent. Connectivity at the highest level for the sports photographer. Spectacular AF-C: to be clearer the tracking is striking, but even more so if you lose the subject for a moment if you repoint it takes it suddenly (I emphasize that in my opinion it is superior to sony a1 ... Scary responsiveness! It may happen that some images are out of focus, but the percentage of the perfect ones is crazy; Undoubtedly the best "medium" I've ever tried). All parameter wheels have a perceptible and precise click feed: in addition to emitting a clearer and more audible "click", they also transmit the change under the gloves. Rear screen and viewfinder at the highest specifications that can be demanded today. Although I'm not an expert in 4K 120 fsec video (I emphasize without crop) it's a lot of stuff. Old battery ok but in my opinion it doesn't consume very much. Compensation of breathing in the car. Good stabilization on the sensor up to 8 stops (and for the first time absolutely commendable) Cons: Maybe the price... Definitely the menu (albeit a step forward vs previous generations, but more difficult and so to speak "disjointed". In addition, the menu items are abbreviated and difficult to read). Cfast express type A cards required (if you want to take advantage of the speed) Opinion: I focus on a few aspects: a) image quality, b) noise at high ISO c) "amateur" use in the field... Image quality: in JPEG there is a clear improvement compared to the previous Sony A9 and A9 II with a less "plasticky" appearance, especially if you "squeeze" the ISO; if you shoot in RAW there is almost a noticeable stop against the previous cameras (in the sense that the RAW file of sony a9III has more noise, but believe me much better than what has been said...). Also for the dynamic range in my opinion there is almost a stop of difference ... In field use the sony a9III has a RAW file that is really easy to work with both colorimetry and fine detail, at least up to ISO 6400 so there is ample space for use (you can go even higher but I'm not used to going further); the ISO invariance of the sensor is good (even if there is a change on magenta); The recovery on shadows is at least up to 4 stops and a little less on highlights than about 1.5 stops above. The global shutter changes everything and makes the camera very fast in shooting and with precise response to the pitfalls of impulse lights ... The downside is that being a machine with an "imposing" burst you find yourself with cards "honestly" too loaded with the same images (I use it in nature and I have reduced the burst as often as possible). Frankly, there is no comparison in terms of AF-C performance with the Sony A9II (much more responsive, precise and faster than the A9III). The A9 III can also be set to start capturing up to 1 second before pressing the shutter button: a kind of pre-recording that allows you to go back in time and reset the problem of reaction time on sudden and unpredictable events and this can be of great help in wild shots, especially in flight. As in all cars with electronic shutter, the A9 III does not have a real clicking noise nor any mechanical feedback and this in my opinion is not a lack. A "precise" feeling of mine after a recent trip to Canada in the cold is that the balance with sony 400 mm f/2.8 lens handheld and with gloves seems to me the best ever (for the ergonomics of the camera body and the more protruding buttons) ... At present it is very difficult, at least for me, to give a definitive opinion on the purchase ... I definitely got it based on the monkey that came to me for the Global Shutter, but I'm not "bubble" yet... a first conclusion is NOT consider the burst, but the speed and absolute accuracy of the AF-C ... for a sports photographer it's the TOP! sent on March 11, 2024 |
 | Sony A7r V Pros: 4-axis variable angle rear LCD, much improved image stabilization, excellent autofocus (the focusing system has an even larger area - 693 points instead of 567 - both in Fullframe and APS-C, with the latter including almost an edge-edge section), file quality, improved colorimetric management, excellent ergonomics, monitor with its dual function for photos and videos. Build quality: magnesium alloy body - recycled plastic parts (SORPLAS) with good dust/moisture sealing. Cons: Cf type A cards too expensive even today (but necessary if you want to take full advantage of the "power" of the medium), raw files really heavy in the "overall management", keys not back-lit and finally menu still too messed up Opinion: It has been written a lot before... In my review I would like to emphasize some aspects practicing mainly nature photography. a) great pro is certainly the overall quality of the file (colorimetry, detail and engraving) including the possibility of crop in the room by customizing one of the multiple function keys (therefore instant to be inserted and removed); the con is that shooting a lot in bursts in nature serve the "expensive" cf type A both to exploit "the beast" fully in its functions and to be able to have maximum speed in gusts ... As a result, the photos to be viewed, selected, deleted and post-produced etc. are all mainly "heavy" photos (maybe even raw 61 megapixels uncompressed) and engage a lot in terms of both electronics and "total" working time. b) the sensor is exactly the same as the a7RIV, but the electronics, the computational functions and the processor with AI module according to Sony should improve many aspects of the camera, such as noise management: now, in my opinion, the chrominance / luminance noise is just better than the previous model (let's say narrow sufficiency "type APS-C") ... instead it has absolutely an excellent dynamic range, perfect tones and colors and a depth that does not even seem to be full frame. c) I emphasize that this is a camera "for all uses" - it is described like this - instead in my opinion we must take into account that it has a stacked sensor that limits the readout speed: for this reason, we are not talking about Sony A1, we must prepare to meet an annoying rolling shutter (which in practice means throwing the photograph: in my experience in flight photography at times greater than 1/2500-3200 it is invasive and heavy). The rolling shutter can obviously not be labeled as a "defect", because precisely this is not an "eminently" sports camera; Since it can be very invasive it must be emphasized ... d) recognizes man, animals of various kinds, birds, insects, cars, motorcycles, bicycles, planes but also human and animal eyes, faces and body parts from many different angles: this thing combined with real time tracking allows you to have a much better AF-C accuracy compared to the previous model ... e) in my opinion it is a "second body" in the field of nature photography ... I do not judge the video functions because they are not videomakers. NB There are many options in the AF menu so the machine must be studied thoroughly I would say "in the field" to exploit it: this means that the "learning curve" is not very fast. I do not consider it a camera for "newbies" (AF-C settings for flight and nature photography to be studied with care) ... f) I close these impressions of mine by focusing on the USB-C port (generation 3.2 2x2) that allows both to charge the battery and transfer files; You can shoot even while the camera is charging and this thing is a plus not just ... It's a camera that can excel in a wide range of applications, from landscapes to studio portraits, weddings and events to product photography, although it's not the all-rounder that the a1 is. The technology to provide a combination of high resolution and high speed is not yet available at this price. sent on August 14, 2023 |
 | Fujifilm GF 80mm f/1.7 R WR Pros: Pretty much everything: construction, optical quality, size and weight, aperture, AF speed, bokeh, front 77 mm thread, sized and suitable for both studio and outdoor applications. There is no vignetting!. With a standard focal length of 80 mm (equivalent to 63 mm on FF) different fields of use are possible: but the lens has been designed for portraiture Cons: Nothing; slight full-opening chromatic aberration; un spectacular lampshed Opinion: Portrait photographers using the GFX system can now choose between the GF110mm f/2 R WR for when they want images with a narrower angle of field or the optics in question for when they want something slightly wider. This choice will offer a lot especially in terms of bokeh: the lens features nine rounded diaphragm slats that can be closed to provide edge-to-edge sharpness or open to produce images with a wonderfully uniform bokeh, with a striking separation between a subject and the background. Composed of 12 elements divided into nine groups, including an aspheric element and two super ED elements, this lens is optimally balanced to control spherical aberration and at the same time provide a homogeneous and creamy bokeh, absolutely unique in its kind, with a transition between the planes always very natural. Fujifilm's very high-precision glass molding technology has been used on the two front and rear surfaces of the aspheric lens: the result is the incredible tolerance reduction that reaches 1/100,000 millimeters: this type of processing is five times more accurate than normal lens molding techniques can produce. All this serves to minimize the onion ring effect that can appear in blurry areas of an image. Low light focus using the GFX100 and/or the latest born GFX100S reaches EV-5.5, with an improvement of 0.5 stops in the case of the GFX100. As for the sharpness I point out that already at full opening in the center it is top; closing at f/4 sharpness becomes embarrassing both in the center and at the edges. In the full-aperture images I also point out a slight bearing distortion (which corrects itself very well by closing a stop). Autofocus performance is maximized in dimly lit environments: with a maximum aperture of f/1.7, today it is the "fastest" lens among Fujifilm's G Mount lenses (to make me better understood considering the size of the glass it mounts: it is inconceivable that for example smaller GF optics such as the 45 f/2.8 are "faster"; on the GFX 100s it hooks quickly, but then has a kind of small tenacity). Weather-resistant seals have been applied to the lens barrel in 10 points in order to protect it from dust and water, while providing the ability to operate at temperatures up to -10 °C. Field of use: mainly studio and outdoor portraiture... sent on March 12, 2021 |
 | Fujifilm GF 45-100mm f/4 R LM OIS WR Pros: Construction quality: it is equipped with 11 seals to withstand dust and weathering, fast, quiet and highly precise autofocus; stabilization of 2-5 stops (in the field you have to consider which GFX you mount it on), wide dynamic range; engraving already at f/4 from edge to edge; extended range of focal lengths, versatility; extremely portable and "compact" despite being a 2.2x zoom; front diameter for filter mounting equal to 82 mm; already optimized for the 100 MPX sensor. The ring indicating the diaphragms has an excellent clutch in the run Cons: Price (at the time of online entry of my review a very interesting discount campaign is underway); footprint (depends on use, but those who own GFX are "used to it"...) Opinion: The standard GF 45-100 mm f/4 R LM OIS WR zoom covers many of the most commonly used focal lengths; it has an equivalent focal length of 36-79mm on a FF system. It integrates seamlessly with the other two zoom lenses in the GF series: these three lenses cover a range of focal lengths that start from 25 mm and reach 158 mm respectively. Extraordinary resolving power = engraving already at full aperture (the maximum aperture is not among the widest ever and is equal to f/4 while the minimum aperture is f/32) and wide tonal range are in my opinion the 2 main characteristics of the lens... at 100 mm returns a "crunchy" image without being artificial. The optics consist of 16 elements in 12 groups, including three aspheric elements, a Super ED element and an ED element to effectively control spherical aberration and chromatic aberration: the latter can be found under certain conditions at full aperture. The AF is driven by a linear motor that ensures extreme precision, speed and silence. Another point in its favor is the five stop factor image stabilization system very important factor in order to make the most of the high-resolution sensors of uns stabilized GFX cameras, especially when making freehand images. Field of use: it can be used for portraits (in my view in general - I stress - it could replace the 110 mm f/2, more specifically at f/4 the bokeh is creamy and very gradual in the detachment from the background vs 110 mm and finally excellent in the studio), for the landscapes (perfect for engraving that also has diaphragms pushed e.g. f/22 and above all absolute absence of chromatic aberration), for street photography and travel more generally (but I emphasize that in this sense the footprint / weight is felt); I have some doubts in the use for photo-journalism and for naturalistic shots (taking into account the limits of the MF and its footprint)... sent on March 10, 2021 |
 | Canon RF 100-500mm f/4.5-7.1 L IS USM Pros: Construction from optics series Luxury, low weight, precision and speed of autofocus, stabilizer, focal excursion from 100 mm to 500 mm that allows a lot of versatility of use; the minimum focus distance in both W and L is indicated on the body; inline lampshed; front lens filter diameter 77mm; 5-stop declared stabilization for optics, customizable ring as for other "short" optics Cons: Price (in line with RF optics that are among the most "expensive" in the MR market, but quality is paid...); when the lens is closed it is very compact, but at 500 mm the forward excursion "feels"...; you can't remove the ring for the tripod Opinion: The RF 100-500mm f/4.5-7.1 lens is the first focal travel zoom from 100 to 500 mm dedicated to MR Canons; the optics do not have practically vignetting at all focal lengths and at all iris openings; as far as distortion is concerned, this bearing is very low in the focal range from 100mm to 200mm, plus accentuated at 500 mm diaphragm f/7.1; the evaluation of chromatic aberration is nothing at 100-200mm, while at 500 mm there is a bit of magenta aberration (very modest). In my opinion the flare resistance is excellent and spectacular turns out to be the star effect with diaphragm closed at the maximum focal length. I close my review by focusing on 2 aspects that I find of the highest level: stabilization, which is really spectacular (with a steady hand you can easily reach 4 stops) and sharpness. The latter, at a focal length of 100 mm, at full opening is already very marked reaching a very high level at f/8; at 500 mm it is to be blown away and it is not necessary, if not in specific cases, to close the diaphragm beyond f/7.1...I recommend this zoom lens to photograph birdlife in good light /wild in general and for sports photography /action in general; it can also be very useful in the landscape field. Basically in one word it is a zoom to always carry with you ... sent on January 22, 2021 |
 | Canon RF 28-70mm f/2 L USM Pros: Image quality and build quality; sharpness; sealed well enough to hold under water and dust/sand. Full-time manual focus. Cons: Weight and footprint (but they are obvious more than against), lack of stabilization; huge front filter size of 95 mm Opinion: It is the best zoom lens I have tested for "overall" quality due to the constant f2 aperture. Fantastic bokeh, exceptional sharpness, character in the engraving of the image already at full opening, beautiful colors and no "real" technical problem. The bokeh is creamy on the longest end and quite "nebulous" at 28 mm. Those who want to isolate the subject in a scene will immediately go on turns thanks to the combination of the f2 opening with the ISOs; zooming allows you to "hold" ISOs. Autofocus is fast and tracking performance is also remarkable: to be picky in low light conditions, the focus is generally very accurate, but it can happen that you are wrong... I used the zoom 28-70mm f2 L USM almost exclusively for portraits: in this area the shot is rarely wrong unless you find us with an extreme backlight with face detection enabled. Considering how "gigantic" this lens is, no doubt it would have been better if it were totally waterproof... I think the optimum use is for portraits, weddings or events in general: frankly I wouldn't consider it for other types of use, although for photo-journalism and landscape you could argue... I close this short review pointing out that Canon considers this lens as a "zoom" alternative to fixed optics (the 28, 35, 50 and 70 mm) ... The fact that this zoom is an absolutely unique product in its specifications combined with the concept that certainly less interest to a large segment of consumers, I believe can "pass" the concept that it is an optics that does not need to make sense: after all you could say that it is an excellent "testimonial" to the RF system ... sent on December 26, 2020 |
 | Fujifilm GF 30mm f/3.5 R WR Pros: Construction quality with length around 10 cm and low weight, sharpness, tropicalization (guaranteed up to temperatures of -10 degrees Celsius), focal length equivalent to 24 mm on FF format, color yield, fluid focus ring and diaphragms' resistant diaphragms "the right"; great price. It solves the GFX 100S sensor perfectly and I report that the focus breathing has been reduced to just 0.05%, making it a great lens for video shooting as well. Cons: In fact, no one Opinion: I got to try this fantastic optics for 10 days and I would say that the Fujinon GF 30mm f/3.5 R WR is an ideal lens for photographing landscapes, street and urban architecture as well as useful in general in travel photography. It consists of 13 elements divided into ten groups, including two aspheric elements and two ED elements. Optical groups are positioned to control distortion in particular (common in wide-angle lenses) in order to achieve high edge-to-edge sharpness; at 24 mm and at full opening has a very light barrel distortion, but easily eliminated. On the other hand, I was impressed by 2 aspects: a) considering precisely that it is a wide-angle lens the blurring is excellent, buttery, very soft and natural, b) is able to capture an incredible amount of detail and this allows the photographer to make the best of the atmosphere of each scene and return a sense of crazy three-dimensionality. Chromatic aberrations, vignette and flare virtually non-existent in my opinion; point out that the lampshade, of modest clutter, can be mounted backwards. To conclude "extremely portable" design, sharpness and blurred rendering the best of this lens. What more could you really want from a wide-angle lens? sent on September 13, 2020 |
 | Leica SL2 Pros: Intuitive menus arranged with logic and very easy to understand, construction and ergonomics, overall file quality deriving from a 47MP sensor, charging, completely redesigned body; high weathering resistance certified by IP54 (it is not always obvious that what is claimed is certified), dynamic range and 14-bit color depth, large MF type viewfinder Cons: Cost and footprint; AF-C improveable Opinion: "Jewel" camera with a new user interface that allows photographers to keep the attention on the subject: the recording parameters can be seen on the rear display and adjust even just by touching the screen with a finger, offering an immediacy of use assisted by the clickable ring, joystick and three configurable buttons. The current sensor has more speed, improved autofocus and above all a 5-axis stabilization system for 5-stop shots slower than safety time. In addition, the stabilization system can be used for 187 megapixel RAW shots: the camera will make 8 shots by moving the sensor so that each pixel is exposed to all color components and binds them into a RAW file, while also recording the first shot as a single RAW of 47.3 for greater safety. The viewfinder is also new, with an optical lens system designed by Leica and an OLED panel of 5.76 million points: already the viewfinder of the first SL was excellent, but here the experience still improves. The viewfinder works at 120 fps, for a smoother vision and does not strain the eye at all. Leica SL 2 is not only an all-round camera, but also aims to be a movie camera. The video sector is important (but I will not write about this because it is not of interest to me). Operational speed is certainly one of the strengths, together with the renewed autofocus sector, which in my opinion does not immediately align with the competition despite being equipped with algorithms capable of recognizing shapes, bodies, faces and eyes (but on this point I will come back later). RAW files, as per Leica tradition, are very rich and deep, they have very wide recovery margins especially in the shadows, which is why in my opinion it is better to expose so as not to "pierce" the lights ... The new Leica Object Detention AF ensures fast, but not completely reliable focus in "critical" situations (I mean low light at the edge of the day) and with difficult subjects (like birds). In addition to a number of really useful modes and functions such as facial recognition, the SL2's AF system automatically detects whether a subject is stationary or moving and switches between the priority of moving and static focus shooting accordingly. The image stabilization is due to the new floating sensor built into the camera: it makes stabilization available even with lenses that are not equipped with it. The stabilization is on the 5 axes and up to 5.5 stops: in practical use you can safely go down at times of 1/10 of a second with ease. The machine adapts to all photographic genres, but in "critical" use with AF-C it is not comparable to other competitors (we hope future firmware updates close the gap)... the sharpness of the file is spectacular as well as the colorimetry (of course it depends above all on the optics that are placed in front of the sensor); the noise tightness impressed me in a positive sense. I replaced the first Sl with this one and I'm really happy with the pace. I really recommend to those who have never seen a file that churns out to try the camera ... sent on April 19, 2020 |
 | Fujifilm GF 63mm f/2.8 R WR Pros: Construction quality, image quality, resolution, clutter and weight, diameter filters (which lowers the costs of the same), 11 contacts in the bayonet that suggest implementation of functionality, resistance to weathering, fast AF, versatility and finally already able to solve a sensor like that of the GFX 100 Cons: "True" no one... it's not a stabilized lens thing to consider Opinion: I want to emphasize in a predominant way 2 aspects without the pretense of writing a thorough review ... a) this lens is very sharp, "maybe too much" (although it may seem strange to point it out). Photographing with a lens of this quality, you immediately realize that it is too sharp when used for portraiture and this brings out some skin details etc that could then weigh down the workflow in the pp. This applies both with the use of flash and using it in natural light. A wider opening could have helped give the images a more medium-sized appearance, but it would dramatically raise production costs; b) to get the maximum of the bokeh from this goal, you have to approach the subject and evidently shoot at full opening; in this respect, however, you will get a diaphragm equivalent of f/2.2: therefore a beautiful, soft and pasty bokeh, but in my modest opinion not "strong" enough to give the image an MF look (although noting a fantastic transition and detachment between the floors). The color in the Fujifilm camera system is always up to par and depends a lot on the film simulation you decide to use. Personally I stick to the more traditional settings: among my favorites is the film simulation astia at ISO 100; However, the pro negative high contrast, acros and simulation simulations are great for ISO values of 400 or higher. It is also a very good view in the realization of landscape photographs precisely because of the excellent sharpness. Considering this, it is a focal-length optics equivalent to 50 mm on FF and to be seriously considered at least until the release on the market of a wider diaphragm equivalent (if ever there will be). I do not quite understand the average rating of 8.4 resulting on the site... sent on April 03, 2020 |
 | Fujifilm GF 50mm f/3.5 R LM WR Pros: Image quality, ease of use (pancake), FAST AF, absolutely precise and quiet, bokeh, price. This lens has a limited "breathing" that makes it great for filming. The lens is sealed in ten places, making it resistant to dust and weather and able to operate at temperatures of up to -10 degrees Celsius. GF 50mm is a small and lightweight optic, measuring 84x48mm diameter and weighing 335g Cons: The lens is sharp, but not the sharpest on the GFX platform; the color yield is "softened"; it's not stabilized Opinion: The GF 50mm f3.5 optics is a pancake lens equivalent to a 40mm f2.8 on FF: it should satisfy street photographers, documentary filmmakers, landscapers and many more. The images are sharp, there is little or no distortion and there is no vignette: as pancakes it is a joy to use. Flare resistance is crazy! Perhaps the only negative thing about this lens is that it seems to produce slightly attenuated colors. The bokeh is not the smoothest and pasty, but it is still pleasant to the eye; it is not ultra-fast, but it can still produce a beautiful insulation of the subject when working close enough to the same. A lens for optics is the absence of chromatic aberration and the perfect control of the distortion. The color rendering of the optics is attenuated and therefore in post production the saturation slider will be taken into account: in other words, shooting in the Velvia color profile mode also helps... The lens is a bit soft at the edges when used at full opening, but closing a hair let's say to f/5.6 you get an excellent corner to corner sharpness. The difphering begins to become apparent at the diaphragm of f/22, but even for such diaphragm closures it gives "breathtaking" images. I close these impressions by saying that the optics is really easy and must be part of the GFX kit: mounted on GFX 50R, the combination weighs only 1110 mg making it the lightest GFX kit and the perfect choice for street and travel photography. sent on March 31, 2020 |
 | Fujifilm GFX 50R Pros: Dynamic range, resolution, detail, tropicalization, high ISO yield, colors, battery life, dioptric adjustment with block, possibility of crop, backlight seal with DR mode without flare and weight. The price considering that it is a superFF is to be taken into account. Cons: Ugly aesthetics, un enveloping handle for the hand, UNusable AF-C for dynamic shots, no stabilizer on the sensor, no 4K video and connectivity Opinion: Body made entirely of magnesium alloy and with excellent water and weather tightness. The sensor size of 43.8 x 32.9 millimeters against 36 x 24 millimeters of a full frame, allow to create images of the highest level both for "unimaginable" details and for colorimetric precision. It is clear that the large sensor manages to solve much more precisely than a full frame, micro four-thirds and so on, thus having to advise users who then want to take advantage of the photographs for large and similar prints. Its optimum use is study, landscape, fashion, street and portraiture in general (considering that the detachment of the planes, the progression in the nuance of colors or in the grayscale for b/n photos, three-dimensionality and bokeh are all in his favor)... Continuous shots are not its forte, so it is not a camera for sports and action (although it allows you to make some moving shots for subjects not particularly fast). The strengths are represented a) by the extended dynamic range with the possibility of recovering with certainty at least 4 stops in the shadows (and I am not kidding... you really have to work to take underexposed photos of 4 stops) and 2 stops in the high lights, b) from the microcontrasto and c) high resolution. An important point that I emphasize separately is represented by the high iso yield: a RAW well exposed to 3200 ISO is practically "almost free" of noise and at 6400 ISO you are amazed how excellent it really is... the battery is the last positive aspect of the camera: it guarantees 70 minutes of continuous recording, as well as over 400 shots without particular difficulties or the need for a wall socket. Finally, the menus and their organization for those already accustomed to using the Fuji system are "easy" and intuitive: they are organized well in the chapters and the machine can be easily "tailor-made" cut to their needs... Negative points are represented by grip and aesthetics: the GFX 50R is a parallelepiped (if I am allowed a rounded XE-3, or for the not very young between the 70s and 90s the Fuji GW690 III), it is not easy to handle since the handle is still too small. The continuous shooting is very slow, even if the "noise" of the small burst is not so bad ...; LCD screen not adjustable or tiltable at 180°, but touchscreen... a lack to keep in mind concerns the absence of the image stabilizer on the sensor; having been born for use also on the move and not only in the studio, it is clear that the user is forced to buy a lens with integrated stabilizer, otherwise it will take the right attention to make good freehand shots. It is a means that I recommend for landscape, still life photography, portraiture and studio photography! sent on March 30, 2020 |
 | Sony A7r IV Pros: Excellent sensor, autofocus speed, tracking and/or eye-detection, general keys and ergonomics, 26MPX crop, tropicalization, very high resolution combination with continuous 10fps shooting frequency. The sensor was developed directly by Sony, as part of a previous project to reduce the waste of light that reaches photodiodes especially at the edges and substantially improve performance compared to the classic CMOS sensor. Finally I add INVARIANCE ISO clean in my opinion of full almost 4 stops (really has an ISO sensor invariant) Cons: Signal/noise ratio, menu and subdivision of the same (numerousness and complexity), without unbalanced battery pack with G Master optics. Opinion: After about 2 months of use, without any presumption of getting to write a complete and in-depth review, I can bring my contribution with some "feeling" from the field: a) really remarkable balance between image quality and versatility resulting from the combination of very high resolution and continuous shooting frequency of 10 fps; The buffer keeps pace for about 7-8 seconds..., but can triple its capacity if you shoot in APS-C mode (with crop factor of 1.5x). b) Sony has stated a refinement of internal 5-axis stabilization that should lead to a clearing capacity of up to 5.5 stop, but in my practice in the face of theoretically safe times the rate of successful home-taken shots was modest. c) the electronic viewfinder reaches 5.76 million points, but the image it returns has an overly artificial and "engraved" appearance obviously of "oversharpening". d) I recommend also taking the battery pack because without already with G master optics type 24-70 f/2.8 is a bit unbalanced forward (imagine with the long...) and) the dynamic range is spectacular (the color yield is great with really natural looking JPEG). When I write "spectacular" I mean full recovery of the underexposed photos of almost 4 stops and overexposed photos of a plentiful stop and a half; f) the Eye Af is "excellent": on some occasions "extreme" with even small subjects lost fire. g) the 3" rear screen is a little small for a camera of this level (considered all the more so that I do not use the camera for videos...) customization of the camera keys in my opinion necessary to work around a menu consisting of 6 tabs and about forty different sub-screens. i) signal-to-noise ratio: if you do not master the noise reduction process well in post-production, the file can be "strongly" demotivating (it obviously depends on the light conditions in which you shoot). Lastly the battery life has improved, with about 530 shots of autonomy when using the viewfinder and a little more when you go instead to use the LCD screen: these are CIPA figures, very conservative... on the field significantly less. sent on January 26, 2020 |
 | Leica Vario-Elmarit-SL 24-90mm f/2.8-4 ASPH Pros: Overall image quality, build quality with four aspheric elements and eleven elements made of abnormal partial dispersion glass to correct chromatic aberrations; Af fast, precise and silent; stabilization, really "indestructible" optics as massive as it is Cons: Total weight and footprint Opinion: To date, the optics in question remains the only native SL lens that covers many of my needs and does so magnificently in two aspects: precise and very fast AF and image quality quietly comparable to fixed optics. The minimum focus distance of only 30 cm from the wide-angle side and a maximum playback ratio of 1:3.8 from the canvas side offer interesting creative opportunities. In my opinion it has very high optical performance at all fire distances; the relationship between sharpness and softness allows you to pick up next to details of the subject engraved also of the beautiful and very soft transitions of fire between the various planes of the same. This zoom has a very high contrast at both the macro and micro levels, and this translates into images with extreme clarity and detail, giving the feeling of a huge depth. Its optical image stabilization system quietly compensates for 3 camera shaking stops. The Aqua-Dura protective treatment® which protects the front element from scratches and weather allows you to use the optics in question even in the worst weather conditions. In my opinion, very recommended sent on January 12, 2020 |
 | Leica APO Summicron-SL 35mm f/2 ASPH Pros: Excellent edge-to-edge, open-to-edge, "universal" lens, fast, precise and very quiet AF (use on Leica Sl2); robustness in construction with size and weight "contained", overall image quality; very resistant to parasitic lights and reflections. The front element of the lens features a water-repellent Aquadura coating that repels dust and moisture Cons: None (the cost of Summicrons all considered remains too high, but in reality I do not know if you can consider a con) Opinion: Superlative optics to have and I could close here... has three fundamental characteristics a) the contrast that is considerably higher than conventional objectives: perfectly focused objects show a much higher contrast than blurry ones and therefore "jump out" more sharply than conventional lenses. compared to the first floor or background, detaching better. This creates a three-dimensional visual effect with an apparent depth of great impact; b) the construction and general design together with the manual fire ring provide reliable protection against water sprays and dust, as well as accidental impacts and other mechanical stresses; The front ring has a smooth movement and no games; c) exceptional image quality for both rendering and three-dimensionality... includes 5 aspheric elements that reduce aberrations and distortions. The focus uses a DSD (Dual Syncro Drive) step-by-step engine that takes just 250 ms to switch from one end of the focus range to the other and is really fast and precise. The small size, the reduced weight and the excellent ergonomics are appreciated especially in practical use. The SL2 with this lens is perfectly balanced in the hand and the use on tripod is also clearly facilitated. Highly recommended sent on January 12, 2020 |
 | Sony FE 200-600mm f/5.6-6.3 G OSS Pros: Clarity in particular at maximum extension, precise focus, stabilizer, excellent hold with Sony 1.4x extender. It is the "original" long optics in the Sony world that with such high quality cleanup of third-party competitors. As the focal changes it does not extend. The ability to mount screw filters of 95 mm diameter. It has a beautiful blur: this in relation to the 11 blades of the diaphragm that partially compensate for the "non-bright" diaphragm; Finally, the 200 to 600 mm excursion is just over a quarter of a turn, so it is extremely small. Equipped with an optical stabilizer with three modes, 5 Extralow Scatter glass lenses and an aspheric element, to maintain the image quality throughout the frame and all available focal points: speaking of available focal points, there are also a limiter of focal range and three customizable buttons for focus locking. Cons: In low light conditions the MAF is not lightning fast and there is some groping. Weight and length without a cap of 32 cm Opinion: This lens is excellent both in terms of yield and versatility. It gives the maximum to all zoom with a really great detail. The focus despite the very long focus is reactive, although there is some tenting in low light (tried on a9 at the first light of day). Effective stabilizer. I would say an extraordinary tele objective, the best compromise for those who practice wildlife and/or outdoor sports and can not sell a kidney for the 600mm f/4. Finally, a note that no one has pointed out (and which I have experienced in spite of myself) is the tropicalization that turns out to be without any uncertainty. I would conclude that the value for money is to be considered at THE TOP. sent on August 11, 2019 |
 | Fujifilm GF 23mm f/4 R LM WR Pros: Realization, sharpness, resistance to atmospheric agents, focal length equivalent to 18 mm on FF format, optical pattern (2 spherical lenses, 3 ED lenses and 1 super ED), color rendering, focus ring, overall strength Cons: Big, heavy and expensive ... I wonder will they be "against"? of course we are talking about a MF body lens and therefore the body / lens cost ratio is average. Against "real" nobody Opinion: An excellent lens in combination with the GFX 50s. Strictly speaking, the quality is paid and the aihmé price is adequate to the system. Sharpness is really the strong point of this lens, a real "blade". It is already very clear at full opening, the focus ring is fluid and sliding and in field use it gives an impressive sense of solidity and robustness. For those who love landscape photography is a must. Not very light (large dimensions 103 mm, frontal 82 mm wide and 850 g heavy) mounted on the machine is very balanced. Although the front lens is covered with a Nano G coating (to suppress ghost and glare images), it can happen, especially at night near light sources, to assist with annoying lens flare phenomena. My overall judgment, though conditioned by the lack of experience of use due to recent purchases, leads me to say that this goal is "magic by engraving and resolvingone of the detail "without substantial" defects ". sent on September 25, 2017 |
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