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.
Canon’s iconic EOS 5D series of full-frame DSLRs have had wide appeal with both pro and enthusiast photographers, blending great image quality and good features in a more affordable mid-range body design. Boasting a significant number of upgrades over its predecessor, including increased resolution, an updated autofocus system, Dual Pixel RAW capture, improved metering and 4K-video capture, the latest Mark IV looks like a mouth-watering prospect for the still photographer.
The EOS 7D Mark II is Canon’s flagship APS-C sensor DSLR, boasting a 20Mp resolution and a host of high-end features. It’s a popular choice for many serious enthusiasts and semi-pro photographers, so we’ve tested over 300 lenses on it to help you pick out the best one for you. In this first part of a two-part review, we round up the best zoom lenses for the Canon EOS 7D Mark II.
One of the hottest launches from this year’s Photokina trade show, the Nikon D750, has grabbed the attention of serious amateurs and pros alike. Boasting a newly developed 24.3Mp sensor, expanded ISO sensitivity range and a host of features from their pro DSLRs it looks a mouth-watering prospect. Lets take a look at the D750 sensor scores and results to see how it stacks up against the full frame competition.
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.
Sony is often quoted as having aspirations to rival Nikon and Canon but, since taking over the SLR business of Konica Minolta, has so far shown only a handful of pro-grade lenses. The SAL500F40G is one such lens, more popularly known as the 500mm f/4.0DG SSM, and with a price tag of $13,000 it’s aimed squarely at professionals and well-heeled enthusiasts. We’ve had the opportunity to assess the new lens at our lab in Seattle, please read on to see how the new Sony performs and if it has what it takes to compete with the current Canon and Nikon duopoly.
After years of unadventurous, unexciting “slow” speed zooms “fast”, high-quality primes are experiencing a comeback thanks to the popularity of full-frame DSLRs and the merging of video capture. The moderately wide 35mm focal length has seen numerous new versions from most lens makers over the last two years or so, including this ultra-high speed offering from Sigma. Read on to see how well this lens fares on the highest resolution DSLR currently available.
The high-end Sony RX1 was one of the most eagerly awaited cameras in our labs and while we assessed the camera’s full-frame sensor early in January, we’ve decided to publish the results of the Zeiss-branded Sonnar 2/35 T* lens. Readers will already be aware that it’s fixed, and can’t be purchased separately, but we can test it just as we would any other, albeit on one camera body only. Is this “fast”, moderately wide-angle lens an outstanding performer worthy of the Carl Zeiss name? Read on to find out.
Announced in February 2012, the Tamron 24-70mm f/2.8 lens Di VC USD is the latest full-frame, fast aperture standard zoom from the Saitama, Japan-based optical firm and is the first of its type to add VC (Vibration Control) image stabilization. Costing $1299 and available in Canon, Nikon and Sony fittings (the latter albeit without VC) and featuring USD (Ultrasonic Silent Drive) technology, it’s an obvious alternative to the pricier offerings from the top-names. Could this lens be a contender in the IQ stakes? Read on to find out.
Introduced in November 2012 as the proposed ‘kit’ lens for the EOS 6D, the EF 24-70mm f/4L IS USM lens represents an interesting move for Canon – despite two well respected lenses in this category, the EF 24-70mm f/2.8L USM and the EF 24-105mm f/4L IS USM, the EF 24-70mm f/4L IS USM hopes to offer a compact, lightweight lens suitable for the newly created lightweight, full-frame camera segment. The red L-series band offers the promise of professional performance, but does it live up to the expectations?
Canon were busy in 2012 releasing three wide-angle primes, the EF 24mm f/2.8 IS USM, EF 28mm f/2.8 IS USM and EF 35mm f/2 IS USM, on to the market. The latest launched in November 2012 was the Canon EF 35mm f/2 IS USM as an updated version of the original that dates back to 1990. Featuring Image Stabilization, Canon’s USM Ultrasonic autofocus motor, a ‘fast’ f/2 maximum aperture and wide-angle focal length, it looks a great option for Canon shooters into landscape or architectural photography.