Camera Gear Review News (Page 14)
Image quality test results from the Canon EOS R5 are now available in the Canon RF 24-240mm F4-6.3 IS USM Lens Review.
Those needing, even sometimes, an all-in-one lens should give this value-priced lens consideration. Expect to need lateral CA correction at the focal length extents.
Order the Canon RF 24-240mm F4-6.3 IS USM Lens from B&H | Adorama | Canon USA | Canon USA refurbished | Amazon USA | WEX
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Image quality test results from the Canon EOS R5 are now available in the Canon RF 24-105mm F4-7.1 IS STM Lens Review.
Those needing, even sometimes, an ultra-light general-purpose lens with a long focal length range should give this value-priced lens consideration.
Order the Canon RF 24-105mm F4-7.1 IS STM Lens from B&H | Adorama | Canon USA | Canon USA (refurbished) | Amazon USA | WEX
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Image quality test results from the Canon EOS R5 are now available in the Canon RF 35mm F1.8 IS STM Macro Lens Review.
Create some image quality comparisons. That link should get you started.
Order the Canon RF 35mm F1.8 IS STM Macro Lens from B&H | Adorama | Canon USA | Canon USA Refurbished | Amazon USA | WEX
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Just posted: Sony Alpha 7 IV.
The a7 IV is a solid upgrade to its predecessor, the a7 III. While considered a basic model, the a7 IV has an excellent feature set, including an excellent AF system and considerably improved resolution. This camera is a good value.
Order the Sony Alpha 7 IV at B&H | Adorama | Amazon | WEX.
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Noise test results are now available on the Sony Alpha 7 IV page.
Create some comparisons. I'll get you started:
Sony Alpha 7 IV vs. Sony Alpha 7 III noise comparison.
Already a best seller, the Sony Alpha 7 IV is in stock at B&H | Adorama | Amazon | WEX.
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Just posted: Canon RF 5.2mm F2.8 L Dual Fisheye Lens Review.
Ready for a new creative outlet?
Order the Canon RF 5.2mm F2.8 L Dual Fisheye Lens from B&H or Adorama | Canon USA (in stock) | WEX
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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.
More Information
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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."
Order the Canon RF 5.2mm F2.8 L Dual Fisheye Lens from B&H | Adorama | Canon USA | WEX
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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.
Get the Sony FE 70-200mm F2.8 GM OSS II Lens at B&H | Adorama | Amazon USA | WEX (in Stock)
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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.
Order the Sony FE 70-200mm F2.8 GM OSS II Lens from B&H | Adorama | Amazon USA | WEX (in Stock)
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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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