To provide photographers with a broader perspective about mobiles, lenses and cameras, here are links to articles, reviews, and analyses of photographic equipment produced by DxOMark, renown websites, magazines or blogs.
Panasonic GH series of micro four-thirds cameras are some of the best all-round video and stills hybrid solutions currently available. Read on to find out how the new 4K capable Four Thirds sensor in GH4 performs.
Sigma’s range of DN lenses are specifically designed for mirrorless cameras. The 30mm f/2.8 is the equivalent to a 60mm on a MFT camera and has recently been updated but, at $199, the price seems at odds with its new premium Art series label. Read on to see how well this model performs.
As a short telephoto prime for Sony NEX and Olympus and Panasonic cameras, the re-categorized A series Sigma 60mm f/2.8 DN prime fills a gap not yet occupied by the camera maker’s own models. Read on to see how well this lens performs.
As the equivalent to a 150-600mm this lens perhaps more so than any other in the range demonstrates just how much smaller MFT mount lenses can be compared with APS-C format offerings. Read on to see how well this highly portable model performs.
Although compact and likeable enough, Olympus’ first 17mm for MFT (Micro Four Third) wasn’t one of the best performing lenses. With a fast maximum aperture, this new lens aims to build on the popularity of the angle of view / focal length while offering improved image quality. Read on to see if Olympus has achieved their goal.
While Samsung has a number of zooms in their mirrorless NX lens range, their primes consist of an intriguing amalgamation of compact ‘pancake’ types, ultra-high speed designs and special purpose models. We’ve assembled five models for testing and analyzed them using a 20Mpix Samsung NX20. Read on to see how well the combination of high-resolution APS-C sensor and innovative NX-mount primes perform.
Introduced during 2011, the 24-Mpix Sony NEX-7 remains a high-watermark for mirrorless models despite recent introductions from rivals. We’ve now had the opportunity to measure the performance of this camera with a number of promising new lens models. Read on to see how well the combination of Sony’s high-resolution APS-C sensor and the very latest E-mount lenses perform.
Panasonic’s Lumix DMC-G6 is the update to last year’s DMC-G5 MFT camera, the firm’s $750 mid-range EVF equipped model sitting above the entry-level finder-less DMC-GF6 yet beneath the mighty video-maker’s favorite DMC-GH3. The new camera features a 16-Mpix Live MOS sensor as well as a new Venus processing engine, but just how well does it perform in our labs?
ZEISS already have one prime lens in Sony’s NEX line-up, albeit made under license for them, but at Photokina in September, the optics firm announced its intention to produce AF lenses in both Sony NEX and Fuji X mounts. The first of these lenses in the series, dubbed Touit by the maker, are an ultra-wide Distagon 2.8/12 (18mm equivalent) and a standard-type Planar 1.8/32 (50mm equivalent). Read on to see how well these two new lenses perform on the Sony NEX-7.
Hybrid is a word used both positively and negatively, quite appropriate for the photographic industry. The Panasonic Lumix DMC-GH3 wears this badge: "Hybrid", a mix of system and compact. It has a range of lenses spanning 7mm to 300mm (equivalent to 14mm up to 600mm in full frame 35mm) and a body that is not much bigger than a compact camera. Should it wear it with pride? Yes, it should…