The X-H1 adopts a robust build, thicker than that of the X-T2 and owes its overweight its magnesium alloy chassis 25% thicker. It also takes the physical form of the middle medium format GFX 50s, the handle well hollow to ensure a good grip. We find with pleasure the small screen of control, located on the right shoulder, very practical to keep an eye on the current settings. The physical dials of sensitivity and shutter speed ensure the manual handling so specific to Fujifilm, and whether we like or not according to his tastes. The X-H1 hybrid also benefits from all-weather construction to resist dust, moisture and temperatures down to -10 ° C.
The Lumix G9 has a secondary screen more than welcome. On the left shoulder, under the mode wheel, a selector is used to choose its shooting rate. Note that the burst I and II positions, by default, do exactly the same thing until you have customized them. The overall ergonomics is inspired by that of the Lumix GH5, with, on the hood, direct access to the white balance, sensitivity and exposure compensation and, on the back, a joystick, a coding wheel, access directly to focus modes and AF modes.
There is a field on which the Lumix GH5 will not mess you up: its design. Neither handsome nor ugly, neither seductive nor repulsive. More modern in its aesthetics than the Lumix GH4, the GH5 has been especially designed to be functional. All the controls are judiciously placed and operated, the case fits well in hand, all the knobs and switches are perfectly notched, firm when necessary, fluids when necessary. The engineers have even pushed the vice to offer a new look “flat” to the menus and, better still, to completely customize its control menu, depending on whether one has the needs of photographer or videographer! Well, do not get me wrong – the sub-menus and sub-sub-menus and sub-sub-menus and so on. are still as dense as before.
Modernized, the lines of Canon EOS 6D Mark II soften. The reflex slightly thickens and retains the Canon DNA. It looks much more like a Canon EOS 80D than one of its older 5Ds. Regulars of the brand will not be lost and will find the familiar layout of the keys, the control screen on the hood and the wheel of PASM modes on the left. However, some ergonomic shortcomings identified in his senior are still on the 6D Mark II: it still lacks a built-in flash or control joystick, yet present on all other models 24 x 36 mm sensor.
The Canon EOS 6D is the smallest, lightest and cheapest 24×36 SLR camera of the brand. Arguments that do not leave indifferent the photographers who have not yet or who take the step towards the full format sensor. In addition, this reflex offers some technical innovations such as Wi-Fi or the integration of a GPS chip.
The Lumix FZ1000, any bridge is it, does not replace the FZ200. In fact, the FZ1000 looks more like a model of the Hybrid for GH4 videographers, feeling reinforced by the layout of the controls very similar. Same mode selector (but here not lockable) on the right shoulder, even shot rate selector on the left shoulder, same pronounced taste for customizable keys (from Fn1 to Fn5). As long as we do, we would have appreciated that Panasonic also offers its FZ1000 a steering system with two thumb wheels (one inch and one index) and a touch screen history to stand out from the Sony RX10, but it’s not is not the case.
The Fujifilm X-E3 is getting a new look. More minimalist, it is modernized without abandoning the aesthetic retro own brand, complemented by excellent quality of manufacture. The screen has been deported to the left. Three main keys and a small joystick are located on his right. Two shortcut keys complete the set. The clover of choice on the X-E2 has disappeared to make room for a wider textured grip. It is certainly more practical to hold firmly the device, but we regret the clover which, in our opinion, facilitates the access to certain settings or the navigation within the menus. It’s a new habit to take.
The D5600 is a copy-paste of the D5500. Everything is similar, function keys to the bowels, nothing has moved. We find with pleasure the hollow handle of the SLR which ensures a firm grip, associated with a very pleasant manufacturing quality. Unlike the D5500, the D5600 is only available in black.
In its new leather and anodized metal clothes, the Nikon 1 J5 is all cute and full. It gains in aesthetic maturity and loses this aspect still a little “toy” of his elders, leaving also the passage sacrosaint pearly white which was until then the signature of Nikon 1.
We find in the Canon 760D a control screen on the hood on the right to view all your live settings, which comes to replace the mode dial, itself moved to the left. The ignition trigger has also been deported to the left. On the back of the camera, an encoder wheel encircles the four main keys for moving and adjusting the white balance, autofocus mode, and so on. A Lock function on the bottom right has also been added to lock the encoder wheel, to avoid disturbing the camera while driving. Even if all this is nothing revolutionary and already exists on expert SLRs, it is quite rare on a mid-range SLR APS-C for the general public.