Lens Reviews

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Staff Posted: Jul 05, 2016 0 comments

The Goods spotlights the hottest premium photo gear out there. If you have a product you’d like considered for The Goods, e-mail images and info to editorial@shutterbug.com.

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Joe Farace Posted: Jun 24, 2016 0 comments

If you read my article “Sweet Glass: My 10 Favorite Lenses For Portrait, Boudoir & Wedding Photography” you know I’m fond of the 85mm focal length for portraiture. If you didn't read it, please check it out after reading this review. And Tamron’s SP 85mm f/1.8 Di VC USD lens surely rings this bell. It’s available for Canon, Nikon and Sony mounts and as part of Tamron’s Di family is designed to work with APS-C format and full-frame SLR cameras. I tested the Canon EF version ($749.)

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Ron Leach Posted: Jun 16, 2016 0 comments

Our Weird Lens Guru Mattieu Stern is at it again; this time with a review of a Jupiter 21M 200mm f/4 “tank lens” that he says has “astonishing contrast and bokeh.” Stern adds that the first time he used this lens he was “blown away by the quality.”

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Ron Leach Posted: Jun 16, 2016 0 comments

We’ve been giving a lot of love to big glass lately, and you won’t want to miss this video review of the remarkable Sigma 300-800mm f/5.6 EX DG APO IF HSM Autofocus Lens—affectionately known as the “Sigmonster.” It works with both full-frame and APS-C cameras, and on the later it provides a long-end of 1280mm!

Jon Sienkiewicz Posted: Jun 10, 2016 0 comments

The big news about the Leica M-D (Typ 262) is what it doesn’t have. It does not have autofocus. It does not provide through-the-lens viewing. And it’s not compatible with any zoom lens. 

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Stan Trzoniec Posted: Jun 03, 2016 0 comments

For Canon lens fans, the wait finally ended when the company took the wraps off the new EF 100-400mm f/4.5-5.6L IS II USM, a relatively compact super-telephoto zoom that has been hotly anticipated and frequently rumored about for years.

Dan Havlik Posted: May 26, 2016 0 comments

Our favorite weird lens guru Mathieu Stern has been testing out some unusual Soviet-era Russian lens and the results have been surprisingly impressive. In fact, in the below video, Stern pairs the Jupiter-9 85mm F/2 portrait lens on a Sony A7 II mirrorless camera and some of his still photos and video are actually quite amazing.

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Steve Meltzer Posted: May 05, 2016 0 comments

The decisive moment had decisively passed and I missed another great shot: While framing and reframing my zoom lens the scene changed, the sun slid behind a cloud, and people in the shot moved. I finally realized I was missing shots because I had too much gear. 

Ron Leach Posted: May 04, 2016 0 comments

Here’s a little something for those of you who can’t afford the new $6000 Leica M–D: Four quirky lenses you can get for under 30 bucks from Weird Lens Guru Mathieu Stern, whose passion is discovering odd optics you can adapt to your mirrorless camera to capture both still images and video. In this video Stern describes a quartet of lenses you can get for less than the cost of two decent cocktails in Paris.

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Stan Trzoniec Posted: Apr 12, 2016 0 comments

Like many photographers, when Nikon introduced their 20-35mm f/2.8 lens I just had to have one. Being a commercial photographer, the ability to carry a zoom that would cover this field of view was very handy, especially for assignments that involved shooting in buildings or offices for public relations clients. While the lens was exciting, the best images were captured at around f/5.6 to f/8 when the corners started to match the sharpness of dead center. Following that was the Nikkor 28-70mm f/2.8, which was more commonly known as the “beast” in photographic circles because it gave us more breathing room at the long end, complete with AF-S focusing. Although it weighed in at two pounds, it was a sharp lens!

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Patrick Sweeney Posted: Apr 11, 2016 0 comments

Sometimes you want to capture expansive vistas without resorting to post-capture tricks like stitching multiple frames together; like on my latest excursion to Antarctica when I wanted a wider perspective than I achieved on an earlier visit with a 24mm lens (which transformed into a 38mm on my crop-body camera). The question I asked myself was ”how wide is “wide enough?”

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Jack Neubart Posted: Apr 04, 2016 0 comments

I’ve always preferred longer focal-length macro lenses in the 90-100mm range because they give you more breathing room between the camera and skittish subjects than does standard (50/60mm) macros. No wonder, then, that one of my earliest lenses was the original Vivitar Series 1 90mm f/2.5 macro, which I first paired with a Minolta SR-T 102. I burned plenty of Kodachrome with that glass.

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Joe Farace Posted: Mar 25, 2016 0 comments

Every company that makes lenses usually designs a few that are ideal for portraiture. The trend these days for studio and boudoir portraits is toward fast prime lenses, while zooms remain popular for location and wedding photography. Wide-angle lenses may get you closer to the subject but perspective distortion exaggerates a subject’s nose and ears.

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Stan Trzoniec Posted: Mar 21, 2016 0 comments

I really can’t recall the last time I became so emotionally involved with a lens. This affordable Nikkor telephoto zoom is sharp, easy to hold, and at under $1400 you simply cannot go wrong. If I sound excited, I am! 

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Jack Neubart Posted: Mar 08, 2016 0 comments

Back in the day when fixed-focal-length optics reigned supreme, the 35mm lens, along with its wider cousin, the 28mm, was known as the lens a portrait or wedding photographer would use for group or full-length portraits or, especially if it had a fast aperture, the photojournalist would use to grab street candids. Today, with our wide zooms we’re often happy enough with an f/4 maximum aperture and we tend to overlook what faster fixed-focal-length lenses could do to help our photography.

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