Newsletter Overview

Table of contents

• Sponsors
• Features
  • Best Superzoom 2014: 8 competitors, 2.5 winners
  • Sony RX100 III vs Canon G7X vs Panasonic LX100: Which is the best compact camera for enthusiasts?
  • EXCLUSIVE: Samsung NX1 Hands-on & Gallery Samples
• Reviews
  • Pentax 645Z Review -- Final Conclusion Published
  • Sony A7S Shooter's Report Part II
  • Nikon D750 Shooter's Report Part I

• Quick Hits
  • Sigma 150-600mm Sport: Hands-on preview of Sigma’s latest ‘Sigmonster’ telephoto lens
  • Fujifilm X30 First Shots
  • Nikon 20mm f/1.8G AF-S Lens Review
• Popular News
• Next Issue
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Sponsors

Sigma

Sigma's approach to photographic equipment is based on quality, craftsmanship, value, customization and responsibility to photographers and the environment. All encompassed in our breakthrough, award-winning Global Vision lenses:

•     18-35mm F1.8 DC HSM
•     35mm F1.4 DG HSM
•     17-70mm F2.8-4 DC Macro OS HSM
•     120-300mm F2.8 DG OS HSM
•     USB Dock

All designed to deliver the highest optical quality and performance.
 

Olympus

Features

Best Superzoom 2014: 8 competitors, 2.5 clear winners

by Dave Pardue

But there are a lot of choices out there at 50x zoom range and beyond... how to know which one to buy? You may find image quality examples for one model here and another model there, but that surely doesn't provide you with a consistent reference for overall image quality across all the models currently available.

Fear not, superzoom fans! We're here for you, and have no less than eight superzooms shot across five different test settings to unveil for you in our Best Superzoom 2014 shootout, including a comparison shot of a gorgeous October full moon. We'll also offer up our views of the controls and handling of each model, as well as discuss some of the special features we found valuable on each. In addition, our publisher Dave Etchells provides a fascinating glimpse into what the actual (real) focal length of each model really is.

Best Superzoom 2014: 8 competitors, 2.5 clear winners

In the running for this competition we have the Canon SX60, the Fujifilm S1, the Nikon P600, the Olympus SP-100, the Panasonic FZ70, the Samsung WB2200F, the Sony HX400V, and to round out the field we'll include the Canon SX50 from 2012 to make it an even eight models.
As mentioned, we cover as many bases for you as we can, but at the end of the day we're focusing this competition on overall image quality when zoomed out to max telephoto, as this after all is the primary function for which these models are built.

So who took home the top honors in our competition? Dive into our Best Superzoom 2014 shootout to discover all the details!

Sony RX100 III vs Canon G7X vs Panasonic LX100: Which is the best compact camera for enthusiasts?

by Mike Tomkins

For the last couple of years, Sony has dominated the enthusiast compact camera market with its RX100-series, three closely-related, zoom-equipped cameras that are both pocket-friendly and feature much larger sensors than previous enthusiast compacts. Their nearest competitors have been Canon's G1X-series cameras, which are much larger, intended for the coat pocket rather than the pants pocket. But last month, the biennial Photokina tradeshow changed all that, as two brand-new contenders appeared, ready to vie for the title of best enthusiast compact camera.

Although both are clearly intended to compete with Sony's RX100-series models, the Canon G7X and Panasonic LX100 each take a decidedly different approach. Canon's camera is very similar in size, weight and design to Sony's creations, and looks to defeat its well-entrenched rivals with a farther-reaching optic and an interface that will help smartphone users to feel right at home with their new purchase. By contrast, Panasonic courts the enthusiasts with a no-frills design that's jam-packed with physical exposure controls and a significantly larger sensor than those of either the G7X or RX100-series cameras, albeit at the expense of a somewhat larger and heavier body.

But which of these cameras offers the greatest threat to Sony's dominance, and belongs in your camera bag? We've pored over the specs and compared these cameras side-by-side in search of the answer. In our three head-to-head comparisons below, the flagship Sony RX100 III is pitted against the Canon G7X and Panasonic LX100, as we aim to answer the question on everyone's lips: Which is the best compact camera for enthusiast photographers?

Sony RX100 III vs Canon G7X

The most logical starting point for our head-to-head comparison is the Canon G7X, a camera which is not only very similar to the Sony RX100 III in terms of size, weight, and basic layout, but which also looks to sport a very closely-related image sensor. (Both the resolution and base sensitivity range of the Canon G7X are near-identical to those of the RX100 III, suggesting it may well be based around the same Sony sensor.)

Where this camera differs most from the RX100 III is in its choice of lens. The Sony RX100 III has a relatively short 2.9x optical zoom, where the Canon G7X provides a much more generous 4.2x zoom -- and yet its lens is also brighter over most of the zoom range. The added zoom range is all to be found at the telephoto end, and that means the G7X should be able to bring your subject much closer. And Canon's decision to include a touch screen means focus point selection is easier, as is panning and zooming in playback. Smartphone users will feel right at home with the G7X!

But there are a lot more subtle differences between these two models than we've yet mentioned. For the full story, read our in-depth Sony RX100 III vs Canon G7X comparison, and see which camera we think is best! (You'll also find much more info on each camera in our Sony RX100 III review and Canon G7X review, respectively.)

Sony RX100 III vs Panasonic LX100

The Panasonic LX100 isn't afraid to stray from Sony's well-established formula. Panasonic has clearly taken its own path with the LX100, opting for a somewhat larger (although still jacket pocket-friendly) body. In doing so, though, Sony's rival has allowed itself sufficient room to use a much larger image sensor with close to double the surface area of that used in the RX100 III, a 4/3"-type sensor. There's more to it than that, though, because the Panasonic LX100 doesn't actually use the full sensor area for any given aspect ratio, allowing the corners of the sensor to protrude slightly beyond the image circle. And there's also a difference in sensor technology at play here.

We look at all this in our in-depth Sony RX100 III vs Panasonic LX100 comparison, as well as considering the rather different photographers each camera is designed to attract. While Sony courts consumers with friendly features like scene modes, Panasonic has taken the LX100 back to basics with a design that will appeal to experienced shooters, including physical controls for shutter speed, aperture, exposure compensation, ISO sensitivity and lens zoom. And there are more than a few other differences between these cameras, as well -- some subtle, and some quite radical. Read the comparison for more, and when you're done, take a look at the Panasonic LX100 review and Sony RX100 III review.

Canon G7X vs Panasonic LX100

And finally, we compare the two new challengers -- the Canon G7X and Panasonic LX100 -- against each other. Where our comparisons against the Sony RX100 tell you how each model compares to the state of the art from Sony, this head to head will give you insight into the best that the brand-new competition has to offer.

If you've already read the RX100 III vs LX100 comparison, some of this might seem familiar, simply because Canon's entry is so reminiscent of the Sony. Still, there are some very important areas in which the Canon G7X and Panasonic LX100 differ, and understanding these is key to determining which camera is right for you. Read our Canon G7X vs Panasonic LX100 comparisonfor the full story, and when you're done, take a look at our Canon G7X review and Panasonic LX100 review for more.

Conclusion

We're not quite at the point where we can draw final conclusions yet, but what we can say is that the market for enthusiast compacts has suddenly gotten a whole lot more competitive, and for photographers, that's great news. As we note in each of the comparisons above, the final pieces of the puzzle will slot into place just as soon as we complete our real-world and lab testing of the Canon G7X and Panasonic LX100, allowing us to offer final judgement of these new models' image quality and performance. In the meantime, though, it's very interesting to compare all three of these cameras side-by-side to see where the similarities and differences are to be found.

Hopefully you've found value in these match-ups! Please do let us if you know if you have suggestions for improvement, if we missed any key advantages, or if you have questions about which one is right for you. Also give us a shout if you'd like to see a particular editorial comparison in the future. Scroll down to the comments section below to leave your notes!

EXCLUSIVE - Samsung NX1 hands-on and samples

by Dave Etchells

Note: After shooting and publishing these sample photos, we were later informed that the firmware on the NX1 used for these sample photos didn't include any noise reduction processing on very high ISO shots. Therefore, we have removed them from the sample gallery. That being said, the images nevertheless looked quite good to our eyes, so expect true final production firmware to improve high ISO image quality even further.]

I've just spent a few precious hours with the Samsung NX1 "uber-camera" and have to say, it was a blast! Better yet, I can share the shots I captured with all our eager readers. (And when it comes to the NX1, a lot of you out there are really eager to see what it can do.)

Given all that's involved in running Imaging Resource, it's hard to block off enough time to go and just shoot, without worrying about all the things waiting for me back at the office. The chance for a night and morning of shooting with the NX1 in New York City was enough to push my to-do list far into the background, though, and man it was fun. The NX1's image quality and capabilities had a lot to do with that.

NX1 + 16-50mm f/2-2.8: 20mm, f/5.6, 1/160s, ISO 200

It's true that it's photographers who make pictures, not the gear -- and that an entry-level point & shoot in the hands of a world-class photographer will produce world-class photos.

But I have to say how great it is to have a camera that lets you attempt -- and succeed -- at shots you simply couldn't get with lesser equipment. I've only had a few hours with the Samsung NX1 as I write this, but for me, it delivered that experience. The ultimate comparative evaluation will depend on how it does in our exhaustive tests in a controlled, laboratory environment, but out in the real world, I was so pleased with so many of the shots it let me capture that I'd buy one on the strength of that experience alone. (For me, the measure of a successful photo is whether it makes me smile when I look at it again later. I'm smiling a lot this afternoon, going back through my shots from last night and this morning.

NX1 + 16-50mm f/2-2.8: 28mm, f/5.6, 1/30s, ISO 400

Fitting my shooting around the need to keep the scant few NX1 bodies available during show hours at the Photo Plus Expo meant that I didn't have much time to familiarize myself with the camera, its user interface or idiosyncrasies before I set out with it. So there was a lot of that "new-camera awkwardness" involved in getting used to it, and I think that there might still be a UI bobble here and there in the firmware that'll need to be smoothed out before the camera hits retail stores next month.

That said, though, I really enjoyed shooting with it, and can see that it would reward more time spent with it with much faster shooting and a higher ratio of keepers. That's always the case with a new, initially unfamiliar camera. But boy, was this fun!

NX1 + 16-50mm f/2-2.8: 50mm, f/2.8, 1/60s, ISO 1600

It also helped that I was shooting with Samsung's excellent 16-50mm f/2-2.8 ED OIS lens. Feel and handling for the body/lens combination were excellent, and the 16-50 seems like a wonderfully sharp optic. (Again, I've had only a few hours with it, so ultimate judgment will depend on how it performs in our tests on SLRgear, but I've been impressed so far by what I've seen, even wide open.)

This is really off the topic a bit, as it's not in any way unique to Samsung's 16-50, but the thing that struck me again, as I went through all my raw shots to make my selects was how shallow the DOF is at f2.8, even on a subframe sensor. Combine f/2.8 at 50mm with 28 megapixels of resolution, and DOF on some of my portrait shots was measured in fractions of an inch. That sets an awfully high bar for focus accuracy, but also made me think again about the need for super-wide apertures for the sort of photography I enjoy the most these days -- people photos, the shorter the range the better. A lot of photographers will clearly want and need the subject/background separation that f/2.8 or even f/2 offers, given their subjects and shooting distances, but honestly, for myself and the subjects I most love, f/2.8 is overkill more often than not.

NX1 + 16-50mm f/2-2.8: 50mm, f/2.8, 1/125s, ISO 200
 

100% Crop. Notice the extremely shallow depth of field at 50mm f/2.8.

Maybe some of it has to do with just how sharp the 16-50 is wide open. The difference between the point of perfect focus and one a bit one side or the other from it might not be as stark as it is with a lesser optic. With the 16-50mm f/2.8 though, in-focus is sharp, so you really notice the softening as you get to the edge of the DOF.

I'd love to write more about what it's like to shoot with the Samsung NX1, but honestly, after just a few hours of shooting with a camera as deep as this one is, it's way too early for any opinions at this point to hold much validity. That'll require a lot more time spent, either by myself or one of our skilled writers. The press of time means I'm writing this after only my night-shooting experience with it, my daylight shooting scheduled for tomorrow morning before the show. I'll doubtless have some (slightly) more-developed opinions after that, but even at that, will withhold much talk about UI and experience until I or someone else has the time to become properly acquainted with the camera and its capabilities.

In the meantime, though, check out the extensive sample gallery I shot with the Samsung NX1, and share your thoughts -- politely ;-) -- in the comments below.

I can't wait to get this camera into the lab and then back out into the real world for a more extended experience with it!

Place your pre-order with a trusted Imaging Resource affiliate now:

• Samsung NX1 body only, US$1,499:
  ADORAMA | AMAZON | B&H

• Samsung NX1 + 16-50 "S" lens, grip, extra battery & charger, US$2,799:
  ADORAMA | AMAZON | B&H

• Samsung 50-150 f/2.8 "S" OIS lens, US$1,599:
  ADORAMA | B&H
   

NX1 + 16-50mm f/2-2.8: 50mm, f/4.5, 1/20s, ISO 400

Reviews

Pentax 645Z Review: The medium-format camera, redefined

Our final conclusion.

by Mike Tomkins 

Way back in 2011, we reviewed Pentax's first medium-format digital camera, the 645D. We found lots to love, but also quite a few limitations -- although in fairness to Pentax, they were shared with all of its medium-format competition. Fast-forward three years, and the followup Pentax 645Z keeps the best of its predecessor, while answering most of our criticisms of the earlier model

Building on the 645D's design, the Pentax 645Z offers features that are rare or in some cases unique in a medium-format camera. Pick up its weather-sealed body, and you'll find both live view and video capture on offer. You'll also find an extremely wide sensitivity range of ISO 100 to 204,800 equivalents, a 27-point phase-detect autofocus system, and -- compared to its medium-format rivals -- very swift performance, too!



And of course, you'll get the incredible detail-gathering capability of medium-format, plus a really big, bright viewfinder. In effect, the Pentax 645Z is Ricoh's answer to the full-frame camera, and what a rebuttal it is. In the process, it has redefined what is possible in medium format, especially at anything that even remotely approaches its pricepoint.



Is it time you considered moving to medium format, or are the compromises that remain enough to persuade you to stick with full-frame instead? Read the just-published conclusion to our Pentax 645Z review, and find out!

Sony A7S Shooter’s Report Part II

Boost those shadows and peep those pixels! A look at dynamic range and 4K video

by William Brawley

After some extensive testing, shooting, filming, editing and comparing, the second installment of my Sony A7S Shooter's Report is now published. After investigating the handling as well as the insanely high ISO performance of this popular full-frame mirrorless camera, this second Shooter's Report section focuses on two of the other highly-touted features: dynamic range and 4K video.

At a stated 15.3-stops of dynamic range, the A7S should give photographers plenty of flexibility to reign in those highlights without clipping and lift up and reveal shadow details without a lot of noise. The primary reason why I personally shoot in RAW with my own cameras is the extra latitude it gives me to adjust images as I see fit, especially shadow and highlight details (along with white balance, sharpness and noise reduction). I've put the dynamic range capabilities of the A7S to the test here, as well as compared it to a number of competing cameras, such as the Canon 5D Mark III and the Panasonic GH4.

Cologne, Germany. Photo has been adjusted in Adobe Lightroom. Click image to view original. Sony A7S + FE 24-70mm F4 Zeiss: 70mm, f/4, 1/640s, ISO 100.

I'll also go into detail with the other major feature of the A7S: video recording. With the specially-designed "4K-optimized" sensor with full-pixel readout, as well as a new higher quality XAVC-S video format (similar to the GH4 I reviewed earlier this year) the Sony A7S is clearly designed to do double duty for both stills and video shooters. 

For all the details about the Sony A7S's dynamic range performance and video recording features and quality, head over to my Sony A7S Shooter's Report Part II. I also share my final thoughts of my shooting experience with the A7S, but stay tuned as there's still more to come, including image and print quality analysis as well as our final conclusion.

PS: If you're interested in comparing the specs between the Sony A7S and it's popular siblings, check out our new comparison pages! [A7S vs A7; A7S vs A7R]

[Quick Links: Sony A7S • Shooter's Report: Part I • Part II • Test Shots • Gallery Images]

Nikon D750 Shooter’s Report Part I

In the hand & in the field - physical features and general shooting

Article by William Brawley | Review by Jeremy Gray

Nikon fans, the wait is over. Our Nikon D750 Shooter's Report is underway! Taking off to the wilderness of Maine, nature and landscape photographer Jeremy Gray has now returned with the first installment of his hands-on review of Nikon's latest full-frame DSLR.

In this part, Jeremy shares his thoughts on the tweaked ergonomics, the design and other new features of the camera, such as the tilting rear LCD and built-in Wi-Fi connectivity, and compares them to his own personal Nikon camera, a D800E. He, of course, also takes it out for some extensive shooting time, getting a feel for high-resolution 24.3MP FX-format sensor and the newly improved autofocus system in tricky and low-light scenarios, and producing some stunning images.

D750 + 24-120mm f/4: 75mm, f/8, 10s, IS0 100, -0.7EV
(Note: This image has been edited/re-touched. Click image to see the original.)

Despite being a Nikon shooter already with his own quiver of lenses, we sent along the Nikon 24-120mm f/4 VR lens, as it's the standard kit lens with the D750. In this installment, Jeremy also shares his experience with this versatile zoom, which he found to be an "excellent general walk-around lens" with "good performance across a wide range."

For all the details about the handling and general shooting performance, head over to read Jeremy's Nikon D750 Shooter's Report Part I. And stay tuned, as Part II is just around the corner where he'll go further in-depth with low-light and high ISO shooting, AF performance and HD video recording.

While Jeremy is a first-time reviewer for us, our readers may recall his name. After stumbling across his excellent astrophotography over on NASA's Astronomy Picture of the Day, Jeremy Gray kindly sat down with us, so to speak, and shared some of his knowledge and experience with photographing starscapes of the aurora borealis. After you're done reading about the D750, be sure to to check out this interview as well!

[Quick Links: Nikon D750 • Shooter's Report: Part I • Lab Samples • Gallery Images]

QUICK HITS

Sigma 150-600mm Sport Preview

Hands-on with the latest ‘Sigmonster’ telephoto lens

by William Brawley
 

1D X: 600mm, f/7.1, 1/1250s, ISO 640, +1/3EV
This image HAS been edited/retouched. Click image for original (or RAW).

For outdoor sports and wildlife photographers, a versatile, high-powered super-telephoto zoom lens is an essential piece of kit that lets you get shots from far away…and even farther away. Just prior to Photokina last month, Sigma announced not one, but two new super-tele zoom lenses that have undoubtedly caught the eye of long-lens enthusiasts. The Sigma 150-600mm f/5-6.3 DG OS HSM Sport and Sigma 150-600mm f/5-6.3 DG OS HSM Contemporary full-frame lenses offer not only an extremely versatile focal length range, but also a choice of lenses to fit your budget.

I had an opportunity to test the new "Sport" version of the Sigma 150-600mm lens recently and get some initial impressions of the handling and performance of this new massive super-telephoto lens. Unfortunately, we were only able to hang on to this lens for the weekend, but our full SLRgear review will be coming shortly once we get the lens back in-house, so definitely keep a look out for that soon!

1D X: 600mm, f/8, 1/800s, ISO 200
This image HAS been edited/retouched. Click image for original (or RAW).
 

Handling & Build Quality

When I said "massive super-telephoto lens," I meant it. This lens feels huge and heavy, and it's probably the largest lens I've ever had the opportunity to shoot with. The Sport version is also the larger, more professional-oriented of the two 150-600mm lenses and its optical design is comprised of a whopping 24 elements in 16 groups, including two "F" Low Dispersion and three Super-Low Dispersion glass elements. It's also fully weather-sealed (unlike the Contemporary version that's only sealed at the lens mount). Measuring in at over 11 inches long at 150mm, about five inches in diameter, and weighing in at around 6.3 pounds, this lens is far from your compact, vacation, travel-zoom. It's a serious professional lens. (Oh, and the lens extends quite a bit when zooming out to 600mm, and the lens hood adds even more length!)

The Sigma 150-600mm Sport lens extends when zooming and with the included screw-on hood add even more length to the already-large lens.

I paired it with our Canon 1D X and went out to shoot some wildlife as well as test it out at a local airshow (alongside the Olympus 40-150mm f/2.8 Zuiko Pro). Retracted, the lens packed just fine into a relatively compact camera backpack -- a Lowepro Flipside 300. The 1D X was packed in there as well, though not attached to the lens. Sigma does provide its own carrying case as well, with thick sturdy padding and a shoulder strap. The Sport lens also includes carrying-strap mounting points should you want to attach the included shoulder strap (the Contemporary version does not have strap mounts).

In use, the Sigma lens and the 1D X was a very hefty combo and, at times, quite unwieldy, especially for shooting something like an airshow where you're often pointing the lens high into the sky and panning rather quickly to capture the aircraft. Handholding this lens for a prolonged length of time can be quite tiresome -- at least for someone who's not accustomed to shooting with heavy supertelephoto lenses very often (my personal Canon 400mm f/5.6L lens is featherweight by comparison). I wish I had had access to a gimbal head tripod for use at the airshow, as it would have made the whole session much more comfortable and allowed me to pan much easier to follow the aircraft using a slower shutter speed so as to blur the propellers. Attempting to do this handheld, at 600mm, was pretty much a fool's errand since you typically want shutter speeds all the way down to 1/125s for shots like that.

However, the sheer weight of the lens can be a double-edged sword. While it's quite bulky and heavy, by necessity you end up holding it rather firmly and inherently steadier than you would with a much lighter lens. Combined with the built-in optical stabilizer, I was still able to capture sharp photos at 600mm with a 1/250s - 1/320s shutter speeds, for example!

1D X: 600mm, f/20, 1/320s, ISO 200
This image HAS been edited/retouched, mainly to remove sensor dust. Click image for original (or RAW).

I've been talking about the bulk and weight of the lens, and well it's because this thing is built like a tank. It feels extremely well built and solid, with splash- and dust-proof construction, so the heaviness and chunkiness of the lens wasn't really all that surprising. As with all Global Vision lenses, the new 150-600 Sport is very reminiscent to the Sigma 120-300 f/2.8 lens we reviewed last year -- a sleek, black, metal-like exterior with large, thickly-rubberized zoom and focus rings.

Unlike the 120-300mm, however, the 150-600mm barrel extends significantly when zooming. I found that not only is the zoom ring rather stiff, you're also moving a fair number of glass elements. Therefore, when hand-holding the lens, supporting the large weight of the lens with your left hand, it can be awkward to zoom the lens quickly as it takes more than just a thumb and forefinger to rotate the zoom ring. That said, the zoom ring was very smooth to rotate, it just takes some "oomph."

A consequence of the extending barrel design is lens creep. And yes, it happens on the 150-600mm, when facing towards the ground or upwards. Thankfully, Sigma has included a zoom lock switch, and a rather clever one at that. Not only does it lock in the fully retracted position at 150mm, but also at each focal length marking all the way to 600mm. This is very handy if you now you'll be shooting at a set focal length for any period of time. At the airshow, many of my shots were at full 600mm, and so I could lock the lens at 600mm and not worry about it retracting itself if I held the lens up between shots (and vice versa for shorter focal lengths when holding the lens down).

1D X: 600mm, f/7.1, 1/800s, ISO 1600
This image has NOT been edited/retouched. Click image for full-size (or RAW).
 

Image Quality and Performance

Moving on from the physical side of things, how does this lens actually perform? Without data from our full lens review to back me up, it's difficult to know for certain, however I definitely feel that the lens is indeed very sharp. Images at both 150mm and 600mm look sharp and crisp with lots of fine detail like individual bird feathers and the rivets on the side of an aircraft.

1D X: 600mm, f/6.3, 1/640s, ISO 1250, +1EV
This image has NOT been edited/retouched. Click image for full-size (or RAW).
 

100% crop from unedited, non-sharpened RAW file.
 

100% crop from RAW with default levels of sharpening and NR processing applied in Lightroom 5.6.

I did see some rather noticeable vignetting as you zoomed to the longer focal lengths, with 600mm being the strongest. It will be interesting to see the vignetting test results once we get the lens into our lab, though I suspect it's not a severe amount by any means. Lens profile correction in photo editing software should be able to clear this up easily, but currently, in Adobe Lightroom 5 for example, a profile doesn't yet exist for this lens. Other optical characteristics like distortion and chromatic aberration looked very well controlled and practically nonexistent from the shots I captured.

The Sigma lens exhibits some vignetting at the longer focal lengths. This particular shots displays it more extremely than others.
1D X: 600mm, f/6.3, 1/5000s, ISO 400, +2 1/3EV
This image has NOT been edited/retouched. Click image for full-size (or RAW).
 

An example of a 600mm photo displaying more subtle vignetting.
1D X: 600mm, f/7.1, 1/1000s, ISO 320.
This image HAS been retouched, but only to remove sensor dust. Click image for original (or RAW).

Autofocus performance also seemed quite good and very quiet. Single-shot and continuous servo AF performed very well on this lens when paired to the Canon 1D X thanks to Sigma's Hyper Sonic Motor AF system. I was able to acquire focus very quickly and maintain focus even on far away and fast-moving subjects.

1D X: 600mm, f/6.3, 1/640s, ISO 800
This image HAS been edited/retouched. Click image for original (or RAW).

Overall, the Sigma 150-600 F5-6.3 DG OS HSM Sport is an all-out beast of a lens! Extraordinary build quality with an extremely versatile zoom range leads to an all-around impressive lens. While it's far and away from a typical lens that your average enthusiast photographer will likely use, for those who are serious about wildlife, nature, sports or other telephoto-centric outdoor subjects, the Sigma 150-600 F5-6.3 DG OS HSM Sport lens is definitely one to put on your short list. The lens is sharp, it focuses quickly, and being a strongly-built, weather-sealed lens, it should be able to withstand nature's wrath when you're out shooting in the wilderness. If you need the "tank-of-all-tanks" supertelephoto zoom lens, and you're okay with the hefty size and weight of it, you most definitely need to check out this lens.

---
As I mentioned at the beginning of the article, we only had access to this lens for the weekend, and we therefore didn't have time to run it through our test lab. It should be heading back our way in the near future, so stay tuned for the full review soon! 

In the meantime, check out many more sample photos over in the Canon 1D X Gallery Page, and look for photos with "-Sigma150-600_" in the filename.

Fuji X30 surprises with improved image quality in our First Shots

by Dave Pardue

The Fuji X30 has been a popular camera on our site since its announcement back in August. And why not?! Its predecessor the Fuji X20 was a super solid premium compact, and the X30 shares much in common with that model. So much in common, in fact, that we weren't expecting an image quality boost since they both share the same lens, sensor and processor.

We're pleased to announce that it does indeed offer users slightly better performance in the image quality arena, especially as ISO begins to rise. Below are 1:1 comparison crops from both models of our Still Lef test target for your inspection. For much more in the way of pixel-peeping these First Shots from our lab head over to our Fuji X30 Samples Page. And to compare the X30 against its predecessor or any other camera we've ever tested head to our Comparometer where you can access the entire available ISO spectrum.

Fujifilm X20                     ISO 1600                       Fujifilm X30

There's a fairly noticeable decrease in overall noise here at ISO 1600 from the newer X30,
especially apparent in some of the flatter areas of our test target.

Stay tuned for much more to come on the Fujifilm X30.

[quick links: Fujifilm X30 • Lab Samples • X30 vs X20 stats comparison]

Nikon 20mm f/1.8G AF-S Review

At long last, the 20-yr-old full-frame fast prime gets a modern refresh

by William Brawley

Nikon released an updated version of its 20mm prime lens back in September 2014 -- the Nikon 20mm f/1.8G ED AF-S -- offering a very fast f/1.8 aperture, plus a new design to match the look and build of their other "G" lenses, along with modern amenities such as ED glass and Nano Crystal Coat. The new lens isn't a replacement for the classic 1994-era 20mm f/2.8D AF, though, which (at the time of writing) has not been discontinued. The manual focus 20mm f/2.8 AIS also continues to be available.

We've just published our full review of this new full-frame fast prime, and the results are impressive -- very sharp with well-controlled CA, distortion and vignetting. There's some corner softness on full-frame cameras wide-open, but stopping down a bit quickly fixes that. And, as expected, results on a DX-format body look extremely good.

Physically, the new 20 f/1.8 lens shares the same design styling as other G-series Nikkors, with a sturdy, solid plastic barrel with black, speckled matte finish. The lens mount on this higher-end lens is metal, however. The lens was designed to fill the FX sensor (or 35mm film) frame. When mounted on a DX body, the 20 f/1.8 provides an equivalent field of view of 35mm, however DX users would be much better (and more economically) served by the DX-dedicated 35mm f/1.8G.

Head on over to SLRgear to read the full Nikon 20mm f/1.8G ED AF-S review, complete with our in-depth report, final conclusion as well as our full range of test results and sample images.

The Nikon 20mm f/1.8G ED AF-S is currently available now for $796.95, and can be purchased at one of our trusted affiliates: Amazon, Adorama and B&H. Purchasing this lens, or any other item, at one of these retailers helps support this site and keeps the reviews coming!

In the meantime, check out some sample photos shot by our senior lens technician Rob Murray using the full-frame Nikon D800E. You can view more sample photos, plus download the full-resolution files, over at our Flickr page.

D800E: 20mm, f/10, 1/100s, ISO 100
 

D800E: 20mm, f/1.8, 1/800s, ISO 100
 

D800E: 20mm, f/10, 1/250s, ISO 100

Canon 55-250mm f/4-5.6 IS STM Review

A fresh update to their kit tele-zoom adds faster, quieter focusing

by William Brawley

Canon APS-C shooters in need of a lightweight, budget-friendly telephoto zoom should take note of Canon's refreshed EF-S 55-250mm f/4-5.6 IS STM lens. We've just published our full review of this updated lens, and for a "kit" lens, this one's surprisingly impressive. 

Released at the end of 2013, this marks the third iteration of Canon's EF-S 55-250 lens. However, it's not a replacement for the 55-250mm EF-S IS II, as both are still available for sale. Notable improvements include incorporating the new STM stepping motor autofocus system for near-silent and fly-by-wire focusing, as well as adding internal focusing, which means the lens now has full-time manual override for focusing. The lens also has a newly designed high speed CPU, improved AF algorithm and rear focusing.

Despite the "kit lens" connotation, the new STM version of the 55-250 lens is quite sharp, even wide open at all focal lengths, especially in the center (there is a bit of corner softness beyond 200mm though). Other optical qualites, such as CA and vignetting are average to above-average for a lens in this category, and distortion is actually quite good for this type of lens as well.

To get all the details, head on over to SLRgear to read the full Canon EF-S 55-250mm f/4-5.6 IS STM review, complete with our in-depth report, final conclusion as well as our full range of test results and sample images.

The Canon EF-S 55-250mm f/4-5.6 IS STM lens is currently available now for around $300, and can be purchased at one of our trusted affiliates: Amazon, Adorama and B&H. Purchasing this lens, or any other item, at one of these retailers helps support this site and keeps the reviews coming!

In the meantime, check out some sample photos shot by our senior lens technician Rob Murray using the lens with the Canon 7D. You can view more sample photos, plus download the full-resolution files, over at our Flickr page.

Canon 7D: 127mm, f/5, 1/125s, ISO 100, +1/3EV
 

Canon 7D: 172mm, f/10, 1/125s, ISO 100, -2/3EV
 

Canon 7D: 146mm, f/14, 1/125s, ISO 400, +2/3EV

Popular News on the Site

At http://www.imaging-resource.com/news you can keep track of the photo news on our main site. Among the most popular stories over the last couple of weeks:

• Canon 55-250mm f/4-5.6 IS STM Review: A fresh update to their kit tele-zoom adds faster, quieter focusing
  • http://www.imaging-resource.com/news/2014/10/22/canon-55-250mm-f-4-5.6-is-stm-review-a-fresh-update-to-canons-aps-c-kit-tel
• Money-saving deals appear for Nikon D750, Coolpix A
  • http://www.imaging-resource.com/news/2014/10/24/money-saving-deals-appear-for-nikon-d750-coolpix-a
• New EF-M 55-250mm lens patent may hint at a future for the EOS M system Canon Cinema EOS C100 Mark II arrives with Dual Pixel CMOS AF, Wi-Fi, faster processor
  • http://www.imaging-resource.com/news/2014/10/27/new-ef-m-55-250mm-lens-patent-hints-at-a-future-for-the-eos-m-system
  • http://www.imaging-resource.com/news/2014/10/23/canon-cinema-eos-c100-mark-ii-dual-pixel-cmos-af-wifi-faster-processor
• Adobe courts Aperture castaways with import plugin, free training offer
  • http://www.imaging-resource.com/news/2014/10/20/adobe-courts-aperture-castaways-with-import-plugin-free-training-offer
• Nikon updates Capture NX-D, ViewNX 2
  • http://www.imaging-resource.com/news/2014/10/21/nikon-updates-capture-nx-d-viewnx-2
• Firmware Friday: Sony speeds up power-on for six Alpha mirrorless cameras
  • http://www.imaging-resource.com/news/2014/10/31/firmware-friday-sony-speeds-up-power-on-for-six-alpha-mirrorless-cameras
• It’s a whole new DxO! Major updates land for Optics Pro, FilmPack, Viewpoint; pricing restructured, too
  • http://www.imaging-resource.com/news/2014/10/30/its-a-whole-new-dxo-major-updates-land-for-optics-pro-filmpack-viewpoint-pr

Next Issue

Signoff

That's it for now, but between issues visit our site for the latest news, reviews, or to have your questions answered in our free discussion forum. Here are the links to our most popular pages:

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Happy snapping!
Dave Etchells & the IR Editorial Team

[email protected]
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