In the lead up to Photokina 2012, Canon announced the new Canon EOS 6D full-frame entry-point model within days of Nikon publicizing their most-affordable full-frame camera to date, the 24-Mpix D600. While the EOS 6D boasted some attention grabbing features including built-in WiFi and GPS and slightly undercut the Nikon on price, it couldn’t match its rival in one or two key areas, namely the less populated AF system and lower resolution sensor.
Samsung is one of the few makers with the capability to supply sensors for its own mirrorless cameras. The Wi-FI enabled finder-less NX300 and NX210 are just two of such cameras from the consumer electronics giant featuring an APS-C size 20.3Mpix CMOS image sensor. Read on to find out just how well these cameras performed in our lab.
This is the first of a three part series on choosing suitable lenses for Canon’s entry-level full frame camera, the EOS 6D. The 20-Mpix CMOS’ sensor used is similar in architecture to that in Canon’s hugely popular full-frame EOS 5D Mk III, a camera that we’ve shown to be highly efficient at exploiting both the sensor and lens, resolving detail above what might be expected. Although that particular model has a slight edge in pixel count, the more sensitively priced EOS 6D should perform similarly. To help you make the right choice when selecting lenses, we’ve had the opportunity to analyze the data from over 95 models on the EOS 6D.
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.
Sony’s update to the Cyber-shot DSC-RX100 includes provision for a optional EVF and a useful pull-out rear LCD, but the head line news is the inclusion of a newly developed back-illuminated Exmor R BSI-CMOS sensor with superior low-light performance. Read on to see how well the new sensor performs in our labs.
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.
With an external design in keeping with the firm’s highly regarded ‘Limited’ range of premium quality lenses, this model is an affordable alternative within the range and the equivalent to a moderate telephoto with the angle of view of a 75mm, when mounted on a APS-C body. Read on to see how well it performed when mounted on the Pentax K5 body.
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?
In the lead up to Photokina 2012, Sony announced a revised version of their 300mm f/2.8G SSM adding Nano AR coating and full AF compatibility with the firm’s flagship full-frame Sony SLT Alpha 99. Read on to see how well this newly updated lens performs on their new top-of-the-range camera.
Tamron’s new full-frame high-speed standard zoom won plaudits for its high image quality and balance of features for the price. However, while the Sony Alpha mount version similarly includes an ultrasonic type AF motor, it doesn’t have the optical stabilization feature because of the stabilized sensor platform of the Alpha camera bodies. Read on to see how well this revised version performs on the Sony SLT Alpha 99.
After evaluating the performance characteristics of lenses mounted on full-frame models such as Nikon D800 and D600, as well as the Canon EOS 5D Mk III, we’ve now had the opportunity to analyze a range of lenses on the Sony SLT-A99. In this concise report, we’ll see how well the combination of Sony’s high-end image sensor and the latest Alpha mount lenses perform.
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.
Nikon was one of the last big camera makers to offer a mirrorless model but when they finally announced the Nikon 1 system back in September, 2011, they attracted some controversy for adopting a new smaller sensor than rivals. Since then, they’ve done well to increase popularity of the system by expanding the range of lenses in a relatively short time frame. The 1 Nikkor 6.7-13mm f/3.5-5.6 and the 18.5mm f/1.8 are two of the newest models from the firm. Read on to see how well they perform when mounted on the Nikon 1 V1 body.
First seen at the Olympics in London in 2012, the Canon EF 200-400mm f/4 IS USM Extender 1.4x is a pro-oriented super-telephoto zoom with a built-in 1.4x tele-converter. Engaging this extender converts the zoom into a 280-560mm f/5.6 on a full frame camera, making this one of the most versatile lenses in the firm’s line up. Read on to see how well this $11,800 zoom performs with- and- without the 1.4x converter engaged while mounted to the Canon EOS 5D Mk III.
With its compact and lightweight body, the Canon EOS 100D / Rebel SL1 / Kiss X7 is the smallest DSLR in the firm’s line-up. While it adopts a similar performing sensor to the EOS 700D, the body is around 25% of the size of that model by volume and presents its own set of challenges when selecting lenses for it. In this review, we’ve taken a look at the optical quality of 130 different lenses fitted to the camera but this time we’re also making some limited recommendations about the handling and video capabilities.
This is the third and concluding part of the series of choosing the best performing lenses for the APS-C format EOS 700D / REBEL T5i / Kiss X7i, where we take a look at wide-angle primes, telephoto lenses and so-called super-zooms. The 18.1-Mpix sensor used in EOS 700D / REBEL T5i / Kiss X7i is similar to those in Canon’s other current APS-C models, including the new EOS 100D / REBEL SL1 and EOS 7D, so our results may still be helpful when choosing your next lens, even if you don’t own this particular model.
Nikon’s update to the film era AF Zoom-Nikkor 18-35mm f/3.5-4.5D IF-ED boasts an enviable spec, including built-in silent wave AF motor and re-designed optical construction with two ED glass elements. Read on to see how well it performs on the 36-Mpix Nikon D800.
Panasonic’s entry-level DMC GF6 sees a return to a more conventional control layout and adds several useful features including a touch-sensitive, tilting monitor and easy wireless connectivity with smart-phones via WiFi with NFC capability. The new camera also features a 16-Mpix sensor, but just how well does it perform in our labs?