Camera Gear Review News (Page 14)
Just posted: Canon RF 5.2mm F2.8 L Dual Fisheye Lens Review.
Ready for a new creative outlet?
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Image quality test results from the Sony FE 135mm F1.8 GM Lens are available on the Sony Alpha 7 IV page.
FE 135mm test results from the Sony Alpha 1, Sony Alpha a7R IV, and Sony Alpha a7R III are available for direct comparison. Additionally, many cameras have been tested with the Canon EF 200mm f/2L IS USM Lens, making the Sony Alpha 7 IV vs. Sony Alpha 7 III comparison available. That comparison shows the IV's significant resolution increase.
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The Sony a7 IV is here, and it is time to set up this camera for use. Following are the 34 steps I took to make an out-of-the-box a7 IV ready for use.
- Charge battery
- Record serial number and add camera to insurance policy
- Download and install Capture One (for Sony) and/or Sony Imaging Edge (unless your current favorite RAW image processing software supports this camera)
- Insert charged battery, and power on the camera
- Set the time zone, date, time, timeformat
- insert memory card(s)
- Select M mode, press "Menu", and configure the camera as follows:
- Shooting Menu, 1 Image Quality: Image Quality Settings: File Format: RAW, RAW File Type: Lossless Comp (full image quality, reduced file size)
- Shooting Menu, 1 Image Quality: Long Exposure NR: Off (I'll enable this option for very long exposures)
- Shooting Menu, 1 Image Quality: Lens Compensation: Shading, Chromatic Aberration, and Distortion Comp: All Off (I use the RAW processing software to enable any lens compensation, with CA correction frequently selected)
- Shooting Menu, 2 Media: Format (ensure there are no important files on the card(s) prior to formatting)
- Shooting Menu, 3 File: Copyright Info: Write Copyright Info: On, Set Photographer: [your name], Set Copyright: [as desired], Write Serial Number: On (note: entering this information on the touchscreen may be a painful process)
- Shooting Menu, 6 Drive Mode: Bracket Settings: Bracket order: ->0>+ (considerably enhances image selection for HDR processing)
- Shooting Menu, 7 Shutter/Silent: Release w/o Lens: Disable
- Shooting Menu, 7 Shutter/Silent: Release w/o Card: Disable (why is this not the default?)
- Shooting Menu, 10 Shooting Display: Grid Line Display: On (Rule of Thirds selected)
- Exposure/Color Menu, 6 Color/Tone: D-Range Optimizer: Off
- Exposure/Color Menu, 6 Color/Tone: Creative Look: NT (Neutral), Sharpness = 1 (this setting provides a lower contrast histogram. I usually process with the Natural creative style in Capture One)
- Focus Menu, 1 AF/MF: Priority Set in AF-S: AF
- Focus Menu, 1 AF/MF: Priority Set in AF-C: AF
- Focus Menu, 2 Focus Area: Focus Area: Spot: S
- Focus Menu, 2 Switch V/H AF Area: AF Point Only
- Focus Menu, 3 Face/Eye AF: Face/Eye Frame Disp: On
- Focus Menu, 5 Peaking Display: On
- Playback Menu, 4 Delete: "Delete" first
- Playback Menu, 7 Playback Option: Display Rotation: Off (image fills LCD)
- Network Menu: 7 Network Menu: Airplane Mode: On
- Setup Menu: 3 Operation Customize: DISP (Screen Disp) Set: Monitor: Uncheck For viewfinder, press [enter]
- Setup Menu: 4 Custom Key/Dial Set.: Front Dial: Av/Tv (Tv in M mode) (I adjust the shutter speed more frequently and urgently than aperture and the front dial is easier to access quickly); Rear Dial: Av/Tv (Av in M mode); Rear Control Wheel: Av/Tv (Av in M mode)
- Setup Menu: 5 Touch Operations: Touch Panel/Pad: Both Valid
- Setup Menu: 5 Touch Operations: Touch Pad Settings: Touch Position Mode: Relative Position, Operation Area: Whole Screen
- Setup Menu: 10 Sound Option: Audio signals: Off (how to turn off the loud and usually-annoying AF beep sound)
- My Menu: Format; Shutter Type; Steady Shot; Face/Eye Subject; Anti-flicker Set.; Flash Comp.
- With a lens mounted and a subject in focus, adjust the viewfinder diopter until the scene is sharp
I make additional menu and other setting changes based on current shooting scenarios, but this list covers my initial camera setup process.
To copy this configuration means you intend to shoot as I do - including in RAW-only format. While this setup works great for me, you should adjust your setup as needed.
If you can't remember your menu setup parameters, keeping an up-to-date list such as this one is a great idea. Anytime your camera is reset to factory state for some reason, such as when being serviced or when acquiring an additional camera, you will be ready to create your setup quickly while ensuring that an important setting is not omitted. If you purchase another same or similar camera, you will be able to set it up quickly. Consider saving the camera settings to a card (Tools menu, tab 2, Save/Load Settings on card) for an easy restore.
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"Learn how filmmaker Alexander Hankoff uses the Canon RF5.2mm F2.8 L Dual Fisheye Lens to explore new opportunities for storytelling."
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Just posted: Sony FE 70-200mm F2.8 GM OSS II Lens Review
Upgrading to this lens can be fully justified by multiple enhancements, especially including sharper image quality and lighter weight.
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As I maintain a mixed kit of Sony and Canon gear, I was anxious to see how the Sony FE 70-200mm F2.8 GM OSS II Lens compared to the equivalent Canon lens, the RF 70-200mm F2.8 L IS USM Lens.
In the image quality comparison, the two lenses appear near equals. The Canon lens seems slightly sharper in the center of the frame from 70mm through 135mm, but any sharpness difference is not meaningful as a differentiator. At 200mm, the Sony lens has about one stop less peripheral shading to its advantage. The Canon lens has slight pincushion distortion at 70mm vs. a tiny amount of pincushion distortion. Both lenses trend toward pincushion distortion as their focal lengths are increased, with the Canon lens having less distortion than the Sony lens by 100mm and through 200mm. The Sony lens shows more color blur in the mid focal length range and blurs corner stars slightly more. The Canon lens produces slightly better specular highlight bokeh and slightly better points on sunstars.
The Sony lens mounted on an Alpha 1 in either AF-S or AF-C mode does not focus slowly, but the Canon lens with an EOS R5 behind it focuses noticeably faster in side-by-side testing. Neither lens makes much noise when focusing, but the Sony lens is slightly quieter.
The Sony lens is compatible with teleconverters, adding the versatility of up to the 140-400mm range with the 2x mounted. However, the teleconverter magnification is not without impact to the image quality, especially with the 2x in the optical path.
Most will find the smaller retracted size vs. fixed size the biggest differentiator between these lenses.
The Sony FE 70-200mm F2.8 GM OSS II Lens vs. Canon RF 70-200mm F2.8 L IS USM Lens comparison shows, as seen in the comparison image above, the Canon lens measuring considerably smaller — when retracted. The compact Canon lens size is easier to stow a camera backpack and similar cases. Zoomed to 200mm, the Canon measures 0.27" (7mm) longer. Lenses maintaining a fixed size favor in-the-hand use, giving the Sony lens a different advantage.
When zoomed, the elements inside the lens move and repositioning elements can change the balance of the lens — regardless of the external size changing. However, the large objective lens elements remaining in position are advantageous in this regard, and the Sony lens maintains slightly better balance throughout the zoom range.
The Canon lens is slightly wider.
The Sony FE 70-200mm F2.8 GM OSS II Lens was introduced as the "World's Lightest Large-aperture Telephoto Zoom Lens", qualified to full-frame F2.8 70-200mm telephoto zoom lenses that support autofocus. The Sony lens is indeed lighter than the Canon lens, but the measured in-use (with tripod foot and hood) difference is only 2.9 oz (53.2g). Of that difference, 1.6 oz (13.3g) is in the hood weights. Few will find significance in the weight difference between these lenses.
The Sony lens features a front-positioned focus ring. Positioning the zoom ring toward the back of the lens provides a better balance for handheld zooming. Impacting the Sony lens's advantage is the aperture ring positioned behind the zoom ring. The aperture ring is a Sony lens feature advantage, but only for those intending to use it. Making space for the aperture ring shifts the zoom ring forward modestly, farther forward than the Canon lens's zoom ring.
The front element positioned farther forward of the mount gives the Sony lens a modestly better handheld balance at the wider focal lengths. The balance difference equalizes by the longer focal lengths.
Switches add control, but they also add complication, and the aperture ring adds two switches to the design. The zoom lock switch adds one to the Canon side of the equation, and the Sony DMF switch takes the count back to a two-switch lead. It is easier to tactilely find the Canon lens's switches, and the Canon lens's switches are less recessed and easier to use.
The Sony tripod hood is fully integrated and considerably smoother. However, the Canon lens's entire tripod collar can be removed (erasing the weight difference). The Sony lens collar's 90° marks are easier to align, and its tripod foot is removable (and replaceable with an integrated dovetail mount).
Consuming space utilized by the Sony lens's tripod collar is the Canon lens's control ring. Note that this ring can control the aperture.
The Sony lens has three focus hold buttons, and its hood window is tighter.
The additional fixed lens barrel length provides room for the Sony lens to have a longer focus ring.
At review time, the Sony lens costs $1.00 less than the Canon lens.
The bottom line is that both lenses are outstanding. Photographers deciding their camera brand choice at lens selection time will need to look carefully at the differentiating features between these lenses, along with those of the other lens models destined for their kit. In the end, most photographers with a Sony kit will choose the Sony FE 70-200mm F2.8 GM OSS II Lens, and most photographers with a Canon kit will purchase the Canon RF 70-200mm F2.8 L IS USM Lens.
Lensrental's list of the Most Popular Photography & Videography Gear of 2021 is up.
Interesting is that Canon took 13 out of the 19 positions, with the Canon EOS R5 in the #1 slot. Sony took all but one of the remaining positions.
Reminder: Purchase a Lensrentals gift card and get a bonus card for 20% of the value! No coupon code required. This offer ends 12/25/2021.
Renting is a great option for trying new gear or for getting otherwise unaffordable gear to use for short periods of time.
Image quality test results are now available on the Sony FE 70-200mm F2.8 GM OSS II Lens page.
You are going to like what this lightweight lens is delivering, and inventory for the used version I lens is growing rapidly.
Compared to the Sony FE 70-200mm F2.8 GM OSS Lens
Compared to the Sony FE 70-200mm F4 G OSS Lens
Compared to the Tamron 70-180mm f/2.8 Di III VXD Lens
Compared to the Canon RF 70-200mm F2.8 L IS USM Lens
Note the relatively small size and weight difference in the Sony FE 70-200mm F2.8 GM OSS II Lens and Sony FE 70-200mm f/4 G OSS Lens comparison.
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Just posted: Manfrotto Pro Light Reloader Tough-55 Roller Hard Case Review.
This is a highly-protective case sized ideally for common camera kits.
Note the current $50.00 under regular street price deal at Adorama.
The Manfrotto Pro Light Reloader Tough-55 Roller Hard Case is in stock at B&H | Adorama (on sale for $50.00 off usual street price) | Amazon USA
Just posted: Sigma 90mm F2.8 DG DN Contemporary Lens Review
The 90mm version is similar to the other five Sigma I series compact prime lenses.
The Sigma 90mm F2.8 DG DN Contemporary Lens is in stock at B&H | Adorama | Amazon USA | WEX
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Just posted: Sigma 65mm F2 DG DN Contemporary Lens Review.
This lens is another good addition to your your Sigma I series compact prime collection.
The Sigma 65mm F2 DG DN Contemporary Lens is in stock at B&H | Adorama | Amazon USA | WEX
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Just posted: Sigma 45mm F2.8 DG DN Contemporary Lens Review.
This lens is a lot like the others in the I series.
The Sigma 45mm F2.8 DG DN Contemporary Lens is in stock at B&H | Adorama | Amazon USA | WEX
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Just posted: Sigma 24mm F2 DG DN Contemporary Lens Review.
This is an impressively sharp lens with a low price tag.
The Sigma 24mm F2 DG DN Contemporary Lens is in stock at B&H | Adorama | Amazon USA | WEX
Save the tax, use the B&H Payboo payment card (at B&H, I use this card exclusively).
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Just posted: Tamron 28-75mm f/2.8 Di III VXD G2 Lens Review.
This G2 lens is an outstanding choice for general-purpose use.
The Tamron 28-75mm f/2.8 Di III VXD G2 Lens is in stock or available for order at B&H | Adorama | Amazon USA | WEX
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Image quality test results from the Canon EOS R5 are now available in the Canon RF 85mm F1.2 L USM Lens Review.
This one is a keeper. After encountering the need for this lens many times in the last year, I added it to the kit.
Following are some comparisons. Note that I kept the RF 85 aperture at f/1.2 in these comparisons. There is no need to stop this lens down, and no 85mm lens beats it.
vs. Zeiss Otus 85mm f/1.4 Lens
vs. Canon EF 85mm f/1.2L II USM Lens
vs. Canon EF 85mm f/1.4L IS USM Lens
vs. Canon RF 85mm F2 Macro IS STM Lens
vs. Sigma 85mm f/1.4 DG HSM Art Lens
vs. Sigma 85mm f/1.4 DG DN Art Lens
The Canon RF 85mm F1.2 L USM Lens is in stock at B&H | Canon USA (best deal: refurbished) | Amazon USA | WEX and available for order at Adorama.
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Just posted: Tamron 35-150mm f/2-2.8 Di III VXD Lens Review
Is this the best portrait lens ever?
Get in line. The Tamron 35-150mm f/2-2.8 Di III VXD Lens is available for order at B&H | Adorama | Amazon USA | WEX
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Updated: Canon RF 100-400mm F5.6-8 IS USM Lens Review
Comparisons with the Sigma 100-400mm f/5-6.3 DG OS HSM Contemporary Lens and Tamron 100-400mm f/4.5-6.3 Di VC USD Lens are now included in the alternatives section near the end of this review.
As I said before, the light weight, compact size, long focal lengths, and affordable price tag assure this lens high popularity.
The Canon RF 100-400mm F5.6-8 IS USM Lens is in stock at B&H | Adorama | Canon USA | Amazon USA | WEX
Sometimes, I need a specific camera setup immediately. Otherwise, a fleeting moment is gone forever, leaving regret for not having that particular setup already configured.
That specific setup always involves a camera mode. When the camera mode is controlled electronically vs. directly selected on a dial, the camera has freedom in how a mode is selected. Yes, electronics could override a traditional dial-selected mode, but a mode dial set to one mode and the camera operating in a different mode is awkward.
When using a Canon R-series camera without a dedicated mode dial (the R6 and RP have a dedicated mode dial), the obvious way to select a camera mode is to press the mode button and turn the dial surrounding it. That works fine, requiring little additional effort over the conventional mode dial.
Canon has long provided C (Custom) modes that are extremely useful for storing a specific camera setup for quick access. However, turning the mode dial or pressing a button and turning the dial is not fast enough when photographing a fleeting opportunity.
The answer to this dilemma? Use a Canon R-series or 1-series camera with an electronically selected mode dial (the EOS R3, EOS R5, EOS R, and EOS-1D X Mark III, and EOS-1D X Mark II as I write this), configure a C mode to the immediately needed settings, and program the camera's M-Fn button to access a C mode instantly.
The R-series and 1-series cameras are highly customizable. Canon lists the customizable buttons and the functions available for them near the end of the owner's manual (owner's manual links are provided at the top of each camera review page). The R3's list starts on page 939, the R5's list begins on page 816, the R's list starts on page 556, the 1D X III's list begins on page 855, and the 1D X II's list starts on page 444. Paging down, you will find the C option is available for, at this time, only the M-Fn button.
When programmed to C, the M-Fn button toggles between the enabled C modes, up to all three (C1, C2, and C3), and the previously selected mode (including other camera settings) with each press. C modes can be disabled in the "Restrict shooting modes" menu option (not available in the R). Enabling only one C mode causes the M-Fn button to toggle between the single C mode and the previous camera settings, providing instant access to a specific camera setup, with instant reversion back to the previous settings via another M-Fn press.
When photographing wildlife with the R3, I wanted to take advantage of the incredible 30 fps capture rate (20 fps for the R5, 8 fps for the R). However, I knew the overwhelming selection challenge that shooting 30 fps for five days would create.
Here is the solution:
Adjust the camera to the settings desired for fast action. For the whitetail deer adventure, this meant using the electronic shutter with H+ 30 fps continuous shooting. Servo AF with eye control enabled provided quick focus acquisition, and subject tracking held the focus on the eye, including with a fast moving subject. The R3 in M mode with a wide-open aperture, fast shutter speed (at least 1/2500), and Auto ISO usually resulted in sharp details and proper exposures. The next step was to program these settings into custom mode 1 (with C2 and C3 disabled) via the menu option in the Tools menu. The M-Fn button programmed to C then provided fast, single button press access to the settings configured for the C mode.
The next step was to set the camera for the normal shooting requirements. For this shoot, manual mode with the 15 fps continuous shooting rate was selected. In the field, I roll the top dial to select the shutter speed needed for the subject at hand. Typically, immediate insurance shots are captured with a fast speed. If the subject permits, the shutter speed is increasingly lengthened as more images are captured. The goal is to have lower ISO, lower noise options from the scenario.
When moving, wildlife often moves suddenly. For example, a bird launches to take off, and a whitetail deer abruptly gives chase to a doe or competing buck. I'm sure you can add to that list of scenarios. When the sudden movement happens, a quick press of the M-Fn button immediately provides the settings programmed for fast action.
When the action slows down again, press the M-Fn button to return to the previous shooting settings.
Why is only the M-Fn button able to be programmed to C? Good question — that answer was unknown when I asked. Indeed, more buttons should be programmable to C, and I and would not be surprised to see that happen in the future. The R3's M-Fn 2 button is a prime candidate.
By default, the M-Fn button is programmed to Dial Func, a useful feature itself. To retain easy access to this function, consider programming the nearby Lamp button to Dial Func.
If your camera does not offer electronic mode selection, go pick out your next camera: The Canon EOS R-series
Just posted: Canon EOS R3 Review
So, this review has been live for a while now, but it has been a work in process. That process is not likely complete, but at some point I have to call it done to mark a psychological milestone.
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Image quality, vignetting, flare, and distortion test results along with specs, and measurements are now available on the Sigma 90mm F2.8 DG DN Contemporary Lens page.
Create some comparisons!
The Sigma 90mm F2.8 DG DN Contemporary Lens is in stock at B&H | Adorama | Amazon USA | WEX
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