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"Why I jumped to Canon" What a time to be alive!

Cue all those who recently made, ‘Why I moved to Lumix’ pieces on YouRube gushing over the S1II, scrabbling for a piece of the Canon pie. Or Nikon pie. There’s 24 hours between the two so plenty of time to choose which ship to jump to next.

I was considering pulling the trigger on a used R50V (actually being sold by the guy who does the Camera Conspiracies channel) all weekend long - then I seen the Canon USA post on IG. If it is indeed a C50 then I believe it would be the final cam I need to complete my A/B/C trifecta and ride out into the sunset.

Definitely a C line camera!

Sony rumors claim from a "rock-solid" source it's the C50, a full frame FX3 killer with R5ii sensor. If true that would basically be the R5C mk2 in an FX type body. Also Nikon is supposed to drop Nikon ZR the following day. What a time to be alive!

Sept 9th premiere launch date. https://www.instagram.com/reel/DOD3vIsDRuK/?igsh=MW1xc2cxcTMyanM3bw==

Tamron joining would be my preference, but I suspect they are too close to Sony? But they have some really great zoom lenses especially... Their 28-75mm f2.8 is arguably pretty comparable with the Sigma 28-70mm f2.8 (just moved mine to back up/static shorter option where the 70-200 is a bit much) but there is nothing within L Mount like Tamron's 70-180mm f2.8. That latter lens is much more compact and lighter than anything else available at that aperture with that focal range. Lumix's and Sigma's 70-200 may be 20mm longer, but they are fooking mahoosive in comparison. Handheld, I don't think I could go back to anything over 750g now and preferably under 500g. I tried the Sigma 28-45mm f1.8 and thought the image quality was superb, but the reality of it was a negative and real world, what can it do that the <300g Lumix 35mm f1.8 cannot? I never say never however and if they ever produced a longer focal length, internal focus, ie, non-extending sibling to the Sigma 28-45mm f1.8 such as 45-90mm f1.8, I might be interested...but I'd realistically then need a battery grip for each S1RII and in each hand, I'd go from 1278g per unit (body, battery, cards, Swiss area plate, Spider Holster thingy, MKE 200 mic, mic cable, VND) to more like +1000g per unit...which is a whole other thing and exactly what I have worked towards getting away from!

Now confirmed officially by Leica. https://leica-camera.com/en-GB/press/viltrox-joins-l-mount-alliance I was hopeful that Viltrox getting involved would bring a Nikon F to L Mount adapter with AF as they would now have both ends of the puzzle but then you remember that Leica are the gatekeepers of the alliance so I suspect not. Let’s hope Viltrox are a bit more committed to making a go of it now they’ve been accepted than Samyang who started with a bang with the 35-150 after they joined but have released fuck all since in L mount.

Yes. Some of their full-frame 'Air' lens range look quite interesting and by interesting, I mean compact, lightweight a relatively fast. But I'm very happy personally with Lumix's own f1.8 line which are not that much bigger or heavier... I have the 50mm f1.8 pretty much welded now to my S9, which now that 2 identical S1Rii's are in the stable, has been 'relegated' to; lightweight static 'second angle' capture for stuff such as ceremonies & speeches (as long as it's not too hot and not running for too long), plus 'gimbal mode' (with full E stab on, providing you don't try and turn corners, it's not too far off). The 18 for extreme (for me anyway) stuff which is hardly ever, but 35mm and 85mm, one on each hip, now being my principal hybrid units on the S1RII's. Single S5II with battery grip still doing the long form static stuff where overheating might be a risk, or battery running out. I do wish that 6k wasn't limited to 30 mins though. Not because I 'need' to shoot ceremonies or speeches in 6k, because I deliver those to the client in 1080 still, but more because I like to use some of that footage in their wedding highlights film and it's more compatible using 6k mixed into 7.2k capture than it is the 4k that I use, but hey ho... Zero gripes with the entire system now... Yes, the AF could be better still and is not Sony level. Probably not quite Nikon and no experience of Canon so cannot comment but I suspect still better than Fuji. Yes, the body design of the S1RII and S1II could have been more 'interesting', - personally I'd rather have seen something more FX3/30 like, but they are very S1H-lite so OK. And the S9 would be better with a mech shutter and if they do ever make a Series II, it needs that and a bit of weather sealing would not go amiss and even a micro SD as a second slot like the Zf, would be welcome. As above, no 'complaints', just a couple of observations.

Today might be an interesting day as apparently in a few hours time Viltrox will be announcing that they have now officially joined the L Mount Alliance. Good news for L mount owners in general but particularly so for those with an S9 as some more size appropriate (and low price) primes should become available.

Thanks for sharing. Are you sure these were made by Tokina and not Kino Precision? I bought that same 35mm f2.8 a few years ago. Within an hour of using it, the helicoid started to have some play in it. A few minutes later, the lens literally came apart in my hands (from completely normal use with my hands, no follow focus). I wasn't able to reassemble it. I think I've probably owned over 100 lenses at this point, and this was the first and only time this has ever happened to me. I hope yours are holding up better than mine did.

They are also really, really cheap. I think I paid $35 for the 135mm and $45 for the 35mm. The 85mm 1.8 is a rare one that is fast for a 60’s era lens and i use it to match with other similar era lens sets that never got a fast 85mm. Got that one for $150 so it was a score. There’s even a super rare 135mm f/1.5 “Vivitar Professional” In the set but pretty soft and overpriced, ($2,500) these days. The 135mm f/3.5 is super tiny. (pic 2)

Not as easy to find, but the Vivitar Preset lenses made by tokina in the 60’s are pretty sweet. Single coated and have circular aperture blades with smooth movement which work out well for filmmaking. As I mentioned before, stoped down to f/3.5 is fine to keep round bokeh on these but you still have f/2.8 as needed. Soft and dreamlike with great out of focus areas. Bodies are small and light and quite well built. Threaded T mount so easily adaptable to M42 or other modern mounts. I have the 28mm 2.5 (pyramid) 35mm 2.8 85mm 1.8 (rare) 135mm 3.5 and 2.8 200mm 3.5

Yeah, i did ok without it on the shoot but was worried the whole time. There’s no off the shelf solution but I took a chance on the smallrig clamp designed for Sony Cameras and got that one the other day. Worked out and it fits perfectly. Blocks the USB-C but i use a dummy battery anyway.

Yes, this is how HSS works. I'm not sure why you're describing it to me. I already acknowledged that some people are opposed to it. I also have some not-especially-expensive Godox/Flashpoint strobes that I've used to HSS in direct sunlight before with relatively wide apertures. They're about the size of an extended soda can. It seems like you read about 30% of what I write and and then respond to that instead of reading and understanding fully. I will repeat for you that the 100MP sensor that is used in this camera and the GFX is simply incapable of reading out 100 megapixels 24 times per second. It doesn't matter of Hasselblad want to try cooling it for that or not. It's just not an option. Otherwise, arguments against rolling shutter or alternative sensor readouts are silly. Many vendors do it and many people use their cameras successfully without complaint. And Hasselblad haven't had a reputation for the highest image quality in a long time. That crown went to companies like Phase One years ago. Once again, try reading every word that I say before responding. I am aware that Hasselblad have a small number of lenses that are price-competitive with the Fujinons. My statement was "Do prepare to break out the wallet, though, since many of the lenses cost 20-50% more than the equivalent Fujinon lens" - that's because if I go to B&H right now and search for Hasselblad lenses, I find that many of them are in the $4,000-5,000 range. The most expensive Fujinons are in the $3,000-3,500 range. You can also adapt a bunch of less expensive lenses to Fuji thanks to the focal plane shutter, where the Hasselblad will require the use of the slowest possible rolling shutter for any lens without a leaf shutter.` Are you talking about the fact that some lenses change focus slightly when stopping down the aperture? Because that's easily solved by just focusing at the aperture you plan to use (I also do this with some Canon camera/lens combos because the plane of sharpest focus seems to shift a little bit when stopping down). Otherwise, that sounds like absolute nonsense. I've done a number of timelapses with my GFX 100 and 100 II and the focus stays right where it should. And when using autofocus with GF lenses, when the autofocus hits right (less than people accustomed to Canon or Sony would expect), it's ridiculously razor sharp. This all really sounds like the usual toxic internet crap where somehow one of the best camera systems in existence is deemed "insufficient" by some troll whose only exposure to the camera comes from YouTube.

Typical high-speed sync implementations either require the flash to fire a long pulse or a series of short pulses to match the timing of the moving gap of the focal-plane shutter. This results in flash energy loss due to most of the light being blocked by the shutter curtains at faster shutter speeds than the sync speed. When using a central shutter lens such as the Hasselblad XCD lenses, you don't lose light as you increase the shutter speed (to a point). So basically if you want to shoot at f/4 in bright sunlight, with a high-speed sync implementation, your flash needs to be several times more powerful than if using a central shutter lens. With the Hasselblad you can do this with a small flash instead of a powerful battery-powered flash which would be needed when balancing bright sunlight and flash at fast shutter speeds on a camera without either a global shutter or a central shutter. Each stop faster than sync speed loses one additional stop of light with the high-speed sync in a typical implementation. For the Fuji this would mean 1 stop loss at 1/250s, 2 stops at 1/500s, 3 stops at 1/1000s. So there is a huge difference in flash size that may be needed. Having to choose between strong rolling shutter distortion and line-skipped video (and cropping) is not really a pleasant compromise to make if your reputation is mainly based on producing images of the highest quality. I can understand that Hasselblad would simply not want to deal with the heat generated by resampling 100 MP images to (say) 8 MP (4K) since it's much more practical to make high-quality video using a camera with a smaller-format, lower-resolution sensor. The X2D II is particularly small and lightweight for a medium format camera and I can see them wanting to prioritize that over a heat-managed, larger, heavier camera that can shoot high-quality video. Hasselblad makes several reasonably affordable lenses for the X1D/X2D series of cameras. The 28/4 PP is 1899€, the 45/4 P is 1199€, and the 75/3.4 P is 2529€. Basically I would need the 28 and the 75. From what I can see there isn't much difference to Fuji lens prices. Considering what Jim Kasson revealed about Fuji GF series lenses not holding focus from shot to shot (even when set to manual focus) but instead there are slight shifts in focus that are enough to cause noticeable shot-to-shot variability in MTF in lens tests, it is difficult for me to see purchasing into their system. The slow flash sync speed just kills it for me. Another factor is that Hasselblad makes a digital back that can work with the XCD series of lenses and alternatively can be used on a view camera (with the sensor flush with the front of the back facilitating the use of movements).

And cameras

That could be something a bit special for the hybrid shooter like me with a GFX100something on the left hip for stills and the Eterna on the right. But not next year for me...if ever, as I'm all in on what I have now...but maybe a couple of years down the road. It would depend for me just what it might bring to the table I didn't already have and as Hassie is the dream (for stills anyway), I will never again shoot on cross-platform brands other than for stuff like drone. Pretty sure that is the case and probably won't hurt their sales as most likely 99.9% who criticise the lack of video features would not buy the camera even if it did (have video capability).

The GFX 100 series cameras support HSS with compatible flashes which, to some extent, reduces the usefulness of a leaf shutter for flash sync. Plus I doubt that there's anything technically that would make it impossible for Fuji to release a leaf shutter lens for GFX and just disable the focal plane shutter when it's attached. But sure, if right at this minute, you are religiously opposed to HSS flash and want to do high speed flash photography, the Hasselblad isn't the craziest choice. Do prepare to break out the wallet, though, since many of the lenses cost 20-50% more than the equivalent Fujinon lens. As far as video from the 100MP sensor being an exercise in frustration, Fuji have been able to do it since 2019 when the GFX 100 was released. Strong rolling shutter? Yes (though the GFX 100 II allows trading some quality in 4k mode for greatly reduced RS). Powerful processor to downsample 100MP? Nope, reading out 100MP from that sensor 24 times per second isn't a thing. Fuji do some sort of line skipping or binning to get there. The quality's still enough that in just a couple of months, they'll be releasing a cinema camera built around the same sensor. But with a different sensor, there's already a camera on the market that can do nearly 100MP at 80fps from a full frame sensor with really acceptable RS - the Ursa Cine 12K LF. And there's one that can do approximately 140MP at 60fps from a medium format sensor - the Ursa Cine 17K. So even those data rates aren't insurmountable (though those are big bodies with fans). Anyway, there's no reason that Hassy can't include video in the X2D series - they just choose not to.

Given the central shutters in the X series lenses, it's more special as a portrait camera for location use than landscape or studio IMO. The fast sync speeds possible without power loss make it a good choice for outdoor portraits with flash lighting combined with natural light. In dim conditions and if the subject is more dynamic, the LIDAR should be a good technology to incorporate given DJI use it elsewhere (drones, movie camera). IBIS is obviously very useful for portraiture in low light. Yes, of course it is also great for landscape etc. but for me at least, having access to tilt/shift lenses and telezooms is important for landscape. Video from a slow read time 100 MP sensor seems like an exercise in frustration: there would be rolling shutter and the processor would have to work very hard to downsample the 100 MP to sane video resolutions. DJI owns a majority stake in Hasselblad but probably these cameras are still designed and manufactured in Sweden with some technology collaboration (LIDAR) with DJI.

Yes, I was thinking the same and in 3-6 months there may indeed be some kind of (probably paid as the camera is cheaper than the older model) unlock code. And then we can get videos of mountain streams and city traffic lights as well as the photos. Yay.

I can’t remember but did they get a lot of negativity when video was included in the X1D range so left it out of the X2D and haven’t bothered putting it back in? It was a period of photographers whining about any sort of video sullying their purist fetish but most of that noise has died out these days. Possibly literally in many cases. I suspect it’s only a (paid perhaps) firmware update away from being included, particularly as the collection of bros they gave it to to “review” are hybrid shooters who would welcome the chance to generate some more “This changes everything” fluff a few months down the line. I suspected the inclusion of IBIS was originally to facilitate a pixel shift mode for when 100mp isn’t enough (!) but that’s not in there either. They just say it’s there for handheld shots of blurred streams and nighttime traffic streaks, which has it’s place I suppose.

IBIS is good for longer duration exposures without a tripod. So for landscape photographers, use a tripod! Any serious one’s do. It helps me with slightly longer handheld exposures on jobs in lowlight, but I could also be less of a lazyarse and use a tripod. So required? Nope. So why include it? Dunno 🤷‍♂️

Unless the intention is to keep the brand exclusive and esoteric? DJI can, after all, release whatever they want under the DJI brand so I can see the attraction in maintaining a “not for everyone” product line. (But why they then add Everyman features such as IBIS I have no idea)

Resolve works great on Linux. The "Studio" edition is required for some codecs. Major graphics cards all have native Linux drivers available for download. First time Linux-Resolve set-ups will likely require some self-teaching regarding the Linux OS, but once the rush kicks in, there's no retreating from an opensource operating-system. Basically: if you know your way around a 35mm analog SLR, you're already in the prerequisite-intelligence demographic: Other migration tips for anyone who wants to taste the Linux "rich stuff" (The Goonies - 1985): Instead of Photoshop -> Use: Krita / Darktable / RawTherapee /Blender Instead of Microsoft Office -> Use: Libreoffice Instead of InDesign -> Use: Scribus Instead of Illustrator -> Use Inkscape Instead of Ableton Live / ProTools -> Use Bitwig Studio (not opensource) / Ardour / etc. I use all of this Linux software, in a professional context, and haven't touched a non-Linux system for over six years (yep, I don't carry a 'smart'phone). The most effective protest against fascism / late-stage phoney-capitalism is to stop using the products of that system. Protest without action is just noise. The greatest trick these legacy-corporations have pulled is convincing the public that there is no alternative to their slop. Even if you start simply by running Linux in parallel with your existing legacy-surveillance-OS, at least you have an exit strategy from the subscription-crackhouse that Adobe and others are running. Don't be another node on their networked fear-grid. Good luck! Volkswagen / Enshittification On the topic of VW cars (earlier in this thread): If you think VW's new subscription policy is offensive, take a look at what Volkswagen did throughout World War II. Volkswagen built and ran Nazi concentration camps Volkswagen routinely murdered the children of their slave-laborers. Volkswagen didn't merely collaborate with the Nazis. Volkswagen are the Nazis. VW are still genociding humanity, to this day, via faked-emissions tests (SOURCE: Scientific American). I'm not sure if any present-day Volkswagen customer is buying these vehicles with informed consent. This photograph should, by law, be placed on the door of every VW dealership. Then customers can make an informed choice: LEGAL: Our right to reproduce this image for critique is legally protected under the terms of 'Fair Use' enshrined in United States law (17 U.S.C. § 107). Fair Use permits the reproduction of a copyrighted work in order to criticize or comment upon it.