The G1X Mk II interface is generally pleasant and well designed. Even if the possibilities of parameterization are vast, one is not drowned under the menus and sub-menus as it is often the case elsewhere (Sony RX, Panasonic Lumix G, Nikon SLR …). The 7.7 cm and 1040,000 px touchscreen, borrowed from the EOS 70D, is a great help in choosing the collimator, navigating menus, and is overall very pleasant to handle, although sometimes a not sensitive from a tactile point of view and having a tendency to pierce the whites. On the other hand, it is impossible to say as much of its orientation mechanism. As the Chinese market demands, the engineers absolutely wanted it to be adjustable + 180 ° for selfies. In addition, it can tilt backward at -45 °. These two requirements have led to a kinematics of the most complex, the perceived fragility uncomfortable, especially since the connection plies are clearly visible and in the open air.
The Sony A7 III is inspired by its older A7R III which it takes the main chassis. Whether at the hood or back, it looks like two drops of water to the A7R III. Only the small mode lock button has been removed on this case. There is also the joystick, the video trigger judiciously positioned next to the viewfinder, better organized menus (but still dense) and the double slot for SD cards, only one of which is compatible with UHS-II memory cards, initially borrowed from the A9 – which is also the central reference of this refreshment.
Are you an instant fun, you like to take pictures of memories and have them under your hand directly. So Fujifilm Instax Mini 9 is perfect for you with its light weight of 75 grams and its robustness it is possible to take it with you anywhere!
The GoPro still surprises us with its new version which is the Hero 5 Black which marks a real evolution. It is now waterproof up to 10 m, incorporates a touch screen, voice control and electronic stabilization.
The Sony A9 is an A7 2.0, boosted with hormones and, above all, correcting many of the ergonomic flaws pointed at its predecessors. It is as if the engineers had decided to implement at one time all the grievances submitted by the testers and photographers during the last four years.
With the naked eye, it’s hard to tell an X-T20 from an X-T10. For a centrally located APS-C case, its compactness still surprises and its unique proportions give it a cheerful side that inspires confidence, immediately returning to the rich photographic past of the brand and the great hours of silver photography. Compared to the predecessor, only three physical elements change. The video trigger button has now become a Fn soft key. The exposure compensation dial moves to a position that allows you to move up to +/- 5 EV. On the back, the Fn key has disappeared body and soul. Connectivity side, nothing new: a classic USB 2.0, a mini-HDMI, a remote control socket, a compartment SD UHS-I – while the X-T2 has two UHS-II compartments – and a “new” NP battery -W126S. The X-T20 however accepts NP-W126 from X-T10, and vice versa. Oh, and forget the tropicalization, which remains reserved for the X-T2.
The D7200 inspires confidence and you will be reassured by the presence of a magnesium alloy chassis that makes the DSLR structurally sound while maintaining a certain lightness. A relative lightness, because the D7200 displays 750 g card and battery in place. The exterior coating is quality and the grip is nice. A good impression reinforced by the handle perfectly designed with a “hollow” for the fingertips well adapted since it leaves enough space between the handle and the lens to make accessible two keys in front. Like most DSLRs at this level, the D7200 has gaskets to protect it from dust and splash.
With its EOS M5, Canon targets an expert audience and it feels immediately. At the editorial office, we particularly appreciate the sleek finish of the camera and this miniature SLR format, higher and squarer than most current hybrids. The textured grips at the front and back provide extra comfort to the grip that we find overall more pleasant than that of the previous version. The EOS M5 is also the first hybrid Canon to ship a viewfinder, an undeniable argument to convince experts. On the hood, the reshuffle is visible: the flash was not deleted but relocated above the viewfinder, the PASM mode wheel was positioned on the left. On the right, we find the exposure wheel completed by two dials direct access to essential parameters such as speed, opening and others depending on the mode chosen. In the middle of one of the two dials, the [Dual Func.] Key allows you to quickly switch from one setting to another without going back through the menus. This is a good idea, even if for a question of practicality we would have preferred that the wheel of exposure and the latter are reversed.
Like its big brothers, the Alpha 6000 continues to surprise us by its size: difficult, at first glance, to imagine that there is indeed a sensor APS-C, an electronic viewfinder of 1 440 000 px, a screen 16: 9 aspect ratio, a FP-W50 battery, a Wi-Fi chip, an NFC chip and so much electronic sophistication in such a small package. Yet, compared to a Nex 7 or even a Nex 6, the Alpha 6000 has become fat and gaining thickness in its central part, which means there is less space between the end of the mount E and the chassis itself. While being more voluminous in the absolute, it seems on the contrary softer, more compact, more balanced, which is not displeasing to us, especially that the handle remains sufficiently hollow and well designed to offer an excellent grip .