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DPReview TV: Tamron 28-75mm F2.8 Di III RXD hands-on field test

17 Jun

The Tamron 28-75mm F2.8 Di III RXD is an affordable F2.8 standard zoom for full frame Sony E-mount cameras. It’s one of the first third-party zooms designed to take full advantage of the short Sony mount, resulting in a small, light carry-everywhere lens. What are the trade-offs, compared with the alternatives? Chris and Jordan take a closer look…

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Articles: Digital Photography Review (dpreview.com)

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3 Elements of Getting Shallow Depth of Field Images

01 Jun

Depth of field is one of the things that beginners often struggle with understanding. So I found a couple of videos on YouTube to help you out.

Depth of Field Basics

In this first video from B&H Photo, Kelly Mena explains the three elements that affect depth of field and how they work. The three elements are:

The aperture
Focal length of your lens
The subject to camera distance

Okay, that explains things really well. Let’s look at another video example showing the same three elements.

Depth of Field the Easy Way

Next up, is this video by photographer Ray Scott. He gives some great image examples showing both ends of the spectrum from shallow to wide depth of field and how to combine the three elements to best control your background and foreground focus.

If you have had trouble understanding how to get a shallow depth of field, I hope this has helped you get a better handle on it.

The post 3 Elements of Getting Shallow Depth of Field Images appeared first on Digital Photography School.

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Thoughts and Field Test of the Fujifilm X-H1 Camera

30 May

This spring, the Fujifilm X-H1 was released to the masses. It’s touted as the company’s camera with the most video features to date, even topping the popular X-T2. As long-time owners of the Fujifilm X-Pro2, my husband and I jumped on the X-H1 bandwagon early, sending in our preorder the day it was announced.

Our main intention was to use it to support our new venture into videography. In the short couple of months that we’ve been shooting with the Fujifilm X-H1, we’ve found it to be not only a superior camera for video but for still photography as well.

Here are our thoughts so far. This camera is most comparable to the Fujifilm X-T2, which is already a respectable video performer. We don’t have the X-T2 but will make some comparisons to the X-Pro2 that we do have.

fujifilm x-h1 mirrorless camera

Key Specs

First announced in February 2018
24-megapixel X-Trans APS-C sensor
5-axis in-body image stabilization (IBIS)
Touchscreen rear LCD with 2-axis tilt
3.69M-dot OLED viewfinder
DCI and UHD 4K video capture at up to 200 Mbps
Slow motion 1080p (from 120 and 100 fps)
Internal F-log capture
New film simulation – Eterna
24-bit audio capture
Timecode
Dual UHS-II compatible SD card slots
Anti-flicker shooting mode
Built-in Wi-Fi with Bluetooth
Currently priced at $ 1899 USD for body-only; $ 2199 when bundled with the VPB-XH1 vertical battery grip.

What’s New?

Physical Body

Compared to most other Fujifilm cameras, such as the X1ooF and X-Pro2, the X-H1 is much bulkier, but that isn’t necessarily a bad thing. Much of the bulk comes from the camera’s larger hand grip and buttons, making it much easier to carry the camera.

The X-H1 also ads an AF-On button for those who prefer using back-button autofocus. It also has top-panel LCD similar to a DSLR. In practice, the top-panel LCD seems unnecessary, especially since it takes the place of the Exposure Compensation dial that is present on the X-Pro2 and X-T2.

fujifilm x-h1 mirrorless camera

New Quiet Shutter Mechanism

This is among our favorite features of the X-H1: its shutter is whisper-quiet, offering a soft yet audible click when a photo is taken.

Not only is the shutter quiet, it also allows the camera to offer an Electronic First Curtain (EFC) shutter mode. EFC allows you to reduce the risk of shutter shock without increasing the risk of rolling shutter.

5-Axis In-Body-Stabilization (IBIS)

For videomakers, in-camera stabilization is key for helping capture smooth footage. The X-H1 is Fujifilm’s first camera to include IBIS and right off the bat, we’re impressed with its performance.

When activated and used with an image-stabilized lens, capturing smooth hand-held video footage is easier than ever before. As an added bonus, IBIS also helps you shoot still photos at low shutter speeds.

fujifilm x-h1 mirrorless camera - sunset shot

Improved Video Performance

Although based on the same sensor and processor as the X-T2, the Fujifilm X-H1 boasts significantly improved video features. Shooting options have been extended to include DCI 4K and UHD 4K shooting. If you’re unfamiliar with the two terms, here’s a quick summary. DCI (short for Digital Cinema Initiatives) 4K is 4096 x 2160, while UHD (Ultra High Definition) 4K is 3840 x 2160. For videos winding up on YouTube or TV, UHD is fine. But for videos that will be projected in theaters, DCI 4K is a better choice.

The X-H1 also allows for recording F-log footage internally. In video-terms, shooting in log format is like shooting in RAW. Your log footage tends to be less saturated and less detailed so that you can color grade (post-process) the video footage to your liking later. F-log made its debut on the X-T2, but it could only be done via an external recorder. The X-H1 is Fujifilm’s first camera that allows for the recording of F-log directly to an SD card in 4K.

Another vital video feature making its Fujifilm debut on the X-H1 is 120 fps slow motion video. It can only be recorded at full HD, but the slow-motion video quality has been stellar, especially when paired with IBIS.

fujifilm x-h1 mirrorless camera - shot of a car in the mountains

New Eterna Film Simulation

Fujifilm has long been known for their excellent color reproduction, even back in the days of film photography. Thankfully, that is passed down in Fujifilm digital cameras in the form of film simulation modes. They’re similar to the color profiles offered in digital cameras from Canon, Nikon, and Sony.

Until recently, Fujifilm had six unique film simulation modes on its cameras: Provia, Velvia, Astia, Classic Chrome, PRO-Neg STD, and PRO Neg HI. The X-H1 is the first camera to ship with Fujifilm’s seventh film simulation, Eterna.

Designed for videographers, Eterna is characterized by more muted, subdued colors and rich shadow tones. Our observations so far are that Eterna is designed for further color grading in post-production, and also to attract the video viewer’s eye to the action in the scene and away from the rest of the frame.

fujifilm x-h1 provia film type - car next to a field

What could be improved

One of many things to love about Fujifilm is that they really listen to their customers. Kaizen firmware updates are frequent and they add useful features that build on the cameras. Here are a few things we’d like to see rolled out in firmware updates, or in the next version of the X-H1.

Physically, the chunky handgrips and the bigger buttons are appreciated for improved ergonomics. However, the missing exposure compensation dial is a big disappointment. Also, the rear LCD having only a two-axis tilt is limiting; it needs to be able to fully swivel to appeal to the vloggers and also make it easier to shoot from different angles.

Finally, battery life and video recording limits on this camera leave much to be desired. The X-H1 limits 4K video recording to 15-minute clips. This can be extended to about 29 minutes of shooting in 4K if you use the optional battery grip. However, the battery grip adds lots of bulk to the camera, making it less pleasant to shoot with.

fujifilm x-h1 mirrorless camera

Hopefully, Fujifilm will take a cue from Sony and their new NP-FZ100 battery, which arguably is the best-performing battery for mirrorless cameras at the moment.

In Conclusion

The Fujifilm X-H1 is the first of a new line of cameras that make the bold statement that Fujifilm is a viable alternative for videomakers. This camera builds on the already credible video features of the X-T2 by taking it a step further with the addition of features such as Eterna film simulation and 5-axis IBIS. If you’re a serious video maker, keep an eye on the X-H series. It will only improve more with each new release.

Overall Rating: 9/10

To hear more about our experience with the X-H1 and how it compares to the X-Pro2, check out the video below featuring the main Fujifilm shooter of the two of us: my husband Martin.

The post Thoughts and Field Test of the Fujifilm X-H1 Camera appeared first on Digital Photography School.

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How to Make Fake Shallow Depth of Field Using Photoshop

11 Apr

Do you see your photo and wish the subject stood out a bit more? Does your photo look somewhat flat? Or maybe the background has people or objects that are unappealing? All of these can be fixed with one simple thing: a shallow depth of field.

In this tutorial, you will learn how to achieve this in post-production using Photoshop.

Fake Depth of field tutorial

Let’s start by clarifying that depth of field is the area of your photograph that is in focus, it’s also called focus range. There are three factors that affect your depth of field.

First is the aperture or f-number. The smaller the number, the smaller the focal range and vice versa, so f/5.6 will have a shallower depth of field than f/22. The second and third factors are very linked together; the focal length and the distance to the subject.

If you are using a telephoto lens and you can, therefore, stand farther from the subject you’ll have a shallower depth of field than standing closer with a wide-angle lens. You can learn more about this relationship and its effect on depth of field in my previous tutorial, How to Use Still-life Subjects to Understand Focal Lengths.

However, if you didn’t manage to set up these things when you were shooting, or you still need more (blur in the background) you can also fake the effect of shallow depth of field in post-production. Here are two techniques to do it using Photoshop.

Technique #1 – When the subject and the background are separated

Before Focus Range Fake Depth of Field Tutorial

Before image example.

With your image already opened in Photoshop, start by duplicating the layer by going to Menu > Layer > Duplicate Layer, then make the canvas bigger. You can do this by going to Menu > Image > Canvas Size.

It doesn’t matter the size of the canvas or the direction because you’ll be cropping it later. However, it’s important that there’s enough room for your main subject to be dragged into it on the next step.

Duplicate Layer Canvas Size Blur Background Tutorial

Then select your subject. It doesn’t have to be precise so you can simply use the Lasso tool and draw a selection around it. Now change to the Content-Aware Move tool which you’ll find hidden behind the Healing Brush on the tools panel. Next, drag your selection out of the image into the empty canvas size that you created before.

Content Aware Move Tool Blur Background Tutorial

Once you drag it out, Photoshop’s algorithm will fill the space you’re leaving empty with the information from the surrounding area. If you skip this step and blur the background with the subject still on it, the colors will spill out so it’s important that you do this part.

Drag Content Aware Move Tool Blur Background Tutorial

Now you can crop out the extra background, including the subject you dragged out and change the canvas back to its original size. Your background is now ready for you to blur it. Go to Menu > Filter > Blur > Field Blur. When the blur applies, a wheel appears in the center with a percentage on how strong the blur is. Adjust it to your liking.

Field Blur Filter Fake DepthofField Tutorial

With this blurred layer still selected, add a layer mask to it by clicking on the button that looks like a rectangle with a circle in the middle on the bottom of the Layers Panel. Then paint on the mask with a black brush, over the subject you want to keep sharp from the original image.

Layer Mask Fake DepthofField Tutorial

The part that you painted black is now transparent so the layer beneath it, which is your original image will be visible. Finally just flatten your image and you’re done!

After Focus Range Fake Depth of Field Tutorial jpg

Technique #2 – When the objects are closer together

The technique you just learned is very useful if your subject is separated from the background, but what happens if you want a shallower depth of field because the objects are closer together? Or because it’s the same subject but you only want a part of it in focus?

In these cases, you need to create an effect that is graduated (fades from one end to the other). To do this here is another technique.

Before Shallow Depth of Field Tutorial

First of all, you need to duplicate the layer by going to Menu > Layer > Duplicate Layer like you did in the previous example, or use the shortcut by dragging the background layer into the Duplicate layer button on the bottom of the panel (or hit Ctrl/Cmd+J).

Then apply a Layer Mask to the new layer by clicking on the mask icon. Inside the mask, you will use the Gradient tool to mark where you want the sharp areas. In this case, I used the circular one but you can use a linear one or whichever is best for your image. I turned off the background layer so you see what I mean.

Grading Layer Mask Fake DepthofField Tutorial

Now go to Menu > Filters > Blur > Lens Blur and a new window will pop-up. Here you’ll see your image with the filter applied and a panel for adjustments on the right side.

Lens Blur Filter Fake Depth of Field Tutorial

It’s important that you set Layer Mask as the source, that way the gradient selection that you did before is what will determine how the filter gets applied.

Once you do that, the Blur Focal Distance slider will be enabled and you can start adjusting it to your liking. I also adjusted the radius and blade curvature, but you should move all the settings to get a feeling for the effects until you’re satisfied.

Finishing up

Hit OK to apply and flatten the image to finalize the result. That’s it!

Remember that every image will need a different treatment to look realistic because there are many things that determine the depth of field so keep experimenting and show us the results in the comments section.

The post How to Make Fake Shallow Depth of Field Using Photoshop appeared first on Digital Photography School.

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Tips for Quick Photo Editing in the Field

04 Apr

In today’s world of fast and super fast consumption of everything, perhaps photography and photographers are an anomaly in that we obsess over editing and over-editing our photos until the cows come home (figuratively speaking of course)! But there are some situations where quick photo editing and speed are our friends.

For example, say you are traveling on an adventure of a lifetime but still want to keep your followers and/or your community engaged and up to date on all your adventures by way of images. Or if you have just come back from a client photoshoot and want to send some sneak peek images so that your clients get excited about what is to come in the next few weeks.

Albert Hall Jaipur India at Sunset with pigeons - Tips for Quick Photo Editing in the Field

A quick edit of an image as I was traveling around India for 10 days.

In situations like these, having a process to edit your photos quickly yet efficiently and on-point with your photographic aesthetics is key. Luckily there are a few elements that can be adjusted to achieve a clean edited look. These sliders are universal in that they are available with almost any editing software available be it Lightroom (as seen below), Photoshop, or even smartphone editing software like Snapseed and VSCO.

Follow along with this video

In the following video, I share some quick and easy editing tips for times when you are in a crunch.

One quick tip for a fast edit in the field is to start with an image that has good bones, to begin with. Essentially what this means is that you try to get the images as close to your vision for the final outcome, straight out of the camera.

So slow down and really think through elements like exposure, composition, tonality, etc., right as you are taking the image. This will definitely help speed up your editing even more.

Golden Gate Bridge with a pink hue at sunrise before editing straight out of camera -

A clean straight out of camera shot that was almost what I wanted to achieve.

Karthika Gupta Golden Gate Bridge with a pink hue at sunrise after a quick edit

A few minor adjustments to amplify the pink/orange hues for a quick edit.

Conclusion

I hope these editing tips were useful. Keep in mind, the whole point of this exercise is to make editing in the field easy and quick.

You can always come back and re-edit those images to perfection when you have the time to spend hours on a single image (we have likely all been guilty of doing that at some point or the other – it is called the photographer’s dilemma!!).

Do you have any other quick photo editing tips you’d like to share? Please do so in the comments below.

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Google created this rotating 16-GoPro arc to capture light field data for VR

30 Mar

Google has announced that it is experimenting with light field technology to improve its virtual reality content. The company detailed the work in a recent blog post, explaining that it has modified a GoPro Odyssey Jump camera so that it features 16 cameras mounted along a vertical arc, which is itself mounted to a 360-degree rotating platform.

According to Google, light field technology is one potential way to give users a “more realistic sense of presence” within a VR world. Light field-based content presents objects in different ways depending on the position of the user’s head and their distance from the object.

“Far-away objects shift less and light reflects off objects differently, so you get a strong cue that you’re in a 3D space,” Google explains. VR headsets with positional tracking take this to a new level by determining where the user is “located” within the virtual world.

Using its rotating Jump rig, Google is able to capture approximately 1,000 outward-facing viewpoints on a 70cm sphere, which ultimately offers a 2ft / 60cm diameter volume of light rays. The company explains how its translates that data into VR content:

To render views for the headset, rays of light are sampled from the camera positions on the surface of the sphere to construct novel views as seen from inside the sphere to match how the user moves their head. They’re aligned and compressed in a custom dataset file that’s read by special rendering software we’ve implemented as a plug-in for the Unity game engine.

Demo content has been released to the public via the Steam VR app “Welcome to Light Fields.” Users will need a Windows Mixed Reality, HTC Vive, or Oculus Rift headset to view the content. Light field VR demo experiences include a look inside the Space Shuttle Discovery, Gamble House, and Mosaic Tile House.

To learn more, head over to the full technical post on Google’s Keyword blog.

Articles: Digital Photography Review (dpreview.com)

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Thoughts and Field Test of the Rokinon 12mm f/2.0 Wide-Angle Lens

05 Mar

If you’re a mirrorless camera shooter on the market for a fast wide-angle lens, look no further than the Rokinon 12mm f/2.0 lens. While this lens is indeed manufactured by a third party gear company, Samyang of Korea, don’t let brand names fool you. This unique little lens gives you an ultra wide point of view and is relatively inexpensive.

Read on for more!

Rokinon 12mm f/2.0 lens details

Introduced in 2014, the Rokinon 12mm f/2.0 lens is special because it is designed specifically for mirrorless cameras. With its maximum f/2.0 aperture, it is noted as the fasted 12mm lens for APS-C (crop) sensor cameras. At this time, the Rokinon 12mm f/2.0 comes in either black or silver from about $ 299-399.00. Lens mounts exist for the following mirrorless cameras:

Thoughts and Field Test of the Rokinon 12mm f/2.0 Lens

Sony E-mount
Fuji X-mount
Canon M
Samsung NX
Micro four thirds (Olympus and Panasonic)

The Rokinon 12mm f/2.0 is an APS-C lens, meaning it was designed to provide a 35mm (full frame) equivalent focal length of 18mm. Although specifically designed for crop sensors, this lens can be used on full frame sensor and micro 4/3 cameras, but with a different effective focal length.

The only catch is that this is a Manual Focus only lens, but that isn’t necessarily a bad thing. More on the lens focusing below.

NOTE: Check your manual – for some camera models you may need to set it to “Fire Without Lens” as is the case with Fuji X cameras. As the camera and lens do not talk, the camera needs to know it’s okay to take a photo.

Lens build

Considering this is a relatively inexpensive lens, it’s no surprise that much of its build is plastic. The aperture ring, manual focusing ring, and 67mm filter ring are all made of plastic. Thankfully, the lens mount is metallic. Despite being made mostly of plastic, the lens has a really solid feel and it weighs in at 0.47 lbs (215 g).

Thoughts and Field Test of the Rokinon 12mm f/2.0 Wide-Angle Lens

Image quality

This lens performs surprisingly well for its size and price. The center of the Rokinon 12mm is very sharp at f/2.0, peaking at around f/5.6. While the corners can at times be rather soft at f/2.0, they are quite sharp at f/4.0.

Vignetting, or light falloff, is visible when shooting at just about any aperture, but it is especially strong when shooting at f/2.0. Despite being an ultra wide angle lens, there is very little distortion in the images.

When to use this lens

Given its 12mm focal length and fast f/2.0 aperture, the Rokinon 12mm is best suited for real estate, architecture, and landscape photography. Perhaps the most popular reason why photographers buy this lens is to shoot the stars. That was my reason for purchasing it, and so far it has not disappointed.

Thoughts and Field Test of the Rokinon 12mm f/2.0 Wide-Angle Lens

Manual Focusing Tips

Probably the biggest challenge about shooting with the Rokinon 12mm f/2.0 is getting used to shooting with its manual focus settings. Personally, this was both the very first third-party lens, and the very first manual focus lens I’ve ever purchased.

If you’ve used Rokinon lenses or manual focus lenses, then all of these observations may not apply. But if you’re also new to Rokinon and manual focusing, you’ll probably relate to these challenges.

1. Practice, practice, practice

The Rokinon 12mm has two plastic rings that you must toggle in order to set your own aperture and focus. Both rings rotate pretty smoothly. There’s no way to control aperture or focus via your camera body, and this can be a big adjustment for some people.

The best way to overcome this challenge is practice. You’ll get used to it, eventually.

2. Turn on Focus Peaking

Thoughts and Field Test of the Rokinon 12mm f/2.0 Wide-Angle Lens

Focus peaking in action on the Sony a6300

While manual focusing a lens might sound intimidating, many mirrorless cameras are equipped with features that help you out tremendously. One such feature is focus peaking.

This focusing aid can be viewed when shooting in Live View or with an electronic viewfinder. When enabled, focus peaking places colored highlights on the in-focus edges of your image. It is a huge help to making sure your manual focus lens is focused on the right places.

3. Use the Focus Magnifier

Thoughts and Field Test of the Rokinon 12mm f/2.0 Wide-Angle Lens

Another way to ensure accurate focus with a manual focus lens is to enable your camera’s focus magnification system if it exists for your model. For Sony cameras, this feature is called Focus Magnifier, and it enables you to magnify your screen four times. This helps you really nail your focus.

In Conclusion

Rokinon 12mm wide angle lens

Overall, the Rokinon 12mm f/2.0 wide-angle is a compact, relatively cheap lens that is a great addition to any mirrorless shooter’s gear kit. It delivers superb photos without adding too much bulk or breaking the bank.

Sample Photos

Rokinon 12mm wide angle lens

The post Thoughts and Field Test of the Rokinon 12mm f/2.0 Wide-Angle Lens by Suzi Pratt appeared first on Digital Photography School.

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The Chroma is a lightweight, affordable, easy-to-use 5×4 field camera

22 Feb

A UK photographer and custom-built camera maker has launched a Kickstarter campaign to help fund a new 5×4-inch field camera that he intends to be lightweight, easy-to-use, unique, affordable and upgradable… as well as a bit funky. To that end, the Chroma will be made from brightly colored sheets of acrylic, laser-cut for accuracy.

Steve Lloyd has spent fifteen years creating custom cameras as one-offs, but decided to make a production 5×4 camera using modern materials and technologies.

The 3mm and 5mm acrylic sheets he uses allow cameras to be made in a range of colors—including Red, Pink, Blue, White, Green, Matte Black, Glossy Black, Purple and Yellow—while the lightweight nature of the material means the Chroma will weigh much less than a traditional wooden model. Even with the ground glass screen, the camera weighs just 1592g.

Here’s a quick intro to the colorful Chroma camera:

Lloyd has designed Chroma to provide a good range of movements in both the front and rear standards, with 40mm of rise and fall when both standards are in operation, and 30mm of shift in either direction at the front. Both standards allow 45° of tilt forwards and backwards, and Lloyd claims swing is limited only by the coverage of the lens in use and the ability of the bellows to flex.

The camera uses a clever back that is fixed with magnets built into the body, so it can be lifted off and rotated in seconds. The back is designed for standard 5×4 double dark slides, and Lloyd says he is working on designs for roll film and Graflok backs, as well as one for wet plate holders.

When fully extended the Chroma can stretch its bellows to 300mm, and it can be used with focal lengths from 65mm to 280mm. In the extended pose the camera measures 180x330x235mm, but it folds away to just 210x180x117mm.

The camera comes with a ground glass screen and a pin-hole lens to get new 5×4 photographers started. Users can choose Copal 0, 1 or 3 sized holes in a Linhof/Wista-style lens board, and those with existing Linhof/Wista boards will be able to fit them.

The Chroma starts at £250 (approx $ 350) for Kickstarter backers, and Lloyd says he expects to deliver between June and November 2018 according to the pledge you choose. Of course, no crowdfunding campaign is a guarantee, but given he’s already raised over $ 40K on a $ 13K goal, Lloyd is well on his way to a successful delivery.

For more information or if you want to put down a pledge and pick up a Chroma for yourself, visit the camera’s Kickstarter page.

Articles: Digital Photography Review (dpreview.com)

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Field Test and Thoughts: Tamron 24-70mm F/2.8 Di VC USD G2 Lens

15 Nov

Ask any experienced photographer what his or her all around go-to lens is, and odds are high that the response will be the 24-70mm f/2.8. Not only does it cover a useful range, but the fast aperture makes it ideal for shooting in low lighting conditions when you don’t have a prime lens handy. The long-standing problem with this lens? It is notoriously pricey. Enter the new Tamron 24-70mm f/2.8 G2 lens!

Tamron 24-70mm

Along with Sigma, Tamron has been upping its lens game recently by offering high-quality budget versions of popular lenses. In fact, the original Tamron 24-70mm f/2.8 lens (Model A007) was first announced in February 2012 and has been on the market for awhile. This year, a highly anticipated second version was released. Here’s what the specs are and what I think after comparing it to my Canon 24-70mm f/2.8 II.

Tamron 24-70mm

The Specs

The official name of this lens is a mouthful: Tamron SP 24-70mm F/2.8 Di VC USD G2 (Model A032). Let’s dissect some of that terminology.

SP is Tamron’s version of high-end lenses, similar to the Sigma Art series. The Tamron SP 24-70mm joins a handful of mostly prime lenses with this designation. Di stands for Digitally integrated, meaning the lens will perform well on full-frame and APS-C format cameras. VC refers to Vibration Control, which Tamron says is much improved in this new lens, offering around 5-stops of compensation, a big boost over its predecessor. USD stands for Ultrasonic Silent Drive, which is reasonably quiet. Finally, G2 is short for Generation 2; this, along with the model number, differentiates this lens from the original.

This lens is available in both Canon and Nikon DSLR mounts.

Tamron 24-70mm

Price

First of all, let’s talk about price. The original Tamron 24-70mm f/2.8 was announced in 2012 with a price of $ 1,300. Somehow, version II came out several years later with the even lower price of $ 1,199.00. Compare that to the current prices of the Canon ($ 1,699)and Nikon ($ 2,397) versions. Price-wise, it even beats out the Sigma version ($ 1,299). While Tamron’s version is still pricey, it’s the least expensive option on the market. That’s good news for photographers on a budget.

Lens Hood

This feature was so good it deserves its own heading.

Like most lenses, the Tamron 24-70mm f/2.8 G2 comes with a lens hood. Unlike most other lenses, the hood is solidly built and snaps into place very tightly. Once the hood is on, there’s almost no way that it will accidentally fall off as it inevitably does when shooting with other lenses.

Tamron 24-70mm

Build Quality

Following in the tradition of other Tamron SP lenses, the 24-70mm f/2.8 G2 is very solidly built. Its outer barrel is made mostly of metal instead of plastic and has moisture resistant construction. As a trade-off for the lens’ solid build, it is pretty big and bulky at nearly 11 cm (4.3″) long and 900 grams (approx. 2 lbs) in weight. That’s 75 grams (2.6 oz) heavier than the original! As a result, this lens might be tough to balance on small, lightweight camera bodies. During this test, the lens was paired with a Canon 5D Mark III, where it felt reasonably well-balanced.

Lens Switches

There are several switches located on the sides of the lens. One is an AF/MF switch making it easy to go from Autofocus to Manual focus. Nearby is the Vibration Control (VC) switch. Whether you choose to turn VC on or off depending on what you’re shooting, but it definitely helps with handheld shots.

The final switch is unique to Tamron zoom lenses: a Lock switch that holds the lens at 24mm, preventing it from extending. I have this unintended lens extension problem (it’s called zoom creep) with my Canon 24-70mm f/2.8 II (probably from prolonged use) and would love to see this feature on every zoom lens.

Tamron 24-70mm

Image Quality

Tamron’s SP lenses come with a special coating that significantly reduces ghosting or lens flare. In the case of the 24-70mm f/2.8, there was little evidence of flare when shooting into the sun or into bright light.

Tamron 24-70mm

When shooting wide open at f/2.8, there’s noticeable light fall-off in the corners of the image. It’s hard to get rid of the vignette without using an f-stop of f/5.6 or smaller.

Shot wide open at f/2.8, there is a noticeable edge vignette on the corners of the image.

Shot at f/11. Little to no vignette.

Image sharpness was comparable to what you would get from a 24-70mm f/2.8 of another brand. Shooting handheld wide open at low shutter speeds produced a reasonably sharp image with the Vibration Compensation activated.

Shot handheld at 1/15th shutter speed and f/2.8.

Below, the lens was used in a controlled studio environment with off-camera flash, thus reducing camera shake and noise. The resulting images are sharp with nice coloring.

Tamron 24-70mm

Food Photography Tamron 24-70

Some users have reported distortion from shots taken at the 24mm focal length. When shooting interiors, I did notice a bit of distortion on the edges, but it’s nothing that can’t be fixed in post-processing if you really wanted to.

Tamron 24-70mm f/2.8

In Conclusion

If you’re on the hunt for a great 24-70mm lens, the Tamron 24-70mm f/2.8 G2 is a great option. It produces great image quality with a solid build, and most importantly, it won’t break the bank.

Do you own a 24-70mm lens? Would you try Tamron’s version? Or do you prefer to stick with your camera’s name brand lenses? Tell us about your experience below.

The post Field Test and Thoughts: Tamron 24-70mm F/2.8 Di VC USD G2 Lens by Suzi Pratt appeared first on Digital Photography School.

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First iPhone X hands-on field test with sample photos

31 Oct

iPhone X pre-orders only just started, but our friend Chase Jarvis of CreativeLive somehow got his hands on one of the very first smartphones out in the wild. Naturally, he took this amazing opportunity to run around New York City like a maniac and create the first hands-on field test of the iPhone X!

We spoke to Chase in New York before any of this went public, and he was kind enough to share some sample photos and his just-published video with us first.

Keep in mind that this video and the photos below (more on the CreativeLive blog) are not for pixel peeping or deep technical dives. We’ll be getting our own review unit and you can be sure we’ll test that stuff with the same technical fervor you’ve come to expect from DPReview. Instead, what Chase wanted to do was share his first impressions and a few snapshots after using the device for just a couple of hours.

The good news? Those impressions were extremely positive. No device is perfect, but Chase writes time and again that the iPhone X “felt like the future.”

The point is simple. Just like the first iPhone helped us see the future we couldn’t quite put into words, so does the X. It’s more than just an incremental upgrade from the previous versions. With the iPhone X you can feel the future again in the smartphone.

Check out a few sample photos from Chase below, and then head over to the CreativeLive blog for more of his thoughts on the phone and a few more photos.

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