![]() The Canon EOS R7 is like one of the camera giant's full-frame EOS R cameras, only with a smaller APS-C sensor. ❌ You crave full-frame or low-light excellence: There are lots of advantages to APS-C sensors, but many people will simply desire a full-frame camera. ❌ You’re frustrated by the lack of native RF-S lenses: Sports and wildlife shooters are better served by Sony and Fujifilm APS-C systems with superior selection of lenses. But as a complete package, the Sony A7 IV is a solid all-rounder which could be the only mirrorless camera you'll ever need. The A7 IV's new 33MP full-frame sensor doesn't dramatically improve image quality over the A7 III (the higher resolution also means fairly prevalent noise above ISO 6400), and there's a heavy crop on 4K footage. When using a CFexpress card, it swallowed 9fps for over a minute (or 6-7fps when continuously shooting raw). In our tests, we found the A7 IV to have class-leading autofocus skills, plus a seemingly endless buffer depth, which means the camera can almost indefinitely maintain its maximum burst speeds without any slowdown. A price bump means it no longer occupies the same entry-level price bracket as its popular predecessor, but upgrades like 10-bit video and a Bionz XR processor make it a much more powerful option. It’s overkill for beginners and more expensive than its stills-focused competition, but it’s also a versatile workhorse for anyone who want to shoot a mixture of photos and video. The Sony A7 IV is a truly modern hybrid camera. ❌ You need something discreet for travel or street shoots: The A7 IV is undeniably powerful, but its sizable grip and 658g weight mean it's also a fairly big lump compared to other mirrorless cameras. while Hassy's 100mm Planar = 55.55, and the 90mm used on some Eastern Europe "6圆" cameras comes out "50mm" on the button.Īnd the favorite "long normal" of many using the Hasselblad film cameras - 120 macro - equals about a 67mm (not too far off an Elmarit-R/Nikkor 60mm Macro, or the 65 Elmar Macro for the Visoflex).❌ You mostly shoot sports and action: While the Sony A7 IV is by no means a slow coach, there are better cameras out there for pro sports performance. comes out 44.4mm (a "wide-ish normal" - except that some say that the focal length that equals the diagonal is the real "normal" lens for any camera, which would make it simply a "normal normal") and an 80mm on Rollei/Hassy/Mamiya/Yashica/etc. and a 50mm Zeiss for Hassy comes out as "27.7" (call it 28mm) on 35mm And I can testify that is how "wide" the Biogon appears. a 38mm Zeiss Biogon Superwide for the Hasselblad = "21.111" on a 35mm camera. The classic 35mm film frame has a diagonal of 43.3mmĪ square MF picture 55mm on a side has a diagonal of 77.78 mm.divided by 43.3 gives a "focal length equivalent factor" of 1.8Īn "ideal format 6x7" picture has a diagonal of 85mm.divided by 43.3 gives an "FLEF" of 1.97Ī 645 micro-medium format neg (actually 56mm x 41.5mm) has a diagonal of ~70mm.divided by 43.3 gives an "FLEF" of 1.62Ĭhecking our work. That's the only way roughly compensate for the different shapes and get an idea of how much of the world can be squeezed into a specific frame.Īnd using our handy-dandy Pythagorian equation: However, once the shapes become different, then the whole character of the picture is going to change anyway - Diane Arbus or Vivian Maier square pictures won't ever "look like" Cartier-Bresson or Elliott Erwitt or Ralph Gibson 2x3 photos, no matter how equivalent the focal lengths.īut if one must, that is where the proportions of the diagonals must be taken. But as we know, Leica M "50mm" lenses are actually about 52mm lenses, so correcting for that gets us to a 121mm lens on the 6x9 camera. The 50mm equivalent on a 6x9 medium format camera is a 117mm lens. Barnack format 2:3 to MF 6:9 - then the math is easy. If the overall image format/shape/proportions are the same - e.g. Hasselblads tend to produce a very slightly smaller neg than Rolleis/Yashicas/Mamiyas etc. ![]() Basic equation: the width of an image across the film from side to side is:ģ5mm film: 24mm image width (plus room for sprocket holes)ġ20 film: 54-56mm image width with a thin border or rebate ("6圆," implying 60mm x 60mm negatives, is a bit of marketing exaggeration ).
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