Camera Gear Review News (Page 6)

Just posted: Sony E PZ 16-50mm F3.5-5.6 OSS Lens Review.

This lens is tiny, ultra-light, and affordable (especially in used condition).

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Just posted: Sigma 10-18mm F2.8 DC DN Contemporary Lens Review.

Again, this is going to be a popular lens.

Sharing this review supports the site.

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Details are loaded on the Canon RF 10-20mm F4 L IS STM Lens page.

This new lens is dramatically lighter, smaller, and less expensive than its predecessor! Check out the MTF chart comparison.

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Just posted: Sony FE 16-35mm F2.8 GM II Lens Review

This is a great little lens.

I need you to share this review!

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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 10-18mm F2.8 DC DN Contemporary Lens page.

This is going to be a popular lens.

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Support this site by ordering the Sigma 10-18mm F2.8 DC DN Contemporary Lens (or anything else) from B&H | Adorama

Image quality, vignetting, and distortion test results, along with specs and standard product images, are now available on the Sony FE 16-35mm F2.8 GM II Lens page.

The Sony FE 16-35mm F2.8 GM II Lens is shown between the Sony FE 16-35mm F2.8 GM Lens in this post's image, showing the II's nicely reduced size.

Let's look at some image quality comparisons:

Compared to the Sony FE 16-35mm F2.8 GM Lens

Compared to the Sony FE 12-24mm F2.8 GM Lens

Compared to the Tamron 17-28mm f/2.8 Di III RXD Lens

Compared to the Sigma 16-28mm F2.8 DG DN Contemporary Lens

Compared to the Sigma 14-24mm f/2.8 DG DN Art Lens

Compared to the Canon RF 15-35mm F2.8 L IS USM Lens

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Just posted: Sony Alpha 6700 Review.

Superb camera.

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Just posted: Sony FE 70-200mm F4 Macro G OSS II Lens Review.

Is it worth the price?

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The Sony Alpha 6700 is here, and it is time to set up this camera for use. Following are the steps taken to prepare an out-of-the-box a6700.

1. Charge the battery. Note that a battery charger or USB cable is not included in the box.
2. Record the serial number, and add the camera to insurance policy
3. Download and install Capture One (for Sony) or Sony Imaging Edge if you want free RAW image processing software.
4. Insert the charged battery, and power on the camera
5. Insert a memory card (we'll format it later)
6. Select M mode press "Menu" and configure the camera as follows:
7. Set the time zone date time timeformat
8. Shooting Menu 1 Image Quality: Image Quality Settings: File Format: RAW (provides the best image quality)
9. Shooting Menu 1 Image Quality: Image Quality Settings: RAW File Type: Lossless Compressed (full image quality reduced file size)
10. Shooting Menu 1 Image Quality: Long Exposure NR: Off (I'll enable this option for very long exposures)
11. Shooting Menu 1 High ISO NR: Low
12. 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)
13. Shooting Menu 2 Media: Format (ensure there are no important files on the card(s) prior to formatting)
14. 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)
15. Shooting Menu 5 Drive Mode: Bracket Settings: Selftimer during Bracket: 2 Sec
16. Shooting Menu 5 Drive Mode: Bracket Settings: Bracket order: ->0>+ (eases image selection for HDR processing)
17. Shooting Menu 6 Shutter/Silent: Release w/o Lens: Disable
18. Shooting Menu 6 Shutter/Silent: Release w/o Card: Disable (why is this not the default?)
19. Shooting Menu 9 Shooting Display: Grid Line Display: On (Rule of Thirds selected)
20. Exposure/Color Menu 6 Color/Tone: D-Range Optimizer: Off
21. 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)
22. Focus Menu 1 AF/MF: Focus Mode: Single-shot AF (I prefer to control the type of focusing in use, Single-shot or Continuous AF)
23. Focus Menu 1 AF/MF: Priority Set in AF-S: AF
24. Focus Menu 1 AF/MF: Priority Set in AF-C: AF
25. Focus Menu 2 Focus Area: Focus Area: Spot: S (I change this setting frequently)
26. Focus Menu 2 Switch V/H AF Area: AF Point Only
27. Focus Menu 4 Initial Focus Mag.:c x6.1
28. Focus Menu 5 Peaking Display: On
29. Playback Menu 4 Delete confirm.: "Delete" first
30. Playback Menu 7 Playback Option: Display Rotation: Off (image fills LCD)
31. Network Menu: 7 Network Menu: Airplane Mode: On
32. Setup Menu: 3 Operation Customize: Custom Key/Dial Set.: Rear1: Focus Mode
33. Setup Menu: 4 Dial Customize: Custom Key/Dial Set.: Dial/Wheel: Front Dial: Av/Tv (Tv in M mode) (option #2) (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)
34. Setup Menu: 5 Touch Operations: Touch Panel/Pad: Both Valid
35. Setup Menu: 5 Touch Operations: Touch Pad Settings: Touch Position Mode: Relative Position
36. Setup Menu: 10 Sound Option: Audio signals: Off (how to turn off the loud and usually-annoying AF beep sound)
37. My Menu: Format, Shutter Type, Steady Shot, Recognition Target, Anti-flicker Set., Flash Comp.
38. 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 optimally for me, you should adjust the camera setup 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. Consider saving the camera settings to a card (Setup menu, tab 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 6700

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Image quality, vignetting, and distortion test results are now available on the Sony FE 70-200mm F4 Macro G OSS II Lens Review.

Here are some comparisons:

Compared to the Sony FE 70-200mm F4 G OSS Lens

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

Compared to the Canon RF 70-200mm F4 L IS USM Lens

Compared to the Tamron 70-180mm f/2.8 Di III VXD Lens

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Image quality, vignetting, flare, and distortion test results, along with standard product images, are now available on the Sony E PZ 16-50mm F3.5-5.6 OSS Lens Review.

This lens is tiny, ultra-light, and affordable (especially in used condition).

Support this site by ordering the Sony E PZ 16-50mm F3.5-5.6 OSS Lens (or anything else) from B&H | Adorama | WEX | KEH | MPB

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Just posted: Alpine Astro Baader AstroSolar BDSF 3.8 Digital Solar Filter Review.

Now is a good time to prepare to photograph the April 2024 total solar eclipse.

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Just posted: Canon RF 100-300mm F2.8 L IS USM Lens Review

Outstanding lens.

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Just posted: Canon RF 28mm F2.8 STM Lens Review.

The RF 28 will become a most-loved lens. Sample pictures will be added soon.

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Image quality, vignetting, and distortion test results, along with specs and measurements are now available on the Canon RF 100-300mm F2.8 L IS USM Lens page.

Can you find a zoom lens sharper wide open than this one? This lens optically performs better with extenders than even the big white RF prime lenses do with them.

Here is the comparison to the Canon EF 300mm f/2.8L IS II USM Lens. Incredibly, the zoom lens matches the sharpness of this impressive prime lens, including in the corners.

Add the 1.4x, and the zoom lens still matches, even exceeds in the corners, the optical performance of the prime.

At this point, you are not likely surprised that the zoom lens keeps up with the prime with the 2x extender mounted. I seldom appreciate the image quality produced with a 2x extender in the optical path, but the EF 300mm F2.8 IS II lens was one of the best with-2x performers, and the RF 100-300mm lens performs similarly (with slightly more but easily correctable lateral CA).

Creating high-grade with-extender image quality vastly increases the versatility of this zoom lens, and brings another outstanding zoom lens, the Canon EF 200-400mm f/4L IS USM, into the radar.

This 200mm wide-open aperture comparison shows no winner. The 420mm vs. 400mm f/4 comparison also shows no winner, and ditto in the 600mm vs. 560mm f/5.6 comparison (though the RF lens has more lateral CA).

Many other comparisons are available:

Compared to the Canon RF 70-200mm F2.8 L IS USM Lens.

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

With 2x compared to the RF 400 with 2x.

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Image quality, vignetting, and distortion test results are now available on the Canon RF 28mm F2.8 STM Lens page.

This tiny lens has an impressive sharpness to size, weight, and price ratio.

Compared to the Canon EF 40mm f/2.8 STM Pancake Lens

Compared to the Canon RF 35mm F1.8 IS STM Macro Lens (at f/2.8)

Compared to the Canon RF 24mm F1.8 Macro IS STM Lens (at f/2.8)

Compared to the Canon EF 28mm f/2.8 IS Lens

Compared to the Canon RF 50mm F1.8 STM Lens (at f/2.8)

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Just posted: Canon EOS R100 Review

Mostly, this review contains only minor updates to the expectations. The R100 is an extremely lightweight, compact, and affordable camera that produces excellent image quality.

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Just Posted:

Sachtler aktiv10 Fluid Head Review
Sachtler flowtech 100 Tripod Review

This Sachtler kit is expensive, but the quality of the movements it enables and its fast setup speed are worth the price to serious videographers.

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The Canon EOS R100 is here, and it is time to set up this camera for use. Following are the 32 steps taken to prepare an out-of-the-box R100.

1. Record serial number, and add camera to the insurance policy
2. Open the box, find the battery, place it in the charger, and plug it in.
3. Consider downloading and installing the latest Canon imaging software to gain support for the latest camera model(s). Canon Digital Photo Pro (DPP) and EOS Utility are the options I include in the install.
4. Insert a memory card (we'll format the card in a later step), insert a charged battery, and power the camera on.
5. The date, time, and time zone setup display will show at the first startup. Use the rear cross keys and set button to update this information.
6. Set the camera's mode to Av, Tv, or M (some modes may provide only a subset of available menu options) and press the menu button.
7. Shooting Menu, Tab 1: Image quality: Use the top control dial to set RAW to "RAW", and use the rear direction keys to set JPEG to "-" (RAW image files provide the highest quality and are especially valuable for post-processing work)
8. Shooting Menu, Tab 1: Auto Lighting Optimizer: Off (my choice is to adjust the images later)
9. Shooting Menu, Tab 2: White balance: AWB W (White) (I seldom use another white balance setting while shooting, though I often adjust white balance modestly during post-processing)
10. Shooting Menu, Tab 3: Picture Style: Neutral with Sharpness = 1 (Note: the low contrast "Neutral" picture style provides a histogram that best shows the available dynamic range. I usually change the Picture Style to "Standard" in DPP after capture.)
11. Shooting Menu, Tab 3: Lens Aberration Correction: All options "OFF" (I suggest that most photographers enable Chromatic Aberration correction, enable others to taste)
12. Shooting Menu, Tab 3: High ISO speed NR: Low (noise reduction is destructive to images details, so I prefer to add noise reduction sparingly during post-processing)
13. Shooting Menu, Tab 4: Continuous AF: Disable (I want the camera to focus only when I half-press the shutter release)
14. Shooting Menu, Tab 5: MF peaking settings: On (highlight in-focus detail in red during manual focusing)
15. Shooting Menu, Tab 6: Image review: Review duration: 4 sec.
16. Shooting Menu, Tab 7: Shooting info. disp.: Screen info. settings: Enable 1, 2, and 4; edit screen 2 to show only: Basic shooting info and Histogram
17. Shooting Menu, Tab 7: Shooting info. disp.: VF info/toggle setting: Enable 1 and 3 (the default); edit screen 3 to show only Histogram
18. Shooting Menu, Tab 7: Shooting info. disp.: Grid display: 3x3 (sometimes the 3x3 grid is helpful for alignment checking while not complicating the view)
19. Shooting Menu, Tab 7: Shooting info. disp.: Histogram disp: RGB, Small (show the brightness levels of each channel separately and do not let the graph to take up much space in the display as it can affect the perceived composition)
20. Shooting Menu, Tab 7: Disp performance: Smooth (select Smooth if shooting fast action and battery life is not a concern, select Power saving otherwise.)
21. Playback Menu, Tab 5: Playback information display: 1 and 2 only; change view 2 histogram to RGB
22. Wireless Settings Menu, Tab 1: Airplane mode: Off (only choose this setting if not using the camera's wireless features)
23. Function Settings Menu, Tab 1: Format card (always format a memory card in the camera before using it — all data on the card will be lost)
24. Function Settings Menu, Tab 1: Auto Rotate: On computer (images are properly rotated when viewed on a computer, but are always oriented to fill the LCD when viewed on the camera)
25. Function Settings Menu, Tab 2: Beep: Disable (most will find your camera's beep annoying)
26. Custom Functions Menu, Tab 4: Custom Functions(C.Fn): C.Fn II:Others 5: Retract lens on power off: Disable (I opt for off to prevent a carefully-selected focus distance from resetting when the camera auto powers off)
27. Custom Functions Menu, Tab 4: Copyright information: enter as desired
28. Display Level Settings Menu, Tab 1: Menu Display: Standard (novices may appreciate this feature)
29. Display Level Settings Menu, Tab 1: Mode guide: Disable (novices may appreciate this feature)
30. Display Level Settings Menu, Tab 1: Feature guide: Disable (novices may appreciate this feature)
31. My Menu: Add My Menu 1: Register your most-used options
32. With a lens mounted and a subject focused on, 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 optimally for me, you should adjust the camera setup 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.

More Information

Canon EOS R100

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The short answer is "Get both." Otherwise, read on.

In this comparison, we look at a pair of stand-out professional-grade lenses in the ultra-popular 70-200mm focal length range, frequently used for photographing people and people participating in events, including sports. Landscape and product photography are two additional popular uses for these lenses. In addition to being so useful, lenses in this class also represent some of the longest focal length and widest aperture combinations available in an affordable, easily carryable lens.

Canon has long had a pair of 70-200mm image stabilized lens options in their lineup, and while their sizes and weights were reasonable, these were relatively long, heavy, fixed-size lenses that commanded a significant chunk of space in the case, requiring a horizontal position in most backpacks. Canon's first mirrorless 70-200mm lens option, the retracting RF 70-200mm F2.8 L IS USM Lens amazed us with its dramatically reduced size and weight, and the image quality produced by this lens was just as impressive.

Announced just over 1 year later, Canon RF 70-200mm F4 L IS USM Lens provided the second mirrorless option, featuring the same relative advantages as the F2.8 version.

The primary difference between these lenses from a use perspective is the maximum aperture opening. An f/2.8 aperture provides twice as much light to the imaging sensor as f/4, allowing it to do the same work in far darker conditions.

A wider aperture creates a shallower depth of field that results in a stronger background blur, and that is another big advantage of the f/2.8 lens.

While those two differences are tied directly to the required build specifications, the f/2.8 lens's modest image quality advantage is the result of optical design quality. The RF 70-200mm F2.8 vs. F4 lens image quality comparison shows the F2.8 lens as sharp (resolution and contrast) or sharper at f/2.8 as the f/4 lens at f/4. Equalized at f/4, the F2.8 lens has an advantage, and the two lenses perform more similarly at f/5.6.

The F2.8 lens has less lateral and spherical CA overall, shows modestly fewer flare effects at narrow apertures, and stopped down 1 stop, has less peripheral shading at 200mm f/4. The F2.8 lens has slightly better bokeh, creates better sunstars, and has less pincushion distortion at 200mm. The F4 lens has slight focus shift at narrow apertures and close focus distances.

Thanks primarily to the smaller lens elements required to create an f/4 aperture vs. an f/2.8 aperture, the F4 lens's big advantages are a considerably smaller size, lighter weight (about 2/3 as much), and lower price (about 43% less).

The Canon RF 70-200mm F2.8 L IS USM Lens vs. Canon RF 70-200mm F4 L IS USM Lens comparison shows the just-mentioned size and weight benefits of the f/4 aperture.

The F2.8 lens has a tripod mount ring, an advantage for rotating a camera mounted on a tripod or monopod, but the F4 lens isn't heavy enough to require such for balance purposes. The F4 lens has a modest maximum magnification advantage (0.28x vs. 0.23x). The F4 lens's zoom ring is located behind the focus ring and closer to the rear of the lens (an advantage), and its control ring positioned at the front of the lens is easier to use vs. the F2.8 lens's rear position. The F2.8 lens's hood has a filter adjustment window (that I don't like).

If the size, weight, and price differences are not an issue, get the F2.8 lens. I choose the F2.8 version most frequently, including for freezing low light action such as sports on a cloudy day, after the sun sets, or indoors, creating a stronger background blur, and creating starburst effects. This lens version is also the best option for portraits, weddings, and stage events. I also use this lens version for product photography and other close work where focus shift is not tolerable.

Otherwise, the F4 lens has your name on it. If hiking and traveling are on the agenda, small and light are likely more important than the f/2.8 aperture, and I likely have the F4 lens in my pack.

As hinted in the short answer, the ideal kit will include both lenses.

Support this site by ordering the Canon RF 70-200mm F2.8 L IS USM Lens from B&H | Adorama | Canon USA | Amazon USA | WEX

Get the Canon RF 70-200mm F4 L IS USM Lens at B&H | Adorama | Canon USA | Amazon USA | WEX

Rent the Canon RF 70-200mm F2.8 L IS USM Lens and Canon RF 70-200mm F4 L IS USM Lens from Lensrentals.