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?
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.