Camera Shopper 18

7
EW T SPECI A L SPRING 2017

S!
12
VI E R
R E E XP
Massive group test

4 2
camer a
tested s
Serious system cameras that won’t

break the bank – we pick our favourite
mirrorless
or d-slr?
10 things you must
know when choosing Budget telephoto 36
between SLRs & CSCs options on test lenses
teste d
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L
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MO D E
L 162 pages of
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Olympus OM-D E-M1 MkII
OMG! Olympus’s new turbocharged
FUJIFILM XT-2
Fuji’s newest X-mount flagship adds
runs tougher, more scientific
OM-D shoots at 60 frames a second! faster autofocus and 4K video camera and lens reviews
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Cameras and Accessories

CAMERA
Shopper Welcome to the Spring are still terrific value for money, and both
2017 edition of Camera types take interchangeable lenses for tackling
Shopper! Here you’ll find any kind of subject.
all the best camera, lens We’ve included our ever-popular head-to-head
and accessory reviews comparisons, too. We find out how the new high-
from our sister title Digital speed Nikon D500 compares against Canon’s EOS
Camera Magazine, with 7D Mark II, and can the new full-frame Pentax K-1
jargon busting hints and topple the legendary Nikon D810?
tips on choosing your next But we don’t just compare cameras. As usual,
photographic purchase . we have an entire section devoted to lenses, and
We start out by this time we compare budget telephotos, lenses for
answering one of the first questions any new sports and wildlife, macro lenses and more.
photographer will ask – what’s the best camera for So I hope you enjoy this edition
beginners? The choice is wider than ever thanks to of Camera Shopper, and find that
the boom in mirrorless cameras, but digital SLRs perfect photographic purchase!
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10 CSC vs SLR
Which camera type is best? 46 Canon EOS 5DS
& Canon EOS 5DS R
High resolution full-frame SLRs
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22 Canon 760D/Rebel T6s
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52 Canon EOS 1D X Mark II
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54 Fujifilm X-T2
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30 Nikon D500 vs Canon

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57 GoPro Hero 5
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Rival action DSLRs for enthusiasts
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The best action cam of all?
36
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Canon EOS 6D
58 Fujfilm X-E2S
your submission in whole or in part in all editions of the magazine, including licensed
editions worldwide and in any physical or digital format throughout the world. Any material
you submit is sent at your risk and, although every care is taken, neither Future nor its vs Nikon D750
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Affordable full-frame SLRs compared Classy rangefinder-style CSC
LensesLenses
We are committed to only using magazine paper which
41 Sling straps 60 Fujfilm X-Pro2

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Secure, quick and convenient A great APS-C format CSC
with a clever hybrid viewfinder
42 Canon EOS 5D IV
The new choice for pros?
66 84 137
90 Mk
Olympus OM-D E-M5 138

II
64MP from a 16MP sensor!
94 Mk
Olympus OM-D E-M1
90
II
Olympus’ popular pro-level MFT
flagship has speed you won’t believe
98 Weather protection

Keep your camera safe and dry
154
whatever the weather has to offer
100 Pentax K-70

Tough new outdoor camera
102 Sigma sd Quattro

Triple-layer sensor tech
104 Sturdy tripods

Rock-solid support
106 Sony Alpha 6300 Lenses

63 Cable releases
Get a cable and go remote
Super-fast mirrorless marvel
64 Instant cameras
Print pics in an instant
110 Sony Alpha 68
Good-value DSLR alternative 126 Prime lenses
9 things you need to know
66 Leica M-D (Typ 262)

Leica’s digital rangefinder
113 UHS-1 SD cards
New ultra high speed SD cards 130 Wide angle primes
Manual focus round-up
69 tripod
Panorama
heads
114 Sony Alpha a77 II
24MP APS-C workhorse 137 Laowa 105mm f/2
Fast telephoto prime lens
Simplify getting the bigger picture

118 Sony Alpha a7R II
Sony’s highest-resolution CSC 138 Macro lenses
Get closer to your subjects
70 Nikon D7200
The enthusiasts’ favourite
APS-C format (DX) Nikon SLR 122 Camera phones
Quality pocket snappers 145 Sony FE 50mm
f/2.8 Macro
1:1 full-frame macro prime
74 Nikon D500
High-speed shooting and 4K! 104 146 Budget telephotos
More reach, less cost
78 Nikon D810
vs Pentax K-1
Full-frame head-to-head 153 Sigma 30mm f/1.4
Fast crop sensor prime
82 Nikon D5 154 Monster zooms

LensesLenses
Nikon’s best pro camera yet Perfect for wildlife and action
84 Hard cases
Ultimate gear protection
122 161 Fujifilm XF 100-400mm
f/4.5-5.6 R LM OIS WR
Powerful telephoto for X-mount
H O W W E TEST OUR CAMERA AND LENS TESTS EXPLAINED
TR U STE D
TESTSRIGORO U S / A C C U RATE / IN D E P EN D ENT / FAIR
Cameras and lenses are run through HOW WE TEST

a series of tests in our controlled Camera Shopper’s test policy is
laboratory environment the most strict and rigorous of
any photography magazine. We
believe the only way to bring
you a genuine and reliable
verdict on a product is to test it
in both the field and the lab, so
we use two sets of criteria to test
SLRs and lenses – real-world
testing and objective testing.
Real-world testing
The first and most important
pillar of our process is real-
world testing. We firmly believe
that the best measure of a
product is how it performs in
the field (or studio) doing the job
for which it was intended. The
majority of our testing time is
therefore spent using products
in this way, so we can report
back on how they cope under a
number of different lighting
scenarios and conditions.
amera ensure all products and cameras and lenses that The first part of our real-
C Shopper is
brought to you
services are credibly graded.
Take a look at the opposite page
supplement our real world
testing with benchmarks.
world testing involves telling
you how a product handles and
by the UK’s for more details. our impressions of its
most experienced team of Independence performance; the second is
photography journalists, Passion Camera Shopper is 100% about examining the image
which means you can trust We believe the best way to test independent and never swayed quality produced, so we take a
everything you read on a product is to use it as it was by the influence of advertisers number of photographs under
these pages and can buy intended, so our real world or PR firms. The tests you read different conditions with every
your next piece of testing involves taking in the magazine are our camera and lens we test, which
photography equipment equipment on a proper shoot genuine unbiased opinions and means you can see the results
with total confidence. In – whether outdoors or in the Future Publishing, the achieved for yourself.
case you need any further studio – and testing it exactly company behind Camera
convincing, here’s why our tests as you would use it in real life to Shopper, has a strict code of Benchmarking
are the best: let you know whether it’s fit for conduct on testing. The second pillar of our testing
purpose. policy involves testing the
Depth Consistency output of cameras and lenses
At Camera Shopper, we take Objectivity We store data from every under controlled conditions. We
great pride in the rigorous Although scientific data won’t camera and lens test so that we shoot a series of test charts that
LensesLenses
nature of our testing process. tell you everything about a can make full and standardised are specifically designed to test
Every product and service is product, it’s a great way to draw comparisons between different performance aspects
tested in appropriate direct comparisons and products. We believe you don’t of a camera or lens. Further
circumstances, and a sense-check our real world just want to know how good details about the tests we
combination of real world and conclusions, so we’ve devised a these products are but how they perform can be found in the
objective tests are performed to series of controlled tests for compare with their rivals. panel to the right.
6 f r o m t h e m a k e r s o f D i g i ta l C a m e r a m a g a z i n e
OUR CAMERA AND LENS TESTS EXPLAINED H O W W E TEST
The appliance Lens tests

of science
Camera Shopper runs
tests under controlled
conditions on both
camera bodies and
lenses. Lenses are
assessed using an
Imatest analysis of
photos of three charts.
We use both Imatest
1 Distortion: Imatest
This test measures the
distortion caused by the lens. We
2 Fringing: Imatest
This test measures the
occurrence of chromatic
3 Sharpness: Imatest
Here we measure sharpness
at different apertures from the

Master and DxO Analyzer shoot the simple, lined chart aberration. We shoot the same centre to the outer edge. We shoot
to measure camera pictured above and then output an chart as for the other tests, then the chart pictured and Imatest
performance in four accuracy percentage in Imatest. analyse the photos using Imatest. outputs a figure based on line
tests. Here’s more The most accurate result (i.e. the The results are expressed in pixels, width divided by picture height
about each test best) would be 0%. with lower numbers being better. – high numbers are better.
Camera tests
1 Dynamic Range: DxO

Analyzer
This is a measure of a camera’s
2 Colour error: Imatest
This measures colour
reproduction. We shoot the X-Rite
3 NOISE: DXO ANALYZER
We use the dynamic range
transmissive chart to analyse the
4 Resolution
We use a resolution chart
based on ISO-12233 from Applied
ability to capture detail in the ColorChecker chart pictured above signal-to-noise ratio for raw and Image Inc to indicate the limit of
highlights and shadows. We use and output an accuracy percentage JPEG files at every sensitivity the camera’s vertical resolution at
DxO’s transmissive chart, which from Imatest, with 100% being the setting using DxO Analyzer. A the centre of the frame. The higher
enables us to test a dynamic range most accurate result possible. higher value means the signal is the value, the better the detail
of 13.3 stops. cleaner. resolution.
To minimise the variables when Benchmarks shouldn’t be
Scores explained
testing SLRs, we use Sigma’s seen as a substitute for real-
50mm f/1.4 EX DG HSM prime world testing, though. We can
lens, which is available for every test for a range of very specific
SLR camera system. performance criteria, but there
Each of our tests scores
Next, we perform an analysis are many more characteristics
of the test images using that only become apparent in out of five in one or more Forget it
Imatest’s Imatest Master (www. actual use. Lab tests won’t tell sub-categories; then we award
imatest.com) and DxO Analyzer you which camera handles best an overall mark out of five.
Below average
(www.dxo.com/intl/image_ in the field, for example, or Digital Camera is 100%
quality/dxo_analyzer) to which is easiest to use, but they independent – and never
generate benchmark figures for do enable us to sense-check our swayed by advertisers. The Good for the price
each test. These can then be lab results against real-world tests you read are our genuine,
plotted against the results from image tests and make accurate unbiased opinions. Our company Very good all round
rival products to enable us to comparisons of products’ has a strict code of conduct on
make a direct comparison and capabilities. testing – the most rigorous of
determine which performs No other magazine goes this An exceptional,
any photo magazine. best-in-class product
better under a whole range of far to deliver equipment test
different test criteria. results you can really trust.
Look out for our five awards

Lenses
Given to the top For products Given to products Given to products Given to products
product in a that offer superb that receive five that are innovative that merit very
group test value for money stars overall & groundbreaking special attention
C AMERAS &
A C C ESSORIES get the kit you need with our in-depth reviews
14 78
10 CSC vs SLR
Which camera type is best? 52 Canon EOS 1D X Mark II
Pro SLR for action specialists 74 Nikon D500
High-speed shooting and 4K!
14 Beginners’ cameras
Starter camera and lens kits 54 Fujifilm X-T2
24MP X-Trans sensor 78 Nikon D810
vs Pentax K-1
Full-frame head-to-head
22 Canon 760D/Rebel T6s

A great all-rounder 57 GoPro The best action cam of all?
82 Nikon D5
Nikon’s best professional
26 Canon EOS 80D

Great enthusiast all-rounder 58 Fujfilm X-E2S
Classy rangefinder-style CSC
full-frame camera yet
30 Nikon D500 vs Canon

EOS 7D Mark II 60 Fujfilm X-Pro2
A great APS-C format CSC
84 Hard cases
Ultimate gear protection
Rival action DSLRs for enthusiasts with a clever hybrid viewfinder

86 Olympus Pen-F
Classic style, modern tech
36 Canon EOS 6D
vs Nikon D750
Affordable full-frame SLRs compared
63 Cable releases
Get a cable and go remote
90 Mk
Olympus OM-D EM-5
II
41 Sling straps 64 Instant cameras

Print pics in an instant
64MP from a 16MP sensor!
Secure, quick and convenient
66 Leica M-D (Typ 262) 94 Mk

Olympus OM-D EM-1
II
42 Canon EOS 5D IV
The new choice for pros?
Leica’s digital rangefinder Pro-level, high-speed MFT camera
46 Canon EOS 5DS

High-res full-frame SLR
69 Panorama
tripod heads
Simplify getting the bigger picture
98 Weather protection
Keep your camera safe and
dry whatever the weather has to offer
51 Portable drives 70 Nikon D7200 100 Pentax K-70

LensesLenses
Plug-in computer storage The enthusiasts’ favourite Tough new outdoor camera
26 74 104

41 122
51
102 Sigma sd Quattro

Triple-layer sensor tech
104 Sturdy tripods

Rock-solid support
106 Sony Alpha 6300

Super-fast mirrorless marvel CSC or SLR? What’s the difference?
Single-lens-reflex or SLR the correct exposure or if you’re in
110 Sony Alpha 68

Good-value DSLR alternative
cameras have a mirror that bounces
light from the lens up into an optical
viewfinder. It’s a tried-and-tested
black-and-white mode. However,
autofocusing tends to be a little slower,
especially in low light – although the
113 UHS-1 SD cards

New ultra high speed cards
design that’s much loved by enthusiast
and professional photographers alike.
Like SLRs, compact system or
technology is improving all the time.
Another advantage of omitting the
mirror is that it enables CSCs and their
114 Sony Alpha a77 II

mirrorless cameras can accept lenses to be smaller, even when the
interchangeable lenses, but they don’t same-sized sensor is used.
24MP APS-C workhorse
have a mirror inside; and if there is a Both types of camera are capable of
viewfinder, it’s an electronic device producing high-quality images. Some
118 Sony Alpha a7R II

Sony’s highest-resolution CSC
that shows the image that’s formed
on the sensor. The advantage of this
approach is that you can see the
people prefer the larger size, faster
autofocusing and optical viewfinder of
an SLR, while others like the innovative
122 Camera phones

Lenses
impact of camera settings before you features, smaller size and full-time Live
Quality pocket snappers take a shot, so you know if you’ve set View of CSCs. See overleaf for more.
1
Price
DSLR You get more for your money

with a cheap DSLR than a cheap
CSC
csc VS slr
CSC Cheap CSCs don’t have
viewfinders; those that do cost a
good deal more
You might hope that the simpler design of a
10 key differences
compact system camera would make them
cheaper to buy, but that’s not the case. If
you want a fully-featured, ‘proper’ camera
for the least money, then a DSLR is the
cheapest option.
s
o you want a decent camera that and pros, however, have taken a bit of For example, the 24Mp Nikon D3300
takes interchangeable lenses? A convincing – first, that the image DSLR has just about the best APS-C sensor
few years ago that was easy quality is good enough to match a currently on the market, an optical
– you had to buy a DSLR. But DSLRs; second, that the features and viewfinder (of course), decent manual
then in 2009 Olympus launched its first handling are comparable; third and controls and 700-shot battery life. Its
mirrorless camera, the Pen E-P1, and most important, that these cameras will nearest rivals on price in the compact
everything changed. have a proper range of lenses to match system camera market can’t match its
Though it didn’t change overnight. those already available for DSLRs. resolution or its battery life and they don’t
Mirrorless cameras are great in principle So have mirrorless cameras done have viewfinders.
because they’re smaller, lighter and enough to be genuine DSLR rivals or, In fact, the cheapest CSC with a
mechanically simpler. They’re also just more to the point, are they already viewfinder at the time of writing is the 16Mp
like supersized compact cameras to better? To help you decide, here are the Olympus OM-D E-M10, which currently
use, whereas DSLRs are a bit of a jump key differences and what they mean for sells for around 30% more than the Nikon
from a regular compact. Enthusiasts everyday photography. D3300 – and it’s only that cheap because
it’s just been superseded.
Once you get into enthusiast and pro
market, however, the differences largely
disappear – for any given amount of money
you get broadly the same features,
performance and power.
Lenses
f e at u r e
2 3 4
BatTery life Size and Lenses
weight

DSLR 600-800 shots is average, DSLR Yes, they’re fat and chunky, DSLR Canon and Nikon have a
better models can shoot over 1,000 though this can be a help for big massive lens range for every job,
shots on a charge lenses (and big hands) and Pentax is not far behind
CSC Much weaker, and typically CSC Yes, they are smaller and CSC Olympus, Panasonic and Sony
around 300-400 shots. You’ll need lighter, but the lenses (mostly) are have big ranges, while Fujifilm has
spare batteries just as big as a DSLR’s a good number of high-quality
optics
Battery life comparisons might not be Small size is one of the big selling points for
exciting, but they are important when the mirrorless cameras, but it doesn’t always If you want the widest possible choice of
differences are as great as this. The Nikon work out that way because what you lenses, then a Canon or Nikon DSLR is
D7200 DSLR, for example, can take 1,100 actually have to take into account is the size possibly the best best, but mirrorless
shots on a single charge, while the Fuji X-T1 of the camera body and lens combination. cameras are gaining ground. Sony
CSC, a close match on paper, can only This is a problem for APS-C mirrorless mirrorless cameras are well supported now
shoot 350 photos before the battery cameras because you can get a nice slim – though more fast prime lenses and
expires. This pattern is repeated across the body but a fat, heavy kit lens. Some now constant aperture zooms would help – and
range of DSLRs and CSCs. come with retractable or power-zoom Panasonic and Olympus use the Micro Four
It’s not clear why. DSLR batteries are lenses but that doesn’t help when you have Thirds format, which now has a large and
sometimes larger, though not always, and to swap to a different type of lens. established lens range behind it.
you might have thought that driving the Panasonic and Olympus cameras have
mirror up and down for each shot would an advantage here. The Micro Four Thirds
consume more power, and that that LCD sensor format is smaller (which many
display would be used just as much. photographers don’t like) but this means
Apparently not, though, and this is one the lenses are smaller and lighter too
area where DSLRs do often have a (which many do).
substantial practical advantage.
DSLRs are pretty frugal with battery power,

whereas compact system cameras typically
use them up twice as fast.
Lenses
f e at u r e
5 6 7
Continuous Video Features
shooting
DSLR The best DSLRs can no longer DSLR Massively popular with pros DSLR Even entry-level models
match the speeds of the best CSCs but, arguably, only because DSLRs have full manual controls, and
got there first DSLRs are powerful cameras
CSC The mirrorless design makes it
easier to add high-speed shooting CSC 4K video becoming more CSC They match DSLRs feature for
common, better live view AF – this feature, often going a step or two
You need a fast continuous shooting mode looks like the future further
to capture action shots, and compact
system cameras are streaking ahead here, Most pros shooting video use a DSLR, but In terms of photographic features and
partly because the mirrorless system that says more about the rather controls, DSLRs and CSCs are hard to split.
means there are fewer moving parts and conservative professional market than the They all offer full manual control over
partly because many models are now technology. DSLRs were the first to offer exposure and focusing and can shoot raw
pushing ahead into 4K video – this professional HD and full HD video, together files as well as JPEGs. In any one sector,
demands serious processing power, which with a vast range of lenses and other such as entry-level cameras, enthusiast or
helps with continuous shooting too. accessories, and pros prefer systems with pro models, the control layouts and
To put this in perspective, Canon’s top solid, long-term support. capabilities are pretty similar. Entry-level
professional DSLR can shoot at 14 frames But that was then. The industry is waking DSLRs tend to hide away the manual
per second, but the mirrorless Olympus up to the potential offered by mirrorless controls under a layer of automation, but
E-M1 II can shoot at an incredible 60fps. technology, including 4K video (still not it’s the same for CSCs.
Panasonic, meanwhile, is pioneering the common on consumer DSLRs), efficient Keep in mind the point about
use of 4K video to capture 8-megapixel live view autofocus and high-speed data viewfinders, though – all DSLRs have
images at 30 frames per second. readout and processing. The Panasonic viewfinders, but cheaper compact system
GH4, for example, has had a big impact as cameras don’t.
a hybrid stills/video camera that’s equally
good in both roles, rather than a stills
camera adapted to shoot video.
Compact system cameras have advantages

for both high-speed continuous shooting and
4K video capture, though the battle isn’t over
f e at u r e
8 9 10
Autofocus Viewfinders Image
quality
DSLR Still better, on the whole for DSLR Many still prefer an ‘optical’ DSLR DSLRs use the latest and

tracking fast subjects, but weak in view for its clarity, natural look and best state of the art APS-C or full
live view mode lag-free viewing frame sensors
CSC Full time live view AF means CSC Others prefer to see a digital CSC They use the same sensors,
faster shooting when using the LCD rendition of the scene as the but there are also smaller formats
screen camera will capture it for smaller cameras
DSLRs use fast and efficient ‘phase All DSLRs, even the cheapest, come with There’s nothing to choose here either.
detection’ autofocus modules mounted an optical viewfinder because it’s an Currently, the highest resolution is in a
below the mirror in the body, but these only integral part of the DSLR design. However, DSLR, the 50Mp Canon EOS 5Ds, but the
work while the mirror is down. If you’re many compact system cameras don’t have 42.5Mp Sony A7R II isn’t far behind.
using a DSLR in live view mode, composing viewfinders at all, so you have to use the It’s not just about megapixels, though,
a picture or video on the LCD display, the rear LCD to compose photos, which because the main factor in image quality is
mirror has to be flipped up and the regular doesn’t always work so well in bright light. sensor size. Full frame sensors are the
AF module is no longer in the light path, so Compact system cameras with biggest and offer the best quality, while
DSLRs have to switch to a (generally) viewfinders cost more, and these are cameras with APS-C sensors are almost as
slower sensor-based autofocus system. electronic rather than optical viewfinders good and much cheaper – and you can get
Some Canon DSLRs have hybrid AF – they display the image direct from the these sensor sizes in both DSLRs and
using phase-detection pixels built into the sensor readout and not via an optical CSCs.
sensor. This gives faster autofocus in live mirror/pentaprism system. But the compact system camera market
view mode to close the gap on CSCs, but Electronic viewfinders are advancing in offers smaller formats too. The Micro Four
this technology is currently the exception leaps and bounds, so the latest rarely show Thirds format used by Panasonic and
for DSLRs rather than the rule. any pixelation or ‘granularity’, though there Olympus is smaller than APS-C, but so are
CSCs use sensor-based autofocus all the can often be a slight but visible ‘lag’ if you the cameras and lenses.
time but it’s tuned for speed and efficiency. move the camera quickly. Overall, then, there’s no intrinsic image
More advanced models have advanced The advantage of electronic viewfinders image quality advantage in a DSLR, given
‘hybrid’ AF systems combining contrast is that they can display a lot more that the same sensor sizes are available in
autofocus with phase-detection pixels on information than an optical viewfinder, compact system cameras too.
the sensor, and the best are now so fast including live image histograms, for
that they’re getting almost as good as example. They can also simulate the digital
DSLRs at locking onto and following image the camera will capture.
moving subjects. Panasonic and Olympus This simulation is not always perfect,
cameras use a smaller Micro Four Thirds however, and many photographers prefer
Verdict
sensor format, but this means the lenses to see the world with their own eyes as they
are smaller and lighter too, which is a real compose the image and check the digital The technical differences between
advantage for many photographers. version on the LCD straight after it’s been DSLRs and CSCs aren’t the only things
you need to consider, and may not even
be the most important. The only way to
DSLR CSC decide once and for all is to pick them up
and try them out to see which you prefer.
You might prefer the chunky feel and
optical viewfinder of a DSLR or you
might like the smaller body and more
precise feel of a CSC.
For those on a budget, a cheap digital
SLR gives you more than a cheap
Lenses
compact system camera. Further up the

price range it’s closer, and you’d have to
say that while some might prefer their
DSLRs use phase detection AF sensors. CSCS use electronic viewfinders capable of viewing system, there are few technical
They’re fast, especially with moving subjects. displaying much more shooting information. advantages to the DSLR design.
group test beginners’ cameras
beginners’
Cameras
Matthew Richards tests eight
starter camera‑and-lens combinations
or most beginners, offers a great deal of versatility.

F choosing their first
‘proper’ camera is
Interchangeable lenses enable
you to shoot a wide range of
an important step. While any subjects. We’ve chosen models
camera is only really a tool, or a with viewfinders.
means to an end, the right one Beginners’ cameras should
can have the power to fascinate, be easy to use, with intuitive
delight and inspire us. controls, and effective auto and
Unlike most simple point- scene modes. But they should
and-shoot compact cameras, or also be sophisticated enough to
even a smartphone, an SLR or grow with you as you learn new
CSC (compact system camera) skills and advanced techniques.
the contenders
1 Canon EOS 1300D with 18-55mm IS II lens £320/$450
2 Canon EOS 750D with 18-55mm IS STM lens £530/$700
3 Fujifilm X-T10 with 16-50mm XC II lens £550/$900
Alex Sun / Shutterstock
Lenses
4 Nikon D3400 with 18-55mm AF-P VR lens £430/$650

5 Nikon D5500 with 18-55mm AF-P VR lens £670/$700
6 Olympus OM-D E-M10 II with 14-42mm lens £400/$700
7 Panasonic Lumix G7 with 14-42mm lens £430/$800
8 Pentax K-50 with 18-55mm WR lens £420/$450
14 F R O M T H E MA K ERS O F D i g i t a l C a m e r a MAGA Z INE

beginners’ cameras g r o u p TEST

Lenses
F R O M T H E MA K ERS O F D i g i t a l C a m e r a MAGA Z INE 15

Canon EOS 1300D Canon EOS 750D with

with 18-55mm IS II lens £320/$450 18-55mm IS STM lens £530/$700
It’s the cheapest, but is it good value? More than worth the extra outlay
he least expensive espite being an older

T D
SHARPNESS
COLOUR ACCURACY
higher is better SHARPNESS
COLOUR ACCURACY
higher is better
camera kit in the model, this camera is
group, the 1300D is 4.4 streets ahead of the 6.2
Canon’s most basic SLR. But -10 -5 0 5 10 15 20 1300D. It has a 24.2MP sensor, -10 -5 0 5 10 15 20
it has barely anything new to offer, Scores closer to zero are better an image processor that’s two
Images have very natural colour rendition,
like a hangover of the 1200D that Colour rendition is fairly accurate on the generations newer, a sophisticated without the 1300D’s slight over-saturation.
whole, but can look a little over-saturated.
it replaces, with the addition of 19-point autofocus system (all
built-in Wi-Fi and NFC. SIGNAL-TO-NOISE RATIo cross-type), a hybrid secondary SIGNAL-TO-NOISE RATIo
The image processor gets a 50 autofocus system for Live View and 50
minor update and the LCD screen 40 movie capture, and a revamped 40
is more high-res than in the 1200D, metering system. There’s also

Decibels
Decibels
30 30
but it’s still not a touchscreen. The 20

continuous autofocus when 20
18-55mm IS II kit zoom lens is 10

shooting movies, with smooth and 10
relatively antiquated, and a poor virtually silent focus transitions in
substitute for the STM (Stepping 100 400 1,600 6,400 25,600 the STM (Stepping Motor) kit lens. 100 400 1,600 6,400 25,600
Motor) edition that’s sold with Noise at high settings is better controlled There’s a better implementation Despite the higher-res sensor, image noise
than the 1200D, but worse than the 750D. is better controlled than in the 1300D.
Canon’s other entry-level cameras. of Canon’s Quick menu for easy
DYNAMIC RANGE adjustment of important shooting DYNAMIC RANGE
Performance 14 settings, thanks to the LCD being 14
The nine-point phase-detection a fully pivoting touchscreen. Other

Exposure Value
Exposure Value
12 12
autofocus system is the most basic 10

upgrades over the 1300D include 10
of any camera on test, with only 8

an ‘intelligent’ viewfinder, plus 8
a single cross-type point at the extra scene modes. Wi-Fi and NFC
6 6
centre (able to resolve detail in both Higher scores are better. Raw
results use images converted to TIFF
are present. Higher scores are better. Raw
vertical and horizontal planes). 100 400 1,600 6,400 25,600 100 400 1,600 6,400 25,600
Good retention of highlight and shadow Highlight and shadow detail are enhanced
Contrast-detection autofocus in detail, even in high-contrast scenes.
Performance by Canon’s Auto Lighting Optimizer.
Live View mode is painfully slow, Continuous shooting is nippy at
and continuous AF is unavailable Verdict up to 5fps, and the autofocus and Verdict
when shooting movies. The Features metering systems are highly Features
Lenses
maximum drive rate of 3fps effective. Overall, performance

BUILD & HANDLING BUILD & HANDLING
(frames per second) is also and image quality are excellent,
pedestrian. The 1300D is very performance and the 750D does a good job of performance
easy to use, and delivers pleasing Value
suppressing image noise at high Value
image quality, but it’s a camera ISO settings, despite having one of
you might soon grow out of. OVERALL the highest megapixel counts here. OVERALL


Fujifilm X-T10 Nikon D3400 with
with 16-50mm XC II lens £550/$900 18-55mm AF-P VR lens £430/$500
Compact build, big feature set It’s more of the same from Nikon
he first of the compact iKON hasn’t gone

T N
SHARPNESS
COLOUR ACCURACY
COLOUR ACCURACY
higher is better
system cameras on overboard updating
test, the X-T10 has 19.7 the D3300 to the new 3.1
a slim and retro-styled -10 -5 0 5 10 15 20 D3400. It has the same image -10 -5 0 5 10 15 20
design, similar to the Scores closer to zero are better sensor and processor, the most Scores closer to zero are better
Olympus E-M10 II. This is Auto white balance can be on the cool side, notable upgrade being that the Typical of many Nikon cameras, there’s
but images tend to be punchy and vibrant. a slight tendency to boost green hues.
enabled by the omission of a D3400 gains wireless connectivity.
conventional reflex mirror but, as SIGNAL-TO-NOISE RATIo Strangely, though, it’s Bluetooth SIGNAL-TO-NOISE RATIo
with the other CSCs in the group, 50 rather than the usual Wi-Fi and 50
the Fujifilm sports a high- 40 NFC. Bluetooth has a longer 40
resolution electronic viewfinder connection range than NFC, but

Decibels
Decibels
30 30
to enhance handling and make 20

pairing other devices is more 20
shooting easier in bright sunlight. 10

long-winded. Wi-Fi is absent. 10
Shooting from tricky angles is The D3400 is enormously
aided by a tilt mechanism for the 100 400 1,600 6,400 25,600 beginner-friendly, sporting an 100 400 1,600 6,400 25,600
LCD screen, although it lacks a full The 16.3MP resolution APS-C sensor gives interactive, pictorial shooting The D3400 strikes a good balance between
clean images at high ISO settings. suppressing noise and retaining fine detail.
pivot facility. The screen also lacks guide. Battery life is very good,
touch-sensitivity, but the Quick DYNAMIC RANGE but downgrades from the D3400 DYNAMIC RANGE
shooting menu is easy to navigate 14 are a weaker pop-up flash and the 14
with the four-way pad. The shutter removal of auto sensor cleaning.
Exposure Value
Exposure Value
12 12
speed dial seems like a bit of a 10 10
throwback, but the camera is easy 8

Performance 8
to operate in Aperture Priority and The biggest boost is in Nikon’s new
6 6
Shutter Priority modes, as well as Higher scores are better. Raw
AF-P (stepping motor) kit lens, Higher scores are better. Raw
in Auto and scene modes. 100 400 1,600 6,400 25,600 rather than the camera itself. As 100 400 1,600 6,400 25,600
The X-T10 manages to retain good levels of Nikon’s Active D-Lighting broadens the
detail in bright and dark areas within scenes.
with competing lenses used in all dynamic range to cope with high contrast.
Performance but the Canon 1300D and Pentax
The hybrid autofocus system is fast Verdict K-50 kits, this enables smooth and Verdict
and accurate, while light metering Features near-silent autofocus for movies, Features
Lenses
is consistent. The 8fps maximum and electronic fly-by-wire manual

burst rate is impressive, and image focusing. The D3400 edges ahead
quality is excellent. The controls performance of the Canon 1300D in practically performance
aren’t quite as intuitive as in the Value
every area of performance and Value
SLRs on test, but the X-T10 is easy specs, but it’s still a basic camera
to use nonetheless. OVERALL and poorer value for money. OVERALL

Nikon D5500 with Olympus OM-D E-M10 II

18-55mm AF-P VR lens £670/$700 with 14-42mm lens £400/$700
An articulate and feature-packed Nikon Something of a style classic
he D5500 looks pricey lympus has won the

T O
SHARPNESS
COLOUR ACCURACY
COLOUR ACCURACY
higher is better
in the UK compared hearts of retro design
to the USA – but the -5.6 fans with its OM-D 7.1
British kit includes the new -10 -5 0 5 10 15 20 range of cameras, the E-M10 -10 -5 0 5 10 15 20
AF-P stepping motor lens, Scores closer to zero are better II being the latest entry-level Scores closer to zero are better
rather than the older AF-S Saturation can be less rich than in the model. Attractions include a The Auto white balance setting produces
D3400; auto white balance be slightly cool. slightly warm but appealing colour rendition.
version. Although the camera high-resolution electronic
has the same image sensor and SIGNAL-TO-NOISE RATIo viewfinder and tilting touchscreen, SIGNAL-TO-NOISE RATIo
processor as the D3400, a crucial 50 along with an excellent in-camera 50
upgrade is the 39-point autofocus 40 image stabilisation system. 40
system (nine cross-type), This Olympus isn’t quite as

Decibels
Decibels
30 30
compared with just 11 AF points 20

beginner-friendly as the similarly 20
(one cross-type) on the D3400. 10

styled Fujifilm X-T10. For example, 10
Handling is improved over the buttons labelled merely Fn1 and
D3400, thanks to a slimmer body 100 400 1,600 6,400 25,600 Fn3 are likely to baffle anybody 100 400 1,600 6,400 25,600
shell. Both cameras are lacking There’s good retention of fine detail with who’s new to the camera. The flip The E-M10 II isn’t a star performer at high
minimal image noise at high ISO settings. ISO settings, with image noise visible.
in direct access buttons for side is that there’s a good level
adjusting shooting settings. DYNAMIC RANGE of customisation in the mostly DYNAMIC RANGE
However, making changes via the 14 intuitive menu system, so you can 14
‘i’ (information) menu is much tailor the operation of the camera to

Exposure Value
Exposure Value
12 12
more intuitive in the D5500, 10

your liking as your expertise grows. 10
thanks to the LCD’s touchscreen 8 8

and pivot facilities. You also get
6
Performance 6
built-in Wi-Fi instead of Bluetooth. Higher scores are better. Raw
Like the Panasonic on test, this is Higher scores are better. Raw
100 400 1,600 6,400 25,600 a Micro Four Thirds camera with 100 400 1,600 6,400 25,600
For outright dynamic range in the ISO Scores are good throughout the ISO range,
Performance 100-400 area, it’s one of the best here.
a relatively small image sensor and beating most of the other cameras.
Performance is similar in the two contrast-only rather than hybrid
cameras, but the D5500 produces Verdict autofocus. Even so, autofocus Verdict
slightly cleaner high-ISO images, Features speed is rapid and image noise at Features
Lenses
and dynamic range is marginally high ISO settings is fairly minimal,

better. Autofocus is more accurate albeit with a slight loss of fine
than in the D3400 when using performance detail. Image quality is very performance
peripheral AF points, but metering Value
pleasing overall, and handling Value
tends to produce lighter images, feels natural and comfortable for
which look less richly saturated. OVERALL such a small camera. OVERALL


Panasonic Lumix G7 Pentax K-50
with 14-42mm lens £430/$800 with 18-55mm WR lens £420/$450
Bulkier than the average CSC Classier than competing SLRs
espite having a slim pmarket features in

D U
SHARPNESS
COLOUR ACCURACY
COLOUR ACCURACY
higher is better
body, the G7 has big the K-50, but lacking
and bulky hand grip 2.0 in the Canon and -5.8
and viewfinder protrusions. -10 -5 0 5 10 15 20 Nikon SLRs on test, include -10 -5 0 5 10 15 20

It looks and feels bigger than the Scores closer to zero are better a pentaprism rather than Scores closer to zero are better
other CSCs on test, yet handling Colour balance is accurate but over-exposure pentamirror viewfinder Accuracy can be hampered by under-
can result in images with poor saturation. exposure in multi-segment metering mode.
is a little more natural. Beginners and sensor-shift image
might find the dials and buttons SIGNAL-TO-NOISE RATIo stabilisation that works with SIGNAL-TO-NOISE RATIo
slightly daunting – there are five 50 any attached lens. The K-50 50
customisable Fn buttons, although 40 has a faster shutter speed and 40
their default assignments are continuous drive rate of 1/6000th

Decibels
Decibels
30 30
clearly labelled. 20
of a second and 6fps respectively, 20
Some of the control buttons can 10

and a higher maximum sensitivity 10
seem superfluous, since many of of ISO 51,200. Everything’s in
the functions are easily accessed 100 400 1,600 6,400 25,600 a sturdy casing that’s weather- 100 400 1,600 6,400 25,600
via the on-screen Quick menu. Images taken at medium to high ISO settings sealed, as is the kit WR zoom lens. The sensitivity range stretches a long
are the noisiest of any camera on test. way, but noise is obvious above ISO 6,400.
The LCD benefits from being a It’s not all good news, however.
touchscreen, as well as boasting DYNAMIC RANGE The kit lens has a noisy autofocus DYNAMIC RANGE
full articulation. A claim to fame 14 system that’s driven from a motor 14
of the G7 is that it’s the only camera in the camera body, and there’s
Exposure Value
Exposure Value
12 12
in this group to boast 4K ultra- 10

no continuous AF mode when 10
high-definition movie capture. 8

shooting movies. The K-50 is the 8
only camera in the group to lack
6 6
Performance Higher scores are better. Raw
any form of wireless connectivity, Higher scores are better. Raw
Performance is good overall, but 100 400 1,600 6,400 25,600 and the screen lacks touch- 100 400 1,600 6,400 25,600
The G7 edges ahead of all the other Impressive at low sensitivity settings, but
the metering system errs on the cameras, throughout the entire ISO range.
sensitivity and articulation. more average at mid to high ISO values.
side of overexposure, sometimes
giving rise to a lack of highlight Verdict Performance Verdict
definition and colour saturation. Features The K-50 performs well in almost Features
Lenses
Image noise at high ISO settings all areas. An exception is that the
is the worst of any camera in the multi-segment light metering
group, and the maximum bulb performance option often results in under- performance
exposure time is a mere two Value
exposure for high-contrast scenes, Value
minutes, making the G7 a poor delivering dull-looking images
candidate for night shots. OVERALL with muddy colour rendition. OVERALL

The Verdict
It’s Canon for starters

The EOS 750D is our favourite entry-level camera
he Canon 750D is so Second and third places go to the Fujifilm

T intuitive and easy to use that X-T10 and Olympus OM-D E-M10 II
complete beginners should respectively, proving not only that

be able to take it out of the box and sophisticated cameras can be reasonably shooting mode, but its pivoting
start getting satisfying shots. easy for beginners to get along with, but touchscreen is handy, and custom
Beneath its ‘intelligent’ auto modes and its also that CSCs really are taking the fight functions add sophistication.
wide-ranging scene modes lurks a to conventional SLRs. The weather-sealed Pentax K-50 is well
powerful and versatile camera, complete The Nikon D3400 is more beginner- built and includes a wealth of high-end
with advanced controls that will keep you friendly than any of the CSCs on test but, features. It’s only let down by the vagaries
satisfied as you grow in expertise. ultimately, it has a basic feature set that of its multi-segment metering mode. The
By contrast, the Canon 1300D is the can soon feel underwhelming. The D5500 Panasonic G7 is a good camera, but not the
least inspiring camera in the whole group. lacks the D3400’s interactive guided easiest for beginners to get to grips with.
How the
Cameras Canon EOS Canon EOS Fujifilm X-T10, Nikon D3400, Nikon D5500, Olympus OM-D Panasonic Pentax K-50,
compare 1300D, 18-55mm 750D, 18-55mm 18-55mm 18-55mm 18-55mm E-M10 II, Lumix G7, 18-55mm
14-42mm 14-42mm
Website www.canon.co.uk www.canon.co.uk www.fujifilm.co.uk www.nikon.co.uk www.nikon.co.uk www.olympus. www.panasonic. www.pentax.co.uk

co.uk co.uk
Street price £320/$450 £530/$700 £550/$900 £430/$500 £670/$700 £400/$700 £430/$800 £420/$450
Type SLR SLR CSC SLR SLR CSC CSC SLR
Sensor (size) 18MP CMOS 24.2MP CMOS 16.3MP CMOS 24.2MP CMOS 24.2MP CMOS 16.1MP CMOS 16MP CMOS 16.3MP CMOS
(APS-C) (APS-C) (APS-C) (APS-C) (APS-C) (Four Thirds) (Four Thirds) (APS-C)
Lens mount Canon EF-S (1.6x) Canon EF-S (1.6x) Fuji X (1.5x) Nikon DX (1.5x) Nikon DX (1.5x) Micro Four Thirds Micro Four Thirds Pentax KAF2
(crop factor) (2.0x) (2.0x) (1.5x)
Viewfinder Pentamirror, 0.8x, Optical Optical Optical Optical Electronic (2.36M Electronic (2.36M Optical
95% (pentamirror) (pentamirror) (pentamirror) (pentamirror) dots) dots) (pentaprism)
ISO range ISO 100-6,400 ISO 100-12,800 ISO 200-6,400 ISO 100-25,600 ISO 100-25,600 ISO 200-25,600 ISO 200-25,600 ISO 100-51,200
(expanded) (12,800 exp) (25600 exp) (100-51,200) (100) (100)
Primary Phase (9 points, Phase (19 points, Hybrid (77 areas) Phase (11 points, Phase (39 points, Contrast Contrast Phase (11 points,
autofocus 1 cross-type) all cross-type) 1 cross-type) 9 cross-type) (81 areas) (49 areas) 9 cross-type)
Shutter speeds 30-1/4,000 sec, 30-1/4,000 sec, 30-1/4,000 sec, 30-1/4,000 sec, 30-1/4,000 sec, 60-1/4,000 sec, 60-1/4,000 sec, 30-1/6,000 sec,
Bulb Bulb Bulb Bulb Bulb Bulb 30 min Bulb 2 min Bulb
Max burst rate 3fps 5fps 8fps 5fps 5fps 8.5fps 6fps (8fps AF-S) 6fps
Flash Pop-up + hotshoe Pop-up + hotshoe Pop-up + hotshoe Pop-up + hotshoe Pop-up + hotshoe Pop-up + hotshoe Pop-up + hotshoe Pop-up + hotshoe
Image Via lens Via lens Via lens Via lens Via lens In-camera Via lens In-camera
stabilisation
Video - max 1080p, 1080p, 1080p, 60/50/ 1080p, 60/50/ 1080p, 60/50/ 1080p, 60/50/ 4K, 30/25/24fps 1080p,
resolution 30/25/24fps 30/25/24fps 30/25/24fps 30/25/24fps 30/25/24fps 30/25/24fps 30/25/24fps
LCD screen 3.0-inch, 920k, 3.0-inch, 1,040k, 3.0-inch, 920k, tilt 3.0-inch, 921k, 3.2-inch, 1,037k, 3.0-inch, 1,037k, 3.0-inch, 1,040k, 3.0-inch, 921k,
fixed pivot, touch fixed pivot, touch tilt, touch pivot, touch fixed
Memory SD/HC/XC SD/HC/XC SD/HC/XC SD/HC/XC SD/HC/XC (UHS-I) SD/HC/XC SD/HC/XC SD/HC/XC
(UHS-I) (UHS-I) (UHS-I) (UHS-I) (UHS-II)
Wireless Wi-Fi, NFC Wi-Fi, NFC Wi-Fi Bluetooth Wi-Fi Wi-Fi Wi-Fi None
Body (W x H 129 x 101 x 78mm, 133 x 100 x 118 x 83 x 41mm, 124 x 98 x 76mm, 124 x 97 x 70mm, 120 x 83 x 47mm, 125 x 86 x 77mm, 129 x 97 x 70mm,
x D), weight 485g 79mm, 580g 381g 445g 470g 390g 410g 650g
Battery life 500 shots 440 shots 350 shots 1,200 shots 820 shots 320 shots 360 shots 410 shots
(Cipa)
Lenses
Features
BUILD & HANDLING
Performance
Value
OVERALL

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SLR SKILLS!
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in two brilliant 228-page handbooks
On sale now at newsagents, Apple Newsstand & Zinio

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SLR TEST
SL R w w w.canon .co.uk
Canon EOS 760D slightly different people, the Canon
£579/$849
760D shares many components with
the 750D. For a start they both have
Canon’s new APS-C format CMOS
sensor with an effective pixel count of
Angela Nicholson puts Canon’s more 24.2 million, a Digic 6 processing
engine and a phase detection
advanced new 24MP APS-C format SLR autofocus system, with 19 cross-type
points for use when focusing images in
through our full testing procedure... the viewfinder. The cameras can select
the appropriate AF point to use
automatically in 19-point AF mode, or
it can be set manually in groups in
Zone AF mode (there are five groups of
points for selection) or individually in
Specifications WIth three cameras Single-point AF mode.
in its entry-level There’s also Canon’s new Hybrid
Sensor 24.2MP APS-C (22.3 x 14.9mm) range Canon CMOS AF III system (with Face
CMOS sensor
already had plenty Detection, Tracking AF, FlexiZone-
Focal Length conversion 1.6x
Memory SD/SDHC/SDXC
to interest novices and Multi and FlexiZone-Single modes),
Viewfinder Optical viewfinder, 95% enthusiast photographers on for use when images or video are
coverage, 0.82x magnification a budget. Now the company has composed on the screen in Live View
Video resolution Full HD (1,920x1,080 replaced the 700D with two mode. This system has a greater
pixels) at 30, 25 or 24fps models, the EOS 760D and 750D, number of focusing pixels, set in a
ISO range ISO 100-12,800 (expandable rather than one. more regular array than before.
to 25,600) As the 700D continues in the Canon says it’s about four times faster
Autofocus points 19 line-up (for now at least), this than version II (used in the EOS
Max burst rate 5fps means that there are five cameras 100D).
LCD Screen size 3-inch; 1,040,000
in what Canon calls its beginners’ Despite the increase in pixel count
dots
Shutter speeds 1 /4,000-30 sec, Bulb
range. The new 760D and 750D, in comparison with the 700D, which
Weight 565g (inc battery and memory known as the Rebel T6s and T6i in has 18 million pixels, the 760D has
card) the US, sit at the top of this group a native sensitivity range of ISO
Dimensions 131.9 x 100.9 x 77.8mm above the 700D, 100D and 1200D. 100-12,800, with an expansion
Power supply LP-E17 Li-ion battery The 760D is designed with setting of ISO 25,600 for when it’s
(supplied with camera) more experienced photographers vital to get an image in low light. For
in mind than the 750D, and has a movie shooting, the maximum native
few features from Canon’s setting is ISO 6,400, and there’s an
The new metering high-end cameras. In this review expansion value of ISO 12,800.
Lenses
we’re going to concentrate on the When shooting through the

system in the cameras 760D, but you can find out more viewfinder, the metering system uses
produces good results about the 750D on page 14. a 7,560-pixel RGB and Infra Red (IR)
metering sensor. These pixels are
even in very tricky Features grouped into 63 segments (9x7) and
conditions Although they are aimed at the usual options of Evaluative,
CANON EOS 760D SLR TEST
Zooming in on the… Canon EOS 760D
Mode dial LCD light button

This button needs This turns on the
to be pressed top-plate LCD light
before the mode to allow the
dial can be rotated, settings to be seen
which seems rather in low light .
fiddly at first.
Sensor
This detects when Viewfinder Top LCD
Q button
the 760D is held to If the 760D detects The 760D displays
Pressing this button
your eye and turns flicker from lights, an when the Wi-Fi
gives a quick route to
off the main screen icon tells you to use system is active in
changing some key
display. Anti-Flicker Shoot. the top-plate LCD.
settings.
Partial (6.0% of viewfinder), Spot (3.5% of sensor each have their own RGB-IR filter and Evaluative mode uses 315 zones,
viewfinder) and Centre-weighted average are read independently within the zone, Partial metering covers 10% of the
metering are available. In Evaluative mode the which Canon claims gives more accuracy and scene and Spot 2.7%.
metering is linked to the AF points, so the better colour detection. In Live View and Canon has been pretty quick to
brightness of the subject could have an impact video mode the same metering options are appreciate the benefits brought by
upon overall exposure Unlike the 700D’s available, but the camera uses the imaging touchscreen technology. Like the
(iFCL) metering system, the pixels on the sensor to supply the information and 700D, the 760D has a 3-inch touch-
sensitive Clear View II TFT screen with
1,040,000 dots and an aspect ratio of
3:2 to match the uncropped ratio of the
imaging sensor precisely.
In another first for Canon SLRs,
Meet the both cameras feature Wi-Fi and NFC
rivals… (Near Field Communication) to enable
them to be connected to other devices
The models for remote control and image sharing.
the 760D is Canon 750D Nikon D5500 Pentax K-S2
The NFC function provides a quick
£529 / $749 £579 / $600 £469 / $527
taking on without lens without lens without lens
way of connecting them wirelessly to
An alternative use of The first Nikon SLR to Like teh Canon and other NFC-enabled devices such as a
the 760D’s have a touchscreen, Nikon, this 20MP smartphone, tablet, another camera
processing engine, this 24MP SLR has a vari-angle or Canon’s Connect Station CS100, the
For test sensor, metering, has no AA sensor screen and Wi-Fi company’s portable storage unit. Once
Lenses
images and white balance and filter for better detail connectivity for enabled via the menu, two NFC devices
resolution AF system resolution. sharing images. are connected just by touching their
charts, visit Reviewed: page 16 Reviewed: page 18 Reviewed: Issue 165 NFC logos together. You can also
www.techradar. control the cameras remotely via
com/cameras Wi-Fi using Canon’s free app on
a smartphone.
SLR TEST CANON EOS 760D
CSC benchmarks
How does the Canon EOS 760D fare?
COLOUR ERROR Closest to zero is best
Canon 750D 6.2
Canon 760D 8.2
Pentax K-S2 4.5
Nikon D5500 -5.6
-6 -4 -2 0 2 4 6 8 10
COLOUR ERROR RESULT: This shows that the 760D and

750D produce well saturated images. The Pentax K-S2
is the most accurate.
Canon 750D Pentax K-S2

KEY
Canon 760D Nikon D5500
Raw signal-to-noise ratio* Higher scores are better

40
SIGNAL-TO-NOISE RATIO (DB)
30
20
10
0
200 400 800 1600 3200 6400
SENSITIVITY
NOISE RESULT: The two Canons beat the D5500 for signal-to-
noise ratio – which means that they produce cleaner images.
The metering
and AF systems
coped well with
RAW DYNAMIC RANGE* Highest values are best this tricky shot.
14
13
12 Build and handling LCD on the top-plate. This shows
DYNAMIC RANGE (EV)
11
Although they have a different useful information such as the
10
9
control layout, the 750D and 760D sensitivity, battery level, exposure
8 feel very similar in the hand. There’s level, shutter speed and aperture. It’s
7 only 0.2mm difference in one useful to see the camera settings from
6
Highest values are best dimension between them – the 760D above and uses less power than the
5 is the slightly taller of the two. They main screen.
200 400 800 1600 3200 6400
SENSITIVITY don’t have quite the solidity of the 5D In another departure from the
DYNAMIC RESULT: The 760D and 750D capture a wide good
Mark III, but they have a chassis that 750D, the 760D has a dial around the
dynamic range, but they can’t quite match the Pentax K-S2. is constructed from aluminium alloy navigation buttons, with a lock to
and polycarbonate resin with glass deactivate it. As on the 70D, this
OVERALL BENCHMARK RESULT fibre and they feel pretty durable for allows quick adjustments to exposure
Both the 760D and the 750D (see page 14) performed well entry-level models. There’s no in manual exposure mode and
in our tests, indicating that they capture lots of detail
alarming creaking when you grip exposure compensation in the
and control noise well. They also have consistent
dynamic range across their sensitivity range, beating the them tightly. automatic and semi-automatic
D5500 at high values. But, in the lab at least, the Pentax One of the biggest differences modes, as there’s no need to press
K-S2 holds its own in this company. between the two cameras is that the a button while using the main dial.
* Raw results use images converted to TIFF 760D has a secondary (monochrome) The new dial feels lightweight in
comparison with the larger dial found
on the back of higher-end cameras
Stick or twist? Upgrade advice like the 5D Mark III. It’s also rather
low down on the body, so it doesn’t fall
Although the 760D and 750D easier to use. The addition of
within the natural reach of your
replace the 700D (pictured), an electronic level is also
with the addition of the rear useful for keeping horizons thumb: you have to stretch down to it.
Lenses
control dial and a top-plate straight. Most importantly, Nevertheless, it allows quicker
LCD, the 760D is closer in the 760D can resolve a lot adjustments to be made than is
handling to the Canon 70D. more detail than the 700D possible with the 700D or 750D.
This may take some without detriment to image
adjusting to, but it makes noise control, making it Like the 7D Mark II but unlike the
the camera quicker and a great upgrade. 750D, the 760D has an electronic
level that can be shown in the
in the viewfinder and use the phase

detection system, which is fast and
accurate. We found this AF system
does a pretty good job of selecting the
right subject in 19-point mode, but
Zone-AF and Single-point mode are
a better bet if you can keep the active
area over the subject.
The new metering system in the
cameras is also very good, and it
manages to produce good results,

even in very tricky conditions when
some cameras’ metering would falter.
Exposure is skewed towards that
required by the subject under the
active AF point, but it’s usually
balanced well across the frame.
However, that doesn’t mean you won’t
need to use the compensation control
occasionally. Very bright sections of
sky, for example, can sometimes trick
them into underexposing shots.
Verdict
The 760D produces superb-quality
images that can match Canon’s
viewfinder or the main screen. This Above Both the is yes. We saw an occasional exposure top-end APS-C format camera, the
has a dedicated icon in the viewfinder new Canons could variation, but that can easily be EOS 7D Mark II, for detail. Noise is
and it doesn’t use the AF points, so it resolve the detail explained by slight differences in controlled well, and colour and
of these tomato
can be seen when pressing the shutter stalks. framing (resulting from the different exposure are excellent. While the
release to focus the lens. However, it lens position) and the location of the secondary LCD is a useful bonus,
can be hard to see when the scene is active AF point. In other respects – it’s the 760D’s electronic level and
dark and (unlike the 7D Mark II’s) it colour noise control and detail – our the rear dial that really make the
only indicates horizontal tilt, not up/ tests reveal that the two cameras difference between it and the 750D
down tilt. This means that while it’s produce the same results. in use. I think these features are
useful for getting horizons straight, it The follow-up questions are worth the extra expense.
can’t help when you’re trying to usually “How much detail can they The main and Quick menus are
ensure that the sensor is parallel to a resolve?” and “What’s the noise well organised and the touch control
building to avoid converging control like?” It’s good news on both is very well implemented, so you
verticals. counts. The level of detail in images is switch seamlessly between tapping
a huge leap up from that from the or swiping the screen and using the
Performance 700D. Further good news is that the control buttons and dials. It’s a great
Probably the first question that level of noise is about the same, or camera for the money.
everyone wants to be answered when slightly better than in images from Angela Nicholson
they hear about the 750D and 760D is Below Unlike the the 700D throughout the sensitivity
whether they produce the same image 750D, the 760D has range. That’s despite the six-million
quality. Not surprisingly, the answer a top-plate LCD. hike in pixel count.
At 100% on-screen, high- WE SAY...
sensitivity JPEGs from the 760D look The 760D has the same superb image quality
softer than simultaneously captured as the 750D, but its better handling,
raw files, but even at ISO 12,800 they secondary LCD and electronic level make it
look good at around A3 size. Raw files our choice of the two models. It’s almost like
have more visible noise at 100%, but a smaller, lighter 70D.
it’s fine grained and there’s no
banding, so it’s possible to produce Verdict
images that have a bit more bite than
the JPEGs. Features
While the Live View autofocus BUILD & HANDLING
Lenses
system is relatively speedy and can be

used when hand-holding the camera IMAGE QUALITY
to shoot stationary subjects, it’s not
quick enough to keep up with fast- Value
moving subjects. This means it’s best
OVERALL
to compose sport and action images
SLR TEST CANON EOS 80D
1
2
SL R w w w.canon .com
Canon EOS 80D £770/$1,100

Canon’s new 80D looks great on paper, but does it
deliver – and is it worth upgrading from the 70D?
Specifications The EOS 80D is

1
aimed at dedicated 4
Sensor APS-C format with 24.2 million enthusiast An NFC chip means
effective pixels the 80D can connect
photographers, a the 70D. The reflex mode system,
Focal length conversion 1.6x to an NFC enabled
Memory SD/SDHC/SDXC (UHS-1)
demanding group of people for instance, has 45 AF points, all
smartphone or tablet
Viewfinder Optical covering 100% who want to be able to shoot with just a tap.
of which are cross-type, whereas
Max video resolution Full HD a huge range of subjects in a the 70D has 19 points. It can also
(1920 x 10800 variety of conditions. Inside use colour information from the
ISO range 100-16,000, expandable is a new 24-million-pixel sensor 2 7,560-pixel RGB+IR (infrared)
to 25,600 along with a Digic 6 processing The vari-angle screen metering sensor to help with
Autofocus points 45, all cross-type engine; a combination that brings is the same as the subject tracking. This and the
Max burst rate 7fps a native sensitivity range of ISO Canon 70D’s, but it increased burst depth makes the
Screen Three-inch 1,040,000-dot 100-16,000 (one-stop higher provides a delightfully 80D more attractive to keen sport
Clear View II TFT detailed view.
than the 70D) and a maximum and action photographers.
Shutter speeds 30-1/8,000sec, Bulb
Weight 650g (body only)
expansion value of ISO 25,600 Turning to the Live View and video
Dimensions 139 x 105 x 79mm (the same as the 70D). 3 autofocus system, the 80D uses Dual
Power supply Lithium-ion LP-E6N The maximum continuous Canon has kept the Pixel CMOS AF technology like the
shooting rate is the same as the 80D’s shape and 70D, which means it has phase
70D’s at 7fps, but the burst depth control layout the detection points on the imaging
has been increased to 110 JPEGs same as the 70D’s. sensor itself. The new system is
or 25 raw files when a UHS-1 SD more sensitive and faster than the
card is used. That’s a significant 4
one in the 70D, but because fast
step up from the 65 JPEG or 16 autofocusing often isn’t desirable
raw files possible with the 70D. A headphone port when you’re shooting video, it’s
joins the mic port
Modern SLRs have two possible to vary the speed of the
for audio monitoring
The 8oD’s screen is autofocus systems: one for when and recording.
80D’s system over seven steps for
very good, but the using the camera conventionally slower focus changes.
Lenses
(in reflex mode), where images

viewfinder is still the are composed in the viewfinder; Build & handling
most natural option for and a second for use in Live Canon gives touch-control over both
View and video mode. Canon has the main and Quick Menus, and it
photographers to use improved both of these systems can really speed up use. The Quick
when shooting stills for the 80D in comparison with Menu is very useful, providing a
speedy route to some of the most
commonly used features. It would
be nice, however, if this was
customisable so that it only
contained the features you use on
a frequent basis.
Although the 80D’s screen is
very good, the viewfinder is still

the more natural option for most
photographers to use when
shooting stills, especially if the
subject is moving. This also provides
a bright view – and unlike the 70D’s
viewfinder, which only covers 98% of
the lens field of view, the 80D’s covers
100%. That means there are fewer
surprises around the edge of the
frame when you review your shots.
In an update on the 70D, it’s
possible to select the Creative Filter
mode via the 80D’s mode dial. When
this is selected, one of 10 filter effects
can be applied to JPEG images as
they are shot. If you’re shooting raw
files or raw+JPEG files, the camera
switches automatically to shooting
just JPEGs. Although it’s possible to
use Creative Filters when composing
images in the viewfinder, their
impact can only be previewed on
the main screen in Live View mode.
Performance
The 80D’s 24.2MP sensor makes a
25% increase in pixel count over the
70D’s, and it enables the new camera
to make a significant step up in detail
resolution for the majority of the 1 2 3
sensitivity range without an increase Fast AF Dynamic range It’s natural
in the level of noise. It’s noticeable, In continuous autofocus mode, the Thanks to the 80D’s high dynamic The automatic white balance
however, that at ISO 12,800 the 80D 80D kept this skateboarder sharp range, there’s detail in the bright system coped with the different
scores lower in our resolution tests easily as he moved across the highlights as well as the gloomy light and numerous colours of the
than the 70D. However, when the frame and towards the camera. interior of this scene. scene to produce a natural image.
default levels of noise reduction
are applied, images shot at this
sensitivity setting (and at ISO Meet the
16,000) look good.
Noise is controlled well and
rivals…
although some detail is lost, there’s
no obvious smearing. We would The cameras Nikon D7200 Pentax K-3 II Sony Alpha 77 II
advise caution with the uppermost taking on the £714/$1,047 £709/$850 £764/$1,198
setting of ISO 25,600, because some Canon 80D… Like the K-3 II, this Pixel Shift Technology This 24Mp SLT
areas have a slight haze and lack SLR’s 24MP sensor helps reduce noise has an electronic
detail when images are at around A4 lacks an optical from this 24MP SLR, viewfinder, along
size. But that’s why this value is an low-pass filter, which but its impact isn’t with an AF system
For test helps it resolve a obvious with most that’s fast and
Lenses
expansion setting: Canon makes it images and higher than average shots at normal accurate even in
available for use if it’s really needed, resolution amount of detail. viewing sizes. low light.
but doesn’t consider the image charts, visit Reviewed Issue 164 Reviewed Issue 170 Reviewed Issue 156
quality entirely satisfactory. www.techradar.
Canon has given the 80D a com/cameras
significantly better autofocus (AF)
B&W JPEG
RAW CONVERSION
Above The gloomy conditions of London’s

Monochrome Undercroft skate park, and found
Picture Style gives that the 45-point Automatic Selection
a useful indicator, option is pretty capable, probably
but the best results aided by the new colour detection
are created by system. Single-point AF (Manual
converting a raw file.
selection) mode also worked well
provided I could keep the active point
over the subject. That’s easier said
Left Despite the
than done when you’re shooting
very low light, the
camera was able to skateboarders, who are prone to
focus, and noise is jumping, twisting and turning, and
controlled well for I had greater success when using the
ISO 16,000. Zone AF mode.
In this mode, the 45 AF points are
grouped into nine zones and you
select the most appropriate zone to
use before starting to shoot. The
camera then tracks the subject using
the AF points within that zone. It’s a
great option for moving targets and
you see the points light up as they
system for use with the activate, giving you confidence that
We found that the viewfinder than the 70D, so I was your images will be sharp. It’s not
45-point Automatic keen to put it to the test. It didn’t 100% fool-proof but I got a high hit
Selection option is disappoint, getting stationary rate, and it’s more reliable than
Lenses
subjects sharp in a flash and 45-point Automatic Selection mode.

pretty capable, keeping fast-moving subjects The Live View and Video mode
probably aided by sharp, even in low light. AF system is also good. It’s fast
I experimented with the AF enough to shoot stills of moving
the new colour point selection modes when subjects in some situations, but the
detection system shooting skateboarders in the viewfinder system is more reliable.
COLOUR ERROR
Canon EOS 80D 4.5
Nikon D7200 4.5
Pentax K-3 II 1.2
Sony Alpha 77 II 1.3 Scores closer

to zero are better
-5 0 5 10 15 20
While colours aren’t as saturated as in images

from the Pentax K-3 II, the 80D’s shots are a
little more saturated than is technically correct.
Still, they make for attractive results.

RAW SIGNAL-TO-NOISE RATIO
50
40
Decibels
30
20
10
Higher scores are better. Raw
100 400 1,600 6,400 25,600
On the whole, the Canon 80D’s images are a

little cleaner than the 70D’s. It only drops
slightly behind the Pentax K-3 II and Sony
Alpha 77 II at the top sensitivity values.
RAW DYNAMIC RANGE

14
Exposure Value 12
10
6
100 400 1,600 6,400 25,600
Canon has squeezed more dynamic range

from the 80D than the 70D, indicating
images have a better range of tones.
However, the K-3 II achieves higher values.
Above The articulating screen is really useful when you want to shot from low angles like this.
WE SAY...
The Dual Pixel CMOS AF system’s When shooting in Canon has created an excellent camera that
focus shift is smooth enough to be Live View mode, makes a worthwhile upgrade from the 70D.
usable when shooting video, but it the 80D uses the It’s well-built with sensibly arranged
controls, has good ergonomics and an
is dependent upon the shooting imaging sensor
extensive feature set, and can be set up to
scenario and speed of movement. to measure suit your shooting style. Most importantly,
In reflex mode the 80D uses the exposure, and it the image quality is superb with lots of detail.
same metering system as the 750D does a good job. However, if you’ve
and 760D, which means there’s a turned up the brightness of the
7,560-pixel RGB+IR (infrared) screen to cope with bright ambient Verdict
sensor and 63-zone Evaluative, light, keep an eye on the histogram
Partial, Centre-weighted and Spot view: images may look brighter than Features
metering options. The evaluative they actually are. BUILD & HANDLING
Lenses
system is very good, but the Angela Nicholson

weighting applied to the active AF PERFORMANCE
point can mean you need to apply When shooting in Live View, Value
exposure compensation in high-
contrast situations. There’s nothing the camera uses the imaging
OVERALL
especially unusual in that. sensor to measure exposure
Kit zone Head to head
Canon 7D Mk II VS
Nikon D500
The top-end APS-C format SLRs from the market-leading manufacturers
Lenses
Head to head Kit zone
F
or absolutely ages, Canon
was the only company to CANON EOS 7D Mk II NIKON D500
offer a really high-end
APS-C format SLR that
was designed to appeal to
dedicated enthusiast
photographers, or to pros
who wanted a lighter body with a
smaller sensor to give their lenses
extra reach. That’s changed recently,
however, with the introduction of the
Nikon D500, which means that the

Canon 7D Mark II now has a direct
competitor. Our mission here is to see
how they compare… Website www.canon.co.uk Website www.nikon.co.uk
Street price (body) £1,200/$1,270 Street price (body) £1,514/$1,897
Features Image sensor 20.2MP CMOS Image sensor 20.9MP CMOS
Although the 7D Mark II dates from Sensor size 22.5 x 15.0mm APS-C (1.6x) Sensor size 23.5 x 15.7mm APS-C (1.5x)
September 2014, it has a very similar Max image size 5,472 x 3,648 Max image size 5,568 x 3,712
Image processor Digic 6 Image processor Expeed 5
pixel count to the recently launched
Low-pass filter Yes Low-pass filter No
D500; we’re talking 20.2 million versus
Lens mount Canon EF-S Lens mount Nikon F DX
20.9 million respectively. The D500 Viewfinder Pentaprism, 1.0x, 100% Viewfinder Pentaprism, 1.0x, 100%
doesn’t have an optical low-pass filter, ISO range (expanded) ISO 100-16,000 (51,200) ISO range (expanded) ISO 100-51,200 (1,640,000)
which could give it a slight edge for detail Autofocus points 65 (all cross-type) Autofocus points 153 (99 cross-type)
resolution, albeit at enhanced risk of Shutter speeds 1/8,000 to 30 sec, Bulb Shutter speeds 1/8,000 to 30 sec, Bulb
moire patterning. Flash Pop-up, hotshoe, PC terminal Flash Hotshoe, PC terminal
Sports and action photography is Max burst rate 10fps Max burst rate 10fps
important to the 7D Mark II and D500’s Image stabilisation Via lens Image stabilisation Via lens
target market. Accordingly, both cameras Video – max resolution 1080p, Video – max resolution 4K UHD (3,840 x 2,160),
30/25/24fps 25/24fps
have high-spec autofocus systems with
LCD screen 3-inch, 1,040k-dot, LCD screen 3.2-inch, 2,359k-dot
lots of AF points. Nikon has been
fixed Clear View II TFT LCD touch-sensitive TFT LCD
especially generous in giving the D500 Memory CF (UDMA 7) and SD/SDHC/ Memory XQD and SD/SDHC/SDXC
a 153-point system, although only 55 SDXC UHS-I UHS-II
of them are individually selectable: the Wireless connectivity N/A Wireless connectivity Wi-Fi + NFC + Bluetooth
other 98 are support points. Of the 153 Interface USB 3.0, HDMI, mic, headphone Interface USB 3.0, HDMI, mic, headphone
points, 99 are the more sensitive cross- Body materials Magnesium alloy Body materials Magnesium alloy
type, and 15 of them function with lens Body (W x H x D) 149 x 112 x 78mm Body (W x Hx D) 147 x 115 x 81mm
and teleconverter combinations with Weight 910g (body only) Weight 760g (body only)
maximum apertures as small as f/8. Battery life (Cipa) 670 shots Battery life (Cipa) 1,240 shots
Of the 55 selectable points, 35 are
cross-type, with nine sensitive down
to f/8. Nikon claims the focusing system coverage when you only have a rough
is sensitive down to -4EV. idea of where the subject will be in the
Meanwhile, the Canon 7D Mark II A high shooting rate frame, and an automatic selection option.
has 65 AF points, which are all user- is useful when you’re A high shooting rate is also useful
selectable and cross-type. The centre when you’re shooting sport. Despite its
point is a more accurate dual-cross type shooting sport. more advanced age, the 7D Mark II
when it’s used with a lens that has a Despite its age, the 7D matches the D500 here, with both
maximum aperture of f/2.8 or larger. cameras able to shoot at up to 10 frames
With smaller aperture lenses from f/2.8 Mark II matches the per second with full autofocus and
to f/8, it reverts to a cross-type sensor. Nikon D500 here metering functions. The D500 can shoot
The system is claimed to be sensitive at this rate for up to 200 14-bit lossless
down to -3EV. compressed raw files, while the 7D II can
All this indicates that while the 7D only shoot 31 raw files. If you’re willing to
Mark II has more selectable points, the forgo raw files on the 7D II, you can shoot
D500 has a more sensitive focusing to restrict the alternative AF points up to 1,090 JPEGs in a single burst.
system, with more AF points that to just the four immediately adjacent Swings and roundabouts spring to mind.
function when teleconverters are used. to the selected point (giving a cross Low-light performance is a key area
When continuous autofocus mode is arrangement of five points); but Nikon’s for the Nikon D500: it has a standard
Lenses
selected, both cameras offer options that 25-point dynamic option actually only sensitivity range of ISO 100-51,200.
allow you to set a starting AF point and adds the four diagonally adjacent There are also five expansion settings
use the surrounding points to track the selectable points to create a 3x3 square that give a maximum equivalent setting
subject if it strays away from the initial of points, along with 16-non-selectable of ISO 1,640,000 – an incredibly high
point. On paper, Canon would seem to points that fall between. There are also figure that beats all other APS-C format
give more precision here, with the option Zone focusing options that give broad SLRs. In comparison, the 7D Mark II’s >
CANON 7D Mk II NIKON D500

1 1
By default, this button is The Move record button is

used to set the AF point located on the top of the D500
selection mode. rather than on the back, like on
the 7D II.
2
2
The mode dial includes a
Fully Automated shooting This lock button must be
option as well as three pressed before the drive
custom options. mode can be changed.
3
3
This button releases the This switch-and-button

pop-up flash. The D500 arrangement makes changing
doesn’t have a built-in flash. the focus mode easy when
using the viewfinder.
4
An infra-red receiver is built 4

into the grip to enable This buttons is customisable
remote-control operation. and useful for activating
features like the Level.
5 5
This customisable lever can While the 7D Mk II takes CF and

change the purpose of the SD/SDHC/SDXC cards, the
main dial – setting D500 takes XQD and SD/
sensitivity, for example. SDHC/SDXC media.
6 6
Using this to rate your Flick this switch to flip

images makes shots easier between stills and video
to find after downloading. Live View mode.
native sensitivity range is ISO 100 to the iOS version should have been is fixed, the D500’s screen is mounted
16,000. The two expansion settings give released since we went to press. on a tilting bracket, which enables it to
a maximum value of ISO 51,200 – the be tipped up or down for easier viewing
D500’s top native setting. Build and handling when shooting landscape-format images
It’s possible to shoot Full HD video The two cameras aren’t a million miles from below or above head-height. It’s
with both cameras, but only the D500 apart in terms of size and shape, but the especially useful to videographers, who
has 4K capability. That’s a major plus D500 is just a shade beefier-looking. need to use the screen for composing
for the Nikon camera – but focusing in A glance at the spec sheets confirms that scenes. The bracket is nice and solid, and
Video or Live View modes relies solely it is 150g lighter. This weight difference seems set to work well for a long time.
on contrast detection, whereas the doesn’t reflect in the feel of the camera: it At 3.2 inches, the D500’s screen is also
Canon camera has faster Dual-Pixel seems every bit as tough as the 7D Mark 0.2 inches bigger across the diagonal
AF technology, which incorporates II. Both models have weatherproof and than the 7D Mark II’s. Perhaps more
phase-detection focusing. dustproof seals. significant to the handling, however, is
One disappointment with the 7D The control layouts follow the familiar the fact that the D500’s screen is touch-
Mark II is that it doesn’t have Wi-Fi Canon and Nikon patterns. The 7D Mark sensitive. Unfortunately it’s not possible
connectivity built-in. (There is a GPS II has a dedicated mode dial on the left of to use it to select settings or navigate the
unit, though.) Nikon, however, used the the top-plate, and the D500 has a button menu with taps on the screen, but it’s
D500 to introduce SnapBridge, a Wi-Fi that must be used in conjunction with very useful for setting the AF point when
system that uses low-power Bluetooth the rear Command Dial to set the you’re shooting in Live View or Video
communication to maintain a connection exposure mode. The D500 has a dial for mode. You can also scroll through
Lenses
between a paired camera and a smart setting the drive mode on the left of the images with a swipe and zoom in
device at all times. It can also be set to top-plate while the 7D Mark II uses a with a double-tap to check sharpness.
allow 2MP images to be transferred button along with the Quick Control Dial Sticking with the screen, with
automatically to the photo or tablet – to set the same feature. 2,359,000 dots rather than 1,040,000
even if the camera is turned off. There’s A key difference between the two dots, the Nikon monitor provides a
only an Android app available, although cameras is that while the 7D II’s screen sharper, more detailed view than the
Head to head Kit zone
Image test
Canon Nikon
Autofocus

While the Canon 7D Mark II’s autofocus system is extremely capable, the D500’s
is a little faster and does a really superb job of tracking fast-moving subjects.
Although the two

cameras have a
similar pixel count, Canon Nikon
Exposure Neither camera struggled with the exposure of this bright, colourful scene, but
the D500 is able to the Nikon D500 has reproduced the reds more accurately in its default settings.
resolve just a little
more detail
Canon screen. This is especially

noticeable when you zoom in to check
focus and sharpness. Canon Nikon
As you might expect, the viewfinders
provide a similar view; both are large Noise Noise isn’t really an issue for either camera at settings such as ISO 6,400: these images
have good detail and only a faint texture visible at 100%.
and bright. When you’re shooting, you’ll
spot that the Nikon camera’s AF points
extend slightly further towards the edges
of the frame. It’s most noticeable in the
vertical distribution.
Both cameras have a dedicated control
for setting the AF point. With the 7D
Mark II, you have to press a button
before the focus point can be changed
via the joystick-like controller, but there’s Canon Nikon
an option in the menu that allows you
to do it directly. There are a couple of
Monochrome If you turn the contrast up to maximum, you can get some nice black-and-
white images in-camera. The detail in these shots is also impressive.
frustrations with the Canon control,
however. You need to half-press the
shutter release to wake the AF system
and enable the point to be moved; you detail throughout much of the sensitivity allow photographers to make their own
then have to nudge and release range. It doesn’t consistently beat the 7D decisions about what is acceptable image
repeatedly to move from point to point – Mark II, but it has a slight edge that we quality in any given shooting situation.
you can’t just push and hold the stick to can attribute to the lack of an optical Indeed, the D500’s uppermost settings
jump through several points. Nikon has low-pass filter. produce terrible results: in low light
got these two issues cracked, on the Examining images taken throughout you’ll struggle to recognise the subject
other hand. the sensitivity range reveals that noise at Hi 5 (ISO 1,640,000).
Lenses
levels from the two cameras are very The Canon 7D Mark II’s autofocus
Performance similar, even at the 7D Mark II’s top system is very good: it gets moving
Our resolution chart results make expansion setting (ISO 51,200). This subjects sharp quickly and can keep
interesting viewing. Although the two suggests that, rather than making a them in focus in many situations. The
cameras have a similar pixel count, the major breakthrough with noise control, D500’s is just a shade nippier, though,
D500 is able to resolve just a little more Nikon has pushed the boundaries to and needs very little contrast to >
CANON EOS 7D Mark II NIKON D500

COLOUR ERROR CLOSEr TO ZER0 IS BETTER
6.3 1.6
0 2 4 6 8 10 12 0 2 4 6 8 10 12
This score indicates that the 7D Mark II produces This result is close to perfect, but colours can look
warmer, more saturated images than the D500. a little flat in the default settings.
RAW* SIGNAL-TO-NOISE RATIO higher is better; raw results use images converted from TIFF
50 50
40 40
Decibels
Decibels
30 30
20 20
You can get away with 10 10

* Raw results use images
autofocusing while converted to TIFF
shooting video with 100 400 1,600
It’s very close, but the 7D Mark II just beats the

6,400 25,600 100 400 1,600
In real-world shooting situations, the two cameras

6,400 25,600
the 7D Mark II – but D500 for its whole ISO range. capture a similar level of noise.
you really can’t with RAW* DYNAMIC RANGE higher is better; raw results use images converted from TIFF
the Nikon D500 14 14
12
Exposure value
Exposure value
12
10 10
8 8
operate. It also latches onto subjects
quicker, and I found I got a slightly 6
6
higher hit rate with it. converted to TIFF
Switch to Live View or Video mode, 100 400 1,600 6,400 25,600 100 400 1,600 6,400 25,600
however, and the 7D Mark II’s Dual Pixel The 7D Mark II certainly captures a good range Dynamic range is over 12EV from ISO 50 to 800
AF technology comes into play, resulting of tones, but it can’t match the D500. and is maintained well to ISO 51,200. (Not shown.)
in much smoother, faster AF adjustment
than the D500’s contrast-detection Normal ISO range Expanded ISO range
system can manage. While experienced
videographers will still focus manually, Verdict
you can get away with autofocusing while
shooting video with the 7D II – but you Features Features
really can’t with the D500. BUILD & HANDLING BUILD & HANDLING
When using the general-purpose
Evaluative (Canon) and Matrix (Nikon) performance performance
metering systems during this test, there
were a few occasions when a little Value Value
exposure compensation was required,
OVERALL OVERALL
sometimes by one camera, sometimes
by both. It was never excessive with
either camera, although the D500 copes The Canon 7D Mark II is an excellent SnapBridge technology is a boon to anyone
especially well with bright subjects. camera that has stood the test of time who likes to share images on a frequent
The D500’s auto white balance system very well, and its image quality is a basis, because it saves you from having to
tends to produce neutral to cold results, near match to that of the Nikon D500. remake the connection with your phone.
Lenses
while the 7D Mark II’s errs more on the However, the D500 benefits from a little It’s a shame that Nikon hasn’t put some
side of warmth. Neither is objectionable finessing that has been brought about by effort into improving the Live View and
and there’s little in it, but when viewed recent developments. The autofocusing Video autofocus system for the D500,
alongside each other, I suspect most system is absolutely superb, and the whole because the tilting touch-sensitive screen
people may prefer the Canon results. camera just seems a little more responsive are a great partnership for the 4K video
Angela Nicholson than its Canon counterpart. The new recording capability.
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Canon EOS 6D VS
NIKON D750
Matthew Richards pits two top-selling SLRs against each other
Lenses
CANON 6D vS NIKON D750
H EAD TO H EAD
W
Canon eos 6D NIKON D750
ANT the very
best enthusiast-
level digital SLR
without blowing
your budget on a fully professional
body? There are two main contenders–
the Canon EOS 6D and the Nikon D750.
Canon and Nikon’s range of ‘professional’
digital SLRs kick off with the 5D Mk III
and D810, both of which cost roughly

£1,000/$1,000 more than their range-
topping consumer-class cameras. Website www.canon.co.uk Website www.nikon.co.uk
The Canon 6D feels like it’s been Street price (body) £1,200/$1,270 Street price (body) £1,514/$1,400
around for yonks, having been Image sensor 20.2MP CMOS Image sensor 24.3MP CMOS
announced back in September 2012. Max image size 5,472 x 3,648 Max image size 6,016 x 4,016
The Nikon D750 is two years newer Image processor Digic 5+ Image processor Expeed 4
and fresher, and outguns the Canon Low-pass filter Yes Low-pass filter Yes
Lens mount Canon EF Lens mount Nikon F
for features and specifications. It has
Viewfinder Pentaprism, 0.71x, 97% Viewfinder Pentaprism, 0.7x, 100%
a newly designed image sensor and
ISO range (expanded) ISO 100-25,600 (50-102,400) ISO range (expanded) ISO 100-12,800 (50-51,200)
the same Expeed 4 image processor as Autofocus points 11-point (1 cross-type) Autofocus points 51-point (15 cross-type)
the very latest D810A and D7200. By Shutter speeds 1/4,000 to 30 sec, Bulb Shutter speeds 1/4,000 to 30 sec, Bulb
contrast, the 6D looks a bit of a poor X-sync 1/180 sec X-sync 1/200 sec
relation, especially compared with Max burst rate 4.5fps Max burst rate 6.5fps
Canon’s latest APS-C format camera, Buffer capacity (raw) 17 shots Buffer capacity (raw) 15-33 shots
the 7D Mk II, which boasts a newer Video – max resolution 1080p, 25/30fps Video – max resolution 1080p, 50/60fps
generation of processor and a more LCD screen 3.0-inch, 1,040k, fixed LCD screen 3.2-inch, 1,229k, tilt
sophisticated autofocus system. Memory 1 x SD/SDHC/SDXC UHS-1 Memory 2 x SD/SDHC/SDXC UHS-1
Wireless connectivity Wi-Fi & GPS Wireless connectivity Wi-Fi
Even so, the majority of enthusiast
Interface USB 2.0, HDMI Interface USB 2.0, HDMI
photographers will still prefer to go Body materials Alloy & polycarbonate Body materials Alloy & polycarbonate
full-frame, for its greater creative control Body (W x Hx D) 145 x 111 x 71mm Body (W x H x D) 141 x 113 x 78mm
over depth of field and wider choice of Weight 755g Weight 840g
top-grade lenses. So let’s see how the Battery life (Cipa) 1,090 shots Battery life (Cipa) 1,230 shots
well-established 6D holds out against
Nikon’s D750 scene-stealer.
horizontal and vertical planes, as well as
Features enabling 11 points to be used where your
Rightly or wrongly, many of us check out Both the 6D and D750 widest available aperture is only f/8. It
the megapixel count before anything feature bright and comes into its own if you need to add a
else when we eye up a prospective new 2x tele-converter to an f/4 telephoto lens.
camera. The 6D has a somewhat modest sharp pentaprism By comparison, the 6D is a real under-
20.2MP sensor, whereas Nikon takes an achiever in the autofocus stakes. It has
early lead with its 24.3MP sensor. Nikon
viewfinders rather a mere 11 AF points in total, with just
claims that its new design delivers than cheaper a single cross-type point at the centre,
“exceptional” image quality that’s cleaner and none of them can function at
than ever before at high ISO settings.
pentamirror units apertures narrower than f/5.6.
Even so, the 6D stretches a full f/stop Both the 6D and D750 feature bright
further than the D750 in its native and and sharp pentaprism viewfinders
expanded sensitivity ranges, to ISO rather than cheaper pentamirror units.
25,600 and 102,400 respectively. 17 shots in raw mode, the D750 can However, the 6D’s viewfinder only gives
A little curiosity is that the D750 bucks stretch to 33 shots. However, you can 97% frame coverage, whereas the D750
Nikon’s trend with its other recent digital only squeeze that many raw shots shows you the whole picture. The 6D
SLRs and retains an OLPF (Optical Low- into the buffer if you switch to 12-bit lacks the ‘intelligent’ viewfinder display
Pass Filter) in front of its image sensor. compressed mode. In 14-bit options that are available in many of
This comes with an anti-alias filter to uncompressed raw mode, there’s only Canon’s newer SLRs, including the 70D
guard against moiré patterning and false enough space for 15 shots. At least Nikon and 7D Mk II APS-C format cameras.
colour. This is the usual Canon stance, gives you choices over bit-depth and Up above the viewfinder, the D750
Lenses
and the 6D also has an OLPF. compression settings, unlike Canon. adds a pop-up flash which is omitted in
The D750 looks the sportier camera Tracking action should be another the 6D’s design. You could argue that
of the two, with a 6.5fps maximum drive sporty win to the D750, as it features photographers at this level are unlikely to
rate. That’s two whole frames per second a new-generation 51-point autofocus use a pop-up flash, but it can be useful for
faster than the 6D can muster. And where module. This includes 15 cross-type the emergency filling of shadows, as well
the 6D has sufficient buffer capacity for points for resolving detail in both as for wirelessly triggering off-camera >
f r o m t h e m a k e r s o f Di g i t a l C a m e r a m a g a z i n e 37
H EAD TO H EAD CANON 6D vS NIKON D750
Canon EOS 6D NIKON D750

1 1
AF, Drive, ISO and Metering As well as plentiful scene
mode buttons are lined up modes, the D750 adds an
along the front of the Effects setting with options like
top-panel info LCD. night vision and colour sketch.
2 2
The 6D includes ‘Creative The drive mode wheel under the

Auto’ and scene modes as shooting mode dial is simpler
than the 6D’s arrangement.
well as a full auto setting.
3
3
The viewfinder housing The pop-up flash, absent on

doesn’t include a pop-up the 6D, is worth having even if
flash module, and there’s no only for easy wireless control
built-in AF assist lamp either. of external flashguns.
4 4
There’s only one control Front-mounted controls include

button on the front, which a depth of field preview and an
is for depth of field preview. autofocus mode selector.
5 5
The pentaprism viewfinder An additional row of control

only gives 97 per cent frame buttons down the left-hand side
coverage and crops the enable quick access to shooting
extreme edges. and playback options.
6 6
The 6D’s screen has a lower The tilting LCD screen comes in
pixel count and no tilt facility. handy for Live View and movies.
flashguns that are compatible with built-in Wi-Fi connectivity, and the only from a freshly-charged battery rather
Nikon’s wireless master/slave flash modes. notable feature that’s included in the 6D than the 6D’s 1,090 shots (Cipa-tested).
Around the back, the D750 boasts a but lacking in the D750 is built-in GPS Both of these SLRs have conventional
slightly larger and higher-resolution LCD for geo-tagging images. shooting mode dials that include a Scene
screen than the 6D. The Nikon also adds position for access to various scene
a tilt facility that’s missing on the Canon. Build and handling modes, as well as a fully automatic
It’s not fully articulated and, unlike in The build quality of the two cameras feels shooting mode that has intelligent
some current cameras, the range of tilt very similar in most respects. Both use real-time scene analysis. The Nikon
doesn’t extend to flipping the screen over a mix of reinforced polycarbonate and goes a step further with an Effects
completely for selfie mode shooting. Even magnesium alloy sections. The Nikon position on the shooting mode dial, for
so, it’s a bonus for high-level or low-level has alloy sections at the top and rear, applying special imaging effects while
Live View and movie shooting. The D750 with a polycarbonate front panel, shooting, whereas the Canon adds a more
also includes two SD slots rather than whereas the Canon has alloy front and serious and enthusiast-friendly Bulb
the 6Ds’s one. The extra slot is useful rear panels and polycarbonate up on mode. Both cameras add two user-
for instantly creating backups of your top. Both feature weather-seals. defined positions on the shooting mode
images while shooting, or for saving raw The 6D and D750 make great everyday dial for quick access to preferred set-ups.
and JPEG files to separate cards. Both walkabout and travel cameras, with Further similarities in handling
cameras are compatible with SDHC compact dimensions for full-frame SLRs. include a top-panel info LCD for showing
and SDXC cards, and are able to make They’re noticeably smaller than the important shooting settings and various
use of the performance increase offered Canon 5D Mk III and Nikon D810, and other parameters like battery status. In
Lenses
by the UHS-1 (Ultra High Speed) bus. nowhere near as big as the top-flight front of this LCD, the Canon has a bank
The Nikon can capture 1080p movies 1D X and D4S models with their built-in of buttons for accessing AF mode, drive
at maximum frame rates of 50 or 60 vertical grips. The 6D is marginally mode, ISO and metering mode. The
frames per second rather than the smaller the D750 and somewhat lighter Nikon only has a metering mode button
Canon’s 25 or 30fps, but neither camera at 755g compared with 840g. The D750 in front of the top screen, other functions
is capable of 4K video capture. Both have has better stamina, with 1,230 shots being dispersed to buttons and dials at
38 f r o m t h e m a k e r s o f Di g i t a l C a m e r a m a g a z i n e
CANON 6D vS NIKON D750
H EAD TO H EAD
Image test
Canon Nikon
Outdoor

For outdoor and landscape shots using auto white balance, the D750 tends to give a
slightly cooler colour balance than the 6D. The Nikon’s images are more vibrant with greater contrast.
Canon Nikon
Detail The Nikon performs better in capturing fine detail. It makes the most of its sensor’s
The 6D and D750 higher megapixel count and stays slightly ahead of the Canon throughout the sensitivity range.
make great everyday
walkabout and travel
cameras, with
compact dimensions
for full-frame SLRs
Canon Nikon
Dynamic range This shot with bright highlights and deep shadows shows the D750 gives
higher-contrast results. Highlights are well preserved in both, but the Canon retains more lowlights.
other positions around the camera.
The Nikon also adds an exposure
compensation button just behind the
shutter release-button. We prefer this
to the Canon’s rear-mounted rotary dial
for exposure compensation, which is
easy to adjust accidentally unless you
engage the adjacent locking switch.
The now ubiquitous Quick or Info
menu is available on both cameras, for Canon Nikon
quick and easy control over shooting
settings via a specialist on-screen menu
Low light There’s practically nothing to choose in the clean and noise-free quality of these
lowlight images, which both retain high levels of detail. They were taken well after sunset at ISO 12,800.
on the rear LCD. Both are pretty slick and
well thought out, although Canon wins
out for intuitive design. Overall, the
layout of controls and general handling central AF point, which is equally or matrix metering mode, the 6D biases
of the 6D and D750 are typical of Canon effective in both cameras even in very results more exclusively to brightness
and Nikon designs respectively, and will low lighting conditions. However, the levels at the AF point (or points) that
feel immediately familiar to photographers D750 is more competent than the 6D at achieve autofocus, whereas the D750’s
accustomed to either brand. autofocusing with off-centre AF points, value judgments are based more on the
and it’s better at tracking moving objects whole scene. The D750 is more safety-
Performance in continuous autofocus mode. Nikon’s conscious in its efforts to avoid blown
Lenses
With equivalent high-quality lenses that advanced, 3D-tracking AF mode is highlights when using matrix metering.
have fast ring-type ultrasonic autofocus, particularly good for this. For colour rendition, the Canon’s
there’s practically no difference in the Both cameras have consistent images are typically a little warmer
speed with which the two competing metering, although the 6D tends to give whereas the Nikon often tends to pump
cameras can lock onto stationery objects. marginally brighter images in centre- up saturation a little more and adds
At least, that’s the case when using the weighted metering mode. In evaluative a little extra punch and vibrancy. This >
f r o m t h e m a k e r s o f Di g i t a l C a m e r a m a g a z i n e 39
H EAD TO H EAD CANON 6D vS NIKON D750
Canon eos 6D NIKON D750

6.3 -0.92
0 2 4 6 8 10 12 0 2 4 6 8 10 12
Technically, the score for colour accuracy isn’t great, Near-perfect colour rendition in the lab, but the auto
but there’s an attractive warmth to the 6D’s images. white balance system produces cool shots outdoors.
50 50
40 40
Decibels
Decibels
30 30
20 20
10 10
converted to TIFF
100 400 1,600 6,400 25,600 100 400 1,600 6,400 25,600
There’s very little to Signal-to-noise ratio scores are better than from the The D750’s images look equally detailed and
choose between the D750, but the Nikon draws closer in JPEG quality. noise-free, before and after conversion.
two cameras for RAW* DYNAMIC RANGE higher is better; raw results use images converted from TIFF
dynamic range at the 14 14
base sensitivity
Exposure value
Exposure value
12 12
setting of ISO 100 10 10
8 8
6 6
converted to TIFF
arguably makes the 6D a little more 100 400 1,600 6,400 25,600 100 400 1,600 6,400 25,600
flattering for portraits, and the D750 The D750loses more low-light detail than the 6D and
The 6D maintains astonishingly rich highlight and
a bit more dramatic for landscapes. low-light detail, even at ultra-high ISO settings. is more likely to blow highlights at high ISO settings.
There’s very little to choose between
the two for dynamic range at the base Verdict
sensitivity setting of ISO 100. However,
from ISO 200 and upwards, the 6D Features Features
gives better detail in lowlights, and more
convincing tonal range. This remains the BUILD & HANDLING BUILD & HANDLING
case whether the Canon’s Auto Lighting performance performance
Optimizer and Nikon’s Active D-Lighting
features are enabled or switched off. Value Value
The D750 improves on the older Nikon
D610 and easily outclasses the D810 for OVERALL OVERALL
delivering clean, noise-free images at
high ISO settings. Low-light, low-noise The Canon 6D and Nikon D750 are both strengths and weaknesses. The Nikon
imagery has recently been a Canon excellent cameras, ideally suited to delivers punchier-looking images and has
strong point but the D750 proves every expert and enthusiast photographers. better autofocus, especially for moving
bit as good as the 6D at producing clean The D750 reaches out a little more to objects. The Canon has better dynamic
images with impressive fine detail. beginners with its additional Effects modes. range and is more able to retain detail in
Results are superb even at super-high Both cameras strike a great balance bright highlights and dark lowlights.
Lenses
sensitivity settings of ISO 6,400 and between size and natural handling: the 6D Both cameras also give stunning low-light
12,800, although the Canon is slightly has a more intuitive Quick menu, whereas performance, delivering amazingly clean
better at the top of its native sensitivity the D750 adds a tilting rear screen. images even at super-high sensitivity
range of ISO 25,600, at which point the For overall features and specifications, settings. All things considered, however,
Nikon is already in its expanded range. the D750 is a clear winner over the 6D. the Nikon D750 is the better camera, and
Matthew Richards As for performance, both cameras have well worth its higher asking price.
40 f r o m t h e m a k e r s o f Di g i t a l C a m e r a m a g a z i n e
MiniTest
Sling straps
Strap in and discover the most comfortable and convenient ways to carry your camera

w w w. b l a c k r a p i d . c o m w w w. b g r i p . c o m k a i s e r- f o t o t e c h n i k . d e / e n
BlackRapid CP Tech Kaiser
Sport Breathe B-Glider Action Strap
£79/$82 £32/$50 £40/$52
This updated Sport strap now has The B-Glider’s soft, supple strap feels Kaiser’s contender is almost identical
breathable foam to keep you cool, while great, and it’ll clip to a backpack. Camera to Matin’s design (below), with the same
an extra-wide pad and under-arm strap attachment and release is easy, although soft shoulder pad and pivoting joints. It
ensure top comfort. A super-smooth slide the mounting plate is bulky and the slide edges ahead thanks to smoother strap
action seals the deal. action isn’t the smoothest. material that enables slicker sliding.
OVERALL OVERALL OVERALL
w w w. c a m e r a c l e a n . c o . u k w w w. o p t e c h u s a . c o m w w w. p e a k d e s i g n . c o m
Matin Neoprene OpTech Utility Peak Design
Fast-Access Strap 5 Strap Sling Slide
£43/$47 £16/$30 £49/$60
There’s a lot to like here, with superbly This budget buy feels comfortable and A sling, shoulder strap and neck strap
Lenses
supple padding and swivel joints that secure, and it attaches to a camera strap in one, the Slide exudes quality with a
further up the ergonomics. Camera loop rather than to the tripod mount. seatbelt-style strap and premium fittings.
attachment is tool-free, and a secure Sliding could be smoother, however, A dedicated sling feels more secure, but
clip links the strap to the mount. and some elements feel cheap. the Slide takes the style win.
SLR t e s t CANON EOS 5D Mk IV 2
3
SL R w w w.canon .co.uk
Canon EOS 5D Mark IV

£3,600/$3,500
Canon’s pro all-rounder gets a big boost in features
Specifications Canon’s 5D series

1
has a rich heritage –
Sensor 36 x 24mm 30.4MP CMOS the original EOS 5D With HDMI, USB and
Focal length conversion 1x audio ports on the
camera bought
(full-frame) side of the camera,
Memory One CompactFlash; one SD/
full-frame photography to
Canon has moved the
SDHC/SDXC (UHS-I) the masses – so the arrival remote trigger socket
Viewfinder Optical pentaprism with of a new generation of the 5D to the front.
approx 100% coverage is a big deal. The 22.3MP sensor
Max video resolution 4K (4,096 x in the 5D Mark III was starting to
2
2,160) at 30fps look a little dated compared to
ISO range 100-32,000 (50-102,400 some of the competition, so it’s Not only does the looking for even more pixels already
expansion) nice to see a notable jump to 3.2-inch LCD screen have the option of the 50.6MP 5DS.
Autofocus points 61 points. Max of 41 30.4MP here. get a useful resolution
cross-type AF points inc 5 dual cross-type boost to 1,620,000
That’s not quite rivalling the Features
at f/2.8 and 21 cross-type AF points at dots, it also boasts
f/8. The number of cross-type AF points
36.3MP Nikon D810 or the 42MP The 5D Mark IV uses the same
full touch control.
will differ depending on the lens Sony Alpha 7R II; but files still latest-generation sensor technology
Max burst rate 7fps come out at 6,720 x 4,480 pixels. that we’ve seen in both the 1D X Mark
Screen 3.2in Clear View II touchscreen This means that if you want to 3 II and 80D. Canon says this sensor’s
LCD; approx 1,620,000 dots print at 300dpi, the native size is This new button can on-chip digital-to-analogue
Shutter speeds 30-1/8,000 sec just under A2 at 56.9 x 37.9cm directly change AF conversion delivers improved noise
plus Bulb (22.4 x 14.9 inches). Those area, or it’ll adjust performance and dynamic range.
Weight 890g other settings when The use of Dual Pixel Raw technology
Dimensions 151 x 116 x 76mm used in conjunction gives you the capacity to fine-tune the
Power supply LP-E6N rechargeable with the front area of maximum sharpness during
lithium-ion battery command dial.
post-production (only using Canon’s
own DPP software at present).
The Mk IV’s native sensitivity
Lenses
runs from ISO 100-32,000, and is

expandable to 50-102,400. The
Right The 5D Mark IV’s image
camera uses both a Digic 6 and a
sensor provides good noise Digic 6+ processor, with the former
performance and a significant used solely for metering, freeing up
increase in resolution. the Digic 6+ to handle everything
CANON EOS 5D Mk IV
slr test

1 2 3
Autofocus Noise Dynamic range

This skateboarder doesn’t hang around, really ISO 4,000 was required to maintain a fast enough You can ramp up the sensor sensitivity and there’s
putting Canon’s 61-point autofocus and Dual shutter speed to freeze this subject, but image still enough dynamic range to capture extreme
Pixel AF tech through its paces. noise at this setting is impressively low. highlight and shadow detail.
else, including the 61-point AF III, so existing owners looking to use This is the only file format available
system with 41 cross-type sensors both cameras in tandem don’t need when shooting 4K, however, and
(five of which are dual cross-type for two sets of batteries and chargers. there’s no option to shoot in a flat
even greater accuracy). The 5D Mark IV features DCI 4K gamma profile. Things get better
The AF system is sensitive down video capture at 4,096 x 2,160 pixels, at 1080p, with a host of Full HD
to -3EV (-4EV in Live View) – that’s at 30/25/24fps (approx 500Mbps). options, as well as the ability to shoot
darker than moonlight, so focusing This also means you can extract 120fps HD video for some impressive
shouldn’t be an issue in poor light, 8.8MP JPEG images from 4K video if slow-mo movies.
while the fact that you can use lens/ needed, thanks to the Motion JPEG The 5D Mark IV has external
teleconverter combinations with a file format available for 4K capture. microphone and headphone ports,
maximum aperture of f/8 and still
have the luxury of all 61 AF points (21
cross-type) will be a real draw for
sports and wildlife photographers. Meet the
The Mark IV also inherits Canon’s
Dual Pixel AF technology, so there
rivals…
are phase-detection points on the
imaging sensor itself, promising The cameras Canon EOS 5DS Nikon D810 Sony Alpha 7R II
quicker AF acquisition than we saw taking on £2,800/$3,500 £2,400/$2,800 £3,000/$3,200
in the Mark III, and performance as the Canon The 5DS is now the The Nikon D810 is The A7R II has proved
speedy as many mirrorless cameras. EOS 5D Mk IV… benchmark for a great SLR. The popular thanks to its
The large 3.2-inch display boasts full-frame image 36.3MP sensor 42.2MP resolution,
an impressive 1,620,000 dots and quality, but it is delivers stunning generating huge
For test not quite as well- images, and sets images with bags of
Lenses
touchscreen functionality, as on the images and rounded an SLR a high standard for detail, with noise
1D X Mark II. The touchscreen resolution as the 5D Mark IV. image quality. well controlled.
interface is active all the time, charts, visit Reviewed Page 46 Reviewed Page 78 Reviewed Page 118
enabling menu navigation and image www.techradar.
review as well. Canon has also kept com/cameras
the same battery as in the 5D Mark
SLR t e s t CANON EOS 5D Mk IV
Above Canon’s 252-zone RGB+IR metering

system with face recognition has nailed
the optimal exposure here.
that’s well-balanced.
There are no nasty surprises with
the white balance system either.
as well as HDMI Mini out and allowing you to toggle the Above Fast subjects There’s a choice of either Ambience
USB 3.0 terminals. In addition, sensitivity without having to like this cycle race or White Priority settings, with the
it sports dual CompactFlash take your eye away from the peloton are a great latter delivering neutral images even
(accepting fast UDMA 7 cards) viewfinder. way to test the 5D under tungsten lighting, while
Mark IV’s 7fps burst
and SD card slots, and features As you’d expect for a camera Ambience Priority has a bias to
rate.
both Wi-Fi and NFC connectivity that sports a virtually identical retain some warmth in the image.
for transferring images to a AF configuration to the flagship As you’d expect from a full-frame
compatible device – and that’s 1D X Mark II (Canon states that SLR, the camera features a large and
not forgetting the built-in GPS the systems aren’t completely bright viewfinder with 100%
unit for location-tagging. identical, with some different coverage. As well as displaying key
At first glance the 5D Mark IV internal components being used), shooting info along the bottom, it
bears a striking resemblance to AF performance doesn’t also benefits from what Canon terms
the outgoing Mark III (and for disappoint. Intelligent Viewfinder II technology.
that matter the 5DS and 5DS R). The AF is linked to the 5D This enables you to display an
Canon doesn’t want existing 5D Mark IV’s metering system, with electronic level, along with grid lines
users to have to ‘re-learn’ the the latter helping to detect and and a host of other key shooting info
new camera, so aims to keep track coloured objects and that you might wish to have fed back
the transition as hassle-free perform face recognition. to you when you have the camera
as possible. Coverage is good, and better raised to your eye.
than in the 5D Mark III, but The rear display has an impressive
Build and handling there’s still a noticeable bias resolution that must make it one of
Still, there have been numerous towards the centre of the frame. the sharpest screens out there. It also
tweaks and refinements to the That minor quibble aside, the AF makes composing shots in Live View
body. The hand grip has been system performs brilliantly. a piece of cake – even when we used
enlarged, providing an even more Shooting in Live View, the Dual a dense 10-stop Lee Big Stopper filter,
satisfying hold when you pick the Pixel AF is a huge improvement the display was incredibly clear, with
camera up, while the pentaprism over the relatively sluggish no noticeable signal noise.
viewfinder stands slightly taller system on the 5D Mark III, with There were times while I was
to accommodate the GPS unit. focusing pretty much testing the 5D Mark IV when a
Despite cramming more tech into instantaneous, making the Live vari-angle screen would have been
the body, the engineers at Canon View AF a much more valuable welcome, especially when composing
have managed to cut the weight of feature to have than it has been in low-angle shots, but the clarity and
the 5D Mark IV by 60g compared the past. excellent viewing angle of the display
with the Mark III, while at the makes this omission less of an issue
same time improving Performance than with some other cameras.
the weatherproofing with extra The 5D Mark IV gets Canon’s That’s not forgetting the
grommets and seals. 252-zone RGB+IR metering touchscreen interface, which I have
The camera features a system with Intelligent Scene to say is a very welcome addition.
customisable button just below Analysis, and it’s all the better for With touch control over both the
Lenses
the joypad on the rear of the body. it compared to the older iFCL main and Quick Menus, it makes the
This can be assigned to perform a system found in the 5D Mark III. 5D Mark IV’s comprehensive menus
multitude of functions in The system weights the exposure much quicker to navigate; while the
conjunction with the front to the active AF point, and does a ability to pinch to zoom as well as
command dial. A useful option good job of assessing the scene as swipe through images, makes things
would be to set it to control ISO, a whole to deliver an exposure that much quicker.
CANON EOS 5D Mk IV
slr test
COLOUR ERROR
Canon EOS 5D Mk IV 5.1
Canon EOS 5DS 1.2
Nikon D810 0.9
Sony Alpha 7R II 3.6 Scores closer

to zero are better
-5 0 5 10 15 20
While the 5D Mark IV technically trails the

pack in this test, it’s not an issue you’ll notice
in the real-world shots it produces.

50
40
Decibels
30
20
10
Above Low-light performance is excellent. Given that this fairground booth was shot at ISO 8,000, 0
there’s inevitably some noise here, but it doesn’t detract from the overall image quality. 100 400 1,600 6,400 25,600
The 5D Mark IV’s new 30.4MP image sensor

The burst rate is a respectable 7 noise-free in our sample images, really shines here, producing cleaner results
than the Nikon D810 and Sony Alpha 7R II at
frames per second and the Mark IV while even at ISO 2,000 results are
all sensitivities in our testing.
can now sustain this to shoot 21 raw very impressive – there are some
files before the buffer needs to take a signs of luminance noise, but it looks
breather. If you’re shooting JPEGs, very organic, while there’s no RAW DYNAMIC RANGE
the capacity is unlimited. evidence of chroma (colour) noise. 14
Canon claims the LP-E6N battery Raw files can be pushed further in
is good for around 900 shots on a post-processing, allowing you to
Exposure Value
12
single charge. We used the camera intentionally under-expose shots and

10
heavily, and while we’d say 900 shots preserve highlight detail secure in
would be optimistic, we’d still be the knowledge that you can recover 8
happy heading out for the day with lost shadow detail later without your
a single battery. shot being ruined by the introduction 6
of image noise. 4 results use images converted to TIFF
Image quality There are no qualms about colour 10 400 1,600 6,400 25,600
It’s really no surprise to find that the reproduction either. The JPEG Oddly, the raw results show mediocre
results from the new 30.4MP sensor Picture Styles produce pleasing performance at lower ISOs, but we were
display excellent levels of detail . You results, while skin tones can be using Canon’s new DPP software. Adobe
should have no problems producing faithfully reproduced. Camera Raw may yield better results.
richly detailed prints at Super A3,
while A2 prints and beyond are a Verdict
WE SAY...
realistic proposition – that’s not Pretty much every element has been
forgetting the ability to tightly crop improved from the 5D Mark III. The The Canon EOS 5D Mark IV is a marked
images if needed. ISO performance is 30.4MP sensor is a welcome boost in improvement over its predecessor and
also very good. resolution compared to the 22.3MP performs admirably in a wide variety
Results at ISO 800 still appear of the 5D Mark III, along with of shooting scenarios, although some
videographers are unhappy with the 4K crop
improved noise and dynamic range
factor. That aside, and if you can justify the
performance. It’s no surprise to see outlay, the 5D Mark IV is an extremely
DCI 4K video capture, although the powerful and up-and-date all-rounder.
1.64x crop of the sensor makes it hard
to get those wide-angle shots.
The only other issue is the fairly Verdict
hefty price, especially in the UK.
However, the Canon EOS 5D Mark Features
IV has to be one of the most BUILD & HANDLING
Lenses
well-rounded and complete SLRs

I’ve seen. Suited to a range of PERFORMANCE
subjects, from landscapes to sports
and wildlife, it’ll perform superbly Value
A wide range of connection ports in any situation.
OVERALL
includes mini-HDMI and USB 3.0. Phil Hall
SLR TEST CANON EOS 5ds & 5ds r
1
2
3
Canon EOS 5DS/5DS R £2,800/$3,500

Angela Nicholson tests the Canon 5DS and 5DS R to see if they live up to
their promise of setting new standards...
Specifications Canon’s 5D line of The 5DS and 5DS R are identical

1
SLRs was the first apart from a small but significant
Sensor 50.6 million effective pixel to bridge the gap difference with the sensor (see When the Scene
full-frame (36 x 24mm) CMOS Intelligent Auto mode
between ‘What’s the difference?’ below), so
Focal length 1.0x conversion is selected, the
Memory CompactFlash and SD/SDHC/
professional and amateur unless otherwise stated, we’ll use
camera analyses the
SDXC photography, giving 5DS in this review to mean both it scene and selects
Viewfinder Optical with pentaprism enthusiasts an affordable and the 5DS R. appropriate settings
covering 100% route to full-frame shooting automatically.
Video Full-HD (1,920 x 1,080) at 30 / and pros a smaller, lighter Features
25 / 24fps back-up camera. The 5DS has two Digic 6 processing
ISO range 100-6,400 expandable 2
Now we have the 5DS and the engines instead of the single Digic
to 10-12,800 5DS R, both of which have 50.6 5+ processor of the 5D Mark III. You can create up
Autofocus points 61, all cross-type; million effective pixels on their This enables a native sensitivity to five My Menu tabs
phase detection in reflex mode with customisable
full-frame sensor – that’s a count range of ISO 100-6,400, with
Max burst rate 5fps names in the menu –
Screen 3-inch 1,040k-dot LCD
that matches that of medium- expansion settings taking this to
and each one can have
Shutter speeds 1/8,000-30 sec + Bulb format models like the Pentax ISO 50-12,800. For comparison, the up to six features
Weight 845g without lens 645Z. native range of the 5D Mark III is assigned to it.
Dimensions 152 x 116 x 76mm Neither model is set to replace ISO 100-12,800, and the expansion
Power supply Rechargeable LP-E6N the 5D Mark III: they give a settings take the range to ISO
3
lithium-ion battery higher-resolution alternative. 50-102,400.
Although it can record
video, the 5DS has no
headphone socket for
What’s the difference? audio monitoring.
A technical tweak enables the 5DS R to resolve more detail than the 5DS
4
Both the cameras have a low-pass filter achieve the same thing. Canon claims
over the sensor. However, the 5DS R has a that removing the filter would alter the This is useful to give
Lenses
secondary ‘cancellation’ filter that enables camera’s focal plane and require an images a star rating
it to resolve a little more detail, but runs internal redesign. As yet Canon hasn’t and find them quickly
the risk of images suffering from moiré been able (or willing) to explain why after downloading.
interference. Some other manufacturers removing the filter would cause this, It can also be
have removed the low-pass filter to but adding a second filter does not. customised.
Despite all the processing power,
the 5DS can ‘only’ manage a
maximum continuous shooting
speed of 5fps (for 510 Large Fine
JPEGs or 14 raw files with a UDMA
CompactFlash card installed),
rather than 6fps for 16,270 Large
Fine JPEGs or 18 raw files of the 5D
Mark III with the same card.
Other significant changes from
the 5D Mark III include a
150,000-pixel RGB+IR metering
sensor with 252 zones, and
Intelligent Scene Analysis in place of

the iFCL device with 63 zones; a new
M-Raw images size that records
28MP images; and a USB 3.0 port.
There’s also an Intelligent
Viewfinder II with AF point
illumination in AI Servo mode.
Other introductions include a new
Fine Detail Picture Style to tailor the
look of JPEGs, and a collection of
mirror lock-up options, a built-in
intervalometer and the ability to
shoot timelapse movies.
Build and handling

Outwardly the 5DS looks the same as
the 5D Mark III. However, there have
been some changes to the build of the
camera to reduce vibrations, which
could have significant implications
for such a high-resolution model. The
mirror movement, for example, is
controlled by a mechanism to avoid
the slap that is typical of SLRs and
can lead to blur-inducing mirror-
shake. It makes a noticeable
difference to the sound and feel of the
camera in use.
Externally, the 5DS has exactly the
same shape and control layout as the
5D Mark III. This means you can slip
seamlessly between the two, perhaps
using the 5D Mark III to shoot sport
or video, and the 5DS for detail-rich
Exposure has been
subjects like landscape and macro.
handled well here.
The 5DS has the same AF system as
the 5D Mark III, which means there
are quite complex options to control
how the camera responds to moving Meet the
subjects in continuous AF mode, plus
six AF point selection modes. By
rivals…
default, an autofocus point (or zone)
is set with the AF Point Selection Here are the
Canon 5D Mark III Nikon D810 Pentax 645Z
button near the thumb rest on the models the Canon £2,250/$2,499, £2,349/$2,997, £6,799/$8,095,
back of the camera, then using the 5DS is up body only body only body only
mini-joystick-like Multi-controller. against.. The same A superb 36MP Affordable in
Being a full-frame SLR, the 5DS weatherproof build full-frame SLR that medium-format
has a large optical viewfinder. This is and control layout ruled the roost for terms, this 50MP
For test as the 5DS, but with resolution until the model is at home on
Lenses
bright and shows 100% of the scene, images and just 22.3MP on the 5DS came along. location or in the
so there are no nasty surprises resolution sensor. Reviewed Page 78 studio.
around the edges of images. Like the charts, visit Reviewed Issue 126 Reviewed Issue 164
5D Mark III, it’s possible to display an www.techradar.
electronic level in the viewfinder as com/cameras
well as on the main screen; but unlike
the 5D Mark III, the 5DS uses a The options in the 5DS’s Quick Above Thanks to range; even the ISO 12,800
dedicated icon instead of the AF menu are logical, but it’s possible the level of detail expansion setting produces images
points. This means the level stays to customise the screen to remove they capture, the with a high level of detail. At lower
visible even when the shutter any options you don’t use and 5DS and 5DS R are sensitivity settings, very fine details
release is depressed to focus the change the size of icons ideal for shooting and subtle tonal gradations are
landscapes.
lens. representing those that you do. visible at 100% in JPEG files. Much of
When using manual focus in It’s a nice touch. this is also visible in images taken at
Live View mode, the on-screen Although the 5DS isn’t a ISO 6,400, but there’s a fine texture
image can be magnified by 6x or natural choice for videographers, of luminance noise. Chroma noise is
16x. This makes details clear, but it’s worth noting that like the 5D visible at 100% in simultaneously
you become acutely aware of how Mark III, the large Quick Control captured raw files when all noise
much wobble is introduced by dial on the back of the camera can reduction is turned off.
touching the camera. It’s a good be used as a touch-control, so There’s a suggestion of luminance
reminder to engage Mirror near-silent adjustments can be noise in darker even-toned areas of
Lock-up mode. The ability to set made to aspects such as exposure JPEG and raw files captured at ISO
the shutter to fire following a set and audio recording level. 400, but you really have to look for it
delay after the shutter release is at 100% on-screen. This noise
pressed means that a remote Performance becomes a little more noticeable in
release is unnecessary in many The great news is that the 5DS ISO 800 images, with chroma noise
situations. can resolve a fantastic amount of becoming just visible in raw files
detail. If you want the ultimate in when all noise reduction is turned
detail resolution, the 5DS R off. Our tests indicate that Canon
resolves a tiny little bit more than could have given the 5DS higher
the 5DS, but you have to look at sensitivity settings and image quality
100 or 200% to spot the would have been acceptable, but it
difference – and even then it’s seems the company has decided to
only in the very finest detail make it deliver the best stills images
areas. Both cameras out-resolve possible.
You can customise the our resolution chart for most of Like Canon’s earlier iFCL metering
Lenses
their sensitivity range, and noise system, the 252-zone RGB+IR

screen to remove levels are the same from each metering system with Intelligent
options you don’t use camera. Scene Analysis of the 5DS applies a
Both cameras manage to weighting to the exposure required
and change the size maintain the high level of detail by the subject under the active AF
of icons you do throughout their sensitivity point, but it does a better job of
Lenses
They’re not really designed

for sport photography, but
the 5DS and 5DS R have an
excellent AF system that
can track moving subjects
S L R T ES T CANON EOS 5ds & 5ds r
Canon’s EOS 5DS is the

COLOUR ERROR
world’s first 50-megapixel
DSLR, making it a real
medium-format slayer Canon 5DS 1.2
Canon 5DS R 2.7
Pentax 645Z -5.17
Scores closer
Nikon D810 0.9
to zero are better
Canon 5D Mark III 9.7
-5 0 5 10 15 20
With good colour accuracy, the 5DS

produces natural-looking JPEG files
with appealing saturation.

45
40
Decibels
35
30
25
20
200 400 800 1,600 3,200 6,400

assessing the rest of the scene and normal viewing sizes, they aren’t
recommending exposure values that completely sharp at 100%. The small These results indicate that the 5DS produces
noisier images. This isn’t surprising given the
work for the scene as a whole. pixels mean that even tiny movements
likely pixel density of its sensor.
As the 5DS has the same autofocus can cause some blur. You may scoff at this
system as the 5D Mark III, it was no pixel-peeping, but why would you buy a
surprise to find that it’s highly 50MP camera if you can only use the RAW DYNAMIC RANGE
capable and can lock on to fast- images at a size achievable by a 20MP 16
moving subjects, even in low light. model?
When shooting a cycling event Canon cameras generally produce 14
continuously at the 5fps maximum, I images with pleasing colours and the
Exposure Value
noticed the camera started to warm 5DS is no exception. However, probably 12
up around the card port. This seems as a result of the extra pixels delivering 10
to affect burst depth, and the number the huge level of detail and smooth tonal
of images you can shoot drops gradations, some of the files have a bit 8
dramatically. more pep about them. Using the new

At the other end of the shooting Fine Detail Picture Style boosts micro 6
rate scale, there’s a benefit to using contrast a little, bringing out small results use images converted to TIFF
mirror lock-up when the camera is on details and giving edges a naturally 200 400 800 1,600 3,200 6,400
a tripod, even with shutter speeds of sharp look. While the 5DS’s dynamic range is good at the
around 1/60 sec and a focal length of lower sensitivity values, it doesn’t quite
100mm. I set the camera to take the Verdict match the competition.
shot one second after the shutter While it has an autofocus system that can
release was pressed: this produced keep up with fast-moving subjects and WE SAY...
sharper images than those taken can record high quality video, the
The Canon 5DS and 5DS R are superb
without mirror lock-up. 5DS/5DS R is designed to take high- cameras that capture a huge amount of
When hand-holding the camera quality stills images. The images from detail. Before you commit to the investment,
with the Canon EF 24-70mm f2.8L II the 5DS/5DS R have an incredible however, make sure your lenses can match
USM lens mounted, I recommend amount of detail, with great colour and the resolving power.
keeping shutter speed at 1/125 sec or exposure in most situations. Its handling
higher to be sure of getting pin-sharp is also excellent, using the control layout Verdict
results. It is possible to get sharp of teh 5D Mark III.
results at slower shutter speeds, but Whichever model you opt for, you need Features
1/125 sec or faster delivers the goods to focus carefully, follow the guidelines to BUILD & HANDLING
Lenses
more consistently. avoid camera shake and ensure your

If you’re shooting a moving subject, lenses can match the resolving power. PERFORMANCE
you may find you need to use a faster There’s a list of recommended lenses on
shutter speed than you’re used to, Canon’s website at www.bit.ly/ Value
because although the images look dc167canon.
OVERALL
sharp as thumbnails or even at Angela Nicholson
MINI t e s t
PORTABLE DRIVES
Keep your photos and videos mobile without sacrificing storage or speed

w w w. d e l k i n d e v i c e s . c o m w w w. g - t e c h n o l o g y . c o m w w w. s a m s u n g . c o m
Delkin Devices 1TB G-Technology 1TB Samsung Portable SSD
RhinoDrive G-Drive ev ATC T3 500GB
£399/$380 £118/$130 £160/$177
With its rubberised casing and silicone This toughened drive is protected by At 74 x 58 x 10.5mm, this svelte metal-
bumper, the RhinoDrive offers ultimate a crush-, dust- and shock-resistant shelled SSD is the smallest and lightest
shock protection. It’s far from sleek, compartment that also has a built-in USB drive here. It also boasts winning
though, and the SSD within can’t match cable. Using a conventional hard drive performance, outpacing the Delkin SSD
the cheaper Samsung drive for speed. keeps the cost down, but it’s no slouch. while still being shock-resistant.
w w w. s e a g a t e . c o m w w w. t r a n s c e n d - i n f o . c o m w w w. w d . c o m
Seagate Backup Plus Transcend StoreJet WD My Passport
Ultra Slim 2TB 25M3 2TB Ultra 1TB
£90/$90 £90/$103 £60/$60
Seagate claims that this 9.6mm design is The plasticky StoreJet doesn’t ooze WD’s compact contender is narrowly
Lenses
the world’s thinnest 2TB mobile hard quality, but it’s shock-resistant to military beaten into last place here for speed, but
drive. It looks the part too, and transfers standards. Transfer speeds are the it’s well-priced and includes extensive
images and video at a respectable rate, fastest on test for a hard drive, and with back-up and drive encryption software.
despite using a traditional hard drive. 2TB of storage you get incredible value. Even so, it’s an average overall package.
SLR TEST CANON EOS-1D x mARk ii 2
3
1
Canon EOS-1D X Mark II

£4,799/$5,999
Canon’s new top-end SLR has the specs to impress.
If it delivers on the promise, it could be phenomenal...
Specifications The 1D X Mark 1 autofocusing on or off. That’s a

II is Canon’s It’s the first time that shame, as the Quick Menu is large
Full-frame (35.9 x 23.9mm) CMOS replacement for the enough to be navigated by touch.
Dual Pixel CMOS AF
with 20.2 million effective pixels
1D X, so it sits at the technology has Both the 1D X and the 1D X Mark
Focal length conversion 1x
Memory One CF, one CFast
top of the manufacturer’s appeared on a II have 3.2-inch Clear View II TFT
stills-orientated SLR line-up. full-frame sensor. screens, but the original camera’s has
Viewfinder Optical with pentaprism
and 100% coverage It’s aimed at professional news 1,040,000 dots while the Mark II’s
Max video resolution 4K and sports photographers. The 1D 2 has 1,620,000 dots. Those extra
(4,096 x 2,160 pixels) X Mark II has a full-frame sensor, 580,000 dots make this screen the
Live View focusing can
ISO range 100-51,200; but its resolution has been raised clearest and sharpest I’ve ever seen,
be slowed to make it
expandable to 50-409,600 to 20.2 million effective pixels. and it stands up to reflections well.
smoother and more
Autofocus points 61; 41 cross-type Highlights include a standard professional-looking
including five dual cross-type sensitivity range of ISO 100- Performance
when shooting video.
Max burst rate 14fps (16fps in Live
51,200, with expansion settings Provided the sensitivity is kept to
View mode with focus and metering set
at start)
taking it to ISO 50-204,800; a ISO 25,600 or lower, the 1D X Mark
3
Screen 3.2-inch 1,620,000-dot maximum continuous shooting II produces superb images. While
rate of 14 frames per second, The Quick Menu is the camera does a reasonable job of
Clear View II TFT
with full exposure metering customisable; it would detecting and tracking a subject in
Shutter speeds 30-1/8,000 sec
be nice to have one
plus Bulb and autofocus operation; and Automatic Selection AF mode, using
each for the Stills and
Weight 1,340g (body only) a 61-point autofocus system Video modes, though.
one of the Point or Zone AF modes is
Dimensions 158 x 168 x 83mm boasting 41 cross-type sensors a safer bet if you can keep the active
Power supply LP-E19 rechargeable and five dual cross-type sensors. area over the subject.
battery (supplied); LP-E4N, LP-E4 4 Metering is taken care of by
Build and handling A duplicate set of key the EOS iSA (Intelligent Subject
Lenses
The Mark II’s 3.2-inch 1,620k-dot controls means they’re Analysis) system, with a dedicated
Provided sensitivity is screen is touch-sensitive. However, at your fingertips 360,000-pixel RGB+IR sensor. It
whether you’re
kept to ISO 25,600 or the touch control is only used in
shooting in portrait or
was reliable in a range of conditions;
Live View or Video modes for I didn’t once have to use exposure
lower, the 1D X Mark II setting the AF point, or in Video
landscape orientation.
compensation unexpectedly.
produces superb images mode for turning the continuous Angela Nicholson
SLR TEST
COLOUR ERROR
Canon 1D X Mark II 2.9
Canon 1D X 1.2
Nikon D5 7.9
Scores
closer
Nikon D4S 4.5 to zero
are better
-5 0 5 10 15 20
These scores indicate that the 1D X Mark II

is one of the more accurate of the cameras
on test. The real-world shots also look very
good, with pleasant saturation.

Decibels
The Canon 1D X Mark II performs well here,

beating the Nikon D5 throughout the Canon’s
sensitivity range. However, real-world
shooting shows a more closely run race.
RAW DYNAMIC RANGE
Exposure Value

1 2 3
Fast AF 14fps shooting The 1D X Mark II raw files achieve a better

Continuous metering score than the JPEGs for much of the
Zone AF focusing mode was ideal Shooting at 14fps meant I was able The metering system continues to
for this scene: it made it easier to to select the perfect shot from a sensitivity range. For lower sensitivity values,
operate while shooting at 14fps, so
keep the focus area over the stunt sequence of images taken during the Canon captures a broader range of tones.
the exposure varied a little as the
man as he ran and jumped. the explosion. bright flames appeared.
WE SAY...
Canon may not have gone for the headline-
grabbing numbers of the Nikon D5, but the
1D X Mark II makes lots of incremental
Meet the improvements upon the 1D X that add up to
rivals… make it one heck of a camera. It’s capable
of getting moving subjects sharp in very low
The cameras light and delivers usable images. In more
Canon 1D X Nikon D5 Nikon D4S average conditions, it captures a lot of detail.
taking on the £3,399/$4,599 £5,399/$6,497 £4,189/$5,997
Canon EOS-1D (body only) (body only) (body only)
Verdict
X Mark II The Mark II’s The 1D X Mark II’s A popular choice
predecessor has an main rival has a with Nikon pros Features
18.1MP full-frame 20.8MP full-frame until the D5 came
sensor, 61-point AF sensor and maximum along, this full- BUILD & HANDLING
For test
Lenses
system and a sensitivity setting of frame model has a

images and
maximum ISO 3,280,000 – but 16.2MP sensor and PERFORMANCE
resolution
continuous shooting don’t use that value! 11fps shooting.
charts, visit
www.techradar. rate of 12fps. Reviewed Page 74 Reviewed Issue 153 Value
Not reviewed
com/cameras OVERALL
c s c TE S T fujifilm x-t2
2
3
1
CSC w w w.f u j i f il m .co.uk 4
Fujifilm X-T2
£1,399/$1,599 (body only)
The X-T1 brought real class and style to the mirrorless
camera market; the X-T2 adds speed and resolution
Specifications The X-T2 sits 1 that increases this to 100fps to

alongside the The X-T2 uses
ensure that fast-moving subjects
Sensor 24.3MP APS-C CMOS sensor X-Pro2 as the joint are displayed smoothly, although
(23.6x15.6mm) Fujifilm’s expanding
flagship camera range of premium this also drains the battery faster.
Focal length conversion on lens 1.5x
Memory 2 x SD/SDHC/SDXC
of the brand, and Fujifilm X-mount zoom and The rear display has been updated
Viewfinder Electronic viewfinder, believes it now offers prime lenses. too. The 3.0-inch display keeps the
2,360,000-dot OLED two distinct options for same 1.04 million-dot resolution, but
Max video resolution 4K (3,840 photographers. The X-Pro2, 2
it has a new double-jointed design,
x 2,160) with its rangefinder design, is less making it possible to pull the screen
ISO range 200-12,800, obtrusive and better suited to The electronic outwards and away from the body
expandable to 100-51,200 viewfinder has a high
Fujifilm’s range of prime lenses, when the camera is tilted on its side
Autofocus Intelligent Hybrid AF, resolution (2.36MP)
while the more SLR-like X-T2 and a higher frame
for portrait-format shots.
325 points is designed for the brand’s Interestingly, Fujifilm has not
Max burst rate 14fps rate for less lag.
growing range of fast zooms. included a touchscreen – it’s spoken
(electronic shutter mode)
Screen 3-inch, 1,040,000 dots,
It’s no surprise the X-T2 gets with customers and says there isn’t
3
vertical/horizontal tilt the impressive 24.3MP APS-C the hunger for it on X-series cameras.
Shutter speeds 30-1/8,000 sec, Bulb X-Trans III CMOS sensor first Unusually, the rear The X-T2 is the first Fujifilm
Weight 507g (body only, with battery) seen in the X-Pro2, and the 50% screen tilts sideways X-series camera to shoot 4K UHD
Dimensions 132.5 x 49.2 x 91.8mm larger pixel count is a welcome as well as vertically (3,840 x 2,160) video, offering a bit
Power supply NP-W126S lithium-ion upgrade from the 16.3MP sensor – handy for portrait- rate of 100Mbps (compared to
battery (supplied) format shots.
in the X-T1. 34Mbps on the X-T1) at 30, 25 or
The X-T2’s electronic 24fps. It offers recording times of up
viewfinder has the same 2.36 4 to 10 minutes – although if you attach
million-dot OLED display with This is a modern the optional VPBC-XT2 battery grip,
Lenses
0.77x magnification, but it’s camera with classic this is extended to 29 minutes and
The SLR-like X-T2 now twice as bright, there’s an controls, including 59 seconds. There’s HDMI output,
is designed for the automatic brightness adjustment physical ISO, shutter audio volume live monitoring and
function and it features a higher speed and exposure adjustment, and a microphone socket
brand’s growing baseline frame rate of 60fps – compensation dials. in the body (and a 3.5mm headphone
range of fast zooms and there’s now a Boost mode terminal in the optional grip). This
54 F R O M T H E M A K E R S O F D i g i t a l C a m e r a MAGA Z INE
Sony alpha 7R II C S C TE S T
all-new VPB-XT2 battery grip

improves the burst performance of
the X-T2 from 8fps to 11fps. Fujifilm
claims the grip is good for 1,000 shots
with its two batteries fully charged –
and that’s not forgetting the other
battery in the camera.
Finally, the X-T2 now features
dual SD card slots, both of which
are UHS-II compatible.

Build and handling
There’s no radical redesign here.
Fujifilm has elected to take the X-T1
as its starting point, refining and
tweaking elements of that design.
As before, the body is crafted from
magnesium alloy, providing a solid
and durable feel. It’s also weather-
sealed at 63 points to protect the
camera from dust and moisture.
The ISO and shutter speed dials
have been raised slightly compared
with the X-T1, while the dial locks
that divided opinion on the X-T1 have
been adapted, making it now possible
to toggle each dial’s setting without
the need to release the lock. This is
certainly a welcome improvement,
and makes it easier to change settings
as the camera is raised to your eye,
though it still feels slightly awkward
when setting the ISO like this.
The exposure compensation dial
now has also been tweaked, so as well
as offering physical adjustments of
up to ±3EV in 1/3 increments, there’s
now a C position to set compensation 1 2 3
up to ±5EV with the front dial. Tonal rendition Lens choice Autofocus
The X-T2 does away with a Fujifilm’s film simulation This was shot with the Fujifilm’s new high-tech
dedicated video button, instead modes produce high-quality Fujifilm 40-150mm f/2.8 hybrid AF system is as
having the setting amongst the drive JPEG images, although it’s constant-aperture zoom, effective for static subjects
modes. It also gets a multi-directional best to shoot raw for extra one of many premium- like this canine portrait as it
focus lever that the thumb can rest tonal headroom. quality X-mount lenses. is for moving ones.
on, making it a much quicker process
to select the focus area.
Other little tweaks include a larger
eye cup for more comfortable Meet the
viewfinder shooting, locks on rivals…
both the card cover and the battery
compartment, and a slightly enlarged The cameras Olympus Pen-F Panasonic GX8 Sony Alpha 7 II
handgrip and rear thumb rest. The taking on the £899/$999 £770/$998 £1,349/$1,698
overall feel of the X-T2 is just that bit Fujifilm X-T2… The Pen-F combines The MFT sensor is With full-frame
nicer than the X-T1. It’s a pleasant retro chic with smaller than the image quality,
camera to pick up and shoot with. cutting-edge tech. X-T2’s but Panasonic five-axis in-body
Outside it has squeezes out terrific image stabilisation
Performance old-school controls; image quality in its and a sound hybrid
Lenses
Mirrorless cameras have to get inside it has a new flagship rangefinder- AF system, Sony’s
For more
over some skepticism towards AF 20MP Micro Four style camera. It’s mirrorless camera
camera
performance and moving subjects. Thirds sensor. good value, too. is terrific value.
reviews, visit
The X-T1 had a solid if rather Reviewed Page 86 Reviewed Issue 170 Reviewed Issue 162
www.techradar.
unremarkable AF system which saw com/cameras
a fairly major firmware upgrade to >
F R O M T H E M A K E R S O F D i g i t a l C a m e r a MAGA Z INE 55
The X-T2’s continuous autofocus
performance represents
a big step forward, both in
comparison to the X-T1 and for COLOUR ERROR
mirrorless cameras in general.
Fujifilm X-T2 16.1
Olympus E-M5 Mk II 5.7
Panasonic GX8 -6.6
Scores closer
Sony Alpha 7 Mk II to zero are 1.8
better
-20 -10 0 10 20
The X-T2’s colour error value is on the high

side, but that’s more a reflection of its rich
and intense colour reproduction than any
issue with specific colours.

50
40
Decibels
30
20
boost AF performance, but it still

10
didn’t really satisfy the needs of those Higher scores are better. Raw
shooting fast-moving subjects. 0
100 400 1,600 6,400 25,600
The new hybrid AF system in the
X-T2 employs both phase-detection The X-T2 delivers good noise control, despite
and contrast-detection points, its relatively high resolution. We used the
with up to 169 phase detect points bundled SilkyPix raw converter for this test,
arranged in a large square formation though not for dynamic range (see below).
(13 x 13) in the centre, supplemented
by two grids of 6 x 13 contrast-detect RAW DYNAMIC RANGE
points either side, to deliver a total of 14
325 focusing points across a large
area of the frame. Exposure Value 12
Fujifilm has overhauled the AF

algorithm to boost accuracy, as well The X-T2’s X-Trans III CMOS sensor delivers very good 10
levels of detail for an APS-C sized sensor.

as allowing you to fine-tune how the 8
camera reacts to moving subjects.
These three parameters are at resolving detail across the 6
Tracking Sensitivity, Speed Tracking sensitivity range, especially when results use images converted to TIFF
Sensitivity and Zone Area Switching. compared to APS-C rivals with 100 400 1,600 6,400 25,600
The X-T2 features five presets, as well a similar resolution. Initially, the X-T2’s raw dynamic range looked
as a custom setting allowing you to Dynamic range is good at lower poor, but this was traced back to the SilkyPix
tinker with these variables yourself. sensitivities, and in addition there’s raw converter. Adobe Camera Raw’s dynamic
We trialled it on fast-moving cars Fujifilm’s own expanded Dynamic range results are more in line with its rivals.
using Preset 3 (accelerating/ Range option (both for JPEG and
decelerating subjects); and, coupled raw), though this does require a
WE SAY...
with the improved frequency of the higher base sensitivity. At higher ISO
AF search timing, reduced from settings above ISO 1,600, things tail With a brilliant new AF system, lovely
280m/sec on the X-T1 to just 114m/ off slightly, but are still more than handling and an updated sensor that delivers
sec, it rarely missed a beat. acceptable up to ISO 25,600. pin-sharp images, the X-T2 has to be one of
the most desirable cameras available right
The burst rate is a decent 8fps, and The original X-T1 has been a firm
now. It combines classic-style controls with
with an SDHC UHS-II card you can favourite amongst photographers, state-of-the-art imaging technology and an
expect to shoot 27 uncompressed raw but the AF performance, particularly expanding range of first-rate lenses.
files at this rate before the buffer fills in continuous mode, was a stumbling
up. If you’re shooting JPEGs, 81 files block. The X-T2 changes that, with
are possible before it slows down. a big leap in AF performance. It Verdict
With the optional battery grip, the delivers fast and reliable autofocus
burst rate increases to 11fps, or if you that when matched with the fast Features
switch to the electronic shutter, it’s burst shooting mode, make the X-T2 BUILD & HANDLING
Lenses
possible to shoot at 14fps without the a very capable camera for action.
need for the optional grip. When you factor in the new sensor PERFORMANCE
The X-T2’s new 24.3MP CMOS and its really nice results, the X-T2
sensor produces a noticeable jump in is the most desirable mid-range Value
detail recorded compared to results cameras available right now.
OVERALL
from the X-T1. It does an excellent job Phil Hall
GoPro Hero5 Black A C TION C AMERA TEST

2
AC T ION CA ME R A w w w.gopr o.com
GoPro Hero5 Black £349/$399

A new design and fresh features get GoPro back to the top of its game
It’s no secret depth of 10m. All control buttons
1 Specifications
that GoPro as a are designed flush to the body,
company has been and have been simplified to follow This screen gives you Video resolution 3,840 x 2,160
struggling – and the one-touch approach first a convenient display Image resolution 12MP
of battery life, ISO range Video, ISO 400-6,400;
no wonder with all the adopted by the Hero4 Session.
recording mode and stills, ISO 100-1,600
jumping, crashing and The new button style works resolution, as well
extreme sports it’s been seamlessly with the touchscreen Autofocus range N/A
as the remaining Wireless Yes
backing. As the company LCD, making setting adjustments card capacity. LCD Screen 2-inch touchscreen
faltered, the copycats moved in, through the camera as easy as Shutter speeds Dependent on
with a swathe of action cameras using the app. Voice activation is resolution and mode
2
that have been as good, if not another boost to usability: just Weight 117g
better than the Hero4. shout “GoPro Start Recording” to New to the Hero5 is Dimensions 60 x 30 x 45mm
GoPro needed to do something start and “GoPro Stop Recording” Linear Field of View Power supply Lithium-ion 1,220mAh, 4.40V
big in response – and that has to stop. It works perfectly, mode. This eliminates Waterproof 10m (33 ft)
lens barrel distortion,
arrived in the form of the GoPro although you get odd looks.
albeit at a cost of
Hero5 Black. It’s not just a WE SAY...
slightly reducing the
refinement of the Hero4: it’s a Performance 14mm-equivalent The Hero5 is the 4K action camera that we
revolution in the action camera Video quality is the most lens’ field of view. wanted, with more straightforward menus on
market. Spec-wise it appears important factor in an action a two-inch touchscreen and out-of-the-box
much the same as the Hero4, but camera, and is where GoPro has water resistance. Great video quality further
3
what it lacks in upgraded video traditionally led the field. The justifies the price.
specifications, it more than Hero4 Black’s footage was You get curved and
makes up for elsewhere. Features exceptional. Despite GoPro flat self-adhesive Verdict
such as voice activation, manual announcing improvements in the mounts in the box, as
exposure control and a two-inch Hero5, you’d be hard pressed to well as this bracket to Features
attach the GoPro to
touchscreen really make this see any difference: it’s still just a mount. It has a BUILD & HANDLING
Lenses
GoPro’s most usable camera yet. exceptional quality in good light. safety stop to prevent
The GoPro Hero5 Black is the bracket slipping PERFORMANCE
Build & handling compact, rugged and ready to go. out of a faulty mount.
A sleeker design does away with It’s the best 4K action camera on Value
the waterproof housing, yet the the market right now.
OVERALL
camera is still protected to a Alastair Jennings
C S C TEST Fujifilm X-E2S
1 2
4
CSC w w w.f u j i f il m .com
Fujifilm X-E2S
3
£549/$699 (body only)

The X-E2S looks to refresh what the X-E2 offered.
Where does this leave it in an expanding category?
Specifications The Fujifilm X-E2S 1 and a gently redesigned grip on the

updates the well- The revised grip
front. The rear command dial has
Sensor 16.3MP APS-C X-Trans CMOS II regarded X-E2 with also been restyled; this feels good
Focal length conversion 1.5x doesn’t make too
a modest collection much difference, but under the thumb, although it’d be
Memory SD/SDHC/SDXC
(inc support for UHS-I)
of improvements. Many of the camera handles useful to have the Q button further
Viewfinder 0.5 inch organic EL these concern focus, with the well nonetheless. down the body for easier access.
Real Time Viewfinder, 2.36 million dots inclusion of a 49-point AF system The LCD and viewfinder both
Max video resolution Full HD that can be expanded to 77 2
perform well, although increasing
(1,920 x 1,080) up to 60p points, as well as the option to the LCD’s brightness outdoors is
ISO range 200-6,400 track subjects with new Zone and Controls on the rear a good idea, as it can sometimes be
(expandable to 100-51,200) are mostly large,
Wide/Tracking options and the difficult to view. The focusing system
Autofocus points 49 points well spaced out and
promise of faster focusing speeds. clearly identified.
performs admirably in good light and
(expandable to 77 points) A new electronic shutter permits only slows a touch when faced with
Max burst rate 7fps
near-silent shooting and a top darker conditions, while the kit lens’
Screen 3 inch LCD, 1.04 million dots 3
shutter speed of 1/32,000 sec. image stabilisation system proves to
(1/32,000 sec using electronic These are joined by the same The dials on the top be effective too.
shutter), Bulb 16.3MP X-Trans CMOS II sensor plate provide
Weight 350g (including battery as before, as well as a 2.36 million immediate control Performance
and memory card) dot electronic viewfinder and over shutter speed With images, noise is well-controlled
Dimension 129 x 75 x 37mm a 3-inch LCD that dominates the and exposure throughout the ISO range and detail
Power supply Rechargeable compensation.
rear. Fujifilm’s Film Simulation is generally good, although there is
lithium-ion battery (NP-W126) modes provide control over a little softness at the telephoto end
colour and tonality, while Wi-Fi 4 of the lens at f/4, so it’s best to use a
connectivity means you can leave An easily reached Fn smaller aperture where possible. The
Lenses
your card reader at home. button accesses Wi-Fi standard of JPEGs straight out of the
Noise is well controlled as standard, but this camera means these can be relied
throughout the ISO Build & handling can be customised. upon most of the time, although any
The camera has been fashioned raw files can be quickly spruced up
range and detail is with a sturdy metal top plate and with in-camera processing.
generally good milled dials, with a textured wrap Matt Golowczynski
c s c TEST
COLOUR ERROR
Fujifilm X-E2S 19.0
Olympus E-M10 II 7.1
Panasonic GX80 -0.1

Scores
closer
Sony Alpha 6000 -1.4 to zero
are better
-5 0 10 15 20 25
Sadly, this is one area where the X-E2S falls

short, with lab testing revealing colours
to be slightly out of line when the better
performance of rival models is considered.

Decibels
While the X-E2S doesn’t fare too badly for

noise in its raw files, performance by rival
cameras – notably the Panasonic GX80 –
shows it to be a touch behind.
RAW DYNAMIC RANGE
Exposure Value

1 2 3
Bokeh brilliance Metering Sharp details A decent start and finish from the X-E2S with
Being able to focus closely to the The camera’s default multi- In a shot captured at a shutter regards to dynamic range in raw files, but
subject together with the kit lens’ metering pattern has done a good speed of 1/70 sec, the image performance in the middlemost ISO settings
maximum telephoto aperture of job at balancing the exposure here. stabilisation system in the lens has leaves room for improvement.
f/4 allows for lovely, creamy, Highlights have been kept in check intervened to maintain sharpness
defocused backgrounds. and details are visible in shadows. in focused areas. WE SAY...
While there may not be a world of difference
between the X-E2S and the model it updates,
it nevertheless has a lot going for it. With
Meet the a lovely design, an excellent viewfinder,
rivals… compatibility with a range of high-quality
glass and great image quality straight out of
The cameras the camera, it’s a welcome and competent
Olympus OM-D Panasonic Sony Alpha 6000 addition to the mid-range mirrorless sector.
taking on the E-M10 II Lumix GX80 Price: £549/$698
Fujifilm X-E2S Price: £394/$699 Price: £549/$698 (inc 16-50mm lens)
Verdict
(inc 14-42mm lens) (inc 12-32mm lens) The A6000’s
The diminutive A slimmed-down 24.3MP sensor and Features
E-M10 II matches the version of the 11fps burst shooting
X-E2S with a 16MP excellent GX8, make it a very BUILD & HANDLING
For test
Lenses
sensor, a 3-inch LCD with its 16MP Micro strong competitor,

images and
screen and a 2.36- Four Thirds sensor as does its cracking PERFORMANCE
resolution
million-dot viewfinder. allowing 4K focusing system.
charts, visit
www.techradar. Reviewed Page 18 video shooting. Reviewed Issue 155 Value
Not reviewed
com/cameras OVERALL
C S C TEST FUJIfilm X-PRO2
2
3
1
CSC w w w.f u j i f il m .com 4
Fujifilm X-Pro2
£1,349/$1,699 (body only)
With a new sensor and an overhauled AF system,
this is a significant update to a revered pioneer
Specifications ujifilm’s X-Pro1 1 dots, while the optical finder now

Sensor 24.3MP APS-C X- F provided the firm
with a solid start to
The shallow grip has a
offers the option of a small electronic
rangefinder in its corner to assist
Trans CMOS III textured coating that
its X-series range gives good purchase. with focus, exposure and white
Crop factor 1.5x
Memory SDHC/SDXC (UHS-II in slot 1)
of interchangeable-lens balance. A new three-inch LCD
Viewfinder 0.48in Advanced Hybrid cameras – but in the face of screen offers an impressive
2
Multi Viewfinder, 2.36million dots technological progress, its 1,620k-dot resolution.
Max video resolution Full HD (1,920 x winning formula could only This hotshoe allows
1,080) up to 60p keep the original model compatible flashguns Build & handling
ISO range 200-12,800; afloat for so long. The X-Pro2 to be mounted. The magnesium-alloy body is fitted
expandable to 100-51,200 has now arrived to pick up with two SDHC/SDXC card slots on
Autofocus points 77 points the baton, debuting a 23.4MP 3 the side, which means the X-Pro2
(expandable to 273 points) X-Trans CMOS III sensor and doesn’t have to be taken off a tripod
Max burst rate 8fps The screen is fixed
an upgraded X Processor Pro, rather than tilting, for these to be accessed, unlike the
Screen 3in LCD, 1.62 million dots
together with a raft of changes which is a shame. X-Pro1. The body is sealed against
(to 1/32,000 sec in electronic shutter across the rest of the spec sheet. dust and splashes. Other notable
mode), Bulb The X-Pro1’s existing features include uncompressed raw
4
Weight 445g (body only) autofocus system, which was recording, Wi-Fi connectivity and
Dimensions 141 x 83 x 46mm notable for its shortcomings, Small prime lenses a top shutter speed of 1/8,000 sec
Power supply Rechargeable has been replaced with a new with an aperture ring (expandable to 1/32,000 with the
lithium-ion battery (NP-W126) are the ideal choice
77-point system in the X-Pro2. camera’s electronic shutter).
for the X-Pro2.
This sees 40% of the frame The main design change sees
covered by phase-detection Fujifilm gracing the X-Pro2’s front
pixels and a 273-point-expansion plate with a new command dial. This
Lenses
option, together with Zone and joins the previously seen rear dial,
A new three-inch Wide/Tracking options for while a control for the ISO setting has
LCD screen offers moving subjects. been integrated into the shutter-
The hybrid viewfinder has also speed dial on the top plate. This is
an impressive had its electronic panel upgraded adjusted by pulling the dial upwards;
1,620k-dot resolution from 1.44 million to 2.36 million while perfectly usable, it’s somewhat
CANON
Canon EOS
EOS 760D
1200D
The viewfinder is
much improved, with a
maximum display rate
of 85fps, meaning that
details appear smooth
and natural

fiddly, and also means that the ISO
setting can no longer be changed
through the menu system.
The shutter speed dial itself,
however, is less obstructed than the
X-Pro1’s, and thus easier to turn. The
exposure compensation dial is also
now larger than before and can apply
up to -/+3EV compensation (and up
to -/+5EV on its new ‘C’ setting),
although it suffers from the common
issue of being inadvertently knocked
out of position all too easily.
The viewfinder is much improved,
with a faster display rate of 85fps
(in the camera’s High Performance
mode) meaning that details appear
smooth and natural when moving
around the scene. Its high resolution
means that clarity is excellent. It also
does well to keep the feed relatively
clean when lighting conditions fall.
While it’s a shame that the LCD
screen beneath the viewfinder is
neither touch-sensitive nor physically 1 2 3
adjustable in any way, it similarly Face detection Detail Skin tones
displays details well and has a decent The X-Pro2’s face detection Every detail of the model’s Skin tones are rendered
viewing angle when used away from system does well to skin is recorded faithfully nicely by default, but the
the face (at ground level, for example). identify subjects, ensuring and the natural texture Film Simulation modes give
that exposure is accurate in the woollen scarf is scope to apply different
Performance and eyes stay focused. beautifully captured. effects if you prefer.
Focusing speeds are noticeably
improved over the X-Pro1, bringing
this more into line with rival models.
The new Zone and Wide/Tracking Meet the
modes also mean that the camera rivals…
can be used to follow moving subjects
where its predecessor could not, The cameras Olympus E-M5 II Panasonic GX8 Sony Alpha 7 II
doing well to stay with the subject in taking on £749/$1099 £575/$1198 £1,349/$1,698
good light and contributing to a high the X-Pro2… (body only) (body only) (body only)
hit rate when combined with the With its tilting While some may The same 24.3MP
camera’s 8fps burst mode. Now touchscreen and prefer the X-Pro2’s sensor resolution as
and again, the system is distracted access to a wide sensor, the 20.3MP the X-Pro2, but with
by surrounding subjects, but this is range of compatible GX8 CSC has the a full-frame sensor,
For test
Lenses
true of many similar systems. optics, the E-M5 II advantage of 4K built-in image
images and
Images from the X-Pro2 are is ideal for creative video, and is around stabilisation and
resolution
characterised by accurate white shooting. half the price. a lower price.
charts, visit
balance in most conditions, with Reviewed Page 90 Reviewed Page 94 Reviewed Issue 171
www.techradar.
the automatic setting only really com/cameras
showing any serious errors under >
C S C TEST FUJIfilm X-PRO2
COLOUR ERROR
Fuijifilm X-Pro2 3.9
Panasonic GX8 -6.6
Olympus E-M5 II 5.7

Scores
closer to
Sony Alpha 7 II 1.8 zero are
better
-10 -5 0 5 10
In the default settings, colours in JPEGs are

measured to be more accurate than most
of the X-Pro2’s peers and even the X-Pro1,
just slightly behind the Sony Alpha 7 II.

50
40
Decibels
30
The X-Pro2 enables you to reduce the size of the focusing point, which was helpful here,
as it enabled me to focus tightly on the stamens of the flower in this shot. 20
the worst of this without too many 10

artefacts remaining, although better results use images converted to TIFF
results can be achieved through 100 400 1,600 6,400 25,600
manually processing raw images. While the X-Pro2’s signal-to-noise ratio is

While both the X-Pro2’s sensor respectable at its base ISO, and relatively
and many of the lenses ideally consistent across the rest of the range, it’s
partnered with it lack image a little lower than those from rival cameras.
stabilisation, the OIS system found
inside certain lenses does make a RAW DYNAMIC RANGE
difference to the sharpness of images
14
at longer focal lengths and slower
shutter speeds. I found this to work Exposure Value 12
to an advantage of around 3EV on

average with the XF 50-140mm f/2.8 10
R LM OIS WR, for example, although

8
this varies with subject distance.
It’s great to see more control over 6
video recording options than before, results use images converted to TIFF
not to mention a port for external 100 400 1,600 6,400 25,600
microphones, as the camera’s built- Up until ISO 3,200, there’s little to split the
in microphones can be troubled by X-Pro2 from its peers. Things take a slide at
wind noise when recording outside. and after ISO 6,400, though, where the likes
The effects of the camera’s Low Noise Footage is recorded smoothly and of the Alpha 7 II continue to hold up.
Reduction option can be seen in this ISO with good detail, and artefacts aren’t
12,800 image, but good detail has been as visible as on the X-Pro1.
WE SAY...
retained in busier parts of the scene. At 210 frames on the camera’s
High Performance setting and 250 The X-Pro2 is a worthy update to the X-Pro1.
on the Standard option, you may The original’s classic styling has been
certain mixed natural/artificial need a spare battery. There’s an retained and many of that camera’s foibles
addressed. While a few of the changes aren’t
sources. Colours are accurate and Economy setting that boosts this to
entirely for the better, the X-Pro2 is a much
pleasing on the default Standard/ 330 frames, although the drop in more capable tool for a broader range of
Provia Film Simulation option. electronic viewfinder performance genres, particularly moving subjects.
The metering system does well in may discourage you from using this.
unbalanced scenes dominated by Matt Golowczynski
highlights or shadows, although Verdict
highlights can occasionally roll off
sooner than expected. Features
There’s typically a little noise There’s a little noise visible BUILD & HANDLING
Lenses
visible in images at the camera’s

base sensitivity of ISO 200, although at ISO 200, although this is PERFORMANCE
this is generally well-controlled generally well-controlled Value
throughout much of the sensitivity
range. The camera’s noise-reduction throughout much of the
OVERALL
options can successfully process out sensitivity range
MINI t e s t
Cable releases
If you’re capturing long exposures or macro shots, a remote release is a must

w w w. c a n o n . c o . u k w w w. f u j i f i l m . e u / u k w w w. h a h n e l . i e
Canon Remote Switch Fuji Remote Hähnel Remote Shutter
RS-80N3 Release RR-90 Release HRC 280
£43/$47 £36/$30 £20/$30
Canon’s remote feels much like cheaper Apart from cost, all our remotes are As with all our contenders, the Hähnel
rivals, but its shutter lock mechanism is closely matched, although Fujifilm’s remote has a two-stage shutter release
marginally more precise. An 80cm cable version has an especially accurate – with lock-out for long exposures. But this
length is nothing special, suggesting the if loud – shutter button. It lines up with option also has an interchangeable cable
extra cash is going on the branding. the Canon as average yet overpriced. system and a two-metre extension cord.
http://uk.hama.com w w w. n i k o n . c o . u k w w w. p h o t t i x . c o m
Hama DCC Base Cable Nikon MC-DC2 Remote Phottix Wired
Remote Release Control Remote
£15 £30/$27 £15/$16
This remote is almost identical to This is the joint-smallest remote on test, As with the Hähnel and Hama remotes,
Hähnel’s offering, but the cord is tiny measuring 8cm long, yet it sports a this Phottix can be bought with Canon,
Lenses
and doesn’t plug into your camera. generous 105cm cable. However, even Nikon, Sony, Olympus or Panasonic
Instead you choose an additional cable these revolutionary features can’t hide connections. The remote itself is
to suit your camera model, adding that this is a generic design with a essentially the same as the Nikon
versatility, but also £10 to the price. premium price. MC-DC2, so why pay more?
mini test
Instant cameras Six instant shooters perfect for party snappers or retro artists
w w w. f u j i f i l m . e u / u k / w w w. f u j i f i l m . e u / u k uk.impossible-project.com
1 Fujifilm instax mini 70 2 Fujifilm instax wide 300 3 Impossible I-1
£99/$99 £99/$95 £315/369
Cheap and cheerful, the instax mini Big hardly covers it. The instax wide Resembling a cross between a
70 is a cost-effective way to get into 300 is the size of an old-fashioned plastic pyramid and a spaceship from
instant photography. Ours came in medium-format rangefinder camera, Close Encounters of the Third Kind,
canary yellow, but you can also get it in even a small folding field camera. It’s the Impossible I-1 is the only new
passion red, stardust gold, midnight because it uses instax wide film packs camera for the original Polaroid film.
black, moon white and island blue. As rather than the regular instax mini. The The lights around the lens form a ‘ring
these names suggest, it’s a party camera, film costs twice as much, but each instant flash’ for softer portrait lighting, and the
but it’s really easy to use – you just turn it print is twice the size; this is the closest whole camera is a curious amalgam of
on and start shooting. you can get to old-style Polaroid print old-school chemistry and new-fangled
The only thing you need to be careful sizes but with modern instax film technical wizardry.
of is that you don’t obscure the flash technology. It even comes with a free I-1 app for
with your finger when you’re taking shots The instax 300 wide might look big your smartphone. You can use this as
vertically. Everything else is taken care and clumsy but it’s light, and the generous a remote trigger, a noise trigger and
of – focusing, exposure and flash are all grip makes it easy to hold and use. You a self-timer. The app also allows double
fully automatic. The inability to control power up with a spring-loaded switch exposures, light painting, and aperture
the flash manually can be a bit of an around the shutter release, which extends and shutter speed adjustment – and it
annoyance – you’d need the more the 95mm lens. The instax wide format is works as a photo scanner too. This makes
expensive mini 90 for that – but you do much larger than a digital sensor, so this the I-1 an excellent tool for experiments
get a selfie mode and even a tiny selfie equates to a moderate wide-angle lens. in instant photography, but too
mirror on the front. The direct vision For a big camera, though, the instax cumbersome for informal party shots.
viewfinder is a little cramped, but wide 300 has a tiny viewfinder. It takes The shape doesn’t help – this is a bulky
effective enough. practice even to get your eye lined up with camera to carry around. The battery in
It’s maybe not the kind of camera the eyepiece. Otherwise, it’s simple to use our sample lost its power far too quickly
you’d use for analogue ‘art’ projects, but and delivers very good results. Where the as well: the battery was flat practically
we really liked the instax 70 as a simple regular instax mini format produces small every time we went to use the camera.
Lenses
party accessory – and the results are just photo ‘tokens’, these are more like proper The cost and slow development time of
as good as those from the other instax photographs. The instax wide 300 is also Impossible Project’s film technology is
mini cameras, including the Leica Sofort. good value. another drawback.
mini test
Five films to choose from…

1 instax mini
The most
common instant film
2 Instax wide
Twice the size of
instax mini and twice
3 Polaroid
SX-70
Not all Polaroid instant
4 Polaroid
I-Type
Designed for use in
5 Polaroid 600
Film designed for
Polaroid 600-type
format, producing the price, but photos film is the same. The the Impossible I-1, cameras. It can also
pictures measuring measure a meatier 99 SX-70 film has a lower I-Type film packs don’t be used in the
just 62 x 46mm. x 62mm. sensitivity. have batteries built in. Impossible I-1.

uk.leica-camera.com w w w. l o m o g r a p h y . c o m uk.impossible-project.com
4 Leica Sofort 5 Lomo’Instant Automat 6 Polaroid SX-70
£229/$299 £129/$199 £385/$499
Leica making an instant camera? South Beach in California is, we Amazing to look at even now, the
That’s like Bentley making a moped. But imagine, the inspiration for the Polaroid SX-70 (refurbished and sold
Leica is deadly serious with the Sofort – Lomo’Instant Automat South Beach by the Impossible Project) is a real blast
and it’s not bad at all. It’s chunky and edition. It’s a quirky hipster throwback from the past. Even unfolding it for use is
solid, and although it’s made of plastic, that is never going to fade into the an adventure. There is a knack: you have
it’s good plastic. It comes in a choice of background. But while it is just a tiny bit to pull up on both ends of the viewfinder
mint, orange and white, and takes regular mad on the outside, it’s pretty panel on the top until the internal latch is
Fujifilm instax mini film packs, although conventional on the inside, packing released, and the whole of the top of the
Leica supplies its own film packs too, regular Fujifilm instax mini film. camera opens out on a set of bellows.
which produce a warm white frame It’s not just the styling that makes this It’s an ingenious system because you
around each picture. South Beach edition different – it also even get through-the lens viewing and
Pressing the power button on the back comes with a selection of accessories, focusing via a pop-up eyepiece on the rear
extends the lens and, provided you have including a lens cap that doubles as of the viewfinder housing and a split-image
a film pack inserted, you’re ready to a wireless shutter release (there’s a slot rangefinder. It’s a bit dark, but it is at least
shoot. You compose shots using the small for a button cell in the cap), a close-up a ‘proper’ viewfinder.
direct-vision viewfinder in the top left lens, a wide-angle lens, a fisheye lens, and You adjust the focus with one dial on
corner on the back of the camera. It’s not an object called a Splitzer. This isn’t an the front of the camera and the exposure
very big, but it’s usable enough. For an interchangeable-lens camera – these are compensation with another – the new
instant camera, the Sofort offers a lot of just accessories that clip on the front. Impossible Project film has a different
control, with Macro, Bulb, Self timer, The Automat is simple to use, with a sensitivity to the original emulsion. The
Party & People, Sport & Action, Double power switch around the lens barrel that camera is great, but the film is expensive
Exposure and Selfie modes – in addition also operates the three-position zone for experimenting with (each pack has
to fully automatic operation. You can also focusing. The viewfinder is small, but easy a battery built in) and the 30-minute
turn the flash on and off. The Sofort is to find with your eye, and exposure is development time is so long that this
expensive compared to the Fujifilm instax automatic. It’s nicely made, although camera is actually far from ‘instant’. You
Lenses
mini 70, despite using the same size of some of the icons on the back are hard to also need to make sure you get the proper
film, but it was the most popular model decipher, the full accessory kit pushes up SX-70 film, which has a lower sensitivity
around the office. the price… and will you really use it all? than the others.
c s c T ES T Leica M-D (Typ 262)
’s
to r e
Edihoic
c
3
1
C S C h t t p : // u k . l e i c a - c a m e r a . c o m 4
Leica M-D (Typ 262)

£4,650/$5,995
Rediscover the joy of anticipation with the digital
rangefinder camera that comes without a screen…
Specifications Yes, it’s true: the 1 used to shoot in the days of film –
Leica M-D really Behind this small
and we managed all right then.
Sensor 24MP full-frame CMOS sensor doesn’t have a rear In fact, Leica has a point here.
(23.9 x 35.8mm) window is a rotating
display. The back of mirror that produces You can’t check your photos, so you
Focal length conversion on lens 1x
Memory SD/SDHC/SDXC card
the camera is taken up instead the rangefinder devote all your attention to shooting
Viewfinder Direct vision with by a large ISO setting dial. The focus image. them. You have to trust the camera –
framing guides direct-vision optical viewfinder and yourself – to get them right, but
Max video resolution N/A shows you nothing but the scene 2
that’s part of the craft of photography.
ISO range 200-6,400 in front of the camera, a set of
Autofocus Manual, via rangefinder frame guides for your current The M-D has a direct- Features
Max burst rate 3fps vision viewfinder. It’s
lens and the bare minimum of The removal of the screen is the
Screen N/A a separate viewfinder
exposure and status information. that does not show
M-D’s key feature. Otherwise, it’s
Shutter speeds 60-1/4,000 sec, Bulb This camera has caused a great essentially a Leica M (Typ 262). You
Weight 680g (body only, with battery) the view through
deal of controversy in the Digital the lens. get a 24-megapixel full-frame
Dimensions 139 x 42 x 80mm
Power supply BP-SCL2 lithium-ion
Camera office. Some folk think CMOS sensor – not a lot by today’s
battery (supplied) it’s an absurd affectation, standards, but perfectly adequate
3
a perverse gimmick dreamed for this camera’s needs – but no
up by an overactive marketing No, there’s no LCD! video or Live View. The sensor is
department. Others – those who The space where it also designed to work with Leica’s
have gone out shooting with the would be is occupied extensive collection of lenses from
by an ISO dial.
M-D, in fact – tend to form the analogue era, and not just
a different impression. modern digital glass. The maximum
You can’t look at the photos 4 ISO is 6,400 – again, not that high,
you’ve shot with the M-D until For those used to but bear in mind that Leica’s lens
Lenses
you get back to base and transfer today’s giant primes, range is populated by fast primes
This camera has them on a computer. You the M-D’s lenses in the f/1.4 to f/2 range.
caused a great deal can’t check the exposure, the look tiny. Image processing is carried out
composition or the sharpness by Leica’s own Maestro processing
of controversy in the as you shoot. Does that sound engine, and pictures are saved as
Digital Camera office terrifying? Well, it’s how we all DNG files only. The Leica M-D does
not shoot JPEGs, so the ‘look’ of your
photos is down to what you do with
your raw files.
Build and handling

Shooting with a Leica M-series
rangefinder is unlike anything else.
The viewfinder is a separate unit and
does not show you the view through
the lens. You see the same angle of

view regardless of the lens you fit,
so you have to remember to use the
brightline framing guides in the
viewfinder, which change according
to the lens.
Then there’s the unique
rangefinder focusing mechanism.
You focus by lining up a small ‘ghost’
rectangle in the middle of the
viewfinder. When it’s superimposed
exactly on the image, your subject is
in focus. It relies on a mechanical
linkage between the lens’s focus ring
and a small rotating mirror behind
a little window on the front of the
camera. It sounds like it can’t possibly
be accurate, but it is – even with the
Summilux 50mm wide open at f/1.4.
The only issue is that the mirror
image isn’t always very easy to see,
and it works best when there are clear
edges in the subject you’re focusing
on. Patterned surfaces are especially
tricky. You also have to remember
to focus before each shot.
Or maybe not. Leica lenses have
a long focus travel, with a clear
distance scale and depth of field index 1 2 3
markers for each lens aperture. It’s Contrast rendition Detail Colour
straightforward to set the camera to The M-D produces rich, The 24MP sensor delivers The colour is what you
specific focus distances with a high contrasty images, but you the level of detail you’d make it! The M-D shoots
degree of accuracy, and to use zone can pull back some shadow expect, but the Summilux raw DNG files only, not
focusing and hyperfocal focusing so and highlight detail when 28mm f/1.4 lens used here JPEGs, so the processing
that you don’t need to focus at all – you process its DNG files. excels at all apertures. is in your hands alone.
something that’s practically
impossible with modern zooms
and short-focus-travel primes.
The M-D feels heavy for its size. Meet the
The lenses are tiny by modern rivals…
standards, but reassuringly solid and
with a silky-smooth focus movement. The cameras Fujifilm X-Pro2 Leica Q Olympus Pen-F
It’s rather easy to move the aperture taking on the £1,349/$1,699 £3,400/$4,250 £899/$999
ring by mistake when your fingers are Leica M-D… Fujifilm’s Leica-like (28mm f/1.7 lens The Pen-F combines
looking for the focus ring, but that’s X-Pro2 has a smaller built-in) retro chic with
just a question of familiarisation. APS-C sensor, but Expensive by normal cutting-edge tech.
The controls are super-simple. comes with a much standards, the Q Outside it has
Each lens has an aperture ring, and smaller price tag and is a bargain for a old-school controls;
LensesLenses
you control the shutter speed with a some great prime full-frame Leica. Its inside it has a new
For more
dial on the top of the camera. If you camera lenses in the range. Summilux 28mm 20MP Micro Four
want the camera to take care of the Worth a look. f/1.7 lens is a beauty. Thirds sensor.
reviews, visit
exposure for you, just set the shutter Reviewed Page 60 Reviewed Issue 169 Reviewed Page 86
www.techradar.
speed dial to ‘A’ to switch it to com/cameras
Aperture Priority mode. (There is >
F R O M T H E M A K E R S O F D i g i t a l C a m e r a MAGA Z INE 67
Leica lenses have a
reputation for beautiful
rendering, which this COLOUR ERROR
shot exemplifies.
Leica M-D 27
Fujifilm X-Pro2 3.9
Leica Q -2.6
Scores closer
Olympus Pen-F to zero are 11.6
better
-30 -20 0 20 30
The M-D looks far less accurate than its rivals

– but how your raw files turn out depends on
how you process them. We used Camera Raw;
other software may yield different results.

50
40
Decibels
30
20
no Shutter Priority or Program mode

10
on the Leica M-D.) Higher scores are better. Raw
Bizarrely, our test camera didn’t 0
100 400 1,600 6,400 25,600
power down automatically when not
in use. This caught us out a few times: The M-D sits pretty much in the middle of
we went to use the camera to find the range. Real-world shots at ISO 200 look
the battery was flat. Even if you do clean, and the maximum ISO is just 6,400,
remember to switch it off, it’s easy to so the image quality has not degraded badly.
flick the power switch by mistake as
you put it in your camera bag. RAW DYNAMIC RANGE
There is one more piece of oddball
14
Leica design to mention: to remove
the memory card or battery, you have Exposure Value 12
to unhook and remove the baseplate

each time. This is an echo of the old The M-D’s metering system favours highlight detail – 10
you can bring out the shadows later if you need to.
Leica film cameras, where you had to
8
remove the baseplate to take out the
film canister. M-D stand out from a crowd of other 6
24-megapixel full-frame cameras, results use images converted to TIFF
Performance but there is something in the way it 100 400 1,600 6,400 25,600
We can’t talk about the autofocus, renders images that sets it apart – The M-D’s DNG files look dense and contrasty
because there isn’t any, or the white that and the unique shooting when first opened in Adobe Camera Raw, and
balance: the M-D only shoots raw. experience of Leica rangefinders. the dynamic range is adequate. You may
The manual focus is as accurate as This won’t suit everyone. Ben need to work on bringing up the shadows.
you are. The exposure system does Brain, Digital Camera’s editor,
a good job, favouring highlight detail finds it quite natural. I don’t. I did,
WE SAY...
over shadowed areas, which is what however, quickly appreciate the way
most keen photographers would the Leica M-D makes you think and The Leica M-D is tricky to rate. Normally, you
prefer. The continuous shooting shoot. First, it stops you pixel- could add up the sub-scores below to arrive
speed of three frames per second is peeping after every shot, simply at the final rating, but the fact is that the M-D
is bad at some of the things we score for
unremarkable to say the least, but because you can’t. Second, it makes
while being brilliant at things we don’t. It’s
this isn’t a sports camera. you think about focus, shutter speed a unique and challenging camera that you
The images have a distinct ‘look’, and aperture much more clearly. will find either inexplicable or inspiring.
however, which could be due to Third, by taking away the
Leica’s Maestro image processor or compositional precision offered by
the particular optical quality of regular digital cameras, it makes you Verdict
Leica’s lenses. Images are sharp and look for something else – instead of
contrasty, and the Summilux 50mm photographing how things look, you Features
f/1.4 in particular delivers beautifully start to photograph things that are BUILD & HANDLING
Lenses
defocused backgrounds. The M-D happening, which is the essence of

and its lenses produce a very documentary photography. Perhaps PERFORMANCE
appealing ‘filmic’ look. this is the bottom line. It’s not what
There’s nothing in its technical the Leica M-D does that makes it Value
performance from the point of view special, but what it makes you do.
OVERALL
of resolution or noise that makes the Rod Lawton
MINI t e s t
PANORAMIC HEADS
Want to capture panoramas properly? You’d better get a head

w w w. a m a z o n . c o m w w w. g i t z o . c o m
w w w. g i g a p a n . c o m
Fotga Pro 360° Swivel Gitzo Panoramic
Panoramic Tripod Head GigaPan Epic Pro Disc Series 3
£900/$995
£25 £249/$310
This shoestring-budget head will help The Epic Pro pans your camera in precise The Panoramic Disc is a basic single-
you shoot spherical panoramas, but it’s increments and across multiple rows, axis pan head, yet it oozes quality,
riddled with build-quality bugbears and letting you create huge gigapixel smoothness and precision. Two bubble
lacks precision. Even so, you can get panoramas. It’s easy to use and works a levels add to the convenience, but this
acceptable results with patience. treat, although portability is not its forte. head falls short on value and versatility.
w w w. n o v o f l e x . c o m
w w w. m a n f r o t t o . c o m http://shop.nodalninja.com Novoflex
Manfrotto 303SPH Nodal Ninja 3 MKII VR‑System Slim
£409/$550 £198/$180 £450/$825
Adjustment is king with the 303SPH: it’s This head is great for spherical scenes This is a beautifully built head for
Lenses
packed with positioning options to help and is a pleasure to use thanks to quality spherical panoramas, and collapses
you shoot accurate spherical scenes. It’s build and materials. It also packs small for increased portability. You also get
just a shame the design is unwieldy, and and weighs just 475g, although it’s best incremental panning click stops, but the
it weighs a whopping 2.1kg. suited to smaller SLRs and CSCs. Nodal Ninja still has the edge on value.
SLR TEST NIKON D7200
SL R w w w.n ikon .com
Nikon D7200
£849, $997 (body only)
The Nikon D7200 replaces the D7100 - the body’s roughly the
same but there are key upgrades. Amy Davies checks it out
Specifications oughly two years Above The D7200 the ability to focus down to -3EV,
Sensor 24.2-million-pixel
R after the introduction looks like the
D7100’s identical
thanks to the inheritance of the
of the D7100, the new Multi-Cam 3500-II 51-point
Focal Length 1.5x twin – apart from
D7200 which replaces it autofocusing system from models that
Memory 2 x SD / SDHC / SDXC the name badge.
Viewfinder Eye-level pentaprism
seems more like an are higher up in Nikon’s range.
viewfinder; 100% field of view incremental upgrade than a The D7200 now includes Wi-Fi
Video resolution Full HD (1,920 x major overhaul. Inside the and, for the first time in a Nikon
1,080) at 60, 50 (1.3x crop mode), 30, 25 camera you’ll find a sensor with digital SLR, NFC (Near Field
or 24p the same 24-million-pixel Communication) connectivity. The
ISO range 100-25,600 (expandable resolution as its predecessor, two wireless technologies should
to 102,400 equivalent, monochrome only) while the external body is make it easier than ever to establish a
Autofocus points 51 identical. remote shooting connection with your
Max burst rate 6fps (DX), 7fps (1.3x As before, the sensor is missing phone or tablet, or send pictures
crop)
an anti-aliasing filter, which across for quick sharing.
Screen 3.2 inch, 1,229k-dot fixed TFT
LCD
should again make it extremely Staying the same as in the D7100 is
Shutter speeds 1/8,000–30 sec capable of resolving fine detail. a 3.2 inch, 1229k-dot LCD screen,
Weight 443g 765g (body only, with That’s not to say that some of the which is fixed and not touch-sensitive.
battery and memory card) changes that have been made are It is joined by an eye-level pentaprism
Dimensions 136 x 107 x 76mm not significant, though. optical viewfinder, which offers 100%
Power supply EN-EL15 rechargeable coverage.
Li-ion battery Features
An Expeed 4 processor facilitates Build and handling
an increase in burst depth: Nikon Nikon has worked hard to make the
says that the D7200 is capable of D7200 look and feel like a high-
shooting up to 27 raw-format files quality piece of kit. It feels pretty
or 100 JPEGs before the buffer similar to something like the D610 or
fills. There’s also an increase in the D750 when you’re holding it. Both
The optical viewfinder native sensitivity range: it’s now the front and rear grip have soft
Lenses
ISO 100-25,600, with two special textured coatings, which make it feel
is bright and clear. It’s monochrome-only expansion nice in the hand, while your fingers sit
great to see a 100% settings which take the sensitivity comfortably thanks to its contoured
up to ISO 102,400. and shaped grip.
offering on a camera Also included for the first time As with the D7100, the D7200 is
at this level in a DX format (APS-C) Nikon is weatherproof, which gives you the
NIKON D7200 SLR TEST
Zooming in on the… Drive mode dial

NIKON D7200 Choose a drive mode by holding down
this small button and rotating the dial.
It’s a little fiddly, but you get used to it.
Lock switch

You can lock the
control pad using
the outside
switch – handy for
AF switch/button preventing an
Press the button in
accidental change
the centre to
to your focus point.
choose an
autofocusing
method, while the
switch can be
flicked to choose
between manual
and auto focusing.
Live view button

Use this to choose
i button between using the
This button acts as viewfinder and the
a sort of quick Fn button screen to compose
menu, but there This button can be your images. The
should be more assigned to one of 18 switch allows you
options available different settings, and is to flick between
on the menu that easily reachable as it’s video and stills
pops up. positioned near the grip. shooting.
confidence to use it in a range of conditions owner, you will feel extremely familiar with still-life scenes, it’s advisable to use the
without concern. It also helps to give it an air of both the button and menu layout, but if you’re rear LCD screen, which offers a
high quality –albeit not feeling quite as rugged coming from a different Nikon model, you magnified view for checking critical
as the D810. should also feel at home. focus. It would be nice if the screen was
This is very much a camera that requires The optical viewfinder is bright and clear. articulated or tilting, though, to help
both hands to use and, as we’d expect from this It’s great to see a 100% offering on a camera at with awkward angles.
level of camera, there’s a good range of dials this level, as it means you’ll never have Connecting to a smartphone via
and buttons for making changes to key something unexpected creeping into the Wi-Fi is easy, but the control is hidden
settings quickly and easily. If you’re a D7100 edges of the frame. When shooting macro or away a little in the main menu. A
dedicated button for quicker access
would have been better. NFC is
included – but, despite several
Meet the attempts, I wasn’t able to get it to
rivals… respond to my Android phone. The
Nikon Wireless Utility app is also very
The cameras limited, only offering the ability to set
taking on the Canon EOS 70D Fujifilm X-T1 Olympus OM-D autofocus point and trip the shutter.
Nikon D7200 Body: £729 / $899 Body: £795 / $1,299 E-M5 Mark II Nevertheless, it’s useful for group
A fantastic Beautiful retro Body: £749 / $899 shots, or if you want to shoot from a
all-rounder, with Wi-Fi design makes the A powerful CSC with tricky angle.
and great image X-T1 an ideal camera usability that gives
For test
Lenses
quality. It’s also got an for enthusiasts who SLRs a run for their Performance
images and articulating like traditional money and a clever
resolution The 24.2MP sensor and Expeed 4
touchscreen. controls. High Res mode. processor combination has already
charts, visit Reviewed Issue 144 Reviewed Issue 151 Reviewed Page 90
www.techradar. proved itself to be great partnership in
com/cameras the Nikon D5500, which sits
underneath the D7200 in Nikon’s
SLR TEST NIKON D7200
Camera benchmarks
How does the Nikon D7200 fare?
COLOUR ERROR Scores closer to zero are better
Nikon D7200 4.5

Canon EOS 70D 4.8
Fujifilm X-T1 6.7
0 5 10
Colour error RESULT: The D7200 is closely matched with the

Canon 70D. Both can produce beautiful tones in real-world shooting.
Nikon D7200 Fujifilm X-T1

KEY
Canon EOS 70D Olympus E-M5 Mk II

44
40
36
32
28
24
20
Highest values are best
16
200 400 800 1,600 3,200 6,400
SENSITIVITY
NOISE RESULT: The D7200 comes bottom here. This could be
a result of Nikon’s processing favouring detail over noise, though.
Raw DYNAMIC RANGE* Higher scores are better

13 Above As you can see, the D7200 produces lovely natural tones.
12
DYNAMIC RANGE (EV)
11
10
line-up, so we were fully expecting shot. Looking at raw-format files, it’s
9
good things from the D7200. clear that a fair amount of noise
This camera is aimed broadly at reduction is applied to JPEG images
8
enthusiasts, who want to shoot a bit in their default settings, but this
7
Highest values are best of everything, so it needs to be a gives you scope to apply exactly the
6 fantastic all-rounder, capable of kind of noise reduction you want to
200 400 800 1,600 3,200 6,400
SENSITIVITY handling lots of different subjects. in post-processing, balancing out
DYNAMIC RESULT: The D7200 is fairly closely matched here with
Looking at JPEG images directly detail with the presence of noise.
the Fujifilm X-T1, but it performs slightly better than the 70D. from the camera, colours have a Using the matrix metering
great vibrancy, with a bright but system leaves you with well-exposed
Overall benchmark result natural appearance. Colours are images in the majority of conditions,
Unsurprisingly, the D7200 is better at detail resolution than the
Canon EOS 70D, while it is very closely matched with the
vivid and bold in good light, but even and it even copes well with some
Fujifilm X-T1. Both the 70D and the X-T1 generally perform better under different lighting conditions, high-contrast scenes. On occasion,
than the D7200 for JPEG signal-to-noise ratio, although the you still get a nice warmth and you may find dialling in some
Nikon fares better at higher sensitivities. Meanwhile, for JPEG
dynamic range, the D7200 and 70D are very closely matched, saturation. exposure compensation for dull
and are both better than the X-T1. Detail is also excellently resolved. landscapes helps to bring out detail,
* Raw results use images converted to TIFF Examining images at 100% reveals though.
some very fine detail, with pretty The automatic white balance
much zero evidence of image- system copes very well with
smoothing at lower sensitivities. different lighting conditions, and is
Detail continues to be resolved well pretty much faultless in daylight or
throughout the sensitivity range, cloudy conditions. It errs ever so
and even at those incredibly high slightly on the warm side under
Lenses
figures, like ISO 12,800 or 25,600, artificial lighting, so it’s

we can still see a reasonable amount recommended for accuracy that you
The automatic white balance of detail. Even the monochrome- switch to a more appropriate white
only setting of Hi1 is usable, with the balance setting, or create a custom
system copes very well with grain arguably adding to the setting.
different lighting conditions film-like feel of a black-and-white Autofocusing is a breeze with the
NIKON D7200 SLR TEST

Above The Hi1 ISO setting is accessible only in the JPEG Monochrome mode, but its results are atmospheric.
D7200. Thanks to the new AF 2–3 seconds, or 4–5 seconds at 100% viewfinder to use.
system, the camera is capable of 12-bit, if you need the higher-quality The Expeed 4 processor fixes the
locking onto a moving subject, even files. issue of burst depth, making it more
in lower-light conditions. The 15 useful than before if you’re shooting
cross-type AF points are more Verdict quick-moving subjects. The handling
sensitive in lower light, while the Although the D7200 may not be a of the camera also remains great, with
central point is the most sensitive of complete overhaul, Nikon has a high-quality feel you might
all if light levels drop even further. tweaked an already great camera to otherwise expect from something that
The camera’s burst depth is now produce something that is even sits at the top of Nikon’s range, rather
much improved when compared better than its predecessor. than in the middle.
with its predecessor. Shooting with The D7200 makes for a great
Fine JPEG selected allows you to all-rounder. It produces images that
capture around 50 shots before the are very sharp and detailed, with a WE SAY...
buffer fills; this equates to around pleasing degree of saturation. You won’t find a A comprehensive feature set and great
nine seconds of shooting time, While it would be nice to see an dedicated Wi-Fi quality images make the D7200 the ideal
giving you plenty of opportunity to articulating, or perhaps even button: its camera for enthusiasts – or maybe even a
catch the action. Raw-format touch-sensitive, screen, as we have activated via the back-up model for those who already own a
shooting at 14-bit gives you roughly on the D5500, it’s great to have a menu. full-frame Nikon.
Verdict
Stick or twist? Upgrade advice Features
If you already own a D7100 would like the higher native ISO
(pictured) or a D7000, there are a range. Otherwise, it’s a slightly BUILD & HANDLING
Lenses
couple of additions here that trickier decision, as many of the

may tempt you to upgrade, features have stayed the same. IMAGE QUALITY
especially if you’re a sports or For those looking to move from
wildlife photographer and need a something lower down in Nikon’s Value
better burst depth, or perhaps if line-up, such as D5300, this
you often shoot in low light and makes for an excellent upgrade.
OVERALL
SLR TEST Nikon d500 2
1
Nikon D500 £1,729/$1,999

The D500’s specs look amazing. We find out how
Nikon’s new SLR shapes up in real-world use
Specifications NIKON is one of the

1
world’s top digital
Sensor DX-format CMOS, 20.9MP SLR makers, but for The D500 is like a
Crop factor 1.5x DX-format version of
some time it’s had a pro-level full-frame camera than the
Memory 1 x SD, 1 x XQD the flagship Nikon D5.
Viewfinder Optical pentaprism, 1x
big gap in its camera line-up. D300 was. Apart from the fact that it
It can use both DX
magnification, 100% coverage Canon has an affordable high- (APS-C) and FX
has a DX- rather than an FX-format
Video resolution 4K (UHD) 3,840 speed, professional-quality (full-frame) lenses. sensor, the D500 has a similar
x 2,160 pixels at 30/25/24fps, APS-C format digital SLR for specification to the D5. This makes
Full HD 1,920 x 1,080 pixels enthusiasts in the EOS 7D Mark the D500 a much more affordable
2
at 60/50/30/25/24fps II, but Nikon’s had nothing to route to high-end technology, giving
ISO range 100-51,200, expands match it. There was the much- The high-res 2,359k- you the best that Nikon has to offer in
to 50-1,640,000 loved Nikon D300S, but that was dot rear screen is terms of autofocus, white balance
Autofocus points 153, including discontinued long ago. So for touch-sensitive and and metering performance in a body
99 cross-type; 15 points sensitive down mounted on a tilting
Nikon users, the D500 is very that weighs much less than a D5.
to f/8 mechanism.
Burst rate 10fps
big news indeed. The spiritual
Max buffer capacity 200 shots successor to the D300S has the Features
LCD screen Tilting 3.2-inch same rugged build but much 3 One surprising fact about the D500 is
touchscreen, 2,359,000 dots faster 10fps continuous shooting, Nikon has really that its APS-C format sensor has 20.9
Shutter speeds 1/8,000 sec to 30 sec, a high-tech 153-point autofocus stepped up its video million effective pixels, fewer than
Bulb, timer, sync 1/250 sec system and 4K video. game, offering 4K Nikon’s other recent (24-megapixel)
Weight (body only) 760g The D500 delivers more than video (actually 3,840 SLRs of the same format. The D5,
Dimensions 147 x 115 x 81mm many had hoped for: it’s much x 2,160 UHD) at up to announced at the same time, has
Power supply EN-EL15 battery more closely aligned with Nikon’s 30 frames per second. 20.8 million pixels on its full-frame
sensor, and the two cameras use the
same sensor architecture.
Having the same pixel count as
the D5 but on a smaller sensor means
Lenses
that the D500’s photo receptors are

Above The D500 has two card ports:
smaller. This naturally has an effect
one that’s compatible with SD-type
media and another that accepts XQD on their light-gathering power and
media. An XQD card is required to get low-light performance. Consequently
the maximum 200- image burst the D500 doesn’t have quite the same
depth in the specifications. crazy sensitivity range as the D5; its
Nikon d500 SLR TEST

1 2 3
Noise Resolution Exposure

Noise levels are good, right through the The 20MP sensor is technically down on resolution Nikon’s default Matrix metering system produced
standard ISO range. It’s only at ISO 25,600 and compared to Nikon’s existing 24MP APS-C sensor, accurate exposures in a wide range of conditions,
above that noise starts to become obvious. but detail rendition is excellent. and the auto white balance system worked well too.
standard range is ISO 100-51,200, electronic Vibration Reduction has been made, images can be
and there are five expansion settings to reduce camera shake when transferred automatically to your
taking it up to the equivalent of ISO shooting movies hand-held. phone whenever you shoot.
1,640,000 – a stop lower than the Another feature that distinguishes The D500 has two card slots. One
D5’s maximum, but still an incredibly the D500 from the D5 is Nikon’s new accepts SD cards, while the other is
high figure. SnapBridge technology, which allows for the faster XQD format. Although
There are many other similarities the camera to stay permanently they’ve been around for quite some
between the two new cameras, all linked to a smart device via a time, XQD cards haven’t quite
of which make the D500 an exciting low-power Bluetooth connection become commonplace yet, but this
proposition. The Expeed 5 processor (or Wi-Fi). After the first connection could be about to change.
is the same, for example, as is the new
153-point Multi-Cam 20K autofocus
system with 99 cross-type points.
The processing engine also brings Meet the
a maximum continuous shooting rate
of 10 frames per second (the D5 can
rivals…
hit 12 frames per second when
shooting normally) for up to 200 The cameras Canon EOS 7D II Nikon D7200 Sony Alpha 77 II
14-bit lossless compressed raw taking on the £1,249/$1,349 £849/$997 £999/$998
files – a staggering feat by any Canon 80D… The 7D II is a good The D7200 is the This 24MP SLT
measure. It makes the D500 enticing choice if you’re a next model down in has an electronic
for sports photographers. Canon shooter after Nikon’s DX range. It viewfinder, along
Whereas the D5’s 4K shooting a camera like the has more megapixels with an AF system
For test D500 – although the but can’t match the that’s fast and
Lenses
capability is limited to three minutes, images and D500 edges ahead D500’s continuous accurate even in
it’s possible to shoot 4K UHD (3,840 resolution on paper. shooting and AF. low light.
x 2,160) 30p/25p/24p video for up to charts, visit Reviewed Page 30 Reviewed Page 70 Reviewed Page 114
29 minutes and 59 seconds with the www.techradar.
D500. 4K UHD time-lapse movies com/cameras
can be created in-camera, and there’s
the hotshoe is protected with a
weatherproof seal.
The camera certainly feels solid,
without having the weight of its
full-frame sibling. On the front is a
decent grip with a textured coating;
a ridge on the back marks the thumb
rest, making for a comfortable
holding experience.
All the direct controls that you
would expect are present, along with
a ridged mini-joystick controller for
selecting the AF point quickly when
the camera is held to your eye. This
sits just to the left of the resting
position for your thumb on the back

of the camera. A little lower down is
the familiar rocker-style navigation
pad, with a central button for
scrolling through the menu and
making settings selections.
Like the D5, the D500 has a
3.2-inch 2,359,000-dot screen that’s
touch-sensitive. Settings can’t be
selected nor the menu navigated by
touch, but it’s possible to enter text,
set the AF point or scroll through and
zoom into images with taps and
swipes on the screen. The screen is
responsive, but it would be nice to be
able to use it a bit more.
The screen’s high resolution
means that image previews are very
sharp, and there’s plenty of detail
visible. The tilting bracket is one of
the most rugged-feeling I’ve used.
Above The D500 is As with some other Nikon SLRs,
a bit more discreet including the D5, it frustrates me that
than the D5, which the Information screen brought up
can come in handy by pressing the Info button isn’t
for candid shooting. interactive, and that the options
revealed by pressing the i button
aren’t customisable. That aside, the
D500’s control arrangement is great.
When walking with the camera on
Left A labrador
a strap over my shoulder, however,
bounding erratically
around the frame I frequently found that the Focus
proved to be a selector lock (around the navigation
challenging subject, control) had activated accidentally,
but it was rendered and I had to turn it off before I could
pin-sharp as long as change AF point.
the active AF point As usual with a high-end camera,
was over the dog. Nikon has opted for a pentaprism
viewfinder for the D500. This
provides a 100 per cent field of view
when shooting in DX format, or 98
per cent when shooting with the 1.3x
magnification option selected. The
Build and handling view is nice and bright, and the
The majority of images Although the D500 doesn’t have blackout time when you’re shooting
are well exposed, have a full metal body like the D5, its at the maximum frame rate is very
attractive, accurate metal chassis is more durable brief, so it’s easy to keep up with
Lenses
than that of the D300S. The fast-moving subjects.

colours and are degree of sealing is greater, too,
sharp… Its low-light so the camera can be used in Performance
harsher conditions. Nikon has The D500 does most things well most
performance is also omitted a pop-up flash to of the time. The vast majority of
very good make the camera sturdier, and images are well-exposed, have
Nikon d500 SLR TEST
COLOUR ERROR
Scores closer
Nikon D500 1.6 to zero are better
Canon EOS 7D II 6.3
Nikon D7200 4.5
Sony Alpha 77 II 1.3
-5 0 5 10 15 20
The lab tests indicate that the D500’s colour

accuracy is one of the best in the group, beaten
only marginally by the Sony A77 II and much
better than the D7200 or the EOS 7D II.

Decibels
The slight drop in resolution compared with

the Nikon D7200 brings a big reduction in
noise levels. The D500 is near the front of the
group, especially at low or mid ISO settings.
RAW DYNAMIC RANGE
Above Even in a gloomy underpass, the D500’s AF system proved to be fast and accurate.
Exposure Value
attractive, accurate colours and are London’s gloomy Undercroft on the

sharp. Video quality is also high. South Bank and kept track of them
Examining images in more detail effortlessly. A bounding labrador
reveals that its low-light performance proved a more challenging subject,
is very good within its native but it was rendered sharp as long as results use images converted to TIFF
sensitivity range. Images taken at the active autofocus point or group

the lower sensitivity settings have was in the right place. The D500 matches the superior dynamic
lots of detail, achieving excellent The contrast-detection autofocus range of the D7200, narrowly shading the
scores in our resolution tests. This system that operates when the EOS 7D II and the A77 II – though differences
starts to drop off at ISO 6,400, but camera is in Live View or video mode may be small in real-world shooting.
the results at ISO 12,800 are still also seems a little better than the
very good, and there’s just a hint of ones in Nikon’s other DX-format
WE SAY...
chroma noise in raw files viewed at cameras. Even in bright light there’s
100 per cent on-screen. This coloured some backward and forward The D500 is a dream camera. It has a fast,
speckling becomes more obvious adjustment before the subject is effective autofocus system, 10fps shooting
from ISO 25,600, but it’s well within sharp, but it doesn’t get much worse capability and first-rate metering and white
balance systems. For the money, this might
acceptable limits. in low-light conditions. It can be used
be the best digital SLR Nikon has ever made.
The lowest expansion setting, Hi 1 hand-held, though moving subjects Its 4K video, high-tech autofocus and overall
(ISO 102,400), is pretty good for such are best avoided. image quality raise the bar for APS-C SLRs.
a high value, but banding starts to The D500’s automatic white
creep into images shot at Hi 2 (ISO balance and metering system didn’t
204,800) and it’s visible in the darker throw up any unpleasant surprises. Verdict
areas of images sized to A4. It’s not The general-purpose Matrix
worth using the values above these metering system put in a solid Features
two settings, as there’s lots of noise performance, recommending BUILD & HANDLING
Lenses
and subjects become lost in the murk. balanced exposure values in a

Sports and action photographers wide range of situations. It copes well PERFORMANCE
are unlikely to be disappointed by the with bright subjects and often doesn’t
D500’s fast and accurate autofocus result in the underexposure we might Value
performance. It adjusted focus traditionally anticipate.
OVERALL
quickly when I shot skateboarders in Angela Nicholson
HEAD TO HEAD
NIKON D810 VS
PENTAX K-1
The Nikon D810 is an established flagship camera; the Pentax K-1 is the challenger...
P
HOTOGRAPHERS looking The K-1 arrives with a new approach to Both cameras dispense with the usual
for a full-frame digital SLR camera ergonomics and, thanks to Pentax’s anti-aliasing filter in front of the sensor.
have had to choose between powerful SR II lens-shift system, an Removing this filter improves fine detail
two brands – Canon and intriguing collection of features. but risks occasional moiré effects. With
Nikon – until now. Pentax the D810 you have to correct any moiré
has been making APS-C Features effects later in software, but the K-1’s AA
format digital SLRs for The big technical story with the K-1 is this simulation mode ‘jiggles’ the sensor a
years, but this is the company’s first sensor-shift system, which is used for a sub-pixel level during the exposure to
foray into full-frame photography. variety of functions. The most obvious is simulate a real anti-aliasing filter.
Lenses
These two cameras come with very its five-axis image stabilisation, which should The SR mechanism accommodates
different approaches, however. The D810 work with practically any lens and corrects a large enough movement range to
is a ‘classic’ Nikon, with a sturdy build, a much wider range of movements than the compensate for skewed horizons with
carefully honed control layout and the lens-based VR system used by Nikon. Pentax an auto-level mode. Most of the time you
backing of a huge range of professional says it can deliver a shutter speed advantage can see if the camera is straight, but this
lenses and photographic accessories. of up to five stops. feature could be very useful in low light
78 f r o m t h e m a k e r s o f D i g ita l C a m e r a m a g a z ine
NIKON D810 vs pentax k-1
HEAD TO HEAD
Interestingly, in Nikon D810 Pentax K-1

addition to the GPS
sensor, the K-1 has
Wi-Fi built in. Both of 1 1
these are optional

extras on the D810

or when shooting at awkward angles.
Then there’s the K-1’s Astrotracer mode:
this uses the camera’s built-in GPS
receiver to move the sensor to
compensate for the movement of celestial 4
3
4
objects during astro-photography. 2 3 2
Pentax’s Pixel Shift Resolution mode
combines four separate exposures taken
in quick succession, with a single pixel
shift of the sensor between each one. 1
The D810 accepts both full-frame FX format
1
The K-1 uses its own range of full-frame
This enables the sensor to capture full lenses and APS-C DX lenses. (When you fit a DX lenses, but it can also take APS-C Pentax lenses,
red, green and blue colour information lens, it switches to its 15.3MP DX Crop mode.) where it switches automatically to a ‘crop’ mode.
at each pixel site – usually, sensors can
capture only red, green or blue data for 2 2
The D810 doesn’t have a regular mode dial. The mode dial has five custom user settings
each pixel and have to interpolate (guess)
Instead, it uses this control cluster, with buttons and two additional exposure modes you won’t see
the other colours. for image quality, metering pattern, ISO, white anywhere else – Sv (sensitivity priority) and TAv
Neither camera is specifically balance and release mode. (shutter speed and aperture priority).
equipped for action photography, but
the D810 can shoot slightly faster at 5fps 3 3
On the right is a large mono LCD status This Smart Dial offers quick access to key
(7fps in DX crop mode), while the K-1 can
display for conveying exposure information, shots functions like exposure compensation, ISO and
only manage 4.4fps. The D810 also has remaining, battery condition and other settings. bracketing. It works alongside the ‘e-dial’.
a better buffer capacity. The K-1 has the
more durable shutter mechanism, with 4 4
a quoted 300,000-shot shutter life versus The D810’s 3.2-inch LCD display has a The 3.2-inch LCD display is attached via
200,000 shots on the D810. slightly higher resolution than the K-1’s, but it’s four sliding pivot arms. This enables you to tilt
fixed and non-articulating. the screen both vertically and horizontally.
On paper, the D810 has the more
sophisticated autofocus system. It uses
Website www.nikon.co.uk Website www.ricoh-imaging.co.uk
Nikon’s 51-point Multi-Cam 3500FX AF
Street price (body) £2,399/$2,797 Street price (body) £1,799/$1,847
sensor, with dynamic area AF for moving Image sensor 36.3MP CMOS Image sensor 36.4MP CMOS
subjects and Nikon’s new group-area AF Sensor size 35.9 x 24mm full-frame Sensor size 35.9 x 24mm full-frame
mode. The K-1 has a newly-developed Max image size 7,360 x 4,912 pixels Max image size 7,360 x 4,912 pixels
33-point Safox 12 autofocus sensor with Image processor Expeed 4 Image processor Prime IV
a smaller number of AF points, but they Low-pass filter No Low-pass filter No
operate over an area of the frame 40% Viewfinder Pentaprism, 0.7x, 100% Viewfinder Pentaprism, 0.7x, 100%
wider than a regular AF sensor. Lens mount Nikon F Lens mount Pentax KAF2
Interestingly, in addition to the GPS ISO range (expanded) ISO 64-12,800 (32-51,200) ISO range (expanded) ISO 100-204,800
sensor, the K-1 has Wi-Fi built in. Both Autofocus points 51-point (15 cross-type) Autofocus points 33-point (25 cross-type)
Shutter speeds 1/8,000 to 30 sec, Bulb Shutter speeds 1/8,000 to 30 sec, Bulb
of these are optional extras on the D810.
Flash Pop-up, hotshoe Flash Hotshoe only
The K-1 also scores some points with a Max burst rate 5fps Max burst rate 4.4fps
higher maximum ISO setting of 204,600, Image stabilisation Via lens Image stabilisation In-body
whereas the D810 maxes out at ISO Video – max resolution 1080p (24/25/30/ Video – max resolution 1080p (24/25/30fps), 1080i
12,800 in its standard range and hits 50/60fps) (50/60fps)
ISO 51,200 in ‘expanded’ mode. LCD screen 3.2-inch, 1,229k LCD screen 3.2-inch Flexi-tilt, 1,037k
Memory 1 x CF, 1 x SD/HC/XC Memory 2 x SD/HC/XC
Lenses
Build & handling Wireless connectivity None Wireless connectivity Wi-Fi

For anyone used to the layout of high-end Interface USB 3.0, X-sync, HDMI Interface USB 2.0, X-sync, HDMI
Body materials Magnesium alloy Body materials Magnesium alloy
Nikon SLRs, the D810 will offer no
Body (W x H x D) 146 x 123 x 81.5mm Body (W x H x D) 136.5 x 110 x 85.5mm
surprises. There’s no mode dial on the
Weight 980g Weight 1,010g
top of this model – instead, you change Battery life (Cipa) 1,200 shots Battery life (Cipa) 760 shots
exposure modes by pressing a small >
f r o m t h e m a k e r s o f D i g ita l C a m e r a m a g a z ine 79
HEAD TO HEAD NIKON D810 vs pentax k-1
Image test
Nikon Pentax
Detail
Outdoors, the fine detail captured by the K-1 is slightly less crisp than the D810’s, though
the definition at the edge is better. This comparison used the makers’ 24-70mm f/2.8 standard lenses.
Nikon Pentax
Low light This ISO 6,400 indoor shot shows the performance difference – the K-1’s result is The D810 has a
crisper and smoother than the D810’s. Its five-axis in-body stabilisation gives it a boost in low light. 3.2-inch 1,229,000-
dot LCD display. The
K-1’s LCD display lags
behind in resolution
at 1,037,000 dots
Nikon Pentax
Colour The K-1 offers a slightly more robust, saturated colour rendition than the D810, and
some outdoor shots show a hint of magenta in bright tones. Overall, though, they are hard to separate.
camera and can be angled upwards,
downwards, left or right. It doesn’t give
quite the same range of angles as the
flip-out vari-angle screens on some SLRs
and mirrorless cameras, but it keeps the
LCD display on the optical axis of the
camera, rather than off to one side.
The K-1 also offers a radically different
external control layout to the D810. It
Nikon Pentax features a regular mode dial on its top
plate and an additional Smart Dial. The
Exposure In unchallenging lighting, both cameras produce similar exposure levels. In this shot,
Smart Dial is used to select settings such
the K-1 has paid more attention to the shadows under the bridge, leaving the daylit area over-exposed.
as exposure compensation, ISO, drive
mode, bracketing settings, HDR mode
and more. Alongside it is an unmarked
mode button near the shutter release and curtain shutter and a smoother-acting ‘e-dial’, used to change these settings.
turning the command dial. shutter mechanism are all designed to
On the left of the top plate is a four- get the best possible benefit from its Performance
button control cluster unique to high-end 36-megapixel sensor and go some way Pentax has made clear progress with its
Nikons. There are buttons for setting the towards offsetting the advantage of the autofocus and lenses, with the result that
image quality, metering pattern, ISO K-1’s in-camera image stabilisation. the K-1 feels smooth and responsive – at
setting and white balance. Around its Round the back, the D810 has a fixed least with static subjects. With moving
Lenses
base is a release mode dial with settings (non-articulating) 3.2-inch 1,229,000- subjects, it couldn’t quite match the
for single-shot mode, low and high-speed dot LCD display. The K-1’s LCD display performance of the Nikon D810’s more
continuous shooting, the D810’s ‘quiet’ matches it for size but lags slightly sophisticated and highly developed
mode and mirror up modes. The mirror behind in resolution at 1,037,000 dots. 51-point system. Neither camera is really
up mode, the D810’s delayed shutter The K-1 f has a unique scissor-action equipped for sports, but the D810 is
release option, an optional electronic first screen that pulls out from the back of the better at tracking moving subjects. It’s
80 f r o m t h e m a k e r s o f D i g ita l C a m e r a m a g a z ine
NIKON D810 vs pentax k-1
HEAD TO HEAD
NIKON D810 PENTAX K-1

0.9 2.4

0 2 4 6 8 10 12 0 2 4 6 8 10 12
The D810 delivers very accurate colours, subject to The K-1’s colour error is higher than the D810’s, but
the exposure and white balance settings you choose. it’s still low. Images have slightly higher saturation.
50 50
40 40
Decibels
Decibels
30 30
20 20
also a little better at burst shooting. 10 10

* Raw results use * Raw results use
While it appears to offer only a small images converted to TIFF images converted to TIFF
speed advantage over the K-1, it has a 100 400 1,600 6,400 25,600 100 400 1,600 6,400 25,600
better buffer capacity and, if you use its The D810’s noise control at low ISOs is good, but The K-1’s noise levels are similar to the D810 at low
DX crop mode, it can shoot at 7fps. its performance falls away at higher settings. to medium ISOs, but at higher values it pulls away.
In poor lighting, the K-1 produces
much cleaner, crisper images at higher RAW* DYNAMIC RANGE higher is better; raw results use images converted from TIFF
ISOs of 3,200 and beyond, and its
in-body stabilisation is an advantage if 14 14
you’re using Nikon’s older, non-stabilised

Exposure value
Exposure value
12 12
24-70mm kit lens on the D810. Our
10 10
hit-rate of sharp shots from the K-1
was much higher than with the D810. 8 8
This is a key point when comparing 6 6

* Raw results use * Raw results use
these cameras for value. The K-1 is a lot images converted to TIFF images converted to TIFF
cheaper than the D810 – and the gap 100 400 1,600 6,400 25,600 100 400 1,600 6,400 25,600
becomes wider when you factor in the
cost of comparable 24-70mm f/2.8 kit The Nikon D810’s dynamic range is legendary, The K-1 matches the D810’s dynamic range at low
though at low ISOs the Pentax K-1 can match it. to medium ISO settings, but falls away at high ISOs.
lenses. The Pentax lens is around £1,100/
$1,300, while the unstabilised Nikon Normal ISO range Expanded ISO range
24-70mm f/2.8 costs £1,600/$1,800. The
newer, stabilised Nikon 24-70mm f/2.8 Verdict
VR is an eye-watering £2,000/$2,200.
Where the Pentax K-1 scores highly for Features Features
high-ISO image quality, you might expect
the Nikon D810 to be much closer at BUILD & HANDLING BUILD & HANDLING
lower ISOs. Actually, the Nikon offers no
performance performance
clear advantage. In some instances its
fine detail looks slightly better; in others Value Value
it’s hard to see any difference. Indeed, the
Pentax 24-70mm lens displays slightly OVERALL OVERALL
better edge sharpness than its Nikon
equivalent in our wide-angle test shots.
For video, the D810 wins out. You We can’t split these cameras in terms of D810 has the better autofocus system and
probably wouldn’t choose either camera overall rating, and they have different it’s better for video too.
if video was your main business, but the characters and qualities. The D810 is the The K-1 is both better-specified and
Lenses
D810 offers full HD at up to 60/50p (the safe pair of hands for professionals. It can’t more of a risk. Pentax has been building up
K-1 only manages interlaced video at this match the K-1 for features or low-light its full-frame lens system, but Nikon still
higher speed), electronic aperture control performance, but it comes with a big lens leads here. On the other hand, the K-1’s
while filming, and clean HDMI output and accessory system. Cameras come and in-body stabilisation, better high-ISO
while recording to internal memory cards. go, but lenses are for life, so you need to performance, built-in GPS and Wi-Fi, and
Rod Lawton consider the long-term investment. The lower price make it a terrific all-rounder.
f r o m t h e m a k e r s o f D i g ita l C a m e r a m a g a z ine 81
SLR TEST NIKON D5
1
2
Nikon D5 4
£5,099/$6,499
It’s a great camera with a fabulous AF system – but
forget about using the highest sensitivity setting
Specifications The D5 takes the 1 in the number and position of the

top spot from the Until a promised controls for horizontal and vertical
Sensor Full-frame (35.9 x 23.9mm) D4S in Nikon’s SLR shooting, you have to adapt the
firmware upgrade
with 20.8 million effective pixels
line-up. It’s aimed comes, there’s way you control the camera to the
Focal length conversion 1
Memory Dual XQD or Dual CF
primarily at professional news a three-minute orientation you’re shooting in.
and sports photographers, and is maximum for 4K video.
Viewfinder Optical covering 100%
Max video resolution 4K (3,840 x designed to take photographs in Performance
2,160 pixels) challenging conditions. It comes 2 In many respects the D5 is a
ISO range 100-102,400 expandable to equipped with a 20.8MP full- phenomenal performer. It beats or
In review mode, this
ISO 3,280,000 frame sensor and Nikon’s Expeed 3.2-inch, 2,359,000-
matches the 24MP D750 for detail
Autofocus points 153 and 99 5 processing engine, which resolution, for example. Real-world
dot screen is touch-
cross-type enable a native sensitivity range images look cleaner and sharper than
enabled for easy
Max burst rate 12fps with AF and of ISO 100-102,400, with those from the D4S, although it’s
image navigation.
metering, 14fps without and in live view
expansion settings going to ISO best to keep sensitivity below ISO
mode
Screen Touch-sensitive 3.2-inch
3,280,000. Yes, three million. 102,400, and the results at the
3
2,359,000-dot In addition there’s a 153-point maximum sensitivity setting (ISO
autofocus (AF) system with 99 Nikon should combine 3,280,000) are very poor.
Shutter speeds 30-1/8,000 sec, Bulb
cross-type sensors and the ability the functions of the I found the AF system extremely
Weight 1,235g (body only)
Info and ‘i’ buttons to
Dimensions 60 x 158.5 x 92mm to shoot at up to 12 frames per capable, getting fast-moving subjects
streamline controls.
Power supply Rechargeable Li-ion second, with full autofocusing sharp in very low light and tracking
EN-EL18a and metering capability for up to them around the frame. The 3D
200 raw files. 4 tracking option is useful, but it relies
The D5 has a metal on a strong colour contrast between
Build & handling body and extensive the subject and the background.
Lenses
Nikon has kept the D5’s control weather-sealing; In other respects the D5 performs
Real-world images layout the same as the D4S. While there’s even a well. The Matrix metering system is
weatherproof cover
look cleaner and this makes it easy to swap
for the hotshoe.
fairly easily influenced by very dark
between the two cameras, there or bright sections in the scene, but
sharper than those are a few niggles with the it’s usually predictable.
from the D4S handling. Because of differences Angela Nicholson
NIKON D5 SLR TEST
COLOUR ERROR
NIKON D5 7.9
CANON 1DX II 2.9
Nikon D750 -0.92

Scores
closer
NIKON D4S -5.4 to zero
are better
-5 0 5 10 15 20
This indicates that the D5 produces more

vibrant images than the competing cameras.
We found it produced quite muted tones of
natural subjects like landscapes or people.

50
40
Decibels
30
20
10
100 400 1,600 6,400 25,600
DXO Analyzer was unable to analyse the files

taken at the D5’s upper sensitivity values.
The Canon 1D X Mark II beats the D5 in all
but the lowest sensitivity values.
RAW DYNAMIC RANGE

14
Exposure Value 12
10
6
1 2 3 100 400 1,600 6,400 25,600
Decisive timing Faithful hues Natural colour While the D5’s raw file dynamic range is good,
The 12fps burst rate came in very At low sensitivity settings, the D5 In the Standard Picture Control it is beaten by the D4S and the 1D X Mark II,
handy for getting a nice cloud of captures a lot of detail, with results mode, the D5 produces quite subtle indicating that these cameras capture a
glitter on an Aspire Photography on a par with or even beating a shades of natural subjects, but it broader range of tones.
Training course. (www. higher-resolution camera like the still makes bold colours look
aspirephotographytraining.co.uk). D750, for example. pleasantly vibrant. WE SAY...
The D5 is a great camera and a worthwhile
upgrade to the D4S, but there are a few
niggles that stop it from being an absolute
Meet the belter. The top sensitivity expansion settings
rivals… are headline-grabbing, if largely useless to
most photographers, but the image quality in
The cameras the native sensitivity range is high, provided
Canon EOS-1D X Nikon D750 Nikon D4S you keep an eye on the exposure.
taking on Mark II £1,514/$1,897 £4,189/$5,997
the Nikon D5… £4,799/$5,999 (body only) (body only)
Verdict
(body only) Aimed at enthusiast Still a great 16MP
Canon’s direct photographers, the camera, the D4S has Features
competitor, this D750 is a capable been popular with
20.2MP full-frame all-rounder that has pros. There should BUILD & HANDLING
For test
Lenses
SLR has superb AF, a 24MP full-frame be some well-used

images and
14fps shooting and sensor and an examples available PERFORMANCE
resolution
excellent metering. excellent AF system. second-hand.
charts, visit
www.techradar. Reviewed Page 52 Reviewed Page 36 Reviewed Issue 153 Value
com/cameras OVERALL
m i n i te s t
HARd cases
Ultimate gear protection for when the going gets really rough
w w w. c a l p h o t o . c o . u k w w w. l o w e p r o . c o m w w w. p e l i . c o m
Calumet WT3434 Lowepro Hardside 3 Peli 1525
1 2
Watertight Hard Case 300 Photo Air Case
£199 £165/$150 £238/$169
Calumet hard cases range from the The Hardside 300 Photo has an IP67 Hard cases have many benefits, but
dinky 31 x 27 x 14cm, 1.8kg WT411 up rating, certifying it dustproof and lightness isn’t usually one of them.
to the monster WT9263, which weighs waterproof in a metre of water for up Peli’s Air range is a breath of fresh
in at 12.2kg – although thankfully that to 30 minutes. Lowepro uses an ABS you-know-what: the 1525 Air weighs just
model has wheels. This WT3434 case polymer for the outer shell. While this 3.2kg with foam, making it noticeably
is hardly petite at 65 x 51 x 24cm, but easily survived our testing, it gives the lighter than Peli’s slightly smaller 5.26kg
you don’t get wheels to suspend its impression of being slightly more brittle iM2600 Storm Case. Space hasn’t been
hefty 8.2kg mass. than some of the other case materials. sacrificed to achieve this, as internal
Even its chunky rubber-coated handle You won’t find typical diced foam dimensions of 52 x 29 x 17cm make
isn’t enough to lighten this load, although inside, but rather a removable, the 1525 Air a good fit for a typical kit.
extra handles on each end mean both self-contained padded soft case with Robustness isn’t compromised
arms – or a friend – can help take the customisable dividers and even a pair of either: Peli’s used a clever honeycomb
strain. Inside is space for serious gear, concealable backpack straps. Within this construction and a new lightweight plastic
including an exotic super-tele lens, all is space for a body and an attached lens, polymer. When subjected to extreme
nestled in diced foam. plus up to six extra lenses – although the abuse, the Air flexes slightly more than
Four rugged catches secure the case’s relatively svelte form means the the conventional Storm Case, but it’s
lockable lid, ensuring the neoprene seal optimal divider layout is best suited to still reassuringly tough.
is clamped tightly to keep out water and narrower APS-C optics. Useful details, like steel protectors
Lenses
dust. Top-notch material quality exudes The payoff is 45 x 30 x 18cm outer around the padlocking points and an
robustness, helping the WT3434 take dimensions, which comply with most ergonomic rubber-coated handle, seal
our overzealous abuse in its stride. airline carry-on requirements. the deal.
84 f r o m t h e m a k e r s o f D i g i tal C a m era m a g a z i n e
miniTEST
Five things to look for…

1 On a roll
Most hard cases
weigh 4kg or more,
2 high altitude
To avoid any
deformation, your
3 Cushioning
The padding of
choice for most hard
4 plan ahead
Diced foam can
only be customised
5 Little extras
Padlock points
are a must, while lid
even without gear. If airtight case should cases is a simple block once. Lay out your kit latches that release in
you’re travelling far, go include a pressure of foam, perforated beforehand to ensure two stages will stop
for a rolling hard case. equalisation valve. into small cubes. optimal placement. accidental opening.

w w w. p e l i . c o m w w w. v a n g u a r d w o r l d . c o m w w w. v a n g u a r d w o r l d . c o m
Peli iM2620 Vanguard Vanguard
4 5 6
Storm Case Supreme 40F VGP-13
£175/$179 £109/$180 £79/$105
Compared to the lightweight Air The Supreme 40F thrashes the It’s not just Peli that’s tried to lighten
case, this 6.58kg design is on the Hardside 300’s one-metre waterproof hard cases. The VGP-13’s internal
weighty side, but it does sport wheels rating, as this case will keep your kit dimensions may be slightly smaller than
and an extendible handle so you can dry down to five metres underwater. the 1525 Air at 45 x 31 x 15cm, but its
use it as a roller case. Toughness is Although, with so much foam inside, you foam-equipped weight of 3.2kg is
a match for any case in this test group, have to wonder how the case could impressive nonetheless.
with the handle and wheels not letting possibly sink so deep. However, where the Air saves weight
the side down either. Its 43 x 30 x 18cm interior dimensions without compromise, this case isn’t quite
The iM2620 is relatively deep at 27cm, give enough space for a full-frame SLR so impenetrable. It’s constructed of a
allowing a typical 24-70mm lens to slot in and three or four lenses, while still reinforced aluminium frame surrounding
upright to save space, while the 54cm retaining a convenient outer size and plastic panels, but though these flexed
length and 41cm width make this case modest 4.4kg weight. Hexagonally diced more than a conventional hard case in our
spacious without being unwieldy. foam is the included padding, although testing, the VGP-13 still survived perfectly
As with most of Peli’s hard cases, you Vanguard sells an optional self-contained intact. The packing-case look is also easier
have a choice of internal padding. Pick ‘n’ divider bag for added versatility. on the eye than more utilitarian designs.
Pluck diced foam is the cheapest option, Despite the keen price tag, there Both diced foam and customisable
but there’s also a movable padded divider are nice extras like a comfy handle divider interiors are included, and
set. You can even spec an organiser and non-slip rubber feet on the base. Vanguard even throws in a shoulder
Lenses
pouch to store accessories like filters and Robustness is top-notch too, with the strap. The only things missing here are
batteries in the lid, while nifty press-and- Supreme being every bit as tough as waterproofing, and sufficient space for
pull lid latches come as standard. the Calumet and Peli cases. a bulky full-frame set-up.
f r o m t h e m a k e r s o f D i g i tal C a m era m a g a z i n e 85
C S C TEST OLYMPUS PEN-F
1
2
3
C S C w w w. o l y m p u s - g l o b a l . c o m /e n 4
Olympus Pen-F
£899/$999
The most advanced Pen-series camera has
the features and handling to charm enthusiasts
Specifications Olympus has two 1 with full AF and metering operation

lines of Micro Four This dial gives a route
(or 10fps without); an 81-point
Sensor Four Thirds (17.4 x 13mm) Thirds compact contrast detection autofocus system;
LiveMOS sensor with 20.3 million to the Art Filters and
system camera: Pen Color Creator as well Full HD (1,920 x 1,080) at a range of
effective pixels
Focal length conversion or lens 2x
and OM-D, with the latter as the Monochrome frame rates; 28 Art Filter effects;
Memory SD/SDHC/SDXC the more ‘serious’ of the Profile Control and Wi-Fi connectivity; and the High Res
Viewfinder Electronic viewfinder pair. The Pen-F comes in at the Colour Profile Control. Shot mode first seen on the OM-D
with 2,3600,000 dots top of the current Pen line-up and E-M5 Mark II.
Max video resolution Full HD has a 20-million-pixel Four 2 This system makes use of the
(1,920 x 1,080), 30fps Thirds type sensor – that’s four Pen-F’s stabilisation system to shift
ISO range 200-25,600 This 3-inch 1,037K-dot
million more pixels than previous the sensor between shots as it
(expandable to 80-25,600) LCD is touch-sensitive
Pen models. and attached via an
captures eight 20MP images. These
Autofocus points 81 Until now, one of the key files are then merged into a single
Max Burst rate 5fps with AF articulating bracket,
distinctions between the two so it can be flipped out high-resolution image. On the E-M5
(10fps with AF locked at start)
Screen 3-inch 1,037,000-dot TFT
lines has been that the OM-D and angled up or down. II, High Res Shot mode delivers
Shutter speeds 1/8,000-60 sec cameras have a built-in 40MP JPEG images or 64MP raw
plus Bulb viewfinder, while the Pen models files; but on the Pen-F, the JPEG
3
Weight 373g (body only) don’t. The Pen-F changes that, image size has been increased to
Dimensions 125 x 72 x 37mm integrating an OLED electronic There’s a small, but 50MP, while the raw files are a
Power supply Lithium-ion viewfinder with 2.36 million effective thumbgrip whopping 80.6MP. However, the
BLN-1 (supplied) on the back, which
dots into its body. It also has maximum shutter speed available
helps keep the camera
Olympus’s excellent five-axis steady in your hand.
is 8 sec, while the minimum aperture
image stabilisation built-in. This is f/8 and the highest available
is claimed to extend the safe sensitivity setting is ISO 1,600.
Lenses
hand-holding shutter speed by 4

The Pen-F integrates up to 5EV – that’s the difference There’s an exposure Build & handling
an OLED electronic between 1/500 sec and 1/15 sec. compensation dial on
an Olympus digital
The Pen-F has the type of build that
Other highlights include a makes you smile when you pick it
viewfinder with 2.36 maximum continuous shooting camera for the very up – solid and made from metal. But
first time.
million dots into its body speed of five frames per second while the body and milled metal dials
Despite the low light, low contrast and
netting, the autofocus system was
able to get this moving subject sharp.
are of high quality, the buttons on

the back of the camera are the small
plastic affairs that drew some
criticism in the Olympus Pen
and OM-D ranges.
The 2.36-million-dot electronic
viewfinder is very good, with a high
refresh rate so you can pan with
moving subjects, and it shows lots of
detail in good light. When the EVF
Auto Luminance option was turned
on in the menu, however, I found that
the viewfinder sometimes showed
the scene brighter than the recorded
image, which tricked me into
underexposing. I recommend setting
the EVF brightness manually.
The 3-inch, 1,037k-dot LCD on the 1 2 3
back of the camera is also very good,
responding quickly to a touch and
Good colour Touch focus Go large!
Don’t like the colour you’re The vari-angle screen is helpful The Pen-F’s High Res Shot
displaying lots of detail. It’s a shame getting from the Pen-F? Try when you’re shooting from an mode allows you to make
that it’s not possible to make main changing the Picture Control awkward angle, and the AF great prints at huge sizes –
menu selections and adjustments mode or the Colour Profile. point can be set with a tap. even over A1 (594 x 841mm).
using touch control, but it is possible
with the Super Control Panel.
On the whole, the Pen-F is
pleasant to use, but it has some of the
quirks that we’ve seen with other Meet the
Olympus cameras. For example, it’s rivals
sometimes necessary to turn the
camera off and on again to get the The cameras Fujifilm X-E2S Olympus OM-D Panasonic GX8
electronic level to activate when the taking on £549/$699 (body) E-M10 II £575/$1,198 (body)
appropriate button is pressed. the Pen-F… Built with rangefinder- £449/$649 (body) It’s bigger than many
like styling, this This dinky 16MP CSCs, but this 20MP
Performance 16.3MP CSC uses Micro Four Thirds model has a tilting
The Pen-F’s sensor has 20.3 million Fujifilm’s impressive CSC has an excellent electronic viewfinder
effective pixels, which is roughly 25% APS-C format X-Trans electronic viewfinder, and a fully articulating
For test
Lenses
more than on any other current CMOS II sensor, lots of customisation screen, along with
images and
Olympus Pen or OM-D cameras. Our resolution and has a superb options, and a Panasonic’s 4K
lab tests reveal that, in comparison electronic viewfinder. tilting touchscreen. Photo feature.
charts, visit
with the Pen E-P5, this brings a Reviewed Page 58 Reviewed Page 18 Reviewed Issue 170
www.techradar.
significant hike in the amount of com/cameras
detail in images at lower sensitivity
C S C TEST OLYMPUS PEN-F
COLOUR ERROR
Olympus Pen-F 11.6
Fujifilm X-E2S 19
Olympus E-M10 II 7.1
Scores closer
Panasonic GX8 -6.6
to zero are better
-5 0 5 10 15 20
The Pen-F tends to produce quite saturated

colours in its Natural Picture mode, although
the Fujifilm X-E2S JPEGs are more vibrant.

50
40
Decibels
30
20
10
100 400 1,600 6,400 25,600

The Dramatic Tone II Art Filter can produce some attractive high-contrast images.
Although the Pen-F scores well, it can’t
match the heights of the Panasonic GX8.
In High Res Shot mode, the results are better
than in the standard mode.
settings. However, above ISO 3,200 the clear the buffer – but the results are
level of detail in Pen-F images is a little impressive. Detail levels are increased
lower than in the E-P5’s shots. Also, JPEGs markedly, enabling much bigger prints RAW DYNAMIC RANGE
viewed at 100% lack the ‘bite’ or sharpness (larger than A1) to be made. The downside
of files from some other cameras, but they is that it’s a ‘tripod-only’ option, and is 14
look good when sized to make prints. unsuitable for shooting subjects with
Exposure Value
12
Noise is controlled well for most of the moving elements such as flowing water.
Pen-F’s sensitivity range. As usual, in the There seems to be an near-infinite 10
default noise-reduction setting you can number of ways to tweak the colour of
expect to see some fine details lost from JPEGs to suit your preferences, so if you 8
JPEGs at the upper sensitivity settings. don’t like the results from the Pen-F, you 6
Nevertheless ISO 6,400 images (both raw probably just need to find the right setting. Higher scores are better. Raw
and JPEG) look good at A3 size. The Natural Picture Mode makes a good 100 400 1,600 6,400 25,600
Switching to the High-Res Shot mode starting point and produces natural, if The Pen-F’s raw files are quite similar to the
slows shooting down considerably, with slightly muted, colours and contrast. If you JPEGs and don’t match the high scores of
each image taking nine seconds or more to want a bit more punch, switch to the Vivid the competing cameras. However, they have
or I-Enhance mode. good scope for post-capture adjustment.
Although the Pen-F has a contrast-
detection system, rather than a hybrid
WE SAY...
solution that combines contrast detection
with a phase system, it’s fast and accurate The Pen-F is an excellent camera with
in many situations. It works well in quite bags of features, plus lots of scope for
low light, but you can expect a bit of customisation of both the controls and the
hunting as contrast levels drop further. appearance of the images it produces. It may
take you a while to work through the various
Provided that you keep the active AF point
options and optimise it for the way you want
over the subject, it’s also pretty good
to shoot, but it’s worth taking the time to
at keeping moving subjects sharp in explore and experiment.
continuous AF mode, but the Tracking
AF mode is more hit-and-miss.
Olympus’s stabilisation system is well Verdict
regarded, and it doesn’t disappoint in the
Pen-F. When shooting with the popular Features
12-50mm f/3.5-6.3 EZ ED MSC lens at BUILD & HANDLING
Lenses
50mm (100mm equivalent), for example,

There are dials I found I was able to get a high hit rate at PERFORMANCE
a-plenty on the 1/6 sec, producing close-range images
Pen-F’s top plate. that look acceptable at 100%. That’s a Value
compensation factor of around 4EV.
OVERALL
Angela Nicholson
The only monthly
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C S C TEST OLYMPUS OM-D E-M5 MARK II
’s
to r e
Edihoic
c
CSC w w w.olympus .co.uk
Olympus OM-D E-M5 Mark II

£749/$899 (body only) 40MP JPEG or 64MP raw files
automatically in its High Res Shot
Olympus’ 16MP E-M5 Mark II can produce 40MP or mode. Using the upgraded Image
Stabilizer, it shifts the sensor by a tiny
even 64MP images automatically. Angela amount between shots as it takes a
sequence of eight images. The camera
Nicholson finds out how then combines these images into a
large composite. As the capture
process takes around a second, High
Res Shot mode is a tripod-only feature
that’s designed for motionless
subjects.
Specifications he Olympus OM-D Olympus has also improved the
Sensor 16.1MP Micro Four Thirds
T E-M5 was the first sensor-shifting five-axis image
camera in Olympus’s stabilisation system for the E-M5
format (17.3 x 13mm)
OM-D line of Micro Four Mark II. It claims a 5EV extension in
Focal Length 2.0x
Memory SD/SDHC/SDXC
Thirds compact system the safe hand-holdable shutter speed;
Viewfinder Electronic viewfinder (EVF) cameras, and is sometimes that’s the difference between 1/500
with 2,360,000 dots (approx 100% cover) referred to as the original sec and 1/15 sec. Significantly, it also
Video resolution 1080 OM-D. Its electronic viewfinder works in video mode.
ISO range 100–25,600 and SLR-like design distinguished Live Bulb and Live Time mode are
Autofocus points 81 it from the Olympus Pen series. It both present, along with the Live
Max burst rate 10fps (AF, white was also aimed at more Composite mode introduced with the
balance and exposure locked at start) experienced photographers than E-M10. These allow you to see
Screen Vari-angle three-inch, the Pen or Pen Lite. long-exposure images building up on
1,037,000-dot touchscreen
As the name suggests, the the camera’s screen, or on a
Shutter speeds Mechanical shutter,
1/8,000-60 sec plus Bulb; electronic
OM-D E-M5 Mark II is the smartphone or tablet connected via
shutter, 1/1,6000-60 sec replacement for the original the camera’s Wi-Fi system. Live
Weight 417g (body only) E-M5. It sits between the top-end Composite mode is intended for
Dimensions 124 x 85 x 38mm E-M1 and the lower-level E-M10 shooting fireworks and star trails
Power supply BLN-1 rechargeable in the OM-D range. or painting with light.
lithium ion battery (supplied) With the possible exception of the
Features lack of a pop-up flash, the E-M5 Mark
The E-M5 II uses a modified II has a comprehensive specification
“It may be small, but the version of the 16.1MP Four Thirds that provides the enthusiast
Lenses
type (17.3 x 13mm) sensor in the photographer with just about

OM-D E-M5 Mark II feels original E-M5, but it’s coupled everything they could want. It also has
nicely constructed. Its with the TruePic VII processing plenty to entice aspiring
engine of the E-M1. A more videographers, such as frame rates up
magnesium body is significant upgrade, however, is to 60fps, bit rates up to 77Mbps, Time
The fingergrip is slim
solid and comfortable” the Mark II’s ability to create but effective. Code and a 3.5mm mic port.
OLYMPUS OM-D E-M5 MARK II C S C TEST
Zooming in on the… OM-D E-M5 Mark II This custom function

button is a little too
easy to press
accidentally when
you’re holding the
camera to your eye.

The Mark II has a
couple of extra
The mode dial has buttons on the
a lock to prevent you top-plate and a rejig
from changing modes to the adjustment dial
by accident. arrangement.
The electronic
viewfinder (EVF),
which shows 100% of
The new vari-angle 3-inch the scene, has been
In a change from the
1,037k-dot touch-sensitive improved and has
original E-M5 layout,
screen is useful for 2,360,000 dots rather
the power switch is
composing images at than the 1,440,000
now alongside the
awkward angles in dots of the original
mode dial.
landscape or portrait E-M5’s.
Build and handling E-M10 in the OM-D range, and its control the dials, but on the other, you need to
It may be small, but the OM-D E-M5 Mark II arrangement is halfway between the two. remember which setting gives access
feels nicely constructed. Its magnesium body Taking a cue from the E-M1, there’s a switch to the controls you want. You get into
is solid, comfortable and secure in the hand. on the back that changes the options adjusted the swing of it once you’ve been using
It’s also dust- and water-proof, as well as by the two top-plate dials. This switch is a the camera for a while, but you can
freeze-proof down to -10 degrees C. mixed blessing. On one hand, it doubles the expect some frustration in the early
The E-M5 II sits between the E-M1 and number of options that can be adjusted via days.
One of the great features of the
OM-D series is that the cameras are
extremely customisable. However, it
can take quite a while to find and
Meet the understand all the options as well as
rivals… the huge range of features. The
controls are all within easy reach, but
The cameras some people may find the small
taking on the Fujifilm X-T1 Samsung NX1 Sony Alpha 7R buttons fiddly. I also found that a
Body: £795 / $1299 Body: £1,249 / Body: £999 /
E-M5 Mk II Traditional controls, $1,499 $1,898
couple of buttons didn’t behave as
weatherproof build One of the E-M5 II’s Sony’s first-
I would expect on a few occasions. The
and retro styling, chief rivals has generation A7R lacks Info button, for example, which I used
plus superb-quality already fallen by the the in-body image to toggle between the on-screen
images make this wayside, but this stabilisation of its displays, occasionally wouldn’t bring
SLR-like 16MP 28MP 4K video successor but its up the electronic level display. And
For test
Lenses
compact system powerhouse could be 36MP full-frame there was a short period when I
images and camera a real a great used buy if sensor delivers both
resolution couldn’t review images in the
winner. you get lenses too. power and value. viewfinder. I was unable to find any
charts, visit Reviewed Issue 151 Reviewed Issue 160 Reviewed Issue 147
www.techradar. explanation for this within the menu,
com/cameras and the ability to review recovered
without me changing any settings.
C S C TEST OLYMPUS OM-D E-M5 MARK II
CSC benchmarks
How does the Olympus E-M5 Mark II fare?
COLOUR ERROR Scores closer to zero are better
Olympus OM-D E-M5 II 5.7
Fujifilm X-T1 6.7
Samsung NX1 -9.83
Sony Alpha 7R -5.04
-10 -5 0 5 10
COLOUR ERROR RESULT: Some hues are a little over-saturated,

but on the whole, the E-M5 Mark II produces very pleasing
colours.
Olympus OM-D E-M5 II Samsung NX1

KEY
Fujifilm X-T1 Sony Alpha 7R

44
40
36
32
28
24
20
Highest values are best
16
200 400 800 1,600 3,200 6,400
SENSITIVITY
Above It was very useful to be able to check the focus was spot-on using the
NOISE RESULT: In its standard 16MP mode, the E-M5 II beats
magnified view in the rear display.
its rivals at most ISO settings, indicating that images are a
little cleaner.
The electronic viewfinder provides engineers believe that the 64MP raw
RAW DYNAMIC RANGE* Highest values are best a good view of the subject. There’s no files only resolve a level of detail
13 sign of any texture or flickering, and equivalent to that from a 40MP
12 the contrast is a good match for the camera. Of course it depends upon
DYNAMIC RANGE (EV)
11 scene’s. With the Natural Picture what format that camera is: let’s not
10 mode selected, the viewfinder image forget that the Four Thirds-type
9 sometimes looks a little more sensor inside the OM-D
8
saturated than the scene, but the hues series cameras is smaller than both
are a good match. There’s some noise APS-C and full-frame format.
7
Highest values are best visible in very low light, but you can However, our tests show that at the
6
200 400 800 1,600 3,200 6,400 still see the subject clearly. lowest sensitivity settings the E-M5
SENSITIVITY Mark II can match the full-frame
DYNAMIC RESULT: The E-M5 II performs consistently Performance 36MP Nikon D810 for resolving
throughout its sensitivity range. This indicates that raw files One of the main attractions of the power. It drops away from the D810 a
have a wide tonal range.
OM-D E-M5 Mark II is its High Res little as sensitivity rises, but as the
Mode, which enables it to record camera has to be tripod-mounted and
OVERALL BENCHMARK RESULT 40MP JPEG images or 64MP raw the subject motionless, there will be
Overall the OM-D E-M5 II puts in a good performance in our lab.
While it can’t match the Samsung and Sony cameras and their files. As you might imagine, this isn’t few occasions when sensitivity needs
larger, higher-pixel-count sensors for detail resolution in its without compromise. Sensitivity is to be raised above ISO 200.
standard 16MP mode, it produces very respectable results for a
Micro Four Thirds camera – and can match them in High Res
limited to ISO 100-1,600, the The results are very impressive.
Shot mode. minimum aperture is f/8 and the Comparing simultaneously captured
* Raw results use images converted to TIFF slowest available shutter speed is high-resolution files at 100% reveals
eight seconds. that the JPEGs look slightly sharper
It’s also essential that the camera and more natural, which seems to
Below This is the first
Olympus CSC to have a
is stationary and that the subject bear out Olympus’s decision to limit
vari-angle screen. doesn’t move. Even small movements their size at 40MP.
result in a hatched pattern appearing Turning to the standard (16MP)
LensesLenses
or ghosting in images. The High Res files, noise is controlled well from ISO
Shot raw files also have to be 100-6,400, although some luminance
processed using a free Photoshop noise is visible at 100% in images
plug-in for Windows or Mac OS X. taken at the lowest sensitivities.
Olympus prefers to refer to the Unusually, JPEG
camera as a 40MP model, because the files taken in the standard settings
OLYMPUS
CANON EOS
OM-D760D
E-M1 SLR
C S C TEST
TEST

look very similar to raw files Above Despite The E-M5 II’s automatic white Verdict
being hand-held
processed in the supplied Olympus and taken at
balance system does a very good job Although the occasions in which the
Viewer software with all noise 1/6 sec to blur the in most natural lighting situations. It system can be used are limited, the
reduction turned off. Even at the man’s movement, also doesn’t fare badly in some E-M5 Mark II’s ability to shoot 40MP
highest sensitivity setting, there’s the surrounding artificial lighting situations, adding a and 64MP files is very attractive. This
little chroma noise (coloured walls are perfectly hint of colour that gives away the light and the vari-angle screen could
sharp.
speckling) visible, but luminance source. Colours are also handled well attract new users to the OM-D series,
noise is present at every value. in the Natural Picture mode, but as well as entice existing E-M5 users.
The results at ISO 6,400 are good, there’s a collection of other options, The E-M5 Mark II has a large
but stepping up to ISO 12,800 and such as Vivid, Muted, Portrait and feature set, and it can take a while to
ISO 25,600 increases the level of Monotone, as well as the Custom, discover important controls and get
smudging in images viewed at 100% Color Creator and Art Filter options, familiar with the layout. While
and colour saturation drops. These if you’re looking for a different experience helps, the interface would
images also look a little softer than treatment to be applied to the JPEG benefit from a rethink to group more
ISO 200 shots when sized to make A3 files. Helpfully raw files can be of the connected features or controls
prints, but are still passable. recorded at the same time so you can together. It is an excellent camera, but
have a ‘clean’ image for post-capture these limitations stop the E-M5 Mark
processing if you want. II from getting a perfect score.
Although it doesn’t have the hybrid
AF system of the Olympus OM-D WE SAY...
E-M1, the E-M5 Mark II’s 81-point AF This is a capable camera that offers
system is very good. In normal extensive control. However, its complexity
daylight conditions, it gets subjects should not be underestimated. The new High
sharp quickly; and while it struggled Res Shot mode is especially impressive,
more than the Canon 5D Mark III, despite its limitations.
I was able to get some sharp images in
Left Seals around the poor light using the M Zuiko Digital Verdict
controls keep out moisture ED 40–150mm f/2.8 Pro lens. When
and dust effectively. shooting with the M Zuiko Digital Features
12-50mm f/3.5–6.3 EZ ED MSC kit BUILD & HANDLING
Lenses
lens at 14–17mm, which equates to

28–34mm in full-frame terms, I got IMAGE QUALITY
consistently sharp results that stand
scrutiny at 100% at 1/6 sec. Most Value
shots I took at 1/5 sec are also sharp at
OVERALL
100%, which is very impressive.
C S C TEST Olympus OM-D E-M1 II
2
3
1
CSC w w w.olympus .com
Olympus OM-D E-M1 II

4
£1,850/$1,999 (body only)

With a 60fps full-resolution burst mode plus a new
autofocus system and sensor, this CSC looks amazing
Specifications Olympus has 1 20-megapixel images at 60 frames

played two aces The E-M1 II’s smaller
per second, and it can keep this up for
Sensor 20.4MP Micro Four Thirds Live with the E-M1 II. Its 48 frames (raw or JPEG) – long
MOS sensor (17.3 x 13mm) sensor format pays
60fps burst mode is a dividends with enough to be much more likely of
Focal length conversion on lens 2x
Memory 2x SD/SDHC/SDXC
spectacular leap forward in smaller, lighter lenses. capturing a key frame than a regular
(1x UHS-1, 1x UHS-II) high-speed shooting, and even SLR. And if you’re not sure your
Viewfinder EVF, 2,360k dots though you have to step down to reactions will be quick enough,
2
Max video resolution 4K 18fps to get focus tracking with there’s a Pro Capture mode that
(4,096 x 2,160) moving subjects, that’s still a The electronic starts buffering frames as soon as
ISO range ‘Low’-25,600 poke in the eye for heavier, more viewfinder has a high you half-press the shutter release so
Autofocus Hybrid phase/contrast resolution (2.36MP)
expensive – and slower – pro that when you press it the rest of the
detection, 121 points, all cross-type and a higher frame
SLRs like the Canon EOS-1D X II rate for less lag.
way, you don’t just capture frames
Max burst rate 60fps AF locked, and the Nikon D5. from that point on, but the preceding
18fps with AF
This camera’s other party trick 14 frames too.
Screen 3-inch vari-angle, 1,037k dots 3
Shutter speeds 60-1/8000 sec, Bulb
is its new all-phase-detection All this happens using the OM-D
Weight 574g, body only, with battery autofocus system – designed to The fully-articulating M1 Mark II’s silent shutter mode. It
and memory card prove that mirrorless cameras LCD display is a step has to lock focus and exposure at the
Dimensions 134 x 91 x 69mm can match SLRs for tracking forward from the first frame, but it’s designed to be
Power supply BLH‑1 lithium‑Ion moving subjects. The AF system simple tilt mechanism used where the point at which the
battery (supplied), 440 shots uses 121 on-sensor phase in the original E-M1. action will occur can be framed up
detection AF points arranged in in advance.
a rectangular array that covers 4 The new camera is splash-proof,
a much larger area of the frame You’d hope that the dust-proof and cold-proof down to
(80% of the frame width, 75% of E-M1 II would have a 10 degrees Centigrade. It comes with
Lenses
the frame height) than regular dedicated drive mode a quoted shutter life of 200,000 shots
The E-M1 II’s 60fps burst digital SLR systems. dial – instead, you and an optional new HLD-9 battery
mode is a spectacular But let’s get back to that have to press this grip that doubles the battery life
continuous shooting capability. button and turn the (always a sore point with mirrorless
leap forward in high- The bald fact is the E-M1 II can rear dial. cameras) and has dedicated controls
speed shooting shoot full-resolution, uncropped for vertical shooting.
1 2 3
Colour rendition Autofocus Depth of field

Olympus cameras are known for their nice- The autofocus response is exceptional: the OM-D The smaller sensor format gives greater depth of
looking JPEG images. The Vivid style used here E-M1 II’s high-tech phase-detection system focused field, although it’s still easy to throw backgrounds
has added vibrancy to a dull, overcast afternoon. on this bird of prey in an instant. out of focus with a fast prime lens.
Inside the body is a 20.4-megapixel It’s not just about the size of the body, squeeze on a lot of external controls
Live MOS sensor measuring 17.3 x but the lenses too. The 12-40mm without making them feel cramped.
13mm, with an ISO range of ‘Low’ f/2.8 Pro lens (24-80mm effective) The key dials are on the right side
to 25,600. It’s equipped with a is half the size and weight of a of the top plate, and consist of
newly redesigned five-axis image full-frame equivalent; this goes a regular mode dial and two
stabilisation system, which can work right across the board, right up to unmarked control dials whose
in conjunction with a new 12-140m Olympus’s 40-150mm f/2.8 (80- function depends on both the mode
f/4 IS lens, launched at the same time 300mm equivalent) and 300mm f/4 you’re in and the position of a lever
as the camera. super-telephoto (600mm equivalent). on the back of the camera, just to
The E-M1 II can shoot 4K video in Despite the E-M1 II’s relatively the right of the viewfinder eyepiece.
both the C4K (4,096 x 2,160) and 4K/ small size, Olympus has managed to This effectively doubles up on the >
UHD (3,840 x 2,160) formats – and
this new lens is designed not only
to offer a useful focal range for
videographers (24-200mm Meet the
equivalent) but to offer even better rivals…
hand-held footage thanks to its own
in-built image stabiliser. Olympus The cameras Fujifilm X-T2 Panasonic GH4 Sony Alpha 6300
is claiming a 6.5-stop shutter speed taking on the £1,399/$1,599 £899/$1,198 £899/$998
advantage for this camera and lens. Olympus OM-D The X-T2 can’t quite It’s due for With continuous
E-M1 Mark II… match the E-M1 II for replacement, but the shooting up to 11fps
Build and handling high-speed bursts, GH4’s specs still and a super-high-
The E-M1 Mark II is the largest but its 24MP APS-C look special, with 4K tech AF system, the
camera in Olympus’s OM-D range, X-Trans sensor’s video, continuous A6300 is more
Lenses
but it’s positively diminutive next image quality and 12fps shooting and powerful than its
For more
to a pro SLR. The smaller sensor its AF system are an innovative 30fps understated looks
camera
size of the Olympus means it’s at first-rate. 4K Photo mode. suggest. Look out
reviews, visit
a disadvantage for ultimate image Reviewed Issue 185 Reviewed Issue 154 for the A6500 soon.
www.techradar.
quality, but it brings two big com/cameras
advantages: size and weight.
With a continuous shooting

rate of 60fps, the E-M1 II can
reliably capture moments
that would require sheer luck
with any other camera.
control dial functions – as long as shutter action is unusually soft – as any pro SLR. It hunts from time to
you remember to set the lever to the much softer than its predecessor’s. time in low light, however, or with
correct position. The feel of the materials and low-contrast subjects, but the speed
This is a camera that you can controls is first-rate – this feels such at which it can refocus from infinity
easily get confused with, at least a finely made, high-precision to a subject close to the camera and
initially. Despite the array of external device that you have to remind back again borders on the uncanny.
controls, it also relies heavily on its yourself it’s also been ‘ruggedised’ The E-M1 II is a fraction of the
menu system and an interactive for outdoor conditions. weight and cost of a high-speed pro
touch-screen control layout, sports SLR, but it has an autofocus
activated by the OK button in the Performance system which narrows or perhaps
middle of the four-way controller. The OM-D E-M1 II’s sensor is half even eliminates the performance gap
You don’t have to use the touch the size of APS-C and around between mirrorless and SLR
system – you can also navigate one-quarter the size of a full-frame technologies – and can shoot at
through the options using the SLR sensor, yet you wouldn’t know speeds that no SLR can match.
four-way controller buttons and the it from the images it produces. They Rod Lawton
control dials on the top of the camera. are extremely sharp; the roll-off in
But what about the revolutionary bright highlights is smooth and
continuous shooting and autofocus subtle; and lens aberrations like
modes? These are key features that distortion and fringing are
surely deserved a rethink of the processed out so well that they
camera’s external layout, with effectively cease to exist.
dedicated controls for each. Instead, The OM-D II performs well at
the E-M1 II follows the same generic higher ISOs too, although larger-
exterior layout as its predecessor, sensor rivals pull ahead here.
LensesLenses
giving no real external clue to its The high-tech autofocus system

enhanced capabilities. is harder to judge. We got a mixture
The actual shooting experience is of duds and successful shots in our
hard to fault, though. The electronic early tests. What’s obvious straight
viewfinder is crisp and clear with away is its static AF speed. It feels at
little lag, even in low light, and the least as fast in single-shot AF mode
C S C TEST
COLOUR ERROR
Fujifilm X-T2 16.1
Panasonic GH4 5.6
Scores closer
Sony Alpha 6300 -3.7 to zero are
better
-20 -10 0 10 20
It’s not the worst, it’s not the best. The OM-D
E-M1 II’s colour rendition is more accurate
than the X-T2’s, but the Sony A6300 and
Panasonic GH4 are more neutral.

50
40
Decibels
30
20
10
0
100 400 1,600 6,400 25,600
The Olympus doesn’t achieve the same

performance as the X-T2 or, surprisingly, the
rather good GH4. It did better than the Sony
A6300 at higher ISOs, though.
RAW DYNAMIC RANGE

14
Exposure Value 12
10
6
100 400 1,600 6,400 25,600
The Panasonic GH4 and Sony A6300 are the

winners here, but the Olympus is not so far
behind and maintains its dynamic range right
through to higher ISO settings.
WE SAY...
We’d want to do more extensive tests before
reaching any final decision about the E-M1’s
continuous focus tracking performance, but
it’s an extraordinary camera in every other
respect. The image quality belies its small
sensor, and its static autofocus and burst
shooting modes are exceptional.
Verdict
Features
BUILD & HANDLING

Lenses
The quality at higher ISOs falls PERFORMANCE

behind APS-C and full-frame
cameras – but not by much. The Value
five-axis stabilisation makes this a
good low-light camera. OVERALL
M I N I t es t
RAIN COVERS
Don’t let rain stop play: keep your camera dry and ready to capture wet-weather wonders
w w w. m i n d s h i f t g e a r. c o m w w w. m a n f r o t t o . c o . u k
MindShift Gear Peak Design
1 UltraLight 20 3 Shell
£27/$35 £30/$40
THIS is actually a type of small, The second of the two basic cover
light bag that keeps your designs here, Shell is designed to work
camera dry between shots, but in harmony with Peak Design’s Capture
you need to take out the Clip system, which attaches your
camera for use. It’s essentially camera to a belt or a bag strap. What’s
a lightly padded fabric cube where more, where the MindShift cover is
the top flap folds over your camera designed as a stowaway pouch, you can
and fastens around the lens with a still use your camera with Shell fitted.
drawstring. This mid-sized version will The stretchy neoprene sleeve slips
wrap around a full-frame SLR with a over your lens and onto the camera body,
modest zoom lens, and features an with drawstring cords tightening around
integrated waist belt that allows the the base and lens to create a snug fit.
cover to be worn like a holster bag. A couple of well-sealed slots allow your
Unlike a traditional holster design, camera’s strap to pass through the top.
this cover can be collapsed and Although Shell looks neat and tidy
scrunched into its own compact when fitted, the cover needs to be folded
pouch for ultimate portability. This w w w. t h i n k t a n k p h o t o . c o m back awkwardly to use your camera;
means it’s just the ticket for stashing Think Tank even then, the lens is still obscured,
in your main camera bag, ready for a
day when you want to travel light but
2 Hydrophobia 70-200 making this better suited to protecting
a prime optic. A clever concept, but not
still want to pack some protection £128/$150 without its limitations.
should the heavens open.
The Hydrophobia may not be cheap, OVERALL
OVERALL but you’re paying for a real step up in
design. Rather than two hand openings
either side of the camera body, here the
left opening is further forward, just where
you need it for lens controls. There’s also
a grippy coating inside the lens jacket
that ensures it won’t slide out of place.
More useful extras include a rugged
carry strap and a front lens cover cap,
should you need extra wet-weather
protection between shoots.
A clever touch is the viewfinder hole
in the back panel – although to achieve
a waterproof seal, you’ll have to spend
£27/$35 on a compatible camera
eyepiece. The material surrounding this
can also obscure the top of a smaller
Lenses
camera’s rear LCD. But overall, this

no-compromise cover is a pleasure H
to use, even in extreme conditions. HH
HH reate
G lu
Va
OVERALL
98 f r o m t h e m a k e r s o f D i g i t al C a m era m a g a z ine

M I N I t es t
What to look for in a RAIN COVER

There’s more to a rain cover 70-200mm zoom. Some tricky to operate. A cover with
than simply shielding your cover designs are longer a clear plastic panel will let you
camera from dust or a or extendable for super- see your camera, and some
drenching. Most covers are telephoto optics. Smaller kits also have a small hole that’ll
designed for use with pro are likely to be swallowed by keep your viewfinder visible
SLRs and large lenses like a excess material, making them should the plastic fog up.

w w w. m a n f r o t t o . c o . u k
Manfrotto Pro Light
4 E-702 PL
£54/$60
This cover is spacious enough to protect

a full-frame SLR and a 70-200mm lens, with
enough room to allow easy operation of all
the camera and lens controls. But unlike some
covers, where you’ll have to fumble around blind,
Manfrotto’s large clear plastic panel lets you see
everything, although condensation build-up in
cold or humid weather could spoil the view.
Rain will have a job getting inside, thanks to
drawstrings securing both arm holes and the lens
opening. The latter has a semi-rigid adjustable collar
to ensure free movement of an extending lens barrel.
Attaching the cover is quick and easy, with a large
Velcro-fastened slot in the base that also allows
a tripod mount to pass through.
OVERALL
h t t p : / /e . m a t i n . c o . k r
5 Matin M-7098 Deluxe
£40
Like the Manfrotto cover, this design features

a transparent section. It’s only large enough to view
your camera’s rear and top panels, though, so you’d
better be well acquainted with your controls. On the
plus side, the clear portion incorporates a small hole
that lets a viewfinder eyepiece pass though, so you
won’t miss a shot should the plastic fog up.
This is a versatile cover. In its standard
configuration, it’ll shelter a good-sized pro body and
a 24-70mm optic, but an additional cover stowed in
a small attached pouch can be unravelled to add an
extra 33cm of lens protection. However, it’s hardly
an elegant system, and the joint between the two
Lenses
sections of cover isn’t watertight. The thin, cheap-

feeling material doesn’t inspire confidence, either. You
get a lot for your money, but don’t expect top quality.
OVERALL
f r o m t h e m a k e r s o f D i g i t al C a m era m a g a z ine 99
SLR TEST PENTAX K-70
3
2
4
CSC w w w.r icoh-imag ing.co.uk
Pentax K-70
£799/$897 with 18-135mm lens
Pentax elbows its way into the enthusiast digital
SLR market with a tough new outdoor camera
Specifications PENTAX is pitching 1

a thing of beauty. The twin control
the dustproof, dials make it handy for experts who
Sensor APS-C CMOS sensor, weather-resistant The K-70 is dustproof, want to make adjustments quickly
23.5 x 15.6mm, 24.2MP weatherproof and
and cold-resistant and the mode dial’s Sv (Sensitivity
Lenses Pentax KAF2 cold-proof down to -10
Memory SD/SDHC/SDXC, UHS-I
K-70 at the outdoor Priority) and TAv (Shutter and
degrees Centigrade.
Viewfinder Optical pentaprism, photography market. Aperture Priority) effectively bring
0.95x, 100% However, the K-70’s specs suggest the ISO setting into the ‘exposure
it’s an all-rounder suited to a 2 triangle’ on the main mode dial.
Max video resolution 1,920 x 1,080
ISO range 100-102,400 much wider range of subjects. The Sensor Shift The kit lens has a long focal range,
Autofocus points 11 (9 cross-type) Its 24-megapixel APS-C system is used for is weather-resistant and has a
Max burst rate 6fps sensor has no anti-aliasing filter, image stabilisation, non-rotating front element, so it’s
Screen 3-inch vari-angle, 921,000 but an AA Filter Simulator that anti-aliasing filter perfect for use with filters. It’s also
dots applies microscopic vibrations to simulation and a relatively fast, smooth and quiet.
Shutter speeds 1/6,000 sec to high-res mode.
imitate the effect of a physical
30 sec, Bulb
Weight 688g
filter. This is made possible by Performance
Dimensions 126 x 93 x 74mm Pentax’s five-axis Sensor Shift 3 Our lab results show that the K-70
(body only) system. This can cut camera The rear screen is fully is clearly capable of good results,
Power supply D-LI109 lithium-ion shake and is used for a Pixel Shift articulating. The K-70 but the 18-135mm kit lens has poor
battery, 410 shots Resolution mode for better colour gets hybrid autofocus edge definition throughout the zoom
and definition in ultra-fine detail. in Live View mode – a and aperture range. K-70 buyers
Pentax has also added hybrid first for a Pentax SLR. might be better off purchasing it in
contrast and phase detection body-only form and then investing
The kit lens has a autofocus in Live View mode. 4 in more expensive glassware.
The default multi-pattern
long focal range, is The main mode dial
Lenses
Build & handling exposure metering does a reliable job

weather-resistant and The K-70’s square body and
has Sv and TAv modes,
which bring the ISO and the auto white balance system
has a non-rotating square-shaped grip are purely setting into the strikes a good balance between
functional: it’s compact, easy to ‘exposure triangle’. correcting colour casts and
front element – perfect grip and the controls are all in the preserving the atmosphere.
for use with filters right places, but it’s not really Rod Lawton
SLR TEST
COLOUR ERROR
PENTAX K-70 3.2
CANON EOS 760D 8.2
Nikon D7200 4.5

Scores
closer
SONY ALPHA 68 -1.9 to zero
are better
-5 0 5 10 15 20
The K-70’s strong but natural colour

rendition gives it a pretty good score
compared to rival cameras in this group.

50
40
The vari-angle screen meant that we were able to get right down to puddle-level to capture this beautiful
Decibels
30
reflection – and the camera’s decent level of weather-proofing proved to be rather reassuring in a downpour!
20
10
0
100 400 1,600 6,400 25,600
The K-70 isn’t the best for JPEG noise

reduction, but the results from its raw
files start to edge ahead at higher ISOs.
RAW DYNAMIC RANGE

14
Exposure Value 12
10
6
4 results use images converted to TIFF
100 400 1,600 6,400 25,600
The same story is repeated here. The K-70

offers similar dynamic range to the rest at
low ISOs, but is better at high ISO settings.
The extra zoom range of the 18-135mm kit lens is useful for isolating subjects and getting tighter compositions.
Sharpness at full zoom was disappointing, however, and the 18-135mm lens had poor edge sharpness too. WE SAY...
The K-70 is a compact, solid and well-
specified camera for enthusiasts. It’s packed
with innovative features, and the articulated
Meet the screen comes to life with the new hybrid Live
rivals… View autofocus system. The 18-135mm kit
lens, however, is a disappointment: it handles
The cameras well, it focuses quickly and it offers a long
Canon EOS 760D Nikon D7200 Sony Alpha 68 zoom range, but the optical quality is poor.
taking on the £509/$849 (body) £999/$1,297 (body £629/$698 (body
Pentax K-70… With its 24MP with 18-105mm lens) with 18-55mm lens)
Verdict
sensor, vari-angle The D7200 delivers The translucent
display and hybrid excellent resolution mirror combines the Features
CMOS AF sensor, and image quality autofocus speed of
the 760D is a close with good handling. an SLR with the Live BUILD & HANDLING
Lenses
match for the K-70 Bought with Nikon’s View of a mirrorless

For more in-
in all aspects but very good 18-105mm camera. Its AF system PERFORMANCE
depth camera
ruggedness. kit lens, it’s pricey. is very powerful.
reviews, visit
www.techradar. Reviewed Issue 166 Reviewed Issue 164 Reviewed Issue 180 Value
com/cameras OVERALL
C S C TE S T Sigma sd Quattro
1 3
4
CSC w w w.s igma-imag ing-uk .com
Sigma sd Quattro
£699/$799
Sigma takes its three-layer sensor technology
to the next level in a new mirrorless camera
Specifications Sigma’s Quattro 1

sensor mimics
Sensor Foveon X3 direct image CMOS traditional film, The sd Quattro uses light is poor. And despite its quoted
sensor (23.4 x 15.5mm); 29.5MP on three Sigma’s SA lens mount
recording colour resolution of 2,360,000 dots, the
layers, max image size 39.3MP for use with Sigma’s
Lens mount Sigma SA
using different layers of electronic viewfinder image looks
own Contemporary,
Memory SD/SDHC/SDXC silicon rather than with the Art and Sports lenses. a little soft, as if the live feed from
Viewfinder Electronic viewfinder, mosaic or red, green and the sensor is being upsampled.
2,360,000 dots blue photosites used by The controls and menus are logical
2
Max video resolution N/A regular sensors. The top layer enough, though, and once you’ve
ISO range 100-6,400 records luminance and blue data Curiously, Sigma’s learned the controls you’ll find the sd
Autofocus points 9 at 19.6MP resolution, while the placed the power Quattro straightforward to operate.
Max burst rate 3.7fps green and red layers below record button on the lens
Screen 3-inch TFT, 1,620,000 dots those colours at one quarter that flange rather than on Performance
Shutter speeds 1/4,000 sec to the top of the camera.
resolution. Sigma says this still The sd Quattro has all the strengths
30 sec, Bulb
Weight 625g
delivers true colour data for each and weaknesses of previous Sigma
Dimensions 147 x 95 x 91mm pixel and claims “medium-format 3 Foveon cameras. The fine detail
Power supply BP-61 lithium-ion quality” for the results. Sigma’s sealed the rendition is exceptional. Sadly, its
battery (supplied) Just as interesting is the body inside with a glass high-ISO performance is startling in
design. The sd Quattro is a solidly filter well forward of a very different way. Image quality,
made camera that can accept the sensor plane so particularly saturation, is already
all of Sigma’s Art, Sport and that dust spots won’t falling away badly by ISO 1,600, and
Contemporary lenses without show. Smart! at ISO 6,400 the quality is so bad
The sd Quattro’s fine an adaptor. That’s a smart move. that you wonder if Sigma was wise
to include this setting at all. The
detail rendition is 4
Lenses
Build & handling dynamic range is disappointing too.

exceptional. Sadly, its It’s a big old beast, but the sd
The screen displays
shooting information This feels like a camera with a lot
high-ISO performance Quattro handles rather well. in a dedicated area to of promise, but its terrific detail
The hybrid autofocus system is the right of the image, rendition doesn’t fully compensate
is startling in a very sluggish at best, however, and rather than over or for its other image weaknesses.
different way occasionally stops trying if the beneath it. Rod Lawton
c s c TE S T
COLOUR ERROR
SIGMA SD QUATTRO 6.4
FUJIFILM X-E2S 19
PANASONIC GX8 -6.6

Scores
closer
SONY ALPHA 7 -5.3 to zero
are better
-10 0 5 10 15 20
The sd Quattro scores pretty well in our

colour error labs tests, and its colour
rendition looks vibrant and realistic in
real-world tests.

50
40
Decibels
30
20
10
0
100 400 1,600 6,400 25,600
Controlling image noise is not the Sigma’s

strong point. Noise levels are tolerable at low
ISOs, but ramp up quickly as the sensitivity
setting increases to 6,400.
RAW DYNAMIC RANGE

14
Exposure Value 12
10
6
4 results use images converted to TIFF
10 400 1,600 6,400 25,600
1 2 3
Fine detail Dynamic range Natural colours The sq Quattro’s contrasty image rendition
The sd Quattro has no anti-aliasing Dynamic range could prove As long as you can use low ISOs carries through into the raw files, and
filter and does not need to a sticking point. In our tests, (up to 400) to capture the scene highlight detail is easily lost. The results
‘demosaic’ colour data like a highlights were easily blown out and you’re shooting, the sd Quattro from our lab tests are disappointing.
conventional sensor – the fine Sigma’s Photo Pro 6 software was produces rich, vibrant but
detail rendition is exceptional. unable to recover them. natural-looking colours. WE SAY...
The sd Quattro is a solid, well-designed
camera backed up by a strong lens range
from Sigma. But although the Foveon X3
Meet the sensor delivers great detail, it falls behind its
rivals… rivals for noise control and dynamic range.
Worse is the camera’s operational speed,
The cameras notably its autofocus. A good camera
Fujifilm X-E2S Panasonic GX8 Sony Alpha 7 undermined by its experimental tech.
taking on the £549/$699 (body) £770/$998 (body) £799/$1,098 (body)
sd Quattro… Like the sd Quattro, This CSC has a Sony’s first and
Verdict
this camera has an smaller sensor than oldest A7 model
unusual sensor the sd Quattro, but is still on sale at Features
design. Fujifilm’s the GX8’s 20MP knock-down prices.
X-Trans tech delivers images are good, You get full-frame BUILD & HANDLING
Lenses
strong colours, good and the camera quality for the

For more in-
definition and strong delivers speed, same price as PERFORMANCE
depth camera
lens range. features and class. the sd Quattro.
reviews, visit
www.techradar. Reviewed Page 58 Reviewed Issue 170 Reviewed Issue 147 Value
com/cameras OVERALL
mi n itest
STURDY TRIPODS
Rock-solid carbon-fibre legs for when only the very best camera support will do...
1 2 3
w w w. b e n r o e u . c o m w w w. g i t z o . c o m w w w. m a n f r o t t o . c o m
Benro GoPlus Gitzo Mountaineer Manfrotto
Classic TGP27C Series 1 Kit MT055CXPRO4
& IB2 head GK1542-82QD & XPRO Ball Head
£309 + £94 £839/$1,000 £279 + £160/$500 + $160
This new no-compromise design Where Benro adopts the ‘bigger is The 055 packs several small but
makes a big impression. With an IB2 ball better’ ethos, Gitzo’s entry is just the useful features, like Quick Power Lock
head attached, it’ll top out at an imposing opposite. Its 170cm maximum height leg extension clamps that are easier
178cm and pack down to a still-unwieldy with head is pretty lofty, yet these are and faster to use than even the best
73.5cm. That’s due to the use of three- the lightest legs on test at just shy of twist-grip designs. Their positive locking
section legs, which should be more rigid 1.8kg, and the four-section carbon tubes also helps to make the four-section legs
than four-section designs, even if step down to a mere 14.7mm diameter. feel as rigid as most three-section rivals,
portability does take a hit. Factor the Gitzo’s exceptional build quality, and compensate for the slightly spindly
extra-large diameter carbon tubing, cutting-edge carbon construction 16mm minimum tube diameter.
capable of supporting a whopping 12kg, and rock-solid twist-lock extension The leg angle selectors aren’t quite
and you get a solid-feeling set-up here. clamps help the Mountaineer defy its so ergonomic, but at least you get
A monopod conversion feature size and stand almost as strong as the Manfrotto’s 90° centre column, which can
enhances the GoPlus’ appeal, as does Benro. There are no extras like spiked be rotated to sit horizontally, as well as an
the versatile Quick Flip centre column, feet or a trick centre column, but the Easy Link socket to mount accessories.
which easily pivots to almost any angle. GH1382QD ball head has super-smooth We paired the 055 with the Xpro Ball
Benro also throws in interchangeable movement, friction adjustment, and Head. It boasts a 45mm-diameter ball,
Lenses
spiked feet, while the optional IB2 head a 40mm diameter ball capable of superb precision and variable friction,
impresses with its large, friction- supporting 14kg. The legs, however, although at 520g it takes the total
adjustable ball and sound ergonomics. are rated for a more modest 10kg. platform weight north of 2.5kg.
104 f r o m t h e m a k e r s o f D igital C amera maga z i n e

mi n i T E S T
FIVE THINGS TO LOOK FOR...

1 Split decision
Three-section legs
cut down on joints,
2 Weigh it up
Carbon-fibre
maximises stiffness
3 Sure-footed
Oversize rubber
feet are good to grip
4 Top it off
Large-diameter
ball heads will help
5 Fun frills
Some can be
converted to a
but four sections that and minimises weight, the ground, as is the steady a big camera monopod, while
stretch to the same but aluminium is a ability to fit spikes for set-up, as will others boast vari-
height pack smaller. cheaper alternative. loose surfaces. adjustable friction. angle centre columns.

4 5 6
w w w. n e s t - s t y l e . c o m w w w. n o v o - p h o t o . c o m w w w. v a n g u a r d w o r l d . c o m
Nest Traveller Novo Explora Vanguard
NT-6294CK Carbon Fibre T10 with CBH-40 Alta Pro
Tripod / Monopod Kit ball head 283CB100
£300 £229 £300/$370
Thanks to legs that flip up to Novo is a new name in the tripod Like Benro, Vanguard has opted to use
surround the head, this tripod packs market, but its Explora T10 is worth three-section legs for added rigidity,
down to just 45cm, yet the four- the effort of seeking out. This’ll pull the and it has the same side-effect of
section legs and centre column still detachable monopod trick, and it includes increasing packed length to a bulky
extend to a respectable 166cm at full long and short centre columns for 72.5cm when fitted with the included
stretch. The large-diameter eight-layer low-level shooting. The rubber feet can SBH-100 ball head. It results in a handy
carbon tubes and twist-grip extension be removed to reveal spikes, while the 180cm extended height however, and
locks aren’t quite as rigid as the Benro included CBH-40 ball head is silky smooth Vanguard’s Multi-Angle Central Column
or Manfrotto legs, but they’ll hold steady with a large ball diameter and variable rivals Benro’s Quick Flip column, helping
under a large SLR and 70-200mm lens. friction. You can rotate the camera you snap low-angle and macro shots.
Despite its relatively low price, you mounting plate while the ball is locked. Grippy rubber feet can be retracted to
still get a monopod conversion, with Weighing in at 1.8kg means these reveal spikes, while foam pads wrap the
a fully-featured head boasting friction legs rival the Gitzo as the lightest here, top of all three legs, and you can pivot the
control, two bubble levels and a fairly and at 49cm long when packed, only the legs to 20, 50 or 80°. Twist-grip leg locks
large 32mm-diameter ball. It tips the Nest compresses more. Four-section keep the eight-layer carbon tubes from
scales at 275g, contributing to an all-in legs give a 171cm maximum shooting compressing under an 8kg load capacity,
Lenses
weight of 1.85kg. The only downsides height, but their twist-grip extension but they have a fraction more lateral play
are a centre column that won’t pivot, locks – while holding steady – don’t than Benro’s clamps, reducing the benefit
and you can’t add spiked feet. give the instant grip rival designs. of the three-section legs.
f r o m t h e m a k e r s o f D igital C amera maga z i n e 105

C S C TEST SONY Alpha 6300
2
3
4
CSC w w w.s ony.com
Sony Alpha 6300

£849/$999 (body only)
With a fresh AF system and 4K video, the A6300
aims to set the bar high for the enthusiast user
Specifications Sony has done 1 4K video recording, a feature that

a stellar job to get The 16-50mm Power
Sony is strongly pushing through
Sensor 24.2MP APS-C Exmor its Alpha line of on cameras of all levels.
Focal length conversion 1.5x Zoom kit lens adds
compact system only a little to the The sensor also offers an
Memory SD/SDHC/SDXC(inc UHS-I)/
Memory Stick Pro Duo
cameras and lenses camera’s profile. unprecedented 425 phase-detection
Viewfinder 0.39-inch OLED EVF; firmly established in AF points, plus 169 contrast-
2.36 million dots the mirrorless camera detection points. This combination
2
Max video resolution 4K UHD (3,840 market, with everyone is said to ensure that focus is swift
x 2,160) up to 60p from complete beginners Not only does the against static subjects – focusing in
ISO range expandable to 51,200 to demanding professionals A6300 offer a built-in as little as 0.05 sec – and capable of
Autofocus points 425 points flash, but there’s also
now catered for. Plenty of keeping up pace with moving ones.
(phase-detect AF); 169 (contrast-detect AF) a hotshoe.
focus has been placed on Sony’s There’s also the familiar sight of
Max burst rate 11fps most recent Alpha 7 full-frame a tilting three-inch LCD screen, with
Screen 3-inch LCD, 921k dots, tiltable 3
models, although it scored a big 921,000 dots for clarity, but sadly no
Weight 404g (including battery
hit with the more junior A6000 The Fn button brings touch operation. The 2,359,000-dot
and memory card) before this – and now it seeks to up commonly used electronic viewfinder above this
Dimensions 120 x 67 x 49mm repeat its success with the A6300. options, and these can has been upgraded from the
Power supply Rechargeable Li-Ion be customised. 1.440,000-dot version on the A6000.
battery (NP-FW50) Features Sony has also thrown in the option
The A6300 may look similar of shooting at up to 11fps with focus
to the camera it updates, but and auto-exposure maintained
a handful of changes on the inside throughout, as well as Wi-Fi and NFC
show it to be a much mightier for easy image sharing.
The new 24.2MP Exmor proposition for the enthusiast.
Lenses
It has been constructed around Build & handling

CMOS sensor is more a new 24.2MP Exmor CMOS 4
All of this is wrapped up in a
efficient at gathering sensor, which is said to be more The camera’s rear magnesium alloy body that’s
efficient at gathering light and screen can be tilted up designed with improved dust and
light and reading out reading out information than the and down, but it’s not moisture resistance over the A6000,
info than the A6000 A6000. This also allows it to offer sensitive to touch. as well as a sturdier lens mount. The
Although the A6000’s
viewfinder was a good
performer, it’s great to
see this being made
even better here with a
higher resolution panel

grip is large and deep, and well
rubbered for comfort, although
larger-handed users might prefer this
to be even deeper.
Controls are plentiful around the
back of the camera, and a good level
of customisation is possible. The
control wheel at the rear moves freely
enough for quick menu scrolling and
option selection. The command dial
on the top plate has a pleasing
stiffness to it, although there can
be a slight disconnect between its
turning and the camera responding.
The LCD screen pulls away easily
from the back plate: this makes
viewing it in more awkward shooting
positions easier, although when
extended it can get in the way of
certain controls, such as the
commonly used Fn button and
the rear control wheel.
Performance
Although the A6000’s viewfinder was
a good performer, it’s great to see this 1 2 3
being made even better here, with a
Colour Out-of-focus areas Exposure
higher-resolution panel. It’s crisp and The camera’s Vivid Creative Captured at f/4 with the This shows the camera’s slight
high in contrast, and only troubled Style has given the greens Carl Zeiss Vario-Tessar T* E tendency to under-expose on
by a little noise in darker conditions. and reds in this image a 16-70mm f/4 ZA OSS, the occasion. This image benefits
The LCD screen’s specifications aren’t pleasant boost, without out-of-focus areas in this from +0.5EV over-exposure to
quite class-leading, and at default oversaturating them. scene appear smooth. make it more balanced.
settings it appears somewhat
under-powered and in need of a boost
in brightness through the menu,
although it otherwise performs as
Meet the
you would expect. rivals…
The camera’s revamped focusing
system is one of its main highlights, The cameras Olympus Pen F Panasonic GX8 Fujifilm X-E2S
and it’s pleasing to discover that it taking on £899/$999 £574/$998 £549/$699
delivers. There’s very little delay when the Sony The latest Pen model The GX8 has an With a 16MP X-Trans
focusing on everyday subjects, while A6300… from Olympus oozes excellent 20MP CMOS sensor and
performance against moving subjects style, but it’s just as sensor to X-series glass,
is also strong. The spread of focusing impressive on the recommend it, Fujifilm’s compact
For test
Lenses
points, almost up to the peripheries inside, with a together with a fast and affordable
images and cracking EVF and AF system, 4K video rangefinder-style is
of the frame, ensures that the system resolution
stays with the subject well wherever it high-quality images. – and a great price. worth a closer look.
charts, visit Reviewed Page 86 Reviewed Issue 170 Reviewed Page 58
moves. Objects travelling in a variety www.techradar.
of directions and speeds relative to com/cameras
the camera are picked up and >
COLOUR ERROR
Scores closer
Sony Alpha 6300 -3.7 to zero are
better
Fujifilm X-E2S 19
Panasonic GX8 -6.6
Olympus PEN-F 11.6
-10 -5 0 10 20
The Sony A6300 does a great job with colour

accuracy in JPEGs. Only the rival Alpha 7 II
shows a marginally better performance out
of the models tested here.

50
40
Decibels
30
Above The camera’s electronic level makes it easy to capture images completely horizontal (or
vertical) – important in scenes where linear details make any slight skewing more apparent. 20
detailed, and even when light levels 10

fall there’s just a slight noise visible in results use images converted to TIFF
footage rather than anything more 100 400 1,600 6,400 25,600
disagreeable, with footage pleasingly A slightly disappointing performance across

free from aberrations. the camera’s full sensitivity span here, with
Audio quality is also very a signal-to-noise ratio that’s either the same
good, although using an external or lower than the others at every setting.
microphone is advised as the
camera joins many others in being RAW DYNAMIC RANGE
susceptible to picking up wind noises
Above Comparing this JPEG with the 14
when shooting outside.
corresponding raw file shows the
camera has done a great job boosting
Noise is well controlled in images, Exposure Value 12
contrast and colour. Sharpness is also and usable results are still possible
just at the right level. at settings as high as ISO 6,400, 10
although you may wish to adjust

8
noise reduction (or process the raw
versions) as the camera’s noise 6
reduction system can leave images Higher scores are better. Raw
lacking in detail. Images straight out 100 400 1,600 6,400 25,600
of the camera show the A6300’s The A6300 doesn’t fare too badly for raw
JPEG processing does a fine job, dynamic range at its lowest sensitivities,
with pleasing colour, contrast and although as ISO increases, its performance
sharpness. (You may find that you is largely outgun by the other cameras here.
wish to nudge up a little at times,
particularly when shooting very
Above The camera’s Auto White WE SAY...
detailed subjects).
Balance system keeps colours faithful
The camera’s Dynamic Range Although a comparison with its immediate
under a range of conditions. This image
Optimizer also does a fine job to rivals shows the A6300 to slip a little with
was captured under a mixture of
reveal more detail in shadowy areas, dynamic range and noise, when viewed in
daylight and various artificial sources.
isolation it performs well. It’s packed with
helping images to appear balanced,
features, focuses promptly and accurately,
which is just as well as the metering and records superb video. While it’s not
adhered to well. Every now and again system can occasionally under- cheap, you get a lot of camera for your money.
the system does get a little distracted expose the odd frame. Exposure
and venture off elsewhere but, to be compensation is very easy to apply,
fair, this is true of many similar though – and usually only around Verdict
systems. +0.5EV is all that’s required.
When set to burst shooting, Sony Matt Golowczynski Features
claims the camera can record 21 BUILD & HANDLING
Lenses
consecutive raw frames or the same

number of raw+JPEG frames, and 44 Images straight out of the PERFORMANCE
JPEG frames at the highest quality camera show the A6300’s Value
setting – and with a fast memory
card in place it manages to do just JPEG processing does a fine
OVERALL
this. 4K videos looks crisp and job with pleasing colour

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SLT TEST SONY ALPHA 68
2
3
1
S LT w w w. s o n y . c o m
Sony Alpha 68
£513/$599 (body only)
The A68 combines a number of enthusiast-level
features from the A77 II with an entry-level price
Specifications Sony’s Alpha 77 1 at a rate of up to 5 frame per second

II made quite the The grip is substantial
(or 8fps in a cropped format).
Sensor 24.2MP APS-C Exmor CMOS impression when Autofocus is also maintained
Crop Factor 1.5x enough to get a
it was launched in comfortable hold, when capturing Full HD videos;
Memory SD/SDHC/SDXC (inc UHS-I),
Memory Stick Pro Duo
2014, and proved that there and very well these are recorded using the same
Viewfinder 0.39 inch OLED Tru-Finder, was plenty of life left in the rubbered to further XAVC S codec as Sony’s more
1.44 million dots company’s SLT systems, improve handling. advanced 4K-capable models. The
Max video resolution Full HD despite the popularity of electronic viewfinder features a
(1,920 x 1,080) up to 60p Sony’s full-frame CSCs. 2 1.44-million-dot panel for excellent
ISO range 100-12,800 That camera remains in the clarity, although the tiltable LCD
(expandable to 25,600) The 2.7 inch LCD is
Alpha stable – although with screen beneath it not only measures
Autofocus points 79 points small but it can be
the Alpha 68, Sony is now looking pulled away from the
just 2.7 inches but also only manages
Max Burst rate 8fps to tempt those wanting similar to offer a paltry 461,000 dots.
Screen 2.7 inch LCD, 461k dots body and tilted.
functionality inside a more The camera mirrors the design of
Weight 596g (body only)
affordable body. the A77 II in offering a top-plate LCD
3
Dimensions 143 x 105 x 83mm screen and a control wheel at the
Power supply Rechargeable lithium-ion Features A control wheel rear, a partnership that provides
battery (NP-FM500H) The new arrival joins its elder on the back of the a shooting experience akin to those
sibling in offering a 24.2MP camera provides an of enthusiast SLRs. A plethora of
APS-C sensor, as well as the 4D experience rather physical controls provide direct
similar to using an
Focus system. This features an access to many shooting parameters,
enthusiast SLR.
impressive 79 phase-detect AF and it’s possible to customise many
points, 15 of which are cross-type controls should anything not be as
for enhanced sensitivity. The close to hand as desired.
Lenses
camera’s Translucent Mirror

A plethora of physical Technology allows this to remain Build and handling
controls provide direct operational when using the LCD Build quality is one area where the
for image composition too, and camera’s low price point may be
access to many autofocus continues to work explained: while we certainly don’t
shooting parameters when capturing bursts of images expect a robust magnesium-alloy
RAW

JPEG
Viewing the JPEG next to the raw version

shows the Dynamic Range Optimizer
has lifted shadowy areas in the trees.
casing at this level, the smooth

polycarbonate used doesn’t feel quite
as refined as rival models. The grip,
however, is pleasingly deep and
contoured, and makes for superb
handling – particularly when trying
to support weightier optics.
Shooting is made awkward by the 1 2 3
lack of travel between the shutter
release button’s focused and release
Sharpness Exposure Auto White Balance
At a focal length of 55mm and The metering system has Thanks to an effective white
positions; in practice this makes it an f/9 aperture, the kit lens exposed appropriately, balance system, colours have
easy to take images when you simply shows a little softness in the although some may prefer remained faithful and neutral
want to focus on the subject. The corners of the frame. +1/3EV exposure compensation. areas show no particular casts.
control wheel on the back plate also
doesn’t stand proudly enough from
the body for comfortable turning.
The LCD screen is as
underwhelming a performer as Meet the
its specs suggest, with a general rivals
lack of contrast and clarity, and
a poor viewing angle. (The latter is The cameras Canon EOS 760D Nikon D5500 Pentax K-S2
somewhat mitigated by its ability to taking on £509 / $849 £569 / $697 £529 /$529
be tilted.) The electronic viewfinder the Alpha 68 (body only) (with 18-55mm lens) (with 18-50mm lens)
fares much better, with a decent The EOS 760D also With an articulating The weather-
dynamic range and its higher features a top-plate touchscreen, built-in resistant K-S2
resolution making checking LCD and 24.2MP Wi-Fi and a 24.2MP boasts an optical
focus and details much easier. sensor, as well as sensor that lacks a viewfinder with
For test
Lenses
compatibility with low-pass filter for 100% coverage, plus

images and
Performance resolution decades worth of detail, the D5500 an articulating LCD
Sony has placed a great deal of top lenses. packs a punch. for creative flexibility.
charts, visit
attention on the A68’s focusing Reviewed Page 22 Reviewed Page 18 Reviewed issue 165
www.techradar.
system in its marketing: using it com/cameras
makes it obvious why. For a model
SLT TEST SONY ALPHA 68
COLOUR ERROR
Sony Alpha 68 -1.9
Canon EOS 760D 8.2
Nikon D5500 4.4
Pentax K-S2 4.5 Scores closer

to zero are better
-5 0 5 10 15 20
One area where the A68 shines is its colour

accuracy: next to its rivals, it manages to do
a better job to faithfully reproduce colours.

Decibels
Captured at ISO 1,250, noise reduction has robbed some of the finer details from this scene, Noise is well controlled in JPEGs; raw files
although it’s still possible to identify many single hairs in focused areas. tell a very different story. Here, the A68
scores consistently lower throughout the
ISO range than the competing cameras.
of its class, it performs to a superb any shadows and tame the highlights
standard, typically acquiring focus in where necessary.
impressively little time, and doing well Colours are generally accurate when RAW DYNAMIC RANGE
when tracking moving subjects, partly using the Standard Creative Style. This is
on account of the high saturation of points also partly down to the work of the Auto
in the centre of the frame. White Balance system, although I often
I found it was perfectly possible to found more pleasing results on the Vivid, Exposure Value
achieve around 56 Fine JPEGs and 37 Autumn Leaves or another setting;
Extra Fine JPEGs on the camera’s sometimes the Standard option is a little
JPEG-only, cropped 8fps option, and too neutral for print- or web-ready results.
around 21 Extra Fine frames and 33 Fine Images captured on lower sensitivities
frames when shooting at 5fps (at full are nice and clean, but noise begins to Higher scores are better. Raw
resolution). On the latter mode, only appear from ISO 400 or so – even in
around seven or eight raw frames can be images captured in good conditions. The A68 doesn’t fare too badly for dynamic
captured, though, so this is something to Results from around ISO 3,200 onwards range in raw files captured at lower
consider if you intend on using burst are usable at smaller sizes, but noise and sensitivities, although it soon starts to slip
shooting with some frequency. noise reduction are evident. The camera’s behind its competitors – albeit not by much.
The camera’s metering system does sensor-based image stabilisation system
a fine job of keeping exposure balanced is effective at boosting stability and
WE SAY...
in the majority of situations, although it maintaining sharpness at slower shutter
does display a tendency to underexpose speeds, however, so it’s a good idea to keep The A68 is something of a mixed performer
Lenses
in the presence of highlights. this on for hand-held shooting. with a powerful AF system, excellent handling
The Sony Alpha 68’s Dynamic Range As we’d expect from a company with and a decent viewfinder to recommend it, but
Optimizer is a very useful feature to keep Sony’s heritage, video quality is also very lacklustre build quality, a poorly performing
LCD and noisy images let it down. It’s a great
activated, as this does well to bring up good. While the option to record in a 4K
option for those shooting action, but if you
resolution is absent, Full HD footage
want a more flexible camera, it may be better
contains very good detail and audio quality to look to an alternative solution.
is also reasonably clear on default settings,
although you can always opt to connect
an external microphone to the camera Verdict
should you want to capture this with
greater clarity. Features
The advantage of Sony’s Translucent BUILD & HANDLING
Mirror Technology also makes itself
apparent here, with smooth autofocusing PERFORMANCE
while recording, however you can choose
to use manual focus for greater control Value
where necessary.
OVERALL
The screen isn’t great, but it is tiltable. Matt Golowczynski
m i n i test
UHS-I SD CARDS

w w w. k i n g s t o n . c o m w w w. l e x a r. c o m w w w. s a m s u n g . c o m
Kingston SDXC Lexar Professional 633x Samsung
UHS-I U3 64GB SDXC UHS-I 64GB Pro+ 32GB
£23/$34 £23.50/$30 £25/$25
Kingston’s fastest SD card managed a It may only have a UHS Class 1 speed The Pro+ turned in the fastest outright
whopping 84.1MB/s when writing video, rating, but this card’s read rates are a image write rate of 58.2MB/s, but not
though transferring multiple image files match for the competition. Write speeds without some minor speed fluctuations.
resulted in a mediocre 42.8MB/s, with of 53MB/s with video and 36.7MB/s Read performance is faultless, however,
lots of speed fluctuations. with images trail the pack, though. as is video write speed.
WHAT TO LOOK FOR
MAXIMUM SPEED
Usually quoted in MB/s, this is the highest
speed the card can achieve, but not
necessarily sustain. It’s most relevant
for stills photography.
Class rating
The minimum sustained speed – very
important for video. The new UHS speed
ratings are Class 1 (minimum 10MB/s)
and Class 3 (30MB/s). w w w. s a n d i s k . c o m www.transcend-info.com
SanDisk Transcend SDXC

We tested these cards’ read/write Extreme Pro 32GB UHS-I U3 64GB
speeds for both images and video, £25/$20 £25/$28
recording overall transfer times and
read/write fluctuations which could
result in dropped video frames. All these SanDisk’s contender produced a Despite sharing the same speed class
cards are UHS-I types, with a single row
Lenses
blistering 83.3MB/s video write rate, ratings as SanDisk’s entry, this card only
of contacts on the back. UHS-II SD cards
and it wrote images at a sustained managed an erratic 36.8MB/s average
have a second row of contacts, offering
up to three times the theoretical speed,
56.4MB/s with no speed dips, making image write speed. 64MB/s when
though you need a compatible camera. it the smoothest performer here. writing video isn’t too shabby, though.
OVERALL OVERALL
f r o m t h e m a k e r s o f D igital C a m era m aga z i n e 113

csc TE S T Sony Alpha 77 II
1 2
3
CSC w w w.s ony.com
Sony Alpha 77 II £999/$999 (Body only)

Sony’s enthusiast-level Alpha 77 II gets a speed boost as well as
better image quality. Angela Nicholson checks it out
Specifications After the 1 time in an A-mount camera, the

announcement of sensor signal is processed by a Bionz
Sensor 24.3MP APS-C format (23.5 x The mode dial has
the full-frame X engine. This has given Sony the
15.6mm) Exmor CMOS been updated with
E-mount Sony A7, a lock button to
confidence to allow sensitivity to be
Focal length conversion 1.5x
Memory SD/SDHC/SDXC and
A7R and A7S compact system prevent it from being set in the native range ISO 100-
Sony Memory Stick cameras and the demise of knocked out of 25,600 for still images, with a low
Viewfinder Electronic viewfinder the NEX brand, you could be position. expansion setting of ISO 50 also
with 2,359,296 dots (100% cover) forgiven for thinking that available.
Video Full HD (1,920 x 1,080) at 60p Sony might not continue One of the benefits of the SLT
2
ISO range 100 to 25,600; expandable with its A-mount SLT (single design is that there can be full-time
to ISO 50-25,600 for stills, ISO lens translucent) cameras. The hotshoe has phase-detection autofocus during
100-12,800 for movies However, the arrival of the Sony changed from the movie shooting and when composing
Autofocus points Phase-detection Sony (Minolta)
Alpha 77 II indicates that this images on the rear screen. Sony has
with 79 points (15 cross-type) proprietary shape to
isn’t the case. the more common
used a newly developed phase-
Max burst rate 12fps (aperture locked
at start)
As you might guess, the Alpha 77 universal style. It also detection sensor with 79 AF points
Screen 3.2-inch, 1,229k-dot TFT II replaces the Alpha 77, which is has contacts for a (15 of which are the more sensitive
Weight 647g (body only) now discontinued, and it has an wide range cross-type) in the Alpha 77 II. Sensor
Dimensions 142.6 x 104.2 x 80.9mm almost identical shape and of accessories. development means that the A77 II’s
design. As before, the new camera CCD AF sensor produces less
is aimed at enthusiast 3
electronic noise than previous
photographers who want a step devices and this helps with
up from an entry-level model. It This controller makes autofocusing speed and accuracy, as
it quick and easy to
sits under the full-frame Alpha well as boosting low-light
select the desired
99 in Sony’s SLT line-up. autofocus point in
performance.
your scene. Spot AF performance is also
Features claimed to have been improved, with
Like the Alpha 77, the A77 II has a weighting given to the centre of the
4
Lenses
24-million-pixel sensor, but this spot. There’s a collection of AF-point

Almost all of Sony’s is a new device that benefits from The vari-angle selection options including Wide,
A-mount lenses are the progress that has been made mechanism on the
rear LCD screen
Zone, Flexible Spot, Local, Expanded
with sensor design in the Flexible Spot and Lock-on AF. In
compatible with the two-and-half years since the A77 seems a little Expanded Flexible Spot mode, you
A77 II’s 79 AF points first arrived. Also, for the first
over-complicated.
select one AF point and the camera
114 F R O M T H E M A K E R S O F D i g i t a l C a m e r a MAGA Z I N E
Sony alpha 77 II C S C TE S T

LensesLenses
F R O M T H E M A K E R S O F D i g i t a l C a m e r a MAGA Z I N E 115
S LR TE S T SONT A7 RII
supports this with the allow only the centre AF point to Using the 12 slots in the Function menu, for
surrounding eight points, which be used. Landscape Creative example. It’s also possible to
is useful when shooting a moving As suggested above, the A77 II Style boosts blues customise the function of many of
subject. can shoot a maximum rate of 12 and greens. the buttons, but the default settings
It’s also possible to adjust the frames per second with AF work well.
AF tracking duration across five tracking, and the buffer has If you like using Picture Effects
levels via the menu. The low capacity to allow up to 25 raw (Toy Camera, Pop Color,
settings are useful when the and JPEG images to be captured Posterization, Retro Photo, Soft
subject distance isn’t expected to in a single burst, but aperture High-key, Partial Color, High
change quickly, while high levels is locked at the start of the Contrast Mono, Soft Focus, HDR
suit shooting subjects at different sequence. Painting, Rich-tone Monochrome,
distances. In addition, a new AF Other pleasing additions to the Miniature, Watercolor and
Range Control option allows you A77 II’s featureset include an Illustration are provided), it’s worth
to restrict the AF to working HDMI port, which can supply assigning this and image quality to
within a specific distance range clean video output to external the Function menu so that you can
– useful when there are objects storage devices, and Wi-Fi quickly turn off raw recording and
between the camera and the connectivity. As the A77 II has an access the effects. As with other Sony
subject. NFC chip, owners of NFC- cameras, the Creative Style options
According to Sony, almost all of enabled smartphones and tablets (Standard, Vivid, Neutral, Clear,
its A-mount lenses are compatible can connect to the camera by Deep, Light, Portrait, Landscape,
with the 79 AF points, although touching the two devices Sunset, Night, Autumn, Black &
only 61 are available when you’re together. Interestingly, despite White and Sepia), which give JPEG
shooting at 12fps. Sony’s 500mm the presence of Wi-Fi images a particular appearance, can
f/8 lens is a notable, but not connectivity, the A77 II cannot be used when shooting raw images
surprising, exception: it will make use of Sony’s PlayMemories simultaneously.
Camera apps. While the three-inch 1,229k-dot
vari-angle screen is useful for
Build and handling composing images from awkward
Sony has given the Alpha 77 II the angles, the articulating hinge seems
same tough feel, overall shape unnecessarily complicated, and it
The articulating hinge and control layout as the A77, and takes a while to get used to its quirks
Lenses
the vertical grip that was and limitations. The hinges on

seems unnecessarily produced for the original model cameras such as the Canon 70D and
complicated, and can be used with the new camera. Nikon D5300 are much more
There are a few differences, straightforward.
it takes a while to get however: there are 27 features As on the Sony A7 and 7R, the
used to it that can be assigned to one of the 2.3-million-dot electronic viewfinder
Sony alpha 77 II C S C TE S T
Meet the COLOUR ERROR

rivals… Sony Alpha 77 II 1.3
There’s a choice Canon 70D 4.8
of SLRs and CSCs Canon EOS 70D Nikon D7100 Fujifilm X-T1
Nikon D7100 3.8
at this price point £734 / $899 £609 / $697 £795 / $1,299
Now getting harder A 24.1MP SLR with This stylish Fujifilm X-T1 5 Scores closer
to find new, this superb resolving SLR-style CSC to zero are better
20.2MP SLR has a power and an has an excellent -5 0 5 10 15 20
For test responsive vari-angle excellent AF system, electronic viewfinder

Our tests show that the Alpha 77 II is
images and touchscreen, and but limiting buffer and traditional
comfortably the most accurate camera in
resolution takes great images. capacity. exposure controls.
this group.
charts, visit Reviewed Issue 144 Reviewed Issue 136 Reviewed Issue 151

www.techradar.
com/cameras RAW SIGNAL-TO-NOISE RATIO
45
(EVF) is bright and clear, with plenty Expanded Flexible Spot, it also 40
of detail visible. As usual with an tracked them around the frame if the
Decibels
EVF, this brings the benefit of seeing original AF point wasn’t kept in the 35
the image as it will be captured. correct location. 30

However, when the brightness is set As usual, AF performance varies
to Automatic rather than manual, the according to the lens that’s mounted, 25
extra gain applied in dark conditions and a good optic is required to get the
can mean that the viewfinder image best from the Alpha 77 II. It performs 20
looks significantly brighter than the very well with the 70-200mm f/2.8, results use images converted to TIFF
final image, so it’s best to set the for example, but is a little more 200 400 800 1,600 3,200 6,400
brightness to Manual. hesitant in low light with the 85mm The A77 II is one of the lower performing
f/2.8 – which also has a much noisier cameras here, but as with the JPEG images,
Performance focus mechanism. this may be to reveal more detail.
Even at the highest selectable We used the Multi-segment
sensitivity setting of ISO 25,600, metering system almost exclusively RAW DYNAMIC RANGE
noise is controlled well in raw files, during this test. Although we shot in
having a fine texture with no banding a wide range of conditions, there were 16
or clumping visible at 100% on- only a few when a little exposure

screen. With careful processing, it’s compensation was required. 14
possible to conceal most of the Colours are also good straight from
Exposure Value
12
coloured speckling in raw files and the camera, and the white balance
produce an image with just system general does a good job when 10
luminance noise giving some grain. set to the Automatic setting.
Simultaneously captured JPEG files 8
look softer than their raw Verdict

6
counterparts, and close examination While the changes made to the Alpha Higher scores are better. Raw
reveals a painterly texture with 77 II may not seem dramatic, Sony results use images converted to TIFF
slightly sharpened edges. They has worked on the most important 200 400 800 1,600 3,200 6,400
generally look acceptable viewed at aspects – the sensor and processor – The Sony Alpha 77 II’s raw file dynamic range
A3 size, but we prefer the slightly to boost speed and image quality, as lags behind competing cameras through
sharper, grainer look of the raw files. well as the autofocus performance. most of its sensitivity range.
As you’d hope with a 24MP sensor, Many will recognise that it’s sensible
the A77 II is capable of recording a to stick with the same pixel count as WE SAY...
high level of detail at the lower with the Alpha 77: 24 million pixels The A77 II’s image quality is excellent, even
sensitivity settings. capture enough detail for most at high sensitivity settings, and the
While the A77 II’s AF system purposes and allow big prints to be autofocus system is fast and accurate. It’s a
struggled a little more than the made. The files are large without great choice for enthusiasts who want
Canon 5D Mark III in the low, flat being unmanageable by the average versatility from their camera.
light of an unlit music gig, there were modern computer.
no such problems with a fast-moving The AF system improvements and Verdict
subject in good light. It was positive, the A77 II’s ability to control noise at
fast and accurate. In continuous AF high sensitivity levels, combined with Features
mode with AF selection set to the general high quality of the BUILD & HANDLING
Lenses
Expanded Flexible Spot, it got rowers images, makes it a versatile camera

sharp in a flash and was able to keep that will be attractive to enthusiast PERFORMANCE
them sharp by using the surrounding photographers who want to shoot a
points when panning. When AF wide range of subjects in a variety of Value
selection was set to Lock-on AF: conditions.
OVERALL
Flexible Spot or Lock-on AF: Angela Nicholson
csc TE S T Sony Alpha 7r II
3
CSC w w w.s ony.com
Sony Alpha 7R II £2,899/$3,198

Sony’s highest-resolution CSC proves you don’t need
a big camera to create large, high-quality images
Specifications Sony has had 1

ambitious plans
Sensor 42.4 million effective pixel It’s relatively easy to
for the camera frame backside illuminated (BSI)
full-frame (35.9 x 24mm) Exmor R CMOS connect an NFC or
market ever since Wi-Fi enabled phone
sensor, the A7R II is the first full-
Focal length conversion 1x
Memory SD/SDHC/SDXC and various
it bought Konica Minolta’s to control the camera frame camera to feature in-body
Memory Stick options camera business in 2006, or share images. five-axis image stabilisation and the
Viewfinder 2,359,296-dot OLED but after the initial ability to record 4K movies internally.
Max video resolution 4K excitement there were only Other specification highlights
2
(3,840 x 2,160) at 30p sporadic periods of activity, include Sony’s Bionz X processor,
ISO range 100-25,600; expandable and our attention waned The electronic which enables a maximum sensitivity
to ISO 50-102,400 for stills somewhat. Then in September viewfinder makes the setting of ISO 102,400; a 399-point
Autofocus points 399 2013 the company launched the scene look a little hybrid autofocus system; a new
Max burst rate 5fps at full resolution more vibrant than it
RX1, a small compact camera 500,000-cycle life shutter unit that
Screen 3-inch LCD with 1,228,800 dots is in reality, but the
with a full-frame sensor, and it images are a good
creates less vibration than before;
for stills
seemed that there would be more match for the scene. and a 2,359,296-dot OLED electronic
Weight 582g (body only) of interest to follow. viewfinder (EVF).
Dimensions 126.9 x 95.7 x 60.3mm A little over a year later, the
3
Power supply NP-FW50 lithium-ion Alpha 7 and 7R were unveiled, Build & handling
battery (supplied) and we all sat up and took notice. We found this dial a Like the other cameras in the Alpha 7
These were the world’s first bit awkward to reach line, the A7R II has retro SLR-like
compact system cameras to while holding the design. However, Sony has taken
feature full-frame sensors. Since camera one-handed. on-board some of the criticisms made
then, we’ve had the Alpha 7S and of the original A7 and A7R and make
the Alpha 7 II. 4 the same handling tweaks to the A7R
The latest addition to the range This lock prevents the II as it did to the A7 II. Consequently,
is the Alpha 7R II, the highest- mode dial from being the front grip is more pronounced,
resolution model which trumps accidentally knocked making it more comfortable and
Lenses
the A7R’s 36 million pixels with out of position. secure in use. The shutter release
The front grip is more an effective pixel count of 42.4 button is also moved forward onto
pronounced, making million. To push detail resolution the top of the grip, and beneath it
even further, the sensor has no there’s a conveniently placed
it more comfortable optical low pass filter (OLPF). recessed dial for adjusting settings.
and secure in use As well as having the first full- This has created space for a second
Our best shot

WHAT WE LOVE
ABOUT THE A7R II
1 2 3
Detail Depth of field Get it right
The Sony A7R II is able to Having a full-frame sensor You can rely on the auto
resolve a very impressive means there’s lots of control white balance and 1200-zone
level of detail. The fabric over depth of field. The evaluative metering systems to
LensesLenses
of the umbrella is clearly softness of out-of-focus areas deliver accurate colours and
visible in the droplets seems to be emphasised by the exposures, even in tricky
of water. sharpness of areas in focus. lighting conditions.
S LR TE S T SONT A7 RII
customisable button on the Using an electronic of six features – I found it useful for
camera’s top-plate. viewfinder makes it adjusting sensitivity quickly – and
The A7R II has a magnesium easier to produce any of 62 functions can be assigned
alloy construction and is creative images for access via four Custom buttons.
weather-sealed. Most of the in-camera; this Three of the navigation buttons and
camera feels very solid, with a scene looked far the centre button can also be used as
better overexposed
Three of the navigation pleasant density, but the front
grip creaks when it’s held tightly.
by +1.7EV.
shortcuts to features, and 12 of 34
functions can be assigned for access
buttons and the centre One of the great things about via the Function menu.
button can also be the A7R II is that it’s highly The default set-up makes a
customisable. The control wheel good starting point, but it’s worth
used as shortcuts on the back of the camera, for experimenting with other options
to features example, can be set to adjust one until you have the optimum control
arrangement for your needs.
Performance
Meet the One thing that’s clear from our
rivals… real-world and lab tests is that the
Alpha 7R II can resolve a lot of detail.
The cameras Canon EOS 5DS Nikon D810 Sony Alpha 7R
As you’d expect, the highest level of
taking on the £2,799/$3,499 £2,214/$2,997 £999/$1,898
detail is captured at the lowest
Sony A7R II… This 36MP CSC
sensitivity settings.
Along with the 5DS R, With 36 million
this 50-million-pixel pixels on its full- turned lots of heads I found it impossible to match the
SLR is the highest frame sensor, this when it was first JPEGs’ in-camera processing when
resolution full-frame SLR can’t quite unveiled. It produces processing raw files using the
camera currently match the Canon superb images, supplied software, and the JPEGs
For test
Lenses
available – and it 5DS for detail, but making it a great resolve very slightly more detail.
images and and more affordable
certainly packs in it’s still a top choice It doesn’t quite out-resolve our
resolution alternative to buy.
the detail. for Nikon lovers. resolution chart, so it can’t match
charts, visit Reviewed Issue 147
Reviewed Page 46 Reviewed Page 46 the 50MP Canon 5DS for detail.
www.techradar.
com/cameras As sensitivity increases to mid-range
values, the JPEGs take on a slightly
COLOUR ERROR
Sony Alpha 7R II 3.6
Sony Alpha 7R 8.8
Canon 5DS 1.2
Nikon D810 0.9 Scores closer

to zero are better
-5 0 5 10 15 20
This indicates that the Alpha 7R II produces

slightly less saturated images than the
original version, but they are still a little
more saturated than the images from the
Canon and Nikon competition.

50
40
Decibels
30
20
10
100 400 1,600 6,400 25,600
The A7R II competes well with the Canon and

Nikon cameras, and noise is kept well hidden
for much of the sensitivity range. Its JPEGs
have impressively high scores.
RAW DYNAMIC RANGE

14
Exposure Value 12
10
6
100 400 1,600 6,400 25,600
Dynamic range is down on the original A7R,

but it still compares favourably with that of
These particular lighting conditions pushed the Sony A7R II’s autofocus system, but it the Canon 5DS, indicating that it captures
still managed to deliver a sharp result with the FE 70-200mm f/4 G OSS lens mounted. a wider range of tones in a single image.
WE SAY...
painterly appearance at 100% become rather ponderous. It’s also
on-screen. This becomes even more hard to predict exactly where the Although it has a high pixel count and can
evident at high values and the edges focus will be when using Lock-on AF. record lots of detail, the Alpha 7R II needn’t
of elements become a little harsh Although it does a good job be limited to use on a tripod, and its
autofocus system is capable of getting
while the areas in-between are a of tracking a subject,
moving subjects sharp. It’s also highly
softer wash of colour. in practice the portable and customisable. Although Sony is
Noise levels are perfectly precise point working on it, the lens range is a little limited.
acceptable throughout the native of focus may turn
sensitivity range (ISO 100-25,600), out to be slightly
but I’d avoid the high expansion off where you Verdict
settings unless getting a shot is want it to be.
more important than its quality. Angela Features
The A7R II’s autofocus (AF) Nicholson BUILD & HANDLING
Lenses
system is pretty good. It’s capable

of getting moving subjects sharp PERFORMANCE
quickly, and can even follow them Noise levels are perfectly Value
around the frame in fairly low light
provided there’s a reasonable level of acceptable throughout the native
OVERALL
contrast. When this drops, it can sensitivity range (ISO 100-25,600)
MINI TEST
Camera phones
Find out which of the latest and greatest smartphones boasts the best camera
w w w. a p p l e . c o m http://madeby.google.com w w w. h t c . c o m
Apple iPhone 7 Plus 2 Google Pixel XL 3 HTC 10
From £719/$769 From £719/$770 £570/$700
The 7 Plus stands out The Pixel XL replaces HTC’s One M9 was a
from its smaller sibling the Nexus 6P as major disappointment
not only because of its Google’s flagship in terms of camera
5.5-inch, 1,080 x 1,920 smartphone. Unlike the quality. Thankfully HTC
display, but also iPhone 7 Plus, there’s has ditched its old 20MP
thanks to the inclusion just a single rear-facing sensor, and the new
of two cameras. Both have 12MP 12.3MP sensor fronted by an f/2.0 phone packs a more sensible 12MP device
sensors; one has a 28mm-equivalent lens, and it lacks proper optical image paired with a 26mm-equivalent f/1.8 lens
wide-angle f/1.8 lens with optical image stablilsation. Google’s native camera app that’s tricked out with optical image
stabilsation, and the other camera gets is also lacking much manual control, and stablisation and laser autofocus. Screen
a 56mm-equivalent telephoto lens to it won’t shoot raw image files. specs are improved, too, as the 10 sports
effectively provide 2x optical zoom in Thankfully the Pixel’s image quality is a 5.2-inch 1,440 x 2,560 display, while
a smartphone that’s just 7.3mm thick. much more impressive. Its cutting-edge HTC’s camera app is packed with
It’s all great on paper, but the image 1/2.3-inch sensor is able to resolve an advanced controls including manual
quality is less impressive. Although colour incredible amount of fine detail, closer to focus. You also get a MicroSD slot, and
accuracy is first class, phones like the what you’d expect from a 1-inch sensor. the camera can capture DNG raw files.
Galaxy S7 and the Google Pixel use Low light performance is equally The new camera sensor produces a
slightly larger sensors and resolve much impressive: even at high ISOs, noise is vast improvement in image quality over
more fine detail. The 7 Plus’ low-light minimal and detail is well-retained. the One M9. Detail is well-resolved in good
quality is another disappointment, and The Pixel’s white balance, exposure light, and the HTC 10’s high-ISO image
Apple’s native camera app is short on metering and autofocus are also first- quality is impressive, with minimal noise
manual control and lacks raw capture class, although the 5.5-inch 1,440 x 2,560 when the going gets dim. If we were to
(although some third-party apps support AMOLED screen can slightly oversaturate nitpick, colour and contrast can look
Lenses
both). At least it’s easy to use, thanks colours. You won’t find a MicroSD slot a little flat, and the camera app is prone
to excellent autofocus and the most either, which is a surprising omission given to oversaturating red and orange tones
accurate image preview here. that the Pixel commands serious money. when composing shots.
122 f r o m t h e m a k e r s o f D igital C amera maga z ine

MINI TEST
Five things to look for…

1 Expandable
storage
A Micro SD slot gives
2 Pixel perfect
With resolutions
of at least Full HD, all
3 Screen test
OLED screens
have great contrast,
4 Built to last
Most phones
can snap more shots
5 big picture
More megapixels
aren’t always helpful:
you scope to up the screens here are but LCDs can be per charge than a image stabilisation
storage space for crisp enough to hide brighter with better compact if you watch and a fast lens are
snaps and video. individual pixels. colour accuracy. your app usage. usually more useful.

w w w. l g . c o m w w w. s a m s u n g . c o m w w w. s o n y m o b i l e . c o m
4 LG G5 Samsung Galaxy 6 Sony Xperia XZ
£450/$500
5 S7 Edge £480/$600
From £639/$770
The G5 has that rarest The Xperia’s 23MP
of features in a modern The S7’s camera app camera looks good on
smartphone: a is crammed with paper – but its shots
removable battery. You features, including raw don’t. Those extra
also get a MicroSD slot capture and manual megapixels actually
for storage expansion, focusing, plus white reduce image quality, as
as well as the unusual inclusion of dual balance, shutter the XZ resolves considerably less detail
rear-facing cameras. The main camera speed, ISO, autofocus and metering than its rivals. If fine detail isn’t already
is comprised of a 16MP sensor and options. There are even three custom endangered, noticeable image noise at low
29mm-equivalent, f/1.8 lens, and modes for storing different set-ups. sensitivities – combined with overzealous
it’s flanked by a secondary 8MP, Behind the scenes is a 12MP 26mm- image smoothing by the camera – brings it
12mm-equivalent camera for ultra-wide equivalent camera with phase-detection close to extinction.
shooting. Arguably a secondary camera autofocus. It doesn’t resolve quite as It’s not all bad news, as Sony’s camera
with telephoto capability would be more much detail as the Pixel, but the S7’s app is one of the most feature-packed
versatile, though. shots look slightly more natural. Low-light here. Manual options include white balance
This is the only phone here to shoot performance is superb, helped by the and ISO sensitivity, and there are controls
in a native 16:9 aspect ratio that fills its lens’ large f/1.7 aperture, effective image for metering and manual focus. You
5.3-inch screen. The G5’s camera app stabilisation and a powerful flash. It all get plenty of fun effects too, like an
is also well-featured, although it’s a pity helps the S7 steer clear of high ISOs, augmented reality mode, while the 13MP
that Manual mode isn’t very intuitive – which is useful as at the maximum ISO selfie camera takes some beating.
and yet you’ll need it to enable flash 800 sensitivity, noise is rather intrusive. A physical two-stage hardware shutter
control. Other annoyances include poor Other issues include occasional release and a water-resistant design also
high-ISO performance, but the G5 gains underexposure, while the bevelled edges go in the XZ’s favour, but it’s not enough to
Lenses
ground by resolving plenty of detail in of the 5.5-inch 1,440 x 2,560 display compensate for the lacklustre image
good lighting. It can capture stunning make the S7 slippery to hold. But these quality from camera tech that’s in dire
dynamic range with HDR enabled. are small gripes with a superb all-rounder. need of an overhaul.
f r o m t h e m a k e r s o f D igital C amera maga z ine 123

LENSES
find your next lens with our in-depth reviews
138
126 Prime lenses

9 things you need to know Which lens?
130 Wide angle primes
Manual focus round-up
Expert advice
A camera is just a
137 Laowa 105mm f/2

Fast telephoto prime lens
starting point in
photography; a new lens
can help you take a big
138 Macro lenses

Get closer to your subjects
step forward.
There are lots of
possibilities to choose
145 Sony
from. A fast telephoto
FE 50mm zoom lens, for example, is
f/2.8 Macro a great investment. It’s
1:1 full-frame macro prime usually associated with
shooting sport and action,
146 Budget telephotos

More reach, less cost
but it can also make a
great portrait lens,
especially for shooting
153 Sigma 30mm f/1.4

Fast crop sensor prime
active families.
A macro lens will also let
you get much closer to your
154 Monster zooms

subject for 1:1 (life-size)
replication and dramatic shots.
Perfect for wildlife and action But don’t overlook manual focus
prime lenses, which usually have
161 Fujifilm XF 100-400mm

f/4.5-5.6 R LM OIS WR
large maximum apertures to
Lenses
allow fast shutter speeds: they

Powerful telephoto for X-mount make great walkabout optics.
STUDIO FLASH KITS lens test
130

137
145
161 154
LensesLenses
K I fT eZaOtNuEr e MINI-TEST
9
things you should
know about using
prime lenses
It’s all about quality
Lenses
vs versatility
f e at u r e

Z
oom lenses are undeniably aberration (colour fringing around high- they have a larger maximum aperture,
great when it comes to contrast edges in a scene) and vignetting. which enables quicker shutter speeds. For
convenience and versatility, The latter effect is most commonly seen example, a typical 18-55mm zoom lens
delivering a range of focal when you’re using large apertures at the has a maximum aperture of f/3.5 at the
lengths at the flick of a wrist. However, wide-angle end. Zoom lenses are also wide-angle end, shrinking to a mere f/5.6
they demand a compromise in terms of often more prone to ghosting and flare. at about 50mm. Switch to a 50mm f/1.4
outright image quality. With complex With a high-quality prime lens, distortion prime lens and the largest aperture is four
arrangements of large groups of lens and vignetting should be much less stops faster.
elements moving back and forth to enable noticeable. Sharpness should also be In low light you’d be limited to a shutter
the zoom action, the optical purity suffers. excellent, so you can really make the most speed of, say, 1/15 sec with a typical zoom
Sharpness is often the first casualty, and of the latest high-res sensors. (unless you increase your ISO setting).
barrel and pin-cushion distortions often However, an f/1.4 lens will enable a much
Lenses
appear at the wide-angle and telephoto The need for speed faster shutter speed of 1/250 sec. An f/1.8
ends of the zoom range respectively. You Another big bonus of using prime lenses is lens is 3.3 stops faster than an f/5.6 lens,
can also expect an increase in chromatic that they’re usually ‘faster’. This means and an f/2.8 model is two stops faster.
K I fT eZaOtNuEr e MINI-TEST
Lenses
f e at u r e
So-called ‘faster’ lenses aren’t just good

for avoiding camera-shake and freezing the 3
action in dull lighting conditions. Another Choose your focal length
big advantage is that you can get a much Before diving in and getting your prime lens,
tighter depth of field, enabling you to isolate do your research. You may think you need a
the main point of interest in a shot by 24mm prime, but a quick look at the focal
blurring the background. It’s a favourite lengths you use most in Lightroom or Adobe
trick in portraiture, especially when the Bridge might reveal that in actual fact you
background is cluttered and would tend to shoot more at 28 or 35mm.
otherwise be a distraction.
It can be tricky to use large apertures in
bright, sunny conditions, but you can get 4

round the problem by fitting a neutral Open wide
density (ND) filter. These often have a fixed When shooting at the maximum aperture
value, but it’s also possible to get variable with fast f/1.4 lenses, outright sharpness
NDs, and these are a great option when can be a bit lacking in some instances,
you’re shooting video and want the particularly at the edges of the frame, but
cinematic, shallow depth of field that’s all this varies from lens to lens.
the rage.
Focal length and sensor size 5

An important factor to consider when Close quarters
you’re buying a prime lens is which focal A macro facility adds versatility, but you’ll
length to go for. Back in the days of 35mm have to be very close to the object you’re
film, a 50mm prime was considered a shooting with a 50mm lens, and a 35mm is
‘standard’ lens. That’s because it gives almost unusable.
pretty much the same perspective as
viewing a scene with the human eye,
without the magnification of a telephoto 6
lens or the shrinkage a wide-angle lens uses Play with light
to squeeze more into the frame. Invest in a neutral density filter if you want
With a variety of sensor sizes now to shoot with large apertures – it will
available, it’s not quite a clear-cut now. If reduce depth of field in sunny conditions.
you’ve got a DSLR with a smaller APS-C
sized sensor like a Canon EOS Rebel T6i /
750D or Nikon D3400, things are a little 7
different because of the so-called crop Weight
factor applied, with a 35mm lens providing With few moving parts, prime lenses are
pretty much the same perspective on these more compact and lighter than their zoom
cameras as you would get from a 50mm siblings – perfect if you want to travel light.
lens on a full-frame DSLR. That said, some expensive primes with lots
With all that in mind, to help you get more of quality glass elements that’s matched by
from your fixed-focal length optic we’ve a tank-like build quality can be heavy.
offered up below our 9 points you should
know about using prime lenses.
8
Sitting pretty
1 A 50mm lens on an APS-C format body is a
They make you work harder great combination for portraiture. A
With a zoom lens, it’s easy to get lazy and maximum aperture of f/1.4 or f/1.8
zoom in and out, letting the lens do the enables you to blur the background much
hard work for you, but a prime lens makes more effectively than you’d be able to with
you think about the shot more, forcing you a budget 18-55mm zoom lens.
to be more creative.
9
2 Investment banking
Bigger is better If your budget can stretch to it, buy a
Lenses
The ‘fastest’ lenses have apertures of f/1.4 professional optic, such as a full-frame
or f/1.8 and enable higher shutter speeds compatible lens, even if you currently use
and reduced depth of field. This makes an APS-C format DSLR – one day you may
them more useful than f/2.8 lenses. decide to trade up to a full-frame camera.
Manual-focus
lenses
Let’s twist again, with fingers firmly on the focus ring.
Matthew Richards explores the benefits of manual lenses
hat’s so good about autofocus electronics that enable operation of the focus
W anyway? Those who like being in control
often shy away from multi-point AF,
assist and confirmation lamps in the viewfinder.
In some cases, you also need to set the
where the camera decides which parts of a scene aperture on the lens itself, rather than from the
it’s going to focus on, often in a seemingly camera. This might sound like an extra chore but
arbitrary process. Instead, they’ll single out the there’s a lot to be said for setting up your camera
central AF point. This invariably means choosing and lens, then concentrating fully on what you’re
an object in the scene that’s our preferred shooting, instead of worrying about what the
distance away, autofocusing, then maintaining camera’s going to do next. And there’s nothing
a light press on the shutter button while they more frustrating than missing a defining, magical
swivel the camera and compose the shot. moment because your camera has suddenly
For landscapes, street photography, reportage gone AWOL on autofocus duties.
and action sports, manual focusing is a viable
alternative. These manual lenses have a very
particular advantage for manual focusing. They
the contenders
Marc Adamus / www. marcadamus.com
have longer, more accurate focus scales and

most have depth of field index markings. With 1 Irix 15mm f/2.4 Blackstone £600/$700
these lenses you can manage depth of field and 2 Laowa 15mm f/4 Wide Angle Macro £450/$500
hyperfocal distances precisely, something you 3 Samyang 10mm f/2.8 ED AS NCS CS £350/$400
Lenses
can rarely do with regular autofocus lenses. 4 Samyang 14mm f/2.8 IF ED UMC £300/$330
Most digital cameras aren’t really set up for 5 Voigtländer 10.5mm f/0.95 Nokton £900/$1,100
accurate manual focusing – the split-screen
6 Zeiss Loxia 2.8/21mm £1,100/$1,500
and microprism viewfinder aids of 35mm film
7 Zeiss Milvus 2/21mm £1,300/$1,850
cameras are long gone – but help might still be
at hand. Some manual lenses have built-in PLUS Zeiss Touit 2.8/12mm £650/$1,000
manual lenses g r o up t e s t

Lenses
f r o m t h e ma k e r s o f Di g i t a l C a m e r a m a g a zi n e 131
Canon EF Nikon FX Pentax K Sony A Sony E

Canon EF Nikon FX Pentax K
Irix 15mm f/2.4 Blackstone Laowa 15mm f/4 Wide

£600/$700 Angle Macro £450/$500
Welcome to the dark side A shifty lens of hidden talents
e ran a full review omething of an

W of the plastic-bodied 2500
SHARPNESS HIGHER IS BETTER
S oddball, this wide- 2500
Firefly version of this angle lens delivers

lens last issue. The beefier full 1.0x macro magnification.
Blackstone has a magnesium alloy 2000
It’s great for extreme close-ups in 2000
skin, an extra weather-seal at the which you want to major on a small

front and fluorescent engraved 1500 subject yet include its surroundings. 1500
markings. The markings include In full macro mode, however, the
a focus-distance scale and both 1000
front of the lens is only about 5mm 1000
depth-of-field and hyperfocal- from the target, which is seldom
distance markings for f/8, f/11 practical. The lens also includes
500 500
and f/16. There’s even a fine-tuning a 6mm shift mechanism. Its
mechanism for optimum accuracy operation is basic, but it enables
on individual camera bodies. some perspective correction and
As you’d hope for in a manual- f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
an avenue of creative possibility. f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
focus lens, the focus ring has Centre Middle Edge There are no built-in electronics, Centre Middle Edge
Sharpness is impressive throughout the Good at the centre, sharpness drops off
silky-smooth rotation and a long range, and astonishing wide-open at f/2.4.
so it’s a completely manual lens. towards the frame’s edges and corners.
travel of about 150°, enabling The stepless, click-free aperture
FRINGING (At f/8 lower is better) FRINGING (at F/8) Lower is better
excellent precision. Built-in ring is a bonus for movie capture,
electronics feed focus assist Fringing 0.79 but precise focus adjustments are Fringing 1.68
There’s practically no colour fringing, even This does a decent job of keeping colour
and confirmation lamps in the around high-contrast edges at the edges. tricky, due to the focus ring only fringing to low levels across the frame.
viewfinder and allow the aperture DISTORTION Nearer 0 is better
having 90° of travel. This is despite DISTORTION Nearer 0 is better
to be set from the host camera. This the extended close focusing range
also maintains a bright viewfinder -2.15 for macro shooting. -2.94
image when stopping down. -4 -3 -2 -1 0 1 2 3 4 -4 -3 -2 -1 0 1 2 3 4

Control over barrel distortion is good, and Performance Barrel distortion lacks uniformity, using
better than the Samyang and Laowa lenses. the shift function to correct perspective.
Performance Centre sharpness is respectable
Image quality is excellent in all Verdict but images are soft around the Verdict
respects, and exposure control Features edges. Contrast is a little lacking at Features
Lenses
proved more accurate than in the wide apertures. Distortion isn’t too
Firefly edition that we reviewed bad in conventional shooting but
last issue. It’s also neat that you performance becomes irregular when using the performance
can lock the focus setting to any Value
shift feature, somewhat negating Value
preset position, thanks to the function’s usefulness for
a separate locking ring. OVERALL architectural shooting. OVERALL
132 f r o m t h e ma k e r s o f Di g i t a l C a m e r a m a g a zi n e
manual lenses group test

Canon EF-S Canon M Fujifilm X Nikon FX Pentax K Canon EF-S Canon M Fujifilm X Nikon FX Pentax K
Samsung NX Sony A Sony E Four Thirds Micro Four Thirds Samsung NX Sony A Sony E Four Thirds Micro Four Thirds
Samyang 10mm f/2.8 ED Samyang 14mm f/2.8

AS NCS CS £350/$400 IF ED UMC £300/$330
A budget ultra-wide for crop sensors Quite compact for a full-frame optic
esigned exclusively ompatible with

D for crop-sensor 2500
C full-frame cameras, 2500
cameras in a wide the Samyang 14mm

range of mount options, this has the same f/2.8 aperture
Samyang gives a similarly 2000
rating as its 10mm sibling for 2000
wide viewing angle on APS-C crop-sensor bodies. It’s slightly

bodies as a 15mm lens on a 1500 smaller and lighter than the 10mm 1500
full-frame body. Despite not lens. Again, the Nikon-fit edition
being full-frame compatible, it’s 1000
adds electronics and a small price 1000
much bigger than the Laowa increase, but it’s manual all the way
15mm lens, mostly due to its faster with the Canon-fit version that we
500 500
aperture rating which requires a tested, so the viewfinder image gets
larger-diameter front element. darker as you narrow the aperture.
The Nikon-fit edition includes The downsized design is
electronics that enable camera- f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
enabled by the inclusion of both f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
driven aperture control and the Centre Middle Edge hybrid and regular aspherical Centre Middle Edge
Remarkably good wide-open, sharpness is Centre sharpness is very good at the widest
illumination of focus-assist lamps actually better at f/2.8 than it is at f/4.
elements, instead of two regular aperture, but drops away in the corners.
in the viewfinder. These are lacking aspherical elements. Other optical
FRINGING (at F/8) Lower is better FRINGING (at F/8) Lower is better
in other mount options of the lens. upgrades include an extra ED
The lens hood forms an integral Fringing 1.61 (Extra-low Dispersion) element Fringing 1.15
Colour fringing worsens at narrow apertures Opposite to its 10mm stablemate, colour
part of the barrel and can’t be but remains within respectable limits. and three HRI (High Refractive fringing decreases as the aperture narrows.
removed, precluding the DISTORTION Nearer 0 is better
Index) elements. Both have a DISTORTION Nearer 0 is better
attachment of filters. Build quality six-blade diaphragm and built-in
feels good, and the focus ring has -3.62 hood, but the 14mm is the only lens -3.22
a fluid feel to its 140° rotation. -4 -3 -2 -1 0 1 2 3 4

here to lack depth of field markings. -4 -3 -2 -1 0 1 2 3 4
Barrel distortion is a little more noticeable The amount of barrel distortion here is
than from other lenses in the test group. just a little less than from the 10mm lens.
Performance Performance
There’s remarkably little drop-off Verdict Focusing precision benefits from Verdict
in sharpness across the frame Features the control ring having a much Features
Lenses
when shooting wide-open, but longer travel than in the Samyang

vignetting is severe and much 10mm lens, at 240° compared with
more noticeable than in Samyang’s performance 140°. Image quality is very similar performance
14mm full-frame lens. The high-tech Value
from both lenses. The 14mm’s Value
nano-structure coatings do well to corner-sharpness drops off more,
fend off ghosting and flare. OVERALL but vignetting is less noticeable. OVERALL
H
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EST y
B son
H
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ESTB MFT
Micro Four Thirds Sony E
Voigtländer 10.5mm f/0.95 Zeiss Loxia 2.8/21mm

Nokton £900/$1,100 £1,100/$1,500
It can practically see in the dark Sony shooters get the best deal
ore than three full ompact but

M f/stops faster than 2500
C beautifully 2500
an f/2.8 lens, the engineered, Zeiss

Voigtländer is reasonably Loxia lenses are designed
small and light, while giving 2000
exclusively for Sony Alpha 7 2000
an effective focal length of full-frame cameras. This is the

21mm on Micro Four Thirds 1500 widest-angle offering in the range, 1500
cameras. It’s a manual affair, with 35mm, 50mm and 85mm
but that’s easier to live with on a 1000
lenses also being available. 1000
mirrorless camera than an SLR. Not to be confused with Zeiss-
The electronic viewfinder (rear badged Sony lenses, this is more
500 500
screen) remains bright when you traditional, manual-focus Zeiss
narrow the aperture, giving an fare. Travel in the focus ring is
indication of the actual exposure. only about 90° but still enables
Shooting was natural in Aperture f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
very precise adjustments, aided by f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
Priority and metered manual Centre Middle Edge an automatic magnified preview Centre Middle Edge
At wide aperture settings, corner-sharpness The Loxia’s superb sharpness does justice
modes on our MFT test bodies. figures are much lower than you’d expect.
while you’re focusing, courtesy to high-resolution cameras like the A7R II.
Quick and easy selection of of the A7’s ‘MF Assist’ function.
FRINGING (at F/8) Lower is better FRINGING (at F/8) Lower is better
click-steps or click-free aperture The aperture ring has one-third
control is available via an Fringing 2.69 f/stop click steps, but also has Fringing 0.59
Colour fringing remains constant, but can Colour fringing is practically impossible
additional control ring on the be noticeable towards the frame’s edges. a de-click option for step-less to spot anywhere in the image frame.
barrel. The focus ring has a very aperture control. Mode selection
DISTORTION Nearer 0 is better DISTORTION Nearer 0 is better
smooth action and an extra-long requires the turn of a screw in the
265° of travel, while depth-of-field -0.75 mounting plate, so you have to 0.07
markings are shown for most -4 -3 -2 -1 0 1 2 3 4

remove the lens from the camera. -4 -3 -2 -1 0 1 2 3 4
apertures between f/1.4 and f/11. There’s minimal barrel distortion – no mean Almost matching the perfect score of the
Milvus, this is essentially distortion-free.
feat for a lens with such short focal length. Performance
Performance Verdict Benefiting from classic Zeiss Verdict
Corner sharpness is disappointing, Features Distagon design values, the Loxia Features
Lenses
especially at apertures wider than delivers spectacular image quality

f/4, but centre sharpness and and sublime handling in a package
contrast are good. Vignetting is performance that’s a perfect match for A7-series performance
minimal considering the ultra- Value
cameras. Our only quibble is that Value
wide aperture rating and, overall, vignetting is pronounced at f/2.8,
the lens is a strong performer. OVERALL but it’s much reduced at f/4. OVERALL
manual lenses group test

Canon EF-S Nikon FX ALTERNATIVE CHOICE
Zeiss Milvus 2/21mm Zeiss Touit 2.8/12mm

£1,300/$1,850 £650/$1,000
The Milvus range is growing up strong The pros and cons of autofocus
he range of Milvus uch is the prevalence

T lenses for Canon and 2500
S of modern autofocus
PROs
Nikon SLRs is nine lenses that it’s hard to • The option of autofocus
strong, ranging from 15mm to find manual alternatives for whenever you want it.
135mm in focal length, and 2000
some camera systems. One
including two 0.5x macro option is to go for a premium • For critical focusing
lenses. Optics include updated 1500 wide-angle prime like the Zeiss with longer focal
versions of classic Zeiss Distagon Touit, which is an autofocus lens lengths and reduced
and Planar designs, this 21mm f/2 1000
but boasts the heritage of classic depths of field, auto-
lens exemplifying the former. It Zeiss Distagon design. focus can be faster.
features the same excellent build Available in Fujifilm X and
500
quality as the Loxia but is much Sony E-mount options, this APS-C • Full-time manual
larger and about twice the weight – format lens is still a good choice override is often
partly because it’s for SLRs but for manual shooting. Like various available in autofocus
also as it’s an f/stop faster. f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
other stepping-motor autofocus lenses, enabling
The travel of the focus ring is Centre Middle Edge lenses, the electronic fly-by-wire seamless swapping.
increased to 125°, enabling precise Levels of sharpness are good and consistent
throughout the entire aperture range.
focus ring enables fine and precise
adjustments. Electronics enable adjustments in manual focusing. COns
FRINGING (at F/8) Lower is better
the illumination of focus-assist While the Touit lacks a focus
and confirmation lamps in the Fringing 1.05 distance scale and depth of field • Fine manual adjustment
There’s practically no colour fringing, even in
camera’s viewfinder. The Nikon- the extreme corners of full-frame images. markings, many mirrorless can be difficult in
mount option has an aperture ring cameras can display focus distance autofocus lenses, as the
DISTORTION Nearer 0 is better
with the same de-click mechanism information in the viewfinder. focus ring’s rotational
as in the Loxia lens. 0.00 travel is often small.
-4 -3 -2 -1 0 1 2 3 4
Judging the depth
Performance As indicated by the lab test score, distortion Mirrorless cameras give you a live • Modern autofocus
is basically a non-issue for this lens.
Typical of the Zeiss Milvus range, preview of the depth of field at any lenses often lack a
the 21mm delivers exceptional Verdict combination of focus distance and distance scale and
sharpness and contrast, even at Features aperture, while keeping a viewfinder depth-of-field markings.
Lenses
its widest aperture. It’s a stunning or LCD image that reflects the

BUILD & HANDLING
lens that does full justice to the exposure setting. It can be more • The focus rings in
highest-resolution Canon and performance convenient than pressing the DOF autofocus lenses often
Nikon SLRs. As with the Loxia Value
Preview button on a SLR, only to lack the smooth feel of
though, vignetting is severe at get a dark viewfinder image. a manual lens.
apertures wider than f/4. OVERALL
g r o up t e s t manual lenses
The Verdict
It’s a Zeiss win

The Zeiss Loxia 2.8/21mm comes up trumps H
HHfor
HH
EST y
B son
HE little Loxia packs a Both of the Samyangs have refined

T mighty punch in terms of
sharpness and contrast,
handling characteristics, and deliver
pleasing image quality at competitive
while reining in colour fringing prices. They are available in a wide
and distortion to excellent effect. variety of mount options to suit most
Image quality is spectacular, handling SLRs and mirrorless cameras.

is sublime and build quality is solid. For The Voigtländer works very well as
manual shooting, Loxia lenses with a Sony a Micro Four Thirds lens. Its super-fast
A7-series cameras make a dream team. f/0.95 aperture not only extends your
For the same excellence in build, stills and movie shooting possibilities in
handling and image qualities on a low light, but also enables a tight depth
D-SLR, the Zeiss Milvus takes top spot. of field in wide-angle shooting.
However, the Irix Blackstone runs a very The Laowa lens combines ultra-
close second to the Milvus, adding some wide shooting with full 1.0x macro
clever tricks and design flourishes, while magnification, and even a shift
also being cheaper. mechanism for correcting perspective.
How the
LENSES Irix 15mm f/2.4 Laowa 15mm f/4 Samyang 10mm Samyang 14mm Voigtländer 10.5mm Zeiss Loxia Zeiss Milvus
compare Blackstone Wide Angle Macro f/2.8 ED AS NCS CS f/2.8 IF ED UMC f/0.95 Nokton 2.8/21mm 2/21mm
Contact www.irixlens.com www.venuslens.net www.samyanglensglobal.com www.voigtlaender. www.zeiss.com

com
Street price £600/$700 £450/$500 £350/$400 £300/$330 £900/$1,100 £1,100/$1,500 £1,300/$1,850
Mount options EF FX K EF FX K A E EF-S M X DX K EF-S M X DX K MFT E EF F

NX A E FT MFT NX A E FT MFT
Image circle Full-frame Full-frame APS-C Full-frame MFT Full-frame Full-frame
Angle of view 110 degrees 110 degrees 110 degrees 116 degrees 93 degrees 91 degrees 90 degrees
Elements/ 15 / 11 12 / 9 14 / 9 14 / 10 13 / 10 11 / 9 16 / 13
groups
Diaphragm 9 blades 14 blades 6 blades 6 blades 10 blades 10 blades 9 blades

blades
Aperture ring No Yes Yes Yes Yes Yes Nikon only
Aperture control Yes No Nikon only Nikon only No No Yes

from camera
Aperture range f/2.4-22 f/4-32 f/2.8-22 f/2.8-22 f/0.95 to f/16 f/2.8-22 f/2.8-22
DOF markings f/8, 11, 16 f/5.6, 11, 16, 22 f/2.8, 4, 5.6 None f/1.4, 2, 4, 8, 11 f/4, 8, 16, 22 f/4, 8, 16, 22
Minimum focus 0.28m 0.12m 0.24m 0.28m 0.17m 0.25m 0.22m

distance
Focus ring travel 150 degrees 90 degrees 140 degrees 240 degrees 265 degrees 90 degrees 125 degrees
Filter size 95mm 77mm N/A N/A 72mm 52mm 82mm
Hood Petal, supplied Petal, supplied Built-in Built-in Petal, supplied Petal, supplied Petal, supplied
Widest diameter 114 x 100mm 84 x 65mm 87 x 104-132mm* 87 x 96-122mm* 77 x 82mm 62 x 72mm 96 x 110-112mm*
x length
Weight 653-685g 410g 580-625g 530-575g 585g 394g 735-851g

*Length varies with mount option
Lenses
Features
BUILD & HANDLING
Performance
Value
OVERALL
Laowa 105mm f/2 STF le n s t es t
3
Specifications
1
Full-frame compatible Yes
Effective focal length 157.5-168mm (APS-C)
Image Stabiliser No
Minimum focus distance 0.9m
Max magnification factor 0.16x
Manual focus override N/A
Focus limit switch No
Internal focus Yes
Filter size 67mm
Iris blades 8 (F) 14 (T)
Weather seals No
Supplied accessories Hood
Dimensions (dia x length) 76 x 99mm

Weight 745g
SHARPNESS
2,500
2 2,000
Centre
1,500
1,000
500
HIGHER SCORES ARE BETTER
t e l e p h o t o p r i m e l e n s w w w.v e n u s l e n s . n e t 0
Laowa 105mm f/2 STF

f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
2,500
2,000
Edge
1,500
£735/$700 1,000
500
This lens goes further than most to create lush bokeh

0
f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
Sharpness across the frame is very good

and consistent through the aperture range.
Photographers connectors in our Canon-fit

1
can be a fussy lot, review sample looked a bit rough FRINGING Nearer 0 is better
demanding sharp and ready. The lens is also 11 optical elements
lenses that also available in Nikon and Sony E are configured in eight f/2 0.92 f/8 0.63 f/22 0.54
groups, and include Lateral chromatic aberration is negligible
deliver very smooth bokeh mount options, with Sony A and
one extra-refractive and longitudinal is well controlled.
(the quality of defocused Pentax editions due imminently. element, three
areas within images). The There are two aperture rings. low-dispersion
conventional route is to use a fast One adjusts a diaphragm with a elements and an DISTORTION Nearer 0 is better
lens with a wide aperture, nominal eight blades (we counted apodisation element.
enabling a small depth of field. 13!) in full f/stop increments
This new Laowa Soft Trans between f/2 and f/22 for stills -0.14
2
Focus lens from Venus Optics photography. The other is for -1.0 -0.5 0 0.5 1.0
employs an apodisation element shooting video and controls a The long-travel focus
There’s really no visible distortion in any
in an effort to take bokeh to a well-rounded 14-blade diaphragm ring operates very
of the images taken with this lens.
smoothly and enables
creamier, dreamier level. It’s with continuous step-less
excellent focusing
essentially a built-in radial adjustment between T3.2 and T8. precision. Depth of
graduated neutral-density filter In both cases, the aperture has to WE SAY...
field markings are
that reduces light transmission be set using the relevant aperture shown for f/5.6, f/11 It’s a hands-on lens with manual focusing and
towards the perimeter of the ring, and can’t be controlled from and f/22. aperture control, but the Laowa combines
frame. It’s like having a the camera body. excellent sharpness with superb softness.
secondary, smoothly graduated
3
iris that works in conjunction Performance Verdict
with the main aperture (actually The focus ring operates with The main aperture
two apertures, as we’ll see later) excellent smoothness and ring operates in full Features
f/stop click-steps
to produce a softer bokeh. precision. True to its aims and BUILD & HANDLING
between f/2 and f/22,
Lenses
claims, the lens delivers gorgeous whereas the video-

Build & handling bokeh with fabulous smoothness, friendly clickless IMAGE QUALITY
The Chinese-made lens feels solid but the levels of sharpness from aperture ring ranges
and sturdy, with its metal barrel the centre to the extreme edges of from T3.2 to T8. Value
and mounting plate. Our only the frame are also impressive.
OVERALL
criticism is that the electronic Matthew Richards
f r o m t h e m a k e r s o f D i g i t al C a m e r a m a g a z i n e 137
group test MACRO LENSES
MACRO
LENSES
It’s all in the detail. Matthew
Richards tests eight close-up options
here’s big news in all these independently
T the small world of
photographing tiny
manufactured lenses stack up
against own-brand competition?
objects. A redesign of Tamron’s The Canon 100mm L-series
90mm lens is aiming for new and Nikon’s 105mm represent
heights of excellence, while a both companies’ most high-tech
price drop in Sigma’s 105mm macro optics. While they’re
lens makes it look great value costly, Sony’s new E-mount
for money, especially in the UK. 90mm has an even heftier price
Samyang puts its own twist on tag. The Micro Four Thirds
macro photography with its 60mm lens is Olympus’s finest
manual lens, while Tokina sticks offering, but is much more
to a veteran design. So how do affordable. Let’s take a look...
the contenders
1 Canon EF 100mm f/2.8L Macro IS USM £870/$800
2 Nikon AF-S 105mm f/2.8G IF ED VR Micro £750/$900
3 Olympus 60mm f/2.8 Macro M.Zuiko Digital ED £370/$500
Lenses
4 Samyang 100mm f/2.8 ED UMC Macro £350/$530

5 Sigma Macro 105mm f/2.8 EX DG OS HSM £320/$620
6 Sony FE 90mm f/2.8 Macro G OSS £900/$1,100
7 Tamron SP 90mm f/2.8 Di VC USD Macro £580/$650
8 Tokina AT-X AF 100mm f/2.8 Pro D £350/$370
MACRO LENSES
Macro lenses group test

Lenses
iko / Shutterstock
from the ma k ers of D i g i t a l C a m e r a m a g a z i n e 139

Mount option: Canon EF Mount option: Nikon FX
Canon EF 100mm f/2.8L Nikon AF-S 105mm f/2.8G

Macro IS USM IF ED VR Micro
£870/$800 £750/$900
It’s a high-tech affair Nikon’s most impressive macro lens
hile several of the ikon currently

W latest macro lenses
2500
N markets several of 2500
feature an optical what it calls ‘Micro’

stabiliser, the one that was lenses, including two DX
developed specifically for this 2000 models that are specifically 2000
lens is a hybrid system. It can designed for use on APS-C

counteract axial shift (up-down 1500 format cameras. The 105mm 1500
and side-to-side movement) as well VR has the most advanced
as the usual angular vibration, or 1000
features and specifications, and 1000
wobble. Other highlights include a comfortable working distance
ring-type ultrasonic autofocus, enabled by its focal length.
500 500
with the usual full-time manual This was the world’s first macro
override, and a three-position lens to include an optical stabiliser,
autofocus limiter switch that can 0 although it’s not a hybrid system. 0
lock out either the short or long end f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
The upmarket build includes a f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
of the range. Centre Middle Edge weather-sealed mount, an ED Centre Middle Edge
It’s excellent across the frame, but bokeh Levels of sharpness are good, but no better
The pro-grade build includes isn’t as smooth as with the Sony or Tamron. (Extra-low Dispersion) optical than in some of the cheaper competitors.
weather-seals and the lens comes element, Nano Crystal coating to
FRINGING Lower is better FRINGING Lower is better
with a hood and soft pouch. A UD reduce ghosting and flare, and fast
f/2.8 1.35 f/8 0.74 f/16 0.72 f/2.8 1.92 f/8 2.26 f/16 2.31
(Ultra-low Dispersion) element The worsening at f/2.8 is of no concern
ring-type ultrasonic autofocus. It’s not generally noticeable, but lab scores
is included in the optical path to for close-ups with narrower apertures. There’s an autofocus range limiter for this lens are the worst in the group.
boost sharpness and contrast while DISTORTION Nearer 0 is better switch but, disappointingly, it’s not DISTORTION Nearer 0 is better
reducing chromatic aberrations. able to lock out the long range for
-0.74 close-up shooting. -0.49
Performance -2 -1 0 1 2 -2 -1 0 1 2
Autofocus is fast and accurate and, There’s more barrel distortion than with Performance There’s very slight barrel distortion, but
any other lens on test, but it’s still minimal. it’s marginally less than in the Canon lens.
arguably more importantly for Autofocus and VR (Vibration
macro shooting, the manual focus Verdict Reduction) work well for general Verdict
ring operates smoothly and enables Features shooting but are of no real benefit Features
Lenses
precise adjustments. for extreme close-ups. Manual

The hybrid stabiliser works well focusing is more precise than in
for regular and fairly close-up performance other recent Nikon ‘G-type’ macro performance
shooting, but is of little benefit at Value
lenses and the image quality is very Value
the closest focus distance for good overall, but the lens isn’t great
maximum macro magnification. OVERALL value at this price. OVERALL
140 from the ma k ers of D i g i t a l C a m e r a m a g a z i n e

MACRO LENSES group test

X
T
MF PENTA
Mount option: Canon EF Fujifilm X Nikon FX Pentax K Samsung NX

Mount option: Micro Four Thirds Sony A Sony E Four Thirds Micro Four Thirds
Olympus 60mm f/2.8 Samyang 100mm f/2.8 ED

Macro M.Zuiko Digital ED UMC Macro
£370/$500 £350/$530
You’ll be seeing double A macro lens for almost any camera
ompared with other vailable in a barrage

C manufacturers’
2500
A of different mount
2500
own-brand macro options, including the

lenses on test, the Olympus is likes of Micro Four Thirds,
2000
very affordable. Designed for 2000
Samsung NX and both Sony A
the Micro Four Thirds format, and E fits, the Samyang is a
which requires a relatively small 1500 very manual affair. Not only 1500
image circle, the lens is compact does it lack any autofocus ability,
and remarkably light, at just 185g. 1000 but the aperture also has to be set 1000
Even so, it feels sturdy and manually, using the lens’s aperture
well-built, and the construction ring. The only exception to this is
500 500
includes weather seals. the Nikon-fit edition, which
The MFT format’s 2.0x crop includes the electronics and readings taken
from centre
factor gives the lens an effective 0 mechanics necessary for adjusting 0
focal length of 120mm. More f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
the aperture from the host camera. f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
importantly for macro shooting, Centre Middle Edge

The lens is well engineered and Centre Middle Edge
Scores for sharpness don’t look impressive, Sharpness is good across the whole
this also doubles the ‘effective’ but images retain excellent fine detail. handles beautifully. The focus ring frame, but not altogether outstanding.
maximum magnification to 2.0x, has a long travel and is silky
when using the lens at its 20cm smooth in operation, enabling
f/2.8 0.12 f/8 0.7 f/16 0.8 f/2.8 0.51 f/8 1.74 f/16 1.56
minimum focus distance. The only There’s very little colour fringing at any
excellent precision for very fine It’s a little worse than average, especially
catch is that this distance is closer aperture throughout the entire range. adjustments. High-quality optical at mid-range apertures, but no real issue.
than normal, increasing the risk of DISTORTION Nearer 0 is better elements include both ED (Extra- DISTORTION Nearer 0 is better
casting a shadow over your subject. low Dispersion) and HR (High
-0.07 Refractive) glass. -0.36
Performance -2 -1 0 1 2 -2 -1 0 1 2
Both automatic and manual The amount of pincushion distortion is so Performance There’s a touch of pincushion distortion,
negligible that it’s almost impossible to spot. but not usually enough to detect.
focusing work very effectively Sharpness and contrast are good
for macro shooting, based on a Verdict even at the widest available Verdict
stepping motor system that enables Features aperture of f/2.8, and remain very Features
Lenses
excellent precision. Image quality consistent throughout most of the

is very pleasing overall, and the aperture range. A problem when
Zero coatings offer good resistance performance using narrow apertures for performance
against ghosting and flare. It’s Value
non-Nikon SLRs is that the Value
simply the best macro lens choice viewfinder image becomes very
for MFT cameras. OVERALL dark indeed. OVERALL

Mount options: Canon EF Nikon FX Sony A Sigma SA Mount options: Sony E
Sigma Macro 105mm f/2.8 Sony FE 90mm f/2.8

EX DG OS HSM Macro G OSS
£320/$620 £900/$1,100
High-end performance at a low price An E-mount lens with all mod-cons
his full-frame ne of Sony’s G-series

T compatible macro 2500
O lenses for E-mount 2500
lens is available in cameras, this 90mm

Canon, Nikon and Sony A macro is designed to deliver
mount options. It’s the outright 2000
beautiful bokeh. Other features 2000
cheapest lens here (in the UK, at include a DDSSM (Direct Drive
least) but you’d never guess based 1500 Super Sonic wave Motor) autofocus 1500
on the feature set. The Sigma motor and a three-position range

boasts ring-type ultrasonic 1000
limiter switch. There’s even a focus 1000
autofocus with a three-position hold button, which is of no practical
range limiter switch, optical use for macro photography but can
500 500
stabilisation with dual static and come in handy for portraiture and
panning modes, and two SLD readings taken other short telephoto applications. readings taken
from centre
from centre
(Special Low Dispersion) optical 0 As with the Tokina lens, the focus 0
elements. It’s supplied with a soft f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
ring has a push-pull mechanism f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
case, a hood and a hood converter Centre Middle Edge

for switching between auto and Centre Middle Edge
The drop in extreme corner-sharpness isn’t Corner-sharpness could be a little better,
to optimise efficiency when using a concern for the majority of macro shooting. manual focus. but defocused areas are super-soft.
the lens on an APS-C format camera. The inclusion of an optical
Build quality is good and the stabiliser is a bonus when using
construction feels sturdy and solid, f/2.8 0.56 f/8 0.79 f/16 0.76
Colour fringing isn’t really perceptible,
the lens with first-generation A7 f/2.8 0.29 f/8 0.4 f/16 0.76
The Sony suppresses longitudinal and
while operation of the manual even towards the extreme corners. cameras, which lack a built-in lateral chromatic aberrations very well.
focus ring is smooth and precise. DISTORTION Nearer 0 is better sensor-shift stabiliser. The DISTORTION Nearer 0 is better
The only slight drawback is that high-grade, weather-sealed build
the Sigma has no weather seals. -0.12 hosts an optical path that includes -0.47
-2 -1 0 1 2
both an ED (Extra-low Dispersion) -2 -1 0 1 2
Performance The negligible amount of barrel distortion element and a Super ED element. Barrel distortion is marginally worse than
will go completely unnoticed in most images. average, on a par with the Nikon lens.
The Sigma combines excellent
image quality with accurate Verdict Performance Verdict
autofocus and effective Features Image quality, handling and Features
Lenses
stabilisation, which match the overall performance are excellent,

pricier Nikon. Being a standard but no better than from the much
rather than hybrid stabiliser, it performance less expensive Tamron lens on test. performance
loses out to the Canon and Tamron Value
Ultimately, the Sony is a great lens, Value
for close-range effectiveness, but but seems relatively poor value for
the Sigma is unbeatable value. OVERALL money at the price. OVERALL

MACRO LENSES group test

Mount options: Canon EF Nikon FX Sony A Mount options: Canon EF Nikon FX
Tamron SP 90mm f/2.8 Tokina AT-X AF 100mm

Di VC USD Macro f/2.8 Pro D
£580/$650 £370/$410
Redesigned, revamped and remarkable An old-school but well-built lens
amron has developed using a relatively old

T something of a history 2500
U design, the Tokina 2500
in manufacturing lacks mod cons like

popular 90mm macro lenses. optical stabilisation. The
This new edition is the second to 2000
Canon-fit edition only has a basic 2000
feature VC (Vibration Compensation) electric autofocus motor, and

optical stabilisation and USD 1500 there’s no AF motor at all in the 1500
(Ultrasonic Drive) autofocus but, Nikon-fit version. This means that
while it bears the same string of 1000
autofocus is impossible with bodies 1000
letters as its predecessor, it’s a like the D3300 and D5500, which
completely new design. As with lack in-camera AF drive motors.
500 500
the Canon lens on test, the new This lens lacks internal
stabiliser is a hybrid system that readings taken focusing, so the inner barrel readings taken
from centre from centre
compensates for axial shift as well 0 extends as you focus at closer 0
as vibration. f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22

distances. Even so, it’s physically f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
The optics are engineered to Centre Middle Edge

quite small and the distance Centre Middle Edge
In our real-world tests, the Tamron maintained It’s excellent across the frame, apart from
enhance the quality of bokeh. The astonishing sharpness in extreme close-ups.
between the front of the lens and a drop-off at the narrowest f/22 aperture.
design incorporates one LD (Low the subject is a fairly typical 13.5cm
Dispersion) and two XLD (eXtra in full 1.0x magnification shooting.
f/2.8 0.09 f/8 1.36 f/16 2.06 f/2.8 0.62 f/8 0.38 f/16 0.35
Low Dispersion), along with dual Edging ahead of the Nikon lens, colour
The Tokina is well-engineered, There’s impressively little colour fringing at
nano-structure coatings to reduce fringing is barely ever perceptible in images. with a high-quality feel to its any aperture, throughout the whole range.
ghosting and flare, plus a moisture- DISTORTION Nearer 0 is better handling. The push-pull focus ring DISTORTION Nearer 0 is better
repellent fluorine coating on the enables easy switching between
front element. All of these facets 0.09 automatic and manual focusing. -0.01
represent enhancements over the -2 -1 0 1 2 There’s plenty of travel and -2 -1 0 1 2
previous Tamron 90mm lens. There’s no distortion from this lens, with smoothness in the focus ring’s With no distortion, the Tokina has a
a lab score that’s close to perfection. practically perfect lab score in this respect.
operation, giving great precision.
Performance Verdict Verdict
The ring-type ultrasonic autofocus Features Performance Features
Lenses
system is optimised for macro Where available, autofocus is a bit

shooting but is fast and accurate slow and clearly audible. Image
at any distance, complete with a performance quality is very good, although the performance
three-position range limiter. Image Value
otherwise excellent sharpness Value
quality is stunning, with superb levels drop at f/22, a desirable
contrast and sharpness. OVERALL aperture for macro shooting. OVERALL

The Verdict
Tamron comes out on top

The Tamron SP 90mm F/2.8 Di VC USD Macro is a real beauty
amroN’S new incarnation The Sigma lens is nearly the same price
T of its classic 90mm macro
lens delivers sublime
as the Tamron in the USA, but is much
cheaper in the UK, and very good value.
image quality, is beautifully built, It’s another excellent performer that
and boasts high-end features. The works brilliantly as a short telephoto
own-brand Canon lens isn’t as sharp for prime as well as for extreme close-ups.
extreme close-ups, and the Nikon’s For Micro Four Thirds cameras, the
overall performance is less impressive. Olympus 60mm is the best buy. It’s light
The Sony lens is a close match to the in weight but nicely built, and makes the
Tamron in terms of image quality, but most of the MFT format’s ability to
has a more standard optical stabiliser. double the effective magnification. The
The Sony lens is very pricey, but the Samyang delivers good quality if you
Tamron isn’t available in a Sony E-mount don’t mind being limited to manual
option, although an A-mount version focusing. The Tokina also produces good
without stabilisation is in the pipeline. image quality from a more retro design.
How the Canon EF 100mm Nikon AF-S Olympus 60mm Samyang 100mm Sigma Macro Sony FE 90mm Tamron SP Tokina AT-X AF
f/2.8L Macro IS
LENSES USM
105mm f/2.8 G IF
ED VR Micro
f/2.8 Macro
M.Zuiko Digital
f/2.8 ED UMC
Macro
105mm f/2.8 EX
DG OS HSM
f/2.8 Macro G
OSS
90mm F/2.8 Di
VC USD Macro
100mm f/2.8 Pro
D
compare ED
Contact canon.co.uk nikon.co.uk olympus.co.uk samyanglens sigma-imaging- sony.co.uk tamron.co.uk tokinalens.com

global.com uk.com
Street price £870/$800 £750/$900 £370/$500 £350/$530 £320/$620 £900/$1,100 £580/$650 £350/$370
Mount options EF FX MFT EF X FX K NX C FX A SA

EF E C FX A
EF C FX
EF
A E FT MFT
Full-frame Yes Yes No Yes Yes Yes Yes Yes

compatible
Elements/Groups 15/12 14/12 13/10 15/12 16/11 15/11 14/11 9/8
Diaphragm blades 9 blades 9 blades 7 blades 9 blades 9 blades 9 blades 9 blades 9 blades
Autofocus type Ultrasonic Ultrasonic Stepping motor Manual focus only Ultrasonic Ultrasonic (motor) Ultrasonic Electric motor
(ring-type) (ring-type) (ring-type) (ring-type) (Canon only)
Manual AF override Full-time Full-time Via camera menu N/A Full-time Push-pull Full-time Push-pull
Min focus distance 0.3m 0.31m 0.19m 0.31m 0.31m 0.28m 0.3m 0.3m
Internal focusing Yes Yes Yes Yes Yes Yes Yes No
Minimum aperture f/32 f/32 f/22 f/32 f/22 f/22 f/32 f/32
Optical stabiliser Yes Yes No No Yes Yes Yes No
Filter size 67mm 62mm 46mm 67mm 62mm 62mm 62mm 55mm
Included Hood, pouch Hood, pouch None Hood Hood, hood Hood Hood Hood
accessories adaptor, soft case
Dimensions (D x L) 78 x 123mm 83 x 116mm 56 x 82mm 73 x 121mm 78 x 126mm 79 x 131mm 79 x 117mm 74 x 95mm
Weight 625g 750g 185g 705g 725g 602g 610g 540g

Lenses
Features
BUILD & HANDLING
Performance
Value
OVERALL
OVERALL

Sony FE 50mm f/2.8 Macro lens test
1
2
Specifications
Full-frame compatible Yes
Effective focal length 50mm (75mm APS-C)
Image Stabiliser No
Manual focus override Yes
Focus limit switch Yes
Internal focus No
Filter size 55mm
Iris blades 7
Weather seals Partial
Supplied accessories Caps

Weight 236g
SHARPNESS
2,500
2,000
Centre
1,500
3
1,000
500
M ACRO PRIME L E NS w w w.s ony.co.uk 0
f/2.8 f/4 f/5.6 f/8 f/11 f/16
Sony FE 50mm f/2.8 2,500
2,000
Macro £500/$500
Edge
1,500
1,000
500
0
A standard prime that fully lives up to its macro billing f/2.8 f/4 f/5.6
Between the two extremes of the aperture

f/8 f/11 f/16
range, these graphs show that the lens

captures excellent levels of fine detail.
There have been Unusually for a relatively
1
50mm ‘macro’ short-focal-length macro lens,
The inner barrel FRINGING Nearer 0 is better
lenses from the there’s a focus limiter switch that
likes of Canon and can lock out the short or long ends extends at shorter
focus distances, to as f/2.8 0.36 f/5.6 0.52 f/16 0.75
Zeiss that, while giving a of autofocus travel. There’s also
little as 4.5cm from Colour fringing is negligible: it’s practically
natural perspective with a a handy focus-hold button. the subject in full 1.0x imperceptible across the entire image frame.
full-frame SLR, don’t deliver Manual focusing is usually macro shooting.
the full macro benefit. Instead preferable in macro photography,
they only offer a maximum so the smooth-action, fly-by-wire DISTORTION Nearer 0 is better
2
magnification ratio of 0.5x at manual focusing system is
their closest focus distances. a bonus. It offers excellent On-board controls +0.4
Like Sony’s older A-mount precision with the availability include AF/MF and
50mm macro, this new E-mount of fine adjustments, aided by the autofocus limiter -2.0 -1.0 0 1.0 2.0
optic boasts 1.0x magnification, magnified focusing view available switches, as well as There’s the very slightest hint of barrel
a focus hold button. distortion, but it’s pretty much unnoticeable.
reproducing small objects at full in Sony compact system cameras.
life-size on the image sensor.
Performance 3 WE SAY...
Build & handling The autofocus system is highly Eight optical elements The Sony FE 50mm f/2.8 Macro works very
Although the lens is compact and accurate but rather slow. For are arranged in seven well as both a ‘standard’ and a macro prime
light, it feels well-built and fairly close-up shots, AF speed can be groups, which include lens, with excellent handling and very good
robust. It lacks a weather-sealed further hampered by hunting, so an aspherical front overall image quality.
mount but is dust- and moisture- the limiter switch earns its keep. element and an
resistant. The inner barrel doesn’t Wide-open at f/2.8, there’s a little ED (Extra-low Verdict
rotate during focusing but does vignetting and a slight drop in Dispersion) element.
extend at shorter focusing sharpness, but the quality of Features
distances, revealing calibrated bokeh is pleasing. BUILD & HANDLING
Lenses
markings for focus distance and Sharpness is excellent from f/4

magnification. No lens hood is to f/11, but macro photographers image quality
supplied, but the front element is might be disappointed that it
deeply recessed within the inner drops off at f/16 – and that f/16 is Value
barrel, helping to guard against the narrowest available aperture.
OVERALL
ghosting and flare. Matthew Richards
Budget
telephoto
zooms
Matthew Richards looks at appealing
and cost-effective telephoto options
or many of us, the sense, because reducing the size

F purchase of our first of the image circle that a lens
compact system or delivers enables a more compact
SLR camera kit will be and lightweight build. The
closely followed by buying physical size and purchase price
a telephoto zoom lens. It’s an are therefore more in keeping
obvious addition, enabling extra with entry-level APS-C format
telescopic reach that’s ideal for and Micro Four Thirds cameras.
shooting anything from family Meanwhile, Sigma and Tamron
fun to action sports and wildlife. (the two main independent
Budget-friendly options are manufacturers) are bucking the
plentiful, but there’s been a shift trend. They both used to make
in the market lately. budget telephoto zooms for
Many of the latest own- crop-sensor cameras, but now
brand offerings from camera only manufacture full-frame
manufacturers are designed compatible lenses for this sector
for ‘crop sensor’ rather than of the market. Let’s see how the
full-frame bodies. It makes main contenders compare.
the contenders
Sysasya Photography / Shutterstock
1 Canon EF-S 55-250mm f/4-5.6 IS STM £270/$300

2 Fujinon XC50-230mm f/4.5-6.7 OIS II £320/$400
3 Nikon AF-P DX 70-300mm f/4.5-6.5G ED VR £300/$400
Lenses
4 Olympus M.Zuiko ED 75-300mm f/4.8-6.7 II £390/$450

5 Panasonic 45-150mm f/4.0-5.6 ASPH OIS £180/$250
6 Pentax 55-300mm f/4.5-6.3 DA PLM WR £400/$400
7 Sigma APO 70-300mm f/4-5.6 DG Macro £150/$200
8 Tamron SP 70-300mm f/4-5.6 Di VC USD £300/$450
budget TELEPHOTO ZOOMS group test

Lenses

Mount option: Canon EF-S Mount option: Fujifilm X
Canon EF-S 55-250mm Fujinon XC50-230mm

f/4-5.6 IS STM f/4.5-6.7 OIS II
£270/$300 £320/$400
Small, light and affordable Cross your palm with silver
bout half the price vailable in silver

A of Canon’s new 2500
A and black options to
2500
full-frame compatible colour-coordinate
70-300mm tele zoom, this with Fujifilm’s range of
‘EF-S’ optic for APS-C format 2000
X-series bodies, this lens is 2000
bodies is smaller, lighter practically identical in size

and more affordable. It gives 1500 and weight to the Canon. 1500
a powerful effective reach of With a smaller zoom range and
400mm at the long end of its 1000
Fujifilm’s 1.5x crop factor, the 1000
zoom range; while at the short maximum effective reach is
end, it picks up where an 18-55mm a more modest 345mm.
500 500
kit lens hits the end-stop. With the usual stepping motor
An upgrade over the previous readings taken autofocus, manual override of readings taken
IS II model, the STM lens features autofocus and fully manual
redesigned optics and a stepping f/4.5 f/5.6 f/8 f/11 f/16 f/22 f/32
focusing are available via an f/4.5 f/6.7 f/8 f/11 f/16 f/22 f/32
motor instead of a basic electric 55mm 100mm 200mm 250mm electronically coupled ‘fly by wire’ 50mm 100mm 135mm 230mm
Crucially for a telephoto lens without a ‘fast’ It starts off well, but sharpness drops off in
motor for powering autofocus. aperture rating, sharpness remains good.
focus ring. Focus modes and the 135-230mm sector of the zoom range.
As used in many of the rival lenses, operation of the 3.5-stop optical
a stepping motor enables smooth FRINGING (at F/8) Lower is better image stabiliser are selected via FRINGING (at F/8) Lower is better
and virtually silent autofocus Wide 1.11 Mid 1.07 Tele 1.52 camera menus – the lens lacks Wide 1.00 Mid 0.6 Tele 0.43
transitions that are well suited to There’s very little colour fringing, which control switches. As in the Canon There’s very little fringing at 50mm, and it
both stills and video capture. remains consistent throughout the range. and Nikon lenses, the mounting reduces at mid to long zoom settings.
plate is plastic rather than metal.

Performance The overall build feels lightweight.
Outright telephoto reach falls short Wide -1.52 Mid 0.18 Tele 0.88 Wide 0.12 Mid -0.01 Tele -0.16
Slight barrel distortion at 55mm dies out at With corrections applied automatically,
of some of the lenses on test, but mid-zoom settings. Pincushioning is slight.
Performance there’s practically no distortion to be seen.
sharpness is maintained very well Sharpness and contrast are good
throughout the entire zoom range. Verdict throughout most of the zoom Verdict
The optical image stabiliser Features range, even at the widest available Features
Lenses
also performs well, with an apertures. Autofocus speed is

effectiveness of about 3.5 stops. pretty good under decent lighting
Handling is an improvement over performance but, coupled with our X-T10 body, performance
previous generations of the lens, Value
we had a lot of autofocus hunting Value
in that the focus ring no longer and false positives for focus
rotates during autofocus. OVERALL acquisition in dull conditions. OVERALL

Mount option: Nikon DX Mount option: Micro Four Thirds
Nikon AF-P DX 70-300mm Olympus M.Zuiko ED

f/4.5-6.5G ED VR 75‑300mm f/4.8-6.7 II
£300/$400 £390/$450
Smoother autofocus with Pulse AF It’s like a tiny super-telephoto
ikon is the latest oosted by the 2x

N manufacturer to jump
2500
B crop factor of the
2500
on the stepping motor Micro Four Thirds
bandwagon: it’s used for system, this 75-300mm lens
autofocus in this AF-P (Pulse) 2000
delivers a monstrous effective 2000
lens. It’s available with or without zoom range of 150-600mm.

VR (Vibration Reduction); the 1500 That’s super-telephoto territory in 1500
edition without stabilisation is a full-frame terms, from a lens that’s
little cheaper to buy. Both are fully 1000
slightly smaller and heavier than 1000
compatible with D3300/3400, the Nikon 70-300mm.
D5300/5500/5600 and D500 Build quality feels a little more
500 500
bodies, but completely robust than in some of the lenses
incompatible with many older readings taken on test, with a metal rather than readings taken
Nikon cameras like the D7000, plastic mounting plate. A stepping
where autofocus and even manual f/4.5 f/6.5 f/8 f/11 f/16 f/22 f/32
motor enables quick yet smooth f/4.8 f/6.7 f/8 f/11 f/16 f/22 f/32
focusing are unavailable. 70mm 135mm 200mm 300mm autofocus transitions, along with 75mm 100mm 200mm 300mm
It’s good overall, but sharpness tails off in Scores based on close-range test charts are
The 300mm focal length and the 250-300mm sector of the zoom range.
electronically coupled manual poor, but real-world results were better.
1.5x crop factor of Nikon’s DX focusing. There are no on-board
format gives an effective reach of FRINGING (at F/8) Lower is better switches or controls, other than the FRINGING (at F/8) Lower is better
450mm, overtaking the Canon Wide 2.37 Mid 3.21 Tele 4.07 zoom and focus rings. Unlike all Wide 1.08 Mid 0.31 Tele 0.42
and Fujinon lenses. It’s physically The Nikon is an underachiever, relying on the lenses we’ve covered so far, the Lateral chromatic aberrations are tuned
bigger and heavier, and relies on automatic corrections in recent cameras. Olympus has no optical image out by the camera automatically.
a camera menu for switching off stabiliser, instead relying on

stabilisation. This can’t be done in in-camera, sensor-shift stabilisation.
some ‘compatible’ Nikon cameras, Wide -0.74 Mid 1.49 Tele 1.22 Wide 0.21 Mid 0.93 Tele 1.24
There’s slight barrel distortion at 70mm, and Pincushion distortion is a little noticeable
even after a firmware update. pincushion peaks at mid-zoom settings.
Performance towards the long end of the zoom range.
On an OM-D E-M5 II body, image
Performance Verdict stabilisation equated to four stops, Verdict
In our lab tests, the non-VR version Features so the lack of an optical stabiliser Features
Lenses
of the lens proved slightly sharper isn’t a concern. Autofocus is fast

than the VR edition. However, the and accurate, and manual focusing
four-stop stabiliser is particularly performance is precise. Image quality is performance
effective in hand-held shooting, Value
pleasing, although sharpness at Value
with the VR lens yielding more the long end of the zoom range
consistently sharp images. OVERALL proved disappointing in our tests. OVERALL

Mount options: Micro Four Thirds Mount options: Pentax K
Panasonic 45-150mm Pentax 55-300mm

f/4.0-5.6 ASPH OIS f/4.5-6.3 DA PLM WR
£180/$250 £400/$400
Comes up a bit short Clever design, quality build
ooking every inch or a ‘budget’ lens,

L like a ‘standard’ zoom
2500
F the build quality of
2500
but smaller than the Pentax feels
most, the Panasonic lens is particularly good, and it’s the
incredibly compact and light. 2000
only lens in the whole group 2000
Indeed, at just 62 x 73mm and to feature weather seals. It’s

200g, it’s only about half the length 1500 big on zoom range, equating to 1500
of most competitors, and only a 82.5-450mm on a Pentax APS-C
quarter of the weight of some in 1000
format body, yet physically small 1000
this test. when stowed away. This is thanks
The downside is that maximum to a clever retractable design that
500 500
telephoto reach is similarly small. enables the lens to collapse down to
Applying the 2x crop factor of the readings taken just 89mm in length. Even so, it’s readings taken
Micro Four Thirds system, you the joint longest here, along with
still only get an effective focal f/4 f/5.6 f/8 f/11 f/16 f/22 f/32
the Tamron, when it’s used at its f/4.5 f/6.3 f/8 f/11 f/16 f/22 f/32
length of 300mm at the long end. 45mm 75mm 100mm 150mm maximum zoom setting. 55mm 100mm 200mm 300mm
Sharpness is good at 45mm, but lacklustre There’s impressive sharpness and
Even so, the Panasonic equals the in the mid to long sector of the zoom range.
Like all the lenses apart from contrast throughout the zoom range.
maximum reach of a traditional the Sigma and Tamron contenders,
70-300mm budget tele zoom on FRINGING (at F/8) Lower is better the Pentax features a stepping FRINGING (at F/8) Lower is better
a full-frame SLR. Wide 0.56 Mid 0.25 Tele 0.27 motor autofocus system, the near- Wide 1.83 Mid 0.32 Tele 2.26
Automatic corrections for colour fringing silence of which is an improvement Negligible at mid-zoom settings, fringing
Performance are applied in both raw and JPEG modes. over some of Pentax’s notably noisy only rises a little at each end of the range.
Testing the lens on a Panasonic G7, lenses. There’s no optical image

we found autofocus to be fast and stabilisation, with the lens instead
reliable. The optical stabiliser is Wide 0.08 Mid 0.75 Tele 0.68 relying on in-camera stabilisation. Wide -1.68 Mid 0.92 Tele 1.29
Automatic corrections are applied Barrel and pincushion distortions are well
worth about 2.5 stops, so doesn’t in-camera, so these scores are flattering. controlled at short and long zoom settings.
compare favourably with the Performance
non-stabilised Olympus MFT lens Verdict The autofocus system is quick and Verdict
on a late-generation Olympus body Features highly accurate. Testing the lens on Features
Lenses
with sensor-shift stabilisation. a K-70 body, we found stabilisation

Image quality is pretty good on to work well, with a four-stop
the whole but, despite its modest performance effectiveness. Despite having the performance
zoom range, we found that the Value
outright biggest zoom range of any Value
Panasonic is actually quite soft at lens in the test group, image quality
the long end. OVERALL is excellent. OVERALL

Mount options: Canon EF Nikon FX Pentax K Sony A Sigma SA Mount options: Canon EF Nikon FX Sony A
Sigma APO 70-300mm Tamron SP 70-300mm

f/4-5.6 DG Macro f/4-5.6 Di VC USD
£150/$200 £300/$450
Great value but relatively crude A stickler for tradition
ith a classic 70- HE Tamron is very

W 300mm zoom range,
2500
T conventional, but it
2500
the effective reach of follows the traditions
this full-frame compatible of high-end rather than
lens is boosted on an APS-C 2000
budget telephoto zooms. As 2000
format camera. It’s available in such, it has a ring-type ultrasonic

Canon, Nikon, Pentax and Sony 1500 autofocus system that enables 1500
(A-fit) mount options. In all cases, full-time manual override, and not
a switch on the lens barrel enables 1000
just when the stepping motor is 1000
shorter focusing in the 200- being powered by the camera body.
300mm sector of the zoom range, It also means you get a physical,
500 500
with a macro magnification ratio mechanical link for manual
of up to 0.5x. That beats any other readings taken focusing, which operates with readings taken
lens on test. smooth precision, complete with
The APO (apochromatic) edition f/4 f/5.6 f/8 f/11 f/16 f/22 f/32
a focus distance scale beneath f/4 f/5.6 f/8 f/11 f/16 f/22 f/32
is claimed to produce less colour 70mm 100mm 200mm 300mm a viewing window. 70mm 100mm 200mm 300mm
In tests and real-world shooting, the Sigma Sharpness only drops when combining the
fringing than the standard version gave the worst performance in the group.
Switches are fitted on the barrel longest zoom setting and widest aperture.
of the lens. Even so, it’s quite basic for AF/M focus modes and VC on/
in some respects, with a noisy FRINGING (at F/8) Lower is better off. The Vibration Compensation FRINGING (at F/8) Lower is better
electric motor for autofocus. It’s the Wide 1.32 Mid 2.18 Tele 3.78 system is Tamron’s proprietary Wide 1.12 Mid 1.42 Tele 2.23
only lens in the group in which the Colour fringing is well controlled at 70mm, form of optical stabilisation, and is Even in the corners, colour fringing is well
focus ring and the front element but gets worse at mid to long settings. fitted to both the Canon and Nikon controlled throughout the zoom range.
rotate during focusing, and there’s mount options of the lens. The
no optical stabilisation. Sony A-fit version of the lens relies
Wide 0.41 Mid 3.02 Tele 2.33 on in-camera stabilisation instead. Wide -0.34 Mid 2.01 Tele 1.97
Pincushion distortion is quite noticeable Very minor barrel distortion at 70mm, and
Performance in the middle sector of the zoom range. pincushion is controlled at longer lengths.
Image quality is a little lacklustre Performance
compared with all the other, Verdict Autofocus is fast and effective and, Verdict
relatively new, designs of lenses. Features throughout testing on Nikon Features
Lenses
Sharpness and contrast are both D7200 and D750 bodies, we found
disappointing, especially when the stabiliser had an effectiveness
shooting wide-open. The lack of performance of four stops. Image quality is very performance
a stabiliser can be a real problem Value
good overall, matched by top build Value
in Canon and Nikon bodies, which quality that combines sturdy barrel
lack sensor-shift stabilisation. OVERALL parts with a metal mounting plate. OVERALL

group test budget TELEPHOTO ZOOMS
The Verdict
Pentax powers ahead

The Pentax 55-300mm f/4.5-6.3 DA PLM WR is a worthy winner
erhaps it’s splitting hairs prefer the Tamron lens, which has

P to say that the Pentax has
the biggest outright zoom
superior build quality and performance,
as well as being full-frame compatible.
range of any lens in the group. For Micro Four Thirds, the Olympus
What’s more important is that it delivers 75-300mm wins out over the compact
excellent image quality, has refined Panasonic 45-150mm, not only for its
handling characteristics, and is very extreme telephoto reach, equivalent
robust for a ‘budget’ telephoto zoom, to 600mm, but for its sharper image
complete with weather seals. quality. For Fujifilm shooters, the
The Canon and Nikon lenses are good XC50-230mm is a smart buy at the price
choices for APS-C format bodies. The and delivers pleasing image quality, but
Canon isn’t overly generous in telephoto we had a few autofocus problems.
reach, while the Nikon is only compatible The Sigma APO 70-300mm is an
with a limited number of recent cameras. antiquated design that seems past its
For both Canon and Nikon cameras, we sell-by date, and is in need of a revamp.
How the Canon EF-S Fujinon Nikon AF-P DX Olympus M.Zuiko Panasonic Pentax Sigma APO Tamron SP
55-250mm
LENSES f/4-5.6 IS STM
XC50-230mm
f/4.5-6.7 OIS II
70-300mm
f/4.5-6.5G ED VR
ED 75-300mm
f/4.8-6.7 II
45-150mm
f/4.0-5.6
55-300mm
f/4.5-6.3
70-300mm
f/4-5.6
70-300mm
f/4-5.6
compare ASPH OIS DA PLM WR DG Macro Di VC USD
Contact www.canon.co.uk www.fujifilm.co.uk www.nikon.co.uk www.olympus. www.panasonic. www.pentax.co.uk www.sigma- www.tamron.

co.uk com imaging-uk.com co.uk
Street price £270/$300 £320/$400 £300/$400 £390/$450 £180/$250 £400/$400 £150/$200 £300/$450
Mount options EF-S X DX MFT MFT PK EF FX K A SA EF FX A
Elements/groups 15/12 13/10 14/10 18/13 12/9 14/11 14/10 17/12
Diaphragm blades 7 7 7 7 7 9 9 9
Min aperture f/22-32 f/22 f/22-32 f/22 f/22 f/22-32 f/22 f/32
Optical stabilizer Yes Yes Yes No Yes No No Yes (C N only)
Autofocus motor Stepping motor Stepping motor Stepping motor Stepping motor Stepping motor Stepping motor Electric motor Ring-type
type ultrasonic
Internal zoom/ No/Yes No/Yes No/Yes No/Yes No/Yes No/Yes No/No No/Yes
focus
Min focus distance 0.85m 1.1m 1.1m 0.9m 0.9m 0.95m 0.95m 1.5m
Max magnification 0.29x 0.2x 0.22x 0.24x 0.17x 0.3x 0.5x 0.25x
Mounting plate Plastic Plastic Plastic Metal Metal Metal Metal Metal
Weather seals No No No No No Yes No No
Included None Hood None None Hood Hood Hood, soft case Hood
accessories
Dimensions 70 x 111mm 70 x 111mm 72 x 125mm 69 x 117mm 62 x 73mm 77 x 89mm 77 x 122mm 82 x 143mm

(diameter x length)
Weight 375g 370g 415g 423g 200g 442g 550g 765g

Lenses
Features
BUILD & HANDLING
Performance
Value
OVERALL
OVERALL

Sigma 30mm f/1.4 DC DN | C lens t es t
Specifications
Full-frame compatible No
1
Effective focal length
45mm (Sony), 60mm (MFT)
Image stabiliser No
Focus limit switch No
Internal focus Yes
Filter size 52mm
Iris blades 9
Supplied accessories Hood, caps

Weight 140g
2
SHARPNESS
2,500
2,000
Centre
3 1,500
1,000
500
S TA N D A R D P R I M E L E N S w w w. s i g m a - i m a g i n g - u k . c o m 0
f/1.4 f/2.8 f/4 f/5.6 f/8 f/11 f/16
Sigma 30mm f/1.4 2,500
2,000
DC DN | C £240/$340
Edge
1,500
1,000
500
0
This standard prime aims for quality on a budget f/1.4 f/2.8
Wide-aperture sharpness is excellent

f/4 f/5.6 f/8 f/11 f/16
across almost the whole frame, and the

extreme borders soon catch up.
SIGMA’S 30mm only moving part is the
1
Art-line lens for manual focus ring. The ring
Like a variety of FRINGING Nearer 0 is better
Canon and Nikon is electronically coupled but
APS-C format well-damped, enabling smooth previous Sigma
lenses, the main f/1.4 1.72 f/5.6 1.67 f/16 1.72
SLRs has excellent build and precise adjustments.
construction material Colour fringing is hard to spot, even around
quality and handling and Focusing is fully internal, so the is a high-quality high-contrast transitions at the corners.
good optical performance. front element neither extends nor TSC (Thermally
This new sibling offers the same rotates. The front element is a Stable Composite).
effective 45mm focal length and little recessed within the barrel, DISTORTION Nearer 0 is better
f/1.4 aperture rating for Sony and the lens comes with a hood.
2
E-mount cameras, or 60mm Aperture is controlled by -2.71
in Micro Four Thirds fit. a nine-blade diaphragm. The Sony E and Micro
It’s from the Contemporary Four Thirds mounting -3.0 -2.0 0 2.0 3.0
line, which is more budget- Performance plates are made There’s noticeable barrel distortion, but it’s
from brass, but lack uniform and easy to correct when editing.
friendly than the Art series. It’s There’s plenty of bite, even at
weather-seal rings.
also only a third of the weight of f/1.4, with impressive sharpness
the 30mm Art lens, at just 140g, and contrast, along with fairly WE SAY...
making it a well-balanced optic minimal vignetting. Bokeh is 3
The combination of excellent image quality
for small compact system cameras. smooth, despite the challenge of The large fly-by-wire and handling, along with a fast f/1.4 aperture
getting a tight depth of field with focus ring operates rating, makes the Sigma 30mm f/1.4
Build & handling a 30mm lens. Resistance to smoothly and enables DC DN | C a bargain buy.
The optical design includes two ghosting and flare is excellent. precise adjustments.
aspherical elements to boost Autofocus proved very fast and Verdict
image quality and compactness. accurate throughout our testing
Sigma claims the new lens rivals with a Sony Alpha 6000 body. Features
its Art-line optics for image Overall, this Contemporary class BUILD & HANDLING
Lenses
quality. The built-in stepping lens performs better than Sigma’s

motor enables quick and virtually 30mm f/1.4 Art lens for Canon image quality
silent autofocusing, with smooth and Nikon cameras, as well as its
transitions when shooting video. relatively slow f/2.8 Art lens for Value
There are no switches or Sony E-mount and MFT cameras.
OVERALL
buttons on the lens barrel; the Matthew Richards
f r o m t h e m a k e r s o f D i g i t al C a m e r a m aga z i ne 153
Monster
zooms
Matthew Richards tests long lenses
for shooting wildlife and action
hether you’re £2,000 (or a little over $2,000).

W shooting birds in the
garden or planes at an
With competing lenses starting
at £740/$1,000 and giving
airshow, you’ll need long extravagant reach of up to
telephoto reach. This month 600mm, there are plenty of
we’re focusing on zoom lenses options to choose from. There
for leading SLRs that go large are some appealing own-brand
on focal length, without going Canon and Nikon lenses to
overly large on price. We’re choose from, but they face stiff
therefore not including monster competition from the likes of
prime and zoom lenses that Sigma and Tamron, especially
cost a fortune, and have set when it comes to telephoto
ourselves a price limit of under reach. Let’s go wild!
the contenders
1 Canon EF 70-300mm f/4-5.6L IS USM £1,190/$1,350
2 Canon EF 100-400mm f/4.5-5.6L IS £1,790/$2,050
3 Nikon AF-S 80-400mm f/4.5-5.6G ED VR £2,090/$2,300
Lenses
4 Nikon AF-S 200-500mm f/5.6E ED VR £1,180/$1,400

5 Sigma APO 50-500mm f/4.5-6.3 DG OS HSM £850/$1,660
6 Sigma 150-600mm f/5-6.3 DG OS HSM | C £740/$990
7 Sigma 150-600mm f/5-6.3 DG OS HSM | S £1,200/$2,000
8 Tamron SP 150-600mm f/5-6.3 Di VC USD £730/$870
MONSTER ZOOMS group test

Photo: duangnapa_b / Shutterstock
Lenses
from t he ma k ers of D i g i t a l C a m e r a m a g a z i n e 155

Mount option: Canon EF Mount option: Canon EF
Canon EF 70-300mm Canon EF 100-400mm

f/4-5.6L IS USM f/4.5-5.6L IS II USM
£1,190/$1,350 £1,790/$2,050
Not your average 70-300mm A Canon zoom with a new twist
ost 70-300mm his and the competing

M lenses have a ‘budget’ 2500
T Nikon 80-400mm
2500
feel to them, but not have both been
this L-series (Luxury) lens recently revamped. The most
from Canon. It features two UD 2000
obvious change here is that the 2000
(Ultra-low Dispersion) elements, often-disliked trombone-style

plus a four-stop image stabiliser 1500 zoom mechanism has been 1500
with a switchable panning mode. replaced by a zoom ring. This helps
Typical L-series telephoto 1000
to avoid any unwanted zoom creep 1000
trappings include comprehensive when mounted on a tripod, while
weather-seals and an off-white enabling free and easy zooming
500 500
finish to reduce heat build-up. when you’re in the mood. The build
Like the other seven lenses on readings taken includes a full set of weather-seals. readings taken
test, there’s a ring-type ultrasonic Top-quality glass includes
autofocus system with full-time f/4.5 f/5.6 f/8 f/11 f/16 f/22 f/32
fluorite and Super UD elements f/4.5 f/5.6 f/8 f/11 f/16 f/22 f/32
manual override. In keeping with 70mm 135mm 200mm 300mm to boost sharpness and contrast 100mm 200mm 300mm 400mm
Levels of sharpness are consistently It’s very good throughout most of the zoom
its relatively short maximum focal excellent throughout the zoom range.
and reduce chromatic aberrations, range, but drops off a little at 400mm.
length, this is the lightest lens in along with Canon’s ASC (Air
the group at just over a kilogram, FRINGING (at F/8) Lower is better Sphere Coating) to tackle ghosting FRINGING (at F/8) Lower is better
and it’s the only one that’s supplied Wide 2.31 Mid 0.46 Tele 1.57 and flare. There’s also an updated Wide 2.44 Mid 0.57 Tele 0.03
without a tripod collar, although There’s a small amount of colour fringing four-stop stabiliser with three Slight fringing at 80mm becomes virtually
one is available as an option. at 70mm and even less at longer settings. operating modes, including one imperceptible at mid to long settings.
similar to Nikon’s ‘sport’ mode,

Performance where stabilisation is only applied
Canon claims the autofocus system Wide -1.65 Mid 0.39 Tele 1.94 during actual exposures. Wide -1.1 Mid -0.17 Tele 1.33
Fairly low degrees of distortion switch from Barrel and pincushion distortions at either
is optimised specifically for this barrel to pincushion through the range. end of the zoom range are quite minimal.
lens, and it’s certainly fast and Performance
accurate. Sharpness and contrast Verdict Fast autofocusing is pretty much Verdict
are excellent throughout the entire Features the same as in Canon’s 70-300mm Features
Lenses
zoom range. However, for wildlife lens, and there’s nothing to choose
photography, this full-frame in levels of sharpness and contrast
compatible lens is better suited to performance at equal zoom settings. However, performance
an APS-C format body, where it Value
sharpness from the 100-400mm Value
has an effective maximum reach drops off at the long end, and it’s
of 480mm. OVERALL more expensive. OVERALL
156 from t he ma k ers of D i g i t a l C a m e r a m a g a z i n e

Mount option: Nikon FX Mount option: Nikon FX
Nikon AF-S 80-400mm Nikon AF-S 200-500mm

f/4.5-5.6G ED VR f/5.6E ED VR
£2,090/$2,300 £1,180/$1,400
A major upgrade from the original Big reach at an affordable price
aunched at the turn or a Nikon lens, the

L of the century, the
2500
F new 200-500mm is
2500
original Nikon 80- competitively priced,
400mm was the company’s although it’s still rather more
first lens to feature Vibration 2000
than the Sigma C-line and 2000
Reduction. However, it only gave Tamron 150-600mm lenses.

a two-stop benefit, had arguably 1500 Even so, it’s less than two thirds of 1500
the slowest autofocus system of any the price of the Nikon 80-400mm,
Nikon lens ever made, and couldn’t 1000
while boasting some updated 1000
autofocus at all on bodies like the features, including an improved
D3300 and D5500, which lack VR system that’s rated at 4.5 stops
500 500
in-camera AF drive. and a ‘sport’ mode. As in the Canon
This new AF-S version features readings taken 100-400mm lens, this applies readings taken
fast and near-silent ring-type stabilisation only during actual
ultrasonic autofocus, and an f/4.5 f/5.6 f/8 f/11 f/16 f/22
exposures, making it easier to track f/5.6 f/8 f/11 f/16 f/22 f/32
updated stabiliser that gives a 80mm 200mm 300mm 400mm erratically moving wildlife through 200mm 300mm 400mm 500mm
The Nikon does a good job of retaining It’s sharper at 500mm than the competing
four-stop advantage. Even so, the sharpness at its longest zoom setting.
the viewfinder. Sigma C and Tamron 150-600mm lenses.
stabiliser isn’t quite as effective Unlike the 80-400mm, it has
as that of the Nikon 200-500mm FRINGING (at F/8) Lower is better an electromagnetically controlled FRINGING (at F/8) Lower is better
lens on test, and lacks the latter’s Wide 1.35 Mid 0.56 Tele 0.77 diaphragm for more consistent Wide 0.3 Mid 0.85 Tele 2.21
‘sport’ mode. Optical highlights Colour fringing is well controlled continuous shooting. However, it There’s less colour fringing than from the
include four ED (Extra-low throughout the zoom range. lacks the 80-400mm’s dual-mode Nikon 80-400mm at the short end.
Dispersion) elements plus a Super autofocus settings: instead,

ED element. The lens lacks the priority goes to manual override.
Canon 80-400mm’s weather-seals, Wide 0.32 Mid 1.07 Tele 1.2 Wide 1.22 Mid 1.36 Tele 1.14
There’s barely any distortion at the short Minimal pincushion distortion remains
but has a sealed mounting plate. end, and slight pincushion at the long end.
Performance quite constant throughout the zoom range.
The autofocus system isn’t quite as
Performance Verdict fast as in the 80-400mm, but it’s no Verdict
Performance is impressive but, Features slouch. Impressive sharpness is on Features
Lenses
considering it’s the most expensive a par with the 80-400mm right up
lens in the group, it’s a shame some to the 400mm setting, and only
of Nikon’s latest developments are performance drops off a little at 500mm. The performance
lacking, like an electromagnetically Value
lens doesn’t feature Nikon’s Nano Value
controlled diaphragm to improve Crystal Coat, but resistance to
rapid-fire continuous shooting. OVERALL ghosting and flare is still good. OVERALL

Mount options: Canon EF Nikon FX Pentax K Sigma SA Sony A Mount options: Canon EF Nikon FX Sigma SA
Sigma APO 50-500mm Sigma 150-600mm

f/4.5-6.3 DG OS HSM f/5-6.3 DG OS HSM | C
£850/$1,660 £740/$990
Superzoom meets super-telephoto It’s feature-rich but low in price
ost telephoto zoom long with the

M lenses have a 4x zoom 2500
A competing Tamron
2500
range or thereabouts, 150-600mm, this
but this Sigma is more like a Sigma is the most affordable
superzoom lens, with a huge 2000
lens in the group – but it has 2000
10x zoom range. It can come in a comparatively high-end set

useful for wildlife shooting, where 1500 of features. Like the Nikon 1500
you need to quickly switch between 80-400mm, it has a dual-mode
standard and super-telephoto focal 1000 autofocus system that can give 1000
lengths: for example capturing a priority to auto or manual focusing.
group of animals, then zooming in The dual-mode optical stabiliser
500 500
for a close-up. is also more effective than that of
This is a redesigned edition of readings taken the Sigma 50-500mm lens, and readings taken
Sigma’s original 50-500mm lens, custom autofocus and stabiliser
and adds an optical stabiliser. A f/4.5 f/6.3 f/8 f/11 f/16 f/22 f/32
modes can be selected via a switch f/5 f/6.3 f/8 f/11 f/16 f/22 f/32
little unusually, the stabiliser is 50mm 200mm 400mm 500mm on the lens barrel. The catch is that 150mm 250mm 400mm 600mm
Edge-sharpness is a little poor, but centre- There’s less of a drop-off at the long end
fitted in all mount options, sharpness only drops off at the long end.
you must set these up with Sigma’s of the zoom range than in the Tamron.
although stabilisation doesn’t work optional USB Dock (£40/$60).
with Pentax’s *ist series or K100D. FRINGING (at F/8) Lower is better To avoid zoom creep, you can FRINGING (at F/8) Lower is better
For cameras that feature a sensor- Wide 4.18 Mid 1.56 Tele 3.29 engage the zoom lock switch at any Wide 2.08 Mid 1.48 Tele 1.16
shift stabiliser, you get the choice Colour fringing is worse than average, position that has a marked focal Control over colour fringing is good, but
of whether to use in-camera or especially towards both extremities. length on the zoom ring. Build not quite as good as from the Tamron.
in-lens stabilisation. Quality glass quality feels good; although the

includes four SLD (Special Low lens isn’t fully weather-sealed, it
Dispersion) elements. Wide -1.48 Mid 1.54 Tele 1.8 does have a rubber sealing ring on Wide 1.39 Mid 1.4 Tele 1.41
Barrel and pincushion distortions can be There’s a little pincushion distortion
a little more noticeable than usual.
the mount. throughout the zoom range.
Performance
The lens’ ring-type ultrasonic Verdict Performance Verdict
autofocus system is fairly rapid Features The speed of autofocusing is pretty Features
Lenses
but not super-fast. Edge-sharpness quick, similar to that of the Nikon

is a little lacking at both ends of the 200-500mm and Tamron 150-
zoom range, but centre-sharpness performance 600mm lenses. As is often the case, performance
is very good on the whole, only Value
sharpness drops off at the long Value
really dropping off in the 400- end of the zoom range, but less
500mm sector. OVERALL noticeably than in the Tamron lens. OVERALL

Mount options: Canon EF Nikon FX Sigma SA Mount options: Canon EF Nikon FX Sony A
Sigma 150-600mm Tamron SP 150-600mm

f/5-6.3 DG OS HSM | S f/5-6.3 Di VC USD
£1,200/$2,000 £730/$870
It’s a ‘sport’ lens by name and nature Light, simple and affordable
ll of the high-end he Tamron gives the

A features of the
2500
T same enormous
2500
Sigma 150-600mm telephoto reach as
Contemporary lens are the Sigma C-line lens, in a
present in this Sport edition 2000
similarly compact and 2000
as well. It also has the same count lightweight package. At 106 x

of three SLD (Special Low 1500 258mm and 1,951g, it’s slightly 1500
Dispersion) optical elements, but smaller and noticeably lighter than
boosts the number of top-grade 1000
the Nikon 200-500mm. Even so, 1000
FLD (Fluorite Low Dispersion) the Tamron feels well put together
elements from one to two, with a and, unlike the Nikon and Sigma
500 500
larger diameter. It’s physically a counterparts, features a full set
bigger lens and is 50 per cent readings taken of weather seals. readings taken
heavier, weighing in at nearly 3kg. Controls are fairly basic, with
It therefore feels rather more f/5 f/6.3 f/8 f/11 f/16 f/22 f/32
only a single autofocus mode that f/5 f/6.3 f/8 f/11 f/16 f/22 f/32
substantial, and comes with a 100mm 300mm 400mm 600mm gives the usual full-time manual 150mm 300mm 400mm 600mm
Excellent sharpness is maintained all the It’s good overall, but drops off noticeably in
carrying strap that attaches to lugs way through the extensive zoom range.
override from its ring-type the 500-600mm sector of the zoom range.
on the lens barrel. ultrasonic system. Similarly, VC
A bonus for rainy-day shooting FRINGING (at F/8) Lower is better (Vibration Compensation) has no FRINGING (at F/8) Lower is better
is that, unlike the C lens, this one Wide 1.99 Mid 0.58 Tele 1.01 dedicated panning mode: Tamron Wide 1.06 Mid 0.72 Tele 1.59
features a full set of weather-seals There’s little fringing, with lab scores claims that its system is effective It beats Sigma’s 150-600mm lenses at the
instead of just a sealed mount. marginally better than from the Sigma C. for both static and panning shots. short end, but isn’t as good at the long end.
All fit options include a highly The optical path includes an LD

effective, dual-mode stabiliser (Low Dispersion) element and
for static and panning shots. Wide 0.64 Mid 0.73 Tele 0.95 a fluorite-grade XLD (eXtra Low Wide 1.42 Mid 1.52 Tele 1.47
There’s excellent control over distortion, The fairly low amount of pincushion
with negligible amounts at any focal length.
Dispersion) element, along with distortion is similar to that of the Sigma C.
Performance eBand coatings to reduce flare.
The autofocus system is noticeably Verdict Verdict
faster than in the other Sigma and Features Performance Features
Lenses
Tamron 150-600mm lenses, more Performance is good in most

on a par with the Canon 100- respects, with quick autofocus.
400mm and Nikon 80-400mm performance Sharpness is good across most of performance
lenses. It also retains much better Value
the zoom range – but drops off Value
sharpness at the long end of its more at the long end than with
zoom range. OVERALL any of the other lenses on test. OVERALL

group test MONSTER ZOOMS
The Verdict
Sigma wins on performance and price

The Sigma 150-600mm Sport puts the ‘super’ into super-telephoto
or mighty telephoto reach Sigma S lens at full stretch, but still

F at an affordable price, the
Sigma 150-600mm Sport
sharper than the competing
Tamron lens. The older
lens reigns supreme for high-end Sigma 50-500mm is only
features, performance and all- really worth considering
round image quality. It’s a superb if you need its extended

choice for wildlife photography, if zoom range.
heavier than most competing lenses. For own-brand
If you’re after a smaller, lighter lens options, the Canon
with the same telephoto reach, the Sigma 100-400mm and Nikon
150-600mm Contemporary lens has the 80-400mm are the most
same advanced features as the S and is upmarket, but both come up
amazing value. It’s not as sharp as the short on maximum telephoto reach.
How the Canon EF Canon EF Nikon AF-S Nikon AF-S Sigma APO Sigma Sigma Tamron SP
70-300mm
CAMERAS f/4-5.6L IS USM
100-400mm
f/4.5-5.6L IS II
80-400mm
f/4.5-5.6G ED VR
200-500mm
f/5.6E ED VR
50-500mm
f/4.5-6.3 DG OS
150-600mm
f/5-6.3 DG OS
150-600mm
f/5-6.3 DG OS
150-600mm
f/5-6.3 Di VC
compare USM HSM HSM | C HSM | S USD
Website www.canon.co.uk www.nikon.co.uk www.sigma-imaging-uk.com www.tamron.

co.uk
Street price £1,190/$1,350 £1,790/$2,050 £2,090/$2,300 £1,180/$1,400 £850/$1,660 £740/$990 £1,200/$2,000 £730/$870
Mount options EF EF FX FX EF FX K SA A EF FX SA EF FX SA EF FX A
Elements/groups 16/11 21/16 20/12 19/12 22/16 20/14 24/16 20/13
Diaphragm blades 8 blades 9 blades 9 blades 9 blades 9 blades 9 blades 9 blades 9 blades
Min aperture f/32-45 f/32-40 f/32-40 f/32 f/22 f/22 f/22 f/32
Optical stabiliser 4 stops 4 stops 4 stops 4.5 stops 4 stops 4 stops 4 stops 4 stops (C N only)
Autofocus motor Ultrasonic Ultrasonic Ultrasonic Ultrasonic Ultrasonic Ultrasonic Ultrasonic Ultrasonic
type (ring-type) (ring-type) (ring-type) (ring-type) (ring-type) (ring-type) (ring-type) (ring-type)
Internal zoom/ No/Yes No/Yes No/Yes No/Yes No/Yes No/Yes No/Yes No/Yes
focus
Angle of view 34-8 degrees 24-6 degrees 30-6 degrees 12-5 degrees 47-5 degrees 16-4 degrees 16-4 degrees 16-4 degrees
(diagonal)
Min focus distance 1.2m 0.98m 1.5m 2.2m 0.5-1.8m 2.8m 2.6m 2.7m
Max magnification 0.21x 0.31x 0.2x 0.22x 0.32x 0.2x 0.2x 0.2x
Weather seals Yes Yes Sealed mount Sealed mount None Sealed mount Yes Yes
Included Hood Hood, tripod Hood, tripod Hood, tripod Hood, tripod Hood, tripod collar Hood, tripod collar Hood, tripod collar
accessories collar, soft case collar, pouch collar, soft case collar, step-down
ring
Dimensions 89 x 143mm 94 x 193mm 96 x 203mm 108 x 268mm 104 x 219mm 105 x 260mm 121 x 290mm 106 x 258mm
(dia x length)
Weight 1,050g 1,640g 1,570g 2,300g 1,970g 1,930g 2,860g 1,951g

Lenses
Features
BUILD & HANDLING
Performance
Value
OVERALL
OVERALL

Fujifilm Fujinon XF100-400mm f/4.5-5.6 R LM OIS WR lens test
2
Specifications
Full-frame compatible No (APS-C only)
Effective focal length 152-609mm
Image stabiliser Yes (five stops)
Focus limit switch Yes (5m to infinity)
Internal zoom/focus No/Yes
Filter size 77mm
Iris blades 9
Weather seals Yes
Supplied accessories Hood, caps, tripod
mounting ring

3 Weight 1,375g
1
SHARPNESS
2500
2000
Centre
T e l e pho to l e ns w w w.f u j i f il m .co.uk 1500
Fujifilm Fujinon 1000
500
XF100-400mm f/4.5-5.6
Wide Mid Tele
0
f/4.5 f/5.6 f/8 f/11 f/16 f/22
2500
R LM OIS WR £1,500/$1,900
2000
1500
Edge
1000
This top-grade super-telephoto has great credentials 500

Wide Mid Tele
0
f/4.5 f/5.6 f/8 f/11 f/16 f/22
Fujifilm has been excellent, the zoom and focus Typical of telephoto zooms, sharpness drops
1
manufacturing rings are smooth and precise, and off a little at the long end, but images still
professional- there’s no hint of zoom creep. The front element has look superbly detailed with plenty of bite.
grade lenses for The aperture ring comes with a a fluorine coating, and
the filter attachment FRINGING (at F/8) Nearer 0 is better
the photographic, TV and mode switch to enable automatic
thread is 77mm.
movie industries for or manual control. The autofocus A sliding panel in the
decades. The relatively recent system employs two linear Wide 0.24 Mid 0.27 Tele 0.33
lens hood gives access
XF mount lenses have earned motors to boost speed, along with Lateral chromatic aberration is low through
for filter rotation.
an excellent reputation for build a range limiter switch that can the entire aperture and zoom ranges.
quality and image quality. This lock out sub-5m focusing. The
new 100-400mm super-telephoto optical stabiliser has a five-stop
2 DISTORTION Nearer 0 is better
zoom is an ‘R’ lens with a built-in rating (Cipa-tested), and includes Switches are on hand
aperture ring; it has an LM automatic horizontal panning for OIS on/off, auto/ Wide -0.01 Mid 0.02 Tele 0.01
(Linear Motor) autofocus system, detection. The weather-resistant manual aperture There’s no distortion at any focal length, from
control, an autofocus the middle of the range to both extremities.
OIS (Optical Image Stabilisation) construction features 13 seals,
range limiter (5m to
and a WR (Weather-Resistant) plus a water-repellent fluorine infinity) and zoom lock.
construction as standard. coating on the front element. WE SAY...
Competitively priced for a super-telephoto
Build & handling Performance 3
zoom, this outstanding and beautifully
Fujifilm says the lens has a Making the most of its five ED The supplied tripod engineered lens delivers spectacular
compact and lightweight design; (Extra-low Dispersion) elements, collar makes for performance and is a joy to use.
however, despite being an APS-C plus one Super ED element, balanced tripod or
format lens that produces a small sharpness and contrast are monopod-based Verdict
image circle, it’s about the same spectacular, along with minimal shooting, with very
size as the latest Canon 100- colour fringing. Distortions are easy rotation between Features
landscape or
400mm and Nikon 80-400mm essentially non-existent, and portrait orientation. BUILD & HANDLING
Lenses
full-frame compatible lenses. there’s impressive resistance to

It’s a little lighter, and the crop ghosting and flare. The autofocus PERFORMANCE
factor of Fujifilm’s compact system is super-fast and well able
system cameras give the lens a to track moving objects, while Value
monstrous ‘effective’ zoom range being virtually silent.
OVERALL
of 152-609mm. Build quality is Matthew Richards
new
e-learning
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What types of cameras are discussed in the magazine?

What types of cameras are discussed in the magazine?

What topics are covered in the lens section?

What topics are covered in the lens section?

7

EW T SPECI A L SPRING 2017

Massive group test

Serious system cameras that won’t

BEST-SELLING PHOTO MAG!

Each issue includes

NO. 1 Camera reviews

Buy an issue or subscribe at www.bit.ly/buydcam

Cameras and Accessories

Brought to you by Digital Camera

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Art editor Andrew McGregor

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Printed in the UK by William Gibbons

Future is an award-winning international media group and

26 Canon EOS 80D

30 Nikon D500 vs Canon

We are committed to only using magazine paper which

41 Sling straps 60 Fujfilm X-Pro2

Cameras and Accessories

98 Weather protection

100 Pentax K-70

102 Sigma sd Quattro

104 Sturdy tripods

106 Sony Alpha 6300 Lenses

66 Leica M-D (Typ 262)

Simplify getting the bigger picture

82 Nikon D5 154 Monster zooms

Cameras and lenses are run through HOW WE TEST

The appliance Lens tests

Cameras and Accessories

1 Dynamic Range: DxO

To minimise the variables when Benchmarks shouldn’t be

Look out for our five awards

22 Canon 760D/Rebel T6s

26 Canon EOS 80D

30 Nikon D500 vs Canon

Rival action DSLRs for enthusiasts with a clever hybrid viewfinder

41 Sling straps 64 Instant cameras

Secure, quick and convenient

66 Leica M-D (Typ 262) 94 Mk

46 Canon EOS 5DS

51 Portable drives 70 Nikon D7200 100 Pentax K-70

Cameras and Accessories

102 Sigma sd Quattro

104 Sturdy tripods

106 Sony Alpha 6300

110 Sony Alpha 68

113 UHS-1 SD cards

114 Sony Alpha a77 II

118 Sony Alpha a7R II

122 Camera phones

DSLR You get more for your money

You might hope that the simpler design of a

Cameras and Accessories

F R O M T H E MA K ERS O F D i g i t a l C a m e r a MAGA Z INE 15

F R O M T H E MA K ERS O F D i g i t a l C a m e r a MAGA Z INE 17

F R O M T H E MA K ERS O F D i g i t a l C a m e r a MAGA Z INE 19