Posts Tagged ‘Lenses’

5 Top Value Lenses for Getting Started in Wildlife Photography

12 Sep

Getting started in wildlife photography is one of the more expensive genres of the photo industry. The lenses and cameras that are often in the bags of pros are more often than not in the higher tier price brackets. However, to get started you don’t need to spend a fortune to gear up with some great lenses for wildlife photography.

Lenses are the thing to invest in when starting out in wildlife or as any photographer for that matter. The glass you purchase can stay with you for many years, while often cameras are updated far more regularly. Meaning, if you spend your money wisely you won’t have to outlay again.

wildlife photography lenses

Now of course as you gain more experience and want to invest it into your work, you might outgrow some gear or wish for more pro features. But when you’re getting started, the lenses I’ve listed below are a great base to build on and invest in, that will not only provide excellent quality results but also hold their value within your gear bag. These lenses will cover a range of shooting situations so you can capture the natural world in all manner of ways to really follow your creative vision.

1 – The Telephoto Zoom 70-200mm

Firstly, we are going to start with the telephoto zoom. For most wildlife photographers this is one of the most used lenses in their arsenal, offering flexibility to compose portraits of wildlife to more landscape style images to put your subjects in the environment.

5 Top Value Lenses for Getting Started in Wildlife Photography

The 70-200mm zoom is an excellent investment.

As an investment, the 70-200mm is a key lens to get hold of as it offers so much in the way of performance and flexibility. Most people will feel that 200mm is a little shot for wildlife, but with practice and development of your stalking skills, especially when paired with an APS-C camera it’s a great place to start.

The f/2.8 is the most coveted version due to its fast aperture for gorgeous bokeh (out of focus areas) as well as its autofocus speed. The f/2.8 version is a higher cost lens retailing new at around $ 2000 but secondhand (especially a slightly older version) can be had at excellent prices. If they are still a little out of the price range, think about the f/4 version. Smaller and lighter they are also a lot cheaper, still offering top performance for getting into wildlife photography.

5 Top Value Lenses for Getting Started in Wildlife Photography

The 70-200mm is perfect for working with largest animals.

2 – The Prime Option 300mm F/4

If you want something a little longer think about looking into a 300mm f/4 prime lens. These fixed focal length lenses don’t zoom, so you have to move your feet to get the composition correct. However, due to their nature as primes they have excellent optical performance, offering wonderful sharpness as well as a reasonably fast aperture for creating pleasing portraits with your of focus areas as well as working in less than perfect light.

5 Top Value Lenses for Getting Started in Wildlife Photography

300mm f/4 lens.

The 300mm f/4 is a lens that has been on the market for a long time now and both Nikon and Canon lenses can be easily found for an excellent price secondhand even from dealers with included warranties. The 300mm f/4 was the telephoto that I used when I became more serious with my photography and it helped me on the path to shooting professionally. So I can vouch for its excellent qualities.

wildlife photography lenses

3 – Ultra Telephoto Zoom 100-400mm

If prime lenses aren’t your thing then the 100-400mm (or the Nikon 80-400mm) might be a better fit for your style of shooting. The excellent range makes it a very versatile lens for wildlife photography, giving you the ability to switch from close portraits to environmental shots in an instant.

5 Top Value Lenses for Getting Started in Wildlife Photography

80-400mm Nikon lens.

Buying new gives you the best options for getting a top spec lens, with the latest iterations having excellent sharpness, autofocus and image stabilization, whilst older models are slightly weaker in all aspects. If you are looking to invest in one of these I’d recommend trying to get hold of the latest model as it will last you a long time and really provide you with a top lens for getting some great wildlife images.

I would certainly recommend these as name brand lenses over third party manufacturers, as they are far better optically engineered. Often when starting out with wildlife photography, some people go for the longest superzoom they can find like the 150-600mm or 50-500mm. But these suffer from optical quality and often lead to frustrating results.

5 Top Value Lenses for Getting Started in Wildlife Photography

The 80-400mm is a great compact wildlife photography lens for travel.

4 – Wide Angle 10-20mm

When shooting wildlife photography, going wide a great way to create far more interesting images than super telephoto shots. Of course, as that isn’t always an option, spending a vast amount of money on a super wide especially if you are not focused on shooting landscapes as well can be overkill.

5 Top Value Lenses for Getting Started in Wildlife Photography

Canon 10-18mm lens.

Luckily both Nikon and Canon have excellent low-cost APS-C wide angle lenses that really offer great performance and functionality at decent prices. The new Nikon 10-20mm and the Canon 10-18mm are perfect candidates for wide angle wildlife shooting. Their ultra-wide view can pull the viewer into an entire landscape, while the close focuses of a mere 0.2m allow you to get up close and personal with your subjects (often wirelessly triggering) for impact filed images.

5 Top Value Lenses for Getting Started in Wildlife Photography

The 10-20mm is perfect for wide landscape shots or wildlife in the landscape.

wildlife photography lenses

Shot using the 10-20mm wide-angle lens.

These lenses cost around $ 300-500 so are brilliant options to give a wide scope to your shooting potential.

5 – Macro Lens 100/105mm

If you are interested in getting in close and looking at details as a wildlife photographer you’ll want to look into a macro lens for close up shooting. These specialist optics offer 1:1 life size reproduction ratios that are awesome for shooting insects and plants.

5 Top Value Lenses for Getting Started in Wildlife Photography

105mm macro lens being used in the garden.

The 100mm focal length is where you really want to invest as it offers the best in terms of performance, as well as a good working distance to help reduce the chance of your disturbing your subjects and getting in the way of your own lighting. The 100mm macro is a slightly more expensive lens but having been on the market for a while there are often many secondhand copies available offering discounts on the new price of around 30-40%.

It’s a truly great investment as these lenses are among the sharpest on the market with optical perfection that makes them a staple in many pros bags. The lenses are also great for a variety of non-macro tasks as well, with them often being used by portrait photographers for their flattering compression that makes beautiful backgrounds.


That’s a round up of a few of the top lenses to invest in if you are getting started in wildlife photography. They maybe slightly higher in price than some of the third party alternatives or lesser models, but these lenses will hold their own for many years, meaning the extra savings and investment will pay off with certainty in the long term.

wildlife photography lenses

If you do wildlife photography what lenses did you start off with? Which do you recommend? Please share in the comments section below.

The post 5 Top Value Lenses for Getting Started in Wildlife Photography by Tom Mason appeared first on Digital Photography School.

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This simple web tool helps you find the lenses you like best

10 Sep
Photo by Brandi Redd

If you’re having trouble deciding what lens to buy next, and diving into the technical details isn’t helping (we have no idea what that’s like… but we hear it happens), a simple web tool called What the Lens might be able to help. Created by photographer Willie Chik, the tool reveals your lens preference by having you pick your favorite photos from a gallery.

The site pulls images from 500px, automatically sorting them by brand—so you can use What the Lens to find your favorite Canon, Nikon, Fuji, Sony FE, Sony A, Olympus, or Panasonic lens. Then, once you’ve selected your brand, you can further break down the gallery by category—selecting either Landscapes, Macro, Animals, Travel, People, and City.

Finally, once you’ve done all that, it’s time to pick your favorite 20 photos. You can scroll down as far as you’d like, loading more shots until you find 20 you really like, and once you’re done the site will reveal what lens suits you best. In my case, after selecting 20 canon portraits, it came up with this:

Of course, we prefer a more technical approach here at DPReview… one that’s not liable to be skewed by your post-processing preference, what kind of landscapes you like best, or the variety of other issues that come up when you really start to think about this tool as a buying guide.

But if you’re looking for a simple and possibly even fun way to determine what lens deserves to go next on your to-buy list, What the Lens might be worth a go. Just be careful with the “People” category… that one can get a bit not safe for work (NSFW).

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Nikon patents two full-frame mirrorless lenses: 52mm F0.9 and 36mm F1.2

08 Sep
Photo by Jakob Owens

Nikon users who are out there wishing for a full-frame mirrorless camera from the storied Japanese brand have two more reasons to feel hopeful today. It seems Nikon has filed two new patents for full-frame mirrorless lenses in Japan: one for a Nikon 52mm F0.9, and another for a 36mm F1.2.

The patents were spotted by Japanese site hi-lows-note, and come complete with a few lens diagrams so you can ogle the lens elements while you cross your fingers even tighter.

Here’s the 52mm F0.9 diagram:

And the 36mm F1.2:

It’s worth noting that this isn’t the first time Nikon has patented a full-frame mirrorless lens—two zoom lenses for FF mirrorless were patented three years apart, one in 2014 and another earlier this year. But while a patent does not a new lens confirm, the more of these lenses Nikon puts on paper, the more hopeful we’ll be that a full-frame Nikon mirrorless camera is on the way.

For more on that possibility, read the official statement Nikon sent us on their future mirrorless camera plans.

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Sigma warns of aberration bug affecting some of its lenses on Canon DSLRs

11 Aug

Sigma has issued an advisory for five of its lenses over an error that occurs when they’re used with select Canon DSLRs.

The issue crops up when the cameras’ “Lens aberration correction” function is turned on. According to the company, having the lens aberration feature enabled on the Canon EOS 6D Mark II, EOS 9000D (77D), EOS Kiss X9 (EOS Rebel SL2), or the EOS Kiss X9i (EOS Rebel T7i) cameras will result in an error when paired with the following lenses:

  • SIGMA 30mm F1.4 DC HSM | Art
  • SIGMA 35mm F1.4 DG HSM | Art
  • SIGMA 30mm F1.4 EX DC HSM
  • SIGMA 50mm F1.4 EX DG HSM
  • SIGMA 85mm F1.4 EX DG HSM

Affected users are advised to keep the lens aberration function disabled until a fix is released.

Full Product Advisory

Dear Canon EOS 6D Mark II, EOS 77D, EOS Rebel T7i, EOS Rebel SL2 Users

Thank you for purchasing and using our products.

We have found that some SIGMA interchangeable lenses for CANON are not fully compatible with EOS 6D Mark II, EOS 77D, EOS Rebel T7i, EOS Rebel SL2.

When certain lenses are attached to these cameras and the “Lens aberration correction” function on these cameras is set to “Enable” for Live View shooting, an error would occur.
Please set the “Lens aberration correction” function of the cameras to “Disable” when using SIGMA’s interchangeable lenses for CANON.

In addition, please also refer to other notice below, related to the usage of EOS mount SIGMA lenses on Canon cameras.

When the lenses listed below are used on EOS 6D Mark II, EOS 77D, EOS Rebel T7i, EOS Rebel SL2 and the “Lens aberration correction” function on the camera is set to “Enable” for Live View shooting, an error would occur.

[Products concerned]

  • SIGMA 30mm F1.4 DC HSM | Art
  • SIGMA 35mm F1.4 DG HSM | Art
  • SIGMA 30mm F1.4 EX DC HSM
  • SIGMA 50mm F1.4 EX DG HSM
  • SIGMA 85mm F1.4 EX DG HSM

[Usage Notice for customers who are using EOS mount SIGMA lenses on CANON cameras]
When using the SIGMA lenses for CANON, “Peripheral illumination correction”, “Chromatic aberration correction”, “Diffraction correction” as well as “Distortion correction” from the “Lens aberration correction” function of the camera are not supported. Therefore, we recommend you to set them to “Disable”.
If those functions are set to “Enable”, the performance of the lenses may not be accurate.

For further information, please contact your nearest authorized SIGMA subsidiary / distributor.

We appreciate your continued support for our company and products.

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Vintage lens shootout: three lenses, one model

09 Aug

Vintage lens enthusiast Mathieu Stern took a break from coughing up fake blood in the name of dispelling lens myths this week to compare some of his favorite vintage lenses in a shootout. Stern went out for a single photo shoot with one model and three vintage lenses: the Canon FD 50mm f/1.4 S.S.C., the Soligor 21mm f/3.8, and the Helios 103 53mm f/1.8 (modified for tilt focusing).

The video is the first in a new video series that will help highlight the unique qualities of vintage glass by comparing three lenses at a time.

Definitely don’t expect ultra-sharp photos that’ll compare with the best (technically speaking) glass of today. But you should expect unique and interesting looking photos that might just inspire you to pick up some of these cheap old lenses on eBay and have some fun. Here’s a sample photo captured with each lens:

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If you’re into the vintage look, the nice thing about these lenses is that they usually don’t cost you much to try out for yourself. Just do a quick eBay search and you’ll see that you can grab a Helios 103 53mm f/1.8 for less than $ 40, a Canon FD 50mm f/1.4 S.S.C. for about $ 80, and the most expensive of the bunch, the Soligor 21mm f/3.8, for $ 275.

For more vintage lens reviews and other oddball videos, check out Mathieu’s YouTube Channel.

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Voigtlander says the new 65mm F2 E-Mount macro is one of its finest lenses ever

25 Jul

Lens manufacturer Voigtlander has just introduced a 65mm F2 macro lens for Sony E-mount that it says, “rates as one of the finest in the history of Voigtländer.” The Macro APO-Lanthar 65mm F2 Aspherical is designed to cover full frame sensors, and allegedly boasts exceptional correction of chromatic aberration.

While the lens is manual focus, it has electrical contacts so exposure information can be recorded in the camera’s EXIF data, and distance measurements can be used to assist in-camera image stabilization systems. The contacts also allow focus peaking to be activated.

Macro enthusiasts will be able to focus down to 31cm to achieve a maximum reproduction ratio of 1:2, while a ten-bladed iris should provide at least attractively rounded out-of-focus highlights. The lens weighs 625g/1.4lbs, measures 91.3mmx78mm/3.6x3in and takes a 67mm filter.

The Voigtlander Macro APO-Lanthar 65mm f/2 Aspherical will go on sale from the 1st of August and will cost £750/€1,000/$ 1,060.

For more information visit the Voigtlander website.

Press Release

MACRO APO-LANTHAR 65mm F2 Aspherical

Announcing the release of the Voigtländer MACRO APO- LANTHAR 65mm F2 Aspherical, a Sony E-mount macro lens for full frame sensors incorporating an apochromatic optical design and inscribed with the designation “APO-LANTHAR”

We announce the release of the Voigtländer MACRO APO-LANTHAR 65mm F2 Aspherical, a Sony E-mount macro lens for full frame sensors. The APO-LANTHAR designation is given to especially high performance lenses in the Voigtländer lens lineup. The legendary APO-LANTHAR lens that continues to enthrall photographers with its outstanding imaging performace and beautiful rendering was born in 1954, but its origins can be traced back around 120 years (see additional info about the APO-LANTHAR below).

A need for apochromatic optical designs that reduce the longitudinal chromatic aberrations of the three primary colors (RGB) of light to practically zero arose with the increasing popularity of color film. Now, with the current range of high- resolution digitals sensors, this need for extremely high-level control of chromatic aberrations is even more pertinent than when film changed from monochrome to color. So rather than just being for already solved old technologies, apochromatic optical designs are indeed a subject requiring serious consideration in the digital age.

The Voigtländer MACRO APO-LANTHAR 65mm F2 Aspherical, which inherits the designation “APO- LANTHAR”, is a high performance manual focus macro lens optimized for the imaging sensors of Sony mirrorless cameras. The optical performance of this lens, which provides an image circle capable of covering a full frame sensor, rates as one of the finest in the history of Voigtländer. Sharp imaging performance is obtained from maximum aperture where you can enjoy blurring the background, and by utilizing a floating mechanism this lens delivers outstanding image quality for subjects from the minimum focusing distance of 31cm (reproduction ratio of 1:2) through to infinity. This lens is a manual focus and manual aperture design, but also features electrical contacts that enable the lens settings at image capture to be included in the Exif information of the image data. Furthermore, the lens is installed with a distance encoder to enable support for 5-axis image stabilization on bodies with this feature, for example by providing distance to subject information used in X,Y shift compensation. Focus peaking while manual focusing is also supported.

Main features

  • Full frame Sony E-mount with electrical contacts
  • Apochromatic optical design that eliminates chromatic aberrations
  • Enhanced high performance utilizing aspherical lens surfaces
  • Optical design optimized for digital imaging sensors
  • Extremely solid and durable all-metal barrel
  • Manual focus for precise focusing
  • Maximum reproduction ratio of 1:2 at a minimum focus distance of 31 cm

Additional info about the APO-LANTHAR

The history of the APO-LANTHAR begins with the HELIAR invented by Hans Harting in 1900. Despite its simple optical configuration of five elements in three groups, the HELIAR was a lens with superb depictive performance. As an example of the HELIAR optical formula still being valid in the present day, it is used in the currently available HELIAR Vintage Line 50mm F3.5, a lens known for its superb depictive performance. Furthermore, a HELIAR is recorded as being the lens used to take imperial portraits of Emperor Showa, and it is said the HELIAR lens was extremely highly regarded for its beautiful depictive performance and even treated as a family treasure by portrait photography businesses during the Showa period.

Moving forward about half a century from the birth of the HELIAR to 1954, Albrecht Wilhelm Tronnier developed a lens using the same five-elements-three-groups configuration as the HELIAR utilizing new glass types to achieve performance that exceeded the HELIAR. That lens was the APO-LANTHAR. The APO in APO- LANTHAR indicates an apochromatic optical design. The main characteristic of such a lens is that longitudinal chromatic aberrations caused by the different wavelengths (frequencies) of the three primary colors (RGB) of light are reduced to practically zero to achieve high-level color reproduction. Color film slowly gained popularity after its release in 1935, and one reason why the APO-LANTHAR was developed was to address a growing need to capture light more faithfully than possible with monochrome film.

The first camera to be fitted with an APO-LANTHAR lens was the 6 x 9 roll film rangefinder camera representative of post-war Voigtlander, the Bessa II. There were three different lens variations of this camera: APO-LANTHAR 4.5/100, COLOR-HELIAR 3.5/105, and COLOR-SKOPAR 3.5/105. The APO-LANTHAR 4.5/100 variation has red, green, and blue (RGB) rings indicating the apochromatic optical design engraved around the front of the lens barrel to differentiate it from the other versions as a special lens. Due to the rarity and high performance of the Bessa II fitted with APO-LANTHAR lens, this camera has become a legendary camera traded on the used market at high prices and the envy of camera collectors.

As homage to the RGB colors that differentiate the APO-LANTHAR from other lenses beginning with the BESSA II, the MACRO APO-LANTHAR 65mm F2 Aspherical also features three colored dashes indicating the RGB colors at the front edge of the lens barrel.

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Firmware update fixes Sigma MC-11 AF issues with incompatible lenses

23 Jul

Sigma’s MC-11 mount converters allow you to use your Sigma SA mount and EOS mount lenses with Sony’s E-mount camera bodies, and now they work just a little better. The newly launched firmware version 1.06 fixes AF-issues that can occur with some lenses that are not officially compatible with the converter.

You can find a lens compatibility chart on the MC-11 product page, and further detail about the update on the Sigma support website. As usual, you can install the firmware using Sigma’s Optimization Pro software.

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Concert Photography 101: Cameras and Lenses for Beginners

20 Jul

If you’ve ever wondered how to become a concert photographer, one of the very first steps is to acquire the right gear. You’ve probably been to a concert or festival and seen music photographers hauling tons of equipment such as two camera bodies and enormous lenses. While it’s certainly ideal for a professional to have this much stuff (and then some), most beginners or amateurs absolutely don’t need this much gear to get started. Read on for some of my suggestions on how to gear up as a beginning doing concert photography.

Concert Photography 101: Cameras and Lenses for Beginners

Concert photography rules

Before we get into gear, let’s discuss your typical concert photography setting. Whether you’re shooting a big arena show or a small, casual performance in a bar, concert photography rules are more or less the same. You get to shoot for the first three songs only, and cannot use a flash or strobe of any sort. With these two rules in mind, this means that you need gear that allows you to adjust and shoot quickly and pull off shots in a low lighting setting.

What kind of camera do you need?

First off, invest in a solid DSLR camera. While there are point and shoot cameras that could arguably get the job done, you need the lens choices that come with DSLRs. It doesn’t really matter what brand you choose. What does matter is being comfortable using it and knowing that you have a wide variety of lenses to pair with it. Canon and Nikon are two of the biggest camera brands that are among the most popular for concert photographers.

Crop Sensor or Full Frame?

When researching DSLR camera options, you’ll have a choice between investing in a crop sensor or full frame camera. The differences between the two types of DSLR cameras is best explained in this article.

To quickly summarize, crop sensor cameras are typically smaller in size and much cheaper than full frame cameras. The main disadvantage to crop sensor cameras has to do with their smaller sensor sizes that will impact available ISO options, thus resulting in slightly noisier or grainy photos than full frame cameras. In short, start out with a crop sensor camera if you’re on a budget, and aim to upgrade to a full frame camera the further you get in your concert photography career.

Concert Photography 101: Cameras and Lenses for Beginners

Canon 5D Mark III (full frame) on the left and a 6D on the right.

Suggested concert photography cameras

Full Frame

  • Canon EOS 6D
  • Canon 5D Mark IV
  • Nikon D810
  • Nikon D750
  • Nikon D610

Crop Sensor

  • Canon 7D Mark II
  • Canon 77D
  • Canon 80D
  • Canon EOS Rebel T6i
  • Nikon D500
  • Nikon D7500
  • Nikon D5600
  • Nikon D3400

What are the best concert photography lenses?

After you’ve invested in a DSLR, be sure to budget for the purchase of accompanying lenses, which can end up being just as expensive as the camera body. Generally speaking, you shouldn’t use the kit lens that automatically comes with your DSLR camera.

Most of these kit lenses are fine for shooting in ample lighting conditions, but they won’t perform well in the low light settings of concerts. Instead, what you want is a fast lens with a wide aperture (or f-stop) of between f/1.2-f/2.8. This will help you capture moving subjects in dark settings.

Concert Photography 101: Cameras and Lenses for Beginners

Canon 24-70mm f/2.8 and 70-200 f/2.8.

Start with prime lenses

For beginning concert photographers on a budget, prime lenses are your best bet. While these lenses have fixed focal lengths, meaning you can’t zoom with them, their low f-stops mean they will shoot better in low light. Prices and exact lens models will vary according to which camera brand you’ve chosen. Since I’m a Canon shooter, these lenses are geared toward Canon.

  • 50mm f/1.4 (or the cheaper 50mm f/1.8) – for Nikon try the 50mm f/1.8G
  • 85mm f/1.8 – for Nikon try the 85mm f/1.8G
  • 35mm f/1.4  – for Nikon try the 35mm f/1.4

Put these lenses on your wish list

Pretty much every professional concert photographer will have two go-to lenses on hand: a 24-70mm f/2.8 midrange zoom lens, and a 70-200mm f/2.8 telephoto lens. Neither of these lenses is cheap and should definitely be considered a long-term investment. But if you can afford one or both, don’t hesitate to add these lenses to your concert photography kit.

Concert Photography 101: Cameras and Lenses for Beginners

Keep an eye on third party brands

While it’s certainly ideal to purchase lenses in the same brand as your DSLR camera manufacturer, there are many third party companies producing cheaper and sometimes even better options. Great lens options exist from Sigma, Tamron, and Tokina, to name a few. Again, the specific options will depend on the DSLR camera body you’ve chosen, but here are a few possible options for Canon shooters:

  • Tokina 11-16mm f/2.8 (for Canon EF-S/crop sensor or Nikon DX)
  • Sigma 17-50mm f/2.8 (for Canon EF-S/crop sensor or Nikon DX)
  • Sigma 24-70mm f/2.8

If you’re on a budget

It’s a reality that concert photography equipment isn’t cheap. But there are some ways to score more affordable camera gear. First, look into used or refurbished camera bodies and/or lenses. As long as you purchase from an accredited source, you can save hundreds of dollars on gear.

On the flip side, keep in mind that camera gear retains its value as long as you take care of it. So if you buy a lower-end camera or lens and want to upgrade later on, it’s pretty easy to sell off your old gear to help you invest in newer options.

Finally, look for older models or previous versions of gear. For example, you could spring for the brand new Canon 5D Mark IV camera body, or you can save over $ 1,000 by investing in the older yet still very functional Canon 5D Mark III. The same is true for many other camera bodies and lenses on the market. It all depends on your budget and what kind of features you absolutely need to have.

Concert Photography 101: Cameras and Lenses for Beginners

In Conclusion

Consistently pulling off pro-quality concert photos often requires investing in pro-grade camera gear. But it’s best to start small and to upgrade over time as your skills and budget increase. What are your go-to concert photography cameras and lenses? Let me know in the comments below!

Concert Photography 101: Cameras and Lenses for Beginners

The post Concert Photography 101: Cameras and Lenses for Beginners by Suzi Pratt appeared first on Digital Photography School.

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This Olympus OM-D E-M5, lenses and accessories are made entirely from paper

18 Jul

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Japanese paper artist Kamihasami (his artist name means ‘paper-scissors’ in Japanese) has recreated the Olympus OM-D E-M5, a few lenses, and accessories using nothing but paper and paste.

The faithful recreation is identical to the original models, and includes things like an SD card, battery and battery charger, underwater housing, and flash. In fact, the models are so precise that the paper lenses can be attached to and removed from the paper camera body!

According to Kamihasami’s website, the entire creation process for this artwork took more than three months. Fortunately, his effort was not a waste, the paper OM-D E-M5 earned Kamihasami an award in the prestigious Kamiwaza Grand Prix competition.

To see more of Kamihasami’s paper artwork, visit his website or follow his page on Facebook.

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Sigma announces pricing and availability of 14mm and 135mm T2 Cine Prime lenses

14 Jul
The 14mm T2.0 will cost $ 4999 when it starts shipping later this month. The 135mm T2.0 will also ship in late July, for the same price.

Sigma has announced pricing and availability for its new Cine Prime lenses. The 14mm and 135mm T2 primes will be available later this month for $ 4999 each, or as part of two and seven-lens kits for $ 10,499 and $ 24,799 respectively.

Press Release:

Sigma Announces Pricing and Availability for the 14mm and 135mm T2 Cine Prime Lenses, Shipping This July

Full-frame sensor compatible, high-speed prime lenses bring Sigma’s esteemed Art lens technology to cinema cameras; the 14mm T2 FF and 135mm T2 FF begin shipping late July for a retail price of $ 4,999.00 USD each

Ronkonkoma, NY – July 13, 2017 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, today announced the availability of two brand new cine lenses: the Sigma 14mm T2 FF and 135mm T2 FF, which will both begin shipping late July 2017. Compatible with full-frame image sensors, these high-speed cine prime lenses are available for EF, E and PL mounts. They are available as individual lenses for a retail price of $ 4,999.00 USD each, or as part of two and seven lens sets for retail prices of $ 10,499.00 USD and $ 24,799.00 USD respectively.

Go fast and wide with the Sigma 14mm T2 Cine Prime
The Sigma 14mm T2 FF Cine Prime lens is the world’s first and only to offer an incredibly fast T2 at this ultra-wide angle focal length for full frame sensors. Bringing remarkable optical performance to the art of capturing moving images, the Sigma 14mm T2 offers cinematographers the opportunity for robust cinematic expression.

Resolving power like nothing ever seen before with the Sigma 135mm T2 Cine Prime
The Sigma 135mm T2 FF Cine Prime offers astonishing rendering performance unmatched by almost any lens on the market. Retaining the optical performance of Sigma’s original Art lens for the still photographer, this exceptional lens enables cinematographers to enjoy the highest image quality for shooting movies.

Both lenses offer the following benefits and capabilities:

  • Bright, T2 full frame maximum aperture
  • Capable of resolving up to 8K
  • Available in Canon EF, Sony E & PL Mounts
  • 180-degree focus rotation

The Sigma 14mm and 135mm lenses are fully compatible with full frame sensors. The addition of these lenses to the Sigma cine lineup expands the FF High Speed Prime Line to a total of seven lenses, from a super-wide 14mm to a brilliantly sharp telephoto 135mm.

Pricing for individual lenses and lens sets
The newest cine lens offerings from Sigma will be available individually as well as in sets for the following retail prices.

Individual lenses:
Sigma 14mm T2 FF – $ 4,999.00 USD
Sigma 135mm T2 FF – $ 4,999.00 USD

Two lens set with case:
Sigma 14mm T2 FF, 135mm T2 FF and a protective lens carrying case – $ 10,499.00 USD

Seven lens set with two cases:
Sigma 14mm T2 FF, 20mm T1.5 FF, 24mm T1.5 FF, 35mm T1.5 FF, 50mm T1.5 FF, 85mm T1.5 FF, 135mm T2 FF, and two protective lens carrying cases – $ 24,799.00 USD

The Sigma 14mm T2 FF and 135mm T2 FF Shipping Late July
The Cine 14mm and 135mm lenses and sets will begin shipping late July 2017 for EF, E and PL mounts.

Articles: Digital Photography Review (

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