There’s no question that if you’re looking to do a shoot lit only by moonlight, then the a7SII is going to trump its high-megapixel sibling. We wanted to see if there was a massive and substantive difference between the two in normal shooting conditions.
The Sony a7SII has a couple of neat features that make it a worthy upgrade over its predecessor. It still has the same class-leading low-light performance but adds in-camera 4K recording and a new S-Log3 shooting mode – something that’s typically found on Sony’s more expensive video cameras. This clearly makes the Mark II version of the a7S as a very video-centric ILC, so we took it out to see just how different the S-Log3 mode was from the S-Log2.
Nikon’s old 500mm and 600mm f/4 lenses were excellent bits of glass (though calling them “bits” is an understatement). But what’s good can always be improved and Nikon has done just that with this pair. By incorporating flourite elements into the design, they’ve made them between 20% and 25% lighter, which makes these two the lightest lenses in their focal length/aperture in the world.
The Panasonic GH4 is an amazing little camera. One thing that stood out to me in all the signal and noise out there was that this camera isn’t a great performer at high ISO. My initial quick tests bore that out. But I wanted to know if I could shoot at night, in a place like San Francisco’s Fisherman’s Wharf, and still walk away with usable footage?
We take the Sigma 50–500mm f/4.5–6.3 APO DG OS HSM (there’s a mouthful for you) our for a spin to put it through a few paces. Read this review to find out how it did – and why I would rent this lens again.