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On April 3 I published a review of the Acer BM320 which is a 32" 4K monitor designed for photographers
and other visual professionals.
On March 31 I published an extensive field report on the Leica M10M, Fuji X100V and Fuji X-Pro-3 which I
tested side by side at Daytona Bike Week earlier this month.
On February 29 I published a test of the Nikon Z7 paired with a Leica M 35/2.0 Summicron ASPH.
On February 26 I published Into the Shadows: Leica M10 Monochrom which that looks at that camera's
shadow recovery noise levels at ISO 160 and ISO 320.
On February 10 I published an article that looks at the highlight headroom and estimated native ISO of
the Leica M10 Monochrom and M Monochrom (Typ 246). This article might also be interesting to
photographers who are hoping to see other monochrome camera models reach the market in the future.
On February 5 I published side by side lens tests of the Fuji X100F and a late pre-production Fuji X100V
running firmware 1.oo.
On February 4 I published side by side studio tests of the Fuji X100F and a late pre-production Fuji X100V
running firmware 1.oo.
On February 4 I published an in-depth review of a late pre-production Fuji X100V running firmware 1.oo.
On January 18 I published an article which looks at side by side studio resolution tests of the M10 Monochrom
and the M Monochrom (Typ 246) with two challenging rangefinder lenses and side by side studio vignetting
tests of those two cameras with four rangefinder lenses.
On January 17, 2020 I published a review of the Leica M10 Monochrom and an article which looks at
side by side studio tests of the M10 Monochrom and the M Monochrom (Typ 246).
On December 18 I published a very detailed review of the Fujifilm X-Pro 3.
On December 3 I published my review of the Panasonic S1R.
On November 22 I published the results of studio and field tests of the Sigma 45/2.8 DG DN on the Leica SL2.
For simplicity, these test results have been added (as new pages) to my earlier review of the Sigma 45.
On November 14 I published a studio comparison test of the Leica M 28/2.8 ASPH (Pre-2016) lens on the
Leica SL2, Leica SL, Leica M (Typ 240) and Panasonic S1R.
On November 10 my Leica SL2 Field Report was expanded with a table that shows approximate auto-focus
speeds for seven L mount lenses tested on the SL2, SL and Panasonic S1R.
On November 10 I published side-by-side studio tests of the Leica SL, SL2 and Panasonic S1R. These look at
converted raw file quality, color rendering, noise levels at various ISO settings and color moire.
On November 6 I published the first of several articles I will be writing about the Leica SL2. This first story
looks at my impressions of the camera having worked with it in the field this fall.
On October 28 I published a full review of the Fujinon GF 63/2.8 R lens based on studio and field tests.
On October 7 I published a full review of the Sigma 45/2.8 DG DN lens tested on the Leica SL and
Panasonic S1R.
On September 7 I published a field test of four compact wide-angle rangefinder lenses on the Fuji X-T3.
On August 30 I published a studio test article that looks at the highlight headroom and native ISO of
the Leica Q2 and Q.
On August 22 I published a full review of the Fujinon GF 23/4.0 WR lens based on studio and field tests.
On July 25 I published a test of two compact 28 mm rangefinder lenses on the Nikon Z7.
On July 19 I revised and expanded my review of the Nikon Z7.
On July 16 I
published an extensive review of the Nikon Z7. This is our site's 500th article. Coming up will
be tests of various rangefinder and manual focus Nikon lenses on the Z7. I will also be doing formal studio tests
looking at the ways the Z7 renders color and performs at various ISO levels.
On July 3 I published the results of studio tests done to compare the color rendering and file quality
(at various ISO levels) of the Ricoh GR III and GR II.
On June 28 I
published an extensive review of the Hasselblad XCD 45/3.5 lens based on studio and field tests.
On June 19 I published the results of full studio tests done comparing the performance of the lenses used in
the Ricoh GR II and Ricoh GR III.
On June 12 I added new pages to my Ricoh GR III review based on working with the camera at Laconia
Bike Week.
On June 7 I
published an extensive review of the Ricoh GR III. Coming up will be articles based on studio tests
comparing the GR III to the Ricoh GR II.
On May 16 I published a short review of the Sony A9 used with a Leica 28/2.8 Elmarit Aspherical.
On May
14 I
published a
review of and guide to using Adobe Lightroom's new integrated Flat
Field tool for
correcting color drift and luminance vignetting. This piece is part of
a small group of articles which are available
to read without a subscription.
On May
1 I
published an extensive review of the Pentax
HD DA 15/4.0 Limited
lens based on studio and field tests
done using the Pentax KP.
On April
25 I
published an extensive review of the Fujinon XF 16/2.8 WR lens based
on studio and field tests
done using the Fuji X-Pro 2. This article also looks at the very
interesting affects software distortion correction
can have on color fringing.
On April
11 I
published a full review of the Pentax KP based on extensive field
testing and studio testing.
Between March 8 - 11 I have published several updates to my review of the Leica Q2.
On March
8 I
published a 14 page review of the Leica 28/1.7 Summilux ASPH fixed
lens on the Leica
Q and Q2 including full studio tests. That article also covers a lot
of ground and includes many example
pictures made with the Q2’s lens wide open at F/1.7. A third article
based on working with the Q2 at
Daytona Bike Week and Daytona Beach is in the works.
On March
7 I
published a very detailed review of the Leica Q2 based on extensive
field testing in many
locations as well as controlled studio tests comparing the new model
to the Leica Q.
On February
22 I
published a review of five small format rangefinder lenses tested on
the Fuji GFX 50R.
This article, which includes over 130 illustrations, looks not only at
these camera/lens pairings but also at the
larger question of mixing lenses and cameras of different formats.
What are the possibilities here for medium
format square pictures? What happens if we decide to intentionally
embrace the semi-circle created by this
hard vignetting as well as the off-axis resolution losses (which
function in ways that can be related to depth
of field)? This is a test article but also one that looks at some
larger questions about photography itself and,
in particular, the ways in which we think about the frame.
On January
31 I
published an extensive review of the Cosina Voigtlander 50/1.2 M
Nokton Aspherical based on
field and studio tests including side by side comparison testing with
the
Voigtlander 50/1.1 M Nokton. This
review includes over 70 illustrations.
On January 22 I updated my review of the Sony A7R III.
On January 15, 2019 I published a full review of the Fuji GFX 50R.
Every
writer naturally brings his or her
own experience and perspective to the articles he or she
writes. My writing is heavily influenced by my
experience
working as a professional photographer for more than
thirty-five
years. I'm primarily interested in cameras and
lenses as
tools for drawing, as I believe that photography really is a
branch of
drawing. As the photographer Henri Cartier-Bresson once
said in
an interview, "My
photography is
just an instant drawing...I never quit drawing. The camera
is a way of
drawing." I'm also guided by the photographer Andre Kertesz's observation, "I see the thing, I feel the thing, I make the thing". So when I review a camera or a lens, I look primarily at how it presents the world to the photographer (via the finder), how it works as a tool in the hands, and how it draws the kind of picture we call a photograph.
"Quite simply, I think your sections on 'drawing' and and on 'sunny day lenses' are the best writing about photographic lenses that I have read - whether in magazines, journals, books or the various sources online. Few professional writers about photography ever attempt such a full consideration of the range of lens performance characteristics and the different ways in which they are photographically significant. Some discussions in photographic communities online circle around the subject, but don't achieve the focus, rigour and articulacy that you have managed here. Your article is what all writing about photographic lenses ought to be like, yet it's astonishing that next to none of it is. Interesting though Irwin Puts Leica lens book is, it would have been so much more interesting, and so much more appropriate to its subject matter, if it had been written as you have written here...I found the article incredibly useful and interesting. A great help in clarifying and firming up what I have experienced and half-understood about how different lenses work." -
Simon Pulman-Jones,
England "We all owe you a vote of thanks for such a massive and thorough piece of work. What a concept-- a "lens test" that is really about the pictorial effect of how lenses draw their images. Lines per millimeter and MTF graphs have their place, but your article really gets to the heart of the matter in the way that photographers can relate to instantly." - Peter Klein, USA
- Jim Watts, USA
-
Mikiro Mori, Japan "...a very informative, even enlightening, work. It not only provides visual evidence of comparative lenses' performance, it also gets right to the most important factor of lens evaluation - how the image looks to the photographer. Long ago I stopped reading test charts of lenses since none of my clients ever published any. It is always the look of the finished image that counts." -
Richard Weisgrau, USA "I hope your tests become a benchmark for other reviewers to pay more attention to the real needs of photographers..." - Phil Fogle, USA
- Bill Marshall, USA
Example
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