![]() The Steelsring was just too expensive and I couldn’t find many firsthand reviews on its performance nor was I impressed by their rate of progress in firmware development. The Fotodiox, while a bit cheaper, is just plain ugly. My other options were the Fotodiox Fusion and Steelsring for “smart” AF adapters. It supports EXIF, autofocus, image stabilization and electronic aperture control. I’ve chosen the TechArt Pro EF-GFX adapter. So, I have my reasons, a specific brand and a lens mount… now for an adapter. This abundance of lower cost glass, and large fraction of camera owners, makes Canon a more appealing target for third parties to adopt and support. Combining sales volume with a lower average retail price, the cost of used lenses is pushed even lower. Purely speculating, I feel this may be a result of Canon’s democratizing nature compared to Nikon, with a larger market share resulting in greater sales volume and lens retail prices that tend to be lower than comparable glass from Nikon. For whatever reason, third parties have more aggressively reverse engineered Canon’s proprietary mount and lens communication, resulting in adapters that not just include autofocus, electronic aperture control and image stabilization, but do it all far more reliably and accurately, with frequent updates to increase compatibility and improve performance. Therefore, the lenses should be able to resolve details just fine, at least in the center, on the GFX 50S and 50R’s 51.4 megapixel sensors.Īs for the choice of Canon EF mount, at 54mm it has a wider inner diameter than Nikon’s F mount, which offers benefits like wider maximum apertures and less aberrations needing correction due to a straighter path for light to travel. Finally, Sigma has stated that all of their Art series lenses were designed to resolve at least 50MP for use with high resolution cameras like the Canon 5DSR, Leica SL2, Nikon D810, D850 and Z 7, Panasonic S1R, Sony α7R series, and Sigma’s own SD1 Merrill. Instead, should any hard vignetting occur, I would prefer to use a small crop from 4:3 to 5:4, or even 3:2, cutting away the affected corners and maintain 45+MP for further adjustment of the composition without greatly compromising the ability to print large. This larger projected imaging circle means a better chance of covering most of, if not the whole sensor, and reduce the need to use the built-in “35mm Crop Mode.” While handy, it does reduce output from 51.4MP to 31MP. Sigma has designed their Art lenses to cover a larger imaging circle this increases the area of the sharpest part of the lens, the center. They’re no longer just great for the price they’re simply great. Now for “why” I’m choosing Sigma lenses with Canon EF mount: Sigma’s Art primes have been getting stellar reviews for their more strategic compromises. The GFX system just isn’t mature enough to have grown both a complete lens lineup or a diverse used lens market. Other benefits: 35mm lenses are much cheaper, especially used, and SLR lenses usually have direct focusing helicoids unlike the “drive by wire” systems seen on most mirrorless lenses. I’m hoping to print a few of these so what counts for “sharp” on the web doesn’t work at 20″ print sizes. It’s not that I’m a bokeh whore it’s that I need more light gathering for astrophotography and Fujifilm’s widest lens, a 23mm, has a maximum aperture of ƒ/4 and that’s just not going to work without a star tracker due to the sensor’s 51MP resolution. ![]() ![]() Fujifilm’s lineup is sparse at best, and apertures wider than ƒ/2 aren’t represented. Let’s begin with a personal “why”: I’m choosing to use Sigma lenses to obtain focal lengths and apertures not currently offered in the GF lens lineup. I’d like to break this down into three “Y’s.” Here’s my chance for an introduction to give my rationale and to lay the foundation of this endeavor. As I have alluded to in a burst of recent posts, I am planning to generate a small database of lenses for use on the Fujifilm GFX series.
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