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The Everyday Sling might just be the perfect pack for not carrying too much gear, combining comfort with Peak Design's signature modern style.
The 70-200mm F2.8 OS puts in a decent performance on APS-C format. As usual it benefits from the expected advantages of a full-frame lens on the smaller sensor, i.e. minimal distortion and vignetting, and chromatic aberration is also extremely low. Sharpness results are impressive at the short end, but somewhat less so at 200mm.
Sharpness results on APS-C are mixed, and slightly complex in character. At 70mm F2.8 the lens is decently sharp in the center, but slightly softer towards the corners. It improves dramatically on stopping down to F4; there's also evidence for a slight focus shift on stopping down, with the measured sharpness slightly lower in the center than towards the edge of the frame; best results are obtained at F4 - F8. Wide open at longer focal lengths, the soft region spreads further into the frame, until at 200mm only the very center is critically sharp, and most of the frame is somewhat soft. Again though the lens improves substantially on stopping down, with best results from F5.6 - F8.
Chromatic aberration is exceptionally low. If you look really closely there's a tiny bit of fringing at the corners, but it probably won't be much of a problem in normal use.
We consider falloff to become perceptible when the corner illumination falls to more than 1 stop less than the center. As we'd expect for a full-frame lens on APS-C there's simply nothing to be concerned about here at all.
Distortion is extremely low, from 0.5% barrel at 70mm, through neutral around 85-100mm, to -0.6% pincushion at 200mm. This is absolutely nothing to worry about, as it will be essentially imperceptible in normal use.
The 70-200mm F2.8 isn't intended as a macro lens, and that's reflected in this test. Maximum magnification is only about 0.15x, at a closest (manual) focus distance of 1.2m, and a working distance of about 97cm from subject to lens. (Note the lens will only confirm autofocus at a slightly longer subject distance).
Right at minimum focus, image quality is pretty good. The center is a little soft at F2.8 but sharpens up at F4; and while the corners are distinctly soft wide open, they match the center at F5.6. There's a hint of pincushion distortion, and a tiny amount of red/cyan fringing from lateral chromatic aberration if you look really closely.
|Macro - 152 x 101 mm coverage
Distortion: very slight pincushion
Corner softness: Low
Focal length: 200mm
Third party lenses have something of a reputation for less-than-neutral color balance, so here we measure any color cast introduced by the lens in comparison to the camera manufacturer's 50mm lens (generally considered a good standard for neutrality).
In this test, the camera is pointed towards an evenly illuminated white wall, and light entering the lens then completely diffused using an 'Expodisc' white balance filter. A custom white balance is taken using the 50mm lens (in this case the Canon 50mm F1.4 USM), then exposures made using the 50mm and the lens under test (in this specific comparison we've also included the Canon EF 70-200mm F2.8 L IS II USM). The RGB values from the center of the frame are reported (measured as an 11x11 average).
|Canon EF 50mm F1.4 USM
(188, 188, 188)
|Sigma 70-200mm F2.8 OS
(175, 177, 176)
|Canon 70-200mm F2.8 IS II
(182, 182, 183)
The differences between these lenses are very small indeed; both 70-200mms are very close to being as neutral as the 50mm F1.4. The Sigma shows a tiny green shift, whereas the Canon 70-200mm F2.8 IS II has the slightest of cool casts. Neither are likely to count as remotely significant in real world use.
As always, our studio tests are backed up by taking hundreds of photographs with the lens across a range of subjects, and examining them in detail. This allows us to confirm our studio observations, and identify any other issues which don't show up in the tests. In this section we look at issues of specific interest to APS-C users.
The most problematic result to emerge from our studio testing is apparent softness at 200mm, especially when the lens is shot wide open at F2.8. The example below shows what this looks like in practice for a 'brick wall' shot, with 100% crops from the center, lower edge and corner of the frame (using the Canon EOS 7D as the test camera).
At F2.8 the center shows lots of fine detail, but is a little low in contrast; however the edge and corner crops are somewhat soft. The lower edge sharpens up nicely in stopping down to F5.6, with the corner following at F8 (although at this point the center is losing a little of its bite due to the onset of diffraction).
As usual, we've also gone through hundreds of sample shots to see what this looks like in practice with arguably more typical subjects for this kind of lens. With the more usual three-dimensional subjects, such sharpness issues often become less important; the in-focus regions may well be 'sharp enough', especially when shooting at higher ISOs when detail is being lost to noise and noise reduction. In addition, there's not necessarily anything important in focus in the softest regions of the frame anyway.
|200mm F2.8, Canon EOS 7D (ISO 400)||100% crop (rightmost rider)|
|200mm F2.8, Canon EOS 7D (ISO 200)||100% crop|
Naturally you can always pull a bit more out of the image file by careful processing of the raw. Here we've corrected the residual lateral chromatic aberration in Adobe Camera Raw (+10 Red / Cyan), followed by local contrast enhancement in Photoshop (Unsharp Mask with Amount = 5, Radius = 50, Threshold = 0) and finally Smart Sharpen (Amount = 180, radius = 0.8). This brings a considerable improvement in the rendition of fine detail.
|200mm F2.8, Canon EOS 7D (raw + ACR)||100% crop|
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Nov 19, 2010
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Sigma is getting Black Friday started early this year, offering discounts on five of its lenses online now through Monday, November 30th including the 50mm F1.4 DG HSM Art. Savings range from $100 up to $300 off individual lenses - and considering the current results of our readers' poll, a few of you may be interested. Read more
When the Fujifilm X-T2 arrived, it was more than just a modest upgrade to the already impressive X-T1. While the new X-T3 hasn't changed the overall design of the camera, this model is way more than an upgrade; rather, it's a quantum leap.
The Movie Maker is a compact, motorized slider designed for phones, action cams and small mirrorless cameras. We think it's a fun little kit and a good value proposition for the cost, provided you can work around a few of its weak points.
Nikon's Z7 is the first camera to use the all-new Z-mount, the company's first new full-frame mount since 1959. We've put together our first impressions based on quality shooting time with a pre-production camera - check out what we've found.
What's the best camera for a parent? The best cameras for shooting kids and family must have fast autofocus, good low-light image quality and great video. In this buying guide we've rounded-up several great cameras for parents, and recommended the best.
What's the best camera for shooting landscapes? High resolution, weather-sealed bodies and wide dynamic range are all important. In this buying guide we've rounded-up several great cameras for shooting landscapes, and recommended the best.
What’s the best camera costing over $2000? The best high-end camera costing more than $2000 should have plenty of resolution, exceptional build quality, good 4K video capture and top-notch autofocus for advanced and professional users. In this buying guide we’ve rounded up all the current interchangeable lens cameras costing over $2000 and recommended the best.
|Abstract bokeh by Minas_Eye|
from Your City - Bokeh in the City (Rerun)
|Green Tree Frog by BruceRH|
|Custom Red Roadster by Mitchmeister|
from Car Shows 2018
At Sony's press conference at Photokina the company announced that 12 more E-mount lenses will be arriving over the next two years. In addition, the company is working to utilize artificial intelligence in its technologies, with one application being Eye AF trained to detect animal eyes.
Sigma has said it will create a full-frame Foveon camera and will adopt the Leica L mount for its system. It will be able to adapt or convert SA mount lenses to the L mount, for existing users.
Hasselblad is expanding their X System with their announcement of three new lenses: the XCD 80mm F1.9, XCD 65mm F2.8 and XCD 135mm F2.8, along with a teleconverter. The 80mm F1.9 is the fastest in the system. Get all the details and check out Hasselblad's official sample images here.
Sigma has announced give new lenses at Photokina, including a 'Sport' series 70-200mm F2.8 and a 56mm F1.4 for Micro Four Thirds and Sony E mounts.
Sigma has announced the 28mm F1.4 Art, 40mm F1.4 Art, 70-200mm F2.8 Sport and 60-600mm F4.5-6.3 Sport lenses for several full frame lens mounts, including Canon, Nikon and, in the first two instances, Sony E.
ON1 has announced the impending launch of ON1 Photo RAW 2019. The new version, due out in November, brings a handful of new tools and features in a revamped interface.
Fujifilm has said it is developing a 100MP GFX medium format camera that will include both phase detection autofocus and in-body image stabilization. The 4K-capable camera will sell for around $10,000.
Leica has announced the S3 medium-format camera – an S2 successor with a 64MP sensor capable of 4K video.
The GFX 50R is a 50MP rangefinder-style mirrorless camera. It borrows heavily from the existing 50S model but in a smaller body and at a lower price. How does it differ?
Fujifilm has announced its GFX 50R, a rangefinder-styled version of the company's GFX 50S medium-format camera. The 'guts' of the two cameras are the same, with the difference being the design, weight and Bluetooth, all at a considerably lower price.
In this episode of DPReview TV, we get our hands on Fujifilm's GFX 50R which hides a medium-format sensor in a new, more compact body. Watch to get Chris and Jordan's first impressions on image quality, video and more.
Fujifilm is adding a trio of new medium-format lenses to its G-mount roadmap. GFX owners will soon be able to get their hands on 100-200mm F5.6, 45-100mm F4 and compact 50mm F3.5 lenses. Pricing and availability have not been announced.
Micro Four Thirds users will soon get a super fast, constant aperture wide angle zoom.
Panasonic has announced it is developing two full frame mirrorless cameras: the 47MP S1R and the 24MP S1. We've been shown fairly advanced-looking but non-functional prototype cameras, and have been able to squeeze a few details from Panasonic.
Panasonic is developing a pair of full-frame mirrorless cameras that use Leica's L-mount. The S1R will feature a 47MP sensor, while the S1 will be 24MP. Both cameras will support Dual IS shake reduction 4K/60p video capture and will have XQD and SD card slots.
Leica, Panasonic and Sigma are teaming up. Expect L-mount cameras from Panasonic as well as L-mount glass from Sigma.
Ricoh has announced the development of the GR III enthusiast compact, due to ship in early 2019. The camera gains sensor-shift image stabilization and an updated 24MP sensor with phase-detection. The 28mm equivalent F2.8 lens has also been redesigned and a touchscreen added.
The 'I'm Back' is now available for a range of old film-SLRs, such as Nikon's F-Series, the Olympus OM10 or the Canon AE-1.
IRIX has announced its latest lens, the 150mm F2.8 Macro 1:1. IRIX claims the lens features 'close to zero' distortion and stands out with its 150mm telephoto focal length.
The RF 24-105mm F4L IS USM is one of four lenses to launch with Canon's new full-frame mirrorless system, and it boasts the longest reach of the range. Take a look at some of the samples we've gathered thus far as our EOS R testing continues.
Nikon's Sendai factory in the Tōhoku region North of Japan has been churning out cameras and lenses since 1971. We had the opportunity recently to visit Sendai during events to mark the launch of Nikon's new Z mount.
There's no mistaking the Nikon Coolpix P1000 – with a 24-3000mm equivalent zoom, it really is in a class of its own. It's a conspicuous-looking superzoom with one main job: getting you really close to far away subjects. We've put together a gallery showing the kind of results you can expect from it.
A new report from The Verge claims Instagram is currently testing a feature that allows users to re-share posts to their own account feeds.
GoPro has announced its HERO7 camera lineup. The updated action cameras feature new HyperSmooth and TimeWarp modes, as well as improved video and photo specs.
The latest Samsung midrange smartphone offers a super-wide-angle lens in its triple-camera setup.
The Sony 24mm F1.4 is the latest lens to join the company's premium G Master lineup. We've been shooting with one for a couple of days - here's what you need to know.
Apple released iOS 12 a few days ago and some iPhone X users are less than happy with how the new operating system has made their phones look.
Camera bag manufacturer Lowepro has introduced mark II backpacks for its ProTactic AW range with models that are said to feature an improved handling experience as well as a collection of accessories that can be attached to the outside.
Canon has announced its latest superzoom camera, the PowerShot SX70 HS. Compared to the SX60 that came before it, the SX70 has the same lens but offers a higher resolution EVF, 4K video capture and support for Canon's new CR3 Raw format.
Cosina has announced its eighth lens designed specifically for Sony's E-mount system. The Voigtlander 21mm F3.5 lens is due out October 2018.