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The Reid Reviews article index gives a listing of all stories published to date.

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On April 23 I published an extensive review of the Fuji GFX100RF. Next will be a full lens review of the camera's Fujinon GF 35/4.0 lens. Then there will be a full studio test of the camera in which we'll look at color rendering, performance at various ISO levels, highlight headroom and estimated native ISO.

On April 7 I published a full field and studio test of the L Mount Sigma 50/1.2 DG DN Art tested on the Leica SL3 and SL3-S.

On March 24 I published a full field and studio test of the Leica SL 50/2.0 Summicron ASPH tested on the Leica SL3 and SL3-S.

On March 12 I expanded my review of the Leica SL3-S with a new section that looks at finder behavior when the camera is in various continuous capture modes.

On March 6 I published my review of the Leica SL3-S.

On February 9 I published side by side studio tests of the Leica SL3-S and SL3. 

On January 29, 2025 I published a full field and studio test of the Fujinon GF110/5.6 Macro TS tested on the Fuji GFX100 II.

On December 30 I published a full field and studio test of the Fujinon GF30/5.6 TS tested on the Fuji GFX100 II.

On November 30 I published my review of the Leica M11-D.

On October 10 I published my review of the Leica Q3 43. It was last revised on October 31.

On September 26 I published a full field and studio test of the lens on the new Leica Q3 43.

On September 12 I published an article looking at how the Leica Q3 and M11 Monochrom work as tools for theater photography.

On August 5 I published a full field and studio test of the Fujinon GF80/1.7 R WR tested on the Fuji GFX100 II.

On July 24 I published a full field and studio test of the Sigma 24/1.4 DG DN Art tested on the Leica SL3 and SL2. This lens is also available in Canon, Nikon and Sony mounts.

On June 28 I published an extensive article looking at the comparative performance of the Leica SL3 and SL2 with three challenging wide angle rangefinder lenses.

On May 30 I published an extensive article looking at studio tests of the Fuji X100VI. This is, in essence, a "double feature" combining the studio tests I normally do for cameras with those I usually do for lenses. The tests also look at the Fuji's start-up speed, AF speed and raw buffer.

On April 30 I published a full field and studio test of the Sigma 35/1.4 DG DN Art  tested on the Leica SL3.

On April 20 I published a full field and studio test of the Leica SL 35/2.0 Summicron ASPH tested on the Leica SL3 and SL2.

On March 17 I published a studio comparison test of the Leica SL2 and SL3 that looks at color rendering, performance at various ISO levels, highlight headroom and other aspects.

On March 7 I published my review of the Leica SL3. It is the first in a new series looking at the SL3 and several L mount lenses. Next up will be a studio comparison test of the Leica SL2 and SL3 that looks at color rendering, performance at various ISO levels, highlight headroom and more. Following that will be full reviews of the Leica SL 35/2.0 Summicron, Sigma 35/1.4 DG DN Art and Sigma 24/1.4 DG DN Art. There will also be side by side tests of the SL2 and SL3 with various rangefinder lenses.

On February 21 I published an article that looks at the ways in which digital perspective correction changes the way a picture is rendered. The source cameras for the test raw files were the Fuji GFX100 II and the Leica M11 Monochrom.

On February 20 I published an article about my first impressions of a pre-production Fuji X100 VI.

On February 5 I published studio tests that look at the color rendering, ISO performance, highlight headroom and estimated native ISO of Fuji GFX 100 II.

On January 31 I published a review of the Fuji GFX100 II.

On January 10, 2024 I published an article that looks at Leica's "Perspective Control" feature and various workflow options for using it. Next up in this series we'll look at the effects of  digital perspective  correction interpolation on resolution (for the Fuji GFX100 II and Leica M11 Monochrom).

"I wanted to send a groggy note of thanks for your incredible website—examining your reviews has become my late night guilty pleasure. I’d been researching new cameras (unsuccessfully) for months until I found you. Love at first site. Thanks, Sean."

"I have to say that I am in awe of your thoughtfulness and intelligence as they're reflected in what you've done. I'm sorry I hadn't come across your work before."

- Tod  Papageorge
Photographer
Former Director Of Graduate Studies In Photography
Yale University School Of Art

- Elliot Stern
Photographer
Founder and Director
Blue Ridge Workshops

"In the din of the Internet's noise, Sean Reid is one of a handful of voices worth listening to."

- Kent Phelan
Photographer

"The best and most detailed account (of the Leica M8) I've yet read from a photographer's point of view is on the Reid Reviews site."

- Peter Marshall
Photography Guide, About.com

"Reviewing photographic equipment isn't as easy as it looks. Not only does it take writing skill, and a critical sensibility, but for the review to carry weight and have value its author must have significant experience with similar and previous equipment.  Sean Reid has written equipment reviews for The Luminous Landscape for the past two years, and unfailingly they have been well-researched and comprehensive.  Sean writes with both style and insight, and bases his opinions on his years as a photographer, and not simply from the perspective of a technologist, as is too frequently found on the Net.  His site is free of advertising, and well worth your support. I was particularly taken by his article "On Small Sensor Cameras". It is a unique perspective on how different digital formats are redrawing the face of photography."

- Michael Reichmann, Publisher
The Luminous Landscape

Welcome to ReidReviews.com, an on-line magazine of reviews and essays by photographer and writer Sean Reid.  The fact that this site may seem simple and old fashioned is not an accident. The content is all writing
and pictures. There are no press releases, news summaries or the like but only reviews, essays and other writing about photography. There are also no ads, banners, pop-ups or attempts to sell anyone anything.

Each year, there will be at least twelve new articles (though usually more than that) about the tools and practice of photography  added to this site. As of early 2025 there are over 628 articles on the site - most of them very extensive. As such, the site is also now a growing archive in which one might potentially learn about, or be reminded of, some of the history of digital photography since 2005. Older digital cameras don't always stay in wide use but lenses are forever. And my hope is that many of the essays on the site will also be relevant even 50 or more years from now.

Every writer naturally brings his or her own experience and perspective to the articles they write.  My writing is heavily influenced by my experience working as a professional photographer for more than forty 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 drawing."

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.

There are at least two kinds of review content on this web site.  There are reviews of cameras and lenses that are receiving wide attention from many photographers (and reviewers) as well as reviews of equipment that is of great interest to more specialized groups of photographers.  I have written quite a bit about rangefinder cameras and lenses and that equipment will continue to be an important focus of this site.  I also give a lot of attention to compact cameras that are designed for serious photography. There are also essays and other types of articles to be found here that are not necessarily about equipment per se.

I did my first professional photography work in 1984. While I am primarily a "fine art photographer" (a strange and clumsy term that suggests one makes pictures of paintings) I also did professional architectural and documentary wedding photography for many years.  So I sometimes look at the performance of cameras and lenses in those contexts.  I obviously can't write about every piece of photographic equipment and so my focus is really on tools that, I think, deserve some attention from serious photographers, professional or amateur.  Sometimes they are fairly new to the market, other times they might be quite old and found only as used equipment.  In either case, if I decide to write about a lens or camera, it's because I believe it's worth reading about. I was a film photographer for two decades (and a B&W exhibition printer for a few years) but I now work entirely with digital capture. As such, virtually all of my camera reviews are of digital models. The individual reviews obviously discuss specific cameras and/or lenses but all of the reviews also look at more general aspects of photography that can be relevant no matter what camera and/or lens a photographer uses.

I am primarily a black and white photographer and so many of the general (as opposed to technical) illustrations on this site are in BW.

My bio:

Sean Reid has been a commercial and fine art photographer for more than forty years. He studied photography at Bard College under Stephen Shore and Ben Lifson. In the late 1980s he worked as an exhibition printer for Wendy Ewald and other fine art photographers. In 1989, he was the first American photographer to receive an artist-in-residence grant from the Irish Arts Council in Dublin, Ireland and his work is held in their collection. That same year he gave a guest lecture at Dun Laoghaire Institute of Art in Dublin. In the early 1990s Sean met occasionally with Helen Levitt to discuss and edit pictures he was making in the subways of Budapest and New York City. These were exhibited in New York in conjunction with performances by Jens Nygaard's Jupiter Symphony. Sean's work for clients was often of weddings and architecture. His editorial work has appeared in magazines such as Motorcyclist, Rider and The Robb Report. His personal work is primarily of people in public places -- especially in rural New England where he resides. In 2004, Sean began reviewing cameras and lenses for Luminous Landscape. The following year he began Reid Reviews,  a site that accepts no advertising and is paid for entirely by subscribers. Sean also serves as an unpaid consultant, advisor and sometimes beta tester for several camera and lens manufacturers.

"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."

"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

"This is a really excellent in depth review. I particularly like how you guide the reader not to look for winners, but to use it as a reference for their own needs. I think it may turn out to be a reference classic for working photographers seeking how to judge lenses in real world use.. I for one will be returning to it."

- Jim Watts, USA

"I read your substantial paper with great interest. I am an amateur enthusiast in photography and optics. Your concept first surprised me, because I have had an impression that few photographers in North America and possibly in Europe like to discuss lens characters as expression tools. Among Japanese photographers, amateurs and professionals alike, there is a long tradition of interest or even addiction in appreciating various image characters of optics. For instance, Shoji Ohtake, one of the most influential photographers in Japan writes a regular column titled Lens Physiognomy for a major camera journal. He says that for each of his representation he selects the right lens from his huge collection.  I was impressed by your pragmatic and well-organised approach in reviewing the lenses. Your observation is keen and relevant to essential aspects of photographic imagery. Your rhetoric is straight, logical, and free from jargon. These are rarely met in review papers on similar tests, which tend to be too technical or too subjective. I should also tell you that I myself have evaluated lenses mostly in B&W for the same reason as in your reviews. Few people have understood me. All in all, it is a marvelous paper. My applause."

- 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

"I think that your approach is what photographers have been asking for. Your article was spectacularly successful. I didn't think a review could be any better than yours on wide angles for the R-D1, but you topped it with this one. Thank you for all the hard work that went into it!"

- Bill Marshall, USA

Example Articles

ReidReviews.com accepts no advertising.  A subscription is currently $49.95 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 early 2025 there were over 628 articles on the site, most of them quite extensive. All of them are reviews or essays.

Current Articles

As many readers know, RR has always been an independent site in many senses of that word. We hope that our readers can appreciate the value of this approach. As a society, we are barraged with advertising (on the web, on televison, on radio, on buses, streets, etc.). Reading Reid Reviews is, we hope, an oasis from that. We have never accepted advertising and we never will. We also have never taken sales commission from any business. The Reid Reviews system is simple: we create the content and our readers,  and only our readers, pay for it.

The purpose of advertising, ultimately, is to convince us that we need to buy whatever product a manufacturer or other business wants to sell us. Advertising in photography has long perpetuated the myth that owning certain brands and certain products will magically make one a better photographer. But we all know, of course, how false that myth is.

For a humorous, but also very perceptive, take on where the line between journalism and advertising seems to be heading, for some publications at least, see this John Oliver video. I highly recommend watching it.

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Subscribing

The one-year subscription rate for the site is $49.95.  Once your subscription account is active, the subscription amount is not refundable.  The best way to sample my work (to decide if you'd want to be a subscriber) is to read the freely accessible articles linked in the Read Without A Subscription section of our article index.  Readers can pay for their subscriptions using their Pay Pal account or pay using a credit/debit card (via Stripe).  To make a payment by check please follow the instructions listed on the "subscribe" page which is linked below.

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