The official name for this spot is The Floating Torii Gate of Oouo Shrine.
Not sure what the story is with these, every time I read up on them the story seems slightly different and it never makes any sense. Something about blessing the waters for better fishing, or there is something about some giant fish. That’s usually how it goes with historical sites in Japan. A giant catfish, a giant fish, a mountain god, etc. Fun stuff.
Optically it’s just a decent lens, but Meike lenses are more known for their classic rendering with a bit more character.
This lens features a 12 blade aperture for smooth bokeh even at slower apertures, a 6 element optical formula for that smoother tonal depth and better micro-contrast, and an all-metal construction for long term reliability.
It’s well suited for photographers looking for a decent lens that is capable of handling just about any situation and don’t want to spend a ton of cash.
A lot of journalist ( dirty dirty smear merchants ) have been cherry picking statistics to push the doom and gloom narrative to make these camera companies look like they are in trouble, with the usual intent to make Sony look like it’s the new market leader and to make Canon and Nikon look like they are run by a bunch of idiots.
It’s a fun narrative to push and people lap it up.
In this article, I want to try to shed some light on what is actually happening, what Canon and Nikon are doing and what we will expect to see moving forward.
There are no blaring issues or any deal breakers with this lens. It has some nice rendering with some decent looking bokeh. No crazy drop in sharpness along the corners or edges like with the Kamlan 50mm f1.1, and no serious issues with chromatic aberrations or drop in sharpness wide open like the 7Artisans 35mm f1.2.
Build quality is also on par with the other Meike lenses except the aperture ring is a little too loose and it is always escaping its set aperture from accidental handling
I still like the EOS R, I think it’s a more capable camera in terms of versatility, mainly because of the 30MP sensor and the flippy screen that is so nice for landscape work, but I actually enjoy using the Nikon Z6 more.
The main thing that’s really got me excited about the Nikon system is the (somewhat) affordable high quality f1.8 AF glass, which is what you’re seeing with all the samples in this post.
Built like a tank, the A6400 is one of the best autofocusing cameras out there with some overall really nice specs. 11fps of continuous RAW shooting, 4k 100mbps video and a Tilting screen for selfies or vlogging.
Because Sony omitted IBIS from the A6400, the camera ends up being lighter compared to the A6500 while having a battery that lasts about a full day.
The size, weight and performance of the RF 35mm f1.8 makes it one of the most versatile and capable prime lenses out there and it’s also the best value when you compare it to all the full frame mirrorless 35mm lenses available today.
Canon has really stepped up their game with their non-L lenses and it really shows here.
Each lens is catered for different environments and different styles of shooting and one lens isn’t necessarily better than the other because they each provide a different set of features. In this comparison, I’ll go over the pros and cons of each lens to help you decide which lens is best for your style of shooting.
To sum it up, the 35mm f2 is really more of a casual, adventure lens while the 35mm f1.4 is more of a pro portrait lens.
SLR Magic started making some pretty interesting anamorphic adapter and cinema lenses and it just made sense to go down that route. The Anamorphot-50 for full frame, and the Anamorphot-40 for APS-C and even the Anamorphot-40 compact are all modern designs that work very well if you can pair them with the right lens.
This is my first impressions / review of the Anamorphot-40 1.33x with sample photo showing how I’ve used it for photography.