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On January 20 I published an extensive review of the Cosina Voigtlander 10/5.6 Heliar-Hyper Wide
on the Leica M10.
On January 11 I published a studio comparison test that looks at the color rendering, resolution and ISO
noise performance of the Fuji X-Pro 2 and Leica CL.
On December 7 I revised and expanded my 2015 article on the, fairly important, topic of "Software
Distortion Correction". This subject is becoming increasingly relevant as forced SDC becomes more and
more common in opcodes and raw file processing. Like AA filtering, SDC comes with pros and cons.
On December 6 I published a full review of the Leica TL 35/1.4 Summilux ASPH tested (in the studio
and in the field) on the Leica CL.
On November 28 I published the results of my field and studio testing of the Leica 28/2.8 M Elmarit ASPH
on the Leica CL.
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.
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
ReidReviews.com accepts no advertising. A subscription is currently $39.95 per year. To get a sense of my writing style and approach you may want to read any of the freely accessible articles linked in the Read Without A Subscription section of our article index. And, of course, that index includes every article on RR so you'll be able to see just what content can be found here. As of late November, 2017 there were over 450 articles on the site, most of them quite extensive. All of them are reviews or essays.
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