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Hasselblad XCD 55mm f/2.5 V Aperture Series: Butte near San Rafael Swell (X2D)

Hasselblad XCD 38mm f/2.5 V

re: Hasselblad XCD 55mm f/2.5 V

This aperture series from f/2.5 to f/11 shows that that highly variable shapness across the field of the Hasselblad XCD 55mm f/2.5 V is not due to its forward focus shift, but rather to sub-mediocre performance that makes the lens problematic at less than f/9.

Hasselblad XCD 55mm f/2.5 V Aperture Series: Butte near San Rafael Swell

Includes images up to full camera resolution from f/4 to f/11, plus crops.

CLICK TO VIEW: Hasselblad Wides

Butte near San Rafael Swell
Butte near San Rafael Swell
f2.5 @ 1/340 sec electronic shutter, ISO 64; 2022-10-30 16:08:58
Hasselblad X2D 100C + Hasselblad XCD 55mm f/2.5 V @ 45.3mm equiv (55mm)
ENV: San Rafael Swell, altitude 5440 ft / 1658 m, 70°F / 21°C
RAW: Adobe Color, Enhance Details, LACA corrected, vignetting corrected, WB 4600°K tint -2, push 0.4 stops, +10 Whites, saturation -15, +10 Clarity, AI Denoise 10, +10 Vibrance

[low-res image for bot]

Hasselblad XCD 38mm f/2.5 V Aperture Series: Butte near San Rafael Swell (X2D)

Hasselblad XCD 38mm f/2.5 V

re: Hasselblad XCD 38mm f/2.5 V

This page evaluates the Hasselblad XCD 38mm f/2.5 from f/2.5 to f/11, with attention to its pronounced central rearward focus shift, along with its erratically uneven performance that makes it a terrible choice for landscape photography.

Or was it just a “bad sample” fresh out of the box? And if so, how could this make it past quality control?

Hasselblad XCD 38mm f/2.5 V Aperture Series: Butte near San Rafael Swell

Includes images up to full camera resolution from f/4 to f/11, plus crops.

CLICK TO VIEW: Hasselblad Wides

Butte near San Rafael Swell
Butte near San Rafael Swell
f2.5 @ 1/1500 sec electronic shutter, ISO 64; 2022-10-30 16:11:37
Hasselblad X2D 100C + Hasselblad XCD 38mm f/2.5 V @ 31.3mm equiv (38mm)
ENV: San Rafael Swell, altitude 5340 ft / 1628 m, 70°F / 21°C
RAW: Enhance Details, LACA corrected, WB 4800°K tint 4, push 0.66 stops, +10 Whites, +10 Clarity, AI Denoise 10, +10 Vibrance

[low-res image for bot]
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Hasselblad XCD 38mm f/2.5: Non-Performer Worst Lens of the Lineup?

Hasselblad XCD 38mm f/2.5 V

re: Hasselblad XCD 38mm f/2.5 Awful Focus Shift: Lens Should Not Have Made it Into Production

Hasselblad: send me a lens to re-evaluate, I’ll happily give it a 2nd look.

With today’s high-res image sensors, you cannot mess around with the wrong lens if your goals have anything to do with sharpness.

Last night I was searching through aperture series that I had shot in October 2022 with the Hasselblad XCD 38mm f/2.5 V.

I could not find even one sharp image at any aperture.

I looked closer and confirmed what looks to be the worst focus shift I have ever seen in a lens, in which f/6.3 is much worse than f/2.5. In every series—obvious (OMG!) in some, less obvious in others due to subject matter, but always there.

But it’s not just that; it’s just poor overall, since even with focus shift, a crisp zone of focus has to show up at some distance or another, and I checked for that rigorously... severely disappointing results.

Its faults are so obvious on the 110 PPI NEC PA302W here at home. That fall, I was traveling and had only my iMac 5K whose pixel density made it challenging to evaluate sharpness.

Was the lens just bad? If so, how did it every make it through rudimentary quality control?

I don’t like showing crappy lenses, and I’d rather assume “bad sample”, but given that two working pros wrote me about focus shift problems with the lens (returned it), I have to think this may be normal, at least the focus shift part. But the abysmal performance could be a bad sample.

Accordingly, I will soon show a few aperture series detailing the (lack of) performance.

CLICK TO VIEW: Hasselblad Wides

Wooden Boardwalk, Dusk
f11 @ 144.0 sec electronic shutter, ISO 64; 2022-10-20 18:42:44
Hasselblad X2D 100C + Hasselblad XCD 38mm f/2.5 V @ 31.3mm equiv (38mm)
ENV: Colorado, altitude 8460 ft / 2579 m, 56°F / 13°C
RAW: LACA corrected, pull 0.3 stops, +30 Whites, +10 Clarity, diffraction mitigating sharpening

[low-res image for bot]

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The OWC 650GB Atlas Ultra CFexpress Type B Memory Card is an outstanding performer (what I use) for Leica SL3 or Canon EOS R5 or Nikon Z8 or Hasselblad X2D or Fujifilm GFX100 II—works flawlessly in all.


Canon EOS R1 “Currently in Development”

A 12-second video.

You can buy one in ____ months|years.

How large is the sports-shooter market anyway?

The meta message is more interesting: “we feel the pressure to pre-announce a camera”.

Canon EOS R1
Canon EOS R1

Canon Develops EOS R1 As First Flagship Model for EOS R System

New Image Processing System Further Improves AF and Image Quality

MELVILLE, N.Y., May 15, 2024 - Canon U.S.A., Inc. today announced that its parent company, Canon Inc. announced today that it is currently developing the EOS R1, a full-frame mirrorless camera, as the first flagship model for the EOS R SYSTEM equipped with an RF mount and is aiming for a 2024 release.

The EOS R1 is a mirrorless camera geared toward professionals that brings together Canon's cutting-edge technology and combines top-class performance with the strong durability and high reliability sought in a flagship model. This camera will dramatically improve1 the performance of both still images and video and meet the high requirements of professionals on the frontlines of a wide range of fields including sports, news reporting, and video production.

This camera employs the newly developed image processor DIGIC Accelerator in addition to the pre-existing processor DIGIC X. The new image processing system, composed of these processors and a new CMOS sensor, enables large volumes of data to be processed at high speeds and delivers never-before-seen advancements in Auto Focus (AF) and other functions.

By combining the new image processing system and deep learning technology to an advanced degree, Canon has achieved high-speed and high-accuracy subject recognition. For example, subject tracking accuracy has been improved so that in team sporting events where multiple subjects intersect, the target subject can continually be tracked even if another player passes directly in front of them. In addition, the AF "Action Priority" function recognizes subject movement by rapidly analyzing the subject's status. In moments during a sports game when it is difficult to predict what will happen next, this function automatically determines the player performing a certain action, such as shooting a ball, as the main subject and instantly shifts the AF frame, thereby helping to capture decisive moments of gameplay.

The combination of the new image processing system and deep learning technology will help to improve image quality. Canon implements the image noise reduction function, which has been previously developed and improved as part of the software for PCs, as a camera function to further improve image quality and contribute to user creativity.

Canon is working on field tests for this camera and will support capturing definitive and impactful moments at international sporting events to be held in the future.

Going forward, Canon will continue to expand the EOS R SYSTEM lineup of fascinating cameras and RF lenses, thereby continuing to meet the demands of a wide range of users and contribute to the development of photography and video culture.

DIGLLOYD: will the camera for non-definitive and non-impactful images also?

Someone was working overtime to develop that brilliantly informative last paragraph.

CLICK TO VIEW: Canon Mirrorless

Hasselblad XCD 21mm f/4 Aperture Series: Flag Shed (X2D)

Hasselblad XCD 21mm f/4

re: Hasselblad XCD 21mm f/4
re: Discontinued Hasselblad XCD 21mm f/4?

This page presents evaluates the Hasselblad XCD 21mm f/4 from f/4 to f/8 on a planar target in order to demonstrate the sharpness across the field, as well as focus shift and field curvature.

For anyone buying 100MP camera with lenses costing up to $5K or so, presumably at least one goal is eking out every bit of sharpness. Even at 21mm excellent shot discipline is required to get your money’s worth.

Hasselblad XCD 21mm f/4 Aperture Series: Flag Shed (X2D)

Includes images up to full camera resolution from f/4 to f/11, plus crops.

CLICK TO VIEW: Hasselblad Wides

f8 @ 1/300 sec electronic shutter, ISO 64; 2022-10-21 08:42:48
Hasselblad X2D 100C + Hasselblad XCD 21mm f/4 @ 18mm equiv (21mm)
ENV: Colorado, altitude 8400 ft / 2560 m, 55°F / 12°C
RAW: Camera Standard, Enhance Details, LACA corrected, vignetting corrected, WB 5000°K tint 4, push 0.66 stops, +10 Clarity, AI Denoise 10, +10 Vibrance

[low-res image for bot]

Reader Comment: Hasselblad Color

Hasselblad X2D 100 C

re: Hasselblad XCD 21mm f/4
re: Discontinued Hasselblad XCD 21mm f/4?

Reader David K writes in reference to Examples: Colorado in October:

Such beautiful color in your Hasselblad photos, Lloyd! I’ve always heard that Hasselblad had the best colors right off the bat. Could you please comment about this.

Keep up the good “honest” work. It is greatly appreciated.

DIGLLOYD: since RAW files are just numbers (no color exists!), so color rendition equates to how the RAW file conversion is done. The gross aspects of that are the camera profile, which establishes the color and contrast and all sorts of things having to do with look and feel.

In the case of most of the examples, I actually used the Adobe Color camera profile, which is not Camera Standard eg what the “Hasselblad color” look would be. I used Adobe Color because I liked the rendition better than what the camera matching result would be. Not every image though.

Also, many of the images needed careful tweaks for contrast control, see below.

In other words, the profile is what determines the overall rendition. If you dig that, I strongly suggesting reviewing all my workflow screencasts.

Adobe Camera Raw: Changing Image Look & Feel Using Camera Profile
Fujifilm GFX100S: Camera Profiles in Adobe Camera Raw
Reader Question: Picture Profile for RAW + JPEG
Reader Question: Camera Profile in Adobe Camera Raw
camera profile and post processing

That said, I believe that Hasselblad takes considerable care in tuning the total image quality numbers coming off the sensor, both with quality of electronics as well as the whole analog to digital imaging pipeline. Hasselblad also takes particular care to protect highlights and trends to underexposure to accomplish that (as well as somehow tuning things for ISO 64 when Fujifilm is using ISO100 with the same sensor). Is this better than the Fujifilm GFX100 II with its tweaked ISO 80 sensor from the GFX100S? Too soon to say, but I say that Hasselblad X2D color and image quality are superior to the Fujifilm GFX100S. But I also say that the GFX100S image quality is inferior to the Fujifilm GFX100 II.

Specific example: I have not yet detected the white stripes issue with the Hasselblad X2D, which makes sense in the context of great attention to the imaging pipeline by Hasselbld. It could be there and I’ve just not detected it yet.

Reader Fazal M writes:

I know you’ve collaborated with Ming Thein before, you might have noticed this comment of his:
https://blog.mingthein.com/2018/01/31/long-term-review-the-hasselblad-x1d/

“All in all, this means that image quality is a known quantity: it matches that of the H5D-50c and H6D-50c, which is to say – short of the 54x40mm 100MP sensor, is about the best you can get today. Like all Hasselblad cameras, sensors used in the X1D are individually profiled to a fixed reference color standard at all ISOs – I shoot the X1D comfortably to ISO 12,800. In fact, each camera has nearly half a gigabyte of calibration data in it. I believe Hasselblad is the only company to do this – it’s one of the reasons output is so spectrally neutral and tonally natural across the sensitivity range, and no dark frame subtraction is required even on exposures up to one hour. Color accuracy is one of the main reasons I switched; those of you who have Workflow III will see that the Hasselblad profiles have almost no adjustments, and by far the least HSL adjustments of any camera included. Individual sensor calibration also means consistency is excellent – my H5D-50c, H6D-100c, CFV-50c and X1D all produce identical tonal response (with the exception of course of the H6D-100c, which has a bit more dynamic range extension at either end)” — Ming Thein

DIGLLOYD: this is what I was alluding to in the comments above, though I had forgotten about this info from Ming, who worked with Hasselbad very closely for a time. All that attention to detail could mean “better” color. But it is better color or just a total higher image quality? Maybe the two cannot be separated. And maybe there is something to it.

OTOH, the camera profile still exerts the main influence, which is why for many of the examples I used Adobe Color. But I also notice quite different white balance and tint betweenthat and Camera Standard. Furthermore, the Fujifilm profiles rock for some situations, making much better clouds with ASTIA for example. These are lacking for the X2D. Which is “better”? I can see arguments both ways. At any rate, the Hasselblad image quality is superb. I just don’t know that it is better than the Fujifilm GFX100 II at this point.

I do not know of a methodology to prove it, given the huge influence of color profiles. Even using the same profile (Adobe Color) does not necessarily prove anything, because it may be sub-optimal for the X2D. I think it comes down to shooting thousands of images and getting a feel for it. I have full confidence in the X2D image quality as superb.I will say that the X2D delivers more pleasing results than the GFX100S. But I also say that the GFX100 II is noticeably better than the GFX100S.

There is also the issue of using Hasselblad Phocus (I am unwilling to do so) versus Adobe Camera Raw.

The Hasselblad X2D might be the best among conventional medium format (PhaseOne IQ4 as good or better), but I do not yet have a sense of the Fujifilm GFX100 II, having had no opportunity to shoot the two concurrently.

CLICK TO VIEW: Hasselblad Wides

f9 @ 2.5 sec electronic shutter, ISO 64; 2022-10-18 18:44:37
Hasselblad X2D 100C + Hasselblad XCD 21mm f/4 @ 18mm equiv (21mm)
ENV: Colorado, altitude 8400 ft / 2560 m, 58°F / 14°C
RAW: Adobe Color, Enhance Details, LACA corrected, vignetting corrected, WB 5000°K tint 4, push 1 stops, +100 Shadows, +10 Whites, +20 Contrast, +10 Clarity, AI Denoise 10, diffraction mitigating sharpening

[low-res image for bot]

The image above could not just be processed trivially, I had to push it, boost the shadows, correct vignetting, etc. The raw conversion adjustments mods are shown in the caption with every image I publish, though I sometimes forget to add a few to the image metadata info.

As shown below, the image above was an ideal ETTR exposure with a very dark hugely underexposed foreground.

RawDigger info and histogram
RawDigger info and histogram
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Hasselblad XCD 21mm f/4 Aperture Series: Cabin at Dusk (X2D)

Hasselblad XCD 21mm f/4

re: Hasselblad XCD 21mm f/4
re: Discontinued Hasselblad XCD 21mm f/4?

What a shame that Hasselblad has discontinued the XCD 21/4—nothing else out there like it for medium format. A real gem. I’ve queried Hasselbad twice now on the “why”, but so far no answer.

...

This page presents evaluates the Hasselblad XCD 21mm f/4 from f/4 to f/11 on a near-far scene.

It is especially instructive in showing how field curvature affects sharpness across the frame, and why careful focus placement matters to total sharpness.

Hasselblad XCD 21mm f/4 Aperture Series: Whiteout Morning (X2D)

Includes images up to full camera resolution from f/4 to f/11, plus crops.

CLICK TO VIEW: Hasselblad Wides

f6.3 @ 0.5 sec electronic shutter, ISO 64; 2022-10-18 18:32:58
Hasselblad X2D 100C + Hasselblad XCD 21mm f/4 @ 18mm equiv (21mm)
ENV: Colorado, altitude 8400 ft / 2560 m, 55°F / 12°C
RAW: Adobe Color, Enhance Details, LACA corrected, WB 5000°K tint 4, push 0.83 stops, +10 Whites, +10 Clarity, AI Denoise 10, +10 Vibrance

[low-res image for bot]

Hasselblad XCD 21mm f/4 Examples: Distortion and Distortion Correction

Hasselblad XCD 21mm f/4

re: Hasselblad XCD 21mm f/4
re: Discontinued Hasselblad XCD 21mm f/4?

Regarding MTF, Hasselblad states:

Our calculations are conducted without factoring in distortion correction, which typically has a negligible effect on MTF. While distortion correction in Phocus is available, it's not mandatory.

Ummm... not so true.

I’ve published the distortion graph along with a distortion correction example vs no correction example for the Hasselblad XCD 21mm f/4.

Distortion Correction for Hasselblad XCD 21mm f/4

Includes example at full camera resolution plus crops corrected vs uncorrected.

Cabin, Eastern Side
f9 @ 40.0 sec electronic shutter, ISO 64; 2022-10-18 18:45:44
Hasselblad X2D 100C + Hasselblad XCD 21mm f/4 @ 18mm equiv (21mm)
ENV: Colorado, altitude 8400 ft / 2560 m, 58°F / 14°C
RAW: Enhance Details, LACA corrected, vignetting corrected, AI Denoise 10

[low-res image for bot]

Hasselblad XCD 21mm f/4 Examples: Colorado in October

Hasselblad XCD 21mm f/4

re: Hasselblad XCD 21mm f/4
re: Discontinued Hasselblad XCD 21mm f/4?

These various examples were in Colorado in October 2022. This page discusses optical behaviors when warranted but otherwise is about how the images look overall.

The sweeping angle of view is unlike any other lens in the XCD line. So very nice for the outdoors.

Having achieved this optical feat, Hasselblad has dropped this gem from its lens lineup.

Hasselblad XCD 21mm f/4 Examples: Colorado in October

All examples all presented at up to full camera resolution. Best appreciated on a 6K display.

More examples to be added today...

Towering Aspen at Sunset
f9 @ 2.5 sec electronic shutter, ISO 64; 2022-10-18 18:44:37
Hasselblad X2D 100C + Hasselblad XCD 21mm f/4 @ 18mm equiv (21mm)
ENV: Colorado, altitude 8400 ft / 2560 m, 58°F / 14°C
RAW: Adobe Color, Enhance Details, LACA corrected, vignetting corrected, WB 5000°K tint 4, push 1 stops, +100 Shadows, +10 Whites, +20 Contrast, +10 Clarity, AI Denoise 10, diffraction mitigating sharpening

[low-res image for bot]
Mule Deer Doe Drinking
f9 @ 0.5 sec handheld electronic shutter, ISO 64; 2022-10-18 18:19:49
Hasselblad X2D 100C + Hasselblad XCD 21mm f/4 @ 18mm equiv (21mm)
ENV: Colorado, altitude 8400 ft / 2560 m, 60°F / 15°C
RAW: LACA corrected, WB 5200°K tint 4, push 0.85 stops, +100 Shadows, -100 Highlights, +10 Whites, +10 Dehaze, +10 Clarity, diffraction mitigating sharpening, +10 Vibrance

[low-res image for bot]
Leafless White Aspen amid Grasses
f11 @ 1/75 sec electronic shutter, ISO 64; 2022-10-18 16:18:00
Hasselblad X2D 100C + Hasselblad XCD 21mm f/4 @ 18mm equiv (21mm)
ENV: Colorado, altitude 8400 ft / 2560 m, 68°F / 20°C
RAW: Adobe Color, Enhance Details, LACA corrected, vignetting corrected, push 0.4 stops, +10 Whites, +10 Clarity, AI Denoise 10, diffraction mitigating sharpening, +10 Vibrance

[low-res image for bot]

Hasselblad MTF Charts: Calculated, Not Measured, Distortion Correction not Accounted-For

Hasselblad XCD 25mm f/2.5 V

re: fantasy MTF

I posed two questions to my Hasselblad press contact 2024-05-09.

Hasselblad response, 2024-05-13

Thanks again for your questions. Below are our answers. 

  1. DIGLLOYD: does Hasselblad calculate or measure for MTF?  No statement is made, I presume it is calculated from a model.

The published data are calculated in the datasheet- attached to this email.

  1. DIGLLOYD: do the  MTF charts take into account distortion correction that is mandatory in Phocus.

Our calculations are conducted without factoring in distortion correction, which typically has a negligible effect on MTF. While distortion correction in Phocus is available, it's not mandatory.

Additionally, the published curves do not incorporate the Phocus correction for lateral color. However, it's worth noting that this correction usually yields a positive impact on MTF.

Thank you, Hasselblad Press

Calculated not measured

AFAIK, the only company that actually measures MTF for publication is Zeiss. The Zeiss K8 MTF tester was demonstrated to me in Oberkochen by the late Hubert Nasse, who coined the term fantasy MTF to describe the shenanigans (my word) used by companies to make performance claims.

Hasselblad seems to have high levels of quality control, but when selling $$$$$ lenses whose performance claims are not actually verified by testing real lenses... that leaves me disappointed.

Computer models for behavior (virtually any kind) range from wish-goals to little more than propaganda, as recent years demonstrate. We would like to hope that the lenses we buy deliver tp the MTF chart claims, but my experience over 15 years of testing hundreds of lenses from virtually every vendor tell me otherwise. They rarely describe real lens performance. The most recent example I can point to here is my quest to find a Fujifilm GF 20-35mm f/4 as good as the one I first tested.

That different samples of the same lens can perform quite different makes a mockery of MTF charts of any kind, unless the vendor explicitly guarantees at least as good a performance as the published charts. The Zeiss Otus lenses were held to that standard. Some were better, but none were worse, or at least that was what I was told.

CLICK TO VIEW: Hasselblad Wides

Toggle to compare f/2.5 to f/5.6. See detailed commentary in my review.

Hasselblad XCD 25mm f/2.5 V: calculated (not measured) MTF including diffraction MTF

Distortion Correction

I am glad to hear that Hasselblad Phocus does not mandate the correction.

I take huge issue with the claim above that distortion correction “typically has a negligible effect on MTF”. This is emphatically false, as I have shown with every vendor’s lenses repeatedly in numerous articles with A/B comparisons. Namely the areas in which maximum stretching is required are guaranteed to lose resolving power, by simple math if nothing else. And this is readily visible in a loss of brilliance and detai.

Lateral color

I agree that correcting lateral chromatic aberration improves MTF when the model of it maps exactly to the lens actual behavior for the specific lens in use. However, I regularly see cases where a lens is 'off' in which case the correction can improve things on one side of the frame while creating LaCA on the other side, and thereby reduce MTF. A lens whose LaCA is nil is always a superior choice, because real lenses always deviate significantly from computer model designs.

Sunset in the Aspen Forest

Just for fun.

f9 @ 0.3 sec handheld electronic shutter, ISO 64; 2022-10-18 18:01:03
Hasselblad X2D 100C + Hasselblad XCD 21mm f/4 @ 18mm equiv (21mm)
ENV: Colorado, altitude 8400 ft / 2560 m, 60°F / 15°C
RAW: LACA corrected, vignetting corrected, AI Denoise 10

[low-res image for bot]

The Lost Art of Fixing Electronic Things

Things are too complicated to fix any more.

Generally speaking, repairing many types of electronics is not cost effective; they’re made to function until they don’t in today’s throw-away society.

Anthony Kouttron of salvagedcircuitry.com writes about his ultra-nerd experience of diagnosing and repairing a Sigma 45mm f/2.8 lens.

Sigma 45mm f/2.8 Lens Repair

Check out his other repair projects—pretty cool stuff.

Repairing a Sigma 45mm f/2.8 lens
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Nikon GOOF: the Missing Nikon D850E — but it’s not too late

JUST SAY NO
Nikon FTZ Mount Adapter

re: Zeiss ZF.2 and Zeiss ZE DSLR Lenses: are they Just Useless now? Why no D850E(VF)

re: please fix this Nikon

The Nikon D850 was the best DSLR ever created, in image quality and haptics.

Retweet and share my post on X and maybe we can get Nikon’s attention.

The obvious evolution was not the Nikon Z7 along with the Nikon FTZ Mount Adapter. Necessary perhaps, but a foolish move by itself, as the market itself proves today with Nikon trailing Sony by a wide margin in market share.

The market even today would welcome a Nikon D850 sporting an EVF instead of an optical viewfinder—the Nikon D850E. Nikon F-mount.

Instead, Nikon enamored itself of the Nikon Z7 and forced the use of a lens adapter, immediately rendering tens of millions of Nikon F-Mount lenses a PITA to use, and at extra cost and awkwardness. What an shortsighted way to terminate the most widely accepted lens mount ever created.

CLICK TO VIEW: Zeiss Lenses for DSLR

Meanwhile, Nikon produces all these “retro” models like the Nikon Zf and several predecessors. Good luck with that strategy.

What about the 20 million (50 million?) Nikon F-mount lenses out there, not to mention all my wonderful Zeiss Milvus and Zeiss Otus glass, which now sells hugely discounted due to no good platform*?

Nikon could use a boost. The R&D is mostly already done. Just remove that optical viewfinder and put in a 9-megapixel 1.0X viewfinder and I bet the Nikon D850E would outsell the Nikon Z8.

* The Nikon D850 remains a fine camera, one of the finest ever designed and its image quality is still highly-competitive. But the hassle of using a loupe on the rear LCD is very high compared to today’s superb EVF designs.

Nikon D850

Michael Erlewine on Hasselblad X2D: “Getting Where I want to Go: Moving from Nikon to Hasselblad”

An essay that Michael Erlewine posted over on NikonGear.com.

Getting Where I want to Go: Moving from Nikon to Hasselblad

I’m talking here about where I want to go with photography. I’m getting my new Hasselblad medium format camera system tuned to where I can produce what I want to see, what I see through my eyes and in the moment. And also capturing the vibe I feel in that moment. It’s real.

Hasselblad X2D

Perhaps it’s a little thing to blog about, but to me it is somewhat of a big deal because it is a steppingstone from where I can go from here. I have locked it in, meaning I have made it real, actual, and existent in this world we all live in. I can count on this technique being just what it is and that it is repeatable.

How many weeks did it take me to accomplish this? Many and with the help and guidance from a friendly (and brilliant) photographer, Lloyd Chambers who pointed out to me (patiently) what I needed to know, even when I brushed the comments off and didn’t pick up on them right away.

I usually get around to what is pointed out to me sooner or later. I feel like one of those street venders trying to walk while covered with hanging pots and pans on my coat, banging away. I want to divest all that and take up on the good stuff, but it takes me a while to get my boat pointed in the right direction. I usually get there after a while.

You will think that a switch from my familiar Nikon system to the Hasselblad X2D would be a walk in the park, but that’s hardly so. It’s more than just a new camera, but a whole other take on the world of photography, at least for me.

However, with the Hasselblad X2D with its 100-pixel sensor, I find that I am forced beyond my comfort level, which has been closeup photography, and plunged into landscape photography with little warning.

I’ve never been that interested in shooting landscapes, yet the X2D has kind of forced me awake to landscape considerations because everything I look at with this medium-format camera is worth taking a picture of. No need to scout around for subject matter. Just about everything admits of beauty if photographed properly.

So, I am stuck in that boat… and loving it. You know I have read and watched everything about the Hasselblad X2D on the Internet, and studied each lens, whether I have it or not, in detail. And when all is said and done, and I’ve done it, the work of Lloyd Chambers stands out as precious. To my knowledge, from what I’ve found no one has done the detailed study and workup of modern cameras better than Chambers.

I know, much of that work is stuck behind a paywall, yet considering all the books I try to read and so on, it’s worth every penny to me to get the guidance and advice that Chambers compiles. It’s like a grand encyclopedia of photography and with this new Hasselblad system I have had to take myself to the woodshed and learn.

And I don’t always take Chambers advice in the multitude of articles he has arrayed, yet sooner or later I find myself coming around to understanding the value of what he is pointing out in great detail. He has done the homework.

So, despite my predilection for closeup, I find myself becoming a landscape photographer and learning it. And it is not easy, but very subtle what is required for the landscape view.

I not only like what I’m learning about landscape work, but I’m loving it and becoming a convert. I’m already converted, yet just have to learn how to do it properly.

Here is a photo I took yesterday of the ferns coming up in our back yard. It’s an early attempt but I find it very satisfying of an inner itch that I have for context and clarity.

This is the Hasselblad X2D with the XCD 21mm f/4 lens, two frames, but I could have done it with a single frame I believe.

DIGLLOYD: I’m trying to work with Hasselblad to get more help in covering the X2D and lenses, but they’ve pretty much told me to go pound sand. I had a contact there that was working well several years ago, but that person left. The new press person has never heard of me and seems to be uninterested to the point of boredeom.

See also videos by Lloyd.

CLICK TO VIEW: Hasselblad Wides

f11 @ 1/19 sec handheld electronic shutter, ISO 64; 2022-10-23 11:22:29
Hasselblad X2D 100C + Hasselblad XCD 55mm f/2.5 V @ 45.3mm equiv (55mm)
ENV: Colorado, altitude 8400 ft / 2560 m, 28°F / -2°C
RAW: Enhance Details, LACA corrected, WB 6000°K tint 4, +10 Whites, +10 Clarity, AI Denoise 10, diffraction mitigating sharpening, +10 Vibrance

[low-res image for bot]
f12 @ 1/30 sec handheld electronic shutter, ISO 64; 2022-10-23 11:39:01
Hasselblad X2D 100C + Hasselblad XCD 21mm f/4 @ 18mm equiv (21mm)
ENV: Colorado, altitude 8400 ft / 2560 m, 28°F / -2°C
RAW: LACA corrected, vignetting corrected, WB 6000°K tint 0, +24 Shadows, +10 Whites, +10 Clarity, diffraction mitigating sharpening, +10 Vibrance

[low-res image for bot]

Hasselblad XCD 21mm f/4 Aperture Series: Whiteout Morning (X2D)

Hasselblad XCD 21mm f/4

The MTF chart for the just-announced Hasselblad XCD 25mm f/2.5 V looking like a dead-ringer for MTF of the Hasselblad XCD 21mm f/4 (discontinued, why?) so I thought I would revisit the 21/4 for its performance.

...

This page presents evaluates the Hasselblad XCD 21mm f/4 from f/4 to f/11 on a near-far scene.

Hasselblad XCD 21mm f/4 Aperture Series: Whiteout Morning (X2D)

Includes images up to full camera resolution from f/4 to f/11, plus crops.

CLICK TO VIEW: Hasselblad Wides

f6.3 @ 1/115 sec electronic shutter, ISO 64; 2022-10-23 11:30:12
Hasselblad X2D 100C + Hasselblad XCD 21mm f/4 @ 18mm equiv (21mm)
ENV: Colorado, altitude 8400 ft / 2560 m, 28°F / -2°C
RAW: Camera Standard, Enhance Details, LACA corrected, vignetting corrected, WB 6000°K tint 0, +10 Whites, +10 Clarity, AI Denoise 10, +10 Vibrance

[low-res image for bot]

Hasselblad XCD 25mm f/2.5 V: Review Soon... well maybe

Hasselblad XCD 25mm f/2.5 V

About $3600 Hasselblad XCD 25mm f/2.5 V...

UPDATE: my contact at B&H was not available today, so the lens went out of stock. Timeline now... no idea. But with some luck I will get both the 25/2.5 and the 28/4P.
...

The just-announced Hasselblad XCD 25mm f/2.5 V is in stock already (not any more), and assuming it stays that way through tomorrow and B&H Photo gets it to me, I’ll be reviewing it pronto.

Similarly, I hope to review the Hasselblad XCD 28mm f/4 P, which has not yet shown up at B&H Photo. With a little luck I can cover both, as well as the Hasselblad XCD 45mm f/4 P versus the Hasselblad XCD 45mm f/3.5.

Also, I never reviewed the Hasselblad XCD 65mm f/2.8 on the 100-megapixel sensor so now seems like a good time to revisit it. And maybe another focal length or two.

The Hasselblad XCD 90mm f/2.5 V does not want to seem to come into stock, and it’s darned expensive too, but if it shows up I’ll see if I can incorporate it.

I’m also interested in seeing how well the Hasselblad X2D focus bracketing support for focus stacking support works—better than Fujifilm’s broken implementation I hope. That feature was not available when I reviewed the X2D back in autumn of 2022. And the camera had problems of various kinds... time has passed and hopefully most of the issues have been fixed.

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Only a Trickle: Fujifilm GF 30mm f/5.6 TS and Fujifilm GF 110mm f/5.6 TS

Fujifilm GF 110mm f/5.6 TS

re: tilt/shift

re: Fujifilm GF 30mm f/5.6 TS: What would Tilt do for this Scene and Others Like It?
re: Parallax-Free Shift-Lens Stitching for 168 megapixel Images on Fujilm GFX 100 II, GFX100S, etc
re: Fujifilm Locks Down Medium Format Market with Fujifilm GFX100 II, Fujifilm GF 30/5.6 TS, Fujifilm GF 110/5.6 TS

I did some checking today, and found that only a tiny trickle of the Fujifilm GF 30mm f/5.6 TS and Fujifilm GF 110mm f/5.6 TS are coming in each month at B&H Photo.

It is much better to review them together, but I might have to do one at a time. Getting even one of them is tough, the 30mm being as rare as hen’s teeth, so if you want either/both, grab one anywhere you can find it.

Maybe if I can do only one at a time I will do so when June hits, but I hold out some hope for both, and hitting the Eastern Sierra around that time.

It seems odd for Fujifilm to deliver these lenses so slowly. Last fall they were delayed, and then production has been at a slow trickle for 6 months.

Maybe there is some kind of production problem or quality control issue?

As I understand it, the Fujifilm GFX100 II sensor has been optimized to perform better than the Fujifilm GFX100S and others, via a new microlens design that is more friendly to a steeper ray angle that occurs with such lenses. Something like that.

CLICK TO VIEW: Fujifilm GFX System Top Picks

Fujifilm GF 30mm f/5.6 TS

Hasselblad Introduces the Hasselblad XCD 25mm f/2.5 V, “a Wide Angle Lens for Night Photography”

Hasselblad XCD 25mm f/2.5 V

re: Hasselblad MTF Charts: Calculated, Not Measured, No Accounting for Distortion Correction

Hasselblad discontinued the superb Hasselblad XCD 21mm f/4 for unstated reasons. The new 25/2.5 V is apparently its substitute, but not nearly as wide.

About $3600 Hasselblad XCD 25mm f/2.5 V...

CLICK TO VIEW: Hasselblad XCD System

While lovely overall, the Hasselblad XCD 38mm f/2.5 V and Hasselblad XCD 55mm f/2.5 both have very troubling practical usability issues that can rob scenes of sharpness without special efforts being made. As documented in my review pages for both.

Will the new 25mm f/2.5 V avoid focus shift issues? Doubtful.

Will the new 25mm f/2.5 V offer minimal field curvature? It had better, if it is for night photography. The MTF charts suggests a quite strong field curvature.

The MTF charts suggests that optical performance is already nearly optimal wide open at f/2.5 but that field curvature is the main degrader of sharpness (at the same distance).

When using Phocus, you may lose noticeable sharpness and micro contrast due to distortion correction of the warpage of ~2.5% distortion. For that reason, I’d not want to use Phocus for landscape photography—and it’s an absurdity to have no choice at all: “When images are imported to Phocus, distortion is automatically removed”.

Hasselblad Introduces the Hasselblad XCD 25mm f/2.5 V, a Wide Angle Lens for Night Photography

2024-05-07

The XCD 2,5/25V is the widest-angle lens in the Hasselblad XCD Versatile (V) series lenses. It has a 20mm full-frame equivalent focal length and a maximum aperture of f/2,5. With its expansive view and large aperture, the XCD 2,5/25V was designed for turning nocturnal cityscapes, starry skies, and indoor portraits into extraordinary captures.

Its wide-angle focal length encompasses a wealth of scenic elements, providing photographers with ample space and composition. The f/2,5 large aperture, coupled with its excellent optical performance, ensures rich highlights and shadows are captured within every frame, even at dusk or after dark.

The XCD 2,5/25V features an optical structure of thirteen elements in ten groups, including four aspherical elements and three ED elements, meeting the high-resolution requirements of 100-megapixel sensors. This ensures images are sharp and crisp from the centre to the edges while effectively suppressing chromatic dispersion. The optical quality of the lens is also showcased by its robust close-up capabilities. With a 25cm minimum focusing distance and 1:5:8 magnification, its large aperture accentuates close ups, enhancing the expressiveness of subjects like gourmet dishes and flowers.

As part of the Hasselblad XCD V lens series, the design of the XCD 2,5/25V is known for integrating user-friendly functionality with elegance, in both its aesthetics and control. Enhancing the elegance is an engraved “V" insignia on the lens, with the "H" logo engraved on both the focus and control rings.

With a gentle push- pull of the focus ring, photographers can quickly switch between AF and MF modes. ‌In MF mode, intuitive scale marks on the lens keep focus distance and depth of field at a clear glance, enabling precise focus control. Functions such as aperture, shutter speed, ISO, and exposure compensation can be customised on the control ring, serving as an extension of the camera, allowing users to capture the perfect moment with ease.

The XCD 2,5/25V is equipped with a linear stepping motor and a smaller, lighter focusing lens group, providing a quick and responsive focusing experience when paired with Hasselblad X or V system cameras that support PDAF.

The lens adopts a large-diameter leaf shutter module with a shutter speed of up to 1/4000s. This enables both global shutter and flash synchronisation at all speeds. The XCD 2,5/25V lens is priced at $3,699 USD / 4,199 EUR and is available to purchase online and at selected retail stores worldwide. For more information about the XCD 2,5/25V, visit www.hasselblad.com.

When Can We Expect a Fujifilm GFX180 and Fujifilm GFX250?

Fujifilm GFX180 concept

re: Fujifilm GFX100 II, Fujifilm GFX100S: Standout Lenses that Nail It
re: Attention all Camera Makers: 23.5 Things To Please Your Customers
re: please fix this Fujifilm

re: 100 Megapixels coming to a Sony A7R VI ?
re: Sony’s New 19200 X 12800 = 247-Megapixel Sensor IMX811-AAQR Implies 108 Megapixels for 35mm Format
re: Where Does Fujifilm Go From Here with the GFX System?

Fujifilm GFX 180 megapixel when?

The technology is already in production—Sony has 2.81 micron sensor technology up to 19240 X 12840.

In the 43.8 X 32.9mm format of the Fujifilm medium format, that pixel pitch implies resolution at around 15600 X 12064 = ~188 megapixels. Call it a GFX180 or GFX190 either way.

CLICK TO VIEW: Fujifilm GFX System Top Picks

250 megapixel 3:2 monster?

Even more exciting IMO, Fujiilm could also produce a 247 megapixel 19240 X 12840 camera with 54 X 36mm 19240 X 12840 sensor having a 3:2 aspect ratio.

The two existing tilt/shift lenses (30mm and 110mm) can easily cover that area, having been designed to cover 68mm width (44mm + 12mm + 12mm) eg 14mm of image circle coverage to spare making tilt still totally viable and useful.

Can the GF mount accommodate the wider angle of view needed for a 54mm-wide sensor? Probably, but it’s not a certainty.

The tilt/shift lenses can already produce 157 megapixel parallax-free images* on the Fujifilm GFX100 II using 3-frame stitches with horizontal shift. But that’s a far cry from a single shot 247MP capture.

* Using technique in which the front of the lens does not move, using a counter-shift if necessary.

Sony’s latest sensor technology goes as large as 54 X 36mm with 2.81 micron pixels.

Sony IMX811-AAQR specifications

Zeiss ZF.2 and Zeiss ZE DSLR Lenses: are they Just Useless now? Why no D850E(VF) + Reader Comments

re: Nikon Blind to the Market: The Missing Nikon D850E — and it’s not too late

End of an era?

Nikon FTZ Mount Adapter v1

Still for sale, though they were heavily discounted not that long ago. No one asks about them anymore.

Best platform for them is the Nikon Z7 or Nikon Z7 II or Nikon Z8 but Nikon in their gross design negligence removed the tripod socket in the Nikon FTZ II Mount Adapter and stopped producing the excellent Nikon FTZ Mount Adapter with its tripod socket. That flat bottom with socket is essential for the heavier lenses from Nikon or Zeiss.

I still have my full set of Zeiss ZF.2 lensers, and have thought of doing a shoot with each of them on the Nikon D850 just to get perspective on how they feel now. Maybe later this year.

While I have had good luck with the Nikon adapter, lens adapters are in iffy proposition in general, for mechanical reasons: even the best eg Nikon FTZ introduces two more contact points, and that has little hope of maintaining sensor-vs-lens planarity. It just cannot be done. Then there is the weight of the lens torquing it even were everything else perfect. Direct mount is always better.

Strategic goof

IMO, the Nikon D850 was the best DSLR ever produced, both image quality and haptics.

Nikon really screwed up in not delivering a Nikon D850E with a built-in EVF instead of the old DSLR viewfinder. Same lens mount, just an EVF instead of the optical viewfinder. Instead, Nikon went straight to the Nikon Z7 and forced the use of a lens adapter, immediately rendering millions of great lenses a PITA to use, and at extra cost.

Nikon took the world’s best-ever DSLR... and killed the clean path forward. Dumb.

But it’s not too late to fix this error; Nikon could abandon the D850 today, and deliver a D850E. Instead, they produce these a steady series of " retro" models like the Nikon Zf, which are well-loved by some.

Why not do “retro” via a Nikon D850E, which would have terrific appeal to everyone with Nikon F glass? I’d buy one in a heartbeat just so that I could use the Zeiss glass. Use the D850 haptics, add a 60MP sensor as a kicker, replace the optical viewfinder with an EVF and you have a camera that could mount tens of millions of "retro" lenses. And while at it, deliver one with a monochrome sensor as well, the D850Em.

Nikon needs market visibility. This idea dovetails perfectly with the "retro" game.

Zeiss ZF.2
$2209 SAVE $565 = 20.0% ZEISS 15mm f/2.8 Milvus ZF.2 IN STOCK in Lenses: DSLR
$1528 SAVE $390 = 20.0% ZEISS 21mm f/2.8 Milvus ZF.2 IN STOCK in Lenses: DSLR
$1979 SAVE $495 = 20.0% ZEISS 25mm f/1.4 Milvus ZF.2 IN STOCK in Lenses: DSLR
$3990 SAVE $1000 = 20.0% ZEISS 28mm f/1.4 Otus ZE IN STOCK in Lenses: DSLR
$3990 SAVE $1000 = 20.0% ZEISS 28mm f/1.4 Otus ZF.2 IN STOCK in Lenses: DSLR
$1659 SAVE $415 = 20.0% ZEISS 35mm f/1.4 Milvus ZE IN STOCK in Lenses: DSLR
$1659 SAVE $415 = 20.0% ZEISS 35mm f/1.4 Milvus ZF.2 IN STOCK in Lenses: DSLR
$947 SAVE $245 = 20.0% ZEISS 35mm f/2 Milvus ZF.2 IN STOCK in Lenses: DSLR
$1009 SAVE $265 = 20.0% ZEISS 50mm f/1.4 Milvus ZF.2 IN STOCK in Lenses: DSLR
$1078 SAVE $280 = 20.0% ZEISS 50mm f/2 Milvus M ZF.2 Macro IN STOCK in Lenses: DSLR
$3190 SAVE $800 = 20.0% ZEISS 55mm f/1.4 Otus ZE IN STOCK in Lenses: DSLR
$1489 SAVE $385 = 20.0% ZEISS 85mm f/1.4 Milvus ZF.2 IN STOCK in Lenses: DSLR
$3590 SAVE $900 = 20.0% ZEISS 85mm f/1.4 Otus ZF.2 OUT OF STOCK in Lenses: DSLR
$3990 SAVE $1000 = 20.0% ZEISS 100mm f/1.4 Otus ZF.2 IN STOCK in Lenses: DSLR
$1819 SAVE $455 = 19.0% ZEISS 135mm f/2.0 Milvus 135mm f/2 ZF.2 IN STOCK in Lenses: DSLR

Jason W writes:

It is interesting how quickly the Zeiss glass fell out of fashion. Used prices are rock bottom. On FredMiranda a set of Otus went for $1500 per lens and Milvus and Z Classic also very cheap, $400-700 often.

I think a lot of things drove this, but here's a few guesses. Sure there's points you can add

1) Mirrorless. People don't want to adapt glass like Otus and Milvus.
2) Industry caught up. Sony, Sigma, and Canon produced stuff that was optically excellent, lighter, and had AF.
3) Budget cinema glass. A lot of guys used to put focus gears on Zeiss Contax/ZF and even Milvus but now you can buy cheap cinema glass that is optically quite good, properly housed, and cheap.

Worth noting the Zeiss lines probably represent a good value on the used market, assuming one was willing to deal with adapting for mirrorless or wanted to shoot a D850.

DIGLLOYD: adapting lenses is awkward physically, but I would do it for some lenses were I a Nikon shooter. Agreed that lens quality has caught up, but the Zeiss glass had a look all its own in many cases.

John M writes:

Two weeks ago I returned from photographing in Brazil with the following kit:

Nikon Z7
Nikon Zf (backup camera)
Zeiss 25mm f/2 Distagon ZF.2 (with new type FTZ Adapter)
Voigtlander Z 35mm f/2 APO-Lanthar
Voigtlander Z 50mm f/1 Aspherical
Voigtlander Z 65 f/2 Macro APO-Lanthar
Zeiss 100mm f/2 Makro-Planar ZF.2 (using old type FTZ with tripod mount)
Zeiss 135mm f/2 APO-Sonnar ZF.2 (sharing old type FTZ with 100mm)

So I definitely do NOT find the Zeiss lenses useless!  Sure, I wish there were Voigtlander versions of the ZF.2 lenses that had the more modern interface that the Voigtlanders have with the Z7 & DF (WYSIWYG lens aperture & focus point integration).  After all, they are the same company!  Having to stop down the ZF.2 to minimum aperture and then control with a camera dial seems a bit kludgy now compared to the superior Voigtlander “old fashioned” interface made modern.  But then again, I would miss the tripod mount that the FTZ gives me for these heavy lenses. 

Bottom line – the Zeiss ZF.2 still have a place in my kit!  And storing the 100mm & 135mm in the small backpack is more compact than a 70-200 zoom.  Now only if there were a TC adapter that I could use with the 135 – that would be perfect!

DIGLLOYD: looks like a good system.

Kevin S writes:

Still have my ZF.2s (not quite as extensive as your set), and use them on a Z7 for “slow photography” along the coast of Maine, and occasionally for macro. I find the magnified focusing so much easier on the Z7 than my old D800. A very enjoyable shooting experience … as long as I’m not walking far! The 35/1.4 is my favorite – images so very sharp and clear corner-to-corner.

DIGLLOYD: the EVF is much easier to use versus a loupe on the rear LCD. Which I noted in my review of the Nikon Z7 ay back in 2020 or so.

Given that Nikon is stuck at 45MP, the Nikon Z7 may still be the best platform for total image quality, assuming one has the original Nikon FTZ Mount Adapter.

James S writes:

Since Nikon enabled wide open focus with manual lenses on the Z9 I have been in photography hog heaven using all my Zeiss ZF.2 lenses. If you plan to revisit using these lens I highly recommend you do so on the Z9 instead of the 850. A world of difference.

DIGLLOYD: the Nikon D850 does and always did allow wide-open focus by toggling the DoF preview button. Agreed that the the EVF is much easier to use versus a loupe on the rear LCD.

OWC CFExpress Type A Cards for Sony are now Shipping!

re: NEW! OWC Atlas Pro CFExpress Type A Camera Cards for Sony A7R V, Sony A1

Of course they are for any brand, but only Sony uses CFExpress Type A for now eg in the Sony A7R V and other models, at least in the group of Leica/Fujfiilm/Hasselblad/Canon/Nikon which all use Type B.

I’ll have some Type A cards to test very soon. The OWC CFExpress Type B cards have performance flawlessly in every camera I’ve used now for 2.5 years and counting. These cards rock and are ideal for encrypted wallet backups too! And they will be factory fresh speed for their lifetime with OWC Innergize.

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That’s 32TB for only $440, as compared to a single 22TB hard drives for $440 to $600. Or 45% to 80% more storage for the same price.

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Is a Nikon Z7 III Coming?

The Nikon Z7 II ($1000 off, see below) is positively ancient now, having been released way back in 2020.

The Nikon Z8 is $500 off, but that’s the ~same as Sony’s recent discounts on Sony A7R V.

Will Nikon introduce as Nikon Z7 III? With the Z7 II and Z8 both having 45MP and the Z8 essentially a compact version of the Nikon Z9, maybe a Z7 III could make sense—with the right feature set.

But what sensor would make sense in a Z7 III given that achieving parity with the Sony A7R V and Leica SL3 is all well and good for existing Nikon system shooters, but would by itself provide nothing new to the market. No reason to switch, and at this point it’s all about market share, which Nikon is not doing so well on. Still, parity is better than no update at all.

What I’d like to see but am not predicting. A Nikon Z7 III with sensor optimized for peak image quality. No PDAF, high precision CDAF, optimized in-camera multi-shot high-res mode—eg a real landscape photographers camera. Is there any market for that any more? But I can’t see much point to a “me too” camera, so I think Nikon really ought to think outside the box and do something on the peak image quality front, and with both color and monochrome sensors.

Or, can Nikon jump the queue and get to 100+ megapixels in a Z7 III? Sony has not gotten there yet, and Sony’s sensor technology leads the pack. Seems unlikely.

What about a new entrant to medium format, a "halo"product for Nikon? Can’t rule it out, but we badly need a mainstream company to bumper-car things with stultified Fujifilm.

My #1 pick on the lenses would be the Nikon Nikkor Z 14-24mm f/2.8 S. Along with the Nikon 105mm f/2.8 NIKKOR Z MC VR S Macro and Nikon 70-200mm f/2.8 AF-S NIKKOR E FL ED VR.

Nikon Mirrorless
$3497 SAVE $500 = 12.0% Nikon Z8 Mirrorless Camera IN STOCK in Cameras: Mirrorless
$2097 SAVE $400 = 16.0% Nikon 14-24mm f/2.8 NIKKOR Z S IN STOCK in Lenses: Mirrorless
$997 SAVE $200 = 16.0% Nikon 17-28mm f/2.8 NIKKOR Z IN STOCK in Lenses: Mirrorless
$897 SAVE $100 = 10.0% Nikon 24mm f/1.8 NIKKOR Z S IN STOCK in Lenses: Mirrorless
$1997 SAVE $400 = 16.0% Nikon 24-70mm f/2.8 NIKKOR Z S IN STOCK in Lenses: Mirrorless
$697 SAVE $150 = 17.0% Nikon 35mm f/1.8 NIKKOR Z S IN STOCK in Lenses: Mirrorless
$1897 SAVE $200 = 9.0% Nikon 50mm f/1.2 NIKKOR Z S IN STOCK in Lenses: Mirrorless
$997 SAVE $100 = 9.0% Nikon 16-35mm f/4 AF-S NIKKOR G ED VR IN STOCK in Lenses: DSLR
$1597 SAVE $500 = 23.0% Nikon 24-70mm f/2.8 AF-S NIKKOR E ED VR IN STOCK in Lenses: DSLR
$1447 SAVE $150 = 9.0% Nikon 85mm f/1.4 AF-S NIKKOR G IN STOCK in Lenses: DSLR
$1057 SAVE $340 = 24.0% Nikon 200-500mm f/5.6 AF-S NIKKOR E ED VR IN STOCK in Lenses: DSLR
Nikon Z8

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