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Posts Tagged ‘Prime’

Prime Lens vs Zoom Lens – Find Out Which is Best Suited to You

07 Nov

The post Prime Lens vs Zoom Lens – Find Out Which is Best Suited to You appeared first on Digital Photography School. It was authored by Simon Bond.

prime-lens-vs-zoom-lens

An important discussion in photography circles revolves around which lenses you use. The answer to this question will certainly rest on the type of photographer you are. The needs of a landscape photographer are very different to those of a portrait photographer. In this article, we’ll look at prime lens vs zoom lens, and you’ll be able to decide which is the right setup for you.

It’s possible you’ll go for a mixture of both lens types, or you might keep to just prime or just zoom. Read on and find out the pros and cons of both of these lens types.

Image: This photo was taken using a wide-angle zoom lens. Zooms lens are great for dynamic situation...

This photo was taken using a wide-angle zoom lens. Zooms lens are great for dynamic situations that may require a quick change in focal length.

What type of lenses are there?

There are many lenses on the photography market, it’s not all about zoom lens vs primes lens. The focal length of your lens can also have a defining impact on your photo as well. So in addition to zoom vs prime, you also have 5 subcategories to consider.

The below focal lengths reflect a full-frame camera. For crop-sensor cameras, you’ll need to apply the crop factor to these focal lengths. This crop factor can be between 1.2 to 2, depending on your camera. For example, if your camera has a crop factor of 1.5, then a 17mm full-frame lens is the equivalent of 25mm on the crop sensor (17 x 1.5).

  • Super wide-angle – 21mm or less.
  • Wide-angle – 21 to 35mm.
  • Standard – 35 to 70mm.
  • Standard telephoto – 70 to 135mm.
  • Telephoto – 135mm and above.

These categories are worth considering. If you choose to mix and match your zoom lens with your prime lens, then perhaps having zoom for the telephoto end of these focal lengths, and prime for the standard and a wide-angle lens is an option. As there is a limit to the number of lenses you’re going to carry if you’re on location, some tough decisions need to be made.

Ideally, you’ll carry two or three lenses with you, in addition to your camera body.

Image: Prime lens are of fixed focal length. Here you can see a 135mm, a 50mm and a 100mm lens. The...

Prime lens are of fixed focal length. Here you can see a 135mm, a 50mm and a 100mm lens. The 100mm is a macro lens.

What’s a prime lens

A prime lens is a lens with a fixed focal length that you can’t change. The most well-known prime lens is the 50mm, it’s probably the first prime lens most photographers will use. So why would you use a lens like this, when you can’t quickly change the focal length? There are several advantages.

  • Weight – These lenses are often a lot less heavy than zoom lenses.
  • Maximum aperture – With apertures that go down to f1 in some cases, they beat zoom lenses by a long way.
  • Composition – Having one focal length can be an advantage for composition, since it forces you to find compositions within the focal length you have available. This process will improve your photography skills.
Image: This photo was taken using the 135mm F2. It’s low light, and the background has been bl...

This photo was taken using the 135mm F2. It’s low light, and the background has been blurred by the high aperture.

When to use a prime lens

Prime lenses are considered best for portrait photography but don’t discount them for landscape photography as well. The 14mm prime lenses can be exceptional when it comes to landscapes. Plus, that large aperture means they’ll outperform their zoom lens counterparts when it comes to niche fields like astrophotography where you want to photograph the milkyway.

So here is a selection of situations you’d choose a prime lens.

  • Portrait photography – This works well for both studio and environmental portrait work. You can control where your model stands, and therefore the fixed focal length is less of an issue. The large aperture then allows you to blur out the background for a pleasing photo.
  • Street photography – The most well-known street photography lens is the 50mm. That’s because it combines a focal length that similar to what you see with your eye and a nice large aperture for low-light street photography. There are other nice focal lengths for street photography like the 35mm, or even the 135mm.
  • Low light – Once it gets dark, you have the option of using a tripod, but what if you’re subject is moving and you want them to be sharp? This is where a fast prime lens will work the best. Think of a night time festival, and the best lens is going to be a prime lens.
  • To produce bokeh – While zoom lens can still produce bokeh, especially at f2.8, the best bokeh will be produced with a prime lens using a large aperture.
Image: A zoom lens can have it’s focal length changed. Here you can see a 28-105mm lens and a...

A zoom lens can have it’s focal length changed. Here you can see a 28-105mm lens and a 70-300mm lens.

What’s a zoom lens?

Okay, next up in the prime lens vs zoom lens debate is, of course, the zoom lens. These lenses have a variable focal length, which in the majority of cases can be manually adjusted.

The ability to quickly change focal lengths can be vital for certain situations that are constantly changing. Think of wedding, event or sports photography. In fact, many landscape and portrait photographers choose zoom lenses because they don’t want to keep changing lens in order to change focal length.

So what’s the drawback to this, and what are the advantages?

  • Quick change – The ability to quickly change the focal length to suit the photo that’s suddenly before you can be make or break when it comes to getting the photo.
  • Weight – The downside is that zoom lenses weigh more than prime lenses, though to some there is the other argument. You would need multiple primes lenses to cover the focal range a zoom lens offers, and the combined weight of these may well exceed the one zoom lens.
  • Aperture – There is no disguising the fact zoom lenses don’t offer as large an aperture. The most expensive zoom lens will go to f2.8, but with that aperture comes even more weight to carry.
Image: A zoom burst photo is something only a zoom lens can achieve.

A zoom burst photo is something only a zoom lens can achieve.

When would you use a zoom lens?

A zoom lens is a versatile lens that can be used in many situations, owing to its ability to change the focal length.

There are some situations where it’s particularly good though, and you’ll see those listed below. It should be noted that those zoom lenses with an aperture of f2.8, will also work very well for portrait photography – it’s just these lenses are heavy.

  • Event photography – Functions or weddings often have photographers recording those events. Having a lens that allows you to change focal length is essential for these.
  • Sports photography – Sports photography also needs a lens that can have its focal length changed. It also needs to be fast, so using an f2.8 zoom lens is important here.
  • Travel photography – Travel photography is the definition of needing to be a jack of all trades. You need to capture landscapes, food, street, and event-style photos when there is a festival. As you’re traveling, you also have limited space in your bag. A zoom lens with differing focal lengths that’s not too heavy is ideal here, so think of a zoom lens with an aperture of f4.
  • Zoom burst – This is a technique that specifically requires a zoom lens. In order to implement this technique, you need to change the focal length of your lens during an exposure.

Prime lens vs zoom lens

So you have a choice between the lighter primes lenses with their large apertures or the more versatile zoom lenses that allow you to change the focal length but are often much heavier to carry.

Which is the correct choice for you?

A lot of photographers will feel f2.8 is a large enough aperture for them and go for three zoom lenses that cover wide-angle, standard, and telephoto focal lengths. However, that’s going to be a very heavy bag to carry. And, add in a tripod, and you might need to make friends with a chiropractor before long.

Image: This photo shows bokeh created using a prime lens.

This photo shows bokeh created using a prime lens.

Which lens goes in your bag?

Primes lens vs zoom lens have their pluses and minuses, but for some photographers, there will be clear winners. Take a look at this list of photographer types, and the lenses typically used by these photographers.

  • Wedding photographer – The workhorse lens for you will be the 24-70mm zoom lens with an aperture of f2.8. Those focal lengths will cover almost everything you need to photograph. A wide-angle zoom is also worth carrying. Occasionally there is time for a portrait session during the wedding day, so packing one prime lens for this, perhaps the 85mm f1.4, is a good idea.
  • Street photographer – The 50mm f1.8 is a great lens, however, if you have more money, get the f1.4 or f1.2. As an alternative, the 135mm f2 also works very well.
  • Travel photographer – A wide-angle zoom for many situations, and because you’re traveling, use an f4 so it’s lighter weight. A decent prime lens like the 50mm, because, like the street photographer, you’ll want to capture those people scenes. Then a telephoto zoom for day’s you’re photographing a festival and you need the extra reach. Or perhaps there is a landscape that needs to be compressed.
  • Landscape photographer – A wide-angle lens is a must, however, this could be a zoom or a prime. If you like photographing the Milkyway, you need an aperture of at least f2.8. However, if you get a wide-angle prime lens, you can get even larger apertures, and this will help your astrophotography. There are plenty of landscape photos that need extra reach though, and only work with compression, so getting a telephoto zoom is a great move.

What lens do you like the most?

The debate over prime lens vs zoom lens won’t be settled in this article. It’s too complex for that, and it really depends on what type of photography you do. We’d love to hear your opinions at digital photography school. What type of photographer are you, and what lens preference do you have? As always we’d love you to share your thoughts and photographs in the comments section of this article. Thanks for reading.

 

The post Prime Lens vs Zoom Lens – Find Out Which is Best Suited to You appeared first on Digital Photography School. It was authored by Simon Bond.


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Prime lens update: The Canon EOS M6 Mark II photographs dogs, beer and the big city

26 Oct

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When we first got our hands on the EOS M6 Mark II at Canon’s launch event in Atlanta, we used the 18-150mm F3.5-6.3 kit lens quite a bit – after all, conditions were bright, so we didn’t need super fast apertures, and the zoom reach came in really handy for motorsports photography.

Now that we’re pushing through our full review of the M6 II back in Seattle, we’ve put our two favorite Canon EF-M lenses onto the camera to see how they stack up in front of the all-new 32.5MP sensor. Check out our sample gallery to see for yourself.

See our updated Canon EOS M6 Mark II sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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DULENS APO 85mm F2 is a new manual prime lens for Canon EF, Nikon F camera systems

25 Sep

A new Chinese optics manufacturer has released the DULENS APO 85mm F2, a manual medium telephoto prime for Canon EF and Nikon F camera systems.

Although not much is known about DULENS itself, Newsshooter is reporting it’s been told that the optical engineer behind DULENS is the same who helped bring the NiSI F3 and MAVO prime lenses to life.

The lens, which is inspired by the Zeiss Sonnar series, is constructed of seven elements in six groups and includes an Apochromatic element to reduce chromatic aberration. It measures 5.8cm (2.28in) long, weighs 350g (12.35oz), features a 29-degree field-of-view, uses a 55mm front filter thread and has a minimum focusing distance of 90cm (35.43in).

Below are a number of high-resolution sample images shared on the product listing. These were shot with the lens on a Lumix S1 using an EF adapter:

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The lens is available to pre-order in black and silver varieties for Canon EF and Nikon F camera systems. It’s currently listed for ¥2999 (approximately $ 420) on Chinese retailer Taobao, but Newsshooter says the company intends to release the lens in the United States and Europe market for $ 599.

We have contacted the retailer for more information on the lens and availability and will update this article if and when we receive a response.

Articles: Digital Photography Review (dpreview.com)

 
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Samyang’s new XEEN CF Cine Prime full-frame lenses detailed ahead of Q3 launch

13 Sep

Samyang has launched its new line of XEEN CF Cine Prime full-frame lenses made from lightweight carbon fiber. The XEEN CF will be offered in 16mm, 24mm, 35mm, 50mm, and 85mm options for Canon EF, Sony E and PL mounts. The model features a T1.5 aperture, 11-blade diaphragm and luminous numbers on the lens rings for making adjustments in dark conditions.

The XEEN CF lenses feature the company’s proprietary X-Coating for minimized reflections paired with controlled ghosting and flares for halation, producing a ‘dramatic effect.’ Users are promised ‘beautiful bokeh’ thanks to the 11-blade diaphragm and excellent low-light performance from the bright aperture.

The lenses are designed for large format and 8K sensors, offering the durability and light weight of carbon fiber at 0.9kg (2lbs) to 1.1kg (2.4lbs), depending on the model. Due to the low weight, the new XEEN CF lenses can be used with gimbals and drones in addition to movie cameras.

The company will initially launch its 24mm, 50mm and 85mm lenses in Q3 2019; the 16mm and 35mm options won’t be released until early next year. Prices are unclear at this time, but ePhotozine claims the lenses will be showcased at the 2019 IBC Exhibition in Amsterdam from September 13 to 17.

Articles: Digital Photography Review (dpreview.com)

 
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Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

11 Sep

The post Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens? appeared first on Digital Photography School. It was authored by Adam Welch.

I’ve evaluated and reviewed quite a few lenses over the years – twenty-three to be exact. Throughout those reviews, I’ve been fortunate enough to encounter many that were good, a few that were great, and an oh-so limited few that were absolutely magic. Yet, I can honestly say that I have never experienced the overwhelmingly universal praise and excited electricity surrounding a freshly released lens as I have witnessed with the new Tamron SP 35mm F/1.4 Di USD (for Canon, Nikon). This is the prime lens that is currently wowing the masses with its mind-bending sharpness and wide-open f/1.4 speed.

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

Ironically enough, this little beauty marks the 40th Anniversary of Tamron’s “Superior Performance” line of lenses. Tamron has specifically geared all of the glass in SP line towards meeting the needs of discerning professional photographers.

So, needless to say, whenever I get the chance to review any new SP lens from Tamron, I always feel all warm and fuzzy inside. Would the Tamron SP 35mm f/1.4 live up to the hype? Could it? I was incredibly curious to find out, and, of course, I want you to come along for the ride.

Out of the box

First things first; this is a gorgeous lens. It possesses a clean and simplistic style which in my experience has been the hallmark of virtually all of the modern SP line. The lens itself is a velvety deep satin black with white lettering and, of course, that signature metallic-colored ring finishes off the minimalist design.

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

There isn’t a lot to see here aside from the focusing ring (which is nicely rubberized), and the AF/MF switch. Oddly enough, the SP 35mm F/1.4 lacks the Vibration Control functionality which leaves quite a bit of open real estate on the lens body.

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

I say the absence of Tamron’s proprietary VC image stabilization is odd not because it will necessarily be missed on a lens of this focal length, but instead because it is present on the close cousin of this lens – Tamron’s 35mm F/1.8 Di VC USD (Canon, Nikon, Sony). The exclusion of VC on this 35mm could very well be a weight-saving measure to avoid making an already robust lens heavier. More on this in just a bit.

This lens includes generous moisture sealing throughout, which if you’ve read any of my other reviews of Tamron glass, you’ll know that I absolutely love. There’s just something extremely comforting about the physical presence of that rubber gasket at the rear of the lens.

Image: Image courtesy of Tamron

Image courtesy of Tamron

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

It also comes with a very nice storage bag.

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

Overall, it’s safe to say that the look of the new SP 35mm lens impressed me right out of the gate.

Here’s the list of specifications for the Tamron SP 35mm f/1.4 Di USD courtesy of Tamron:

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

As you can see, this is not a feather-weight prime lens. The 35mm F/1.4 with the lens hood comes in weighing just shy of 2lbs(907g) on my home scales. That makes for a hearty setup when mounted on larger DSLR cameras.

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

With that said, the overall balance of the lens, when mated to a Canon 5D MK III, is remarkably pleasant. It’s not light, but it’s not overly bulky either. Take into account the fact that the lens houses 14 elements, and you become somewhat surprised that it doesn’t weigh more.

That lens hood though…

“But Adam…it’s only a lens hood. Do you really think it’s worth its own section?”

Yes, yes, I do.

Don’t get me wrong, I understand how trivial this may very well be, and it’s most certainly only my highly subjective…borderline neurotic…opinion.

Tamron has recently introduced a locking mechanism to some of its new lenses. This is the second time I’ve encounter this hooded curiosity from Tamron with the first being the 24-70mm F/2.8 Di VC USD G2 (Canon, Nikon).

Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens?

In short, I’m conflicted. Of course, the goal of this feature is to keep your lens hood from accidentally popping off your camera. The issue I see with this is that such a static locking mechanism could possibly lead to a broken lens hood, or worse, breakage of the front mount of the lens barrel. Instead of the lens hood simply popping off, there could ultimately be a situation where “something’s gotta give” should a substantial impact occur. What’s more, the need to depress a button to remove the hood is just a little tedious. Then again, I must say the locking mechanism is finely executed and works quite well for its purpose. It’s a feature that I could come to enjoy, but for the time being, not so much.

Relax. I’m finished talking about the lens hood.

A fresh take on Autofocus

Newly introduced with the Tamron SP 35mm f/1.4 is a revamped mechanism that supposedly aids in more speedy and less noisy autofocusing. It’s called the Dynamic Rolling-Cam System.

Image: Image courtesy of Tamron

Image courtesy of Tamron

Not only is that a pretty cool name but the Dynamic Rolling-cam System assists Tamron’s already capable Ultrasonic Silent Drive AF with moving that large f/1.4 focusing unit and is reported to make the entire AF experience of the Tamron SP 35mm f/1.4 much more reliable. I tested the AF with my Canon 5D MK III and my trusty Canon 7D Mk1. In both cases, the AF of the lens was quite snappy and accurate, even in low contrasted scenes. This lens also features a full-time manual focus override so that you can easily tweak focus manually while still in AF mode.

Performance and image quality

If you’ve heard anything about this lens already then you probably know it’s reported to be sharp – I mean scary sharp – with beautifully creamy bokeh and superb contrast. Well, it’s all true. So if you want to take my word for it, feel free to skip down to the sample images. If not, keep reading.

Sharpness

Yep. The Tamron SP 35mm f/1.4 is exquisitely sharp even wide-open at f/1.4. The center is tack sharp with only a minuscule softening at the corners. At smaller apertures beyond f/2, this lens absolutely shines with virtually no vignetting past that aperture mark as well – virtually zero distortion. Also of note is that as you move toward f/16, there are majestically pronounced starbursts at point sources of light.

Color and Contrast

Colors pop wonderfully with this 35mm lens. Equally, the contrast is great, and I noticed no chromatic aberrations even at f/1.4. I wasn’t as overly impressed with this area of the lens as some have been, but it truly does produce some beautifully contrasted photos with perfectly adequate color separation. Tamron has also introduced the second generation of their BBAR element coating which is purported to reduce ghosting and flare greatly.

Here are a few sample images for your inspection. There have been no adjustments to sharpness, color (except WB) or contrast.

Image: F/8

F/8

 

Image: F/4.5

F/4.5

 

Image: F/8

F/8

 

Image: F/16

F/16

 

Image: F/1.8

F/1.8

 

Image: F/1.8

F/1.8

 

Image: F/2.8

F/2.8

 

Image: F/1.8

F/1.8

 

Image: F/2.8

F/2.8

 

Image: F/1.8

F/1.8

 

Image: F/13

F/13

 

Image: F/2.8

F/2.8

 

Image: F/4.5

F/4.5

 

Image: F/1.4

F/1.4

I’ve also put together a full-length video review of the Tamron SP 35mm f/1.4 if you would like to dig a little deeper into the characteristics of this lens.

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Final Thoughts on the Tamron SP 35mm f/1.4…

What else can I say about the Tamron SP 35mm f/1.4 lens? Fortunately enough for both of us, the results from this lens happily speak for themselves. I’ll admit that going into this review I had already been bombarded with tales of its sharpness and high contrast, so the bar was set alarmingly high. So high in fact, that I was concerned that I would be let down by the performance of this lens once I actually used it. Banish all such thoughts!

The SP 35mm f/1.4 Di USD from Tamron is a perfectly executed fast prime. It combines all the best attributes of fine glass and bundles them into a sleek looking package that performs fantastically. It’s a fast focusing beauty that would be right at home in the field or on the street.

The best part? It will set you back considerably less than some other lenses in its class. At the time of this review, the Tamron SP 35mm f/1.4 sells for $ 899US.

Have you used the Tamron SP 35mm f/1.4 lens? Do you have any other “go-to” prime lenses that you absolutely love keeping in your bag? Let us know in the comments!

 

dps-tamron-sp-35mm-f-1-4-lens-review

The post Tamron SP 35mm F/1.4 Lens Review – A Perfectly Executed Prime Lens? appeared first on Digital Photography School. It was authored by Adam Welch.


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Did You Score Any Gear From This Massive Amazon Prime Blooper? Need to Know How to Use It?

23 Jul

The post Did You Score Any Gear From This Massive Amazon Prime Blooper? Need to Know How to Use It? appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

amazon-prime-blooper

This week, people flocked to Amazon for some annual Prime Day deals.

But a select few got a bit more than they were expecting:

Gear that normally costs thousands of dollars…

…on sale for just $ 94.50 USD. 

It all began when an observant Amazon shopper saw that a Sony a6000 bundle was on sale for $ 94.50. They shared this bargain on Slickdeals, and other photographers immediately began to take notice.

Slickdeals users raced to grab the bargain, but it soon became apparent that the Sony a6000 bundle wasn’t the only thing on sale.

Consider the Canon 800mm f/5.6L, which normally comes for $ 13,000 USD. One Amazon customer reportedly managed to snap it up for just $ 94.50 USD.

The same story is true for a number of other pieces of camera kit: the Fujifilm X100F, the Sony a7III, and the Canon EOS R, all of which normally go for over $ 1000 USD, all marked down to $ 94.50.

This was a mistake on Amazon’s part. First, it’s highly unlikely they would offer these items at such laughably low prices. And the deals weren’t seen by all customers; only some folks were able to view the bargain prices.

Many have claimed that Amazon will cancel any orders made for these products. And this might make sense – if it weren’t for the fact that many items have already shipped. Some customers have even received their items.

(Though it remains to be seen whether Amazon will honor the slashed prices for backordered items.)

Unfortunately, this deal-of-a-lifetime is long gone. And only a few Amazon customers managed to grab professional-grade gear for under a hundred dollars.

Were you one of them?

And even if you weren’t able to lock in any of these accidental bargains, did you get any new photography equipment for Prime Day? Let me know in the comments!

Also, for those who did get their hands on some exciting new photography gear, I’d like to take a minute to mention our course, which is only open for a limited time:

31 Days to Become a Better Photographer.

In it, you’ll discover how to use your new gear – so you can take stunning photos, consistently!

Don’t miss out! Sign up here:

31 Days to Become a Better Photographer

The post Did You Score Any Gear From This Massive Amazon Prime Blooper? Need to Know How to Use It? appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Prime Lens Comparison – 24mm vs 35mm vs 50mm vs 85mm vs 135mm

29 Jun

The post Prime Lens Comparison – 24mm vs 35mm vs 50mm vs 85mm vs 135mm appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video, Julia Trotti does a prime lens comparison with portrait photography.

You’ll learn about focal lengths, background-to-foreground separation and compression, and distortion.

Take a look.

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In this video, Julia compares the following lenses using her Canon 5D MkIII:

  • Sigma 24mm f1.4
  • Canon 35mm f1.4
  • Canon 50mm f1.2
  • Canon 85mm f1.2
  • Canon 135mm f2

Julia first tests the lenses shooting full body photos with her model, Maralyn, from the same standing position to show how much background compression each lens shows, as well as the bokeh.

Then she does shots where her model fills more of the frame. To do so, she moves closer and further away to get the model in roughly the same position in the frame but showing what happens to the background in each shot.

The Sigma 24mm has the least background to foreground compression (shows more of the background) when doing full body shots.

The 85mm and the 135mm have great compression, and large background to foreground separation, with no distortion. The 135mm has the most background to foreground separation and compression of all these lenses.

Be sure to watch the video to see the photo examples that detail how the background compression is effected by each lens.

 

You may also find the following helpful:

How to use Focal Length and Background Compression to Enhance Your Photos

5 Important Focal Lengths to Know and the Benefits of Each

Get Your Creative Juices Flowing with Different Focal Lengths

8 Focal Lengths Illustrated

 

prime lens comparison

The post Prime Lens Comparison – 24mm vs 35mm vs 50mm vs 85mm vs 135mm appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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Best fixed prime lens buying guide updated with Ricoh GR III, Leica Q2 and Fujifilm XF10

06 Jun

We’ve updated our ‘best fixed prime lens camera’ buying guide, adding the Leica Q2, Fujifilm XF10 and Ricoh GR III. Despite some solid competition, the Fujifilm X100F remains as our top choices in this category.

Articles: Digital Photography Review (dpreview.com)

 
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Venus Optics shares details of upcoming zoom and prime cine lenses

07 Apr

Venus Optics is showing prototypes of its new Laowa cinema lenses at the NAB show in Las Vegas, and has released more details of their specification, what we should expect and a better idea of when they will be shipping. The lenses were first shown at Photokina in September, but in the meantime the company has confirmed more information regarding both models which were at a very early stage on their last outing.

The Laowa OOOM 25mm-100mm T2.9, it says, was designed with the aim of suppressing focus breathing, as well as distortion, chromatic aberrations, focus shift across the zoom range and variations in exposure – hence the fixed T2.9 aperture. The company also says that the OOOM name stands for ‘Out Of Our Minds’ and reflects the engineers ideology when it comes to lens design – meaning I suppose that the plans for the concept were ambitious. The lens has a 32mm covering circle which Venus Optics says makes it suitable for all Super 35mm aspect ratios. Using 20 elements in 16 groups the lens will have a closest focus position of 12.7in/32mm.

Venus Optics says we should expect delivery late this year at a price ‘well below USD $ 10,000’ – and that it is working on two more lenses to join it. One will be a wide angle zoom, and the other a telephoto model.

The company’s 12mm T2.9 Zero-D cine lens is also making progress, with details pointing to another late 2019 shipping date. New information on the specification shows the full frame lens will have a covering circle of 46.5mm and a 110mm filter thread. A 114mm step-up ring will be included for filmmakers to fit a rod-supported matte box onto the lens.

For more information see the Venus Optics website.

Press Release:

Laowa OOOM 25-100 t/2.9 and 12mm t/2.9 Zero-D will make their North America debut in NAB Las Vegas (Booth# C11738)

Venus Optics, the camera lenses manufacturer who had previously launched a number of unique Laowa camera lenses, is proud to display the new prototypes of Laowa OOOM 25-100mm t/2.9 and 12mm t/2.9 Zero-D in NAB Las Vegas show (Booth#C11738) and its the first time in America.

Laowa OOOM 25-100 t/2.9 Cine

Laowa OOOM 25-100 t/2.9 Cine is a high quality cinematic zoom lenses dedicated for PL/EF cameras with Super35-sized sensors. The name “OOOM” stands for “Out Of Our Minds” which properly describes our ideology of designing lenses. Unlike some other cine zooms in the market, the OOOM 25-100mm was designed with a goal to suppress focus breathing to the minimal at the beginning. Featuring a 32mm image coverage, the new OOOM lens covers a relatively bigger image than other S35 zoom lenses and should be able to cover most of the aspect ratios of cameras with Super35 sensors. The lens can focus up to 12.7” (32cm) away from the front element, which is comparatively closer than other lenses in the market with similar zoom factor. The 20 elements in 16 groups optics design successfully suppress distortion and chromatic aberration to the minimal and deliver outstanding resolution across the frame.

The 4X zoom factor provides a great deal of flexibility to shoot in most scenarios. This lens also has a par-focal and fixed t/2.9 aperture design that both the focus point & brightness will stay unchanged throughout the whole zoom range. The focus, aperture and zoom ring feature a cine-style 0.8 Mod gear teeth for fitting with focus units or motors. An industry standard 114mm front diameter is equipped for filmmakers to fit with their own matte boxes. A focus mark calibration mechanism is incorporated for filmmakers to micro-adjustment in case of front/back focusing. A user-interchangeable PL/EF mounts are available.

Venus Optics are currently preparing a similar cinematic zoom lens with wider focal length and the other one with a more telephoto perspective. The specifications will be announced in due course.

The retail selling price of the Laowa OOOM 25-100mm t/2.9 lens is not fixed yet but it will be well below USD 10,000. It will be available to ship from late 2019.

The lens will make its US debut in the coming NAB show in Las Vegas between 6-11 Apr in Venus Optics Booth (C11738).

Laowa 12mm t/2.9 Zero-D Cine

Laowa 12mm t/2.9 Zero-D Cine is one of the widest and fastest available lens for shooting with large format sensors. It is designed with a 46.5mm image circle, successfully covers both full frame and Vista Vision-sized sensors. Despite the ultra-wide 122° field of view, the image is perfectly rectilinear and features a close-to-zero distortion rate. The focus flow is extended to 270° for cinematographers to also take advantage of the 0.6 feet (18cm) closest focusing distance. The lens is super lightweight (650g, 1.4lbs) and comes with a 100mm front diameter. A 114mm step up ring is included for filmmakers to fit rod supported matte box onto the lens. Both EF and PL mount will be available.

The retail pricing of the 12mm t/2.9 Zero-D Cine is not ready yet and it will be ready to ship in around late 2019.

Articles: Digital Photography Review (dpreview.com)

 
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Canon launches its Sumire Prime collection with seven PL-mount cinema lenses

04 Apr

Canon has announced the Sumire Prime collection, a set of seven Canon cinema lenses that use the PL-mount — a first for Canon, who has previously only ever offered its cinema primes in its own EF-mount.

The Sumire Prime lens collection includes the 14mm T3.1 FP X, 20mm T1.5 FP X, 24mm T1.5 FP X, 35mm T1.5 FP X, 50mm T1.3 FP X, 85mm T1.3 FP X and 135mm T2.2 FP X. All of the lenses in the collection feature an 11-bladed iris, are color balanced across the lineup and have the same minimized focus breathing as Canon’s EF-mount cinema prime lenses.

Sumire — pronounced ‘soo-mee-ray’ — is a word of Japanese origin that is most often associated with ‘a floral gentleness and beauty,’ a characteristic Canon sees in its new lens collection.

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Beyond a whole host of third-party full-frame and Super 35mm PL-mount cameras, the Sumire Prime lenses will work with Canon’s entire lineup of Cinema EOS full-frame and Super 35mm 4K cameras as well. In the event an EF-mount is needed, Canon is offering the option to swap the PL-mount for an EF-mount at its Canon Factory Service and Repair center, a process that can be reversed if needed.

The Canon CN-E24mm T1.5 FP X, CN-E35mm T1.5 FP X, CN-E50mm T1.3 FP X and CN-E85mm T1.3 FP X lenses are scheduled to be available in Summer 2019; the Canon CN-E14mm T3.1 FP X lens in Fall 2019; and the Canon CN-E20mm T1.5 FP X and CN-E135mm T2.2 FP X lenses in Winter 2019/Spring 2020.

Press release:

CINEMATIC IMAGING REIMAGINED: INTRODUCING SUMIRE PRIME LENSES FROM CANON

The Company’s First Set of PL-Mount Cinema Prime Lenses Merge the Art and Science of Cinematography

MELVILLE, N.Y., April 3, 2019 – Covering the core range of focal lengths that cinema professionals desire, Canon U.S.A. Inc., a leader in digital imaging solutions, is excited to announce the company’s first set of seven cinema prime PL-Mount lenses, aptly named Sumire Prime. Pronounced“Soo-mee-ray,” the word is of Japanese origin and is associated with a floral gentleness and beauty. Sumire Prime Lenses offer a unique artistically pleasing look with gentle and beautiful skin tones and smooth bokeh, designed for use with large-sensor cinema cameras, including 35mm full-frame cameras such as the EOS C700FF Cinema Camera.

In addition to bright T-stops and Canon’s renowned warm-color imagery, a unique optical design introduces a nuanced look as the lens aperture approaches its maximum setting – subtly modifying the textural renderings of the human face closeup. It also smooths the transition to the fall-off portions of the scene resulting in a pleasing bokeh. This combination adds emotional expressiveness and provides creative flexibility to create a memorable scene.

“Sumire in Japan is the name of a flower, and like the petals of a flower, our lenses are most beautiful when fully opened. This is the inspiration behind the Sumire look,” said Kazuto Ogawa, president and COO, Canon U.S.A., Inc. “The feedback from cinematographers is crucial and their voices have beenheard loud and clear – they asked Canon to introduce a set of PL-mount cinema prime lenses. We went a step further and our new Sumire Prime Lenses produce the beautifully cinematic and unique images professionals desire. We can’t wait to see how the lenses will contribute to the art of filmmaking.”

The new set of seven Canon Sumire Prime Cinema Lenses include the following:

  • CN-E14mm T3.1 FP X
  • CN-E20mm T1.5 FP X
  • CN-E24mm T1.5 FP X
  • CN-E35mm T1.5 FP X
  • CN-E50mm T1.3 FP X
  • CN-E85mm T1.3 FP X
  • CN-E135mm T2.2 FP X

All Sumire Prime lenses feature an 11-bladed iris and bright T-stops that allow users to capture images that feature a more natural circular-like bokeh from both maximum to minimum aperture. The use of an odd number of iris blades also helps to diffuse light rays and produce what is generally considered a more sought after, artistically pleasing and cinematic look with warmer colors. The lenses also achieve uniform color balance throughout the lineup, helping to reduce the need for post grading, even when a production is frequently changing lenses.

The highly durable Sumire Prime lenses feature the same outstanding operability and reduced focus breathing as Canon’s well-established EF-Mount Cinema Prime Lenses. Manual operation provides users with the resistance they desire to make precise changes in focus. A 300-degree focus rotation angle and gear position is consistent across the entire Sumire Prime series of lenses – eliminating the need to adjust gear positions when changing lenses.

“The new Sumire Prime lenses are the perfect blend of science and art,” says cinematographer Matt Porwoll, who shot the first U.S. footage with the lenses. “The bokeh comes alive in ways that weren’t occurring with other lenses I’ve used. Lens flares have a dynamic feel to them, rather than behaving in a formulaic manner. I wish I had these on my last project!”

The Sumire Prime Lenses are compatible with the complete lineup of Canon Cinema EOS full-frame and Super 35mm 4K cameras, including the EOS C700 FF, EOS C300 Mark II and EOS C200. In addition to Canon cameras, the new lenses are also compatible with the latest full-frame and Super 35mm PL-mount cameras from leading manufacturers. Additionally, the mount on the Sumire Prime Lenses is interchangeable and can be converted from PL-Mount to EF-Mount at a Canon Factory Service & Repair center. A Canon representative will be able to perform the service or even revert back to original PL-mount upon request at an additional cost*.

Availability

The Canon CN-E24mm T1.5 FP X, CN-E35mm T1.5 FP X, CN-E50mm T1.3 FP X and CN-E85mm T1.3 FP X lenses are scheduled to be available in Summer 2019. The Canon CN-E14mm T3.1 FP X lens is scheduled to be available in Fall 2019. The Canon CN-E20mm T1.5 FP X and CN-E135mm T2.2 FP X lenses are scheduled to be available in Winter 2019/Spring 2020.

For more information, please visit: usa.canon.com/cinemalenses.

Articles: Digital Photography Review (dpreview.com)

 
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