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?
This is the second part of the series of choosing suitable lenses for the APS-C format EOS 700D / REBEL T5i / Kiss X7i, where we’ll discuss ‘standard’ lenses (zooms and primes) as well as short telephotos. The 18.1-Mpix ‘Hybrid CMOS’ sensor used is similar to those in Canon’s other current APS-C models, including the new EOS 100D (REBEL SL1) and semi-pro EOS 7D, so our findings may be valuable even if you don’t use a EOS 700D / REBEL T5i / Kiss X7i.
Tamron’s latest 70-200mm f/2.8 is the first from the firm to feature image stabilisation (VC or Vibration Compensation, as Tamron calls it) and is now available in with a Nikon mount. After the Canon mount, read on to see how it performs on the high resolution Nikon D800.
Canon’s lightest and smallest DSLR to date the EOS 100D (aka Rebel SL1 / Kiss X7) is unashamedly aimed at the entry-level market. However, boasting a 2nd-generation ‘Hybrid’ 18-Mpix CMOS sensor and many features of the upper entry-level EOS 700D, this minuscule model is an intriguing proposition. But is it simply a case of cramming in a similar sensor and miniaturizing the rest? Read on to find out. In this review we also reveal the results of the Sony SLT Alpha 37 sensor.
After analyzing the lens performance of the Nikon Coolpix A, we’ve now turned our attention to that camera’s direct competitor, the Ricoh GR. Read on to see how well the GR lens stacks up against the rival Nikkor.
After comparing the imaging chain of the full-frame Canon EOS 5D Mk III across a raft of lenses, we’ve now turned our attention to the APS-C format EOS 700D / REBEL T5i / Kiss X7i. The 18.1-Mpix ‘Hybrid CMOS’ sensor in this camera is similar to those of the same size and pixel count used in the firm’s other models, including the semi-pro EOS 7D, so it may still be of interest even if you don’t own a EOS 700D / REBEL T5i / Kiss X7i.
Nikon has had an 80-400mm lens in its range for the past 13 years, which it has now updated. This is not just a bit of a tweak though; the new lens is sharper, better corrected for distortion and chromatic aberration and full of new technology. It is also heavier, bigger and more than 50% more expensive – so is it worth it?
Announced in early 2011, the Canon EF500mm f/4L IS II USM and EF600mm f/4L IS II USM are updates to two highly respected lenses aimed squarely at professional wildlife and sports photographers, or those who want the best image quality possible at these focal lengths. These Mark II versions aim to take everything that was good about their predecessors and turn them up to the max.
The $348 Sony E 20mm f/2.8 is a wide-angle prime for the Sony NEX range of hybrid still cameras and Interchangeable Lens camcorders. Its equivalent 30mm wide-angle focal length is ideal for interiors, landscapes or street photography, and a f/2.8 aperture is great in low-light. Just 20.4mm deep and weighing 69g it’s compact for travelling light, but how will it perform?
Released in April 2013, the Ricoh GR goes by the tagline of “Everything is big, except the size”. It points clearly to the raison d’être of this camera – to be a compact model with a large sensor with the aim of offering DSLR-like performance without the size and weight associated with them. As with several models in this niche, it seems to hark back to days gone by with a retro style. While this impacts the versatility of the camera, it’s much easier to make a high quality prime lens that can extract the most from the large, 16megapixel APS-C sensor tucked away inside. Within this sector we’ve seen some very good cameras through the labs in recent months, so the GR has got stiff competition.
Nikon’s new Coolpix P330 is a classy ‘compact camera’. It’s very average when it comes to mundane things like size and weight but it performs better than many much more expensive cameras and has a list of features that covers pretty much everything you might need.
With a quad-core processor at its heart the highly anticipated Samsung Galaxy S4 boasts an incredible 1080p 5-inch AMOLED display and has upped the camera sensor to 13M-Pix. Does any of this make a real difference to the stills and video performance? Read on to find out how well it performed in our lab.
Following on from our series of selecting the best lenses for the Nikon D800 with its potential for massively detailed images from the 36Mpix sensor, we’ve now turned our attention to that camera’s younger sibling, the 24Mpix D600.
It seems that every passing month brings a new compact camera to the market, featuring a large sensor and the promise of higher image quality than its peers. However, while the sensor is often the star of the show, the lens is just as important and can make or break the performance of the camera. The Nikon Coolpix A is one of this new breed of large sensor compact cameras, and just a few years ago it would have seemed a most unlikely proposition. However, as technology has improved, costs have come down and it is now possible to fit large sensors in small cameras at a reasonable cost, but this does mean the lenses have to improve in tandem or they risk damaging the great work done by the sensor engineers.
Announced only in February this year alongside the Sony made Zeiss branded 50mm f/1.4 ZA SSM, the 70-400mm F4-5.6 G SSM II lens is an upgrade to the original silver finish model introduced in 2009. This new lens is said to boast up to 4x increase in AF operation and an improved optical performance (not to mention a new white exterior). Read on to see how well it performs in our labs.
When zoom lenses were first beginning to be viable alternatives to a bagful of prime lenses back in the 1980’s there were two focal length ranges that were dominant, 35-70 and 70-200: the ‘standard zoom’ and the ‘tele zoom’. Well this ‘old’ approach seems to be back, Panasonic’s 35-100 for their Lumix range exactly matches the 70-200 range while their 12-35 that we reviewed recently fills the ‘standard’ slot.