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Lens quality
Sensor quality
Image Processor quality
Camera shake or movement
Focus accuracy
Interchangeable Lens Camera – a category that includes both DSLR and 'Mirrorless' types
Interchangeable Lens Compact – a category that includes both compact sized DSLR and Mirrorless types
Interchangeable Lens Case – a case for lenses that can be used for SLR and Mirrorless camera
Pitch
Yaw
Tilt
Lateral Shift Up-Down
Lateral Shift Left-Right
Lens-axis roll
Lenses do not require IS mechanisms, and hence can be made more compact
Lenses do not require IS mechanisms, hence less glass can be used resulting in weight advantages
Lenses do not require IS mechanisms; hence less elements are required leading to better image quality
All system lenses benefit from IS - providing convenience through feature standardisation
It enables classic or non-system lenses to benefit from IS
“Focal Plane” flash synchronisation mode – a special setting that enables the use of flash at very high shutter speeds
“Full Power” mode – maximises flash power enabling
“Free Position” mode – enables the flash head to be swivelled and bounced
Reduces the influence of ambient light in overall picture exposure
Stopping fast moving subject action
Reducing flash glare
The subject usually looks more three-dimensional when the flash is positioned away from the camera
The lighting used can be modified to appear more sophisticated or flattering than direct flash
The lighting used can be better positioned for creative effect
The hardware (printer machine/process) used
Interpolation of original file to required pixel dimensions relative to print size
Human operator skill and experience
A sharp and detailed original picture
Viewing distance
The resolution of the original photo
Double Sphered Aspherical
Dual Super Aspherical
Dual Sided Aspherical
Extra-Dispersion
Extra-low Dispersion
Extra Dynamic
Improve overall lens sharpness
Reduce chromatic aberrations
Improve the marketability of a lens
In wide angle lenses, rectilinear distortion can be much better controlled compared to conventional aspherics
Less lens elements are required to correct for distortion and other optical aberrations, improving optical performance
Less lens elements are required, leading to lighter and more compact lens designs
It results in a lower cost of manufacturing
Aspherical lenses are inherently difficult to manufacture with high precision in cost-effective production volume
Large diameter (>5cm) size aspherics are especially hard to mass manufacture accurately at commercially justifiable prices and volume
The glass materials for aspherical elements are more brittle than regular spherical elements
Olympus has no significant lens design or manufacturing advantages over its competitors. All manufacturers' lenses are of the same quality as long as they come from a big brand.
Its ability to manufacture at high commercial volume, sophisticated aspherical and high performance optical elements with greater precision than many of its competitors
Its more precise lens assembly and testing technology
Its superior research and development know-how of digital lens designs
It usually refers to the aperture setting where the lens has its optimum performance in terms of picture center to corner sharpness, amount of vignetting, chromatic aberration, and contrast
The zone within the picture rectangle where the picture is usually sharpest
The zone within the picture rectangle where the focus is usually the most accurate
Have better wide open aperture performance – providing the photographer with a better low light shooting capability; enabling use of higher shutter speeds; have better background defocus potential
Be smaller and lighter - therefore enabling better overall mobility for the photographer
Have better overall center to corner sharpness across a broad aperture range
They utilise a modern low-moving mass, high precision AF drive system; completely different from conventional SLR lens drive systems
They have more powerful lens motors
They have less lens elements
They are smaller
Provide autofocus with classic or non-system dedicated lenses of any brand
Provide image stabilisation with classic or non-system dedicated SLR lenses from any brand
Provide movie recording with classic SLR lenses
Provide modern ‘multi-pattern’ or ‘matrix’ type metering for high exposure accuracy with any lens used
The M.Zuiko 14-42mm has better center to corner sharpness at wide apertures
The M.Zuiko 14-42mm has less vignetting at wider apertures
The M.Zuiko 14-42mm is lighter
The M.Zuiko 14-42mm EZ lens is more compact
Schneider Optics
Panasonic
Olympus
Kodak
Sigma
Tokina
It enables sharper photography and video recording without flash in natural or low light
It generally enables the use of lower ISO settings, improving overall image quality
It facilitates better background defocus, proving better portrait or subject isolated pictures
A telephoto lens enables the subject to be better iso;ated from a cluttered or busy background
The longer lens tends to flatter most people (i.e., the human face especially looks less distorted and more pleasing)
Generally, at the same aperture, the background and foreground 'defocus' is greater with a longer lens, enabling better isolation of the photographed subject
You can zoom out and isolate the subject better from a cluttered or busy background
The wider lens tends to flatter most people
Generally, at the same aperture, the background and foreground 'defocus' is greater with a longer lens, enabling poorer isolation of the photographed subject
You can capture more of the environment surrounding the subject, providing greater context to the picture
Compositionally, it can better 'isolate' the more aesthetically significant parts of the scenery
The long lens tends to provide better depth of field than a wide angle lens, generally speaking
Generally, at the same aperture, the background defocus is greater with a longer lens, enabling better isolation of the photographed subject
All OM-D and the PEN E-P5 models
All OM-D and PEN models
E-M1
E-M1 and E-M10
All OM-D and the PEN E-P5 models
All OM-D and PEN models
E-M1
E-M1 and E-M10
1
2
3
You see their effects in LiveView making them more intuitive and convenient to use. With many other brands, the filters can be applied only when the pictures are reviewed
In general, there are more variants or customisation options within each filter
In general, they are applicable to stills and video. This is not always the case with other brands.
0 to 40 degrees Celsius
-5 to 40 degrees Celsius
-10 to 40 degrees Celsius
200
300
500
21
51
81
Through their eye-level viewfinders, the D7100 AF system covers a larger area with more AF points compared to the E-M10
Through their eye-level viewfinders, the E-M10’s AF system covers a larger area with more AF points compared to the D7100
Through their eye-level viewfinders, both the E-M10 and the Nikon D7100 covers the same area with an identical number of AF points
Nikon D7100
Canon 5D MkIII
Olympus E-M1
Fuji XT-1
The Sony has a more sophisticated, better performing AF system for subject focus tracking
Better video recording capability with variable frame rates
Better on-paper picture quality with a larger sensor that has more megapixels
Higher sequential shooting frame rate
Built-in flash
In actual use, the image quality is actually fairly similar because of the comparatively poor quality of the Sony 16-50mm power zoom kit lens
The E-M10 has a touch screen, the A6000 doesn't
The E-M10 has a built-in image stabiliser that works with all lenses
The E-M10 has a broader range of autofocus system and non-autofocus lens choices
The E-M10 has a built-in EVF, the A6000 doesn't
It is slightly smaller, enabling the overall camera system (lens + body) size to be smaller yet providing similar picture performance
It is slightly smaller, enabling better background blur
There are no design or performance advantages
It is slightly smaller hence the system inherently provides more depth of field to stills and videos
Wide aperture optical performance
Focusing speed
Compactness of form
Image corner sharpness at wide apertures
Smoothness and quietness of autofocus during movie recording
Wide aperture optical performance
Focusing speed
Compactness
Picture corner sharpness especially at wide apertures
Smoothness and quietness of autofocus when videorecording
It has a superior EVF with higher magnification with the lowest display lag
Fuji's X series lens system has more enthusiast prime lenses
The XT-1 has more Art Filters
The XT-1 has a larger sensor and significantly more megapixels
It has a better focus tracking capability with its hybrid AF system
It has the world's most effective image stabiliser built-in which means that stabilisation benefits all lenses used with the camera– most of Fuji's X series lenses are not stabilised making the camera system less capable for low light photography
The E-M1 has a touch LCD screen, the XT-1 does not
The E-M1 is still the overall faster focusing camera (system) as most Fuji X series lenses do not have similar FAST-AF/MSC technology
A wider shutter speed range of 1/8000th to 60 seconds
Better video functionality – e.g., Art Filters can be applied to video, manual exposure is possible, AF is more accurate
Zuiko Extra-low Reflection Optical Coating - Olympus' best optical multi-coating
Zero Extra-ordinary Reflective Optical Coating - Olympus' best optical multi-coating
Zuiko Extra Reflective Optical Coating - Olympus' best optical multi-coating
Nikon's Nano Crystal Coat lens multi-coating technology
Canon's Super Spectra lens multi-coating technology
Fuji's EBC coating
Zeiss T Star
More durable
More scratch resistant
Better light transmission properties, helping to improve picture contrast, colour and reducing flare even more
Easier to maintain for cleanliness
2
8
17
13
29
45
M.Zuiko lenses utilise a contemporary low-moving mass lens design that inherently outperforms yhe relatively high moving-mass lens designs of most SLR lenses.
They use more powerful motors
They use more plastic and are therefore lighter and faster
EF 24-70mm f2.8L USM & EF 70-200mm f2.8L IS II USM
EF 24-70mm II L f2.8 IS USM & EF 70-200mm f2.8L IS II USM
EF 28-70mm II L f2.8 USM & EF 70-200mm f2.8L IS II USM
EF 16-35mm f4L IS USM, EF 24-70mm f4L IS USM, EF 70-200mm f4L IS USM
EF 17-35mm f4L IS USM, EF 28-70mm f4L USM, EF 80-200mm f4L IS USM
EF 16-35mm f4L IS USM, EF 24-105mm f4L IS USM, EF 70-200mm f4L IS USM
AF-S Nikkor 14-24mm f2.8G ED, AF-S 24-70mm f2.8G ED, AF-S Nikkor 70-200mm f2.8G ED VR II
AF-S Nikkor 14-24mm f2.8G ED VR, AF-S 24-70mm f2.8G ED VR, AF-S Nikkor 70-200mm f2.8G ED VR
AF-S Nikkor 14-24mm f2.8G ED, AF-S 28-105mm f2.8G ED, AF-S Nikkor 70-200mm f2.8G ED VR II
M.Zuiko 7-14mm f2.8ED PRO, M.Zuiko 12-40mm f2.8 ED PRO, M.Zuiko 40-150mm ED PRO
M.Zuiko 7-14mm f2.8ED PRO, M.Zuiko 12-40mm f2.8 ED PRO, M.Zuiko 50-150mm ED PRO
M.Zuiko 7-14mm f2.8ED PRO, M.Zuiko 12-40mm f2.8 ED PRO, M.Zuiko 50-200mm ED PRO
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