This is the third in a series of posts on the Fujifilm GFX-50S. The series starts here. With the adapter I have, I can only use this lens wide open on the GFX. However, that’s probably how I’d want to use it on this camera. It’s a special-purpose lens, and that purpose is atmospheric and background-blurred… [Read More]
Archives for 2017
Fujifilm GFX-50S Review
A couple of weeks ago, I wrote a post about making a mistake and losing my place in the B&H line for the GFX. I said then that it would be a while before I reported on the camera. I was wrong. A GFX did the web equivalent of following me home, and I received… [Read More]
Don’t use Lr/ACR histograms to judge raw file exposure
I have long argued that the best way to judge the exposure of a raw file is by looking at the raw data, so the title of this post should come as no surprise. However, I have recently been looking at a raw file that demonstrates this to an extent that surprised me, and I… [Read More]
No GFX review any time soon
I had been looking forward to reviewing the Fuji GFX 50s. It seemed like a logical step up from the a7RII, and the Sony 50MP sensor, although lacking the Aptina DR-pix technology, was well proven and respected, having been used for a couple of years in Phase One, Hasselblad, and Pentax cameras. I was a… [Read More]
Mitakon Zhongyi Speedmaster 50mm f/0.95
I’ve always been a bit fascinated by superspeed fifties. The variants of the Leica M-mount 50 mm f/0.95. The Nikkor-N 5 cm f/1.1. They have a certain look that’s captivating. I’ve never owned one. The closest I’ve come are the Canon f/1.2 AF lenses. They didn’t have that look. But the exotic superspeed glass has… [Read More]
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