Our comparative review of the Panasonic GH4 and Sony Alpha 7S started with a look at their designs, handling and video spec. They've set new benchmarks for the sophistication of their video capabilities, but they're both potentially very capable stills cameras as well. That brings us to part two of our review, which adds six pages including analysis of image quality and dynamic range. We've also expanded our look at the video modes on each camera. Read more
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Though they come with vastly different sensor sizes and price tags, the Panasonic Lumix GH4 and the Sony Alpha 7S are similar in spirit. They're both meant for video recording as much as they are for stills. To that point, the 12.2MP full frame A7S and 16MP Micro Four Thirds GH4 are both capable of 4K video output and offer extensive video features. Our comparative review takes a detailed look at how these cameras perform in terms of video and stills, as well how they stack up against one another. Read part one
If the Sony Cyber-shot DSC-RX10 premium superzoom was a game-changer, the Panasonic Lumix DMC-FZ1000 changed the game yet again when it was introduced last month. With its 1"-type 20.1MP CMOS sensor and 25-400mm equiv. F2.8-4.0 lens it's an ideal candidate for travel, offering a larger-than-average sensor and generous zoom range. With 4K video recording and a lower MSRP, it gave the already-impressive RX10 a run for the money. Read more
We've just completed our full review of the Nikon 1 V3, that manufacturer's enthusiast mirrorless camera. The V3 offers an 18.4 megapixel 1"-type CMOS sensor, a significant gain in resolution over its 14.2 megapixel V2 predecessor. Since its introduction the 1 system has offered impressive auto focus and burst shooting capabilities - see just how well it performed in our testing. Read review
The simple idea that tripods are inconvenient to carry for extended periods has given birth to a host of attempts to find an easier way to steady a camera during a long exposure. A new device that joins this list is That Steady Thing - a metal boss that sits between a monopod's leg and its head, into which a pair of steadying legs screw. See if it lives up to its name. Read more
Lomography isn't a company we've historically talked about much on DPReview; with its emphasis on low-fi, 'shoot from the hip' photography using plastic film cameras, it's a long way from the typical interests of our readers. But last year the company came up with an interesting idea: to recreate a classic 19th century portrait lens for modern SLRs. The result is the Petzval 85mm F2.2, which is available now to fit Canon or Nikon SLRs. So what's it like? Read more
The Tamron SP 150-600mm F/5-6.3 Di VC USD is one of a select group of supertelephoto zooms for full frame SLRs that reaches or exceeds 400mm focal length, while still being reasonably portable. Its trump card over its closest competition lies in its longer focal length - at 600mm full zoom, it'll let you get your subjects that bit larger in the frame. But does this result in an unacceptable compromise in optical quality? See the lens test data and our analysis
We've just posted our full review of the Sony Cyber-shot DSC-RX100 III. In this third generation compact, Sony offers a 20.1 megapixel BSI CMOS sensor and a couple of important new features - a faster 24-70mm equiv F1.8-2.8 lens and a pop-up EVF with 1.44M dots. With these additions to what was already an impressive camera, does the RX100 III earn our highest recommendation? See for yourself. Read review
For those of us here in the Northern Hemisphere summer is upon us. We're celebrating the arrival of longer days and seaside vacations with our annual waterproof compact group test. This year's test includes the Canon PowerShot D30, Nikon Coolpix AW120, Olympus Tough TG-3, and Ricoh WG-4 GPS. See which of these rugged compacts came out on top.
The AF-S Nikkor 35mm f/1.8G is Nikon's latest moderate wideangle prime, designed for full frame SLRs like the D610. It sits in the lineup between the budget, DX-only AF-S Nikkor 35mm f/1.8G and the premium, half-stop faster AF-S Nikkor 35mm f/1.4G. It also faces stiff competition from the highly-regarded Sigma 35mm F1.4 DG HSM. So how does it measure up in terms of optical quality? See the lens test data and our analysis
Offered in 160W ($70) or 300W ($100) power intensities, Adorama's Budget Studio Monolights are geared toward studio photographers who are just starting out and are constrained by modest budgets. At a fraction of the price of professional heads, can the Flashpoint Budget Studio lights do the job? Find out in our review
The Sony a6000 offers some considerable advantages over its Sony NEX-6 predecessor. It has a 24.3 megapixel APS-C sensor and an updated hybrid AF system with 179 phase-detect and 25 contrast-detect points. Also included is a built-in 1.44 million-dot EVF and a tilting 3.0-inch display with 921,600 dots. With an impressive AF system, fast 11 fps continuous shooting with subject tracking and lots of extras, the a6000 is poised very competitively in the mirrorless class. Read the review
The Sigma 50mm F1.4 DG HSM 'Art' is a fast normal prime for full frame cameras, with an unusually complex optical design. However at $950 / £850 it's substantially more expensive than either its predecessor, or Canon and Nikon's 50mm F1.4 lenses. We've already published lab test data showing that it's optically excellent, but what does this mean in real-world use? Read our detailed review to find out.
The NX30 uses the same 20MP, Samsung-designed CMOS sensor and Hybrid AF system as the more compact NX300, but puts it into an SLR-style body with a pull-out, tilting electronic viewfinder and generous hand grip. Add in Wi-Fi and NFC connectivity options, a 3" AMOLED display and 1080/60p video, and the NX30 is arguably Samsung's most enthusiast-oriented camera yet. But does it offer anything to standout from other high-performing cameras in its class? Find out in our review
A year on from the camera's announcement, Olympus has issued a significant firmware update for its PEN E-P5. The update not only adds a trigger-only 'cable release' mode to its Wi-Fi functions, it also provides a feature to combat the biggest problem with the camera. The new '0 sec Anti-Shock' option provides a work-around for the image shake that held the E-P5 back in our original review. Is the new firmware enough to elevate the E-P5 to the select company of Gold award winners? Find out
The Canon PowerShot G1 X Mark II is an ambitious product that addresses some of the shortcomings of its predecessor by adding a 24-120mm F2.0-3.9 lens, faster AF system, tilting LCD, and 5.2 fps continuous shooting. Its 1.5"-type CMOS sensor also allows for image quality that should rival consumer or midrange interchangeable lens cameras. But do these improvements make the G1 X Mark II the large-sensor compact for enthusiasts? Read full review
A good photography backpack is capable of stowing essential elements like a full-size camera body, small family of lenses, laptop, tripod, and all necessary accessories. A truly great backpack can carry all of that while being carry-on friendly and providing a high level of comfort and adjustability. The minds at ThinkTank strove to bring that full package with the StreetWalker HardDrive photo backpack. But does it provide enough bang to justify its $229.75 price tag? Find out in our review
Nikon's introduction of the D3300 at this year's CES didn't shake up the industry, but it was still a noteworthy launch. The entry-level 3000 series have been popular with consumers looking to making a first step into more advanced photography, and the 24 megapixel D3300 is the latest generation in that popular line. With 1080/60p HD video capture, 5 fps burst shooting and 700-shot battery life it provides a beginner with some useful tools to experiment with. Is it a clear winner in the entry-level class? Read our full review
The Sigma 50mm F1.4 DG HSM 'Art' is a fast normal prime for full frame cameras, with an unusually complex optical design. Its premium price tag of $950 / £850 makes it substantially more expensive than either its predecessor, or Canon and Nikon's 50mm F1.4 lenses. However Sigma's recent high-end offerings such as the 35mm F1.4 DG HSM and 18-35mm F1.8 DC HSM have been truly excellent, so how does the new 50mm measure up? See the lens test data and our analysis
The Fujifilm X-T1 is surely one of the most desirable cameras of the year so far, with its SLR-like styling, huge electronic viewfinder, and wealth of external controls on its compact, weathersealed body. It also promises class-leading autofocus performance, including the ability to track focus on moving subjects - something that's traditionally eluded this type of camera. But is this enthusiast-oriented mirrorless model really a match for a traditional SLR? Read our in-depth review to find out.
Pentax cameras have always been innovative, and Ricoh has upped the ante with the K-3. Its image stabilization system not only reduces shake, but it can also simulate an anti-aliasing filter. The K-3 marks the latest evolution of one of the best-handling DSLRs in its class. It features a new autofocus system, 24 megapixel CMOS sensor, 8.3 fps continuous shooting, and USB 3.0 support. Has Ricoh put together a top-notch DSLR in the K-3? Read our review to find out
The Phottix Mitros flash is a high-end TTL flash designed to compete with Canon's 580EX II at well over half the price. The Mitros for Canon shares many features with the 580EX II, including high-speed sync and built-in IR triggering with Master and Slave modes. But is the Mitros mighty enough to match one of Canon's most beloved flash models? Find out in our review
As more and more video production companies and independent videographers rely on DSLRs to shoot a majority of their work, finding more compact equipment is becoming easier. A decent fully-loaded DSLR jib setup can cost anywhere between $500 and $3,000, and the ProAm Orion DVC210 resides at the lower end of the spectrum. Can the Orion DVC210 take your DSLR video to the next level? Find out in our review
As we're working towards finishing our full in-depth review of Ricoh's Pentax K-3, we've decided to publish pages of the review that are complete so far instead of making you wait. You'll find the new sections of the ongoing review in our original first impressions review. The additional pages include: A shooting experience report, operation and controls, menus, a look at the K-3's video mode, our two test scene pages and a new real-world samples gallery. Click through for more
The Sony Cyber-shot DSC-RX10 looks at first glance a bit like a high-end superzoom with its 24-200mm equivalent F2.8 lens. That's a fairly modest range by modern standards, but then the camera's 1" sensor is very large compared to conventional superzooms. Sony has put a lot of effort into the camera's video capabilities and tools, making it more than just a stills shooter, but are the sum of these parts enough to make the whole worth $1300? Find out in our review
The Olympus OM-D E-M10 is the third incarnation of Olympus' popular range of high-end mirrorless interchangeable lens cameras. The E-M10 boasts some impressive DNA, using the same excellent 16MP Four Thirds sensor as its E-M5 sibling. We've been shooting with it extensively over the past few weeks, hoping to find out whether this 'digital' OM is as capable as the two that preceded it. Those are two solid acts to follow - how does the OM-D E-M10 perform? Find out in our review
The D610 is the exact same as the D600 but with a new shutter mechanism that boosts continuous shooting and adds a 'Quiet Continuous' mode. The only other upgrade is an improved auto white balance system. Although the D610 lacks some of the frills, like built-in Wi-Fi, GPS or an articulated LCD, it's a lot of camera for the money. Do the slight updates still make the D610 a compelling option in a growing full-frame market? Find out in our review
Fujifilm's idea of a mid-range camera is a remarkably photographer-friendly affair, and the X-E2 is the latest example of that. It's superficially similar to its predecessor, the X-E1, but adds the X-Trans CMOS II sensor that includes on-chip phase detection elements to allow continuous autofocus. It also has a nicer rear screen and built-in Wi-Fi, along with a host of small operational and feature tweaks. Is the X-E2 a photographic tool that lives up to the promise of its classic looks and control layout? Find out in our full review
Born from the brief union between Google and Motorola, the Moto X bears several unique features worthy of both names, including instant activation when removed from a pocket and constant attention to voice commands. Two shakes of the handset brings up the Moto X's simplified camera interface, which is where we come in. How does the Moto X measure up? Read our Motorola Moto X review to find out
Panning, tilting and sliding are essential actions in both photography and video. To elevate the quality of camera movement, particularly in video, you need professional-grade equipment, and it's usually very expensive. But the folks at Cinetics aim to bridge the gap with the Axis360, an affordable, motorized tripod head and slider to help photographers create dynamic video and time-lapse photography. Read our review
GoPro's latest fleet of little action bricks are fortified with several advanced features that cannot be found elsewhere in the market. The GoPro Hero 3+ Black Edition ($399.99) is the newest flagship model, replacing the GoPro Hero 3 by adding some key upgrades. Having owned the first HD Hero and Hero2, our writer Mike Perlman wanted to know if the Black Edition was worth the extra cash. Read our review
The Miggo straps and grips bring a lot of innovation to the way we tote and transport our beloved investments. Their versatile multi-use designs combine a high quality camera wrap, a method of securing the camera to your person and lens cap pocket all in one. Are the days of traditional camera toting coming to an end? Find out in our review
The Sony FE 35mm F2.8 ZA Carl Zeiss Sonnar T* is one of the first lenses for Sony's fledgling full frame mirrorless system, offering a classic moderate wideangle view. It's a small lens that nicely complements the Alpha 7 and 7R, but at around $800 / £680 it's distinctly pricey for a relatively slow prime. So is it worth the money See the lens test data and our analysis
Two products that have been getting a lot of attention lately are the Sony a7 and a7R full-frame mirrorless cameras. Last month we took an in-depth look at the Alpha 7, and were mostly pleased with how it turned out. Now it's time to take a look at its big brother, the Alpha 7R, which offers a 36 megapixel sensor with no low-pass filter and a more conventional autofocus system. Is the a7R worth the price premium over the a7? Find out in our review
The Nikon D5300 presents an entry-level photographer with some serious specifications, starting with a 24 megapixel APS-C sensor. It shapes up to be quite the formidable DX-format camera with 1080/60p HD video recording, built-in Wi-Fi/GPS, a 39-point AF system and a flip-out LCD. It's not short on features, but do its handling and image quality match the tall specs list? Read our full review
The Sony FE 55mm F1.8 ZA Carl Zeiss Sonnar T* is one of the first lenses for Sony's fledgling full frame mirrorless system, and designed as a fast 'normal' prime to complement the Sony Alpha 7 and 7R. However at around $999 / £900, it costs several times as much as the 50mm F1.4 options for DSLR systems. So what exactly are you paying for? Click through for the lens test data and our analysis.
By putting a 24 megapixel full-frame sensor into a body nearly the same size as the Olympus E-M1, the Alpha 7 is arguably the most ambitious camera Sony has ever made. Never before has there been a full-frame camera this small - and one that supports nearly every 35mm lens format ever made, as well as Sony's own E-mount lenses. Does Sony get enough things right with the Alpha 7 to compete with more conventional full-frame cameras such as the Canon 6D and Nikon D610? Read our full review to find out
The Nikon AF-S Nikkor 58mm f/1.4G was one of the more unexpected lens releases of 2013. It's a fast normal prime for full frame shooters, but its $1699.95 / £1599.99 price tag represents a huge premium compared to the existing (and very good) AF-S Nikkor 50mm f/1.4G. What's more, lab tests failed to show any clear sharpness advantage either. So why, exactly, is Nikon asking so much for this lens, and just how well does it perform in real-world use? Find out. Read our detailed review
The Nikon Df is, at first appearance, the camera many people have been wanting for years - a classically styled DSLR with traditional external controls. A lot of what's under the Df's retro skin is pretty familiar with the 16MP full-frame D4 sensor and the AF system from the D610. But does the Df bring together the best of the old and the new for a compelling shooting experience? Find out. Read our full review
We've just posted our full review of the Panasonic Lumix DMC-GM1. It underscores the 'Micro' in Micro Four Thirds as the smallest model in that class, with a 16MP Four Thirds sensor and a collapsible 12-32mm F3.5-5.6 kit lens. It offers many features that its bigger Lumix GX7 sibling does, starting with the sensor, but in a much smaller package. See how it measures up. Read our full review
DxOMark has just reviewed the Sigma 24-105mm f/4 DG OS HSM, a general-purpose zoom for full frame SLRs. As part of our ongoing collaboration we've added the test data to our lens widget, and looked to see how it compares to the Canon equivalent. We've also added test data for the Nikon mount version of Zeiss's stellar Apo Sonnar T* 2/135. Click through for our full analysis, and a link to DxOMark's own reviews.
Having spent a little more time with a full production unit, we've updated our Nikon Df coverage with images from our studio test scene and some more handling impressions. Nikon's thoroughly retro full-frame Df uses the same 16MP chip first seen in the D4, and provides an unprecedented level of support for legacy lenses. The new scene shows its performance in both daylight and low light, with downloadable image files. As always, you can compare the Df to the increasing number of cameras in our test scene.