Image quality test results from a second lens tested with the Canon EOS R5 Mark II are now available on the Canon RF 35mm F1.4 L VCM Lens page.

I recently purchased this refurbished lens at Canon USA, and with a convenient opportunity afforded, I tested it. The second lens performs even better than the first one reviewed.

Here is the second lens vs. first lens comparison.

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Canon just launched a new instant savings program, featuring $200.00 savings on select RF L series lenses.

Canon's refurbished camera and lens inventory has been updated, and select items are on sale. The outstanding Canon EOS R5 Mark II for $3,599.00 is a great deal.

Take a moment to browse all of the available refurbished cameras and refurbished lenses at Canon USA.

Summer started early for Tamron. Their summer promotion has started. Save up to $300.00 on select lenses.

The Tamron 17-70mm and 18-300mm lenses are also included in this sale.

As I shared at the Zeiss 50mm f/1.4 Otus ML Lens announcement, I welcome Zeiss introducing new products into the MILC space, especially under the high-end Otus brand, and I looked forward to reviewing these products.

With the RF mount Zeiss 50mm f/1.4 Otus ML Lens in the studio, the highest priority was to produce the Image quality test results, which are now included on the Zeiss 50mm f/1.4 Otus ML Lens page.

In general, the sharper the lens, the easier it is to establish perfect focus. When all visible colors are not focused on the same plane, establishing optimal focus is extremely difficult.

Do you see the color fringing in this lens's f/1.4 sample? It cost me hours of work. Rarely does a second round of testing improve the results, but I had to be certain that the results were accurate. They were. The second round of testing produced the same results.

Focus can be adjusted to remove the color blur from this lens's results, but doing so diminishes the sharpness of the resolution lines. Here is that example:

Color blur is not unusual, and we have seen similar results before from Zeiss:

Compared to the Zeiss Milvus 50mm f/1.4 Lens

However, modern lenses usually keep the plane of sharpest focus color-free. Here is a three-dimensional example from the Otus ML:

Stopping down even slightly significantly reduces the color blur.

Let's look at some comparisons.

Compared to the Zeiss 55mm f/1.4 Otus Lens

Compared to the Canon RF 50mm F1.4 L VCM Lens

Compared to the Sigma 50mm F1.4 DG DN Art Lens

Compared to the Sony FE 50mm F1.4 GM Lens

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Highlighting some just-arriving gear in the B&H Used Department:

Remember to use the B&H Payboo payment card to save the tax.

I have a fresh-from-the-factory Canon PowerShot V1 in my hands, and it is time to set it up. I use the following steps to prepare a factory-initialized V1 for use.

1. Record serial number, and add camera to the insurance policy
2. Open the box, find the battery, insert it into camera, plug the camera into a USB-C cable that supports (Power Delivery), and connect the cable to a power adapter.
3. Consider downloading and installing the latest Canon imaging software to gain support for the latest camera model(s). Canon Digital Photo Pro (DPP), EOS Utility, and Lens Registration Utility are the options I install.
4. Insert a memory card (we'll format the card in a later step), and power the camera on.
5. The date, time, and time zone setup display will show at the first startup. Use the rear control dial and set button to update this information.
6. If your PowerShot V1 arrives with the wrong language selected, navigate to the second tools tab and select the second menu option on the list.
7. The camera will prompt to connect your phone running the Canon Connect App. Follow the prompts as desired.
8. Set the camera's mode to Av, Tv, or M (some modes may provide only a subset of available menu options) and press the menu button.
9. Shooting Menu, Tab 1: Image quality: Use the lens ring to set RAW to "RAW", and use the rear direction keys or dial to set JPEG to "-" (RAW image files provide the highest quality and are especially valuable for post-processing work)
10. Shooting Menu, Tab 3: Picture Style: Neutral with Sharpness = 1 (Note: the low contrast "Neutral" picture style provides a histogram that best shows the available dynamic range. I usually change the Picture Style to "Standard" in DPP after capture.)
11. Shooting Menu, Tab 4: White balance: AWB W (White) (I seldom use another white balance setting while shooting stills, though I often adjust white balance as needed during post-processing)
12. Shooting Menu, Tab 4: High ISO speed NR: Low (noise reduction is destructive to images details, so I prefer to add noise reduction sparingly during post-processing)
13. Shooting Menu, Tab 6: Image review: Review duration: 4 sec. (the Viewfinder review option is disabled by default, speeding the shooting process)
14. Shooting Menu, Tab 7: Shooting info. disp.: Screen info. settings: Edit screen 2 to show only: Basic shooting info and Electronic level; edit screen 3 to show only: Basic shooting info, Histogram, and Electronic level
15. Shooting Menu, Tab 7: Shooting info. disp.: Grid display: 3x3 (sometimes the 3x3 grid is helpful for alignment checking while not complicating the view)
16. Shooting Menu, Tab 7: Shooting info. disp.: Histogram disp: RGB, Small (show the brightness levels of each channel separately and do not let the graph to take up much space in the display as it can affect the perceived composition)
17. AF Menu, Tab 2: Subject to detect: Select Auto, People, Animals, Vehicles, or No priority as makes sense for your current shooting scenario
18. AF Menu, Tab 2: Preview AF: Disable
19. AF Menu, Tab 3: MF peaking settings: On
20. Playback Menu, Tab 4: Highlight alert: Enable
21. Set-up Menu, Tab 1: Format card (always format a memory card in-camera before using it — all data on the card will be lost)
22. Set-up Menu, Tab 1: Auto Rotate: On computer (images are properly rotated when viewed on a computer, but are always oriented to fill the LCD when viewed on the camera)
23. Set-up Menu, Tab 2: Feature guide: Disable (novices may appreciate this feature)
24. Set-up Menu, Tab 2: Beep: Disable
25. Set-up Menu, Tab 5: Power saving: Screen dimmer: Disable (I found the dimmer annoying — the LCD is as useful off as dimmed)
26. Set-up Menu, Tab 5: Power saving: Screen Off: Disable
27. Set-up Menu, Tab 5: Power saving: Auto power off: Disable (the focal length is reset when the camera powers off, highly annoying when carefully composing a scene (or test chart))
28. Set-up Menu, Tab 6: Custom shooting mode (C1-C3): Auto uodate set.: Enable (saves changes made to C modes
29. Custom Functions Menu, Tab 2: Default Erase option: [Erase] selected
30. My Menu: Add My Menu 1; Register your most-used menu options, such as Format card

I make additional menu and other setting changes based on current shooting scenarios, especially for video, but this list covers my initial camera setup process.

To copy this configuration means you intend to shoot as I do, including in RAW-only format. While this setup works optimally for me, you should adjust the camera setup to your needs.

If you can't remember your menu setup parameters, keeping an up-to-date list such as this one is a great idea. Anytime the camera is set to the factory state, such as when serviced or when acquiring an additional camera, the list will ensure all settings are quickly re-established.

More Information

Canon PowerShot V1 Review.

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Just posted: Canon PowerShot V1 Review.

Meet Canon's new flagship PowerShot camera. It wants to go everywhere with you.

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Numerous cameras and lenses were just added to the refurbished camera and refurbished lens inventory at Canon USA.

Order the Sony FX2 at B&H | Sony

From Sony Electronics:

Sony Electronics Introduces the FX2 Compact Camera, Expanding Cinema Line’s Versatility for Creatives

The new FX2 has the look and operability of Cinema Line cameras with the ability to shoot high-resolution photos and comes equipped with an articulating eyepiece

SAN DIEGO, May 28, 2025 – Sony Electronics Inc. is proud to announce today the latest addition to its established Cinema Line family, the FX2. The FX2 will offer a seamless entry point into the broader Cinema Line range, giving greater cinematic expression to independent creators or small crews needing a versatile camera.

"The hybrid cinema camera was created based on user feedback and is engineered with unique features to support filmmaking, a new eyepiece, and enhancements for versatile production needs. The FX2 is intended to continue the Cinema Line’s goal of preserving authentic emotion in every shot and empower creators across all areas of content production," says Theresa Alesso, President, Imaging Products and Solutions Americas, Sony Electronics Inc.

FX2 Features: Full-frame Photo and Video Capabilities

The FX2 comes with a full-frame sensor that delivers stunning imagery and beautiful bokeh effects. Equipped with a 33.0 effective megapixel¹ back-illuminated Exmor R™ sensor with up to 15+ stops of wide latitude using S-Log3, it captures impressive detail in both highlights and shadows.

Designed for versatile shooting environments, the FX2 offers Dual Base ISO at 800 and 4000, ensuring optimal performance in both bright and low-light conditions. Its ISO sensitivity for video can be extended up to 102400, making it ideal for challenging lighting scenarios. The camera supports a wide range of recording formats—including 4:2:2 10-bit All-Intra—and records in high-quality options, such as XAVC S-I DCI 4K at 24.00p, providing professionals with the tools needed for flexible, high-end production workflows.

The FX2 can also continuously record for up to 13 hours in 4K 60p² thanks to its internal cooling fan and effective heat dissipation structure. The FX2 offers variable frame rate settings, allowing up to 60 fps in 4K (for a maximum 2.5x slow-motion effect) and up to 120 fps in Full HD (for up to 5x slow motion). It supports Log shooting in Cine EI, Cine EI Quick, and Flexible ISO modes, offering versatile workflows for different production needs. To further the cinematic expression of the camera, creators can import up to 16 user LUTs for on-camera preview, enabling precise color monitoring on set.

Filmmakers can also easily and quickly create in-camera cinematic looks, with S-Cinetone™ set as the default, along with a range of Picture Profile and Creative Look presets. A de-squeeze display function is available, supporting both 1.3x and 2.0x anamorphic lenses for accurate framing.

Improved Usability for Comfortable Solo Operation

The FX2 features the same compact, flat-top design as Sony’s Cinema Line FX3 and FX30 cameras, ensuring familiarity and compatibility across setups. Built-in mounting points (UNC 1/4-20 x3) support a cageless configuration, offering greater flexibility for rigging. An optional top handle (ILME-FX2) enhances mobility and control, especially during handheld or dynamic shooting. Its lightweight, portable build—measuring approximately 5 1/8 x 3 1/8 x 4 1/8 in and weighing approximately 1 lb 8.0 oz—makes it ideal for solo operators or small crew productions.

The camera offers advanced focus features designed for precision and creativity. Its new Real-time Recognition AF (auto focus) delivers fast and reliable performance with improved accuracy for human subjects, although its intelligent subject recognition extends to animals, birds, vehicles, and insects, with an Auto mode available for effortless detection. For even more control, tools like focus breathing compensation, AF Assist, and customizable autofocus transition speed and sensitivity give creators the flexibility to fine-tune focus for expressive, cinematic imagery. The FX2 comes with Active Mode and Dynamic active Mode, which is new to the Cinema Line, and are both designed to ensure smooth and steady handheld shooting.

The Auto Framing feature automatically crops and tracks a subject to keep them in a prominent position when the camera is mounted on a tripod, producing footage that looks like it was shot by an experienced operator. The Framing Stabilizer function automatically keeps the subject in the same position within the frame, which can be useful, for example, when the camera operator is moving alongside the subject.

From a still image perspective, the camera features an additional log shooting option with a newly added ‘Log shooting’ menu. This feature allows creators to shoot high-resolution 33MP stills, optimized for color grading in post-production. The FX2 also offers smooth operation with a MOVIE/STILL mode lever, allowing for a quick switchover between still and movie shooting. Depending on the selected mode, the displayed menu items will automatically adjust. Additionally, mode selection is made easy with a long press of the Fn button, which recalls and changes the shooting mode.

FX2 Features: Improved but Familiar Hardware Inherited From Sony’s Cinema Cameras

The FX2 is equipped with a new high-resolution 3.68-million-dot tiltable EVF³ (electronic view finder) designed specifically for video production, offering a wide viewing angle and enhanced immersion thanks to its included deep eyepiece. Complementing the EVF is a 3.0-type vari-angle touchscreen LCD, making it easy to frame shots from virtually any angle. Intuitively arranged controls on the top panel and grip, along with tally lamps for clear recording status, support efficient on-set operation. The camera also introduces a customizable “BIG6” home screen that provides quick access to essential shooting parameters, such as FPS, ISO, shutter speed (angle or speed), Look presets, white balance, iris, and neutral-density (ND) filter settings. Addressing the growing demand for vertical content creation, the FX2 supports vertical menu display during shooting—ideal for social media formats. The handle-equipped model further enhances professional usability with two XLR/TRS terminals and a 3.5mm stereo mic jack, enabling 4-channel, 24-bit digital audio capture.

The camera offers extensive expandability and connectivity options, including an HDMI Type-A terminal capable of outputting up to 4K 60p 4:2:2 10-bit video and 16-bit RAW⁴ for high-end recording and monitoring. For seamless data transfer and remote control, it supports dual-band Wi-Fi (2.4 GHz and 5 GHz⁵) as well as wired LAN via a compatible adapter⁶. Additionally, the USB Type-C port enables SuperSpeed USB up to 10Gbps data transfers and supports USB Power Delivery (PD)⁸, while built-in USB and network streaming support enables live broadcasting and remote production workflows⁷.

Social Responsibility

Aligned with Sony's global environment plan, 'Road to Zero', this product supports the company's vision for achieving a zero environmental footprint by 2050. The manufacturing process reflects this commitment through facilities powered entirely by renewable energy sources⁸.

The camera system incorporates comprehensive accessibility options, including a Screen Reader function⁹ and Display Magnification, to support visually impaired users across an expanded range of menu items. Additional intuitive controls enhance usability for all shooters, featuring:

• Real-time recognition autofocus that reduces manual adjustments
• Streamlined touch interface operations for direct menu navigation
• Tactile button design with clear differentiation

These inclusive design elements ensure professional imaging tools remain accessible to creators of all abilities while maintaining full operational capability

The FX2 will be available early August for a suggested retail price of $2,699.99 USD and $3,499.99 CAD body only or $3,099.99 USD and $3,999.99 CAD with XLR handle. It will be sold directly through Sony and at a variety of Sony’s authorized dealers throughout North America.

FX2 (ILME-FX2B body only): https://electronics.sony.com/imaging/interchangeable-lens-cameras/all-interchangeable-lens-cameras/p/ilmefx2b

FX2 (ILME-FX2 with XLR handle): https://electronics.sony.com/imaging/interchangeable-lens-cameras/all-interchangeable-lens-cameras/p/ilmefx2

Notes:

¹ For stills. Max. 27.6 megapixels for movie.

² Sony internal tests. USB power supply, XAVC S-I (All-I), 4K 60p 10-bit 4:2:2, 25 deg C (ambient, camera when recording started), Auto power off temperature: High, Cooling fan: Auto. The maximum continuous recording time for a single movie shooting session is approximately 13 hours (a product specification limit) Actual performance varies based on settings, environmental conditions, storage, and usage. ? Batteries are consumable products and their capacity degrades over time as they age. Sony does not guarantee the life span of the battery.

³ adjustable from 0° to +90° for flexible shooting angles.

⁴ The output image will be in the APS-C size /Super 35mm equivalent angle of view.

⁵ The 5 GHz band may not be available in some countries or region

⁶ A commercially available USB-LAN adapter is required.

⁷ A USB PD compatible external power supply device with 9V/3A or higher output capacity and a USB Type-C cable that can handle 3A or more is required

⁸ Further reducing environmental impact, the product utilizes recycled packaging materials that minimize plastic content without compromising protection. These sustainable practices demonstrate our dedication to eco-conscious production while maintaining the highest quality standards.

⁹ Download of compatible language file may be necessary. Please refer to the Help Guide for details.

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Get your Zeiss ML Lens at B&H.

The Sony E mount version is also available.

"Like New" and 9+-rated used Sony a1 II cameras are available at B&H.

Image quality test results are now available on the Sony FE 50-150mm F2 GM Lens page.

Does this lens rival a bag full of fast primes? The image quality test results help answer that question. Create comparisons.

Compared to the Sony FE 70-200mm F2.8 GM OSS II Lens

Compared to the Sony FE 28-70mm F2 GM Lens

Compared to the Sony FE 50mm F1.4 GM Lens

Compared to the Sony FE 85mm F1.4 GM II Lens

Compared to the Sony FE 135mm F1.8 GM Lens

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A 9-rated Used Sony a1 II is available at B&H. Be the first to check out at 9:30 PM ET tonight to make this camera yours.

The Sony FE 50-150mm F2 GM Lens is in stock at B&H | Sony | Adorama | Camera Canada

The new Really Right Stuff L-Bracket and Base Plate for the Canon EOS R1 are in stock at B&H.