Camera Gear Review News (Page 17)
Image quality test results have been added to the Sigma 28-70mm f/2.8 DG DN Contemporary Lens Review.
The first comparison I wanted to see was with the Tamron 28-75mm f/2.8 Di III RXD Lens.
The Sigma 28-70mm f/2.8 DG DN Contemporary Lens is in stock at B&H | Adorama | Amazon USA | WEX
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Image quality test results have been added to the Sigma 105mm f/2.8 DG DN Macro Art Lens page.
You are going to like these results. Here are some comparisons to get you started:
Compared to Sony FE 90mm f/2.8 Macro G OSS Lens
Compared to Canon EF 100mm f/2.8L IS USM Macro Lens
Compared to Tamron 90mm f/2.8 Di VC USD Macro F017 Lens
The Sigma 105mm f/2.8 DG DN Macro Art Lens is in stock at B&H | Adorama | Amazon USA | WEX
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Image quality test results from a second lens have been added to the Sony FE 14mm f/1.8 GM Lens Review.
The second lens results, shown as sample 1, are nearly identical to the first lens results, now denoted as sample 2. Here is that comparison.
It is a rare lens that our test chart results do not accurately represent, but the FE 14mm GM lens is one of them. The test chart results for the two lenses were only mediocre (to be kind) and well below expectations for a prime G Master lens. Obvious is that a flat test chart highlights field curvature, a feature that few (none?) of us want. That the depth of sharp focus at the periphery become shallower and moves slightly rearward at close focus distances is the cause of the chart anomaly.
If carefully focused in the corner of the frame, as illustrated here, this lens produces sharp corner image quality. However, this improvement comes at the expense of the center of the frame performance. Fortunately, this lens performs significantly better at long distances.
The Sony FE 14mm f/1.8 GM Lens is an outstanding choice for photographing the milky way. Check out sample crop showing pin-point star rendering in the full-frame corners. Add this lens to the already long list of impressive Sony milky way lens options, including the FE 20mm f/1.8 G, FE 24mm f/1.4 GM, FE 12-24mm f/2.8 GM, and FE 16-35mm f/2.8 GM lenses.
The Sony FE 14mm f/1.8 GM Lens is in stock at B&H and available for order at Adorama | Amazon USA | WEX
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Ironically, the day after sharing the comparison below, Sony released Alpha 1 firmware update version 1.10. While IBIS was not called out in the list of updated features, discussions hinted that an IBIS performance update was possibly included in the "Other improvements in operational stability" line item. Sony would not divulge the answer to that question. That possibility left a little doubt in my mind, and ... I don't like doubt more than I don't like testing image stabilization.
Round 2. Jump over to the latest Canon vs. Sony IBIS Comparison Test for the round 2 results.
When shooting handheld, image stabilization performance can be a significant image quality factor. Sony has incorporated In-Body Image Stabilization (IBIS) in their cameras for many years — the a7 II and a7R II had this feature. Canon's first IBIS implementations arrived last summer in the Canon EOS R5 and EOS R6.
Especially given Sony's long head start with this technology, I wanted to know: Is Sony's IBIS better than Canon's? Or is Canon's IBIS better? The two systems could also perform equally, and that piece of information would also be helpful to know. It was time to create a comparison featuring the latest high-end models from each company, the Canon EOS R5 vs. Sony Alpha 1.
CIPA's image stabilization ratings attempt to provide an objective measure of a camera's stabilization assistance capabilities. However, CIPA is considerably steadier than I am. There are no objective image stabilization tests that measure a camera's stabilization assistance specifically for me — or for you, and it is only a camera's stabilization assistance performance for the person holding the camera that matters. Even our personal stabilization needs are situational, with wind, physical exertion, footing stability, and other factors influencing our ability to hold a camera steady.
While I had opinions on the overall image stabilization performance of various Canon and Sony camera and lens combinations, explicitly testing the difference between the Canon and Sony camera IBIS has been interesting me. With nearly identical Canon and Sony non-stabilized lenses in the lab at the same time, this comparison hit the top of my to-do list, becoming the priority.
While completely objective testing was not possible, it seemed that subjective testing could be dialed in to have meaning.
This IBIS testing was performed in the studio, with ideal handheld testing conditions, including solid (concrete) footing and no wind. During testing, elbows were not resting on the body, and the viewfinder was in use (vs. the rear LCD).
The Canon EOS R5 with an RF 50mm F1.2 L USM Lens was tested against a Sony Alpha 1 with an FE 50mm f/1.2 GM Lens. The cameras were set to single-shot mode, with the electronic first curtain shutter selected in Tv mode. A detailed test target (exceeding camera resolution) was positioned at eye level about 10' (3.3m) away, with the distance marked for consistency.
Starting at 1/25 second exposures (roughly 2 stops of stabilization assistance expected for me), 10 images were captured with each camera. The shutter duration on both cameras was then increased by 1/3 stop, and the testing was repeated, alternating cameras until 1 second exposures were on the cards. That procedure amounted to 150 pictures taken with each camera (10 shots x 15 shutter speeds), 300 pictures total.
The measure of sharpness is not boolean, true or false, meaning an arbitrary determination of pass or fail was required, and adding an intermediary grade seemed a good idea. In addition, everyone loves a score, a firm number that can quickly be compared and quoted.
If the image was unsalvageable, it went into the "Delete" category. If an image is blurry, it was a waste of time to capture, load, and process. Worse is that I may have counted on the image being sharp, meaning that the desired image was lost. The blurry image also consumed space on the memory card and later on the computer's SSD. Thus, in the "Score" column, five points are deducted for each image falling in this category.
If the image was salvageable via increasing the sharpness or down-sizing the image, it went into the "Useable" category. No points were given for these images. While they will often get the job done, these results were mediocre.
Crisply sharp images are what we want. Test images making the "Sharp" grade were awarded 5 points.
Most images were not hard to place in one of these three categories. The "benefit of the doubt" rule was implemented for those hard to grade, and the higher grade was given.
Here is the resulting Canon vs. Sony IBIS comparison table:
| Canon | Sony | Diff (Canon - Sony) | Score | |||||||||
| Exposure | Delete | Useable | Sharp | Delete | Useable | Sharp | Delete | Useable | Sharp | Canon | Sony | Diff |
| 1/25 | 0 | 0 | 10 | 1 | 2 | 7 | -1 | -2 | 3 | 50 | 30 | 20 |
| 1/20 | 0 | 1 | 9 | 1 | 1 | 8 | -1 | 0 | 1 | 45 | 35 | 10 |
| 1/15 | 0 | 0 | 10 | 1 | 4 | 5 | -1 | -4 | 5 | 50 | 20 | 30 |
| 1/13 | 0 | 1 | 9 | 2 | 3 | 5 | -2 | -2 | 4 | 45 | 15 | 30 |
| 1/10 | 1 | 3 | 6 | 6 | 1 | 3 | -5 | 2 | 3 | 25 | -15 | 40 |
| 1/8 | 0 | 3 | 7 | 3 | 4 | 3 | -3 | -1 | 4 | 35 | 0 | 35 |
| 1/6 | 0 | 3 | 7 | 3 | 3 | 4 | -3 | 0 | 3 | 35 | 5 | 30 |
| 1/5 | 2 | 4 | 4 | 6 | 1 | 3 | -4 | 3 | 1 | 10 | -15 | 25 |
| 1/4 | 4 | 3 | 3 | 2 | 4 | 4 | 2 | -1 | -1 | -5 | 10 | -15 |
| 1/3 | 2 | 4 | 4 | 6 | 1 | 3 | -4 | 3 | 1 | 10 | -15 | 25 |
| 0.4 | 8 | 0 | 2 | 4 | 4 | 2 | 4 | -4 | 0 | -30 | -10 | -20 |
| 0.5 | 6 | 0 | 4 | 9 | 0 | 1 | -3 | 0 | 3 | -10 | -40 | 30 |
| 0.6 | 10 | 0 | 0 | 10 | 0 | 0 | 0 | 0 | 0 | -50 | -50 | 0 |
| 0.8 | 8 | 0 | 2 | 9 | 1 | 0 | -1 | -1 | 2 | -30 | -45 | 15 |
| 1 | 8 | 2 | 0 | 10 | 0 | 0 | -2 | 2 | 0 | -40 | -50 | 10 |
| Total | 49 | 24 | 77 | 73 | 29 | 48 | -24 | -5 | 29 | 140 | -125 | 265 |
The testing was so much fun that I decided to do it again. OK, the fun part was missing, but meaningful test results should be repeatable, right? While I made a significant effort to capture every test shot to the best of my current abilities (I was not especially steady on this day), I had enough doubt in my mind to leave me unsatisfied. Testing for consistency seemed necessary.
Thus, after fully evaluating the first set of results, the same test was repeated — another 300 images were captured. The results are as follows:
| Canon | Sony | Diff (Canon - Sony) | Score | |||||||||
| Exposure | Delete | Useable | Sharp | Delete | Useable | Sharp | Delete | Useable | Sharp | Canon | Sony | Diff |
| 1/25 | 0 | 0 | 10 | 0 | 1 | 9 | 0 | -1 | 1 | 50 | 45 | 5 |
| 1/20 | 0 | 0 | 10 | 0 | 0 | 10 | 0 | 0 | 0 | 50 | 50 | 0 |
| 1/15 | 0 | 2 | 8 | 2 | 3 | 5 | -2 | -1 | 3 | 40 | 15 | 25 |
| 1/13 | 1 | 3 | 6 | 0 | 2 | 8 | 1 | 1 | -2 | 25 | 40 | -15 |
| 1/10 | 0 | 4 | 6 | 7 | 0 | 3 | -7 | 4 | 3 | 30 | -20 | 50 |
| 1/8 | 1 | 3 | 6 | 4 | 3 | 3 | -3 | 0 | 3 | 25 | -5 | 30 |
| 1/6 | 0 | 3 | 7 | 1 | 6 | 3 | -1 | -3 | 4 | 35 | 10 | 25 |
| 1/5 | 2 | 5 | 3 | 5 | 3 | 2 | -3 | 2 | 1 | 5 | -15 | 20 |
| 1/4 | 2 | 3 | 5 | 5 | 3 | 2 | -3 | 0 | 3 | 15 | -15 | 30 |
| 1/3 | 3 | 5 | 2 | 7 | 2 | 1 | -4 | 3 | 1 | -5 | -30 | 25 |
| 0.4 | 6 | 2 | 2 | 6 | 2 | 2 | 0 | 0 | 0 | -20 | -20 | 0 |
| 0.5 | 8 | 1 | 1 | 9 | 0 | 1 | -1 | 1 | 0 | -35 | -40 | 5 |
| 0.6 | 10 | 0 | 0 | 7 | 2 | 1 | 3 | -2 | -1 | -50 | -30 | -20 |
| 0.8 | 9 | 1 | 0 | 10 | 0 | 0 | -1 | 1 | 0 | -45 | -50 | 5 |
| 1 | 9 | 1 | 0 | 10 | 0 | 0 | -1 | 1 | 0 | -45 | -50 | 5 |
| Total | 51 | 33 | 66 | 73 | 27 | 50 | -22 | 6 | 16 | 75 | -115 | 190 |
While these numbers are as meaningful as the first table, it was the consistency with the first test results that most interested me. The following table shows the deviation between the two tests. The second result was subtracted from the first result, with 0 or close to 0 indicating similar performance.
| Canon | Sony | |||||
| Exposure | Delete | Useable | Sharp | Delete | Useable | Sharp |
| 1/25 | 0 | 0 | 0 | 1 | 1 | -2 |
| 1/20 | 0 | 1 | -1 | 1 | 1 | -2 |
| 1/15 | 0 | -2 | 2 | -1 | 1 | 0 |
| 1/13 | -1 | -2 | 3 | 2 | 1 | -3 |
| 1/10 | 1 | -1 | 0 | -1 | 1 | 0 |
| 1/8 | -1 | 0 | 1 | -1 | 1 | 0 |
| 1/6 | 0 | 0 | 0 | 2 | -3 | 1 |
| 1/5 | 0 | -1 | 1 | 1 | -2 | 1 |
| 1/4 | 2 | 0 | -2 | -3 | 1 | 2 |
| 1/3 | -1 | -1 | 2 | -1 | -1 | 2 |
| 0.4 | 2 | -2 | 0 | -2 | 2 | 0 |
| 0.5 | -2 | -1 | 3 | 0 | 0 | 0 |
| 0.6 | 0 | 0 | 0 | 3 | -2 | -1 |
| 0.8 | -1 | -1 | 2 | -1 | 1 | 0 |
| 1 | -1 | 1 | 0 | 0 | 0 | 0 |
| Total | -2 | -9 | 11 | 0 | 2 | -2 |
To account for any testing anomalies, after compiling the second test results, the three exposure durations with the most deviation (though none were significantly differing) for each camera were tested a third time (60 additional test shots). The worst of the three results for each camera was thrown out, leaving the results shown in the above tables.
I am very impressed at how consistent the results for the two tests are. The similarity adds credence to the test results.
Here is a summary table showing the combined first and second test results, along with the final scoring.
| Canon | Sony | Diff (Canon - Sony) | Score | |||||||||
| Exposure | Delete | Useable | Sharp | Delete | Useable | Sharp | Delete | Useable | Sharp | Canon | Sony | Diff |
| 1/25 | 0 | 0 | 20 | 1 | 3 | 16 | -1 | -3 | 4 | 100 | 75 | 25 |
| 1/20 | 0 | 1 | 19 | 1 | 1 | 18 | -1 | 0 | 1 | 95 | 85 | 10 |
| 1/15 | 0 | 2 | 18 | 3 | 7 | 10 | -3 | -5 | 8 | 90 | 35 | 55 |
| 1/13 | 1 | 4 | 15 | 2 | 5 | 13 | -1 | -1 | 2 | 70 | 55 | 15 |
| 1/10 | 1 | 7 | 12 | 13 | 1 | 6 | -12 | 6 | 6 | 55 | -35 | 90 |
| 1/8 | 1 | 6 | 13 | 7 | 7 | 6 | -6 | -1 | 7 | 60 | -5 | 65 |
| 1/6 | 0 | 6 | 14 | 4 | 9 | 7 | -4 | -3 | 7 | 70 | 15 | 55 |
| 1/5 | 4 | 9 | 7 | 11 | 4 | 5 | -7 | 5 | 2 | 15 | -30 | 45 |
| 1/4 | 6 | 6 | 8 | 7 | 7 | 6 | -1 | -1 | 2 | 10 | -5 | 15 |
| 1/3 | 5 | 9 | 6 | 13 | 3 | 4 | -8 | 6 | 2 | 5 | -45 | 50 |
| 0.4 | 14 | 2 | 4 | 10 | 6 | 4 | 4 | -4 | 0 | -50 | -30 | -20 |
| 0.5 | 14 | 1 | 5 | 18 | 0 | 2 | -4 | 1 | 3 | -45 | -80 | 35 |
| 0.6 | 20 | 0 | 0 | 17 | 2 | 1 | 3 | -2 | -1 | -100 | -80 | -20 |
| 0.8 | 17 | 1 | 2 | 19 | 1 | 0 | -2 | 0 | 2 | -75 | -95 | 20 |
| 1 | 17 | 3 | 0 | 20 | 0 | 0 | -3 | 3 | 0 | -85 | -100 | 15 |
| Total | 100 | 57 | 143 | 146 | 56 | 98 | -46 | 1 | 45 | 215 | -240 | 455 |
So, we just got highly analytical with 660 subjective test results. Still, there seems to be some meaning here.
The sharp column from this table is illustrated in the graph included at the top of this post. From these results, it is arguable that the IBIS technology in the Canon EOS R5 is superior to that in the Sony Alpha 1, at least in many of the shutter speed comparisons (for me, on this day, in this location, with the referenced lenses mounted). For example, follow the "10" line in the chart to see the shutter speed I required for a 50% sharp image rate.
The bottom line is that IBIS is valuable in both camera brands. This feature adds substantially to the versatility of non-stabilized lenses, such as the 50mm f/1.2 models tested here. IBIS is one more reason to love the latest mirrorless camera models.
Just posted: MindShift Gear BackLight Elite 45L Review
A first-choice full-size backpack for nearly any adventure.
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Just posted: Sony FE 50mm f/2.5 G Lens Review.
This is a very nice little lens.
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Just posted: Sony FE 50mm f/1.2 GM Lens Review.
Excellent lens.
Get in line if you want this one. Order the Sony FE 50mm f/1.2 GM Lens at B&H | Adorama | Amazon USA | WEX
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Just posted: Sony FE 14mm f/1.8 GM Lens Review.
A second FE 14mm lens is on order, and I intend to update the review upon testing that lens.
The Sony FE 14mm f/1.8 GM Lens is available for order at B&H | Adorama | Amazon USA | WEX
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Image quality, vignetting, and distortion test results have been added to the Sony FE 14mm f/1.8 GM Lens page.
Some discussion is warranted here. This lens's center of the frame performance is outstanding, even wide open at f/1.8. Primarily at issue are the soft corners falling below expectations, with all four corners performing similarly. At the 14mm full frame angle of view, a very close focus distance is required to fit even a large chart in the frame, and my first thought was perhaps the close-focusing image quality was the issue. However, some quick outdoor testing also shows relatively soft peripheral performance even at very long distances, though as usual, natural details appear better than the sharp, high-contrast test chart. So, I next need to make a decision on how to proceed.
If this retail-purchased lens is performing properly, it might be worth carrying the additional weight of the Sigma Art Lens. Here is that comparison.
The Sony FE 14mm f/1.8 GM Lens is available for order at B&H | Adorama | Amazon USA | WEX
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Image quality, vignetting, flare, and distortion test results along with specs, and measurements have been added to the Sony FE 50mm f/2.5 G Lens page.
Here are some comparisons to get you started:
Sony FE 50mm f/2.5 G Lens compared to Sony FE 40mm f/2.5 G Lens
Sony FE 50mm f/2.5 G Lens compared to Sony FE 50mm f/2.8 Macro Lens
Sony FE 50mm f/2.5 G Lens compared to Sony FE 50mm f/1.8 Lens
Sony FE 50mm f/2.5 G Lens compared to Sony FE 24-70mm f/2.8 GM Lens
Many more good comparisons are available – select the ones most relevant to you.
The Sony FE 50mm f/2.5 G Lens is in stock at B&H | Adorama | Amazon USA | WEX
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Image quality, vignetting, flare, and distortion test results along with specs, and measurements have been added to the Sony FE 50mm f/1.2 GM Lens page.
We expected this to be a great lens. Here are some comparisons:
Sony FE 50mm f/1.2 GM Lens compared to Canon RF 50mm F1.2 L USM Lens
Sony FE 50mm f/1.2 GM Lens compared to Sony FE 50mm f/1.4 ZA Lens (at f/1.4)
Many more comparisons are logical – select the ones most relevant to you.
Act fast: the Sony FE 50mm f/1.2 GM Lens is in stock at Amazon USA.
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Just posted: Sony FE 40mm f/2.5 G Lens Review.
In many ways, this lens is like the Sony FE 24mm f/2.8 G Lens. However, there are some, primarily image quality, differences.
The Sony FE 40mm f/2.5 G Lens is in stock at B&H | Adorama | Amazon USA | WEX
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Just posted: Sony FE 24mm f/2.8 G Lens Review.
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Image quality, vignetting, flare, and distortion test results along with specs, measurements, and standard product images have been added to the Sony FE 40mm f/2.5 G Lens page.
These results are looking great. Here is a comparison to get you started:
Sony FE 40mm f/2.5 G Lens compared to Sony FE 35mm f/2.8 ZA Lens
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Image quality, vignetting, flare, and distortion test results along with specs, measurements, and standard product images have been added to the Sony FE 24mm f/2.8 G Lens page.
The uncorrected distortion test result tells part of the story.
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Just posted: Sigma 35mm f/1.4 DG DN Art Lens review.
If you liked the first Sigma 35mm Art Lens, you are going to love this one.
The Sigma 35mm f/1.4 DG DN Art Lens is in stock at B&H | Adorama | Amazon USA | WEX
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Image quality, vignetting, flare, and distortion test results along with specs and measurements have been added to the Sigma 35mm f/1.4 DG DN Art Lens page.
There are a lot of lenses that can be logically compared to this one. I'll get you started:
Sigma 35mm f/1.4 DG DN Art Lens compared to Sigma 35mm f/1.4 DG HSM Art Lens
Sigma 35mm f/1.4 DG DN Art Lens compared to Sigma 35mm f/1.2 DG DN Art Lens
Sigma 35mm f/1.4 DG DN Art Lens compared to Sony FE 35mm f/1.4 GM Lens
Sigma 35mm f/1.4 DG DN Art Lens compared to Sony FE 35mm f/1.4 ZA Lens
The Sigma 35mm f/1.4 DG DN Art Lens is in stock at B&H | Adorama | Amazon USA | WEX
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The pages for these three coming-soon Sony compact prime lenses are filled with information and expectations.
Sony FE 24mm f/2.8 G Lens
Sony FE 40mm f/2.5 G Lens
Sony FE 50mm f/2.5 G Lens
Note that these lenses are very similar aside from their focal lengths and corresponding optical formulas. The lens pages differ primarily by the focal length discussion and the comparisons section, and otherwise, reading one page is sufficient.
The Sony FE 24mm f/2.8 G Lens is available for order at B&H | Adorama | Amazon USA | WEX
The Sony FE 40mm f/2.5 G Lens is available for order at B&H | Adorama | Amazon USA | WEX
The Sony FE 50mm f/2.5 G Lens is available for order at B&H | Adorama | Amazon USA | WEX
Just posted: Crucial X6 Portable SSD Review.
Faster, smaller, lighter, more robust, increased reliability, higher capacity, and lower price. That sounds like a winning scenario, right?
Even if the SSD does not interest you, be sure to read the data backup warning.
The 1TB and 4TB models are on sale now. Save up to $75.00 at Crucial X6 Portable SSD is in stock at B&H | Adorama | Amazon USA
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The Sony FE 14mm f/1.8 GM Lens page is filled with expectations for and information about this highly-anticipated new lens.
The size, weight, and MTF chart tell us a lot.
The Sony FE 14mm f/1.8 GM Lens is available for order at B&H | Adorama | Amazon USA | WEX
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