But both my cycling and bird photography have been limited by the remoteness of the cabin and the incredibly steep mountain trails. It’s hard to lug camera gear while trying to push your way up a hill on a heavy bike.

I’ve worked with the bike company Tern for a long time. They’ve sponsored bike events I’ve run, and I’ve reviewed the Tern Orox e-bike for my bike lifestyle site, bikehugger.com.

At some point, I realized I could combine the motor power of an e-bike to get me and my camera gear deeper into the woods without spooking the wildlife too much.

When it comes to photographing birds and other wildlife, there’s no such thing as being too quiet.

Normally, if I go birding while hiking, I bring my Sony a7R V and the Sony 400-800 f/6.3-f/8 G OSS lens, and also a large water bottle, binoculars, and a backpack with things like a first aid kit and a guidebook to birds.

LensRentals was nice enough to supply the gear for this article. 

Read our Review of the Sony a7R V

Nestled in the eastern foothills of the North Cascades, the Methow Valley shows in the foreground stretches from Mazama through Twisp, Winthrop, and onward to Pateros, Washington.

Even though I try to pack light, it’s still heavy enough gear for a day’s hike in the woods, so I often drive to a spot and hike in as far as I can without getting exhausted.

But with an ebike, I can get deep into the same woods, without damaging the trails and without breaking my back carrying a camera, gear, and a relatively long lens. I can even bring a folding chair if I want, so I can sit all day while I wait for the perfect shot.

Quiet Access to Habitat

The Tern Orox e-bike’s electric assist let me  move quietly along trails, backroads, and nature preserves without the noise of a car. This helps avoid startling birds before you see them.

When you’re on a bike, I feel like part of the woods. I hear the sounds of the forest, notice the breeze, and can stop quickly if I see something I want to photograph. I’m not just searching for birds, I’m getting exercise while I enjoy the sounds and sights of the woods. Even if I don’t see birds or animals, it’s a lot more fun to explore by bike then to see the same stretch of trail over and over.

The bike isn’t perfectly silent, though; there’s still a slight whine of the electric motor and crunching on the trails. It’s a bit more noise than I’d make hiking to a spot, so when I get where I want to shoot, I’ll often get off the bike a good distance away from where I’m headed and walk the last little bit.

Eco-Friendly

Being a birder goes hand-in-hand with conservation. Riding an ebike doesn’t damage trails the way that a four-wheeler would, or even a horse would.

There are no emissions when riding the Orox or any other ebike, and the carbon cost of using electricity is way lower than using a gas-powered vehicle of any kind. It helps lower your carbon footprint, especially if you often visit remote spots that would normally require driving.

Go Further, Explore More

Most ebikes you see on the streets aren’t meant to be ridden off-road. At most, they’re designed to handle packed gravel trails, and they struggle on dirt and when riding over roots. Bikes like the Orox are intended to be used off-road and off-trail.

For birding, you want a bike with a battery with a great range (because nothing’s worse than pushing an e-bike for miles). They need wide tires and a good cargo setup that can hold your gear. You’ll want some bungee cords, too, to help keep things secure when riding over the bumps.

I went birding by bike in the Methow Valley, exploring the Big Buck Recreation area. Big Buck is a nature reserve, and I had the place to myself because I rode in on the bike.

It felt great to get the shot and then ride home after a day of solitude in the woods, and some lunch by a stream.

Hauling Your Gear the ebike way

Tern set out to build the Orox as an electric cargo bike that works just as well on mountain trails and sandy paths as it does for daily errands. They succeeded, creating a bike that feels like a new standard for multi-terrain riding. See our section on buying bikes below for tips for ebike shopping.

See our Gear List below for the camera and lens I used. 

I brought my usual Sony kit, keeping the Sony a7R IV and 400–800mm lens in a Pelican case that fit perfectly in the panniers. The rear frame gave me a solid spot to organize gear or get ready for a shot. When I stopped riding, I used the rear stowage area as a workbench to put together the camera and lens.

LensRentals was nice enough to loan me the Pelican case, but I like it so much I’ll be picking one up.

The Sony a7R IV and the new 400-800mm lens make a perfect combination for bird photography.

The a7R IV’s 61MP sensor is high resolution, which means you can crop without losing detail. With the sensor resolution, I can easily crop an 800mm shot and still have 20 or 30 megapixel images. That’s like having a 1000mm lens.

That means you can crop into distant subjects without losing clarity. The a7R V has Sony’s AI autofocus, which includes both bird and animal eye AF. That gave me the ability to capture things from small songbirds to flying hawks while the camera tracked their tiny eyes.

Even with an 800mm reach, the setup remains easy to handle and lighter than things like the Sigma 150-600mm f/5-6.3 DG DN OS Sports, which we reviewed.

This combination gives bird and wildlife photographers the image quality, portability, and shooting options they need.

Not Just Birds

With my kit, I was able to photograph a chipmunk, a horse, and a turtle. You don’t have to worry about sneaking up on a turtle, but this one was laying eggs, so I gave it a lot of space. But this shows how versatile the kit is for all kinds of wildlife, not just birds.

How to Pick the Right ebike

If you’re looking to get into birding by bike, the best place to start is your local bike dealer. There are many brands online selling poorly made bikes that look good online but fall apart.

A local shop can help if you have mainteannce problems with the bike, and will help you get any spare parts should you need them. A shop may be more expensive than buying online, but you get the peace of mind of knowing someone will be able to fix the bike if you need.

Local bike shops are also struggling in the online economy, and any purchases help keep family-owned businesses alive.

I’ve been riding Tern for years, so I know their quality, but there are other great ebikes. Be sure to get a bike that’s designed to be a cargo bike. These bikes have paniers, very wide tires, racks to mount things to, and long-lasting batteries.

If you want to check out a Tern in person, you can find one of the local bike stories that carries them.

To be safe, you should half the distance the manufacturer claims when planning your rides. The listed miles per charge are often measured with a completely unloaded bike, and adding gear will reduce your range. Halving the distance gives you a nice buffer so you don’t get stuck in the woods.

If you want to take your ebike with you on a trip, be sure to get a good hitch-mounted rack. Your car will need the larger two-inch hitch mount to handle the weight of the bike. If you don’t have a hitch, your dealer can usually install one, but strangely, U-Haul can install hitches on most cars.

Sony A7R V

What We Think

This is the camera I use for my YouTube video studio work, and I use it to test most of the Sony-format lenses we review.

The a7R V has the best of Sony’s high-resolution technology, combining a 61-megapixel sensor with AI subject detection. The camera delivers exceptional image quality with improved noise performance over its predecessor, while the dedicated AI processing unit provides subject recognition that rivals Sony’s flagship sports cameras. I took this camera to shoot wildlife before the a9 III was launched, since the a7R V had better subject detection.

The enhanced 8-axis in-body stabilization system (most of Sony’s cameras have five stops of stabilization) compensates for the challenges of shooting with such high resolution. The camera also offers comprehensive video capabilities, including 8K recording and 4K oversampling, making it surprisingly versatile for my hybrid work despite its resolution focus.

Reasons to Buy

• The massive 61MP resolution provides unmatched detail and cropping flexibility for demanding applications
• The AI-powered subject recognition delivers flagship-level autofocus performance for wildlife and sports
• The 8-axis stabilization system is the most advanced available, crucial for handheld high-resolution work

Reasons to Avoid

• The enormous file sizes require substantial storage space and powerful processing hardware
• The premium pricing exceeds $3,500, making it accessible only to serious professionals
• The battery life decreases significantly when using full resolution with all stabilization features active

Specifications

• Sensor: 61MP full-frame Exmor R BSI CMOS
• Processor: BIONZ XR with dedicated AI processing unit
• Autofocus: 693-point phase detection with AI subject recognition
• Video: 8K 24p, 4K 60p, 10-bit 4:2:2 internal recording

• Image Stabilization: 8-axis in-body stabilization (8 stops)
• Viewfinder: 0.90” OLED EVF (9.44M dots, 120fps)
• LCD: 3.2” 4-axis multi-angle touchscreen (2.10M dots)
• Battery: NP-FZ100 (530 shots)
• Burst Rate: 10fps continuous with AF/AE
• Dynamic Range: ~15 stops
• Dimensions: 5.2 x 3.9 x 3.2″ (131 x 97 x 82mm)
• Weight: 1.6 lb (723g) with battery

Show more

• Shop at Amazon

The post Birding by Bike – An eBike, the Right Camera Gear, and Plenty of Quiet appeared first on Imaging Resource.

But the S9 isn’t just about looks. Panasonic added a dedicated REAL TIME LUT button, which makes applying your own color profiles as easy as tapping a shutter. Paired with the updated LUMIX Lab app, you can now build your own looks (LUTs) right from your phone and apply them in-camera. No laptop, no post-production grind — just shoot, share, and move on. That’s the kind of workflow that makes sense for creators who want to keep their gear simple but maintain sharp output.

The Titanium Gold S9 will be available exclusively at shop.panasonic.com bundled with a matching S 18–40mm lens for $1,899.99. Until December 27, 2025, Panasonic’s also throwing in a $300 rebate, a free S 26mm lens, and a SanDisk Creator SD card. Not bad for a compact full-frame setup that can shoot like a pro rig.

Find all the other S9 colors on Amazon

• S9 Black for $1197.99
• S9 Blue for $1497.99
• S9 Green for $1497.99
• S9 Mint Green for $1497.99
• S9 Pink for $1797.99
• S9 Red for $1497.99

• Shop at Amazon

LUMIX Apps Get Smarter

Panasonic is updating the LUMIX Lab and LUMIX Flow apps, introducing useful changes that simplify editing and shooting.

The standout is something called Magic LUT in LUMIX Lab 2.0. It’s an AI-powered feature that lets you upload an image and a color profile that matches the tones and mood is instantly generated. You can tweak it, save it, and shoot with it directly. It even works with photos and video files from other brands, which is a significant advantage if you’re mixing cameras or just want a consistent look across your content.

LUMIX Flow (now version 1.3) also gets a solid upgrade. It now works with the S5II, S5IIX, and GH7, adds support for up to four devices, and includes a vertical UI for monitors. There’s even a LUT view assist, so you can see your color look in real-time, plus improved focus and framing tools. It’s clear Panasonic is thinking about hybrid shooters — those of us who bounce between stills, reels, and long-form video — and making the handoff between camera and app a lot smoother.

Firmware updates are also landing across several bodies, improving startup time, DJI gimbal connectivity, and adding control ring customization on lenses. Nothing headline-grabbing, but the kind of quality-of-life updates that make the cameras more intuitive.

The Adventure Kit: Built for Real-World Shooters

This one’s smart — Panasonic’s bundling its higher-end full-frame bodies (S1II, S1RII, S5II, and S5IIX) with the excellent S 24–60mm F2.8 lens and calling it the Adventure Kit. It’s aimed at creators who travel, shoot in unpredictable weather, or just need a dependable all-around setup that can handle both landscapes and portraits.

Each kit includes a SanDisk Extreme PRO Portable SSD, and prices range from $2,799.99 for the S5II to $4,099.99 for the S1RII, with deliveries set for mid-November.

My Take

I like that Panasonic’s leaning into simplicity again — real-time LUTs, faster startup, and apps that actually add value instead of complexity. The S9, especially in that Titanium Gold finish, looks like the kind of camera that could slip into a travel bag or sit on a desk ready to shoot. And the Magic LUT feature? That could quietly become the most useful color tool for anyone creating on the fly.

For more info, check out na.panasonic.com/us or follow @lumixusa on social. Also see my review of the S1 II. I would love to update that with an adventure kit.

The post The LUMIX S9 Gets a Titanium Glow — and a Big Ecosystem Update appeared first on Imaging Resource.

What Is a Triple-Layer Sensor?

Traditional stacked sensors use two layers:

• A photodiode layer that captures light
• A transistor layer that handles processing

Sony’s new design adds a third layer, expanding processing capabilities directly at the sensor level. A development like this enables faster readout speeds, improved noise control, and an enhanced dynamic range-all without increasing the sensor’s footprint.

Sony’s Triple-Layer Image Sensor: Why It Matters

Here’s what this tech could unlock:

• Improved dynamic range: Better handling of highlights and shadows, especially in high-contrast scenes
• Faster readout speeds: Crucial for reducing rolling shutter and improving burst shooting
• Enhanced video capabilities: Potential for higher resolutions and frame rates without bottlenecks
• Superior autofocus performance: Thanks to more real-time data processing

While resolution itself doesn’t increase from the third layer, the sensor’s ability to handle data more efficiently could open doors to new video modes and imaging features.

Sony’s Triple-Layer Image Sensor Still in Development

Sony first teased this architecture in 2021, and although it’s not yet in consumer cameras, the recent investor presentation confirms that it’s a key part of their long-term strategy. Sensor development takes years, but this triple-layer concept is inching closer to reality.

Bottom line? If Sony delivers on these promises, we could be looking at a new standard for image sensors-one that benefits both still shooters and filmmakers alike. HT to Sony Alpha Rumous for the story lead.

The post Sony’s Triple-Layer Image Sensor: Another Game-Changer for Camera Performance appeared first on Imaging Resource.

This lens covers everything from 100mm all the way out to 500mm, and if that’s not enough reach for you, Panasonic has made it compatible with their teleconverters (sold separately), which can extend the reach to a whopping 1000mm equivalent. In other words, if you’ve ever wanted to photograph the moon and still crop in on a crater, you’re covered.

But here’s the real kicker: this lens stays surprisingly compact. At just 196mm long (under 8 inches), it’s way more portable than you’d expect for something that can see that far. Panasonic also built in Dual I.S. 2 image stabilization, which is capable of up to 7 stops of shake reduction, allowing you to handhold the camera and still capture sharp shots – even at the long end.

Autofocus is driven by a Dual-Phase-Linear Motor. This means it’s fast, precise, and quiet—great for both stills and video. Speaking of video, Panasonic clearly had creators in mind with this one. There’s focus breathing suppression and micro-step aperture control for smooth exposure transitions. You also get customizable controls; for example, you can turn the focus ring into a control ring and assign settings like aperture. For those who value ergonomics, the focus button is assignable to any function—hybrid zoom, anyone?

Key Features of the LUMIX S 100-500mm

Massive Reach, Sharp Results

• Panasonic’s first ultra-telephoto zoom for the LUMIX S series – covering 100mm all the way to 500mm.
• Delivers crisp detail and smooth bokeh throughout the zoom range, even wide open.
• Supports teleconverters (sold separately), letting you push out to a staggering 1000mm for serious reach.

Stabilization That Keeps Up

• Dual I.S. 2 image stabilization gives you up to 7 stops of shake reduction – a lifesaver when you’re handholding at 500mm.
• The lens stays surprisingly compact at just 196mm in length, making it packable for travel and field work.
• Dual Phase Linear Motor autofocus is fast, accurate, and quiet – perfect for wildlife and video shooters.

Customizable, Creator-Friendly Controls

• The focus ring can double as a control ring for adjusting aperture or other settings on the fly.
• A dedicated focus button can be mapped to functions like Hybrid Zoom, giving you more control without digging through menus.

Price & Availability

The LUMIX S 100-500mm is available for pre-order starting September 25th for $2,099.99 from Panasonic’s usual retailers. 

Bottom line? This lens is Panasonic’s answer for shooters who want reach, stability, and a packable form factor. If you shoot wildlife, motorsports, or just want the ultimate landscape compression, this one’s worth a look.

I’ve been shooting with Panasonic since the S1 II was announced this spring. I can’t wait to get a demo in and try landscapes and wildlife with it.

The post Panasonic LUMIX S 100-500mm is a Beast appeared first on Imaging Resource.

Sigma 135mm f1.4: The Portrait Lens Sony Should’ve Made 

• Optical Performance: The lens delivers stunning sharpness even wide open at f/1.4, with creamy bokeh and minimal aberrations. It’s built for serious portrait shooters who crave depth and clarity.
• Build & Ergonomics: It’s hefty—no surprise given the glass inside—but the build quality is premium, with weather sealing and a tactile focus ring that feels pro-grade.
• Use Case: Ideal for controlled environments, such as studio or outdoor portrait sessions. Not exactly a walkaround lens, but a creative powerhouse when precision and aesthetic matter.
• Video Potential: The rendering and subject isolation make it a compelling option for filmmakers seeking a distinctive look.

Sigma 135mm f/1.4 DG 'Art' Lens Review

A comprehensive breakdown of Sigma’s newest flagship portrait lens. Reviewers rave about its optical clarity, build quality, and standout bokeh performance. Ideal for photographers who want a fast telephoto prime that doesn’t compromise. A NEVER BEFORE SEEN LENS: Sigma 135 1.4 Review (WOW!)

This one’s all about first impressions—and they’re glowing. The reviewer is stunned by the lens’s rendering and calls it a “bokeh monster.” Great for seeing real-world results and initial reactions. Sigma 135mm F1.4 DG | ART Review: World's First F1.4 at …

A deep dive into the technical innovation behind the world’s first 135mm f/1.4 lens. If you’re curious about how Sigma pulled off this optical feat, this video is a must-watch. Sigma 135mm f/1.4 DG – The New Bokeh King Has Arrived

Bold claim, but well-supported—this video showcases stunning sample shots and explains why this lens is redefining portrait photography. A great visual reference for bokeh lovers. Sigma 135mm f1.4 DG Art REVIEW: Bokeh Monster In-Depth!

If you want to geek out over bokeh, this is your jam. The reviewer goes frame-by-frame to show how the lens handles highlights, depth, and subject isolation. Also see Sigma 135mm F1.8 ART Review For Video Use – Better Than Sigma 105mm F1.4?

You don't have to take YouTubers words for it, all reviewers are buzzing about the new Sigma 135mm F/1.4 DG Art lens—and for good reason. It’s the world’s first autofocus 135mm lens with an f/1.4 aperture for full-frame mirrorless cameras, and it’s making waves in the portrait photography world.

Key Praise Highlights

• Bokeh Mastery: The lens delivers exceptionally smooth, creamy bokeh, even surpassing Sigma’s own 105mm f/1.4 “Bokeh Master” in size and softness.
• Sharpness Wide Open: Reviewers consistently note tack-sharp image quality even at f/1.4, with minimal aberrations and excellent edge-to-edge resolution.
• Autofocus Performance: Thanks to dual HLA (High-response Linear Actuator) motors, autofocus is fast, accurate, and reliable—even for moving subjects like birds in flight.
• Build Quality: True to Sigma’s Art line, the lens is robust and weather-resistant, with thoughtful features like a de-clickable aperture ring, customizable AFL buttons, and a removable Arca-Swiss tripod collar.
• Portrait Powerhouse: The 135mm focal length combined with f/1.4 compression creates a dimensional, cut-out look that’s ideal for high-end portraiture, fashion, and weddings.

Trade-Offs

• Size & Weight: At over 1.4kg, it’s hefty—closer in profile to a 200mm f/2 than a typical 135mm lens.
• Price Point: At $1,899, it’s a premium investment, but reviewers argue the performance justifies the cost.

If you’re chasing cinematic depth and elite portrait rendering, this lens is shaping up to be a game-changer. Expect it to sell out and if interested, it's recommened to preorder now from B&H for $1899.00.

The post Sigma 135mm f/1.4 DG Art: The New Bokeh Boss appeared first on Imaging Resource.

You'll also want to check out this video from Dustin Abbott. His overall impression is, “It may represent the best mid-range wide-angle zoom currently available.”

The reviewer in this video emphasizes the expanded zoom range—now reaching 16 mm instead of 17—which is considered a “huge bonus.” The improved autofocus motor also garners praise. 

Julia Trotti notes, “The constant f/2.8 aperture and availability in both E-mount and Z-mount are highlighted, making it versatile for Sony and Nikon mirrorless users.”

While Michael Ronin is particularly impressed with the image quality, stating it’s “incredible” and noticeably superior to the 17-28 mm

Review Roundup: Tamron 16-30MM f/2.8 G2: What Reviewers Are Saying

Additional YouTube Review Takeaway

The reviwer notes that the lens performs “decent enough for your money” and highlights that it’s “brilliantly sharp from corner to corner.”

Conclusion

The Tamron 16-30 mm f/2.8 G2 is making waves in the mirrorless lens market, with multiple reviewers emphasizing its corner-to-corner sharpness, greatly extended zoom range, faster autofocus, and impressive image quality. It’s emerging as a compelling wide-angle zoom for both photographers and videographers using Sony or Nikon mirrorless systems.

The post Review Roundup: Tamron 16-30MM f/2.8 G2 appeared first on Imaging Resource.

A Match Point Interrupted

Benjamin Bonzi stood at ad-in, serving for a stunning upset over Daniil Medvedev in straight sets. As he prepared his second serve, an event photographer abandoned his position and strolled onto the court’s edge. He seemed to be seeking the perfect celebration shot. Chair umpire Greg Allensworth immediately halted play, ordered the photographer off, and awarded Bonzi a first serve due to the interference.

Medvedev’s Explosive Response

Enraged by the decision, Medvedev marched to the umpire’s chair and unleashed a tirade. He questioned Allensworth’s “manhood,” mocked the crowd, and demanded attention. He even urged fans to boo so loudly that the match couldn’t resume until silence returned. Those boos echoed through Louis Armstrong for a full six minutes. This made the delay one of the longest-and most theatrical-in recent tennis history.

Official Sanctions: Credentials Revoked

Once play finally resumed, Medvedev fought back to take the third set in a tiebreak, though Bonzi ultimately prevailed in five sets. Meanwhile, tournament security escorted the photographer from the premises, and the United States Tennis Association announced that his credential was revoked for the remainder of the 2025 US Open.

The US Open Photographer Who Delayed Play-and Got Banned Timeline

What Comes Next

• For photographers: A reminder to stay behind designated barriers unless explicitly cleared by officials.
• For players: An illustration of how quickly match rhythms can shift-and how emotional control is crucial, even in dramatic moments.
• For tournament organizers: A case study in rapid crisis management and enforcing access protocols.

Though the photographer’s ban will keep his lens off US Open courts this year, the clip of Medvedev’s fiery tirade will live on as one of the most surprising-and cautionary-moments in recent tennis lore.

The post The US Open Photographer Who Delayed Play—and Got Banned appeared first on Imaging Resource.

I Took 4,000 Photos With the Hasselblad X2D II 100C

In this hands-on vlog-style review, the creator dives into a real-world usage scenario, capturing over 4,000 photos with the X2D II 100C (paired with the 35-100 mm lens). It’s packed with storytelling, sample shots, and candid impressions of how the camera performs during extended outdoor sessions. The new Hasselblad camera is a compelling choice for photographers seeking an authentic user experience, with sample image feedback.

The Hasselblad X2D II 100C Just Changed Photography FOREVER

Bold and attention-grabbing, this video promises a revolutionary shift in how we take photos. It emphasizes the X2D II 100C’s standout features in a dramatic, perhaps more marketing-oriented production. Perfect for readers who crave hype-driven insight, standout features, and sample files.

Hasselblad X2D II Review: Why $7,399 Is a Reasonable Price

A more pragmatic take, this review justifies the camera’s price tag—$7,399—by highlighting the value offered. Rooted in cost-performance analysis, it’s ideal for readers wondering if the premium aligns with real-world features and usability.

Bonus Insight: No Video Mode – A Notable Omission

Interestingly, forums like EOSHD have highlighted that the X2D II 100C lacks a video recording feature—a surprising omission given its advanced hardware, including IBIS and LiDAR. One commenter sharply critiques the decision: “Still no video mode on the X2D II… it has the same sensor as the Fuji… yet doesn’t even do 1080p, let alone 8K! This is odd behaviour from DJI!” (EOSHD). This detail is crucial for hybrid shooters who expect both stills and video capabilities.

Video Roundup: Hasselblad X2D II 100C Video Review Summary Table

Video Roundup: Hasselblad X2D II 100C Verdict

The X2D II 100C is more than a spec bump—it’s a leap forward in both image quality and usability:

• Outstanding HDR capability, aided by a standout display.
• Industry-first continuous autofocus in a medium format body.
• Top-tier stabilization for handheld shooting.
• Refined ergonomics and controls like the joystick.
• A more compelling price point than the original.

Pair it with the new zoom lens, and it presents a streamlined, high-performance package ideal for pro photographers who prioritize pure image excellence and practical handling. While still a premium investment, it’s arguably the strongest Hasselblad mirrorless release yet.

Even more Hasselblad X2D II 100C Videos

Hasselblad X2D II – Finally a Medium Format Camera for Fast Moving Subjects!

A Kai hands-on review of Hasselblad’s latest medium format camera, the X2D II, highlighting its significant speed improvements and usability upgrades over its predecessor. The host dives into autofocus performance, burst shooting capabilities, and overall responsiveness—areas where medium format cameras traditionally lag. With a blend of technical insight and real-world shooting scenarios, the video showcases how the X2D II bridges the gap between high-resolution image quality and practical speed, making it a compelling option for photographers who want both detail and agility.

Hasselblad X2D II 100C vs Full Frame (Canon + Lumix)

This video explores the visual and technical differences between medium format and full-frame cameras, using the newly released Hasselblad X2D II 100C and its companion 35-100mm f/2.8-4 zoom lens. The video compares image quality, depth of field, and dynamic range across various shooting scenarios to highlight what gives medium format its signature “look.” Through side-by-side tests and commentary, it illustrates how the X2D II delivers richer tonality and smoother transitions, especially in portrait and landscape photography, while also addressing practical considerations like lens versatility and workflow. It’s a compelling breakdown for photographers weighing the trade-offs between sensor formats.

You can also stay entertain with shorts like this one from Hasselblad.

The post Review Roundup: Hasselblad X2D II 100C appeared first on Imaging Resource.

** Affiliate Disclaimer: We may earn a commission from purchases made through our links. **

What Makes It Special?

This isn’t Voigtlander’s first APO-LANTHAR rodeo, but it might be their most ambitious. Cosina, the manufacturer behind the Voigtlander brand, calls it “The best performing wide-angle lens in Voigtländer history.” That is not hyperbole—it’s backed by serious engineering.

• Apochromatic Design: The lens corrects axial chromatic aberrations of red, green, and blue light to near zero. Translation: razor-sharp images with minimal color fringing, even in high-contrast scenes.

• Optical Construction: 12 elements in 8 groups, including six made from anomalous partial dispersion glass and two double-sided aspherical lenses. This combo delivers edge-to-edge clarity and stunning micro-contrast.

• Floating Mechanism: Enhances close-up performance, allowing focus down to 0.5m via live view—even though rangefinder coupling stops at 0.7m.

Specs at a Glance

• Focal Length: 28mm

• Maximum Aperture: f/2

• Minimum Focus Distance: 0.5m (live view), 0.7m (RF)

• Aperture Blades: 12 (nearly circular)

• Filter Thread: 49mm

• Weight: 265g

• Mount: VM (Leica M-compatible)

• Lens Hood: Petal-shaped, reversible metal

Photography Impact

This lens is not just about specs—it is about the experience. The manual focus ring is machined with surgical precision, offering just the right amount of torque for subtle adjustments. The bokeh? Creamy and natural, thanks to those 12 rounded blades. And the included metal hood is more than just functional—it is beautiful, reducing vignetting while adding a touch of vintage flair.

Who Is It For?

• Street photographers seek a fast, compact wide-angle lens with impeccable rendering.

• Landscape shooters who demand edge-to-edge sharpness and minimal distortion.

• Leica lovers who appreciate Voigtlander’s ability to blend heritage aesthetics with modern performance.

Final Thoughts

The APO-LANTHAR 28mm f/2 VM isn’t just a lens—consider it a precision instrument that invites you to slow down, compose deliberately, and revel in the tactile joy of manual focus. Whether chasing light in the city or capturing quiet moments in the countryside, this lens delivers images that feel both technically flawless and emotionally resonant.

Preorder the 28 from B&H for $$1,149.00.

The post Precision Meets Poetry: Voigtlander APO-LANTHAR 28mm f/2 Aspherical VM for Leica M-Mount appeared first on Imaging Resource.

Sigma 200 mm f/2 DG OS Sports Review Roundup

The recent launch of the Sigma 200 mm f/2 DG OS Sports lens marks a significant milestone in the world of mirrorless photography. Below is a consolidated look at what leading reviewers are saying about Sigma’s groundbreaking 200 mm F2 DG OS Sports telephoto prime for full-frame mirrorless systems.

What is in the Box?

• Launch & Specs—Sigma officially introduced the 200 mm f/2 DG OS | Sports prime, the world’s first full-frame 200 mm lens with an f/2 aperture, available for Sony E and L-mount systems. It features rugged weather-sealed construction, optical stabilization (OS2), and high-performance autofocus, priced at around US $3,299. Reviews: Canon Rumors, TechRadar, No Film School.

Build & Design

• Engineering Excellence—constructed with Sigma’s 200 mm f/2 DG OS Sports (including FLD and SLD glass), advanced coatings to control flare, and a robust, weather-resistant design with Arca-Swiss tripod compatibility. Reviews: DIY Photography, Canon Rumors, No Film School.

• Feel and Handling—weighs about 1.8 kg (4 lb)—substantial, yet lighter than some older 200 mm f/2 DSLR alternatives. Reviews: DIY Photography, Fstoppers, Imaging Resource.

Autofocus & Stabilization

• Fast and Responsive—employs Sigma’s High-response Linear Actuator (HLA) motor. On the Sony a9 III, autofocus speeds reach 0.251 seconds, providing performance that excels in fast-moving scenarios such as sports and wildlife photography. Reviews: DustinAbbott.net.

• Rock-Solid Stabilization—OS2 stabilization offers up to 6.5 stops of shake reduction, enabling handheld shots at slower shutter speeds—particularly helpful in dim conditions. Reviews: TechRadar, DIY Photography, Fstoppers.

Image & Optical Quality

• Sharpness—outstanding sharpness even at f/2, with edge-to-edge detail that minimizes the need for stopping down. Reviews: PetaPixel, Fstoppers.

• Bokeh—exceptionally smooth, painterly bokeh with clean highlights and no distracting artifacts. Beautiful subject-background separation rendered with artistic flair. Review: PetaPixel.

• Chromatic Aberration & Artifacts—minimal color fringing and excellent control over LoCA and flare—performance that caters to clean, high-quality imagery. Reviews: PetaPixel, Fstoppers.

Real-World Use

• Versatile for Portraits & Sports—an ideal choice for tight portraits and indoor action—especially in low light. Its reach and brightness provide both creative and practical advantages. Reviews: DIY Photography, TechRadar, Fstoppers.

• User Feedback—early hands-on impressions praise lightning-fast autofocus (especially on Sony bodies), robust build quality, and full feature set, including function buttons and tripods. However, some may prefer a zoom lens for versatility. Review: Imaging Resource.

Comparison to Other Sigmas

• 70–200 mm f/2.8 Zoom (DG DN OS Sports)—this zoom offers a compromise: lighter, more versatile, and still high-performing. It features excellent stabilization, quiet autofocus, and a constant f/2.8 aperture—but lacks the standout low-light and shallow-depth-of-field benefits of the new 200 mm f/2 prime. Reviews: photographyblog, TechRadar, ExpertPhotography.

Sigma 200 mm f/2 DG OS Sports Key Specifications

• Focal Length: 200 mm
• Maximum Aperture: F2
• Optical Stabilization: 6.5-stop OS2
• Optical Construction: 19 elements in 14 groups (including 2 FLD, 2 SLD)
• Autofocus: HLA (High-response Linear Actuator) motor
• Weather Sealing: Dust- and splash-resistant; water/oil-repellent front coating
• Mounts: Sony E, L-Mount (Leica/Panasonic/Sigma)
• Weight: 1,820 g / 64.2 oz
• Filter Thread: 105 mm
• MSRP: $3,299

Sigma 200 mm f/2 DG OS Sports Videos

Below is a roundup of three YouTube reviews of the Sigma 200 mm f/2 DG OS Sports lens—with each presented as a highlighted video and a concise summary of the reviewer’s key insights:

Dustin Abbott delivers a comprehensive hands-on analysis of the lens, spotlighting its status as the first full-frame 200 mm f/2 prime. Abbott likely covers the ridiculously fast autofocus (Sigma’s HLA motor), the robust OS2 stabilization, and the professional-grade build. Expect emphasis on exceptional optical sharpness, creamy bokeh, and how it fills a gap for telephoto prime performance on mirrorless cameras.

Matt WhoisMatt Johnson focuses on the “love/hate” dynamic around the lens’s unique characteristics. While acknowledging its impracticalities—likely referring to size, weight, and fixed focal length—the reviewer celebrates the incredibly tight framing and dreamy shallow depth of field that make it creatively compelling. This review emphasizes the lens’s emotional and artistic appeal over just specs.

Pav SZ highlights the lens as a “beast,” praising its optical prowess—sharpness, contrast, and performance right out of the box. The clip suggests a discussion around whether this high-end teleprime is a must-have or “dream lens” for photographers seeking top-tier image quality at the expense of portability.

Sigma 200 mm f/2 DG OS Sports Final Take

The 200 mm f/2 DG OS Sports is a bona fide advancement—a lens with a unique optical personality and professional-grade build. If your work demands low-light performance, stunning subject isolation, and telephoto compression, this prime is unmatched on mirrorless platforms. That said, if you prioritize flexibility and lighter travel-ready gear, the 70–200 mm f/2.8 Sports ($1649 from B&H or Amazon) zoom remains a compelling alternative.

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