Like other RF primes in the hybrid L series, it's well featured, focuses quickly and quietly, and delivers pin sharp details that, in my test here, look crisper than Canon's earlier 85s, including the 1.2L, while maintaining nicely rendered bokeh in the blurred areas.
[T]he new Sigma 35mm f/1.2 DG II Art is looking like another great performer from Sigma, capable of delivering pin sharp details with beautifully rendered bokeh from a design that is much more manageable than its predecessor.
Ultimately, a super zoom lens is about flexibility, and the Sigma 20-200mm f/3.5-6.3 DG Contemporary becomes the most compelling model I've tested to date.
The OM-5 Mark II may only represent a mild refresh over its predecessor, but remains an attractive option for those wanting a compact body to explore the Micro Four Thirds system, whether as a first-timer or a companion to a higher-end model.
The Sigma 17-40mm f/1.8 DC Art is one of the best quality zooms ever made for APS-C mirrorless cameras [...]
The Viltrox AF 85mm f/1.4 Pro FE will delight portrait photographers on a budget, delivering excellent optical quality for subjects near and far at half the price of the Sigma and one-third of Sony's best.
The Fujifilm X-E5 becomes one of the most attractive mid-range mirrorless cameras around in terms of both style and specs, essentially repackaging the X-T50 into a body that mimics the enormously popular X100.
I find the Laowa 8-15mm f/2.8 Fisheye an easy lens to recommend if you're into fisheye photography or videography.
The X half is certainly an interesting camera, more about having fun and worrying less about specifications.
Bottom line, the Panasonic LUMIX S 24-60mm f/2.8 has become my go-to lens for general-purpose shooting on L-Mount bodies and comes recommended.
The Lumix S1 II becomes Panasonic’s most capable all-round hybrid camera to date, and my favourite in the series too, packing a faster sensor into their best body with a feature-set that just keeps growing.
[...] Sigma has really shaken-up the super-telephoto end of the market by delivering not just a uniquely flexible high-end lens, but one that substantially undercuts traditional big primes while still boasting excellent performance.
Sony’s FE 50-150mm f2 G Master is a unique lens that will delight portrait, event and close-range sports photographers.
Bottom line, the GFX100RF is impressively small for a camera with a medium format sensor, and physically comparable to some full-frame alternatives. Meanwhile most X100 owners won’t feel it’s deal-breakingly heftier.
Ultimately while I’d personally prefer to have a viewfinder, IBIS and mechanical shutter on a camera aimed at photography first, there’s no denying the Sigma BF is an exciting and original looking camera, which like their previous models, tries to do something different.
It’s certainly becoming quite a crowded market though and any camera aimed at video creators will also have to compete with the DJI Osmo Pocket 3, my own preferred model for casual handheld work.
I’d say most video creators will prefer it over the G7X III, and again it may end up being cheaper to buy too, but do compare it closely with the DJI Osmo Pocket 3 which can be great for handheld filming and supports a wireless mic system without a separate receiver.
Ultimately, the Sony FE 400-800mm f/6.3-8 G OSS is an unashamedly specialist lens, but one that will appeal to those for whom the 200-600mm just isn't long enough.
The Sony FE 16mm f/1.8 G is a very welcome addition to Sony's lens catalog, delivering the drama of ultra wide coverage with the convenience of a compact barrel that can take standard 67mm filters.
Bottom line, I really enjoyed using the OM-3 and the results it delivered.
Ultimately while the A1 II may become Sony’s most powerful overall Alpha to date and one that’s worthy of the flagship status, it remains a mild refresh over the original, leaving potential buyers weighing-up whether it’s worth investing the extra over a discounted or used A1.
With their 90mm f2.8 Di III macro Tamron finally offers a lens capable of 1:1 magnification for mirrorless cameras from Sony and Nikon.
It genuinely gives more of a prime lens look but with the flexibility of being able to zoom.
Ultimately, it becomes their best 70-200mm f/2.8 to date, and some may interpret it as Canon backpedaling a bit over their previous decisions, but remember, it's not a Mark II version that replaces the earlier model.
