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On November 21 I published a review of the new Leica CL.
On November 21 I published a full review of the new Leica TL 18/2.8 Elmarit ASPH.
On November 13 I published an extensive review of the Cosina Voigtlander 12/5.6 Ultra Wide-Heliar III
on the Leica M10 and Sony A9.
On November 6 I published a field and studio test of the Leitz Wetzlar 28/2.8 R Elmarit on the Sony A9.
On October 26 I published an article that looks at the comparative highlight headroom
(available for over-exposure) in DNGs made by the Leica SL, M10 and M (Typ 240).
On October 20 I published an extensive review of the Cosina Voigtlander 15/4.5 Super Wide Heliar III
on the Leica M10 and Sony A9.
On September 29 I published a review of the Sony A9. There are quite a few other articles in progress now
that will be coming out in October and November.
On August 24 I published an article that looks at the usable dynamic range (UDR) differences between two
cameras (tested at three different ISO levels). The cameras tested were the Leica M10 and Leica M (Typ 240)
but the general ideas explored in the article apply to almost all digital cameras.
On August 4 I published a full review of the Fujinon XF 16/1.4 R WR based on field and studio testing.
22 I published an article that looks at the
highlight headroom available, at different low ISO levels, from
three Leica cameras: the M10, SL and M (Typ 240). The larger subject this story looks at, naturally, is native ISO
and its relation to dynamic range. So the ideas explored in this article may also be of interest to photographers
who work with other brands of cameras.
On July 2 I published a test of four different programs for converting FujiFilm RAF files.
12 I updated my review of the Sigma SD Quattro H based
on field testing using an external Elvid
6 I published an extensive review of the
BenQ SW320 which is a 4K display that renders in nearly full
AdobeRGB. This article also looks in detail at calibration as well as options for using 4K displays with older
(silver box) Mac Pros.
On May 25 I published a full review of the Fujinon XF 50/2.0 WR based on field and studio testing.
11 I published my review of the Sigma SD
Quattro H. This camera is especially interesting not only
because it uses a larger sensor than past Sigma Foveon cameras but also because it can now output DNG files.
11 I updated my article on waist level
photography with some new comments about Diane
On April 26 I published my review of the Fuji X-T2.
13 I published an article that began as a
field report but -- organically I think -- grew into an essay,
an interview (with the photographer Larry Fink), a field report (on working at waist level with the Fuji X-T1)
and a proposal for a new digital camera.
7 I updated my recent M10 field report based on
conversations with Leica about the M10's
processing of in-camera JPEGs.
5 I published a new field report on the
Leica M10 based on using the camera to photograph at
"Bike Week" in Daytona Beach, Florida. Included is a discussion of some interesting differences in the
M10's in-camera JPEGs (vs. DNGs processed without SDC) .
31 I published an extensive field report on
the Fuji X100F based on using the camera to
photograph at "Bike Week" in Daytona Beach, Florida. Included are discussions of high ISO
performance and some issues with "stuck pixels".
2 I published a review of the BenQ SW2700PT,
a 27" Adobe RGB monitor designed for
digital photographers. This article also includes a good deal of discussion about monitor profiling,
screen uniformity and other issues that concern monitors used for viewing and editing pictures.
22 I published my review of the Fujifilm
On February 21 I revised my review of the Leica M10 to reflect its functionality with firmware 184.108.40.206.
On February 15 I published a set of 60 pictures made, with the Leica M10, at country fairs in Vermont.
13 I published the results of my studio
resolution tests of the Fuji XF 27/2.8 and XF 18/2.0
on the Fuji X-Pro 2. Also included in this article is a discussion of a custom homemade hood for the
10 I expanded my review of the Leica SL
50/1.4 Summilux ASPH based on new conversions
I did after using a utility to remove the opcodes from certain test DNGs. This new test section may be
very interesting to photographers who, in general, are curious about the pros and cons of software based
lens corrections (for any camera). The utility I used for this testing should be able to remove opcodes from
27 I published an article based on controlled side by
side black and white studio tests of the
Leica M10, M (Typ 240) and M Monochrom (Typ 246). They look at tonality, resolution, noise performance
(at various ISO levels) and -- by extension -- usable dynamic range. Blended into that discussion are my
observations having worked extensively in the field with these three M cameras at low and high ISO levels.
This piece also includes a general discussion of the relationship between file noise, banding and usable
dynamic range (as they relate to almost any digital camera).
22 I published an article based on controlled side by
color studio tests of the Leica M10, M-240
and SL. They look at color, resolution, noise performance (at various ISO levels) and -- by extension --
usable dynamic range. Blended into that discussion are my observations having worked extensively in the field
with all three cameras at low and high ISO levels. Coming up next will be the results of studio tests
comparing the M10 and M-240 (as BW cameras) to the Leica M-246.
18 I published an extensive review of the new Leica M10
as well as two articles based on using
that camera in the field. Another field article will be published soon. That will be followed, in the next
few days, by an article based on controlled side by studio tests of the Leica M10, M-240, M-246 and SL.
Those tests will look at color, resolution, noise performance (at various ISO levels), dynamic range and
the "pull" effects (if any) of using the lowest ISO settings on each camera.
30 I published a field report on using the Fuji X70 to
photograph Daytona Bike Week.
26 I published a field report on the Ricoh GR II.
14 I published my full studio comparison test of the
Fuji XF 23/1.4, XF 23/2.0 and Cosina
Voigtlander 21/4.0 (on the Fuji X-Pro 2) as well as the 23 mm lens on the Fuji X100S. The results were
very interesting to me and, I hope, will be of interest not only to Fuji photographers but also to any
photographers with a keen general interest in still camera lenses.
30 I published my field review of the Fuji XF 23/2.0
Aspherical. In this article I also
compare the new 23 to the Fuji XF 23/1.4 and the Fuji X100S in terms of focusing and seeing the subject.
Coming up next will be an article based on full side by side studio tests of the XF 23/2.0, XF 23/1.4 and
Fuji X100S (which uses the same lens, sensor and image processor as the X100T).
22 I published a full studio comparison test of the Cosina Voigtlander
35/1.7 Ultron M,
Cosina Voigtlander 35/1.7 Ultron Aspherical LTM and Leica 35/2.0 Summicron ASPH (Pre-2016).
19 I published a full studio comparison test of the Leica 28/5.6 M Summaron,
Voigtlander 28/3.5 Color Skopar, Leica 28/2.8 Elmarit ASPH (pre-2016) and Canon 28/2.8 LTM.
25 I published a review of the Leica 28/5.6 M Summaron
based on field testing. This article
includes almost 90 illustrations. A studio comparison article will follow in the future.
18 I published an article based on side by side studio
tests of the Sigma SD Quattro and
Sigma SD1 Merrill as both color and pure monochrome cameras.
11 I published an article featuring about 112 pictures
made in the field with the Pentax K-1.
On October 8 I published an extensive field and studio review of the Pentax K-1.
28 I replaced all of the illustrations in the Leica 50/1.4 Summilux SL
report with new
conversions done in Lightroom 6.5. I also added a new section discussing some of the other upcoming
SL lenses (including pictures showing their relative sizes).
24 I published a "First Impressions" report on the
Leica 50/1.4 Summilux SL after
working with a pre-production lens at Photokina. This article includes sample pictures made inside the
show with this newest of the SL lenses.
7 I published an extensive field review of the new
Sigma SD Quattro. This is Sigma's
first all-new interchangeable lens camera since their SD1 was announced in the fall of 2010.
10 I published a field review of the new M-mount Cosina
Voigtlander 35/1.7 Ultron.
On July 26 I published a large set of field pictures, of firemen's water polo, made using the Leica X-U.
21 I published a review of the Leica X-U (Typ 113)
tested on land, in water and underwater. It's a
very versatile camera. The article includes 60 field illustrations.
13 I published an article based on field testing and
side by side studio testing of the Leica SL and
Leica M-240 using the Leitz Wetzlar 60/2.8 Macro-Elmarit R and Leitz Canada 90/2.0 Summicron R.
This article includes more than 80 illustrations.
20 I published an article
based on full studio tests of the Fuji XF 35/2.0 as compared to the
Fuji XF 35/1.4.
16 I published an article
based on field-testing the Fuji X-Pro 2 as a body for fast manually
pre-focused work using two compact and affordable wide-angle rangefinder lenses: the Cosina
Voigtlander 21/4.0 Skopar and 25/4.0 Skopar. This article includes about one hundred illustrations.
31 I finished moving all of
the Reid Reviews articles to the new site. Everything I've written is
now available in Html 5 and so is viewable on many kinds of computers and mobile devices including
various iOS phones and tablets.
21: With deep sadness I announce that my
long-time friend and colleague Michael Reichmann died on
May 18 after a long battle with cancer. Michael and I collaborated many times and he is partly responsible
for the existence of this site. I offer my deep condolences to Michael's family and friends.
19 I published a detailed
article based on side by side controlled studio tests of two compact
"28 mm" (EFOV) cameras, the Fuji X70 and Ricoh GR II.
13 I published a full
review of the new Leica 28/2.8 Elmarit M ASPH (2016 version). It
side by side studio tests of both the new lens and its predecessor on the Leica M-240 and Leica SL. For
reasons that will become clear in the article, it also includes side by side resolution tests of the older
28/2.8 Elmarit Aspherical and the new 28/2.0 Summicron Aspherical when both are used on the M-240.
The field samples in the article were made with the Leica M-262.
3 I published an article that is based on
doing side by side studio tests of three window finder
cameras: the Fuji X-Pro 1, Fuji X-Pro 2 and Leica M (Typ 240).
28 I published a short article about the
new Leica M-D which, with some variations that I
discuss in the story, is a blend of the Leica M-262, which I reviewed earlier this year, and the Leica
"M Edition 60" which I reviewed in late 2014. I have not yet worked with the M-D but have a good sense
of it from the time I've spent with the M-60 and M-262.
On April 27 I published a full review of the new Leica 28/2.0 Summicron M ASPH (2016 version). It includes
side by side studio tests of both the new lens and its predecessor on the Leica M-240 and Leica SL.
Field samples in the article were made with the Leica M-262.
20 I finished converting 191 more articles
from the old site format to the new one.
7 I published a very extensive field
report based on using the Fuji X-Pro 2 and five different XF lenses
to photograph Bike Week in Daytona Beach, Florida. This article includes 150 illustrations.
29 I published an article based on studio tests of two
Leica M9 series cameras, one with the older
style of sensor glass cover and one with the new style being used in cameras that are repaired after developing
sensor cover glass corrosion. This may be an interesting article for anyone using a Leica CCD full-frame DRF.
22 I published a new article called The Indecisive Moment which looks at using
WiFi remote control
for photography at Daytona Bike Week. Many other articles are also now in progress and will be published as
they are completed.
29 I published an extensive review of the Fuji X-Pro 2.
In the future, I will also be doing my
standard "fruit and vegetable" studio tests comparing the file quality of the X-Pro 2, X-Pro 1 and Leica M-240
at various ISO levels. I will also be doing a great deal more field testing of the X-Pro 2 as it is one of three
cameras that I will be bringing down to Florida to photograph Daytona Bike Week.
26 I published an extensive review of the Fuji X70
(including many functional comparisons with
the Ricoh GR II). In the future, I will also be doing my standard "fruit and vegetable" studio tests comparing the
file quality of the X70 and GR II at various ISO levels. I will also be doing a great deal more field testing of the
X70 as it is one of three cameras that I will soon be bringing down to Florida to photograph Daytona Bike Week.
On February 23 I published a review of the new Leica M (Typ 262).
19 we introduced a major re-design of the Reid Reviews
web site which is based on Html 5. It can be
read on computers and many mobile devices (including the Apple iPad). The visual design is all new, the site
is much faster, a search function is now available and larger images are sent to Retina and other high-resolution
On February 3 I published a
review of the Sony A7S II. I'm still recovering from a shoulder injury
but I'm getting
On January 27 I published a very
extensive review of the Sony A7R II based on field testing and studio
done side by side with the Sony A7S II and Leica SL. An injury to my shoulder significantly slowed my working
pace this month and I thank readers for their patience. Things are gradually coming back up to speed.
On December 23 I significantly
updated my test of the CV Super Wide Heliar 15/4.5 Aspherical II and
CV 21/4.0 Color Skopar P (on the Leica M and SL) after processing CV 15 II files using Adobe's "Flat Field"
plug-in for Lightroom.
On December 22 I published an
article based on side by side testing of the Leica SL and Leica M-240
ultra-wide rangefinder lenses: the CV Super Wide Heliar 15/4.5 Aspherical II and CV 21/4.0 Color Skopar P.
On December 17 I published a set
of field pictures made using the Leitz Wetzlar 50/1.4 Summilux R and
Leitz Canada 50/2.0 Summicron R on the Leica SL.
16 I published an article based on side by side testing
of the Leica SL and Leica M-240 using two
50 mm Leica R mount lenses: the Leitz Wetzlar 50/1.4 Summilux R and Leitz Canada 50/2.0 Summicron R.
On December 1 I published a set of field pictures made using the Leica M and Cosina Voigtlander 50/2.5 Skopar.
published an article based on side by side testing of the Leica SL and
Leica M-240 using two
50 mm rangefinder lenses: the CV 50/2.5 Skopar and the CV 50/1.5 Nokton.
On November 16 I published an
article based on side by side studio testing of the Leica SL and Leica
two Leica SLR lenses, the Leica 35/1.4 Summilux R and the Leitz Wetzlar 28/2.8 Elmarit R. As a sister piece, I also
published an article showing three sets of field pictures made with these lenses.
On November 5 I published an
article based on side by side studio testing of the Leica SL and Leica
two compact 28 mm rangefinder lenses -- the Leica 28/2.8 Elmarit Aspherical and the Cosina Voigtlander 28/2.8
Color Skopar — as well as one larger fast 28 mm RF lens: the Leica 28/1.4 Summilux ASPH.
26 I published an article based on side by side testing
of the Leica SL and Leica M-240 using two
fairly compact 35 mm rangefinder lenses: the Leica 35/2.0 M Summicron ASPH and the CV 35/2.5 Skopar.
On October 20 I published a very
detailed review of the new Leica SL with over 100 illustration. I have
testing the camera since August and this review includes field tests as well as detailed studio tests comparing
the SL to the Leica M-246.
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
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
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,
"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
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