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Posts Tagged ‘sample’

Canon EOS Rebel SL2 sample gallery

11 Aug
Photo by Barney Britton

The Canon EOS Rebel SL2’s diminutive size makes it very easy to carry around, despite some impressive tech under its skin. With the same sensor and processor as the more expensive Rebel T7i and EOS 77D, we’ve had high hopes that this small camera would put out big image quality for its price point, and we weren’t disappointed. From the zoo to the islands and even to a very dim pinball joint, take a look through our gallery to see what the EOS Rebel SL2 can do with a variety of both prime and zoom lenses.

See our Canon EOS Rebel SL2 sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Voigtländer 65mm F2 Macro APO-Lanthar: sample gallery and user impressions

08 Aug

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Cosina says its new Voigtländer Macro APO-Lanthar 65mm F2 is one of the ‘finest’ lenses the brand has ever made. I haven’t used every Cosina/Voigtländer but can say for certain that from my brief user experience, this is one fine piece of glass.

If you’re just tuning in, the Voigtländer 65mm F2, which was first announced at CP+ 2017 along with two other primes, is a manual focus lens built specifically for Sony full frame E-mount cameras. As such, I tested it on Sony’s high resolution a7R II.

See our Voigtländer 65mm F2 Macro APO-Lanthar galleryEverything about how the 65mm handles screams precision and quality, from the all-metal housing to the drool-worthy matte black finish. Its electronic contacts mean the 65mm can communicate EXIF info with the camera; it also means you can use focus peaking and/or magnification.

Built specifically for Sony FE cameras, I found it paired nicely with the Sony a7R II.

The first thing I noticed while shooting is the long throw of the focus ring (common on macro and close-focus lenses). It turns about 300 degrees, allowing for quite a lot of focus precision. The ring itself is a little over 2 cm wide and well-indented, making it easy to grip. It also turns with a buttery smoothness that’s oh-so-satisfying.

‘Everything about how the 65mm handles screams precision and quality, from the all metal housing to the drool-worthy matte black finish.’

Apertures range from F2 – F22 and are well marked with click stops every third stop. The lens has a depth of field scale, with distance information listed in both feet and meters. The scale seems accurate (from my informal in-office testing), though I did not rely on it while out in the field.

This is about as close as the 65mm can get to a subject.

Though not a true 1:1 macro (despite having macro in its name), the 65mm offers a maximum reproduction ratio of 1:2 and a close-focus distance of 31 cm (so it can totally still be used for close-range photography). Note: when focusing at close distances, the front of the lens extends out about 4 cm.

Overall, I was pleased with the images I made using the a7R II and 65mm F2. When you nail focus, even with the aperture wide open, the results are very sharp. Voigtländer promised this lens would handle chromatic aberration well and all signs point to that being the case (Note: CA corrections are left off on all the images in the gallery). However you will experience some vignetting at F2 up through about F2.8, but by F4 it is gone. This is to be expected for this style of lens.

Electronic contacts on the lens allow it to communicate exif info with the camera. They also allow users to enjoy focus-peaking and/or magnification.

The 65mm focal length is not for everyone though. I personally found it to be a confusing field of view, leaving me unsure whether to shoot it like a 50mm or an 85mm (two focal lengths I’m use). Manual focus lenses also aren’t for all. Still, it is impossible to not appreciate something as beautiful and well-made as the Voigtländer 65mm F2 Macro APO-Lanthar.

What I like:

  • Excellent build-quality
  • Very sharp throughout aperture range
  • Focus ring turns with exceptional smoothness
  • Electronic contacts allow lens to communicate with camera

What I don’t like:

  • Focus ring hard stop at infinity end is beyond infinity (this may be an issue with our copy though)
  • 65mm field of view takes some getting used to

Articles: Digital Photography Review (dpreview.com)

 
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Venus Optics Laowa C-Dreamer 7.5mm F2 for Micro Four Thirds sample gallery

06 Aug

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Laowa is one of the brand names used by Chinese manufacturer Venus Optics. We previously encountered Laowa when we produced a sample gallery of the full-frame Zero-D 12mm F2.8 – a lens that claims zero distortion and has exceptionally well corrected barrelling for any focal length let alone one with such a dramatic angle of view. This 7.5mm F2 lens is designed for Micro Four Thirds cameras and makes no such distortion claims, but is one of the widest focal lengths for the system and certainly stands out for its combination of wide angle and wide maximum aperture.

The lens is small but weighty, its solidity lending it a feel of a product well made. It is actually very nice to use, focuses smoothly and its 46mm thread means filters can be used – with care. It is manual focus, with the infinity setting at the left of the scale as you look down from the shooting position. The aperture ring doesn’t unclick and offers the smallest space between the penultimate F16 and ultimate F22 settings. It has a depth of field scale marked on the barrel along with distances, but I’m unconvinced that either is especially useful.

These sample images have been made using the lens on the Panasonic Lumix DC-GH5.

See our Venus Laowa 7.5mm F2
sample gallery

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Fujifilm GF 23mm F4 sample gallery

04 Aug

After spending some time with the portrait-friendly GF 110mm F2, we’ve been taking a wider view with Fujifilm’s GF 23mm F4, an 18mm equivalent lens for the company’s medium-format system. Like the 110mm this lens is weather-sealed, offers a nine-blade aperture and focuses silently and internally.

From sunny Seattle summer days to wildfire-smoke sunsets – and some interiors and architecture in-between – check out our gallery of images from Fujifilm’s widest current offering for the GFX system.

See our Fujifilm GF 23mm F4
sample gallery

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Sample gallery: Tamron 10-24mm F3.5-4.5 Di II VC HLD

01 Aug

The Tamron 10-24mm F3.5-4.5 Di II VC HLD is an ultra wide angle lens for crop sensor DSLRs. It offers a 15-36mm equivalent field of view on Nikon DX and a 16-38.4mm equivalent field of view on Canon’s APS-C format DSLRs.

We’ve been out and about with the 10-24mm recently in and around Seattle, shooting on the Canon EOS 80D.

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Fujifilm GF 110mm F2 sample gallery

29 Jul

Fujifilm’s GFX system is growing fast, and among the company’s latest lenses is the GF 110mm F2 R LM WR. With a 35mm-equivalent focal length of 87mm, it’s very close to the ‘classic’ 85mm portrait lenses offered by other manufacturers. It’s weather sealed, focuses internally and quickly, and is quite large, especially with the optional hood attached.

But good gravy, this is one beautiful lens. It’s capable of outstanding sharpness and buttery-smooth backgrounds at wider apertures. And though it’s positioned as the GFX system’s standard portrait lens, we didn’t just shoot portraits with it. Check out our gallery to see what this $ 2800 lens can do.

See our Fujifilm GF 110mm F2
sample gallery

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Sample gallery and impressions: Tamron 18-400 F3.5-6.3 Di II VC HLD

28 Jul

The Tamron 18-400 F3.5-6.3 wants to be the only lens you’ll ever need. In my experience, lenses of this nature tend to offer zoom versatility at the cost of sharpness, especially at the telephoto end of the zoom range. But I was pleasantly surprised by how solid this ‘ultra-telephoto’ performs at all focal lengths in bright, direct light.

More specifically, I found it produced adequately sharp images throughout the zoom range with acceptable levels of CA, distortion and vignetting. It’s also a fun lens to use, given its focal length range and reasonable size. As a bonus, it also offers a surprisingly close focus distance at the long end (see image at the bottom of this page).

See our Tamron 18-400mm F3.5-6.3 sample gallery

Available for both Canon and Nikon APS-C camera bodies (it offers an equivalent zoom range of 27-600mm on Nikon’s DX format, and 29-600mm on a Canon) I used the 18-400mm with the Canon EOS 80D, and and in terms of size and balance, it proved a good pairing. Despite having a plastic housing, the 18-400mm is reassuringly solid, and unlike some cheaper zooms the mount is made of metal. A small rubber ring around the mount is a reminder that the lens is also moisture-resistant.

Vibration Control is a useful feature given the insane zoom range – I definitely noticed it kicking in while shooting.

The wide, 27mm equivalent. And the tele, 600mm equivalent.

The lens also offers a nifty locking mechanism when zoomed to 18mm. This is a great way to avoid the dreaded ‘lens creep,’ though I found even without using the lock, the lens never crept when left at or near 18mm. The body also offers an AF/MF toggle, in addition to a VC on/off switch.

Overall, the Tamron 18-400mm F3.5-6.3 strikes me as a great and versatile lens for most daylight shooting scenarios. Travelers in particular will find it useful. And though it is heftier than your average kit lens, at 24.9oz / 705g, it shouldn’t weigh you down too much.

I was impressed by the close focus distance when shooting at the tele end.
400 mm | 1/1600 sec | F6.3 | ISO 800

Articles: Digital Photography Review (dpreview.com)

 
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Sample gallery: Around town with the Sigma 14mm F1.8 Art

25 Jul

The Sigma 14mm F1.8 DG HSM Art is a truly unique lens. Offering the widest aperture of any lens that bears the same focal length, it is very sharp, produces beautiful sunstars, and offers almost uncanny subject isolation given its ultra-wide field of view. In other words, it’s capable of imagery that no other lens on the market can produce. Check out our sample gallery to see for yourself.

See our Sigma 14mm F1.8 Art
sample gallery

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Canon EOS 6D Mark II sample reel

20 Jul

The Canon EOS 6D Mark II offers decent video quality at up to Full HD (1080/60p) resolution. It doesn’t offer any form of 4K capture like its higher-end siblings, but with full Dual Pixel Autofocus and effective digital image stabilization that works in tandem with in-lens stabilization, the footage is generally smooth and in focus.

In addition to a somewhat inauthentic mojito recipe, the above video demonstrates how the EOS 6D Mark II copes with high-contrast scenes, lots of potential distractions for autofocus, as well as gives a general impression of the overall quality you’ll get from Canon’s newest HD-capable DSLR.

The video was filmed entirely hand-held with Canon’s ‘Movie Digital IS’ enabled (but not the ‘enhanced’ option), using the 1080/60p MP4 setting. White balance was kept to auto, and Auto ISO was used to allow for automatic changes in brightness while the shutter speed and aperture were controlled manually. There are also speech samples from both an external shotgun microphone and the internal microphones on the 6D II, and Canon’s Dynamic Lighting Optimizer was set to ‘High.’

What do you think about the 6D II’s video quality? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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Canon EOS 6D Mark II sample gallery

20 Jul

The sun’s been out in Seattle, giving us ample opportunity to shoot with the new Canon EOS 6D Mark II. Initial impressions point to a capable, well-rounded full-frame camera with controls and handling nearly identical to that of the Canon 80D. In the field the camera’s AF coverage feels small compared to the 80D, though the Live View shooting experience is the same: excellent.

We’ll be adding to this gallery more as we work toward posting the review. In the meantime, here are 100+ initial samples from a full-production camera to start with.

Articles: Digital Photography Review (dpreview.com)

 
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