u/FlarblesGarbles

Birthday present to myself! This will get lots of use

I've just got my first ILC, a Sony a6700. It was for 1029 USD new with the kit (some discounts here and there and Asia market)

I'm still with the kit lens on my 6700 and I'm considering Sigma 17-40 f1.8. I can still have the kit to bring around if I don't plan to "take picture", basically everyday lens. But when I travel and plan to go out at night this lens is tempting.

On the other hand tho. I can buy a Sigma 18-50 F2.8, viltrox 85mm f2 Evo and 25mm f1.7 Air, and sell the kit for about the same price as the 17-40... What do you'all think I should pick?

My past cameras are (chronologically) Sony RX100iii, RX1r and RX10iv. Thus why you can see my confusion here when all these lens options are now open to me 😅.

I do love the size of the kit right now, and wondering how conspicuous the 17-40 are, as I think that's gonna be nearly as long than my old RX10iv extended? 117mm+ 40mm vs 178mm rx10 on 600mm. Doesn't have the RX10 anymore to compare tho.

How's your experience with bringing the sigma 17-40 around? Does it make the camera sag hanging from the strap? Do people often look at you more? How's the weight balance? I've tried handling A7iii with 24-70 gmii and that combo is definitely heavy for me while with 55mm on a7v are quite manageable

i just bought a sony a7v with 2 lenses and some accesories

please if u can suggest any other items i can add to the kit

and by any chance if there is a way to use dji mic 3 wirelessly without using the 3.5 audio cable

i am new to this wrold

thank you

Hi everyone,
I wanted to share my curated lens setup for the Fujifilm GFX 100S. My vision wasn't just to accumulate glass, but to build a toolkit of distinct optical signatures—combining historic medium format royalty, iconic 35mm vintage lenses, and one modern GF prime as my technical benchmark.
Because the 44x33 mm sensor has a 0.79x crop factor, both focal length and depth of field (DoF) shift relative to Full Frame. Here is the full breakdown with exact Full Frame equivalent field of view and depth of field:

The Modern Benchmark:

Fujinon GF 45mm f/2.8 R WR (~36mm f/2.2 ff equiv.) – My control variable. This modern masterpiece delivers ruthless resolving power and apochromatic-like correction across the entire 102MP plane. It provides zero-distortion, edge-to-edge clinical perfection—essential for commercial precision, but also serving as the perfect stark contrast to appreciate the character of the vintage glass in this kit.

Medium Format Royalty (6x6 Glass on 44x33mm):

Carl Zeiss Jena MC Sonnar 180mm f/2.8 (Pentacon 6) (~142mm f/2.2 FF equiv.) – The Compression King. A legendary optical formula that shines on the GFX. Unburdened by mechanical vignetting, this medium format Sonnar design delivers a deeply organic, almost painterly subject isolation. The transition from the razor-sharp focal plane into the buttery, compressed out-of-focus background is something modern telephotos simply cannot replicate.

Carl Zeiss Jena MC Biometar 120mm f/2.8 (Pentacon 6) (~95mm f/2.2 FF equiv.) – The Cinematic Portraitist. Operating perfectly within its native 6x6 sweet spot, this lens offers that signature Zeiss micro-contrast and a whisper-smooth focus roll-off. Wide open, it retains a delicate highlight halation that flatters skin tones beautifully. It provides the absolute perfect optical foundation for my work developing custom realistic film grain emulation and cinematic color grading.
TTX MS Volna-3 80mm f/2.8 (~63mm f/2.2 FF equiv.) – The Soviet Scalpel. A 6-element Planar-type design engineered for the Kiev-88/Pentacon 6 systems. Thanks to its robust Soviet multi-coating (MS/MC), it boasts surprisingly aggressive micro-contrast and high-frequency detail resolution. It renders textures with a raw, unforgiving honesty while maintaining a classically smooth medium-format depth of field.

35mm Icons & The Double-Gauss Legends:

Carl Zeiss Jena Flektogon 35mm f/2.4 (~28mm f/1.9 FF equiv.) – The Retrofocus Marvel. An absolute legend of optical design. It combines vanishingly low barrel distortion with a mind-blowing 19cm minimum focusing distance, allowing for almost macro-like near-field wide-angle perspectives. The color saturation is deeply rich, and the gentle optical falloff towards the edges naturally draws the viewer's eye right into the center of the frame.

Carl Zeiss Jena Biotar 58mm f/2 (Silver 10-Blade Preset) (~46mm f/1.6 FF equiv.) – The Aristocrat of Aberration. The asymmetric Double Gauss design that started it all. This highly sought-after silver preset version features a 10-blade iris that keeps specular highlights gorgeously rounded even when stopped down. Wide open, it produces a distinct, elegant spherical aberration that gives subjects a sculpted, three-dimensional pop against its famously swirling, impressionistic bokeh.

Helios 44-2 58mm f/2 (Valdai, Mint) (~46mm f/1.6 FF equiv.) – The Chaotic Offspring. A mint-condition Soviet derivative of the Biotar, but with the distinct glass characteristics of the Valdai plant. Pushing its 35mm image circle to the absolute limits of the 44x33mm sensor exaggerates its uncorrected field curvature. The result is an aggressive, vortex-like swirly bokeh at the extreme edges that standard Full Frame sensors physically cannot capture.

Asahi Super-Takumar 50mm f/1.4 (Radioactive Thorium) (~40mm f/1.1 FF equiv.) – The Warm Emitter. A masterpiece of mid-century Japanese engineering. The decaying thorium-oxide element imbues the glass with a natural, warm amber transmission that acts like a built-in cinematic warming filter. Wide open, it produces a mesmerizing, blooming spherical glow—but stop it down to f/2.8, and it suddenly snaps into a modern, clinical sharpness that can easily out-resolve the 102MP sensor.
Shooting 35mm Glass in Full 102MP Mode vs. 35mm Crop Mode:
One of the most interesting aspects of shooting 35mm vintage lenses on the GFX is deciding how to use the sensor:

Full 102MP Mode (44x33mm): I actually prefer shooting 35mm lenses in full 102MP resolution! Even if there is a slight light falloff or vignetting at the extreme corners, it is super easy to fix or crop in post-processing. The big advantage is that shooting the full sensor area pushes these 35mm lenses beyond their designed circle, exaggerating their unique vintage character and edge optical quirks—especially pulling dramatic swirly bokeh on the Helios 44-2 and Biotar.

Built-in 35mm Crop Mode (36x24mm): When a specific lens exhibits heavy mechanical vignetting or when I want clean out-of-camera Full Frame framing, turning on 35mm Mode automatically crops the sensor while still producing a massive 60.7 Megapixels file—higher resolution than almost any native Full Frame camera on the market!

I’ll be posting sample photos shot with this entire lineup very soon!

What adapted lenses are you running on your GFX? Would love to hear your favorite combinations!

Been shooting on my a7Cii with the 55, lens is basically glued to my camera. Loved the rendering, loved how compact, loved the zeiss 3d pop.

I had 20-70 f4, it was great for video but whenever I shoot photo I always thought that primes are still better. I'm not sure why but the video on 55 still looks better to me than the zoom, it's just a bit tight for video in general.

Eventually I started eyeing a G Master, telling myself I "needed" one. It was very tempting to try it at the store (24-70gmii, 35, 85) but I didn't because I might "accidentally" buy it lol. The only thing that is holding me back is how BIG these gm lenses are compared to the 1.8s, I might not be able to use it more in public due to the size.

I sold my 20-70 and bought 35 + 85 1.8 pair second hand at Fujiya camera Tokyo. Initial testing was awesome. Nice videos on 35 and the freaking awesome portraits on 85. But the 55 still has this magic feeling that is hard to explain. I might explore another zoom in the future but for now exciting to see my next hybrid journey!

Finally, after months of contemplation bought the A6700. I will buy the sigma/tamron 50mm soon, but please sprinkle some tips for the absolute beginner. Thanks

Im still waiting on the Viltrox teleconverter.

Upgraded from my a7r5. Need more speed for wildlife & sport. Using on 200-600mm Sony lens for those scenarios & variety Tamron latest lens for landscape/travel/portrait.

Love the new grip & function. Was surprise to the camera has full English menu since I heard horror from YT about camera from Japan that's locked in Japanese. This wasn't the case! I know some will say I will lost Sony warranty but I insured all my gear through State Farm for about ~$100/yr.

Now, I need to spend them setting up the menu to my liking! Any tips are greatly appreciated!

Cumpliendo el sueño

Debería ir por el 16f1.8G o por el 14f1.8GM?

I finally made the switch from my Sony a6400 + tamron 17-70 2.8 to the Fuji XT50 + 2 lenses I was overthinking this change for over 5 months I mainly shoot for fun and editing was killing me with my Sony I had some concerns regarding the autofocus but I think is great
I have a 2 lense setup
Sigma 18-50 2.8
And 7artisans 27mm f2.8

Any tips will be greatly appreciated

Been shooting with a A7Cii coupled with a 50MM F2.5 and a 16-35 F4 PZ for almost 2 years and just fell in love with photography! Traveling a lot and living in NYC, there's always interesting things to shoot.

Grabbed these recently and I'm bout to go crazy!💯

This just got delivered today. Cant wait to use this 😁

Any prime lens suggestions for indoor GYM shooting or low light car shooting?

A beautiful upgrade! To my Sony A7V and two new lenses, the well-regarded 24-70 GMII and 70-200 Macro! I can already appreciate the sharper and much brighter image on the A7V over my older a6700.
For the moment, I’m very impressed and excited. 🥰

Finally back in that Alpha club...last Sony Camera was the Nex 7 and I loved that... looking forward to what I can do with this!

Today I had a shoot in bright sunlight, and i put my 50R on electronic shutter to be able to crank it to 8000 while shooting 2.8. While looking back the pictures, I found several photos warped. Some were only a bit warped where the model was slimmer or shifted upwards, other were more extreme (like the picture here). To be clear: This was a really standard portrait, camera leveled straight, in front of the model. NOTHING weird or diagonal, super basic portrait.

I reckoned it could only have to do with the ES, and switched back to MS, after which the problem completely disappeared. I reckon it has to do with reading the sensor and processing the info (I clicked quite quickly (for a GFX....)).
I used a Sandisk Extreme Pro 200MB/s V30 U3 card of 128GB, which should be plenty fast right? And since it didn't happen in MS, it shouldn't be a card issue.

I'm just so surprised that a camera of this caliber and price has such a weak spot. A bit incomprehensible for me, but maybe someone has another explanation for this.

EDIT: I did not have a fitting ND filter for the lens, and yes that would’ve solved the problem. Still I’m stunned by how the whole ES is basically useless bc of slow readout speeds. Never had something this bad on my 10yo Xpro2.