Dear Canon, What Happened To Your Innovation? writes Jason Futrill on PetaPixel.
[…] – since the launch of the Canon 5D Mark II way back in March 2008 it has been extremely hard to be genuinely excited about any new cameras you have released. And here is why: the Canon 5D Mark II is, in my opinion, the last truly “innovative” camera you have developed and released.
I had one specific issue with the 6DMkII before the reviews came around to show it was not just the lack of 4K video. Canon is slow to disrupt itself, which mean that competitors are doing it instead. I also love L glass. Still love my 5DMkII for photography. But recently I have gotten more excited about Fujifilm that has been providing its customers new feature through software, high quality lenses, and not afraid to push the limit for video.
Spencer Wynn’s Canadian road trip from coast to coast using a Fujifilm GFX 50S digital medium format.
Beautiful pictures of a beautiful country, lots of places I have visited, lots I have yet to visit.
Danish photographer Thorsten Overgaard has a very comprehensive review on the Leica Q (from May 2015). A camera not without quirks though:
I must say the Auto Focus caused me a few problems at f/1.7 in that I some times unknowingly had been focusing at the background between two main subjects in the foreground that I thought I had nailed the focus on. As time has gone by, I have gotten the hang of it. I think.
Then Overgaard goes on explaining how to use various features of the camera properly. Read thoroughly if you have a Leica Q, or are simply curious.
The Elephant in the digital darkroom talks about how Film is coming back to Hollywood:
It’s an inexpensive archiving system, a highly effective means of preserving the motion picture heritage. Archived 35mm film stock remains stable for centuries under proper climactic conditions. With digital, however, the film industry is discovering that its core assets, its digital motion picture masters, aren’t as permanent as the film stock they’ve replaced.
I have always thought the same about still images, that under the guise of looking more convenient, that digital wasn’t as good as an archival medium.
What about the shoe boxes with pictures from your family members?
What about those lost rolls from unknown artists that happen to be an historic treasure depicting everyday life, like for example: Vivian Maier ?
This is the digital conundrum: we shorted the photographic workflow, we make it “easier” for the photographer, we make sharing more pervasive, but we also made the archival life shorter. Between the cloud services that disappear, recordable CD/DVD that disintegrate over the years, the hard drives that crash, the stolen phones, there is a lot of uncertainty whether your photos are safe or not and whether future generation will see them or not.
I wish good luck to the archivists of our future.
In 2010, Craig Mod wrote the GF1 field test — 16 Days in the Himalayas, a very compelling essay advocating Micro4/3 cameras, with the Panasonic GF1 and the 20mm f1.7. And what a gorgeous location. Later in November he wrote Seeing prime, an essay reviewing the Lumix 14mm f.2.5 and photography with a prime lens.
The in December 2013, not necessarily and change of heart but more like evidence of the shift of the whole industry Cameras, Goodbye where the iPhone quality reach the one of bigger cameras that don’t have the online features — something that the author found important. A testimonial about camera phones, with the iPhone spearheading, taking over the compact camera market.
Then come his essay The Leica Q where he took the Leica Q on a field test for six month:
I now understand the limitations of this photographic instrument, of which there are few. And I trust and enjoy it more than any other camera I’ve owned.
Yes, even more than my iPhone.
Read the whole essay — six month of use in the field is quite long enough to have a definitive opinion. It feels that Leica managed to make an attractive camera priced not too insanely above of the Sony RX1 (+ EVF to compare). This echoes quite well the early reviews back in June.
Our friends at DigitalRev TV went to the Fujifilm factory tour. Let’s watch it:
David Lam show us his rig for digitizing negative using a digital camera and explain the rational behind his choices.
Back in June, Petapixel had an article about DIY film scanning with LEGO and an iPhone, an interesting alternative approach.
At a time where film scanners are mostly things of the past – where the new models are a niche segment in which flatbed scanners reach the quality that the traditional film scanner used to have, where the old models are abandoned by their vendor whose software was so mediocre that it doesn’t run on modern PCs and where the high quality machines are so expensive, it feels like the best way is to actually use these digitizing devices called digital camera that are quite common. Everything is in the setup.
The Verge shows us how Fujifilm makes the X-Pro2 and camera lenses in Japan:
I didn’t really know how they were put together. The answer, it turns out, is that they’re not assembled by robots, but by actual humans with a lot of work and care.
A fascinating photo essay.
ephotozine tells about the Fujifilm X-Pro 2 Design, Prototypes, and Manufacture, another view of the manufacturing and also the evolution of the physical design of the prototypes, showing different tests on the controls layout. They also follow up with their own Fujifilm X-Pro 2 First Impressions Review which is not very optimistic on the battery life.
Marius Masalar Fujifilm X-Pro2 review, based on a pre-production model with more close up picture of the body:
I’ve been waiting for the camera that takes everything I love about the X100T and expands the shooting envelope enough to make it viable for work as well as pleasure. I guess I shouldn’t be surprised that it’s Fuji who ultimately delivered it in the form of the X-Pro 2.
After reading that, the X-Pro2 is even more tempting than before.
Bokeh talks about the damage of X-Ray on film with a complete practical illustration: where, how many time, which film, and the actual images. Just an example of what can happen.
Personally I just avoid as much as I can traveling with film.