Camera Gear Review News (Page 4)

Image quality, vignetting, and distortion test results, along with specs, measurements, and standard and varied product images, are now available on the Sigma 24-70mm F2.8 DG DN II Art Lens page.

As I just said in the press release, this lens's predecessor, the Sigma 24-70mm f/2.8 DG DN Art Lens, is less than 4 years old and, remarkably, the #1 best seller at B&H — out of 1,782 mirrorless lenses.

Here are some image quality comparisons.

Compared to the Sigma 24-70mm f/2.8 DG DN Art Lens

Compared to the Sony FE 24-70mm F2.8 GM II Lens

Compared to the Sigma 28-70mm F2.8 DG DN Contemporary Lens

Compared to the Tamron 28-75mm f/2.8 Di III VXD G2 Lens

Compared to the Canon RF 24-70mm F2.8 L IS USM Lens

Many more image quality comparisons are available — create your own using the site's tools.

From a measurements and specifications perspective, here is the Sigma 24-70mm F2.8 DG DN II compared to the 24-70mm f/2.8 DG DN Art Lens. Here is the visual comparison (the version II lens is to the left):

Here is the rotated and extended with hoods version:

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Image quality test results are now available on the Sony FE 24-50mm F2.8 G Lens page.

Covering a common set of general-purpose focal lengths, this lens has many comparisons available. I'll get you started.

Compared to the Sony FE 24-70mm F2.8 GM II Lens

Compared to the Sigma 28-70mm F2.8 DG DN Contemporary Lens

Compared to the Tamron 28-75mm f/2.8 Di III VXD G2 Lens

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Just posted: Tamron 11-20mm F/2.8 Di III-A RXD Lens Review.

This is a great ultra-wide zoom lens option for APS-C, and it is coming to the RF mount later this year.

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Image quality, vignetting, flare, and distortion test results, along with specs and standard product images, are now available on the Tamron 11-20mm F/2.8 Di III-A RXD Lens page.

This is the Tamron lens coming to the RF mount later this year. The full review is coming soon.

Here is a relevant comparison: Compared to the Sigma 10-18mm F2.8 DC DN Contemporary Lens

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Just posted: Sony E 16-55mm F2.8 G Lens Review.

This lens is a great choice for APS-C general-purpose use.

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Image quality, vignetting, and distortion test results, along with specs, measurements, and standard product images, are now available on the Sony E 16-55mm F2.8 G Lens page.

I've wanted to put this lens in the lab for a long time, and the Sigma 18-50 was the lens I wanted to compare it to.

Compared to the Sigma 18-50mm F2.8 DC DN Contemporary Lens

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Just posted: Sigma 50mm F1.2 DG DN Art Lens Review

As I said before, you are going to like this one.

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Image quality, vignetting, flare, and distortion test results, along with specs, measurements, and standard product images, are now available on the Sigma 50mm F1.2 DG DN Art Lens page.

You are going to like this one – it's a great lens. The full review will be available soon.

Here is a visual comparison of the Sony, Sigma, and Canon 50mm F1.2 lenses:

Here is the Sigma 50mm F1.4 DG DN Art Lens to the left of the F1.2 lens:

Here are some image quality comparisons:

Compared to the Sony FE 50mm F1.2 GM Lens

Compared to the Sigma 50mm F1.4 DG DN Art Lens

Compared to the Canon RF 50mm F1.2 L USM Lens

Compared to the Sony FE 50mm F1.4 GM Lens

Compared to the Sigma 35mm f/1.2 DG DN Art Lens

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Just posted: Sigma 15mm F1.4 DG DN Diagonal Fisheye Art Lens Review.

This lens delivers outstanding image quality and a differentiating look.

Support this site by ordering the Sigma 15mm F1.4 DG DN Diagonal Fisheye Art Lens (or anything else) from B&H | Adorama | WEX | Camera Canada

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A comparison including 15mm fisheye and 10mm through 24mm rectilinear focal lengths, along with a short discussion, has been added to the focal length section in these reviews:

Canon RF 10-20mm F4 L IS STM Lens

Venus Optics Laowa 10mm f/2.8 Zero-D FF Lens

Click on the "Load Comparison Images" button to enable the mouseover links.

Just posted: Sigma 500mm F5.6 DG DN OS Sports Lens Review

You are going to like this lens.

I intend to add sample pictures to this review, but didn't want to hold back the technical review until they are available.

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Image quality, vignetting, and distortion test results are now available on the Sigma 500mm F5.6 DG DN OS Sports Lens page.

This lens optically competes with the best. Here are some comparisons (wide open apertures selected).

Compared to the Sony FE 600mm F4 GM OSS Lens

Compared to the Sony FE 400mm F2.8 GM OSS Lens

Compared to the Sigma 60-600mm F4.5-6.3 DG DN OS Sports Lens

Compared to the Tamron 150-500mm f/5-6.7 Di III VC VXD Lens

Compared to the Sony FE 200-600mm F5.6-6.3 G OSS Lens

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Just posted: Sony FE 300mm F2.8 GM OSS Lens Review.

The FE 300 is one of the sharpest lenses I've reviewed. It is an all-around outstanding performer.

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Just posted: Sony Alpha 9 III Review

This camera's performance is outstanding, and you might want 120 fps more than you thought.

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Image quality, vignetting, and distortion test results, along with specs and measurements, are now available on the Sony FE 300mm F2.8 GM OSS Lens page.

This super light lens produces outstanding image quality.

Compared to the Sony FE 400mm F2.8 GM OSS Lens

Compared to the Sony FE 400mm F2.8 GM OSS Lens — 420mm f/4 (with 1.4x) vs. 400mm f/4

Compared to the Sony FE 70-200mm F2.8 GM OSS II Lens

Compared to the Canon RF 100-300mm F2.8 L IS USM Lens

Compared to the Canon RF 100-300mm F2.8 L IS USM Lens (with 1.4x)

Compared to the Canon RF 100-300mm F2.8 L IS USM Lens (with 2x)

Compared to the Canon EF 300mm f/2.8L IS II USM Lens

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Just posted: Venus Optics Laowa 10mm f/2.8 Zero-D FF Lens Review.

The Laowa 10mm f/2.8 Zero-D is a good lens at an attractive price.

Support this site by ordering the Venus Optics Laowa 10mm f/2.8 Zero-D FF Lens from B&H | Adorama | Venus Optics.

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A relevant question, one I was recently asked, is: how does the Canon EOS R6 Mark II compare to the Canon EOS R5, shown to the right of the R6 II in this post's image?

The R6 II vs. R5 specification comparison and visual comparison tell much of the story, but here are the differences between the Canon EOS R6 Mark II and the R5:

The R6 II advantages over the R5:

• Higher performing DIGIC X processor
• 40 fps continuous shooting vs. 20 fps
• Slightly faster imaging sensor readout speed (14.5 vs. 16.3 ms
• AF working range of EV -6.5 to 21 vs. -6 to 20
• Significantly improved AF system, including separation of AF areas and subject detection and tracking
• Up to ISO 204800 vs. 102400
• Canon LOG 3 vs. Canon LOG
• Movie length max duration 6 hours vs. 29:59
• 3- or 5-second movie prerecord available
• Detect Only AF stops autofocusing when subject exits frame, and aspect ratio markers matching social media sites are available
• Supports focus breathing correction during movie recording
• Has a physical stills / movie switch
• RAW Burst Mode with 0.5-second Pre-Shooting
• Focus Bracketing with Depth Compositing available in-camera
• Enhanced HDR performance, including Moving Subject HDR (one shot captured at a base ISO of 800)
• HF light flicker (as in R3)
• Optical viewfinder simulation
• Digital 2x and 4x extender (JPG support only)
• Multi-function hot shoe
• Improved battery life — 760 vs. 490 with LCD, and 450 vs. 320 with viewfinder
• Built-in WiFi and Bluetooth have a simplified network menu
• MFI cable compatibility for direct device connectivity
• Moderately less expensive

The R5 advantages over the R6 II:

• 45.0 MP imaging sensor vs. 24.2 MP
• 5.76 million dot EVF vs. 3.69 million dots
• 3.15" (8.01cm) LCD with approx. 2.10 million dots vs. 2.95" (7.50cm) with 1.62 million dots
• Has Dual Pixel RAW
• Has a PC terminal
• Has a top LCD
• Has a multi-function dial and mode button vs. mode dial
• 8K and 4K 120p vs. 4K, 60p
• 500,000 actuation shutter durability rating vs. 400,000
• CFexpress Type B and SD/SDHC/SDXC vs. Dual SD/SDHC/SDXC

The higher resolution imaging sensor is the R5's primary advantage from my perspective, and this camera remains my first choice. If 24.2 MP is acceptable for your needs, the R6 II is likely your best choice.

As always, let me know if I missed a differentiator.

Resolution test results from the Sony FE 135mm F1.8 GM Lens are now available on the Sony Alpha 9 III page.

While these results appear normal for a 24 MP imaging sensor (compared to the a9 II), normal is remarkable in light of the global shutter upgrade. Here are more comparisons:

Compared to the a1

Compared to the Canon R6 Mark II

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The Sony Alpha 9 III is here, and it is time to set up this camera. This powerhouse of a camera may seem daunting to set up, but the process is not burdensome and not unlike other recent high-end Sony Alpha cameras. The following steps prepare a factory-initialized a9 III for use.

1. Charge the battery
2. Record the serial number, and add the camera to your insurance policy
3. Download and install the latest version of Sony Imaging Edge or your favorite RAW image processing software.
4. Insert the charged battery and a memory card(s) (we'll format it later), and power on the camera
5. Answer the power-on prompts, including setting the time zone and date
6. Select M mode, press "Menu", and configure the camera as follows:
7. 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)
8. Shooting > 1 Image Quality/Rec: Long Exposure NR: Off (I enable this option for very long exposures)
9. Shooting > 1 Image Quality/Rec: High ISO NR: Low
10. Shooting > 1 Image Quality/Rec: 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)
11. Shooting > 2 Media: Format (ensure there are no important files on the card(s) prior to formatting)
12. 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)
13. Shooting > 5 Drive Mode > Self-timer Type: Self-timer(Single): 2 sec
14. Shooting > 5 Drive Mode > Bracket Settings: Self-timer during Bracket: 2 Sec, Bracket order: ->0>+ (optimizes image order for HDR processing)
15. Shooting > 7 Shutter/Silent: Release w/o Lens: Disable
16. Shooting > 7 Shutter/Silent: Release w/o Card: Disable (should be the default)
17. Shooting > 10 Shooting Display: Grid Line Display: On (Rule of Thirds selected)
18. Exposure/Color > 3 Metering: Spot Metering Point: Focus Point Link
19. Exposure/Color > 6 Color/Tone: D-Range Optimizer: Off
20. 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)
21. Focus > 1 AF/MF: Priority Set in AF-S: AF (in focus is my priority)
22. Focus > 1 AF/MF: Priority Set in AF-C: AF (in focus is my priority)
23. Focus > 2 Focus Area: Focus Area: Spot: S (this setting is often changed)
24. Focus > 2 Focus Area: Switch V/H AF Area: AF Point Only
25. Focus > 4 Initial Focus Mag.:c x2.9
26. Focus > 5 Peaking Display: On
27. Focus > 5 Peaking Level: Low
28. Playback > 4 Delete: "Delete" first
29. Playback > 7 Playback Option: Display Rotation: Off (image always fills LCD)
30. Network > 7 Network Option: Airplane Mode: On
31. Setup > 3 Operation Customize: Custom Key/Dial Set.: Dial/Wheel: Front Dial: Av/Tv (Tv 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)
32. Setup > 3 Operation Customize: DISP (Screen Disp) Set: Monitor: Uncheck For viewfinder press [enter]
33. Setup > 5 Touch Operations: Touch Panel/Pad: Both Valid
34. Setup > 5 Touch Operations: Touch Pad Settings: Shooting Screen: Touch Position Mode: Relative Position
35. Setup > 10 Sound Option: Audio Signal(Shooting): Off (how to turn off the AF beep sound)
36. Setup > 13 Setup Option: Anti-dust Function: Curtain when Pwr OFF: On (closes a mechanical shutter on power off to avoid dust on the sensor)
37. My Menu: Format, Anti-flicker Set., Steady Shot, Flash Comp., Recognition Target
38. 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 optimally for me, you should adjust the camera to your needs.

If you can't remember your menu setup parameters, keeping an up-to-date list such as this one is a great idea. Anytime the camera is set to the factory state, such as when serviced or when acquiring an additional camera, the list will ensure all settings are quickly re-established. Better still, save the camera settings to a memory card (Setup > 2: Reset/Save Settings menu: Save/Load Settings: Save) for an easy restore or replication. The setup file can be copied to a computer drive for long-term storage.

More Information

Sony Alpha 9 III

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Updated: Canon RF 200-800mm F6.3-9 IS USM Lens Review.

I promised to add sample images to this review. You will find them in the focal length range discussion.

Also, four 800mm f/9 100% crops showing distant bird feather detail are now available in the image quality discussion. Remember that browsers may auto enlarge images on high resolution displays, reducing the sharpness appearance.

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