RSS
 

Posts Tagged ‘Zooms’

DPReview TV: Battle of the 70-200mm F2.8 zooms (Canon, Nikon, Sony, Panasonic)

14 Nov

Who makes the best 70-200mm F2.8 zoom lens for full-frame? We tested the latest models to find out: the Canon RF 70-200mm F2.8L IS USM, Nikon Nikkor Z 70-200mm F2.8 VR S, Sony FE 70-200mm F2.8 GM OSS and the Panasonic Lumix S Pro 70-200 F2.8 O.I.S.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • The competitors
  • Size and weight
  • Livin' La Bokeh LoCA
  • Autofocus
  • Sharpness
  • Video performance
  • Final rankings

Canon RF 70-200mm F2.8 sample gallery

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_8685700048″,”galleryId”:”8685700048″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Nikon Z 70-200mm F2.8 sample gallery

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_5156689056″,”galleryId”:”5156689056″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Sony FE 70-200mm F2.8 sample gallery

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_1304509160″,”galleryId”:”1304509160″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Panasonic S Pro 70-200mm F2.8 sample gallery

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_0696132436″,”galleryId”:”0696132436″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });
Articles: Digital Photography Review (dpreview.com)

 
Comments Off on DPReview TV: Battle of the 70-200mm F2.8 zooms (Canon, Nikon, Sony, Panasonic)

Posted in Uncategorized

 

The Canon PowerShot Zoom fits in your pocket and zooms to 400mm

14 Oct

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_1510356824″,”galleryId”:”1510356824″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Canon has just released the details on the PowerShot Zoom, an extremely compact digital monocular. Users can view scenes through an electronic viewfinder at switchable 100mm or 400mm focal lengths, and then digitally zoom to 800mm (all 35mm-equivalent).

Of course, a modest sensor and aperture make it possible to cram all that reach into your pocket, and the Zoom has a 1/3″ sensor capable of taking 12MP JPEG images (no Raw capture is supported) or 1080/30p video through the F5.6-6.3 lens. The ISO ranges from 100 to 3200, and we’d expect the Zoom to be best-suited for daytime use with plenty of light. There’s also optical image stabilization and AF tracking with face detection, and the Zoom will focus down to 1m (3.28ft) at 100mm and 4.5m (14.76ft) at 400mm.

Sample images

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_5907135940″,”galleryId”:”5907135940″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Given the stills and video specs, it’s not surprising that Canon is pitching the Zoom mostly as a ‘viewer,’ allowing users up-close and personal looks at wildlife, sports matches, live music or general travel use. However, a familiar PowerShot user interface and wireless connectivity do make it easy to send supertelephoto images to your phone for quick sharing. You can also save them to a MicroSD card.

On its built-in USB-C chargeable battery, the PowerShot Zoom will run for around 70 minutes as a viewer and capture around 150 images before running out of power. Movie clips top out at 9:59 before needing to restart a new clip. The PowerShot Zoom comes with no claims of environmental sealing.

The PowerShot Zoom will be available in November 2020 for $ 299 USD.

Press release:

Canon debuts the company’s first-ever, Compact Telephoto Monocular, the PowerShot ZOOM

MELVILLE, N.Y., October 14, 2020 –– Hiking, birdwatching and nature gazing, consumers are embracing the beauty of the outdoors this season and beyond. With this in mind, it is important to have a convenient and intuitive imaging tool to explore the world. Developed to showcase an impressive telephoto reach in a user friendly, compact design, Canon U.S.A., Inc., a leader in digital imaging solutions, today launches the PowerShot ZOOM, the company’s first telephoto monocular.

The lightweight telephoto monocular sports 100mm, 400mm and 800mm telephoto viewing capability1 with a one-touch switch, and is equipped with impressive instant zoom capability to help users view distant subjects. Additionally, the monocular can capture images and videos to a micro SD card, and by pairing it with a compatible smart device2 and the Canon Camera Connect app3, these files can easily be downloaded. This pairing feature transforms the PowerShot ZOOM monocular into a friendly companion to compatible smartphones for viewing and capturing super-telephoto scenes.

“In today’s ever-changing world, consumers are looking for intuitive and portable imaging tools to view telephoto scenes up close and with ease,” said Tatsuro “Tony” Kano, executive vice president and general manager of the Imaging Technologies & Communications Group of Canon U.S.A., Inc. “Built for those users who enjoy outdoor activities, the PowerShot ZOOM monocular delivers a small, compact viewer with a long focal length. We are eager to see how consumers use this tool and the convenience it will add to their daily lives.”

In addition to its zoom capability, compact size and ability to pair with compatible smartphones, the PowerShot ZOOM telephoto monocular also features:

  • Auto focus when viewing through the electronic viewfinder (EVF) and recording images and video with face tracking
  • Optical Image Stabilization for shake correction
  • 39 inches, 2.36 million dots EVF
  • 12-megapixel still-image capture
  • Full HD video capture up to 30p (29.97)
  • Wi-Fi®, Bluetooth® connection with the Canon Camera Connect app and use of compatible mobile devices2
  • Live view and download of photos and videos with the use of the Canon Camera Connect app3
  • USB C terminal for charging and supplying power
  • Micro SD memory card slot

???Price & Availability

???????Available in white, the Canon PowerShot ZOOM compact telephoto monocular is scheduled to be available in late November 2020 for an estimated retail price of $ 299.99*. For more information, please visit usa.canon.com.

*Availability and specifications are subject to change without notice.

1 35mm film equivalent focal length. Both 100mm and 400mm uses optical lens and 800mm uses 2x digital zoom.

2 Compatible with iOS® versions 12.4/13.7, Android™ smartphone and tablet versions 6.0/7.0/7.1/8.0/8.1/9.0/10. Data charges may apply with the download of the free Canon Camera Connect app.

3 This app helps enable you to upload images to social media services. Please note that image files may contain personally identifiable information that may implicate privacy laws. Canon disclaims and has no responsibility for your use of such images. Canon does not obtain, collect or use such images or any information included in such images through this app. Compatible with select smartphone and tablet devices (Android™ version 5.0 or later and the following iOS® devices: iPhone 4s or later, iPad 3rd gen. or later, iPod Touch 5th gen.or later) equipped with Bluetooth® version 4.1 or later and the Camera Connect App Ver. 2.7.10. This application is not guaranteed to operate on all listed devices, even if minimum requirements are met.

Canon PowerShot Zoom specifications

Price
MSRP $ 299
Body type
Body type Compact
Sensor
Max resolution 4000 x 3000
Image ratio w:h 4:3
Effective pixels 12 megapixels
Sensor size 1/3" (4.8 x 3.6 mm)
Sensor type CMOS
Image
Image stabilization Optical
Uncompressed format No
File format
  • JPEG
Optics & Focus
Focal length (equiv.) 100–400 mm
Optical zoom 4×
Maximum aperture F5.6–6.3
Digital zoom Yes (2x)
Normal focus range 100 cm (39.37″)
Screen / viewfinder
Articulated LCD No
Viewfinder type Electronic
Videography features
Format MPEG-4, H.264
Modes
  • 1920 x 1080 @ 30p / 30 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 23.98p / 30 Mbps, MP4, H.264, AAC
Microphone Stereo
Storage
Storage types MicroSD
Connectivity
USB USB 2.0 (480 Mbit/sec)
Wireless Built-In
Physical
Environmentally sealed No
Battery Built-in
Battery description 800 mAh rechargeable lithium-ion battery
Battery Life (CIPA) 150
Weight (inc. batteries) 145 g (0.32 lb / 5.11 oz)
Dimensions 33 x 51 x 103 mm (1.31 x 2 x 4.06″)

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on The Canon PowerShot Zoom fits in your pocket and zooms to 400mm

Posted in Uncategorized

 

Think Tank Photo releases Digital Holster 150, a waist holster for super-tele zooms

28 Jun

Think Tank Photo has released the Digital Holster 150, a top-loading waist holster designed specifically for use with super telephoto zoom lenses.

Think Tank Photo says the holster was built to replace a backpack for times when you’ll only be carrying around one super telephoto zoom lens and an attached camera body. Like Think Tank Photo’s other holsters, the Digital Holster 150 is designed to be used with a belt system, such as the Pro Speed Belt V3.0 or other belt system.

The holster features an integrated seam-sealed rain cover, a front pocket that’s large enough to hold a 150mm lens filter, an internal pocket for memory cards or lens cloths and an attachment point for monopods or other modular components. There’s also an additional divider included so you can pack another smaller lens or accessory if your camera setup doesn’t require all of the internal space.

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_6315089572″,”galleryId”:”6315089572″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Think Tank Photo has provided two example setups that would fit inside the Digital Holster 150:

• Nikon D5 with 200–500mm F5.6 VR II attached
• Canon 7D Mark II with Sigma 150–600mm F5–6.3 Sport attached

The Digital Lens Holster 150 is available to purchase from Think Tank Photo for $ 109.75.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Think Tank Photo releases Digital Holster 150, a waist holster for super-tele zooms

Posted in Uncategorized

 

Hands on with Tamron 70-200mm F2.8 and 10-24mm F3.5-4.5 ‘G2’ zooms

09 Feb

Hands on with Tamron 70-200mm F2.8 and 10-24mm F3.5-4.5 ‘G2’ zooms

Tamron announced two zoom lens updates at this year’s WPPI show in Las Vegas – the full-frame SP 70-200mm F2.8 Di VC USD G2 and the APS-C format 10-24mm F3.5-4.5 Di II VC HLD. Technically, both are ‘updates’ to older products, but the improvements are fairly significant. This is the 70-200mm F2.8, mounted on a Canon EOS 5D Mark II.

Hands on with Tamron 70-200mm F2.8 and 10-24mm F3.5-4.5 ‘G2’ zooms

The ‘G2’ 70-200mm F2.8 now carries the ‘SP’ designation, which Tamron reserves for its highest-end lenses. The lens has been completely redesigned, and the new optical design consists of 23 elements in 17 groups. These include extra low dispersion and low dispersion elements to reduce chromatic aberrations. 

Hands on with Tamron 70-200mm F2.8 and 10-24mm F3.5-4.5 ‘G2’ zooms

Mechanically, there have been some changes too. Like Nikon’s new 70-200mm F2.8E, the Tamron 70-200mm F2.8’s zoom ring can be found near the front of the lens, while the focus ring is positioned closer to the camera. Feel free to argue about whether this is a good idea or not in the comments. Minimum focus distance is unequivocally improved, being reduced to 95cm (37.4″) from the previous model’s 130cm (50.7″).

Hands on with Tamron 70-200mm F2.8 and 10-24mm F3.5-4.5 ‘G2’ zooms

Autofocus performance has also been improved, thanks (according to Tamron) to the inclusion of two microcomputers and a new AF algorithm. Vibration Compensation (VC) is enhanced too, and can now compensate up to a claimed 5 stops.

Hands on with Tamron 70-200mm F2.8 and 10-24mm F3.5-4.5 ‘G2’ zooms

The removable tripod collar can be loosened and removed over the lens mount (as opposed to clamshell designs which can be attached and detached when the lens is mounted to a camera). The Nikon mount version of this lens now offers electronic aperture actuation, which is becoming standard on all newer Nikon lenses and should improve exposure accuracy, especially during high framerate burst shooting. 

Hands on with Tamron 70-200mm F2.8 and 10-24mm F3.5-4.5 ‘G2’ zooms

Build quality seems excellent, as we’ve come to expect from all of Tamron’s new generation of ‘SP’ lenses. Dust and moisture seals (including a grommet around the lens mount) help to keep the 70-200mm safe when shooting in tough conditions. The front element is fluorine coated, which should make it easy to quickly clean off water or oily fingerprints. 

Hands on with Tamron 70-200mm F2.8 and 10-24mm F3.5-4.5 ‘G2’ zooms

And here’s the 10-24mm F3.5-4.5 Di II VC HLD. Designed for APS-C format DSLRs, this wide-angle zoom covers an equivalent focal length range of 15-36mm (16-38mm equiv on Canon).

Hands on with Tamron 70-200mm F2.8 and 10-24mm F3.5-4.5 ‘G2’ zooms

The biggest change in this lens compared to its 2008 predecessor is the addition of Vibration Compensation. Tamron claims 4 stops of compensation, which means that in theory, it should be possible to hand-hold exposures of up to ~1 second at 10mm. Don’t quote us on that, though.

Hands on with Tamron 70-200mm F2.8 and 10-24mm F3.5-4.5 ‘G2’ zooms

The 10-24mm zoom features Tamron’s new HLD (High/Low torque modulated Drive) AF motor, for smooth and fast autofocus. We’ve only had a few minutes with a prototype lens, but just anecdotally, focus certainly seems fast. Optically, this new lens differs from its predecessor by offering more elements (16, as opposed to 12) in more groups (11, compared to 9) including one LD (Low Dispersion) lens element, one XLD glass element, one molded glass aspherical element, and one hybrid aspherical lens.

Hands on with Tamron 70-200mm F2.8 and 10-24mm F3.5-4.5 ‘G2’ zooms

Again, the 10-24mm is sealed against dust and moisture, and build quality is excellent. Like the 70-200mm F2.8 G2, versions of this lens for the Nikon mount now feature fully electronic aperture actuation, allowing aperture to be changed during live view.

We’re looking forward to getting our hands on a production sample to see whether the various upgrades have made a significant difference to image quality. 

The Tamron 70-200mm F2.8 Di VC USD G2 is expected to arrive in March for $ 1299. The Tamron 10-24mm F3.5-4.5 Di II VC HLD is slated for availability this spring for $ 499.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Hands on with Tamron 70-200mm F2.8 and 10-24mm F3.5-4.5 ‘G2’ zooms

Posted in Uncategorized

 

Sigma gets into the cinema lens game starting with 18-35mm T2 and 50-100mm T2 zooms

07 Sep

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_5923700790″,”galleryId”:”5923700790″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

Sigma has announced its own line of lenses for filmmakers. Sigma Cine Lenses are weatherproof and designed with an emphasis on optical performance and making the most of high-resolution sensors. An 18-35mm T2 and 50-100mm T2 for APS-C bodies will be the first introduced. 

A full-frame 24-35mm T2.2 and an assortment of primes will follow in 2017 and beyond. All lenses will be introduced in EF- and E-mounts, with PL versions coming later for each except the 24-35mm T2.2 FF. Pricing isn’t given at this time; Sigma says the first lenses will be available near the end of 2016 starting with Japan and the US.

Press release:

SIGMA ANNOUNCES NEW CINE LENSES

Amsterdam, The Netherlands — September 7, 2016 – The SIGMA CORPORATION is pleased to announce that it will enter into the cinema lens market with the release of its SIGMA CINE LENSES, designed specifically for cinematography. In the world of digital film production, there is an increasing demand for higher resolution, and SIGMA’s new lineup of high-performance lenses is compatible with the latest, high-resolution digital cinema cameras. SIGMA has developed its own production system by establishing the required technology for mass production of high-performance lenses for ultra-mega-pixel shooting. The company feels this valuable new lens line could create a fundamental change in digital film production, and provide a new solution for cinematographers.

  • Unbeatable value – the highest optical performance in its class and outstanding compact design
  • Wide range of lenses for professional use
  • Optimized for the latest digital moviemaking technology

For the first phase, SIGMA will release two zoom lenses in Japan and the USA for EF and E mount camera systems. Furthermore, another zoom lens and five prime lenses will be released to the market in sequence from 2017 onward. SIGMA plans to develop additional zoom and prime lenses as well as add support for PL mount camera systems. The latest release information will be sequentially updated on its official website.

High Speed Zoom Line
High Speed Zoom Line offers the constant aperture of T2 throughout the zoom range, and the optical performance is ready for high-resolution shooting such as 6K – 8K. Furthermore, while offering the highest image quality in its class, the High Speed Zoom Line has a compact construction and offers amazing value.

FF Zoom Line
FF Zoom Line is compatible with a full-frame image circle, and the optical performance is ready for high-resolution shooting such as 6K – 8K. It provides a rare option for cinematographers since very few lenses can cater to the requirements of the latest digital cinema cameras’ image sensor, which is larger than Super 35, and expand the range of compatible cameras. This is the cinema zoom lens offering the highest image quality and compact design. This lens is not available in PL mount.

FF High Speed Prime Line

The lineup ranges from 20mm to 85mm, and all five lenses are T1.5. They are compatible with full-frame sensors and, while being more compact, can offer superior resolution than other high-end prime sets do. With the five prime lenses from FF High Speed Prime Line, there is no need to change the lighting to shoot a variety of cuts. These lenses bring a consistent level of light to the production and offer greater consistency with regards to the film’s look and color/contrast before it enters post-production.

Each CINE lens model is weatherproof and has luminous paint markings to aid in changing and operating the lens in the dark. It touts a long focus rotation of 180 degrees and is guided by cams for smooth operation and accuracy. The CINE lens design features standardized essentials such as an 82mm front for ND filters* and a 95mm front diameter for matte box use and standard gear positions for accessories like follow focus. They also include a manual linear iris control and electronic mounts that provide vital camera metadata. Each lens is manufactured and inspected in the Sigma factory located in Aizu, Japan.

Availability/Pricing

Availability: toward the end of 2016 (in Japan and USA in the first phase)
Pricing: TBD
Mounts: Initially Canon-EF and Sony-E to be followed later by PL**

*20mm T1.5 FF doesn’t accept filters.
**24-35mm T2.2 FF is not available in PL mount. The appearance and specifications are subject to change without notice.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Sigma gets into the cinema lens game starting with 18-35mm T2 and 50-100mm T2 zooms

Posted in Uncategorized

 

Phase One introduces first Schneider Kreuznach ‘Blue Ring’ zooms

19 Jul

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_0196598875″,”galleryId”:”0196598875″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

Phase One has announced two Schneider Kreuznach ‘Blue Ring’ lenses designed with the XF system in mind, the first zooms in the series. The Schneider Kreuznach 40-80mm LS F4.0-5.6 and the Schneider Kreuznach 75-150mm LS F4.0-5.6 are optimized for the company’s full frame (53.7 x 40.4mm) medium-format system.

The new Blue Ring lenses join the recently announced Schneider Kreuznach 110mm LS F2.8 and 240mm LS F4.5. Both feature the ability to sync flash at shutter speeds up to 1/1600sec and built-in electronics that allow autofocus to be individually calibrated. Phase One claims this series of lenses is built to its highest quality assurance standards

Phase One Announces First Schneider Kreuznach Blue Ring Zoom Lenses

Prime Lens Quality Featuring Full Frame Sensor Coverage, Improved Precision, and Advanced Electronics

COPENHAGEN, July 18, 2016 – Phase One, creator of the world’s finest open-platform high-end camera systems and professional imaging software, today added two new Schneider Kreuznach lenses to its comprehensive family of lenses. These two Blue Ring zoom lenses feature impressive front glass elements, with front lens diameters of 63mm and 65mm respectively, delivering edge-to-edge coverage of full frame 645 format. Used on a Phase One XF 100MP system, the lenses are able to take full advantage of the sensor’s resolution; a 100MP capture renders a 100MP image with breathtaking fidelity.

— The Schneider Kreuznach 40-80mm LS f/4.0-5.6 Zoom lens renders ultra sharp resolution on all zoom distances from wide to normal focal length;

— The Schneider Kreuznach 75-150mm LS f/4.0-5.6 Zoom lens delivers great versatility. It’s preferred for on-location fashion shoots, with a range from normal to telephoto.

Together, these two lenses comprise an effective zoom range from 40mm to 150mm. Each lens is equipped with a zoom lock function on its barrel and is designed to maintain focus position while zooming. They each support flash synchronization up to 1/1600s. The new built-in electronics permit individual focus calibration when used with the Phase One XF Camera System.

“Creating optics this large with such tight tolerances is quite an achievement, “said Espen Beck, Phase One Senior Product Manager. “A Phase One full frame 100MP medium format sensor is 1.5 times larger than the cropped size 50MP medium format and 2.5 times larger than sensors found in high-end 35mm DSLRs. Capturing the full resolution of a square sensor this size with a round lens and avoiding crop means that the entire lens must be larger, which requires larger movements of individual lens elements while meeting the requisite standards for speed and precision.

“Schneider Kreuznach lenses are designed to deliver the ultimate analogue input to be shaped and refined with the Phase One XF 100MP Camera System and Capture One software. This design also benefits the Phase One XF 50MP system, which can exploit the ‘sweet spot’ of the lens, producing impeccable results.”

Designed by Schneider Kreuznach and produced by Phase One Japan, Schneider Kreuznach “Blue Ring” zoom lenses are refined with robust, aerial-grade mechanics and manufactured to meet Phase One’s highest quality assurance standards. Their enhanced precision, mechanical build, and look and feel complement the Phase One XF Camera System design.

For more information, including specifications for the two new “Blue Ring” lenses, please go to: https://www.phaseone.com/en/Products/Camera-Systems/Lenses

There will be a hands-on Webinar demonstration of the lenses on Tuesday, July 19.

For more information, times and to register, please go to:

https://attendee.gotowebinar.com/rt/2633991530877302018

Availability and Pricing

The two new Blue Ring Zoom lenses are available to order now. They are compatible with the Phase One XF, Phase One 645DF+ and Mamiya 645DF+ or DF camera systems.

The Schneider Kreuznach 75-150mm LS f/4.0–5.6 Zoom is shipping now. Manufacturer suggested retail price: 5.490 EUR / 5,990 USD

The Schneider Kreuznach 40-80mmLS f/4.0–5.6 Zoom is expected to ship by August 1, 2016. Manufacturer suggested retail price: 7.990 EUR / 8,990 USD

Phase One Camera Systems and all accessories are available through Phase One photography partners worldwide: www.phaseone.com/partners.

For a demo of a Phase One Camera System, please sign up here: www.phaseone.com/demo

About Phase One

Phase One A/S is the world-leading provider of medium format digital photography systems and imaging solutions for professional photographers and industrial applications. Established in the early 1990s, Phase One is a true digital photography pioneer with a passionate commitment to image quality excellence and creative freedom. Phase One’s engineering and design expertise has produced imaging breakthroughs from high- resolution camera systems to advanced software for better photographic workflows and raw file editing. Phase One’s understanding and ability to optimize hardware and software integration underscores their award winning Capture One Pro software – widely preferred by professional photographers.

Phase One’s industrial division focuses on imaging accuracy for industrial applications ranging from aerial image acquisition to cultural heritage preservation – from mapping the globe, to protecting priceless works of art and documents.

Today, with control over all aspects of the medium format camera system supply chain, Phase One is uniquely positioned to help photographers and imaging experts everywhere stand out above the competition and realize their creative visions without compromise.

Based in Copenhagen Denmark and embracing the high demand of Scandinavian design excellence, Phase One is dedicated to delivering the best image quality and user experience. With offices in New York, London, Tokyo, Cologne, Hong Kong, Shanghai and Tel Aviv, and with its expert teams of global partners, Phase One is committed to serving and supporting its customers worldwide.

Phase One and Capture One are registered trademarks of Phase One A/S. All other brand or product names are trademarks or registered trademarks of their respective holders.

Learn more here:

Phase One at: http://www.phaseone.com

Twitter at: http://www.twitter/PhaseOnePhoto

Facebook at: http://www.facebook.com/pages/PhaseOnePhoto

Google+ at: http://plus.google.com/+phaseone/posts

LinkedIn at: http://www.linkedin.com/company/16665

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Phase One introduces first Schneider Kreuznach ‘Blue Ring’ zooms

Posted in Uncategorized

 

CP+ 2015: Tokina reveals new 24-70mm F2.8 and 11-20mm F2.8 zooms

15 Feb

Tokina might not have the same presence at CP+ as Sigma and Tamron but its small booth is pretty busy, thanks to a brand new 24-70mm F2.8 for Nikon full-frame, and an 11-20mm F2.8 wideangle for APS-C. Just from first impressions, they seem impressively well-built, as we’d expect from Tokina. Click through for some images

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on CP+ 2015: Tokina reveals new 24-70mm F2.8 and 11-20mm F2.8 zooms

Posted in Uncategorized

 

CP+ 2015: Ricoh gets serious with new Pentax full-frame zooms

15 Feb

We’re at CP+ in Yokohama Japan, where Ricoh is showing off two new Pentax lenses designed for full-frame imaging. Although the company’s upcoming full-frame DSLR is still in the mockup stage, the D FA* 70-200mm F2.8ED DC AW and D FA 150-450mm F4.5-5.6 ED DC AW are very real indeed. We snuck into the show early this morning before the crowds arrived, to take a look. Click through for more details and images. 

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on CP+ 2015: Ricoh gets serious with new Pentax full-frame zooms

Posted in Uncategorized

 

Ricoh introduces HD Pentax D FA * 70-200mm F2.8 and HD Pentax D FA 150-450mm F4.5-5.6 zooms

05 Feb

Ricoh has announced two new zoom lenses for Pentax K-mount DSLRs, the HD Pentax-D FA * 70-200mm F2.8ED DC AW and HD Pentax-D FA 150-450mm F4.5-5.6ED DC AW. Both are designed to cover a full-frame sensor and are built to withstand exposure to dust and moisture. Read more

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Ricoh introduces HD Pentax D FA * 70-200mm F2.8 and HD Pentax D FA 150-450mm F4.5-5.6 zooms

Posted in Uncategorized

 

Why Prime Lenses are Better Than Zooms

07 Oct
35mm - SoHo Fire Escapes.

35mm – SoHo Fire Escapes, NYC

How heavy is your camera?

If you have an SLR with a zoom lens attached, the answer is pretty damn heavy. A large SLR body, such as a Canon or Nikon with a 24-105mm lens attached feels like a tank; forget the 70-200mm.

Of course there are many situations when using a zoom lens is ideal. However, I’m hoping to try and convince you to ditch the zoom lens for a prime.

But what if I need the zoom? What if I don’t have the perfect focal length? – I have heard those questions more times than I can count. A wise photographer once told me that you will get the same amount of good shots no matter what lens and camera you use; they will just be different. Zoom lenses can be just as limiting as prime lenses, and prime lenses can be much more freeing than zoom lenses.

By walking out the door with a single prime lens, you are limiting yourself. There are certain shots that you will not be able to capture, that is a fact. However, the benefits can far outweigh that single negative. Prime lenses cause you to take more time to compose your shot, since will you need to zoom with your feet. This can make you think more critically about your composition. A prime lens will free you up to focus on the subjects in the range that the prime lens works best at. You will become much better at finding things within that range and your work will be more consistent because of these limitations. A prime lens makes you think in a certain way, since it is tougher to use. The limitation ends up being an advantage in the long run.

35mm - Cast Iron Building, SoHo

35mm – Cast Iron Building, SoHo NYC

Think about how many famous photographers throughout history used prime lenses.

Prime lenses are lighter. They make your camera more fun to take out. You don’t need a heavy camera bag and you will be able to walk further, explore more, and capture more images. You will have a bounce in your step that you didn’t before. You will be able to bring your camera with you on a daily basis. That will more than make up for missing out on a few shots that a zoom lens could capture. Photography will become more fun! It will become more of an element of your everyday life, versus something that takes planning to do.

After awhile you will learn to see specifically in that focal length, and this is where things really click. It will almost feel like the camera isn’t there. You will be faster and more intuitive as a photographer. This is all because you ditched the zoom in favor of the more limited prime lens.

Oh, and did I mention that prime lenses are cheaper than zooms? Any money that you will spend purchasing a new prime lens will be saved in medical bills from your neck and back eventually giving out from the weight of that gigantic zoom lens that you use now.

35mm - Fire Hydrant, SoHo

35mm – Fire Hydrant, SoHo NYC

So what focal length should you choose? I prefer a 35mm lens (on a full frame). It is just wide enough to work well anywhere but not too wide. Other common focal lengths are 28mm, 50mm, and 85mm (which is a fantastic focal length for portraits). Rent a few lenses and try them to see what you like best.

After a few days of using a prime you may realize that the real limitation was with your zoom lens.

The post Why Prime Lenses are Better Than Zooms by James Maher appeared first on Digital Photography School.


Digital Photography School

 
Comments Off on Why Prime Lenses are Better Than Zooms

Posted in Photography

 
« Older Entries