Location, location, location. That's what someone who is just getting started in wildlife photography will tell you is the secret to the trade. Certainly, the wildlife available in the remote Sahara of Africa is far more interesting to those who are used to the rolling hills of Ohio, but there are two other key components to successful wildlife photography: preparedness and luck.
There is no denying that zoom lenses have far more versatility than prime lenses, and with faster-apertured zoom lenses becoming more and more common in the photography world, I figured it was time to truly give them the spotlight they deserve.
If there’s a more challenging photographic discipline than wildlife photography, I don’t know what it is. It requires heavy and expensive long focal length lenses, a sturdy tripod, and the physical prowess to schlep all this gear through physically demanding environments. If you’re thinking “that’s not you, Joe,” you are correctamundo so I asked a few friends for advice on telephoto lenses and this is what they told me.
More and more photographers are using vintage glass on modern digital cameras and saving a lot of money in the process. That’s because there are inexpensive adapters available that permit you to mount 35mm lenses on just about any mirrorless camera you own.
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.
Fujifilm was showing off its new toys at photokina today and we got some hands-on time with these latest X-series cameras and lenses. Initially announced on September 10th, the Fujifilm X100T and XT-1 Graphite Silver cameras, and Fujinon XF50-140mm F2.8 R LM OIS WR and XF56mm F1.2 R APD lenses continue to build on Fuji’s compact and retro-style (Fuji would say “classic" style) X-Series line.
Hands on with a Hasselblad X1D II 50C medium format mirrorless camera, Hasselblad 24mm f/4.8 HCD wideangle lens and the enigmatic Hasselblad XH Converter 0,8. Does this change our attitude toward converter lenses? Continue reading to find out.
Photographer Julia Trotti is out with a revealing new video where she compares portraits shot with her whole arsenal of prime lenses: 24mm vs 35mm vs 50mm vs 85mm vs 135mm. We knew there would be a difference in the look of each portrait shot at a different focal length but we were surprised at how much.
It's not what most photographers would consider essential glass, but in mid-2017, when I heard it was available, I knew the 8-15mm f/3.5-4.5 fisheye Nikkor was a lens I'd like a lot. What I didn't realize was how much "a lot" was going to be. It turned out that I liked to have it with me whenever I was photographing.
“Date your cameras and marry your lenses,” a Sony staffer professed after I arrived in San Diego last week for the unveiling of two new lenses; the 50mm f/1.4 ZA prime and 70-200mm f/2.8 GM zoom. Our select group of journalists were repeatedly told, “Do not leak this launch.” Considering the leaks of cameras introductions from their competitors this summer, the firm request was understandable and we obliged.
As digital SLR cameras have become more affordable, an increasing number of photography and imaging enthusiasts have made the shift to digital capture. But there's one common complaint--the ultra-wide angle lenses designed for 35mm systems do not produce an expansive angle of view with any of the affordable digital SLRs. Because such cameras employ a sensor that's...
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.
Every lens maker offers standard types of lenses: wide angle, normal, and telephoto zooms plus several primes in popular focal lengths. Although highly useful, these lenses alone do not represent the breadth of offerings available. Hidden away within the lineups of many lens makers are specialty models which, even if they aren’t suitable for one’s purposes at any given time, are fascinating not only for their unique qualities but also because they might someday be the perfect tool for a specific shooting situation.
What's the ultimate lens for street photography? What's the worst lens? Could the 24-70mm F/2.8 be both good and bad for shooting street? All these questions (and more) are answered in the below video from photographer Pierre T. Lambert.
Which lens is better for portraits, a 35mm or 50mm prime lens? That's a question many photographers ask and one that Mitch Lally attempts to answer in the below lens comparison portrait test.