To provide photographers with a broader perspective about mobiles, lenses and cameras, here are links to articles, reviews, and analyses of photographic equipment produced by DxOMark, renown websites, magazines or blogs.
Announced in February 2016, the $2598 Sony FE 70-200mm f/2.8 GM OSS (Sony FE 70-200mm f/2.8) is a short-to-mid telephoto zoom lens for such Sony full-frame a7 series cameras as the a7R II. The “GM” in the full lens name signifies that the Sony FE 70-200mm f/2.8 belongs to Sony’s “G Master” lineup of pro-grade optics.
Announced in July 2016, the $1498 Sony Carl Zeiss Planar T* FE 50mm f/1.4 ZA (Zeiss FE 50mm f/1.4) is a standard focal length 50mm prime lens for Sony full-range a7 hybrid cameras (such as the a7R II). Boasting a wide maximum f/1.4 aperture, it’s a versatile lens choice for general use and low-light photography, as well as for creative background bokeh portraits and effects on Sony a7 cameras.
RED’s prototype Helium 8K sensor has shattered our previous top DxOMark sensor score. With a dramatic jump to 108, it leaps past the only other sensor to have broken the 100 barrier – RED’s own Epic Dragon prototype (101 points). RED has made a name for itself by producing high-performance cameras intended primarily for cinematographers, but their low noise and support for 16-bit RAW output make them worth evaluating as tools for capturing still images.
Launched just 8 months after its predecessor, the A6300, the $1398 Sony A6500 is the third iteration in Sony’s flagship range of mirrorless hybrid cameras featuring an APS-C sensor. Built around the same 24.2Mp APS-C Exmor CMOS sensor as the A6300, the new A6500 achieves the same overall DxOMark score of 85 points, with almost identical results in its Portrait, Landscape, and Low-light ISO scores. The A6500’s 24.2Mp sensor packs plenty of resolution for photographers seeking to record intricate detail, and in the mirrorless APS-C camera category, the A6500 is surpassed in resolution only by the 28.2Mp Samsung NX1.
The Sony SLT A99 II is the Japanese electronic giant’s latest full-frame, DSLR-style, interchangeable-lens camera. Packing a 42Mp backside-illuminated (BSI) CMOS sensor, the A99 II offers a significant jump in resolution over its predecessor and achieves an impressive overall DxOMark score of 92 points. Benefiting from a pixel arrangement that increases the volume and quality of light captured by its imaging elements, a BSI sensor improves low-light image quality.
Lens options for Sony’s full-frame A7 series of mirrorless cameras are increasing all the time, and the new $498 Sony FE 50mm f/2.8 Macro adds another choice in this popular prime lens focal length. Great for general-use photography and portraiture, the Sony FE 50mm f/2.8 Macro also boasts 1:1 macro magnification with a 16cm/6.3-inch minimum focus distance, for high-quality close-up photography. FE-mount lenses also remain compatible with Sony E-mount mirrorless cameras such as the A6300, offering an equivalent 75mm focal length, which remains a good option for portraits and macro work, if a bit long for general use. The Sony FE 50mm f/2.8 Macro features both ED and aspherical glass elements for improved performance, as well as dust and moisture resistance, and a focus limiter switch. The focus limiter offers 3 settings, including full, 30cm to infinity, and 16cm to 30cm, with the latter being helpful for reducing the amount of “focus hunting” when using autofocus for macro shots.
Pentax’s first foray into the world of full-frame DSLRs arrives in the shape of the 36Mp Pentax K-1. Costing just $1800 and boasting a high-resolution sensor, built-in sensor shift stabilization, and a weather-sealed body, it’s a lot of camera for your money. Let’s see how its sensor scores stack up in our industry-standard bench tests.
Canon’s iconic EOS 5D series of full-frame DSLRs have had wide appeal with both pro and enthusiast photographers, blending great image quality and good features in a more affordable mid-range body design. Boasting a significant number of upgrades over its predecessor, including increased resolution, an updated autofocus system, Dual Pixel RAW capture, improved metering and 4K-video capture, the latest Mark IV looks like a mouth-watering prospect for the still photographer.
Sony has been very busy introducing new lenses for their mirrorless models. Announced alongside the FE 50mm F1.8, this lens — the stabilized FE 70-300mm F4.5-5.6 G OSS — is a tele-zoom lens initially designed for the company’s full-frame bodies, but it will also appeal to users of Sony’s APS-C mirrorless bodies, for which it’s the equivalent of a 105-450mm.
For photographers working in fast-paced environments or after the convenience of a multi-purpose optic, zoom lenses are often a versatile option. Image quality on zooms has improved across many lenses, too, which in some cases come close to rivalling the performance of a prime.
When comparing a lens mounted on the A7R and A7RII, why is it the lenses are way sharper on the A7RII? The camera only offers a 6MP increase in resolution, yet the lenses show a much greater increase in sharpness? Why is this? For example, the Sony FE 16-35mm F4 ZA OSS scores 16MP on the A7R and 26MP on the A7RII.
I was holding off purchasing the F2.8 24-70 due to its poor measured performance on the A7r. But now I have purchased it and used it a couple of days. Worth every penny. Other major changes: Many lenses with PMP well above above 30 mp. Whereas we were content with lenses rated in the high teens on 22 and 24 mp ff cameras, now regular pmp potential from the high 20's to the low 40's is the new standard, on A7rII and Canon 50DS-R, Even with carefully selected more budget oriented primes like the Sony 28mm F2, 90mm f 2.8 and 55mm 1.8., resolution unheard of is being achieved on a camera with fantastic low light potential, and in some cases, while retaining the small form factor. No lens measurements yet on Canon's new 5D MkIV, which may now face some tougher competition, but which also may soon be shown to have excellent pmp from Canon's own high quality lenses. DXO has documented that photography has taken some amazing step forward.
It could be said, these measurements, having arrived so late, change nothing. But to me a game changer. The numbers provide needed stunning confirmation that as used with the A7rII, these lenses, that were suffering from lower numbers tested on the original A7r, are every bit the equal, and in many cases significantly better than the best from Nikon, Canon, Sigma and others. Higher pmp than that achieved by the Canon 50 megapixel camera; higher than achievable by the new Canon 5D Mark IV and higher even than numbers from the Nikon D810. In fact in the case of the Sony FE90mm f2.8...PMP that achieved 100% of actual MP...Maybe the first time ever in this data base. Suddenly third party lenses with semi functional adapters are near irrelevant. Long time in coming...but congratulations due to Sony.
Great comment. Interesting to see the zoom scores too. The 24-70 2.8 has a sharpness score of 28 on the A7RII compared with 17 on the A7R. Got to question why that lens was not tested first on the A7RII - though in fairness that jump in performance is surprising.
As shown in the comments sections here (http://www.dxomark.com/Reviews/Sony-Cyber-shot-DSC-RX1R-II-sensor-review-Take-two and http://www.dxomark.com/Reviews/Tamron-SP-45mm-f-1.8-Di-VC-USD-Review-Tasty-prime-for-Nikon-FX), the team is working on that.
Will you be doing an update to your DXO numbers with the new RAW update for the a7rII. Also there are currently no lenses tested with this new model. It would be great to see how the lenses stack up on this new body. Their have been several new lenses released and I use your numbers to help me decide which fit my needs. Thanks for all your hard work it is very much appreciated. Thanks, Tayne
Re: Uncompressed RAW update and lens testing-- When?
I too would like too see some lens results for this camera--as would many others. It's quite disappointing that the camera with the best sensor score still doesn't have such tests. Many people do depend upon DxO in making critical lens selections.
Re: Uncompressed RAW update and lens testing-- When?
<div id="linkdxomark">This a comment for <a href="http://www.dxomark.com/Cameras/Sony/A7R-II">this page on the website</a></div>Will you be doing an update to your DXO numbers with the new RAW update for the a7rII. Also there are currently no lenses tested with this new model. It would be great to see how the lenses stack up on this new body. Their have been several new lenses released and I use your numbers to help me decide which fit my needs. Thanks for all your hard work it is very much appreciated. Thanks, Tayne
Hi all, Retesting all devices would be too time consuming, which is why we never retest cameras, lenses or mobiles, unless the test unit was deficient, leading to inaccurate results. This also ensures the normalization of our measurements. For your information, we are currently working on the Sony A7R II lens recommendations, but I unfortunately cannot provide you with any precise publication date at the moment. Thanks for your patience and understanding.
I would buy into the Sony system if they had touch screens. Why on earth no touch screen?
My old Canon 70d with dual pixel and touch screen which was able to pull very cinematic focus changes. 1080 max video res though. Another wonderful feature for stills: touch a point of interest and the very moment the camera attains focus it captures the image.
Then I bought a Samsung NX1 for mostly shooting 4K to a PIX-E5H also capable of cinematic focus by touch. Again this camera allows you to touch a point of interest and capture the still image the moment it achieves focus.
Now I'm shooting the Panasonic AG-DVX200 and a PIX-E5H still very happily taking advantage of cinematic touch to focus capabilities.
I sounds as if the a7R II would be awesome in terms of face tracking etc but it is HOBBLED by not having a touch screen. How do you change faces (or point of interest) for focus, in mid-take, while shooting video? Abandon the camera's intelligence and focus manually. Wait, what?
After shooting video with several cameras capable of cinematic focus pulls by simply touching the screen I will NEVER go back to another focus method for run-n-gun documentary type shooting. The touch to focus during video significantly increases the percentage of good takes while allowing me more time to think about composition and point of view and less time thinking about focus.
Before anyone comments about how they prefer physical buttons (the non-smartphone users among us I assume), please realize that all three of these cameras offer full normal functionality through button pressing, and they also allow important (imho) additional features which can't be accomplished with button pushing.
Hey Sony... anybody listening? Why no touchscreen?