The last 27-inch iMac was engineered on an intel chip in 2020, almost immediately after the M1 chip was introduced. The M1 chip meant even a base model iMac was faster than a tricked-out Intel Mac. There was also a new operating system that advanced each year, and with each iteration, my intel machine seemed to slow down. This is possibly due to the advancing operating system in Adobe, Capture One, and DXO software or the increase in the megapixels of cameras. The machine often ceases up with the spinning “wheel of death.” So what are the possibilities given October’s release of new M4 Macs? I)

Minimum Computer Specifications for a Photographer

So, looking for an upgrade presents a problem as Apple has discontinued the 27-inch Mac in favour of an external monitor. This, in most cases, means looking toward either a laptop or the Mac mini. The Bytom article referenced below seems to imply that most M1 machines, provided they have more than 512TB in the hard drive and at least 24GB of unified memory, will run the most up-to-date photography software. He suggests that if you are going to leave many things open and running, the best thing to invest in is unified memory, followed by SSD memory, core upgrading then being a last consideration. He suggests that the number of cores is a future-proofing consideration. The article is quite detailed, so I will leave the reader to browse it for more details.

This led me to believe that my ideal specifications would be a 1TB drive with 32GB of unified memory. This would mean less worry and some future-proofing. However having only 1TB of storage on internal storage would, for me, require an external SSD drive to contain my Lightroom or Capture one Library. If this SSD was a 2 TB drive, it would allow me to include the library and one year’s worth of photographs; photographs older than that could be stored in other ways.

External SSD Storage

There are two primary issues with SSD drives: speed and durability. The latter issue is more critical if you are actively reading and writing files rather than using them as archives. Adam’s video suggests that there are three types on the market: USB 3.2, which has speeds up to 1000mbs; USB “two by two” drives, which have higher speeds but perform more like USB 3.2 drives in terms of speed with Macs; Thunderbolt 4 SSD, which has a speed of 2500 -3000Mbps; and Thunderbolt 5 SSD that runs at 6000Mpbs. So, he immediately dismissed the second option for obvious reasons. So, the two real options are USB 3.2 or Thunderbolt. However, the durability of the USB 3.2 drives is much lower, and they are designed for storage, not constant use. This would leave me looking at Thunderbolt 4 or 5 drives.

If you look at what Apple recommends for this sort of device, they sell a SanDisk Professional Pro-G40 SSD 2TB drive for $450. This is the same drive Adam recommended. Since adding 2TB to a Mac is $750, this option is much cheaper and perhaps more flexible. SanDisk also makes a blade system called Pro-Blade Transport, a modular enclosure where the SSD blade can be removed and replaced, allowing you to upgrade or replace it more cheaply. This runs at a speed of 2000Mbps. It is USB C, but I am unclear if it is running Thunderbolt 4 or 5. Another option might be the SanDisk Extreme Pro SSD, which I am settling on.

MacBook Pro versus Mac mini with Apples Studio Display

The next issue, of course, is what screen to use with either a MacBook Pro or Mac mini. The chart below explores various options that utilize the Apple display paired with multiple versions of Macs driving the display. This was to give a brief idea of the cost of multiple options. It was clear that the most economical approach would be the Mac mini; unless one needed a field machine, the MacBook Pro would be more economical. One could stop here, but it made me wonder what other monitors might be out there that might have similar or better specifications.

Monitor 27 inch Monitor Options

The Mac monitor has a superior build and the best audio of the available photography monitors when I looked at them initially. The screen is solid and very well build and reviewers seem impressed with the internal sound system. There are some short comings pointed out by those same reviewers, the camera is average, there are only four USBc ports, unlike either the MacBook Pro or Mac mini and for some strange reason the power core does not come away from the back of the machine, although some reviews have manage to remove it. The biggest issue for me is the size of the monitor, it would be nice to get some more screen realestate, and to do that in Apple’s world that would mean the 6k Apple Pro Display, which is well over $6000 as you see in the chart. So my first look look at monitors was to look at 27 inch alternatives. The chart below does not contain all the options for a colour-accurate high-resolution screen, but the ones I have listed appear compatible with Apple’s ecosystem. The LG listed below is the same one that Apple relied on for three years before bringin out the Apple Studio Display. Oddly enough it is was more expensive that the base Apple Studio Display. LG, sold by Apple for three years, is now more expensive than the Apple Studio Display. Currently, of the 27 inch monitors, the Samsung monitor appears to be the budget option. Given the marginal difference in price I am not convinced the savings is worth stepping out of the Apple eco system.

Options Greater than 27 inch Monitors

During the exploration of 27 inch monitors I did run across a 32 inch Dell Ultra Sharp monitor for have the price of the the Apple Pro Display, and since then have been looking at Dell offerings. In their section of 30 inch or greater monitors, they appear to have a number of monitors that not only meet Apple’s specifications but in some ways provide more features that the Apple monitors. They list a number monitors which are designed to be Mac compatiable.

The first one of interest was the 5k Dell UltraSharp 40 inch Curved Thunderbolt Hub Monitor U4025QW. Its regular price is $2629CA and goes on sale for $2309.99CA. This 5k monitor has better adjustablity as it not only tilts, has a height adjustment but also a swivel function. It also has what Dell calls a built in Hub with more options for connectivity than one might ever need. It also has the dedication USBc port so you can connect just one wire from your Mac to the the hub and all the other wires would be managed by the monitor. It is a P3 colour accurate monitor with IPS black technology. It does lack a camera and it has a built in speaking but it does not appear to be much of a sound system.

The next monitor of interest is the ‘Dell UltraSharp 32 inch 6k monitor U3224KB. This monitor sells for $2500CA which is equivalent in price to the top version of Apple Studio Display. In otherwords you would get a monitor equivalent to the very expensive Apple Pro Display for the price of the Apple Studio Display. So this one real got me interest as it comes with a better 4k adjustable camera and a sound bar speaker system attached to the top of the screen. It also has the hub system, and a drop down port at the front with two USBc ports and a USBa port. It usually sells for $3320CA but seems to be discounted rather than being on sale. At this price for a 6k monitor fullly loaded with features it seems to be the best buy on the market if you are looking for a large screen with excellent resolutions.

The last two options are attractive as they would undoubtedly mean more screen real estate, but the Apple Pro Display is an expensive option, at three times the cost. The Dell machine provides a cheaper alternative, but there may be integration issues with the Apple ecosystem.

Colour Space in Monitors, Why P3 standard

Colour gamut or colour space is essential for viewing and printing digital images. If you look at the two charts below, you will notice that the screen’s colour gamut, which on the monitors above is P3, differs from the print gamut. The two printers in the second illustration are high-quality art printers. If you own an Epson printer, it covers a similar colour space as sRGB, but not all the colours you will see if your monitor is set to P3 or Adobe RGB, the settings the monitors above use.

The difference between the two printers’ colour spaces is that the Canon can handle warm tones more effectively, and the Epson printer can handle the blues and greens. Perhaps this is not the difference between Fujifilm film and Kodak Film.

References

• Recommended Mac Hardware 2024, bytom.com
• Best Monitors for Photographers, Bjorn Petersen, B&H
• Apple Silicon Unified Memory: How Much Mac RAM Do You Need, Hartley Charlton, Mac Rumors
• Use Your Old iMac as a Second Screen Using LUNA Display, Helpful Phil
• Acasiss 8-in-1 40Gbps M.2 NVMe Thunderbolt Enclosure and Dock
• Supercharge Your MacBook with One Upgrade, That Mark Gilroy
• Pro-Blade Transport -2 TB
• SanDisk Professional Pro-C40
• Ultimate External SSC Buying Guide for Mac Users, Adam Talks Tech
• Sandisk Extreme Pro SSD review – V2 too FAST for you? Gordon Laing
• Best Monitors for Your M4 Mac, White Board Explainer
• Dell UltraSharp 32″ 6K VS Apple Pro Display XDR! Finally, A Better Option?! Apple Insider
• One Month with the Best Monitor in the world: The New Dell 40″ 5K120 HDR U4025QW, Dave’s Garage (the first ten minutes of the YouTube contains a computer monitor history)

The release of the new X2D 100C Earth Explorer Limited Edition and the Leica Q3 has been big news in the high-end camera market. How do these two cameras line up with the other flagship compact camera? In this category, I believe Sony produces the smallest full-frame sensor camera, and Fujifilm produces the most compact APSC cameras. In the medium format, both Fujifilm and Hasselblad seem to have the most compact cameras.

The chart below, courtesy of Rob Will, shows the range from APSC to Medium Format. The two most compact cameras are the X100VI, an APSC camera, and the Sony RXrII full-frame camera, both fixed-lens cameras. The former has Fujifilm’s most advanced 42mp APSC sensor and processor, and the latter is a full-frame Sony camera released in 2015. Both are excellent street cameras that produce high-quality images in a discreet and pocketable size. I would worry about investing in the Sony camera, given its age and the possibility of a new version. Also, given the size of the A7Cr and Sony’s latest compact lens series, this might be a better option and almost as discreet.

So, when choosing between the two compact cameras, I chose the Fujifilm X100VI. Its advantage over this RX1r II is the external dials, dual EVF/Optical viewfinder, and the ability to adapt the lens to the 24—or 50mm range. This camera has been reviewed by DPReview and received the Gold Award.

The most appealing camera in this lineup is the Leica Q3 43, a fixed-lens camera with a 43mm f2 lens and macro. This focal length has been growing in popularity among many photographs. The lens is an apochromatic design, giving the camera’s Image Quality a bit of a boost over cameras using achromatic lens designs. Its compact design and the simplicity of its menu system are getting good reviews.

The full frame compact camera market is really donminate by Sony, which also as a sensor manufacture have the most advanced sensors on the market. Here the choose would be the A7RV, a 61mp interchangable lens camera. This camera coupled with the three new compact 24, 40 and 50mm prime lens creates the smallest possible full frame kit. This would be my choice for the most compact, highest quality full frame interchangable lens camera.

In the medium format range it would be difficult to decided between the Hasselblad X2D 100C and the new GFX 100s II, in general the Hasselblad is more compact and has a cleaner design. This camera coupled with the new line of compact XCD V lenses, would make this camera an excellent choice over the Fujifilm camera. However, the Fujifilm camera has more options for adapting third party lense, and is perhaps a more rugged build should you be a landscape photographer.

Fujifilm’s most celebrated camera was upgraded on February 19th, 2024, called the X100 VI. It has a new 40mp sensor with built-in 6-stop IBIS (In Body Image Stabilization). This unique range finder camera with a hybrid optical/digital EVF, a large APS-C sensor and a leaf shutter is small and perfect for an avid street photographer with its F2 lens. Just after the release of this camera, sales appeared to be well above expectations. Some camera stores suggest it may have broken all sales records.

The X100 series is also unique in other ways, with its range finder retro design. In the street, it looks like an old-fashioned film camera with its ISO, Speed dials and aperture on the lens. It is not the kind of camera people get worried about, and its size is easy to carry and conceal.

The new camera has the same form and size as the previous X100v model, but the dimensions have shifted slightly to accommodate the IBIS system. As you may know, IBIS requires a greater battery demand, but the camera’s new processor ensures the battery life is the same as the previous model. The camera also has the fifth generation “X-Tran Processor-5” and an upgraded AI focusing system. The hybrid viewfinder allows you to switch between Electronic View Finder, Optical Viewfinder or Electronic Range Finder.

Three models are available

Three models are available: a black and silver version or a commemorative limited edition version in silver.

Summary of Key Specifications.

• 40.2MP APS-C X-Trans CMOS 5 HR Sensor
• X-Processor 5 Image Processor
• 11 frames per second
• LCD is a touchscreen
• One UHS-II SD card slot
• HDMI, USB C and Audio ports
• AI focus assistance, including face detection
• Fujinon 23mm f/2 Lens (35mm Full-Frame Equivalent)
• GPS information can be placed into EXIF data using their iPhone app.
• 6-Stop In-Body Image Stabilization
• 425-Point Intelligent Hybrid AF System
• Hybrid 0.66x OVF with 3.69m-Dot OLED EVF
• 3.0″ 1.62m-Dot Tilting Touchscreen
• Bluetooth and Wi-Fi Connectivity
• 20 Film Simulation Modes with their new REALA ACE film simulation

About its Sensor

Film Simulations

Fujifilm cameras all come with film simulations; with each new camera, more and more film simulations are added. This means when setting your camera to “Fine plus RAW,” the jpg accompanying the RAW file will simulate any of the film looks you selected. The X100VI will come with another new film setting, “Reala Ace,” along with the following: Provia, Velvia/Vivid, Astia/Soft, Classic Chrome, Pro Neg. Standard and Hi, Classic Negative, Nostalgic Negative, Eterna, Eterna Bleach Bypass, Acros, Monochrome, and Sepia.

In addition, the X100IV, like all X series cameras, allows you to save customized film simulations. One can save up to seven that can be recalled quickly from the “Q” menu. An excellent resource for creating film simulations can be found on the Fuji X Weekly website. He has formulas for a wide variety of film stock recreations.

Fujifilm Accessories

There are two conversation lens that can be used with this fixed lens camera a 50mm and 28mm equivalent.

In addition, Fujifilm has a filter, lens hood and an adapter for this camera.

They also provide various flash options and a leather case:

Third-Party Accessories

References

• Returning to Form: The Fujifilm X100VI Review, Jona Rask Photography
• Why the Fuji X100VI is the Internet’s New Favourite Camera, The Studio
• DPReview Overview of the X100VI
• The Best Accessories for the Fujifilm X100F, V and VI
• Simplify Your X100V (6 changes to make)
• Fujilove: hands-on with the Fujifilm X100VI
• Fujifilm X100VI camera officially announced, Photo Rumours
• Fujifilm Canada’s X100VI site
• Fujifilm’s details on the commemorative limited edition
• Return to Form: The Fujifilm X100VI Review, Jonasrask photography
• Film Simulation Recipes, Fuji X Weekly
• Fujifilm Film Simulation Recipes: How to Find and Save Them
• My Fujifilm JPEG Recipe – all You’ll Ever Need, Goughie
• What Came Before the Fujifilm X100VI: a history of the series, DPReview

Fujifilm lenses, both for the X and G series, are stunning and often the best possible option for their cameras. However, with the imperfections they bring, third-party lenses can create some interesting effects. So, for those of you who like to experiment with Lensbaby lenses, heritage lenses, etc., some of the following lenses may provide some options for creativity. This is just a sampling of lenses. The X-series options focused on higher f-stop versions; of particular interest was the TTArtisan 35mm f.095. The selection of G mounts sampled the telephoto range, which had a smaller form than those manufactured by Fujifilm.

X-Mount Lenses

G-Mount Lenses

The GoPro sensors fluctuated between 1/2.3 and 1/1.9, essentially cellphone sensors. One-inch and 4/3 sensors are typically found in smaller cameras and not cell phones; given that a one-inch sensor is four or more times larger than a cell phone sensor, it will provide better colour, dynamic range, and resolution. Remember that 20 megapixels of resolution from a cellphone sensor differ in quality from 20 megapixels from a larger camera sensor.

The Pocket 3 has the advantage of a gimbal rather than stabilization. This is better for capturing video than a stabilization system when the camera is handheld. On the other hand, the GoPro requires a higher speed to use the stabilization, compromising the image quality and increasing noise in the images. The Pocket 3’s gimble also allows for “subject-tracking,” whether on a tripod or handheld. So, if you are holding the camera and filming yourself, you do not need to check that you are in the image as you navigate uneven terrain; the camera does this automatically. If the camera is stationary, you can be moving about the scene, and the camera will keep you in the centre of the scene. The image display can be rotated to facilitate a quick change from landscape to portrait mode. So switching back and forth is very quick, whether using the video for YouTube’s landscape world or doing a quick TikTok in portrait mode.

I will leave the detailed technical information and the configuration of the two kits to the references found below, particularly the DPReview, which is very comprehensive, as is the video produced by Gordon Laing.

The final point is a one-inch sensor does take good stills, and the camera can be used in this mode, as you may have gathered. So, it is also a compact camera; the only limitation here might be the lens, which is equivalent to a 20mm lens on a full-frame camera. In other words, it is a wide-angle lens. If you use the iPhone 15, the 1x lens is equivalent to 24mm. So, the Pocket 3 is wider in its field of view than your standard cell phone camera. You can find a discussion on other one-inch cameras in my article A Niche Market for 1″ Sensor Cameras.

Two Kits

The Pocket 3 is sold for $719.99 Cdn, and there is also the option to buy the device in a Creator Kit for $929.99. The kit includes several additional accessories, including a wireless microphone, which I believe makes the kit a better buy.

References

• The Camera that Made Me a Better Photographer, Orbit
• DJI Pocket 3 Overview, DPReview (Digital Photography Review)
• DJI Pocket 3 REVIEW: best vlogging camera!, Gordon Laing
• Introduction to DJI Osmo Pocket 3, DJI promotional video
• DJI Osmo Pocket 3 review: Maybe the only vlogging camera you need
• Solo Filmmaking with the DJI Osmo Pocket 3, Brandon Li
• DJI OSMO Pocket 3, 20 settings you should change immediately
• Pros and Cons – DJI Pocket 3 versus GoPro Hero, FlytPath
• DJI Osmo Pocket 3 beginners guide. Jeven Dovey
• DJI Pocket 3 vs Pocket 2 – Side by Side Comparison, Roo’s Reviews

100mp Medium Format Sensor Cameras

It has been a few years since Fujifilm and Hasselblad produced their first mirrorless style medium format cameras, the GFX and the X2D. Since then, they have been refined and moved from an older 50 mp sensor to a new back BSI CMOS 100 mp sensor. In January 2024, Hasselblad released their 907x 100c camera, unlike the GFX or X2D cameras, as it is compatible with their older film cameras and is created in that style. It is a unique and beautiful camera and is highly modular. It does include one feature that is almost unique in the camera market: 1TB of onboard storage.

I thought the best way to compare pricing should someone want to get into a medium format camera was to compare the pricing of a number of these cameras with just the 63mm lens. The prices are Canadian pricing found at B&H. The following chart gives you pricing as of January 2024. Remember that most people considering medium format will not allow their choice to be driven by price, although some who want to dip their toe in the water might. In the latter’s case, I have included a used option at the bottom. In this way, you can see the whole range of entry points.

In my opinion, most looking at these cameras will make the choice based on other issues. Perhaps the appeal of the modular nature of the 907x, or the compact nature of the X2D. The larger GFX may appeal to those who want to adapt the camera to many brands of heritage lenses or its rugged, weather-sealed body. These are more likely to drive the decision.

	Body	63mm (50 equiv.)	Tax	Price
Hasselblad 907X 100c	CA$11080.95	CA$3717.63	CA$1775.83	CA$16574.41
Hasselblad X2D 100c	CA$11080.95	CA$3717.63	CA$1775.83	CA$16574.41
GFX 100ii	CA$10134.90	CA$2025.90	CA$1459.30	CA$13620.10
GFX 100s	CA$5845.25	CA$2025.90	CA$944.54	CA$8815.69
	Cheapest Acquisition of 100 mp camera kit
Used GFX  100s KEH	CA$3835.09	CA$2025.90	CA$703.32	CA$6564.31

Ted Forbes Review of the 907X

He does a very good overview of the camera’s features and operations. In addition, he discusses how it can be configured using accessories and older Hasselblad cameras and parts.

Three Blind Men and an Elephant Review of the 907X

Hugh talks about the history and fame of the camera and then suggests it has one of the best software interfaces in the industry, dual UH2 card slots which support slower SD cards, can be charged by USB-C, and 1TB of onboard storage. He then isolates some of the downsides of the camera has no audio meters, no 24fps, no remove video stop/start in the Phocus app, no digital EVF yet, no ATMI port, lack of weather sealing and, in his opinion, the lack of IBIS is problematic. He then raises several minor issues that would improve the camera’s ergonomics, including how prone the sensor is to dust.

He also goes through how to operationalize the camera for different types of photography. He then talks about how different lenses will perform on this camera and which ones fit the camera’s flange.

He concludes by comparing this camera to other medium format, full-frame cameras, and discussion lenses.

References

• Hasselblad 907X SPECIAL EDITION & 500C/M: Back to the Future, Hugh Brownstone
• DPreview of the 907X, Richard Butler
• DPreview of the GFX 100ii
• DPreview of the GFX 100s, Gold Award

This Fall I was impressed with both Sony and Fujifilm’s announcements of the A7R-V and Fujifilm’s announcement of the X-H2 as well as the new X-T5. The Sony A7R-V could be considered on the cutting edge of all the new high-resolution 35mm cameras. The X-T5 and the X-H2 have now broken the 26megapixel ceiling for APSC mirrorless cameras, by developing compact cameras capable of 40 megapixels. This will likely mean there is a new sensor technology that will be introduced into the 35mm, and medium format cameras.

If you are not a Sony or Fujifilm fan keep in mind that almost all cameras that came out in 2022 from other manufacturers are excellent cameras, these are just my thoughts on cameras that seem to be inching ahead of the others technically, at least for the moment. So if you are more comfortable with the features or performance of a Panasonic, Nikon or Canon, there may be an upgrade coming soon.

The APSC versus Full Frame

There are many good reasons to own either an APSC or Full Frame camera the biggest difference of course is the size of the sensor as you can see from the diagram below. The salmon colour box represents the size of the Full Frame sensor in relation to the smaller yellow box representing the APSC sensor. The APSC sensor is a little less than half the size of a full-frame sensor.

People often jump to the conclusion that if Full Frame is bigger it must be better, and in some ways this is true. You do get higher resolution, often less noise and sometimes better dynamic range, but these factors vary depending on megapixels and the age of the camera. The key differences in my mind are as follows. First, you get a shallower depth of field with Full Frame cameras, something a lot of photographers favour. However, APSC’s broader depth of field can be an asset as well, and there are a number of photographers who prefer this to a more shallow depth of field. The Fujifilm X series is unique as it is designed only for an APSC sensor unlike Canon, Nikon and Sony APSC cameras so this makes their lenses more compact. This means you carry a much smaller and lighter kit. Smaller lenses also mean it is cheaper to create better lenses. Finally, when you compare the cost of a standard Fujifilm kit against a full frame kit with the same quality of camera and lenses, it is half the cost.

So when considering either sensor size you need to think about, your budget, how you want to capture images and ergonomics.

Review of the X-T5 from Camera Labs

Review of the X-H2 from DPReview

Kai W’s review of the A7RV

A Practical Hands-on Overview

It is my option that these three cameras represent the top high-resolution APSC and Full Frame cameras on the market this fall.

Specifications of the Three Cameras

• The X-T5 Review and Specifications
• The X-H2 Review and Specifications
• The A7R V Review and Specifications

Buying a Camera When to Buy and How to Research

Buying new equipment is always something that goes through your mind when new equipment comes out. It can be an important purchase to move your photography practice forward or something we call GAS (gear acquisition syndrome). So how do you know whether or not your urge is GAS or not? If it is not GAS how do you go about making the right choices?

In a previous post on this blog, I covered this topic; just click this sentence.

Every Camera May be Good Enough

With all these yearly announcements of new upgrades to your cameras, computers and smartphones it is easy to get caught up in frenzy and lose track of the primary goal, which is to create great images and then share them on social, media or through other public venues. What often gets in the way is how cut off the camera is from the rest of the electronic world. You have to download everything to a computer and then mediate it through your processing software before it can be shared. I think Hugh Brownstone said it very well when after talking about the advances both Sony and Fujifilm have made technically, he points out where they should be really concentrating.

“While all the camera companies have dithered over investing and developing user interface software competencies, Apple continues to wipe the floor with them. That whole ecosystem does and has set the agenda for the young generation. I just do not see this working out for traditional companies very much longer.”

I know Zeiss a few years developed a camera with an internal camera and Lightroom built in, with an instant connection to the internet, but it never really got off the ground until the camera had aged so much that it was left technically in the dust by other companies. Hugh does go on to say that perhaps stripping down the camera to its basics might also be a way to go, he goes as far as to say get rid of the video component as this will allow the camera to shrink to a much smaller size. A size with just the basics things you need to make nice images. In that regard, it was interesting to hear the musings of my friend, Rob Will, who has been riding the best camera technology for years and has been upgrading, as a result, every second iteration. Here is what he is thinking.

“While going through the flurry of new camera announcements this week, it occurred to me how very few of the new features and improvements are of any real interest to me.  Video seems to be where the big uptick is and I shoot maybe 5 minutes of video per year (almost always on my iPhone), so little appeal there. I see features that I feel would be “nice to have”, but nothing really compelling. All of the cameras that we shoot today are 100 times more capable than cameras of 10 years ago, and we all were doing good work then.” 

“So what’s the point? More resolution? 36 MPx is probably enough for almost anything we do, and many would say that even 24 MPx is enough. Articulating screens? Very nice but not really limiting anything. Better autofocus? I love the AF on my camera, but a little care and attention would work equally well as I don’t shoot a lot of sports or wildlife. Better battery life? Sure, but how often do we really shoot more than a few hundred shots with no opportunity to charge? IBIS? This is a good feature, but somehow I took good photos in low light for years without it. So…assuming your current camera is 24-36 MPx, has autofocus of some kind, and IBIS as a stretch goal, what is the compulsion to ever upgrade? “

“In the old days, we would keep a camera for 10 years or more. My own cameras typically were stolen or broken before I replaced them. Now we feel compelled to upgrade every two years or so chasing unnecessary features. I also see a trend towards buying expensive “must have” lenses that sit on the shelf.  Feels to me that we are pawns in this upgrade game rather than knights. Maybe we should stop upgrading and just take more photos.” 

https://www.amazon.com/shop/fujirumors/list/1PWVKF77SOQ19?linkCode=spc&tag=oneworldfuji-20&domainId=influencer&asc_contentid=amzn1.ideas.1PWVKF77SOQ19

One of the things that occasionally become an issue for me is having a camera bag that I can use both for under-seat air travel and extended day outings where I need to carry more equipment and clothing that does not fit in my sling bag. So not so big and cumbersome as an be an overnight hiking bag. A recent article has brought the new Gura Gear Kiboko City Backpack. This particular model is in the Kickstarter phase so it can not be evaluated other than through the specifications. However, for correspondence with the company I am told it will fit the GFX100s easily without difficulty and a few lenses. Guru does have available the 16 and 22-litre butterfly back bags. It is designed for quick access to equipment on safaris according to the manufacturer, and it is also very lightweight. According to Gura their standard 16 and 22-litre bags are designed to fit under airline seats and the 30-litre are designed for overhead bins. The implication is the city backpack should also fit under an airline seat.

In terms of fitting your gear, there should be no problem with full-frame mirrorless lenses and cameras, as it is designed specifically for mirrorless equipment. If you are using medium format mirrorless such as the Fujifilm 100s they suggested to me that this should not be problematic either. The quick access opening on the side of this bag is 4 inches by 6 inches and eleven 11 inches deep, which may be problematic for the GFX100s, (5.90×4.09).

Gura Gear Kiboko City Backpack

This is a new product and has a lot of key features, the three pounds ultralight weight, the swing round side access, rear camera access, expandable roll top and yes the water bottle pocket. Bag weight is very important as camera equipment can be very heavy. Also being able to carry all those other things you need with you is key as well. Rather than going into detail, all the details are available on the Kickstarter website. The included video is quite comprehensive.

Peak Design Everyday Back Pack

Usually, when you talk about the best-designed camera bags Peak Design is at the top of the list, like the Gura bags they are designed by photographers. The commuter bag that they make is the Everyday Backpack, which comes in 20 and 30-litre sizes.

Wandrd PRVKE LITE

When you ask GFX 100s users which bags they have been using for this purpose one of the bags that gets good reviews is the Wandrd PRVKE LITE 11-litre bag that rolls to 16 litres. This bag is your most compact option but according to the Wandrd site the 21-litre, of similar construction, would be more appropriate for more than two lenses.

Shimoda ACTION X30 BACKPACKS

The other bag that is favoured is the Shimoda Action X30 backpack. This bag comes highly recommended by many GFX100s users, is well built and perfect for carrying more equipment and personal gear. This 30-litre bag can be expanded by another 7-litres. However, it is quite a bit larger than the bags that have already been mentioned. However, they do make a smaller Explore V2 25 Starter Kit.

Tenba DNA Backpack

Tenba’s bag opens on the front which could present a security issue. The advantage of the camera section is it can be converted quickly to a packsack and the camera section with its protection can be removed. Like all Tenba products, it has a computer/iPad area, expanding water bottle pouch, a tripod system, and an accessory area. The expandable area at the top makes it ideal for clothing in unpredictable weather.

Sling Bags for the Street

In closing, if you have not invested in a sling bag for lightweight minimal kit outings, I have come across three companies that have excellent options in this style of bag Ona, Peak Design and Tenba.

References:

• Wandrd Bags.
• Peak Design
• Ona
• Tenba
• Peta Pixel has a fairly good review of what they believe are the best camera bags of 2022 and highlights the top bags from the city, the woods or the airlines.

In This Week in Photography the discussion around the iPhone 13 very quickly moved to mobile tools for photographers. The most interesting part of that discussion was around the new ACASIS swappable High-Speed Storage and 10-in-1 hub. A device that appears to be perfect for docking a laptop or providing an iPad with a portable office. It seems the host had edited the video below using this device connected to his iPad.

The device itself appears to be as wide as a credit card and just slightly taller but has an SD storage ceiling of 8TB. I think for those who are travelling with an iPad pro and editing in the field this might be something to seriously consider. If you using a laptop and a large screen at home to edit your work, this USB C hub might be very the perfect device.

References:

• ACASIS Kickstarter Site
• Photowalks: http://www.photowalkstv.com
• Website: http://www.jeffersongraham.net
• Twitter: https://twitter.com/jeffersongraham
• Instagram: https://instagram.com/jeffersongraham
• YouTube: https://www.youtube.com/PhotowalksTV