Lens Reviews

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George Schaub  |  Feb 21, 2014  |  First Published: Jan 01, 2014  |  0 comments

A tilt-shift lens can be thought of as a flexible visual tool in the many ways it allows you to image the world. Unlike a standard lens, even a zoom, with a set point of view enforced by stance, elevation, focal length, and, within certain limits, depth of field, the tilt-shift lens opens visual doors a “fixed” lens will not. By tilting the lens within the mount you can enhance or greatly diminish depth of field beyond the “normal” abilities of the focal length and aperture setting. By shifting the lens you can “fix” perspective distortion or exaggerate it for “trick” effects.

George Schaub  |  Dec 17, 2013  |  First Published: Nov 01, 2013  |  1 comments

The 70-200mm focal length has been the standard tele-zoom choice for many years, offering near normal to a good tele range that suits many practical purposes. Yet, quite a few stock-in-trade 70-200mm lenses had been slow or lost significant aperture as soon as you left the shortest zoom setting, making them a real challenge for handheld, low-light, or even max focal length shooting. Certainly, improvements in sensors and processors in terms of the high ISO/image quality ratio have helped. If you’re too slow on shutter speed with a variable aperture zoom you can always jack up the sensitivity. But that’s not always a great choice and it seems to force you to compromise image quality just to make up for the lens losing “speed” just when you need it most.

Jon Sienkiewicz  |  Nov 24, 2013  |  0 comments

Lensbaby Spark lets your camera color outside the lines. It mounts directly on your Canon or Nikon and focuses manually when you squeeze it toward the rear while watching the sharp, sweet spot move around in the viewfinder. The affordable Lensbaby Spark deserves a spot on every photographer’s holiday wish list.

Edited by George Schaub  |  Sep 13, 2013  |  First Published: Aug 01, 2013  |  0 comments

Every year member magazines from the Technical Image Press Association (TIPA) gather to consider and vote on the top products of the year in 40 categories, ranging from cameras to tripods to software and printers. This year’s selections represent technological sophistication along with features and functionality that make them leaders in their respective categories.

Jack Neubart  |  Sep 03, 2013  |  First Published: Aug 01, 2013  |  1 comments

While the Sigma 150mm f/2.8 lens has been out for a good while we decided to take a closer look at one of the most interesting pro-oriented products in their lineup. One of the key selling points in this lens is built-in optical image stabilization (“OS” in Sigma-speak) to aid in achieving camera-shake-free, handheld exposures. Granted, image stabilization in a macro lens is not the be-all and end-all of successful close-ups, though it sure gives added insurance. And because the Sigma 150mm OS macro is optimized for full-frame D-SLRs, it allows for use at the stated focal length with such cameras and provides even greater effective focal length with APS-C-type SLRs.

Jack Neubart  |  Aug 16, 2013  |  1 comments

There are two types of fisheye: circular and diagonal. The Rokinon 8mm f/3.5 Aspherical Fisheye Lens is of the diagonal type, delivering a rectangular image with cropped-sensor lenses. The lens I worked with is designed for the Nikon DX (APS-C/cropped) sensor. The APS-C version provides a 180-degree field of view. Other versions are available for other “cropped-sensor” interchangeable-lens cameras, including Micro Four Thirds. My tests were conducted using the Nikon D300.

George Schaub  |  Aug 12, 2013  |  First Published: Jul 01, 2013  |  4 comments

There’s something about a fixed focal length lens that brings the photographer out in me. It forces me to move in and back from compositions without resorting to a zoom. Yes, there are times when a zoom is most appreciated—especially the fast constant aperture zooms now available—but a prime puts me in a mindset that a zoom has yet to match.

Jack Neubart  |  Aug 06, 2013  |  First Published: Jul 01, 2013  |  2 comments

There are a number of new lenses, including those for “full-frame,” Micro Four Thirds, and “mirrorless” compact system cameras debuting this year, listed in alphabetical order. Here’s a sampler, with a sprinkling of filters thrown in for good measure. We’ve shown prices when available at press time—if not, check the websites of the companies for updates.

Jack Neubart  |  May 06, 2013  |  First Published: Apr 01, 2013  |  3 comments

The difference between a “constant” aperture zoom and other standard zooms is that when you increase the focal length on the standard zoom the maximum aperture narrows. This might make the difference between being able to hand hold or not when zooming in, and may indeed force the use of higher ISOs. Known as “fast” lenses, constant aperture zooms are pricier and bulkier than their variable-aperture counterparts. And to sweeten the pot, we’ve seen more and more fast lenses with built-in image stabilization, which gets you even more low light and steady shot capability.

Edited by George Schaub  |  Sep 18, 2012  |  First Published: Aug 01, 2012  |  4 comments

Every year the Technical Image Press Association (TIPA), a worldwide association of photo and imaging magazine editors, meets to pick the Best of Class in a wide range of photo categories. As the sole US member of the association, Shutterbug joins editors from Europe, Asia, and Africa in the nominating, judging, and selection process. One of the most exciting aspects of photography today is the constant advancement of technology and design, and this year’s Top Products reflect that spirit and those accomplishments, including new categories of Video D-SLR and Mobile App. Editor George Schaub joins all fellow TIPA members in congratulating those selected to receive the prestigious TIPA award. (To learn more about TIPA, please visit the website at: www.tipa.com.)

Steve Bedell  |  Aug 09, 2012  |  First Published: Jul 01, 2012  |  1 comments

The Sigma 85mm f/1.4 EX DG HSM lens (average price: $969 on various Internet sites) is designed for full-frame cameras; with an APS-C multiply by your usual factor. At about 25 oz, I’d describe the lens as substantial, but not hefty. One of the reasons for the weight is the build—11 elements in eight groups, including the use of SLD glass, Sigma speak for Special Low Dispersion. The big chunk of glass on the end requires a 77mm filter. As to handling, Sigma has gone from their black “crinkle” finish to a smooth black rubberized finish that feels great to the touch. It’s plastic, not metal, but based on my experience with previous Sigma lenses, I’ve found them to be built to professional standards and can take a lot of abuse.

George Schaub  |  Jun 15, 2012  |  First Published: May 01, 2012  |  0 comments

There are three main elements in depth of field—focal length, aperture, and distance to subject—and depth of field is a very important part of a 2D photograph. It’s how we judge scale (or are fooled by it), how we note the importance of certain subjects within the frame, and how we define content and context in the scene. With these three controls, and using various points of view, it seems we have infinite variations to choose from, and that’s part of the creative play of photography. Now you can add a fourth element to the mix—tilts that range from mild to extreme and that create “slices” of sharpness within the frame. The tool that helps us create that effect is the latest optic from Lensbaby, which they dub the Edge 80.

Stan Trzoniec  |  Jun 06, 2012  |  First Published: May 01, 2012  |  2 comments

Out of all the telephoto focal lengths, the 400mm is my favorite, so I looked forward to Canon’s updated 400mm f/2.8L. At about $11,499 list price (slightly less on searched street prices) it’s for those who absolutely need a fast, fixed focal length lens in their still and/or video work, and that’s work that pays well.

Stan Trzoniec  |  May 16, 2012  |  First Published: Apr 01, 2012  |  1 comments

There are two general classifications of lenses that define how you use them in the field—zooms and single focal length, the former being a variable focal length lens that has many convenient advantages, and the latter being a single focal length that, in the group we’re covering here, is what’s known as a “fast” lens. Fast doesn’t mean that it focuses quicker than its zoom cousins, though it might—it usually means that it offers a wide maximum aperture, anywhere from f/1.2 to f/2.8, and that aperture stays put, unlike some zooms where the aperture varies by going narrower as you zoom into longer focal lengths. And to help refine the group we’re covering here we’re also topping out the focal length at 50mm, which makes these lenses prime for street and low-light photography, candid and photojournalism work.

George Schaub  |  Apr 11, 2012  |  0 comments

The new super wide angle Distagon T* f/2.8 15mm lens for Canon and Nikon mounts is neither lightweight nor inexpensive (1.6 lb for Nikon, 1.8 lb for Canon mount, $2950) but what you get from this manual focus lens is exceptional image quality and facility that is perhaps unmatched by any other lens in its focal length class. With a 95mm filter thread and integral and fully compatible lens shade, the lens offers an extraordinary 110-degree angle of view that is pleasure to work with on a wide variety of subjects. The fast f/2.8 aperture is matched on the narrow end by a minimum aperture of f/22, which at 15mm means there’s potential for extraordinary depth of field effects using the 10-inch closest focusing range. While decidedly not a portrait lens, the 15mm is ideal for landscape, street photography and creative advertising work, as well as architectural and urban photography, as I discovered in mybrief time working with it.

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