Camera Gear Review News (Page 19)
Based on the email I have been receiving, it seems that a growing number of photographers with DSLR kits are interested in having the benefits of the latest high-performing mirrorless cameras. Especially the Canon EOS R5 and EOS R6 and their impressive AF systems are drawing DSLR kit owners' attention. What is holding these DSLR owners back is their often-extensive investments in DSLR lenses.
Fortunately, that resistance to migrate is unnecessary.
If you have a Canon DSLR kit but want the benefits of a mirrorless camera, get the camera(s) and use Canon EF-EOS R Mount Adapters to make all of your current lenses compatible.
With many photographers currently using this migration strategy, these adapters are hard to find right now. The best course of action is to get in line. Place orders with a few of our recommended retailers (B&H | Adorama | Amazon | Canon USA) and cancel any unshipped orders when your desired number of adapters ship.
If you don't want to wait, consider the in-stock Vello adapter at B&H.
Sure, the Canon RF Lenses are always better than their corresponding DSLR lens model, and you will likely want to migrate to those models eventually. In the meantime, you might be surprised at how well your current DSLR lenses perform when a mirrorless camera is behind them. Expect the EOS R5 and R6 to focus your current lenses as fast as your DSLR and with better accuracy, especially when using the game-changing eye AF feature.
The Sony Alpha a1 is here, and it is time to set up this camera for use. Following are the steps I took to make an out-of-the-box a1 ready for use. Note that these instructions are updated to the camera firmware version 3.0.
- Charge the battery
- Record the serial number, and add the camera to your insurance policy
- Download and install the latest version of Sony Imaging Edge or your favorite RAW image processing software.
- Insert the charged battery and a memory card(s) (we'll format it later), and power on the camera
- Answer the power-on prompts, including setting the time zone and date
- Select M mode, press "Menu", and configure the camera as follows:
- Shooting > 1 Image Quality/Rec: Image Quality: Image Quality Settings: File Format: RAW; RAW File Type: Lossless Compressed L (full image quality reduced file size)
- Shooting > 1 Image Quality/Rec: Long Exposure NR: Off (I enable this option for very long exposures)
- Shooting > 2 Media: Format (ensure there are no important files on the card(s) prior to formatting)
- Shooting > 3 File: Copyright Info: Write Copyright Info: On Set Photographer: [your name]; Set Copyright: [as desired]; Write Serial Number: On (entering this information on the touchscreen may be a painful process)
- Shooting > 5 Cont. Shooting Speed: Lo(E-Shutter): 10 images/s (increased from the default of 5)
- Shooting > 5 Drive Mode > Self-timer Type: Self-timer(Single): 2 sec
- Shooting > 5 Drive Mode > Bracket Settings: Self-timer during Bracket: 2 Sec, Bracket order: ->0>+ (optimizes image order for selection for HDR processing)
- Shooting > 6 Shutter/Silent: Release w/o Lens: Disable
- Shooting > 6 Shutter/Silent: Release w/o Card: Disable (should be the default)
- Shooting > 9 Shooting Display: Grid Line Display: On (Rule of Thirds selected)
- Exposure/Color > 3 Metering: Spot Metering Point: Focus Point Link
- Exposure/Color > 6 Color/Tone: D-Range Optimizer: Off
- Exposure/Color > 6 Color/Tone: Creative Look: NT (Neutral) Sharpness = 1 (this setting provides a low contrast histogram that better shows exposure latitude. I usually process with the default creative style in Capture One or profile in Lightroom)
- Focus > 1 AF/MF: Priority Set in AF-S: AF (in focus is my priority)
- Focus > 1 AF/MF: Priority Set in AF-C: AF (in focus is my priority)
- Focus > 2 Focus Area: Focus Area: Spot: S (this setting is often changed)
- Focus > 2 Focus Area: Switch V/H AF Area: AF Point Only
- Focus > 4 Initial Focus Mag.: x4.2
- Focus > 5 Peaking Display: On
- Focus > 5 Peaking Level: Low
- Playback > 4 Delete: Delete confirm.: "Delete" first
- Playback > 7 Playback Option: Display Rotation: Off (image always fills LCD)
- Network > 9 Network Option: Airplane Mode: On (unless you plan to use the wireless capabilities)
- Setup > 3 Operation Customize: Custom Key/Dial Set.: Dial/Wheel: Front Dial: Av/Tv (Tv in M mode), Rear Dial: Av/Tv (Av in M mode) (I adjust the shutter speed more frequently and urgently than the 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 > 3 Operation Customize: DISP (Screen Disp) Set: Monitor: Uncheck For viewfinder press [enter]
- Setup > 5 Touch Operations: Touch Panel/Pad: Both Valid
- Setup > 5 Touch Operations: Touch Pad Settings: Shooting Screen: Touch Position Mode: Relative Position
- Setup > 9 Sound Option: Audio Signal(Shooting): Off (how to turn off the AF beep sound so that no one knows you took a photo at the wrong time or missed the right time)
- My Menu: Format, Anti-flicker Set., Steady Shot, Flash Comp., Face/Eye Subject
- View the menu (it is always sharp) through the viewfinder while adjusting the diopter
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 tweak these steps 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. Note that the a1 enables camera settings to be saved and loaded, a timesaving feature.
More Information
The Sony Alpha a1 is available for order at
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Adorama |
Amazon.
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The Sony FE 50mm f/1.2 GM Lens Review page is filled with expectations for this exciting new lens.
The Sony FE 50mm f/1.2 GM Lens is available for order at B&H | Adorama | Amazon USA
Rent the Sony FE 50mm f/1.2 GM Lens from Lensrentals.
Just posted: Sigma 24mm f/3.5 DG DN Contemporary Lens Review.
This is a fun little lens.
The Sigma 24mm f/3.5 DG DN Contemporary Lens is in stock at B&H | Adorama | Amazon USA
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Sony introducing their first f/1.2 FE lens, the Sony FE 50mm f/1.2 GM Lens, is exciting, but enabling that massive aperture opening requires large, heavy lens elements. How large and heavy is this lens, especially relative to the Canon RF 50mm F1.2 L USM Lens?
The Sony FE 50mm f/1.2 GM Lens vs. Canon RF 50mm F1.2 L USM Lens comparison shows these two lenses sharing a length spec and the Sony lens shaving about 3mm from the Canon lens's diameter. Basically, the size of the lenses is not differentiating. From a weight perspective, the Sony is 18% lighter. The 6 oz (172g) difference will be modestly noticeable.
The Sony lens has 11 diaphragm blades vs. 10. The odd blade count number will generate 22-point starbursts when used at narrow apertures vs. 10 points. Which is preferable is a matter of taste. All else equal, more blades result in rounder bokeh effects at narrow apertures.
The Canon lens features a focus limiter switch, enabling a shortened focus distance range for potentially less focus hunting in some scenarios. The Canon lens has a slightly higher maximum magnification capability, 0.19x vs. 0.17x.
The Canon is the more expensive lens — $300.00 more expensive as I write this. Will the higher price be justified? The optical performance comparison potentially holds that answer. From what we've seen from Sony GM lenses so far, the optical performance of the new FE 50 f/1.2 should be similar to that of the impressive Canon option.
Just posted: Sigma 35mm f/2 DG DN Contemporary Lens Review.
Welcome to the Sigma "I-series".
The Sigma 35mm f/2 DG DN Contemporary Lens is in stock at B&H | Adorama | Amazon USA
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Resolution test results have been added to the Sony Alpha a1 review, a work in progress.
Here are some comparisons:
In these comparisons, more resolution results in higher image quality. There is nothing surprising about that. Also obvious, especially in the Canon comparison, is that the Sony Alpha cameras continue to produce strong moiré or false color.
Again, image quality commentary (and much more) for the Alpha a1 is available in the "Image Quality" section of the review.
Future Sony Lens Testing
Unless strong objections are voice, I will use the Sony Alpha a1 for future Sony Lens testing. While some visualization skills are required to compare against the existing lower resolution Sony Alpha a7R III test results, the difference seems relatively small from a lens comparison perspective.
If you are interested in purchasing my mint a7R III, let me know.
Noise and dynamic range test results have been added to the Sony Alpha a1 review, a work in progress.
Commentary for these results is available in the "Image Quality" section of the review.
The Sony Alpha a1 provides compressed non-lossy RAW file format, but you may not want to use it — at least not immediately.
I stayed up late last night to capture nearly 300 Sony a1 noise and dynamic range test images. The non-lossy compressed RAW file format seemed a no-brainer to reduce the storage requirements (all of our test images are archived). After completing the tests, I attempted to load the images into Capture One, updated yesterday with support for the Alpha a1 affirmed. Troubling was that only a small number of RAW images and the JPG files would import.
I quickly determined that only the uncompressed and lossy compressed RAW images files were importing. As it turns out, Capture One is not yet compatible with the Sony a1 compressed RAW file format, and that's a show-stopper for my hours of work.
The next step was to attempt opening the files in Lightroom. After downloading the latest Adobe updates (Photoshop and Camera RAW updates were available), I attempted to import the test images into Lightroom. This time only the JPG images came in.
According to Adobe, the a1 is supported in Lightroom Classic version 10.2. The problem is, Lightroom 10.1.1 is the latest Lightroom Classic version available. Thus, at this moment, Lightroom does not support the a1 — unless you shoot in JPG format.
The good news is that yesterday's Adobe updates fully support the a1, including the compressed RAW file format, in Bridge and Photoshop. So, Lightroom should also support these files very soon. However, Lightroom is not the image processor we've used on the previous Sony cameras. So, for comparative reasons, Capture One is the required option.
I'm not patient enough to wait for another Capture One update, so tonight will be another late night of tedious camera testing — using the uncompressed RAW file format.
I should note that Sony's Imaging Edge supports the non-lossy compressed format.
The following table shows comparative RAW file sizes for a photo of a standard in-studio setup with a moderately-high amount of detail captured with the referenced camera.
| Model / File Size in MB @ ISO: | (MP) | 100 | 200 | 400 | 800 | 1600 | 3200 | 6400 | 12800 | 25600 | 51200 | 102400 | 204800 |
| Canon EOS-1D X III | (20.1) | 24.7 | 25.2 | 25.4 | 26.0 | 26.9 | 27.8 | 28.9 | 30.3 | 31.9 | 33.7 | 35.9 | 36.3 |
| Canon EOS 5Ds R | (50.6) | 65.2 | 66.4 | 67.6 | 69.8 | 73.0 | 77.2 | 81.9 | 88.4 | ||||
| Canon EOS R5 | (45.0) | 51.6 | 53.1 | 53.6 | 55.6 | 57.7 | 60.1 | 63.0 | 66.4 | 70.5 | 75.1 | 79.5 | |
| Canon EOS R5 CRAW | (45.0) | 28.1 | 29.3 | 29.9 | 31.5 | 33.3 | 35.5 | 36.2 | 35.9 | 36.0 | 36.9 | 37.7 | |
| Canon EOS R6 | (20.1) | 24.1 | 24.7 | 24.9 | 25.6 | 26.4 | 27.3 | 28.4 | 29.8 | 31.4 | 33.3 | 35.5 | 35.9 |
| Canon EOS R6 CRAW | (20.1) | 13.8 | 14.2 | 14.5 | 14.9 | 15.6 | 16.4 | 16.4 | 16.0 | 15.7 | 15.8 | 16.1 | 14.8 |
| Sony a1 Uncomp | (50.1) | 102.2 | 102.2 | 102.1 | 102.1 | 102.2 | 102.5 | 102.4 | 102.6 | 103.4 | 103.4 | 104.4 | |
| Sony a1 Non-Lossy | (50.1) | 64.0 | 64.7 | 65.7 | 67.1 | 69.1 | 71.6 | 74.4 | 78.2 | 80.8 | 96.0 | 93.9 | |
| Sony a1 Lossy | (50.1) | 54.4 | 54.4 | 54.3 | 54.2 | 54.4 | 54.6 | 54.5 | 54.7 | 55.6 | 55.6 | 56.4 | |
| Sony a9 II | (24.2) | 47.2 | 47.2 | 47.1 | 47.1 | 47.1 | 47.1 | 47.1 | 47.1 | 47.2 | 47.2 | 47.2 | 47.3 |
| Sony a9 | (24.2) | 47.2 | 47.2 | 47.1 | 47.1 | 47.1 | 47.1 | 47.1 | 47.1 | 47.2 | 47.2 | 47.2 | 47.3 |
| Sony a7R IV | (61.0) | 117.0 | 117.0 | 117.0 | 117.0 | 117.0 | 117.0 | 117.0 | 117.0 | 82.0 | 82.0 | 82.0 | |
| Sony a7R IV CRAW | (61.0) | 59.1 | 59.1 | 59.1 | 59.1 | 59.1 | 59.1 | 59.1 | 59.1 | 59.1 | 59.1 | 59.1 | |
| Sony a7R III | (42.4) | 81.9 | 81.9 | 81.9 | 81.9 | 81.9 | 81.9 | 81.9 | 81.9 | 82.0 | 82.0 | 82.0 | |
| Sony a7R II | (42.4) | 82.8 | 82.8 | 82.8 | 82.8 | 82.8 | 82.8 | 82.8 | 82.8 | 82.8 | 82.8 | 82.8 | |
| Sony a7 III | (24.2) | 47.1 | 47.1 | 47.1 | 47.1 | 47.1 | 47.1 | 47.1 | 47.1 | 47.1 | 47.2 | 47.2 | 47.2 |
| Sony a7C | (24.2) | 47.1 | 47.1 | 47.1 | 47.1 | 47.1 | 47.1 | 47.1 | 47.1 | 47.1 | 47.2 | 47.2 | 47.2 |
RAW file sizes increase with: 1. Resolution 2. Bit Depth (more is better/larger) 3. Detail (noise adds detail, so high ISO file sizes increase) 4. Lack of compression. Memory and disk are cheap – buy more.
At ISO 100, the Sony non-lossy compressed RAW format results in a huge file size reduction. This file is 63% as large as the uncompressed result, and similar in size to Canon's standard non-lossy compressed 50MP EOS 5Ds R RAW files. At the highest (noisiest) ISO settings, the compression savings is significantly reduced.
The lossy compressed file size is, as expected, smaller than the non-lossy compressed file size. However, the difference is small enough at all except the highest few stops of ISO settings that there is little incentive to drop down to the lossy option.
What I can see so far is that the Sony Alpha a1 images look excellent, including from a dynamic range standpoint.
When planning for the Sony a1 arrival, I wanted to know if an L-plate from a previously available camera would fit the a1. Ideally, an L-plate already in my kit. I find L-plates a necessity. New L-plates designs typically reach the market months after new camera models, and the arrival of a new camera model that uses existing plates can result in already available L-plates going out of stock.
My ProMediaGear PLX3x Universal L-Bracket was undoubtedly going to work as well on the a1 as it does on nearly all cameras. Still, the cameras remaining in my kit eventually all get custom Really Right Stuff L-Plates or Kirk L-Brackets.
That answer did not arrive before the a1 arrived, but I immediately and successfully installed the Really Right Stuff Ultralight Plate for Sony a7R IV, a7S III, and a9 II on the a1. I expect that similarly-designed L-plates will also fit nicely.
Stating this optimistically, I'm considerably less certain that the RRS L-Plate Set's wrap-around design will fit the a1's slightly larger grip. The calipers say the a1's grip is a couple of mm larger, including the area appearing to be inside the L-plate set.
Image quality, vignetting, flare, and distortion test results along with specs, measurements, and standard product images have been added to the Sigma 24mm f/3.5 DG DN Contemporary Lens Review.
You are going to like these results. There are not many 24mm prime lenses this slow, but you can start your comparisons with these two options:
Sigma compared to Canon EF 24mm f/2.8 IS USM Lens
Sigma compared to Tamron 24mm f/2.8 Di III OSD M1:2 Lens
The Sigma 24mm f/3.5 DG DN Contemporary Lens is in stock at B&H | Adorama | Amazon USA
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Just posted: Sigma 35mm f/1.2 DG DN Art Lens Review.
I look forward to reviewing some lenses more than others. My anticipation for this one was high, and I was not disappointed.
The Sigma 35mm f/1.2 DG DN Art Lens is in stock at B&H (save $270.00 by buying a 9+ rated used lens) | Adorama (kit with free tripod) | Amazon USA | WEX
Rent the Sigma 35mm f/1.2 DG DN Art Lens from Lensrentals.
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Just posted: Sony FE 50mm f/2.8 Macro Lens Review.
Save $50.00 instantly: the Sony FE 50mm f/2.8 Macro Lens is in stock and on sale at Adorama and Amazon USA. B&H is taking orders.
Rent the Sony FE 50mm f/2.8 Macro Lens from Lensrentals.
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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 Sigma 35mm f/2 DG DN Contemporary Lens page.
Comparing the Sigma Lens to the Sony FE 35mm f/1.8 Lens is a good start.
Here is the Sigma Lens compared to the Tamron 35mm f/1.8 Di VC USD Lens.
Here is the Sigma Lens compared to the Canon RF 35mm F1.8 IS STM Macro Lens. Use your visualization skills to discern between the differing camera resolutions.
And, here is the Sigma Lens compared to the Canon EF 35mm f/2 IS USM Lens.
The Sigma 35mm f/2 DG DN Contemporary Lens is in stock at B&H | Adorama | Amazon USA
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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 Sigma 35mm f/1.2 DG DN Art Lens Review.
The Sony FE 35mm f/1.4 GM Lens will be an interesting comparison, but the Sigma 35mm f/1.2 DG DN Art Lens comparison with the Sony FE 35mm f/1.4 ZA Lens is available now.
The Sigma 35mm f/1.2 DG DN Art Lens is in stock at B&H | Adorama | Amazon USA | WEX
Rent the Sigma 35mm f/1.2 DG DN Art Lens from Lensrentals.
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Just posted: Sony FE 50mm f/1.4 ZA Lens Review.
This is a very sharp lens.
The Sony FE 50mm f/1.4 ZA Lens is in stock or available for order at B&H | Adorama | Amazon USA | WEX
Rent the Sony FE 50mm f/1.4 ZA Lens from Lensrentals.
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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 50mm f/2.8 Macro Lens page.
Save $50.00 instantly: the Sony FE 50mm f/2.8 Macro Lens is in stock and on sale at B&H (used – save an additional $100.00)| Adorama | Amazon USA
Rent the Sony FE 50mm f/2.8 Macro Lens from Lensrentals.
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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 50mm f/1.4 ZA Lens Review page.
At this point in time, it is surprising that Sony has not introduced a G Master version of this popular focal length and aperture combination. After seeing the results from the ZA 50 f/1.4 lens, sharp realization is that a GM version introduction has low urgency.
Sony FE 50mm f/1.4 ZA Lens compared to Canon RF 50mm F1.2 L USM Lens
Sony FE 50mm f/1.4 ZA Lens compared to Sigma 50mm f/1.4 DG HSM Art Lens
Sony FE 50mm f/1.4 ZA Lens compared to Sigma 40mm f/1.4 DG HSM Art Lens
Sony FE 50mm f/1.4 ZA Lens compared to Sony FE 135mm f/1.8 GM Lens (an extremely sharp lens)
Sony FE 50mm f/1.4 ZA Lens compared to Zeiss Otus 55mm f/1.4 Lens
The Sony FE 50mm f/1.4 ZA Lens is in stock or available for order at B&H | Adorama | Amazon USA | WEX
Rent the Sony FE 50mm f/1.4 ZA Lens from Lensrentals.
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Image quality test results from the Canon EOS R5 have been added to the Canon RF 70-200mm F2.8 L IS USM Lens Review.
These results are outstanding. Compare them to those from any other lens in the class.
Get in line: the Canon RF 70-200mm F2.8 L IS USM Lens is available for order 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)
Rent the Canon RF 70-200mm F2.8 L IS USM Lens from Lensrentals.
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Just posted: Canon RF 70-200mm F4 L IS USM Lens Review.
This lens is another high-performing member of the Canon RF lens series.
The Canon RF 70-200mm F4 L IS USM Lens is in stock at B&H and Amazon USA. Adorama expects stock soon.
Rent the Canon RF 70-200mm F4 L IS USM Lens from Lensrentals.
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