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Articles: Digital Photography Review (dpreview.com)
Posts Tagged ‘Cameras’
Sigma Releases 24mm f/2 and 90mm f/2.8 Lenses for E-Mount and L-Mount Cameras
11
Sep
The post Sigma Releases 24mm f/2 and 90mm f/2.8 Lenses for E-Mount and L-Mount Cameras appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Sigma has unveiled two powerful lenses for Sony E-mount and L-mount cameras: the 24mm f/2 DG DN Contemporary and the 90mm f/2.8 DG DN Contemporary.
The lenses slot into Sigma’s “I” lineup, a series of glass featuring top-notch build quality, portable bodies (Sigma claims the I series is perfect for “everyday use”), and high-resolution imaging on par with even the most demanding mirrorless cameras.
And the Sigma 24mm f/2 continues this I series tradition, offering outstanding build quality in a portable package. The lens is entirely metal, from the barrel and mount to the focus and aperture rings (and yes, the 24mm f/2 does sport a manual aperture ring, for photographers who prefer a more tactile, analogue method of shooting).
Sigma notes that the 24mm f/2 works well for “night sky photography, events, and interiors,” as well as “day-to-day use.” It certainly should perform well in low-light situations like indoor events (e.g., weddings) thanks to the wide f/2 maximum aperture, though Sigma might be selling the lens short; in addition to the aforementioned uses, I’d also peg the 24mm f/2 as an excellent street photography lens – it’s compact, fast, and sharp, even if its 24mm focal length is wider than the 35mm/50mm street photography standards – a capable landscape lens, especially for photographers looking to lighten their load, and an ideal travel lens.
The 24mm f/2 aims for optical perfection. Sigma explains that “lens resolution is extremely high and is uniform from the center to the periphery of the image,” while the lens features “the highest level of optical performance even at its maximum aperture of f/2.”
And the price is a quite reasonable $ 639 USD, ideal for budget-conscious photographers in need of a second or third lens.
The 90mm f/2.8 features a similar design – all metal, to match existing I-series lenses, plus a manual aperture ring, a compact build, and a “sleek, stylish finish.” At 90mm, I hadn’t expected the lens to be quite as travel-ready as its 24mm counterpart, yet the 2.4 inch (59.7 millimeter) barrel is ultra-slim and even pocketable.
Who should buy the 90mm f/2.8? Sigma advertises the lens as ideal “for portraits, close-ups, weddings, and events,” and I’d probably add product and still life photography to that list, thanks to the short telephoto focal length, not to mention the “exceptional resolving power that can keep up with the latest ultra-high-resolution cameras.” Plus, the lens offers a 1:5 magnification ratio; it’s no true macro lens, but can certainly get you a close perspective for detail shots.
Like the 24mm f/2, the 90mm f/2.8 sells for a very reasonable $ 639 USD. And both lenses should begin shipping at the end of September, so if you’re a Sony or L-mount shooter looking for a well-built, compact prime, I highly recommend you take a look.
Now over to you:
What do you think of these new lenses from Sigma? Do either of them appeal to you? Share your thoughts in the comments below!
The post Sigma Releases 24mm f/2 and 90mm f/2.8 Lenses for E-Mount and L-Mount Cameras appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
TTArtisan releases $235 50mm F1.4 ASPH lens for full-frame mirrorless cameras
08
Aug
TTArtisan has revealed its new $ 235 50mm F1.4 lens for full-frame mirrorless camera systems.
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The new TTArtisan 50mm F1.4 ASPH lens is entirely manual and, according to TTArtisan, able to be used with sensors up to 60MP. The optical construction consists of ten elements in eight groups, including a low-dispersion element and aspherical element.
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It uses a 12-blade aperture diaphragm, has an aperture range of F1.4 through F16, offers a minimum focusing distance of 50cm (19.7”) and uses a 49mm front filter thread.
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As with TTArtisan’s recent lenses, this one follows a clearly Leica-inspired design, complete with white and yellow markings in a Leica-like typeface. The lens features a clicked aperture ring and is rather compact. The lens measures 68mm (2.68”) long, 57mm (2.24”) in diameter and weighs around 430g (15.2oz), with slight variations between the different mounts.
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Below is a gallery of sample images captured with the lens:
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The TTArtisan 50mm F1.4 ASPH lens is available for Canon RF, Leica L, Nikon Z and Sony E mount camera systems. It is available to purchase through TTArtisan’s online store for $ 235.
Articles: Digital Photography Review (dpreview.com)
What is the Highest ISO Camera? High ISO Explained and Cameras Compared
22
Jul
Digital cameras with higher and higher ISO ranges are appearing on the market these days. Some have ISO numbers that seem out of this world. These are best suited for specific conditions and types of photography. Should you go for the absolute highest ISO camera or are there other aspects to consider? In this article I will share my experiences Continue Reading
Photodoto
Video: Hasselblad shows how it produces, tests its X System medium format cameras
21
Jul
Hasselblad has released the third video in its ongoing ‘Hasselblad Home’ series, showcasing how the Swedish company produces and tests its X System medium format cameras inside its Gothenburg headquarters.
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Throguhout the four-minute video, Hasselblad shows the five-step production and testing process it uses to ensure all X System cameras are properly constructed and programmed to get the best image quality possible. The first step in the process is a cosmetic check to ensure the camera body itself is undamaged from the manufacturing process. If it clears the cosmetic check, that camera is assigned a serial number, which will follow it until it reaches the hands of the customer.
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With the serial number assigned, it’s onto installing the software of the camera and completing more assembly of the main camera unit. Hasselblad says it tests each sensor independently — by capturing over 700 test shots — and uses that data to create a calibration profile that is then installed on the camera that specific sensor unit is installed in. The camera will apply that specific calibration profile to each image before data is saved to the recording media.
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From there, it’s onto the digital unit test, wherein Hasselblad workers adjust focus, remove dust and apply other quality control measures before moving onto the final photo quality test. Using both studio scenes and color charts, Hasselblad tests the image quality of each camera using both automated and manual verification to ensure no anomalies are seen in the resulting photographs.
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The video is yet another unique look into a process usually hidden within the factory walls. Regardless of whether or not you own — or have even shot with — a Hasselblad, it’s hard not to respect the level of precision and attention to detail that goes into each camera unit before it’s packaged up and shipped off.
Articles: Digital Photography Review (dpreview.com)
10 Best Cameras for Landscape Photography (in 2021)
14
Jun
The post 10 Best Cameras for Landscape Photography (in 2021) appeared first on Digital Photography School. It was authored by Jeremy Flint.
Deciding on the best camera for landscape photography can be a daunting task. But don’t worry; whether you’re a beginner looking to get your first camera or a more experienced photographer looking for a more dedicated option, we’ve got you covered.
Specifically, we’ll share a list of our top 10 favorite landscape cameras – including options for every budget and brand preference.
Let’s get started.
How to choose the best camera for landscape photography
When looking for the right landscape camera, what characteristics should you take into account?
Weight
First, the weight of your camera is considerably important. If you are out walking long distances to your chosen location, you don’t want to be trudging for miles with the burden of a heavy camera and lenses in your backpack.
Resolution
For landscape photography, the higher the number of megapixels, the better; enhanced resolution will give your camera the ability to record those extra details and tones.
Also, sensor size is key. The larger the sensor size, the better the image quality (generally speaking).
Build quality
If you are someone who enjoys capturing landscapes in dramatic weather, it is essential that your camera has appropriate weather sealing to keep out the elements and enable you to carry on shooting when it rains.
ISO and IBIS
While a sophisticated autofocus system with quick subject selection and fast shooting modes is not essential, in-camera features such as high-ISO capabilities and in-body image stabilization (IBIS) can certainly make a difference.
For example, impressive high-ISO performance will help you capture more dynamic range in low light – perfect for anyone who likes to shoot the stars, the planets, or the moon.
Camera type
Generally speaking, advancements in technology mean that smartphones, compacts, and bridge cameras are all capable of achieving great landscape photos. But while these are cheaper options, these camera systems are less practical and adaptable than other setups. Many professional and enthusiast photographers choose either a full-frame DSLR or mirrorless body as their go-to landscape photography camera.
Which is better, mirrorless or DSLR? Most DSLR cameras are part of well-established lineups and therefore offer great landscape lenses. Mirrorless cameras are newer to the photography arena and have fewer lens choices available.
Medium format is also one of the best camera formats for landscape photographers, as it provides the very best quality images. However, disadvantages include weight, size, and high prices.
As DSLR, mirrorless, and medium format cameras are often out of reach for beginners and amateurs due to price, a cheaper and more preferred option is the APS-C system, which is lighter and has a smaller sensor system.
Ultimately, which system and camera you choose depends entirely on your personal needs and budget. With these factors in mind, here are some of the very best cameras available for landscape photographers in 2021:
1. Canon 5DS R
The Canon 5DS R is a 50.6-megapixel full-frame DSLR and a fantastic choice for landscape lovers, thanks to its superb image quality and impressive camera build. It is a firm favorite, featuring beautifully detailed files – and when coupled with the classy L-series lenses, it can match the very best high-resolution cameras available (even if the dynamic range is less sophisticated than its newer competitors). For added functionality, you get 61 phase-detection points. And the 5DS R costs less than Canon’s top-end mirrorless camera, the EOS R5.
2. Canon EOS R5
Canon arrived late to the mirrorless game, but the company now offers one of the best cameras for landscape photography. The Canon EOS R5 is the ultimate mirrorless camera, one that packs a punch with an excellent 45-megapixel count, plus it provides brilliant image quality and a wide dynamic range.
There is a growing range of RF lenses that mount directly on the EOS R5, plus you get the added advantage of 8K video. While the electronic shutter takes a bit of getting used to, the advanced weather sealing is fantastic. The EOS R5 does come with a hefty price tag, and it’s a huge investment for someone who simply does landscape photography as a hobby, so if you like the sound of the EOS R5 but don’t have the budget for it, I’d also recommend the EOS R6 (which costs significantly less).
3. Nikon D850
The Nikon D850 comes highly recommended for landscape shooters, offering outstanding dynamic range, excellent (45.6-megapixel) resolution, and a touch-sensitive LCD screen that tilts. The extended battery performance, impressive ISO performance, and high-quality images make the D850 a popular choice for shooting in the great outdoors. It can record up to 9 frames per second, it packs 4K video, and it’s one of the best all-around DSLRs on the market.
4. Nikon Z7 II
The Nikon Z7 II is a stellar camera, and one of the best mirrorless landscape options available in 2021. Specifically, its lightweight build, in-body image stabilization, touchscreen, 45.7-megapixel sensor, impressive dynamic range, and excellent image quality are all beneficial to landscape photographers, assuming you can afford the price.
The Z7 II is highly responsive in the field and has great focusing capabilities in low light. The camera also packs an exceptional electronic viewfinder and superb customizable features.
Note that the Z7 II is a welcome refinement to the already impressive Z7; the second iteration features a dual processor and dual card slots, which are hugely useful for the professional working photographer.
5. Canon EOS 90D
If you are just starting out and do not want to pay for a full-frame camera, you may find the Canon EOS 90D to be a worthwhile choice. Sure, it doesn’t offer that classic full-frame image quality – but the 90D is a very good camera for landscape photography, thanks to a large optical viewfinder, a strong build quality, and a nice 32.5-megapixel APS-C imaging sensor (that will produce some incredibly detailed photographs and video footage). The 90D’s size makes for easy handling and the camera mounts EF/EF-S glass, so there is a huge range of compatible lenses for you to choose from.
6. Nikon D5600
Another great camera choice for those on a budget is the Nikon D5600. For hobbyist landscape photographers, this midrange DSLR has a 24-megapixel resolution and is capable of capturing great images with fine textures and superbly crisp detail. The 3.2-inch vari-angle touchscreen, 39-point AF system, and new time-lapse movie mode are great additional features, and the ISO range of 100-25600 ensures low-light landscape scenes are handled with ease. The D5600 has a wide range of interchangeable Nikkor lenses at its disposal, and it’s light and extremely portable, ideal for long walks in nature.
7. Sony a7R IV
The Sony a7R IV is a superb quality camera that would carry well inside the backpack of any dedicated landscape photographer. Key features include a jaw-dropping 61-megapixel full-frame sensor for optimal image quality, the ability to shoot handheld in low light thanks to an in-body image stabilization system, and an attractive array of lenses from extreme wide-angle to large telephotos. The camera has very robust weather sealing and is notably cheaper than the Canon EOS R5.
8. Sony a6000
Are you a newbie photographer looking to invest in a camera for landscape shooting? Then check out the Sony a6000, the ultimate compromise between power and portability. It’s well priced, shoots quickly with 11 frames-per-second continuous shooting, packs 24.2 megapixels, has a built-in flash, and delivers great images of landscapes in all conditions – making it a great entry-level landscape camera and a solid introduction to the mirrorless market. Autofocus is good and you get great video. The absence of in-body image stabilization, as well as a lower resolution viewfinder compared to its rivals, are justifiable tradeoffs.
If your budget allows for the extra cost, the Sony a6500 is a newer option.
9. Fujifilm X-T4
Looking for a camera with exceptional build quality that doesn’t compromise on color tones and dynamic range? The Fujifilm X-T4 is one of the best all-around options for landscape photographers. The camera looks modern, feels great in the hand, and the lightweight system is a joy to operate. It’s a great choice for buyers needing high megapixels, fast shooting speeds, in-body image stabilization, and 4K video capture. If your budget really is limited, consider its predecessor, the X-T3, which houses an identical sensor and comes at a lower price.
10. Fujifilm X-T200
Here’s my final choice for the best landscape camera: the Fujifilm X-T200. It’s one of the best entry-level mirrorless cameras for landscape photographers and comes highly recommended. The retro style and compact size are a nice touch, while the large 3.5-inch vari-angle touchscreen makes the X-T200 extremely versatile for shooting landscapes. It is lightweight, affordable, and excels in low light. Featuring an APS-C 24.2 MP sensor, the X-T200 can create professional-looking images for landscape photography enthusiasts. For those after an even cheaper model, the X-T100 is a great alternative.
Which landscape photography camera is right for you?
With so many great cameras to consider, it can be challenging to decide which is the best camera to invest in.
While it is justifiable to go for the latest mirrorless cameras, a DSLR still handles well and gives great image quality and overall performance (and APS-C cameras are arguably the best value for money). The Fujifilm X-T200 or Sony a6000 are great options for beginners looking to get their first landscape photography camera – or if you’re after a more dedicated and sophisticated camera, a full-frame model like the Canon 5DS R or the Nikon Z7 II packs a lot of features to suit more experienced photographers.
Above all, remember that the best camera for landscape photography is a personal choice and is relative to your budget and needs!
Now over to you:
Which of these landscape photography cameras do you like the most? Do you have a favorite that didn’t make our list? Share your thoughts in the comments below!
The post 10 Best Cameras for Landscape Photography (in 2021) appeared first on Digital Photography School. It was authored by Jeremy Flint.
Nikon Releases Two “Micro” Lenses for Z Series Cameras
11
Jun
The post Nikon Releases Two “Micro” Lenses for Z Series Cameras appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Nikon has officially released two Z series lenses and announced the development of two more. These lenses will enhance the already impressive Z-mount lineup and should go a long way toward making Nikon’s mirrorless system a compelling option for beginners and professionals alike.
The newly released lenses, the Nikkor Z MC 105mm f/2.8 VR S and the Nikkor Z MC 50mm f/2.8, both feature 1:1 magnification capabilities – a first for Nikon’s Z series. And the lenses under development, the Nikkor Z 28mm f/2.8 and the Nikkor Z 40mm f/2, will offer compact, (likely) low-priced glass for travel photography, walkaround photography, and more.
The Z 105mm f/2.8 will feature outstanding image quality at an ideal short-telephoto focal length, perfect for standard macro photography – of flowers, plants, and less-skittish insects – as well as product photography, detail photography, and even portraits. The maximum f/2.8 aperture should offer smooth backgrounds (Nikon promises “the beautiful bokeh of a micro lens”); you’ll also get Vibration Reduction for working at high magnifications or in low light. And for photographers requiring fast focus, the 105mm f/2.8 packs a quick (and quiet) STM motor.
The new Z 50mm f/2.8, on the other hand, is designed as an all-purpose lens, though it still offers a 1:1 magnification ratio for high-quality macro shots. While the 50mm focal length and small working distance will make photographing some macro subjects more difficult – insects, for instance – you can still capture beautiful detail photos, and Nikon guarantees “beautiful bokeh” for pro-level macro and portrait results. If you’re a casual photographer, you’ll love the low-light capabilities offered by the f/2.8 maximum aperture, as well as the lightweight, compact body; you can mount the 50mm f/2.8 on your camera, slip it in your bag, and carry it around all day for spur-of-the-moment photography.
According to the press release, the Nikon 105mm f/2.8 and the Nikon 50mm f/2.8 will start shipping at the end of June, though B&H notes an expected availability in July. You can currently preorder the two lenses for $ 999 USD and $ 649 USD, respectively.
As for the 28mm f/2.8 and 40mm f/2: While Nikon is keeping the details under wraps, you can expect a 2021 release date. So keep an eye out!
Now over to you:
What do you think of these new lenses from Nikon? Are you considering buying any? Are there any lenses you wish Nikon would release?
The post Nikon Releases Two “Micro” Lenses for Z Series Cameras appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Scoring explained: Why we think the Fujifilm GFX 100S’ peers are cameras half its price (NOT the Sony a1)
23
May
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I’m, at best, a keen enthusiast photographer but the GFX 100S’ strengths are all in areas that benefit the kinds of photos I like to take (everyday scenes, landscape, portraiture), whereas the a1’s aren’t: its speed would be utterly wasted on me.
The GFX 100S is one of the highest-end cameras we’ve ever reviewed, which has the effect of making it a difficult camera to review. I wanted to write a little bit about that challenge, why we compared it with full-frame cameras, and yet didn’t compare it to others.
The main difficulty of reviewing a medium-format camera is that there’s a class of wildly expensive, essentially pro-only camera bodies beyond it, that we don’t cover. And, while Phase One has been kind enough to lend us some cameras and digital backs in the past, I wouldn’t claim to have used them enough to form an opinion worth publishing. It could be argued that without testing it in a series of studio shoots, it’s not really practical to form an opinion worth publishing.
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| The GFX 100S seems pricey when compared to most full-frame cameras but is comparatively affordable for something offering beyond full-frame image quality. |
It’s a similar challenge with the more ambitious video gear we’re starting to encounter. Obviously the world of ALL CAPS cinema cameras from ARRI and RED exists beyond the more accessible likes of the Sony FX3 and Panasonic S1H, so how can we put the more affordable models in context? How can you review them properly?
The clue both for ‘affordable’ medium-format and video-focused hybrids, is that they’re at the upper extreme what we test. In other words, they’re the option you might reach for, if you go beyond the level of gear we usually cover. And, in turn, that explains why we tend to compare them to the level of gear below: because that’s the alternative you might otherwise settle for.
The comparative accessibility of the GFX 100S means it’s likely that some photographers who’d otherwise buy something like a Canon EOS R5, Sony a7R IV or Nikon Z7 II might consider stretching their budget to get one. At which point, it’s important that our review makes sense of the difference.
So why didn’t we compare it with the Sony a1 if we’re comparing it to full-frame cameras?
It’s understandable why some people draw parallels between the Fujifilm GFX 100S and the Sony a1. For a start, they were released at a similar time, so the earlier camera will have still been very fresh in the mind when the second was launched. Also, both cameras cost a similar amount of money. Finally, they’re both cameras that try to offer something beyond the latest fast-ish high resolution full-frame models. So why, if it makes sense to compare both with the likes of the Canon EOS R5, aren’t we comparing them to each other?
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| The Canon EOS R5 is high res, fast, and a pretty capable video camera. You have to spend a fair amount more money to get something significantly more capable. The Fujifilm and Sony offer very different types of ‘more.’ |
Quite simply because, while all the above is true, the comparison falls apart as soon as you look at precisely what they offer over high-res full-frame. The a1 offers speed (of both shooting and autofocus), along with 8K video and photojournalist-friendly communication options. The GFX 100S offers resolution and image quality in a way that is likely to delight landscape shooters and studio-based pros. There’s no real overlap in the things they offer over the more affordable cameras.
There’s no real overlap in the things they offer over the more affordable cameras.
The context for each camera is also rather different. Whereas $ 6500 is fairly typical for a flagship sports camera, it’s comparatively inexpensive for a medium-format camera offering a step up in image quality.
It’s easy to argue that the a1 is the more impressive technological achievement: its cutting-edge sensor raises the level of what mirrorless cameras can do (at least until we’ve seen what Nikon and Canon’s Stacked CMOS cameras are capable of). And it’s a project with no obvious corner cutting: none of the stripped-down video capabilities of the a9 series, for instance. By contrast, the GFX 100S has been reworked by the engineering and marketing departments to make the original GFX 100’s capabilities accessible to a wider audience.
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| In addition to speed of shooting, speed of AF and impressive video, the a1 offers a range of pro-friendly features, including an Ethernet connection. |
Which is why, as hard as we’ve tried to make our scoring system coherent across categories, you can’t just look at the numbers and say ‘the Sony scored 3% more, and hence is better, without qualification, than the Fujifilm’. It’s a level of nuance that is never going to be conveyed by a single number (or a single number and an award).
Instead our reviews spell out the basis on which the conclusion was drawn. The ‘How it compares…’ section of our reviews lists what we believe a camera’s peers to be, and why. We then explicitly detail the pertinent real-world differences after the conclusion.
Reviewing always gets more difficult when it comes to extremes of price and performance, which is why we try to contextualize how these exotic outliers compare to the more affordable options. Because ultimately, our job is to provide a basis from which people can make informed decisions (whichever way they decide), not to award bragging rights.
Articles: Digital Photography Review (dpreview.com)
Sony Unveils Three Compact Prime Lenses for E-Mount Cameras
02
Apr
The post Sony Unveils Three Compact Prime Lenses for E-Mount Cameras appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Last week, Sony announced three E-mount lenses:
The FE 24mm f/2.8 G, the FE 40mm f/2.5 G, and the FE 50mm f/2.5 G; all promise to deliver excellent optics in a compact form.
The three lenses will launch this May. Designed as a set, they offer a beautifully wide field of view on the 24mm end for scenic shots and environmental portraits, plus a standard perspective at the 40mm and 50mm focal lengths, perfect for portraits, street photography, and even detail shots.
Sony explains, “The lenses were designed for a wide range of photo and video uses including portraiture, landscape, street photography, and more…With these three dynamic lenses, our customers can capture a wide range of perspectives with the excellent resolution and beautiful bokeh that Sony’s G lenses are known for.”
And while we can’t currently confirm the resolution of these lenses with a hands-on review of our own, sample images look very nice, and Sony’s own tests show tack-sharp results especially when stopped down to f/8. If you’re an APS-C shooter who demands the highest optical quality, or you’re working full frame and want some compact-yet-capable prime lenses, the 24mm f/2.8, 40mm f/2.5, and 50mm f/2.5 will deliver.
Plus, all three lenses offer fast maximum apertures, which translates to lovely bokeh – especially on the 50mm f/2.5, but also on the 40mm f/2.5 and even the 24mm f/2.8 when shooting close-ups.
Of course, f/2.5 and f/2.8 maximum apertures will get you more than just creamy backgrounds. With a wide aperture, you can shoot indoors or at twilight while still maintaining a reasonable ISO, so you can photograph events and night portraits – or record low-light video – and come away with clean results.
Sony also promises “fast, precise AF with excellent tracking performance” and top-notch build quality (all three lenses are dust and moisture resistant).
But while strong build quality, image quality, and focusing do make for a powerful package, even more impressive are the lenses’ compact builds. Travel photographers, street photographers, and videographers will love the pocket-sized design, perfect for on-the-go shooting, long hours behind the camera, and international travel. In fact, all three lenses are identical in size, so you can pack them all without sacrificing weight or space. Check out the lenses next to one another:
And the prices are surprisingly reasonable. You can grab each lens for just $ 600 USD – not bad at all, given the optics, build quality, and AF capabilities.
So if you’re a Sony shooter in need of a new lens (or two, or three) for travel photography, portrait photography, street photography, or handheld videography, I highly recommend you take a closer look at these options. You can currently preorder the 40mm f/2.5 G here, the 50mm f/2.5 G here, and the 24mm f/2.8 G here.
Now over to you:
What do you think of Sony’s new bundle of prime lenses? Are you impressed? Are there any features that you wish Sony would’ve included? Share your thoughts in the comments below!
The post Sony Unveils Three Compact Prime Lenses for E-Mount Cameras appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
DPReview TV: Fujifilm X-S10 vs Sony a6400 – two great cameras with different superpowers
06
Mar
We compare two popular APS-C cameras: the Fujifilm X-S10 and the Sony a6400. In a bizarre twist, Chris is left to argue with himself (literally). Meanwhile, Jordan is stuck in Pentax K-01 video purgatory. It’s enough to make your head spin.
Subscribe to our YouTube channel to get new episodes of DPReview TV every week.
- Introduction
- Handling
- Displays
- Autofocus
- Image quality
- Video performance
- Battery life
- Lens lineup
- The wrap
Articles: Digital Photography Review (dpreview.com)
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