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DCM276.guide_cover.indd 1 17/11/2023 15:21

 Contents
62 166 12

Cameras
4 Canon EOS 850D
Starter APS-C DSLR
40 Fujifilm X-E4
Starter APS-C mirrorless
70 Nikon Z 5
Enthusiast full-frame mirrorless

8 Canon EOS 90D

Enthusiast APS-C DSLR
44 Fujifilm X-S10
Enthusiast APS-C mirrorless
74 Nikon Z 6II
Enthusiast full-frame mirrorless

12 Canon EOS R100

Starter APS-C mirrorless
48 Fujifilm X-Pro3
Enthusiast APS-C mirrorless
76 Nikon D780
Enthusiast full-frame DSLR

16 Canon EOS R50

Professional full-frame mirrorless
50 Fujifilm X-H2
Professional full-frame mirrorless
80 Nikon Z 7II
Professional full-frame mirrorless

20 Canon EOS R6 Mk II
Professional full-frame mirrorless
54 Leica M10-P
Professional full-frame mirrorless
84 Nikon D6
Professional full-frame DSLR

24 Canon EOS R5
Professional full-frame mirrorless
56 Leica Q3
Premium full-frame compact
88 Nikon Z 30
New enthusiast full-frame DSLR

28 Canon EOS-1D X Mk III

Professional full-frame DSLR
60 Nikon D3500
Starter APS-C DSLR
92 Olympus PEN E-PL10
Starter Micro Four Thirds mirrorless

32 Fujifilm X-T200
Starter APS-C mirrorless
62 Nikon Z 50
Starter APS-C mirrorless
94 Olympus PEN E-P7
Starter Micro Four Thirds mirrorless

36 Fujifilm X-T30 II
Enthusiast APS-C mirrorless
66 Nikon Z fc
Starter APS-C mirrorless
96 Olympus OM-D E-M5 III
Enthusiast Micro Four Thirds

DCM276.guide_contents.indd 2 28/11/2023 11:05

 Lenses
170 Crop-sensor wide-angles
Eight options for landscapes

177 Fujinon XF 8-16mm

f/2.8 R LM WR
Wide-angle for Fujfilm X-mount

178 Standard zooms

Eight Canon and Nikkor lenses

228
185 Canon RF 28-70mm
f/2L USM
Standard zoom for EOS R & RP

186 Zooms for mirrorless

Various mirrorless brands

193 Sony E 16-55mm f/2.8 G

Standard zoom for Sony E-mount

194 35mm street lenses

Eight options for street photos

201 Laowa Argus 35mm

f/0.95 FFII
120 148 Standard prime

202 50mm lenses

Eight standard prime options

209 Nikkor Z MC 50mm f/2.8

Standard/macro prime for Nikon Z

210 Sony FE 50mm F1.4 GM

Standard prime ‘nifty fifty’ lens

100 Olympus OM-D E-M1 III

Professional Micro Four Thirds
136 Pentax K-3 Mark III
Professional full-frame DSLR
212 Portrait lenses
Eight options for portraits

104 Olympus OM-D E-M1X

Professional Micro Four Thirds
140 Pentax KF
Enthusiast APS-C format DSLR
219 Fujinon GF 80mm
f/1.7 R WR
Portrait lens for Fujifilm GFX

108 OM System OM-5

144 Sigma fp L
Professional mirrorless Enthusiast full-frame mirrorless
220 Macro prime lenses
Ten options for close-ups

112 Panasonic Lumix G90

148 Sony ZV-1 II
Enthusiast Micro Four Thirds Starter compact vlogging camera
228 Telephoto zoom lenses
Eight versatile zooms

116 Panasonic Lumix GH5 II

150 Sony Alpha 7 IV
Enthusiast Micro Four Thirds Enthusiast full-frame mirrorless
235 Panasonic Lumix S Pro
70-200mm f/4 OIS
120 Panasonic Lumix G9 II
Enthusiast Micro Four Thirds
154 Sony Alpha 7C
Enthusiast full-frame mirrorless
Telephoto lens for L-mount

236 Superzooms for travel

124 Panasonic Lumix S5 II
Enthusiast full-frame mirrorless
158 Sony Alpha 7R IV
Professional full-frame mirrorless
Eight super-versatile zooms

244Super-tele zoom lenses

128 Panasonic Lumix S1
Enthusiast full-frame mirrorless
162 Sony Alpha 9 II
Professional full-frame mirrorless
Eight zooms for getting closer

251 Sigma 150-600mm

132 Panasonic Lumix S1R
Professional full-frame mirrorless
166 Sony A6700
Professional APS-C mirrorless
f/5-6.3 DG DN OS Sports
Super telephoto for Sony E, L-Mount

DCM276.guide_contents.indd 3 28/11/2023 11:06

 DSLR Canon EOS 850D/Rebel T8i
2

The 850D’s battery

is good for taking
800 shots using
the viewfinder; this
drops to just 370
shots in Live View.

The built-in pop-up flash

has a guide number of 12
at ISO 100, which isn’t
bad by today’s standards.

3
1
3 The 850D is available
body-only, or with
Canon’s decent EF-S
18-55mm f/4-5.6 IS STM
kit lens, which gives you
a versatile focal range.

Canon EOS 850D/Rebel T8i

£799/$749
Can this affordable DSLR fend off competition from mirrorless rivals?
w w w.c anon .co.uk

e’ve been waiting to connect to your iOS or Android device

Specifications
test the Canon EOS through the Canon Camera Connect
Sensor: 24.1MP APS-C CMOS (22.3 x 14.9mm)
Image processor: Digic 8
W 850D since it was first
announced in February
app to edit and share images. From
there, content can be downloaded
2020. The global to a smart device, reviewed and
AF points: 45 cross-type (viewfinder),
pandemic meant worldwide supplies posted on social media or shared
Dual Pixel CMOS AF (Live View)
came to a grinding halt; however, with friends and family.
ISO range: 100-25,600
while we still wrestle with weekly Powered by Canon’s fast Digic 8
Max image size: 6,000 x 4,000px
challenges and evolving restrictions, processor, the Canon EOS 850D
Metering zones: 384
Canon has been able to finally is a light, versatile and connected
Video: 4K UHD at 25p, 24p;
release the EOS 850D. DSLR, and is capable of 7fps
1080p (Full HD) at 60p, 50p, 30p, 25p, 24p
The EOS 850D (sold as the Rebel continuous shooting. It has Canon’s
Viewfinder: Pentamirror,
T8i in some countries) is positioned tried-and-tested 24.1-megapixel Dual
95% coverage, 0.82x magnification
as more of an all-rounder camera Pixel CMOS APS-C sensor, but what
Memory card: SD, SDHC, SDXC (UHS-I)
for enthusiasts than a true beginner sets the EOS 850D apart from the
LCD: 3-inch vari-angle
DSLR, though it’s equally tempting old 800D/T7i are its Intelligent
touchscreen, 1,040k dots
for existing Canon users stepping up Tracking (iTR) autofocus technology
Max burst: 7.5fps (Live View), 7fps (viewfinder)
from cameras like the entry-level EOS and, of course, its new 4K movie
Connectivity: Wi-Fi 2.4GHz, Bluetooth 4.1,
1300D/Rebel T6 or 2000D/Rebel T7. capability. However, while 4K may
USB 2.0, mini HDMI, 3.5mm microphone jack
be new to Canon DSLRs at this price
Size: 131 x 103 x 76mm
Weight: 515g body only (with card and battery) Key features point, mirrorless cameras in this
Canon is keen to offer photographers sector have been 4K-capable for
easier ways to share images online: at least one camera generation.
the EOS 850D includes 2.4GHz Wi-Fi iTR AF aims to improve focusing
and Bluetooth Low Energy so you can when you use Face Tracking AF

DCM276.guide_canon.indd 4 17/11/2023 15:18

 Canon EOS 850D/Rebel T8i DSLR

We didn’t find the 850D’s images to be quite as

sharp as those of rival 24-megapixel cameras.

4 5 6

The viewfinder uses a The 850D gets a dedicated The Canon has a control dial
pentamirror design with AF-On button that’s long on the top, but the ‘second’
95% coverage, which is been a favourite on dial is the small multi-
a little disappointing. higher-spec Canon DSLRs. controller on the back.

or the new Eye Detection AF in Live

View, to help you take better portraits
with sharper eyes.
While shooting ‘traditionally’ using
6
the optical viewfinder (that shows
95% coverage) the autofocus
tracking on the EOS 850D benefits
from 45-point all cross-type AF, as
well as Canon’s Dual Pixel CMOS AF. The EOS 850D offers good noise control at higher
Naturally, the 850D can shoot raw ISO settings, matching the Fujifilm X-T200 closely.
files, but there’s also a C-Raw format
that’ll produce smaller file sizes,
which almost doubles the continuous
shooting buffer from 40 to 75 images. The 850D’s small Quick Control dial
The 850D can record video in Full is better than the basic four buttons
HD at up to 60 fps, or 4K UHD surrounding the Set button on the
resolution at up to 25 fps. There’s 800D’s rear panel. However, the dial
also a detailed set-up for time-lapse is thinner than on the old EOS 77D
movies and automatic scene or the more upmarket EOS 90D. We
selection. To counteract the ‘jittery found it tricky to use accurately while
shake’ associated with handheld dialling in exposure compensation in
movie shooting, the EOS 850D Aperture and Shutter Priority modes.
features five-axis Movie Digital IS, for But as you can access all the settings
smooth, controlled video capture. you need via the touchscreen, we’d
generally just tap the screen and
Build and handling press the Q button, then tap and
At 515g body-only, the EOS 850D adjust specific settings that way.
feels light for a DSLR. Even with the Focusing using the touchscreen
larger EF-S 18-135mm lens attached, in Live View offers far greater Canon cameras don’t always score highly in our
it’s easy to hold and shoot. focus control and accuracy: dynamic range tests, but this one is very good.
The EOS 850D also comes set up
with an easy-to-use Guided menu
interface, which explains features like “What sets the EOS 850D apart from the old
how Aperture Priority mode can be
used to blur a background behind 800D are its Intelligent Tracking autofocus
your subject or keep a whole
landscape in focus. technology and its new 4K movie capability”
5

DCM276.guide_canon.indd 5 17/11/2023 15:18

 Resolution (line widths/picture height)
ISO 100 200 400 800 1600 3200 6400 12800 25600

Canon EOS 850D 25.50 25.50 25.50 25.50 25.50 25.50 25.50 20.00 18.00
Fujfilm X-T200

DSLR Canon EOS 850D/Rebel T8i

26.50 26.50 26.50 26.50 26.50 26.50 24.00

Lab tests
Nikon D5600 32.00 32.00 32.00 28.00 26.00 26.00 24.00 22.00 22.00
Sony Alpha 6100 28.00 28.00 28.00 28.00 28.00 28.00 26.00 26.00 24.00

Resolution (line widths/picture height)

50

40

30

20

10

0
100 200 400 800 1600 3200 6400 12800 25600
Canon EOS 850D Fujfilm X-T200
Nikon D5600 Sony Alpha 6100

Even fitting the 850D with a super-sharp Sigma 50mm

f/1.4 test lens, we couldn’t get the 850D to produce
Signal to noise ratio (decibels)

images quite as crisp as those from the Nikon D5600

ISO 100 200 400 800 1600 3200 6400 12800 25600

Canon EOS 850D 43.82 41.81 39.26 36.13 32.43 28.59 24.45 21.78 17.80
Fujifilm X-T200 40.56 37.73 34.67 31.53 28.00 25.97 23.07

The 850D’s iTR AF

Nikon D5600

Sony Alpha 6100 or the Sony Alpha 6100.

36.06

42.40
33.48

37.18
30.44

33.57
27.78

28.57
26.04

26.78
23.23

23.47
20.77

20.46
17.16

17.74
13.38

15.44

system offers fast

and effective face Signal to noise ratio (decibels)
and eye tracking in 60
Live View mode.
50

40

30
you have 143 points in automatic as you get a Face Tracking target box
20
mode or 3,975 points in manual that tracks and locks around faces,
selection, thanks to the Dual wherever that face is in your frame. 10
1
Pixel CMOS AF system. For even greater focusing precision, 0
100 200 400 800 1600 3200 6400 12800 25600
a smaller target box locks on to one
Canon EOS 850D Fujifilm X-T200
Performance of the eyes; you can even choose Nikon D5600 Sony Alpha 6100

Shooting action using the 7fps burst which eye to focus on. A happy by-product of the 850D’s slightly soft images
rate, Auto Selection AF point selection While the EOS 850D is posited as ISO
is that image noise is also softened, which makes it
100 200
Dynamic range (EV)
400 800 1600 3200 6400 12800 25600

and AI Servo AF, the EOS 850D did a 4K camera, its 4K shooting is very look less grainy and distracting. As such, the 850D
Canon EOS 850D 11.93 12.77 11.43 11.37 10.55 9.46 8.17 6.42 5.33
Fujfilm X-T200 12.06 11.47 10.67 9.81 8.75 9.89 8.91
Nikon D5600 11.13 10.76 10.43 10.15 9.02 7.73 6.84 5.98 5.60

a good job of focusing on children compromised. The video quality itself Sony Alpha 6100
produces the cleanest images of the bunch here.
11.72 11.23 10.84 10.25 9.99 9.66 8.58 7.43 7.10

running quickly towards us – one of is good, with lots of fine detail resolved.
the trickiest shots to capture, as the However, filming in 4K means suffering Dynamic range (EV)
14
focusing distance is rapidly changing. a 1.5x crop and losing Dual Pixel AF –
12
Out of a seven-shot sequence, only you’re reduced instead to a nervous,
one image didn’t have our fast-running pulsing, contrast-detect autofocus 10

subject in sharp focus, which is system. In anything but good lighting 8

impressive for this level of camera. conditions it struggles to register 6

Using the optical viewfinder, the EOS subjects, with face and eye detection 4
850D’s iTR autofocus did a decent job quite shaky. Employing either digital 2
1
of finding a face in the frame to focus stabilisation mode invokes further
0
on when using the Auto Selection AF cropping, reducing your frame to about 100 200 400 800 1600 3200 6400 12800 25600
Canon EOS 850D Fujfilm X-T200
settings. But it’s while shooting with a third of its size with the strongest Nikon D5600 Sony Alpha 6100
Live View that iTR really comes alive. stabilisation turned on – and it isn’t
The EOS 850D scores well in this test. However, at
Portraits can be captured with ease, even that stable! Peter Travers
ISO 3200 and above, the A6100 is the camera to beat.
The X-T200’s boost at ISO 6,400 only makes sense

Rival cameras if background processing is boosting its results.

Digital Camera verdict

3.0 Good

3.5 3.5 3.0 2.0

Fujifilm X-T200 Nikon D5600 Sony Alpha 6100 1
£549/$799 £579/$699 £749/$849
Features Build & Performance Value
The mirrorless X-T200’s The D5600 is older than The 6100’s styling won’t handling
4K video and much lower the Canon EOS 850D suit everyone, but its
price makes the Canon and doesn’t offer 4K speed, AF and video The Canon EOS 850D/Rebel T8i is a decent camera,
EOS 850D look dated video, but it’s a lot capabilities will. but a pretty modest update of the EOS 800D/T7i.
and expensive. cheaper to buy. Reviewed: issue bit.ly/ The addition of 4K video sounds great, but the 4K
Reviewed: issue 233 Reviewed: issue 190 dca6100 video crop factor and the lack of Dual Pixel CMOS
AF in 4K mode are disappointing. Worse, the 850D
has to fight off many cheaper, better rivals.

DCM276.guide_canon.indd 6 17/11/2023 15:18

 1

DCM276.adv_bookazines.indd 1 17/11/2023 15:17

 DSLR Canon EOS 90D

3
1

Inside the grip is

a battery that can
capture 1,300 shots
4 in a single charge.

The EOS 90D has

an APS-C sensor,
but more megapixels
1 than most of Canon’s
full-frame models.

There’s a pop-up flash

in the pentaprism
housing, with a GN
of 12 at ISO 100.

4
2 The mode dial has
a locking button
and underneath
is a big but slightly
awkward power lever.

Canon EOS 90D

£1,200/$1,471 (body only)
In a world of mirrorless cameras, why do they still make DSLRs?
Well, when you pick up the EOS 90D and use it, you’ll know why…
w w w.c anon .com

Specifications he Canon EOS 90D’s 90D beat any APS-C Canon before
Sensor: 32.5MP APS-C CMOS, 22.3 x 14.8mm 32.5-megapixel sensor it for megapixels, it can do this at ten
Image processor: DIGIC 8
AF points: 45 cross-type, Dual Pixel CMOS AF in Live View
T has the highest
resolution of any APS-C
frames per second. Before, the only
APS-C Canon capable of this was
AF modes: Auto, single point, spot, zone, large zone camera you can buy. the EOS 7D Mark II, an out-and-out
ISO range: 100 to 25,600 (exp 51,200) That bald fact is likely to dominate any sports model whose future now
Max image size: 6,960 x 4,640 story about Canon’s new DSLR, but looks uncertain to say the least.
Metering modes: Evaluative, centre-weighted, partial, spot could actually prove its downfall. More In fact, it looks likely that the EOS
Video: 4K UHD at 30p, 25p pixels don’t alway mean better image 90D represents a merging of two
Viewfinder: Optical pentaprism, 100% coverage, quality – we’ll have more to say about previously separate Canon DSLR lines
0.95x magnification this shortly – but thankfully the EOS – the EOS 80D and the EOS 7D Mark
Memory card: 1x SD/SDHC/SDXC (UHS II) 90D has plenty more to shout about. II. The EOS 90D is most like the EOS
LCD: 3-inch vari-angle touchscreen, 1.04m dots For a start, this is Canon’s first 80D in its design and construction
Max burst: 10fps camera to follow a new and exciting – and pricing – but pretty much
Connectivity: Wi-Fi, Bluetooth development in digital cameras thrashes the EOS 7D Mark II in all but
Size: 140.7 x 104.8 x 76.8mm – combining high resolution with high autofocus specifications. But it’s not
Weight: 701g (body only, with batteries and SD card) frame rates. Not only does the EOS just about the frame rate. The EOS

DCM276.guide_canon.indd 8 17/11/2023 15:18

 Canon EOS 90D DSLR

The rear screen is

touch sensitive and on
6
a vari-angle pivot for
maximum versatility.
5

The joystick controller

is new, and inherited
from Canon’s
7 higher-end DSLRs.

The rear control dial

spins around the D-pad
not on it, so there’s no
danger of pressing
buttons accidentally.

This low light portrait looks

8 great from normal viewing
8
This row of four distances, but high ISOs
buttons controls the AF are not this camera’s forte.
mode, drive mode, ISO
and metering mode.
movie live-view lever, playback and
trash buttons and a control lock lever
9
9 to prevent accidental changes. That’s
The top status panel a lot of buttons, and yet the EOS 90D
displays shooting still doesn’t feel crowded.
data clearly, and has a
The rear touchscreen is fully
small backlight button.
articulating with a side pivot, so
that does mean the screen is off
90D also shoots 4K video – and not plenty of controls. Its smoothly to the side of the camera for angled
in the irritating crop mode previously contoured profiles and grippy shots and not on the optical axis,
seen on Canon cameras, but using textured surfaces give your hands but it gives a lot more flexibility
the full sensor width at last. Now, and fingers more surface area and for vertical shooting. The touch-
you don’t get an instant crop factor leverage: paradoxically, this larger responsiveness is very good, and
when you switch to 4K video, and and heavier camera is more if you enable the touch shutter mode
your wide lenses stay ‘wide’! comfortable to carry around there’s almost no delay between
There’s something else worth one-handed than many mirrorless tapping the screen and the camera
pointing out, too. The EOS 90D cameras half its size. focusing and firing the shutter.
uses Canon’s Dual Pixel CMOS AF Canon has been designing DSLR Everything about the EOS 90D’s
system, as used to great effect on controls for a long time, and it shows. operation feels honed to perfection.
its mirrorless cameras, so when you The twin-dial setup has a narrow There are a couple of minor niggles,
switch the EOS 90D to live view mode, knurled wheel on the top of the grip such as what feels like an over-large
it’s at no autofocus disadvantage at and a second dial on the back of the power lever awkwardly placed under
all compared to a mirrorless camera. camera around the four-way D-pad. the main mode dial, and the mode dial
In fact you could say that the EOS Both work well. Four buttons in front itself looks and feels like it belongs on
90D is the equal of any mirrorless of the top LCD panel control the AF a cheaper camera, but neither is a
camera, but with the advantage mode, drive mode, ISO and metering deal-breaker.
of an optical viewfinder. pattern, while another button the
other side of the top control dial Performance
Build and handling adjusts the AF area. There is another The design and operation of the EOS
The EOS 90D has an unashamedly AF area button on the back, alongside 90D might be nigh-on perfect, but
meaty feel. We’re constantly being buttons for AE/AF lock and an things take a slightly different turn
told how mirrorless cameras are AF-ON function. with its performance. Our lab tests
lighter, smaller and more comfortable Canon has added a joystick show very good resolution for an
to carry around than a DSLR, but the controller from its higher-end DSLR APS-C camera, but it’s matched or
Canon counteracts that with its own models, and the back of the camera nearly matched by a number of rival
qualities. The EOS 90D is thick and also has Menu and Info buttons, a cameras with 24 megapixels. Canon’s
chunky, but with plenty of space for Q menu button, a combined stills/ new sensor does not provide

DCM276.guide_canon.indd 9 17/11/2023 15:18

 DSLR Canon EOS 90D

Fast movement towards the

camera proved challenging
for the AF system, but static
subjects (below) are no problem.

the definitive step up in resolution

that the figures left us hoping for.
Worse, the increased pixel density tripod and a lower ISO setting. These
does appear to have had an effect on factors make the EOS 90D’s headline-
the EOS 90D’s high ISO performance. grabbing 32.5MP feel a little bit
Images look good – at a distance hollow. The results are great,
– right up to ISO 6,400 or even but no breakthrough, and there’s
12,800 (ISO 25,600 is a bit of a push). a price to be paid in sensitivity.
But if you take a closer look it’s The lab tests (opposite) suggest
apparent that fine-textured detail is the EOS 90D matches the older
starting to smooth over as early as EOS 80D for noise levels across
ISO 1,600. The EOS 90D can take the ISO range, but this test does
great-looking images right across its not measure textural resolution,
ISO range, but if detail is important in which is one of the reasons why
low light, you’ll be better off with a we do real-world tests, too.
Does the EOS 90D produce
better-quality images than the EOS
80D? Possibly, depending on the
Rival cameras circumstances. What it can do,
though, is capture content that
the EOS 80D can’t, thanks to
its 10fps continuous shooting
and 4K video capability.
10fps continuous shooting is
quite an achievement, especially in
a camera with such a high-resolution
sensor and priced for the enthusiast
Fujifilm X-T3 Nikon D7500 Sony A6400 market, not for professionals.
£1,199/$1,499 £949/897 £929/$898 But for high-speed shooting a
Fujifilm’s current APS-C The D7500 looks The A6400 is a vlogging high frame rate is not enough on
flagship costs more than distinctly underpowered specialist that offers the its own. You also need a good AF
the EOS 90D, but its 4K next to the EOS 90D, same kind fo 4K video system and a good buffer capacity.
video capabilities are far with ‘just’ 20 million features as the EOS
The EOS 90D uses Canon’s
more advanced. It’s also pixels and 8fps 90D, but in a smaller
mid-range 45-point AF system. It’s
smaller and lighter and continuous shooting. package. It’s also pretty
uses Fujifilm’s trademark But it’s a strong, wieldy handy for stills good, but its not the same as the
‘classic’ controls. camera and it is cheaper. photography, too. top-tier 65-point AF system on the
Reviewed: issue 210 Reviewed: issue 193 Reviewed: issue 215 EOS 7D Mark II. It proved pretty
good in our tests, though struggled
somewhat with a dog playing fetch,

10

DCM276.guide_canon.indd 10 17/11/2023 15:19

 Canon EOS 90D DSLR

Lab tests

We tested the EOS 90D with

Canon’s 18-135mm IS USM
The EOS 90D shows a clear resolution advantage over
lens, which doesn’t really
its nearest rival in the Nikon DSLR camp, the D7500,
do the camera justice.
but it was matched by the 26MP Fujifilm X-T3.

The EOS 90D does pretty well for noise control in

The EOS 90D’s sensor can our lab tests, beating the Nikon and and the Sony,
capture high levels of detail, though not the Fujifilm X-T3.
but it’s happiest at low ISOs,
even if that means a tripod.

especially running towards the used hefty crop factors when

camera – a faster lens (we were switching to shooting in 4K, so
using the bundled 18-135mm STM that your lenses effectively become
kit lens supplied with the camera) ‘longer’ and your wideangle lenses
might help, plus a bit more practice aren’t wide any more.
(and a slower, less agile dog)! The EOS 90D, however, uses the
The other issue is the buffer full width of the sensor for 4K video
capacity. 25 RAW files or 68 JPEGs is capture. The wider 16:9 aspect ratio
not much. At a frame rate of 10fps, the means you inevitably loose a little
camera hits slow-down after just 2.5 image height, but the horizontal
seconds or 7 seconds respectively. angle of view remains the same. The Fujifilm X-T3 shows a small advantage here. The
Nikon D7500 does better than the EOS 90D at low to
You don’t have much of a window to These days there’s an assumption
medium ISOs, but swings the other way at ISO 800.
time your bursts, especially if you that to shoot video you should get a
want to shoot RAW files. This is mirrorless camera, but the EOS 90D’s
why specialist sports cameras like Dual Pixel CMOS AF means that it’s Digital Camera verdict
the Nikon D500 and its 200-shot at no disadvantage to a mirrorless
RAW buffer capacity cost more.
The fact that the EOS 90D can
shoot continuously at 10 frames per
camera at all in live view/video mode.
What’s more, the 90D doesn’t just
have an external mic socket but a
4.5 Outstanding

second is brilliant, but it would be headphone socket, too. Video isn’t

unfair to expect it to match proper an afterthought for this camera – 5.0 5.0 4.0 4.0
sports-focused cameras just because it’s designed specifically for serious
the frame rate is the same. videography. There’s one other thing, Features Build & Performance Value
handling
The biggest step forward for the though: Canon says the EOS 90D
EOS 90D is uncropped 4K video. It’s can shoot HD video at up to 120fps The real-world resolution gain isn’t great and there’s
not the first Canon camera to shoot (or 4x slow motion speed). It can, but an impact on high ISO detail rendition, but the EOS
4K video, but previous models have not with continuous AF. Rod Lawton 90D’s build, handling, features and price are perfect.

11

DCM276.guide_canon.indd 11 17/11/2023 15:19

 Mirrorless Canon EOS R100

1 2

Designed to tempt
upgraders from
smartphones, the R100
has a comfortable grip.

3
2

Its RF-S lens mount

accepts RF-S lenses
natively, but full-size RF
variants will also fit.

Images are captured by

a 24.1MP CMOS APS-C
sensor, paired with a
Digic 8 processor.

Canon EOS R100

£670/$600 (with RF-S 18-45mm F4.5-6.3 IS STM lens)
A step up from a smartphone in terms of image quality
w w w.c anon .co.uk

Specifications he Canon EOS R100 is Key features

a camera we’ve been Staking its claim as one of the best
Lens mount: Canon RF-S
Sensor: 24.1MP APS-C CMOS
T waiting for since the
R system first launched
cameras for beginners, the Canon
EOS R100 eschews many advanced
Image processor: Digic 8 – an affordable, entry- camera features in favour of
AF points: Dual Pixel CMOS AF (88% coverage) level model that’s simple enough for streamlined simplicity. Aimed at
ISO range: 100 to 12,800 (exp to 25,600) families to capture treasured shots as newcomers to cameras or those
Stabilisation: Electronic (Movie Digital IS) easily as on their phone, yet advanced who primarily take photographs on
Video: 4K up to 25p (1.55x crop), 1080p up to 60p enough to grow with someone as their a phone, the R100 boasts a guided
(uncropped), 720p up to 120p • Vertical video photography skills develop. user interface with friendly and helpful
Viewfinder: 2.36m dots, up to 60fps The Canon EOS R100 is simple menus to make it easy to get the
refresh rate, 0.95x magnification enough for a first-timer to shoot great camera do what you want it to.
Memory card: 1x SD/SDHC/SDXC UHS-I images in Auto, but it reveals its real If you’re unfamiliar with camera
LCD: Fixed 3-inch (non-touch)screen, 1.04m dots strengths in semi-automatic and settings, you needn’t worry. The
Max burst: 6.5fps (3.5fps with AF) manual modes, where you can start menus offer descriptions of the
Connectivity: Wi-Fi, Bluetooth, getting creative in ways that aren’t various modes as well as on-screen
Micro HDMI, microphone jack possible on a smartphone. The R100 examples of what you can expect
Dimensions: 116.3 x 88.1 x 58.7mm replaces the best-selling Canon Rebel – making it a breeze to get shooting
Weight: 356g (with battery and memory card) SL2/Canon EOS 200D as well as the right away. Features such as Creative
Canon Rebel T7/Canon EOS 2000D Assist allow you to make adjustments
and is the most affordable entry point to contrast, background blur and
into the company’s EOS R camera brightness without needing to know
system – along with its impressive about settings. When you’re ready to
range of Canon RF lenses. delve into semi-automatic or manual

12

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 Canon EOS R100 Mirrorless

4 7

3 As befits a camera at The R100 is fitted with

4 this price point, there’s a universal flash shoe,
no AF-On button where which widens the
you’d expect to find it. choice of accessories.

5 8

The rear LCD is a fixed Press the rear pad to

3-inch unit (no tilt or switch the top plate
5 6 swivel) with a display control wheel between
that can be customised. different modes.

6 9

Use this rear pad to Selecting different

dial in ISO, drive mode, modes is simple, with
exposure compensation options for beginners
and adjust flash power. alongside PASM.

7
9

James Artaius
Features such as Creative Assist allow you to make
adjustments to contrast, background blur and
brightness without needing to know about settings.

mode, the exposure dial puts control However, it should be noted that 4K
at your fingertips. But don’t view the invokes an additional crop factor (of
streamlined features and single dial 1.55x) on top of the existing APS-C
as signs of an underpowered camera crop (of 1.6x), meaning that your
– the R100 is highly capable. footage will look ‘zoomed in’ and
Its 24.1MP APS-C image sensor is you will need to use an ultra-wide lens
an optimised version of the one found like the Canon RF 16mm f/2.8 STM
in the Canon EOS M50 Mark II, with to maintain a wide field of view. In
which the R100 shares a few addition, Dual Pixel AF is available
similarities. It packs plenty of data and when shooting in Full HD but not
detail into your shots while enabling in 4K, when it uses a more choppy
you to achieve shallow depth of field. contrast-detect autofocus system.
If you’re shooting faraway subjects,
like wildlife or sports, the sensor’s Build and handling
1.6x crop factor will magnify the focal The camera is similar in size, shape
length of your lenses for greater reach. and layout to the Canon EOS R50,
Despite being surpassed by the which sits between the Canon EOS
latest EOS R cameras, the R100’s Dual R100 and the more advanced Canon
Pixel Autofocus is the same hybrid AF EOS R10 in the product hierarchy.
system that powers professional It is a compact camera, even by
James Artaius

DSLRs like the Canon EOS 5D Mark IV, mirrorless standards, complemented
so it’s rock-solid and reliable. While it’s by a range of suitably sized compact
aimed primarily at stills shooters, the lenses – including the Canon RF
R100 captures both Full HD and 4K 28mm f/2.8 STM pancake lens, which
video – both in a vertical orientation was released at the same time as the Exert some degree of manual control and you can
as well as horizontal, for quick and R100. The camera is at its most really start experimenting with things like depth of
easy sharing and uploading. portable and effective when field and freezing or blurring fast-moving images.

13

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 Mirrorless Canon EOS R100

James Artaius
With a 24.1MP sensor, the R100 can pack plenty of data and detail into your shots, If you’re shooting fast-moving and faraway subjects,
such as wildlife or sports, then the sensor’s 1.6x crop factor will magnify the focal length of your lenses, giving you greater reach.

paired with these lightweight prime ready to start firing frames, so you Our only reservations about the
lenses, as well as the Canon RF-S don’t miss a moment. A pop-up flash R100’s handling are that the rear LCD
18-45mm f/4.5-6.3 IS STM kit is built into the top of the camera screen has no touch functionality.
lens with which it is bundled. body, making it possible to keep While this is fairly standard on entry-
The controls are simple and taking shots at night or when level cameras, the R100 is marketed
sensibly laid out. We like the On/Off shooting indoors with poor at people who take pictures on their
switch being anchored to the mode illumination. On top of the flash is phone and will expect to be able to tap
dial on the right-hand side of the a hot shoe, allowing you to mount the screen to take a photo or change
camera, making it easy to quickly accessories such as flashguns or a menu setting. We also occasionally
power up the camera with one hand, vlogging microphones if you want. nudged the mode dial when adjusting
the exposure – not a huge problem,
but something worth being aware of.
Rival cameras Performance
When it comes to imagery, it’s hard to
fault the Canon EOS R100. Whether
shooting in Auto, semi-auto or full
manual mode, it takes a cracking shot.
The automatic modes behave much as
a phone does, choosing the optimum
Fujifilm X-T30 II Nikon Z 30 Sony A6100 settings to ensure a well-exposed
£769/$899 £699/$707 £749/$748 image with minimal camera shake and
Old-school shutter speed A capable offering at an Packs a host of the benefit of a shallow depth of field.
and aperture dials and attractive price, the Z 30 improvements over the
Exert some degree of manual
terrific images, but the is a dedicated point-and- A6000 – but at nearly
lack of in-body image shoot video camera that twice the price, they
control and you can really start
stabilisation is a shame. won’t break the bank. don’t come cheap. experimenting with things like
Reviewed, issue 251 Reviewed, issue 260 Review: bit.ly/dcw_a6100 depth of field and freezing or blurring
fast-moving images. Either way, you
get pristine images packed with rich

14

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 Canon EOS R100 Mirrorless

Lab tests
Resolution

The 24.1MP EOS R100 largely falls into line between

the 20.9MP Z 30 and 26.1MP X-T30 II when resolving
fine detail. The 24.2MP A6100 does well to match

James Artaius
the slightly more pixel-packed X-T30 II in this test.

Dynamic range

Touch Shutter shooting on the rear screen could have been useful here – it’s surprising that
a camera aiming to attract smartphone users lacks the functionality of a touchscreen LCD.

The R100 captures excellent dynamic range at lower

sensitivities. At ISO 800 and above it can’t compete
with the Nikon or Fujifilm cameras, capturing around
2EV less dynamic range at higher sensitivities.

Signal to noise ratio (decibels)

James Artaius

Like its Canon stablemates, the R100 captures images with punchy colours – and with the
ability to capture raw files, newcomers to photography can get even more creative in editing.

colour and plenty of detail, thanks to from Canon’s Dual Pixel AF, especially The R100’s images exhibit similar noise levels to
the 24.1MP image sensor. And with with its Face+ Tracking with Eye the Nikon Z 30 at lower sensitivities, but the Z 30’s
the ability to capture raw files, you Detection. It’s unfortunate that Dual high-ISO shots are cleaner than those of the Canon.
can get more creative with editing. Pixel isn’t available when shooting 4K
The only real limitation is its ISO – with the additional crop factor, 4K
range. The top end of ISO 12,800 video feels less than optimum. Two Digital Camera verdict

4.5
(expandable to ISO 25,600) is fairly unheralded features of the R100 are
conservative, meaning grain will be the 4K Frame Grab, which lets you
Outstanding
introduced much sooner if you’re extract a still frame from your 4K
shooting in low-light conditions and footage, and Hybrid Auto, which takes
relying on the ISO setting alone to two to four seconds of video when
4.0 4.0 5.0 5.0
expose your images. The autofocus you take a pic and compiles clips
is robust and reliable, as we’d expect of your day out. James Artaius
Features Build & Performance Value
handling

The Canon EOS R100 is a capable mirrorless camera

“When it comes to imagery, it’s hard that’s great for beginners, with simple controls and
useful features, but also allows you to unlock new

to fault the EOS R100. Whatever mode abilities. Aimed at anyone who wants to take better
pictures than they can on a smartphone, its launch

you choose, it takes a cracking shot”

price makes the EOS R100 the most compelling
entry-level APS-C camera on the market right now.

15

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 Mirrorless Canon EOS R50

The EOS R50 has a

compact form factor,
and the hand grip is
correspondingly small.
1 3
2

Three RF-S mount

lenses are available,
but RF mount optics
are also compatible.

A 24.2MP APS-C sensor

(the same as the EOS
R10’s) takes care of
stills and video capture.

Canon EOS R50

£789/$679 (body only)
An M50 ported to the RF-S mount – with big improvements
w w w.c anon .co.uk

Specifications anon might not be 33 RF-mount lenses, and there are

willing to admit it, but no signs of this slowing down.
Sensor: 24.2MP APS-C (1.6x crop)
Lens mount: Canon RF, RF-S
C the EOS R50 seems to
indicate that the EOS M
Still, while the Canon EOS M50
will continue to be sold, the EOS R50
Image processor: Digic X experiment is over. If manages to supersede its spiritual
Autofocus: Dual Pixel CMOS AF II nothing else, it’s pretty inarguable that predecessor in almost every way.
AF points: 4,503 AF positions (3,713 for video) the R50 is the spiritual replacement
ISO range: 100-32,000 (exp to 51,200) for the EOS M50 Mark II. Key features
In-body image stabilisation: None The EOS M range of cameras sold The EOS R50 produces 24.2MP still
Max image size: 6,000 x 4,000px exceptionally well, being the favourite images using its APS-C-sized sensor
Metering modes: Real-time with image sensor, tool of many a vlogger and travel – which is the same one featured in
384-zone metering; 4 modes incl Evaluative & Spot photographer who wanted a small the EOS R10. It is also capable of
Video: 1080p up to 120p, 4K up to 30p (uncropped) social media-oriented camera. 15 frames per second continuous
Viewfinder: 0.39 OLED EVF, 2.36 million dots Whether Canon ever took the EOS M shooting speeds using the electronic
Memory card: 1x UHS-I SD seriously is up for debate, releasing shutter, which is incredibly quick
LCD: 2.95-inch fully articulating more camera bodies than it ever and would have been unthinkable
touchscreen, 1.62 million dots made lenses – and a new lens for a camera of this size and cost
Max burst: 15fps electronic shutter, 12fps mechanical for the EF-M mount has not just a few years ago.
Connectivity: Wi-Fi, Bluetooth (4.2), been released since 2018. The EOS R50 uses the Canon RF
Canon Camera Connect, Multifunction Shoe, However, Canon has avoided mount, which supports RF-S lenses
micro HDMI, USB-C, microphone repeating the same mistakes with designed for its APS-C lineup of
Size: 116.3 x 85.5 x 68.8mm its second attempt at mirrorless cameras – so it goes without saying
Weight: Black: 328g body only (375g with cameras; in only five years it has that EF-M mount lenses for EOS M
card and battery). White: 329g (376g) released 13 EOS R bodies and cameras will not work with this

16

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 Canon EOS R50 Mirrorless

4 7

Shoot from many Content creators

5
different angles with will love the dedicated
the rear touchscreen. video recording button.
6

5 8

Fully articulating, it The PASM mode dial

offers 1.62 million keeps things simple,
dots of resolution. with just nine positions.
4

6 9

There’s an AF point Accessories can be

selector and AE lock, charged through the
but no AF start button. Multifunction Shoe.

Subject Blur Guide is a new feature on the EOS R50.

Track the horizontal green line with the camera and
the R50 optimises settings for better panning shots.
one, meaning that those hoping good Dual Pixel Autofocus, but it is
for a quick upgrade from the M50 a pared-down AF and does not have
or M50 Mk II might be disappointed. the latest subject-tracking additions
Canon’s APS-C sensors have a crop from Canon’s higher-spec cameras,
factor of 1.6x (unlike the standard 1.5x including horses or aeroplanes. It does
crop of APS-C sensors from other have face and eye detection, though it
manufacturers), meaning that the lacks Canon’s automatic eye priority
same focal length displayed on your (which switches between a subject’s
lens is narrower than on a full-frame closest eye during video recording).
camera, so this is something to bear The R50 comes with the new
in mind if you like to shoot very wide. Multifunction Shoe, and the usual
Video can be captured in 4K 30p, selection of ports, including a micro
which has been oversampled from HDMI, USB-C connector and a 3.5mm
6K, or in Full HD (1080p) up to 120p. mic jack. There are several wireless
The R50 uses the entire width of connectivity options, with
the sensor, so there is no forced
video crop, though there is the
aforementioned 1.6x APS-C crop. “The EOS R50
The R50 has no in-body
stabilisation, but can use Canon’s supersedes the
digital stabilisation system, or employ
the optical stabilisation present in M50 Mark II in Taken on an R50 with a Canon EF 50mm f/1.8 STM,
most of Canon’s lens lineup. The used via an EF-EOS R mount adapter, the camera’s
camera possesses Canon’s insanely almost every way” sensor has captured a pleasing fall-off in focus.

17

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 Mirrorless Canon EOS R50

Handheld Night Scene Full Auto

To provide smartphone-esque ease of use, the EOS R50 offers new or enhanced automatic modes, including Handheld Night Scene. The final result when using this
mode (left), which captures multiple frames and merges them automatically, is usable straight from the camera – a capture using full Auto is shown on the right.

built-in Wi-Fi, Bluetooth 4.2 and Build and handling

the image.canon cloud service. If you didn’t think the EOS R10 could
There are specific features for shrink down any further, then think
content creation, such as a selectable again. The EOS R50 is an even more
aspect ratio for social media (like miniature version of that camera, and
natively shooting in 16:9). The R50 it sits very much in the EOS R family of
can also shoot in vertical orientation styling, dropping the more boxy hard
and save the end result in a vertical edges from the M50 for smooth curves.
orientation, for immediate use A few buttons from the R10 have fallen
in mobile apps like TikTok. by the wayside, with the R50 more
There are new creative options closely resembling its EOS M brethren.
Single frame in Scene Intelligent Auto. Creative On the top there is just one control
bracketing is one new example, wheel, a mode select dial, an ISO
enabling you to automatically apply button, and a record button. On the
different creative filters to your images, rear of the camera there is no joystick,
giving a choice of effects. The camera but the usual selection of buttons is
also has a Panoramic mode, which will there, matching the M50. The inclusion
automatically stitch several images of an articulating touchscreen will
into one panoramic photo. make vlogging and shooting at
awkward angles much easier.
Looks-wise, Canon has stuck to its
Focus bracketing is another feature guns with the R50; it looks very much
found within the new Advanced A+ mode, like a Canon camera. For a camera that
accessed via Scene Intelligent Auto. It has a big focus on vlogging, it is notable
Final image takes multiple frames, using different focus that Canon has not tried to make this
positions, and merges them automatically. look a little more on-trend with today’s
image-conscious influencers, who tend
to covet classic-looking camera bodies.
Rival cameras Performance
The R50 shares the same 24.2MP
APS-C sensor and Digic X processor
as the R10. With a focus on vlogging
and hybrid content creation, it is great
to see that the R50 uses the full width
of its sensor to capture oversampled
Canon EOS M50 Mk II Nikon Z 30 Sony A6100 4K footage. Gone is the frustrating
£599/$599 £678/$706 £679/$748 video crop that has plagued previous
Compact and capable, A dedicated point-and- Upgrade to the A6000 Canon cameras like the M50, although
takes great stills and shoot video camera, the entry level APS-C CSC,
you still need to deal with the 1.6x crop
1080p video, although 20.9MP Z 30 is well built with new 24.2MP sensor,
its 4K mode is too and is a capable offering image processor and
from using an APS-C sensor.
compromised. at an attractive price. hybrid AF system. That 1.6x crop can come in handy,
Reviewed: issue 242 Reviewed: issue 260 www.bit.ly/dca6100 though, and with fast 15fps burst
shooting you can even use this
camera for some wildlife and sports

18

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 Canon EOS R50 Mirrorless

Lab tests
Resolution

Both Canon cameras and the Sony have sensors with

a pixel count of approximately 24MP. Consequently
these three models resolve very similar amounts of
fine detail, and narrowly outperform the 20.2MP Z
Dynamic range

The EOS R50 is available in a bundle with an RF-S 18-45mm IS STM kit lens, but this image
shows what it can produce when using a prime lens (the RF 50mm F1.8 STM) for portraiture.

Against the M50 Mk II, the R50 captures around 1EV

extra dynamic range at ISO 6400 and beyond. Both
Canons can’t match the Nikon here; its lower MP
count results in larger, more light-sensitive pixels.

Signal to noise ratio (decibels)

A 3.2-second exposure at f/11, ISO 100, using an RF-S 18-45mm F4.5-6.3 IS STM lens
at 18mm, showcases the capabilities of Canon’s famed colour science. The two Canons are virtually inseparable throughout
the tested sensitivity range. Again, the Z 30 makes
use of its lower MP count to produce images that are
photography, with more affordable moving, and how quickly new less noisy than those from the R50 at higher
optics like Canon’s RF 600mm f/11 IS developments trickle down to
STM and RF 800mm f/11 IS STM being the lower end of the market.
more appropriate-sized telephoto Social media-focused additions such Digital Camera verdict
lenses for such a miniature camera. as vertical video shooting and creative

4.5
This actually puts it as a faster readout filters are very welcome additions
than the EOS R5, which just shows that should make content creation
Outstanding
how fast camera technology is even faster and more seamless and
cement this camera’s purpose.
One thing you won’t find on this
4.0 4.0 5.0 5.0
video-focused camera is in-body
“Faster and more stabilisation, which is a shame, but
Features Build & Performance Value
that is not unexpected at this price
seamless content
handling
point. However, the camera does
The Canon EOS R50 is the perfect companion for
make use of Canon’s in-built digital
creation cement stabilisation at the expense of a tighter
content creators and travellers who want a small
and simple-to-use camera. With a solid spec sheet,
crop, or you can rely on the optical
the purpose of image stabilisation to be found in the
including 24.2MP still images and 4K video, you can
get a lot of quality from this tiny camera. And with
latest Canon RF and RF-S lenses. the guided user interface and the straightforward
the EOS R50” Gareth Bevan menu system, the R50 couldn’t be simpler to use.

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KitZone
Mirrorless Canon EOS R6 Mark II

The EOS R6 Mark II

boasts a maximum
burst rate of 40fps
(electronic shutter).

2
2
It is built around a
new 24.2MP full-frame
sensor – a step up from
20.1MP on the the R6.

3
3
The handgrip houses
an LP-E6NH battery,
which is CIPA rated
for at least 580 shots.

Canon EOS R6 Mark II

£2,779/$2,499 (body only)
This 40fps speed demon makes mincemeat of other hybrids
w w w.c anon .co.uk

Specifications f the Canon EOS R6 and video, so you don’t miss a

Mark II was an animal, microsecond of the action, this is
Sensor: 24.2MP full-frame CMOS
Mount: Canon RF
I it would pack teeth like
switchblades, razor-
the most fully loaded mid-range
camera on the market.
Image processor: Digic X sharp talons, a venom
AF points: Dual Pixel CMOS AF II sac and the footspeed to chase Key features
Image stabilisation: 5-axis IBIS, up to 8 stops down anything foolish enough As noted, the Canon EOS R6 Mark II is
ISO range: 100-102,400 (exp 50-204,800) to draw its attention. a step up from the R6 in a great many
Max image size: 6000 x 4000 pixels Indeed, while the Canon EOS R6 ways. Chief among these is in terms
Max video resolution: 4K HQ 60p, 1080p 180p Mark II is almost a top-to-bottom of resolution, with a brand-new image
Viewfinder: 3.69m dot OLED, 0.5 inch, specs improvement over the original sensor boasting 24.2MP (compared
100% coverage, 120fps refresh Canon EOS R6, in terms of that last to the 20.1MP of the original).
Memory card: 2x SD UHS-II point it manages to outpace even the The maximum continuous shooting
LCD: 3-inch, 1.62m dot, vari-angle touchscreen mighty Canon EOS R3 – boasting an speed has doubled, from 20fps to
Shutter speeds: 1/16,000-30s amazing 40fps continuous shooting 40fps (when using the electronic
Max burst: 12fps mechanical shutter, speed. This actually outguns both shutter; mechanically it still sits
40fps electronic the Sony A1 and Nikon Z 9, too, unless at 12fps), which records both
Connectivity: USB-C, wireless LAN, you count the Z 9 cheating by JPG and RAW images.
Bluetooth, HDMI micro out (Type D) shooting 11MP images. The new sensor enables the camera
Size: 138.4 x 98.4 x 88.4mm Still, the Canon EOS R6 Mark II is to capture full-width 4K 60p video
Weight: 670g (incl battery and memory card) about more than just sheer speed. (including 4K 60p HQ, downsampled
From its full-width, 6K-oversampled from 6K), as well as 1080p footage
video to the brand-new 24.2MP sensor at up to 180p – an increase from its
to the ability to pre-record both stills predecessor’s 120p recording. If

20

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 Canon EOS R6 Mark II Mirrorless
4

4 7

The viewfinder is This new dual selector

a 0.5-inch 3.69m switch flips the
dot OLED with camera between stills
100% coverage. and video modes.

5 8

6 The fully articulating The R6 Mark II is the

5
touchscreen enables a latest model to receive
wide range of different Canon’s new Multi
shooting scenarios. Function Shoe.

6 9

Stills and video are Unlike its predecessor,

captured to a UHS-II the camera’s power
SD/SDHC/SDXC card; switch is on the right
two slots are provided. of the top plate.

8 9
7

you want to use the R6 Mark II as a a new (and very welcome!) focus
webcam for livestreaming and video breathing correction function.
conferencing, you can now simply
plug and play via USB – no need Build and handling
for additional drivers or software. The Mark II is almost identical in size,
Both stills and video possess a weight and proportion to the original
pre-recording feature, which enable – and it retains the same degree
the camera to start capturing photos of weather-sealing, too. However,
or footage even before you depress some key changes are worth noting.
the shutter (0.5 seconds for stills, Firstly, the power switch: it’s gone.
three or five seconds for video), Well, not completely – it’s just gone
ensuring that you don’t miss from its old position on the left
a moment even if you’re slow shoulder, replaced instead by a
Shot on a pre-production Canon EOS R6 Mark II and Canon
with your trigger finger. dedicated stills/video switch that’s
RF 28-70mm f/2L lens: 1/1000 sec at f/2, ISO 2000.
The ferocious autofocus is now a big nod towards this camera’s overt
even better than before, too, taking focus on hybrid shooters. The power
the Dual Pixel AF II algorithms from switch now sits instead on the right
the R3 and combining it with even shoulder, beneath the rear exposure
more deep learning. The net result dial – which should please street
is that tracking now extends to two shooters who like to arm their
subject types: horses and aircraft cameras one-handed.
(in addition to birds, dogs, cats, The other change is to the joystick,
cars, motorcycles and trains). where the familiar R5 and R6 input has “The Canon EOS R6
Like other recent EOS R system been replaced with a newly designed
bodies, such as the R7 and R10, the one (which is also customisable). It Mark II is the most
R6 Mark II takes the Multi Function lacks the knurled edges at the top-left,
Shoe from the R3. It also imports top-right and centre-bottom of the fully loaded mid-range
the Panoramic photo mode from stick, so if you’re familiar with
its APS-C siblings and introduces the previous design, you camera on the market”
21

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KitZone
Mirrorless Canon EOS R6 Mark II

Taken on a pre-production Canon EOS R6 Mark II and Canon RF 28-70mm f/2L lens: 1/1000 sec at f/2, ISO 2000.

might find your thumb sliding off a dedicated quick-menu to adjust your
without the tactile notification that video settings (the Q1 menu remains
you’re at the edge of the disc. dedicated to photo settings). Again,
Canon has also made some useful this camera really is geared up to cater
tweaks to the menus. For us, the for hybrid shooters, rather than feeling
coolest is having a set of hotkey-like like a photography-first device that
shortcuts to three ISO settings, so just happens to record video as well.
you can quickly tap the ISO menu and
jump between them without having to Performance
scroll the wheel or swipe the screen. While we didn’t get to test out the new
The new Q2 menu is also much AF subject tracking modes, since
appreciated; operating much like there were no horses or planes
the original Q menu, this gives you available while we had the camera,

The EOS R6 Mark II is also available in a kit

Rival cameras with an RF 24-105mm f4L IS USM lens, which

nudges the price up to £3,999/$3,599.

it does an incredible job finding and

locking onto human subjects.
We were photographing a troupe
of dancers, and no matter how they
turned, twirled, leapt or pirouetted,
Nikon Z 6 II Panasonic Lumix S1 Sony Alpha 7 IV the EOS R6 Mark II never failed to keep
£1,999/$1,999 £1,999/$2,499 £2,399/$2,498 them in focus. Once again, like the
This light refresh of The S1 has higher A stills and video original R6, this delivers the best AF
the Z 6 is a very capable resolution and better powerhouse – like a
performance that money can buy.
camera; twin image video, but its AF isn’t as mini-Sony A1 that’s
processors boost the advanced and its max good at everything but is
That extends to video shooting,
shooting burst rates. burst is much slower. less than half the price. along with a new Face Only AF mode
Reviewed: issue 237 Reviewed: issue 218 Reviewed: issue 249 that comes direct from the Cinema
EOS line. With this selected, if a face
is tracked and exits the frame, the AF

22

DCM276.guide_canon.indd 22 17/11/2023 15:19

 Canon EOS R6 Mark II Mirrorless

Lab tests

Top: Photographed on a pre-production Canon EOS R6 Mark II and Canon RF 15-35mm f/2.8L
lens – 1/30 sec at f/2.8, ISO 1000. Above: Same camera and lens: 1/30 sec at f/2.8, ISO 800.

will not shift focus to the background; There are other welcome creative
it will maintain focus where it is, until additions, too, such as in-camera
the face re-enters the frame, upon focus bracketing – which, unlike
which it resumes tracking as before. other Canon cameras, actually
Speaking of video, everything has does the compositing in-camera
been upped on the Mark II. Not only rather than requiring you to do
do you get full-width 4K, you can also it manually in external software.
record 6K 60p ProRes RAW via HDMI Thanks to the improved stabilisation,
(3.7K ProRes RAW in crop), the 29:59 which is good for up to eight stops
Digital Camera verdict

4.5
recording limit is no more, and the depending on your lens choice, you
circuitry has been redesigned to can do it without a tripod. We did
Outstanding
enable the capture of 40 minutes of a 100-shot stack, handheld, and
oversampled 4K 60p or six hours of the results were perfect.
4K 30p. There are also new exposure James Artaius
tools, such as false colour to ensure
your footage is the correct brightness.
Features Build & Performance Value
The magic performance isn’t limited
“The camera
handling
to video. That 40fps burst is absolutely
This hybrid packs an obscene amount of firepower,
ridiculous, with a buffer depth of 190
JPEG/ 75 RAW images. When not never failed to with 6K video and 24.2MP stills at 40 frames per
second. Flitting between the two mediums has
shooting at the top speed, the buffer
seem limitless; we held down the keep our troupe of seldom been easier. This is Canon’s finest 6-series
camera, and a brilliant younger brother to the
shutter for 10, 20 and 30 seconds, EOS R5 for those who don’t need ultimate
and it didn’t even take a breath. dancers in focus” resolution but demand premium performance.

23

DCM276.guide_canon.indd 23 17/11/2023 15:19

 Mirrorless Canon EOS R5

The R5’s chassis is

near-identical to the
EOS R, but it’s slightly
thicker and 70g
heavier, in order to
accommodate the
new IBIS system.

2
2

Canon claims that the

EOS R5’s 45MP image
sensor is the highest
resolving of any EOS
1 camera – including
the 50.6MP 5DS R.

Canon EOS R5
£4,199/$3,899
A combination of unsurpassed stills
with fantastic, if frustrated, video
w w w.c anon .co.uk

Specifications he Canon EOS R5 is as the R5 is subject to recording

finally here after months limitations to prevent it overheating.
Sensor: 45MP full-frame CMOS 36 x 24mm
Image processor: Digic X
T of waiting and masterful
teases by the – there’s Features
AF points: 5,940 Dual Pixel CMOS AF II no other word for Obviously the headline attraction here
ISO range: 100-51,200 (expandable to 50-102,400) it – canny manufacturer. is the R5’s remarkable video capability.
Stabilisation: Five-axis, up to eight stops No camera in recent memory has It can capture full-width (uncropped)
Max image size: 8,192 x 5,464px received or, dare we say it, deserved raw 8K video using the entire readout
Metering zones: 384 this amount of hype. The Canon EOS of the 35mm sensor – and it does so
Video: 8K DCI or UHD at 30p, 24p R5 is a powerhouse performer: its internally at up to 29.97fps in 4:2:2
/ 4K DCI or UHD at 120p, 100p, 60p, 50p, 30p, 25p, 24p 8K video outclasses many cinema 12-bit Canon Log or HDR PQ (both
/ 1080p (Full HD) at 60p, 50p, 30p, 25p, 24p cameras; its shooting speed puts it H.265) in both UHD and DCI.
Viewfinder: 0.5-inch OLED EVF, 5,690k dots, on par with the best sport cameras; Its 4K capture is every bit as
100% coverage, 0.76x magnification, 120fps refresh rate its 45MP sensor outmuscles all but ferocious, recording at up to 119.88fps
Memory card: CFexpress type B, UHS-II SD/SDHC/SDXC a few of the best mirrorless cameras; (in the same 4:2:2 Canon Log or HDR
LCD: 3.15-inch fully articulating touchscreen, 2,100k dots and its eight-stop in-body image PQ, in UHD or DCI), with external HDMI
Max burst: 12fps mechanical shutter, 20fps electronic shutter stabilisation is the new IBIS champion. recording up at up to 59.94fps.
Connectivity: Wi-Fi 5GHz and 2.4GHz, Bluetooth 4.2, USB-C Of course, something had to be too However, the R5 is much more
(USB 3.1 Gen 2), micro HDMI (type D), microphone, good to be true. No sooner had the than just a video behemoth.
headphone, N3 remote, flash sync, Ethernet (via WFT-R10 grip) camera been revealed than the Since the 8K DCI video has a
Size: 136 x 98 x 88mm realities hit home regarding its resolution of 8,192 x 4,320, the
Weight: 650g body only (738g with card and battery) headline video capabilities. Ironically, camera has a Frame Grab function
those red-hot specs are literally that enables you to take high-
too hot for the camera to handle, resolution 35.4MP stills (as either

24

DCM276.guide_canon.indd 24 17/11/2023 15:19

 Canon EOS R5 Mirrorless

3 5 7
3
The R5’s electronic Like Canon’s 5-series Like the Canon EOS R,
viewfinder boasts DSLRs, the EOS R5 the R5 possesses
an impressive 5.69 possesses both a a top OLED screen
million dots and joystick (replacing the to display your
120fps refresh rate EOS R’s touchbar) and camera settings and
– ideal for keeping a rear control wheel. exposure information
up with the action. for easy viewing.
4 6
5
4 8
With twin card slots
The fully articulating for CFexpress and Again like the EOS R,
6 3.15-inch touchscreen UHS-II SD cards, the traditional mode
is just brilliant for the R5 enables you dial has been replaced
composing and to upgrade your by a hybrid mode
reviewing, as well camera without selector set within
as touch control investing in new the rear exposure
over settings. memory cards. control dial.

JPEGs or HEIF files) from your footage Best of all, all of these autofocus
– which is 5.1MP greater resolution technologies are available in stills
than the Canon EOS R. as well as all video resolutions and
All of this is thanks to the brand-new frame-rates – with a staggering
The Animal AF on the Canon EOS R5 is only certified for
45MP image sensor – supposedly 5,940 AF points for photography dogs, cats and birds, but it succeeded in finding eyes
resolving even greater detail than the and 4,500 for filming. and faces for everything from sand squirrels to fish.
50.6MP Canon EOS 5DS. This is thanks The continuous shooting speed is
to the new low-pass filter design, which also on par with the 1D X Mark III, as lenses adapted from other camera
was introduced in the flagship Canon the R5 matches the flagship’s top systems… essentially any lens.
EOS-1D X Mark III. Traditional low-pass speed of 20fps via the electronic
filters (employed to get rid of moiré) shutter (and 12fps using the Build and handling
employ dual-layer, four-point mechanical shutter). Backed up by In the hand, the EOS R5 feels like
subsampling and introduce a layer dual card slots, including lightning-fast a slightly beefier EOS R. It’s almost
of softness to images. Canon’s new CFexpress support, this means that imperceptibly thicker (by 4mm),
tech features quad-layer, 16-point the R5 can stand toe-to-toe with but it has notably more heft, weighing
subsampling and combines it with sports cameras, video cameras and about 70g more. The weight is very
a Gaussian distribution technique to medium-format cameras alike. evenly distributed, though, and the
deliver sharpness rivaling the 5DS. Most excitingly, for long-suffering body feels well-balanced – indeed,
The flagship 1D X Mark III has served Canon users, the EOS R5 features the extra mass makes it feel a
as donor for much of the tech in the the company’s agonisingly overdue better match for some of the
R5. The AI-powered Deep Learning implementation of five-axis in-body notoriously larger RF lenses.
AF system has been transplanted, stabilisation. The wait has been worth From the top, the R5 is very similar
enabling the new camera to perform it, however: Canon is now officially the to the EOS R and bears the same top
spookily accurate eye, face and head king of IBIS – the R5 (along with the OLED screen and mode button within
tracking. However, the R5 has a trick Canon EOS R6) boasts up to eight the rear control dial. It’s the rear where
that even the Mark III doesn’t have: it stops of CIPA-rated stabilisation, the differences start to come into play.
is also capable of Animal AF that can depending on the lens. The first thing you’ll notice is that the
track the eyes, faces and bodies of While you get the top stability when love-it-or-loathe it M-Fn touchbar has
dogs, cats and birds – including birds you use specific RF-mount glass, the been abolished; in its place is a familiar
in flight. Underpinning the autofocus IBIS also works with EF lenses and joystick, with the AF-On button
is the brand-new Dual Pixel CMOS AF EF-S lenses, as well as ‘dumb’ lenses assuming its more traditional position.
II, the latest generation of Canon’s with no electrical contacts – that A control wheel has also replaced the
much-lauded AF system. means vintage lenses, cinema lenses, individual D-pad buttons seen

25

DCM276.guide_canon.indd 25 17/11/2023 15:19

 Sony has long held the reputation of having the best autofocus in the industry, but the R5 – While it’s unusual for any production
with its remarkable ability to track the eyes of birds in flight – is the new champion. to shoot single 20-minute takes, the
overheating issue is cumulative – so if
on the EOS R and the EOS RP, all of anything above standard 4K 30p video you shoot a series of shorter videos, or
which makes the R5 feel much more will cause the Canon EOS R5 to heat if you shoot a lot of stills, the camera
like using a Canon EOS 5D Mark IV. up internally, thus requiring recording innards will already start to heat up,
The camera retains the articulating limits to prevent overheating. Shooting making it very difficult to gauge how
touchscreen seen on the EOS R and 4K 30p causes no overheating issues, much time you can actually record for.
RP, which is obviously important for though, so you can shoot as much Again, none of this applies to 4K
recording video (as well as taking video as you like. (All recordings are 30p – and we happily spent days on
stills from elevated or low angles). subject to the usual 30-minute limit end shooting both 8K 30p and 4K 60p
Being a 5-series camera, you can per single file, but you can record clips in-between stills without a single
expect the robust weather sealing – multiple 30-minute files.) However, issue. However, if your interest is video
although invariably, given that the limitations will be incurred as your first and stills second, we don’t think
mirrorless model is daintier (and also video settings become more the R5 will be fit for purpose – and we
features an articulating screen), it demanding. Shooting 4K 60p will strongly recommend taking it for a
doesn’t feel as sturdy as the 5D. It will cause the camera to overheat in about test drive to make your own decision.
withstand some knocks, but unlike the 35 minutes, while shooting 8K 30p If you don’t fall foul of the recording
DSLR you really wouldn’t want to drop will result in overheating in about limitations, though, you will behold 8K
it or leave it in the hands of children. 20 minutes – after which you need video that is astoundingly rich and
to allow the camera to cool down detailed, and the oversampled 4K
Performance before recording again. modes produce some of the best
OK, let’s deal with the thing everyone’s If you regularly shoot video above footage we’ve ever seen. The
talking about right away: yes, shooting 4K 30p, this is definitely an issue. standard 4K modes feel quite
pedestrian, however, and early
word is that regular 4K is actually
Rival cameras superior on the Canon EOS R6.
Are there any other stings in the tail,
though? In short, no – everything else
behaves exactly as we all hoped and
expected it would. The 45MP
photographs are stunning, with crisp
detail that may or may not match the
5DS in pure lab tests, but taken side by
side they certainly pass the eyeball
Canon EOS 5D Mk IV Nikon Z 7 Sony Alpha 7R IV test and look every bit as good.
£2,789/$2,499 £2,499/$2,799 £3,499/$3,199 Almost as impressive are the 35MP
Its DSLR sibling fares The Z 7 resolves finer Its 61.2MP sensor is Frame Grabs you can extract from 8K
better in terms of ISO detail and also boasts the winner in terms
video. This is technology that has been
and dynamic range, but better dynamic range, of pure resolution, but
the R5 is a far superior but video features and for speed, IBIS, AF and
in other cameras before, but never
camera overall. AF are nowhere close. video, the R5 is king. with the level of detail and fidelity seen
Reviewed: issue 183 Reviewed: issue 208 Reviewed: issue 223 here. Simply scrub through your 8K
footage on the back of the camera,
pinpoint the frame you want as a still,

26

DCM276.guide_canon.indd 26 17/11/2023 15:19

 ISO

Canon EOS R5
Canon EOS 5D Mk IV
Canon EOS R5 Mirrorless
100

36

32.00
Resolution (line widths/picture height)
200

36

32.00
400

36

32.00
800

36

32.00
1600

36.00

30.00
3200

36.00

30.00
6400

36.00

28.00
12800

34.00

26.00
25600

30.00

24.00

Lab tests
Nikon Z 7 40.00 40.00 40.00 40.00 40.00 40.00 38.00 38.00 34.00
Sony Alpha 7R IV 45.00 45.00 45.00 45.00 44.00 42.00 42.00 40.00 38.00

Resolution (line widths/picture height)

50

40

30

20

10

0
100 200 400 800 1600 3200 6400 12800 25600
Canon EOS R5 Canon EOS 5D Mk IV
Nikon Z 7 Sony Alpha 7R IV

The EOS R5’s real-world images are comparably sharp

to those from the Z 7. Predictably, with only 30.4MP,
Signal to noise ratio (decibels)

the 5D Mark IV can’t quite compete with its mirrorless

ISO 100 200 400 800 1600 3200 6400 12800 25600

Canon EOS R5 40.28 38.10 37.35 34.06 30.38 27.37 24.02 20.66 17.28
Canon EOS 5D Mk IV 43.75 42.13 40.20 37.85 34.99 31.31 28.72 24.88 21.59
Nikon Z 7
Sony Alpha 7R IV counterparts for fine detail capture.
41.68

44.40
39.13

41.26
36.27

37.04
33.49

32.69
30.33

29.01
27.39

25.44
24.24

22.26
20.98

19.61
18.00

18.39

Signal to noise ratio (decibels)

60

50
The massive 45MP resolution of the Canon EOS R5’s image sensor captures your
subjects in stunning levels of detail, whether you’re shooting stills, 4K or 8K video. 40

30

20
and push a button to produce a 35MP
10
image – and it isn’t the kind of blurry, 1

low-res still you get when you 0

100 200 400 800 1600 3200 6400 12800 25600
screenshot a YouTube video; it’s a Canon EOS R5 Canon EOS 5D Mk IV
Nikon Z 7 Sony Alpha 7R IV
pristine high-resolution file that looks
like it was taken as a photograph on The EOS R5 scores well, level-pegging with the Z7 and
a camera with a decent 35MP sensor. ISO
A7R IV throughout most of the tested range. However,
100 200
Dynamic range (EV)
400 800 1600 3200 6400 12800 25600

the good old 5D Mark IV generates cleaner images

Canon EOS R5 12.74 11.97 12.74 11.69 10.49 9.25 7.97 6.81 5.90

Of course, being that it is a JPEG

Canon EOS 5D Mk IV 12.71 12.71 12.45 11.87 10.76 10.26 9.03 8.38 7.27
Nikon Z 7 12.31 12.25 12.30 11.96 11.55 10.39 9.39 8.39 7.31
Sony Alpha 7R IV
than the newer mirrorless cameras at most settings.
11.27 10.70 10.54 10.00 9.94 9.59 8.36 7.53 6.98

taken from a video, you get virtually

zero dynamic range to play with – the Dynamic range (EV)
video exposure is baked in, so you 14
can’t recover anything from blown-out 12
highlights (although there is still data
10
to recover in the shadows). Still,
8
provided that your lighting is right in
6
the first place, yes – you can literally
now film your photoshoot as a video, 4

and simply pull the still frames you 2

1
want from it afterwards. Cheating 0
100 200 400 800 1600 3200 6400 12800 25600
or not, it works and it’s brilliant.
Canon EOS R5 Canon EOS 5D Mk IV
Speaking of cheating, that’s what Nikon Z 7 Sony Alpha 7R IV

the new Animal AF is: a cheat code for At lower sensitivities, the EOS R5 is capable of
wildlife photography. Canon’s new Between its phenomenal AF, the great image capturing similarly high dynamic range to its 5D IV
Deep Learning algorithm is so good quality and the brilliant 35.4MP frame grabs DSLR sibling and the Nikon Z 7. However, at higher
from 8K video, the Canon EOS R5 is the best sensitivities the new Canon can’t stay at the top.
that all you have to do is point your
camera on the market for shooting wildlife.
camera at an animal, and the R5 will
recognise, track it and even focus Digital Camera verdict
on the eyes. Canon only certifies Canon now has the best autofocus

4.0
it for dogs, cats and birds, but in town – it really is black magic.
we successfully tested it on lions, Best of all, these autofocus
Excellent
monkeys, turtles, iguanas, fish, functions are all 100% available and
meerkats… if it’s got eyes and a effective when you shoot video. So
face, the R5 should recognise it. whether you’re filming videos of the
5.0 5.0 4.0 4.0
The AF is even better when it comes bride and groom at a wedding, or
1
to shooting human subjects, with a footage of wild animals chasing each
Features Build & Performance Value
witchcraft-like ability to find and focus other across the Serengeti, the EOS R5 handling
on faces and eyes in an instant – even will find your subjects and focus on The R5’s video is incredible – but its overheating
when features are obscured or your them. The AF is spookily good – it’s restrictions are a serious flaw. However, as a stills
tracking gets interrupted by hands, just a shame that the R5 is haunted camera, the R5 is Canon’s finest product ever. It’s the
objects or passers-by. You can safely by the spectre of its video. perfect amalgamation of the EOS R’s form, the EOS
tell your Sony-owning friends that James Artaius 5D IV’s function, and the autofocus of the EOS-1D X.

27

DCM276.guide_canon.indd 27 17/11/2023 15:19

 DSLR Canon EOS-1D X Mark III

The 20.1MP image

sensor offers fewer
megapixels than the
Sony A9 II or even the
1D X Mark II. Canon
1
claims that 20MP is the
sweet spot for optical
performance and that
this 20.1MP sensor
produces sharpness
and resolution equal to
a pro 24.2MP sensor.
2
2

The camera can record

raw and MP4 video
simultaneously to
dual CFexpress cards.
These are a revelation
for shooting, with a
buffer capable of
capturing bursts of up
to 1,000 raw images.

Canon EOS-1D X Mark III

£6,499/$6,499
Meet the world’s most advanced camera
w w w.c anon .co.uk

Sensor: 20.1MP full-frame CMOS sensor he Canon EOS-1D X format and a new memory standard
Image processors: Digic X Mark III has a lot to live to an innovative control input that
AF points: Optical viewfinder – phase detection
using AF-dedicated sensor, 191 points (155 cross-type);
T up to – and a real fight
on its hands to defend
will almost certainly become the
norm for cameras that shoot action.
Live View – Dual Pixel CMOS AF, 3,869 points its throne. While the
ISO range: 100-102,400 (exp 50-819,200) world of sports photography is still Key features
Max image size: 5,472 x 3,648 dominated by DSLRs (with 70% of While the 1D X Mark III is brimming
Metering modes: Evaluative, partial, spot, center spot, pros at last year’s Rugby World Cup with the latest technology, it’s built
AF point-linked spot, multi-spot, center weighted average using Canon DSLRs), mirrorless around one fundamental piece of
Video: 4K at 23.98, 24, 25, 29.97, 50, 59.94fps; cameras have now come so far that throwback hardware: an optical
1080p at 23.98, 24, 25, 29.97, 50, 59.94, 120fps Sony’s latest effort, the Sony A9 II, viewfinder, with which it can shoot
Viewfinder: Pentaprism, 100% coverage, is a far superior photographic tool 16 frames per second (mechanical
0.76x magnification, 20mm eyepoint to the Canon EOS-1D X Mark II. shutter) in conjunction with
Memory card: 2 x CFexpress 1.0 Type B So Canon had to pull something a dedicated Digic 8 processor,
LCD: 3.2-inch fixed touchscreen, 2.1million dots special out of the bag with its new with 191 AF points (155 of
Max burst: Optical viewfinder 16fps mechanical shutter/ flagship DSLR. This hybrid DSLR/ which are cross-type).
Live View 20fps mechanical or electronic shutter mirrorless camera ushers in a However, when switched to Live
Size: 158 x 168 x 83mm number of industry-standard features View, the camera can shoot 20
Weight: 1,250g (body only) and technologies, from a new image frames per second (mechanical

28

DCM276.guide_canon.indd 28 17/11/2023 15:19

 Canon EOS-1D X Mark III DSLR

3
3

The Menu, Info, Q, play,

magnify, delete and
‘key’ buttons light
up at the touch of a
button. If only every
camera could do this!

4
4
The rear LCD is a
touchscreen, but
it doesn’t tilt in
any direction.

No need to worry about

the weather: every joint
has O-rings. Even the
tripod socket has one.

5 6

While the body feels

almost exactly the
same in layout, the
magnesium alloy
6 chassis has been
re-engineered, with
some changed internal
components meaning
that it is structurally Deep Learning AF enables the camera to
more sound, yet lighter perform remarkable head tracking, even
than the Mark II. when the subject’s face is is obscured.

or electronic shutter) using the full The format has been around for a “Holding the
20.1 million-pixel readout of the image while, but this is the first time it is
sensor, combined with the new Digic X supported by a traditional camera. camera is like
processor and an enormous 3,869 HEIF offers superior fidelity to 8-bit
Dual Pixel CMOS AF points. JPEGs, and you can capture images hugging an
Digic X is a whole new family of with four times the amount of data
processors for Canon cameras. In the in the same file size. old friend”
case of the 1D X Mark III, the processor
is 380 times faster than the Mark II Build & handling
at computational processing and 3.1 The EOS-1D X Mark III looks virtually Performance
times faster at image processing. identical to the Mark II – and, indeed, While some might scoff at the Canon
This plays a big part in the 1D X Mark to most 1-series cameras ever EOS-1D X Mark III only having a 20.1MP
III’s most talked-about party trick: produced. Holding the camera sensor, the proof is in the pictures.
Deep Learning AF. Canon fed the is like hugging an old friend. While we can empirically say that
algorithm with millions of reference That said, its new Smart Controller they’re not quite as sharp as those
images, enabling it to learn how to is the future of AF point selection. produced by a 24MP sensor, they’re
recognise human figures, and to Traditional joysticks give you tactile certainly more than sharp enough.
prioritise the human head, regardless and granular control, but they’re slow And the beefy dynamic range and
of whether the face is looking the and clunky if you want to move your ISO results in images with a lot of
other way or obscured by goggles or AF point across the frame. The Smart play in them – even in the JPEGs, but
helmets. The result is an AF that knows Controller, by contrast, moves your AF especially in the HEIF files. (Remember
the head is the primary point of focus. point as fast as you move your thumb. that, for pro use, JPEG is far more
The 1D X Mark III also adds HEIF The idea will no doubt be adopted by important than raw, as it is the
support to its raw and JPEG shooting. the entire camera industry before long. currency of agency shooting.)

29

DCM276.guide_canon.indd 29 17/11/2023 15:19

 DSLR Canon EOS-1D X Mark III
Resolution (line widths/picture height)

ISO 100 200 400 800 1600 3200 6400 12800 25600

Canon 1D X Mk III 26 26 26 26 26 26 26 26 24
Canon 1D X Mk II 25.50 25.50 25.50 25.50 25.50 25.50 25.50 25.50 23.50

Lab tests
Nikon D5 26.50 26.50 26.50 26.50 26.50 26.50 26.50 26.50 26.50
Sony A9 Mk II 28.00 28.00 28.00 28.00 28.00 28.00 28.00 27.00 27.00

Resolution (line widths/picture height)

Face AF is possible 50
through the optical
viewfinder, but full Eye 40
AF is unleashed when
you shoot in Live View. 30

20

10

0
100 200 400 800 1600 3200 6400 12800 25600
Canon 1D X Mk III Canon 1D X Mk II
Nikon D5 Sony A9 Mk II
Signal to noise ratio (decibels)

ISO The 1D X Mk III produces very sharp shots, but no

100 200 400 800 1600 3200 6400 12800 25600

Canon 1D X Mk III 44.41 42.14 40.93 38.16 35.37 31.22 27.81 24.10 20.87
Canon 1D X Mk II
Nikon D5
amount of processing trickery can make a 20.1MP
45.13

43.88
43.96

40.85
41.91

37.99
39.71

35.05
36.40

32.02
33.12

29.01
29.92

25.96
26.62

23.78
23.36

21.17
Sony A9 Mk II
sensor equal a top-flight 24.2MP full-frame sensor.
47.00 45.04 41.36 39.33 34.11 30.96 27.27 23.53 21.28

Signal to noise ratio (decibels)

60

50
The 4K video is crisp and clean, and follow the fronts of cars. It’s pretty
40
we’re so happy that Canon has finally darned clever technology.
cracked the full-frame cropping Canon has its own reasons for 30

problem. Obviously the lack of image not rolling out IBIS yet, and is still 20
stabilisation is a significant factor proclaiming that lens-based IS is
when it comes to video, but this is superior. That may well be true. But 10

hardly a run-and-gun vlogging camera. when you’re using a huge L-series 0

1
100 200 400 800 1600 3200 6400 12800 25600
Mounted in a tripod, and combined lens that isn’t stabilised, or trying to
Canon 1D X Mk III Canon 1D X Mk II
with electronic stabilisation (which record video with a giant hunk of glass Nikon D5 Sony A9 Mk II
introduces a crop) if you must, the mounted and trying to get a cool Dynamic range (EV)

ISO The 1D X III is marginally beaten by its predecessor.

100 200 400 800 1600 3200 6400 12800 25600

video seems pretty pristine. angle using a screen that doesn’t tilt, Canon 1D X Mk III
Canon 1D X Mk II
12.53 12.5 12.5 12.4

This could be symptomatic of Canon’s drive towards

12.78 12.78 12.37 12.02
11.82

11.21
10.57

10.42
9.73

9.48
8.32

8.55
7.07

7.29

Shooting video reveals the strength you really do wish for such things.
Nikon D5 11.54 11.51 11.14 10.78 10.62 10.20 9.63 9.00 7.09

image sharpness causing grain and noise.

Sony A9 Mk II 11.44 11.29 11.01 11.06 10.57 10.25 10.04 9.34 7.89

of the new Deep Learning AF, which The EOS-1D X Mark III is every bit the
really does make a difference. When professional powerhouse you would Dynamic range (EV)
filming cars zipping round a track, for expect it to be. Unlike other Canon 14

example, you can see the speed of products, however, this one doesn’t 12
focus acquisition – and the camera hold back, and it introduces some
10
knew to prioritise the drivers’ helmets serious next-generation technology
8
rather than the car bodies. What’s that will fundamentally improve your
more, the new Case A (for Auto) AI shooting experience, your images 6

Servo mode will faithfully find and and your workflow. James Artaius 4

0
100 200 400 800 1 1600 3200 6400 12800 25600

Rival cameras Canon 1D X Mk III

Nikon D5
Canon 1D X Mk II
Sony A9 Mk II

The 1D X Mark II was already a stellar performer when

it comes to dynamic range, so we’re not surprised
that the new Mark III performs very similarly.

Digital Camera verdict

Canon EOS-1D X Mk II
£4,899/$5,499
Nikon D5
£5,199/$5,499
Sony Alpha 9 Mk II
£4,699/$4,499
5.0 A best-in-class product

The predecessor is still The Nikon D5 is showing Sony’s new flagship is

a formidable sports its age: while it’s no less every bit as proficient as
5.0 5.0 5.0 4.0
camera, despite its age. capable for its advanced the 1D X Mark III – it
There is a technological years, the 1D X Mark III comes down to whether
Features Build & Performance Value
gulf between the old outclasses it in nearly you want DSLR speed or handling
and new, however. every respect. mirrorless convenience. 1

Reviewed: Issue 180 Reviewed: Issue 179 Reviewed: bit.ly/dcwa9ii The EOS-1 D X Mark III does so much that no other
camera can – it’s a genuine glimpse into the
future of digital photography.

30

DCM276.guide_canon.indd 30 17/11/2023 15:19

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DCM276.adv_101photos.indd 1 17/11/2023 15:17

 Mirrorless Fujifilm X-T200

1
2
The X-T200 has a very
clean, unfussy exterior,
but has just enough of
a ‘grip’ on the front
of the body to offer
a decent hold.

The XC15-45mm kit

lens has an unusually
1 wide angle of view for
a standard zoom, and
it’s compact too.

Fujifilm X-T200
£749/$699
It bridges the gap between the Fujifilm’s basic and
more advanced cameras – but is there room for it?
w w w.fujif ilm .co.uk

Specifications ujifilm is perhaps best spending a bit of time with this camera
known for its classically we think the differences are pretty
Sensor: 24.2MP APS-C CMOS
Autofocus: Hybrid phase/contrast AF
F designed X-series
cameras, with external
clear. On paper, the X-T200 looks like
it could be a match for the X-T30, but
ISO range: 200-12,800 (exp. 100-51,200) exposure controls and in your hands it’s quite obviously a
Max image size: 6,000 x 4,000 traditional handling. It also makes cheaper, simpler camera. If you like
Metering modes: 256-zone, multi, spot, average entry-level mirrorless cameras in the X-A7 but wish it had a viewfinder,
Video: 4K UHD, 30/25/24p its X-A range, designed for first-time get this. If you want an X-T30 but
Viewfinder: OLED EVF, 2.36m dots users and smartphone upgraders. don’t have quite enough money, on
Memory card: SD/SDHC/SDXC (UHS I) The X-T200 sits right in the middle the other hand, we’d suggest saving
Max burst: 8fps between these two camera ranges, up for a bit longer – the X-T200 is
Connectivity: Wi-Fi, Bluetooth with simplified controls for novices not a lot cheaper and might prove
Size: 121 x 84 x 55mm but providing an electronic viewfinder a disappointment.
Weight: 370g (including battery and memory card) like the more advanced models. The Fujifilm X-T200 would make an
The X-T200 follows on from the ideal camera for beginners, however,
Fujifilm X-T100 that was released and it looks like the perfect camera
in 2018, with a (much) better rear for Instagram or vlogging.
screen, faster processing, proper
4K video plus a ‘digital gimbal’ feature, Features
and improved autofocus. It’s so much Fujifilm has been careful to keep the
better that Fujifilm might want to lower-end X-T200 one step behind its
watch out that it doesn’t start best X-series cameras. It does not have
cannibalising sales from its more the 26.1-megapixel X-Trans sensor in
upmarket cameras – although after the X-T3, the X-T30, the X-Pro3 or

32

DCM276.guide_fujifilm.indd 32 17/11/2023 15:19

 Fujifilm X-T200 Mirrorless

3 4

5
3 6

These two buttons on This unmarked dial is

the back of the camera one of three context-
are for drive mode sensitive control dials
and playback – those on this camera – most
on the right are rivals have just one!
custom buttons.
7
4
The kit lens’
7 The large 3.5-inch electrically powered
flip-out vari-angle zoom mechanism is
screen can also be sluggish to use, and
folded ‘closed’ against it’s hard to remember
the camera body. which way to turn it.

5 8

There’s a joystick Unlike the X-series

6 controller on the cameras further up
back of the camera. the range, the X-T200
(There’s no room for has a beginner-
a regular D-pad.) friendly mode dial.
8

the new X100V compact, making do lighter than the old X-T100, which was
with a regular 24.2-megapixel CMOS itself hardly a heavyweight. It will come
sensor. This has proved a very good in a choice of Silver, Dark Silver and
performer in its own right, so it’s not Champagne finishes, and will typically
the disadvantage it might sound. be bundlled with the Fujinon XC15-
Fujifilm has upgraded both the 45mm f/3.5-5.6 OIS PZ kit lens.
sensor and the processor in this
camera to support 4K video at Build and handling
up to 30fps (compared with the There are some physical differences
inadequate 15fps in the X-T100), with between the X-T200 and more
3.5x faster processing that’s claimed advanced Fujifilm cameras like the
to reduce any ‘rolling shutter’ effect. X-T30 and the X-T3, which become
This camera can also shoot ‘HDR obvious straight away. It’s a lot lighter
video’, which combines videos at for a start, with a more plasticky feel,
different exposures, and a ‘digital and lacks the external shutter speed Here’s a still-life shot we took with our production X-T200
gimbal’ that uses an in-camera and lens aperture controls. Instead, mounted on a tripod, and using a Manfrotto Lumimuse
gyro and an electronic stabilisation it’s laid out more like regular digital as the light source. This was taken at ISO 200.
algorithm to smooth out your footage. cameras – a deliberate decision,
Choosing this option reduces the we’re told, to make it more easily
field of view, however – presumably understood for novices. The lightweight build and plastic
because the camera needs space The X-T200 is a bit more than just construction feel a little cheap
to be able to adjust the framing. a simple ‘novice’ camera, though. It against higher-end X-series cameras,
The X-T200 can shoot continuously has twin control dials, customisable like the X-T30 upwards, but the
at eight frames per second, and has function buttons and a ‘Q’ quick menu X-T200 nevertheless feels like a well
an improved hybrid AF system for common camera settings. It’s part put-together camera that’s had a
covering the whole frame, together of Fujifilm’s more basic mirrorless bit of thought put into its design.
with updated face and eye detection. camera series, but it has features Interestingly, there’s no four-way
Despite the new 3.5-inch 16:9 vari- and controls to match most controller on the back; instead Fujifilm
angle rear screen, the X-T200 is 80g mid-range cameras. has added a small joystick for

33

DCM276.guide_fujifilm.indd 33 17/11/2023 15:19

 Mirrorless Fujifilm X-T200

The X-T200 comes in a choice of three

finishes: this is Champagne, but you can
also get Silver and Dark Silver bodies.

the camera. By default, this cycles

through the different Film Simulation
modes, showing a split-screen
rendition of the current style on
the left and the alternative styles
on the right. It’s a great idea,
and brilliantly implemented.
In general, we like the Fujinon
XC15-45mm f/3.5-5.6 OIS PZ kit lens,
The Fujinon 15-45mm power zoom kit lens we used to take this shot can be irritating to use, but its too. It’s very light, and its power-zoom
extra-wide angle of view is very useful. It’s also a light and compact option for shooting on the move.
mechanism means it retracts when
the camera is powered off to make the
setting the AF point and menu only other Fujifilm camera to have this camera/lens package quite compact.
navigation. It’s good in some ways, is the X-A7; it’s a shame you don’t get The zoom action isn’t very fast,
because it leaves the back of the this on the higher-end models, too. The though, and we can never remember
camera relatively clear of buttons screen has a 16:9 ratio that’s perfect which way to turn the ring to zoom in
that might get pressed accidentally for video and it flips round to the front or out. It also seems to shunt around
– and because that big flip-out so that you can easily monitor vlogging for no obvious reason when you switch
screen doesn’t leave a lot of and the shooting of selfies. between stills and video or start
room for controls anyway. The X-T200’s external controls are a video recording – electronic
The joystick is good, but Fujifilm more sophisticated than they look. zoom control from the camera
has added a central click ‘OK’ action Most cameras in this sector have a can be a mixed blessing.
that is a little too easy to activate single control dial, but the X-T200 has The 15mm minimum focal length
accidentally. It’s the perennial problem three. Two of these are on the right of this lens is usefully wider than the
with multi-function controls – you side of the camera: one around the average kit lens, offering a 23.5mm
‘click’ when you meant to ‘push’. shutter release and one behind it, equivalent focal length – not bad at
The star feature, however, is the big where your thumb rests. There’s a all. On the other hand, the 45mm
3.5-inch vari-angle touchscreen. The third, larger dial on the left side of maximum (67.5mm effective) is
pretty short for a kit lens.

Rival cameras Performance

The image quality proved to deliver
everything we expect from Fujifilm
cameras nowadays. The detail
rendition is very good; Fujifilm’s
extensive range of Film Simulations
should suit all tastes; and the dynamic
range expansion options can be
useful for preserving highlight
Canon EOS M6 Mk II Nikon Z 50 Olympus OM-D E-M10 Mk detail in high-contrast scenes.
£1,119/$1,099 £989/$899 III We found the autofocus experience
The EOS M6 has the most The slightly lower 20.9MP £529/$599 somewhat mixed, though. For stills
megapixels of any APS-C resolution aside, the Z 50 This 2017 is just being
photography, the touch AF and touch
mirrorless camera. Get is unbeatable value – it superseded by the Mark
the add-on viewfinder to just needs more lenses IV, so some tasty price
shutter options are really useful. The
go with it. now. drops may be around. AF modes are somewhat complicated,
Reviewed: issue 231 Reviewed: issue 225 Reviewed: issue 196 with three menu options where most
cameras offer two (focus mode and
focus point/area selection). The

34

DCM276.guide_fujifilm.indd 34 17/11/2023 15:19

 ISO

Fujifilm X-T200
Canon EOS M6 Mk II
Fujifilm X-T200 Mirrorless
100

30.00
Resolution (line widths/picture height)
200

26.00

30.00
400

26.00

30.00
800

26.00

30.00
1600

26.00

30.00
3200

26.00

28.00
6400

26.00

25.50
12800

24.50

22.00
25600

20.00

Lab tests
Nikon Z 50 25.50 25.50 25.50 25.50 25.50 25.50 24.00 24.00 22.00
Olympus E-M10 Mk III 24.00 24.00 24.00 24.00 22.00 22.00 20.00 18.00 16.00

Resolution (line widths/picture height)

50

40

30

20

10

0
100 200 400 800 1600 3200 6400 12800 25600
Fujifilm X-T200 Canon EOS M6 Mk II
Nikon Z 50 Olympus E-M10 Mk III

The X-T200 performs as we’d expect, with its 24.2MP

sensor slotting in between the 16.1MP Olympus OM-D
Signal to noise ratio (decibels)

E-M10 III and the 32.5MP Canon EOS M6 II. The Nikon
ISO 100 200 400 800 1600 3200 6400 12800 25600

Fujifilm X-T200 40.56 37.73 34.67 31.53 28.00 25.97 23.07

Canon EOS M6 Mk II 42.24 39.83 37.89 34.54 31.22 27.88 24.02 21.15 18.00
Nikon Z 50
Z 50 produces sharp shots from its 20.9MP sensor.
Olympus E-M10 Mk III
44.57

41.07
41.88

39.40
38.89

37.29
36.34

34.51
35.33

33.90
32.88

29.40
30.34

26.90
28.14

24.78
25.20

22.40

Signal to noise ratio (decibels)

60

50
This still-life close-up is smooth, sharp and surprisingly noise-free considering
that it was shot at ISO 1,250. (Image from pre-production sample.) 40

30

X-T200’s focus mode options are frame and towards the camera while 20
straightforward enough (single AF, filming, and got some variable results.
10
continuous AF), and the AF Mode The digital gimbal is a nice idea. It 1

options are clear enough – Single works, we presume, by shifting frames 0

100 200 400 800 1600 3200 6400 12800 25600
Point, Zone, Wide/Tracking and to keep subjects centred. It only works Fujifilm X-T200 Canon EOS M6 Mk II
Nikon Z 50 Olympus E-M10 Mk III
All – but there’s a third Focus Area for Full HD video, though – the 4K
menu where you can set the AF point option is disabled when you select this. The X-T200 turns in a respectable performance: level
position and size; and here there is Inevitably, fine textural detail does ISO
pegging with the Canon EOS M6 II. You might expect
100 200
Dynamic range (EV)
400 800 1600 3200 6400 12800 25600

the X-T200’s fewer megapixels to translate to greater

Fujifilm X-T200 12.06 11.47 10.67 9.81 8.75 9.89 8.91

some confusing crossover with the start to smooth over at very high ISOs,
Canon EOS M6 Mk II 11.93 12.06 12.12 11.91 10.79 10.32 9.30 7.64 6.19
Nikon Z 50 12.41 12.39 12.39 12.39 12.15 11.96 10.36 9.27 8.40

light sensitivity, but sadly that’s not the case here.

Olympus E-M10 Mk III 12.36 13.27 13.07 12.70 12.38 10.38 9.52 8.16 7.09

AF modes. With some AF modes this but only becomes particularly visible
menu is disabled; with others you at ISO 6,400. Even then, hard-edged Dynamic range (EV)
can change the focus point size detail is still rendered very well. This 14
and even the area (Single Point, is an amazing performance from a 12
Zone, Full) in a way that duplicates consumer APS-C camera, and owes
10
or contradicts the AF Mode menu. a lot to the X-T200’s in-camera
8
The AF performance in burst and JPEG processing. Camera Raw
6
video modes seemed a little more hit retains more fine detail, but can’t
and miss. We tested it on an active compete with the camera JPEGs 4

dog playing fetch, with a lot of for saturation and noise control. 2
1
movement both around the Rod Lawton 0
100 200 400 800 1600 3200 6400 12800 25600
Fujifilm X-T200 Canon EOS M6 Mk II
Nikon Z 50 Olympus E-M10 Mk III

The X-T200 doesn’t capture as much dynamic range

as its rival cameras. We’d expect dynamic range to
steadily reduce with each increase in ISO sensitivity,
but the X-T200 gets a second wind at ISO 6,400.

Digital Camera verdict

4.0 Excellent

4.0 4.0 4.0 3.5

1
Features Build & Performance Value
handling

The X-T200 is a compelling camera for photography

novices or content creators, and it’s technically far
superior to the X-T100. It feels as if it has shifted
This was taken with the standard Provia Film Simulation setting and shows the camera’s away from low-cost stills capture and more towards
characteristically rich, clean colour rendition. video, however, which has pushed the price up.

35

DCM276.guide_fujifilm.indd 35 17/11/2023 15:19

 Mirrorless Fujifilm X-T30 II

This front control dial

1 is also ‘clickable’, and
there’s another on the
back of the camera.
There’s no shortage
of external controls.

2
3
The X-T30 II can be
used with any X-mount
lens, but handles best
with Fujifilm’s smaller
zooms and primes.
2

The 26.1MP X-Trans

sensor delivers an
excellent combination
of image resolution,
noise control and
dynamic range.

Fujifilm X-T30 II
£769/$899
A refresh for a classic design
w w w.fujif ilm .co.uk

Specifications he Fujifilm X-T30 is with better 4K video, faster burst

a modest refresh of shooting and in-body stabilisation.
Sensor: 26.1MP APS-C X-Trans CMOS 4
Image processor: X-Processor 4
T the original X-T30,
launched back in
Still, despite its small size, the X-T30
II is a powerful mid-range device that
AF points: 2.16 million phase-AF pixels, February 2019. It’s would suit any enthusiast looking for
100% coverage a very compact APS-C mirrorless a light, compact camera.
ISO range: 160 to 12,800 (exp. 80-51,200) camera, with classic external
Max image size: 6,240 x 4,160 controls and a distinct retro look. Key features
Metering modes: TTL 256-zone metering, Previously, the X-T30 was one of Inside is a 26-megapixel Fujifilm
Multi/Spot/Average/Centre-Weighted Fujifilm’s mid-high end cameras, but X-Trans sensor that has a small but
Video: 4K DCI/UHD at 30p, 25p, 24p now that the entry-level X-A7 and useful advantage over its 20-24
Viewfinder: EVF, 2.36m dots, X-T200 appear to have been dropped, megapixel rivals. There’s no in-body
100% coverage the X-T30, and now the X-T30 II, are stabilisation, which is a shame, given
Memory cards: SD/SDHC/SDXC, UHS-I Fujifilm’s new entry-level option, along that the X-S10 does have this. Also,
LCD: Three-inch tilting with the rangefinder style Fujifilm X-E4 the rear screen only has a tilting
touchscreen, 1.62m dots and the more mainstream X-S10, which action, where the X-S10 has a
Max burst: 8fps with mechanical shutter; we think is one of the best mirrorless full vari-angle mechanism.
up to 30fps with electronic cameras around right now. The X-T30 II also boasts a
shutter and 1.25x crop The X-T30 II has Fujifilm’s latest sophisticated phase-detect autofocus
Connectivity: Wi-Fi, Bluetooth and best 26.1-megapixel sensor, 4K system covering the full frame, with
Size: 118 x 83 x 47mm video and 8fps continuous shooting. the ability to specify focus zones and
Weight: 378g (with card and battery) Technically, it has a lot in common with single points. Its continuous shooting
the similar priced X-S10, while Fujifilm’s speed of eight frames per second
flagship X-T4 is a whole step above, is good for a camera in this class,

36

DCM276.guide_fujifilm.indd 36 17/11/2023 15:19

 Fujifilm X-T30 II Mirrorless

4 7

There’s no mode The shutter speed dial

dial, but there is has an ‘A’ setting for
a combination drive Aperture Priority or
mode/shooting Program shooting.
6 mode dial.
8
5
The higher-resolution
4 This spring-loaded 1.62m-dot rear screen
7
lever pops up a small is the only external
built-in flash unit. change from the
old X-T30.

5 6
9
Not all Fujinon lenses
have aperture rings This button’s position
– this XC 14-45mm causes way too many
zoom included. accidental presses.

The X-T30 II packs a lot of

features and performance
9 into a compact and stylish
8 body, but if you want
the full retro exposure
experience, you need
lenses with aperture rings.

although if you switch to the electronic on either, you get a full set of PASM
shutter, it’s capable of 30fps, albeit exposure modes, and the camera
with a slight 1.25x crop. doesn’t need a mode dial.
The X-T30 II can capture uncropped Not all Fujinon lenses, especially the
4K video, however. The maximum cheaper zooms, have aperture rings.
frame rate for 4K is 30p, but if you With these lenses, you instead control
switch to Full HD capture it can shoot at the aperture with an unmarked ring
up to 240p, for a 6x slow-motion effect on the lens, or via the camera controls. The X-T30 II’s metering system rarely needs any correction,
(if played back at 30fps). It does not It doesn’t quite have the same appeal and its dynamic range is very good – especially if you
offer more advanced video features but it works perfectly well. engage the expanded dynamic range option.
such as 10-bit capture, Log modes or We loved the original X-T30 but
all-intra compression, though, and the commented on its size – and,
lack of in-body stabilisation makes especially, on the placement of the Q
hand-held filming a lot less steady. button on the back of the thumb grip.
It’s a perfectly good ‘casual’ video or This proved equally frustrating with
vlogging camera, but you probably the X-T30 II, and the chance to try the
wouldn’t use it for serious film-making. camera all over again proved that it
wasn’t something we would
Build and handling
The key feature of the X-T30 II, apart
from its size, is its exposure controls.
On the top of the camera is a shutter “The X-T30 II has
speed dial, while around many Fujinon
lenses is an aperture ring. Both have a lot in common The lack of in-body stabilisation is an issue in low light,
‘A’ settings, so by combining manual
with the X-S10”
especially with lenses that don’t have their own. Fortunately,
adjustments and these ‘A’ settings the image quality is pretty fair even at ISO 12,800.

37

DCM276.guide_fujifilm.indd 37 17/11/2023 15:19

 Mirrorless Fujifilm X-T30 II

The Velvia Film Simulation is perhaps too strong for routine use, but there’s also a more subtle Color Chrome mode.

just get used to. If you like to carry The XF 18-55mm f/2.8-4 is a pretty
a camera around gripped in your right good match, but the XC 15-45mm
hand, you’ll be forever calling up the f/3.5-5.6 is even better. The camera
Q menu screen by accident. handles especially well with Fujifilm’s
We also ended up disabling the neat little f/2 primes.
touchscreen. The size of this camera
means it’s quite difficult to handle it Performance
without touching the screen, and we Real-world tests and our lab results tell
got fed up of playing ‘find the focus the same story: the X-T30 II’s X-Trans
point’ every time we went to take a shot sensor is probably the best APS-C
– or worse, of assuming it was in the sensor on the market right now for
centre where we’d left it, only to realise its all-round blend of resolution,
it was actually in the bottom-left corner. noise control and dynamic range.
Those complaints aside, the X-T30 II The JPEGs straight from the camera The tilting rear screen on the X-T30 II is
feels well-made, and the external are very good, and the X-T30 II adds welcome, but the Fujifilm X-S10 has an
exposure controls are refreshing after a further two of Fujfilm’s acclaimed Film even more useful vari-angle screen.
the dial/button/digital interfaces Simulation modes – Classic Neg and
of most cameras. Eterna Bleach Bypass. In fairness, if able to select from an even wider and
We found that the X-T30 II handles you shoot raw and use software like better range of looks, but Fujifilm’s Film
best with Fujifilm’s smaller lenses. Lightroom or Capture One, you’ll be Simulations are great for JPEG fans
(and you can auto-bracket them if
you want to decide on a look later).
“Real-world tests and our lab results tell the The X-T30 II, like other Fujifilm
cameras, has an interesting High
same story: the X-T30 II’s X-Trans sensor is Dynamic Range mode, which
adjusts the exposure and the tone
probably the best APS-C sensor right now” curve to capture a much wider

38

DCM276.guide_fujifilm.indd 38 17/11/2023 15:19

 Resolution (line widths/picture height)

ISO 100 200 400 800 1600 3200 6400 12800 25600

Fujifilm X-T30 II 28.50 28.50 28.50 28.50 28.50 28.50 28.50 26.50 24.50

Fujifilm X-T30 II Mirrorless

Canon EOS M50 Mk II 27.50 27.50 27.50 27.50 27.50 27.50 25.50 24.00 20.00

Nikon Z fc 26.00 26.00 26.00 24.00 24.00 22.00 20.00 20.00 18.00

Sony Alpha 6400 28.00 28.00 28.00 28.00 28.00 28.00 26.00 26.00 24.00

Resolution (line widths/picture height)

50

40

30

20

10

0
100 200 400 800 1600 3200 6400 12800 25600
Fujifilm X-T30 II Canon EOS M50 Mk II
Nikon Z fc Sony Alpha 6400

Here, the X-T30 II is closely matched by the Sony and

the Canon right up to ISO 3,200, where it takes a slight
Signal to noise ratio (decibels)

lead. All three deliver very good resolution for APS-C

ISO 100 200 400 800 1600 3200 6400 12800 25600

Fujifilm X-T30 II 41.42 39.15 37.64 35.49 33.11 30.40 27.46 24.30 21.11

Canon EOS M50 Mk II 42.27 40.82 38.33 35.18 31.89 28.03 24.85 21.83 17.60

Background blur is easily achievable with a fast lens like the new Fujinon XF 33mm f/1.4.
Nikon Z fc

Sony Alpha 6400

cameras. The Nikon Z fc lags a little way behind.
38.42

42.76
36.72

39.83
34.20

36.51
32.21

32.50
31.03

28.87
28.28

25.55
26.13

22.05
24.04

18.88
21.24

16.18

Signal to noise ratio (decibels)

60

50

40

30

20

10
1

0
100 200 400 800 1600 3200 6400 12800 25600
Fujifilm X-T30 II Canon EOS M50 Mk II
Nikon Z fc Sony Alpha 6400

The X-T30 II has a narrow advantage at higher ISO

ISO
settings. The Sony A6400 is the weakest, especially
100 200
Dynamic range (EV)

400 800 1600 3200 6400 12800 25600

at higher ISOs – the camera is relatively new, but

Fujifilm X-T30 II 12.11 12.29 12.47 12.30 12.02 11.43 10.14 8.93 8.25

Canon EOS M50 Mk II 11.74 12.54 11.62 11.27 10.47 9.44 7.89 6.57 5.81

Nikon Z fc 12.11 12.10 12.10 12.10 11.80 11.31 10.03 9.11 8.16

Sony Alpha 6400

this sensor design has been around for a while now.
11.44 11.01 10.85 10.39 10.24 9.81 9.05 7.87 6.95

Dynamic range (EV)

14

12

The Eterna Bleach Bypass mode gives a strong, desaturated effect. 10

brightness range both in JPEGs and used to smartphones, but they’re 6

raw files – and it’s very effective. also easy to activate accidentally. 4
The autofocus system is similarly The continuous AF and AF tracking 2
1
accomplished, although the touch- are capable of keeping up with moving
0
focus and touch-shutter options are subjects well, but the size and shape of 100 200 400 800 1600 3200 6400 12800 25600

a blessing and a curse at the same the X-T30 II mean it’s not really suited Fujifilm X-T30 II
Nikon Z fc
Canon EOS M50 Mk II
Sony Alpha 6400
time. They are a quick and effective to sports or wildlife photography.
The X-T30 II and the Nikon Z fc lead the field here, with
way to focus and fire for those Rod Lawton
the Canon and the Sony trailing somewhat. The Canon
is better than the Sony at low ISOs, but worse from
ISO 3,200 and above.
Rival cameras
Digital Camera verdict

4.0 Excellent

4.0 3.5 4.5 4.0

Canon EOS M50 II Nikon Z fc Sony Alpha 6400 1
£589/$599 £899/$959 £899/$899 Features Build & Performance Value
handling
The APS-C format If you’re into retro looks, The A6400 has great
M50 II is typically the Nikon Z fc is perfect, autofocus, a flip-forward It’s great to see the X-T30 line continue, even if
a little cheaper than although there aren’t screen and 4K video, this is just a tiny refresh. Fujifilm’s pint-sized retro
the X-T30 II, and it’s many lenses matching its but is not the best camera doesn’t just look cool but works well too, with
ideal for beginners. design yet. value nowadays. old-school shutter speed and aperture dials. The lack
Reviewed: issue 242 Reviewed: issue 247 Reviewed: issue 215 of in-body stabilisation is a shame, however, and the
positioning of the Q button on the thumb grip is
maddening! The images, however, are terrific.

39

DCM276.guide_fujifilm.indd 39 17/11/2023 15:19

 Mirrorless Fujifilm X-E4

There’s not even a

bump on the front for
3 your fingers to grip,
but that’s all part of
the X-E4’s minimalist
design aesthetic.

2
1
The new XF 27mm
f/2.8 R WR kit lens is
2
a super-slim pancake
prime, and a key part
of the X-E4’s appeal.

The X-E4 is the fourth

iteration of Fujifilm’s
range of rectangular
rangefinder-style
mirrorless cameras.

Fujifilm X-E4
£799/$849
New rangefinder-style mirrorless offers superb image quality
w w w.fujif ilm .co.uk

he X-E4 is Fujifilm’s a powerful on-sensor phase-detect

Specifications most compact AF system, with 425 focus points

Sensor: APS-C, X-Trans CMOS 4, 23.5 x 15.6mm

T interchangeable-lens
camera. As the latest
covering the whole image area.
The X-E4 is not really designed for
Megapixels: 26.1MP in the brand’s X-E the same kind of user as the X-T4,
Image size: 6,240 x 4,160 pixels series of mirrorless cameras, it has though. It can shoot at a frame rate
Shutter speed: Mechanical: 15 min-1/4,000 sec a rectangular rangefinder-like design of 8fps with its mechanical shutter,
plus Bulb; Electronic:15min to 1/32,000 sec rather than the mini DSLR-styling or 10fps with its electronic shutter,
ISO range: 160-12,800, exp to 80-51,200 of the X-T series. It’s for enthusiasts but it’s not really a sports camera,
LCD: 180° tilting 3.0-inch who value a classic, compact design not least because its size and
1,620,000-dot touchscreen LCD over all the bells and whistles of shape make the handling a little
Viewfinder: EVF, 0.39-inch 2.36million-dot the X-S10 and X-T4. awkward with longer lenses.
OLED with 100% coverage This is the fourth camera in Fujifilm’s It can also shoot 4K video, but at
Storage: SD/SDHC/SDXC UHS-I X-E series, following the design of a maximum 30fps frame rate, and
Connectivity: Wi-Fi, Bluetooth, previous versions closely, but with while the Fujifilm X-T4 and the X-S10
USB-C, HDMI Micro Type D Fujifilm’s latest 26.1MP X-Trans sensor. have in-body stabilisation, this camera
Battery: Rechargeable NP-W126S This gives it a modest increase in does not, so for both stills and video
Dimensions: 121 x 73 x 33mm resolution over the previous X-E3 – you will be reliant on lens-based
Weight: 364g, including battery and SD card but the real gain is a newer generation stabilisation, where available.
of back-illuminated sensor design, The other notable feature of the
which gives a step up in all-round X-E4 is its kit lens. Most mirrorless
image quality. It’s the same sensor cameras are sold with a zoom, but the
used in Fujifilm’s flagship X-T4. X-E4 kit option comes with a Fujinon
This means the X-E4 also gets XF 27mm f/2.8 R WR ‘pancake’ prime,

40

DCM276.guide_fujifilm.indd 40 17/11/2023 15:19

 Fujifilm X-E4 Mirrorless

4 7

The viewfinder is The X-E4 offers

mounted in the Fujifilm’s trademark
top-left corner, not classic external
on top like other exposure controls,
Fujifilm cameras. including a lens
6
aperture ring and
a shutter speed dial.
5

5 The touch sensitive

8
rear screen has a
tilting mechanism, There’s an exposure
but no sideways compensation dial
movement for taking – although it’s quite
vertical shots. easy to forget you’ve
applied it.
6
9
There’s no four-way
controller on the back, Naturally, the X-E4
but this small joystick takes all Fujifilm
does the job. X-mount lenses.

with a 40mm effective focal length and

a slim profile that perfectly matches
the slim camera body.

Key features
Two things set the Fujifilm X-E4 apart 9
from regular mirrorless cameras. One
is the rectangular rangefinder-style
design. Most mirrorless cameras are
designed to look like DSLRs, with an
The X-E4 produced bright, vibrant colours even under
electronic viewfinder on the top of the
overcast skies; in this shot, it’s held on to the
camera; on the X-E4, the viewfinder is
highlights in the clouds, too.
built into the back top-left corner. The
X-E4 doesn’t have a grip for the fingers Program AE, Aperture Priority,
of your right hand, either – but if Shutter Priority and Manual exposure
you decide the camera is too modes, but you achieve them with
awkward to hold as a result, you combinations of aperture dial and
can get an optional handgrip. shutter dial settings. Old-school film
The external exposure controls photographers will love it,
on the X-E4 have become a Fujifilm
trademark. Where most cameras have
a mode dial and set the lens aperture
and shutter speed electronically via “The X-E4 has
menus and on-screen displays, the
X-E4 has an old-school shutter speed an old-school
dial on the top, and the 27mm kit
lens has a physical aperture ring. shutter speed The X-E4’s Dynamic Range Priority mode has done
Both of these have Automatic a good job here, keeping detail in the bright clouds
positions, so you still have the usual dial on the top” and in the shadows under the pier.

41

DCM276.guide_fujifilm.indd 41 17/11/2023 15:19

 Mirrorless Fujifilm X-E4

The edge-to-edge sharpness of the XF 27mm f/2.8 kit lens is very good indeed.
This has the feel of a premium prime, not a cut-price ‘bundled’ lens.

type of camera enthusiast. You can, of

course, use any X-mount lens with the
X-E4, and you can buy it body-only for
use with lenses you’ve already got.
It’s worth pointing out that this is not
Bright outdoor shots like this aren’t a problem, but in dimmer Fujifilm’s only classic rangefinder-style
light neither the X-E4 nor its kit lens have image stabilisation. camera. There’s also the Fujifilm
X100V, with its hybrid optical/digital
viewfinder and fixed 35mm f/2
but newer photographers might have equivalent lens, and the more
to do a little head-scratching at first. advanced Fujifilm X-Pro3, also
The Fujinon XF 27mm f/2.8 R WR kit with a hybrid viewfinder and
The XF 27mm f/2.8 R WR kit lens comes
lens deserves a closer look, too. This the ability to swap lenses.
with a neat ‘inverted’ lens hood that takes
is a reworked version of a lens Fujifilm up very little space, but shields against glare.
has had in its X-mount line-up for Build and handling
a while. This version adds a physical The X-E4 handles well, and the slim
aperture ring and weather sealing, two rectangular body is a good match or the X-T4, both of which have
small steps that are really welcome. for the XF 27mm f/2.8 kit lens. If you integrated grips. We paired the X-E4
It’s a bold move for Fujifilm to bundle switch to a larger lens, however, it with a Fujinon XF 16-80mm f/4 for
a prime lens with this camera rather doesn’t feel quite as well-balanced; if our video tests, and that did feel
than a zoom, but it shows the company you want to use longer Fujinon zooms, a little large for the camera body.
is aiming this camera at a particular you might be happier with the X-S10 The electronic viewfinder isn’t the
highest-resolution display out there,
but with 2.36 million dots it’s still
Rival cameras perfectly crisp and clear for a camera
like this. The rear screen is very good,
too; it even has a tilting mechanism,
though it doesn’t incorporate a
sideways tilt like the X-T4, and
the X-S10 is better still, with
a fully articulating screen.
The X-E4’s rear screen is touch-
Canon EOS M6 Mark II Nikon Z 50 Sony Alpha 6400 sensitive; it’s really useful to be able to
£869/$849 £899/$859 £949/$899 tap the screen to switch focus points,
Canon’s M6 II has the This APS-C mirrorless A fully articulating screen especially with the camera on a tripod
edge over the X-E4 on has uncropped 4K, but makes the A6400 perfect
and filming video. What is annoying,
resolution, but the M6 II’s far fewer lenses and a for video, but it can’t
lens selection is 180° tilt screen make match the X-E4’s
though, is that the screen flips upside
more limited. it feel less attractive. megapixels. down if your ‘tapping’ finger gets close
Reviewed: issue 231 Reviewed: issue 225 Reviewed: issue 215 to the EVF’s eye sensor. It’s as if the
camera imagines you’re shooting
a selfie, even when the screen angle

42

DCM276.guide_fujifilm.indd 42 17/11/2023 15:19

 Fujifilm X-E4 Mirrorless
Resolution (line widths/picture height)

ISO 100 200 400 800 1600 3200 6400 12800 25600

Fujifilm X-E4 30.00 30.00 30.00 30.00 30.00 30.00 28.00 28.00 26.00

Canon EOS M6 Mk II 29.50 29.50 29.50 29.50 29.50 28.00 26.00 22.00 20.00

Lab tests
Nikon Z 50 26.00 26.00 26.00 26.00 26.00 26.00 24.00 24.00 22.00

Sony Alpha 6400 27.50 27.50 27.50 27.50 27.50 27.50 25.50 25.50 24.00

Resolution (line widths/picture height)

50

40

30

20

10

0
100 200 400 800 1600 3200 6400 12800 25600
Fujifilm X-E4 Canon EOS M6 Mk II
Nikon Z 50 Sony Alpha 6400

Despite ‘only’ having a 26.1MP sensor, the X-E4

Signal to noise ratio (decibels)

delivers images so crisp it can match the 32.5MP

ISO 100 200 400 800 1600 3200 6400 12800 25600

Fujifilm X-E4 42.66 40.96 38.79 35.77 33.31 30.45 27.54 24.25 21.05

Canon EOS M6 Mk II 42.24 39.83 37.89 34.54 31.22 27.88 24.02 21.15 18.00

Nikon Z 50

Sony Alpha 6400 EOS M6 II for fine detail at lower sensitivities.

44.57

42.76
41.88

39.83
38.89

36.51
36.34

32.50
35.33

28.87
32.88

25.55
30.34

22.05
28.14

18.88
25.2

16.18

Signal to noise ratio (decibels)

60

50

40

30

20

10

0 1
100 200 400 800 1600 3200 6400 12800 25600
Fujifilm X-E4 Canon EOS M6 Mk II
Nikon Z 50 Sony Alpha 6400

The X-E4 beats both the Canon and Sony competition.

Dynamic range (EV)

The Z 50 does pull ahead at higher sensitivities, but

ISO 100 200 400 800 1600 3200 6400 12800 25600

Fujifilm X-E4 12.09 12.49 12.50 12.31 11.96 11.37 9.97 9.03 8.18

Canon EOS M6 Mk II 11.93 12.06 12.12 11.91 10.79 10.32 9.30 7.64 6.19

Nikon Z 50

Sony Alpha 6400we’d expect this given its lower megapixel count.
12.41

11.44
12.39

11.01
12.39

10.85
12.39

10.39
12.15

10.24
11.96

9.81
10.36

9.05
9.27

7.87
8.40

6.95

We shot this using the X-E4’s Provia film simulation mode, which is the closest to a standard, Dynamic range (EV)
neutral rendition. You can also shoot raw and choose your film simulation later. 14

12

is quite shallow. This proved pretty the camera’s ISO and tone curve to 10

annoying during our video tests. In match the brightness range of the 8

fairness, although the X-E4 can shoot scene; if you’re shooting JPEGs, it will 6
4K video perfectly well, it’s not really tweak the highlight and shadow curve 4
a video specialist – there isn’t even regions to provide the kind of wide
2
a dedicated record button. exposure latitude you might once have 1
0
Round the back there is no four-way got from colour negative film. Camera 100 200 400 800 1600 3200 6400 12800 25600

controller, just a small joystick. That’s JPEGs can occasionally look a little Fujifilm X-E4 Canon EOS M6 Mk II
Nikon Z 50 Sony Alpha 6400
fine – you don’t really miss the D-pad anaemic as a result, but you do get
Dynamic range is a measure of a camera’s ability
at all (the buttons on previous models a wide range of tones to work with
to retain detail in the brightest and darkest parts of
have been a bit too easy to press by during editing. It’s almost like the stills the scene. The X-E4 is capable of capturing plenty.
accident), and the joystick takes equivalent of log modes in video.
care of all the menu navigation Speaking of video, the X-E4 shoots Digital Camera verdict
and focus point settings. oversampled 6K to produce its 4K

4.0
On the front there is a single control video files, which are sharp and full of
wheel, which is all this camera really detail. We did take a few hours out of
Excellent
needs. This does have a central ‘click’ the office to shoot some sample video,
action that can be a little too easy but with no in-body stabilisation this is
to activate unintentionally. a camera that’s best used on a tripod,
4.0 4.0 4.5 4.0
or perhaps on a gimbal. Rod Lawton
Performance Features Build & Performance Value
The X-E4’s still image quality is
“The X-E4’s still
handling 1
everything we’ve come to expect from
While its small size and design doesn’t make it quite
Fujifilm cameras. You can use the
in-built Film Simulations for capturing image quality is as versatile as a camera like the X-T4, the Fujifilm
X-E4 is capable of producing the same quality images
JPEGs, or you can shoot raw if you
want to choose a colour profile later. everything we’ve and it’s easy to carry everywhere. It would be ideal as
a travel camera with Fujifilm’s smaller prime lenses
The X-E4 has an interesting Dynamic or zooms. The optional XF 27mm kit lens is a case
Range Priority mode, which adjusts come to expect” in point: the pairing delivers great shots.

43

DCM276.guide_fujifilm.indd 43 17/11/2023 15:19

 Mirrorless Fujifilm X-S10

2
1

The X-S10 uses a

NP-W126S lithium-ion
battery, rated for 325
stills or 40 minutes
of video capture.

3
2

The X-S10 is available

body-only, or as a kit
with either the Fujinon
XF18-55mm f/2.8-4 R
1
or XF16-80mm f/4 R
OIS WR lenses.

Even if your chosen

lens doesn’t have OIS,
the X-S10’s IBIS system
has your back when
you shoot handheld.

Fujifilm X-S10
£949/$999
Fujifilm goes mainstream with a regular mode dial and IBIS
w w w.fujif ilm .co.uk

he Fujifilm X-S10 marks Fujifilm’s beginner cameras and its

Specifications an interesting shift in more advanced models. However, we

Sensor: 26.1MP APS-C X-Trans BSI CMOS 4

T Fujifilm’s camera range.
Until now, its more
are told that it is instead positioned
between the Fujifilm X-H1 and the X-T4;
Image processor: Quad-core X-Processor 4 advanced mirrorless an advanced camera aimed at a
AF points: 117/425/91-point cameras have all featured external broader audience of users, who
hybrid contrast/phase AF shutter speed dials, plus (depending might previously have been put off by
ISO range: 160 to 12,800 (exp 80-51,200) on the model) external lens aperture Fujifilm’s external exposure controls.
Video: Uncropped 4K UHD up to 30p rings and ISO dials. Instead, the X-S10
Viewfinder: EVF, 2.36m dots, reverts to a regular mode dial as seen Key features
0.62x magnification on countless competitors. Apart from its physical design, the
Memory card: SD/SDHC/SDXC Fujifilm’s old-school approach to X-S10 has a lot of technology that
LCD: 3-inch vari-angle touchscreen, 1.04m dots camera design and external exposure will be familiar from other Fujifilm
Max burst: 8fps mechanical shutter, 20fps control has won it lots of fans, and is models. The significance is largely
electronic shutter, 30fps & 1.29x crop featured on the Fujifilm X-T4 flagship in how it’s been brought together,
Connectivity: Wi-Fi model, the rangefinder-style X-Pro3 and the price it will be sold for.
Size: 126 x 85 x 65mm and the super-compact X-T30. Fujifilm The sensor is, we presume, the
Weight: 465g (body only) also makes more beginner-orientated same 26.1 megapixel X-Trans CMOS 4
models with conventional mode dials sensor used in the Fujifilm X-T4. The
and exposure controls, namely the quad-core X-Processor 4 processing
Fujifilm X-A7 and the X-T200. engine appears to be the same, too.
The Fujifilm X-S10 also has a The autofocus system offers the
conventional mode dial, and might same 100% phase detection AF frame
at first seem like a bridge between coverage as the X-T4, with face and

44

DCM276.guide_fujifilm.indd 44 17/11/2023 15:19

 Fujifilm X-S10 Mirrorless

4 7

Offering 0.62x Despite only weighing

magnification, the 465g body-only,
X-S10’s EVF falls the X-S10 feels
short of the X-T4’s reassuringly sold
5 0.75x magnification. and well-made.

6
5 8

The 3-inch, 1.04-million- The traditional mode

dot touchscreen dial makes it easy to
colour LCD can rotate transition to the X-S10
and flip forward for if you’re used to other
7 easy vlogging. camera brands.

6 9

This joystick control is Usually sited on the

an intuitive means of rear of other X-series
setting a focus point if cameras, the Q button
you prefer not to use provides direct access
the touchscreen. to common settings.

8
9

eye detection and, Fujifilm says, 10-bit video internally, but the
improved sensitivity down to light X-S10 takes a step back to a more Named after an old camera film brand, Fujifilm’s Provia
levels as low as -7EV, with a response conventional 4K 30p and 8-bit capture Film Simulation is the closest mode to a ‘standard’ colour
time of as little as 0.02 seconds. internally – although the X-S10 and rendition on the X-S10. Colours are vibrant but natural.
Like the X-T4, the Fujifilm X-S10 X-T4 can both record 10-bit 4:2:2 video
has built-in in-body stabilisation if you use an external recorder.
(IBIS). The stabilisation unit is around In other areas, the X-S10 has a single
30% smaller, and offers six stops of card slot compared with the X-T4’s
compensation versus the 6.5 stops two, and a slightly lower-resolution
of the X-T4. There is a difference, electronic viewfinder. The X-S10
then, but a small one. delivers a lot of features for the money,
But there are larger differences but there are enough areas where the
elsewhere, notably in continuous X-T4 remains superior enough to
shooting and video features. Where justify the price difference.
the X-T4 can shoot at up to 15 frames
per second with its mechanical Build and handling
shutter, the X-S10 achieves 8fps – It’s hard not to be impressed by the
though that’s still pretty good for X-S10 when you first pick it up. It’s not
a camera in this price bracket. particularly heavy at just 465g body
The X-S10 can shoot at 20fps only, but it has a very solid feel. Thanks
with its electronic shutter, or to the front grip, it’s a small-ish camera
30fps in a 1.29x crop mode. that still delivers a very good hold. Fujifilm’s Velvia Film Simulation produces rich, dense
The Fujifilm X-T4 is renowned for its The swap to a regular mode dial colours, especially when you apply just a dab of deliberate
ability to capture 4K 60p video and doesn’t mean the X-S10 has underexposure, as we’ve done in this close-up shot.

45

DCM276.guide_fujifilm.indd 45 17/11/2023 15:19

 Mirrorless Fujifilm X-S10

The Fujinon XF16-80mm f/4 is one of the

kit lenses recommended for the X-S10;
you can buy the pair as a bundle.

The X-S10 delivers exactly the kind

of colour and detail rendition we’ve
become used to seeing on other
Fujifilm cameras. Given the fact it
uses the same sensor and processor,
we wouldn’t expect any different.
If you shoot JPEGs, you can use
Fujifilm’s wide range of Film Simulation
The Acros Film Simulation mode, which processes your shots into black and white in-camera, modes, which includes Provia (the
gives slightly more dense and contrasty rendition than a standard Monochrome mode. standard setting), Velvia, Classic
Chrome, Astia, Acros (black and white)
and a whole lot more. If you shoot raw
a dumbed-down control layout. It has on the back, and there’s a movie files, Capture One will automatically
twin command dials: one inset into the record button on the top, too. detect and assign the profile you
top of the grip at the front, and another The rear screen flips out and chose in-camera (you can change
on the top at the back. Over on the rotates easily – no complaints there it, too), while Lightroom and Camera
left side is a function dial. – and the electronic viewfinder is Raw will offer Film Simulation
This means the X-S10 doesn’t use good too, though the resolution and options amongst their Profiles.
one of those annoying spinning-and- especially the 0.62x magnification Like other Fujifilm cameras, the
clicking multi-controllers on the back. feel a little mean. X-S10 has a neat dynamic range
Instead, it just has a joystick for expansion option with values of 200%
autofocus point and settings Performance and 400%. This adjusts the sensitivity
navigation – and there’s an AF-On The lens we’ve used for our review and the tone curve to capture a higher
button for any photographers who is the Fujinon XF18-55mm f/2.8-4 R dynamic range (and specifically more
like to separate the shutter and AF LM OIS. This is Fujifilm’s standard highlight detail), and it applies to raw
functions when they shoot. Fujifilm’s mid-range kit lens; while it’s pricier files too, not just JPEGs. This gives
regular Q (quick settings) button than others, it’s 1-2 stops faster the X-S10’s raw files a good deal
is found on the top of this camera, in maximum aperture, compact, of processing flexibility.
rather than its usual position well-made and optically a cut above. The X-S10 does not offer the 4K
60p video capability of the more
expensive X-T4, but this is a mid-range
Rival cameras all-purpose camera and not a video
specialist, and its video specs are
easily good enough for amateur
or enthusiast use.
The camera’s in-body stabilisation
system proved a mixed blessing in our
tests, however. We forgot to disable it
for some tripod shots taken in windy
Canon EOS M6 II Nikon Z 50 Sony Alpha 6600 conditions, and the footage shows
£869/$849 £759/$859 £1,399/$1,399 a high-frequency ‘judder’ in some
Canon’s M6 II has the The Z 50 is a terrific The Alpha 6600 packs sections. The stabilisation can be
edge over the X-S10 APS-C mirrorless some advanced video
disabled in the IS Mode menu settings,
on resolution, but the M6 camera, and arguably features, but a dated
II’s lens selection is more the closest competition design and high price
but it’s very easy to forget (as we did)
limited. to the X-S10. hold it back. to do this when you swap between
Reviewed: issue 231 Reviewed: issue 225 Reviewed: issue 226 different shooting scenarios,
especially if you are working quickly.
And while it’s very useful for static

46

DCM276.guide_fujifilm.indd 46 17/11/2023 15:19

 Fujifilm X-S10 Mirrorless
Resolution (line widths/picture height)

ISO 100 200 400 800 1600 3200 6400 12800 25600

Fujifilm X-S10 28.00 28.00 28.00 28.00 28.00 28.00 28.00 26.00 24.00
Canon EOS M6 Mk II 30.00 30.00 30.00 30.00 30.00 28.00 26.00 22.00 20.00

Lab tests
Nikon Z 50 26.00 26.00 26.00 26.00 26.00 26.00 24.00 24.00 22.00
Sony Alpha 6600 28.00 28.00 28.00 28.00 28.00 28.00 26.00 26.00 24.00

Resolution (line widths/picture height)

50

40

30

20

10

0
100 200 400 800 1600 3200 6400 12800 25600
Fujifilm X-S10 Canon EOS M6 Mk II
Nikon Z 50 Sony Alpha 6600

The 26.1MP X-S10 slots in neatly between the 32.5MP

M6 II and the 20.9MP Z 50. The A6600 mostly
Signal to noise ratio (decibels)

matches the X-S10: its 24.2MP sensor creates images

ISO 100 200 400 800 1600 3200 6400 12800 25600

Fujifilm X-S10 42.36 41.91 39.53 37.08 33.83 31.17 27.95 24.84 21.63
Canon EOS M6 Mk II 42.24 39.83 37.89 34.54 31.22 27.88 24.02 21.15 18.00
Nikon Z 50

Sony Alpha 6600 of a close dimensional size to those from the X-S10.
44.57

41.98
41.88

37.99
38.89

34.24
36.34

29.83
35.33

27.03
32.88

23.52
30.34

20.51
28.14

17.85
25.20

15.29

Signal to noise ratio (decibels)

60

50

40

30

20

10
Here’s an example of Fujifilm’s dynamic range expansion at work: the X-S10 has captured 1
good sky and shadow detail in this backlit shot, where sky overexposure was a risk. 0
100 200 400 800 1600 3200 6400 12800 25600
Fujifilm X-S10 Canon EOS M6 Mk II
Nikon Z 50 Sony Alpha 6600
handheld clips, where the IBIS enable digital image stabilisation.
really does even out small camera Our time with the X-S10 was limited, Despite the X-S10’s fairly high megapixel count, its
movements, it’s less effective for so we weren’t able to check all the images are cleaner and less noisy than those from the
Dynamic range (EV)

run-and-gun style shooting (or walk- permutations, but it will be interesting

ISO
Fujifilm X-S10 Canon and Sony cameras. The X-S10 is even able to
100

12.20
200

12.47
400

12.48
800

12.47
1600

12.34
3200

11.67
6400

10.30
12800

9.41
25600

8.30

match the 20.9MP Z 50 at lower sensitivities.

Canon EOS M6 Mk II 11.93 12.06 12.12 11.91 10.79 10.32 9.30 7.64 6.19
Nikon Z 50

and-gun in our case). The sensor to test this camera again in the future.
12.41 12.39 12.39 12.39 12.15 11.96 10.36 9.27 8.40
Sony Alpha 6600 11.78 11.05 10.71 10.39 10.19 9.63 8.70 7.54 6.83

shift system inevitably has a limited Shooting video handheld with

range of movement, and now and camera movement is a risky business Dynamic range (EV)
14
again it’s as if it abruptly ‘resets’ that takes a good deal of skill on the
or re-centres, which can give part of the operator. With the X-S10, 12

footage a somewhat jerky look. our conclusion is that you might be 10

The manual does explain how to better off with a gimbal with the 8
disable the IS Mode Boost option for camera’s in-body stabilisation 6
panning shots (our bad) and how to system disengaged. Rod Lawton 4
1
2

0
100 200 400 800 1600 3200 6400 12800 25600
Fujifilm X-S10 Canon EOS M6 Mk II
Nikon Z 50 Sony Alpha 6600

Fujifilm’s X-Trans sensors have a history of capturing

excellent dynamic range, and the X-S10’s X-Trans 4
sensor is a fine example of this. The X-S10 is capable
of up to 2EV more dynamic range than the A6600.

Digital Camera verdict

4.5 Outstanding

4.5 4.5 4.5 5.0

1
Features Build & Performance Value
handling

The excellent finish, build quality and handling,

and the inclusion of IBIS, give the X-S10 perhaps the
The X-S10’s flip-out rear screen makes taking low-angle images like this a whole lot best combination of performance, quality and value
easier, encouraging owners to explore more creative angles in their shot-taking. in the APS-C mirrorless camera market right now.

47

DCM276.guide_fujifilm.indd 47 17/11/2023 15:19

 Mirrorless Fujifilm X-Pro3

1
2 1

The body itself remains

magnesium, but the
top and bottom
plates are titanium.

The ingenious hybrid

viewfinder enables
you to switch between
electronic and optical
modes instantly.

This small, square

OLED panel displays
film simulation or
exposure information,
but it is hard to
read in dim light.

Fujifilm X-Pro3
£1,699/$1,999
Bringing back an old way of shooting to the digital world

w w w.fujif ilm .co.uk

Specifications ou have to admire what’s in front of you rather than

Fujifilm’s daring and constantly checking what you just
Sensor: 26.1MP APS-C X-Trans CMOS 4
Image processor: X-Processor 4
Y willingness to try
something new. When
did. By making it harder for you to
check your pictures, it makes it
AF points: 91 Intelligent Hybrid reports of the Fujifilm easier to concentrate on the act
(contrast and phase detection) X-Pro3’s then-unnamed ‘hidden LCD’ of ‘seeing’ them in the first place.
ISO range: 80-51,200 (extended) first hit the rumour sites, it seemed so Inside, the camera uses the 26.1MP
Max image size: 6,240 x 4,160 bizarre that many people dismissed it X-Trans 4/X-Processor 4 combo that
Metering modes: Multi, spot, average, centre-weighted out of hand as too outlandish to be debuted in the Fujifilm X-T3. The
Video: 4K up to 30fps (15 mins), 1080p up to 60fps true. However, it is true – and it’s X-Pro3 focuses down to an impressive
(59 mins) / 120fps (6 mins) borderline brilliant in its thinking. -6EV, and features in-camera HDR as
Viewfinder: Hybrid OVF (95% cov, x0.52 mag) and OLED The Fujifilm X-Pro3 has its LCD on well as Focus Bracketing (with an
EVF (100% cov, x0.66 mag, 3.69m dots) ‘backwards’, so that the screen faces auto-calculation feature, to determine
Memory card: 2 SD/SDHC/SDXC (UHS II) inwards instead of out. The result how many shots are required).
Max burst: 11fps mechanical shutter, is that there is no temptation to And no new Fujifilm flagship would
20fps electronic (30fps with crop) compose on the back screen, and be complete without a new film
Connectivity: Wi-Fi, Bluetooth, USB-C the hassle of flipping the LCD down simulation – here we get Classic
Size: 141 x 83 x 46mm between each shot makes you far Negative, which gives the feel of
Weight: 497g (including battery and memory card) less inclined to stop and examine everyday film such as Superia 100,
every picture you take – the ‘ooh with hard tonality and low saturation.
ooh ooh’ sound of ‘chimping’.
The X-Pro3 encourages you to Build & handling
shoot pictures instead of look at The design and handling is based
them. It embodies a purity of shooting on old ‘rangefinder’ cameras with
that keeps you in the moment, with a rectangular bodies and optical
mindset fully focused on capturing direct-vision viewfinders that are

48

DCM276.guide_fujifilm.indd 48 17/11/2023 15:19

 Fujifilm X-Pro3 Mirrorless
Resolution (line widths/picture height)
ISO 100 200 400 800 1600 3200 6400 12800 25600

Fujifilm X-Pro3 28.50 28.50 28.50 28.50 28.50 28.50 26.50

Canon EOS RP 28 28 28 28 28 28 28 26 26
Fujifilm X-E3 26.00 26.00 26.00 26.00 26.00 26.00 26.00 26.00 24.00

Lab tests
Leica M10-P

Resolution (line widths/picture height)

50

40

30

20

3 10

0
100 200 400 800 1600 3200 6400 12800 25600
Fujifilm X-Pro3 Canon EOS RP
Fujifilm X-E3 Leica M10-P

ISO
With three cameras in the 24-26MP range, it’s small
100
Signal to noise ratio (decibels)
200 400 800 1600 3200 6400 12800 25600

Fujifilm X-Pro3
Canon EOS RP
wonder they score almost identically. The M10-P’s
47.34
44.23

45.20
41.58

42.74
38.79

39.93
35.85

36.79
32.16

33.42
29.27

30.24
25.99

26.18 22.97

supplied lens wasn’t able to frame our test chart.

Fujifilm X-E3 42.57 40.45 37.53 34.62 29.53 26.81 24.07 21.44 19.10
Leica M10-P 44.09 42.04 39.66 35.76 33.64 30.24 27.21 24.68

Signal to noise ratio (decibels)

aligned with the lens but don’t show images with rich, wonderful colour
60
the view through it. This presents a rendition that look sublime straight
learning curve for anyone who isn’t out of camera, but have plenty of 50

familiar with using a rangefinder, wiggle room for post-processing 40

although Fujifilm’s hybrid optical/ work. 4K footage is crisp and clean,
30
electronic viewfinder does enable although it’s a shame that recordings
you to switch to a digital display (and are limited to 15 minutes – and the 20
check your photos, if you must). lack of in-body image stabilisation
10
The risk is that by challenging you means that a tripod or gimbal is
1
to shoot in more ‘pure’ way, the pretty much a must, making this less 0
100 200 400 800 1600 3200 6400 12800 25600
camera can discourage you from appropriate as a run-and-gun video or Fujifilm X-Pro3 Canon EOS RP
using the tilting screen in situations vlogging device (though that’s really Fujifilm X-E3 Leica M10-P

that actually benefit from it. In not what this camera is intended for). Dynamic range (EV)

ISO The X-Pro3 almost matches the full-frame Canon

100 200 400 800 1600 3200 6400 12800 25600

practice, the fold-down screen The performance of the X-Pro3 will Fujifilm X-Pro3

Canon EOS RP
12.57 12.57 12.57

EOS RP. However, the far cheaper Fujifilm X-E3

11.19 11.43 11.26 11.35
12.46

11.19
11.64

10.87
10.35

9.30
9.30

8.40 6.67

is great for inconspicuous street come as little surprise; the practice,

Fujifilm X-E3 12.35 12.50 11.32 11.00 9.77 9.15 8.71 8.05 7.16
Leica M10-P
scores very nearly as well as the X-Pro3.
12.67 12.45 12.46 12.18 11.26 10.00 9.08 8.73

photography – giving you an effective however, is another matter. Used as

waist-level viewfinder, like those intended, this camera is as close Dynamic range (EV)
found on old film cameras. as you can get to shooting analogue 14

without feeding a roll of Portra in 12

Performance the back of a body. And that is a 10
The performance of the X-Pro3 can’t genuinely liberating experience.
8
be faulted: it produces beautiful James Artaius & Chris George
6

Rival cameras 2

0 1
100 200 400 800 1600 3200 6400 12800 25600
Fujifilm X-Pro3 Canon EOS RP
Fujifilm X-E3 Leica M10-P

The X-Pro3 is the horse to beat in this race. The

Leica M10-P keeps pace at lower sensitivities, but
the X-Pro3 maintains a clear lead above ISO 800.

Canon EOS RP Fujifilm X-E3 £6,600/$7,995

Digital Camera verdict
£1,329/$1,299 £549/$699

This affordable full-frame

mirrorless camera has
The mid-range X-E3
offers comparable image
The M10-P suffers an
identity crisis as its
classic analogue exterior
4.0 Excellent

a traditional, DSLR- quality, and boasts an wrestles with its modern

style body, which will suit electronic viewfinder, electronic trimmings.
4.0 4.5 4.0 4.0
some better than a though it lacks an optical You have the option
rangefinder. The images finder. Bang for buck, it’s of real rangefinder
Features Build & Performance Value
lack the charisma of an appealing alternative. focusing or Live View. handling1
Fujifilm’s simulations. Reviewed: issue 197 Reviewed: issue 208
Reviewed: issue 214 The Fujifilm X-Pro3 recaptures the purity and
joy of taking photographs. However, at times it
Leica M10-P impedes your ability to shoot in a modern way.

49

DCM276.guide_fujifilm.indd 49 17/11/2023 15:19

 Mirrorless Fujifilm X-H2

The deep grip gives

a secure hold, even
with longer and
3
heavier lenses.

2
1
The X-H2 uses the
same X Mount as all
previous models, with
2 a wide range of lenses.

Fujifilm’s brand new

40MP X-Trans sensor
delivers the highest
APS-C resolution yet.
GOLD

Fujifilm X-H2
AWARD

£1,899/$1,999 (body only)

Setting a new standard for APS-C cameras
w w w. fuji f ilm -x .com

Specifications ujifilm sold us a dummy cameras. Moreover, it does this at

in 2022. Rumours a price that’s far, far below that of
Sensor: 40MP APS-C X-Trans 5 HR BSI
Image processor: X-Processor 5
F abounded of a new
40MP APS-C flagship,
any of these full-frame models.
The Fujifilm X-H2 and X-H2S
Mount: Fujifilm X Mount which was later are a very strong double-act. The
ISO range: 64-51,200 confirmed by Fujifilm as being ‘in 26MP X-H2S has blinding professional
Shutter speeds: 15 minutes-1/180,000sec development’, then talk shifted to speed, while the 40MP X-H2, fast in
Image stabilisation: 5-axis IBIS an ultra-fast camera with a stacked its own right, offers professional
Max image size: 7,728 x 5,152 pixels sensor. It then became apparent that levels of resolution both for stills
Max video resolution: 8K 30p, 6.2K 30p, Fujifilm was launching two flagship photography and video.
4K 60p, 1080 120p cameras, and not one. The first of Physically, they are all but identical.
Viewfinder: 5.76-million-dot OLED these to arrive was the high-speed Yet in terms of what they do and how
Memory cards: 2 slots: 1 x CFexpress Type B, Fujifilm X-H2S, proving to be they do it, they are somewhat
1x SD UHS-II cards spectacular in its own right, but for different. The X-H2 targets users
LCD: Vari-angle touchscreen, 1.62m dots many observers the precursor to for whom resolution is everything.
Max burst: 20fps electronic, 15fps mechanical the main event, the Fujifilm X-H2.
Connectivity: Wi-Fi, Bluetooth, HDMI, USB-C, This camera has the highest Key features
3.5mm mic, 3.5mm headphone, 2.5mm remote resolution yet in an APS-C camera, The X-H2 has a new 40MP APS-C
Size: 136.3 x 92.9 x 84.6mm its 40-megapixel sensor surpassing X-Trans sensor, which is a high
Weight: 660g (including battery) that of all but a handful of full-frame enough resolution in itself, but this is
cameras. It can also shoot 8K video, supplemented by a 160MP multi-shot
which has never before been achieved pixel-shift mode, which merges 20
with the APS-C format, and matched separate images into one. It has
by a pretty small set of full-frame 20 shots rather than the usual

50

DCM276.guide_fujifilm.indd 50 17/11/2023 15:19

 Fujifilm X-H2 Mirrorless

6 4
4 7

The 5.76 million-dot The screen folds

EVF is near enough against the back for
identical to the one protection if you want
on the X-H2S. to use the viewfinder.

5 8

The vari-angle The two card slots

LCD touchscreen accept either UHS-II
contains 1.62 SD or CFexpress Type
million dots. B memory cards.
5

As is the case with

the X-H2S, the X-H2
sports a conventional
PASM mode dial.

Chris George
7

16 because of the unique colour The company also acknowledges

filter array of the X-Trans sensor that the focus tracking performance
design, and the multi-shot merging will not be the same as the X-H2S’s
happens later on a computer – because it can’t match the faster
it’s not done in-camera. camera’s readout speed. However,
Normally, high-resolution sensors the X-H2 will be bought primarily
Fujifilm cameras are well regarded for their film simulations
sacrifice speed, but while the sensor for its resolution, and that brings
and portrait rendering: Fujifilm X-H2 with Fujinon XF 80mm
in the X-H2 does have a slower its real headline features.
f/2.8 LM OIS WR Macro, 1/900 sec at f/2.8, ISO 800.
readout speed than the one in the The 40MP stills (and 160MP
X-H2S (it doesn’t use the same multi-shot) resolution are only half the
stacked design), it is no slouch. story. The other half is the 8K video
With a maximum burst speed of capability. Some were hoping for
15fps with the mechanical shutter, 8K 60p capture, but the X-H2’s 30p “The X-H2’s 40MP
the X-H2 can successfully keep capture will be fine for most, and while
up with most sports cameras it can’t match the 4K 120p capture sensor surpasses that
for sheer speed. What Fujifilm calls of the X-H2S, it can still do 4K 60p.
the ‘rolling shutter’ time, ie the scan Of course, with 8K capture comes of all but a handful of
time, of the X-H2 sensor is 1/88sec that new video bugbear – heat – and
versus the 1/180sec of the X-H2S. its effect on maximum full-frame cameras”
51

DCM276.guide_fujifilm.indd 51 17/11/2023 15:19

 Mirrorless Fujifilm X-H2

Chris George
We were able to test the X-H2 on the New York skyline during Fujifilm’s X-Summit event in September when the new camera was
officially launched: Fujifilm X-H2 with Fujinon XF 16-55mm f/2.8 R LM WR, 1/420sec at f/5.6, ISO 400.

recording times. Well, here Fujifilm One of these, the new Fujinon XF great to have a fully vari-angle screen
has come up trumps. The X-H2 has 56mm f/1.2, is being launched rather than a simple tilting screen.
cooling vents behind the rear screen at the same time as this camera. The status display panel on the
which allow a claimed recording time top of the X-H2 is especially good and
of 160 minutes at 25C without any Build and handling worth giving up shutter speed and
additional cooling, increasing to The Fujifilm X-H2 is not a large ISO dials for. The numerals are big
240 minutes with Fujifilm’s optional camera but it has a deep grip for and clear and the white-on-black
FAN-001 cooling fan (as offered for a secure hold and there is a decent display has bags of contrast.
the X-H2S, too). In our book, that’s amount of space around the controls.
as good as unlimited recording – These do not follow the traditional Performance
a remarkable achievement. external controls of the Fujifilm X-T4, Theoretically, the Fujifilm X-H2’s
Elsewhere, the X-H2 appears to be but instead this camera swaps to a responses will be slower than those
pretty much identical to the X-H2S, conventional mode dial (like the
with a very good 5.76m-dot EVF, X-H2S). This has no fewer than seven
1.62m dot vari-angle touchscreen and custom settings (C1-C7) – Fujifilm has
both CFexpress Type B and UHS-II opted for in-depth customisation
memory cards. Naturally, it takes the rather than a body covered in buttons.
full range of Fujifilm X Mount lenses, We have so far tried the X-H2 with a
many of which are being updated to variety of lenses, including the Fujinon
meet the speed and resolution of XF 16-55mm f/2.8 and the newly
Fujifilm’s latest cameras. announced Fujinon XF 56mm f/1.2 R
WR – this camera will be sold body-
only and with the XF 16-80mm f/4
– and while it feels best balanced with
“It feels like a very Fujifilm’s smaller lenses, it’s not too
unwieldy with the 16-55mm, which is
snappy performer, a likely pro choice for X-H2 buyers.
The 5.76m-dot electronic viewfinder
with fast and is very crisp and clear, as you would The X-H2 has dual memory card slots, one
expect from that resolution, and the of which takes SD UHS-II compatible cards
accurate AF” rear screen is very good, too – it’s and the other CFexpress Type B.

52

DCM276.guide_fujifilm.indd 52 17/11/2023 15:20

 Fujifilm X-H2 Mirrorless

Lab tests
Chris George

With 40.2MP on tap, it’s no surprise that the

X-H2 is in a league of its own in this test, resolving
significantly more fine detail than the competition.
Chris George

The clarity of the X-H2’s images is closely matched

to Canon and Sony’s, though the X-H2 produces less
noise and therefore higher signal-to-noise scores.

The X-H2 captures a respectable amount of dynamic

The X-H2’s 40MP sensor breaks new ground for detail rendition in an APS-C sensor,
range, though its pixel-packed sensor leaves it a bit
and Fujifilm is upgrading many of its lenses to match this new resolution standard.
compromised compared to the 26.1MP X-H2S.

of the X-H2S, but it still feels like a Yes, it has a smaller sensor, but it
very snappy performer, with fast matches the specs of full-frame Digital Camera verdict
and accurate autofocus (now with cameras at two or three times the

5.0
Animal, Bird, Automobile, Bike, price. The image quality is every bit
Airplane and Train recognition, not as good as we would expect, and the
A best-in-class product
just Face and Eye AF). When in use, we resolution doesn’t disappoint. The
didn’t notice a whole lot of difference Fujifilm X-H2 genuinely sets new
in terms of responsiveness. standards for APS-C cameras.
5.0 5.0 5.0 5.0
On paper at least, Fujifilm has Rod Lawton
not put a foot wrong with the X-H2.
Features Build & Performance Value
The design and handling follow that
“On paper at least,
handling
of the X-H2S (physically they are all
The Fujifilm X-H2 is an extremely compelling camera
but identical) and the X-H1 before
it, a camera we admired greatly, so Fujifilm has not at an equally compelling price. With its 40MP
resolution and 8K video, it takes on some full-frame
we’re very happy to see its successor.
The X-H2 handles very well, its put a foot wrong big guns at half the price – while being made to the
same exacting, professional standards. The X-H2
specification is spellbinding and its has effectively redefined what can be expected
price point is just as impressive. with the X-H2” from an APS-C camera system.

53

DCM276.guide_fujifilm.indd 53 17/11/2023 15:20

 Rangefinder Leica M10-P

The Leica M10-P uses

a rangefinder, giving
a fixed angle of view
1 whatever lens you use.

The M mount allows

you to use any lens
created over the 50
years of the Leica
rangefinder.

A first for the M range,

the 3-inch screen is
touch sensitive.
2
4

Metal dials on the top

plate adjust ISO and
shutter speed.

Leica M10-P
£6,500/$7,999 (body only)
Leica’s latest full-frame rangefinder adds a new ‘silent’
shutter, touch-sensitive screen and discrete styling
h t t p : // u k . l e i c a - c a m e r a . c o m

Specifications here is something plastic hotshoe cover has been

reassuring solid and replaced with an all-metal one,
Sensor: 24MP full-frame CMOS, 23.9 x 35.8mm
Focusing: Manual, via rangefinder or Live View
T distinguished about
the Leica M10-P. It is in
matching the finish of the top plate.
But there are significant changes
ISO range: 100 to 50,000 its genes, coming from within the brass casing and
Max image size: 5,976 x 3,992 a long line of M-series rangefinder magnesium die-cast housing. This is
Metering modes: Spot, centre-weighted or multifield cameras Leica has produced since Leica’s quiestest rangefinder ever –
Video: No 1954. Its old-school charm and thanks to a redesign of the camera’s
Viewfinder: Direct vision with framing guides connotations of luxury are its shutter. The M-series has a long
Lens mount: Leica M immediate appeal. But what sets this heritage of discrete, near-silent
Memory card: SD/SDHC/SDXC model apart from the many others in operation – which has held in it
LCD: 3-inch fixed, 1,040k dots the series that have gone before? appeal for street photographers,
Max burst: 5fps In the same manner as with the photojournalists and court
Connectivity: Wi-Fi M9-P and M240-P before it, this new photographers. But this is now
Size: 139 x 39 x 80mm P-for-Professional version of the M10 quieter than even earlier analogue
Weight: 675g (with battery) the branding of the camera has models. In an age of Live View
become more subtle. The red circular shooting, mirrorless mechanisms and
Leica logo is removed from above digital shutter speeds, its competition
the lens mount; instead, you get in this area has much increased.
a retro-style engraved Leica signature This also becomes the first Leica
logo on the top plate. rangefinder to feature a touch-
In an effort to make a luxury sensitive LCD screen, and the first
camera even more luxurious, the to feature an electronic spirit level.

54

DCM276.guide_fujifilm.indd 54 17/11/2023 15:20

 Leica M10-P Rangefinder

Lab tests
Build and handling precision, or you can set up the
The M10-P often feels like it is two camera to do this as you move the Signal to noise ratio (decibels)
cameras in one. You have the old, lens’s focus dial. 50

much-loved mechanical rangefinder, GPS can be added using the

40
which makes you focus by lining up optional Leica Visoflex (Typ 020)
a ghost image with the fixed field-of- viewfinder, which attaches to the 30
view optical viewfinder. In practice, hotshoe. Costing £390 ($575), this
many die-hard Leica users use offers a two-million-pixel LCD, and a 20
zone focusing. tilt function. (The built-in rear LCD is
There are other quirks too. The frustratingly fixed.) This accessory 10

battery and SD card slot are hidden can be particularly useful when you’re
0
beneath the chunky metal baseplate, using ultra-wide and telephoto lenses, 100 200 400 800 1,600 3,200 6,400 12,800 25,600
which needs to be removed if you which the rangefinder is not well- Leica M10-P Fujifilm X-Pro2 Leica Q

need access. The sensor, despite designed to work with. Despite using similar sensors, the M10-P manages at
Dynamic range (EV)

being full-frame, still only gives a ISO

Leica M10-P
lower sensitivities to produce cleaner images than the
100

12.67
200

12.45
400

12.46
800

12.18
1,600

11.26
3,200

10.00
6,400

9.08
12,800

8.73
25,600

7.28

resolution of 24MP. And, lest we Performance Fujifilm X-Pro2

Leica Q Leica Q. However, the X-Trans III sensor in Fujifilm’s
12.03

12.11
11.98

12.14
11.97

12.19
11.97

12.06
11.66

11.42
11.17

9.81
9.24

8.99
8.46

8.79
7.74

7.18

forget, there is no video capture. The Leica acquits itself in the lab, as X-Pro2 is still the benchmark.
But the LCD gives you a much far as we could measure it – but we
Dynamic range (EV)
more modern approach to your might expect this for the price. The
14
photography. The three-inch screen extra electronics make this much
12
allows you to use Live View and focus easier to use for subjects (or
peeking for more accurate framing – photographers) where the 10

and you can either double-tap to rangefinder normally fails. 8

zoom into the image for focus Chris George 6

Rival cameras 2

0
100 200 400 800 1,600 3,200 6,400 12,800 25,600
Leica M10-P Fujifilm X-Pro2 Leica Q

Their sensor specs may differ, but these cameras

are closely matched for dynamic range. The M-10P
produces marginally superior results up to ISO 400.

Digital Camera verdict

Leica M10 Fujifilm X-Pro2 Leica Q (Typ 116)

3.0
£5,850/$7,295 £1,399/$1,699 £3,700/$4,495
Good
Same, same – but Fujifilm’s Leica-like The Q is a bargain for a
different. This older X-Pro2 has a smaller full-frame Leica. Its fixed
version has the red dot APS-C sensor, but also Summilux 28mm f/1.7
3.0 4.0 3.5 2.5
logo, and doesn’t have has a much smaller price lens is a beauty – so no
a touchscreen – but it tag and some great need to spend more on
is essentially the same prime lenses in the lenses. Offers electronic Features Build & Performance Value
handling
camera for less. range. Worth a look. viewfinder and AF.
Reviewed: not tested Reviewed: Issue 177 Reviewed: Issue 169 This is a very likeable and beautiful camera... but
1
there is a disconnect between the traditional luxury
craftmanship and the modern electronic additions.

55

DCM276.guide_fujifilm.indd 55 17/11/2023 15:20

 Compact Leica Q3

1
3
There’s no grip so
1 Q3 users will require
the reassurance of a
strap when shooting.

The fixed focal length

Summilux 28mm f/1.7
2 offers autofocus and
HANDS-ON image stabilisation.

PREVIEW 3

With a black finish, the

Q3 is subtle enough for
street shooting – and it
includes the red badge.

Leica Q3
£5,300/$5,995
Beautiful, simple to use and takes incredible photos
w w w. leic a - c amera .com

Specifications here are not many new Leica is now back with the third
full-frame fixed-lens iteration of the Q series, the aptly
Lens: Leica Summilux 28mm f/1.7 ASPH
Sensor: 60.3MP CMOS
T cameras around
nowadays, especially
named Leica Q3. The Q3 aims to take
everything that was loved about the
Image processor: Leica Maestro IV premium cameras. previous two versions, including the
Autofocus: Hybrid AF (contrast metering, depth Since Sony binned off its RX range, same renowned fixed 28mm lens,
mapping, and phase comparison) this has effectively left Leica with an but build upon its strengths with
ISO range: ISO100-100,000 open goal for its Q series of cameras. new cutting-edge technology.
Max image size: 9520 x 6336px However, Leica being Leica, it is still However, as the Q3 forges ahead into
Metering modes: Spot, centre-weighted, going to showboat around for a while the future, can Leica still maintain
highlight-weighted, multi-field before kicking the ball into the net. the magic of the past versions?
Video: 8K 29.97p 4:2:2/10 bit, max 29 minutes; The Leica Q series began in 2015,
4K 59.94p 4:2:2/10 bit; FullHD 119.88p 4:2:2/10 bit with the idea of a full-frame compact Key features
Video formats: H.265, H.264, ProRes camera that balanced exceptional The camera incorporates Leica’s
Viewfinder: EVF, 5.76m dots image quality and intuitive controls. new back-illuminated CMOS sensor
LCD: 3-inch TFT LCD, approx. 1,843,200 dots, The Leica Q’s 28mm f/1.7 lens also with Triple-Resolution-Technology,
384ppi, aspect ratio 3:2, touch panel garnered significant praise, with providing users with three resolution
Max burst: 15fps (electronic shutter) many commentators likening it options: 60, 36, or 18 megapixels,
Memory card: 1x UHS-II, UHS-I, SD/SDHC/SDXC to Leica’s finest M series lenses. all using the full sensor width. The
Connectivity: Bluetooth, Wi-Fi, HDMI, Building on this success, Leica 60-megapixel setting captures
USB Type-C 10Gbps introduced the Leica Q2 in 2019, the finest details, while the lower
Size (W x H x D): 130 x 92.6 x 80.3mm featuring a higher-resolution sensor, resolution options offer faster
Weight: 743g/658g (with/without battery) weather-sealing and all-round operation, longer image sequences,
improved usability. smaller file sizes and a slight increase

56

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 Leica Q3 Compact

4 7

Unlike its Leica Q2 Old-school features such

forebears, the Q3 brings as an aperture ring and a
the many benefits of a distance scale hark back
folding LCD screen. to more tactile times.
5

5 8
6
4
The rear display is a The flash hot shoe cover
3-inch TFT unit which keeps the top plate profile
offers approximately sleek and protects the
1.84m dots of resolution. electrical contacts.

6 9

Button placement favours Many of the controls are

right-handers, with Play unlabelled, but you’ll
and Menu top and tailing soon learn and remember
the control wheel. what they all do.

Gareth Bevan
7

The Leica Q3 features an integrated macro mode

for close-up shots and an extended digital zoom.

8
9
dust and water. Connecting to the
Leica Photos app is now easier with
Bluetooth, Wi-Fi, or the dedicated
certified cable for iPhone and iPad.
Transfer speeds have been
significantly improved, enabling
in dynamic range. Powering the the 60MP sensor, allowing users to seamless mobile workflow and easy
camera is the latest Maestro Series capture cropped images at various video transfers to smartphones. The
processor with L2 Technology. focal lengths. The Q3 offers additional app also allows users to apply special
In addition to photography, the features like Leica Perspective Control Leica ‘looks’ directly to photos for
Leica Q3 caters for content creators (LPC) for straightening perspective a distinctive style.
by offering 8K video recording anomalies and Leica Dynamic Range
capabilities and support for codecs (LDR) for producing high dynamic Build and handling
such as H.265 and Apple’s ProRes. range JPEG images without For anyone familiar with Leica
The camera can be connected to post-processing. cameras, especially the Q2, it will
external devices including gimbals, Improvements to the autofocus come as no surprise that the build
power banks and display recorders via system include a hybrid autofocus quality of the Leica Q3 is outstanding.
its USB-C and HDMI ports. Tethered system with phase detection The body is metal with a textured grip
shooting is also supported using for precise focus and fast object on the front, which feels premium to
the USB-C cable connection. tracking. The Q3’s intelligent subject hold, and the familiar red dot logo sits
The Leica Q3 boasts a fixed Leica recognition can now recognise human prominently in the top right corner.
Summilux 28 mm f/1.7 ASPH lens, bodies, faces and eyes, as well as The body is also dust and water-
which provides a natural wide and animals for subject tracking. resistant, although we were having a
versatile perspective. The lens’s wide The camera features a 5.76MP rare spell of sunshine in London during
f/1.7 aperture allows for excellent OLED viewfinder and a tilting 3-inch our testing, so we didn’t get to try this.
low-light performance and attractive high-resolution touchscreen on the The rear of the camera has had
background blur. It also features an rear that offers unique viewing angles a welcome upgrade from the previous
integrated macro mode for close-up and expanded creative possibilities. version. There are now three custom
shots. The camera introduces an It maintains its durability with IP52 function buttons; by default these are
extended digital zoom enabled by certification, safeguarding against set up for ISO on the top dial,

57

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 Compact Leica Q3

Gareth Bevan
28mm

35mm

The Leica Q3’s dynamic range is impressive. Even when shooting in bright sunshine, the detail the camera is
able to capture in both the highlights and shadows was incredible. Clipping in both areas was well controlled, too.

and on the rear, one for switching doing this, the whole focal distance
between photo and video quickly, scale slides up and down and looks so
50mm
and the other for changing the digital cool, I found myself doing this just for
focal length of the camera, though the enjoyment of watching it.
I didn’t even think about changing Finally, there is a manual focus ring.
them. Leica has nailed the key features Manual focus can be locked and
most shooters want from this camera. unlocked with a small button on the
If you want to change them, though, base of the ring to prevent accidental
this is easily done by holding down switches. I didn’t find this button
the button until the menu pops up. intuitive to use, though – it was
The screen on the rear of the difficult to find the button naturally
camera is sharp and clear, and my with my finger and so I had to spend
75mm
photos looked amazing on it – giving a few seconds hunting for it. As a
me a happy little buzz each time I long-term user, this might get easier
reviewed my images and saw how they over time but, luckily, I don’t frequently
pop. The screen also tilts now, so you use manual focus anyway.
can shoot at more tricky angles, which The only major issue I had with the
is quick and easy to do, and the Leica Q3 build is that it did get a little
mechanism feels robust. Using the jarring to carry for long periods. There
OLED electronic viewfinder is a is no prominent grip on the camera as
pleasant experience: it is large and standard, and the camera is relatively
clear and I enjoyed composing images compact; I was out shooting for
90mm
through it. There is a minor note, several hours and found that my
where it seems to change resolution fingers were aching from gripping
The in-camera crop feature: the digital zoom
once the focus is locked, which is not the camera, as well as my dangling
enabled by the 60MP sensor allows users to
an issue per se, just an odd quirk. little finger taking the brunt of a deep
shoot cropped images at various focal lengths.
The lens remains the tried and indent from the camera corner. There
tested 28mm optic from previous is an optional grip for the Q3, which
versions of the Q series, and when I didn’t have the opportunity to try
a lens is this good, why would you out, but I’m assuming that it would
“The rear screen change it? The lens feels as premium make for a far more comfortable
as the camera body. The lens has a experience if you plan to shoot
is sharp and clear, reassuringly tight aperture ring that for long periods with the Q3.
is smooth to turn but also stays put,
giving me a happy which pleased me as I’m not a fan Performance
of loose controls. The photo performance on the
buzz each time I There is a ring at the base of the Leica Q3 is very good indeed. The
camera for switching between macro processing that Leica applies to its
reviewed images” mode and regular shooting; when images is pleasing, with beautiful

58

DCM276.guide_fujifilm.indd 58 17/11/2023 15:20

 Leica Q3 Compact

on instead. It is by far from the only

camera system to do this, but this is
one of the most extreme cases of
false positives I have encountered.
In video mode, the Leica Q3 is capable of
stunning 8K recording, with excellent video
processed in-camera, and there are also
codecs including Apple ProRes for those
who want to get in-depth editing of their

Gareth Bevan
footage. As with images, the dynamic range
for video is outstanding; shooting in full
sunlight, especially bright subjects, the
Autofocus is snappy and accurate across the board and, if you are shooting in any of detail captured is excellent. Again, Leica’s
the zone or area focusing modes, we found that the Q3 rarely had to hunt for its target. colour processing is a standout.
Autofocus in video is a little on the slow
side. Sometimes the focus just would not
colours that pop but are still natural. However, where the autofocus pick up new focal points as the camera
The dynamic range the camera is able completely falls apart is in its moved or would hunt for a few seconds
to capture is impressive, too – even human+animal detection autofocus before locking focus – essentially, it isn’t
shooting in bright sunshine, the mode. Let’s start with the good: the as snappy as the video focus from other
clipping in the highlights and Leica Q3 picked up an impressive systems. In subject and tracking modes,
shadows was incredibly controlled. amount of animals. I put it through its the autofocus can be just a little too eager;
The Q3 has a fixed 28mm lens, paces at a zoo, where it managed to the focus is too keen to shift at the slightest
although using the new 60MP sensor, focus on large birds, zebras, alpacas detection of movement, which sometimes
the lens can crop in-camera for and other horse-shaped animals, as causes noticeable refocusing that can be
35mm, 50mm, 75mm, and 90mm well as a few species of monkeys and distracting on the final footage.
focal lengths, with photo sizes varying lemurs. For more realistic use cases, Built-in stabilisation is effective at helping
down to 8MP at 90mm, which sounds the Q3 also had no issue recognising to keep panning footage smooth, but when
tiny by today’s standards, but is way domestic cats and dogs. walking or adding more varied movement,
more than necessary for apps such as However, at the time of writing, the footage was often too shaky handheld
Instagram. And, I know, you could just there is no official list of what animals to use for a lot of purposes, although this
crop your photos later in editing, but the Leica is officially capable of is not uncommon. If you are planning on
there is something more pleasing in recognising, so I am not sure whether doing a lot of video on the Q3 then a
framing your subject at the moment the autofocus was actually recognising separate gimbal is probably required to
of taking the photo with the right crop specific animals or just focusing on get silky smooth footage. Gareth Bevan
and having it all automatically applied. prominent moving objects.
If you mess up your crop in-camera And now for the frustrating news.
but you are shooting in raw and jpeg, The Leica Q3 sees subjects Digital Camera early verdict
the full 28mm image will still be everywhere – every tree, fence and
recorded as a raw dng file without patterned surface (the list goes on)
The Leica Q3 surpassed my expectations for a
any crop for later editing. seemed to attract a yellow subject fixed-lens compact. Its 60MP sensor produces
Autofocus is snappy and accurate recognition box. Sometimes when breathtaking images, enhanced by the digital crop
across the board if used in any of the actually trying to photograph an feature that adds a fun element of experimentation
zone or area focusing modes, and the animal in the frame, the camera to the 28mm fixed lens. Shots exhibit remarkable
Q3 rarely had to hunt for its target. The would ignore the animal and choose Leica processing, with beautifully rendered colours
human subject detection was good, a random inanimate target to focus as well as exceptional dynamic range. The autofocus
easily picking up faces and eyes and performs admirably, delivering swift and precise
having a high hit rate for nailing focus results, particularly in subject focusing, thanks to
on one eye, even at lower apertures. its efficient human and eye detection capabilities.
Nevertheless, the animal detection feature
The tilting screen offers leaves much to be desired, as it often misidentified
new angles to shoot inanimate objects as living creatures, focusing on
from and its mechanism the object and ignoring a moving animal – it’s not
feels very robust in use. alone in this, but the frequency of false positives
was high. As for its video capabilities, the Leica Q3
excels in delivering high-quality 8K footage in a
variety of professional codecs, which is great, but
I’d question whether this camera’s target audience
needs that. Image stabilisation also struggled
with handheld shake more than many systems.
Nonetheless, the Leica Q3 stands as a
remarkable camera for day-to-day use, and it
effortlessly earns its place as one of the best
walking-around photography cameras available
today. Though alas, it is a Leica, and the lofty price
tag renders it inaccessible to many photographers.

59

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 DSLR Nikon D3500

2 The D3500 has a slightly

larger grip than the older
D3400 and handles well
for a small camera.

With a Guide Number

of just 7m at ISO 100,
the pop-up flash is best
kept for emergencies only.

3
3
The retracting 18-55mm
AF-P lens is compact,
smooth and silent – and
it’s pretty sharp too.

4
1 The rear screen is fixed
and not touch-sensitive,
but it’s sharp and clear.

The control layout on the

back has been designed to
give plenty of thumb space
when you hold the camera.

Nikon D3500
£479/$497 with 18-55mm AF-P kit lens
Nikon’s new entry-level DSLR ticks all the boxes
w w w. nikon .com

Specifications he D3500 is the latest specification to please enthusiasts

version of Nikon’s as well as beginners.
Sensor: 24.2MP APS-C CMOS 4, 23.5 x 15.6mm
Image processor: Expeed 4
T entry-level DSLR. It’s
effectively an update to
Inside, the D3500 has a decent
24.2-megapixel APS-C sensor. It
AF points: 11-point AF, 1 cross-type the evergreen D3400, also has an unusually good 5fps
ISO range: 100 to 25,600 a starter DSLR that’s been a long- continuous shooting speed; and
Max image size: 6,000 x 4,000px term favourite. The D3500 will usually while you don’t get 4K video, it
Metering zones: 420 pixel RGB sensor come with a lightweight 18-55mm can shoot Full HD 1,920 x 1,080
Video: 1920 x 1080 at 60p, 50p, 30p, 25p, 24p AF-P kit lens, which has a retracting video at up to 60/50fps.
Viewfinder: Optical pentamirror, 95% coverage mechanism to make it more portable.
Memory card: SD/SDHC/SDXC UHS I This camera is designed specifically Build and handling
LCD: 3.0-inch fixed, 921K dots for beginners, with simplified controls The D3500 is pretty fat and chunky
Max burst: 5fps and a built-in Guide Mode to help new compared to a mirrorless camera,
Connectivity: Bluetooth users learn the basics. But it’s also but this gives you a good grip on
Size: 124 x 97 x 69.5mm (body only) compatible with a wide range of the camera, and it’s very light. The
Weight: 415g (body only, with battery and memory card) lenses from Nikon and third-party rear screen is fixed and not touch-
makers, and has a good enough sensitive, but it is bright and sharp.

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 Nikon D3500 DSLR
Resolution (line widths/picture height)

ISO 100 200 400 800 1600 3200 6400 12800 25600

Nikon D3500 28.00 28.00 28.00 28.00 28.00 28.00 26.00 24.00 22.00

Lab tests
Canon EOS 750D 30.00 30.00 30.00 28.00 26.00 24.00 22.00 18.00 16.00

Panasonic GX80 26.00 26.00 26.00 26.00 24.00 24.00 22.00 20.00

Sony A68 32.00 32.00 32.00 32.00 30.00 28.00 28.00 24.00 18.00

Resolution (line widths/picture height)

40

35

30

25

20

15

10

5
4 0
100 200 400 800 1600 3200 6400 12800 25600
Nikon D3500 Canon EOS 750D
Panasonic GX80 Sony A68

5 We checked the D3500’s lab results against

Signal to noise ratio (decibels)

ISO 100 200 400 800 1600 3200 6400 12800 25600

Nikon D3500
Canon EOS 750D
three key rivals. In our resolution test, the D3500
37.26

41.71
33.8

39.26
30.5

36.11
28.16

32.78
25.37

29.95
22.75

26.57
20.44

23.45
17

20.20
13.01

16.90

came out roughly in the middle of the pack.

Panasonic GX80 43.06 40.76 38.22 35.44 32.15 30.14 27.00 23.34
Sony A68 39.15 35.00 30.91 28.40 23.34 21.50 17.89 16.15 12.38

Signal to noise ratio (decibels)

50

40

30

The viewfinder might only be a but the fast, silent autofocus

20
cheaper ‘pentamirror’ design rather in the AF-P 18-55mm kit lens
than the pentaprism found in more transforms its performance. 10
1
expensive DSLRs, but it’s very clear, Our lab tests show that the
and you can see right into the corners D3500’s image quality is very much 0
100 200 400 800 1600 3200 6400 12800 25600
of the frame without shifting your eye. on a par with its rivals. There are Nikon D3500 Canon EOS 750D
For an inexpensive, beginner- slight differences here and there in Panasonic GX80 Sony A68

orientated camera, the D3500 feels resolution, noise and dynamic range, Dynamic range (EV)

ISO Interestingly, the Panasonic GX80 is a clear

100 200 400 800 1600 3200 6400 12800 25600

well-made and is very nice to use. but these show up more in lab tests Nikon D3500

Canon EOS 750D

12 11.7 10.74

winner here. It has fewer megapixels but a smaller

10.66 10.86 10.57
9.66

10.11
9.3

9.42
7.85

8.88
6.83

7.69
5.99

6.85
5.38

5.98

than they do in real-world shooting.

Panasonic GX80 10.73 10.71 10.60 10.60 10.07 9.58 8.61 8.12
Sony A68
Micro Four Thirds sensor. The D3500 trails behind.
11.42 10.98 10.38 10.05 9.34 8.15 7.35 6.81 5.86

Performance In practice, the D3500 delivers sharp,

Autofocus performance is very good, vibrant and well-exposed images. The Dynamic range (EV)
both for viewfinder shooting and in 18-55mm AF-P lens performs really 14

Live View mode. Nikon does not use well for an inexpensive kit lens, with 12
on-sensor phase-detection autofocus consistent sharpness exhibited 10
in its DSLRs, relying on slower across the focal range and right to
8
contrast-based autofocus instead, the edges of the frame. Rod Lawton
6

Rival cameras 2

0 1
100 200 400 800 1600 3200 6400 12800 25600
Nikon D3500 Canon EOS 750D
Panasonic GX80 Sony A68

The Nikon, Canon and Sony produce very similar

dynamic range scores, with the D3500 having
a slight advantage at low ISO settings.

Canon EOS Panasonic GX80 Sony Alpha 68

Digital Camera verdict
750D/Rebel T6s £399/$598 £499/$698
£499/$539

It’s one of Canon’s

A very different camera
to the Nikon D3500, but
Sony’s old SLT cameras
are still around, and at
4.0 Excellent

previous-generation also pitched at cost- pretty competitive

DSLRs, but this conscious beginners. prices too. The Alpha 68
3.0 4.0 4.0 5.0
means you get good It uses a smaller Micro gives you a lot of camera
specifications for the Four Thirds sensor, for your money, though
Features Build & Performance Value
money, and a fully but this means it’s support for additional handling1
articulating screen. practically pocket-sized. lenses is patchy.
Reviewed: issue 166 Reviewed: issue 197 Reviewed: issue 180 Nikon has rejuvenated a classic design to keep
it appealing to first-time DSLR buyers. Perhaps
mirrorless cameras aren’t the future after all...

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 Mirrorless Nikon Z 50

The deep front grip on

the Nikon Z 50 helps
this camera retain the
ergonomic qualities
of its Z-mount
predecessors.

The Nikon Z 50 uses

the EN-EL25 Z50
battery, which gives it
1 an estimated battery
life of 300 shots.

2 3 The Z 50 can use any

Z-mount lens, but the
cheapest option is
to use the two new
APS-C Z-mount
lenses released
with the camera.

Nikon Z 50
£849/$859
The mirrorless camera for the masses, sporting an
APS-C sensor and ‘influencer’ friendly credentials
w w w. nikon .co.uk

Specifications he Z 50 brings Nikon’s you’re going to turn up late, you’re

mirrorless camera going to have to make quite an
Lens mount: Nikon Z
Sensor size: APS-C, 23.5 x 15.7mm
T technology to the
hobbyist market.
entrance – and the Nikon Z 50
has certainly done that.
Pixels: Effective 20.9-megapixel Nikon’s full-frame With the Z mount in Nikon mirrorless
Maximum resolution: 5,568 x 3,712 mirrorless cameras are tempting, cameras, the company rethought lens
Aspect ratio: 1:1, 3:2, 16:9 but not everyone can afford them! mount design from the ground up. The
Sensor type: CMOS Nikon’s first stab at producing initial two full-frame cameras, the Z 7
Bit depth: 14-bit interchangeable-lens mirrorless and the Z 6, showcased this cutting-
ISO sensitivity: Auto, 100 to 51,200 cameras didn’t exactly set the world edge tech with a range of S-line lenses
(Extended: 100 to 204,800) on fire: the 1-series’ relatively small, that are among the sharpest we’ve
Continuous shooting: Up to 11fps low-resolution 1-inch CX sensor – with ever tested. This qualifies Nikon’s Z
Autofocus points: 209 Phase Detection points a 2.7x crop factor – quickly fell behind cameras as amongst the best
Memory: Single slot SD/SDHC/SDXC (UHS-I) its mirrorless rivals. The solution was mirrorless cameras you can buy –
Dimensions (W x H x D): 127 x 94 x 60 mm the Z mount, which was introduced in but they come with hefty price tags.
Weight: 395g (body only) late 2018 and so arrived somewhat Now, a shade over a year since the
late to the mirrorless party. But if launch of the Z mount, Nikon has

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 Nikon Z 50 Mirrorless

4
4 6 8

The EVF has none of The Nikon Z 50’s You can easily change
the lagging commonly thumb indent is from shooting photos
6
experienced with an example of this to video with the
mirrorless cameras. camera’s fantastic switch underneath
ergonomics. the mode dial.
5
7 9
The touchscreen LCD
5
can be tilted out for Unlike its big brother The Z 50 has front and
shooting top-down the Nikon Z 7, the back control dials to
images, or flipped Nikon Z 50 doesn’t help you adjust ISO,
upside down for have a status screen shutter speed,
vlogging or selfies. on the top plate. aperture and more.

8
7

brought out its first sub-£1,000/ sensor borrows the fast, wide
$1,000 mirrorless Z-mount model Hybrid-AF system from Nikon’s
– and it already looks like one of the full-frame Z cameras, with 209
best Nikon cameras available for autofocus points covering 90 per
hobbyists and enthusiasts. cent of the sensor width and height.
Much of this cost saving is due to the Its 11fps continuous shooting range
Z 50’s APS-C ‘DX’-size sensor, as used (with full autofocus and auto exposure)
in its range of DSLRs from enthusiast almost matches the Z 6 (and exceeds
down to entry-level. This DX body is the Z 7), and certainly puts it among
fitted with the same Z mount used on the fastest shooters around, matching
the full-frame models, so full-frame Z many pro-level DSLRs. It’s a great
lenses can be mounted directly onto low-light performer too, with a native
the Z 50 (and the new Z DX lenses ISO range of 100-51,200 at up to -4EV.
will fit the Z 6 and Z 7, automatically The Z 50 is great for video, too,
engaging crop shooting mode). shooting 4K across the full sensor We captured a rare quiet back street with the Nikon Z 50’s
Using the same FTZ adaptor, width, rather than that cropped settings adjusted to 1/200sec at f/4 and ISO 1,000.
existing DX and FX lenses for version that some rivals have
DSLRs can be used on the Z 50, too. employed. 4K time-lapse sequences
can be created in-camera, while used to, but once you do, seeing
Key features shooting in Full HD adds additional the effect of your exposure settings
The smaller physical sensor size isn’t slow-motion footage mode. through the viewfinder before you take
the only place where savings have The Z 50 also features an electronic the shot is nothing short of brilliant.
been made. This model doesn’t viewfinder. It’s lower-resolution than A tilting 1.04-million-dot
feature ‘in-body image stabilisation’ its full-frame cousins, at 2.36 million touchscreen flips vertically by 180
(IBIS), so the lenses that launch with dots rather than 3.6 million, but we degrees to sit below the camera body,
the new model have Nikon’s Vibration found it to be sharp and with few signs and is primarily designed for selfies
Reduction built in. of the lag that have plagued some and vlogging use; Nikon sees a large
But otherwise, the specs are truly of Nikon’s competitors. Electronic part of its target market as
impressive. The 20.9 MP DX-format viewfinders do take a little getting ‘influencers’ who use

63

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 Mirrorless Nikon Z 50

This low-light image shows

that the Z 50 can produce
great results at a high ISO.

An adaptor enables
the Z 50 to work with
existing Nikkor DX lenses,
like this 10-20mm model.

changed, and are in the same place

as the Z 6 and Z 7, nestled close to
the lens mount.
In all, it feels very much part of the
existing Z family, but smaller. If the
Nikon Z 7 is the mirrorless equivalent
of the D850 pro full-frame DSLR and
platforms such as Instagram and models, but it uses a similar deep grip the Z 6 is the D750 enthusiast full-
YouTube to share content. This does that is comfortable to hold. It has frame model, then the Z 50 is roughly
mean that the fully filpped screen fewer buttons than the Z 6 or the Z 7, on par with the Nikon D7500 (or
would be obscured while the camera but touch icons etched next to the perhaps the Nikon D500) as an
is mounted on a tripod, but Nikon has touchscreen replace some of the enthusiast APS-C camera. Nikon has
hinted that a solution is in the works. functionality of the physical buttons. hinted that we can further expect
There are both rear and front- to see even lower-cost mirrorless
Build and handling mounted scroll wheels that enable entry-level models, to fit alongside
We thought the Nikon Z 6 and Z 7 aperture and shutter speed to be the Nikon D5600 and D3500.
were compact, but the Z 50 is quickly changed, among other
positively dinky, particularly with the functions. The exposure mode dial flips Performance
new ‘pancake’ Nikkor Z DX 16-50mm from the left to the right side of the top One of the biggest selling points of the
f/3.5-6.3 VR kit lens attached. There’s plate, compared to the Z 6 and Z 7, but Nikon Z 50 is how light and compact it
also a new Nikkor Z DX 50-250mm in a space-saving (and cost-saving) is, but you can’t truly appreciate these
f/4.5-6.3 VR telephoto zoom. measure, there’s no top LCD. Two qualities until you’re actually shooting
The camera may be physically programmable Fn buttons enable with it. We took the Nikon Z 50 around
smaller and lighter than full-frame Z commonly used settings to be quickly Bath city centre on a busy Saturday
afternoon, and it was a pleasure to
shoot with. It easily slipped into a small
messenger bag, which meant we didn’t
Rival cameras have to mess around with a proper
camera bag for a casual trip out.
However, despite its diminutive and
unassuming size, the Z 50 is capable
of much more than just travel and
holiday snaps. It was perfectly suited
to a run-and-gun shooting style
as we captured quick snaps in
the bustling city centre. With a
Fujifilm X-T30 Olympus E-M5 Mk III Sony Alpha 6400 small, non-threatening profile –
£839/$900 £1,099/$1,199 £879/$899 plus the incredibly useful tilting
The X-T30 has no in- The OM-D E-M5 III For bloggers and touchscreen LCD – the Z 50 is
body stabilisation and looks set to reinvigorate vloggers, the Sony ideal for street photography.
a couple of handling the mid-range mirrorless A6400 is a dream.
But photography isn’t the Z 50’s
quirks, but it’s a camera market, by But its high-tech
superb camera with competing hard image capture is poor
only strong point. With the ability to
great autofocus, against rivals with consolation for its capture uncropped 4K video, the Z 50
video and controls. larger APS-C sensors. limited external controls. is a strong contender for winning
Reviewed: issue 215 Reviewed: issue 224 Reviewed: issue 214 the attention of the rapidly growing,
lucrative vlogger/influencer market.

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 Nikon Z 50 Mirrorless

Lab tests

The Z 50’s tilted The Z 50’s 20.9MP raw images (after conversion
touchscreen enables to TIFF) don’t quite contain the sharpness and
you to capture top- fine detail you get in the 24MP images from
down shots easily. the Fujifilm X-T30 and Sony Alpha 6400.

The Z 50 copes well enough in this test – but

importantly, it claws back ground at higher
sensitivities, where image noise is more visible.

The lack of light made our JPEGs

quite dull and flat, but we extracted
a surprising amount of detail in post.

We tested out the Z 50’s video ergonomic design of the Z 50 was

functionality and were pleased another aspect of the camera that
with the results, including the could only be appreciated after an
focus peaking feature, which works extended period of use. With the deep
just as well as it does on the Z 7. grip paired with the 16-50mm kit lens,
Despite the fact that we were the Z 50 is perfectly balanced.
shooting JPEG stills on a grey and Technically, the Z 50 might sound
overcast day, we were able to get like a scaled-down version of the Z 6
plenty of detail out of the Z 50’s files and Z 7, but in the hand it has a very The Z 50 scores very well for dynamic range,
even outperforming the mighty Fujifilm X-T30
without compromising image quality. different feel. Nikon has done a
and its excellent X-Trans 4 sensor.
We also tried shooting indoors, remarkable job of giving such a small
using only minimal window light. The camera such a solid one-handed grip.
Z 50 worked well here as well, with Quite apart from the size of the Digital Camera verdict
the tilting screen and 16-50mm kit camera, we were impressed by the
lens working in perfect harmony
to capture top-down shots.
Another thought that struck us as
16-50mm pancake kit lens, which is
one of the slimmest APS-C kit lenses
we’ve yet seen. There’s a full review
5.0 A best-in-class product

we were testing the Z 50 was that of the lens in issue 225.

other enthusiast-level mirrorless But even more than the camera 4.5 5.0 5.0 5.0
cameras are often beautifully and its kit lens, we are impressed by
designed, but can fall short when it Nikon’s pricing. Body only, the Z 50 Features Build & Performance Value
handling
comes to being used over long periods costs less than some of its chief APS-C
of time. A boxy design can be very rivals, and the pricing for the lens This is a fantastic enthusiast mirrorless camera
pretty aesthetically, but not so useful bundles is really quite remarkable. (at an even more fantastic price), and proves that
when it comes to shooting. The Louise Carey & Adam Waring Nikon has a clear vision for its Z-mount system.

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 Mirrorless Nikon Z fc

1
1

The Z fc has twin

recessed control dials:
one on the front, and
another on the back.

2
2

3
The flat-fronted body
looks wonderful, but
it doesn’t give your
hand much of a grip.

Even now, Nikon only

makes two native DX
Nikkor Z lenses. This is
the 16-50mm kit lens.

Nikon Z fc
£899/$959
Nikon’s first retro-themed Z-mount camera
w w w. nikon .co.uk

Specifications ith the likes of Fujifilm, mirrorless camera technologies.

Olympus and Leica That’s not to say the Z fc’s tech is all
Sensor: 20.9MP APS-C CMOS
AF points: 209
W cashing in on the retro
camera style for years,
new, though. This is more of a re-skin
of Nikon’s existing Z 50 – although
ISO range: 100-51,200 (expandable to ISO 204,800) the time has come that isn’t necessarily a bad thing: the
Stabilisation: Electronic Vibration Reduction, video only (again) for Nikon to follow suit, this Z 50 is a great camera in its own right.
Max image size: 5,568 x 3,712px time in the form of the Nikon Z fc.
Video: 4K UHD up to 30p We say ‘again’ because it wasn’t so Key features
Viewfinder: 0.39-in 2.36-million-dot OLED EVF long ago when Nikon tried the same The result of sharing the Z 50’s tech
Memory card: SD/SDHC/SDXC (UHS-I) thing, with the Df in 2013. However, is that the Z fc packs the same 20.9MP
LCD: Vari-angle touchscreen while the Df was was a full-frame DSLR APS-C CMOS sensor with low-pass
Max burst: 11fps camera, the new Z fc is an APS-C filter, and the same Expeed 6 image
Size: 135 x 94 x 44mm Z-mount mirrorless model. The Z fc processor. That’s around 3MP less
Weight: 390g body only, 445g is also specced to be a better all-round than the 24MP sensors in most APS-C
with battery and memory card camera than the Df ever was, in an rival cameras, while the likes of Fujifilm
effort to make it just as versatile as and Canon offer even higher megapixel
its conventionally styled rivals, counts in some of their mirrorless
only with more visual appeal. models. Even so, 20.9MP is still more
Anyone who remembers the Df will than enough resolution, while the
spot similar styling cues on the new larger sensor photosites should, in
Z fc. It takes the iconic and achingly theory, improve the Z fc’s low-light
handsome looks of the Nikon FM performance and dynamic range.
series of 1980s 35mm film SLRs, and The Z fc also gets the Z 50’s
wraps them around its latest APS-C excellent 209-point hybrid AF

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 Nikon Z fc Mirrorless

4 7

The rear screen is on It’s from the top that

a pull-out vari-angle the Z fc’s retro design
hinge, unlike the stands out – the ISO
5
tilt-only screen on dial looks really smart.
the Nikon Z 50.
8
4 5
Additional retro-style
6 The 2.36m dot EVF controls include a
is not the highest- shutter speed dial
resolution by any and a dial for exposure
means, but it’s compensation .
perfectly adequate.
9
6
This mini-screen
The four-way circular indicates the currently
controller on the back set lens aperture,
is quite small, but is although there are no
mostly for navigation aperture dials on the
not settings. lenses themselves.

7
8

8
9

system, equipped with eye-detection There’s one area where the Z fc is

for humans and animals. Nikon radically different to the Z 50: its
has slightly boosted its low-light controls. Most modern cameras are
performance relative to the Z 50: the controlled with a mode dial, with
Z fc can now focus down to -4.5EV, shutter speed and ISO settings set via
while the Z 50 was sensitive to -4EV. a digital interface. The Z fc relegates
Both cameras share the same the mode dial options to a small lever
respectable 11fps max continuous under a big external ISO dial on the
shooting speed, along with identical top plate. On the other side of the
4K video recording capabilities. That viewfinder is an equally big shutter
means the Z fc can record UHD 3,840 speed dial. The only external control
x 2,160 footage at a max 30 fps, and you don’t get is an aperture ring, but
does so using the full width of the as Nikon’s Z lenses aren’t equipped
sensor, so your 4K footage isn’t with this feature, that’s a compromise The Z fc has only 20.9MP, compared to the 24+ megapixels
cropped to a narrower field of view. you’ll have to make. of rival cameras, but in reality its detail rendition still looks
While the Z fc inherits the Z 50’s pin-sharp, and you’ll rarely notice the difference.
0.39-inch 2.36-million-dot OLED Build and handling
electronic viewfinder, it does offer As you’d hope for a Nikon camera
something extra when it comes to the designed to be a thing of beauty, the
rear screen. The Z fc is equipped with Z fc feels like a high-quality product.
a fully articulating touchscreen display The silver top plate is indeed metal,
– it’s a tad smaller than the screen on though the matching bottom plate is
the Z 50 (3in vs 3.2in) but massively painted plastic. Twisting and turning “This is the first time
more practical, especially for selfies each retro-themed dial on the top plate
and vlogging. This marks the first time is satisfyingly clunky, and those who Nikon has put a vari-
Nikon has put a vari-angle screen on experienced the film cameras that
one of its Nikon Z mirrorless cameras, inspired the Z fc’s controls will angle screen on one
and you have to wonder why it’s taken no doubt wallow in the nostalgia.
the company so long. What’s more, the front of its Nikon Z cameras”
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 Mirrorless Nikon Z fc

Focusing is fast and efficient, and the vari-angle screen makes it much easier to get down low and close to your subjects in
confined spaces. This is equally relevant for video, where a vari-angle screen is much better than a simple tilting screen.

and rear control dials are comfortably Moving to the rear of the camera, we
large and have good feedback with see a feature not present on any other
none of the sponginess of many Z camera: an articulating screen. Out
a Fujifilm X-mount camera. in the field it really becomes apparent
The exposure compensation dial how useful this is beyond just vlogging.
is far enough in from the edge of the The ability to flip out the camera while
camera to prevent accidental rotation, shooting at awkward angles can’t be
and alongside it sits an unusual understated, especially when you’re
mini-screen. Its function is to display using a camera that’s eminently
the lens aperture f-stop, which gives suited to street photography. The APS-C format Z fc uses the same Z lens
mount as full-frame Nikon Z cameras.
you a quick reference point and does However, while the articulating
a good job of compensating for the screen and direct-access dials are
lack of an aperture ring on Z lenses. ergonomic highlights, the Z fc’s flat body makes no concession to
grippiness. It lacks the protruding grip
present on the Z 50, making the Z fc
Rival cameras more liable to slip out of your hands.
The black leather-look texture around
the body of the camera is also much
less grippy than it looks. We resorted
to holding the camera via the lens
while carrying the camera around, but
would recommend using the supplied
strap. It’s also worth noting that the
Fujifilm X-T30 Olympus OM-D Sony Alpha 6400 Nikon GR-1 extension grip is available,
£849/$799 E-M10 Mk IV £899/$899 and is designed to provide a more
Less of a retro look, but £649/$699 Less retro, more state- ergonomic experience.
with external shutter With a smaller sensor of-the-art vlogging tool,
Alongside the Z fc, there’s the Nikkor
speed and aperture but the same resolution, the A6400 is a serious
controls, and a proper the Olympus has a lower alternative, although
Z DX 16-50mm f/3.5-6.3 VR Silver
choice of lenses. price and more lenses. it looks pricey now. Edition lens. This is essentially the
Reviewed: issue 215 Reviewed: issue 235 Reviewed: issue 215 same kit lens you get with a Z 50, with
a cosmetic makeover, featuring a silver
exterior design to match the Z fc.

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 Nikon Z fc Mirrorless
Resolution (line widths/picture height)

ISO 100 200 400 800 1600 3200 6400 12800 25600

Nikon Z fc 25.75 25.75 25.75 24.00 24.00 22.25 20.25 20.25 18.00

Fujifilm X-T30 28.25 28.25 28.25 28.25 28.25 28.25 28.25 26.25 24.25

Lab tests
Olympus E-M10 Mk IV 26.25 26.25 26.25 26.25 26.25 21.75 19.75 16.00 14.00

Sony Alpha 6400 27.75 27.75 27.75 27.75 27.75 27.75 25.75 25.75 23.75

Resolution (line widths/picture height)

50

40

30

20

10

0
100 200 400 800 1600 3200 6400 12800 25600
Nikon Z fc Fujifilm X-T30
Olympus E-M10 Mk IV Sony Alpha 6400

The relatively low 20.9MP pixel count of the Z fc

means that in spite of its APS-C sensor size, it roughly
matches the Micro Four Thirds Olympus E-M10 IV.

Nikon’s 20.9MP sensor is a relatively old design

now, so the Z fc generates more image noise
than the X-Trans 4 sensor in the Fujifilm X-T30.

The Z fc’s snappy autofocus and vari-angle screen are great for street photography,
but with no in-body stabilisation, you may need a tripod for slower shutter speeds.

The lens is compact and light, with same APS-C sensor size, versus a
a total length of 32mm and weighing more conventional 24MP sensor.
in at just 135g. It offers a 24-75mm Even so, don’t expect perfectly clean
full-frame-equivalent zoom range. shots at sky-high ISO settings. Crank
The other retro lens available at the sensitivity up past ISO 3,200 and
launch is the Nikkor Z 28mm f/2.8 SE. noise is clearly visible when viewing at
This isn’t as versatile as the Z DX 100% image size. Dynamic range is
16-50mm, but it certainly feels at excellent, especially with Nikon’s
home attached to the Z fc. Using a Active D-Lighting dynamic range
The Z fc, E-M10 IV and Alpha 6400 are all closely
prime lens on a camera that’s suited enhancement enabled, and the Z fc’s
matched in terms of dynamic range, although
to photo walks and trips away is always default matrix metering mode does a the Z fc performs strongly at higher ISOs.
a joy, because it forces you to move fine job of accurately exposing shots
in search of interesting compositions. in tricky lighting scenarios. Digital Camera verdict
The 42mm effective focal length (in We found the AF to be fast and

4.5
35mm terms) isn’t as familiar as a reliable when shooting with the
35mm or a ‘nifty fifty’, but it’s still bundled DX 16-50mm kit zoom lens,
Outstanding
a very versatile focal length, and whether that was shooting in low light
will serve you well if you leave or capturing fast-moving subjects.
your other lenses at home. Mike Harris & Ben Andrews
4.5 4.5 4.0 4.0

Performance Features Build & Performance Value

There are no surprises with the Z fc’s
“Dynamic range
handling
performance: its image quality is
The Nikon Z fc is an unapologetically retro camera
identical to the Z 50 on which it’s
based. While this means you ‘only’ is excellent, with all the mod cons you’d expect from a current
mirrorless model, and its aluminium dials are a joy to
get 20.9MP, the payoff is enhanced
dynamic range and low-light especially with operate. But the Z fc isn’t all style and no substance.
Thanks to sharing the Z 50’s internals, performance
performance thanks to the marginally and image quality are excellent, so there are few
larger photosites spread across the Active D-Lighting” compromises to be made for the extra style.

69

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 Mirrorless Nikon Z 5

The camera can be

powered by USB-C,
rather than just
charged by it – useful
for movie shooting
3 or time-lapse
photography.

The battery life is rated

at 470 shots – a decent
25% improvement over
the Z 6’s 380 shots.

1
3

2 In some countries, the

Z 5 is bundled with the
new 24-50mm kit lens.

Nikon Z 5
£1,719/$1,699 with 24-50mm lens
Is this entry-level full-frame camera enough to
persuade you to make the move to mirrorless?
w w w. nikon .co.uk

Specifications or what’s supposed well-positioned programmable

to be an entry-level Function buttons on the front.
Sensor: 24.3MP full-frame CMOS sensor
Image processor: Expeed 6
F full-frame mirrorless
camera, the Nikon Z 5
For those making the move from
a DSLR, though, the lack of direct
AF points: 273-point hybrid phase/contrast AF is surprisingly well- access buttons can take some getting
ISO range: 100-52,200 (exp. 50-102,400) specced. It’s fully weather-sealed, used to. While Nikon DSLRs typically
Metering modes: Matrix, centre-weighted, featuring five-stop in-body image allow you to change between single,
spot, highlight-weighted stabilisation, a 24.3MP sensor that continuous and self-timer shooting
Video: 4K UHD, 30/25/24p goes up to ISO 51,200 in native modes by turning a dial, or between
Viewfinder: EVF, 3,690k dots, settings, and a class-leading electronic AF-S, AF-C and manual focus with
100% coverage, 0.8x magnification viewfinder. It seemingly matches the a dedicated button, here you’ll
Memory card: Two SD/SDHC/SDXC, UHS-II more upmarket Nikon Z 6 feature for need to select these options
LCD: 3.2-inch tilting touchscreen, 1,040k dots feature in all the important places. from on-screen menus.
Max burst: 4.5fps Even the control layout is almost
Connectivity: Wi-Fi, Bluetooth exactly the same as in the Z 6, offering Key features
Size: 134 x 101 x 70mm a near-identical handling experience. While the Z 5’s 24.3MP sensor is
Weight: 675g (body only, including There’s a thumbstick, a D-pad and practically the same size as the Z 6’s
battery and memory card) an array of buttons to access vital 24.5MP component, it’s not exactly
controls at the back, along with a the same. The 0.2MP difference
touchscreen rear LCD and finger- translates to a 6,016 x 4,016-pixel
and thumb-operated control dials resolution on the Z 5, versus a 6,048
in easy reach, and a pair of x 4,024 pixel-count on the Z 6. This

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 4
Nikon Z 5 Mirrorless

4 7

5 The crisp electronic This area of the top

viewfinder has a plate is clear because
resolution of 3,690k on the Z 5 the main
6 dots, and has an mode dial is now
impressive 0.8x on the right side.
magnification.
8
5
The 24-50mm
You can tap the screen retracting kit lens
to simultaneously launched alongside
focus and take the the Z 5 is certainly
shot, which can be compact, but its zoom
much quicker than range and maximum
using the thumbstick aperture are poor.
to get the focus point
on the desired area.
9

Unlike higher-end
6
Z-series cameras,
The four-way the mode dial doesn’t
8 controller on the have a centre button
back is quite small, lock, which makes
but there are also it easier to switch
two control dials exposure mode
and a joystick. by accident.
7 9

handful of pixels is certainly not slots is deeper; this is due to the Z 5

enough to lose any sleep over, and housing two memory card slots, rather
images from either can be printed to than the single slot of the cameras
the same resolution or cropped to the higher up the range. This initially might
same degree without any noticeable seem like it gives the Z 5 the upper
difference – but it does indicate hand, especially to those concerned
some differences in the sensor. about the potential for card failure,
The Z 6 has a more expensive but there are important considerations
back-side illuminated sensor, while the to take into account.
Z 5’s is based on more established (and When Nikon adopted the XQD
therefore cheaper) CMOS technology. memory card format for the Z 6
The chief distinction here is that BSI and Z 7 (and has since enabled
sensors put all the wiring at the back, compatibility with CFexpress), it
while with CMOS this is at the front, reasoned that this was due to XQD
sitting between the individual being the fastest, most reliable and
photodiodes, and potentially blocking future-proof format available. This
some light from reaching them. In a came at a price, with the Sony-owned
nutshell, BSI sensors have better format being eye-wateringly expensive
low-light performance. That said, compared to same-capacity SD cards.
both cameras have an ISO range Even the fastest UHS-II SD cards are
of ISO 100-51,200, but the Z 6’s left in the dust compared to the read/
expanded range goes one stop write speeds of XQD/CFexpress, and
better, topping out at ISO 204,800 while we’ve certainly had SD cards
rather than ISO 102,400. corrupt on us, XQD/CFexpress cards The kit lens’ widest available f/6.3 aperture when zoomed
Another physical difference is that are often quoted as having a failure in limits the shallow depth of field, but at least the Z 5’s
the door that houses the memory card rate that’s close to zero. colour reproduction is fabulous.

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 Mirrorless Nikon Z 5

Like the Z 6 and the Z 7, the screen tilts up and

down for low and high-level shooting, though
it doesn’t flip all the way around for selfies.

However, that focal length range really

isn’t very big at all, stretching barely
over 2x. While the 24mm length is
pretty much what you’d expect,
topping out at 50mm comes up short
when it comes to telephoto reach.
(The Z 50’s Z 16-50mm has a 3.1x
zoom range by way of comparison,
with a 24-75mm effective focal length.)
The aperture shrinks from f/4 at
the wide end to f/6.3 when zoomed
The Nikon Z 5 is the first Nikon to feature Animal AF out of the box – earlier models in – which is pretty slow, particularly
need a firmware update. It works best if your furry subjects are relatively static.
considering the limited zoom range,
and limits shallow-depth-of-field
In addition to backing up your images other territories, such as the USA, effects for portraits and the like.
on the fly, the Z 5’s dual-card design it can be bought body-only. In addition to the zoom ring, there’s
also gives the option of recording raw The lens is pretty compact, though also a control ring, which is normally
files to one card and JPEGs to the other not quite as compact as the pancake used for manual focusing but can
– useful for quickly sharing images design of the Z 16-50mm that be assigned other functions
from one card while having the full-fat accompanies the APS-C sensor Z 50. when autofocus is engaged.
files for those you might wish to work Like many other Nikon Z zooms, One glaring omission is that there’s
on more extensively on the other – it features a retractable design, so no on-barrel switch to turn autofocus
or simply increasing the number the lens is a fair bit longer in use on and off. As there’s no manual AF/M
of shots you can take without than in the stowed position. switch on Z cameras either, this means
physically changing cards. The lens proved to be pretty sharp delving into the menus to disable
Every entry-level camera needs a throughout its albeit limited focal autofocus. There’s also no VR
kit lens, and the Z 24-50mm f/4-6.3 length range, and it focused swiftly switch, as the lens relies on the
is the Z 5’s. In some markets, including on moving subjects, such as our in-body stabilisation of the Z 5.
the UK, the camera is available as skateboarders, enabling a high Nikon has made compromises
a bundle with the lens, while in hit rate of action shots. in both the zoom range and the
maximum aperture to produce such
a compact kit lens, and for many that
Rival cameras will be a compromise too far. We much
prefer the Z 24-70mm f/4 that’s the
kit lens option for the Z 6 and Z 7.
Not only does it address both those
concerns, but as an S-line lens, its
image quality is simply stellar.
The Z 24-50mm f/4-6.3’s image
quality is good but not great. We think
many photographers will outgrow its
Canon EOS RP Panasonic Lumix S1 Sony Alpha 7 III limited range pretty quickly.
£1,399/$1,299 with £2,399/$3,399 with £2,649/$3,099 with
24-105mm lens 24-105mm lens 24-105mm lens Build and handling
Even with its 24-105mm With its 24-105mm kit The A7 III costs more,
The Z 5 uses the same stunning
kit lens, the EOS RP lens, the Lumix S1 is a but this figure includes a
easily undercuts the more expensive, more 24-105mm lens that’s far
electronic viewfinder as the Z 6 and
Nikon Z 5 on price. substantial camera. better than the Nikon’s. the Z 7, with a 3.69-million-dot display,
Reviewed: issue 214 Reviewed: issue 218 Reviewed: issue 203 for a crystal-clear, near-lag-free image
that is as close as you can get to a
‘proper’ optical viewfinder. Thanks

72

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 ISO

Nikon Z 5
Canon EOS RP
100

26.00

28.00
Nikon Z 5 Mirrorless
Resolution (line widths/picture height)
200

26.00

28.00
400

26.00

28.00
800

26.00

28.00
1600

26.00

28.00
3200

26.00

28.00
6400

24.00

28.00
12800

24.00

26.00
25600

22.00

26.00

Lab tests
Panasonic S1 28.50 28.50 28.50 28.50 28.50 28.50 28.50 28.50 26.00
Sony Alpha 7 III 27.50 27.50 27.50 27.50 27.50 27.50 27.50 25.50 24.00

Resolution (line widths/picture height)

50

40

30

20

10

0
The 24-50mm kit lens launched alongside the Z 5 produces sharp images, 100 200 400 800 1600 3200 6400 12800 25600
Nikon Z 5 Canon EOS RP
though you do have to get in quite close for portraits such as this. Panasonic S1 Sony Alpha 7 III

The resolution of the Z 5 proved slightly lower than

to the use of top-quality Nikon optics to tell the difference between shots that of its rivals, but the difference won’t really be
Signal to noise ratio (decibels)

in the display, it’s still one of the the taken on either camera. apparent in real-world shooting. The 25-50mm
ISO 100 200 400 800 1600 3200 6400 12800 25600

Nikon Z 5 41.28 39.14 37.22 35.89 35.04 32.61 29.42 25.60 23.35
Canon EOS RP 47.34 45.20 42.74 39.93 36.79 33.42 30.24 26.18 22.97

best EVFs around. Once you get used While this is a new sensor, it still Panasonic S1
Sony Alpha 7 III kit lens might have something to do with this.
54.44

46.96
51.04

45.03
47.63

43.30
44.52

39.89
41.55

35.43
39.68

31.67
36.58

28.18
33.34

24.72
29.22

21.28

to it, you may well find you prefer it packs the same number of 273 AF
to an optical viewfinder. points. Autofocus appears to be just Signal to noise ratio (decibels)
The rear LCD, on the other hand, has as responsive as in the Z 6, and with 60

only around half the resolution, at 1.04 points covering 90 per cent of the 50
million dots rather than the 2.1 million frame arranged in a 21 x 13 array, it
40
of the cameras higher up the range. covers a far bigger area than the
While you can just about see the autofocus modules built into Nikon’s 30

difference when you view the displays DSLRs, which are clustered around the 20
side by side, in isolation most people frame centre. While it’s zippy, it doesn’t
10
won’t notice the lower pixel count. It quite match the speed and accuracy of 1

takes an additional press of the zoom autofocus that Nikon’s most advanced 0
100 200 400 800 1600 3200 6400 12800 25600
button to see image detail at 100%. DSLR systems are capable of. Nikon Z 5 Canon EOS RP
Panasonic S1 Sony Alpha 7 III
While the Z 5 can shoot 4K video at
Performance 30fps, it is cropped by a factor of 1.7x, The Z 5’s signal-to-noise ratio proved worse than the
We tested the Z 5 directly alongside rather than using the full sensor width rival cameras we selected at low ISO settings, where
Dynamic range (EV)

a Z 6. We took both cameras on a field like the Z 6. This means that shooting
ISO
Nikon Z 5 noise tends to be less apparent anyway, but about
100

12.91
200

12.36
400

11.90
800

11.58
1600

11.18
3200

10.62
6400

9.91
12800

8.93
25600

7.69

the same at high ISO settings.

Canon EOS RP 11.19 11.43 11.26 11.35 11.19 10.87 9.30 8.40 6.67

trip, taking as near-identical shots as at the wide end of the 24-50mm kit
Panasonic S1 12.57 12.38 12.49 12.51 12.38 12.29 11.42 11.59 10.42
Sony Alpha 7 III 13.25 12.47 11.85 11.97 11.53 11.11 10.36 9.75 8.91

we could manage of the same scene lens would give an effective focal
on a tripod with both the Z 5 and the length of 41mm, which is not really Dynamic range (EV)
14
Z 6, swapping the 24-50mm kit lens wide angle at all. On the other hand,
between them. Viewed at a 100% the standard 50mm end becomes 12

pixel-peeping level, the Z 6 shots a moderate-telephoto 85mm. It’s 10

showed perhaps a touch more perfectly capable at shooting video, 8

contrast and depth in the shadows, but your lenses don’t behave in 6
but in most regular shooting the way you might expect.
4
circumstances, you’d be hard-pressed Adam Waring & Mike Harris 1
2

0
100 200 400 800 1600 3200 6400 12800 25600
Nikon Z 5 Canon EOS RP
Panasonic S1 Sony Alpha 7 III

The Z 5’s dynamic range is good at low to medium

ISO settings but drops away from the A7 III and the
S1 at higher ISOs. It does comfortably beat the much
cheaper EOS RP across the ISO range, though.

Digital Camera verdict

4.0 Excellent

4.0 4.0 4.0 3.5

1
Features Build & Performance Value
handling

The Z 5 is a very good entry-level full-frame camera,

but its relatively high price may persuade you that it’s
worth forking out the relatively little extra for the Z 6.
Using continuous focus and the Area AF mode, the Nikon Z 5 had no trouble keeping The Z 5 is competent and attractive, but a host of
up with these skateboarders during our real-world shooting sessions. cameras can boast exactly the same thing.

73

DCM276.guide_nikon.indd 73 17/11/2023 15:19

 Mirrorless Nikon Z 6II

There’s a pair of
user-definable Fn
buttons on the front;
but most people will
be happy with the
defaults of selecting
white balance and
focus mode/area.

1 2
2

The Z 6II’s 24.5MP

image resolution is
unchanged from the
Z 6, although twin
processors boost the
shooting burst rates.

Nikon Z 6II
£1,999/$1,999
Evolution not revolution in this full-frame update
w w w. nikon .co.uk

Specifications he Z 6II replaces the Key features

original Z 6 from 2018 as The Nikon Z 6II comes with two card
Sensor: 24.5MP CMOS BSI
Image processor: Dual Expeed 6
T Nikon’s enthusiast-level
full-frame mirrorless
slots, rather than the single XQD of
the original. Here we have a dual
AF points: 273 hybrid AF points camera. With a 24MP XQD/CFexpress slot, along with the
ISO range: 100-51,200 (exp 50-204,800) sensor, it hits the sweet spot between more commonplace SD format, able
Max image size: 6,048 x 4,024px resolution and processing power, and to take the fastest UHS-II variety.
Video: 4K UHD at 30/25/24p; 1080p (Full HD) for many users is a preferable option This is undoubtedly due to criticism
at 120/100/60/50/30/25/24p to the professional-grade Nikon Z 7II, levelled at the original camera.
Viewfinder: 3,690k-dot OLED EVF, 100% which comes with approximately The other major change under the
coverage, 0.8x magnification double the megapixel count. hood is that there are now not one but
Memory card: SD UHS-II, The Z 6 ticked many of the right two Expeed 6 processors, providing
CFexpress (Type B) / XQD boxes, so what we see here is very double the processing grunt. Creating
LCD: 3.2-inch tilting much a refinement rather than images from the raw data captured
touchscreen, 2,100k dots anything radically new. It receives by the image sensor is a processor-
Max burst: 14fps incremental improvements to speed intensive task, turning a series of
Connectivity: Wi-Fi 2.4GHz and 5GHz, and functionality, after Nikon listened static images into smooth video even
Bluetooth 4.2, USB-C, mini HDMI, GPS, to user feedback on the Z 6. more so. This extra processing power
microphone, headphone Externally there is little difference translates to faster shooting frame
Size: 134 x 101 x 70mm between this new camera and its rates and improved low-light
Weight: 615g, body only (705g with battery) predecessor. The only giveaways are performance, as well as better video.
the ‘II’ nomenclature next to the Z 6 As such, the Z 6II receives an
logo, and a marginally deeper battery increased continuous shooting
door. To accommodate some of speed of 14fps, up from 12fps on
the internal changes, it’s a couple its predecessor – and the extra
of millimetres deeper and weighs horsepower means that it can buffer
in at 20 grammes heavier. 124 12-bit raw files or 200 JPEGs.

74

DCM276.guide_nikon.indd 74 17/11/2023 15:19

 Resolution (line widths/picture height)
ISO 100 200 400 800 1600 3200 6400 12800 25600

Nikon Z 6II 26.25 26.25 26.25 26.25 26.25 26.25 23.50 23.50 22.00
Canon EOS R6

Nikon Z 6II Mirrorless

24.00 24.00 24.00 24.00 24.00 24.00 24.00 24.00 24.00
Panasonic S5 25.75 25.75 25.75 25.75 24.50 24.50 24.50 24.50 24.50
Sony Alpha 7 III 28.00 28.00 28.00 28.00 28.00 28.00 26.00 26.00 25.00

3
Resolution (line widths/picture height)
The 3,690k-dot EVF is clear enough, but
50
3 its 60Hz refresh rate feels creaky next
to the 120Hz offered by rival bodies. 40

30
4
5 20
The choice of a tilting rear LCD, rather
than a fully articulating screen, will
10
disappoint vloggers.
0
5 100 200 400 800 1600 3200 6400 12800 25600
4
Nikon Z 6II Canon EOS R6
There’s a joystick for precise autofocus, Panasonic S5 Sony Alpha 7 III
although you can obviously still Despite having almost the same megapixel count,
select your focus point by tapping the Z 6II isn’t quite able to resolve the same amount
Signal to noise ratio (decibels)

the touchscreen. ISO

Nikon Z 6II of fine detail as the A7 III. For reference, the original
100

46.06
200

43.22
400

40.58
800

37.79
1600

35.49
3200

33.94
6400

31.26
12800

28.16
25600

25.27
Canon EOS R6 45.03 42.47 41.31 38.45 35.57 31.61 28.26 24.68 21.92
Panasonic S5

Sony Alpha 7 III Z 6 was able to equal the Sony in this test.
49.78

46.96
47.89

45.03
45.30

43.30
42.96

39.89
40.27

34.43
37.52

31.67
35.19

28.18
32.17

24.72
28.99

21.28

For video, the camera currently maxes Performance Signal to noise ratio (decibels)
out at full-readout 4K 30p, but will be A fast frame rate is nothing without 60
receiving 4K 60p (albeit with a 1.5x snappy autofocus – and the hybrid
50
crop) with a firmware update in AF system, which spreads 273 AF
February. Everything else here is points across the entirety of the 40

exactly as it was with the original image sensor, locks onto subjects 30
Z 6, from the 24.5MP sensor to with unerring accuracy. It’s still a
20
the resolution of the electronic half-step behind the phase-detect
viewfinder and rear screen. systems employed by other 10
1
cameras, but it’s not far off. 0
Build & handling The face and eye detect modes are 100 200 400
Nikon Z 6II
800 1600 3200
Canon EOS R6
6400 12800 25600

The camera control layout is identical impressive, locking onto two- and Panasonic S5 Sony Alpha 7 III

to the original Z 6. The deep grip makes four-legged subjects even against the All four comparison cameras are closely matched in
the body comfortable to hold, and the busiest of backgrounds, and switching ISO
this test. The Panasonic S5 maintains a consistent
100 200
Dynamic range (EV)
400 800 1600 3200 6400 12800 25600

scrolling front and rear dials are in easy automatically between faces or lead, but it’s at the higher ISOs where the Z 6II
Nikon Z 6II 12.61 12.24 12.16 12.18 12.18 11.98 11.62 10.12 9.22
Canon EOS R6 12.65 11.96 11.69 11.69 11.96 11.22 10.35 8.76 7.35
Panasonic S5 12.06 12.07 12.03 12.03 12.02 10.75 10.55 10.40 10.41

reach of the forefinger and thumb, as individual eyes depending on their Sony Alpha 7 III
moves into a clear second place.
13.25 12.47 11.85 11.97 11.53 11.11 10.36 9.75 8.91

are all the other essential controls such proximity. Again, it’s a hair behind
as the shutter, ISO and exposure Canon and Sony’s AF systems, Dynamic range (EV)
14
compensation buttons. but it’s still remarkably good.
12
The rear LCD and electronic Although the performance of the
viewfinder are unchanged, which is a in-body image stabilisation system 10

bit of a missed opportunity. Likewise it feels largely unchanged, Nikon’s 8

is curious that Nikon has decided to system is right up there with Canon 6

stick with a tilting rear LCD, rather and Panasonic, leaving Sony in 4
than taking the opportunity to the rear-view mirror. 2
1
add a fully articulating screen – We’ll have to reserve judgement on
0
something that hobbles portrait the promised 4K 60p shooting until 100 200 400 800 1600 3200 6400 12800 25600
Nikon Z 6II Canon EOS R6
and video shooting. Like the original, it arrives, but it’s disappointing that Panasonic S5 Sony Alpha 7 III
the Nikon Z 6II possesses weather this will invoke a 1.5x crop.
The Z 6II beats its main competitors at all but our
sealing for all-purpose shooting. Adam Waring & James Artaius
lowest and highest tested ISO sensitivities. Also
worth noting is how consistently high its dynamic
range is from ISO 100 right through to ISO 6,400.
Rival cameras
Digital Camera verdict

4.0 Excellent

Canon EOS R6 Panasonic S5 Sony Alpha 7 III 1

£2,499/$2,499 £1,919/$2,299 £1,749/$1,999 3.0 4.0 5.0 4.0
The EOS R6 is a versatile With a strong AF system The A7 III has the same
camera that can shoot and up to 6.5 stops of resolution as the Z 6II. Features Build & Performance Value
handling
pretty much anything, image stabilisation, the Its video specs lag
as long as you’re content S5 is tough to beat in behind, but its autofocus The Nikon Z 6II is a light refresh of the original Z 6,
with fewer megapixels. this category. is good in movie mode. with a second memory card and processor bringing
Reviewed: issue 234 Reviewed: issue 235 Reviewed: issue 203 a bump to burst shooting and the promise of 4K 60p
video. It’s a very capable camera, although some
of its specs are outperformed by rival systems.

75

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 DSLR Nikon D780

Unlike most mirrorless

cameras, which are all
angles and edges, the
D780 has a smoothly
contoured body, with
soft-feel materials and
a comfortable grip.

Nikon claims an
amazing 2,260-shot
battery life, though
we’d expect this to
2 drop with a lot of
Live View use.

Nikon D780
£2,199/$2,299
The last hurrah for the DSLR, or a sign of things to come?
w w w. nikon .co.uk

he launch of the Nikon offer fast, hybrid on-sensor phase-

Specifications D780 will reignite a detection AF but compromise with

Sensor: 24.4MP back-illuminated full-frame CMOS

T long-running debate
about mirrorless versus
an electronic viewfinder (although
many see it as an advantage,
Image processor: Expeed 6 DSLR cameras. It might not a compromise).
Autofocus: 51-point phase detect (viewfinder), even blur the boundaries. However, there’s been no technical
273-point hybrid phase detect (Live View) Like last year’s Canon EOS 90D, the reason why DSLRs shouldn’t have the
ISO range: 100-51,200 (exp 50-204,800) Nikon D780 is staging a counter-attack same on-sensor Live View AF features
Max image size: 6,048 x 4,024 against the advancing hordes of as mirrorless cameras, and now it’s
Metering modes: 180k RGB sensor, Matrix, mirrorless cameras. It takes crucial happening. Canon has been using its
center weighted, spot, highlight weighted mirrorless technology from Nikon’s phase-detection on-sensor Dual Pixel
Video: 4K UHD, 30/25/24p Z 6 to produce a kind of hybrid camera CMOS AF system in its DSLRs for
Viewfinder: Optical pentaprism, that offers the best of both worlds: some time, and Nikon has now
0.7x magnification, 100% coverage an optical through-the-lens viewfinder, done the same with the D780.
Screen: 3.2-inch, 2,359k-dot tilting touchscreen but the high-performance Live View The D780 is the first Nikon DSLR
Memory card: 2 x SD/SDHC/SDXC (UHS II) AF and video features of a mirrorless. to adopt this approach, but it seems
Max burst: Up to 7fps (viewfinder), 12fps (live view) Traditionally, DSLRs offer optical unlikely to be the last. It’s a more
Size: 144 x 116 x 76mm viewing but compromised (slow) Live upmarket alternative to Nikon’s
Weight: 840g (including battery and memory card) View autofocus. Mirrorless cameras popular D750, sharing the same

76

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 Nikon D780 DSLR

3 5 7
5
The D780’s control The D780’s twin-dial The mode dial has a
layout will be instantly control setup (there’s central locking button
familiar to existing another dial on the and a release mode
Nikon DSLR owners. front) is fast and dial directly
efficient in use. underneath.
4
6 8
3
The D780 combines
an optical viewfinder The touchscreen You can buy the
with mirrorless-style display is very sharp D780 body only, or
on-sensor phase and clear, with an with the Nikkor AF-S
detection AF impressive 2,359k- 24-120mm f/4 VR –
in Live View. dot resolution. a great match.
6

camera, but it does promise a good

level of detail rendition combined with
better high-ISO performance than
you’d expect from a higher-resolution
camera. It also keeps the cost down
for enthusiast photographers.
The D780 has the same 180k RGB
24-megapixel resolution, but now metering and scene recognition
with fast Live View autofocus, 4K system as the more expensive D850.
video, continuous shooting up to It also uses Nikon’s tried-and-tested
12fps and improved processing. 51-point phase-detection AF sensor;
We understand the D750 will when you use the Live View mode, it
continue at a much lower price point swaps to the 273-point on-sensor
for stills photographers who don’t phase detect AF system of the Nikon The D780 delivers pleasing colour rendition in its JPEGs;
need 4K video or fast live view AF. So Z 6. This is more sophisticated – and for those who shoot raw, Adobe has already updated its
the D750 becomes Nikon’s cheapest a lot faster – than the simple contrast Creative Cloud software to support the new camera.
full-frame DSLR; the D780 can be AF system in the D750.
seen as a more advanced enthusiast/ The Live View experience is made in viewfinder shooting, but this leaps
semi-pro camera; and the only two even better with the high-resolution to 12fps in Live View – which also
cameras above it are the high- tilting 2,359k-dot LCD monitor, with has a silent shooting option.
resolution Nikon D850 and touch shutter release and AF point The video capabilities are impressive
the super-fast Nikon D6. selection. This also offers wider 90% too, including uncropped 4K UHD at
horizontal and vertical coverage than 30/25/24fps, 60/50fps in DX mode
Key features the viewfinder AF system, which uses and up to 120fps for Full HD; but while
The Nikon D780 is designed for a separate, dedicated sensor. the D780 does offer eye AF for stills,
both stills and movies. By today’s The D780 is unexpectedly good this doesn’t extend to video. You
standards, its 24-megapixel resolution at continuous shooting. It can hit get Nikon’s N-Log option with up
is baseline spec for a full-frame a good, though unremarkable, 7fps to 12-stop dynamic range and

77

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 DSLR Nikon D780

The D780 captures 4K

video and has both microphone
and headphone connection sockets.

use a camera body built to the same

scale as today’s full-frame zoom
lenses. We tested the D780 with the
Nikkor AF-S 24-120mm f/4 VR and the
AF-S 16-35mm f/4 VR. These are both
lenses that enthusiasts and pros will
want to use, and both are weighty,
medium-sized lenses that feel a
good match for the D780 body.
We were also lucky enough to
We used the D780’s auto white balance throughout our tests, and it handled different conditions really well.
test the camera for several days in
Iceland, where its size and heft were
10-bit capture, and you can capture 900 sec (excellent for long exposure welcome while shooting and making
HLG HDR footage to an external fans). The D780 has dual UHS-II SD/ adjustments in the extreme cold,
recorder via the HDMI port. There’s SDHC/SDXC memory card slots, wearing gloves.
an external mic socket, as you’d which is a nice surprise, and an That’s not to say the D780 is quite
expect, and a headphone socket. extremely impressive 2,260-shot perfect. The four-way D-pad on the
Other features include a focus battery life, though we expect this back could do with being bigger,
shifting mode for macro shots with would drop substantially with and while it works faultlessly, it
extended depth of field, and the ability extensive use of Live View. has a slightly imprecise action. It’s
to ‘scan’ 35mm film via Nikon’s EX-2 surrounded by a useful lock lever
digitising adapter and a Micro-Nikkor Build and handling designed to prevent accidental
lens (both sold separately). DSLRs are bigger and bulkier than adjustments, but which is itself
The ISO range is 100-51,200, mirrorless cameras, and full-frame flicked a little too easily by accident.
expandable to ISO 50-204,800, and DSLRs are the biggest of the lot. Also, although it has the on-sensor
the D780 has an extended shutter That sounds like a disadvantage, AF system of a mirrorless camera and
speed range from 1/8,000 sec to but actually it can be refreshing to the same Live View performance, the
D780 does not offer the seamless,
automatic transition between
viewfinder and rear screen shooting
Rival cameras that a mirrorless camera does. On
a mirrorless camera, an eye sensor
detects when you put the camera
to your eye or take it away again,
and switches displays instantly.
On the D780, you have to press the
Live View button, and the camera’s
‘ker-chunk’ as it locks up the mirror
is a reminder that it’s making a
Nikon D750 Canon EOS 6D Mk II Sony Alpha 7 Mk III mechanical internal adjustment.
£1,179/$1,499 £1,479/$1,599 £1,999/$1,999 Users of other camera brands
The D750 is showing its The Canon 6D Mark II is The Alpha 7 III is still sometimes remark that Nikon control
age compared with the cheaper than the D780 the most accessible, layouts are different to others and
D780, but for regular and has a vari-angle versatile and affordable
take a little learning. That’s true to
stills photography, screen, but the D780 of all of Sony’s full-
an extent, but the D780’s buttons
there’s not that much has a classier feel frame mirrorless
between them. and 4K video. camera models. and dials will be instantly familiar to
Reviewed: issue 158 Reviewed: issue 194 Reviewed: issue 203 anyone who’s used Nikon DSLRs in
the past. While the camera may look
a little fussy at first, you very quickly

78

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 Nikon D780 DSLR
Resolution (line widths/picture height)
ISO 100 200 400 800 1600 3200 6400 12800 25600

Lab tests
Nikon D780 28.00 28.00 28.00 28.00 28.00 28.00 26.00 26.00 24.00
Nikon D750 32.00 30.00 30.00 30.00 29.00 29.00 29.00 24.00 23.75
Canon EOS 6D Mk II 28.50 28.50 28.50 28.50 28.50 28.50 28.50 28.50 28.50
Sony Alpha 7 Mk III 27.50 27.50 27.50 27.50 27.50 27.50 25.50 25.50 23.50

Resolution (line widths/picture height)

50

40

30

20

10

0
100 200 400 800 1600 3200 6400 12800 25600
Nikon D780 Nikon D750
Canon EOS 6D Mk II Sony Alpha 7 Mk III

With peak resolution of 2,800 line widths/picture

The exposure system does seem to favour highlights: this shot needed a little brightening. height, the Nikon D780’s resolving power is exactly
Signal to noise ratio (decibels)

as we’d expect for a full-frame 24-megapixel camera.

ISO 100 200 400 800 1600 3200 6400 12800 25600

Nikon D780 44.39 41.50 38.59 35.74 33.70 31.77 30.16 27.22 23.58
Nikon D750 45.23 41.61 38.38 35.08 31.92 28.93 26.06 23.21 19.68
Canon EOS 6D Mk II 45.24 43.59 41.48 38.64 35.3 31.86 28.55 25.37 21.89
Sony Alpha 7 Mk III

adapt to its layout, and it does offer

46.96 45.03 43.30 39.89 35.43 31.67 28.18 24.72 21.28

fast and efficient external controls.

Signal to noise ratio (decibels)
The rear screen has a tilting 60
mechanism rather than a vari-angle
50
pivot, but that’s fine for horizontal
shots and keeps the screen on the 40

same optical axis as the lens. The 30

screen is larger than usual at 3.2
20
inches across the diagonal, with a high
2,359k-dot resolution, and the Touch 10
1
AF and Touch Shutter modes work 0
well: you tap to select the focus point, 100 200 400 800 1600 3200 6400 12800 25600
Nikon D780 Nikon D750
or to focus and shoot in a single action. Canon EOS 6D Mk II Sony Alpha 7 Mk III

The D780 is slightly noisier than the Canon and Sony

Performance ISO
cameras at low to medium ISO settings, but it offers
100 200
Dynamic range (EV)
400 800 1600 3200 6400 12800 25600

Most of our test shots were outdoor Nikon D780

Nikon D750
the best high-ISO performance of this group.
12.12

11.77
12.12

11.78
12.13

11.12
12.13

10.44
12.12

9.80
11.71

9.13
10.69

8.18
9.66

7.23
8.81

6.37
Canon EOS 6D Mk II 11.68 11.37 11.30 11.02 10.66 10.05 8.91 7.77 6.71

landscapes or close-ups, and both of Sony Alpha 7 Mk III 13.25 12.47 11.85 11.97 11.53 11.11 10.36 9.80 8.96

the D780’s AF systems proved fast

and efficient. This is an important Dynamic range (EV)
14
difference – with a mirrorless camera, We got to try out the D780 for a Game
the AF system is the same for both of Thrones-style photo shoot. 12

viewfinder and Live View shooting. 10

With the D780 you need to adjust to lens-based VR in many Nikkor F 8

two different AF systems with two mount lenses is effective for stills 6
different sets of characteristics. photography, but did not do much to 4
Our Iceland expedition offered up stabilise the footage in our handheld
2
some amazing subject matter, but it video tests. For video we think this is 1
0
also provided some serious exposure a camera best used with a tripod or 100 200 400 800 1600 3200 6400 12800 25600
headaches, thanks to the extremes a stabilising gimbal, when the video Nikon D780 Nikon D750
Canon EOS 6D Mk II Sony Alpha 7 Mk III
of ice and snow and near-black lava quality becomes very good.
beaches. Most shots taken with the The 7fps continuous viewfinder The Nikon D780 shows a marked improvement over
the older D750, and narrowly beats the Sony A7 III,
default Matrix metering needed shooting and 12fps in Live View is
a camera with particularly good dynamic range.
some kind of editing later, but that pretty impressive, but the buffer
was mostly a reflection of the very capacity of 68 lossless compressed
difficult subject matter. 14-bit raw files or 100 JPEGs is more Digital Camera verdict
Even taking that into account, it impressive still. It’s not billed as a
does seem as if the D780’s Matrix
metering is biased towards highlights
rather than midtones. You’re less
camera for shooting sports, but the
D780 is pretty well equipped for
a camera in this class.
5.0 A best-in-class product

likely to get highlight blowout, but It also has an impressive 2,260-shot

more likely to have to make tonal battery life, although we assume this 5.0 5.0 5.0 3.0
adjustments in software later. figure is based around viewfinder
We also had a few shots that were shooting, and that continuous Live Features Build & 1 Performance Value
handling
underexposed for no obvious reason. View shooting would drain the
The D780 might have the Z 6’s batteries a lot faster. The Nikon Z 6, There are no fireworks with the Nikon D780, no
sensor technology, but it doesn’t for example, has a battery life of radical new technologies. It’s simply an excellent
have its in-body stabilisation. The just 380 shots. Rod Lawton evolution of a great camera design.

79

DCM276.guide_nikon.indd 79 17/11/2023 15:20

 Mirrorless Nikon Z 7II

A new EN-EL15c
battery delivers 420
shots per charge with
the LCD, and 360
shots with the EVF.
3

The 45.7MP full-frame

sensor is unchanged
from the original Z 7,
1
as is the 493-point
hybrid AF system.
2

The Nikkor Z lens

mount can take regular
Nikon DSLR lenses
via the Nikon FTZ
mount adaptor.

Nikon Z 7II
£2,999/$2,997
Is this update enough to keep up with the competition?
w w w. nikon .co.uk

he Z 7II is the follow-up to iron out the weaknesses of the

Specifications to Nikon’s first full- original, tweaking and refining to arrive

Sensor: 45.7MP full frame

T frame mirrorless
camera: the Z 7,
at the Z 7II. Externally at least, the only
giveaway that you’re dealing with
CMOS, 35.9 x 23.9mm launched in 2018. With the newer camera is the Z 7II badge.
Image processor: Dual-core Expeed 6 a 45.7-megapixel full-frame sensor But with the mirrorless landscape
AF points: 493-point hybrid phase/contrast AF at its heart, the Z 7II is Nikon’s new changing dramatically in the last
ISO range: 64 to 25,600 (exp. 32-102,400) flagship mirrorless camera, created two years through a selection of new
Video: Uncropped 4K UHD up to 30p, cropped to take on the likes of Canon’s EOS R5 rivals, do the changes made to the
4K UHD up to 60p and the Sony Alpha 7R IV, while also Z 7II offer enough to put it ahead
Viewfinder: 3690k-dot OLED EVF, 100% designed to tempt DSLR owners of the competition?
coverage, 0.8x magnification to make the switch.
Memory card: SD UHS-II, CFexpress Sitting alongside the Z 7II is Nikon’s Key features
(Type B) / XQD more enthusiast-orientated full-frame Nikon has opted to use the same
LCD: 3.2-inch tilting touchscreen, 2,100K dots mirrorless camera, the 24.5-megapixel 45.7-megapixel full-frame back-
Max burst: 10fps mechanical shutter Z 6II (reviewed in Digital Camera 237). illuminated sensor that was seen in the
Connectivity: Wi-Fi 2.4GHz and 5GHz, Bluetooth Costing significantly less than the Z 7, but rather than the single Expeed
4.2, USB-C, mini HDMI, GPS, pro-orientated Z 7II, the Z 6II is 6 processor that was featured in the
microphone, headphone marketed as more of an all-rounder. older model, the Z 7II now has the
Size: 134 x 101 x 70mm We’re big fans of the original Z 7 and, luxury of dual Expeed 6 processors.
Weight: 615g body only (705g with battery) as the name suggests, Nikon hasn’t Doubling the processing power brings
started from the ground up with the with it a number of improvements,
Z 7II. Instead, the company has including the burst shooting speed
listened to feedback and looked increasing from 9fps to 10fps.

80

DCM276.guide_nikon.indd 80 17/11/2023 15:20

 Nikon Z 7II Mirrorless

4 7

The 3,690k-dot OLED In a change from the

EVF offers 100% Z 7, the Z 7II now has
coverage and 0.8x twin card slots: one
magnification; it’s for SD UHS-II cards,
5 good, but not the best. one for CFexpress
Type B/XQD.
6
5
8
The tilting rear screen
is useful for waist-level Compact as it is, the
shooting and video, Z 7II still has space
but is not much help on the top plate for
7 for vertical shots. a status panel.

6 9

Round the back, there This rear control dial

is both a focus lever is complemented by
and a four-way another at the front,
controller, plus inset into the top
an AF-On button. of the grip.

8
9

You do need to read the small print, Speaking of power, the Z 7II gets a
The Z 7II’s image quality and dynamic range make it great
though, as this speed is achievable new, uprated battery. While the Z 7’s for black-and-white photography as well as colour. There
only if you’re shooting 12-bit raw files battery life was officially rated at an is a monochrome in-camera mode, but raw files are better.
and using a single AF point. The extra underwhelming 330 shots, the Z 7II
processing power delivers a much uses a higher-capacity version of the
deeper shooting buffer, with the Z 7II battery, with the new EN-EL15c now
now having up to 3.3 times the buffer able to deliver 420 shots per charge
capacity of the original model. with the LCD, and 360 shots through
The Z 7II’s video offering has also the viewfinder. It’s a welcome
been enhanced, with the new camera improvement, but it still lags behind
now capable of shooting 60p 4K rivals like Sony’s A7R IV, which can
footage. This is up from 30p on the Z 7, muster up to 670 shots on a charge.
but this higher frame rate sees a slight One area that was often singled
1.08x crop applied to the footage to out on the original Z 7 was
achieve it, with the Z 7II using 93%
of the width of the sensor. If you’re
planning to send footage to an external
recorder, the Z 7II can output ready- “Nikon has looked
to-view Hybrid Log Gamma (HLG)
footage for viewing on HDR TV sets, to iron out the
while the Z 7II’s ‘hot charging’ USB-C
support means you’ll be able to power weaknesses of The autofocus is fast and precise and the rear focus lever
the camera while it’s in use, enabling makes it easy to choose the focus point. For fast-moving
you to shoot for as long as you want. the original” subjects, though, Nikon’s D6 or D850 DSLRs have an edge.

81

DCM276.guide_nikon.indd 81 17/11/2023 15:20

 Mirrorless Nikon Z 7II

Like its predecessor, the Z 7II is a well-sorted

camera that’s compact in design, but with
a good ‘grip’ and well laid-out controls.

no bad thing that Nikon has felt no

need to tinker here. The deep grip
makes the Z 7II incredibly comfortable
to hold, and the control layout makes it
one of the most satisfying mirrorless
cameras to shoot with. Key controls
Nikon’s Matrix metering system does a good job of preserving highlights, but for extra-high-contrast fall to the hand easily, and it’s great
scenes, the Z 7II’s raw files offer useful additional dynamic range. to see that face/eye detection is now
accessed along with all the other
area AF modes. A dedicated drive
its reliance on a single XQD card slot, now able to focus down to -3EV mode would be good to have on the
but the Z 7II now benefits from dual (compared with the Z 7’s -2EV). Z 7II (perhaps around the collar of
card slots with the welcome addition the mode dial), but this is relatively
of a UHS-II SD card slot alongside the Build and handling straightforward to get to via the menu.
XQD/CFexpress Type B socket. Despite the extra card slot, the design Just like the Z 7, the Nikon Z 7II
Rather than developing a new of the Z 7II is identical to the Z 7 – and enjoys magnesium alloy top, front
autofocus system, the Z 7II employs to the Z 6 and Z 6II for that matter. and back covers to deliver ample
the same 493-point AF system that (The more affordable Nikon Z 5 is very rigidity, and the body is weather-
was enjoyed by the Z 7, but the extra similar, too. Apart from the Z 7II badge, sealed to Nikon’s professional
Expeed 6 processor has allowed Nikon the only other difference is that it’s specifications. This all combines to
to make some improvements here as a couple of millimetres thicker deliver a camera that’s very well-
well. In addition to sharpening up the and a gramme or two heavier. made and that can happily be used
overall performance of autofocus, While sticking with an unchanged in a number of environments.
the Z 7II now includes human or design might appear to be playing it One area we’d liked to have seen
animal eye/face detection in Wide incredibly safe, the original Z 7 was Nikon overhaul is the electronic
Area AF mode and improved focusing a pretty well-sorted camera when it viewfinder (EVF) and rear display.
in low light, which sees the Z 7II came to handling, so it’s perhaps While the 3.69m-dot EVF in the
original Z 7 impressed at the time,
it’s since been overshadowed by
Rival cameras 5.76m-dot EVFs in key rivals, and it’s
disappointing not to see Nikon equip
the Z 7II with something similar. As
it is, it uses the same 3.69m-dot
EVF as its predecessor; while it’s
very good, it’s not a match for
the higher-resolution EVFs on
the competition like the Canon
Canon EOS R5 Panasonic Lumix S1R Sony Alpha 7R IV EOS R5 and the Sony Alpha 7R IV.
£4,199/$3,899 £2,799/$3,698 £3,199/$3,498 Another curiosity is Nikon sticking
The EOS R5 is The Lumix S1R is built The Alpha 7R IV still with the Z 7’s tilting rear touchscreen
technically more like a tank and has some leads the full-frame
LCD in the Z 7II. While this method
advanced than the beautiful lenses in a mirrorless field for
Z 7II, but it’s much growing selection, but resolution and autofocus
has a range of uses and applications,
more expensive, too. it’s pricey and heavy. performance. a vari-angle mechanism would
Reviewed: issue 233 Reviewed: issue 216 Reviewed: issue 223 have made it a more appealing
proposition for videographers
and portrait shooters.

82

DCM276.guide_nikon.indd 82 17/11/2023 15:20

 Nikon Z 7II Mirrorless
Resolution (line widths/picture height)

ISO 100 200 400 800 1600 3200 6400 12800 25600

Nikon Z 7II 36.25 36.25 36.25 36.25 34.00 34.00 34.00 32.00 28.00
Canon EOS R5 35.75 35.75 35.75 35.75 35.75 35.75 35.75 34.00 30.00

Lab tests
Panasonic Lumix S1R 40.00 40.00 40.00 40.00 40.00 40.00 40.00 38.00 34.00
Sony Alpha 7R IV 45.00 45.00 45.00 45.00 44.00 42.00 42.00 40.00 38.00

Resolution (line widths/picture height)

50

40

30

20

10

0
100 200 400 800 1600 3200 6400 12800 25600
Nikon Z 7II Canon EOS R5
Panasonic Lumix S1R Sony Alpha 7R IV

Not surprisingly, the 60MP Sony Alpha 7R wins for

resolution, with a clear advantage over the rest. The
Signal to noise ratio (decibels)

Lumix S1R is in second place, despite having a similar

ISO 100 200 400 800 1600 3200 6400 12800 25600

Nikon Z 7II 38.84 34.70 33.06 29.50 28.83 26.71 24.91 21.23 19.35
Canon EOS R5 40.28 38.10 37.35 34.06 30.38 27.37 24.02 20.66 17.28

Sony Alpha 7R IV sensor resolution to the EOS R5 and the Z 7II.

Panasonic Lumix S1R 50.17

44.40
46.88

41.26
43.54

37.04
40.38

32.69
38.04

29.01
34.63

25.44
30.81

22.26
27.81

19.61
23.91

18.39

Signal to noise ratio (decibels)

60

50

The Z 7II now includes human or animal eye/face detection in Wide Area AF mode, which 40
proves to very accurate in real-world shooting, and improved focusing in low light.
30

20

10
Performance variations of this sensor used in both 1

0
Even though the Z 7II is now able to the Z 7 and D850. The level of detail 100 200 400 800 1600 3200 6400 12800 25600
max out at 10 frames per second, that achievable is impressive, while the Nikon Z 7II Canon EOS R5
Panasonic Lumix S1R Sony Alpha 7R IV
still leaves it lagging behind the likes of wide dynamic range means there’s
the Canon EOS R5, which can shoot at plenty of flexibility in the raw files. The winner here is the S1R, with the Alpha 7R IV and
up to 12fps with its mechanical shutter It’s possible to recover good amounts the EOS R5 close together in second place. The Z 7II
Dynamic range (EV)

and 20fps if you choose the electronic of shadow detail, while the Z 7II’s
ISO
Nikon Z 7II trails a disappointing fourth here, although it gains
100

12.50
200

11.93
400

12.03
800

11.85
1600

11.36
3200

10.64
6400

9.91
12800

8.68
25600

6.94

a slim advantage at higher ISO settings.

Canon EOS R5 12.74 11.97 12.74 11.69 10.49 9.25 7.97 6.81 5.90
Panasonic Lumix S1R

shutter. That said, it’s identical in Matrix metering does a good job
12.81 12.83 12.81 12.82 12.26 11.43 11.06 10.32 9.39
Sony Alpha 7R IV 11.27 10.70 10.54 10.00 9.94 9.59 8.36 7.53 6.98

speed to the Alpha 7R IV, although that of preserving the highlights.

camera is handling large 60MP files. The lab results weren’t quite Dynamic range (EV)
14
While it could be argued that this puts what we were expecting, as the Z 7II
it behind its rivals (especially when it’s appears slightly down against some 12

limited to Single Point AF), 10fps might older rivals in noise and dynamic 10

still be enough for most disciplines. range. Real-world results were 8

The 493-point hybrid AF system very impressive, however. 6
inside the Z 7II is a solid performer. The Z 7II’s in-body image 4
Using both phase and contrast-detect stabilisation system is a strong 1
2
AF, the Z 7II finds focus very quickly, performer, delivering five stops of
0
and human/animal face and eye compensation. This means that 100 200 400 800 1600 3200 6400 12800 25600
detect modes work very well. Train the shooting at slow shutter speeds and Nikon Z 7II Canon EOS R5
Panasonic Lumix S1R Sony Alpha 7R IV
Z 7II on your subject, even against a still coming away with a sharp shot is
The S1R is out in front, producing measurably higher
busy background, and it’ll lock on and very much a reality when shooting with
dynamic range across the ISO range. The Z 7II and the
automatically switch between faces the Z 7II. IBIS is not just a benefit for
EOS R5 are close together in second place, although
or individual eyes. Predictive focus stills, though, as it can be harnessed the Z 7II establishes a gap at higher ISO settings.
tracking is also good on the Z 7II, when shooting video, too. Provided
enabling you to maintain focus on your you keep movement down to a Digital Camera verdict
subject as it moves round the frame. minimum where possible, you can

4.5
Viewed in isolation, the AF system on come away with some incredibly
the Z 7II is very impressive, but against smooth 4K footage. Phil Hall
Outstanding
the likes of the EOS R5’s incredibly
sophisticated AF, it’s not quite there.
Nikon aficionados photographing
action are probably still best served by “The Z 7II’s IBIS 5.0 5.0 4.0 4.0

the company’s D850 and D6 DSLRs –

system is
1
Features Build & Performance Value
while they can’t match the 90% handling
coverage of the Z II, their advanced
tracking AF certainly has the edge. a strong The Z 7II feels a little like a stopgap before we see
Nikon introduce an all-new model. However, it still
There are no nasty surprises when
performer”
has a lot going for it – and at a more affordable
it comes to image quality, having seen price than key rivals, it shouldn’t be ignored.

83

DCM276.guide_nikon.indd 83 17/11/2023 15:20

 DSLR Nikon D6
1

Externally, the D6
seems little different
to its predecessor,
but there’s plenty
new inside.

The D6 has the same

20.8MP sensor – with
the same lack of phase-
detect AF in Live View.
2

Nikon D6
£6,299/$6,499
This pro DSLR has Nikon’s best-ever stills AF and burst speed
w w w. nikon .co.uk

Specifications he Nikon D6 faces favourable. Does that head-to-head

a difficult challenge. comparison tell the full story, though?
Sensor: 20.8MP full-frame CMOS
Autofocus: Viewfinder: phase-detect AF
T Its two rivals in the
professional full-frame
Taken on its own merits, what does
the D6 have to offer – and how much
with 105 focus points (all cross-type); camera space are does it truly improve on the D5?
Live View: contrast-detect AF at all points in frame absolute monsters: the Canon
ISO range: 100-102,400 (exp 50-3,280,000) EOS-1D X Mark III is the most Features
Max image size: 5,568 x 3,712 advanced camera we’ve ever used, At first glance, it’s easy to see how
Metering modes: Matrix, centre-weighted, spot and the Sony Alpha 9 II brings all many consumers were nonplussed
(not available for movie), highlight-weighted the benefits of mirrorless shooting by the Nikon D6’s specifications.
Video: 4K (Ultra HD) 30/25/24p; into the pro sports sphere. However, there’s much more to
1080p (Full HD) 60/50/30/25/24p While both of those cameras this camera than its spec sheet.
Viewfinder: Pentaprism were greeted with excitement and The first key selling point of the D6
Memory card: Two CFexpress (Type B) enthusiasm from the industry, the is the improved continuous shooting
and XQD memory card response to the Nikon D6 has been speed of 14 frames per second – an
Max burst: 14fps tepid, given its comparative lack of improvement of 2fps over the D5.
Connectivity: Wi-Fi (2.4 and 5GHz), standout new features compared While that might not sound a lot,
Bluetooth, USB-C, HDMI mini, Ethernet with the Nikon D5. anyone who has shot professional
Size: 160 x 163 x 92 mm While all three are obviously among sports or wildlife photography will
Weight: 1,270g body only; the best professional cameras on the tell you that those ‘frames between
1,450g with battery and two CFexpress cards market today for pro sports shooters, the frames’ can be the difference
when compared to its competitors, between an award-winning cover
the D6’s results don’t seem entirely shot and a missed opportunity.

84

DCM276.guide_nikon.indd 84 17/11/2023 15:20

 Nikon D6 DSLR

3 5 7

The rear LCD is now All the main controls More controls can be
a touchscreen, which are in the same place illuminated this time
4 enables touch input as they were on the round, including the
and unlocks useful D5, so progression mode dial indicator
uploading features. is seamless. and both LCD panels.

4 6 8

3 5 The joystick isn’t in The D6 boasts dual The Nikon D6’s

the same position in CFexpress/XQD battery gives you
the horizontal and memory card slots plenty of power for
vertical orientations, (and yes, SanDisk full days of shooting
which is irksome. is now supported!). stills or video.
4

That’s a significant improvement on been problematic on the Nikon Z 6

the D5, but all those extra frames are and Nikon Z 7. You can also use
no use if you don’t have an autofocus XQD cards if you have them.
system that can keep up. Fortunately,
the D6 has Nikon’s best-ever AF Build and handling
engine, powered by the new Multicam While inwardly it’s packing plenty of
37K sensor and 105 cross-point AF new tech, outwardly the Nikon D6 is
system, representing 1.6x greater almost indistinguishable from the D5.
density of coverage. Obviously that’s a good thing for When it comes to stills, the Nikon D6 has a formidable autofocus
Adding to the autofocus system’s established users, as muscle memory system that has no problem keeping up with fast-moving action.
robustness is the fact that Eye AF is means that a sense of continuity is
available in 3D tracking and Auto AF critical, so moving all the buttons
area modes. You can further stack around to unfamiliar locations expects the joystick to be… and
the subject acquisition deck in your would cause some gritted teeth. instead finds the AF-On button.
favour with 17 customisable Group That said, familiarity does breed Yes, you get used to it, and yes, D5
Area AF choices. contempt – and we’re disappointed users will already be accustomed to
All of this services the same 20.8MP that Nikon hasn’t addressed the this foible (ditto Nikon’s lenses, caps
sensor used in the D5, although it is position of the joystick on the vertical and zoom rings that turn the opposite
bolstered by the all-new Expeed 6 grip. It’s situated in a different position direction to other cameras). But no
imaging processor. Also new is support than it is in the standard horizontal matter how many times you’ve done
for CFexpress memory cards – and the orientation so, when you spin the it before, there will always be those
manufacturer has finally got the knack camera from landscape to portrait, moments when your thumb goes
of SanDisk’s Type B cards, which have you move your thumb to where it to the wrong place to find the

85

DCM276.guide_nikon.indd 85 17/11/2023 15:20

 DSLR Nikon D6

With 14fps continuous shooting capability,

cutting-edge connectivity and CFexpress
support, the D6 is a powerful pro performer.

overjoyed to know that you no longer

need a remote shutter release to use
The Nikon D6 has the Bulb mode. In all, holding and using
greatest ISO sensitivity
this camera is like shaking hands
of all the pro cameras –
with an old friend.
ISO 3.28 million!

Performance
We tested the Nikon D6 shooting a
joystick – and said moments are The pentaprism is large, bright and series of basketball games as well as
always crucial. It’s a bit of design comfortable to use, and we had no some light birding – and it performed
disharmony that needs fixing. problems with eye strain (something brilliantly, whether following frantic
That aside, the D6 is every bit as that can’t always be said for electronic players hustling a ball around the
robust as you’d hope and expect. viewfinders when shooting with one court or capturing the twitches
It’s a hulking body, even by pro DSLR eye open for action). The D6 is and chirps of birds while fishing.
standards (being both bigger and unquestionably designed to be However, while 14 frames per second
heavier than its Canon counterpart), operated via the optical viewfinder is absolutely enough to capture crucial
but when you hold this thing, you know rather than the newly touch-operable moments when shooting sports and
that you could drive over it with your 3.2-inch LCD screen. wildlife, the fact remains that the
car or use it to break into a building Flicking the power switch a step Canon and Sony are both capable
– it’s that solid. However, our D6 further than the On position illuminates of 20fps – which means they get
sample did exhibit a very small a few more buttons than lit up on the shots that the Nikon misses.
amount of play in the mount, D5, in addition to the mode dial and Nikon’s new autofocus system really
with lenses turning a fraction the top and rear LCD panels. Oh, and is a wonder, capable of the kind of
of a millimetre when mounted. if you shoot long exposures, you’ll be intelligent tracking and acquisition that
you need in split-second situations.
It recognises subjects almost as fast
as you can point your camera at them;
Rival cameras more importantly, it doesn’t lose them
when your view is interrupted.
It doesn’t matter if it’s shooting
through the courtside cage, or if
people pass in front of your targeted
player, or if your bird decides to hide
behind undergrowth: the D6’s AF is
fast, intelligent and reliable enough
to keep you locked onto your subject.
Canon EOS-1D X Mark III Nikon D5 Sony Alpha 9 II It’s difficult to empirically test, but
£6,499/$6,499 £5,199/$5,499 £4,699/$4,499 in our testing it absolutely held its own
The 1D X III outguns The D6 improves on Just like the Canon, with Sony’s much-celebrated AF
the D6 in every respect, its predecessor in the A9 II largely (though we did miss Canon’s brilliant
with better AF, 20fps almost every category. outclasses the D6 with
head tracking AF whenever a player
shooting and killer Ignore the doubters – 20fps shooting and far
video. It’s by far existing owners won’t better video AF, plus
turned his face away from camera).
the best pro DSLR. regret upgrading. image stabilisation. While 105 AF points is a step up on
Reviewed: issue 227 Reviewed: issue 179 Reviewed: bit.ly/dcwa9ii its predecessor, that little cluster of
points squished into the centre of the
frame really does cramp your shooting

86

DCM276.guide_nikon.indd 86 17/11/2023 15:20

 The Nikon D6 has a
comparatively slight
ISO

Nikon D6
Canon 1D X Mk III
100

26.00

25.50
200

26.00

25.50
400

26.00

25.50
800

26.00

25.50
Nikon D6 DSLR
Resolution (line widths/picture height)
1600

26.00

25.50
3200

26.00

25.50
6400

26.00

25.50
12800

26.00

25.50
25600

24.00

23.50

105 focus points, but

Nikon D5
Sony Alpha 9 II
Lab tests 26.50

28.00
26.50

28.00
26.50

28.00
26.50

28.00
26.50

28.00
26.50

28.00
26.50

28.00
26.50

27.00
26.50

27.00

the AF system makes

the most of them. Resolution (line widths/picture height)
50

40

30

20

10

0
100 200 400 800 1600 3200 6400 12800 25600
Nikon D6 Canon 1D X Mk III
Nikon D5 Sony Alpha 9 II

Naturally, the 24.2MP Sony A9 II edges out its

ISO
20MP rivals in this test, at least up to ISO 6,400,
100 200
Signal to noise ratio (decibels)
400 800 1600 3200 6400 12800 25600

Nikon D6
Canon 1D X Mk III
but the real-world difference in detail capture
45.00

44.41
41.49

42.14
38.60

40.93
34.57

38.16
32.96

35.37
30.63

31.22
28.58

27.81
25.88

24.10
22.53

20.87

between all four cameras really is minimal.

Nikon D5 43.88 40.85 37.99 35.05 32.02 29.01 25.96 23.78 21.17
Sony Alpha 9 II 47.00 45.04 41.36 39.33 34.11 30.96 27.27 23.53 21.28

Signal to noise ratio (decibels)

60

50

40

30

20

10
1

0
100 200 400 800 1600 3200 6400 12800 25600
Nikon D6 Canon 1D X Mk III
Nikon D5 Sony Alpha 9 II

All four pro cameras do well in this test, but at lower

ISO
sensitivities both the D6 can’t quite produce images
100 200
Dynamic range (EV)
400 800 1600 3200 6400 12800 25600

as clean as those from the Canon and Sony cameras.

Nikon D6 11.43 11.34 11.17 10.68 10.27 10.20 10.07 9.32 8.08
Canon 1D X Mk III 12.53 12.50 12.50 12.40 11.82 10.57 9.73 8.32 7.07
Nikon D5 11.54 11.51 11.14 10.78 10.62 10.20 9.63 9.00 7.09
Sony Alpha 9 II
Above ISO 1,600, the field is more closely packed.
11.44 11.29 11.01 11.06 10.57 10.25 10.04 9.34 7.89

Dynamic range (EV)

14

We took the D6 out for some light birding (as well as some much gentler baby birds!), 12
and it had no problem keeping up with their sharp twitch movements.
10

style. With Canon offering 191 points the place – making the video not fit 6

(or a whopping 3,869 in Live View) for purpose, and making it hazardous 4

and Sony 693, shooting with the D6 to use the rear screen even for stills 2
1
does feel notably more restricted. purposes. It’s a very long way from 0
100 200 400 800 1600 3200 6400 12800 25600
Where the camera’s autofocus lets Canon’s Dual Pixel CMOS AF.
Nikon D6 Canon 1D X Mk III
itself down, though, is in Live View Something you definitely can Nikon D5 Sony Alpha 9 II

– and, hence, video. When you shoot and should use the rear screen for, At lower sensitivities, the EOS-1D X III is in a league
through the viewfinder, you have the however, is input. The LCD is now of its own, capturing 1-1.5-stops more dynamic
benefit of the D6’s rock-solid phase- touch-sensitive, giving you fingertip range than its rivals between ISO 100 and 1600.
detect AF system. However, switch control over the camera and settings The tables turn as we pass ISO 6,400, though.
to Live View and you’re stuck with – and also feeding into some of the
primitive contrast-detect AF – and most useful features, especially for Digital Camera verdict
for shooting sport, unfortunately working professionals.

4.0
it’s borderline unusable. In addition to being able to transfer,
We made every effort to record a rate, protect and add voice annotations
Excellent
single ‘clean’ clip from a number of to your images without pressing any
one-on-one basketball games, but buttons, the Nikon D6 enables you to
every single time the autofocus prioritise your most important shots 4.0 4.0 4.0 4.0
resulted in an issue. Face Detect would in a transfer queue simply by flicking
1
sometimes find faces in the scenery, the images up or down while viewing. Features Build & Performance Value
and other times refuse to pick out any So if you’re uploading 400 images to handling

of four faces in the frame. Subject a picture editor, but you know that the If you want a camera purely for stills and capturing
tracking would switch between players, 358th image is the killer shot, you can fast action, the Nikon D6 is a powerhouse. The AF
even those who looked nothing alike. instantly send it to the top of the list. system is fast and reliable, and the ISO is unrivalled.
The focusing in Live View is nervous, It’s a thoughtful and neat time-saver. However, its specs are outgunned by its two main
erratic, and hunts and pulses all over James Artaius rivals – and the Live View AF is a real sore point.

87

DCM276.guide_nikon.indd 87 17/11/2023 15:20

 Mirrorless Nikon Z 30
1

This is the only Z-series

mirrorless not to sport
3 an electronic viewfinder,
helping to reduce the
cost of the camera.

The best kit options

include the svelte
retracting 16-50mm
lens, which includes
built-in VR – helpful for
smooth video recording.

2 A red LED ‘tally light’

illuminates while the
Z 30 is recording video,
or is in self-timer mode.

Nikon Z 30
£699/$707 (body only)
New APS-C body with vloggers in its sights
w w w. nikon .co.uk

Specifications ikon’s third mirrorless viewfinder. Electronic viewfinders are

Z-series camera with a complex and expensive components.
Sensor: 20.9MP APS-C CMOS
Image processor: EXPEED 6
N DX (APS-C) sensor has
arrived in the guise of
They typically squeeze many more
pixels than a rear LCD into a very
AF points: 209-point hybrid AF system the Z 30. It joins the high-resolution screen that’s the size
ISO range: 100-51,200 original Nikon Z 50 – launched over of a thumbnail, with precision optics
(expandable to ISO 204,800) two years ago – and the more recent to make for a comfortable viewing
Video: Uncropped 4K UHD up to 30p, Nikon Z fc, which is essentially the experience. But vloggers don’t need
1080p Full HD up to 120p same camera with retro-themed, any of that: they turn the camera on
Viewfinder: None direct-access controls. The Z 30 feels themselves as they express their
Memory card: SD/SDHC/SDXC, UHS-I very much like the same camera again, views of the world around them.
LCD: 3-inch vari-angle this time sans-viewfinder to appeal to The Z 30 is available body-only or
touchscreen, 1040k dots vloggers, and perhaps a generation in a couple of kit options. Our review
Max burst: 11fps brought up on smartphones. sample included the tried-and-tested
Stabilisation: Electronic Vibration This plucky little Z camera’s target Z DX 16-50mm f/3.5-6.3 VR standard
Reduction (video only) audience and price range places it zoom, which equates to a very usable
Connectivity: Wi-Fi, Bluetooth, squarely alongside the Sony ZV-E10 24-75mm in full-frame terms. This is a
SnapBridge, USB-C, and could be considered a more wise buy for anyone new to the Nikon
micro HDMI, microphone affordable alternative to the range- ecosystem, with the lens adding just
Size: 128 x 73.5 x 59.5mm topping Sony A6600. £140 to the base price. It’s amazingly
Weight: 350g body only (405g The Z 30 is also Nikon’s most compact for a kit lens, barely
with battery and memory card) affordable Z-series mirrorless to date, protruding beyond the camera
largely made possible due to hardware grip and very much in keeping with
hand-me-downs and an absent the compact aesthetic. Other kit

88

DCM276.guide_nikon.indd 88 17/11/2023 15:20

 Nikon Z 30 Mirrorless

6 4 5 6

The rear screen The 3-inch rear Whether it’s

has a vari-angle screen’s 1.04m stills or video,
pivot, which is dots provide this lever makes
ideal for video. plenty of detail. the mode clear.
4

7 8

Nikon
The Z 30 has microphones The record button is of
built into its top plate, though a decent size and has
keen vloggers are likely to been positioned to make The Z 30’s 20.9MP APS-C sensor can shoot down
connect an external one. shooting video easier. to-4.5 EV, making it a great performer in low light.

Adam Waring
options are a double-zoom kit, which 4K UHD uncropped video at 30fps,
adds the DX 50-250mm f/4.5-6.3 VR or Full HD at up to 120fps – perfect A frame taken from a Full HD video shot at 120fps to
zoom to the 16-50mm for £1,069, for smooth slow-motion footage. capture a 4x slo-mo of our somersaulting subject. The
and a Vlogger Kit for £879. While the hardware is the same, kit lens’s in-built VR will help with image stabilisation.
One of the key benefits of the Z 30 tweaks have been made to the
over other cameras in its class is that firmware. Nikon says there have
it provides access to Nikon’s range of been improvements to the AF system,
Z-mount lenses, which has delivered in particular with face/eye tracking
astounding optical quality time and for both people and animals.
again. With the addition of the FTZ The camera can now record lengthy
adapter, many of Nikon’s F-mount 125-minute clips . However, it should
lenses are compatible too. However, be pointed out that this feature is only
so far there are only a small number available in Full HD (up to 25p), with
of DX-format Nikkor Z lenses designed 4K maxing out at around 35 minutes.
for this camera, though an ultra-wide The EN-EL25 battery is rated for 75
DX zoom is on the Nikon Z roadmap. minutes of video, so the camera has
to be tethered to take full advantage
Key features of the two-hour recording length.
Unsurprisingly, the Z 30’s spec sheet Accordingly, the camera can be The Z 30’s vari-angle screen flips out to the
is very similar to the Nikon Z 50 and powered while recording via the side, then can be tilted up or down or faced
Z fc: the guts of the three cameras included (albeit rather short) USB-C forwards for selfie/vlogging mode.
are all but identical. The Z 30 has the to USB-A cable. This is the only way
same 20.9MP APS-C CMOS sensor, to charge the battery from the box,
powered by the EXPEED 6 image as there’s no charger included. This “A key benefit of the Z30
processor. There’s the now-familiar might seem a little unfair for a camera
209-point hybrid AF system, and an aimed at Nikon or Z-camera newbies, is that it provides access
11fps maximum shooting rate with but with an increasing number of
full autofocus. The camera boasts tech giants omitting chargers to Nikon’s range of
Eye- and Animal-Detection AF for on environmental grounds, it
both stills and video. It can record certainly isn’t surprising. Z-mount lenses”
89

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 Mirrorless Nikon Z 30
Nikon

With ‘only’ 20.9MP available, the Z 30 resolves

noticeably less fine detail than the 26MP Fujifilm
X-S10 and 24MP Canon M50 MkII. It does get close
to the performance of the ZV-E10, however.

While it’s primarily aimed at videographers, the Z 30 is also a very capable stills camera, with
access to the entire range of Z-mount lenses (and most F-mount ones, via the FTZ adapter).

Performance low-light performance in return.

The results were interesting. The Besides, high megapixel counts aren’t
autofocus works very well. The human as important when it comes to video
and animal eye AF is very effective. – 20.9MP is more than enough to
What you need to be aware of, though, provide the 3840 x 2160 pixels that
is that the Z 30 has its own specific make up 4K video. On that note,
AF-F (‘F’ for full-time AF) for video the Z 30 is capable of outputting 4K
use. You could spend ages wondering uncropped, taking advantage of the The Z 30 is in last place at lower sensitivities, but
why the C-AF mode doesn’t work. full width of the image sensor. This comes good where it matters; at higher ISOs, where
The stabilisation is poor to middling. is a crucial upgrade on the Z fc; the noise is most visible. By ISO 12,800, the Nikon
The Z 30 has no IBIS, so it’s dependent Z 50 also outputs 4K uncropped. produces the joint-cleanest images of the group.
on lens-based VR and the body’s own It is a shame 4K 60p isn’t available
electronic VR. Used together, they can – especially as it’s featured on
keep static shots looking steady, but the iPhone 13 Pro – but for an
if you attempt any kind of camera entry-level video camera, this
movement, such as a steady pan or would have been a big ask.
walking and shooting, the VR is out of Like other DX-format Z-series
its depth. It smooths things to a degree, cameras, the Z 30 doesn’t have in-body
but produces jumps instead of jitters. image stabilisation (IBIS). However, it
The electronic VR can also produce does feature Electronic Vibration
pronounced edge wobble when you’re Reduction. This works by discarding
walking forward and filming. When pixels via a 1.3x crop to maintain
there are small changes in camera stability. If you want maximum image
position between frames, there are quality, the 16-50mm kit lens boasts
Dynamic range is excellent, with the Z 30 getting
parallax changes between near and in-lens VR, which is at least as effective.
close to the class-leading X-S10, and capturing
far objects, too, and we suspect that Purists may shy away from Active significantly more highlight and shadow detail
when the electronic VR keeps the D-Lighting, but it’s worth highlighting than its Canon and Sony competitors.
centre object steady, it exaggerates this function’s ability to automatically
the movement of those near the edges. balance exposures – ideal for vloggers Digital Camera verdict
You can use the Z 30 handheld from who want to shoot and upload with
a static position and get very steady minimum hassle. If that’s your bag,
shots, but if you’re going to attempt
any camera movements we would
recommend that you use a tripod or a
Auto mode might be a tempting
prospect, but videographers rely on
maintaining a constant shutter speed
4.0 Excellent

gimbal and switch both VR options off. that’s double the frame rate (1/100 sec
Considering the similarities beneath at 50p for example), so you’re better off 3.5 4.5 4.0 4.0

the hood of Nikon’s three DX-format using Shutter Priority or Manual mode.
Features Build & Performance Value
mirrorless cameras, it’s no surprise And that’s ultimately the biggest handling
that the Z 30’s still image quality is on a hurdle the uninitiated will face. The Z 30
If you’re looking for a dedicated point-and-shoot
par with the Z 50 and the Z fc. At 5568 x is undeniably a very capable vlogging
video camera that won’t break the bank, the Z 30
3712 pixels, the 20.9MP sensor doesn’t device, but there’s a definite learning
offers arguably the best build quality in its price
quite match the 6000x4000 resolution curve for those used to smartphone range. But if you can’t live without an EVF or
of the 24MP sensors found in some of shooting. It’s a shame then, the camera predominantly shoot stills, you could always plump
Nikon’s DX-format DSLRs, but you get doesn’t bridge the gap with a dedicated, for the Nikon Z 50 or Nikon Z fc. All in all, though,
increased dynamic range and improved automatic video mode. Mike Harris the Z 30 is a capable offering at an attractive price.

90

DCM276.guide_nikon.indd 90 17/11/2023 15:20

 DISCOVER SECRETS STRAIGHT FROM WORKING
PROFESSIONAL PHOTOGRAPHERS
Learn from the informative features and follow the in-depth shooting and
editing tutorials that will ensure you can produce high-quality professional
looking captures.

ON SALE
NOW

Ordering is easy. Go online at:

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Or get it from selected supermarkets & newsagents
1

Shoot like a pro Ad 222 x 300mm.indd 1 07/06/2019 12:01

DCM276.adv_shoot.indd 1 17/11/2023 15:17
 Mirrorless Olympus PEN E-PL10
1

The E-PL10 is a
premium product,
with beautiful
leatherette finish
and a sturdy feel.

The screen flips down

so that it points back
to you from underneath
the camera, meaning
that you can’t see it if
the body is mounted
1 on a tripod.

While there’s only one

control dial, you can
still control shutter and
aperture independently
by pressing the D-pad
to toggle between
the two inputs.

Olympus PEN E-PL10

£649/$599
A compelling travel, street and vlogging camera
w w w.ol y mpu s .co.uk

Specifications aken on its own merits, three-axis in-body image stabilisation

the Olympus PEN that offers 3.5 stops of stability. In
Sensor: 16.1MP Four Thirds Live MOS
Image processor: TruePic VIII
T E-PL10 is, just like its
predecessors, a great
layman’s terms, that means you
can handhold the camera at slower
AF points: Contrast-detect, 121 points camera for travellers, shutter speeds (while shooting in
ISO range: 200 to 25,600 (expandable to 100) vloggers and fashionistas. However, low light, for example) or while using
Max image size: 4,608 x 3,456 the problem is exactly that: the longer lenses, without worrying about
Metering modes: Digital ESP, centre-weighted, spot, E-PL10 is just like its predecessors. camera shake spoiling your images.
spot with highlight control, spot with shadow control That makes it increasingly difficult IBIS is still a rarity among cameras
Video: 4K UHD up to 30fps, 1080p Full HD up to 60fps to take the Olympus PEN E-PL10 on in this category, and really makes
Memory card: SD/SDHC/SDXC (UHS-I) its own merits, because those merits a huge difference to your shots –
LCD: 3-inch 180° tilting touchscreen, 1040k dots come with a 2020 price tag – and especially when using lenses with
Max burst: 14.1fps; silent mode/e-shutter, almost the exact same merits are narrower apertures, such as the
8.6fps mechanical available on the 2019 model, which M.Zuiko 14-42mm EZ kit lens
Connectivity: Wi-Fi, Bluetooth, USB Micro, Micro HDMI comes with a 2019 price tag. that is often bundled with PENs.
Size: 117 x 68 x 39 mm Still, we’ve been big fans of the E-PL The E-PL10 features a 180° flipping
Weight: 332g (body only; (‘PEN Lite’) line since the E-PL7 – and touchscreen that makes it perfect
380g with battery and SD card) this latest iteration is undoubtedly for vlogging as well as taking selfies
one of the best travel cameras as well and videos on your travels.
as one of the best vlogging cameras.
At the heart of the Olympus PEN Build & handling
E-PL10 is a 16.1-megapixel image The size really is the strength of this
sensor – that’s on the low side by camera, and is where the Micro Four
2020 standards, but it’s still a very Thirds format has a distinct edge on
competent sensor that produces its rivals. Unlike bodies with larger
crisp, punchy, vibrant images. sensors, Micro Four Thirds lenses are
What really sets the E-PL10 apart as compact as they come – such as
from the competition, though, is the the 14-42mm EZ lens, which makes

92

DCM276.guide_olympus.indd 92 28/11/2023 12:57

 Olympus PEN E-PL10 Mirrorless
Resolution (line widths/picture height)
ISO 100 200 400 800 1600 3200 6400 12800 25600

Olympus E-PL10 24.00 24.00 24.00 24.00 24.00 24.00 22.00 20.00 18.00
Canon EOS M50 28.00 26.00 26.00 26.00 26.00 24.50 22.50 20.50 18.50
Fujifilm X-A7 28.00 28.00 28.00 28.00 28.00 28.00 26.00

3
Lab tests
Sony Alpha 6100 28.50 28.50 28.50 28.50 28.50 28.50 26.50 26.50 24.00

Resolution (line widths/picture height)

40

35

30

25

20

15
2 10

0
100 200 400 800 1600 3200 6400 12800 25600
Olympus E-PL10 Canon EOS M50
Fujifilm X-A7 Sony Alpha 6100

ISO
With the PEN E-PL10 only having 16.1MP at its
100
Signal to noise ratio (decibels)
200 400 800 1600 3200 6400 12800 25600

Olympus E-PL10
Canon EOS M50
disposal, it simply can’t resolve the same level
40.46

44.06
39.77

42.02
37.63

39.35
34.84

36.6
33.88

32.73
29.61

29.08
27.11

25.59
24.80

22.58
22.51

18.38

of fine detail compared with rivals packing 24MP.

Fujifilm X-A7 40.36 37.44 34.49 31.21 27.56 25.82 22.57
Sony Alpha 6100 42.40 37.18 33.57 28.57 26.78 23.47 20.46 17.74 15.44

Signal to noise ratio (decibels)

a perfect combo with the E-PL10 – Perhaps we didn’t notice it for the
50
and bestow you with a powerful E-PL9, but the suite of Art Filters has
picture-taking setup in an incredibly now been limited somewhat. While 40
small package. you still get the all the standard
Build quality is good and solid; Instagram-esque overlays (some 30

while this may be Olympus’ entry- more tasteful than others, from
20
level body, it doesn’t feel at all cheap Grainy Film and Pop Art to Diorama
and plasticky the way some other and Instant Film), you don’t get 10
manufacturers’ smaller bodies do. the full raft of options. One of our
1
The camera features Face Priority favorites, for example, is Vintage, 0
100 200 400 800 1600 3200 6400 12800 25600
and Eye Priority autofocus, which is but here you only get a single option Olympus E-PL10 Canon EOS M50
helpful for stills photography, but the whereas on the OM-D bodies you Fujifilm X-A7 Sony Alpha 6100

contrast-detect AF system means can choose from Vintage I, II or III. Dynamic range (EV)

ISO The PEN E-PL10 gets off to a slightly mediocre start at

100 200 400 800 1600 3200 6400 12800 25600

that it will sometimes struggle For instant sharing or remote Olympus E-PL10

Canon EOS M50

12.55 13.17 13.22 12.63

ISO 100, but by ISO 200 it’s already producing images

11.57 11.76 11.50 10.85
12.49

10.21
10.33

9.17
9.50

7.62
8.16

6.33
7.06

5.76

to follow faces in video mode, shooting, the camera connects

Fujifilm X-A7 11.98 11.38 10.65 9.76 8.78 9.51 8.62
Sony Alpha 6100
that are as clean as those from the Fujifilm X-A7.
11.72 11.23 10.84 10.25 9.99 9.66 8.58 7.43 7.10

particularly if you have a busy to your smartphone via Wi-Fi or

background. Generally, though, Bluetooth. From here, the free Dynamic range (EV)
it’s great for run-and-gun video. OI.Share app enables you to transfer 14

Silent shooting has at last been photos and movies, or use your phone 12
added to the drive modes, giving you as a remote control to fire the camera 10
full manual control while shooting – great for getting group shots, taking
8
with the electronic shutter (previously self-portraits without your arm
with the E-PL9 and E-M10 Mark III, sticking out, or even for shooting 6

Olympus only offered silent shooting back-garden wildlife. 4

in a semi-automatic AP mode). James Artaius 2

0 1
100 200 400 800 1600 3200 6400 12800 25600

Rival cameras Olympus E-PL10

Fujifilm X-A7
Canon EOS M50
Sony Alpha 6100

At sensitivities up to ISO 3,200, the PEN E-PL10

is capable of class-leading dynamic range. Above
ISO 3,200 the performance gap narrows.

Digital Camera verdict

Canon EOS M50

£499/$599
Fujifilm X-A7
£599/$699 with
Sony Alpha 6100
£699/$749
4.0 Excellent

Canon’s most popular 15-45mm lens The A6100 features big

mirrorless model, this The X-A5 replacement performance boosts but
4.0 4.0 5.0 3.0
APS-C body boasts has a higher price tag, a big price tag, and like
a viewfinder and a hobbled 4K and fiddly all APS-C bodies has
Features Build & Performance Value
24.1MP image sensor, controls, and didn’t bigger lenses. handling1
but there’s no IBIS. excel in our lab tests. Reviewed: bit.ly/
Reviewed: issue 204 Reviewed: bit.ly/dcxa7 dca6100 Its core tech is getting long in the tooth now, but
with three-axis image stabilisation and 4K video,
it’s still a great body for shooting on the go.

93

DCM276.guide_olympus.indd 93 28/11/2023 12:57

 Mirrorless Olympus PEN E-P7

The PEN E-P7 ditches

the single exposure dial
for dual control dials,
making it a much more
comprehensive manual
photographic tool.

The E-P7’s Profile

Control summons
colour and mono
shooting modes;
2 a menu button on
the top enables you to
pick profiles on the fly.

Olympus PEN E-P7

£749/€799 (body only)
The first camera to come from Olympus’ new owner
w w w.ol y mpu s .co.uk

Specifications he Olympus PEN E-P7 Key features

is a surprising camera. While the PEN E-P series has been
Sensor: 20.3MP 4/3-inch Live MOS
Lens type: Micro Four Thirds
T While the world was
waiting to see what
dormant since 2013, the PEN E-PL
(“PEN Lite”) line has undergone a
Image processor: TruePic VIII OM Digital Solutions, disappointing rinse-and-refresh for the
AF points: 121-point contrast-detect new steward of the Olympus brand, past few years. Indeed, the PEN E-PL10
ISO range: 200-25,600 (expandable would do with its first-ever product, and E-PL9 were both lumbered with
to Low – approx 100) nobody predicted that it would an outdated 16MP image sensor and
Stabilisation: 5-axis in-body image resurrect the E-P series of PEN three-axis in-body image stabilisation
stabilisation, 4.5 stops cameras. In doing so, however, it has that were holdovers from the original,
Max image size: 5184 x 3888px not only breathed new life into the seven-year-old OM-D E-M10.
Video: 4K at 30/25/24p; 1080p at 60/50/30/ pedestrian PEN line, it has also shown By contrast, the E-P7 takes its
25/24p; 720p at 120fps (no audio) that it isn’t afraid to shake things up. technological cues from the latest
Viewfinder: N/A There hasn’t been an entry in this E-M10 Mark IV. It packs the same
LCD: 3-inch tilting touchscreen series since 2013’s Olympus PEN 20.3MP sensor with improved AF
(80° up, 180° down), 1.037k dots E-P5, a cult classic among Micro Four performance (though it is still
Memory card: SD/SDHC/SDXC, Thirds users. The PEN E-P7 combines contrast-detect), the same five-axis
UHS-II compatible the finesse and form factor of its IBIS that’s good for 4.5 stops of
Shutter speeds: Mech 1/4,000-60 sec, elec predecessor, a Profile Control stabilisation, and the same 4K 30p
1/16,000-60 sec, bulb up to 30 mins switch inspired by the fan-favourite video – which benefits from the
Max burst: Mech 8.7fps (up to card capacity), PEN-F, and the functionality of the silky smooth IBIS in a way that
elec 15fps (42 RAW/49 JPG) new OM-D E-M10 Mark IV. larger APS-C and full-frame
Connectivity: Wi-Fi, Bluetooth, Micro HDMI, The result is the best non-OM-D sensors can only dream of.
Micro USB 2.0 Olympus camera we’ve seen since It takes cues from the venerable
Size: 118 x 69 x 38mm the PEN-F, as well as one of the best PEN-F, too, namely in the form of
Weight: 337g body only, including cameras around for travel and street the Profile Control switch. Like the
battery and memory card photography, as well as vlogging. Creative Dial on the PEN-F, this

94

DCM276.guide_olympus.indd 94 28/11/2023 12:57

 Resolution (line widths/picture height)

ISO 100 200 400 800 1600 3200 6400 12800 25600

Olympus PEN E-P7 26.00 26.00 24.00 24.00 24.00 24.00 22.00 20.00 16.00

Olympus PEN E-P7 Mirrorless

Canon EOS M50 Mk II 27.50 27.50 27.50 27.50 27.50 27.50 25.50 24.00 20.00

Fujifilm X-S10 28.5 28.5 28.5 28.5 28.5 28.5 28.5 26.5 24.5

Sony Alpha 6100 28.00 28.00 28.00 28.00 28.00 28.00 26.00 26.00 24.00

Resolution (line widths/picture height)

= 50
3
40
The 180° tilting selfie screen
will be a welcome feature for 30
bloggers and vloggers.
20
3
4 10

The E-P7 doesn’t come with

0
a battery charger: instead it 100 200 400 800 1600 3200 6400 12800 25600
features a USB pass-through Olympus PEN E-P7 Canon EOS M50 Mk II
4 Fujifilm X-S10 Sony Alpha 6100
connection to recharge the
battery in-camera. Inevitably, with ‘only’ 20.3MP on tap, the E-P7 can’t
match the 24MP+ competition when it comes to
Signal to noise ratio (decibels)

resolving fine detail. The real-world difference

ISO 100 200 400 800 1600 3200 6400 12800 25600

Olympus PEN E-P7 39.49 37.78 36.33 35.00 31.44 28.32 27.57 24.47 22.81

enables you to summon a host of between modes often leads to Canon EOS M50 Mk II

Fujifilm X-S10

Sony Alpha 6100

42.27

42.40
40.82

37.18
38.33

isn’t vast, but it is noticeable under close scrutiny.

42.36 41.91 39.53

33.57
35.18

37.08

28.57
31.89

33.83

26.78
28.03

31.17

23.47
24.85

27.95

20.46
21.83

24.84

17.74
17.60

21.63

15.44

bespoke mono and colour profiles inadvertently knocking the power off.
– including the much-loved Mono 2, Signal to noise ratio (decibels)
which is unofficially a Tri-X film Performance 60
simulation, along with other profiles Purely in terms of the images it
50
that give a similar feel to classic film produces, the E-P7 delivers results on
stocks like Ektachrome and Portra. par with the PEN-F or the E-M10 Mark 40

Also returning is Advanced Photo IV. Photographs are rich, detailed and 30
mode, selectable from the mode defined no matter what lenses you’re
20
dial, which helps beginners take using. The body is obviously tailor-
more ambitious images. From made for the M.Zuiko 14-42mm EZ 10
1
long exposures and keystone Pancake lens, and it squeezes every 0
100 200 400 800 1600 3200 6400 12800 25600
compensation to HDR and focus last ounce of resolution out of that
Olympus PEN E-P7 Canon EOS M50 Mk II
bracketing, this puts powerful overperforming slice of wonderglass. Fujifilm X-S10 Sony Alpha 6100

photography at the fingertips The E-P7 features the same new The E-P7, X-S10 and EOS M50 Mark II are all closely
of even complete newcomers. autofocus system as the E-M10 Mark ISO
matched in this test, generating similarly clean images
100 200
Dynamic range (EV)

400 800 1600 3200 6400 12800 25600

IV – it’s still a contrast-based AF with low noise levels. The ageing sensor design in the
Olympus PEN E-P7 12.53 13.06 12.85 12.29 11.28 9.98 9.67 8.43 7.42

Canon EOS M50 Mk II 11.74 12.54 11.62 11.27 10.47 9.44 7.89 6.57 5.81

Build and handling

Fujifilm X-S10 12.2 12.47 12.48 12.47 12.34 11.67 10.3 9.41 8.3

system, but is night and day better Sony Alpha 6100

A6100 produces noticeably noisier images.
11.72 11.23 10.84 10.25 9.99 9.66 8.58 7.43 7.10

The E-P7 eschews the E-PL series’ than any of the preceding E-PL
more modern look and two-tone grip cameras. The improved AF is Dynamic range (EV)
14
for a vintage-inspired design and particularly noticeable when recording
12
textured leatherette finish. The video: gone is the hunting and pulsing
traditional recessed ‘pinhole’ style of Olympus’ older contrast AF system. 10

power button of the E-PL cameras If you want to start shooting video, 8

is also gone, replaced by a separate but don’t know your bitrate from your 6
new power dial on the right-hand side. B-roll, the E-P7 is a fantastic point-and- 4
In one respect, it’s great to have a shoot 4K camera that delivers crisp 2
1
proper power switch instead of a fiddly footage with sublime stabilisation.
0
button; on the other, that means there Our only real complaint with the 100 200 400 800 1600 3200 6400 12800 25600

are four dials crammed onto the E-P7 is the LCD screen, which displays Olympus PEN E-P7
Fujifilm X-S10
Canon EOS M50 Mk II
Sony Alpha 6100
top panel – and the power one is so certain hues – especially skintones –
Recent Olympus cameras have traditionally been
close to the mode dial that switching far too hot. James Artaius
strong for dynamic range, and the E-P7 is no exception
to this. The Fujifilm X-S10 is still the benchmark in
this sector at higher ISOs, however.
Rival cameras
Digital Camera verdict

4.5 Outstanding

Canon EOS M50 Mk II Fujfilm X-S10 Sony Alpha 6100 1

£589/$599 £949/$999 £679/$749 4.5 4.5 5.0 4.0
Canon’s mid-range The new standard Sony’s entry-level A6100
mirrorless camera has for APS-C enthusiast has terrific autofocus Features Build & Performance Value
handling
a bigger sensor than cameras that ticks but old sensor tech and
the Olympus, but no every box, although it’s no in-body stabilisation, The PEN E-P7 is a fantastic return to form for the PEN
IBIS and weaker video. bulkier than the E-P7. and seems pricey, too. series, and a triumph for OM Digital Solutions’ first
Reviewed: issue 242 Reviewed: issue 238 www.bit.ly/dca6100 product – so stylish that you can take it anywhere,
so simple that beginners can use it, and so capable
that experts can get sensational results from it.

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 Mirrorless Olympus OM-D E-M5 Mk III

1
4 The grip is quite
shallow, but still
gives a firm hold
on the camera.

The MFT sensor and

lens mount provide a
definite size advantage
over APS-C cameras.
1

The pointed
2 ‘pentaprism’ is
an echo of classic
OM film SLRs.

The power lever sits

under this combined
drive mode/display
toggle control.

Olympus OM-D
E-M5 Mk III
£1,399/$1,199
An upgrade we’ve been eagerly anticipating for a long time
w w w.ol y mpu s .co.uk

Specifications he new OM-D E-M5 Mark sensor held it back. The Mark III
Sensor: 20.4MP MFT Live MOS III is lighter, sharper and continues with that compact-yet-
Image processor: TruPic VIII
AF points: 127 phase-detection AF points, all cross-type
T better than the older
Mark II version. It
powerful theme, but with the latest,
highest-resolution 20MP MFT sensor.
ISO range: 200-6,400 (exp Low-25,600) has 20 million pixels It’s aimed at real photo enthusiasts
Max image size: 5,184 x 3,888 instead of 16, plus better autofocus and semi-professional photographers,
Metering modes: ESP multi-pattern, and an improved image stabilisation and goes head to head with cameras
centre weighted, spot, highlight, shadow mode system. That’s a pretty good start! like the Fujifilm X-T30, the upcoming
Video: C4K, 4K UHD 30p, 1080p at 120fps It’s arrived just after Olympus’s Nikon Z 50 and the Sony Alpha 6400.
Viewfinder: EVF OLED, 2.36m dots 100-year anniversary and fits between These are already among the best
Memory card: SD/SDHC/SDXC (UHS-I) the more novice-orientated Olympus mirrorless cameras you can buy,
Max burst: 10fps mechanical shutter, 15/30fps Pro Capture PEN models and OM-D E-M10 Mark III, so we have high hopes for this one.
Connectivity: Wi-Fi, Bluetooth and the professional OM-D E-M1 Mark
Size: 125 x 85 x 50mm II and E-M1X models. Features
Weight: 414g The existing E-M5 Mark II offered There’s a lot of technology built into
a great set of features in a highly this camera. Some you’ll find in rival
compact camera, but its ageing 16MP cameras, some you won’t. This is not

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 Olympus OM-D E-M5 Mk III Mirrorless

5 The 12-40mm Pro lens has

very good close focusing.
The E-M5 Mark III has
6 a full vari-angle screen
pivot, not just a tilt
5
mechanism.

The lever under the

AEL/AFL button swaps
between two sets of
7
control dial functions.

The rear touchscreen

offers a touch shutter
mode that focuses and
shoots with one tap.

8
8 The front and rear dials
have a firm, positive editing software ) and in-camera
action, and are ideally
Focus Stacking, where the camera
positioned.
automatically combines eight
separate images in-camera.
9 Olympus’s Tripod High Res Shot
9 There’s a locking mode makes an appearance again,
button in the middle combining eight images with half-pixel
of the main mode dial. shifts between them – although,
as the name spells out, this is
not a handheld mode.
You also get Olympus’s clever
really designed to be a camera for half-press the shutter release, then Live Composite and Live Bulb modes.
professionals; nor is it going to saves the last 14 buffered shots and Live Composite mode overlaps
qualify as one of the cheapest a further 85 (Olympus claims) when multiple shots but records only
mirrorless cameras any time soon. you press the shutter release the brighter values, so it’s perfect
But it’s got a magic combination of rest of the way. It gives the uncanny for capturing light trails without
features, price, performance and impression of capturing action that overexposing the ambient light – and
size that will instantly appeal to starts before you’ve even pressed you can check progress in Live View.
hobbyists and enthusiasts. the shutter button. Or you can simply use the Live Bulb
The E-M5 Mark III is lighter than Olympus says all parts have been mode to watch your long exposures
its predecessor, yet its weather-sealed miniaturised in this new camera slowly building on the screen.
construction means it’s dust-, splash- to produce the smallest body Elsewhere, you get a maximum
and freeze-proof. The autofocus possible. It also has a new and shutter speed of 1/8,000 sec, USB
system doesn’t have the most AF improved image stabilisation charging (very useful, especially given
points, but the 121 phase-detection system offering up to 5.5EV shake the modest battery life), six different
on-sensor AF points are all cross-type compensation – or up to 6.5EV with scene modes and 16 of Olympus’s
and cover most of the sensor area. one of Olympus’s stabilised lenses. rather good Art Filters.
The E-M5 Mark III certainly ticks This same stabilisation system
all the boxes for action photography, is used for shooting video, either in Build & handling
offering 10fps continuous shooting C4K or UHD; in the movie mode it’s Olympus’s weight-saving efforts
with the mechanical shutter, but an supplemented by digital stabilisation have certainly worked. The OM-D
amazing 30fps in Pro Capture mode for even smoother footage. The E-M5 Mark III is very light, although
with focus locked on the first frame, or E-M5 Mark III’s video credentials if you fit the Olympus Pro 12-40mm
15fps with continuous AF. This doesn’t are further enhanced by a special lens that’s typically supplied with this
quite match the 60fps Pro Capture Flat mode, for more effective colour camera as a kit, it loses a little of its
mode on the E-M1 Mark II, but it’s grading later on, and a socket for advantage: it’s a pretty hefty lens
mighty impressive nonetheless. an external microphone. by Micro Four Thirds standards.
What makes the Pro Capture mode The E-M5 also offers Focus It’s also possible to get the E-M5
especially interesting is that it starts Bracketing (you can combine images Mark III as a kit with the Olympus
buffering images as soon as you later in the Olympus Workspace image 14-42mm EZ ‘pancake’ zoom.

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 Mirrorless Olympus OM-D E-M5 Mk III

If you need to apply

EV compensation,
it’s quick and easy.

This is ultra-compact, and while

it doesn’t have the zoom range,
constant aperture or image quality
of the 12-40mm Pro lens, it’s quite
superb for travel photography
when you want to travel light.
In fact, the E-M5 III is an object The rear four-way controller is small,
lesson in how to design effective but effective enough, and there’s
controls for a small camera body. an OK button in the centre that
The main mode dial is big and positive, activates a handy interactive
with a locking button in the centre. touch-sensitive settings screen.
Olympus’s ESP
There are two large customisable The rear screen is a fully vari-angle
multi-pattern
metering system control dials on the top plate, and a type, not just a tilting screen, so you
is reliable in use. clever lever on the back that switches can easily flip it round to face forward.
them between two sets of functions. While the electronic viewfinder isn’t
the highest resolution you’ll find,
it still has a creditable 2.36 million
dots – and it’s an OLED type, with
Rival cameras great clarity and contrast.
Olympus has given this new model
a thumb rest on the back and a larger
front grip – it really does handle very
well for a camera of its size.

Performance
The autofocus system feels fast and
positive, especially so if you use the
Canon EOS RP Fujifilm X-T30 Sony Alpha 6400 touch shutter option with the rear
£1,399/$1,299 £849/$899 £929/$899 screen. Here, a tap of the finger
The EOS RP has Tough call! The X-T30 The A6400 is a similar is followed so closely by the focus
come down in price has an APS-C sensor and price to the E-M5 III ‘beep’ and the shutter release that
considerably and makes has fallen in price. It has and has a larger APS-C it feels virtually instantaneous.
an intriguing full-frame prime and zoom lens sensor, but it doesn’t
The AF kept up pretty well in our
alternative to the options to rival those of have in-body image
action tests too, though you may need
Olympus, but it lacks the Olympus – although stablisation, and its
many of the E-M5 Mark you don’t get in-body controls and handling to spend a little time trying out the
III’s advanced features. stabilisation. are not as good. different AF modes and area patterns
Reviewed: issue 214 Reviewed: issue 215 Reviewed: issue 215 to find the one that suits your subject
best. The Pro Capture mode does not
offer continuous AF at 30fps, but it’s

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 Olympus OM-D E-M5 Mk III Mirrorless
Resolution (line widths/picture height)
ISO 100 200 400 800 1600 3200 6400 12800 25600

Olympus E-M5 III 28.00 28.00 28.00 28.00 26.00 24.00 20.00 20.00

Lab tests
Canon EOS RP 28.00 28.00 28.00 28.00 28.00 28.00 28.00 26.00 26.00
Fujifilm X-T30 28.00 28.00 28.00 28.00 28.00 28.00 28.00 26.00 24.00
Sony Alpha 6400 28.00 28.00 28.00 28.00 28.00 28.00 26.00 26.00 24.00

The Vivid picture style

produces strong,
Resolution (line widths/picture height)
vibrant colours,
50
without making them
look unnatural. 40

30

20

10

0
100 200 400 800 1600 3200 6400 12800 25600
Olympus E-M5 III Canon EOS RP
Fujifilm X-T30 Sony Alpha 6400

The E-M5 Mark III did well here, despite its smaller
sensor and lower resolution. It matched the best
Signal to noise ratio (decibels)

ISO 100 200 400 800 1600 3200 6400 12800 25600

Olympus E-M5 III

Canon EOS RP
of its rivals for detail rendition up to ISO 1,600.
47.34
38.08

45.2
36.76

42.74
34.22

39.93
30.86

36.79
29.25

33.42
27.49

30.24
25.40

26.18
23.58

22.97
Fujifilm X-T30 47.76 45.94 43.02 40.01 37.27 34.08 31.23 28.08 25.16
Sony Alpha 6400 42.76 39.83 36.51 32.50 28.87 25.55 22.05 18.88 16.18

Signal to noise ratio (decibels)

60

50

40

30

20

10 1

0
100 200 400 800 1600 3200 6400 12800 25600
Olympus E-M5 III Canon EOS RP
Fujifilm X-T30 Sony Alpha 6400

The smaller sensor in the E-M5 Mark III does tend

Dynamic range (EV)
ISO

Olympus E-M5 III to hurt it in our noise tests. The X-T30 and the full-
100 200

12.29
400

11.92
800

11.61
1600

10.86
3200

10.67
6400

9.96
12800

8.93
25600

7.94
Canon EOS RP 11.19 11.43 11.26 11.35 11.19 10.87 9.30 8.40 6.67
Fujifilm X-T30

Sony Alpha 6400

frame EOS RP both control noise more effectively.
12.34

11.44
12.29

11.01
12.29

10.85
12.29

10.39
11.30

10.24
10.11

9.81
9.27

9.05
8.05

7.87
7.29

6.95

Dynamic range (EV)

14

12

10

You can get shallow 4

depth of field easily, 2

1
even with the smaller 0
MFT sensor. 100 200 400 800 1600 3200 6400 12800 25600
Olympus E-M5 III Canon EOS RP
Fujifilm X-T30 Sony Alpha 6400

still ideal for action that takes place at used by Panasonic, incidentally) The Fujifilm X-T30’s dynamic range is just slightly
better up to around ISO 1,600, but then the
a specific point in front of the camera. are almost uncannily steady.
Olympus E-M5 Mark III takes the lead.
Shots taken in daylight display Some quick tests of the image
vibrant but natural-looking colours, stabilisation system show it’s possible
and crisp, clear image detail – we to capture sharp handheld shots at Digital Camera verdict
were shooting mostly with the shutter speeds as low as 1/4 sec,
12-40mm f/2.8 Pro lens, which is
a terrific standard zoom with great
edge-to-edge sharpness. The smaller
and we’re impressed by the image
stabilisation for ‘run and gun’
style handheld video.
5.0 A best-in-class product

Micro Four Thirds sensor starts to Overall, our real-world tests

show noise and smudging a little lower confirmed the results of our lab tests: 5.0 5.0 4.5 4.5
in the ISO range than rival APS-C the OM-D E-M5 Mark III might be at
1
cameras, but the excellent in-body a technical disadvantage on paper, Features Build & Performance Value
handling
stabilisation helps to make up for that. due to its smaller sensor and lower
The smaller sensor format seems to megapixel count, but its results The OM-D E-M5 III looks set to reinvigorate the
help the stabilisation performance, stand up extremely well against mid-range mirrorless camera market, by competing
and the Olympus systems (also the best of its rivals. Rod Lawton hard against rivals with larger APS-C sensors.

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 Mirrorless Olympus OM-D E-M1 Mark III

The E-M1 Mk III is rated

to 400,000 shutter
actuations, doubling
the Mk II’s shutter life.

2
2

Brought over from the

E-M1X, an improved
Supersonic Wave Filter
reduces sensor dust
by a factor of 10.

Olympus OM-D E-M1 Mark III

£1,599/$1,799
The ultimate pro camera for general photography
w w w.ol y mpu s .co.uk

he Olympus OM-D E-M1 And why has Olympus given us a

Specifications Mark III is a distillation of pro body when it only released the

Sensor: 20.4MP Four Thirds Live MOS

T the company’s greatest
technology, and the
Olympus OM-D E-M1X just over a year
ago? If you’re feeling a little confused
Image processor: TruePic IX apex of its professional about the manufacturer’s current
AF points: 121 cross-type on-chip phase detection camera aspirations. The smallest top-tier product line, you’re not alone.
ISO range: Low to 25,600 (ISO 200 base) and lightest pro system in the world,
Max image size: 7,776 x 10,368 it offers an unparalleled 7.5 stops Key features
Metering modes: ESP, spot, of image stabilisation (6.5 as a base), Last year saw the release of the E-M1X,
centre-weighted, highlight, shadow unmatched 60fps shooting bursts a mirrorless camera the size of a pro
Video: C4K at 24fps, 4K at 30fps, 1080p at 120fps (18 with AF/AE), and advanced DSLR, with a built-in vertical grip,
Viewfinder: EVF, 2.36m dots, 0.84x mag features that simply aren’t dual batteries and twin TruePic XIII
Memory card: 1 UHS-II SD, 1 UHS-I SD possible on any if its rivals. processors. All of this amounted to
LCD: 3-inch fully articulating However, when its rivals include the a monstrously powerful camera – but
touchscreen, 1,037k dots just-launched Canon EOS-1D X Mark III also a monstrously sized camera by
Max burst: 60fps and the brand-new Sony Alpha 9 II, Micro Four Thirds standards (which
Connectivity: Wi-Fi, Bluetooth, USB-C does the Olympus OM-D E-M1 Mark III are supposed to be about offering
Size: 134 x 91 x 69mm have what it takes to topple the best much smaller form factors than
Weight: 504g (body only; 580g with battery and SD card) professional cameras on the market? full-frame systems).

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 Olympus OM-D E-M1 Mark III Mirrorless

3 4 5

To accommodate The camera supports As with the E-M1X,

3 the new joystick, charging via USB the Bulb function has
which helps so much cable, and also been added to the
in selecting autofocus supports the USB PD mode dial, giving
points, some controls standard to enable the direct access to
have moved around camera to be used Olympus’ brilliant Live
compared with the while charging. This Composite, Live Bulb
E-M1 Mark II. The Info means that you can and Live Time modes
button now sits where plug in a power bank – it’s a nod towards
Menu used to be, and and keep on shooting astrophotographers,
Menu now resides (provided you attach whom it seems the
4 at the far left of the the optional HLD-9 company is keen
camera’s rear. battery holder). to attract.

50MP High Res Shot. The fact that the

TruePix IX can perform all these tricks,
and more, tells you just how much
more beastly it is than its predecessor.
Indeed, among its new party pieces
are an improved Face Priority / Eye
Priority AF algorithm, which keeps a
better lock on subjects, even side-on;
and the new Starry Sky AF algorithm,
While the E-M1X isn’t without its place, which comprises accurate astro
we’re very pleased to see Olympus autofocus, a fine-tuned scan option for
return to convention with the Mark III, telephoto lenses, as well as a special
which combines the raw power of the image stabilisation-powered mode for
E-M1X with the smaller, familiar form handheld astrophotography shots. We tested the E-M1 Mk III head-to-head with the Canon
factor of the E-M1 Mark II. The E-M1 Mark III carries over other EOS-1D X Mk III. It kept right up with both its full-frame
While we’re disappointed that signature features from the E-M1X, counterpart, and the players on the court.
Olympus is trotting out the same such as 80MP High Res Shot for
20.4MP image sensor yet again (it tripod-based photography; seven It also boasts all the familiar flagship
is a great sensor, but come on, guys – stops of image stabilisation (7.5 with features, such as 60fps burst shooting
it came out in 2016!), along with the Olympus Sync-IS lenses); custom AF (with focus locked, and 18fps with full
same old EVF and same old screen, targeting to create bespoke focus AF/AE tracking), 1080p video at up
this time we do get a brand-new clusters (such as a straight, vertical, to 120fps, in-body Focus Stacking
processor: TruePic IX. To illustrate person-shaped line rather than a and Focus Bracketing, and world-
how powerful this new processor is, clump of squares); new AF target class weather-sealing.
the E-M1X required two TruePic VIIIs to modes for stills and video; and 4K /
perform its more advanced features C4K capture up to 30fps, with OM Build & handling
– such as Live ND filters, Intelligent Log400 and movie stabilisation The Olympus OM-D E-M1 Mark III is
Subject Detect AF, and the handheld good enough to retire your gimbal. identical in size to the Mark II,

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 Mirrorless Olympus OM-D E-M1 Mark III

Last year’s E-M1X featured a pro DSLR-sized

frame, but the E-M1 Mk III goes back to the
ultra-compact form of the Mk II.

menu for changing critical shooting

settings, the E-M1 Mark III now
offers the choice of an alternative,
pro-oriented control panel. This
abolishes less crucial options (such
as aspect ratio, IBIS modes and
shadow and highlight settings)
for a cleaner, friendlier interface.

Performance
With up to 7.5 stops of in-body stabilisation, we shot handheld exposures that were 10 seconds long! As you’d expect, the Olympus OM-D
E-M1 Mark III confidently outperforms
and is only heavier by six grammes. addition of a joystick is a very welcome the Mark II. Everything here feels
While the ergonomics are likewise one, especially if you’re shooting superior, from the faster and more
almost the same, there is one key fast action or sports. robust autofocus to a significant
difference: like the E-M1X, the camera Another useful addition ported over improvement in ISO performance, and
now possesses a Multi Selector from the E-M1X is the dedicated ISO of course in the video capabilities. If
(that’s a joystick, to you and us). button, which resides on the camera’s you’re an existing Mark II owner and
Up until the E-M1X, Olympus bodies right shoulder above the rear thumb you’re wondering if this is worth the
relied on either the D-pad or Touch grip (displacing the Fn1 button). It was upgrade, you’ll notice a dramatic boost
and Drag using the rear LCD screen only an extra click or two to change in its core performance – and that’s
to manoeuvre focus points around. ISO settings using the Super Control before factoring in the new features.
However, D-pads are too finicky for Panel before, but having a specific The camera performs at least on par
fast movement – and if you’ve ever button is undoubtedly useful in with the E-M1X (unsurprising, given
used a camera in cold weather or with the heat of the moment. that many of the same algorithms
gloves on, you’ll know that Touch and Speaking of the Super Control are running under the hood), and
Drag is only good until it isn’t. So the Panel, Olympus’ brilliant one-stop meaningfully outpunches it in
a number of areas. In particular,
handheld 50MP pixel-shift images are
Rival cameras far more consistent (previously it was
prone to more errors when rendering),
while focus-stacking autofocus and
accuracy feels far improved.
The in-body image stabilisation is
truly otherworldly. The E-M1 Mark III
delivers seven stops of stabilisation as
standard; but when it’s paired with a
Sync IS Pro lens (the 12-100mm f/4,
the 300mm f/4 and the upcoming
Canon 1D-X Mk III Nikon D5 Sony Alpha 9 Mk II 150-400mm f/4.5), that becomes
£6,499/$6,499 £5,199/$5,499 £4,699/$4,499 an astonishing 7.5 stops. Bearing in
While a DSLR dinosaur The ageing Nikon D5 Sony’s flagship offers mind the 2x crop factor, we’ve shot
in some respects, is imminently being superior ISO and fast rock-steady handheld images at the
the 1D-X Mark III is a replaced by the D6. If sports AF, but lacks the
equivalent of 1,200mm – something
technological terror that you want a DSLR, right articulating screen and
beats the E-M1 Mk III now the Canon EOS-1D X 80MP imaging, and has
that makes this camera a powerhouse
for high-ISO shooting. Mark III is the way to go. inferior stabilisation. for wildlife shooting. The IBIS system
Reviewed: Issue 227 Reviewed: Issue 179 Reviewed: bit.ly/dcwa9ii provides enormous advantages for
shooting handheld in general,
especially in low light.

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 Olympus OM-D E-M1 Mark III Mirrorless

Lab tests

At ISO 6,400 and above, the smaller photosites

on the Olympus’ MFT sensor are more susceptible
to generating image noise than the big full-frame
sensors in the Canon and Nikon.

Even with frantic action like basketball, the E-M1 Mark III’s autofocus system is highly reliable.

Pro Capture mode remains one of

our favourite features in the camera
industry – and it’s something that
not even the Sony A9 II or the Canon
EOS-1D X Mark III are capable of. If
you’re not familiar with it, Pro Capture
records 35 frames when you half-
press the shutter and up to 120 frames The OM-D E-M1 III gets off to a mediocre start, but
(a new improvement) after you’ve at ISO 400 it’s catching up nicely, and at higher
pressed it – so even if you’re half a sensitivities it’s producing the cleanest images.
second slow on the draw, you never
miss the critical moment, whether it’s
a bird of prey taking off or a runner
bolting from the starting blocks.
The face detect AF and tracking
feels decidedly more ‘sticky’: even
when your subjects turn to the side,
the AF is able to keep track of and
focus on the sides of faces. There is
also the handy ability, if the camera
With its 50MP High Res Shot mode, the
detects more than one face in the E-M1 Mark III is ideal for portraiture.
frame, to select which one to track
– definitely a boon for social, event
and wedding photographers! sure the camera knows what
The E-M1 Mark III is a very capable and where to target. Olympus’s 20MP Micro Four Thirds sensor has
always been strong on dynamic range, and it
camera for sports and action It’s in video mode that you
still performs superbly in this respect.
photography. Its subject acquisition appreciate just how formidable the
and tracking is both quick and seven-stop image stabilisation really
accurate; we found it to be highly is. Our footage was shot with the Digital Camera verdict
capable and reliable in this arena, camera held out at arms’ length,
which is dominated by the sports
shooting specialists, the Canon
EOS-1D X Mark III and the Sony A9 II.
frantically panning and trying to follow
the action while zooming the lens in
and out – but despite all of that, it
5.0 A best-in-class product

In terms of video, the Olympus came out pretty darn stable. While
again performed exceptionally. In a a gimbal or full rig would no doubt 5.0 5.0 5.0 5.0
shooting scenario as hostile as the improve stabilisation, our footage
basketball court we tried it out in, testing demonstrates that you can Features Build & Performance Value
handling
with such erratically fast-moving absolutely shoot steady video
subjects, it does require quite vigilant without needing such things. It’s part Its unique combination of features and superb
focus point movement (made much of what makes the E-M1 Mark III a performance makes the E-M1 Mark III the most
easier with the joystick) to make winning package. James Artaius versatile all-purpose camera for professionals.

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 Mirrorless Olympus OM-D E-M1X

3
1

The integrated vertical

grip features a shutter,
dial and joystick, and
houses a cartridge for
two batteries.

The control dials

are recessed into
the camera chassis,
providing a studier feel
and better protection.

3
2
At the E-M1X’s heart
is a 20.4MP sensor,
1
powered by two
TruePic processors.

Olympus OM-D E-M1X

£2,800/$3,000 (body only)
A Micro Four Thirds camera that takes medium-format
images? Olympus’ pro-grade body tears up the rulebook
w w w.ol y mpu s .co.uk

Specifications t has long been a 80MP images. If that doesn’t drown

Sensor: 20.4MP Four Thirds Live MOS criticism that images out the narrative that Micro Four
Image processor: Two TruePic VIII
AF points: 121 cross-type on-chip phase detection
I taken by Micro Four
Thirds sensors can’t
Thirds isn’t as capable as full-frame,
the vast swathe of other features
ISO range: Low to 25,600 (ISO 200 base) compare to those packed into this remarkable camera
Metering zones: ESP, spot, taken by full-frame rivals. Here’s the are just as apt to do the talking.
centre weighted, highlight, shadow thing, though: the Olympus OM-D Rather than offering a direct
Video: C4K at 24fps, 4K at 30fps, 1080p at 120fps E-M1X can produce bigger files than replacement for Olympus’ flagship
Viewfinder: EVF, 2.36m dots, 0.84x mag a Canon 5DS R, and bigger files than E-M1 Mark II, the company is calling
Memory card: Two SDXC UHS-II a Nikon D850. In fact, not only can it the E-M1X “the flagship reimagined”.
LCD: 3-inch fully articulating touchscreen, 1,037K dots produce bigger files than any full- It has been re-engineered, inside and
Max burst: 60fps frame camera, it can produce bigger out, to meet the demands of high-
Connectivity: Wi-Fi, Bluetooth files than the current medium-format speed professional photography.
Size: 144 x 149 x 75mm cameras from Fujifilm and Leica. The camera now boasts an integrated
Weight: 997g with two batteries and two SD cards Among its many tricks, Olympus’ vertical grip and dials, as well as
newest system has an improved High twin joysticks and a C-lock lever –
Res Shot mode that can capture all features new to Olympus design

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 Olympus OM-D E-M1X Mirrorless

4
4

Olympus has added

twin joysticks for
precision control over
autofocus points.

The new C-Lock lever

4 enables control locking
for vertical shooting.
5
6

iAuto and Art Filters

are gone from the
mode dial, while Bulb
mode has been added.

The EVF has been

8 slightly enlarged from
the E-M1 Mark II to
0.84x magnification.
6

A dedicated top button

gives quick control
over ISO sensitivity.
7
Used sensitively, creative art filters such
as Vintage III can be highly effective.

sensibilities – giving the body the same need for external ND filters. It enables GH5’s crown, but it’s a solid suite
pro form factor as the Canon EOS-1D X you to to apply up to five stops of a of features for a stills-first camera.
and the Nikon D5. slow shutter effect; this can be viewed
The E-M1X literally doubles the on the touchscreen as you’re taking the Build and handling
power of the Mark II, packing a pair image, so you can see a live simulation Since Olympus has traditionally
of TruePic VIII processors to provide of your blurry waterfall or velvety produced Micro Four Thirds cameras
serious computational heft. This is waves before you click the trigger. that are as compact as possible, it’s
what drives the improved High Res Perhaps most impressive of a bit of a shock to pick up the E-M1X for
modes; in addition to taking 80MP all, though, is the in-body image the first time. While it’s almost identical
images when the camera is mounted stabilisation. Already considered the in size to an E-M1 Mark II with a battery
on a tripod, the second processor leader in this field, Olympus partnered grip, it still feels unexpectedly big –
makes it possible for the E-M1X to with Epson to develop a new gyroscope although only in the same way a Canon
capture 50MP images handheld. and an algorithm that’s nearly five EOS-1D X does after you’ve been
The dual processors power the new times more accurate at detecting handling a 5D. And that’s the key: the
intelligent subject detection autofocus camera shake. This affords the E-M1X E-M1X is big for an Olympus camera,
system, too. Using 10,000 reference an astonishing 7.5 shutter-speed stops but compared to rivals in its class,
images per subject, Olympus’ of image stabilisation when paired with such as the 1D X, it’s still compact
engineers built a formidable AI compatible lenses in Sync-IS mode. and light – especially when you attach
program that can automatically (With standard lenses, it retains a one of the lighter Olympus lenses.
track motorsports, airplanes and rock-solid five stops of stabilisation.) The dials are now recessed into the
trains. The redesigned AF also enables Having such powerful stabilisation body rather than being exposed, as
you to customise the shape, size and is a boon for videographers, with three they were on the E-M1 Mark II. They feel
arrangement of the 122 cross-type options for movement compensation. just as sturdy and responsive, but
points, using a programmable grid The E-M1X can record in Cinema 4K at being embedded makes them more
system where you can build your 24fps and 4K up to 30fps, with 120fps protected and less apt to accidental
own Tetris-like focus patterns. limited to 1080p. It also supports log nudging or movement. The vertical
Another intriguing feature made shooting with the OM-Log400 profile, grip incorporates its own dial and
possible by the doubled processing providing a great deal of flexibility for shutter, as well as a second
power is Live ND, which incorporates post-production and colour grading. joystick. Clicking this will re-centre
slow-shutter-speed effects without the It’s not going to steal the Panasonic your focus point, although the

105

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 Mirrorless Olympus OM-D E-M1X

camera can be set so that your

point returns to a default
position when you reorient the
body – a very welcome feature.
Your focus point can still
be moved by dragging the
touchscreen while you use the
viewfinder, but the addition of the
joysticks will be a joy to Olympus
shooters – as will the dedicated The intelligent subject
detection AI tracks vehicles
ISO button that now resides on top.
with impressive accuracy.
Another change to the top is on the
control dial, where the iAuto and
Art Filters have been removed,
since these aren’t features that
pros need such prominent access
to. They’re replaced by Bulb mode,
bringing Olympus’ brilliant long-
exposure modes to the fore.
The company boasts that the
E-M1X features the world’s best
freeze-proofing, water-proofing and
dust-proofing, and the shutter life
is rated at 400,000 actuations,
meaning that this really is a camera
built to last. The protective hatch
on the dual battery cartridge was We recovered almost four stops from the underexposed black dog (above left), with plenty of detail in the shadows.

Rival cameras inspired by Olympus’ all-weather

Tough cameras, and houses two
BLH-1 batteries (the same as the Mark
II) that are good for 2,580 shots. A full
recharge takes just two hours – and
yes, you can charge them both
in-camera using a USB cable.

Performance
Canon EOS-1D X Mark II Nikon D5 Panasonic Lumix GH5 The E-M1X feels like a well-crafted tool,
£5,429/$5,499 £6,169/$6,499 £1,599/$1,599 and the images it produces are superb.
The 1D X is the tool of Like the Canon 1D X, the While it’s not a pro body, As with all Micro Four Thirds bodies,
choice for many pros, D5 boasts better ISO Panasonic’s GH5 is you’ll want to keep your ISO as low as
but it’s nearly twice the performance than the a formidable hybrid possible for the best results, but files
price of the E-M1X, with E-M1X, but it likewise camera whose video
are sharp and retain plenty of detail in
no stabilisation, slower lacks an electronic specs made it the
the shadows and highlights. The extra
burst rates, less viewfinder or a rear preferred option for
functionality and screen that moves many videographers. It punch of that second processor picks
fewer megapixels. in any way. still holds a slight edge. up the dynamic range slack; while
Reviewed: Issue 180 Reviewed: Issue 179 Reviewed: Issue 190 you’re shooting with this camera, you
can tangibly feel the raw speed and
power that’s at your fingertips.

106

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 Olympus OM-D E-M1X Mirrorless

Lab tests

The E-M1X can’t quite match the Canon and Nikon’s

raw file sharpness, but switch to High-Res Shot mode
and the Olympus easily scores 40 up to ISO 400.

Dynamic range is impressive

despite the smaller sensor.

Image noise is marginally more visible at lower

sensitivities than it is in the Canon and Panasonic’s
shots, but the E-M1X gains ground after ISO 3,200.

The E-M1X makes a strong

wildlife camera, even with
less exciteable subjects.

The E-M1X retains the same blistering and trains proved that the camera
performance as the Mark II, aimed is a dab hand at recognising, following
squarely at the needs of wildlife and and focusing on fast-moving vehicles.
sports photographers. It boasts 60fps It’s an inspired bit of tech, and
raw burst shooting with locked AF, we can’t wait to see what future Olympus has clearly tuned the E-M1X to give the best
possible dynamic range. The new Olympus reigns
18fps burst with AF tracking, and developments might be in store.
supreme at almost all sensitivities.
the fantastic Pro Capture mode that Being able to customise the shape,
records 35 frames – including the 15 size and grouping of the phase-detect
before you fully depress the shutter, AF points is a great innovation. If, for Digital Camera verdict
so you don’t miss that critical moment example, you’re shooting three giraffes
by being a hair too late on the draw
– now without any blackout.
Those features are bolstered by the
walking towards you, you can cluster
your points into three tall, thin vertical
groups so that the camera knows
5.0 A best-in-class prduct

new AF systems. While the Mark II’s exactly what to focus on.
C-AF Tracking could be inconsistent in Like everything else about the E-M1X, 5.0 5.0 5.0 4.5
certain situations (though the standard it’s seriously clever stuff. In an industry
C-AF mode remains exceedingly where innovation is often limited to Features Build & Performance Value
handling
reliable), the E-M1X’s intelligent subject ‘more megapixels’, this camera has
tracking could be a real game-changer. more brilliant new features than Pro shooters have a serious new contender
While we’d like to put this through its we’ve seen in a very long while. to consider. The E-M1X is smaller, lighter,
paces further, our tests tracking cars James Artaius cheaper and faster than pro DSLRs.

107

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 Mirrorless OM System OM-5

1
3
The OM-5 works well
with small lenses;
for larger optics, an
ECG-5 grip is available.

3
2

The front of the OM-5

shouts ‘Olympus’ but
1
1 that familiar branding
has been replaced.

2
3

IP53 weather sealing

will offer reassurance
when using this camera
in wet conditions.

OM System OM-5
£1,199/$1,199 (body only)
Everything great about Olympus lives on in this camera
shop.olympus.eu

Specifications he OM System OM-5 So how does the OM-5 stack up next

may be the first to the best Olympus cameras?
Sensor: 20.4MP Micro Four Thirds Live MOS
Image processor: TruePic IX
T ‘Olympus camera’ not
to bear the iconic brand Key features
Mount: Micro Four Thirds name, but the familiar The OM System OM-5 features the
ISO range: 200-25,600 logo is the only thing that’s missing same 20.4MP sensor as the E-M5
Shutter speeds: 1/8000-60s here – this is a camera that lives up Mark III, but it’s paired with an
(up to 30m in Bulb) to the Olympus legacy and expands updated TruePic IX processor to
Image stabilisation: 5-axis IBIS, up to 6.5 on it in a number of worthwhile ways. squeeze even more computational
stops (7.5 with Sync-IS lenses) The OM-5 is the successor to the cleverness out of the body – and
Max image size: 5184 x 3888 pixels Olympus OM-D E-M5 Mark III. It is the this is where it truly shines.
Max video resolution: 4K 30p, C4K 24p, manufacturer’s ‘middle camera’, next It boasts Live ND filters, which
1080p 120p to the flagship OM System OM-1 and offer a software-driven alternative to
Max burst: 10fps mechanical shutter, the entry level Olympus OM-D E-M10 neutral density filters up to ND16 (4
30fps electronic Mark IV (which will be rechristened stops). This means you can get those
Viewfinder: 2.36m dot OLED, the OM-10 upon the next model). silky water shots without filters, since
100% coverage Where the OM-1 is the top tier the in-body image stabilisation has
Memory card: 1x SD UHS-II system for professionals and experts, been boosted by 15% to 6.5 stops as
LCD: 3-inch, 1.04m dot, the OM-5 is built to deliver many of standard, or 7.5 stops when paired
vari-angle touchscreen the flagship’s best features in a body with one of the Sync-IS lenses.
Size: 125.3 x 85.2 x 49.7mm that’s smaller, lighter and built for All this feeds into the ethos of this
Weight: 366g (body only) those who want to go on an adventure camera: a body you can take on an
and take a photograph, rather than adventure, spot a photo opportunity,
going on a photographic adventure. and still get those great shots –

108

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 OM System OM-5 Mirrorless

James Artaius
Colour rendition is bold, bright and punchy – but not
7 unnatural, which is what you want for portraiture

8
4 6

The 3in vari-angle rear The On switch on the

James Artaius
touchscreen can be flipped top plate is accompanied
over and folded into the rear by a Drive/Self-Timer
of the body for protection. button to its left.

5 7 8 OM-5 images are undeniably attractive. Focus fall off is

stunning, reminiscent of cameras several times the price
As with previous models, Dedicated buttons for Stills and video are captured
the menu button is on the exposure compensation and to a single SD card – SDHC,
small side; a joystick has not video recording reside on the SDXC, UHS-I and UHS-II (see
been included on the OM-5. same side as the PASM dial. page 116) are compatible.

even without taking a tripod, filters you’ll ever take) resides on the ‘B’
or cumbersome accessories. mode dial setting for easy access.
Other computational features
include Pro Capture, which starts Build and handling
recording images when the shutter is Externally, the OM System OM-5 is
half-pressed – meaning you capture identical to the E-M5 III, save for the
James Artaius

all the images (up to 14) in the change of branding on the pentaprism
moments before you press the shutter nodule. This means you’re getting the
down. Brilliant for that butterfly or same super-compact 125.3 x 85.2 x
kingfisher you spot on your travels! 49.7mm body that weighs just 366g.
There’s also in-camera focus You also get the same resolution The OM-5 packs in plenty of computational features, such
stacking, which composites eight on the EVF and LCD screen, which as in-camera focus stacking, along with Handheld High-Res
shots into a single image for depth at 2.36 million dots and 1.04 million Shot that enables you to shoot 50MP images
of field control, along with Handheld dots are serviceable, but nothing too
High-Res Shot, which enables you ambitious. Likewise, the controls and
to shoot 50MP images – or 80MP dials, repositioned from the E-M5 “The OM-5 is built
RAW files, when used with a tripod. Mark II, remain in the same place, with
The Starry Sky AF feature makes knurled exposure dials, an ISO button to deliver many of
it easier to focus on pixel-sized stars, and a host of customisable levers
making astrophotography even easier, and buttons – but no joystick. the flagship OM-1’s
and Live Composite mode (for the While the externals may look the
easiest fireworks or lightning shots same, the 5-series now best features”
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 Mirrorless OM System OM-5

Lab tests

The OM-5 is capable of resolving comparable

amounts of fine detail to its Olympus predecessor,
as well as the 24MP EOS R10.
James Artaius

Taken with the OM System M.Zuiko 40-150mm f/4 Pro, at 1/320 sec, f/4.0, ISO200. The
camera’s tonal range is impressive, especially when images are converted to black and white

boasts IP53 weather sealing for the

first time. For our money, aside from
the best waterproof cameras, this is
the system and sealing we trust the
Both MFT cameras are closely matched in
most when it comes to bad weather.
image clarity. Differences in each camera’s image
The OM-5 is a good Goldilocks processing likely cause the deviation in scores.
camera in terms of size, fitting neatly
into most pairs of hands (and for the
bear-pawed among us, the ECG-5
Dedicated External Grip for the E-M5
III is compatible). Its size and weight
makes it pair particularly well with the
M.Zuiko f/4 Pro zoom lenses, along
with the M.Zuiko 20mm f/1.4 Pro.

Performance
The 5-series cameras have often
benefited from advances passed
down from the flagship 1-series, and
Thanks to its discreet sizing, the OM-5 is a The OM-5 manages to capture around 1EV more
the OM-5 is no exception. While the
fantastic companion for street photography. dynamic range than the E-M5 III at lower sensitivities,
autofocus in the E-M5 III was great,
even managing to rival the X-S10.
here we get the benefit of an even
more advanced AF system. stabilisation, makes it feasible to
The improved face and eye shoot handheld starscapes on the fly. Digital Camera verdict
detection makes street photography That stability is also useful for video,

4.5
a breeze. locking on quicker, even producing gimbal-like smoothness.
with side-on faces. The Starry Sky AF There is no longer a limit to the
Outstanding
takes the guesswork out of manually recording time: footage can be
focusing in astrophotography – captured in OM-Log400 if you want
and combined with the stellar to grade your footage later. Moreover,
4.5 5.0 4.0 5.0
the OM-5 can function as a webcam
without any software – plug and play,
Features Build & Performance Value
and get on with streaming your video.
“The OM-5 will fit
handling
The OM-5 is a joy to shoot with, and
The OM System OM-5 turns clever computational
combines the spontaneous shooting
neatly into most of your phone with the image quality
technology into easy-to-use tools, liberating you
from tripods and filters, enabling you to focus on the
of a true camera. Take this on your
pairs of hands and next trip and you won’t be reaching for
adventure you’re having – rather than focusing on
your kit and missing the adventure. For an all-in-one
your phone to take that snap shot. tool that will enable you to make the most of your
it is a joy to use” James Artaius outdoor pursuits, this is the perfect adventure buddy.

110

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 Digital Camera 2022 Collection

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DCM276.adv_digitalcollection.indd 243 28/11/2023 12:31

 Mirrorless Panasonic Lumix G90/G95

1
2
With its
substantial body
and grip, the G90
feels the size of
a small DSLR.

With front and

rear control dials,
3
the G90 offers
good hands-on
control.
1

The G90’s Micro

Four Thirds sensor
is smaller than
APS-C rivals, but
still boasts 20.3
million pixels.

Panasonic Lumix G90/G95

£1,079/$1,198 (with 12-60mm f/3.5-5.6 lens)
This mid-range mirrorless camera packs a punch,
with great controls and a snappy autofocus system
w w w. pana s onic .co.uk

he Panasonic G90 up to the level of the 24-megapixel

(branded the G95 in sensors in rival cameras like the
T the US) aims to be the
perfect camera for
Canon EOS M50, the Sony Alpha
6400 and the Fujifilm X-T30.
stills photographers But what it lacks in outright sensor
and video bloggers alike. It’s not really size (Micro Four Thirds sensors are
a specialist in any one area, but has roughly half the size in area of APS-C),
powerful features for all kinds of the G90 makes up for with high-tech
photography and film making. features; dual lens and body image
Specifications The G90/G95 supersedes the stabilisation; 4K video, with the option
Sensor: 20.3MP Live MOS Micro Four Thirds Panasonic G80/G85 as a DSLR-style of Panasonic’s pro-level V-Log L mode
Image processor: Venus mirrorless camera for photographers for 12-stop dynamic range when you
Autofocus: DFD contrast AF looking to step up from a basic DSLR colour-grade video footage on a
Video: 4K UHD at 30p, 25p, 24p or mirrorless camera to something computer; new Live View Composite
Viewfinder: OLED EVF, 2.36m dots, more advanced, and clearly wants to and ‘stromotion’ modes, and more.
100% coverage, 0.74x magnification challenge the best 4K cameras for a
Memory card: SD (UHS-II compatible) share of the consumer video market. Build and handling
LCD: 3-inch free-angle touchscreen, 2.1m dots New features include Panasonic’s Unlike Panasonic’s rangefinder-style
Max burst: 9fps, 6fps with CAF latest 20-megapixel sensor, which is a GX80 and GX9 models, the G90 is
Connectivity: Wi-Fi, Bluetooth step up from the 16-megapixel sensor styled more like a compact DSLR,
Size: 149 x 110 x 97mm (body only) in the G80 and Panasonic’s cheaper with the electronic viewfinder
Weight: 1,016g (body only, with battery and SD card) mirrorless cameras, but still not quite mounted centrally on the lens’s

112

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 Panasonic Lumix G90/G95 Mirrorless

It might have a sensor with only 20 million pixels, but the

4 G90 rivals 24-megapixel APS-C cameras for sharpness.
The rear touchscreen can
swivel to any angle, and
can even face the front
for selfies and video.

With 2.36 million dots

of resolution, the OLED
viewfinder is bright
and clear.

6 6

The trio of white balance,

ISO and EV compensation
buttons keep key
adjustments handy. The G90’s auto white balance system preserves natural-
looking colours in both sunlight and overcast conditions.

optical axis on the top of the camera – Unusually, the vari-angle touchscreen The menu system on this camera is
just like the Lumix G80 before it, and display on the back of the camera uses clear and concise, and nicer to navigate
like a smaller version of Panasonic’s OLED technology too. The screen flips through than some we’ve tried.
range-topping Lumix G9 model. out to the side but can also be folded One noticeable design change
The body feels about the same size flat against the back of the camera, compared to the previous model is
as a compact DSLR, but the smaller either facing outwards for image and the addition of three new buttons on
Micro Four Thirds sensor format info display or facing inwards to protect the top of the camera for adjusting
means the lenses are correspondingly it during viewfinder shooting – and the the white balance, ISO setting and
smaller too. The Panasonic 12-60mm hinge mechanism feels nice and solid. exposure compensation – and
kit lens fitted to the sample cameras
is quite light and compact, despite its
wide 24-120mm effective zoom range. Rival cameras
The body feels light but well-made,
and has a magnesium alloy front frame
and extensive weather sealing around
every joint, dial and button. Panasonic
says it’s been redesigned and
improved for maximum comfort
and easy one-handed operation. It
already feels chunky and ‘grippable’,
but it will also be possible to fit the Canon EOS M50 Fujifilm X-T30 Sony Alpha 6400
same optional battery grip used £489/$579 £849/$899 £949/$899
by the existing Lumix G80. An older camera with A terrific all-rounder A purpose-built vlogging
The electronic viewfinder has a less impressive 4K video with a higher-resolution tool that’s also good for
specs but a lower price 26-megapixel sensor, stills photography and
resolution of 2.36 million dots, less
point, a compact body but no front-facing comes in at a similar
than half that of the new Lumix S full-
and a 24MP sensor. ‘selfie’ screen. price point.
frame cameras; but, thanks to its OLED Reviewed: issue 204 Reviewed: issue 215 Reviewed: issue 215
technology, it still looks very sharp,
and has a decent 0.74x magnification
as well as 100% frame coverage.

113

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 Mirrorless Panasonic Lumix G90/G95

Lab tests

The 24-megapixel sensor in the Sony A6400 just

pipped the rest for outright detail rendition in our lab
Here the G90 has tests, but the other three cameras were very close.
held on to the subtle
textures pretty well.

Panasonic’s new 20MP sensor proves it’s got what it

takes to generate clean images, and more than holds
its own against the Sony A6400 and Canon EOS M50.

The Lumix 12-60mm

lens is still crisp at its
maximum focal length.

they have different top surfaces Performance

to make them easier to recognise Panasonic has stuck with its DFD
by touch alone. (depth from defocus) contrast-based
There are two separate front and autofocus where other makers have The G90 excels for dynamic range, proving that
the smaller MFT sensor size can easily cut it
rear control dials on the top of the swapped to hybrid phase-detection
against the best APS-C competition.
camera; the rear dial has a central systems, but here it’s so fast and
button that enables white balance and so positive it feels like Panasonic’s
ISO settings via the two control dials. faith is justified. The image quality is Digital Camera verdict
There’s a third spinning control dial excellent too, both in the lab and in
on the back. External controls are
clearly one of this camera’s strong
points: they can be customised to
real-world shooting. The Panasonic
G90 will usually be sold with a
12-60mm f/3.5-5.6 kit lens, which
4.5 Outstanding

practically any user preference, delivers great edge-to-edge detail

with no fewer than 11 different right across its focal range. 5.0 4.0 4.5 3.5
configurable Fn dial/button settings. The G90 renders outdoor scenes
All of the dials and controls feel really with vibrant but natural colours; Features Build & Performance Value
handling
firm, ‘tight’ and positive. The G90/G95 indoors its auto white balance
is far from being a cheap camera, does a good job of removing much The G90’s handling and control layout are great, and
but its quality build and handling of the yellow cast of artificial lighting. the autofocus is very snappy indeed. The only issue
do feel in line with its price. Rod Lawton is the price. It’s a good camera, but it’s not cheap.

114

DCM276.guide_panasonic.indd 114 28/11/2023 13:05

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 Mirrorless Panasonic Lumix GH5 II

The GH5 II has a big,

chunky grip, and it’s a
pretty big and chunky
MFT camera all-round.

2
1 3
Would you upgrade
to the GH5 II if you
already had a GH5?
Probably not.

Panasonic’s Lumix G
cameras have a good
range of professional-
calibre lenses.

Panasonic Lumix GH5 II

£1,499/$1,699
An upgrade to a film-making favourite
w w w. pana s onic .co.uk

Specifications he Lumix GH5 II is a new but any new buyers looking for
version of the GH5, a a powerful 4K hybrid camera
Sensor: 20.3MP MFT Live MOS sensor, 17.3 x 13mm
Image processor: Venus
T camera that was ahead
of its time when it was
without the cost and weight of
a full-frame system may just
AF points: DFD contrast AF, 225 points launched in 2017. have found the ideal candidate.
ISO range: 200-25,600 (expandable down to ISO 100) The GH5 was the vanguard of a new The Micro Four Thirds sensor used
Stabilization: 5-axis, up to 6.5 stops generation of hybrid stills/video by Panasonic’s Lumix G cameras
Max image size: 5,184 x 3,888px cameras; its 4K 60p recording doesn’t usually get a lot of respect
Video: C4K/4K UHD up to 60p (4:2:0 10-bit internal capability was stellar then, and from the full-frame crowd, but it has
recording), 30p (4:2:2 10-bit internal), or 60p 4:2:2 10-bit remains pretty impressive now. a lot going for it. The 20.3MP sensor
over HDMI with simultaneous 4:2:0 internal recording So the GH5 II has a tough act to has more than enough resolution for
Viewfinder: 3.68m dots, 100% coverage, follow, and inevitably there will be oversampled 4K video and enough for
0.76x magnification those who feel that Panasonic hasn’t most kinds of stills photography. In
Memory card: Two SD/SDHC/SDXC gone far enough – to be fair, the addition, it means smaller cameras
(UHS-II), V90 compatible original GH5 didn’t leave it much (admittedly, not here), smaller and
LCD: 3in vari-angle touchscreen, 1.84m dots room! Not only that, but the upcoming lighter lenses, and a lower price point.
Max burst: 12fps AF-S, 9fps AF-C, 108+ RAW 999+ JPEG GH6, still in development, is likely
Connectivity: Wi-Fi, Bluetooth to be the new flagship powerhouse Key features
Size: 139 x 98 x 87mm in the Lumix G range. Key features of the Lumix GH5 II
Weight: 727g body only, including What Panasonic has produced with include its 20.3MP Micro Four
battery and memory card the GH5 II is a camera that keeps Thirds sensor, its 12fps/9fps
the GH5 concept fresh and current. continuous shooting capability
There’s probably not enough here to and big buffer capacity, its updated
tempt a GH5 owner into upgrading, and more powerful in-body image

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 Panasonic Lumix GH5 II Mirrorless

4
5
4 6

The EVF is the same The drive mode dial

as the 3.68m-dot has positions for the
viewfinder in the GH5. GH5 II’s single shot,
It’s sharp and clear, burst mode and
and while it doesn’t self-timer modes,
have the resolution of plus 6K Photo modes.
Panasonic’s upmarket
Lumix S cameras, it’s
7
perfectly adequate.
A locking button set
into the top of the
5
mode dial prevents
The S/C/MF focus accidental changes.
mode lever with a
central AF On button
8
is really useful. Too
many cameras bury The record button’s
the focus modes in metallic red makes it
their digital interface, stand out visually –
so it’s great to have but it’s not so easy
them so accessible. to find by feel.

stabilisation and – in particular – its compensation, and this works

enhanced video capabilities. alongside in-lens stabilisation,
The sensor is essentially the same where available, and electronic
one that Panasonic has been using stabilisation for smoothing
across its Lumix G camera range for out handheld video footage.
some time now, although here it’s Another major addition in this
matched up with a new, faster Venus camera is support for wireless
processing engine, which brings new streaming via Panasonic’s Lumix
and enhanced video modes and Sync mobile app, where the
contributes towards this camera’s previous GH5 only supported
burst-shooting abilities, with an USB streaming via a PC and
enhanced burst depth of over 108 Panasonic’s own streaming software.
raw files or more than 999 JPEGs. Comparisons with the previous GH5
Setting the focus point is easy using either the joystick
20 megapixels is enough for many are inevitable, especially since that
on the back of the camera or the touchscreen display.
kinds of stills photography, and when camera has gained a strong reputation
that’s combined with the GH5 II’s 4K amongst film-makers. Many of the
60p video capability, pre-installed GH5 II’s improvements are subtle and
V-Log L profile, support for C4K, VFR involved – mostly those associated
(Variable Frame Rates), 10-bit internal with video frame rates, bit depths and
recording and more, it’s a serious formats. The Lumix GH5 II’s headline
video tool, too. This is a properly specs – 4K video at up to 60p – are
powerful hybrid camera for not unusual by today’s standards,
photographers and film-makers but they don’t tell the whole story. “What Panasonic has
who need both stills and video
in the same camera and probably Build and handling produced is a camera
in the same shoot. The GH5 II is pretty big for a Micro
Panasonic says its newly updated Four Thirds camera. It’s as big as that keeps the GH5
in-body stabilisation system now a mid-range DSLR, and bigger than
offers up to 6.5 stops of shake some full-frame mirrorless concept fresh”
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 Mirrorless Panasonic Lumix GH5 II

The GH5 II’s multi-pattern metering proved hard to fault in our tests, and the i.Dynamic option for in-camera JPEGs has kept
the shadows light here while holding on to the bright sky beyond.

cameras, notably Panasonic’s own The rear screen is a vari-angle type. awful lot of video permutations to get
Lumix S5. This size makes the GH5 II Panasonic says it has improved its your head around, however, and some
easy to get a good grip on, and it feels luminosity and colour rendition for features are unavailable unless you’ve
a natural fit with mid-sized lenses, like outdoor use – though the new screen selected something else first: for
the Leica 12-60mm we tested it with. is a 3-inch display, while the one on example, VFR mode needs the MOV
First impressions are that the body the GH5 is a 3.2-inch screen. On a format, which is set in another menu.
feels a tad plasticky for such a video camera, where you may not The interface might be very clear,
high-end camera, but the magnesium be right up close when you’re filming, but you’ll still need to spend some
alloy construction and weather- we’d rather have a bigger screen. time working out where the options
proofing say otherwise. It’s not as The menu system is excellent, and a are and what they do.
hard-edged as many rival mirrorless model of clarity both in its organisation
cameras, and does feel a little more and its appearance – the menu text is Performance
comfortable in the hand. big and easy to read. There is an The GH5 II is hard to fault for stills
photography. The 20MP Micro Four
Thirds sensor does place its own limits
Rival cameras on the resolution and the high ISO
performance, but our lab tests
repeatedly show that, small as they
are, these MFT sensors hold their own
well against larger APS-C sensors.
The 6.5-stop in-body stabilisation
system in this camera is extremely
impressive. The more you push your
Fujifilm X-T4 Panasonic Lumix S5 Sigma fp luck with slow shutter speeds, the
£1,399/$1,699 £1,699/$1,699 £1,599/$1,699 more you risk some unsharpness, but
The APS-C format XT-4 Incredibly, the full frame A completely different we captured sharp images with 0.5
is an extremely strong Lumix S5 is no larger kind of camera to the
and 1 sec exposures that we wouldn’t
rival to the GH5 II, than the GH5 II, and GH5 II, the Sigma fp
attempt with other cameras.
especially with its is a close match for has film-making
phase-detect autofocus. video capabilities, too. kudos of its own. The GH5 II’s stabilisation doesn’t
Reviewed: issue 231 Reviewed: issue 235 Reviewed: issue 226 make tripods redundant – tripods
do much more than prevent camera
shake – but it does make it possible

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 Panasonic Lumix GH5 II Mirrorless Resolution (line widths/picture height)

ISO 100 200 400 800 1600 3200 6400 12800 25600

Panasonic GH5 II 26.25 26.25 26.25 26.25 26.25 24.00 22.00 20.00

Fujifilm X-T4 27.75 27.75 27.75 27.75 27.75 27.75 26.00

Lab tests
Panasonic S5 25.75 25.75 25.75 25.75 25.75 24.00 24.00 24.00 24.00

Sigma fp 28.25 28.25 28.25 28.25 28.25 28.25 28.25 28.25 26.00

Resolution (line widths/picture height)

50

40

30

20

10

0
100 200 400 800 1600 3200 6400 12800 25600
Panasonic GH5 II Fujifilm X-T4
Panasonic S5 Sigma fp

Surprisingly, the 20.3MP GH5 II is able to match

Signal to noise ratio (decibels)

the full-frame Lumix S5 for capturing fine detail

ISO 100 200 400 800 1600 3200 6400 12800 25600

Panasonic GH5 II 37.01 34.48 31.60 28.35 25.76 23.45 19.88 15.85

Fujifilm X-T4 42.55 39.83 37.13 34.37 31.32 28.18 24.99

Panasonic S5

Sigma fp at lower sensitivities.

49.78

44.70
47.89

43.07
45.30

40.53
42.96

37.29
40.27

34.37
37.52

31.06
35.19

28.21
32.17

25.74
28.99

22.47

Signal to noise ratio (decibels)

60

50

40

30

20

10

0 1
100 200 400 800 1600 3200 6400 12800 25600
Panasonic GH5 II Fujifilm X-T4
Panasonic S5 Sigma fp

All four comparison cameras are closely matched

Dynamic range (EV)

in this test, generating similarly clean images

ISO 100 200 400 800 1600 3200 6400 12800 25600

Panasonic GH5 II 12.44 12.45 12.29 11.30 10.29 9.56 8.59 7.38

The GH5 II’s Micro Four Thirds sensor is smaller than APS-C or full frame rivals, but it’s still Fujifilm X-T4

Panasonic S5
with low noise levels.
12.06
12.48

12.07
12.47

12.03
12.29

12.03
11.96

12.02
11.40

10.75
10.34

10.55
9.10

10.40 10.41

easy enough to blur backgrounds at longer focal lengths and wider aperture settings.
Sigma fp 12.05 12.22 12.24 11.96 11.41 10.28 9.25 9.45 8.52

to shoot in what look like impossible filming to select a different AF point for Dynamic range (EV)
14
conditions, or to use lower ISO quick and dirty ‘pull focus’ effects.
settings that don’t push the MFT Opinions about Panasonic’s DFD AF 12

sensor quite so hard in low light. system are highly polarised, however, 10

The video performance is no less perhaps because it depends so much 8

impressive. The GH5 II handles focus on your style of shooting. If you rely 6
shifts smoothly and silently, and you heavily on face/body/eye EF, you 4
can dip into the camera settings if might find the GH5 II better than the
2
you’re not happy with the focus speed. original GH5, but still not in the same 1
0
You may want to experiment while league as rival cameras with phase AF. 100 200 400 800 1600 3200 6400 12800 25600

shooting with the automatic face/ If you focus manually or like to select Panasonic GH5 II Fujifilm X-T4
Panasonic S5 Sigma fp
body/animal/eye AF modes and more your own AF point, however – and you
The GH5 II is capable of capturing huge dynamic
rapidly moving subjects – or you can do this while filming – you might
range at lower sensitivities, though as ISO sensitivities
can use a single focus point and wonder why everyone’s complaining. rise, its sensor limitations start to become apparent.
tap the screen (softly!) while The stabilisation for static handheld
shots verges on the uncanny. If you Digital Camera verdict
switch everything on, including lens IS

4.5
(where available), the camera IBIS, and
the optional E-Stabilization and Boost
Outstanding
IS (these come with a slight crop
factor), the live view is so rock-solid
that you want to check you’re not
4.5 4.5 4.5 3.0
in playback mode by mistake.
Run and gun video or handheld
Features Build & Performance Value
camera pans are not so easy for the handling 1
IBIS – basically, in-camera stabilisers
The clue is in the name. A Mark II version of anything
don’t have the range of movement
is likely to be a refresh rather than a whole new
needed. They’re great for smoothing camera – but while the GH5 II might appear
out ‘jitters’, but they can’t replace a superficially similar to its predecessor, it offers a
The Lumix GH5 II is an MFT camera that’s gimbal – and the Lumix GH5 II has large number of improvements and additions that
the same size as a full-frame model, but done nothing to change our minds make quite a difference when you add them together
packs in some serious video firepower. on this point. Rod Lawton – and they are even more impressive given the price.

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KitZone
Mirrorless Panasonic Lumix G9 II

The G9 II takes its

design cues from the
recent S5 II more than
the original G9.

The G9 II uses an MFT

2
image sensor that
1 captures 25MP shots.

It might have a small

sensor, but it’s not a
small camera: the G9 II
has the heft you’d
3
expect from a pro-
oriented model.

Panasonic Lumix G9 II
£1,699/$1,899 (body only)
Proof we should still care about the Micro Four Thirds format

w w w. pana s onic .com

t has been almost six to video as well as some genres of

Specifications years since Panasonic photography, including sports and

Sensor: 25.21MP Micro Four Thirds Live MOS

I released the original G9.
It’s been a long wait,
wildlife. But the camera landscape is
different now compared with when the
AF points: 779-point Phase Detection AF / but the Lumix G9 II is original G9 was released. Is there still a
Contrast AF a fully-fledged upgrade that you can place for a stills-centric MFT camera?
ISO range: 100-25,600 honestly get excited about.
Max image size: 5,776 x 4,336px With Panasonic’s recent focus on Key features
Image stabilisation: Dual IS 2 (7.5-stop) its full-frame cameras (such as the The standout feature of the G9 II is
Max burst: 14fps AF-S or 10fps AF-C well-received S5 II) and the growing its enhanced autofocus system: it
(mechanical shutter), 75fps AF-S number of L-Mount Alliance members, not only facilitates quicker and more
or 60fps AF-C (electronic shutter) many were speculating that Panasonic precise focusing through an expanded
Video: 5.8K 30p, 4.4K 60p, 4K 120p, FHD 240p might phase out its Micro Four Thirds 779-point phase detection autofocus
Viewfinder: 3.68m dot OLED, 60/120fps lineup. Panasonic and Olympus were system but also introduces more
Rear LCD: 3.0in, 1.84m dot the pioneers of the MFT sensor and advanced subject recognition.
Memory card: 2 x UHS-I/UHS-II SD/SDHC/SDXC mount, pushing it as a solution to These improvements enable
Connectivity: USB-C, HDMI, mic, achieve high-quality images with effective tracking of subjects like
headphone, Wi-Fi, Bluetooth smaller cameras, such as the technical humans and animals, including their
Power: Li-ion battery, USB power supply and charging marvel of the Panasonic GM1. But eyes, as well as cars and motorcycles.
Size (W x H x D): 134 x 102 x 90mm as market forces moved toward While it may not match the extensive
Weight: 658g (including battery and SD card) full-frame cameras, it looked like subject recognition capabilities of
Panasonic’s MFT ambitions might some other brands, it certainly
have been put on ice. covers the essential areas most
With this release, Panasonic is photographers require.
certainly not letting up with the Under the hood, the camera boasts
format, nor the advantages it brings a newly designed 25.2MP Live MOS

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 Panasonic Lumix G9 II Mirrorless

4 7
4 The electronic viewfinder A rich set of controls
has an impressive 3.68 (with comfortable
million dots and high spacing) includes an
refresh rates. eight-way navigation pad.
6

5 8

The rear screen has G9 owners looking to

touchscreen controls upgrade may rue the loss
and a fully articulated of the top info screen in
tilt-and-swivel system. favour of a second dial.

7
5
6 9

The built-in joystick helps The 2x crop factor of the

you select your focus G9 II’s MFT image sensor
point or area while you means that compatible
look through the EVF. lenses are small and light.

Gareth Bevan
8
The G9 II captures satisfying images, with
well-balanced colour and good dynamic range.

them to both photos and videos. The

G9 II has 19 pre-made LUTs, including
the new Leica Monochrome option.

Build and handling

9 The G9 II undeniably feels solid
and well put together, and there is
weatherproof sealing. In the tradition
of the G9, Panasonic has put every
button and dial most photographers
are ever going to need on the G9 II.
Sensor, paired with a new processing There are three command dials, a
engine. By employing a high-resolution directional pad and an upgraded
Pixel Shift mode, the G9 II can now eight-way joystick, as well as buttons
generate 100MP images handheld. to change ISO, exposure, autofocus
The G9 II boasts a top burst speed and white balance quickly.
of 60fps with continuous autofocus, to provide additional stabilisation The G9 II is a proper old-school
which can be pushed to 75fps without during more pronounced movements, photographer’s camera, with tactile
autofocus while using the electronic such as walking or panning. controls and not much hidden behind
shutter. With the mechanical shutter, In the realm of video, the G9 II offers touchscreen menus. However, there
the G9 II achieves a more modest resolutions of 5.7K 60p, 4K 120p or are a few notable changes from the
14fps (AF-S) or 10fps (AF-C). Full HD 240p. The camera can record previous model – the biggest being the
Panasonic has also significantly in 4:2:0 10-bit, delivering up to 13 removal of the top screen, which has
enhanced its image stabilisation stops of dynamic range while shooting been replaced by a mode dial. Some
system to offer up to eight stops of in V-Log. It also supports recording in photographers become attached
in-body stabilisation. (This is slightly Apple ProRes and enables direct to their top screens but, thanks to
reduced to 7.5 stops for lenses longer recording to an external SSD. modern cameras with information-
than 60mm.) The camera also Additionally, you can create or install laden EVFs, other people almost
incorporates advanced Active IS real-time LUTs in-camera, and apply never actually use them.

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KitZone
Mirrorless Panasonic Lumix G9 II

Normal resolution High resolution

Gareth Bevan
You can capture 25MP stills with the G9 II – or switch to Pixel Shift mode, which cleverly combines multiple frames to generate 100MP images. The image
stabilisation system means you can get sharp results even while handholding the camera. In-body processing of the 100MP image takes around 30 seconds.

The only unimpressive thing about the model: the top of the camera has been Panasonic has made a professional
build I could find was the doors that flattened down from the more rounded camera with great ergonomics, like
cover the side ports. I found that they design of the G9. The G9 II now looks a good grip and uncluttered button
opened far too easily and wouldn’t identical to the S5 II; with a lens on, design. But if you were hoping to
stay closed unless firmly pressed in, you won’t even notice the difference. make a size saving by buying MFT,
which was a minor inconvenience One point to note is that the G9 II is this camera won’t help with that.
and an occasional hindrance. not a small camera despite its smaller
The design of the body itself has sensor, which was originally one of the Performance
been refined a little since the last big selling points of the MFT format. The G9 II takes very good photos, with
a fantastic amount of detail. At 25MP

Rival cameras there is some room to play with during

cropping, although I found the stills
gave up some of the finer details when
cropped. However, this only becomes
an issue when you print large images.
For use on the web and social media,
you should be able to crop images
a fair amount and retain quality.
Colour and dynamic range on JPEGs
Fujifilm X-H2 Panasonic Lumix S5 II Sony ZV-E1 out of the camera was excellent, and
£1,899/$1,999 £2,299/$2,198 £2,350/$2,199 the automatic white balance was
With its 40MP resolution The addition of phase Small and light, the accurate and consistent throughout
and 8K video, the Fujifilm detection autofocus ZV-E1 packs in an image- my shoots, despite the changing
X-H2 has effectively brings the 24.2MP S5 II stabilised full-frame
lighting conditions.
redefined what can right in line with some of sensor, subject
To put some misguided assumptions
be expected from the best hybrid cameras recognition and
an APS-C camera. that money can buy. auto-tracking. around MFT cameras to bed, image
Reviewed: issue 261 Reviewed: issue 267 Reviewed: issue 270 quality is not automatically weaker
than from larger sensors. The image
quality from the G9 II in good light

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 Panasonic Lumix G9 II Mirrorless

Lab tests
Resolution

Gareth Bevan
The Lumix G9 II’s 25.2MP sensor is excellent
The MFT-based image sensor in the G9 II provides a 2x crop factor compared with a full-frame at capturing fine detail, providing a marked
camera; this means you can zoom in from a distance with a relatively short-focal-length lens. improvement over the 24MP S5 II, even though
the latter has much larger individual pixels.
Dynamic range
is right up there with the best from in much dimmer conditions, I found
larger systems. However, low-light that I could get shake-free images at
performance did not fare as well as the wider end of the 12-60mm lens
my Canon full-frame camera, for – down to around 1/5 sec, although
example. In darker environments, this will depend on your own personal
shot at the same settings, the full- steadiness, of course.
frame images just had more detail. The handheld high-megapixel
There is a mess of maths around mode continues to offer one of the
focal lengths and subject distances, best implementations in any camera:
but there is plenty of debate over the G9 II can process the 100MP
whether MFT can achieve the same image in-camera and save you from
background blur versus larger sensors having to use external software for There’s little to separate all four cameras at low
sensitivities, proving that sensor size alone really
at the same distance, which can give processing. The camera handles the
doesn’t make much difference for capturing
images a flatter look in some processing quickly, taking around 30
maximum dynamic range in good lighting conditions.
situations. I find this to be less obvious seconds to create the high-res file.
in practice: depending on what I was The 100MP photos themselves are Signal to noise ratio (decibels)
shooting, I could use longer lenses impressive when you want to crop or
to create more blur (although this print larger images, although there is
does change the compression). The not as much of a dramatic step up
foreground and background falloff from a 25MP image as some people
from the G9 II gives natural and might hope for. It does give you far
professional-looking images and more freedom to crop in and preserve
will satisfy anyone who isn’t insistent detail, but it also creates files that are
on the creamiest of artistic blur. four to five times larger than normal.
The major bonus of a Micro Four It is in its video performance that
Thirds sensor is the extended reach the G9 II really shines. The S5 IIX is
it gives you. MFT sensors have a 2x probably the best mirrorless camera Given the variety of sensor sizes on test here,
crop factor, which means that the for video right now, and the G9 II all four cameras are quite closely matched, but
100-400mm lens I used for testing is inherits so much of what makes that the G9 II is playing catch-up to the APS-C and
equivalent to a 200-800mm lens on camera great. Even in my short time full-frame cameras in this test group.
a full-frame camera. If I wanted the testing the camera, I was immediately
equivalent lens for my Canon full- impressed with not only the video
frame camera, then not only is quality, but also Panasonic’s huge Digital Camera verdict

4.5
anything Canon or a third party offer improvements in image stabilisation
absolutely enormous and heavy, and focusing.
Outstanding
but also much more expensive. The video straight out of the camera
The image stabilisation between the is sharp, with great colours and very
camera and the lens was exceptional, good dynamic range. There are also
5.0 4.5 4.5 4.0
with the in-body image stabilisation on-board LUTs to get colour-graded
working wonders. Even at 400mm footage straight from the camera
Features Build & Performance Value
(800mm equivalent), the combination without the added step of editing. handling
of the 7.5-stop IBIS and the optical Despite a new active stabilisation
The Lumix G9 II delivers a true hybrid camera
stabilisation in the lens gave me not mode, footage is still a little jerky in
experience, with comprehensive specs that cater
only a steady view through the EVF, movement like panning and walking,
to both photographers and videographers. Video
but also sharp, shake-free images and you can achieve better results performance in particular is outstanding. A worthy
while moving in a jeep on a rough road. with a gimbal. But the stabilisation follow-up to the original, the G9 II shows why
Admittedly it was a bright day, so the comes into its own for holding a static Panasonic is right not to give up on the MFT mount
shutter speed was high. However, even shot steady. Gareth Bevan just yet – and why you might not want to either.

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 Mirrorless Panasonic Lumix S5 II

Thanks to its boxy

aesthetic and deep,
texturised grip, the S5
II looks and feels tough.
1
3
2

A new cooling system

in the viewfinder hump
removes limits to most
video recording times.

At the heart of the S5 II

is a 24.2MP full-frame
CMOS sensor and
image processor.

GOLD
AWARD

Panasonic Lumix S5 II
£1,999/$1,997 (body only)
Will phase hybrid detection AF make this a creator’s dream?
w w w. pana s onic .co.uk

Specifications s someone who’s used To tick the right boxes the S5 II needs
the Lumix S1 since its to be able to deliver beautiful stills that
Sensor: 24.2MP full-frame CMOS, w/o LPF
Lens mount: Leica L
A launch in 2018 and the
original Lumix S5 since
are easy to edit and transfer from the
camera on the go. It also needs to
Image processor: Co-developed with L2 Technology 2020, I’ve watched be able to capture a variety of video
AF points: 779-point Phase Hybrid AF Lumix full-frame steadily grow into content: from self-shot presentations
ISO range: 100 to 51,200 a system that has every right to be to robust video files that can be
Max image size: 6,000 x 4,000 revered among photographers and graded heavily, to slow-motion
Metering modes: 1,728-zone multi-pattern sensing videographers. The one thing holding clips, time-lapses, and more.
system, centre-weighted, spot it back from capturing the attention So with a lot of hype to live up
Video: 6K (full-sensor readout)/29.97/25/24/23.98p, of the masses was the contrast-based to, does the Lumix S5 II deliver?
5.9K/29.97/25/24/23.98p, C4K/60/50/30/24p Depth-from-Defocus autofocusing
Viewfinder: EVF, 3.68m dots system that Panasonic developed and Key features
Memory card: 2 x SD/SDHC/SDXC (UHS II) championed for years, despite much A newly designed 24.2MP full-frame
LCD: 3-inch vari-angle touchscreen, 1.84m dots of the competition adopting phase- CMOS sensor is housed inside the
Max burst: 30fps (electronic shutter), detection-based AF setups. Lumix S5 II. It’s the same resolution
7fps with AF-C (mechanical shutter) Uncharacteristically late to the as the original S5, but it’s different
Connectivity: Wi-Fi, Bluetooth innovation party, Panasonic is aiming in a key way: it now incorporates a
Size: 134.3 x 102.3 x 90.1mm the phase hybrid AF-powered Lumix 779-point phase hybrid autofocusing
Weight: 740g (body, hot shoe cover, S5 II squarely at “creators” – that system. It’s a hybrid system because
battery, 1x memory card) annoying tribe of people who make it also utilises Panasonic’s DFD AF
content for a living or a pastime, in technology. Contrast detection tends
the hope of someday turning it to be more consistently accurate when
into a career. People like me. taking pictures of still subjects.

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 Panasonic Lumix S5 II Mirrorless

4 7

Flaps on the left-hand Switch between two

side of the S5 II conceal burst modes, interval,
a full-size HDMI port self-timer and single
and a USB-C port. shot on this drive dial.
6

5 8

The 3-inch side hinged The PASM dial also

vari-angle touchscreen offers S&Q (Slow
offers 1.84m dots and & Quick) and three
is fully articulating. custom settings.

4 5
6 9

The autofocus point The S5 II has a video

joystick now moves in recording button, but
eight directions, rather no tally light to indicate
than the S5’s four. recording in progress.

Jon Devo
7 8 9

Both of the S5 II’s SD/SDHC/SDXC card slots

support UHS II cards, an upgrade to the S5,
where only one slot was UHS-II compatible.

Jon Devo
However, it’s not as quick or as clever range. It also has Dual Native ISO of
when it comes to detecting and ISO 640 and 4000, which helped the
following moving subjects or recording original S5 deliver clean stills and
video; combining the two approaches footage at higher sensitivities.
effectively represents a remarkable Not to be confused with Picture In one of several major spec bumps, the S5 II gains
upgrade for the Lumix S5 II. Styles/Controls, the new Real-Time a full-size HDMI port over the S5’s micro HDMI port.
Another key upgrade includes LUT feature allows you to bake in the
Active I.S, which utilises the power same LUTs you may use to grade your
of an entirely new image processor. content while colour grading. This Build and handling
Active I.S. deploys algorithms that can time-saving trick applies to stills The Lumix S5 II looks and feels assuredly
detect and anticipate camera motion, and videos and will appeal to people tough, thanks to its boxy aesthetic and
particularly when the camera operator who want to achieve a specific look deep, texturised grip. The viewfinder hump
is also moving. The S5 II can monitor without spending extra time on it. has been expanded from that of the S5 to
the 5 axes of motion and prioritise In terms of video, the S5 II is a 10-bit house a new cooling system, to help deliver
intended movements while video specialist. Almost all of its practically unlimited video recording. This
suppressing unwanted movement. extensive recordable video formats has added some additional size to the body,
The new processor and sensor can be captured with a maximum now fractionally taller by 5.2mm, as well
combo is also designed to deliver of 10-bit colour, including 4:2:2 10-bit as weight – up 26g from 714g to 740g.
greater colour depth and detail, as well C4K/4K 60p video, which has Despite the new fan vents on either side
as a maximum of 14 stops of dynamic no video recording limits. of the electronic viewfinder, the S5

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 Mirrorless Panasonic Lumix S5 II

Jon Devo
Face detection AF works well here to pick out individual faces in a crowded place like the Tokyo subway. Exposure: 1/160 sec at f/4, ISO 2500. Lens: 24-105mm F4.

II impressively retains a degree of camera would maintain the settings then flip it out is vital for keeping
dust and splash resistance. It also between movies and stills modes the screen clear of cables, especially
has a full die-cast magnesium alloy independently. But you do have the large full-sized HDMI inputs, so this
frame, providing comprehensive choice of creating custom menus is frustrating. As is the lack of a tally
protection against bumps and drops. and up to three custom profiles light, important for creators on or
People who regularly need to on the mode selection dial. behind the camera, as well as other
switch between photography and The LCD display appears to be people being filmed. You can tether
video will find doing so on the S5 II the same 1,840k one from the GH6, the S5 II to a compatible smartphone
intuitive, although the experience just without the brilliant mechanism. or tablet via the Lumix Sync app,
would be even more seamless if the Being able to tilt the screen up and though, which works well.

Performance
Rival cameras What most people want to know is how
good is the Lumix S5 II’s autofocus is,
and how it compares to the S5. For the
majority of situations, the Lumix GH6
and Lumix S5 (the most recent Lumix
cameras) are pretty reliable, if not
fast. But the Lumix S5 II combines
DFD technology and phase detection
Canon EOS R6 Mark II Nikon Z 6II Sony Alpha 7 IV autofocusing to deliver a system
£2,779/$2,499 £1,929/$1,997 £2,399/$2,499 that is a significant step up in terms
A fully loaded mid-range A light refresh of its Extremely powerful and of speed and consistency.
mirrorless, this 40fps predecessor, the Z 6II extremely advanced, but
Looking through the camera’s bright
speed demon makes gets a second memory the A7 IV can be quite
mincemeat of other card slot and an extra complex to set up and
3,680k OLED viewfinder, the camera
hybrid cameras. image processor. use if you’re new to Sony. detects subjects immediately, forming
Reviewed: issue 264 Reviewed: issue 237 Reviewed: issue 249 a dynamic box around both humans
and animals. It can also detect faces
and eyes when subjects are in

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 Panasonic Lumix S5 II Mirrorless

Lab tests
Resolution

Jon Devo
The Lumix S5 II handles low-light situations well, holding onto details in the shadows and
keeping the highlights in check. Exposure: 1/13 sec at f/1.8, ISO 8000. Lens: 18mm F1.8. With 33MP on tap, it’s no surprise the Sony A7 IV is
the camera to beat in this sector. The S5 II’s images
are a little more prone to exhibiting moiré than

Jon Devo
those from the Canon and Nikon cameras.

Dynamic range

The S5 II is strong here, almost matching the

class-leading Z 6 II throughout the test range. At high
ISOs the Panasonic can capture as much as 2EV more
dynamic range than the Canon and Sony cameras.

Signal to noise ratio (decibels)

The camera handles the exposure of these towers in downtown Tokyo well against
the bright sky. Exposure: 1/1600 sec at f/5, ISO 1600. Lens: 18mm F1.8.

proximity, and it will highlight those variants), I was able to get some
as well. Autofocusing is reasonably decent shots of birds in flight, but
customisable: speed and sensitivity tracking their movement without
can be selected, and you can also the assistance of an algorithm tuned
choose from Human, Face/Eye, to predict their movement was more
and Animal+Human detection. challenging than I’ve found when
The S5 II consistently and quickly using cameras like the Sony A7 IV
identifies subjects as they enter the or Fujifilm X-H2S.
frame and with multiple people in the Turning to video, the Lumix S5 II The S5 II’s images exhibit very similar levels of noise
frame, you can use the joystick or tap is a standout camera in its class, to those from the EOS R6 II, though images from
the screen to prioritise a person. offering a raft of recording and the Z6 II are marginally cleaner across the range.
Shooting stills, the S5 II can handle video monitoring options that are
7fps bursts of RAW+JPEG with uncommon at its price point. The S5 Digital Camera verdict
continuous AF for roughly 200 II can be used to produce cinematic

5.0
frames. If you need more speed, quality footage that doesn’t need
its mechanical shutter can do 9fps any correction in post-production
A best-in-class product
with AF-S or 30 frames per second if you’ve exposed it to your tastes
using its electronic shutter with and perhaps taken advantage of the
AF-C. (At the time of testing Real-Time LUT feature. Its 10-bit files
5.0 4.5 5.0 5.0
I was using a camera with pre- are robust enough to tune saturation
production firmware.) in standard profiles, however, as
Features Build & Performance Value
From a panning burst of a person well as recover moderately blown handling
running in flat light for bursts of 10-20 highlights and raise underexposed
The Lumix S5 II has a quality 24.2MP sensor, paired
frames, the camera lost focus slightly shots without the quality of your clips
with an image processor that was co-developed
on one or two frames. But there were breaking down. It also comes with a
with Leica. It can capture rich stills at up to 30fps
still plenty of usable shots. full V-Log as standard and allows you in E-Shutter mode and offers unbeatable image
Trying to photograph birds was a to pre-load up to 10 .cube LUT files stabilisation. Its phase hybrid autofocusing system
little tougher. Using both of the Lumix for assistance when shooting matches or in some cases beats cameras above its
S Pro 70-200mm lenses (F4 and F2.8 flat footage. Jon Devo price range. Oh, and it has a full-sized HDMI port.

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 Mirrorless Panasonic Lumix S1

Physically, the
Lumix S1 is
identical to the
S1R; the key
difference is the
24MP sensor.
1
2

The Lumix S1 uses

L-mount lenses
being developed
by Panasonic,
Sigma and Leica.
2

This switch
activates the S1’s
3 silent mode, but
it’s easy to move
by accident, which
feels like a minor
design flaw.

Panasonic Lumix S1
£2,199/$2,498 (body only)
Panasonic’s cheaper full-frame mirrorless camera
swaps megapixels for mighty video features
w w w. pana s onic .co.uk

he Lumix S1 is the internally and to external recorders.

Specifications cheaper option in The Panasonic S1R might have
Sensor: 24.2MP full frame MOS, 35.6 x 3.8mm
Image processor: Venus
T Panasonic’s new Lumix
S full-frame mirrorless
much higher resolution for stills
photographers, but the S1 could be
AF points: DFD contrast AF, 225-area camera line-up. It has a better (and more cost-effective)
ISO range: 100 to 51,200, exp. 50-204,800 a 24-megapixel sensor compared choice for videographers.
Max image size: 6,000 x 4,000 with the 47-megapixel sensor in The S1 is launched alongside
Metering modes: Multi, spot, centre-weighted, the flagship S1R model, but it’s well three new L-Mount lenses, using the
highlight-weighted over £1,000/$1,000 cheaper, has standard developed jointly by Leica,
Video: 4K UHD at 60p, 50p, 30p, 25p, 24p the same build quality, external Panasonic and Sigma. We tested the
Viewfinder: EVF, 5.76m dots, 100% coverage controls and autofocus system. S1 with the Panasonic 24-105mm f/4
Memory card: SD/SDHC/SDXC UHS-II, XQD Like its more expensive sibling, it standard zoom, which offers a good
LCD: 3.2-inch tilting touchscreen, 2.1m dots shoots 4K video at up to 60/50fps. blend of zoom range and speed, but
Max burst: 9fps What’s more, the S1 will shortly Panasonic is ramping up its lens
Connectivity: Wi-Fi, Bluetooth benefit from a software upgrade that range pretty quickly. This lens
Size: 149 x 110 x 97mm (body only) will add Panasonic’s V-log video mode is being joined by a 24-70mm
Weight: 1,021g (body only, with battery and SD card) and higher quality recording both f/2.8 pro lens amongst others.

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 Panasonic Lumix S1 Mirrorless

8
6

4
5

4 5 6 7 8 9

The main mode dial It’s great to get a proper The location of the With 5.76 million The rear touchscreen You can move the active
is clearly labelled, DSLR-style status panel power switch seems dots, the electronic has an up/down tilt focus point with this
with a firm movement – on a mirrorless camera; awkward – why not viewfinder is so sharp action but is not the small joystick – or just
the drive mode dial this is an old-school just put it around and smooth you just fully vari-angle display tap on the screen where
is underneath. black-on-green display. the shutter release? can’t see the dots. of some Lumix models. you want to position it.

The Lumix S1 goes up against the Sony good to pick up a camera big enough
A7 III and the Nikon Z 6, both in terms to balance properly when they’re
of resolution and price. It loses out to attached. Having said that, the Lumix
both in continuous shooting speed, but S1 and 24-105mm lens combo soon
it makes up for that with its 60fps 4K starts to give you hand-ache if you’re
video capabilities, soon to be boosted using it as a walk-around camera.
still further by Panasonic’s promised The controls are refreshingly obvious
software upgrade. and solid. The S1 has a proper external
Nikon and Canon have received drive mode dial, for example, which is
some criticism for offering just a single stacked under the mode dial at the left
memory card slot in their full-frame end of the top plate. This feels much
mirrorless cameras: the Lumix S1 has better and more direct than having to
two – one for SD, one for XQD. select the drive mode via a screen.
The same applies to the autofocus With its combination of low image noise and a dual image
Build and handling mode and settings. On rival cameras stabilisation system, the S1 is terrific for low-light shots.
The Lumix S1 is designed to withstand this means digging into the digital
serious use, with a magnesium alloy display, but on this one there’s a
construction, weather sealing and a dedicated control on the back of the
400,000-shot shutter life. It feels even camera for selecting the AF mode,
bigger and heftier than the Nikon with a button in the centre for
Z 6 – and is far bigger than the Sony selecting the AF point/mode.
A7 III – but this does allow you to get The Lumix S1 has all the external
a proper grip on the body. The size controls of a full-size DSLR. It even
allows more space for controls; so has a large top-mounted status LCD
while Sony, Canon and Nikon were panel, with a small backlighting
first to hit the full-frame mirrorless button alongside to make it
market, it feels as if Panasonic has easy to read in dark conditions.
taken the time to get everything right. All the controls feel positive and
Full-frame mirrorless lenses are as robust, so while the specifications The colours produced by the Lumix S1 in regular daylight
big as their DSLR counterparts, so it’s alone might make the S1 seem shooting are very bright, clean and natural-looking.

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 very much on a par with existing The full-frame considering this to offer the best
full-frame mirrorless cameras in sensor and performance available right now –
“The build this price range, the build quality constant-
aperture f/4
and the system does seem to offer very
and handling really seem first-rate. fast and snappy responses.
quality and 24-105mm lens
can produce
It stumbles a little in indoor shooting
Performance in very dark conditions, though, where
handling Panasonic has stuck to its DFD (depth
atmospheric
shallow depth-
it sometimes hunts a little before
from defocus) system for the Lumix S1 locking focus or gets confused by
really seem and S1R rather rather than the phase
of-field effects.
bright naked light sources. It didn’t
detection/hybrid AF systems used much like very bright point sources
first-rate” by rival mirrorless camera makers, outside either: it occasionally tripped
up during a late-evening sunset
session, capturing an image way
out of focus but with sharply defined
Rival cameras bokeh ‘discs’, which may be what’s
confusing the system. In the majority
of situations, though, we had no
trouble, and in regular lighting
Panasonic’s DFD autofocus system
was extremely quick and accurate.
Our real-life image samples bore out
the results we got from our lab tests.
Obviously we wouldn’t expect the
Canon EOS R Nikon Z 6 Sony Alpha 7 III 24-megapixel S1 to come anywhere
£2,349/$1,999 £1,699/$1,797 £1,799/$1,998 near the resolution of the 47-megapixel
The EOS R lacks in-body The Z 6 is an incredibly The A7 III’s combination S1R, but it closely matches its chief
image stabilisation, but capable camera, and is of affordability, frame
rivals, the Sony A7 III and the Nikon
it’s a very competent a main rival to the Lumix rate and ISO range are
Z 6. The Canon EOS R offers slightly
rival to the S1, with S1. Like the EOS R, it still very impressive.
access to Canon’s EF offers compatibility with Sony has slashed higher levels of detail, thanks to
lenses via an adaptor. DSLR lenses. its body-only price. its 30-megapixel sensor.
Reviewed: issue 209 Reviewed: issue 211 Reviewed: issue 203 The Lumix S1 also does very well
in our dynamic range tests in the lab,
closely matched by the Nikon Z 6 –

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 Panasonic Lumix S1 Mirrorless

Lab tests

With its 30.3MP sensor, the Canon EOS R comes out

on top in our resolution test, but the Panasonic, Nikon
and Sony cameras are inseparable up to ISO 3,200.
The AF system occasionally struggles with the sun and other bright pinpoint light sources.

The Lumix S1 clearly beats the competition

throughout its sensitivity range, showing the value
of the lower megapixel count compared to the S1R.

The rear autofocus lever is useful for moving the AF point if you don’t like using a touchscreen.

the older Sony A7 III is very good, It’s hard to fault either the exposure
but not quite up to the standard system or the auto white balance.
of the other two. We did have to apply exposure
Where the Lumix S1 really excels, compensation here and there – but
though, is in its noise control. Right only where you’d expect, with unusually
across the ISO range, its noise levels dark- or light-toned subjects, and never
are lower than the rest. This and the because the exposure meter produced The Lumix S1 has a narrow lead over the competition
when it comes to dynamic range. The Z 6 gives the
camera’s dual-stabilisation system, an unexpected result.
S1 a good run for its money up to ISO 6,400.
with both in-lens and in-body Rod Lawton
stabilisation working in unison, make
it an excellent choice for handheld Digital Camera verdict
low-light photography. This enhanced
low-light performance is one reason
for choosing a lower-resolution
camera over the top model if this
4.5 Outstanding

feature is important to you.

If you shoot raw, keep in mind that 4.5 5.0 4.5 3.5
your choice of raw converter will
influence the noise levels – Adobe Features Build & Performance Value
handling
Camera Raw and Lightroom, for
example, produce more noise than The Lumix S1 is a hefty camera that offers excellent
others by default, until you make performance. It matches the Nikon Z 6 and Sony
adjustments to the noise settings. A7 III for image quality, but costs more than either.

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 Mirrorless Panasonic Lumix S1R

The substantial
grip and tall body
make the S1R
chunkier and
‘grippier’ than
its rivals.

With 47.3 million

pixels, the Lumix
1
S1R narrowly
2 beats both the
Sony A7R III and
the Nikon Z 7
for resolution.

3 3

You can use this

lever to switch
between the
mechanical
shutter and the
electronic shutter.

Panasonic Lumix S1R

£3,399/$4,199 (body only)
The Lumix S1R is the highest-resolution full frame
mirrorless camera yet to hit the market
w w w. pana s onic .co.uk

Sensor: 47.3MP full frame CMOS, 36 x 24mm e’ve waited quite a long with more to follow, but the key factor
Image processor: Venus time to get our hands here is Panasonic’s membership of
AF points: 225-area DFD contrast AF
ISO range: 100 to 25,600 (exp. 500 to 51,200)
W on Panasonic’s new
full-frame mirrorless
a new L-Mount Alliance with Sigma
and Leica. All three makers will be
Max image size: 8,368 x 5,584 camera. Announced producing lenses for this new format,
Metering modes: Multi, centre-weighted, spot, at Photokina 2018 and rumoured and Sigma has already adapted
highlight weighted long before that, the new Lumix S a number of its Art prime lenses.
Video: 4K UHD at 60p, 50p, 30p, 25p, 24p range is a big step up from the smaller Panasonic has promised 42 different
Viewfinder: OLED EVF, 5.76m dots, 100% coverage, Micro Four Thirds format cameras lenses by the end of 2020.
0.78x magnification made by Panasonic before. We’re testing the Lumix S1R
Memory card: SD (UHS II compatible) + XQD Designed for professionals, experts with the Panasonic 24-105mm f/4
LCD: 3.2-inch tilting touchscreen, 2.1m dots and advanced amateurs, the Lumix S zoom, which looks like the best kit
Max burst: 9fps, 6fps with CAF range consists of the 24-megapixel lens choice for this camera right now.
Connectivity: Wi-Fi, Bluetooth Lumix S1 and the more expensive
Size: 149 x 110 x 97mm Lumix S1R reviewed here. There is Key features
Weight: 1,016g (with battery and SD card) a small selection of lenses to go with Like Sony and Nikon, Panasonic has
these new cameras from Panasonic, produced two externally identical

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 Panasonic Lumix S1R Mirrorless

6 7

4 5 6 7 8 9

The Lumix S1R’s locking This large status panel The power switch has The high-resolution With a resolution of Behind the memory
two-tier mode dial has is welcome, but uses a nice, firm ‘click’ but rear touchscreen 5.76 million dots, the card door you’ll find
the drive mode dial a green display rather feels awkardly placed – display has an up/down electronic viewfinder one UHS-II card slot and
located directly than the white-on-black why not have it near tilt, plus an unusual is as crystal-clear one for the lesser-used
underneath. seen on other cameras. the shutter button? sideways action. as you’ll find. XQD card format.

cameras with two different resolutions viewfinder, with 5,760k dots; and a
and price points. The Lumix S1 has a continuous shooting speed of 9fps.
24-million-pixel sensor, while the S1R If there is a chink in the S1R’s armour,
has a 47-megapixel CMOS sensor – it’s here. That 9fps frame rate is
the highest resolution yet offered achieved only with the AF locked on the
in a full-frame mirrorless camera, first frame. With continuous autofocus
if only by a small margin. the frame rate drops to 6fps; and while
As if that wasn’t enough, both the S1R also has a 6K Photo mode that
cameras offer a High Resolution mode, can capture 18-megapixel images at
which combines eight images captured 30fps, it’s not quite the same thing.
with a series of minute sensor shifts
to produce one super-high resolution Build and handling
image well beyond the sensor’s native Panasonic has taken a pretty
resolution. On the S1R, this means uncompromising approach to the The Panasonic 24-105mm f/4 lens was an average performer
187-megapixel photos that exceed the S1R’s build quality, with a magnesium in the lab, but excellent in real-world shooting.
pixel count of even the most powerful alloy construction and weather
medium-format cameras – although sealing to make it dust- and moisture-
it relies on static subjects and with resistant, and ‘freeze-proof’ down to
the camera mounted on a tripod. -10 degrees. It’s a substantial camera
This is made possible by Panasonic’s to pick up and hold, and perhaps
five-axis in-body stabilisation system, feels closest to Nikon’s Z 6 and Z 7
which offers 5.5 stops of shake models in general size and feel.
compensation on its own, but up The S1R goes further in a number
to six stops with one of Panasonic’s of respects, though. The electronic
new image-stabilised lenses. viewfinder’s resolution is on a whole
Other headline features include new level, for a start. It’s sharp,
the ability to shoot 4K video at up to saturated and remarkably lag-free.
60/50fps for the first time in a full- We’re used to EVFs ‘smearing’ with fast
frame mirrorless model; the world’s camera movements, especially in low The in-body stabilisation system has captured bitingly
highest-resolution electronic light, but this is perhaps the sharp detail with no blur at all in this indoor close-up.

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 closest we’ve yet come to a genuine The 24-105mm have to slide a slightly fiddly catch
‘optical’ viewfinder look. lens might only on the side of the screen to release it.
“Both in the The screen on the back of the camera be an f/4 – but
on a full-frame
Panasonic chose this mechanism
deserves praise too. Its clever tri-axial to improve durability, and this sense of
lab and in real- tilt mechanism allows for sideways sensor, that still
gives a very
robustness is everywhere. Inside, the
movement as well as up and down, S1R has a shutter with a life expectancy
world testing, so this is a tilting screen you can also
shallow depth
of field.
of 400,000 shots; on the outside it has
use with the camera held vertically. really firm, positive controls – and lots
it delivered However, the movement is restricted of them. It’s great to get a dedicated
to about 45 degrees; it hinges in one drive mode dial and a dual-function
sharp detail” direction only (to the right); and you focus dial for setting the focus mode
and selecting the focus area.
The only issue we had was with the
sensitivity of the touchscreen display:
Rival cameras it’s easy to inadvertently set the focus
point near the bottom-left corner when
your nose touches the screen during
shooting. It’s a common problem with
cameras that offer touch-focus control.

Performance
Pre-production Lumix S1 and S1R
autofocus systems tended to hunt
Fujifilm GFX 50R Nikon Z 7 Sony Alpha 7R III a little in very dim light, but this
£3,999/$4,499 £3,199/$3,399 £2,699/$2,799 production camera showed no such
If your main goal is Compared with the This older camera’s hesitation. Even though Panasonic
all-out image quality, hefty S1R, the Z 7 is 42.4MP sensor and
is using a contrast AF system rather
this medium-format a positive lightweight. Sony’s excellent G
than the theoretically faster phase-
camera offers more It can use all existing Master lenses are still
resolution than the S1R Nikon DSLR lenses capable of extremely detection AF, the system feels
and a larger sensor. via an adaptor. high levels of resolution. very fast and responsive.
Reviewed: issue 212 Reviewed: issue 208 Reviewed: issue 199 The Eye AF system is particularly
impressive. In this mode, the camera
automatically identifies bodies and

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 Panasonic Lumix S1R Mirrorless

Lab tests

The GFX 50R has a slight advantage over the rest,

although the differences are small. The S1R and
Z 7 run neck and neck across the ISO range.
The exposure system proved pretty reliable, and you soon learn how it will react.

The Fujifilm GFX 50R showed an advantage here, as

we’d expect from its larger sensor, and hence larger
photosites. The S1R wasn’t far behind, though.

The image shows very nicely defined fine detail that stays sharp right to the edges.

faces in the scene – if there’s more well. In fact, it’s only at ISO 12,800
than one, it will usually select the and up that you seen any substantial
face nearest the camera, but you loss of visual sharpness and fine
can change the face selected using textures starting to smooth over.
the focus lever. When a face is It’s hard to fault this camera’s
detected, the AF system will pick out resolving power. Both in the lab
the subject’s eyes with crosshairs and in real-world testing, it delivered We’re used to seeing good dynamic range figures from
Panasonic cameras, and the S1R didn’t disappoint us,
– again, you can choose which eye extremely sharp detail; the 24-105mm
showing a slight advantage at lower ISO settings.
is selected using the focus lever. f/4 zoom can take a lot of the credit.
The hybrid image stabilisation works Rod Lawton
well. In our tests, we were able to shoot Digital Camera verdict
hand-held with the lens set to 105mm
at 1/6 sec with the same success rate
as shooting at 1/125 sec without
stabilisation – a gain of four stops.
4.5 Outstanding

The image quality is excellent,

especially at higher ISO settings. 4.5 4.5 5.0 4.0
Because of this camera’s high
resolution and hence relatively small Features Build & Performance Value
handling
photosites, we’d expect to see noise
appearing quite soon and image quality The Lumix S1R feels like it means business. It handles
falling as the sensitivity is increased, well and produces excellent images, but we are still
but the S1R’s images hold up very waiting to see what lens system will emerge around it.

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 DSLR Pentax K-3 Mark III

The K-3 Mark III’s grip

gives a decent hold
and also houses the
battery, which is good
for around 800 shots
on a full charge.

The K-3 III has a new

26MP sensor with
a slightly higher
resolution than
1
previous models –
but there’s no
on-sensor phase
detect for Live View.
2

3
3

The focus mode button

works in conjunction
with the front and
rear dials, although
it would have been
nice to have more
prominent external
controls for this.

Pentax K-3 Mark III

£1,899/$1,999
Pentax’s latest and best APS-C DSLR
w w w. ricoh - imaging .eu

Specifications he K-3 Mark III is the like the illuminated K-S1. Many people
latest in a long line of seem to have forgotten that Pentax
Sensor: 25.7MP APS-C CMOS
AF points: 101/25 cross-type, contrast AF in Live View
T Pentax DSLRs, and
we’re always glad to
used to make an APS-C mirrorless
camera too – the K-01 from 2012.
ISO range: 100-1,600,000 see any new Pentax For now, the K-3 Mark III is the
Stabilisation: In-body model. It’s a reminder that DSLRs company’s APS-C flagship, so
Max image size: 6,192 x 4,128px are still relevant – and that Canon let’s take a look at what this
Video: 4K UHD up to 30p, FHD up to 60p and Nikon are not the only camera new DSLR has got to offer…
Viewfinder: Optical pentaprism, manufacturers still making them.
100% coverage, 1.04x magnification The Pentax DSLR range has often Key features
Memory card: Two SD/SDHC/SDXC (one UHS-I, one UHS-II) been confusing, however. The full- For a long time, Pentax has stuck
LCD: Fixed 3.2-inch touchscreen, 1,620 dots frame K-1 and its K-1 Mark II successor with a 24-megapixel sensor across its
Max burst: 12fps for 37 JPEGs, 32 raw are straightforward enough, but APS-C camera range, but the K-3 Mark
Size: 135 x 104 x 74mm Pentax’s APS-C DSLRs have come in III has a new 25.7-megapixel back-
Weight: 820g body only, inc battery and memory card all sorts of shapes, sizes and series. illuminated CMOS sensor, matched up
Before the K-3 Mark III, we’d regarded with a Prime V processing engine with
the K-P, now discontinued, as the ‘second-generation accelerator unit’.
flagship. Further down the scale we This sensor has no anti-aliasing
have the five-year-old K-70, which is filter, but the K-3 Mark III does use its
still available and, oddly, has a more in-body sensor shift system to offer
contemporary feel than the K-3 III ‘AA simulation’, should you need it.
(on-sensor phase-detect AF, vari- This sensor-shift system does a lot
angle screen). There have also been of other jobs. It also powers Pentax’s
interesting but short-lived cameras Astrotracer system with an optional

136

DCM276.guide_panasonic.indd 136 28/11/2023 13:06

 Pentax K-3 Mark III DSLR

5
4 7

The rear screen is The Camera/Live

clear, crisp and bright, View/Movie dial
but it’s fixed to the seems like an
back, without even optimistic inclusion,
a tilting mechanism. since the K-3 III is
not particularly adept
at either Live View
4 5
shooting or video.
With this rear dial,
a front dial and a top-
8
mounted function dial,
the K-3 III is not short With 10 customisable
of external controls. buttons, customisable
front and rear dials
and extended SFn
6
(special function)
Hyper Operation control with the top
modes extend past dial, you’ve got plenty
regular PASM modes, of opportunities to set
but end up doing much this camera up just
the same thing. how you want it.

8
6

O-GPS1 GPS Unit mounted; the That’s not helped by the use of a fixed The K-3 Mark III’s in-camera HDR mode is very good
anti-aliasing filter simulation rear screen, which doesn’t even have if you like that classic HDR-enhanced detail look.
mentioned above; automatic horizon a tilting mechanism. The K-3 III can
straightening if the camera is not quite shoot 4K video at up to 30p, but it’s as
level; and a Pixel Shift High Resolution if this has been added as a courtesy
mode, which uses tiny one-pixel rather than a serious proposition.
sensor shifts to gather full RGB The K-3 III does have an impressive
colour data for each photosite. 12fps continuous shooting mode,
This is all based around a new SRII helped by a redesigned, lighter shutter
five-axis system offering up to 5.5 and mirror mechanism. There are
stops of shake compensation, with some restrictions, however. The 12
a panning mode for moving subjects. frames per second is achieved only
The K-3 Mark III also has a new in AF-S mode; with continuous AF it
101-point Safox 13 AF system, with 25 drops to a maximum of 11fps. Worse,
cross-type points in the centre. As the buffer capacity at this speed is just
usual with DSLRs, the full-focus area 37 JPEGs or 32 raw files. If you think
does not extend right across the full the price of the K-3 III is justified by its
width and height of the frame, so shooting speed, bear in mind it can’t The K-3 Mark III goes all the way up to ISO 1,600,000, but by
despite the large number of AF points, sustain it for more than three seconds. ISO 12,800 it’s already starting to look a bit smoothed-over.
they only cover a part of the scene.
If you switch to Live View, the K-3 Build and handling
Mark III then swaps to sensor-based The Pentax K-3 Mark III certainly
contrast AF. The use of contrast feels rugged. It has an ‘all surface’ “It’s a reminder that
AF here is both a surprise and a magnesium alloy body that’s also
disappointment. On-sensor phase dustproof and weatherproof. Pentax Canon and Nikon are
detect AF is now a widely used says the grip and controls have been
mainstream technology; without optimised for different hand sizes, not the only companies
it, the K-3 Mark III’s Live View and while the body is compact,
mode loses a lot of its appeal. it does offer a decent grip. still making DSLRs”
137

DCM276.guide_panasonic.indd 137 28/11/2023 13:06

 DSLR Pentax K-3 Mark III Resolution (line widths/picture height)

ISO 100 200 400 800 1600 3200 6400 12800 25600

Pentax K-3 Mk III 28.5 28.5 28.5 28.5 28.5 28.5 28.5 26.50 24.00

Canon EOS 90D 30.25 30.25 30.25 30.25 30.25 30.25 28.00 26.00 22.00

Fujifilm X-T4 27.5 27.5 27.5 27.5 27.5 27.5 25.5

Nikon D500 29.75 29.75 29.75 28.00 28.00 28.00 22.00 22.00 20.00

Resolution (line widths/picture height)

50

40

30

20

10

0
100 200 400 800 1600 3200 6400 12800 25600
Pentax K-3 Mk III Canon EOS 90D
Fujifilm X-T4 Nikon D500

The 26MP K-3 III predictably resolves a similar degree

Signal to noise ratio (decibels)

of fine detail as the 26MP Fujifilm X-T4. Both cameras

ISO 100 200 400 800 1600 3200 6400 12800 25600

Pentax K-3 Mk III 40.46 39.19 38.25 36.36 33.92 30.74 27.94 25.52 22.61

Canon EOS 90D 41.69 39.74 38.03 34.60 31.12 27.86 24.84 21.92 19.17

Fujifilm X-T4

Nikon D500 are actually very close to the 32.5MP EOS 90D.
41.15
42.55

38.91
39.83

36.35
37.13

33.51
34.37

30.55
31.32

27.30
28.18

24.17
24.99

21.02 18.18

Signal to noise ratio (decibels)

60

Whatever we think of the K-3 Mark III’s dated design concept, its JPEGs are really
50
rather good. This shot is a great example of the camera’s rich colour rendition.
40

30

A ‘new-generation’ Hyper Operation brilliantly. Its AF system seems to keep 20

system integrates Pentax’s TAv mode up with moving subjects pretty well,
10
alongside the Tv, Av and P modes. TAv but because it’s only the sensor that’s
1
mode lets you set both shutter speed stabilised and not the viewfinder 0
100 200 400 800 1600 3200 6400 12800 25600
and aperture and adjusts the ISO image, it’s not as easy to keep fast- Pentax K-3 Mk III Canon EOS 90D
Fujifilm X-T4 Nikon D500
automatically, although that sounds moving subjects centred on the AF
a lot like using Auto ISO in Manual points – this is where mirrorless The K-3 III technically produces the noisiest images
Dynamic range (EV)

at lower sensitivities, though it’s really a moot point,

ISO 100 200 400 800 1600 3200 6400 12800 25600

mode on other cameras. cameras with IBIS or even stabilised Pentax K-3 Mk III

Canon EOS 90D

12.28

11.73
12.28

11.45
12.28

11.53
12.27

11.49
12.26

11.34
11.93

10.42
10.83

9.08
9.63

7.45
8.84

6.12

The viewfinder is clear and bright DSLR lenses have an advantage.

Fujifilm X-T4

Nikon D500 as noise isn’t visible to the naked eye at low ISOs.
11.96
12.48

12.17
12.47

12.20
12.29

12.22
11.96

11.44
11.4

10.32
10.34

9.41 8.58
9.1

7.57

with good magnification (Pentax Worse, the K-3 Mark III’s buffer depth
claims 10% better pentaprism is so shallow, even for JPEGs, that Dynamic range (EV)
14
reflectance than before) and an eye its focus tracking is academic.
sensor switches off the rear LCD The still image quality is very good; 12

when you put the camera to your eye. the resolution is everything you would 10

The biggest issue is that fixed rear expect from a 26-megapixel sensor, 8

screen, which feels like a stubborn and the dynamic range is impressive. 6
anachronism. It dents the K-3 Mark Even JPEGs straight from the camera 4
III’s appeal – especially at this price. had very good tonal range, and the
2
dense, satisfying colour rendition 1
Performance we’re used to from Pentax DSLRs.
0
100 200 400 800 1600 3200 6400 12800 25600

In terms of its physical performance That sky-high ISO 1,600,00 setting Pentax K-3 Mk III Canon EOS 90D
Fujifilm X-T4 Nikon D500
and responses, the Pentax K-3 Mark III is way higher than we would want to
Dynamic range is the K-3 Mark III’s forté: while it’s
performs adequately rather than go, though. Rod Lawton
marginally beaten by the Fujifilm X-T4, the difference
is minimal, and it edges into the lead at ISO 1,600.

Rival cameras Digital Camera verdict

3.0 Good

3.0 4.0 3.5 1.5

Canon EOS 90D Fujifilm X-T4 Nikon D500

Features Build & Performance Value
£1,249/$1,199 £1,399/$1,699 £1,479/$1,499 handling 1
The EOS 90D is a more Smaller and cheaper If it’s a speedy, durable
accomplished camera than the K-3 III, the X-T4 DSLR you want, the The K-3 Mark III is fast, powerful and packed with
in every way, with more also has IBIS and a 26MP D500 is a few years old clever features. It’s also oddly dated, as if Pentax has
megapixels, Live View AF sensor, and is way better now, but gives the K-3 III deliberately stepped back from modern innovations
and a vari-angle screen. at video capture. a run for its money. like on-sensor phase detect AF and vari-angle
Reviewed: issue 222 Reviewed: issue 231 Reviewed: issue 181 screens, and back to simpler times. Its most striking
feature of all, however, is the price. It’s the most
expensive APS-C camera out there, apart from Leica.

138

DCM276.guide_panasonic.indd 138 28/11/2023 13:06

 DISCOVER THE UNIVERSE
w w w.spaceanswers .com

Available
from all good
newsagents and
supermarkets

New issue on sale now!

EXPLORATION SOLAR SYSTEM DEEP SPACE FUTURE TECH ASTRONOMY

Print and digital subscriptions available at

www.magazinesdirect.com/know3for3

/AllAboutSpaceMagazine @spaceanswers [email protected]

DCM276.ad_aas.indd 1 23/11/2023 10:38

 DSLR Pentax KF

While one of Pentax’s

smaller DSLR designs,
the KF’s body is still
pretty chunky.
1
3
2

The mirror box and

pentaprism/flash
housing really add to
the bulk at the front.

The KF is based around

a 24MP APS-C CMOS
sensor and a PRIME
MII Image processor.

Pentax KF
£849/$847 (body only)
A new camera or an old friend in disguise?
ricoh-imaging.eu

Specifications anon and Nikon may the medium format Pentax 645Z, a
dominate the DSLR camera that brought medium format
Sensor: 24MP APS-C CMOS
Lens mount: Pentax KAF2
C market, but we mustn’t
forget that there is
to the masses long before Fujifilm. It
may not lead the field, but Pentax
Image processor: PRIME MII a third contender, cameras certainly deserve to be
AF points: 11-point Phase-matching AF Pentax. The company has been considered alongside the best DSLRs
ISO range: 100 to 102,400 making DSLRs for the same time and best medium-format cameras.
Max image size: 6,000 x 4,000px as the other two and, after an early Pentax might be a brand with real
Metering modes: TTL open aperture, 77 segmented dalliance with mirrorless, has fully depth and history, but it isn’t known
metering, centre-weighted and spot metering committed to the digital SLR design. for pushing back the frontiers of
Max video resolution: 1920 x 1080 30p/60i It is mainly aiming for a small but imaging technology. We should also
Viewfinder: Optical pentaprism, 100% coverage, passionate band of enthusiasts who explain that we did not have access to
0.95x magnification with 50mm lens appreciate the brand’s traditional the regular 18-55mm kit lens for this
LCD: 3-inch 1,037k dot vari-angle values, heritage and rugged design. review and only had one lens (55mm
Max burst: 6fps JPG (L: *** at Continuous H, The Pentax KF is the latest of f/1.4 SDM) with its own AF motor.
up to approximately 40 frames) Pentax’s many, and sometimes almost
Memory card: SD/SDHC/SDXC UHS-I indistinguishable, APS-C format Key features
Connectivity: Wi-Fi, USB 2.0, Micro HDMI DSLRs, all of which seem to share the The Pentax KF’s digital SLR design
Size: 125.5 x 93.0 x 74.0mm same 24MP CMOS sensor, but have means it has an optical viewfinder
Weight: 684g (with battery varying combinations of body design, with one focusing system (an 11-point
and memory card) burst speeds and other features. SAFOX AF system) and a rear screen
Pentax also makes a full-frame with a different one. In live view, you
DSLR, the hefty but rather good get hybrid phase/contrast AF which
Pentax K-1 Mark II, and it also makes should give much faster and more

140

DCM276.guide_panasonic.indd 140 28/11/2023 13:06

 Pentax KF DSLR

4 7

The controls are good In a clever touch, a

4 and sturdy, but the long press of the pad’s
dials themselves are central button controls
possibly a little too stiff. the AF point position.

5 8

When not in use for There is a 6fps burst

Live View, the rear mode, but the buffer
5 screen acts as a clear capacity is limited
6 information display. to 10 raw frames.

7
6 9

A four-way control pad The mode dial has two

accesses ISO, drive extra modes: Sv and
mode, WB and flash TAv – different routes
control options. to manual and Auto ISO.

Rod Lawton
8

Auto White Balance does a good job of balancing

daylight and artificial light without losing
9
atmosphere (shot with a 10-17mm fisheye zoom).

Rod Lawton
effective autofocus than the contrast- Inside, the KF uses Pentax’s long-
only AF on other Pentax DSLR bodies, running and effective SR Shake
though this will depend on the lens. Reduction system – Pentax is still
The only other Pentax DSLR to offer the only manufacturer to build IBIS
hybrid AF is the Pentax K70, launched into a DSLR. The SR system doesn’t
in 2016. That also has a 24MP sensor, just cut out camera shake, it also The KF seems particularly prone to losing detail
flip-out screen, 1080 video and an offers ‘anti-aliasing simulation’ to in bright skies, though if you shoot raw files it’s
identical body design. As far as we help combat moiré in fine patterns a fairly simple task to recover it during editing.
can tell, the KF has a different rear and textures – though that’s not
display, slightly different battery life, a particularly common issue.
a new badge and a choice of white There is a 6fps burst mode, but the And now, the lenses. Pentax makes some
or blue special editions. buffer capacity is limited to 10 raw modern lenses with integrated DC or SDM
The flip-out rear screen gives the frames or 40 jpegs, so this camera AF motors, though these can be pretty
KF a more modern feel than other will be no good for sports photography. expensive. But many more Pentax AF
Pentax DSLRs, but it isn’t touch- It has a single UHS-I card slot. lenses are controlled by a screw drive
sensitive, though, and the KF’s video You get a proper pentaprism from the camera body, including the
capabilities are stuck in the dark ages viewfinder, unlike the cheaper and neat-looking ‘Limited Edition’ primes.
at a maximum resolution of 1920 x smaller pentamirror designs on rival This is a different user experience, and
1080. It can shoot 1080 video at cameras and the KF even offers not necessarily in a good way, either.
30p, but while it can do 60fps, it’s interchangeable focusing screens, Nevertheless, the best Pentax lenses
interlaced. Interlaced video – in 2023! which is a real blast from the past. do contain a mix of both types.

141

DCM276.guide_panasonic.indd 141 28/11/2023 13:06

 DSLR Pentax KF

Rod Lawton
Colours captured by the Pentax KF are rich and natural-looking and you don’t often need to make any adjustments to the auto-exposure.

Build and handling Many users won’t mind the extra flash options or, with a long press, the
The Pentax KF is one of the heft and ‘grippability’ and might even position of the AF point. That’s clever.
company’s smallest DSLR designs, prefer it to the feel of a mirrorless The main mode dial has the usual
but by most people’s standards, it’s camera, though it will take up more Program AE, Shutter Priority, Aperture
still a pretty chunky camera body. space in your camera bag. Priority and Manual modes – and two
Although it’s a similar width and The controls are good and sturdy, extra. Sv (sensitivity value) mode lets
height to many mirrorless cameras, though the control dials may even you set the ISO and leaves the camera
the mirror box and pentaprism/flash be a little too stiff. Round the back to work out the best aperture and
housing really add significantly is a four-way control pad which shutter speed. It’s hard to see how
to the bulk at the front. accesses ISO, drive mode, WB and that’s different to setting the ISO and
using P mode. TAv mode lets you set
the shutter speed and aperture and
Rival cameras jiggles the ISO to get the exposure
right, which sounds a lot like using
Auto ISO in manual mode.
The viewfinder is pretty good, too
– it’s big and clear, and displays all
your shooting information equally
clearly underneath. You can view this
info and more on the rear screen (if
Canon EOS 850D Nikon D7500 Fujifilm X-T30 II you aren’t currently using it for Live
£799/$749 £1,300/$1,500 £769/$899 View), which is an excellent display.
Sold as the Rebel T8i Low-light performance Looks good and works The Live View is both unusual and
in the US, the 24.1MP and overall image quality well, too, with old-school
useful in the context of a DSLR, but
850D is a decent camera are first-rate, although shutter speed and
but its 4K video capture its resolution is 20MP aperture dials, but
the shunting and clanking as the
comes with a crop. lower than its forebear. there’s no IBIS. mirror is moved out of the way remind
Reviewed: issue 236 Reviewed: issue 193 Reviewed: issue 251 you that this is not a DSLR’s natural
environment. The Live View AF is
adequate but not the fastest when

142

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 Pentax KF DSLR

Lab tests
Resolution

Rod Lawton
Pentax seems to have nailed the colour rendition produced by its cameras,
at least when you’re taking outdoor, blue-sky photographs like this. The KF resolves the amount of fine detail we’d expect
from a 24MP camera, equalling the EOS 850D, and
outperforming it from ISO 6400. The extra resolving
power of the 26.1MP X-T30 II gives it an advantage.

Dynamic range

The KF performs well, capturing more dynamic range

than its DSLR rivals throughout the sensitivity range,
Rod Lawton

and equalling the X-T30 II – a camera with a modern

image sensor at its heart – at lower sensitivities.

Signal to noise ratio (decibels)

The autofocus is accurate enough if you take your time, but it’s less reliable with Pentax’s
older or ‘Limited’ lenses which are driven by the body and don’t have their own AF motors.

tested with Pentax’s 55mm f/1.4 SDM something we almost seem to take
lens. It’s pretty painful with screw- for granted with modern cameras.
driven lenses, as is the viewfinder AF. Other aspects of the KF’s
The autofocus with these screw- performance are less impressive.
drive lenses is noisy, choppy and We’ve already explained the AF issues
hesitant. It works, in its own time, with older or cheaper Pentax lenses,
but it messes with your shot timing and while the camera will focus
and, if you reframe and the lens accurately with whatever lens you
makes no noise, you start to wonder use, it won’t always do it quickly or The KF images are impressively clean, with low image
whether it has actually refocused. at the first attempt. If Pentax is going noise levels that rival both the Canon and Fujifilm
to persist with its body-driven AF, cameras throughout the tested ISO range.
Performance it needs to find a way to improve it.
The Pentax KF produces rich, natural- We tested four different lenses
looking jpegs, as we’ve come to with this camera and, as a batch, they Digital Camera verdict

3.5
expect from Pentax DSLRs. The showed varying degrees of optical
multi-pattern exposure system works quality. An older 18-55mm f/3.5-5.6
Good
well, with only an occasional need to kit lens showed much more chromatic
dial in some exposure compensation aberration at the edges of the frame
with unusually dark- or light-toned than we would expect today, the
3.5 4.0 3.5 3.0
subjects, as we’d expect. We found Pentax DA* 55mm F1.4 SDM lens was
that bright skies often lost some good and adequately refined during
Features Build & Performance Value
highlight detail in the clouds, despite focusing but no more, while the HD handling
Pentax’s extended dynamic range Pentax-DA 70mm F2.4 Limited lens
The Pentax KF is a well-made DSLR but it is
option, but it’s easy enough to is sharp enough but again relies
essentially a relaunch of the Pentax K70. The merits
recover highlights from the raw files. on body-driven AF, as does the HD of this camera’s autofocus system will be lost
There were no issues with the Auto Pentax-DA Fisheye 10-17mm F3.5-4.5 unless you are using a newer Pentax lens with
White Balance either, which gave ED fisheye zoom. We’ve reviewed an SDM, DC or PLM AF motor. Otherwise, you’re
natural-looking colours both these last three lenses separately. restricted to the body-based AF drive, which makes
outside and indoors. This is Rod Lawton this camera seem more primitive than it actually is.

143

DCM276.guide_panasonic.indd 143 28/11/2023 13:06

 Mirrorless Sigma fp L

3 The Sigma fp L is
minimal in the extreme.
It’s certainly small, but
that means there’s
also no grip.

This is a tiny camera

1 2
with a big sensor!
Believe it or not, that’s
a 61MP full-frame
sensor in there.

The Sigma fp L uses

the new L-Mount,
developed with Leica
and Panasonic.

Sigma fp L
£1,999/$2,499
Dazzling 61MP stills, 4K video capture and full-on cine features
w w w. sigma - imaging - uk .com

Specifications he Sigma fp L is a body for lights, microphones, external

61-megapixel version monitors or the optional EVF. You can
Sensor: 61MP full-frame
back-illuminated Bayer CMOS
T of the original Sigma fp,
launched in 2019. From
use the fp L as is, as a fully functioning
camera in its own right, but it’s also
Lens type: L-Mount the outside, the two designed to fit neatly into the heart of
Image processor: Not quoted cameras are identical: the Sigma fp L a video/cinema camera shooting rig.
AF points: 49 selectable AF points has the same compact, rectangular The principal differences between
ISO range: 100-25,600 (exp 6-102,400) shape, with a fixed rear screen and the Sigma fp and the Sigma fp L are
Max image size: 9,520 x 6,328px a switch on the top for swapping that the new model has a 61-megapixel
Video: 4K UHD up to 30p between Cine and Still modes. sensor and a hybrid contrast/phase
Viewfinder: Optional EVF-11, The Sigma fp concept is odd, but detect autofocus system.
0.5in, 3.68m dots intriguing. Sigma wanted to make a
Memory card: modular camera that could be adapted Key features
SD/SDHC/SDXC (UHS-II) to all sorts of uses. The fp L is basic Its 61MP sensor makes the fp L the
LCD: 3.15in fixed in the extreme: there’s no built-in joint highest-resolution full-frame
touchscreen, 2.1m dots viewfinder (although you can clip on camera you can buy, alongside the
Shutter speeds: 30-1/8,000 sec, an optional EVF unit sold separately Sony Alpha 7R IV. Sigma has decided
Bulb up to 300 sec or as part of a kit), and the rear to buck the trend and include a
Max burst: 10fps for 12 frames screen doesn’t even tilt. The idea is low-pass filter. In theory, this may
Connectivity: Wi-Fi/Bluetooth not supported that you get accessories for particular lead to a slight softening of fine
Size: 113 x 70 x 45mm kinds of work, and ‘build’ your working detail, but should prevent any
Weight: 427g body only, including rig accordingly. The fp L body might moiré interference effects.
battery and memory card be basic, but it has standard threaded The 61MP resolution has no direct
attachment points on either side of the impact on the video specifications.

144

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 Sigma fp L Mirrorless

4 7

The fixed rear screen The fp L works as

is a little limiting, but either a stills-oriented
the optional EVF-11 camera or a cinema-
does rotate by up oriented camera via
to 90 degrees. this simple switch.
6 Even the screen
interface style can
5 change in an instant.
The back of the fp L
looks simple, but 8
4 Sigma has sneaked
in a row of buttons This narrow slatted
below the screen. grille behind the LCD
display is part of the
Sigma fp L’s cooling
6 system, helping
There is a big control excess heat escape.
5
dial on the top and this
second control dial on
the back.

Both the fp and the fp L capture by up to 90 degrees. You’ll be able

full-width 4K video at up to 30p, to use the EVF-11 with the older
although the extra resolution of Sigma fp, too, but only via a firmware
the fp L ushers in a new concept: update which is yet to come.
a Digital Crop Zoom feature. Sigma is keen that the fp L is seen
Essentially, you can zoom digitally equally as a stills and a cine camera.
without losing resolution, because The video capture may top out at
you’re already starting with a surplus 4K 30p, but it can capture 8-bit
of megapixels. If you shoot 4K, you CinemaDNG format internally, and up
can get a zoom ratio of up to 2.5x, to 12-bit CinemaDNG to an external
and in Full HD it can go to 5x. SSD connected by USB. Or you will be
There’s no in-body stabilisation, able to hook up a Ninja V for ProRes
and many L-Mount lenses don’t have Raw or a Blackmagic Video Assist
optical stabilisers – but the fp L does 12G for Blackmagic Raw capture. The video autofocus system is pretty poor, but the fp L’s
have electronic image stabilisation, phase-detect AF delivers snappy AF for stills, with easy
which brings a 1.24x crop factor. Build and handling focus point selection, too.
The contrast-based autofocus Sigma has done a remarkable job
in the original Sigma fp proved of designing the smallest full-frame
pretty plodding, so the new hybrid digital camera ever, but that’s not quite
phase-detect capability in the fp L the end of the story. It’s also created
is very welcome, and comes with a camera with no built in viewfinder,
automatic face and eye detection no in-body stabilisation, no grip
and subject tracking modes. and a fixed rear screen. “Sigma wanted to make
There is a new EVF-11 electronic The fp L is tiny, but Sigma’s L-Mount
viewfinder to use with this camera, lenses are not. We tried the fp L a modular camera that
which you can buy separately or save with the Sigma 65mm f/2 DG DN |
money by buying it with the camera Contemporary prime lens, which is could be adapted to
as a kit. The EVF-11 has a 2.68m dot as big as we would probably like to go
0.5-inch screen and tilts upwards with this camera handheld. all sorts of uses”
145

DCM276.guide_panasonic.indd 145 28/11/2023 13:06

 Mirrorless Sigma fp L

The fp L does have a 10fps burst mode, but it has an electronic shutter only, so it’s not cut out for fast-moving subjects.
This tame squirrel stayed still for long enough to get a sharp shot, but any fast movement can cause blur.

If you want to use the fp L as a regular base, which is a regular tripod socket,
handheld camera, smaller Sigma and one in either side of the body for
Contemporary primes like the 45mm fixing on accessories. You can use
f/2.8 DG DN | C seem to fit it best. these for detachable camera strap
There are ways around this. Sigma eyelets, but the one on the left side
is selling two optional grips for the fp L is also used for attaching the EVF-11
to make it a bit more manageable electronic viewfinder.
with bigger lenses: the Hand Grip Fixing this on to the camera is a little
HG-11, which screws to the side, like fixing a battery grip to the base of a You can use the fp L with the rear screen
alone, but it is handy to have the clip-on
and the Large Hand Grip HG-21, camera – but here you have to remove
EVF – if only it clipped on a bit more easily!
which fixes to the base. the HDMI port cover, fold back the USB
The fp L has three standard screw- port cover and line up two connectors
thread attachment points – one in the and the attachment screw. It’s not difficult once you’ve got the knack,
but it’s not something you’d want to
do too many times during a shoot.
Rival cameras And you might have to, though.
One issue is that although the EVF
has a pass-through USB port, it’s not
clear that this supports charging. One
reason it’s not clear is that the EVF unit
covers up the charging lamp at the side
of the camera, so we’d be inclined to
think not. Having to detach the EVF
Leica SL2 Nikon Z 7II Sony Alpha 7R IV to charge or power the camera
£5,300/$6,595 £2,819/$2,999 £2,899/$2,999 could be a real nuisance.
The SL2 is another Nikon’s flagship Amazingly, the A7R IV The fp L’s user interface is a
L-Mount camera, but mirrorless camera is is the only camera to
masterpiece of simplicity and clarity.
more conventional. easier to handle than the match the Sigma fp L’s
Pricey, but classy. Sigma fp L, with a better resolution. It’s pricier,
It’s a bit to easy to confuse the power
Reviewed: www.bit.ly/ autofocus system. but better. switch with the Cine/Still switch
dcleicasl2 Reviewed: issue 239 Reviewed: issue 223 initially, but the quick and simple
separation of these two functions
is brilliant. The Cine mode even has

146

DCM276.guide_panasonic.indd 146 28/11/2023 13:06

 Sigma fp L Mirrorless
Resolution (line widths/picture height)

ISO 100 200 400 800 1600 3200 6400 12800 25600

Sigma fp L 42.00 42.00 42.00 42.00 42.00 41.00 39.00 37.00 34.00

Leica SL2 40.00 40.00 40.00 40.00 40.00 40.00 40.00 38.00 36.00

Lab tests
Nikon Z 7II 36.00 36.00 36.00 36.00 34.00 34.00 34.00 32.00 28.00

Sony Alpha 7R IV 45.00 45.00 45.00 45.00 44.00 42.00 42.00 40.00 38.00

Resolution (line widths/picture height)

50

40

30

20

10

0
100 200 400 800 1600 3200 6400 12800 25600
Sigma fp L Leica SL2 Nikon Z 7II
Sony Alpha 7R IV

Although the Sigma fp L matches the Sony A7R IV in

Signal to noise ratio (decibels)

terms of sensor megapixels, the latter manages to

ISO 100 200 400 800 1600 3200 6400 12800 25600

Sigma fp L 38.01 39.81 35.08 32.23 29.24 29.06 23.51 20.50 17.19

Leica SL2 42.42 39.65 36.37 33.38 30.59 27.43 24.51 21.43 17.81

Nikon Z 7II

Sony Alpha 7R IV resolve slightly more fine detail than the Sigma.
38.84

44.40
34.7

41.26
33.06

37.04
29.5

32.69
28.83

29.01
26.71

25.44
24.91

22.26
21.23

19.61
19.35

18.39

Signal to noise ratio (decibels)

60

50

40

30

20

10

0 1
100 200 400 800 1600 3200 6400 12800 25600
Sigma fp L Leica SL2 Nikon Z 7II
Sony Alpha 7R IV

All four comparison cameras are closely matched.

Dynamic range (EV)

The fp L is marginally noisier at lower sensitivities,

ISO 100 200 400 800 1600 3200 6400 12800 25600

Sigma fp L 12.25 12.56 12.43 12.48 12.30 11.19 9.91 9.26 8.45

Leica SL2 12.31 12.32 12.06 12.29 10.56 9.23 8.38 6.99 6.16

Nikon Z 7II

Sony Alpha 7R IVbut noise is very hard to see at low ISOs.

12.50

11.27
11.93

10.70
12.03

10.54
11.85

10.00
11.36

9.94
10.64

9.59
9.91

8.36
8.68

7.53
6.94

6.98

The fp L’s metering system is good at preserving highlights, and its wide dynamic Dynamic range (EV)
range is obvious even in its JPEGs, which have a rich, film-like quality. 14

12

a choice of interfaces: ‘still-style’ menu is a lot longer, increasing the risk of 10

options for crossover content creators distortion with fast-moving subjects. 8

still learning the ropes, and a cine Its internal CinemaDNG capture 6
display for pro film-makers. and the option to output 12-bit 4
The fixed rear screen puts the Sigma CinemaDNG to an SSD or ProRes RAW
2
fp L at a disadvantage compared to or Blackmagic RAW to a compatible 1
0
nearly all its rivals, but the design does HDMI recorder means that the video 100 200 400 800 1600 3200 6400 12800 25600

include a passive heat-dissipation quality you get from this camera can Sigma fp L Leica SL2 Nikon Z 7II
Sony Alpha 7R IV
system sandwiched between the be as good as you want to make it.
The fp L captures class-leading dynamic range
screen and the camera body. But we have to talk about autofocus.
throughout its sensitivity range, and it’s particularly
For stills photography, the phase- good when shooting at higher ISOs.
Performance detect AF works just fine, but in our
Getting still image files this big from tests, the fp L’s continuous video Digital Camera verdict
a camera that is so physically small is AF proved slow and unreliable. One

4.0
quite something. Images are sharp, problem is that in Cine mode you
clear and detailed. Thanks to the new have no AF indicators to give you any
Excellent
hybrid phase-AF technology, the confidence that the camera is focusing
autofocus feels as snappy, positive in the right place – all you have is focus
and reliable as the systems in rival peaking, if you enable it. Technically
4.0 3.5 4.0 5.0
cameras. The face/eye detection it offers face/eye EF and automatic
and subject tracking work well. multi-zone AF point selection; in
Features Build & Performance Value
The shutter is electronic, however – use, it was hard to see any evidence handling 1
there is no mechanical shutter – and these were working properly.
The Sigma fp L’s tiny body brings some handling
the slow maximum flash sync speed What we found most effective was to
issues and places a lot of reliance on external
of 1/15 sec (1/10 sec for 14-bit raw use a single AF point, and get into the accessories – not least its optional clip-on EVF –
files) is a clue that this sensor’s rhythm of the camera’s refocusing and while the new phase-detect AF system is
readout speed is not that fast. So speed and not rush it – though it’s not great for stills, the video AF remains slow and
while it does offer fast shutter ideal to have to adapt your filming unreliable. But what this camera can do, with
speeds, its overall ‘scan time’ technique to the camera. Rod Lawton both stills and video, is remarkable at this price.

147

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 Vlogging camera Sony ZV-1 II

Sony ZV-1 II
£869/$898
This sequel does little to separate itself from the original
w w w. s o ny. c o . u k

he Sony ZV range has been around for a while, having 1 digital blurring for a soft background,
first been introduced for the rapidly growing segment similar to professional camera footage.
T
The key new feature on
of vlogging and social content creation. The ZV range the ZV-1 II is an 18mm The ZV-1 connects to the Creators’ App via
offers small and compact systems that aim to wide-angle zoom lens Bluetooth, so you can upload photos or use
produce better content than the smartphone in your designed for vlogging the app to control the camera from afar.
pocket. Sony kicked off the range with the original Sony ZV-1, and and selfies. At the
in just a few years we now have five unique cameras in the lineup. other end of the range Build & handling
Sony has now released a sequel, the Sony ZV-1 II, although looking it is ideal for portraits The ZV-1 II is tiny, but that’s one of its main
at the specs sheet, it’s more of a revision than a revolution. and product shots. selling points. It’s a compact camera that
can slide into a pocket or a small bag and
Key features 2 go anywhere with you. It has the smallest
The main new feature is the ZV-1 II’s wide-angle zoom lens, an The ZV1 II comes of grips, which is just about enough to catch
18mm lens designed for vlogging and selfies, while the 50mm supplied with a wind a finger on. Otherwise, the build and button
focal length at the other end of the range is ideal for portraits and defender that slots into layout is the same as the ZV-1, which is no
product shots. The lens keeps its maximum aperture of f/1.8 at the camera hotshoe. bad thing, as it offers a decent amount of
the wide end but drops to f/4 when zooming in. While the ZV-1 is It reduces wind noise buttons as well as a control wheel.
not image stabilised, it offers Sony’s Active digital stabilisation for in the microphones. The camera comes with a wind defender,
smoother footage with a slight crop. Behind the lens, the camera which slots into the camera hotshoe and
has auto-tracking, including Eye AF, for both humans and animals. 3 gives good wind suppression to the
The ZV-1 II has a built-in 3-capsule microphone for better sound microphones. The tally light on the front of
The touch screen is
recording, which can intelligently switch the direction of recording much-improved from
the camera is a useful feature for letting you
from ‘all directions’ to ‘front’ when the camera recognises a human the older version and is know when you are recording, especially
face in the frame. The camera also has digital noise reduction as now more user-friendly if you can’t see the screen easily.
well as a windscreen included in the box. The ZV-1 II has plenty of for anyone stepping up The lens extends a surprising way out
features to make vlogging faster and easier, including the option to from a smartphone. from the body but retains its balance even
select from five ‘Looks’ and four ‘Moods’ to change the overall style when extended. The lens is zoomed in and
of your video without any complex editing. The ZV-1 II also has a out using a zoom toggle on the top which
Cinematic Vlog setting that sets the camera to Cinemascope has a retro feel to it, but the zoom is smooth
and 24fps for professional-looking video at the touch of a button. and quick enough that you won’t miss much
These can all be controlled with new touchscreen menus, action. The other big change from the
which Sony claims are more intuitive than ever before. previous version is the much-improved
Other key features of the ZV-1 II include a Product Showcase touch screen. While the older version had
setting, which automatically switches the focus when it detects a limited touch control in menus, you can now
product. The Bokeh Switch changes to a wider aperture and uses control the whole camera, making it more

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 Sony ZV-1 II Vlogging camera
Gareth Bevan

Specifications

Mount: 20MP 1-in BSI CMOS

Lens construction: 18-50mm f/1.8-4.0
ISO: 125-12800 (expandable 80 - 25600)
Screen: 3-in fully articulated touchscreen
Shooting speed: 24fps continuous shooting
Video: 4K (3840x2160), 1080p FHD, FHD 720p
960fps high-speed video
Connectivity: Bluetooth, WiFi
Dimensions: 106 x 60 x 47 mm
Weight: 292g

Lab tests
Resolution

Sony’s ZV range was designed for vloggers and social media content creators and that’s where the ZV-1 II’s
strengths lie. Its video performance blows even the latest smartphone cinematic modes out of the water.

The closest competitor in terms of megapixels to the

Gareth Bevan

user-friendly and bringing it more in line

ZV-1 II is the 20.2MP Nikon Z 30, but thanks to its larger
with what anyone stepping up from a APS-C sensor size, fine detail is slightly better defined.
smartphone will be expecting. The 24MP Canon EOS R50 and Sony ZV-E10 resolve
noticeably more detail than the ZV-1 II, though the
Performance difference isn’t night and day.
In terms of photo performance, Sony’s
1-inch sensor produces good photos, but Dynamic range
they aren’t noticeably better than a phone Despite its smaller sensor size, the ZV-1 II is a solid
with decent processing. The bigger sensor performer in our dynamic range test, equalling its
gives a slight advantage in low light and APS-C rivals at lower sensitivities. Only the Z 30 clearly
sharpness, but there was little difference in beats it and, even then, only at higher sensitivities.
image quality between photos from the ZV-1 Sony’s 1-inch sensor produces decent photos, but
apart from better sharpness and low-light images, Signal to noise ratio (decibels)
II and the same images on my Pixel 7 Pro.
Few will notice the difference, as the they aren’t noticeably better than from a phone. The ZV-1 II manages to equal the EOS R50 and ZV-E10
phone and the ZV-1 II process their images when it comes to image clarity and noise. Even though
a 1.0-type sensor is significantly smaller than an
differently. Images from the ZV-1 II are less Video performance APS-C sensor, it doesn’t put the ZV-1 II at an
processed-looking, especially when it In almost all cases, video performance on obvious disadvantage in any of our lab tests.
comes to HDR, although the purpose of the the ZV-1 II surpasses that of a phone. The
ZV-1 II is for ready-to-share images, so more 1-inch sensor offers a more natural depth View the lab charts at: www.bit.ly/dcm_zv1_ii
aggressive processing could be beneficial of field and, while the footage isn’t quite a
– bright areas lost detail in the ZV-1 II’s Hollywood production, it blows the latest Verdict
shots compared with HDR phone images. cinematic video modes out of the water.
At the wide end, photos have a slight
softness, especially near the edges, and in
bright light, occasionally have a glowing
The 4K video from the Sony ZV-1 II is
sharp and clear, and performance in low
light is good, although better at wider
3.5 Very good

ethereal quality. As you go through the angles, with the top end of the zoom range
zoom range, this sharpens up and, at having a narrower aperture which pushes 4.0 4.0 4.0 3.0
50mm, the image quality is good and you the ISO and noise a little higher. The
can achieve some decent background blur camera’s shutter speed is fun to play with Features Build & Performance Value
handling
if you are close to your subject. You can and I enjoyed creating super slow-motion
push the camera into digital zoom up to footage, which is just about passable for The ZV-1 II is a strange release for Sony and doesn’t
2x (100mm), which produces photos with social media use. But even with Sony’s do enough to separate itself from the previous
model. The ZV-1 II is more of an alternative model
no perceptible difference in image quality. Active digital stabilisation, the footage was
to the ZV-1 than an outright upgrade. Some people
The ZV-1 II serves as a perfectly good a little jerky and, at times, you can clearly
will prefer the wider zoom, now starting at 18mm,
stills camera, but there are much more see the digital image stabilisation at work. while others will prefer the extra focal length on the
compelling and more affordable options. The camera shines in its sound quality; original, which also has a wider aperture throughout
Compared with cameras with larger the three-microphone array is excellent at the range. Sony’s decision to up the price by around
APS-C sensors, the ZV-1 II sensor size picking up voices and does a much better $150 from the ZV-1 release makes it a little too
limitations become more apparent. job than other cameras. Gareth Bevan expensive for what this camera is capable of.

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KitZone
Mirrorless Sony Alpha 7 IV

1
1

With this front dial,

the two on the top and
a rear dial too, there’s
no shortage of dials!

The viewfinder offers

3 100% coverage and
3.69m dots, slightly
up on the A7 III.

HANDS- 3
ON The new 33MP Exmor R
PREVIEW sensor is responsible
for much of the A7 IV’s
speed and power.

Sony Alpha 7 IV
£2,399/$2,499
Not just another affordable all-rounder, but a powerhouse
w w w. s o ny. c o . u k

Specifications raditionally, the Alpha 7 by today’s mirrorless camera

has been the range’s standards, but it’s a big step up from
Sensor: 33MP full-frame Exmor R CMOS
Image processor: Bionz XR
T ‘vanilla’ camera, with
the ‘R’ models adding
the 24.2MP of the A7 III and the A7C,
and it puts a bit of distance between
AF points: 759-point hybrid phase/contrast-detect resolution and the ’S’ the A7 IV and powerhouse APS-C
ISO range: 100 to 51,200 (exp 204,800 stills, 102,400 video) models adding sensitivity. But there’s cameras like the Fujifilm X-T4.
Max image size: 7,008 x 4,672 nothing vanilla about the A7 IV. While Then there are the enhanced video
Metering modes: Multi-segment, Centre-Weighted, Spot it technically supersedes the A7 III, features. Again, the A7 IV does not
(Standard/Large), Avg, Highlight it’s an altogether more advanced challenge the big hitters in the
Video: 4K 30p full width, 4K 60p Super 35 crop camera that, we think, targets mirrorless video camera market, but
Viewfinder: 0.5 type Quad VGA OLED, a higher-level audience. it’s a big step forward from the A7 III.
3.69m dots, 100% coverage The A7 III will continue for now; Its 10-bit 4:2:2 capture makes the
Memory cards: One CFexpress Type A/SD UHS-II, that model and the A7C will offer a Sony S-Log3 mode much more useful
one SD UHS-II ‘beginner’ option for the full-frame for colour grading later; and while
LCD: 3-inch fully articulating touchscreen, 1.04m dots Sony camera system going forward. capturing 4K 60p video does mean
Max burst: 10fps, up to 828 RAW+JPEG We have only spent a few hours with switching to Super35 crop mode, the
(with CFexpress Type A card) the A7 IV so far, but it is some way A7 III couldn’t do 4K 60p at all. (Come
Connectivity: Wi-Fi, Bluetooth from an entry-level camera in its to that, 4K 30p comes with a 1.2x crop
Size: 131 x 96 x 80mm capabilities – and in its complexities. factor on that the A7 III, and only
Weight: 658g (with card and battery) 25/24p 4K is full-width).
Key features Perhaps the most spectacular
Where do we start? How about the advance, however, is the least obvious.
sensor? The A7 IV’s new 33MP The A7 III brought 10fps continuous
sensor is hardly headline news shooting and an above-average buffer

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 Sony Alpha 7 IV Mirrorless
5

4 6

The flip-out screen’s The Sony A7 IV has

size and resolution twin UHS-II SD Card
are at the lower end slots; the top slot can
of typical mirrorless also take CFexpress
camera offerings. Type A cards.

5 7

The main mode dial There are a lot of

has a Still/Video/S&Q controls on top, but
4
selector mounted it’s all well-spaced
directly below. and accessible.
6

capacity for a general-purpose camera the first Sony camera to offer human,
– but the A7 IV’s buffer capacity is just animal and bird Eye AF for video.
extraordinary. The combination of the
new sensor, Bionz XR processor and Build and handling
CFexpress Type A storage give the The Alpha 7 IV is clearly part of the
A7 IV an essentially unlimited buffer Sony A7 family, but with the chunky
capacity. It does have a limit – handling and bigger grip of the A7S
828 consecutive uncompressed III. The top plate looks relatively
RAW+JPEG frames – but effectively uncluttered for such a sophisticated
this camera can keep going until the camera, with no controls at all to
card fills up, the battery runs out, the left of the viewfinder housing.
or everyone else has gone home… To the right is the main mode dial,
The autofocus system has benefited with a Still/Video/S&Q dial stacked The combination of fast, accurate Eye AF and 10fps
from Sony’s continued technical underneath, two control dials, a record shooting massively increases your chances of
development, with faster re-focusing button and a C2 custom button. capturing that perfect moment or expression.
(no more ‘hunting’ when the subject It sounds a lot, but everything
hasn’t moved). There are two new AF is well-spaced and accessible.
features for video: AF Assist for quick There’s quite a lot going on around “This camera can keep
manual-focus interventions to make the back of the camera, too; but again,
the camera’s AF swap subjects; and all the controls are pretty well-spaced. going until the card fills
a Focus Map mode, which shows a There’s room for a multi-controller
blue overlay for subjects ‘behind’ that also acts as a dial; an AF joystick; up or everyone else
the depth-of-field limits and a red and six buttons, including C1 and
overlay for subjects in front. It’s also C4 function buttons, an has gone home”
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KitZone
Mirrorless Sony Alpha 7 IV

Thanks to Sony for setting up a rather lovely ‘wedding’ at Fulham Palace in London, just so that we could test the A7 IV.

AF-On button, and an Fn button for truly are excellent, but you’ll need
calling up a quick settings screen. to figure out where to find them,
The vari-angle rear screen is another and which focus modes you need
big step forward from the A7 III, which for them to do their work.
only has a tilting screen – but what’s Our short time with this camera
made Sony so mean with its LCDs? left us feeling there is a lot of
The A7 IV has to make do with a 3-inch co-dependency between the A7 IV’s
screen with just 1.04m dots, where settings and its features. To do one
rival cameras have bigger 3.2-inch thing, you have to go somewhere else
screens, twice the resolution, or both. and do another thing first. Obviously
There’s a further control dial at the we need to learn this camera
front of the grip to bring the total to properly… and so will anyone else.
four. Add in all the custom buttons,
and you’ve got a camera that can be Performance
set up just about any way you want. We’ll hold off on any proper
However, all this power and control conclusions about still image and
brings complexity. The matrix of video quality until we’ve had time
codecs, frame rates, resolutions and for proper lab testing and better
crops makes the video settings highly familiarity with the camera, so
complex, especially if you’re using these are just initial impressions.
SD Card storage (which limits some From our brief testing session, the
options). If you shoot video with this still image quality looks superb. Quite
camera all the time, you’ll soon have apart from the outright resolution,
it eating out of the palm of your hand, the A7 IV produced excellent colour
but if you’re a once-a-month video rendition in its JPEGs. Sony says its
dabbler, you’re going to have to put colour rendition is improved over that
When you have the perfect light and the perfect some time in learning what’s what. of the A7 III; while these factors are
subject, you’d rather have the Alpha 7 IV’s 33 million The autofocus is the same. Sony’s hard to measure scientifically, the A7
pixels than the Alpha 7 III’s 24 million. Eye AF and Real-Time Tracking IV’s JPEGs do look very good indeed.

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 Sony A7 IV Mirrorless

Lab tests

In theory, an EVF should be more WYSIWYG than an optical viewfinder. Here, though, the
A7 IV has captured a far wider range of tones than the EVF suggested.
The A7 IV’s raw files appear noisy, which explains
why the Sony can’t quite match the scores from the
Canon, Nikon and Panasonic cameras in this test.

The first compromise with the A7 IV is dynamic range,

which is noticeably weaker than the competition
once you exceed ISO 400.

With its huge buffer capacity, we can see the A7 IV being a big hit with wedding photographers.

The video is oversampled from 7K

down to 4K. (The Alpha 7 III uses
oversampled 6K.) In theory, the A7
IV’s video should be sharper, if only
imperceptibly. Played back full-screen
on a 4K monitor, our sample footage
looked pretty spectacular.
We’re not so convinced about the A7
IV’s stabilisation, though. Sony claims
We can see the advantage of Sony’s new 33MP sensor
a 5.5-stop shake advantage, compared
versus its lower-resolution rivals. Only the 24MP Nikon
with five stops for the A7 III, and Z 6II can get close, and only at high ISO sensitivities.
the A7 IV adds Active Mode digital
stabilisation, with a slight crop for Digital Camera verdict
even steadier footage – as found

4.5
on the Sony Alpha 1, for example.
But while our A7 IV steadied up
A powerful all-rounder, the Alpha 7 IV will be Outstanding
perfectly for relatively static shots, especially suited to weddings and events.
it did seem pretty poor at run-and-gun-
style camera movements (or even
5.0 4.0 4.5 4.0
walk-and-gun). Video pros will almost
certainly shoot with more skill and
Features Build & Performance Value
smoothness than a photography
“The Alpha 7 IV is
handling
journalist (ahem) – but even so,
Don’t think of the A7 IV as Sony’s new ‘entry level’
we’d recommend you don’t pack
away that gimbal just yet. a camera that can full-frame mirrorless camera. It’s too powerful,
complex and expensive. It’s more like a mini-A1
We’ve no such complaints about
the autofocus. Eye AF is just uncannily be set up just about that’s terrifyingly good at everything but less than
half the price. Stills photographers can use its 33MP
good, and Sony’s remarks about fast resolution and burst mode, while videographers get
refocusing are justified. Rod Lawton any way you want” a camera that leaves the previous A7 III far behind.

153

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 Mirrorless Sony Alpha 7C

Imagine an A7 with the

viewfinder sliced off,
3 and you’re close to the
size and feel of the A7C.

The grip is slightly

smaller than that on
regular A7 cameras,
and slightly less
‘grippable’.

3
2
The A7C has attracted
attention for its size,
but in reality it’s the
28-60mm kit lens that
makes the difference.

Sony Alpha 7C
£1,899/$1,799
A radically different look compared with other A7 models
w w w. s o ny. c o . u k

he Sony Alpha 7C lots of fuss over how small this camera

Specifications answers a burning is. It’s true that the rectangular body

Sensor: 24.2MP full frame Exmor R CMOS BSI

T question: what if you
could have the full-
is smaller than that of the A7 III, but
bigger and thicker than Sony’s APS-C
Image processor: Bionz X frame sensor of Sony’s cameras. The flip-out screen is a major
AF points: 623-point phase AF, Alpha 7 mirrorless cameras in the ergonomic leap forward, though, and
425-point contrast AF compact rangefinder-style body of the A7C also has a brand-new
ISO range: 100-51,200 (exp. 50-204,800) APS-C Alpha 6000 cameras? It looks retracting 28-60mm kit lens to go with
Metering modes: Multi-segment, Center- like that’s what you get here – but the camera’s downsized dimensions.
weighted, Spot, Avg., Highlight things aren’t always what they seem.
Video: 4K UHD up to 30p The Sony A7C is like a compact Key features
Viewfinder: EVF, 2,359k dots version of the Sony A7 III, with some From the outside, the A7C is radically
Memory card: SD/SDHC/SDXC (UHS-II) advances in design, ergonomics and different to the regular Sony A7-series
LCD: 3-inch vari-angle touchscreen, 921k dots autofocus. The resolution is the cameras. The viewfinder housing
Max burst: 10fps, 115 raw, 223 JPEG same, however, at 24 megapixels, on the top is gone, replaced by a
Connectivity: Wi-Fi and the video tops out at a relatively viewfinder eyepiece in the top-left on
Size: 124 x 71 x 60mm unambitious 4K 30p. Sony is aiming the rear of the body. The rear screen
Weight: 503g (body only) the A7C at a new, younger market, but now flips sideways, via a vari-angle
placing its faith in a steady evolution pivot that gives a much wider range of
of its digital capture technologies movement, and the camera’s two-tone
rather than any headline-grabbing black-and-silver finish is a departure
technical breakthroughs. from the all-black livery of other A7
The biggest news around the A7C models – though Sony says a limited-
is its design. Lots of people have made edition all-black version is coming.

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 Sony Alpha 7C Mirrorless

4
4 7

The Menu button The viewfinder is not

is quite a stretch on top of the camera
5 for your thumb, as it is on other A7
and reveals the models, but in the
usual long-winded top-left corner
Sony menus. (from the back).
6

5 8

The flip-out rear The main mode dial

screen is a big step has the usual PASM
forward for vloggers, options, a video mode
who can now monitor and three custom
themselves while modes to store your
recording video. preferred settings.

6 9

There’s no front dial The A7C’s video

on the A7C, so this specifications are
multi-function unambitious, but it’s a
9 controller takes the solid and dependable
8 place of a second dial. vlogging camera.

Inside, though, the A7C is rather more animal, left/right eye and Real Time
conventional. The 24MP sensor is the Tracking options seen on the flagship
same as (or a close relative of) the Alpha 7R IV, and the AF speed and
sensor in the A7 III, and the video is sensitivity adjustments of the
capped at 8-bit 4K at 30p. By today’s new Sony Alpha 7S III.
standards, this is very ordinary indeed; The A7C is just as effective at stills
Sony says the bit depth has been kept photography, especially if you shoot
to 8-bit to produce manageable file sports and action. Its 10fps continuous
sizes for capture and editing. The shooting speed is pretty impressive,
relatively low processing demands but its buffer capacity – the number
mean the A7C does at least have no of shots it can take before slowing
recording limits – and its 4K video is down – is better still. Sony says it can
‘oversampled’ full-width 6K, so the capture 115 raw files or 223 JPEG
quality should be good. images in a burst; 115 raw files is three
You do at least get Sony’s S-Log2, or four times more than most general-
S-Log3 and HLG modes, together with purpose cameras can manage.
both mic and headphone sockets, not
to mention 120p Full HD. Build and handling
What you also get is Sony’s latest There’s no denying the A7C appears
and best autofocus technologies, with compact for a full frame camera.
693 phase AF points and 425 contrast However – and this is where it gets
AF points, between them covering subjective – it’s not pretty. It does
93 per cent of the frame. Sony’s AF have a magnesium alloy body, but the
system is arguably the most advanced silver finish looks and feels plastic. The A7C delivers attractive images straight from the camera.
and effective on the market; this one And although the A7C is smaller Here it’s given this blue sky a very deep, rich tone, which
has the Real Time Eye AF, human/ than other A7 cameras when contrasts well with the neutral white of the tree bark.

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 Mirrorless Sony Alpha 7C

Is the Sony Alpha 7C really as small as

they say? It’s the new retracting kit
lens that makes the difference.

control dial on the front grip. Instead,

you control the camera with a single
rear control dial and a beefed-up
multi-function dial/navigation pad on
the back. We’d rather have two dials.
The grip on the front of the camera
gives you a reasonable hold without
protruding too far from the camera
body, although it doesn’t feel as
‘grippable’ as a regular A7 camera.
The Menu button feels a bit of stretch
The Auto white balance setting gives natural-looking results even in mixed daylight and artificial light, and the for your thumb, positioned over the
28-60mm lens is very sharp. But this is a full-frame camera, so depth of field will always be limited for close-ups.
rear screen, but the EV compensation
dial on the top plate is useful to have.
you compare the measurements, if size disparity now favours the A7R II The menu system has the same
you put it side by side with a regular by almost as great a margin.The fact rather complex and long-winded
A7 body, the difference doesn’t seem is, it’s the new 28-60mm kit lens that layout as other A7-series cameras:
that great. The A7C is smaller, but makes the A7C seem small. Put any Sony says it would have taken too
you still wouldn’t call it a small other regular Sony zoom on it, and any much hardware re-engineering to
camera. Imagine an A7 III with the size advantage the body might have bring it in line with the new menu
top viewfinder housing removed and becomes largely academic. structure on the Sony A7S III – which
a thinner grip: bar a few millimetres The vari-angle screen is a welcome supports our assumption that the A7C
here and there, you’ve got the A7C. feature, however, especially for vertical is more of a physical reskinning (of
We tried an experiment. We put the shooting – and the A7C now supports the A7 III) than a brand-new camera.
A7C and its new retracting kit lens vertical video, so if you shoot video for The A7C is not bad to hold, handle
alongside an A7R II and Sony’s smartphone or tablet display, it stays and operate, but it’s not as small as it
24-105mm lens. As you’d expect, vertical – you don’t have to rotate it looks. Sony has used that old design
there’s a big size difference. Then later in post-production. trick of using a slim silver top plate
we put the 24-105mm on the A7C There is a prominent Record button on a black camera body that’s actually
and the kit lens on the A7R II – the on the top of the camera, but no front a good deal thicker. This may be, as
Sony says, the smallest, lightest full
frame camera yet to offer in-body
Rival cameras stabilisation, but it doesn’t feel it.
The retracting/extending action
of the new 28-60mm kit lens is
pleasing, though. It has a mechanical
action with no locking button, but a
well-weighted locking/unlocking
detente that’s quicker to use and very
positive – and so much better than
electrically powered zooms.
Canon EOS RP Nikon Z 5 Panasonic Lumix S5
£1,179/$999 with £1,569/$1,499 £1,919/$2,299 Performance
25-105mm lens The Z 5 lacks the A7C’s We prefer the A7C’s The A7C has the same impressive
The price includes a kit vari-angle screen, but autofocus, but the S5
performance as the A7 III before it,
lens, so the EOS RP is undercuts its price wins for video specs
super-cheap compared while offering the and its more useful
which is not surprising given that
with the A7C. same resolution. 20-60mm kit lens. so much of the technology is the
Reviewed: issue 214 Reviewed: issue 234 Reviewed: issue 235 same. While a retracting kit lens
doesn’t sound like a recipe for optical
excellence, the FE 28-60mm f/4-5.6

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 ISO

Sony Alpha 7C
Canon EOS RP
Sony Alpha 7C Mirrorless
100

27.75

28.25
Resolution (line widths/picture height)
200

27.75

28.25
400

27.75

28.25
800

27.75

28.25
1600

27.75

28.25
3200

27.75

28.25
6400

27.75

28.25
12800

25.75

26.25
25600

24.00

26.25

Lab tests
Nikon Z 5 26.25 26.25 26.25 26.25 26.25 26.25 23.50 23.50 22.00
Panasonic S5 25.75 25.75 25.75 25.75 25.75 24.50 24.50 24.50 24.50

Resolution (line widths/picture height)

50

40

30

20

10

0
The auto exposure sometimes needs a tweak – this was taken with -2EV compensation – but 100 200 400 800 1600 3200 6400 12800 25600
Sony Alpha 7C Canon EOS RP Nikon Z 5
you can zoom in to see the excellent detail in the squirrel. Panasonic S5

Sony’s A7-series cameras have traditionally been

delivers edge-to-edge sharpness if they speak to the camera and strong when it comes to resolving fine detail. The
Signal to noise ratio (decibels)

right across the zoom range. This is a then move out of the frame. A7C is no exception here, and only the Canon
ISO 100 200 400 800 1600 3200 6400 12800 25600

Sony Alpha 7C 46.50 44.41 41.79 38.79 35.09 30.71 27.33 23.43 20.80
Canon EOS RP 47.34 45.20 42.74 39.93 36.79 33.42 30.24 26.18 22.97

pleasant surprise, and contrasts with The in-body stabilisation system has Nikon Z 5
Panasonic S5 EOS RP is able to match it in our test.
41.28

49.78
39.14

47.89
37.22

45.30
35.89

42.96
35.04

40.27
32.61

37.52
29.42

35.19
25.60

32.17
23.35

28.99

the Sony E 16-50mm pancake zoom had to be redesigned for the smaller
you get with Sony APS-C cameras, A7C body, but still delivers up to five Signal to noise ratio (decibels)
which isn’t very good at all. stops of compensation and five axes 60

The FE 28-60mm f/4-5.6 performs of movement. It works well for 50

really well – though its specifications handheld shooting if you are not
40
aren’t that demanding. Most kit lenses moving, but for walking and shooting
offer a 3x zoom range, and many offer you will still need a gimbal. 30

more than that. But this lens has a Video performance will be a key part 20
pretty restrictive 2.1x zoom range, so of the Sony A7C’s appeal: it’s aimed
10
while it’s sharp enough, it doesn’t have strongly at vloggers and content 1

the versatility that you might expect creators. The 4K video specs may be 0
100 200 400 800 1600 3200 6400 12800 25600
from an all-purpose walk-around lens. unadventurous by today’s standards, Sony Alpha 7C Canon EOS RP Nikon Z 5
Panasonic S5
In this respect, it’s like the equally but the Sony produces sharp, detailed
restricted but somewhat wider video and has an very responsive Here all four comparison cameras are closely
24-50mm kit lens for the Nikon Z 5. autofocus system – although it may matched. The A7C never quite gives the cleanest
Dynamic range (EV)

The autofocus, as we’ve come to take you a while to find the settings
ISO
Sony Alpha 7C images of the bunch at lower sensitivities, with the
100

11.96
200

11.96
400

11.96
800

11.96
1600

11.79
3200

10.24
6400

10.37
12800

9.52
25600

8.17

Panasonic S5 setting the benchmark for noise control.

Canon EOS RP 11.19 11.43 11.26 11.35 11.19 10.87 9.30 8.40 6.67

expect from Sony cameras, is stellar. you need in the complex menu system.
Nikon Z 5 12.91 12.36 11.90 11.58 11.18 10.62 9.91 8.93 7.69
Panasonic S5 12.06 12.07 12.03 12.03 12.02 10.75 10.55 10.40 10.41

The 28-60mm kit lens focuses quickly If you want to keep things simple
and silently, both for stills and video, and predictable by selecting an AF Dynamic range (EV)
14
and the camera’s AF system is point, you’ll find the A7C delivers a
extremely effective, especially for fast but smooth refocusing action, 12

vlogging use, where it refocuses or you use the auto-area AF to let the 10

rapidly but smoothly between the camera figure out what to focus on 8
speaker’s face and objects held – that could be the best option for 6
close to the camera, or between rapid, unpredictable movement.
4
the speaker’s face and the background Rod Lawton 1
2

0
100 200 400 800 1600 3200 6400 12800 25600
Sony Alpha 7C Canon EOS RP Nikon Z 5
Panasonic S5

The A7C performs strongly, with consistently wide

dynamic range from ISO 100 through to ISO 1,600.
The new Sony can’t match the Panasonic S5
for dynamic range at high ISOs, however.

Digital Camera verdict

3.5 Very good

3.5 3.0 4.0 3.0

1
Features Build & Performance Value
handling

The Sony A7C’s specifications are unambitious,

particularly in terms of its video capabilities,
but its practical performance, from its handy
The A7C’s exposure system handles backlit subjects very well. It’s struck a good balance vari-angle screen to its excellent AF system,
in this shot without the need for any exposure compensation. make it effective enough as a camera.

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 Mirrorless Sony Alpha 7R IV

A larger front grip

makes the A7R IV a
little easier to handle,
but the body still lacks
height for a good ‘grip’.

Inside is an NP-FZ100
1 lithium-ion cell which
gives a battery life of
530 (viewfinder) or 670
shots (rear screen).

2 3 3

The Sony FE lens

mount is now very
well-supported both
with Sony optics and
third-party lenses.

Sony Alpha 7R IV
£3,499/$3,499
As a technical achievement, the A7R Mark IV is remarkable.
As a camera, its handling foibles are starting to grate
w w w. s o ny. c o . u k

Specifications ony doesn’t want Sony’s epic hybrid AF technology

Sensor: 61MP full-frame Exmor R CMOS sensor the Alpha 7R IV to be takes another step forward too,
Image processor: Bionz X
AF points: Hybrid AF;
S thought of solely in
terms of resolution, but
with 567 phase-detection AF points
spread across 74% of the image
567 phase-detection, 325 contrast AF points a 61MP sensor is bound area and 325 contrast AF points.
ISO range: 100 to 32,000 (exp 50-102,400) to grab the headlines. It beats its full- It now offers Real-Time AF tracking
Max image size: 9,504 x 6,336 frame rivals by some margin, and in its movie mode, too.
Metering modes: Multi-segment, re-establishes Sony as a front-runner And just to drive home the
centre-weighted, spot, average, highlight in a full-frame mirrorless camera resolution point once more, the Alpha
Video: 4K UHD at 30p, 24p market that’s become very busy. 7R IV has a Pixel Shift Multi Shooting
Viewfinder: EVF, 5.76m dots But the A7R IV is not just about mode than can combine four images
Memory card: Two SD/SDHC/SDXC (UHS II) resolution. It has a very rounded for full-colour data for each pixel
LCD: 3-inch tilting touchscreen, 1.44m dots balance of overall image quality and (avoiding the demosaicing
Max burst: 10fps versatility, combining its ultra-high- interpolation process cameras
Connectivity: Wi-Fi, Bluetooth, NFC resolution with 10fps continuous normally use) or 16 images with
Size: 129 x 96 x 78mm shooting capability and a buffer that sub-pixel movements to create
Weight: 655g (body only, with battery and SD card) can sustain this for up to 7 seconds. 240-megapixel photographs.

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 Sony Alpha 7R IV Mirrorless

4 6 8

The EVF has a high The focus joystick On the Sony A7R IV,
resolution at 5.76m is a good size and customisable C1, C2,
6 dots, but manages proves very useful C3 and C4 buttons
to looks a little for positioning the replace dedicated WB
oversharpened. AF point quickly. and other controls.

5 5 7 9

The rear touchscreen Unlike the Nikon Z 7 The EV compensation

is smaller than some and the Lumix S1R, dial is handy, and has
(3-in, not 3.2-in), can’t the A7R IV does not a locking button to
flip forwards and has have a status screen prevent it being
no sideways action. on the top plate. turned accidentally.

7 8

Key features Video performance gets a boost

61 million pixels is a ground-breaking with the addition of Real-Time AF,
resolution for full-frame cameras, but otherwise it does feel as if Sony
but it’s worth pointing out that this is resting on its laurels somewhat.
increase is spread across both the There’s still no 50/60p 4K video
image width and height, so the A7R capability, nor 10-bit capture; and
IV’s images are not that much larger if you want the best ‘oversampled’
than those of the Nikon Z 7, say, quality, you need to use the cropped
measuring 9,504 x 6,336 pixels (Sony) Super 35 mode. You can capture Full
versus 8,256 x 5,504 pixels (Nikon). HD at up to 120fps. Arguably, the
That’s an increase in image width A7R IV is hardly a video specialist.
and height of 15%. Nevertheless, it does feel as if the
What’s truly impressive, though, is video capabilities have not really
how Sony has managed to maintain advanced significantly.
a 10fps continuous shooting speed, The A7R Mark IV does bring wireless This portrait shot from an official Sony hands-on session
despite the massive increase in the tethered shooting capability, though really highlights the value of Sony’s Eye AF system,
data that’s being captured and the large files and limited wireless especially with fast prime lenses at wide apertures.
processed. True, the buffer capacity data bandwidth means you’re
is restricted to 68 raw files/JPEGs, still likely to be better of with an storage capacity and the required
but it’s also possible to shoot in old-fashioned cable connection. Sony Imaging Edge 2.0 software.
an APS-C mode that captures Sony says its five-axis in-body
26-megapixel images and with three stabilisation system has been tuned Build and handling
times the buffer capacity (claimed). for this new camera to offer up to Sony’s A7 series was the first full-
Sony’s latest autofocus system 5.5EV compensation, and the A7R IV’s frame mirrorless camera design, and
brings 567 phase-detection AF points Pixel Shift Multi Shooting mode it’s still the smallest. That’s great in
to the A7R IV, covering 74% of the can merge 16 shots made with principle, but when you match up
image area (or the entire area in tiny pixel-shifts between each to these bodies with Sony’s bigger,
APS-C mode), and supporting both produce 240MP images – if you high-performance lenses
human and animal eye tracking. have static subjects, sufficient (especially the premium

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 Mirrorless Sony Alpha 7R IV

The A7R IV produces excellent

JPEG images with rich, saturated
but natural-looking colours.

The A7R Mark

IV’s body is nice
and small, but Sony’s
G Master lenses are not!

your thumb is reaching quickly for

the rear control dial).
The electronic viewfinder now has
5.76 million dots, which ought to make
it super-clear. It still has a ‘digital’ look
– you can’t see the dots, of course,
but object edges have a distinctly
The new focus joystick G Masters, like the 24-70mm f/2.8 oversharpened look. It’s a reminder
made it much easier to lens used for most of our testing), that EVFs are simply tiny digital
select the rearmost the combination quickly starts screens that offer no more guarantee
statue to focus on. to feel front-heavy. of accuracy than a computer monitor.
This has been addressed in the A7R The three-inch rear screen is
IV with a larger grip on the camera starting to feel a little small on a
body. It doesn’t sound much of a camera of this class too, especially
change, but it makes a considerable while you’re shooting video, where
difference. It’s immediately obvious you lose the top and bottom edges
when you pick up and handle these to the narrower 16:9 ratio.
cameras side by side. What shows up the ageing A7 design
There’s a bigger AF-On button too, more than anything else, though, is
and the EV compensation dial now what rival camera makers have done.
has a lock to prevent accidental The Nikon Z 6 and Z 7 are slightly
adjustments (easily done when larger cameras that handle rather
better – and have lenses that feel
as if they are designed to balance
properly with the body. They also
have a top-mounted status panel,
as does the Panasonic Lumix S1R:
Rival cameras an even larger and heavier camera,
but one that has the heft you need
when you’re shooting with big and
heavy professional lenses.
The A7R also relies heavily on its
customisable function buttons instead
of buttons specifically for functions
like white balance, AF mode/area,
image size/quality and so on. It also
Fujfilm GFX 50R Nikon Z 7 Panasonic Lumix S1R has a tiresome menu system made
£3,449/$3,999 £2,519/$2,697 £2,999/$3,698 up of six tabs and no fewer than
The GFX 50R is built The Z 7 can’t match The Lumix S1R doesn’t 40 individual screens.
purely for quality, not the A7R IV’s outright match the A7R IV’s The A7R IV isn’t a camera you can
all-round handling and resolution, but it’s a resolution, but it has
just pick up and use. You have to
speed, but it costs no lot cheaper, handles more advanced 4K video
learn how it’s set up, where to find
more than the A7R IV extremely well and and a bigger body better
and has a larger sensor. has very good IBIS. suited to pro lenses. the functions you need and how to
Reviewed: issue 212 Reviewed: issue 208 Reviewed: issue 216 get it to work the way you like. If you
like tinkering and personalising,
you’ll probably love it. If you like

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 Sony Alpha 7R IV Mirrorless

Lab tests
The A7R IV’s rich colours and
subtle highlight rendition
have done a great job
with this sunset scene.

The Sony A7R Mark IV’s resolution advantage

is due in part to our new test method, so its rivals
may be closer than they appear here. We show
this comparison chart for information purposes.

The Fujifilm GFX 50R wins in this test by virtue of

its larger sensor, and the Lumix S1R is close behind –
Panasonic cameras tend to be good at noise control.

The 61 million pixels in

the image sensor render
textures excellently

your cameras to be logical and colour shifts. Sony says it’s tweaked
obvious, it’s a different story. the processing to produce subtler
highlight gradations, so perhaps
Performance that’s the explanation.
On paper, the Sony A7R Mark IV looks The colour rendition is especially
spectacular; in practice, the advantage good, and the A7R IV produces very
of its 61MP resolution over 40-50 natural-looking JPEGs. Most of our
megapixel rivals is more subtle. sample shots were taken using Auto
You have to be particularly careful white balance, and none looked as Sony claims 15 stops of dynamic range for this
camera, but in our lab tests the A7R IV was
with the shutter speeds and focusing if they needed colour correction.
slightly disappointing compared to its rivals.
to get the full benefit of the 61MP The Eye AF works almost uncannily
sensor, and although Sony claims well as long as your subject is not
a 5.5-stop shutter speed advantage moving about too quickly. It started to Digital Camera verdict
from the five-axis in-body-stabilisation, lose contact with very rapid subject
you’d be unwise to rely on it. We tried
some handheld shots with the new
Sony 35mm lens at slow shutter
movements in continuous shooting/
continuous AF mode, but only under
pretty extreme provocation.
4.0 Excellent

speeds between 1/8 and 1/2 sec, The A7R IV’s 10fps continuous
which should be in its safety zone, shooting mode is amazing in a 5.0 3.0 4.0 4.0
and got a pretty poor success rate. camera with this kind of resolution,
Despite disappointing lab results, but the size of its buffer shows it’s Features Build & Performance Value
handling
the real-world dynamic range is very not really a sports specialist. Once
good. Our outdoor shots under a tricky the buffer is full, it takes some time The Sony A7R Mark IV raises the resolution bar for
overcast sky came out really well, with to clear while the data is written full-frame sensors, but it’s a subtle, incremental
subtle sky detail, and no blow-out or to the memory card. Rod Lawton improvement rather than a giant leap forward.

161

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 Mirrorless Sony Alpha 9 II

The grip on the Alpha

9 II has been beefed
up, for improved
purchase and more
room for fingers.
2

Where Canon and

Nikon’s pro cameras
offer 20MP sensors,
1 Sony’s 24MP affair
means it offers the
best resolution.

Sony Alpha 9 II
£4,699/$4,499
A game-changer for professional photographers
w w w. s o ny. c o . u k

Specifications o understand the Sony doesn’t cut it when you’re shooting

Alpha 9 II, you need to champion kickboxers or divers.
Sensor: 24.2MP full frame Exmor RS
CMOS sensor with integral memory
T understand that there’s
pro shooting and then
It’s in the fire of these elite arenas
that the Sony Alpha 9 II has been
Image processor: Bionz X there’s pro shooting. forged. For photographers who don’t
AF points: Hybrid AF, 693 points This latest Sony flagship full-frame shoot fast action professionally, it
phase detection, 425 contrast detection mirrorless camera caters firmly to may seem like an incremental update
ISO range: 100-51,200 (exp. 50-204,800) the latter category. The A9 II is not over its predecessor. However, put
Max image size: 6,000 x 4,000 the highest-resolution camera you through the rigors of a professional
Metering modes: Multi-segment, centre-weighted, spot, can get – but it’s designed for speed, environment, the A9 II proves just
spot standard/large, entire screen average, highlight not resolution. Its two rivals in the pro how instrumental its upgrades are…
Video: 4K at 30fps, 24fps; sports camera stakes aren’t mirrorless
1080p at 120 fps, 60fps, 30fps, 24fps models but DSLRs: the Canon EOS-1D Key features
Viewfinder: EVF, 3.69m dots, 0.78x magnification X Mark III and the Nikon D6. The camera uses the same 24.2MP
Memory card: Two SD/SDHC/SDXC (UHS-II) All professional photography has sensor and Bionz X processor as the
LCD: 3-inch tilting touchscreen, 1.44m dots its own challenges and requirements. original A9, yielding an impressive
Max burst: 20 fps electronic shutter, 10fps mechanical Yet no matter how frenzied a wedding 20fps continuous shooting output
Connectivity: Wi-Fi (5GHz), USB-C (USB 3.2 Gen 1) Wi-Fi, might be, it will never torture your with the electronic shutter, 14-bit raw
Bluetooth, HDMI mini, Ethernet, NFC camera’s autofocus the way that output, 4K video up to 30fps, five-axis
Size: 129 x 96 x 78mm photographing Olympic swimmers in-body image stabilisation and a
Weight: 678g (body only, with battery and SD card) in action does – and while you remarkable autofocus system that can
might need a decent burst mode make 60 AF calculations per second.
to photograph a dance troupe For casual observers, the increased
or catwalk model, decent just mechanical shooting burst rate of 10

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 Sony Alpha 9 II Mirrorless

3 5 7
3
The body boasts Controls like the Sony now offers a
professional-grade joystick have been very mature lens
weather sealing, moved so that, with ecosystem, but
5 although historically the grip, they’re in the workhorse DSLR glass
it’s not as robust same horizontal and is easily adapted to
as Canon’s. vertical position. the Alpha 9 II mount.

4 4 6 8

Unlike its rival pro Canon and Nikon have The tactility of the
DSLRs, the Alpha 9 II adopted CFexpress shutter is now the
6 features a tilting memory cards, but same on the vertical
touchscreen – Sony has chosen to grip, making the
invaluable for low stick with dual UHS-II system easier to
angles and video. SD cards. use with gloves on.

frames per second (up from five on nothing significant, but when the aim
the original) might seem like the of agency-level sports shooting is all
most notable improvement on the about who can send the best image
Sony A9 II, but if anything it’s the first, this is critical for workflows.
least important thing here. The Ethernet port is ten times faster
Let’s start with that new mechanical than the A9, supporting 1000Base-T
shutter (now rated to over 500,000 for gigabit transfer. The Wi-Fi is also
actuations); thanks to a fast-response improved, both in terms of frequency
coreless motor, it delivers ultra-low (now offering 5GHz) as well as range
vibration; combined with the new and reliability, perfect for pros who rely
chassis dampers and refinements on a portable unit. USB now supports
to the IBIS algorithm, it results in 3.2 Gen 1, and you can save up to 20
improved stabilisation of 5.5 stops. FTP settings (ideal for freelancers
This also facilitates continuous uploading to multiple agencies), all
shooting using external flash, and of which results in faster file transfer. The extra resolving power of the Sony Alpha 9 II’s 24.2MP
continuous shooting now features Something else that would be sensor really makes images pop compared with other pro
anti-flicker with AF/AE tracking. The completely overlooked by non-pros is cameras, with every hair, sinew and drop of sweat captured.
autofocus system has also received the voice tagging facility. Far from a
a significant improvement to its frivolous feature, this enables you to
algorithm, thanks to development create a 60-second voice memo that AP it gives you the ability to publish
on the Bionz X processor. is automatically transmitted with the images almost as fast as Usain Bolt
The AF has been performance- image data via FTP, in an industry- crosses the finish line.
tuned to more reliably track fast, standard format that will work with
erratically moving subjects – ideal for every press agency system from Build and handling
subjects making acceleration changes, Reuters to the Daily Mirror. The Sony A9 II’s handling is much
such as triple-jumpers, or quick Even more impressively, the Transfer improved over its predecessor. Given
changes of direction, like footballers & Tagging function on the smartphone that sports photographers will spend
shimmying to shake off defenders. app can automatically convert up to 50 at least half the year shooting in the
It’s not just autofocus speed and seconds of speech into a text caption, cold, the big thing is that the camera
continuous shooting speed that has meaning that the receiving party can be used really well while you’re
been improved: transfer speed has doesn’t have to manually transcribe wearing gloves – something that
been improved dramatically. To the description – which means nothing couldn’t always be said of the A9.
non-pros, this might seem like if you’re an amateur, but if you’re the Crucially, size and location

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 Mirrorless Sony Alpha 9 II

Without the optional battery grip that helps

on large-scale shoots, the Alpha 9 II becomes
a small and discreet shooter.

and stills mode – and at last you can

access your customised My Menu
options simply by pressing the Menu
button, to help alleviate the pickle
that is Sony’s menu architecture.
Best of all, you can save and load
up to 20 camera settings – ideal for
transferring your settings across
multiple bodies, whether you’re
Kickboxing is perhaps the ultimate test of a camera’s autofocus system. The fighters’ speed, twitch unifying the settings on all cameras
movements, parries and feints can easily overwhelm less capable systems – but not the Alpha 9 II.
in an agency or applying them
to loan cameras.
revisions mean that the key controls – room for pinkies and increased Dust and moisture resistance has
AF-On, the joystick and the shutter – overhang for middle fingers. been improved, with the battery
are positioned identically in horizontal Touch operation is 1.5 times faster, compartment cover and media slot
and vertical orientation. The vertical and real-time touch tracking can now now being double-sliding rather than
shutter stroke possesses the same be engaged while using the viewfinder just hinged as on the A9. Speaking of
tactility, so there is no difference (rather than just controlling point the media slot, Sony has finally sorted
in play (which, again, is also key selection). The Recall Custom it out so that the top slot is Card 1 and
when you’re wearing gloves). Setting During Hold function has the bottom slot is Card 2!
In addition to a larger focus button been improved, enabling you to The A9 II uses the same battery as
and a reshaped, retextured joystick, quickly change your entire shooting its predecessor (along with the same
the shape and position of the rear dial configuration by depressing a button dual- and quadruple-battery grips),
has been modified for easier access (for example, if you need to switch but Cipa performance has been
and operability, and the exposure from a panning shot of an F1 car improved to 690 shots using the
compensation dial now possesses to shooting 1/1,000 sec bursts). LCD screen and 500 when you use
a lock. The grip has also been beefed The Fn button can be customised the EVF (compared with 650 and
up for better purchase, with more for independent function in movie 480 on the previous model).

Performance
Rival cameras It’s fair to say that the Sony A9 in 2020
is a completely different camera to
the Sony A9 that was released in
2017, thanks to the raft of firmware
improvements. However, firmware
alone can only boost performance
so much – at a certain point, fresh
hardware is required, and it makes a
night-and-day difference in the A9 II.
Canon EOS-1D X III Nikon D6 Olympus OM-D E-M1X This is abundantly apparent in the
£6,499/$6,499 £6,299/$6,499 £1,999/$2,399 autofocus. AF in the original A9 was
Canon’s flagship has fast While the D6 is fierce for Arguably the best good enough, and with all the firmware
mechanical shooting and stills, its 14fps burst is general-practice
it was better. The A9 II’s AF, however,
near-supernatural AF, no match. Live View is pro camera, with
but also has some DSLR- contrast detect only, 60fps burst, 7.5 stops of
is more reliable and more instant –
related limitations. which hampers video. IBIS and 80MP imaging. it might only seem a small amount
Reviewed: issue 227 Reviewed: issue 231 Reviewed: issue 213 in non-professional measurements,
but it becomes an enormous
amount for sports photography.

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 ISO

Sony Alpha 9 II
Canon 1D X Mk III
Sony Alpha 9 II Mirrorless
100

28.00

26.50
Resolution (line widths/picture height)
200

28.00

26.50
400

28.00

26.50
800

28.00

26.50
1600

28.00

26.50
3200

28.00

26.50
6400

28.00

26.50
12800

26.00

26.50
25600

26.00

24.50

Lab tests
Nikon D6 26.00 26.00 26.00 26.00 26.00 26.00 26.00 26.00 24.00
Olympus E-M1X 25.50 25.50 25.50 25.50 25.50 24.00 22.00 20.00 18.00

Resolution (line widths/picture height)

50

40

30

20

10

0
100 200 400 800 1600 3200 6400 12800 25600
Sony Alpha 9 II Canon 1D X Mk III
Nikon D6 Olympus E-M1X

The Alpha 9 II scores what we’d expect for a 24MP

sensor in our resolution test. Likewise, Canon and
Signal to noise ratio (decibels)

Nikon’s fare slightly worse than the Alpha 9 II

ISO 100 200 400 800 1600 3200 6400 12800 25600

Sony Alpha 9 II 47.00 45.04 41.36 39.33 34.11 30.96 27.27 23.53 21.28
Canon 1D X Mk III 44.41 42.14 40.93 38.16 35.37 31.22 27.81 24.10 20.87
Nikon D6
Olympus E-M1X because of their lower megapixel counts.
45.00

39.96
41.49

38.97
38.60

37.32
34.57

34.28
32.96

30.94
30.63

29.57
28.58

28.16
25.88

25.86
22.53

24.13

Signal to noise ratio (decibels)

60

50
While Canon’s pro camera features head detect, the limitation of Sony’s AF is revealed
by the micro-delay in recognising swimmers’ faces, obscured by goggles and water. 40

30

20
Photographing swimmers and seeing
10
how quickly it will find and lock onto 1

eyes demonstrated this point with 0

100 200 400 800 1600 3200 6400 12800 25600
crystal clarity – not to mention the Sony Alpha 9 II Canon 1D X Mk III
Nikon D6 Olympus E-M1X
fact that real-time Eye AF is now
available while you’re shooting 4K. At lower sensitivities, the A9 II produces the cleanest
Even little things, like being able ISO
images of the current crop of flagship professional
100 200
Dynamic range (EV)
400 800 1600 3200 6400 12800 25600

cameras. At ISO 1,600 and beyond, the slightly lower

Sony Alpha 9 II 11.44 11.29 11.01 11.06 10.57 10.25 10.04 9.34 7.89

to change the focus frame colour to

Canon 1D X Mk III 12.53 12.50 12.50 12.40 11.82 10.57 9.73 8.32 7.07
Nikon D6 11.43 11.34 11.17 10.68 10.27 10.20 10.07 9.32 8.08
Olympus E-M1X
pixel counts of the DSLRs give them a slight edge.
12.92 13.02 12.69 12.48 11.95 10.99 10.05 8.69 8.23

white or red, or the option of the new

4:3 aspect ratio (much-needed by Dynamic range (EV)
photographers shooting potential 14
magazine covers) are a big deal 12
here – although the bigger changes,
10
such as the improved IBIS and less
8
crunchy ISO performance (shooting
6
comfortably up to ISO 6,400) are
obviously bigger headline-getters. 4

In terms of actual shooting, I 2

1
torture‑tested the A9 II in a variety 0
100 200 400 800 1600 3200 6400 12800 25600
of environments. Photographing
Sony Alpha 9 II Canon 1D X Mk III
volleyball, I was blown away by the Nikon D6 Olympus E-M1X

robustness of the AF; the camera The A9 II’s dynamic range is decent, but it’s only
was able to acquire Eye AF on a player The ferocious 20fps continuous shooting enough to tie with the Nikon D6 at lower sensitivities.
from one end of the court to the other. option enables you to pick the instants At ISO 6,400 and beyond, however, both models
between instants of fast-action sports. show their prowess for low-light shooting.
It was able to maintain and
reacquire the eyes even when players
passed in front of them on the far side The only time the AF struggled to Digital Camera verdict
(obscuring a small part of the frame), keep up was during swimming, when

5.0
or when they passed right in front swimmers’ heads literally only came
of the camera (obscuring the entire out of the water for a second at a time;
A best-in-class product
frame) – and it wasn’t even confused on a few occasions focus wasn’t
by the netting at half court. acquired until just as the face started
When I shot kickboxers, the A9 II to dip back underneath the water.
5.0 5.0 5.0 5.0
was able to find and track faces and This was exacerbated when the
1
eyes even with rapid punches and swimmers were in backlit conditions,
Features Build & Performance Value
blocks obscuring the subjects, and with faces in shadow, but the fact handling
when eyes squinted and faces winced. that the camera was still able to The Sony Alpha 9 II’s blistering burst speed and
Tracking would stay with targets when give me plenty of keepers even autofocus performance are matched by its superb
they turned around, or were partially in these impossible shooting connectivity, which promises to be a game-changer
obscured by ring ropes or fully conditions was truly impressive. for pro shooters. If you’re a sports photographer,
obscured by grabs and clinches. James Artaius the A9 II is a powerhouse performer.

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 Mirrorless Sony A6700

The grip is surprisingly

deep and moulded for
a compact camera and
comfortable enough
to hold one-handed.

2 2

The APS-C crop sensor

1
format combines
3 Sony’s E-Mount
lenses with a light and
compact camera body.

Sony’s crop-frame
sensor applies an
approximate 1.5x
magnification to the
effective focal length.

Sony A6700
£1,449/$1,399 (body only)
Taking on all challengers, Sony is back with a new crop
frame champion to try to reclaim the APS-C throne
w w w. s o ny. c o . u k

hen Sony released its the Sony ZV-E1 and the Sony ZV-1 II.
Specifications first APS-C crop sensor Sony’s ZV cameras are aimed at

Sensor: 26MP BSI Exmor R

W mirrorless camera back
in 2013, the company
video-focused content creators,
although they are capable of taking
Image processor: Bionz XR + AI Processor hit on something good. quality stills. Apart from lacking an
AF points: 759 points (phase-detection AF Combining the new Sony E-Mount for electronic viewfinder, ZV cameras
ISO range: 100-32,000 (80-102,400 extended) smaller and lighter mirrorless lenses share much of the same design and
Max image size: 6192 x 4128px (L) with a light and compact camera technology as the A6x00 range. For
Image stabilisation: 5-stop in-body body, Sony’s A6x00 range became example, the ZV-E10 is a compact
Max burst: 11 frames per second successful with travellers, weekend interchangeable lens APS-C camera
(buffer of 1000 JPGs or 59 RAW) photographers and content creators with a 24.1MP sensor and great 4K
Video: 4K 120p/60p, HD 240p as the compact hybrid camera to beat. video for much less than an A6600.
(S-Log3, LUT, S-Cine) The Sony A6600 has sat at the top With ZV cameras closing ground,
EVF: 2359k XGA electronic viewfinder of the range since 2019, however, over does the A6x00 range still have a
LCD: 3-inch side-flip touchscreen the past few years, Sony has made a future? Sony still believes there is
Memory card: 1x UHS-II SD card slot lot of technical developments that it space in the market for both. However,
Connectivity: Headphone/microphone jack, is rapidly rolling out to new camera the A6600 is a tough act to follow, and
HDMI, USB-C, Bluetooth and WiFi models. Fans of Sony’s A6x00 range with plenty of new competition out
Power: NP-FZ100 battery have been clamouring for Sony to there, how does the A6700 hold up?
Size (W x H x D): 122 x 69 x 75.1mm update its lineup, and the company
Weight: 409g (approx) has finally answered those calls Key features
with the Sony A6700. The Sony A6700 features a 26MP
However, since the Sony A6600’s APS-C back-side illuminated (BSI)
release, Sony just can’t seem to stop CMOS sensor from Sony’s Exmor R
launching similar cameras – in the range, capable of ISO 100-32,000
past few months, we have already had (80-102,400 extended) and supported

166

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 Sony A6700 Mirrorless
4

4 7
6
The viewfinder is one The A6700 uses the same
negative. It feels dated rechargeable battery
and has a low resolution pack as the A6600 and
by today’s standards. has a 550-shot capacity.

5 8

5 The LCD is a fully Sony’s latest Bionz XR

articulated vari-angle, processor with a separate
useful for shooting at AI chip allows for speeds
awkward angles. of 11 frames per second.

6 9

A dial under the main Three doors on the left

mode selection dial has side reveal headphone
been added for switching sockets, USB-C, mini-
7
between modes. HDMI and an SD card slot.

Gareth Bevan
8
Autofocus now includes all of the latest subject
recognition and tracking categories, including insects.

Build and handling

The Sony A6700 keeps the compact
build that is a hallmark of the series.
The A6700’s viewfinder is still in the
9 left corner in a rangefinder design,
which isn’t to everyone’s tastes but
by five-axis in-body image stabilisation that cover 93 percent of the frame means the camera can be short and
(IBIS) that offers up to five stops of and it can focus in up to -3 EV. boxy without the usual viewfinder
shake correction. Being a hybrid camera, the video hump. The A6700 has a chunky
Trickling down from Sony’s high-end specs are equally improved from the appearance but, overall, it looks and
Sony A7R V, the A6700 also uses the previous generation. The Sony A6700 feels as though it means business.
combination of Sony’s latest Bionz XR offers Super 35 6K oversampled video The grip on the A6700 is surprisingly
processor and separate AI chip for and can record in 4K up to 120fps or deep and moulded for a compact
autofocus and image processing, 240fps in Full HD, which is 10x slowed camera. It’s comfortable enough to
allowing for speeds of 11 frames per footage. Video can be recorded use the back buttons with my thumb
second with a buffer of 1,000 jpegs internally with 14+ stops of range in one-handed without feeling like the
or 59 raw photos at full resolution 10-bit 4:2:2 in S-Log and S-Cinetone, camera was going to slip from my grip.
with continuous autofocus. and LUTs can be applied in-camera. The A6700 has microphone and
Autofocus now includes all of the However, the camera can’t record headphone sockets, USB-C, mini-
latest subject recognition and tracking in raw or ProRes via HDMI output. HDMI and an SD card slot, all hidden
categories from the latest Sony There is still a 2.36m dot electronic behind three separate doors on the
cameras, including the ability to track viewfinder (EVF) with a 1.07x left side of the camera. These doors
human bodies, heads, faces and eyes, magnification and up to 120fps. Sony look more aesthetically pleasing than
as well as vehicles, animals, birds claims it has made the EVF brighter rubber flaps but are trickier and more
and insects. Sony claims autofocus and more pleasant to use than the delicate to open. The SD card slot isn’t
performance is now 20 percent more last generation. The A6700 now also in the battery compartment, which is
reliable than the previous generation. benefits from a side flip touchscreen, a relief for someone who uses tripods
The A6700 has almost twice the rather than the flip-up screen that was and gimbals much of the time.
number of phase detection autofocus on the previous generation, which will Though the buttons and layout will
points, clocking in at 759 points suit videographers much better. be familiar to Sony shooters,

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 Mirrorless Sony A6700

Gareth Bevan
The amount of detail captured by the A6700 is excellent. Sony’s cameras exhibit some of the most clinically sharp images available, and the A6700 is no exception.
And while some may prefer a little more softness to their images than Sony’s default profile, that’s down to your preference and the type of work you create.

there are some new additions. Sony There is now a larger dedicated video how you shoot. Possibly my favourite
has added a secondary dial under the record button on the top of the camera improvement from the previous
main mode selection dial for switching rather than on the side, to switch to generation is the screen. The A6700
between photo, video, and S&Q video at any time, which is much easier now has a fully articulated vari-angle
modes. This is easier to use without and more natural to use. The AF-MF/ screen instead of the flip-up one on
looking than the switches on Sony’s AEL switch from the A6600 has also the A6600. This is much easier for
ZV lineup as you can flick it with your been replaced with an AF-ON button. shooting awkward angles or recording
thumb without adjusting your grip. How big a deal this is will depend on selfies or vlogs. Some street
photographers like a flip-up screen so

Rival cameras they can shoot from the hip, but the
vari-angle screen is more versatile.
The only real negative with the Sony
A6700’s build is its viewfinder. For
a new camera at this price, it feels
dated. The viewfinder’s resolution
is poor by modern standards – even
after playing with the settings, it is
Canon EOS R7 Fujifilm X-S20 Nikon Z 5 quite dark and there is considerable
£1,349/$1,499 £1,249/$1,299 £1,719/$1,699 flickering in highlights. Though
With pro-level speed and The perfect camera for Competent and attractive, usable, it isn’t a particularly pleasant
autofocus, and big-time most people, with its the Z 5 is a good entry- experience, and I found myself
image resolution, the straightforward controls, level full-frame camera, defaulting to the screen for shooting.
EOS R7 is a fantastic excellent fully automatic but its relatively high price
The viewfinder has always felt like
addition to the EOS R modes and a small and may persuade you that
an afterthought on the A6x00 range,
ecosystem and a worthy compact size. Content it’s worth forking out
successor to the 90D creators and vloggers will the comparatively little especially as it starts to feel more
and 7D DSLRs. find a lot to love here. extra for the Z 6. indistinguishable from Sony’s ZV
Reviewed, issue 258 Reviewed, issue 271 Reviewed, issue 234 lineup. Without a good viewfinder, it is
harder to pinpoint the reason for the
A6700 to exist outside the ZV range.

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 Sony A6700 Mirrorless

Gareth Bevan
The 26MP Sony A6700 does well to resolve a
comparable level of fine detail to the 32.5MP Canon
For static subjects, the A6700 locks onto them at a ‘blink and you’ll miss it’ speed. EOS R7 throughout the tested sensitivity range.
In fact, it’s difficult to see how standard point autofocus could get perceptively faster.
Dynamic range

Performance Sony’s human and face tracking

The A6700’s 26MP sensor might look is some of the best available. The
tame compared with the 40MP sensor A6700 can recognise human bodies
in the Fujifilm X-T5 or the 64MP sensor and heads, as well as faces and eyes.
in Sony’s own A7R V, but it is more The camera had no issues tracking
than enough resolution to use across my subject around the frame, keeping
the web, social media or medium-sized eyes in focus in every shot – even
prints, and still competes with rival deliberate erratic movements couldn’t
cameras at this price point. throw the focus off. I got a good hit rate
Image detail from the A6700 is for burst shooting for full subjects, and
excellent. Sony’s cameras exhibit although it couldn’t nail the focus on There’s little to separate the A6700 from the Fujifilm
X-S20 and Nikon Z5 when it comes to dynamic range.
some of the most clinically sharp small details in every shot, the number
photos available, and the A6700 is of usable shots was impressive.
Signal to noise ratio (decibels)
no exception. I prefer a little more
softness to my images than Sony’s Video
default profile, but that is down to your With Sony’s focus on video, it comes
preference and the work you create. as no surprise that the A6700’s video
Colours are accurate but have a performance is excellent. The 4K video
richness and vibrancy that makes is impressively sharp, rich and detailed
them pop without looking unnatural. in standard outputs. If you have no
The A6700 managed to produce an intention of digging into codecs or
accurate, and importantly, consistent LUTs then you don’t need to as the
white balance between photos, even in standard footage from the A6700 is
changeable weather and lighting. I also good enough until you want to get
like the skin tones that Sony cameras creative. The A6700 has several The A6700 doesn’t score highly here, producing
reproduce, which veer towards slightly pre-built-in styles to choose from – noisier images than the X-S20. It’s not surprising that
warmer tones and an increased if you don’t want to spend an age in the Nikon Z 5 outperforms the A6700 in this test. Its
saturation that makes subjects editing software, these are pleasing full-frame sensor allows for relatively large individual
look healthy and vibrant. enough but can soon veer into cheesy. photosites (‘pixels’), which in turn can be more
As the A6700 now uses the already Sony’s image stabilisation continues light-sensitive and less likely to generate noise.
acclaimed Bionz XR and AI Chip, to be the best around, with solid
you can expect the autofocus to be performance in steady movements
incredibly fast and accurate. For static like panning, although the IBIS Digital Camera verdict

4.5
subjects, the A6700 locked onto struggled with heavier movements.
subjects at a ‘blink and you’ll miss it’ Walking is softened by the IBIS, but
Outstanding
speed – at this point it is hard to see don’t expect iPhone-like smoothness
how standard point autofocus can get straight out of the camera.
perceptively faster. Where the A6700 Autofocus on the Sony A6700 for
5.0 4.5 5.0 4.0
now shines is in its AI recognition and video is awesome. Sony has led the
tracking capabilities for humans as pack for some time and while other
Features Build & Performance Value
well as various animals, birds, vehicles, brands have caught up, Sony seems handling
and now insects. I couldn’t find an to still be a whisker ahead. Tracking
The Sony A6700’s design and tech refinements make
abundance of insects, but the animal- subjects turning away for moving
it a compelling upgrade from the A6600. It’s now
and bird-tracking worked to perfection in and out of frame is solid, and the best Sony APS-C camera to buy for stills, while
on the limited domestic animals the camera rarely insists on finding improved 4K video and AI autofocus make it an
I could find in London. The camera subjects in random inanimate alternative to Sony’s ZV line-up. Overall, it’s an ideal
even tracked some foxes skulking objects, a common complaint option for travel photographers or content creators
around my garden in near darkness. with other systems. Gareth Bevan who want professional features in a small package.

169

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 Crop-sensor
wide-angles
Wide-angle zooms can give you a whole new
perspective on life. Matthew Richards reveals
the best buys for non-full-frame cameras

M
ost standard zoom frame. A key creative advantage is
lenses give decent that you can really exaggerate
coverage, but wide- perspective and inject some real
angle zooms go a whole wow-factor into your photos. Get in
lot further. With viewing really close to the main subject in a
angles of more than 100 scene, and it can take on a giant-like
degrees, you can stature, with the middle distance and
shoehorn much bigger areas into the background dramatically shrinking
image frame. They’re ideal for the away from it.
great outdoors, especially when you Thanks to the inherently large
want to capture big skies and epic depth of field that you get at very
vistas in landscape photography. short focal lengths, another bonus
Extra-wide viewing angles can be vital is that you can retain excellent
for indoor photography, when you sharpness in the foreground and
can’t get as far back from your background, keeping scenes well
subject as you might like. focused from front to back. Let’s
Wide-angle photography isn’t just choose some winners.
about cramming more into the image Matthew Richards

The contenders
1 Canon EF-S 10-18mm f/4.5-5.6 IS STM £239/$279
2 Fujinon XF10-24mm f/4 R OIS £849/$999
3 Nikkor AF-P DX 10-20mm f/4.5-5.6G VR £329/$307
4 Olympus 7-14mm f/2.8 Pro M.Zuiko Digital ED £949/$1,299
5 Sigma 8-16mm f/4.5-5.6 DC HSM £599/$799
6 Sigma 10-20mm f/3.5 EX DC HSM £319/$399
7 Sony E 10-18mm f/4 OSS £659/$849
8 Tamron 10-24mm f/3.5-4.5 Di II VC HLD £449/$499

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 Wide-angle lenses Group Test

iStockphoto / Getty

DCM276.guide_lenses01.indd 171 17/11/2023 15:20

 Group Test Wide-angle lenses

BEST FOR
FUJIFILM

Canon Fujinon
EF-S 10-18mm XF10-24mm
f/4.5-5.6 IS STM f/4 R OIS
£239/$279 £849/$999
Light in build, light on the wallet Pricey, but worth every penny
Lens mount Canon EF-S L ens mount Fujif ilm X
Resolution (line widths/picture height) Resolution (line widths/picture height)

Sharpness Sharpness
Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 f/16 f/22 Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 f/16 f/22

arrying around additional 10mm 1613 1591 1614 1418 1164 868
here’s no denying that this 10mm 2145 2160 1888 1529 1203 976

C T
14mm 1685 1632 1552 1434 1153 903 14mm 1676 1754 1690 1482 1252 1000

Not limited to the central area

16mm 1682 1646 1422 1182 909 18mm 1392 1700 1659 1500 1214 971

lenses is no fun when 18mm

Sharpness through the zoom 1696 1600 1393 1096 882
Fujifilm lens is considerably 24mm 1459 1663 1623 1432 1217 956

they’re big and heavy. This range is pretty good, but lags pricier than some of the of the image frame, sharpness
relatively new offering behindCentre sharpness
of the Sigma 10-20mm. other own-brand offerings Centre
is excellent sharpness
into the corners.
from Canon is refreshingly small for 3,000 from camera manufacturers – but in 3,000

a DSLR-style wide-angle zoom, and is this case, you get what you pay for. As
2,500 2,500
less than half the weight of either of the an ‘R’ series optic, it has a physical
two competing Sigma lenses on test. 2,000 aperture ring for intuitive manual 2,000
Part of the weight loss is thanks to a adjustments. Four aspherical elements
1,500 1,500
plastic rather than metal mounting and four ED (Extra-low Dispersion)
plate, but overall build quality feels 1,000
elements are included in the optical 1,000
reasonably robust nonetheless. path. Zoom and focus mechanisms are
Typical of many recent Canon 500 both fully internal, so the front element 500

lenses, it features an STM (Stepping neither extends nor rotates.

0 0
Motor) autofocus system which, in this f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 The autofocus system is based on f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
case, is fast for stills, smooth for video 10mm 14mm a stepping motor, which also enables 10mm 14mm
16mm 18mm 18mm 24mm
capture and near-silent in operation. precise manual adjustments via the
No lightweight in terms of Fringing 1.71 electronically coupled focus ring. An Fringing 0.36
Colour fringing is quite Colour fringing is entirely
performance, this lens matched or optical image stabiliser is included.
minimal, even in the extreme negligible at any combination
beat Canon’s pricier 10-22mm lens for Contrast and sharpness are
corners of the image frame. of focal length and aperture.
sharpness in our tests, throughout its spectacular throughout the short half
zoom and aperture ranges. Colour Distortion -1.86 of the zoom range, even wide-open at Distortion -0.14
fringing is also less noticeable and At 10mm, barrel distortion is f/4, although it pays to stop down to Helped by in-camera tweaks,
1 1
barrel distortion is well-controlled quite restrained; pincushion f/5.6 towards the long end. Autofocus distortions go unnoticed even
at the short end of the range. is minimal at the long end. is both quick and accurate. in architectural photography.

Digital Camera verdict Digital Camera verdict

Less than half the price
of Canon’s older
10-22mm wide zoom
4.0 Excellent
A constant-aperture
zoom with a tough
metal barrel, the
5.0 A best-in-class product

for APS-C cameras, Fujinon XF10-24mm

this lens adds image feels every inch a
4.0 3.5 4.0 5.0 4.5 5.0 5.0 4.5
stabilisation. It’s the professional-grade
more attractive buy for choice. It’s simply
Features Build & Performance Value Features Build & Performance Value
an own-brand Canon. handling a fabulous lens. handling

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 Wide-angle lenses Group Test

BEST FOR
MFT

Nikkor Olympus
AF-P DX 10-20mm 7-14mm f/2.8 Pro
f/4.5-5.6G VR M.Zuiko Digital ED
£329/$307 £949/$1,299
A smart Nikon newcomer High-spec but high-priced
Lens mount Nikon DX Lens mount Micro Four Thirds
Resolution (line widths/picture height) Resolution (line widths/picture height)

Sharpness Sharpness
Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 f/16 f/22 Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 f/16 f/22

his relatively recent launch 10mm 1635 1821 1843 1413 1184 863
he 2.0x crop factor of the 7mm 2162 2072 1755 1630 1376 1083 795

T T
12mm 1505 1617 1740 1526 1102 860 10mm 1913 1812 1605 1475 1307 1082 795

Sharpness could be better Centre-sharpness is superb,

14mm 1403 1748 1470 1183 978 12mm 1875 1834 1614 1494 1227 1061 781

is considerably smaller, 20mm 1273 1588 1410 1146 906

Micro Four Thirds format 14mm 1721 1748 1633 1422 1248 1052 795

lighter and cheaper than at longer zoom settings, poses a significant but it’s best to stop down a
Nikon’s more established Centre
and towards the sharpness
edges. technical challenge when little forCentre sharpness
corner-sharpness.
10-24mm and 12-24mm zooms. 3,000 designing ultra-wide-angle lenses. This 3,000

Similarities to the Canon include a zoom lens from Olympus literally

2,500 2,500
plastic mounting plate, a stepping- makes light of the situation, coming in
motor autofocus system and the 2,000 at half the weight of an equivalent 2,000
addition of an optical stabiliser. full-frame lens despite its weather-
1,500 1,500
The VR (Vibration Reduction) sealed, metal-jacketed enclosure.
stabiliser is very much worth having, 1,000
An impressive optical layout includes 1,000
with a 3.5-stop effectiveness. The AF-P an ED (Extra-low Dispersion) element,
(Pulse motor) autofocus system is 500 three Super ED elements and two HR 500

quick for stills, enables smooth AF (High Refractive index) elements.

0 0
transitions in movie capture, and is f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 There’s a handy push-pull mechanism f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
virtually silent in operation. However, 10mm 12mm in the focus ring for quick-shifting 7mm 10mm
14mm 20mm 12mm 14mm
it’s incompatible with a number of between autofocus and manual focus
older DSLRs, with which neither Fringing 3.39 modes. There’s no optical stabiliser, Fringing 0.43
Colour fringing is worse than There’s virtually no sign of any
auto nor manual focusing is available. but Olympus bodies tend to feature
average, but some DSLRs can colour fringing, even at the
Sharpness is pretty respectable at sensor-shift stabilisation anyway.
make in-camera corrections. extreme corners of the frame.
the centre of the frame but drops Scores from our lab tests are
off noticeably towards the edges Distortion -1.47 exemplary – although, as with the Distortion -1.1
and corners. Performance could also Barrel distortion is quite sharp Fujifilm lens, they’re somewhat There’s some barrel distortion
1 1
be better in terms of distortion and at 10mm, but drops off at mid flattered by in-camera corrections at short to mid zoom settings,
colour fringing. to long zoom settings. which are applied even to raw files. but you won’t usually notice it.

Digital Camera verdict Digital Camera verdict

The AF-P DX 10-20mm
f/4.5-5.6G VR is an
attractive lightweight
4.0 Excellent
This lens combines an
effective 14-28mm
zoom range with a
4.5 Outstanding

zoom that’s ideal for wide f/2.8 constant-

travel – and it’s much aperture rating – and
4.0 3.5 3.5 4.5 4.5 5.0 4.5 4.0
better value than it’s only about half the
Nikon’s older 10-24mm weight of equivalent
Features Build & Performance Value Features Build & Performance Value
and 12-24mm zooms. handling full-frame lenses. handling

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 Group Test Wide-angle lenses

BEST FOR
PENTAX

BEST FOR
SONY A

Sigma Sigma
8-16mm f/4.5-5.6 10-20mm f/3.5
DC HSM EX DC HSM
£599/$799 £849/$999
It’s like an optical black hole A lens with ‘constant’ attraction
Lens mount s Canon EF-S , Nikon DX , Lens mount s Canon EF-S , Nikon DX ,
Pentax K , Sony A , Sigma Pentax K , Sony A , Sigma
Resolution (line widths/picture height) Resolution (line widths/picture height)

Sharpness Sharpness
Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 f/16 f/22 Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 f/16 f/22

ucking much more into the 8mm 1705 1767 1579 1357 1061 868
early 10 years old, this 10mm 1644 1739 1578 1334 1037 799

S N
12mm 1481 1534 1351 1095 858 14mm 1653 1673 1561 1400 1081 828

It’s a sharp lens right out It beats the Canon and Nikon
14mm 1641 1575 1401 1085 858 16mm 1814 1815 1598 1413 1102 897

image frame, this Sigma 16mm 1597 1542 1435 1099 796
10-20mm zoom predates 20mm 1841 1708 1621 1374 1065 877

lens shaves 2mm off the to the corners, despite its Sigma’s ‘Global Vision’ lenses on test for sharpness
shortest focal length of Centre
ultra-wide sharpness
viewing angle. line-up of Contemporary, Centre
in the longer halfsharpness
of the range.
most APS-C format zoom lenses, 3,000 Art and Sport lenses. A revamp of the 3,000

boosting the viewing angle from company’s original 10-20mm lens for
2,500 2,500
around 109 degrees to a monstrous APS-C cameras, it swaps from a
121 degrees. 2,000 variable to a ‘constant’ aperture rating. 2,000
The optical path includes four Up-market glass includes two ELD
1,500 1,500
top-quality FLD (Fluorite-grade Low (Extraordinary Low Dispersion) and an
Dispersion) elements and Sigma’s 1,000
SLD (Special Low Dispersion) element. 1,000
usual Super Multi-Layer Coatings to Construction is sturdier than in the
guard against ghosting and flare. As 500 Canon and Nikon lenses, and the 500

with the Olympus lens on test, this Sigma features a more conventional
0 0
Sigma has a built-in hood to protect the f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 ring-type ultrasonic autofocus system. f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
bulbous front element, so there’s no 8mm 12mm Compared with Sigma’s 8-16mm lens, 10mm 14mm
14mm 16mm 16mm 20mm
attachment thread for filters. At least the more modest maximum viewing
the two-part lens cap enables 72mm Fringing 1.42 width enables a detachable petal- Fringing 2.45
filters to be used at the long end of the There’s a similarly low amount shaped hood and a filter thread. Fringing is well-controlled,
of fringing as from the Tamron dying out almost completely
zoom range. Centre-sharpness is impressive
lens at both ends of the range. at longer zoom settings.
Even when combining the widest throughout the zoom range, but
available aperture with the shortest Distortion 0.31 corner-sharpness isn’t quite as good Distortion -2.0
zoom setting, sharpness remains Distortions are sometimes as from the Sigma 8-16mm. Barrel Barrel and pincushion
1 1
impressive across the entire image less than lenses with more distortion at the short end and colour distortions are of a similarly
frame – no mean feat. modest viewing angles. fringing throughout are controlled well. low order to the Canon lens.

Digital Camera verdict Digital Camera verdict

This lens is the ideal
choice if you want to
really maximise your
4.0 Excellent
This veteran Sigma is
a solid performer with
high-grade handling
4.0 Excellent

viewing angle potential: and image quality, and

the difference is its ‘constant’ aperture
4.0 4.5 4.0 4.0 4.0 4.5 4.0 5.0
somewhat eye-popping rating is unmatched by
as you look through competing lenses at
Features Build & Performance Value Features Build & Performance Value
the viewfinder. handling a similar selling price. handling

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 Wide-angle lenses Group Test

BEST FOR
CANON

BEST FOR BEST FOR

SONY E NIKON

Sony Tamron
E 10-18mm 10-24mm f/3.5
f/4 OSS -4.5 Di II VC HLD
£659/$849 £449/$499
Premium features, compact build New, improved, smarter and better
Lens mount Sony E Lens mount s Canon EF-S , Nikon DX
Resolution (line widths/picture height) Resolution (line widths/picture height)

Sharpness Sharpness
Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 f/16 f/22 Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 f/16 f/22

ony’s full-frame mirrorless 10mm 2152 2176 1902 1574 1243 949
riginally launched back in 10mm 1367 1534 1522 1375 1093 861

S O
12mm 2151 2152 1877 1567 1252 952 14mm 1627 1617 1493 1347 1074 856

It’s mostly great, but corner In ‘real-world’ shooting,

14mm 2105 2106 1934 1602 1268 959 18mm 1551 1566 1569 1526 1167 906

cameras have been 18mm 1827 2057 1917 1568 1240 962
2008, Tamron’s 10-24mm 24mm 1271 1188 1156 1232 1071 846

hogging the limelight sharpness at the short end of zoom got a major revamp sharpness proved excellent
recently – but there’s still Centre
the range sharpness
is disappointing. last year. The new optical Centre
at all zoom sharpness
settings.
plenty of life in the APS-C line-up, for 3,000 path includes enhanced aspherical and 3,000

which this lens is designed. Typical of LD (Low Dispersion) elements. There’s

2,500 2,500
the breed, it’s relatively small and light. also a new HLD (High/Low toque-
It’s actually only slightly lighter than 2,000 modulated Drive) autofocus system 2,000
the Canon and Nikon lenses but feels and VC (Vibration Compensation)
1,500 1,500
a little more robust, and has a metal stabilization, both of which were
rather than plastic mounting plate. 1,000
lacking in the original lens. 1,000
Features include a constant f/4 Electromagnetic aperture control
aperture rating and an OSS (Optical 500 previously included in the Canon-fit 500

SteadyShot) stabiliser with three-stop edition has migrated to the Nikon-fit

0 0
performance. The optical path is f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 version, although this makes the new f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
simple compared with most other 10mm 12mm lens incompatible with some older 10mm 14mm
14mm 18mm 18mm 24mm
lenses on test, with only about two Nikon DSLRs.
thirds of the total number of elements, Fringing 0.61 Not just faster and quieter, the HLD Fringing 3.23
but there’s some high-tech Super ED Colour fringing is entirely autofocus improves handling as the Fringing is noticeable at 14
glass in the mix, aiming to boost negligible at any combination focus ring no longer rotates during and 18mm, but less so at the
of focal length and aperture. extremes of the focal range.
sharpness and reduce colour fringing. autofocus, while also adding full-time
Centre-sharpness is excellent across Distortion 1.06 manual override. Build quality is Distortion 0.7
the zoom range, but corner sharpness Barrel distortion is minor at excellent and includes a full set of Distortion at typical shooting
1 1
is relatively poor at 10mm, even when 10mm; pincushion is similarly weather-seals, plus a keep-clean distances is less than close-
stopping down the aperture. low in the 14-16mm sector. fluorine coating on the front element. range lab results would imply.

Digital Camera verdict Digital Camera verdict

Performance and
image quality are
broadly good, although
4.0 Excellent
Shooting at very close
range, the Tamron
delivered mediocre
5.0 A best-in-class product

the outright zoom results in our lab tests.

range is relatively It was a different story
4.0 4.0 4.0 3.0 5.0 5.0 4.5 5.0
small, and the price in our real-world tests,
feels steep compared where sharpness was
Features Build & Performance Value Features Build & Performance Value
with some competitors. handling excellent throughout. handling

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 Group Test Wide-angle lenses

The fab Fuji

rules the roost
The Fujinon XF10-24mm f/4
BEST FOR
R OIS is an optical treat FUJIFILM

ujifilm’s X-series camera bodies precludes the attachment of screw-in filters travel lenses, and we prefer them to the

F and lenses have rightly won high

praise for their clever design,
robust build construction and
or filter holders. The same goes for the
Sigma 8-16mm, but at least a specialist Lee
Filters adaptor is available for the Olympus.
companies’ older wide-angle zooms.
Even so, the similarly priced Sigma
10-20mm has better build quality and
high-end performance. All of these facets Even so, the Sigma is a clear winner for overall performance, if you can live without
are typified by the XF10-24mm lens, which maximising viewing angles, and is available optical stabilisation. The Sony 10-18mm
combines flawless handling with neat for a wide range of camera types. comes up a bit short in overall zoom range
styling and top-drawer image quality. The recently launched Canon and Nikkor but offers good features and performance
The Olympus 7-14mm is a beautifully lenses are relatively compact and light, with – but it’s more than twice the price of the
made lens that delivers pro-grade handling plastic mounting plates, and they both Sigma 10-20mm, although the Sigma is
and performance, but its built-in hood feature optical stabilisers. They make good only available for Sony A rather than E.

How the
lenses
compare
Canon Fujinon Nikkor Olympus Sigma Sigma Sony Tamron
EF-S 10-18mm XF10-24mm AF-P DX 7-14mm f/2.8 Pro 8-16mm 10-20mm f/3.5 E 10-18mm f/4 10-24mm
f/4.5-5.6 IS STM f/4 R OIS 10-20mm M.Zuiko Digital f/4.5-5.6 DC EX DC HSM OSS f/3.5-4.5 Di II
f/4.5-5.6G VR ED HSM VC HLD
Contact www.canon.co.uk www.fujifilm.co.uk www.nikon.co.uk www.olympus. www.sigma-imaging-uk.com www.sony.co.uk www.tamron.
co.uk co.uk
Street price £239/$279 £849/$999 £329/$307 £949/$1,299 £599/$799 £319/$399 £659/$849 £449/$499
Mount options C F N MFT C N P S-A Sg C N P S-A Sg S-E CN
Elements/groups 14/11 14/10 14/11 14/11 15/11 13/10 10/8 16/11
Diaphragm blades 7 blades 7 blades 7 blades 7 blades 7 blades 7 blades 7 blades 7 blades
Minimum aperture f/22-29 f/22 f/22-29 f/22 f/22 f/22 f/22 f/22-29
Optical stabiliser Yes Yes Yes No No No Yes Yes
Autofocus motor type Stepping motor Stepping motor Stepping motor Stepping motor Ultrasonic (ring) Ultrasonic (ring) Stepping motor Modulated drive
AF manual override Electronic Electronic Electronic Electronic Full-time Full-time Electronic Full-time
Max angle of view 107.5 degrees 110 degrees 109 degrees 114 degrees 121 degrees 110 degrees 109 degrees 108 degrees
(diagonal)
Min focus distance 0.22m 0.24m 0.22m 0.20m 0.24m 0.24m 0.25m 0.24m
Max magnification 0.15x 0.16x 0.17x 0.12x 0.13x 0.15x 0.1x 0.19x
Focus distance scale No No No No Yes Yes No Yes
Filter size 67mm 72mm 72mm None None 82mm 62mm 77mm
Hood Optional Supplied Supplied Built-in Built-in Supplied Supplied Supplied
Dimensions (dia x length) 75 x 72mm 78 x 87mm 77 x 73mm 79 x 106mm 75 x 106mm 87 x 88mm 70 x 64mm 84 x 85mm
Weight 240g 410g 230g 534g 555g 520g 225g 440g

Features
Build & handling
Performance
Value
Overall
OVERALL

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 Wide-angle lenses Spotlight

Mount: Fujifilm X
Lens construction: 20 elements in 13 groups
Angle of view: 83-121° degrees
Effective focal length: 12-24mm
Diaphragm blades: 9
Maximum aperture: f/2.8
Minimum aperture: f/22
Minimum focusing distance: 0.25m
Maximum magnification ratio: 0.1x
2 Filter size: n/a
Image stabilisation: No
Dimensions: 88 x 122mm
3 Weight: 805g
1

Resolution (line widths/picture height)

Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22

8mm 1549 1831 1923 1789 1504 1232 979

10mm 2085 2071 1990 1725 1535 1274 985
12mm 2230 2342 2184 2012 1669 1352 1008
16mm 1821 2012 1976 1773 1542 1224 936

Fujinon XF8-16mm
Centre sharpness
3,000

f/2.8 R LM WR 2,500

2,000

£1,769/$1,799 1,500

The widest zoom yet for Fujifilm cameras 1,000

w w w. f u j i f i l m . c o . u k 500

f you are a Fujifilm X-series camera user, you simply 1 0

f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
can’t get a zoom that offers you a wider view than
I the Fujinon XF8-16mm f/2.8 R LM WR. So you
can understand why people could fall in love
The fixed lens hood
does an excellent job
Sharpness
8mm 10mm 12mm 16mm

of eliminating flare.
with a lens that is quite so big, and so expensive. Centre-frame sharpness is excellent throughout
The main competition for this lens comes from the more the zoom range, from wide open through to f/11.
affordable Fujinon XF10-24mm f/4 R OIS, which is about half the 2
weight, and has built-in stabilisation (unlike the XF 8-16mm). The The front element is a Fringing Short 0.76 Long 0.56
difference between 8mm and 10mm sounds slight, but in practice bulbous affair, which Chromatic aberration is minimal at all focal lengths
the XF8-16mm’s coverage is noticeably greater. This makes this lens means that screw-in and apertures – it’s barely noticeable in photos.
a stronger option for subjects such as interiors and architecture. front filters are out
Another wide (and more affordable) option is the Laowa 9mm of the question. DistortionShort1 -0.09 Long -0.01
f/2.8 Zero D. However, this lens lacks autofocus. Shots display little to no visible distortion, because
Thanks to the 1.5x crop factor provided by the APS-C sensor 3 Fujifilm cameras automatically apply corrections.
used in the Fujifilm’s X-mount mirrorless cameras, the effective
This zoom gives you
focal length of this lens is 12-24mm, which has been a favourite beautifully engineered
focal length range on full-frame DSLRs for years. zoom, focus and
Verdict
The lens gives a constant f/2.8 maximum aperture that helps aperture rings
explain the weight and girth of the lens. There is a lot of glass
inside this lens casing!
to get a grip on.
4.5 Outstanding

Performance
We tested the XF8-16mm on the Fujifilm X-Pro3 and the Fujifilm 4.0 5.0 5.0 3.0
X-A7. The lens dwarfed both of these cameras in a way that you
don’t usually expect from a wide-angle lens. But when you put the Features Build & Performance Value
zoom to the use it was made for, it performs wonderfully – thanks handling

to a well-thought out design – and you soon forget about the size This lens offers a range of ultra-wide focal lengths
and weight. It is probably a better match of a camera like the X-T3 no other X-mount zoom can offer. For interiors, or
with a grip, but it is equally usable on the smallest of Fujifilm for city architecture, this lens is unparalleled. The
mirrorless bodies. The images it shoots are impressive, too, price is high… but for the focal length range, and
making this a lens that you can easily fall in love with. Chris George for the wide maximum aperture, the cost is justified.

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 Standard
zoom lenses
Stick or twist? Here’s how basic standard
zoom lenses from Canon and Nikon
compare with exotic upgrade options

S
tandard zoom lenses Some kit zooms feel like they’re
cover most eventualities built down to a price. Only the Nikkor
for day-to-day shooting, 24-120mm features a nano-structure
so it pays to have a good coating, weather-seals and a focus
one. You can buy most distance scale, while both of the
Canon and Nikon SLRs Canon and Nikkor 18-55mm
as complete kits with a lenses have plastic rather
standard zoom. In the APS-C format than metal mounting plates.
camp, the most popular option is a If you decide to shift up to a more
light and fairly unassuming 18-55mm exotic standard zoom, you can expect
lens. The main full-frame kit zooms premium or fully pro-grade build
are the Canon EF 24-105mm IS STM quality, faster aperture ratings
and the Nikkor AF-S 24-120mm f/4 and, hopefully, better overall
ED VR. They’re all solid performers, performance. Let’s see how
so why would you need to upgrade? they stack up. Matthew Richards

The contenders
1 Canon EF-S 18-55mm f/3.5-5.6 IS STM £214/$106
2 Canon EF-S 15-85mm f/3.5-5.6 IS USM £690/$799
3 Canon EF 24-105mm f3.5-5.6 IS STM £579/$599
4 Canon EF 24-70mm f/2.8L II USM £1,740/$1,599
5 Nikkor AF-P DX 18-55mm f/3.5-5.6G VR £209/$247
6 Nikkor AF-S DX 16-80mm f/2.8-4E ED VR £989/$1,067
7 Nikkor AF-S 24-120mm f/4 ED VR £1,045/$1,097
8 Nikkor AF-S 24-70mm f/2.8E ED VR £1,799/$2,399

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 Shutterstock

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 Group Test Standard zooms

Canon Canon
EF-S 18-55mm EF-S 15-85mm
f/3.5-5.6 IS STM f/3.5-5.6 IS USM
£214/$106 £690/$799
The best Canon 18-55mm yet Resolution (line widths/picture height)
Altogether more zoom range Resolution (line widths/picture height)

Sharpness Sharpness
Aperture f/3.5 f/4 f/5.6 f/8 f/11 f/16 f/22 f/16 f/22 Aperture f/3.5 f/4 f/5.6 f/8 f/11 f/16 f/22 f/16 f/22

arginally larger and heavier 18mm 1417 1422 1530 1533 1402 1118 913
his lens offers a wider 15mm 1794 1754 1566 1517 1353 1156 872

M T
24mm 1616 1594 1512 1329 1122 869 35mm 1412 1614 1470 1304 1111 908

than Canon’s previous EF-S Levels of sharpness drop off maximum viewing angle It’s a little sharper than
35mm 1611 1568 1578 1370 1100 907 50mm 1505 1444 1261 1060 904

55mm 939 1026 1190 1095 856 85mm 1303 1620 1291 1111 873

18-55mm IS II kit lens, the towards the edges and at the than any other Canon the Canon 18-55mm at
latest IS STM boasts some long end of the zoom
Centre range.
sharpness standard zoom for APS-C the longest zoomsharpness
Centre setting.
key advantages. Previous editions 3,000 SLRs. It also boosts telephoto reach, 3,000

relied on a basic electric autofocus compared with the 18-55mm kit lens,
2,500 2,500
motor that was noisy and sluggish. with an effective range of 24-136mm.
Worse still, the manual focus ring and 2,000 The design is comparatively 2,000
the front element both rotated during old-school, which isn’t surprising as
autofocus, impairing handling and 1,500 the lens was launched 10 years ago. 1,500

making it tricky to use lens filters. 1,000

Autofocus is driven by a ring-type 1,000
The stepping motor in this lens ultrasonic autofocus system with
addresses all of these issues and 500 mechanically coupled full-time 500

delivers fast yet virtually silent override. It’s quick, but not as quiet
0 0
autofocus. The STM lens inherits f/3.5 f/4 f/5.6 f/8 f/11 f/16 f/22 as most of the lenses that use f/3.5 f/4 f/5.6 f/8 f/11 f/16 f/22
the four-stop image stabiliser from 18mm 24mm stepping motors. The focus 15mm 35mm
35mm 55mm 50mm 85mm
its predecessor, while adding two distance scale is a plus point.
extra optical elements and a more Fringing Fringing
well-rounded seven-blade diaphragm. Short 3.09 Long 1.39 Performance Short 3.12 Long 2.55
Colour fringing can be There’s good performance from the Colour fringing is a little worse
noticeable when uncorrected. than from the 18-55mm.
Performance autofocus system and four-stop
Centre-sharpness is pretty good on the Distortion stabiliser but sharpness is a little Distortion
whole, but drops off quite noticeably at Short -3.03 Long 0.22 disappointing. Our review sample Short -2.58 Long 0.78
1 1
the long end of the zoom range, while Short-zoom barrel distortion delivered its best sharpness There’s more pincushion than
corner-sharpness is merely mediocre. is worse than in the 15-85mm. when shooting wide-open. the 18-55mm at the long end.

Digital Camera verdict Digital Camera verdict

Image quality is good
rather than great, but
it’s a big improvement
4.0 Excellent
Build quality is better
than in the Canon
18-55mm, and the
4.0 Excellent

over its 18-55mm wider coverage and

predecessor from telephoto reach are
4.0 3.5 3.5 4.5 4.5 4.5 3.5 4.0
Canon, with much nice, but there’s no
better handling and real improvement
Features Build & Performance Value Features Build & Performance Value
quieter operation. handling in image quality. handling

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 Standard zooms Group Test

Canon Canon
EF 24-105mm Canon EF 24-70mm
f/3.5-5.6 IS STM f/2.8L II USM BEST FOR
£579/$599 £1,740/$1,599 CANON

A straightforward bargain buy Resolution (line widths/picture height)

Pretty compact but lacks stabilisation Resolution (line widths/picture height)

Sharpness Sharpness
Aperture f/3.5 f/4 f/5.6 f/8 f/11 f/16 f/22 f/16 f/22 Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 f/16 f/22

ompared with Nikon’s 24mm 2083 1993 1909 1902 1782 1560 1267
asily manageable for 24mm 1894 1951 2007 1904 1756 1538 1267

C E
50mm 1308 1542 1809 1671 1510 1264 35mm 1806 1887 1968 1828 1685 1480 1245

24-120mm VR kit lens, this Short-range lab-test scores an f/2.8 standard zoom, Sharpness is very good
70mm 1380 1638 1606 1495 1262 50mm 1806 1884 1961 1862 1692 1489 1298

105mm 1438 1593 1586 1435 1226 70mm 1696 1845 1993 1883 1698 1486 1263

model (often bundled with aren’t great, but real-world this lens is little more and impressively consistent
the EOS 6D Mark II) is little sharpness is impressive.
Centre sharpness than two thirds the physical throughCentre
the zoom range.
sharpness
more than half the price. It lacks some 3,000 length of the competing Nikon, and 3,000

of the Nikkor’s finery, though: it’s not shaves nearly 25 per cent off the
2,500 2,500
a constant-aperture lens, it has neither weight. The Mark II represents a
weather-seals nor a focus distance 2,000 major revamp over the original lens, 2,000
scale, and you have to buy a hood. with an upgraded optical design
On the plus side, the Canon lens has 1,500 that aims for greater sharpness. 1,500

a refreshingly lightweight build, a fast 1,000

The Mark II is sturdier, better 1,000
and near-silent stepping motor-based weather-sealed and has a more
autofocus system and a more effective 500 well-rounded nine-blade diaphragm, 500

four-stop stabiliser. Build quality feels which helps to maintain the lens’s
0 0
rather better than in Canon’s 18-55mm f/3.5 f/4 f/5.6 f/8 f/11 f/16 f/22 attractive bokeh. However, given that f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
kit lens, with a sturdy barrel and a 24mm 50mm Sigma, Tamron and Nikon have built 24mm 35mm
70mm 105mm 50mm 70mm
metal mounting plate. optical image stabilisers into their
Fringing latest 24-70mm f/2.8 lenses for SLRs, Fringing
Performance Short 2.38 Long 2.1 it’s a disappointing omission here. Short 2.47 Long 1.61
This full-frame kit lens punches above Colour fringing is Fringing is well-controlled
reasonably well-controlled. throughout the zoom range.
its weight in terms of image quality. Performance
There’s plenty of sharpness on tap, Distortion Sharpness is excellent, although it’s Distortion
even when shooting wide-open. Short -2.8 Long 1.52 eclipsed by the competing Nikon lens, Short -2.34 Long 0.13
1 1
Distortions, colour fringing and Barrel and pincushion as well as Canon’s new RF 24-70mm Barrel and pincushion
vignetting are well-controlled. distortions are pretty average. f/2.8 lens for its mirrorless bodies. are impressively low.

Digital Camera verdict Digital Camera verdict

For image quality,
this lens pretty much
matches Canon’s
4.0 Excellent
This is Canon’s best
standard zoom for
SLRs, but the lack of
4.5 Outstanding

constant-aperture EF stabilisation can be

24-105mm f/4L IS II frustrating and it’s
4.0 4.0 4.5 5.0 4.0 5.0 4.5 3.5
USM, which is almost pricey compared with
twice the price. It’s high-performance
Features Build & Performance Value Features Build & Performance Value
standout value. handling alternatives. handling

181

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 Group Test Standard zooms

Nikkor Nikkor
AF-P DX 18-55mm AF-S DX 16-80mm
f/3.5-5.6G VR f/2.8-4E ED VR
£209/$247 £989/$1,067
Cleverly compact and retractable Resolution (line widths/picture height)
Nikon’s top-flight DX option Resolution (line widths/picture height)

Sharpness Sharpness
Aperture f/3,5
f/3.5 f/4 f/5.6 f/8 f/11 f/16 f/22 f/16 f/22 Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 f/16 f/22

vailable as a kit lens with or 18mm

24mm 1573
2083 1855
1993 2069
1909 1886
1902 1665
1782 1333
1560 1079
1267
ew meets old in this lens: 16mm 2003 2047 1895 1771 1505 1246 958

A N
35mm
50mm 1480
1308 1810
1542 1786
1809 1503
1671 1252
1510 1072
1264 24mm 1693 2102 2115 1758 1554 1227 895

without VR, the stabilised There’s a relative lack of it combines an effective The lens is super-sharp
45mm
70mm 1724 1719
1380 1723
1638 1610
1606 1281
1495 1052
1262 50mm 2023 2027 1880 1785 1481 1210 925

55mm
105mm 1597
1438 1586
1593 1396
1586 1115
1435 939
1226 80mm 1593 1537 1605 1180 978 624

version is definitely the sharpness when shooting yet conventional ring-type at most zoom settings but
one to go for. Both have a wide-open
Centreat 18mm.
sharpness ultrasonic autofocus drops off at the long
Centre end.
sharpness
retractable design that enables a small 3,000 system with a new-generation, 3,000

carrying size. Unlike the previous AF-S electromagnetically controlled

2,500 2,500
editions, the AF-P models use a quiet diaphragm. This helps to maintain
stepping motor to drive autofocus, 2,000 consistently accurate exposures 2,000
like the competing Canon 18-55mm. in rapid continuous drive mode.
Unlike in previous designs, the 1,500 The zoom range is an ‘effective’ 1,500

focus ring remains stationary 24-120mm, which works out the same 1,000
1,000
during autofocusing. However, neither in practical terms as Nikon’s full-frame
autofocus nor manual focusing works 500 kit lens for the D750. However, while 500

with older Nikon SLRs. There’s also that one has a constant-aperture rating
0 0
no VR on/off switch: you can only f/3,5 f/4 f/5.6 f/8 f/11 f/16 f/22
f/3.5 of f/4, the DX lens is up to a full f/stop f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
switch it off via the camera menu. 18mm
24mm 35mm
50mm faster at short zoom settings. Like 16mm 24mm
45mm
70mm 55mm
105mm 50mm 80mm
current kit lenses for DX-format SLRs,
Performance Fringing it has a seven-blade diaphragm Fringing
Nikon’s smallest kit zoom for SLRs Short 4.66 Long 1.06 and a four-stop stabiliser. Short 3.29 Long 1.78
boasts fast autofocus speed as well as Uncorrected fringing is only There’s noticeable fringing at
apparent at the short end. 16mm, but it mostly dies away.
four-stop VR. Outright image quality is Performance
very good in most respects, although Distortion Sharpness is exceptional at all but the Distortion
colour fringing and barrel distortion Short -4.01 Long 0.27 longest zoom setting. However, lateral Short -4.59 Long 2.26
1 1
are quite severe at the short end There’s very little distortion chromatic aberration can be visible Short-zoom barrel distortion
of the zoom range. at mid to long zoom settings. when uncorrected at the short end. can be very noticeable.

Digital Camera verdict Digital Camera verdict

Great for travel and
general shooting, it’s
a good performer and
4.0 Excellent
For performance
and versatility, this
is the best DX-format
4.5 Outstanding

terrific value. Fringing standard zoom on the

and distortion can market for Nikon SLRs.
4.0 4.0 4.0 5.0 4.5 5.0 4.0 3.5
be easily corrected. It beats alternatives
Nikon’s 16-80mm from independent
Features Build & Performance Value Features Build & Performance Value
lens costs a lot more. handling manufacturers. handling

182

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 Standard zooms Group Test

Nikkor Nikkor
AF-S 24-120mm AF-S 24-70mm BEST FOR
NIKON

f/4 ED VR f/2.8E ED VR
£1,045/$1,097 £1,799/$2,396
A high-quality kit lens for the D750 Resolution (line widths/picture height)
A big brute of a standard zoom Resolution (line widths/picture height)

Sharpness Sharpness
Aperture f/4 f/5.6 f/8 f/11 f/16 f/22 f/16 f/22 Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 f/16 f/22

uilding on the success 24mm 1919 1920 1881 1782 1583 1272
easuring 155mm in length, 24mm 2158 2175 2324 2166 1943 1648 1319

B M
50mm 1951 2121 2119 1935 1735 1292 35mm 2093 2294 2328 2147 1904 1595 1358

of Nikon’s original AF-S It’s not far behind the Nikkor this is one of the biggest It beats the AF-S 24-105mm,
85mm 1597 1938 2062 1885 1692 1373 50mm 1893 2157 2250 2135 1932 1668 1314

120mm 1431 1800 1879 1816 1603 1285 70mm 1897 2046 2121 1938 1687 1618 1289

24-120mm VR, this second 24-70mm, but drops off at its standard zoom lenses especially in the longer half
edition has a constant longer maximum focal length.
Centre sharpness on the market. You’d of the zoom range.
Centre sharpness
rather than variable aperture rating 3,000 be forgiven for assuming it had an 3,000

and an upgraded stabiliser. It’s been internal zoom mechanism, but it

2,500 2,500
on sale for a decade now, though, extends even further as you near
and the 3.5-stop stabiliser is less 2,000 either end of the zoom range. 2,000
effective than in most newer Nikon Redesigned a few years ago, this
lenses. At least VR comes complete 1,500 edition adds four-stop stabilisation; the 1,500

with Normal and Active modes. 1,000

previous incarnation had none. It also 1,000
Build quality is very good for a gains an entirely new optical design,
kit lens and includes weather-seals. 500 incorporating four ED elements. The 500

Conventional internals include nine-blade diaphragm is also upgraded

0 0
mechanical control for the diaphragm f/4 f/5.6 f/8 f/11 f/16 f/22 with electromagnetic control. f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
and a ring-type ultrasonic AF system. 24mm 50mm 24mm 35mm
85mm 120mm
Performance 50mm 70mm

Performance Fringing The lens is capable of magnificent Fringing

Sharpness holds up pretty well Short 4.06 Long 1.33 results, and delivered the best scores Short 5.55 Long 0.71
throughout the zoom range, right out Poor at 24mm, colour fringing for sharpness in our lab tests. Even so, At the short end, it’s the
gradually decreases. poorest Nikkor here.
to the edges and corners of the frame. it is somewhat eclipsed in this aspect
If uncorrected, however, colour fringing Distortion of its image quality by Nikon’s new Distortion
and distortions are rather noticeable, Short -4.19 Long 2.9 full-frame Z-mount standard zooms, Short -3.94 Long 2.12
1 1
especially in comparison with Distortions are on a par with and its colour fringing, distortions and Barrel and pincushion are no
new-generation Z-mount lenses. the AF-S 24-70mm f/2.8. vignetting are much more noticeable. worse than the 24-120mm.

Digital Camera verdict Digital Camera verdict

This lens is well suited
to the Nikon D750 and
older full-frame SLRs,
4.0 Excellent
It’s built like a tank
and has become more
affordable in the UK,
4.5 Outstanding

with which it’s fully since the price dropped

compatible, but it a while ago. It’s a
4.5 4.5 4.0 4.0 5.0 5.0 4.5 4.0
won’t make the most superb lens, and a
of the high-resolution great choice for any
Features Build & Performance Value Features Build & Performance Value
D850, for example. handling full-frame Nikon SLR. handling

183

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 Group Test Standard zooms

Swings and
roundabouts
The Nikkor AF-S 24-70mm
f/2.8E ED VR claims top spot
hen you trade up from a creative freedom. Premium lenses are Trading up from the Canon 24-105mm

W standard kit lens to a more

sophisticated zoom, there’s
often little or no improvement
generally more adept at keeping ghosting
and flare to a minimum. Build quality also
tends to be much better, catering to the
f/3.5-5.6 to the 24-70mm f/2.8 is a trickier
decision, as you’ll lose image stabilisation
as well as extra telephoto reach in the
in autofocus speed, nor in facets of image demands of professional photographers. process. That said, the Canon 24-105mm
quality like sharpness, colour fringing and The Nikkor 24-70mm is the most lens is rather basic compared with the
distortion. The biggest difference you’ll impressive lens in this test. Even so, if you’re Nikkor 24-120mm, whereas the Canon
usually find is that top-flight lenses typically got the excellent Nikkor 24-120mm kit lens, 24-70mm is a fully pro-grade lens with
have a faster aperture rating, delivering a there’s little need to upgrade unless you particularly strong
tighter depth of field and giving you more really feel the need for that extra f/stop. build quality.

How the
lenses
compare

Canon EF-S Canon EF-S Canon EF Canon EF Nikkor AF-P DX Nikkor AF-S DX Nikkor AF-S Nikkor AF-S
18-55mm 15-85mm 24-105mm 24-70mm f/2.8L 18-55mm 16-80mm 24-120mm f/4 24-70mm f/2.8E
f/3.5-5.6 IS STM f/3.5-5.6 IS USM f/3.5-5.6 IS STM II USM f/3.5-5.6G VR f/2.8-4E ED VR ED VR ED VR
Contact www.canon.co.uk www.canon.co.uk www.canon.co.uk www.canon.co.uk www.nikon.com www.nikon.com www.nikon.com www.nikon.com
Street price £214/$106 £690/$799 £579/$599 £1,740/$1,599 £209/$247 £989/$1,067 £1,045/$1,097 £1,799/$2,399
Full-frame compatible No No Yes Yes No No Yes Yes
Equiv focal length 29-88mm 24-136mm 36-168mm 38-112mm 27-82.5mm 24-120mm 36-180mm 36-105mm
Elements/groups 13/11 17/12 17/13 18/13 12/9 17/13 17/13 20/16
Diaphragm 7 blades 7 blades 7 blades 9 blades 7 blades 7 blades 9 blades 9 blades
Optical stabiliser 4-stop 4-stop 4-stop None 4-stop 4-stop 3.5-stop 4-stop
Autofocus type Stepping motor Ultrasonic Stepping motor Ultrasonic Stepping motor Ultrasonic Ultrasonic Ultrasonic
(ring-type) (ring-type) (ring-type) (ring-type) (ring-type)
Manual focus override Electronic Full-time Electronic Full-time Electronic Full-time Full-time Full-time
Min focus distance 0.25m 0.35m 0.4m 0.38m 0.25m 0.35m 0.45m 0.38m
(35-50mm)
Max reproduction ratio 0.36x 0.21x 0.3x 0.21x 0.38x 0.22x 0.24x 0.28x
Focus distance scale No Yes No Yes No Yes Yes Yes
Mounting plate Plastic Metal Metal Metal Plastic Metal Metal Metal
Weather-sealed mount No No No Yes No Yes Yes Yes
Filter size 58mm 72mm 77mm 82mm 55mm 72mm 77mm 82mm
Hood EW-63C, EW-78E, EW-83M, EW-88C, HB-N106, HB-75, included HB-53, included HB-74, included
£15/$23 £38/$30 £29/$27 included £20/$25
Dimensions 69 x 75mm 82 x 88mm 83 x 104mm 89 x 113mm 65 x 63mm 80 x 86mm 84 x 104mm 88 x 155mm
(dia x length) (retracted)
Weight 205g 575g 525g 805g 205g 480g 710g 1,070g

Features
Build & handling
Performance
Value
Overall
OVERALL

184

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 Canon RF 28-70mm f/2L USM Spotlight

Full-frame compatible: Yes

Elements/groups: 19/13
Image stabiliser: No
Minimum focus distance: 0.39m
Max magnification factor: 0.18x
Manual focus override: Yes
Focus limit switches: No
3 4
Internal zoom: No
1 Internal focus: Yes
Filter size: 95mm
Iris blades: 9
Weather seals: Yes
Supplied accessories: Cap, rear cap, hood, case
Dimensions (dia x length): 104 x 140mm
2 Weight: 1,430g

Canon RF 28-70mm
Centre sharpness
3,000

f/2L USM 2,500

2,000

£3,049/$2,999 1,500

A monster of a standard zoom lens 1,000

w w w. c a n o n . c o . u k 500

ne of the main attractions of Canon’s EOS R and RP 1 0

f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
bodies is their comparatively compact and light build,
O compared with full-frame SLRs. By contrast, the RF
28-70mm is a monster, measuring 104 x 140mm
A tell-tale sign of
the lens’s extra-large
Sharpness
Short Medium Long

build is its 95mm

and weighing in at 1,430g. It’s nearly twice the Sharpness is mostly scintillating, but images are
filter thread.
weight and twice the price of Canon’s top-spec EF 24-70mm soft around the edges at short zoom settings.
f/2.8 lens, weighing about the same as a 70-200mm f/2.8 zoom.
2
The RF lens’s upscaled build is mainly due to it being a full f/stop Fringing Short 1.67 Long 1.6
faster than most premium standard zooms. The optical elements You can adjust ISO, There’s very little colour fringing at any focal
need a larger diameter to let in more light; this lens has an oversized aperture, shutter length throughout the entire zoom range.
95mm filter thread, despite its more limited zoom range with speed and exposure
less wide-angle potential. Instead, the design goes all out compensation via the Distortion Short -1.43 Long 1.21
for premium image quality, with minimal distortions. forward control ring. A benefit of the relatively modest zoom range
You could argue that with its f/2 aperture and premium optical is that distortions are low throughout.
design, this zoom lens performs more like four prime lenses with 3
28mm, 35mm, 50mm and (nearly) 85mm focal lengths. The zoom The focus ring operates
lens might therefore represent a saving in size and weight, while smoothly, but the lens
Verdict
also reducing the need to swap the lens mounted on the camera. lacks a mechanical
Even so, a prime lens with a similar aperture rating would equate
to a much less bulky shooting package hanging around your neck,
even if it meant popping a couple of extra lenses in your bag.
focus distance scale.

4
4.5 Outstanding

Performance The lens physically

4.5 4.5 5.0 3.5
Autofocus is very fast but not completely silent, based on a ring- extends at longer zoom
settings and features
type ultrasonic system, rather than a stepping motor or Nano USM. Features Build & Image Value
a zoom lock switch. quality
Centre sharpness is spectacular throughout the entire zoom range, handling

even when you shoot wide-open at f/2, although corner sharpness It’s a fabulous lens that really can rival three or
at the short end is disappointing. Contrast and colour rendition four separate prime lenses. However, the sheer
are superb, while lateral chromatic aberrations and distortions bulk and weight of the lens make it feel a mismatch
are minimal. At f/2, bokeh is beautiful with negligible longitudinal for a mirrorless body, leaving somewhat of an
fringing, and wonderfully smooth transitions. Matthew Richards f/2.8-shaped gap in Canon’s RF lens line-up.

185

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Alistair Campbell

DCM276.guide_lenses01.indd 186 17/11/2023 15:20

 Standard
zooms for
mirrorless
Is your ‘kit’ lens good enough, or should
you go for something more fancy?

L
ast issue, we tested the Kit lenses for crop-sensor mirrorless
most popular standard cameras often have a retractable
zoom lenses for Canon design, making them particularly
and Nikon DSLRs, which compact for stowing away, adding to
are bundled with DSLR the svelte attraction of this type of
bodies to form complete camera. Upgrade zooms tend to be
camera kits. We larger and heavier, but usually have
compared them with more exotic a constant aperture rating that’s
options, which are available if you generally about two f/stops faster
buy your standard zoom separately. at the long end of the zoom range.
This month, it’s round two, as we That’s great for gaining a tighter
compare kit and upgrade zooms for depth of field, as well as fast shutter
Fujifilm, Olympus and Panasonic speeds under dull lighting. They also
crop-sensor cameras, as well as for tend to have better build quality and
Sony full-frame E-mount models. classier glass. Matthew Richards

The contenders
1 Fujifilm Fujinon XC15-45mm f/3.5-5.6 OIS PZ £229/$299
2 Fujifilm Fujinon XF16-55mm f/2.8 R LM WR £949/$1,199
3 Olympus M.Zuiko Digital ED 14-42mm f/3.5-5.6 EZ Pancake £255/$224
4 Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro £699/$849
5 Panasonic Lumix G Vario 12-32mm f/3.5-5.6 Asph Mega OIS £259/$317
6 Panasonic Lumix G Leica DG 12-60mm f/2.8-4 Asph Power OIS £799/$898
7 Sony FE 28-70mm f/3.5-5.6 OSS £395/$398
8 Sony FE 24-70mm f/2.8 G Master £1,799/$2,198

187

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 Group Test Standard zooms

Fujinon Fujinon
BEST FOR
FUJIFILM

XC15-45mm XF16-55mm
f/3.5-5.6 OIS PZ f/2.8 R LM WR
£229/$299 £949/$1,199
Power to the people Resolution (line widths/picture height)
A couple of steps up the ladder Resolution (line widths/picture height)

Sharpness Sharpness
Aperture f/3.5 f/4 f/5.6 f/8 f/11 f/16 f/22 Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 f/16 f/22

vailable in black or silver, 15mm 2267 2163 1771 1928 1645 1339 1068
t four times the price of the 16mm 1818 1969 1927 1856 1562 1267 1012

A A
23mm 1886 2009 1816 1598 1315 1054 23mm 1471 1975 1923 1856 1560 1275 1011

this Fujifilm kit lens isn’t Centre-sharpness is strong 15-45mm, the constant- There’s a dip in wide-open
29mm 1703 1847 1770 1563 1290 1023 35mm 1369 1603 1719 1698 1522 1283 988

45mm 1436 1411 1346 1227 954 55mm 1680 1654 1589 1564 1434 1245 981

as tiny or featherweight in the short half of the zoom aperture 16-55mm f/2.8 sharpness at mid-zoom
as its Micro Four Thirds range, but dropssharpness
Centre off. zoom is the pick of the crop settings, but overall
Centre it’s good.
sharpness
counterparts on test, but still boasts 3,000 for anyone upgrading from their kit 3,000

a space-saving retractable design. lens. Sure, it doesn’t feature optical

2,500 2,500
Like the competing Olympus EZ kit stabilisation, but it does have a tough
lens, the Fujinon has a motorised zoom 2,000 weather-sealed build, a rapid ‘linear 2,000
mechanism. The lens automatically motor’ autofocus system, a constant
extends and retracts when you switch 1,500 f/2.8 aperture and a control ring. 1,500

the camera on and off. Fast and slow 1,000

It also gives a significantly wider 1,000
zoom speeds are available, depending maximum viewing angle than Fujifilm’s
on how much you twist the zoom ring. 500 18-55m lens (another upgrade 500

It’s useful for video capture, but less possibility), equivalent to 24mm
0 0
than ideal for very precise adjustments f/3.5 f/4 f/5.6 f/8 f/11 f/16 f/22 rather than 27mm in full-frame terms. f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
while you’re shooting stills. 15mm 23mm 16mm 23mm
29mm 45mm
Performance 35mm 55mm

Performance Fringing Three aspherical and three ED Fringing

The minimum focus distance is Short 2.11 Long 1.39 elements help to boost image quality, Short 2.37 Long 1.09
unusually short at the wide-angle end Colour fringing can be slightly while dual HT-EBC and Nano-GI Fringing is slightly lower than
noticeable at the short end. in the Fujinon 15-45mm.
of the zoom range. The electronically coatings do a great job of minimising
coupled focus ring works smoothly, Distortion ghosting and flare. Two f-stops faster Distortion
and the stepping motor autofocus Short -0.75 Long -0.41 than the 15-45mm kit lens at the Short -0.66 Long 0.31
1 1
system is quick and quiet. Image After in-camera corrections, long end of the zoom range, it There’s almost no distortion;
quality is very good overall. there’s only minimal barreling. gives a tighter depth of field. vignetting is also minimal.

Digital Camera verdict Digital Camera verdict

Remarkably small and
light for an APS-C
format standard zoom,
4.0 Excellent
It’s fairly big and heavy
for an APS-C format
lens but build quality,
4.5 Outstanding

this kit lens delivers handling and image

pleasing images. The quality are all epic, as
4.0 3.5 4.0 5.0 4.5 5.0 5.0 4.5
motorised ‘power you’d expect from one
zoom’ is a mixed of Fujifilm’s ‘red badge’
Features Build & Performance Value Features Build & Performance Value
blessing, though. handling best-of-breed lenses. handling

188

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 Standard zooms Group Test

Olympus BEST FOR

OLYMPUS

M.Zuiko Digital ED Olympus

14-42mm f/3.5-5.6 M.Zuiko Digital ED
EZ Pancake 12-40mm f/2.8 Pro
£255/$224 £699/$849
A pancake that doesn’t fall flat Resolution (line widths/picture height)
Boasts a constant aperture Resolution (line widths/picture height)

Sharpness Sharpness
Aperture f/3.5 f/4 f/5.6 f/8 f/11 f/16 f/22 f/16 f/22 Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 f/16 f/22

his ‘pancake’ zoom from 14mm 1419 1448 1357 1251 1225 1049 813
oming in at three times 12mm 1588 1401 1533 1427 1277 1015 764

T C
22mm 1506 1735 1524 1399 1065 808 18mm 1125 1085 1264 1197 1231 930 760

Olympus follows the same Sharpness drops off towards the price of the Olympus Results for sharpness don’t
30mm 1431 1520 1438 1292 1027 782 25mm 1455 1201 1199 1168 1213 1033 744

42mm 1269 1140 1240 972 783 40mm 1355 1478 1145 973 1114 991 748

basic script as the Fujinon the edges when you use wide pancake zoom and four look particularly good, but
15-45mm kit lens on test. apertures in the sharpness
Centre short half. times the weight, this is the lensCentre
performs beautifully.
sharpness
It’s available in black or silver and has 3,000 very much the pro-grade big brother 3,000

a retractable design with a motorised for Micro Four Thirds cameras. Indeed,
2,500 2,500
zoom mechanism. However, it’s even the constant f/2.8 aperture rating
smaller and lighter than the Fujinon. 2,000 makes this lens two f-stops faster 2,000
The speed of the zoom motor than the Olympus pancake zoom
increases if you twist the zoom ring 1,500 at the long end of the zoom range. 1,500

further, but precise adjustments for 1,000

The weather-sealed build quality 1,000
stills capture can be tricky. Build is excellent, while handling luxuries
quality is good: surprisingly for such a 500 include a physical focus distance 500

lightweight kit lens, the mounting plate scale and a neat customisable
0 0
is made from metal rather than plastic. f/3.5 f/4 f/5.6 f/8 f/11 f/16 f/22 Lens-Function button. f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
14mm 22mm 12mm 18mm

Performance 30mm 42mm

Performance 25mm 40mm

Upmarket optics include three Fringing Optical highlights include two Fringing
aspherical elements, one aspherical Short 1.41 Long 0.52 aspherical, one dual-surface Short 0.3 Long 0.53
ED element and a Super HR (High Minimal fringing at the short aspherical, one ED aspherical, There’s no fringing to be seen
end vanishes at the long end. after in-camera corrections.
Refractive index) element, along with two ED and two HR elements, along
Olympus’s A Zero coating. Outright Distortion with A Zero coating. Sharpness and Distortion
sharpness is a little mediocre, but Short -1.67 Long -0.21 contrast proved excellent in our Short 0.04 Long 0.2
1 1
image quality on the whole is After in-camera corrections, real-world testing, although lab Distortions are kept firmly
good for a lens this small. it’s a distortion-free lens. results weren’t overly inspiring. at bay with auto corrections.

Digital Camera verdict Digital Camera verdict

Adding to the slimline,
travel-friendly
credentials of Olympus
3.5 Very good
Lab test results don’t
tell the full story: this
lens was an excellent
4.5 Outstanding

Micro Four Thirds performer throughout

cameras, this is a all of our ‘real-world’
3.5 3.5 3.5 4.0 4.5 4.5 4.5 4.5
neat lens that takes procedures, and
up next to no room at delivers pictorially
Features Build & Performance Value Features Build & Performance Value
all when it’s retracted. handling gorgeous results. handling

189

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 Group Test Standard zooms

Panasonic BEST FOR

PANASONIC

Panasonic Lumix G Leica

Lumix G Vario DG Vario-Elmarit
12-32mm f/3.5-5.6 12-60mm f/2.8-4
Asph Mega OIS Asph Power OIS
£259/$317 £799/$898
A variation on a kit theme Resolution (line widths/picture height)
No constant aperture, more zoom Resolution (line widths/picture height)

Sharpness Sharpness
Aperture f/3.5 f/4 f/5.6 f/8 f/11 f/16 f/22 f/16 f/22 Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 f/16 f/22

ike the Fujifilm and 12mm

24mm 1952
2083 1974
1993 1763
1909 1594
1902 1291
1782 1071
1560 806
1267
ompared with Panasonic’s 12mm 1784 2031 1889 1675 1426 1117 818

L C
18mm
50mm 1795
1308 1875
1542 1648
1809 1391
1671 1093
1510 869
1264 25mm 1912 2014 1814 1693 1369 1112 834

Olympus kit lenses on test, It’s very good across most of retractable kit lens on test, It’s sharper than Panasonic’s
25mm
70mm 1860 1754
1380 1454
1638 1352
1606 1072
1495 832
1262 40mm 1758 1856 1621 1421 1098 834

32mm
105mm 1549
1438 1433
1593 769
1586 715
1435 762
1226 60mm 1535 1823 1623 1347 1112 846

this one comes in silver or the zoom range, only dropping this one costs about three 12-32mm and delivers a much
black and has a retractable off at the longestsharpness
Centre setting. times the price and is a greaterCentre
zoom range.
sharpness
design. It collapses to pretty much the 3,000 much more hands-on affair. Whereas 3,000

same diminutive size as the Olympus. the smaller lens lacks any control
2,500 2,500
It’s even lighter, at an unfeasible 70g in switches or even a manual focus ring,
weight, yet adding a three-stop optical 2,000 this one has AF/MF and stabiliser on/ 2,000
stabiliser that’s lacking in the Olympus. off switches for instant control, plus a
The Panasonic has a manual rather 1,500 smooth-action, electronically coupled 1,500

than motorised zoom mechanism. focus ring. It doesn’t have a retractable 1,000
1,000
You have to manually extend the design, and is somewhat larger and
lens for use when you switch on 500 heavier, at 68 x 86mm and 320g, 500

the camera and it’s not so convenient but still entirely manageable.
0 0
for movie capture, but offers greater f/3.5 f/4 f/5.6 f/8 f/11 f/16 f/22 Unlike all the other upgrade zooms f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
zooming precision for stills. 12mm
24mm 18mm
50mm on test, this lens doesn’t have a 12mm 25mm
25mm
70mm 32mm
105mm 40mm 60mm
constant-aperture design that
Performance Fringing enables the widest aperture of Fringing
There’s no manual focus ring, but Short 0.4 Long 0.73 f/2.8 throughout the zoom range. Short 1.12 Long 0.43
autofocus is quick, ultra-quiet and There’s virtually no colour Short fringing is slightly higher
fringing to be seen. than in the 12-32mm lens.
very reliable. Image quality is good Performance
for such a tiny lens but, as usual, Distortion Thanks to the inclusion of four Distortion
the widest available aperture of Short -2.01 Long -0.12 aspherical and two ED elements, plus Short -1.79 Long 0.04
1 1
f/5.6 at the long end of the zoom There’s only a little barrel a three-stop stabiliser, image quality Auto corrections means you
range can be a challenge. distortion at 12mm. is highly impressive in all respects. get very little distortion.

Digital Camera verdict Digital Camera verdict

Incredibly small and
light, yet with optical
stabilisation and
4.0 Excellent
The jumbo zoom range
and effective optical
stabiliser are two of the
4.5 Outstanding

generous wide-angle biggest attractions in

coverage, this is a this lens, making up
3.5 3.5 4.0 4.0 4.5 4.5 4.5 4.5
great lens for travel for the aperture
and everyday shooting shrinking from f/2.8
Features Build & Performance Value Features Build & Performance Value
on MFT cameras. handling to f/4 at the long end. handling

190

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 Standard zooms Group Test

Sony Sony
GOLD BEST FOR
AWARD SONY

FE 28-70mm FE 24-70mm
f/3.5-5.6 OSS f/2.8 G Master
£395/$398 £1,799/$2,198
A modest FE standard zoom Resolution (line widths/picture height)
A big lens in every way Resolution (line widths/picture height)

Sharpness Sharpness
Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 f/16 f/22 Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 f/16 f/22

his lens is a popular kit 28mm 1417 1455 1612 1669 1497 1167
his G Master lens is as good 24mm 2555 2532 2486 2099 1631 1643 1301

T T
35mm 1499 1547 1512 1222 1288 1256 35mm 2297 2674 2710 2434 2029 1713 1303

lens option with A7-series Sharpness isn’t too bad at as it gets for an own-brand Even wide-open, sharpness
50mm 1411 1461 1449 1689 1515 1233 50mm 2728 2771 2717 2477 2065 1710 1314

70mm 1078 1356 1364 1443 1284 70mm 2266 2633 2604 2403 2070 1716 1323

bodies. It’s pretty compact the centre, but disappointing Sony standard zoom. And is simply phenomenal
and light for a full-frame towardsCentre
the edges.
sharpness so it should be, costing throughout the zoom
Centre range.
sharpness
compatible standard zoom lens, at 3,000 about five times the price of the 3,000

73 x 83mm and 295g, despite lacking 28-70mm kit lens. It’s not massively
2,500 2,500
a retractable design. It also includes bigger or heavier than the Fujifilm
a three-stop optical stabiliser, which 2,000 f/2.8 lens on test, despite the Sony 2,000
comes in very useful on older- being designed for full-frame rather
generation A7 bodies that 1,500 than APS-C format cameras. 1,500

lack in-camera stabilisation. 1,000

The weather-sealed construction 1,000
Build quality feels good overall, feels sturdy, and switches are featured
and it has a dust/moisture resistant 500 for AF/MF and a focus hold. There’s 500

design, although without a rubber ring no optical stabiliser, but newer

0 0
around the metal mounting plate. f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 Sony full-frame cameras have f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
28mm 35mm in-body stabilisation instead. 24mm 35mm

Performance 50mm 70mm 50mm 70mm

Three aspherical elements and one Fringing Performance Fringing

ED element help to boost image quality Short 0.48 Long 2.71 Sharpness and contrast are fabulous, Short 1.6 Long 0.29
and the seven-blade diaphragm is fairly Fringing is well-controlled aided by the inclusion of one extreme Very little fringing at 24mm;
across most of the range. less at mid to long settings.
well-rounded. Outright sharpness is aspherical, two regular aspherical,
disappointing, though, making it Distortion one Super ED, and one regular ED Distortion
a bit of a mismatch with any of Short -2.35 Long 3.46 element in the optical path. Nano Short -1.83 Long 2.31
1 1
Sony’s full-frame cameras that Barreling at the short end AR coating is also on hand to Uncorrected, there’s modest
bump up the megapixel count. gives way to pincushion. fend off ghosting and flare. barreling at 24mm.

Digital Camera verdict Digital Camera verdict

This lens is fairly small,
light and inexpensive
for a full-frame
4.0 Excellent
A stellar performer,
this lens is much more
expensive than any
5.0 Outstanding

compatible standard other standard zoom

zoom, but it lacks the on test, but you get
4.0 4.0 4.0 4.0 5.0 5.0 5.0 4.0
quality to make the what you pay for. It’s
most of Sony’s recent the best own-brand
Features Build & Performance Value Features Build & Performance Value
mirrorless cameras. handling Sony standard zoom. handling

191

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 Group Test Standard zooms

Sony is the
master of all
The quality of its FE 24-70mm
f/2.8 G Master gives it top billing GOLD
AWARD

ony has served up some Sony E-mount fit, the Sigma 24-70mm f/2.8 image quality, as well as a desirable

S scintillating full-frame
mirrorless cameras over the
last few years, but the 28-70mm
DG DN Art promises to be a real money-
saver at around half the price.)
The kit lenses from Fujifilm and Olympus
constant f/2.8 aperture rating. The same
goes for the Panasonic 12-60mm f/2.8-4
OIS over the 12-32mm kit lens: you get
kit lens fails to get the most out of them. both feature a retractable design with a upgraded to a massive zoom range
By contrast, the 24-70mm G Master lens motorised zoom mechanism. They also complete with the retention of optical
delivers superb sharpness, along with both deliver decent performance but the stabilisation and superb image quality.
particularly beautiful bokeh for a standard more upmarket Fujifilm XF16-55mm f/2.8 In a nutshell, the upgrade
zoom. The flipside is that the G Master and Olympus 12-40mm f/2.8 Pro represent lenses are well worth
is very pricey. (Now launching in significant upgrades in handling and the extra outlay.

How the Fujinon Fujinon M.Zuiko Digital M.Zuiko Digital Panasonic Panasonic Leica Sony FE Sony FE
lenses XC15-45mm XF16-55mm ED 14-42mm ED 12-40mm 12-32mm G 12-60mm 28-70mm 24-70mm f/2.8
compare f/3.5-5.6 OIS PZ f/2.8 R LM WR f/3.5-5.6 EZ f/2.8 Pro f/3.5-5.6 Asph f/2.8-4 Asph f/3.5-5.6 OSS G Master
Mega OIS Power OIS
Contact www.fujifilm. www.fujifilm. www.olympus. www.olympus. www.panasonic. www.panasonic. www.sony.co.uk www.sony.co.uk
co.uk co.uk co.uk co.uk com/uk com/uk
Street price (UK, USA) £229/$299 £949/$1,199 £255/$224 £699/$849 £259/$317 £799/$898 £395/$398 £1,799/$2,198
Full-frame compatible No No No No No No Yes Yes
Equivalent focal length 22.5-67.5mm 24-82.5mm 28-84mm 24-80mm 24-64mm 24-120mm 42-105mm 36-105mm
Elements/groups 10 / 9 17 / 12 8/7 14 / 9 8/7 14 / 12 9/8 18 / 13
Diaphragm 7 blades 9 blades 5 blades 7 blades 7 blades 9 blades 7 blades 9 blades
Optical stabiliser 3-stop None None None 3-stop 3-stop 3-stop None
Zoom type Powered Manual Powered Manual Manual Manual Manual Manual
Autofocus type Stepping motor Stepping motor Stepping motor Stepping motor Stepping motor Stepping motor Stepping motor Stepping motor
Focus ring coupling Electronic Electronic Electronic Electronic None (AF only) Electronic Electronic Electronic
Min focus distance 0.13-0.35m 0.3-0.4m 0.2m 0.2m 0.2-0.3m 0.2-0.24m 0.3-0.45m 0.38m
Max reproduction ratio 0.24x 0.16x 0.23x 0.3x 0.13x 0.3x 0.19x 0.24x
Focus distance scale No No No No No No No No
Retractable Yes No Yes No Yes No No No
Filter size 52mm 77mm 37mm 62mm 37mm 62mm 55mm 82mm
Supplied accessories None Hood, wrap None Hood, pouch None Hood, pouch Hood Hood, pouch
Dimensions (dia x 63 x 44mm 84 x 106mm 61 x 23mm 70 x 84mm 56 x 24mm 68 x 86mm 73 x 83mm 88 x 136mm
length)
Weight 135g 655g 93g 382g 70g 320g 295g 886g

Features
Build & handling
Performance
Value
Overall
OVERALL

192

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 Sony E 16-55mm f/2.8 G Spotlight

Mount: Sony E (APS-C)

Lens construction: 17 elements, 12 groups
Angle of view: 83-29 degrees
Diaphragm blades: 9
3
Minimum aperture: f/22
Minimum focusing distance: 0.33m
Maximum magnification ratio: 0.2x
Filter size: 67mm
Dimensions: 73 x 100mm
1 Weight: 494g

Sony E 16-55mm
f/2.8 G
£1,199/$1,299
The new standard for APS-C Sony cameras
w w w. s o n y. c o . u k

iscerning full-frame shooters generally opt for a 1

24-70mm f/2.8 lens as their go-to zoom for general
D shooting. That’s great for Sony A7 and A9 cameras,
but what if you have an APS-C format A6000 series
Contrast is enhanced
by Nano AR Coating,
Sharpness
Centre-frame sharpness is excellent at all focal
which is effective in
body? The new Sony E 16-55mm f/2.8 G is an almost combating ghosting
lengths, even when shooting at f/2.8. Only at
exact equivalent, with an effective 24-82.5mm zoom range and f/16 and narrower does sharpness fall off.
and flare.
the same f/2.8 constant aperture rating.
It’s designed to give owners of one of the Sony A6000-series of Fringing Short 0.1 Long 0.33
2
mirrorless cameras a high-quality kit lens option. Just like the Sony Fringing is only noticeable at 16mm and at larger
E 70-350mm f/4.5-6.3 G OSS, which was released at the same There are 17 elements apertures – and this is with in-camera correction
time, the Sony E 16-55mm f/2.8 G helps to fill out a lens range that arranged in 12 groups, switched off.
had lacked any real choice for those who don’t want unnecessarily including two AA
(Advanced Aspherical)
bulky lenses that are designed for use with full-frame cameras.
elements, two further
Distortion Short -8.54 Long 1.97
There’s significant and very obvious barrel distortion
aspherical elements
Performance and three ED (Extra-low
at 16mm, though by 24mm it’s already reduced
Autofocus performance is excellent in terms of both speed and to an acceptable degree.
Dispersion) elements.
accuracy. Sharpness across the whole image frame is epic, even
when shooting wide-open at f/2.8, throughout the shorter half Verdict
3
of the zoom range. It remains excellent at longer zoom settings,
although corner-sharpness drops off a little.
Contrast and colour rendition are superb, while resistance
to ghosting and flare is very good indeed. The quality of bokeh
Although fairly light,
the lens feels solid, and
has a good scattering
5.0 A best-in-class product

is very pleasant when shooting wide-open. of weather seals.

The lens lacks optical stabilisation, which can be an issue 4.5 5.0 5.0 4.5
for handheld shooting on all current A6000-series cameras
apart from the top-end A6600, the only one to feature in-body Features Build & Performance Value
handling
stabilisation. Our only other criticism is that barrel distortion is
very heavy at the short end of the zoom range. It’s automatically A top-quality, fast standard zoom for APS-C format
corrected in the latest cameras, where distortion correction Sony cameras has been a long time coming. This
can’t actually be switched off for this lens. Matthew Richards new 16-55mm f/2.8 G ticks all the right boxes.

193

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 Street lenses
It’s time to get back to shooting life in motion,
so here are eight of the most streetwise buys

M
any of us easing out of anticipating events as they unfold and
lockdown recently have capturing definitive moments. More
rediscovered the simple often than not, classic street images
joys of ambling around include people set against urban
city streets, feasting on surroundings, photographed candidly
the sights and sounds as they go about their lives.
of bustling life. It’s only You’ll therefore need a camera and
natural to want to capture this ‘new’ lens combination that you can use
normality on camera. And if you’ve fairly discreetly, and that enables you
never been into street photography to shoot with next to no setup time.
before, it’s a chance to try something Traditionally, a full-frame camera with
new. But what is street photography, a 35mm prime lens is the ideal tool
and how do you shoot it? of choice. Let’s look at the best
Classic street photography is all options for DSLRs and mirrorless
about reacting to your environment, cameras. Matthew Richards

The contenders
1 Canon EF 35mm f/2 IS USM £539/$599
2 Canon RF 35mm f/1.8 IS Macro STM £529/$499
3 Nikkor AF-S 35mm f/1.8G ED £455/$527
4 Nikkor Z 35mm f/1.8 S £799/$847
5 Samyang 35mm f/1.4 AS UMC £487/$499
6 Sigma 35mm f/1.4 DG HSM | A £699/$799
7 Sigma 35mm f/2 DG DN | C £549/$639
8 Tamron 35mm f/2.8 Di III OSD Macro £239/$199

194

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 Street lenses Group Test

Shutterstock

DCM276.guide_lenses01.indd 195 17/11/2023 15:21

 Canon Canon
EF 35mm RF 35mm f/1.8
GOLD
AWARD

f/2 IS USM BEST FOR

IS Macro STM BEST FOR
£539/$599 CANON EF
£529/$499 CANON RF

Get it while you can… Perfect for EOS R-series cameras

Lens mount Canon EF Lens mount Canon RF
Resolution (line widths/picture height) Resolution (line widths/picture height)

Sharpness Sharpness
f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 f/1.8 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22

umours are rife that Canon Centre 1811 2001 2147 2141 1987 1828 1535
ne of the attractions of
1242 Centre 1886 2120 1972 1978 1984 1860 1613 1316

R O
Middle 1428 1751 1775 1859 1755 1645 1422 1153 Middle 1709 1956 2140 2184 2028 1770 1513 1238

will discontinue this lens There’s little to choose mirrorless cameras is that Sharpness is mostly excellent,
Edge 845 1089 1690 1789 1712 1565 1335 1040 Edge 1141 1266 1552 1682 1637 1490 1269 1058

sometime this year. That’s between this and Canon’s RF they’re generally fairly slim but drops off towards the
a shame, because it works Sharpness
35mm for centre-sharpness. and light. The same can’t Sharpness
corners at wide apertures.
really well for street photography. It 3,500 be said of Canon’s companion RF 3,500

bridges the gap between the EF 40mm 3,000

lenses, many of which are weighty 3,000
f/2.8 pancake lens, which is super- beasts, but this 35mm prime bucks
2,500 2,500
small, but has a focal length that’s the trend. It’s actually smaller and
a touch on the long side; and the EF 2,000 lighter than the EF 35mm on test, 2,000
35mm f/1.4L II USM, which is massive despite its faster aperture rating.
1,500 1,500
in both size and cost. This 35mm f/2 IS As usual for lenses with stepping
USM is quite compact and light, yet 1,000 motor autofocus systems, there’s no 1,000

has a fairly fast aperture rating, 500

focus distance scale or depth of field 500
ring-type ultrasonic autofocus, plus markings, which are often preferred for
0 0
four-stop stabilisation. The manual f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 ‘zone focusing’ in street photography. f/1.8 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
focus ring operates with precision Centre Middle However, a distance scale, focus Centre Middle
Edge Edge
and enables fine adjustments. peaking and focus guide options
Fringing are available in Canon’s EOS Fringing
f/2.8 1.28 f/16 1.43
Performance f/2.8 0.75 f/16 0.75 R-series bodies.
Colour fringing is minimal
Performance is impressive, with Lateral chromatic aberrations
are very well-controlled. and tends to go unnoticed.
quick and whisper-quiet autofocus, Performance
stabilisation that lives up to its 4-stop Distortion -1.28 Image quality is outstanding, while Distortion -1.35
billing and excellent image quality in Barrel distortion is quite handheld shooting benefits from a There’s a touch of barrel
1 1
all respects. There’s certainly no minimal, and less than in five-stop image stabiliser, further distortion, but it’s easily fixed
lack of sharpness and contrast. the newer Canon RF lens. boosted on newer R-series bodies. with in-camera corrections.

Digital Camera verdict Digital Camera verdict

This is a terrific lens
for street photography
with full-frame Canon
4.5 Outstanding
Compact and light, it’s
perfectly matched to
slimline EOS R-series
5.0 A best-in-class product

DSLRs. It’s not as fast mirrorless bodies. The

as the Sigma f/1.4 5-stop stabiliser, 0.5x
5.0 4.0 4.5 4.5 5.0 5.0 4.5 5.0
lens, but image macro facility and
stabilisation is a control ring add
Features Build & Performance Value Features Build & Performance Value
significant bonus. handling to the attraction. handling

196

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 Nikkor Nikkor
AF-S 35mm Z 35mm
f/1.8G ED f/1.8 S BEST FOR
£455/$527 £799/$847 NIKON Z

Compact and keenly priced A smart piece of Z-mount design

Lens mount Nikon F Lens mount Nikon Z
Resolution (line widths/picture height) Resolution (line widths/picture height)

Sharpness Sharpness
f/1.8 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 f/1.8 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22

ompared with Nikon’s new Centre 1454 2299 2343 2256 2141 1996 1515
ike most of Nikon’s Centre 2351 3155 3093 2969 2622 2296 1958

C L
Middle 1151 1676 1855 1956 1910 1776 1433 Middle 1876 2002 2039 2217 2255 2018 1747

Z-series 35mm lens for its Sharpness is excellent at Z-mount prime lenses, this It beats every lens here for
Edge 681 878 995 1319 1563 1562 1305 Edge 1154 1211 1457 1727 1981 1745 1516

mirrorless cameras, this the centre, but there’s a big one has an f/1.8 aperture centre-sharpness, but is more
F-mount option is smaller, Sharpness
drop-off towards the corners. rating – and, like its Sharpness
average towards the corners.
lighter and much less expensive. Both 3,500 stablemates, it’s pricey for an f/1.8 3,500

lenses have an f/1.8 aperture rating. 3,000

prime. More exotic than Nikon’s 3,000
The ring-type ultrasonic system is F-mount lens on test, it takes the count
2,500 2,500
typically quick and quiet, as well as of aspherical elements from one to
enabling full-time manual override. 2,000 three and doubles up on ED elements. 2,000
There’s a focus distance scale but it’s Autofocus is driven by a stepping
1,500 1,500
of limited benefit for manual focusing, motor, and there’s no focus distance
as there are no markings between 1,000 scale. However, directional focus assist 1,000

0.7m and infinity, and only rudimentary 500

lamps and a focus peaking option are 500
depth of field markers for f/16. Optical available in Z-series cameras.
0 0
highlights include one aspherical f/1.8 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/1.8 f/2.8 f/4 f/5.6 f/8 f/11 f/16
element, one ED (Extra-low Dispersion) Centre Middle Performance Centre Middle
Edge Edge
element and Super Integrated Coating. Sharpness is spectacular in the central
Fringing region of the frame, less so towards the Fringing
f/2.8 0.99 f/16 0.99
Performance Lateral chromatic aberrations
edges and corners. As with the Canon f/2.8 0.3 f/16 0.18
Even in the corners, lateral
Bearing in mind that this lens is less RF lens, the relatively large-diameter
are very negligible. aberration is negligible.
than half the weight of the competing mounting plate enables excellent
Sigma, it packs plenty of punch. Distortion -1.34 all-round image quality, although the Distortion 0.22
Sharpness is mostly very good, The amount of barrel Nikkor lens relies purely on in-camera Unusually for a 35mm1lens,
1
and contrast is excellent, even distortion is average, stabilisation, and lacks the bonus the Nikkor produced slight
when shooting wide-open. but easy to correct. of a macro ability. pincushion distortion.

Digital Camera verdict Digital Camera verdict

For build quality and
optical prowess, it’s no
match for the Sigma
4.0 Excellent
Larger, heavier and
pricier than the Canon
RF lens, the Nikkor
4.5 Excellent

35mm Art lens, but the nevertheless has an

Nikkor is a lot smaller upmarket build with
3.5 3.5 4.0 4.0 4.5 5.0 5.0 4.0
and lighter, which is performance to match,
preferable for street bringing out the best
Features Build & Performance Value Features Build & Performance Value
photography. handling of Z-series cameras. handling

197

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 Samyang Sigma
35mm f/1.4 35mm f/1.4
AS UMC BEST FOR
DG HSM | A BEST FOR
£487/$499 PENTAX
£699/$799 NIKON F

A manual lens in varying degrees Quite compact for a Sigma Art

Lens mounts See table Lens mounts See table
Resolution (line widths/picture height) Resolution (line widths/picture height)

Sharpness Sharpness
f/1.4 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 f/1.4 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22

his manual-focus Samyang Centre 1015 2097 2211 2297 2277 2079 1904
any of Sigma’s Art lenses
1443 Centre 1492 2115 2303 2399 2292 2066 1734

T M
Middle 1067 1578 1849 2076 2134 2021 1771 1415 Middle 1559 1846 2016 2136 2068 1907 1621

lens (badged as Rokinon It’s lacklustre wide-open, but for DSLRs are bulky It loses out slightly to the
Edge 1136 1491 1734 1835 1885 1793 1626 1279 Edge 1172 1571 1831 1936 1988 1773 1541

in the US) is available in sharpness is excellent at propositions, but this Nikkor Z for centre-sharpness
a wide variety of mount apertures ofSharpness
f/2.8 to f/16. 35mm lens is fairly but beats itSharpness
in the corners.
options. Most have no built-in 3,500 compact. It’s smaller and lighter than 3,500

electronics, so you can’t control the 3,000

the competing Samyang f/1.4 lens, 3,000
aperture from the camera. Instead, but still about twice the weight of the
2,500 2,500
you need to use the lens’s own Canon and Nikkor f/1.8 lenses on test.
aperture ring, and the viewfinder 2,000 It features a fast and whisper-quiet 2,000
image gets progressively darker with ring-type ultrasonic autofocus system.
1,500 1,500
narrower aperture settings. Exceptions The generous rotational travel of the
are the AE versions in Canon and Nikon 1,000 focus ring enables fine and precise 1,000

mounts, which enable camera-driven 500

adjustments, although depth-of-field 500
aperture control as well as illumination markers are only available for f/16,
0 0
of focus-assist lamps in the viewfinder. f/1.4 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 which is impractical for zone focusing. f/1.4 f/2.8 f/4 f/5.6 f/8 f/11 f/16
Typical of manual-focus lenses, the Centre Middle The optical path includes two Centre Middle
Edge Edge
focus ring has a long rotational travel aspherical elements, one top-grade
and operates with smooth precision. Fringing FLD (Fluorite-grade Low Dispersion) Fringing
f/2.8 1.03 f/16 0.81 element and four SLD (Special Low f/2.8 1.33 f/16 0.64
Fringing all but disappears
Performance Axial aberration can be Dispersion) elements.
as you stop down a little.
noticeable at wide apertures.
The Samyang is comparatively big and
heavy, but sharpness and contrast are Distortion -1.91 Performance Distortion -0.52
disappointing at apertures wider than Barrel distortion isn’t bad but, Image quality is pretty epic, and the There’s less distortion than in
1 1
f/2. Stop down to f/2.8, though, and technically, it’s a little worse Sigma retains fabulous sharpness for any of the other lenses on test
image quality becomes excellent. than in other lenses here. an f/1.4 lens when shooting wide-open. for Canon and Nikon SLRs.

Digital Camera verdict Digital Camera verdict

For traditionalists
who prefer to focus
manually and use zone
4.0 Excellent
Available in a growing
range of mount
options, it’s a fabulous
4.5 Outstanding

focusing for street lens for Sony A & E

photography, this lens series and Panasonic S
4.0 4.0 3.5 4.0 4.5 5.0 5.0 4.5
is a top option, and mirrorless cameras, as
it’s available in a wide well as for Canon and
Features Build & Performance Value Features Build & Performance Value
variety of mounts. handling Nikon DSLRs. handling

198

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 GOLD
AWARD

Sigma Tamron
BEST FOR
SONY

35mm f/2 35mm f/2.8 Di III

DG DN | C BEST FOR
OSD Macro
£549/$639 PANASONIC
£239/$199
Made for mirrorless Both fabulous and inexpensive
Lens mounts Sony E , L-Mount Lens mount Sony E
Resolution (line widths/picture height) Resolution (line widths/picture height)

Sharpness Sharpness
f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22

lthough Sigma’s trusty Centre 1585 2305 2274 2174 2020 1820 1587
ith its f/2.8 aperture rating,
1249 Centre 2124 2193 2194 2016 1896 1622 1314

A W
Middle 1483 1878 2042 2001 1901 1730 1441 1168 Middle 1923 1996 2008 1889 1776 1574 1250

35mm Art lens is available There’s a bit of a drop-off this Tamron is the ‘slowest’ Scintillating corner-to-corner
Edge 1296 1589 1618 1547 1574 1358 1169 925 Edge 1673 1706 1755 1787 1659 1373 1123

in Sony E and Leica wide-open, but sharpness lens in the group, but the sharpness is maintained, even
L-Mount, it was primarily is generallySharpness
excellent. upsides are that it’s very when shootingSharpness
wide-open.
designed for Canon and Nikon DSLRs. 3,500 compact and weighs just 210g. Despite 3,500

By contrast, this new lens has been 3,000

that, the build quality feels sturdy and 3,000
designed from the ground up for solid, complete with weather seals. The
2,500 2,500
mirrorless full-frame cameras: it lens feels well-balanced on the Sony
has a slower f/2 aperture rating 2,000 full-frame mirrorless cameras for 2,000
but is only half the weight. which it’s designed. The stepping
1,500 1,500
The optical design incorporates motor-based autofocus system is
one SLD (Special Low Dispersion) 1,000 near-silent but not massively fast, 1,000

element and three aspherical 500

while the electronically coupled focus 500
elements. Handling is enhanced ring works with precision. Like the
0 0
by a physical aperture ring, although f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 Canon RF 35mm lens on test, the f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
there’s no de-click option. Centre Middle Tamron can double up as a macro lens, Centre Middle
Edge Edge
delivering 0.5x magnification at its
Performance Fringing shortest focus distance of 0.15m. Fringing
For an f/2 lens, sharpness is very f/2.8 0.3 f/16 0.42 f/2.8 0.25 f/16 0.16
good wide-open, becoming excellent Lateral chromatic aberration Performance There’s very little colour
is very minimal. fringing, even at the corners.
between f/2.8 and f/11, while Sharpness is exceptional even when
autofocus is fast, virtually silent Distortion -1.46 shooting wide-open, although the Distortion -1.08
and consistently accurate. Vignetting Barrel distortion can be f/2.8 aperture rating is modest. You might spot slight barrel
1 1
is very noticeable at f/2 but much noticeable, but in-camera Other aspects of image quality distortion in the regular
reduced at f/2.8. corrections are available. are similarly impressive. shapes of buildings.

Digital Camera verdict Digital Camera verdict

This Sigma works
superbly as a light
street lens for L-Mount
4.5 Outstanding
The build quality and
performance of this
compact and light lens
5.0 A best-in-class product

mirrorless cameras are excellent, making

but, for Sony E-mount it incredible value for
5.0 5.0 4.5 4.5 4.5 5.0 5.0 5.0
bodies, the Tamron has money. It’s a little
the edge – and is much cracker for Sony
Features Build & Performance Value Features Build & Performance Value
less expensive. handling mirrorless cameras. handling

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 Group Test Street lenses

GOLD
AWARD

Tamron comes
up trumps
The Tamron 35mm f2.8 Di III BEST FOR
OSD Macro has real street cred SONY

ouldn’t it be great if you could for Sony E-mount cameras. Sigma’s 35mm another fabulous lens with high-end design

W get top-end performance and

fabulous image quality from
a lens that’s compact and light
Contemporary lens is a little heavier and
much more expensive, but is a great buy
for L-Mount as well as Sony cameras.
and incredible centre-sharpness, but it’s
comparatively pricey. Both lenses are
obvious choices for street photography
yet robustly built, all at a really low price? The Canon RF 35mm is another standout on the respective companies’ full-frame
That’s exactly what the Tamron 35mm lens for street photography. It’s faster than mirrorless cameras, though.
delivers – and more besides, with refined the Tamron with an f/1.8 aperture, adds a For full-frame Canon DSLRs, our top choice
handling and a bonus 0.5x macro facility. highly effective five-stop stabiliser, and again is the Canon EF 35mm f/2 IS USM. For Nikon,
Sure, it only has a modest f/2.8 aperture boasts 0.5x macro magnification, for added we prefer the Sigma 35mm f/1.4 DG HSM Art
rating, but that should prove perfectly versatility with extreme close-ups. Image to the own-brand option. For a more
sufficient for street photography. The only quality is superb, and the lens is keenly priced. traditional manual-focus lens, look no further
real downside is that this lens is only available The competing Nikkor Z 35mm f/1.8 S is than the Samyang 35mm f/1.4 AS UMC.

How the
lenses
compare

Name Canon EF 35mm Canon RF 35mm Nikkor AF-S Nikkor Z 35mm Samyang 35mm Sigma 35mm Sigma 35mm Tamron 35mm
f/2 IS USM f/1.8 IS Macro 35mm f/1.8G ED f/1.8 S f/1.4 AS UMC f/1.4 DG HSM | A f/2 DG DN | C f/2.8 Di III OSD
STM Macro
Contact www.canon.co.uk www.nikon.co.uk samyanglens www.sigma-imaging-uk.com www.tamron.
global.com co.uk
Street price £539/$599 £529/$499 £455/$527 £799/$847 £487/$499 £699/$799 £549/$639 £239/$199
Mount options Canon EF Canon RF Nikon F Nikon Z Canon EF, Canon EF, Sony E, L-Mount Sony E
Nikon F, Nikon F, Sony A,
Pentax K, Sony E, L-Mount,
Sony A, Sony E Sigma
Elements/Groups 10/8 11/9 11/8 11/9 12/10 13/11 10/11 9/8
Diaphragm blades 8 blades 9 blades 7 blades 9 blades 8 blades 9 blades 9 blades 7 blades
Autofocus type Ultrasonic Stepping motor Ultrasonic Stepping motor None Ultrasonic Stepping motor Stepping motor
(ring-type) (ring-type) (ring-type)
Manual AF override Mechanical Electronic Mechanical Electronic N/A Mechanical Electronic Electronic
Min focus distance 0.24m 0.17m 0.25m 0.25m 0.3m 0.3m 0.27m 0.15m
Max magnification factor 0.24x 0.5x 0.24x 0.19x Unspecified 0.19x 0.18x 0.5x
Minimum aperture f/22 f/22 f/16 f/16 f/16 f/16 f/22 f/22
Optical stabiliser Four-stop Five-stop hybrid No No No No No No
Filter size 67mm 52mm 58mm 62mm 77mm 67mm 58mm 67mm
Included accessories None None Hood, pouch Hood, pouch Hood, pouch Hood, soft case Hood Hood
Dimensions (D x L) 78 x 63mm 74 x 63mm 72 x 72mm 73 x 86mm 83 x 109-138mm 77 x 94mm 70 x 65mm 73 x 64mm
Weight 335g 305g 305g 370g 690-735g 665g 325g 210g

Features
Build & handling
Performance
Value
Overall
OVERALL

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 Street lenses Spotlight

Specifications
1 Mount: Canon RF, Nikon Z, Sony FE
Full-frame: Yes
2 Lens construction: 14 elements in nine groups
Angle of view: 63º
Autofocus: No
Image stabilisation: No
Min aperture: f/16
Diaphragm blades: 15
Min focus distance: 0.5m
Max magnification ratio: 2.0x
3 Filter size: 67mm
Dimensions (L x D): 103 x 77mm
Weight: 755g

Laowa Argus 35mm

f/0.95 FFII
£899/$899
Beautiful bokeh and incredible depth of field
w w w.ukdigital .co.uk

aowa’s 35mm f/0.95 is the fastest-available 35mm

1
Sharpness
lens for full-frame cameras. It’s not the cheapest Centre sharpness is excellent, even at f/1.2, although

L or the lightest lens on the market, but it certainly

produces images you’ll want to share. It might not
The lens feels well-built
with a full metal body
it’s noticeably softer wide-open at f/0.95. The lens
is consistently sharp in the centre through to f/16.
have autofocus, but its slick design and smooth and hood.
Fringing 0.45
focusing could make you fall in love with manual focus again. Fringing is visible in the corners of the frame at
The selling point of this lens is its incredibly wide f/0.95 aperture 2
all apertures, although it’s most apparent at
which creates images where the out-of-focus areas are beautifully The focus dial is f/4 and narrower apertures.
smooth and the in-focus areas are pin sharp. The lens doesn’t smooth, with the
have any electronics so you can’t change aperture settings perfect amount Distortion 1.08
using the camera. Instead, there’s an aperture wheel on the of torque. There’s mild pincushion distortion, but you’re
lens that enables you to manually select the aperture. only likely to notice it if you’re shooting an
The focus ring rotates almost three-quarters of the way around especially geometric scene.
3
the lens which makes it hard to change focus distance in one swift
movement. If you’re out using it to shoot street photography, you’ll The aperture ring
feels solid. It comes
have a hard time quickly changing between focus points close to
with grooves to make
Verdict

3.5
you and focus points far away. The aperture ring and focus ring gripping it easier,
have deep grooves that make it really easy to hold and adjust, and has an option
even on a hot day when your hands are a bit sweaty. Very good
to hear clicks at
each full f-stop.
Performance
Shooting wide open, the in-focus areas were impressively sharp 3.5 4.0 3.5 4.0
and the out-of-focus areas were smooth, and the focus fade was
gradual. Stopping down to f/1.2 makes the lens slightly more Features Build & Performance Value
handling
useful, especially if you’re shooting portraits: at f/0.95 you
can’t even have the eye and eyelashes in focus. Laowa is certainly standing its ground as a company
that makes very good lenses, and the Argus 35mm
The obvious downside to this lens is that it doesn’t have
f/0.95 is no different. This super-fast prime is sharp
autofocus. This meant that on occasions I missed the shot where it needs to be, but the out-of-focus areas are
I wanted, as I wasn’t able to focus fast enough. This was especially dreamy and smooth. If you don’t mind the extra
true for moving objects or when I was massively changing my weight in your bag and the lack of autofocus, this
focus distance, as I had to rotate the focus ring so much. would be a welcome addition, whether you’re a
Hannah Rooke portrait, landscape or product photographer.

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 Nifty fifties
50mm prime lenses are perennially
popular optics. Here are our best buys

S
tandard zooms like an f/1.8 prime is around three f-stops
a 24-70mm offer faster. This enables faster shutter
great convenience speeds for freezing action under
for everyday shooting, dull lighting, and delivers a much
but a standard prime tighter depth of field for blurring
lens brings something the background, so you can really
extra to the table. On a isolate the subject.
full-frame camera, you get an entirely This class of lens has a fixed focal
natural viewing angle that equates length, so it lacks the versatility of a
to a lifelike perspective; on a crop- zoom lens, but there’s a lot to be said
sensor body, it makes a great short for ‘zooming with your feet’ to attain
telephoto for portraiture and the like. the optimum shooting position.
Standard primes also typically have 50mm is the classic focal length for
a faster aperture rating. Compared a standard prime, so let’s check out
with, say, an f/3.5-5.6 standard zoom, the best buys. Matthew Richards

The contenders
1 7Artisans 50mm f/1.05 £450/$486
2 Canon RF 50mm F1.8 STM £219/$200
3 Fujinon XF 50mm f/2 R WR £429/$499
4 Nikkor AF-S 50mm f/1.4G £389/$447
5 Nikkor Z 50mm f/1.8 S £529/$597
6 Samyang AF 50mm f/1.4 FE £499/$519
7 Sigma 50mm f/1.4 DG HSM | A £649/$949
8 Tamron SP 45mm f/1.8 Di VC USD £415/$549

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 50mm lenses Group Test

Getty

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 Group Test 50mm lenses

Canon BEST FOR

CANON RF

7Artisans RF 50mm
50mm f/1.05 f/1.8 STM
£450/$486 £219/$200
Feel the need for speed? Simple, small and very affordable
Lens mounts See table, page 130 Lens mount Canon RF

ltra-fast primes generally Sharpness anon’s EF-mount Sharpness

U equate to big, heavy glass

and preposterous prices.
This lens from 7Artisans
Sharpness is impressive
wide-open, considering
the f/1.05 aperture.
C equivalent of this lens has
always been a massively
popular buy for DSLR
Apart from the middle region
at f/1.8 to f/2.8, it’s sharper
than the older EF lens.
rewrites the rule book: it has an owners. The new RF edition fills a small
astonishingly fast aperture, but weighs hole, as it were, in Canon’s full-frame
in at just 606g and costs less than mirrorless line-up. There certainly
some f/1.8 lenses, which are about 1.5 aren’t many compact and affordable
f-stops slower. It’s available in a wide Canon RF lenses, but this one is a
range of mirrorless camera mounts. no-brainer for prime time. Canon’s
There are no built-in electronics, upmarket RF 50mm f/1.2 lens
so aperture adjustment is via the costs around 10 times as much.
onboard, stepless control ring.
The focus ring operates with Performance
smooth precision, and the This little lens delivers images that
build is generally robust. combine good wide-open sharpness
with pleasant bokeh. It beats the older
Performance Fringing EF lens in both respects although, Fringing
Considering its super-fast aperture f/2.8 1.35 f/16 1.7 like its forerunner, it lacks optical f/2.8 1.95 f/16 1.15
Lateral and axial chromatic Fringing can be noticeable
rating, the lens retains impressive stabilisation, which can be an issue
aberrations are minimal. towards the corners.
sharpness wide-open, while bokeh is with first-generation EOS R-series
deliciously dreamy. Fast lenses often Distortion -0.65 cameras. The stepping motor-driven Distortion -0.36
suffer from axial chromatic aberration There’s a hint of barrel autofocus system is quick and quiet, A reduction in barrel distortion
at their widest apertures, but this distortion, but you’ll usually fast enough for sporty stills and is another win over the older
one keeps it to a minimum. have a job spotting it. smooth enough for video. EF 50mm lens.

Digital Camera verdict Digital Camera verdict

The 7Artisans 50mm
combines impressive
sharpness with
4.5 Outstanding
Small, simple and light
compared with the
other lenses on test,
4.5 Outstanding

luscious bokeh, while it only features six

minimising unwanted elements in its optical
4.0 4.0 4.5 5.0 4.0 4.5 4.5 5.0
aberrations. It lacks design, but delivers
autofocus, but the great results and
Features Build & Performance Value Features Build & Performance Value
handling is refined. handling is excellent value. handling

204

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 50mm lenses Group Test

Fujinon BEST FOR

FUJIFILM

XF 50mm Nikkor
f/2 R WR AF-S 50mm f/1.4G
£429/$499 £389/$447
More a telephoto than a standard Compact and light for an f/1.4 lens
Lens mount Fujif ilm X Lens mount Nikon F

here’s no denying that the Sharpness ompared with the Nikon Sharpness

T Fujifilm XF 50mm looks a

bit pricey for an f/2 lens.
Indeed, it has the slowest
Wide-open sharpness
is excellent across the
entire frame.
C F-mount Sigma 50mm
f/1.4 lens on test, Nikon’s
own-brand lens is only half
Stop down to f/1.8, and
this lens delivers excellent
sharpness across the frame.
aperture rating in this test group. the physical length and about a third
However, it’s impeccably built, with of the weight. It’s simpler than the
comprehensive weather seals, an Sigma, with eight rather than 13 optical
aperture control ring for refined elements, but feels rather less robust.
semi-automatic and manual shooting, The straightforward optical path
and a high-grade optical path that doesn’t contain any aspherical or ED
includes an aspherical ED (Extra-low (Extra-low Dispersion) elements, as
Dispersion) element. The nine-blade featured in Nikon’s newer Z-mount
diaphragm is very well-rounded. 50mm lens. Similarly, there’s no
Autofocus is virtually silent, quick for high-tech Nano Crystal Coat for
stills and smooth for movie capture. minimising ghosting and flare.
More than 20 years old, the
Performance lens is showing its age.
Thanks to the 1.5x crop factor of Fringing Fringing
Fujifilm X-series cameras, the lens has f/2.8 0.66 f/16 1.21 Performance f/2.8 0.69 f/16 0.82
an effective focal length of 75mm and Colour fringing is practically Autofocus accuracy is more critical Lateral chromatic aberrations
impossible to spot at f/2.8. are minimal.
delivers a sufficiently tight depth of in very wide-aperture lenses, and
field at f/2 to make it a useful portrait Distortion 0.52 the Nikkor does well in this respect. Distortion -1.71
lens. Bokeh remains smooth when There’s a very slight hint of Centre-sharpness is good even It’s not overly bad, but barrel
stopping down a little, while ‘in-focus’ pincushion distortion, but at f/1.4, although it loses out distortion can be clearly
areas have immense sharpness. it’ll generally go unnoticed. to its Sigma competitor. visible when uncorrected.

Digital Camera verdict Digital Camera verdict

The 1.5x crop factor
of Fujifilm’s X-series
cameras makes this
4.5 Outstanding
If you’re after a
relatively small and
light 50mm prime for
4.0 Excellent

smartly turned-out your Nikon DSLR, this

lens work like a short lens is much easier to
4.5 4.5 5.0 4.5 4.0 4.0 3.5 4.0
telephoto, making it live with than Sigma’s
useful for portraiture f/1.4 offering, and
Features Build & Performance Value Features Build & Performance Value
or general shooting. handling rather more affordable. handling

205

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 Group Test 50mm lenses

GOLD
AWARD

Nikkor BEST FOR

NIKON Z
Samyang BEST FOR
SONY

Z 50mm f/1.8 S AF 50mm f/1.4 FE

£529/$597 £499/$519
Setting a new ‘standard’ An untypically automatic Samyang
Lens mount Nikon Z Lens mount Sony E

ikon’s 50mm f/1.8 Sharpness enowned for its high- Sharpness

N standard prime has been

reinvented for mirrorless
full-frame cameras, taking
Sharpness across the entire
frame is fabulous, even when
shooting wide-open at f/1.8.
R quality yet reasonably
priced manual-focus prime
lenses, Samyang has
Sharpness is very uniform
across the frame at f/1.4, and
becomes excellent at f/2.
full advantage of the Z mount’s larger recently started making autofocus
diameter and its closer proximity to lenses. This 50mm offering is only
the image sensor. Despite ‘only’ having available in Sony E-mount, where
an f/1.8 rather than f/1.4 aperture it gives a traditionally ‘standard’
rating, it’s considerably longer than perspective on Sony’s full-frame
Nikon’s F-mount 50mm f/1.4. mirrorless bodies.
The optical path has 12 optical Physically, it’s quite long for a 50mm
elements, and also includes two f/1.4 lens. The solid construction
aspherical and two ED elements. The features mostly metal barrel parts and,
addition of Nano Crystal Coat helps to at 585g, the Samyang is more than
minimise ghosting and flare. Autofocus double the weight of the Nikon f/1.4.
is courtesy of a stepping motor, ideally
suited to shooting stills and movies. Performance
Fringing Centre-sharpness is very respectable Fringing
Performance f/2.8 0.32 f/16 0.29 at f/1.4, and the Samyang does well f/2.8 0.44 f/16 0.55
Both lateral and axial colour Colour fringing is particularly
The sharpness from this lens is to maintain similar levels of sharpness
fringing are entirely negligible. negligible with this lens.
scintillating, blowing the Nikon AF-S into the edges and corners of the
50mm out of the water at wide Distortion 0.01 frame at this aperture. From f/2 and Distortion -0.47
apertures. The minimum depth of field With its virtually perfect lab onwards, sharpness and contrast There’s very little barrel
isn’t quite as tight, but defocused areas score, the Z 50mm is very are excellent, but vignetting is distortion, but it’s not as
look a little smoother nonetheless. much a zero-distortion lens. quite severe until you hit f/2.8. distortion-free as the Sigma.

Digital Camera verdict Digital Camera verdict

Nikon’s Z 50mm lens is
stunningly sharp even
wide-open, where the
5.0 A best-in-class product
Keenly priced, this lens
is solidly built, has a
fast aperture rating
4.5 Outstanding

f/1.8 aperture also and delivers excellent

delivers silky-smooth all-round performance,
4.5 5.0 5.0 4.5 4.5 4.5 4.5 4.5
bokeh. It’s not cheap proving that Samyang
for a 50mm f/1.8 lens isn’t just a one-trick,
Features Build & Performance Value Features Build & Performance Value
– but it’s worth it. handling manual-focus pony. handling

206

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 50mm lenses Group Test

BEST FOR
NIKON F

Sigma BEST FOR

CANON EF Tamron
50mm f/1.4 SP 45mm f/1.8
DG HSM | A Di VC USD
£649/$949 £415/$549
An ‘Art’ line heavyweight Steady as she goes
Lens mounts See table, page 130 L e n s m o u n t C a n o n E F, N i ko n F

igma’s previous 50mm lens Sharpness vailable in Canon EF and Sharpness

S was renowned as being a

heavyweight, but the
replacement ‘Art’ edition
Sharpness only drops off at
f/1.4 in the extreme corners
of the image frame.
A Nikon F editions, geared
towards DSLRs, this
Tamron isn’t quite a 50mm
Wide-open, the Tamron
acquits itself very well, aided
by optical stabilisation.
really piles on the pounds. It’s the lens, giving a slightly more generous
outright largest and heaviest lens viewing angle of 51 degrees rather
in the group, weighing almost than the more usual 46 degrees on
three times as much as the a full-frame body. Unlike competing
directly competing Nikon f/1.4. Canon and Nikon 50mm lenses, it
The main reason for the Art lens’s features a four-stop optical stabiliser.
weight gain is that it has a much more The lens features extensive weather
complex and sophisticated optical path seals and a fluorine coating on its front
than its predecessor, based on 13 element, to repel water and greasy
rather than eight elements. And when fingerprints. The ring-type ultrasonic
speed is of the essence, you can count autofocus system enables the usual
on the Sigma’s autofocus system being mechanically coupled manual override.
very fast and consistently accurate.
Fringing Performance Fringing
Performance f/2.8 1.02 f/16 1.05 Sharpness is very good even at wider f/2.8 0.91 f/16 0.97
The Sigma is amazingly sharp, even Colour fringing is very apertures, while defocused areas look Lateral and longitudinal
minimal at any aperture. aberrations are quite minimal.
at f/1.4, along with soft and creamy very soft, and the crossover between
bokeh. It’s virtually a distortion-free Distortion -0.05 sharp and blurred areas in images has Distortion -0.65
lens, and both colour fringing and Almost matching the Nikkor a pleasantly smooth transition. Bokeh Barrel distortion can be
vignetting are minimal. Overall Z 50mm, the Sigma’s barrel continues to impress when stopping noticeable, but it’s less severe
performance is simply superb. distortion is negligible. down a bit from wide-open shooting. than in the Nikkor AF-S 50mm.

Digital Camera verdict Digital Camera verdict

Big really is beautiful
when it comes to this
Sigma ‘Art’ lens. It’s
4.5 Outstanding
If you’re after an
optically stabilised
50mm prime to use on
4.5 Outstanding

designed with all of the a Canon or Nikon DSLR,

emphasis on image this Tamron fits the bill
4.5 4.5 5.0 4.5 4.5 4.5 4.5 4.5
quality rather than perfectly. It’s ideal for
weight-saving, and it handheld shooting
Features Build & Performance Value Features Build & Performance Value
shows in the results. handling in low-lit scenarios. handling

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 Group Test 50mm lenses

The Nikkor Z
tops the A-list GOLD
AWARD

The Nikkor Z 50mm BEST FOR

f/1.8 S is simply superb NIKON Z

ypical of most primes in Nikon’s prime on the market. It’s big and hefty, but the 7Artisans 50mm f/1.05 is a beautifully

T enviable Z-mount range, the

Z 50mm has a modest f/1.8
aperture rating, which enables
the oversized build pays dividends when it
comes to image quality, which is thoroughly
excellent. However, if you feel at a bit of a loss
crafted, high-performance lens that’s
amazingly affordable for such a fast
prime, and is available in a wide range
a reasonably compact build to suit slinky without image stabilisation, the Tamron SP of mirrorless lens mount options.
mirrorless camera bodies. It’s scary-sharp 45mm f/1.8 Di VC USD comes to the rescue, For Sony mirrorless cameras in particular,
even wide-open, while the quality of bokeh and still delivers beautifully smooth bokeh the Samyang AF 50mm f/1.4 FE is an
matches or beats most faster-aperture despite its slower aperture rating. excellent choice, whereas the Fujifilm
competitors. It’s simply spectacular, and Getting back to lenses for mirrorless XF50mm f/2 R WR is a smart buy for X-series
puts Nikon’s AF-S 50mm f/1.4G for DSLRs cameras, the Canon RF 50mm F1.8 STM is bodies. The latter naturally has an ‘effective’
firmly in the shade for handling, all-round a fabulous little lens that punches well above focal length of 75mm, making it more of
performance and image quality. its weight ,and it’s terrific value at the price. a short telephoto prime, but the same
For Canon and Nikon DSLRs, the Sigma If you’d rather take aperture width to the can be said of other lenses on test if you
50mm f/1.4 DG HSM Art is the best standard max and don’t mind focusing manually, use them with an APS-C format body.

How the
lenses
compare

Name 7Artisans Canon Fujinon Nikkor Nikkor Samyang Sigma Tamron

50mm f/1.05 RF 50mm XF 50mm AF-S 50mm Z 50mm f/1.8 S AF 50mm f/1.4 FE 50mm f/1.4 SP 45mm f/1.8
f/1.8 STM f/2 R WR f/1.4G DG HSM | A Di VC USD
Contact www.7artisans. www.canon. www.fujifilm. www.nikon.co.uk www.samyang www.sigma- www.tamron.
co.uk co.uk co.uk lensglobal.com imaging-uk.com co.uk
Street price (UK, USA) £450/$486 £219/$200 £429/$499 £389/$447 £529/$597 £499/$519 £649/$949 £415/$549
Mount options C-RF, L, N-Z, S-E C-RF F-X N-F N-Z S-E C-EF, L, N-F, S-A, C-EF, N-F
S-E, Sg
Full-frame compatible Yes Yes No Yes Yes Yes Yes Yes
Elements/groups 10/7 6/5 9/7 8/7 12/9 9/8 13/8 10/8
Diaphragm 13 blades 7 blades 9 blades 9 blades 9 blades 9 blades 9 blades 9 blades
Optical stabiliser No No No No No No No Yes
Autofocus type None, manual Stepping motor Stepping motor Ultrasonic Stepping motor Stepping motor Ultrasonic Ultrasonic
only (ring-type) (ring-type) (ring-type)
Min focus distance 0.57m 0.3m 0.39m 0.45m 0.4m 0.45m 0.4m 0.29m
Max reproduction ratio 0.13x 0.25x 0.15x 0.15x 0.15x 0.15x 0.18x 0.29x
Filter size 58mm 43mm 46mm 58mm 62mm 67mm 77mm 67mm
Accessories inc Soft case None Hood, cloth Hood, pouch Hood, pouch Hood Hood, soft case Hood
Diameter x min length 61 x 86mm 69 x 41mm 60 x 59mm 74 x 54mm 76 x 87mm 74 x 98mm 85 x 100mm 80 x 92mm
Weight 606g 160g 200g 280g 415g 585g 815g 540g
Features
Build & handling
Performance
Value
Overall
OVERALL

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 50mm lenses Spotlight

Specifications

Mount: Nikon Z
Full-frame: Yes
1
Lens construction: 10 elements in seven groups
Angle of view: 47 degrees
Autofocus: Yes
Image stabilisation: No
2
Diaphragm blades: Nine
Minimum aperture: f/22-32
Min focus distance: 0.16m
3 Maximum magnification ratio: 1.0x
Filter size: 46mm
Dimensions (L x D): 75 x 66mm
Weight: 260g

Nikkor Z MC 50mm f/2.8

£649/$649
This compact macro lens also
makes a great standard prime
w w w. nikon .co.uk

t’s been a long wait for an own-brand Nikon Z-mount 1 Sharpness

macro lens – and then, like buses, two come along at
I The lens features 10 Centre-sharpness is epic from wide-open, through
once. This one is less than half the physical length pretty much the entire aperture range. It remains
elements in seven
and weight of the more pro-grade Nikkor Z MC groups, including one excellent at the very narrowest aperture.
105mm f/2.8 VR S, and ED element and one
a shade under two thirds of the price. aspherical element.
Fringing 0.02
With a 50mm focal length and f/2.8 aperture rating, it makes a Lateral chromatic aberration is entirely negligible, even
The front element
in the extreme edges and corners of the frame, while
convenient standard prime for general shooting. But, unlike many features a fluorine
axial chromatic aberration is equally well-controlled.
50mm macro lenses down the years, this lens delivers full 1.0x coating to repel
macro magnification rather than just a 0.5x magnification factor, grease and moisture.
Distortion 0.7
therefore reproducing small objects at life size on the image sensor. There’s just the merest hint of pincushion distortion,
Pop the lens on a DX-format Nikon Z-series camera like the Z 50 2 but this will generally go completely unnoticed,
or the new Z fc, and the 1.5x crop factor gives you an even even when shooting straight-sided objects.
The electronically
larger ‘effective’ magnification factor. coupled manual focus
Many modern macro lenses have a fully internal focus ring works with smooth
mechanism, but this one has a more traditional extending inner precision, enabling
barrel. This keeps the physical length to a minimum in general fine adjustments. Verdict

4.5
shooting, and enables the lens to feature a rudimentary focus
distance scale and magnification factor markings on the inner 3
barrel. But with a short minimum focus distance of 0.16m, the Outstanding
extending inner barrel results in the front of the lens coming to The lens has a metal
just 5cm from what you’re shooting. This can be a bit awkward mounting plate, but
lacks comprehensive
when you’re trying to shoot bugs and other small creatures, as 4.0 5.0 4.0 5.0
weather-seals.
well as potentially casting a shadow over what you’re shooting.
Features Build & Performance Value
handling
Performance
The autofocus system is fast and consistently accurate, even for This 50mm f/2.8 standard prime is great for
general shooting. It’s conveniently compact, and
extreme close-ups, where focus accuracy is critical due to the
a full f-stop faster than Nikon’s Z 24-70mm f/4 S
typically tiny depth of field. Centre-sharpness is outstanding, zoom, which is supplied as a kit lens with full-frame
even wide-open at f/2.8, and gets even better between f/4 and Z-series bodies. Its main claim to fame, however,
f/8. Compared with the Z MC 105mm f/2.8 VR S, however, levels is that it delivers full 1.0x macro magnification
of sharpness drop off a little more towards the extreme edges at its shortest focus distance, although that
and corners of the frame. Matthew Richards distance might be closer than you like.

209

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Spotlight 50mm lenses

Specifications

Mount: Sony FE
3 Full-frame: Yes
Lens construction: 14 elements in 11 groups
1
Angle of view: 47º
Autofocus: Yes
Image stabilisation: No
Diaphragm blades: 11
2 Max aperture: f/1.4
Min aperture: f/16
Min focusing distance: 0.45m
Max magnification ratio: 0.15x
Filter size: 67mm
Dimensions (L x D): 96 x 81mm
Weight: 516g

Sony FE 50mm F1.4 GM

£1,499/$1,298
Can it match up to its Zeiss predecessor?
w w w. s o ny. c o . u k

n the world of prime lenses, no focal length is 1

more talked about than 50mm, which is wide Sharpness
I enough and long enough for many different
areas of photography. A ‘nifty fifty’ is often one
The lens is one of the sharpest
we have tested and would be
ideally suited to portrait work.
This is one of the sharpest lenses we have tested,
even wide open at f/1.4. The weak(ish) link is corner
of the first lenses in a photographer’s kit bag. sharpness, which is average until you stop down to f/4.
Sony has introduced the FE 50mm F1.4 as a replacement
for the ageing Zeiss Planar T* FE 50mm F1.4 ZA lens in its
2 Fringing 0.57
medium distance prime lens lineup. Launched in 2016, the The Sony’s AF function is Lateral chromatic aberration is well controlled. It’s
exceptional. It’s silent, making hard to spot any unless you scrutinise the corners of
Zeiss is known for its clinical sharpness, bokeh abilities and
it perfect for videographers. a high-contrast image shot with a narrow aperture.
its quality build but it was a heavy lens with a big price tag.
The new Sony FE 50mm F1.4 GM lens joins a growing Distortion 1.06
family of fast f/1.4 prime G Master lenses, including the FE 3 Disabling in-camera distortion correction reveals
24mm F1.4 GM and the FE 85mm F1.4 GM. With the 50mm, a touch of pincushion distortion, but it’s minor
This E-mount lens replaces the
Sony offers a choice of primes for all standard focal lengths. ageing Zeiss Planar equivalent. enough to go unnoticed in almost all photos.

Performance Digital Camera verdict

Autofocus is exceptional and, paired with the Sony A7R V, it

4.5
was instantaneous. It is completely silent, so is the perfect
companion for event photographers and videographers.
Outstanding
Image quality is spectacular and the sharpness in the centre
of the image is perfect, using all 61MP of the A7R V’s sensor.
Sharpness falls off slightly toward the edges, but not enough
5.0 5.0 4.5 4.0
to be an issue. The detail captured in faces was really good,
although not overly clinical, which is key for portrait work.
Features Build & Performance Value
Bokeh and falloff are both beautiful for smooth creamy handling
backgrounds, this lens would make an exceptional portrait
The Sony FE 50mm F1.4 GM is an exceptional lens
lens. Chromatic aberrations are nearly nonexistent, even in
with excellent sharpness and fantastic bokeh for
challenging situations. The biggest issue was the significant anyone who enjoys the 50mm perspective. There
vignetting with the lens wide open. This was reduced as the is some vignetting wide open that let down the
lens was stopped down but was still visible even at around With perfect centre sharpness otherwise glowing report card. Unfortunately, this
f/4. It is a common issue with wide-aperture lenses and is and smooth backgrounds, this is an expensive lens and there are much cheaper
not significantly worse than its rivals. Gareth Bevan Sony lens is great for portraits. options out there that will achieve similar results.

210

DCM276.guide_lenses02.indd 210 17/11/2023 15:20

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 Portrait lenses
Been missing people recently? Shoot the ones you
love and keep them close, with a portrait prime…

W
e’ve all been missing you’re not crowding your subject and
friends and family, on invading their personal space, but are
and off over the last still close enough to engage and give
year. But with lockdown direction. A shorter focal length is
restrictions easing up, preferable for APS-C-format or Micro
we can look forward to Four Thirds systems, due to their crop
getting reacquainted, factors. Either way, a ‘fast’ aperture
and even capturing some quality rating on a portrait lens enables a
portrait images as a keepsake. With tight depth of field for blurring the
that in mind, this month’s group background, literally focusing all
test focuses on lenses that are the attention on the main subject.
perfect for portraiture. We’ve picked out some of the
For full-frame shooters, an 85mm most desirable portrait lenses on the
prime with a fast aperture is generally market today, while keeping an eye
the best choice. The focal length gives on affordability – not least because
a flattering perspective and enables many of us are feeling the pinch right
a comfortable working distance, so now. Let’s dive in… Matthew Richards

The contenders
1 Canon EF 85mm f/1.8 USM £379/$419
2 Canon RF 85mm f/2 Macro IS STM £669/$599
3 Fujinon XF 56mm f/1.2 R APD £1,099/$1,499
4 Nikkor AF-S 85mm f/1.8G £427/$477
5 Nikkor Z 85mm f/1.8 S £709/$797
6 Olympus M.Zuiko Digital 45mm f/1.8 £249/$299
7 Sigma 85mm f/1.4 DG HSM | Art £929/$1,099
8 Sigma 85mm f/1.4 DG DN | Art £999/$1,199

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 Getty

DCM276.guide_lenses02.indd 213 17/11/2023 15:21

 Group Test Portrait lenses

BEST FOR
CANON RF

Canon EF 85mm Canon RF 85mm

f/1.8 USM f/2 Macro IS STM
£379/$419 £669/$599
An old-school lens with charm An immensely versatile prime
Lens mount Canon EF Lens mount Canon RF Resolution (line widths/picture height)
Resolution (line widths/picture height)
Aperture f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22

Sharpness Sharpness
Aperture f/1.8 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22

aunched almost 30 years he RF 85mm f/1.2 lens

Centre 1924 2573 2664 2632 2413 2039 1754 1317
Centre 1359 1748 1921 1912 1939 1695 1444 1220
Middle 1813 2305 2425 2399 2246 1950 1631 1309

L T
Middle 859 1063 1364 1572 1682 1615 1424 1163
Edge 1269 1361 1900 2225 2082 1848 1565 1242

ago for 35mm film SLRs, Shoot wide-open and images and its DS (Defocus Centre-sharpness is excellent, but
Edge 575 652 841 1041 1279 1416 1365 1155

the EF 85mm remains can look slightly soft, reducing Smoothing) edition are corner-sharpness lags behind that
perfectly viable for the the signs ofSharpness
premature ageing. Canon’s top dogs for Sharpness
of the competing Nikon Z lens.
digital SLRs of today. It’s attractively 3,500 portraiture, but the prices are way 3,500

priced, reasonably compact and 3,000

out of range for most of us. The f/2 3,000
light, and ideal for popping in a lens is much smaller and is less
2,500 2,500
spare corner of your gadget bag. than a quarter of the price.
The optical path is fairly simple, 2,000 Smart features include a five-stop 2,000

based on nine elements in seven hybrid image stabiliser, a customisable 1,500

1,500
groups, but includes Super Spectra control ring and an autofocus range
1,000
coatings to reduce ghosting and flare. 1,000 limiter that can lock out the range
The ring-type ultrasonic autofocus 500 either side of 0.5m – useful given the 500
system is fast, whisper-quiet and has lens’s 0.5x macro magnification factor
0 0
full-time manual override with a purely f/1.8f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 at its closest focus distance of 0.35m. f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22

mechanical linkage. Handling is good. Centre Middle Build quality feels robust and the Centre Middle
Edge Edge
lens features weather-seals but,
Performance Fringing 0.25 as usual for non-L-series Canon Fringing 0.5
There’s negligible fringing at Colour fringing is entirely
Despite the modest aperture rating, lenses, the hood is sold separately.
wide apertures, and even less negligible both for lateral and
sharpness isn’t that impressive wide-
at medium to narrow settings. axial chromatic aberrations.
open but is still sufficient for plenty of Performance
detail in the eyes. The quality of bokeh Distortion -0.4 As we’ve come to expect from STM Distortion 1.17
is pleasing at f/1.8, but the diaphragm The small barrel distortion lenses, autofocus is quick and virtually Pincushion distortion is1
1
isn’t quite as well-rounded as in some isn’t an issue, but it’s not as silent. The image stabiliser lives up to slightly higher than usual
competing lenses. ‘distortion-free’ as some. its claims and handling is a dream. for this class of lens.

Digital Camera verdict Digital Camera verdict

Remarkably
inexpensive for an
85mm prime lens, the
4.0 Excellent
For an 85mm prime,
this is surprisingly
versatile, with a
4.5 Outstanding

Canon is perfectly short minimum focus

capable of delivering distance and 0.5x
4.0 4.0 4.0 5.0 5.0 5.0 4.5 4.5
gorgeous quality for macro magnification.
portraiture, and it And it works really
Features Build & Performance Value Features Build & Performance Value
handles well, too. handling well for portraiture. handling

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 Portrait lenses Group Test

BEST FOR
FUJIFILM

Fujinon XF 56mm Nikkor AF-S

f/1.2 R APD 85mm f/1.8G
£1,099/$1,499 £427/$477
Comes with a trick up its sleeve Compact, light and affordable
Lens mount Fujif ilm X Lens mount Nikon F
Resolution (line widths/picture height) Resolution (line widths/picture height)

Sharpness Sharpness
Aperture f/1.2 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 Aperture f/1.8 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22

ith an effective focal length Centre 1389 1556 2364 2210 1948 1635 1284
ven Nikon’s upmarket Centre 1642 2255 2349 2279 2036 1916 1508

W E
Middle 1038 1093 1839 1915 1764 1528 1269 Middle 1734 2149 2246 2244 2149 1937 1485

of 84mm, this lens enables Good for an f/1.2 lens, 85mm f/1.4 lens is The little Nikon really
Edge 886 892 1680 1780 1710 1515 1222 Edge 1247 1492 1721 1934 1911 1741 1345

a natural working distance although light transmittance reasonably compact, but punches above its weight
for portraiture on Fujifilm’s only equates to f/1.7.
Sharpness this f/1.8 is particularly for sharpness.
Sharpness
APS-C format X-series cameras. Even 3,500 light for a full-frame compatible lens, 3,500

so, gaining a tight depth of field is more 3,000

at just 305g. It’s also refreshingly 3,000
of a challenge. The basic edition of the inexpensive for an own-brand Nikon.
2,500 2,500
lens (£849/$999) aims to solve the There are no aspherical or ED
problem with an extra-wide f/1.2 2,000 (Extra-low Dispersion) elements, 2,000
aperture rating. This up-market APD but build quality is good and there’s a
1,500 1,500
edition adds an ‘apodisation filter’ – rubber weather-seal on the mounting
essentially a radial neutral-density 1,000 plate. The ring-type ultrasonic 1,000

filter that gets darker towards the 500 autofocus system is fast, whisper-quiet 500
circumference of the image circle. and has full-time manual override.
0 0
This helps to smooth ‘bokeh discs’ f/1.2 f/2.8 f/4 f/5.6 f/8 f/11 f/16 There are only seven diaphragm blades f/1.8 f/2.8 f/4 f/5.6 f/8 f/11 f/16
generated by defocused bright objects. Centre Middle to control the aperture, rather than the Centre Middle
Edge Edge
eight or nine more usually featured in
Performance Fringing 0.11 full-frame compatible 85mm primes. Fringing 0.99
It’s pretty average from Lateral and axial aberrations
Sharpness is pretty good wide-open,
f/1.2 to f/2.8, but virtually are minimal, the latter helped
where the apodisation filter is at its
eliminated beyond that.
Performance by the modest aperture rating.
most effective. Bokeh is smooth for a Sharpness is very good, apart from
56mm lens, but the quality of in-focus Distortion -0.02 in extreme corners at wide apertures. Distortion 0.43
and defocused areas isn’t any better Essentially a distortion-free Bokeh is impressively smooth; points There’s a slight touch of
1 1
than from most 85mm f/1.8 lenses lens, it recorded only the of light remain fairly well-rounded pincushion distortion, but it’s
on a full-frame camera. merest trace of barrel. when stopping down a little. hardly an issue in portraiture.

Digital Camera verdict Digital Camera verdict

This is the number-one
choice for portraiture
on a Fujifilm X-series
4.0 Excellent
Like the competing
Canon, this light and
affordable Nikon lens
4.0 Excellent

camera, but you have is an excellent choice

to pay out to get similar for DSLR portraiture,
4.5 4.5 4.0 3.0 4.0 4.0 4.0 5.0
results to using a although it loses out to
more basic lens on the much bigger Sigma
Features Build & Performance Value Features Build & Performance Value
a full-frame body. handling for image quality. handling

215

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 Group Test Portrait lenses

GOLD
AWARD

BEST FOR
BEST FOR MICRO
NIKON Z FOUR THIRDS

Olympus
Nikkor Z M.Zuiko Digital
85mm f/1.8 S 45mm f/1.8
£709/$797 £249/$299
A fabulous portrait lens A light, budget-friendly lens
Lens mount Nikon Z Lens mount Micro Four Thirds
Resolution (line widths/picture height) Resolution (line widths/picture height)

Sharpness Sharpness
Aperture f/1.8 f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16 Aperture f/1.8 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22

ikon’s Z-mount lenses Centre 2172 2137 2557 2851 2727 2505 2173
hanks to the 2x crop factor
1819 Centre 1434 1799 1854 1862 1698 1241 1121 810

N T
Middle 2233 2187 2374 2566 2457 2443 2194 1774 Middle 1362 1643 1734 1763 1586 1219 1099 790

have repeatedly won It’s unlikely you’ll need such of the Micro Four Thirds Sharpness at wide apertures
Edge 1839 1830 1975 2238 2302 2246 2019 1671 Edge 908 1201 1458 1542 1450 1148 1057 775

gold awards in our razor-sharpness across the system, this 45mm lens is easily good enough to give
reviews and group tests, whole frame, but it’s available.
Sharpness has an effective focal real pop to portraiture.
Sharpness
and with good reason. As with most 3,500 length of 90mm. It also has a fast 3,500

other primes in Nikon’s line-up, this 3,000

aperture rating of f/1.8, bringing 3,000
one has an f/1.8 aperture rating that some much-needed help in getting a
2,500 2,500
enables great quality with a compact tight depth of field, which is generally
and light construction. In the 85mm 2,000 a struggle with MFT cameras. 2,000
sector, however, a slightly faster The Olympus is far and away the
1,500 1,500
aperture is often preferred. smallest and lightest lens in the group.
Quality optics include two ED 1,000 Autofocus is driven by an ultra-quiet 1,000

(Extra-low Dispersion) elements and 500 stepping motor, while high-precision 500
Nano Crystal Coat. Upmarket build manual focusing is available via a
0 0
quality includes weather seals, while f/1.8 f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16 ‘fly by wire’ focus ring. f/1.8f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
rapid autofocus is driven by a virtually Centre Middle Centre Middle

silent stepping motor.

Edge
Performance Edge

Fringing 0.35 Sharpness remains good across the Fringing 0.59

Performance There’s virtually no chromatic frame, even wide-open, where it only There’s next to no fringing at
aberration of any kind, right wide apertures and only a little
Contrast and sharpness across the drops off towards the extreme edges
across the whole frame. at medium to narrow settings.
entire frame are simply spectacular, and corners. However, bokeh isn’t as
even shooting wide-open. Despite Distortion -0.1 smooth as with any of the other lenses Distortion 0.3
‘only’ being an f/1.8 lens, bokeh is As with some of the other on test; when stopping down a little, We’re used to seeing very little
1 1
noticeably smoother than from lenses on test, this Nikon is points of defocused light take on distortion from MFT lenses;
Nikon’s pricier f/1.4 F-mount lens. virtually distortion-free. a heptagonal shape. this one has a little pincushion.

Digital Camera verdict Digital Camera verdict

It might lack f/1.4 snob
value, but this Nikkor
delivers astonishing
5.0 A best-in-class product
A compact build makes
this lens well-balanced
on svelte MFT bodies,
3.5 Very good

sharpness across the but bokeh is fidgety.

whole frame, with The Olympus 45mm
5.0 5.0 5.0 4.5 3.5 3.5 3.5 4.0
outstandingly smooth f/1.2 Pro does better,
and creamy bokeh. It’s but can cost nearly
Features Build & Performance Value Features Build & Performance Value
stellar for portraiture. handling four times as much. handling

216

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 BEST FOR
SONY

BEST FOR
PANASONIC
S1

BEST FOR BEST FOR

NIKON F L-MOUNT

BEST FOR GOLD

CANON EF AWARD

Sigma 85mm Sigma 85mm

f/1.4 DG HSM | A f/1.4 DG DN | A
£929/$1,099 £999/$1,199
A heavyweight contender Newer, smaller and even better
Lens mounts See table Lens mounts Sony E , L-Mount
Resolution (line widths/picture height) Resolution (line widths/picture height)

Sharpness Sharpness
Aperture f/1.4 f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 Aperture f/1.4 f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16

his Sigma is a weighty Centre 1726 2176 2186 2141 2041 1944 1719
he Sigma DG HSM Art lens
1445 Centre 2249 2327 2380 2293 2249 2018 1825 1565

T T
Middle 1785 1957 2077 2103 1973 1874 1669 1444 Middle 1831 1697 1861 2130 2089 1961 1794 1488

proposition for an 85mm f/1.4 lenses are often soft (left) was originally built for Sharpness is scintillating
Edge 1427 1573 1710 1932 1991 1860 1603 1370 Edge 1279 1302 1577 1651 1652 1608 1477 1270

f/1.4 lens. It’s designed for wide-open, but this Sigma DSLRs and subsequently across most of the frame,
image quality, without any retains superb sharpness.
Sharpness made available in Sony E even shooting wide-open.
Sharpness
concessions to compactness. 3,500 and L-Mount options. This new DN 3,500

The complex optical path is based on 3,000

lens has been designed from the 3,000
14 elements, including an aspherical ground up for mirrorless cameras
2,500 2,500
element at the rear and two SLD with the latter two mounts.
(Special Low Dispersion) elements, 2,000 The new lens is much smaller than 2,000
placed at the centre and towards the the older version. Even so, Sigma has
1,500 1,500
front. Autofocus is based on a ring-type found space for tricked-up handling
ultrasonic system. Sigma’s Art lenses 1,000 extras, including an aperture control 1,000

are immaculately well-built but, unlike 500 ring. Optical highlights include five SLD 500
some of them, this one adds the extra (Low Dispersion Elements) and four
0 0
bonus of weather seals. f/1.4 f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16 HR (High Refractive index) elements. f/1.4 f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16
Centre Middle Centre Middle

Performance Edge
Performance Edge

Autofocus is both fast and accurate. Fringing 0.36 Wide-open sharpness at f/1.4 is Fringing 0.5
Sharpness across the entire frame is The minimal amount of colour exceptional across most of the frame; Both lateral and axial
hugely impressive, even when shooting fringing is almost as negligible although it drops off towards the chromatic aberrations
as from the Nikon Z 85mm. are entirely negligible.
wide-open, which is a real challenge corners, that’s no real problem for
for an f/1.4 lens. We’ve noticed a little Distortion 0.03 portraiture. Bokeh is deliciously Distortion 3.54
‘onion ring’ effect in the bokeh of some The Sigma is essentially smooth and remains so when stopping As with many new mirrorless
1 1
Sigma Art lenses, but it’s negligible in distortion-free, with a down a little, thanks to the extremely lenses, in-camera corrections
this one. Bokeh is super-smooth. practically perfect lab score. well-rounded 11-blade diaphragm. control distortion.

Digital Camera verdict Digital Camera verdict

It’s a big bruiser of
a portrait lens but,
size and weight aside,
4.5 Outstanding
This is a beautifully
crafted lens that
boasts robust build
5.0 A best-in-class product

there’s no beating it quality, excellent

for image quality, and handling and gorgeous
4.5 5.0 5.0 4.5 5. 0 5. 0 5. 0 4.5
it’s great value for a image quality. It’s
full-frame compatible Sigma’s best
Features Build & Performance Value Features Build & Performance Value
85mm f/1.4. handling 85mm lens yet. handling

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 Group Test Portrait lenses
BEST FOR GOLD
SONY AWARD

BEST FOR
PANASONIC
S1

Sigma takes
the top spot
BEST FOR
L-MOUNT

The Sigma 85mm f/1.4 DG DN | A is a stunning portrait lens

he newest kid on the block, Meanwhile, the Nikkor Z 85mm f/1.8 S and DSLRs still have a loyal following, though.

T Sigma’s 85mm DN Art lens

for Sony E and Leica L-Mount
Canon RF 85mm f/2 Macro IS STM prove
once and for all that ‘slower’ primes can
For optimum image quality, all-round
performance and premium construction,
mirrorless cameras faces some deliver stellar portrait quality. The Nikon the Sigma 85mm f/1.4 DG HSM Art lens
stiff competition. It wins out in style, with lens’s corner-to-corner sharpness and its comes up trumps for Canon and Nikon
terrific build quality and refined handling, as bokeh quality are impressive, while the shooters, while the own-brand Canon
well as spectacular image quality. It’s lighter Canon lens is amazingly versatile. For and Nikkor 85mm f/1.8 lenses are
and more compact than Sigma’s original Fujifilm X and Micro Four Thirds cameras, much more compact, lightweight and
85mm Art lens, which was also adapted to look no further than the respective affordable. Unusually, it’s the own-brand
include Sony E and Leica L-Mount options. Fujinon and Olympus lenses on test. lenses that are the best budget buys.

How the
lenses
compare
Canon EF 85mm Canon RF 85mm Fujinon XF Nikkor AF-S Nikkor Z 85mm Olympus Sigma 85mm Sigma 85mm
f/1.8 USM f/2 Macro IS STM 56mm f/1.2 85mm f/1.8G f/1.8 S M.Zuiko Digital f/1.4 DG HSM | A f/1.4 DG DN | A
R APD 45mm f/1.8
Contact www.canon.co.uk www.fujifilm. www.nikon.co.uk www.olympus. www.sigma-imaging-uk.com
co.uk co.uk
Street price £379/$419 £669/$599 £1,099/$1,499 £427/$477 £709/$797 £249/$299 £929/$1,099 £999/$1,199
Mount options Canon EF Canon RF Fujifilm X Nikon F Nikon Z Micro Four Canon EF, Sony E, L-Mount
Thirds Nikon F, Sigma,
Sony E, L-Mount
Elements/Groups 9/7 12/11 11/8 9/9 12/8 9/8 14/12 15/11
Diaphragm blades 8 blades 9 blades 7 blades 7 blades 9 blades 7 blades 9 blades 11 blades
Autofocus type Ultrasonic Stepping motor Stepping motor Ultrasonic Stepping motor Stepping motor Ultrasonic Stepping motor
(ring-type) (ring-type) (ring-type)
Manual AF override Yes Yes Yes Yes Yes Yes Yes Yes
Min focus distance 0.85m 0.35m 0.7m 0.8m 0.8m 0.5m 0.85m 0.85m
Max magnification 0.13x 0.5x 0.09x 0.12x 0.14x 0.11x 0.12x 0.12x
factor
Optical stabiliser No Yes No No No No No No
Filter size 58mm 67mm 62mm 67mm 67mm 37mm 86mm 77mm
Weather seals No Yes No Yes Yes No Yes Yes
Included accessories None None Hood, cloth, Hood, pouch Hood, pouch Decoration ring Hood, soft case Hood, soft case
ND8 filter
Dimensions (D x L) 75 x 72mm 78 x 91mm 73 x 70mm 80 x 73mm 75 x 99mm 56 x 46mm 95 x 126mm 83 x 94mm
Weight 425g 500g 405g 350g 470g 116g 1,130g 630g

Features
Build & handling
Performance
Value
Overall
OVERALL

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 Portrait lenses Spotlight

Specifications

Mount: Fujifilm GFX

Medium-format: Yes
Focal length: 80mm (64mm in full-frame terms)
1 Lens construction: 12 elements in nine groups
Angle of view: 37.7 degrees
Autofocus: Yes
2
Image stabilisation: Only with camera IBIS
Diaphragm blades: 9
2 Minimum aperture: f/22
Min focus distance: 0.7m
3 Filter size: 77mm
3 Dimensions (L x D): 99 x 95mm
Weight: 795g

Fujinon GF 80mm
f/1.7 R WR
£2,099/$2,299
Shallow-focus heaven from this GFX lens
w w w.fujif ilm .co.uk

edium-format lenses are always going to seem

1
Sharpness
oversized when compared with an APS-C or even Centre sharpness is spectacular across the aperture

M a full-frame lens. This is unavoidable: the image

circle of a medium-format system needs to be
f/1.7 is hardly a
spectacular aperture
range. While the edge sharpness never quite catches
up, from f/2.8 through to f/11 you might not notice.
that much bigger, to cover the sensor area. This for a full-frame camera
– but in the world Fringing 0.15
means more glass, a larger diameter and, in turn, more weight. Fringing levels are practically non-existent; if you do
of medium-format,
This naturally drives up the price – and with it the certain it’s massive! see any, it’s so easy to remove in Lightroom and other
expectations that premium product buyers will have. software now that it’s not going to be an issue.
Fujifilm lenses rarely disappoint when it comes to build quality
2
and user experience. There is no doubt that this medium-format Distortion 0.52
lens does carry some bulk, but when the GF 80mm f/1.7 is attached We love the aperture Distortion is very well-controlled, with only mild
to the front of a Fujifilm GFX camera, it is perfectly balanced. ring and tactile focus pincushioning being discernible. It’s far from intrusive,
ring, which hark back and can be effectively corrected in post-production.
Performance to an earlier decade
When you are building lenses for use with cameras equipped with of photography.
north of 100 megapixels, like Fujifilm’s GFX 100 and GFX 100S, you Verdict

4.5
have to be confident that the optics are up to the challenge. There’s 3
no point having all those pixels if the lens in use doesn’t have the The barrel is solid,
resolving power to ever realise the maximum potential of the sensor. Outstanding
and the metal lens
Thankfully, the GF 80mm f/1.7 ticks that box perfectly. Sharpness mount adds to a very
is superb across the frame, only softening slightly at the edges at professional feel.
f/1.7. This does improve markedly towards f/4, which still produces 5.0 5.0 4.5 4.0
a significantly reduced depth of field on a medium-format sensor.
We also didn’t notice a huge difference between crispness in the Features Build & Performance Value
handling
centre wide-open and at around f/8, which is impressive.
Contrast is gorgeous, and there is basically no chromatic You really can’t fault the optical performance of this
lens – it’s superb. The build is up to the rigours of
aberration to speak of. There is noticeable vignetting at the widest
professional use, outdoors and in the studio. This
aperture, but we actually think this adds depth to many shots, isn’t an action lens, but nor are the GFX cameras
and it can be easily removed in software if you don’t like it. action models, so you could argue this is irrelevant.
The autofocus system is slower than in some of Fujifilm’s The lens delivers where it truly matters – sharpness
XF-series lenses, but as the motor is moving a lot of glass, and detail. The Fujinon GF 80mm f/1.7 R WR is
the performance is still more than adequate. Peter Fenech a must-have for GFX camera owners.

219

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 Macro
prime lenses
Mount a macro lens on your camera and
you’ll see the world in almost microscopic
detail. Here are our 10 best-buy options

M
ost macro prime lenses shooting with an APS-C body or an
have a maximum Micro Four Thirds body respectively.
magnification ratio Bear in mind how much larger an
of 1.0x or 1:1. This means image is when you view it on-screen
that, at their shortest or in print, compared with the size of
focus distance, they can the camera’s sensor, and the scope
reproduce objects at for enlargement is incredible. Tiny
full life-size on the camera’s image garden bugs can look like giant
sensor. Something measuring just creatures, and you can see levels of
36 x 24mm would completely fill detail that are invisible to the naked
the image sensor of a full-frame eye. Let’s take a closer look at what
camera, and it’s just around 22 x the leading contenders have to offer.
15mm or 17 x 13mm if you’re Matthew Richards

The contenders
1 Canon EF 100mm f/2.8L Macro IS USM £999/$1,299
2 Canon RF 100mm f/2.8L Macro IS USM £1,479/$1,399
3 Irix 150mm f/2.8 Macro 1:1 £489/$525
4 Laowa 100mm f/2.8 2:1 Ultra Macro APO £469/$399
5 Nikkor Z MC 105mm f/2.8 VR S £999/$997
6 Olympus M.Zuiko Digital ED 60mm f/2.8 Macro £399/$499
7 Samyang 100mm f/2.8 ED UMC Macro £409/$549
8 Sigma 105mm f/2.8 DG DN Macro | A £699/$799
9 Sigma Macro 105mm f/2.8 EX DG OS HSM £359/$619
10 Tamron SP 90mm f/2.8 Di VC USD Macro £649/$649

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 Macro lenses Group Test

Getty

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 Group Test Macro lenses

GOLD
AWARD

Canon Canon
BEST FOR
CANON RF

EF 100mm f/2.8L RF 100mm f/2.8L

Macro IS USM Macro IS USM
£999/$1,299 £1,479/$1,399
Canon’s top macro for DSLRs Canon’s new flagship macro lens
Lens mount Canon EF Lens mount Canon RF
Resolution (line widths/picture height) Resolution (line widths/picture height)

Sharpness Sharpness
Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22

lthough Canon’s hybrid Centre 1875 1911 2032 2003 1839 1679 1416
reaking new ground, Centre 2422 2446 2048 1933 1645 1604 1299

A B
Middle 1339 1767 1812 1807 1731 1539 1311 Middle 2111 2057 1966 1832 1607 1516 1253

image stabiliser has been Excellent sharpness is present Canon’s RF 100mm is It’s superb at wide apertures,
Edge 1325 1648 1793 1720 1616 1469 1259 Edge 1980 1984 1915 1727 1547 1473 1237

inherited by the company’s at narrow apertures, often a 1.4x macro lens that but drops off a bit at medium
newer macro lenses, it was preferred for macro shooting.
Sharpness features autofocus, and it’s to narrow apertures.
Sharpness
this lens that hit the headlines. With 3,500 a fast AF system as well, based on a 3,500

enhanced performance for close-up 3,000

Dual Nano USM system. It’s not only 3,000
shooting, the stabiliser counteracts x-y super-speedy for stills, but enables
2,500 2,500
shift (movement in the horizontal and smooth and virtually silent autofocus
vertical planes) as well as the more 2,000 transitions when you shoot video. 2,000
usual angular vibrations. Even so, its The hybrid optical image stabiliser
1,500 1,500
effectiveness shrinks from four stops delivers five-stop performance in
to two at shorter focus distances. 1,000 general shooting, boosted to eight 1,000

Weather-sealed build quality is 500 stops if used with later EOS R-series 500
typically robust for an L-series lens. cameras that feature in-body
0 0
The ring-type ultrasonic autofocus f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 stabilisation. Another key feature is f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
system is rapid and whisper-quiet, Centre Middle the Spherical Aberration control ring, Centre Middle
Edge Edge
while focusing is smooth and precise. which enables you to adjust the quality
Fringing 0.74 of defocused areas for better bokeh. Fringing 1.14
Performance There’s a little fringing at f/2.8, Colour fringing is minimal, but
but it becomes minimal at not quite as negligible as in
Sharpness is excellent at medium Performance some other lenses on test.
medium to narrow apertures.
to narrow apertures, and remains Levels of sharpness are scintillating,
highly impressive wide-open at f/2.8. Distortion -0.74 although not quite as astonishing as Distortion 0.48
Colour fringing is minimal, but barrel Barrel distortion is minor but, from the Nikkor Z-mount lens on test, There’s a small amount of
1 1
distortion can be slightly noticeable technically, it’s the worst lens while control over colour fringing isn’t pincushion, but in-camera
if uncorrected in-camera. in the group in this respect. quite as outstanding. correction is available.

Digital Camera verdict Digital Camera verdict

It lacks the built-in LED
Macro Lite of its recent
EF-S and EF-M siblings,
4.5 Outstanding
With its extra-large
1.4x magnification
factor and novel
5.0 A best-in-class product

but this lens is by far Spherical Aberration

the best own-brand control ring, this is a
5.0 5.0 4.5 3.5 5.0 5.0 5.0 4.0
option for serious feature packed lens
macro shooting with that delivers superb
Features Build & Performance Value Features Build & Performance Value
a Canon DSLR. handling performance. handling

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 Macro lenses Group Test

Irix Laowa
BEST FOR
PENTAX

150mm f/2.8 100mm f/2.8 2:1

Macro 1:1 Ultra Macro APO
£489/$525 £469/$399
It really goes the distance Double the magnification
Lens mounts See table Lens mounts See table
Resolution (line widths/picture height) Resolution (line widths/picture height)

Sharpness Sharpness
Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22

igma’s 150mm macro Centre 1913 1911 1920 1933 1545 1437 1283
here are two very similar Centre 2114 2401 2320 2203 1991 1692 1423

S T
Middle 1561 1691 1637 1763 1531 1398 1306 Middle 2031 2138 2161 2048 1919 1654 1377

lens was a good performer Unusually, sharpness across editions of this full-frame- Sharpness is excellent and
Edge 1477 1427 1424 1641 1473 1388 1253 Edge 1989 1989 1945 1926 1850 1626 1364

but has been discontinued, the whole frame barely drops compatible Laowa lens, highly consistent across
clearing the stage for this off when shooting wide-open.
Sharpness catering to DSLRs and the whole frame.
Sharpness
Irix full-frame-compatible newcomer. 3,500 mirrorless cameras. Both give twice 3,500

It’s an imposing lens that weighs in at 3,000

the maximum macro magnification 3,000
840g, and comes with a tripod collar. of most macro primes, at 2.0x. The
2,500 2,500
The build quality and finish are mirrorless version is 30mm longer
impeccable, based on high-quality 2,000 and has a more well-rounded 2,000
optical elements and a weather-sealed aperture, based on 13 diaphragm
1,500 1,500
magnesium alloy barrel. The 1.0x blades rather than seven.
macro working distance is longer than 1,000 The Laowa is a manual-focus lens, 1,000

with any other lens on test, at 17.5cm. 500 but only the Canon EF mount version 500
Like the Samyang macro lens, the has any electronics. In other cases,
0 0
Irix is a strictly manual-focus affair, but f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 you need to set the aperture manually f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
includes all the necessary electronics Centre Middle via the onboard control ring, and Centre Middle
Edge Edge
for camera-driven aperture control no lens-based metadata is
and viewfinder focus indicator lamps. Fringing 0.63 recorded in image files. Fringing 0.35
Colour fringing is consistently Colour fringing is minimal at
Performance minimal throughout the entire Performance f/2.8 and negligible at medium
aperture range. to narrow apertures.
The long-travel focus ring operates The manual effort required pays
smoothly. However, ultra-fine Distortion 0.13 dividends, with superb sharpness and Distortion 0.89
adjustments for macro shooting are The amount of pincushion a minimum of colour fringing. There’s There’s a hint of pincushion,
1 1
more fiddly than with the Samyang distortion is so slight that it’s a little pincushion distortion, but not but it’s hard to spot even when
lens. Image quality is excellent. generally impossible to spot. enough to cause any concern. you shoot straight objects.

Digital Camera verdict Digital Camera verdict

The finish is top-notch,
and image quality is
fabulous. Manual
4.5 Outstanding
The DSLR model can be
tricky for viewfinder-
based shooting, but
4.5 Outstanding

focusing is often it works well on

preferred for macro mirrorless cameras.
4.0 4.5 4.5 4.5 3.5 4.0 4.5 4.5
shooting, so the lack The 2.0x magnification
of autofocus certainly takes macro to
Features Build & Performance Value Features Build & Performance Value
isn’t a deal-breaker. handling a different level. handling

223

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 Group Test Macro lenses

BEST FOR
GOLD MICRO FOUR
AWARD THIRDS

Nikkor Olympus
Z MC 105mm M.Zuiko Digital ED
f/2.8 VR S BEST FOR
60mm f/2.8 Macro
£999/$997 NIKON Z
£399/$499
Nikon raises its ‘micro’ game You’ll be seeing double
Lens mount Nikon Z Lens mount Micro Four Thirds
Resolution (line widths/picture height) Resolution (line widths/picture height)

Sharpness Sharpness
Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22

ikon’s F-mount 105mm Centre 2218 2520 2472 2329 2034 1728 1379
he Micro Four Thirds Centre 1758 1673 1680 1432 1225 1068 782

N T
Middle 2209 2356 2361 2244 2020 1709 1350 Middle 1385 1430 1478 1452 1230 1017 788

macro lens has been Sharpness is epic from the system is sometimes The Olympus resolves more
Edge 2031 2033 2137 2168 1977 1685 1351 Edge 976 1060 1270 1213 1128 975 756

completely reinvented centre of the frame right out criticised for its relatively fine detail than medium-range
for mirrorless cameras. to the extreme corners.
Sharpness small image sensor. lab tests would suggest.
Sharpness
Handling extras include a customisable 3,500 However, the crop factor not only 3,500

control ring and lens-function button, 3,000

boosts telephoto reach but gives you 3,000
plus a multi-function OLED display. double the effective magnification
2,500 2,500
The autofocus system is virtually of a full-frame camera. As such, this
silent, powered by a Dual-Motor 2,000 Olympus lens gives you an effective 2,000
Multi-Focus STM system. 2.0x maximum magnification.
1,500 1,500
The optical Vibration Reduction The lens is beautifully engineered
system is rated at 4.5 stops compared 1,000 and features a set of weather seals. 1,000

with the three of the older F-mount 500 Although the comparatively short 500
105mm lens; that effectiveness is 60mm focal length knocks about 10cm
0 0
boosted by any Z-series cameras f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 off the minimum focus distance, the f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
with in-body stabilisation. Centre Middle macro working distance from the front Centre Middle
Edge Edge
of the lens to the subject only shrinks
Performance Fringing 0.23 from about 14cm to 10cm, compared Fringing 0.7
The lens puts its mighty feature list There’s virtually no sign of with most 90-105mm macro optics. Colour fringing is minimal,
any colour fringing, even and practically non-existent
and handling prowess to good use,
at the edges and corners. at wide apertures.
delivering stellar performance in all Performance
respects. The autofocus system is Distortion -0.6 High-precision manual focusing is Distortion 0.07
super-fast and deadly accurate, while There’s a hint of barrel enabled by the electronically coupled There’s virtually no distortion
1 1
manual focusing is ultra-precise. distortion when uncorrected, focus ring. Image quality is very when this lens is coupled with
Image quality is simply spectacular. but it’s difficult to spot. good in all respects. an MFT camera body.

Digital Camera verdict Digital Camera verdict

This Z-mount lens is
a standout performer,
with spectacular image
5.0 A best-in-class product
A joy to use, this is our
favourite macro lens
for Micro Four Thirds
4.0 Excellent

quality, handling and cameras. It has refined

all-round performance. handling and delivers
5.0 5.0 5.0 5.0 4.0 4.5 4.0 4.5
It’s only about two excellent image quality,
thirds the cost of effectively up to twice
Features Build & Performance Value Features Build & Performance Value
Canon’s RF contender. handling life-size. handling

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 Macro lenses Group Test

GOLD
AWARD

BEST FOR BEST FOR BEST FOR

FUJIFILM SONY E L-MOUNT

Samyang Sigma
100mm f/2.8 105mm f/2.8
ED UMC Macro DG DN Macro | A
£409/$549 £699/$799
It’s a mostly manual macro Sigma’s first ‘Global Vision’ macro
Lens mounts See table Lens mounts L-Mount , Sony E
Resolution (line widths/picture height) Resolution (line widths/picture height)

Sharpness Sharpness
Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22

any of us prefer to focus Centre 1824 1990 1826 1736 1666 1535 1265
nlike some of Sigma’s DG Centre 2266 2241 2135 2036 1928 1602 1285

M U
Middle 1396 1585 1745 1803 1606 1520 1218 Middle 2095 2030 2002 1881 1722 1475 1245

manually for macro Levels of sharpness are pretty HSM lenses that have been Excellent sharpness drops off
Edge 1393 1428 1477 1521 1459 1403 1109 Edge 1719 1740 1712 1705 1611 1436 1158

shooting. The depth of field good overall, and are quite repurposed to fit L-Mount a little less than in the Canon
tends to be so tiny that consistent Sharpness
across the image. and Sony E mirrorless RF lens at around f/8 to f/11.
Sharpness
you’ll often need to be very selective. 3,500 bodies, this DG DN lens is all-new. The 3,500

However, this Samyang lens isn’t just a 3,000

build quality is excellent and features 3,000
manual-focus optic, but generally lacks extensive weather seals, as well as a
2,500 2,500
any electronics at all. The exception is fluorine coating on the front element.
the Nikon-fit version, which enables 2,000 Handling finery includes a 2,000
aperture adjustment from the camera. customisable function button. There’s
1,500 1,500
A problem when you use the lens on also an aperture control ring, complete
a DSLR (apart from Nikon) is that the 1,000 with a ‘click on/off’ switch. This 1,000

viewfinder image becomes dark with 500 enables precise aperture adjustments 500
narrow apertures, the preferred option for stills in one-third f/stop increments.
0 0
for macro shooting. However, the lens f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 There’s no optical image stabiliser, f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
works a treat in Live View mode, or Centre Middle but the lens can take advantage of the Centre Middle
Edge Edge
with mirrorless cameras. in-body stabilisation of recent Sony
Fringing 1.74 and Panasonic mirrorless cameras. Fringing 0.68
Performance There’s practically no fringing Colour fringing is extremely
Typical of manual-focus lenses, the at wide apertures; it creeps up Performance negligible throughout the
at medium to narrow settings. entire aperture range.
focus ring has long rotational travel Autofocus is fast, accurate and
and operates with silky smoothness. Distortion 0.36 near-silent, while manual focusing is Distortion 0.9
It’s ideal for making precise There’s slight pincushion precise. Image quality is fabulous and, There’s a touch of pincushion
1 1
adjustments in macro shooting. distortion, but it generally for levels of sharpness, it eases ahead distortion, but not enough to
Image quality is very good as well. goes unnoticed. of the older Sigma 105mm lens. be generally noticeable.

Digital Camera verdict Digital Camera verdict

A particularly good
choice for Fujifilm
mirrorless cameras,
4.0 Excellent
Feature-packed,
strongly built and with
refined handling, this
5.0 A best-in-class product

the Samyang is a is our top choice of

high-quality yet macro lens for L-Mount
3.0 4.0 4.0 4.0 4.5 5.0 5.0 5.0
budget-friendly manual and L-Mount cameras.
lens that works a treat It’s also great value
Features Build & Performance Value Features Build & Performance Value
for macro shooting. handling at the price. handling

225

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 Group Test Macro lenses

BEST FOR
CANON EF

Sigma Tamron
BEST FOR
NIKON F

Macro 105mm f/2.8 SP 90mm f/2.8 Di

EX DG OS HSM VC USD Macro
£359/$619 £649/$649
A bargain lens for big-brand DSLRs A top choice for DSLRs
L e n s m o u n t s C a n o n E F, N i ko n F, S i g m a L e n s m o u n t s C a n o n E F, N i ko n F
Resolution (line widths/picture height) Resolution (line widths/picture height)

Sharpness Sharpness
Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22

aunched in 2011, this Centre 1510 2086 2093 1969 1779 1496 1200
amron’s highly popular line Centre 1878 1998 1961 1895 1758 1489 1225

L T
Middle 1316 1518 1684 1736 1638 1420 1174 Middle 1793 1975 1890 1838 1648 1439 1153

optically stabilised full- Sharpness is excellent in of 90mm macro lenses Close-range sharpness is even
Edge 964 963 1089 1316 1396 1280 1050 Edge 1338 1540 1665 1701 1555 1352 1117

frame-compatible macro the central region, but less stretches back to 1979. The better than medium-range lab
lens predates Sigma’s impressiveSharpness
towards the edges. latest edition comes with tests wouldSharpness
imply.
‘Global Vision’ Art, Sports and 3,500 a host of updates, including a revised 3,500

Contemporary line-up by a year. 3,000

and refined optical layout that features 3,000
With fast ring-type ultrasonic two top-grade XLD (eXtra Low
2,500 2,500
autofocus and a fully internal focusing Dispersion) elements. The updated
arrangement, complete with a range 2,000 lens also gains weather seals and a 2,000
limiter switch that can lock out near fluorine coating on the front element.
1,500 1,500
or far focusing, the lens works well as Another notable upgrade is that
a fast telephoto prime. It’s also good 1,000 Tamron has also added a ‘hybrid’ 1,000

for shooting sports and wildlife, with a 500 Vibration Compensation system. This 500
four-stop stabilizer that has switchable corrects for x-y shift as well as the
0 0
static and panning modes. f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 more usual angular vibration, making f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
Centre Middle it more effective for close-up shooting. Centre Middle

Performance Edge
Performance drops from four stops to
Edge

Corner-sharpness is merely mediocre Fringing 0.79 about two at fairly close range, though. Fringing 1.36
at wide aperture settings, but that’s Levels of colour fringing are Levels of colour fringing creep
minimal and remain consistent up a bit at narrower apertures,
no real problem in macro photography, Performance but are still quite minimal.
throughout the aperture range.
where you’ll generally use narrow Lab scores for sharpness are good,
apertures to gain even a little depth Distortion -0.12 based on our medium-range charts. Distortion 0.09
of field in your shot. Handling is There’s only the merest hint However, the Tamron proved excellent Distortion is negligible. It’s one
1 1
excellent, and the lens delivers of barrel distortion, which is at short range, down to the minimum of the very best lenses in the
superb all-round image quality. generally impossible to spot. distance for full magnification. group in this respect.

Digital Camera verdict Digital Camera verdict

Sigma’s 105mm has
a sturdy construction
and is equally adept as
4.5 Outstanding
It’s a superb macro
lens for both Canon
and Nikon DSLRs, but
4.5 Outstanding

a fast telephoto prime needs new firmware for

and a full macro optic. an EOS R or RP, and is
4.5 4.0 4.5 5.0 4.5 4.5 4.5 4.5
It’s great value in most currently incompatible
world regions, but with later R-series and
Features Build & Performance Value Features Build & Performance Value
pricier in the USA. handling Nikon Z cameras. handling

226

DCM276.guide_lenses02.indd 226 17/11/2023 15:21

 The results
in close-up
It’s tight – but the Nikkor Z
MC 105mm f/2.8 VR S wins out GOLD
AWARD
BEST FOR
NIKON Z

he three standout lenses in this all-round performance. The Nikkor Z 105mm money, it edges ahead of the own-brand

T group are the new Nikkor Z MC

105mm f/2.8 VR S, Canon’s RF
100mm f/2.8L Macro IS USM
edges ahead for sharpness, especially in the
all-important medium to narrow aperture
range for macro shooting. The Sigma is a
Canon EF and Nikon F mount macro lenses
for DSLRs. The Sigma Macro 105mm f/2.8 EX
DG OS HSM is a better value buy in the UK
and Sigma’s 105mm f/2.8 DG DN Macro Art. great buy for L-Mount and Sony E cameras. and Europe, but pricier in the USA. In the
They’re all feature-rich in different ways, The Tamron 90mm is a cracking macro Micro Four Thirds camp, the Olympus
and deliver spectacular image quality and lens for Canon and Nikon DSLRs. For our 60mm is the macro lens to go for.

Canon Canon Irix Laowa Nikkor Olympus Samyang Sigma Sigma Tamron
How the EF 100mm RF 100mm 150mm f/2.8 100mm f/2.8 Z MC 105mm M.Zuiko 100mm f/2.8 105mm Macro SP 90mm
lenses f/2.8L Macro f/2.8L Macro Macro 1:1 2:1 Ultra f/2.8 VR S Digital ED ED UMC f/2.8 DG DN 105mm f/2.8 f/2.8 Di VC
compare IS USM IS USM Macro APO 60mm f/2.8 Macro Macro | A EX DG OS USD Macro
Macro HSM
Contact www.canon.co.uk www. www. www.nikon. www. www. www.sigma-imaging-uk.com www.tamron.
photo24. ukdigital. co.uk olympus. samyanglens co.uk
co.uk co.uk co.uk global.com
Street price £999/$1,299 £1,479/$1,399 £489/$525 £469/$399 £999/$997 £399/$499 £409/$549 £699/$799 £359/$619 £649/$649
Mount options C-EF C-RF C-EF N-F P-K C-EF C-RF L N-Z MFT C-EF F-X N-F L S-E C-EF N-F Sg C-EF N-F
N-F N-Z P-K P-K SNX S-A
S-E S-E FT MFT
Full-frame Yes Yes Yes Yes Yes No Yes Yes Yes Yes
compatible
Elements/Groups 15/12 17/13 12/9 12/10 16/11 13/10 15/12 17/12 16/11 14/11
Diaphragm blades 9 blades 9 blades 11 blades 7-13 blades 9 blades 7 blades 9 blades 9 blades 9 blades 9 blades
Autofocus type Ultrasonic Dual Nano None None Stepping Stepping None Stepping Ultrasonic Ultrasonic
(ring-type) Ultrasonic motor motor motor (ring-type) (ring-type)
Manual AF override Full-time Electronic N/A N/A Electronic Electronic N/A Electronic Full-time Full-time
Max magnification 1.0x 1.4x 1.0x 2.0x 1.0x 1.0x 1.0x 1.0x 1.0x 1.0x
Min focus distance 0.3m 0.26m (1.4x) 0.35m 0.25m (2x) 0.29m 0.19m 0.31m 0.3m 0.31m 0.3m
Internal focusing Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes
Minimum aperture f/32 f/32 f/32 f/22 f/32 f/22 f/32 f/22 f/22 f/32
Optical stabiliser Yes Yes No No Yes No No No Yes Yes
Filter size 67mm 67mm 77mm 67mm 62mm 46mm 67mm 62mm 62mm 62mm
Included Hood, pouch Hood, pouch Hood, tripod Hood Hood, pouch None Hood Hood, soft Hood, hood Hood
accessories collar, case case adapter, soft
case
Dimensions (D x L) 78 x 123mm 82 x 148mm 87 x 128mm 72 x 85 x 140mm 56 x 82mm 73 x 121mm 74 x 134mm 78 x 126mm 79 x 117mm
125-155mm
Weight 625g 730g 840g 638-650g 630g 185g 705g 715g 725g 610g

Features
Build & handling
Performance
Value
Overall
OVERALL

227

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 Fast telephoto
zoom lenses
We put the latest and greatest fast 70-200mm
zooms to the test – so which one is the best?

I
t’s no surprise that the It’s no surprise, then, that every
70-200mm f/2.8 lens full-frame camera manufacturer who
takes its place as a wants to be taken seriously creates
‘trinity’ zoom. Favoured its own 70-200mm f/2.8 lens. There’s
by both professional a rich history of this type of zoom for
and enthusiast Canon and Nikon DSLRs; current
photographers all over models are the result of numerous
the world, it’s fabulous for shooting refinements over the years. That goes
action sports, wildlife, weddings and for Sigma and Tamron competitors as
other events, and even portraits. well as own-brand lenses. For Canon,
The availability of short, medium and Nikon, Panasonic and Sony mirrorless
fairly long telephoto focal lengths, cameras, most of the lenses on
combined with a fast and constant offer are even newer, based on
aperture, enables a tight depth of the latest cutting-edge designs.
field and rapid shutter speeds. Matthew Richards

The contenders
1 Canon EF 70-200mm f/2.8L IS III USM £2,149/$2,099
2 Canon RF 70-200mm F2.8L IS USM £2,659/$2,699
3 Nikkor AF-S 70-200mm f/2.8E FL ED VR £1,999/$2,347
4 Nikkor Z 70-200mm f/2.8 VR S £2,399/$2,597
5 Panasonic Lumix S Pro 70-200mm f/2.8 OIS £2,599/$2,598
6 Sigma 70-200mm f/2.8 DG OS HSM | S £1,179/$1,379
7 Sony FE 70-200mm f/2.8 GM OSS £2,149/$2,398
8 Tamron SP 70-200mm f/2.8 Di VC USD G2 £1,249/$1,299

228

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 Shutterstock

DCM276.guide_lenses03.indd 229 17/11/2023 15:19

 Group Test Fast telephoto zooms

Canon Canon
EF 70-200mm RF 70-200mm
f/2.8L IS III USM f/2.8L IS USM BEST FOR
£2,149/$2,099 £2,659/$2,699 CANON RF

The more things change… It’s compact, but with a catch

Lens mount Canon EF Lens mount Canon RF
Resolution (line widths/picture height) Resolution (line widths/picture height)

Sharpness Sharpness
Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22

anon has stuck firmly 70mm 1655 1950 1750 1694 1675 1525 1262
niquely for a 70-200mm 70mm 2020 2280 2138 1833 1714 1625 1358

C U
100mm 1940 2034 1884 1831 1728 1497 1255 100mm 2086 2257 2205 2095 1911 1646 1384

with its popular formula The Canon EF closely matches f/2.8 zoom, the Canon RF It’s much sharper than the
135mm 2020 2057 1869 1804 1702 1542 1303 135mm 2220 2333 2300 2117 1945 1668 1361

200mm 1760 2037 1650 1722 1641 1490 1238 200mm 2044 2272 2281 2102 1969 1652 1340

in updating its top-flight the Tamron G2, but lags lens has a similar Canon EF, boosted by a more
70-200mm zoom. The behindCentre
the Sigmasharpness
Sports. telescoping design to effective image stabiliser.
Centre sharpness
barrel is a slightly different shade of 3,000 relatively low-budget 70-300mm 3,000

grey, but the only notable upgrades telephoto zooms, with an inner barrel
2,500 2,500
boil down to coatings. An ASC (Air that extends at longer zoom settings.
Sphere Coating) has been added to 2,000 It’s remarkably short at the 70mm 2,000
the 19th element in the optical path, zoom setting, making it easy to stow
to further reduce ghosting and flare, 1,500 away, and it’s fairly light, but the design 1,500

and fluorine coatings are applied 1,000

makes the lens incompatible with 1,000
to the front and rear elements, Canon’s 1.4x or 2.0x teleconverters.
to repel moisture and grease. 500 500

Performance
Performance 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 There are certainly no minus points
0
f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
Compared with the previous edition 70mm 100mm in terms of performance. The floating 70mm 100mm
135mm 200mm 135mm 200mm
of the lens, Canon has downrated the autofocus system, based on dual Nano
claimed effectiveness of the image Fringing USM motors, is amazingly fast and Fringing
Short 1.38 Long 1.12 Short 1.32 Long 0.5
stabilisation system from four to 3.5 virtually silent. The five-stop image
Minimal fringing drops away in There’s little fringing at 70mm,
stops. That puts it more in line with stabiliser works brilliantly well, helping
the middle of the zoom range. and it gets even better.
the results of our own lab testing. to make the most of the lens’s inherent
The new lens is equally impressive Distortion sharpness. And sharpness itself Distortion
as its predecessor for sharpness Short -1.02 Long 1.38 really is excellent, even when Short 1.44 Long 1.32
1 1
and contrast, along with offering Slight barrel moves to slight shooting wide-open and throughout Pincushion is slight at most
super-fast autofocus. pincushion distortion. the entire zoom range. at mid to long focal lengths.

Digital Camera verdict Digital Camera verdict

Canon’s new lens
is very good but it
doesn’t outperform the
4.0 Excellent
Its build is up to Canon
L-series standards, and
it’s compact and light.
4.5 Outstanding

equivalent Sigma and Performance is

Tamron f/2.8 zooms. excellent, but the
4.0 4.5 4.0 3.5 4.5 4.5 5.0 4.0
At nearly twice the incompatibility with
price, it’s relatively teleconverters can
Features Build & Performance Value Features Build & Performance Value
poor value for money. handling be an issue. handling

230

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 Fast telephoto zooms Group Test

Nikkor Nikkor
AF-S 70-200mm Z 70-200mm GOLD
AWARD

f/2.8E FL ED VR f/2.8 VR S BEST FOR

£1,999/$2,347 £2,399/$2,597 NIKON Z

The latest own-brand option It outshines its F-mount counterpart

Lens mount Nikon F Lens mount Nikon Z
Resolution (line widths/picture height) Resolution (line widths/picture height)

Sharpness Sharpness
Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22

ikon’s latest 70-200mm 70mm 2251 2336 2441 2209 1969 1691 1305
his Z-mount 70-200mm 70mm 2647 2737 2578 2456 2107 1761 1410

N T
100mm 2429 2443 2445 2240 1977 1656 1320 100mm 2717 2688 2664 2385 2082 1829 1427

f/2.8 lens for DSLRs has In the lab and in real-world zoom has a stellar optical There’s incredible sharpness
135mm 2293 2218 2311 2159 1964 1588 1326 135mm 2510 2810 2781 2409 2136 1814 1443

200mm 1914 2311 2196 2029 1875 1665 1234 200mm 2167 2475 2383 2307 2043 1778 1400

an excellent reputation for shooting, the Nikkor delivers design that includes two on tap, throughout the whole
premium performance. superbCentre
sharpness.
sharpness aspherical elements, six zoom range.
Centre sharpness
Compared with the previous edition, 3,000 ED (Extra-low Dispersion) elements, 3,000

it has an uprated optical design that a fluorite element and an SR (Short-

2,500 2,500
features a fluorite glass element, six wavelength Refractive) element.
ED elements, one HRI element and 2,000 Dual coatings include both Arneo 2,000
the bonus of Nano Crystal Coat. and Nano Crystal Coat.
The revised dual-mode VR system 1,500 The lens isn’t just a feast of fine 1,500

has automatic panning detection plus 1,000

glass. Autofocus is incredibly rapid 1,000
a Sport mode that doesn’t interfere yet virtually silent, based on two
with the viewfinder image and avoids 500 synchronized stepping motors. There’s 500

a slowdown in continuous shooting. highly effective five-stop optical VR,

0 0
A dual-mode autofocus system f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 based on voice coil motors. Trick f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
gives priority to either automatic 70mm 100mm features include an OLED display for 70mm 100mm
135mm 200mm 135mm 200mm
focusing or manual override. viewing various shooting parameters.
Fringing Fringing
Short 2.15 Long 1.12
Performance It’s worse than average at
Performance Short 0.8 Long 0.74
Colour fringing is entirely
Sharpness and contrast are excellent, It’s simply the sharpest lens in the
70mm, but good at 200mm. negligible at all focal lengths.
throughout the zoom range, but the entire group, by quite a margin, not
Sigma Sports lens goes toe to toe with Distortion only in the central region of the frame Distortion
the Nikkor for sharpness in real-world Short 0.05 Long 1.92 but right into the edges and corners. Short -0.09 Long 0.05
1 1
shooting, while matching other aspects There’s basically no Vignetting is minimal and there’s Stellar results, aided by
of image quality and autofocus speed. distortion at 70mm. excellent resistance to ghosting. in-camera corrections.

Digital Camera verdict Digital Camera verdict

Money no object, it’s a
winning lens for Nikon
DSLRs, with rock-solid
4.5 Outstanding
This Nikon Z-mount
lens is destined to
become a classic.
5.0 A best-in-class product

build quality, advanced Impeccable handling

features and excellent combines with
4.5 4.5 4.5 4.0 5.0 5.0 5.0 4.0
performance, but the superlative
Sigma Sports is much performance to make
Features Build & Performance Value Features Build & Performance Value
less expensive to buy. handling it highly desirable. handling

231

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 Group Test Fast telephoto zooms

BEST FOR
CANON EF

Panasonic Lumix Sigma GOLD

AWARD
BEST FOR
NIKON F

S Pro 70-200mm 70-200mm f/2.8

f/2.8 OIS DG OS HSM | S
£2,599/$2,598 £1,179/$1,379
BEST FOR
L-MOUNT

Panasonic’s larger 70-200mm A simply fabulous ‘Sports’ edition

Lens mounts L-Mount L e n s m o u n t s C a n o n E F, N i ko n F, S i g m a
Resolution (line widths/picture height) Resolution (line widths/picture height)

Sharpness Sharpness
Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22

e’re big fans of Panasonic’s 70mm 2309 2500 1972 1976 1962 1589 1273
igma’s long-running 70mm 2143 2247 2070 1977 1787 1581 1275

W S
100mm 2144 2251 1899 1950 1870 1489 1148 100mm 1999 2015 1853 1841 1738 1505 1269

70-200mm f/4 zoom, Centre sharpness is very 70-200mm f/2.8 DG OS Close-range lab results don’t
135mm 1873 1990 1833 1633 1688 1397 1072 135mm 1942 1810 1668 1695 1637 1426 1275

200mm 1870 1995 1939 1622 1601 1461 1114 200mm 2027 1990 1774 1775 1691 1479 1264

which delivers superb good, but there’s a big HSM lens was a popular, look overly impressive, but
image quality and all-round drop-off towardssharpness
Centre the edges. budget-friendly option real-world shooting
Centre is superb.
sharpness
performance in a comparatively 3,000 for Canon and Nikon shooters. The 3,000

compact, light and affordable package. replacement Sports edition is

2,500 2,500
This f/2.8 lens is about 50 per cent completely redesigned, with a new
heavier and more expensive, as 2,000 optical path that features 24 elements 2,000
you’d expect from faster glass. in 22 groups, incorporating nine FLD
Upgrades include a more advanced 1,500 elements and one SLD element. 1,500

optical stabiliser with switchable static 1,000

There’s also a well-rounded aperture 1,000
and panning modes, which combines based on 11 diaphragm blades.
with Panasonic in-body stabilisers to 500 The new optical stabiliser has 500

give up to seven-stop performance. switchable static and panning modes,

0 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 the latter working in landscape, f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
Performance 70mm 100mm portrait and even diagonal orientation. 70mm 100mm
135mm 200mm 135mm 200mm
Autofocus is very fast and virtually
silent, and image quality is mostly Fringing Performance Fringing
very good with highly attractive bokeh. Short 0.11 Long 0.35 Sharpness and contrast are Short 1.31 Long 1.63
There’s virtually no visible Levels are similar to those of
However, while centre-sharpness is spectacular, even when shooting
colour fringing. the competing DSLR lenses.
impressive, especially at shorter zoom wide-open. Autofocus is rapid and
settings, edge- and corner-sharpness Distortion accurate and, while stabilisation isn’t Distortion
is comparatively lacklustre, especially Short -0.29 Long -0.16 quite as effective as in the Tamron G2 Short -0.55 Long 1.64
1 1
in comparison with Panasonic’s Distortions are practically lens for static shots, it proved better Barrel and pincushion
70-200mm f/4 lens. eliminated after corrections. for panning during our tests. distortions are typically low.

Digital Camera verdict Digital Camera verdict

The S Pro 70-200mm
f/4 lens is so good that
the f/2.8 struggles
4.0 Excellent
It’s bigger and heavier
than competing lenses,
but goes extra-large on
5.0 A best-in-class product

to beat it, although it performance, matching

does have handling the Nikon F-mount lens
5.0 4.5 4.0 4.0 5.0 5.0 5.0 5.0
enhancements and and edging ahead of
that all-important the Canon EF lens. It’s
Features Build & Performance Value Features Build & Performance Value
extra f-stop. handling also outstanding value. handling

232

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 Fast telephoto zooms Group Test

Sony Tamron
FE 70-200mm SP 70-200mm
f/2.8 GM OSS BEST FOR
f/2.8 Di VC USD G2
£2,149/$2,398 SONY
£1,249/$1,299
A feature-rich G Master zoom A significant upgrade from Tamron
Lens mounts Sony FE L e n s m o u n t s C a n o n E F, N i ko n F
Resolution (line widths/picture height) Resolution (line widths/picture height)

Sharpness Sharpness
Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22

ony’s FE 70-200mm f/4 70mm 1753 1948 2135 2086 1885 1681 1387
his Tamron G2 (Generation 70mm 1502 1980 2059 1954 1685 1514 1247

S T
100mm 1775 2236 2380 2084 2103 1698 1362 100mm 1665 2080 2125 1924 1725 1536 1261

lens is an impressive Centre sharpness is largely 2) lens feels every inch a It’s not quite as sharp as the
135mm 2170 2406 2246 2063 1946 1616 1343 135mm 1703 1748 2002 1919 1686 1529 1192

200mm 1972 2531 2713 2068 2062 1709 1312 200mm 1460 1848 1878 1805 1771 1506 1263

performer, but the newer excellent, but corner pro-grade offering. Its Nikon and Sigma contenders,
f/2.8 G Master really sharpness is pretty
Centre average.
sharpness optical design has been especially wide-open.
Centre sharpness
aims for glory, adding an ultra-high 3,000 refined to increase sharpness and 3,000

tolerance XA (eXtreme Aspherical) contrast, while reducing colour

2,500 2,500
element for greater control of colour fringing, ghosting and flare.
fringing and enhanced bokeh. Like 2,000 The autofocus system is uprated for 2,000
the Sigma Sports lens, it features 11 faster, more accurate performance,
diaphragm blades to maintain a very 1,500 and the Vibration Compensation 1,500

well-rounded aperture. The autofocus 1,000

system boasts five-stop effectiveness 1,000
system features both ring-type with three switchable modes. A key
ultrasonic and dual linear motors. 500 update over the previous edition is that 500

the G2 is compatible with Tamron’s

0 0
Performance f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 1.4x and 2.0x tele-converters. f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22

The Sony combines excellent 70mm 100mm 70mm 100mm

sharpness and contrast with soft

135mm 200mm
Performance 135mm 200mm

and dreamy bokeh. However, despite Fringing As advertised, the autofocus system is Fringing
Short 1.0 Long 0.43 very fast and operates with excellent Short 1.93 Long 0.64
the advanced autofocus system,
It’s the best here for tackling precision. Image quality is gorgeous, Minor fringing at 70mm
focusing speed proved slower in our
lateral chromatic aberrations. becomes negligible.
tests than with competing lenses. although shots are marginally less
The stabiliser gave a disappointing Distortion sharp than with the Nikon and Sigma Distortion
two-stop effectiveness, although it’s Short -1.41 Long 2.2 f/2.8 lenses. Stabilisation is great Short -0.7 Long 1.32
1 1
boosted when used in conjunction Distortion is worse than with for static photos, but less There’s very little distortion
with sensor-shift stabilisation. most other lenses on test. impressive for panning shots. at short to medium settings.

Digital Camera verdict Digital Camera verdict

It’s twice the price of
the 70-200mm f/4 G
OSS. It’s not a leader
4.5 Outstanding
It’s a superb lens with
high-end features,
great handling and
4.5 Outstanding

for autofocus speed or tough weather-sealed

the effectiveness of build quality, along
5.0 5.0 4.0 4.0 4.5 5.0 4.0 5.0
stabilisation, but it with superb image
delivers sumptuous quality and all-round
Features Build & Performance Value Features Build & Performance Value
image quality. handling performance. handling

233

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KitZone
Group Test Fast telephoto zooms

Sporty Sigma
is our winner BEST FOR
CANON EF

You can’t beat the Sigma 70-200mm

GOLD BEST FOR
f/2.8 DG OS HSM | Sports for quality and value AWARD NIKON F

or Canon, Nikon, Panasonic and, now more than ever, value for money is considered, it’s our overall winner for quality,

F and Sony mirrorless full-frame

cameras, there’s no beating the
own-brand 70-200mm f/2.8
a major consideration for potential buyers.
For DSLRs, the Sigma Sports lens matches
the competing Nikon F-mount zoom in pretty
performance and value for money.
The Tamron 70-200mm f/2.8 G2 is another
great-value lens, and is a little more compact
lenses on test. The Nikkor Z 70-200mm is the much every aspect of handling, performance and light than the Sigma Sports. In our tests,
pick of the crop, and delivers the best image and image quality, and edges ahead of the however, the Sigma was noticeably sharper
quality and performance of any lens in the Canon EF lens. That’s no mean feat throughout the zoom range, especially at
group. But all of the lenses for mirrorless considering that the Sigma is little more wide apertures, and its optical stabilisation
cameras are currently very expensive than half the price to buy. All things was more effective when panning.

How the
lenses
compare

Name Canon EF Canon RF Nikkor AF-S Nikkor Z Panasonic Lumix Sigma Sony FE Tamron SP
70-200mm 70-200mm 70-200mm 70-200mm S Pro 70-200mm 70-200mm f/2.8 70-200mm 70-200mm f/2.8
f/2.8L IS III USM f/2.8L IS USM f/2.8E FL ED VR f/2.8 VR S f/2.8 OIS DG OS HSM | S f/2.8 GM OSS Di VC USD G2
Contact www.canon.co.uk www.canon.co.uk www.nikon.co.uk www.nikon.co.uk www.panasonic. www.sigma- www.sony.co.uk www.tamron.
com imaging-uk.com co.uk
Street price £2,149/$2,099 £2,659/$2,699 £1,999/$2,347 £2,399/$2,597 £2,599/$2,598 £1,179/$1,379 £2,149/$2,398 £1,249/$1,299
Mount options Canon EF Canon RF Nikon F Nikon Z L-Mount Canon EF, Nikon F, Sony FE Canon EF, Nikon F
Sigma
Elements/Groups 23/19 17/13 22/18 21/18 22/17 24/22 23/18 23/17
Diaphragm blades 8 blades 9 blades 9 blades 9 blades 11 blades 11 blades 11 blades 9 blades
Optical stabiliser 2 modes, 3 modes, 5 stops 2 modes, 4 stops 2 modes, 2 modes, 4 stops 2 modes, 4 stops 2 modes, 2 stops 3 modes, 5 stops
3.5 stops 5.5 stops
Autofocus type Ultrasonic Dual Nano USM Ultrasonic Stepping motor Dual linear/ Ultrasonic Ultrasonic (ring) Ultrasonic
(ring-type) (ring-type) stepping motor (ring-type) + Linear (ring-type)
Internal zoom/focus Yes/Yes No/Yes Yes/Yes Yes/Yes Yes/Yes Yes/Yes Yes/Yes Yes/Yes
AF limit/ Yes/No No/No Yes/Yes Yes/Yes Yes/Yes Yes/Yes Yes/Yes Yes/No
hold switches
Min focus distance 1.2m 0.7m 1.1m 0.5-1.0m 0.95m 1.2m 0.96m 0.95m
Max magnification 0.21x 0.23x 0.21x 0.2x 0.21x 0.21x 0.25x 0.16x
Filter size 77mm 77mm 77mm 77mm 82mm 82mm 77mm 77mm
Weather seals Yes Yes Yes Yes Yes Yes Yes Yes
Supplied Hood, soft case, Hood, soft case, Hood, soft case, Hood, soft case, Hood, soft case, Hood, soft case, Hood, soft case, Hood, tripod
accessories tripod mount tripod mount tripod mount tripod mount tripod mount tripod mount tripod mount mount
Dimensions 89 x 199mm 90 x 146mm 89 x 203mm 89 x 220mm 94 x 209mm 94 x 203mm 88 x 200mm 88 x 194mm
(dia x length)
Weight 1,480g 1,070g 1,430g 1,440g 1,570g 1,805g 1,480g 1,500g

Features
Build & handling
Performance
Value
Overall
OVERALL

234

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 Fast telephoto zooms Spotlight
Specifications

Mounts: L-mount
1
Full frame: Yes
Autofocus: Yes
Lens construction: 23 elements in 17 groups
Angle of view: 34-12 degrees
Diaphragm blades: 9
Minimum aperture: f/22
Minimum focusing distance: 0.92m
3
Maximum magnification ratio: 0.25x
Filter size: 77mm
2
Dimensions: 84 x 179mm
Resolution (line widths/picture height)
Weight: 985g
Aperture f/4 f/5.6 f/8 f/11 f/16 f/22 f/22 f/16 f/22

70mm 2817 2674 2404 2062 1710 1404

100mm 2624 2641 2274 2030 1649 1374
135mm 2439 2565 2368 1978 1654 1319
200mm 2328 2172 1990 1711 1500 1343

Panasonic Lumix S Pro

Centre sharpness
3,000

70-200mm f/4 OIS 2,500

2,000

£1,749/$1,699 1,500

A balanced telephoto for S-series cameras 1,000

w w w. pana s onic .co.uk 500

he 70-200mm f/2.8 zoom is often regarded as one 1 0

f/4 f/5.6 f/8 f/11 f/16 f/22
of the ‘holy trinity’ of lenses for full-frame cameras,
T along with similarly ‘fast’ wide-angle and standard
zooms. However, there’s a lot to be said for getting
The focus ring’s clutch
mechanism enables
swapping between Sharpness
70mm 100mm 135mm 200mm

an f/4 zoom instead. Not only are they cheaper, autofocus and manual Wide-open sharpness is pretty amazing and,
they’re also smaller and lighter. The Panasonic Lumix S Pro focus with a simple for a telephoto zoom, there’s not very much drop-
70-200mm f/4 OIS is a case in point, with a manageable weight push-pull action. off towards the corners of the image frame.
of 985g compared with 1,570g for Panasonic’s bigger f/2.8 zoom.
Although it has a modest f/4 aperture rating, this S Pro zoom 2 Fringing Short 0.36 Long 0.2
lens is certainly feature-rich. It’s based on a high-tech optical There’s only a little colour fringing when shooting
Pulling the focus at 200mm, f/4 and even less at other settings.
path that includes one aspherical element, one UED (Ultra
ring back for manual
Extra-low Dispersion) element and three further ED elements,
focus reveals a focus 1
plus a UHR (Ultra High Refractive index) element. distance scale, which
Further attractions include a dual autofocus drive that features Distortion Short 0.01 Long -0.02
is highly unusual for a Helped by automatic in-camera corrections, there’s
both linear and stepping motors. This aims to deliver fast, accurate lens with this type of essentially no distortion at any focal length.
autofocus performance in virtual silence, ideal for shooting sporting autofocus system.
action and even more perfect for tracking wildlife on the move.
Sharpness in real terms isn’t just about optical quality: stillness 3
and steadiness are also paramount while shooting, especially with Verdict
telephoto lenses. As such, the lens has a built-in optical image Weather-seals are
stabiliser which works in conjunction with the five-axis, sensor-shift
stabilization of S-series camera bodies. They team up to deliver
as much as a six-stop benefit in beating camera-shake.
employed to ensure
dust- and splash-
resistance, and the
5.0 A best-in-class product

lens is freezeproof
down to -10°C.
Performance 5.0 5.0 5.0 4.5
Impressively, the 70-200mm f/4 maintains excellent sharpness
and contrast throughout its entire zoom range, even when Features Build & Performance Value
handling
shooting wide-open. Sharpness does drop off a bit towards
the extreme edges and corners of the frame, but still This Panasonic S Pro lens is pretty pricey for a
remains excellent for a telephoto zoom. 70-200mm f/4 zoom, but you get what you pay for.
The performance of the autofocus and stabilisation
Other areas of image quality are similarly impressive, with
systems is excellent, and image quality is superb in all
negligible colour fringing, effectively no distortion and very good
respects. Unless you really need the faster aperture
control over ghosting and flare. Autofocus is super-speedy rating of Panasonic’s 70-200mm f/2.8 zoom, this
and image stabilisation is highly effective. All in all, this less expensive and more lightweight lens is the
lens is a great performer. Matthew Richards more sensible choice.

235

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 Superzooms
for travelling
There’s no beating a ‘superzoom’ when it
comes to versatility. Here are our best buys

W
hether you’re taking Sticking to just one lens might
casual shots on seem counter-intuitive if you’ve
walkabout or travelling bought a system camera that takes
to the ends of the earth, interchangeable lens. Historically,
nobody really wants to superzooms were notorious for being
be weighed down by a a poor substitute for using the right
big bag of lenses. A tool for the job, the oversized zoom
so-called ‘superzoom’ ranges tending to compromise image
lens offers an all-in-one solution, quality. However, with advances in
typically covering everything from high-tech optical design and the
useful wide-angle coverage to increasing availability of in-camera
powerful telephoto reach, at the twist corrections for aberrations like lateral
of a zoom ring. As well as enabling you chromatic aberration, peripheral
to adapt to pretty much any shooting illumination and distortion, the latest
scenario, it also ensures that you superzoom lenses are capable of very
won’t miss any definitive moments pleasing results. Here are the best
because you were changing the lens options to suit a wide range of
on your camera at the time. cameras. Matthew Richards

The contenders
1 Canon RF 24-240mm F4-6.3 IS USM £959/$899
2 Fujinon 18-135mm f/3.5-5.6 WR LM R OIS £699/$899
3 Nikkor Z DX 18-140mm f/3.5-6.3 VR £629/$597
4 Nikkor Z 24-200mm f/4-6.3 VR £949/$897
5 Panasonic Lumix G 14-140mm f/3.5-5.6 II ASPH Power OIS £619/$498
6 Sigma 18-300mm f/3.5-6.3 DC Macro OS HSM | C £369/$579
7 Tamron 18-400mm f/3.5-6.3 Di II VC HLD £599/$649
8 Tamron 28-200mm f/2.8-5.6 Di III RXD £799/$729

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 Getty

www.digitalcameraworld.com  237 SPRING 2018 D I G I TA L C A M E R A 237

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 Group Test Superzoom lenses

Canon Fujinon
BEST FOR BEST FOR
CANON R FUJIFILM

RF 24-240mm 18-135mm f/3.5-5.6

F4-6.3 IS USM WR LM R OIS
£959/$899 £699/$899
Full-featured Canon RF superzoom An ideal X-mount travel lens
Lens mount Canon RF Lens mount Fujif ilm X

anon has long made an EF Sharpness he Fujifilm 18-135mm is Sharpness

C 28-300mm superzoom for

its full-frame DSLRs, but
it’s enormous at 1,670g,
Sharpness is excellent apart
from towards the corners
of the frame.
T lightweight but sturdily
built, with a comprehensive
set of weather-seals. Build
Centre-sharpness drops off at
long zoom settings and edge/
corner-sharpness is mediocre.
and pricey. By contrast, this RF-mount quality feels excellent and, as an ‘R’
lens is under half the weight at 750g. lens, it features a physical aperture
The 10x zoom range kicks off with ring. The 7.5x zoom range is small,
a wide-angle 24mm focal length. equating to 27-206mm in full-frame
Attractions include a fast and virtually terms, so the reach isn’t generous.
silent Nano USM autofocus system, The linear stepping motor autofocus
5-stop optical stabilisation and an system is fast for stills and delivers
electronically coupled control ring, smooth focus transitions. Another
switchable for manual focus. bonus is a highly effective 5-stop
optical stabiliser.
Performance
Although the autofocus and Performance
stabilisation systems work well, Despite the limited zoom range,
optical performance could be better. Fringing sharpness is only good in the central Fringing
Sharpness is good, but colour fringing Short 0.13 Long 0.23 region of the frame, and even here it Short 0.21 Long 0.12
Lateral chromatic aberration is The firmware automatically
and distortions are dire at some focal drops off at the long end. Sharpness
noticeable when uncorrected. corrects fringing.
lengths. Arguably, that’s a moot point, towards the edges and corners of
as many mirrorless lenses rely on Distortion the frame are lacklustre at all zoom Distortion
automatic in-camera corrections. Short -8.32 Long 3.42 settings. Colour fringing and Short -1.03 Long 0.05
Taking these into the equation, this Distortion bad at 24mm, pin- distortions are relatively low, thanks There’s very little distortion
lens’s image quality is very good. cushion severe at 100-240mm. to in-camera firmware corrections. at any focal length.

Digital Camera verdict Digital Camera verdict

Relying heavily on
in-camera corrections,
Canon’s RF superzoom
4.5 Outstanding
This Fujifilm X-mount
superzoom has
excellent build quality
4.0 Excellent

is capable of excellent and refined handling

image quality. It is characteristics, but it’s
4.5 4.5 4.5 4.0 5.0 5.0 3.5 3.5
pricey, though, doesn’t pricey, has a limited
have weather seals and zoom range and is
Features Build & Performance Value Features Build & Performance Value
the hood isn’t included. handling lacking in sharpness. handling

238

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 Group Test Superzoom lenses

GOLD
AWARD

Nikkor Nikkor
BEST FOR
NIKON Z

Z DX 18-140mm Z 24-200mm
f/3.5-6.3 VR f/4-6.3 VR
£629/$597 £949/$897
A superzoom for the Z 50 and Z fc An epic superzoom for Z-mount
Lens mount Nikon Z (DX ) Lens mount Nikon Z (F X )

his doesn’t have the Sharpness he Z 24-200mm naturally Sharpness

T extravagant zoom range of

most superzooms, but still
delivers a useful ‘effective’
Sharpness drops off in the
70-140mm sector of the zoom
range, but it’s good overall.
T gives you a greater
maximum viewing
angle, but loses
It’s the pick of the crop for
retaining excellent sharpness
across the whole image frame.
27-210mm in full-frame terms. It’s a out for telephoto reach.
mirrorless makeover of Nikon’s popular Although it’s not from Nikon’s
AF-S DX 18-140mm VR kit lens for acclaimed S-line stable, build quality is
DSLRs, but with a more lightweight good. Premium glass includes two ED
build, though quality feels good overall. elements, one aspherical ED element,
Handling is refined, and alternative and two further aspherical elements.
functions can be assigned to the Top-quality ARNEO Coat is applied
manual focus ring in autofocus mode. to minimise ghosting and flare.
However, there are no physical auto/ Performance of the 4.5-stop optical
manual focus or VR on/off switches, VR system is enhanced when used with
requiring settings to be changed the in-body stabilisation of FX Z-mount
via in-camera menus. cameras, and even more essential
when mounted on the Z 50 or Z fc.
Performance Fringing Fringing
The stepping motor-based autofocus Short 0.13 Long 0.06 Performance Short 0.07 Long 0.87
is fast and virtually silent, and enables Colour fringing is flattered Along with fast, quiet autofocus and There’s only negligible colour
by in-camera correction. fringing at 24mm.
smooth transitions during video excellent handling, the lens delivers
capture. Like many recent lenses Distortion superb image quality. Sharpness Distortion
designed for mirrorless cameras, Short -0.68 Long -0.01 remains impressive throughout Short -0.18 Long 0.11
however, this relies on in-camera Minimal distortions due the entire zoom range and across Relies on auto-corrections
correction for distortions. to in-camera correction. the whole image frame. for distortion.

Digital Camera verdict Digital Camera verdict

It’s a versatile lens for
Z DX format mirrorless
cameras, but the zoom
4.0 Excellent
The Nikon Z 24-200mm
proves that
superzooms don’t
5.0 A best-in-class product

range is rather limited have to compromise on

compared with quality. It’s compact,
4.0 4.0 4.0 4.0 4.5 5.0 5.0 4.5
18-200mm and but a great performer,
18-300mm working well on DX and
Features Build & Performance Value Features Build & Performance Value
superzooms. handling FX mirrorless bodies. handling

239

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 Group Test Superzoom lenses

BEST FOR BEST FOR

CANON NIKON F
EF-S DX

Panasonic BEST FOR

Sigma
Lumix G 14- 18-300mm
MICRO FOUR BEST FOR BEST FOR
THIRDS PENTAX K SONY A

140mm f/3.5-5.6 II f/3.5-6.3 DC Macro

ASPH Power OIS OS HSM | C
£619/$498 £369/$579
A little lens with big reach Big zoom range and performance
Lens mount Micro Four Thirds Lens mounts See table on page 118

he two main choices of Sharpness ntil recently, Sigma Sharpness

T superzooms for Micro

Four Thirds cameras are
this lens and the Olympus
Mid-sector zoom settings
don’t deliver great sharpness,
but it’s good at both ends.
U marketed both this
18-300mm and a
18-200mm superzoom.
Sharpness is excellent
through most of the range,
dropping off at the long end.
14-150mm. We prefer the Panasonic The 18-300mm is only 16mm longer at
– it doesn’t give such powerful its minimum zoom setting, but its focal
telephoto reach, but there’s little in it, length stretches 50 per cent further.
the 2x crop factor giving a zoom range It employs Sigma’s TSC (Thermally
of 28-280mm. It’s smaller and lighter Stable Composite) material, and the
than the Olympus lens, and compact mounting plate is solid metal, but
for a superzoom at 265g. doesn’t have a weather-seal ring. As
Ideal for stills and movie capture, with other Global Vision lenses, it’s
the lens features an autofocus system compatible with Sigma’s USB Dock.
based on a stepping motor. As with all Speciality glass includes four
but the Sigma 18-300mm and Tamron top-grade FLD (‘Fluorite’ Low
18-400mm lenses on test, the focus Dispersion) elements and one SLD.
ring is stationary during autofocus,
but enables manual override. Fringing Fringing
Short 0.34 Long 0.23 Typical of motor-based ultrasonic Short 0.19 Long 0.5
Colour fringing is negligible, Colour fringing is generally
Performance systems, the one in this lens isn’t
minimal throughout.
even in image corners.
Sharpness is good at both ends of speedy and is clearly audible, as well
the zoom range, but less impressive Distortion as lacking manual override. The optical Distortion
in the middle sector. Good dust- Short -1.71 Long 0.44 stabiliser gives a 4-stop effectiveness, Short -2.76 Long 1.27
and splash-resistance boosts Minor barrel distortion at complete with auto panning detection, Lens controls pincushion
confidence for travel shooting. 14mm and minimal pincushion. boosting handheld performance. distortion at mid to long zoom.

Digital Camera verdict Digital Camera verdict

It’s pretty pricey but as
a holiday or travel lens,
it beats everything else
4.0 Excellent
Handling is slightly
impaired by the
focus ring rotating
4.5 Outstanding

in this test group for in autofocus, but it

compactness and delivers a mighty
4.5 4.5 4.0 3.5 4.0 4.0 4.5 4.5
lightweight build, yet zoom range, with the
feels a quality item that minimum compromise
Features Build & Performance Value Features Build & Performance Value
delivers good results. handling in image quality. handling

240

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 Group Test Superzoom lenses

Tamron Tamron
18-400mm f/3.5- 28-200mm f/2.8-
6.3 Di II VC HLD 5.6 Di III RXD
£599/$649 £799/$729
It rules the roost for reach Superzoom for Sony E-mount
Lens mount s Canon EF -S , Nikon F (DX ) Lens mount Sony E

vailable in Nikon F DX and Sharpness or close-ups, the Sharpness

A Canon EF-S mount options,

this gives an effective zoom
range of 27-600mm and
Long-zoom sharpness is
lacking throughout the zoom
range towards the corners.
F minimum focus distance
is impressive for
a superzoom lens,
Levels of sharpness are
very good and consistent,
throughout the zoom range.
28.9-640mm respectively, stretching ranging from 0.19m to 0.8m.
into full super-telephoto territory. Optical highlights include GM
The optical design includes two (Glass Moulded Aspherical), hybrid
moulded glass aspherical elements aspherical, LD (Low Dispersion) and
and one hybrid aspherical element, XLD (eXtra Low Dispersion) elements.
plus three low-dispersion elements. Tamron’s BBAR (Broad-Band Anti-
Autofocus is driven by an HLD (High/ Reflective) coating is applied to
Low torque-modulated Drive) motor. minimise ghosting and flare.
However, the focus ring rotates during The RXD (Rapid eXtra-silent Drive)
autofocus, and there’s no full-time autofocus system is based on a
manual override. Build quality is stepping motor and is compatible with
good and features weather-seals. Sony’s Fast Hybrid AF, Eye AF and DMF
(Direct Manual Focus) modes.
Fringing Fringing
Long-end sharpness is less impressive Short 0.39 Long 0.52 Short 0.05 Long 0.36
than with any other lens on test, and There’s little fringing at short The speed and accuracy of the Colour fringing is pretty
to medium zoom settings. negligible at 28mm.
colour fringing is noticeable as well. autofocus system is very good, and
Optical stabilisation is only worth Distortion near-silent in operation. Image quality Distortion
about 2.5 stops, which is less than Short -3.01 Long 1.22 is decent, but the zoom range is Short -0.89 Long 1.89
in most recent and current Distortions are controlled, modest compared with the competing There’s slight barrel
Tamron ‘VC’ lenses. apart from barrel at 18mm. Canon and Nikon lenses. distortion at 28mm.

Digital Camera verdict Digital Camera verdict

If extra-long telephoto
reach is on your wish
list, and it’s worth
4.0 Excellent
An appealing lens that
delivers impressive
performance, but the
4.5 Outstanding

a sacrifice in image lack of optical image

quality, this is a top stabilisation is an issue
4.0 4.0 4.0 3.5 4.0 4.5 4.5 4.5
superzoom lens with when using early Sony
Canon and Nikon mirrorless cameras
Features Build & Performance Value Features Build & Performance Value
APS-C format DSLRs. handling that lack IBIS. handling

241

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 Group Test Superzoom lenses

Nikon puts the ‘super’

into superzoom
GOLD BEST FOR
The Nikon Z 24-200mm f/4-6.3 VR wins out AWARD NIKON Z

ome of the latest lenses for enormously versatile lenses for Nikon Z, they’re the best choices for Nikon Z DX,

S mirrorless full-frame cameras

that we’ve seen over the last three
years have been significantly
Canon EOS R and Sony Alpha E-mount
cameras respectively.
The Nikon Z DX 18-140mm, Fujifilm
Fujifilm X and Micro Four Thirds cameras.
Back in DSLR territory, two superzooms on
the market stand out. The Sigma 18-300mm
better than the older DSLR-based siblings. 18-135mm and Panasonic 14-140mm Contemporary makes the best job of
Superzooms are no exception, the Nikon Z lenses for crop-sensor cameras aren’t shoehorning a very generous zoom range into
24-200mm, Canon RF 24-240mm and quite as impressive in terms of outright a fairly compact construction, and delivers
Tamron 28-200mm all delivering excellent image quality. On the plus side, however, very pleasing image quality. The bigger and
image quality and all-round performance, they’re nicely compact and lightweight, heavier Tamron 18-400mm is also a good
albeit with quite a lot of help from in-camera making them particularly appealing for option, if you really feel the need for
corrections. Either way, they’re superb and travel and walkabout lenses. Again, supersized telephoto reach.

Name Canon Fujinon Nikon Nikon Panasonic Lumix Sigma Tamron Tamron
RF 24-240mm 18-135mm Z DX 18-140mm Z 24-200mm G 14-140mm 18-300mm 18-400mm 28-200mm
F4-6.3 IS USM f/3.5-5.6 WR f/3.5-6.3 VR f/4-6.3 VR f/3.5-5.6 II ASPH f/3.5-6.3 DC f/3.5-6.3 Di II VC f/2.8-5.6 Di III
LM R OIS Power OIS Macro OS HSM | C HLD RXD
Contact www.canon. www.fujifilm. www.nikon.co.uk www.panasonic. www.sigma- www.tamron.co.uk
co.uk co.uk co.uk imaging-uk.com
Street price £959/$899 £699/$899 £629/$597 £949/$897 £619/$498 £369/$579 £599/$649 £799/$729
Mount options Canon RF Fujifilm X Nikon Z (DX) Nikon Z (FX) Micro Four C EF-S, N F (DX), C EF-S, N F (DX) Sony E (FE)
Thirds P K, S A, Sg
Elements/groups 21/15 16/12 17/13 19/15 14/12 17/13 16/11 18/14
Diaphragm blades 7 7 7 7 7 7 7 7
Optical stabiliser Yes Yes Yes Yes Yes Yes (not P or S Yes No
mount)
Autofocus motor type Ultrasonic Stepping motor Stepping motor Stepping motor Stepping motor Ultrasonic HLD Stepping motor
(Nano) (motor)
Focus ring during AF Stationary/ Stationary/ Stationary/ Stationary/ Stationary/ Rotates Rotates Stationary/
manual override manual override manual override manual override manual override manual override
Front element during Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed
focusing
Min focus distance 0.5m 0.45m 0.2-0.4m 0.5-0.7m 0.3-0.5m 0.39m 0.45m 0.19-0.8m
Max magnification 0.26x 0.27x 0.33x 0.28x 0.25x 0.33x 0.34x 0.32x
Filter size 72mm 67mm 62mm 67mm 58mm 72mm 72mm 67mm
Weather-sealed mount No Yes No Yes No No Yes Yes
Included accessories None Hood None Hood, pouch Hood, pouch Hood Hood Hood
Dimensions (diameter 80x123mm 76x98mm 73x90mm 77x114mm 67x75mm 79x102mm 79x124mm 74x117mm
x length)

Weight 750g 490g 315g 570g 265g 585g 710g 575g

Features
Build & handling
Performance
Value
Overall
OVERALL

242

DCM276.guide_lenses03.indd 242 17/11/2023 15:20

 TAKE CHARGE OF THE YEAR
WITH PHOTOGRAPHIC FLARE
Whether you have just picked up your first DSLR or feel like you’re stuck in a
photography rut and are looking for some new projects to take you through the
next year, this bookazine has something for you.

ON SALE
NOW

Ordering is easy. Go online at:

www.myfavouritemagazines.co.uk
Or get it from selected supermarkets & newsagents
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DCM276.adv_seasonal.indd 1 17/11/2023 15:17

 Super-tele
zooms
Here are the best-buy super-telephoto zooms
for shooting action, sport, wildlife and more

T
here are often times shooting wildlife, or in a spectators’
when we can’t get as area at a sporting event.
close as we’d like to. If A super-telephoto zoom can also
you’re shooting anything come in handy for shooting candid
from small timid birds portraits at events, so you can be
to planes at an air show, unobtrusive and pick people out
from athletes to motor from a distance, while also blurring
sports, or wildlife on safari, you’ll need the background with a fairly tight
a lens that really covers the distance. depth of field. They can even give
A super-telephoto lens will get you a creative alternative for landscape
there, and a zoom beats a prime photography, giving a different look
for flexibility when your movements by compressing perspective. All in all,
are limited. That’s especially true it’s an extremely versatile bit of kit.
if you’re confined to a hide for Matthew Richards

RF 100-400mm F5.6-8 IS USM £669/$649

XF100-400mm f/4.5-5.6 R LM OIS WR £1,549/$1,899
Z 100-400mm f/4.5-5.6 VR S £2,699/$2,697
DG 100-400mm f/4-6.3 £1,149/$1,598
150-450mm f/4.5-5.6 ED DC AW HD £1,979/$1,897
150-600mm f/5-6.3 DG OS HSM | S £1,329/$1,999
FE 200-600mm F5.6-6.3 G OSS £1,599/$1,998
SP 150-600mm f/5-6.3 Di VC USD G2 £1,249/$1,399

244

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 Super-tele zooms Group Test

Getty

245

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 Group Test Super-tele zooms

Canon Fujinon
RF 100-400mm XF100-400mm f/4.5-
F5.6-8 IS USM 5.6 R LM OIS WR
£669/$649 £1,549/$1,899
Compact and affordable RF zoom X-mount cameras boost its reach
ess than a quarter of Sharpness he only lens in the group Sharpness

L the price of Canon’s RF

100-500mm F4.5-7.1L
IS USM zoom and much
Sharpness drops off towards
the corners of the image
frame but is mostly very good.
T designed exclusively for
APS-C format cameras, on
which it gives an ‘effective’
Sharpness is best at the
short end of the zoom range,
dropping off near the long end.
more compact, this is a tempting maximum focal length of just over
proposition. Typical of Canon’s non 600mm. It has a linear motor AF
L-series lenses, the RF 100-400mm system, optical image stabilisation
doesn’t have any weather-seals, but and weather-resistant construction
there are plenty of enticing features. – pretty much everything on a Fujifilm
Autofocus is driven by a Nano USM X Series photographer’s wish list.
motor that is super-fast for stills and Given that the lens only has to
delivers smooth focus transitions. produce a small image circle, it’s no
There’s a 5.5-stop optical stabiliser, lightweight. However, it is beautifully
boosted to 6-stop effectiveness with R engineered with a high-precision
system cameras that feature IBIS, and feel and no hint of zoom creep. The
an additional control ring. Upmarket optical path includes no less than
glass includes one UD element and one five ED (Extra-low Dispersion)
precision-moulded aspherical element. Fringing elements, plus a Super ED element. Fringing
Short 0.67 Long 1.66 Short 0.24 Long 0.41
Colour fringing can be Colour fringing is practically
Autofocus speed and stabilisation lived noticeable towards the edges The autofocus system’s dual linear impossible to spot, at any
up to their claims, while image quality of the frame at 200-400mm. stepping motors enable very fast zoom position.
is impressive. Sharpness is good Distortion performance and the five-stop Distortion
across most of the frame throughout Short 1.58 Long 1.45 stabiliser is effective, complete Short -0.01 Long 0.07
the zoom range, while colour fringing Uncorrected pincushion with automatic panning detection. It’s a non-issue, with the
and pincushion distortion are minimal, distortion is quite slight, and Sharpness proves best in the short to lens delivering essentially
even when uncorrected in-camera. very consistent throughout. mid-range sector of the zoom range. distortion-free images.

Digital Camera verdict Digital Camera verdict

The RF 100-400mm is
a real bargain buy for
an own-brand Canon
4.5 Outstanding
This high-performance
zoom delivers excellent
performance in a
4.5 Outstanding

RF lens, packing good tough, strong build.

features and solid The APS-C format
4.0 4.0 4.5 5.0 4.5 4.5 4.5 4.5
performance into a boosts the maximum
refreshingly compact telephoto reach
Features Build & Performance Value Features Build & Performance Value
and lightweight build. handling of the lens. handling

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 Super-tele zooms Group Test

Nikkor Panasonic
Z 100-400mm Leica DG 100-
f/4.5-5.6 VR S 400mm f/4-6.3
£2,699/$2,697 £1,149/$1,598
Nikon’s first super-tele Z zoom Telephoto super-powers for MFT
he Z 100-400mm features Sharpness ike the Fujifilm 100-400mm Sharpness

T high-tech attractions and

handling exotica aplenty.
The autofocus system is
There’s a drop-off at 400mm
in our lab-tests, but real-world
results proved impressive.
L lens, this is designed for
crop-sensor cameras, but
this time of the Micro Four
Sharpness tends to be most
impressive when shooting
wide-open.
driven by two linear stepping motors. Thirds variety. As such, the size of
Unlike the other lenses, this gives the image sensor enables a more
smooth autofocus transitions. lightweight construction, and a 2x
The VR system is equally impressive, focal length multiplier that boosts the
based on voice coil motors that deliver effective zoom range to 200-800mm.
5.5-stop effectiveness. There’s no The Panasonic Leica DG Vario-Elmar
holding back in optical quality either, 100-400mm f/4-6.3 Asph. Power
with no less than six ED elements, two O.I.S, to give this its full title, boasts
Super-ED elements and both ARNEO Leica backing, aspherical elements
and Nano Crystal coatings, plus a and optical image stabilisation, which
fluorine coating on the front. There’s can work with the in-body stabilisers
a multi-function OLED display, one of various MFTs. The optical path
primary L-fn (Lens-function) button includes two ED elements, one
and four secondary L-fn2 buttons. Fringing aspherical ED element and one Ultra Fringing
Short 0.24 Long 0.41 ED element. A locking ring lets you Short 0.79 Long 1.01
Colour fringing is negligible at lock the zoom ring at any position. There’s virtually no lateral
Autofocus speed and accuracy the short end and still minimal chromatic aberration, even in
coupled with the effectiveness of VR at medium to long settings. extreme corners of the frame.
guarantee an excellent hit rate, even Distortion Autofocus is fast and accurate Distortion
when shooting tricky subjects like Short -0.01 Long 0.07 and image stabilisation works Short 0 Long 0.08
birds. Sharpness itself is impressively There’s pincushion distortion well, although it lacks a switchable Helped by firmware, it is an
consistent from the centre of the frame at mid to long zoom, but auto panning mode. Optical performance essentially distortion-free lens
to the extreme edges and corners. correction is available. is highly impressive all-round. throughout the zoom range.

Digital Camera verdict Digital Camera verdict

The lab-test results
don’t look too special,
and it’s very pricey, but
4.5 Outstanding
The Panasonic is well
balanced on MFT
bodies and enables
4.5 Outstanding

in real-world shooting prolonged periods of

everything comes handheld shooting.
5.0 5.0 4.5 4.0 4.0 4.0 4.5 4.5
together to deliver Performance and
superb handling image quality are
Features Build & Performance Value Features Build & Performance Value
and performance. handling strong in all respects. handling

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 Group Test Super-tele zooms

GOLD

Pentax Sigma AWARD

150-450mm f/4.5- 150-600mm f/5-6.3

5.6 ED DC AW HD DG OS HSM | S
£1,979/$1,897 £1,329/$1,999
A powerful Pentax super-tele Hefty but worth the weight
entax designed this Sharpness his Sigma Sports lens Sharpness

P full-frame compatible
lens when they only made
APS-C format DSLRs.
Levels of sharpness are a little
lacklustre towards the long
end of the zoom range.
T is around 1.5x to 2x the
weight of most contenders
on test, tipping the scales
Even at the extra-long 600mm
mark, sharpness remains
very impressive.
The decision has come good with the at nearly 3kg. Sigma also makes a
launch of Pentax’s full-frame DSLRs. smaller and lighter Contemporary
There are both auto and manual edition of its 150-600mm lens, but
priority ‘Quick Shift’ modes, plus an AF this one is better built. The barrel and
preset facility and four customisable hood are metal rather than plastic,
buttons. These can act as AF-on and features a full set of weather-seals.
or AF-hold buttons, or select a Optical highlights include two FLD
previously stored focus distance. (Fluorite Low Dispersion) elements
Other attractions include a weather- and fluorine coatings on the front
sealed construction, HD coatings and rear. Advanced features include
and a ‘super protect’ coating on the dual autofocus modes, dual-mode
front element. One SLD (Super Low stabilisation, and two switchable
Dispersion) element is fitted, along custom modes. The zoom lock can be
with three ED elements. Fringing engaged at any marked focal length. Fringing
Short 1.47 Long 2.34 Short 1.99 Long 1.01
At the maximum zoom length, There’s little colour fringing
Based on a built-in DC motor, colour fringing can become All aspects of image quality are at the short end, and even less
autofocus speed is a little pedestrian noticeable in image corners. excellent, throughout the entire in the mid to long zoom sector.
compared with other lenses on test. Distortion zoom range. Autofocus is very fast Distortion
Sharpness drops off rather noticeably Short 1.45 Long 1.13
and the stabiliser works very well Short 0.64 Long 0.95
at the long end of the zoom range – a Pincushion actually decreases in both static and panning modes. Pincushion remains quite
situation that isn’t helped by the lens’s slightly as you extend through It’s a fabulous super-tele zoom minimal throughout the
reliance on in-camera stabilisation. the zoom range. with suitably ‘sporty’ performance. entire zoom range.

Digital Camera verdict Digital Camera verdict

A high-tech lens that’s
ideal for both APS-C
and full-frame Pentax
3.5 Very good
It’s a relatively
heavyweight lens,
especially compared
5.0 A best-in-class product

DSLRs, but it’s pricey with Tamron’s

and sharpness could 150-600mm zoom, but
4.0 4.0 3.0 3.0 5.0 4.5 5.0 5.0
be better, especially the Sigma wins with
towards the long end superb performance
Features Build & Performance Value Features Build & Performance Value
of the zoom range. handling and image quality. handling

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 Super-tele zooms Group Test

BEST FOR
SONY

GOLD

Sony AWARD
Tamron
FE 200-600mm SP 150-600mm f/5-
F5.6-6.3 G OSS 6.3 Di VC USD G2
£1,599/$1,998 £1,249/$1,399
A spectacular Sony super-tele The G2 is a worthy upgrade
e’ve been impressed by Sharpness he original Tamron Sharpness

W the Sony FE 100-400mm

f/4.5-5.6 G Master OSS
super-tele zoom for
Sharpness is impressively
consistent throughout the
entire zoom range.
T 150-600mm was good, but
the G2 edition is a major
upgrade. Two LD (Low
Unusually for this class of
lens, sharpness is best at the
long end of the zoom range.
E-mount mirrorless cameras, but the Dispersion) elements and secondary
newer 200-600mm boosts telephoto nano-structure coatings are present,
reach, and with only a minimal along with better weather-seals and
narrowing of the aperture rating. a fluorine coating on the front.
Handling is excellent with a New and improved VC (Vibration
switchable triple-mode optical Compensation) is rated at 4.5-stops,
stabiliser, autofocus range limiter and with three operating modes. These
customisable AF-on/AF-lock buttons. include static and panning options,
Unusually, the physical length remains plus a tracking mode. The autofocus
fixed throughout the zoom range. Nano system is faster, and a ‘flex zoom lock’
AR coating reduces ghosting and flare, can be engaged . The G2 also gains
and there’s a fluorine coating on the compatibility with Tamron’s TAP-in
front, along with weather-seals. Console for customisation and
Fringing firmware upgrades, and the company’s Fringing
Short 1.19 Long 1.38 new 1.4x and 2.0x tele-converters. Short 1.61 Long 1.91
The DDSSM (Direct Drive Super Sonic Chromatic aberrations are It’s fairly minimal at either
Motor) autofocus system is fast, minimal at all zoom settings, end, and absolutely negligible
accurate and ultra-quiet. The optical even in the extreme corners. Everything works well, especially the in the mid-zoom sector.
stabiliser works best in conjunction Distortion revamped autofocus and stabilisation Distortion
with in-body stabilisers featured in Short 1.56 Long 1.87 systems, and handling is refined. Short 1.59 Long 1.57
recent Sony cameras, and sharpness There’s minimal pincushion Sharpness is a little lacking in the short Mild pincushion remains at
is both scintillating and impressively distortion, which remains to medium zoom sector, but comes on a constant level throughout
consistent throughout the zoom range. consistent at all focal lengths. strong between 400mm and 600mm. the entire zoom range.

Digital Camera verdict Digital Camera verdict

Picking up the
baton from the FE
100-400mm G Master,
5.0 A best-in-class product
Nearly a kilogram
lighter than the Sigma
150-600mm lens,
4.5 Outstanding

this has similarly the Tamron is more

refined handling and comfortable for
5.0 5.0 5.0 5.0 4.5 4.5 4.5 5.0
delivers scintillating prolonged periods of
performance and handheld shooting. The
Features Build & Performance Value Features Build & Performance Value
image quality. handling G2 is a worthy upgrade. handling

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 Group Test Super-tele zooms

Sony wins for price

and performance GOLD
AWARD

The Sony FE 200-600mm F5.6-6.3

G OSS really delivers BEST FOR
SONY

ony has come up trumps with its choice for performance at a reasonable extreme, the Panasonic 100-400mm is the

S FE 200-600mm. Building on the

success of the FE 100-400mm
G Master, the newer, bigger lens
price. However, the Canon RF 100-400mm
is a much more compact and lightweight
option for EOS R system mirrorless cameras,
most compact and lightweight lens in the
group, but delivers a mighty effective
telephoto reach for MFT cameras, equating
adds a third stabilisation mode and a more and relatively inexpensive. The Nikon Z to 200-800mm. The Fujifilm 100-400mm for
effective autofocus range limiter switch that 100-400mm is an excellent but APS-C format X-mount cameras is larger and
can lock out both the short and long sectors. comparatively pricey lens for Nikon’s heavier but a great buy at the price. Finally,
Image quality and all-round performance mirrorless Z system cameras. the Pentax 150-400mm has some seriously
are superb, as are handling and build quality. The Tamron G2 is an appealing alternative advanced features and great handling, but
For Canon and Nikon DSLRs, as well as for if you want maximum telephoto reach in a lacks optical stabilisation and comes up
full-frame mirrorless cameras via adapters, smaller, more lightweight package than the a bit short on telephoto reach for
the Sigma 150-600mm Sports is our top Sigma Sports lens. Taking downsizing to the full-frame K-mount bodies.

How the
lenses
compare

Name Canon RF Fujinon XF Nikkor Z Panasonic Leica Pentax Sigma Sony FE Tamron SP
100-400mm 100-400mm 100-400mm DG 100-400mm 150-450mm 150-600mm 200-600mm 150-600mm
F5.6-8 IS USM f/4.5-5.6 R LM f/4.5-5.6 VR S f/4-6.3 f/4.5-5.6 ED DC f/5-6.3 DG OS F5.6-6.3 G OSS f/5-6.3 Di VC
OIS WR AW HD HSM | S USD G2
Contact www.canon. www.fujifilm. www.nikon.co.uk www.panasonic. www.pentax. www.sigma- www.sony.co.uk www.tamron.
co.uk co.uk com co.uk imaging-uk.com co.uk
Street price £669/$649 £1,549/$1,899 £2,699/$2,697 £1,149/$1,598 £1,979/$1,897 £1,329/$1,999 £1,599/$1,998 £1,249/$1,399
Mount options C RF FX NZ MFT PK C EF, N F, Sg SE C EF, N F
Elements/Groups 12/9 21/14 25/20 20/13 18/14 24/16 24/17 21/13
Diaphragm blades 9 blades 9 blades 9 blades 9 blades 9 blades 9 blades 11 blades 9 blades
Min aperture f/32-45 f/22 f/32-40 f/22 f/22-27 f/22 f/32-36 f/32-40
Optical stabiliser 5.5 stops 5 stops 5.5 stops Yes None 4 stops Yes (unspecified) 4.5 stops
(unspecified)
Autofocus motor type Nano USM Dual linear Dual linear Stepping motor DC motor Ultrasonic Direct Drive Ultrasonic
stepping motors stepping motors (ring-type) Supersonic Wave (ring-type)
Internal zoom/focus No/Yes No/Yes No/Yes No/Yes No/Yes No/Yes Yes/Yes No/Yes
Angle of view (diagonal) 24-6 degrees 16-4 degrees 24-6 degrees 12-3 degrees 17-6 degrees 16-4 degrees 12-4 degrees 16-4 degrees
Min focus distance 0.88m 1.75m 0.75-0.98m 1.3m 2.0m 2.6m 2.4m 2.2m
Max magnification 0.41x 0.19x 0.38x 0.25x 0.22x 0.2x 0.2x 0.26x
Filter size 67mm 77mm 77mm 72mm 86mm 105mm 95mm 95mm
Weather seals No Yes Yes Yes Yes Yes Yes Yes
Included accessories None Hood, tripod Hood, tripod Hood, tripod Hood, tripod Hood, tripod Hood, tripod Hood, tripod
collar collar collar, soft case collar, soft case collar collar, soft case collar, pouch
Dimensions (dia x length) 80x165mm 95x211mm 98x222mm 83x172mm 95x242mm 121x290mm 112x318mm 108x260mm
Weight 635g 1,375g 1,435g 985g 2,000g 2,860g 2,115g 2,010g

Features
Build & handling
Performance
Value
Overall
OVERALL

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 Super-telephoto zooms Spotlight

Specifications

Mounts: E-mount, L-mount

Full-frame: Yes
Lens construction: 25 elements in 15 groups
1
Angle of view: 16.4-4.1º
Autofocus: Yes
2 Image stabilisation: Yes
Diaphragm blades: Nine
Min aperture: f/22-29
3 Min focus distance: 58-280cm
Max magnification ratio: 1:2.9
Filter size: 95mm
Dimensions (L x D): 109 x 266mm
Weight: 2,100g
GOLD
AWARD

Sigma 150-600mm
f/5-6.3 DG DN OS Sports
£1,199/$1,499
A mirrorless makeover makes a master lens
w w w. sigma - imaging .co.uk

e’re big fans of Sigma’s existing 150-600mm f/5-6.3

1
Sharpness
DG OS HSM lens, but since it has only been available Centre sharpness is excellent at all focal lengths.

W for Canon, Nikon and Sigma DSLRs, mirrorless

users have been out of luck... until now! The
Both the zoom and
focus rings are tactile
Corner sharpness takes an inevitable dip, but
you still wouldn’t call the image quality ‘soft’.
150-600mm f/5-6.3 DG DN OS Sports is a refreshed and smooth to operate.
You can adjust the Fringing Short 0.08 Long 0.39
version of the old DSLR lens; available in E-mount or L-mount Fringing becomes more noticeable as the focal length
degree of resistance
options, it’s compatible with full-frame Sony, Panasonic, Leica on the zoom ring. increases, but it never reaches worrying levels and
and Sigma camera bodies. Like the exceptional DSLR version, could easily be minimised with in-camera correction.
this super-telephoto zoom is ideal for wildlife, sports,
2
motorsports and other action photography. Distortion Short 1.4 Long 1.53
The 150-600mm Sports inherits most of its signature features The metal lens barrel There’s slight pincushion distortion at all focal
from its DSLR counterpart, though the optical path does differ features strap lugs – lengths (with in-camera correction disabled),
slightly, with 25 elements arranged in 15 groups, including four useful given the lens’s but it’s consistently minimal.
FLD Elements and two SLD elements to reduce aberrations. hefty weight of 2.1kg.
Sigma’s Super Multi-Layer Coating is employed to reduce flare and
ghosting, and a water and oil-repellent coating is applied to the front 3 Verdict

5.0
element to bead away rain droplets and minimise fingerprints. The This edition of the lens
lens also boasts optical stabilisation – essential for a lens with a carries over controls
focal length this long – giving an effective shutter speed reduction A best-in-class product
from the DSLR
of four stops, ensuring rock-solid stability even at maximum zoom. version, including dual
autofocus modes, dual
Performance stabilisation modes, 5.0 5.0 4.5 5.0
We tested the E-mount version of the lens on a Sony A7R III body. an autofocus range
The lens was impressively sharp through its entire zoom range, limiter switch and Features Build & Performance Value
two custom modes. handling
especially in the centre of the frame. Inevitably corner sharpness
is a little softer, but this will rarely be an issue when your subject The Sigma 150-600mm f/5-6.3 DG DN OS Sports
is hard to beat. It’s superbly well-engineered with
is likely to be set against a blurred background due to a shallow
weather seals, has a wealth of features and delivers
depth of field. Thankfully, bokeh is pleasingly smooth. excellent image quality. If you’re an E-mount or
As with any super-telephoto lens, you’ll need to take some time L-mount user and are after a super-telephoto
to set up your camera’s autofocus to ensure consistently sharp, for sports or wildlife photography, this is an
in-focus shots. But get the set-up right and the 150-600mm Sports excellent choice. It offers a flexible focal range
will deliver a satisfying hit rate of sharp shots. Ben Andrews and pro-spec features at a very fair price.

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