I've forever been on the hunt for a black and white film that I'm truly, madly in love with; and while CineStill bwXX comes really close, I'd like to think that the Ilford Delta lineup of film is still more my taste.
Image grain and sharpness are two things in the photo community that when you get into the more old school circles of thinking, is frowned upon. You'll always hear "You should've gotten it in focus" or "You should've shot at a lower ISO setting.
When Fujifilm came out with their own Instax Square camera, I found it to be a serious letdown; but now we've got the Lomography Lomo'Instant Square. This camera is far different; for starters, it's actually analog.
Whenever wide angle lenses come in, I'm always super excited because a lens like the Rokinon 12mm f2 is always bound to be fantastic but also really cool with the way that it renders the world. Rokinon has always been known as a manufacturer that delivers stunning quality at a really affordable price point.
One of the best things to have happened in the Polaroid/Instant Film world in so many years is the arrival of Fujifilm Instax Wide Monochrome. Announced earlier this year, the new film is a highly needed item that shows Fujifilm's commitment to the Fujifilm Instax Wide format.
The Fujifilm 80mm f2. 8 R LM OIS WR Macro is a lens that seems to be a really interesting one. It's one of Fujifilm's largest prime lenses and though it doesn't sport as wide of an aperture as the 90mm f2, it has lots of features like close focusing abilities.
I applaud Fujifilm for delivering the Fujifilm GF 45mm f2. 8 R WR to us in such a short time; being the equivalent of the 35mm field of view I also applaud their delivering a wide angle medium format lens with a relatively fast aperture.
Years ago, Lomography introduced Lomography Earl Grey 100 black and white film and added yet another entry into the market that was looking for more 100 ISO black and white films. There are a few from Ilford, none from Kodak except for T-Max, one from Fujifilm and a few other manufacturers also produce them.
Most of Lomography's art lenses have been a hit, but in the case of the Lomography 32mm f2. 8 Minitar, I'm not totally sure I know what the think. There's a fair amount going for it in terms of it being super small and easily mountable to a Leica M camera body, but then there's a lot of weirdness with the image quality.
The Canon 28mm f3.5 IS STM has got a few great features to it that make it very useful in various situations. Besides its compact size, it also has a cool macro light built into it. The light can be controlled using a button on the lens and can be very useful in many situations.
You really have to give it to Olympus: even when you're not working with their highest end glass, the image quality is still super stellar--and that's the case with the new Olympus 30mm f3. 5 Macro lens.
Lots of photographers that are invest into the Fujifilm camera system have been wondering whether they should go for the new 23mm f2 R WR lens or the 23mm f1. 4 R lens. Indeed, it can be confusing.
The Fujifilm 23mm f2 R WR is a lens that's designed to go along with the company's weather sealed bodies. It lives alongside the 23mm f1. 4 R and works in conjunction with the 35mm f2 R WR. It's also at a shockingly lower price point than its larger aperture cousin despite having the ability to survive a rainstorm with ease.
The Micro Four Thirds camera world has often been a major battle ground more than a collaboration: and that's very evident with the release of the new Panasonic 12mm f1. 4. For many years, Olympus has had the 12mm f2--a stellar lens in many ways that still remains so today.