There’s a right way and a wrong way to clean your camera lens. Naturally, we’re going to show you the wrong way.
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Articles: Digital Photography Review (dpreview.com)
What if I told you that for just $ 50, you could have yourself a fully-customizable interchangeable lens camera capable of shooting 12.3MP stills and capturing 4K/30p video? You’d probably tell me to kick dirt, but the truth is that’s now a possibility thanks to Raspberry Pi’s new ILC camera module and accompanying lenses, which start at just $ 25.
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‘There has always been a big overlap between Raspberry Pi hackers and camera hackers,’ reads the Raspberry Pi blog post announcing the setup. ‘Even back in 2012, people (okay, substantially Dave Hunt) were finding interesting ways to squeeze more functionality out of DSLR cameras using their Raspberry Pi computers.’
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| The full kit currently available from Raspberry Pi. |
Since 2013, Raspberry Pi has released a few different camera modules: the original 5MP camera board based around the OmniVision OV5647 sensor, a Pi NoIR board for infrared photography and a follow-up camera board that used the Sony IMX219 8MP sensor (this unit replaced Raspberry Pi’s 5MP camera board, which has the distinction of being just two other products the company has ever officially discontinued).
Despite selling more than 1.7 million units of the 8MP camera boards to date, the Raspberry Pi team wasn’t content with the limitations put in place by fixed-focus camera modules with small sensors and poor performance. Enter the new Raspberry Pi High Quality Camera.
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This new module is build around the Type 1/2.3” (7.9mm diagonal) Sony IMX477 backside-illuminated CMOS sensor that features 1.55?m pixels (double that of the IMX219 found in the 8MP camera board). In front of the sensor is a C and CS lens mount with adjustable back-focus, a mount most commonly used on 8mm, 16mm cameras, closed-circuit security cameras and other industrial-focused systems. It even features a built-in 1/4”-20 tripod mount for supporting the system.
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While any off-the-shelf C- and CS-mount lenses will work with the new sensor, Raspberry Pi has announced it will be working with its official retail partners to carry a pair of lenses: a 6mm CS-mount lens and a 16mm C-mount lens for $ 25 and $ 50, respectively. There’s always the option of 3D printing and purchasing third-party adapters to create wild combinations, such as this monster, shown below, built around the Canon 70–200mm F2.8 IS II lens.
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| The possibilities are nearly endless. |
The High Quality Camera is compatible with ‘almost all’ Raspberry Pi models, starting with the original Raspberry Pi 1. The only exception are a number of early Raspberry Pi Zero boards that lack the connector. Raspberry Pi has compiled accompanying support documentation on the product page, including a ‘Getting Started’ guide. There’s also ‘The Official Raspberry Pi Camera Guide’ that’s available to download for free as a PDF or buy in physical form on the Raspberry Pi Press Store for £10.
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The Raspberry Pi High Quality Camera, which will remain in production until at least January 2027 per Raspberry Pi’s obsolescence statement, is available starting today for $ 50 on the Raspberry Pi website.
Articles: Digital Photography Review (dpreview.com)
We’ve updated our ‘best fixed prime lens camera’ buying guide and – no surprise here – the Fujifilm X100V came out on top.
Articles: Digital Photography Review (dpreview.com)
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According to Sony Alpha Rumors, Sony has filed a patent for an interchangeable E-mount lens that will allow users to adjust focus after the shot has been recorded. The lens appears to contain a number of lenses arranged next to each other to record multiple individual images on the camera’s sensor that can be combined later presumably to control focus and depth-of-field.
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The site doesn’t tell us where the patent information was seen so we can’t read it for ourselves, but some diagrams are provided that we are told are part of the application.
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| The Light L16 light field camera from Light Labs Inc |
Sony investigating light field technology is nothing new, as in the past it has filed patents for a light field sensor and has a partnership to supply sensors to Light Labs Inc, the manufacturer of the Light L16 camera that was announced in 2015. The draw of the technology is obvious as it can allow multiple focal lengths to be used for full-resolution zooming and/or focus and depth-of-field selection after the event.
We have seen a few attempts at harnessing the idea in commercial camera products in the past, including the Lytro Illum, Nokia’s 9 PureView and to some extent a number of other multi-lens and multi-sensor smartphones. It is hard to tell from the available information exactly what these lenses will used for in this patented idea, and whether they will be to collect distance information or be used to expand the range of tones that can be recorded in a single shot – or both.
Either way, such a lens will need a camera with an extremely powerful processor or the ability to simply record the images for processing in software later – as with Sony’s Pixel Shift Multi Shooting mode that requires images are processed in the company’s Imaging Edge desktop application.
As we have all noticed in the past though, exciting patent applications don’t always result in a product that comes to market. If genuine however this does at least demonstrate Sony is still pursuing ideas in this area.
Articles: Digital Photography Review (dpreview.com)
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Samyang (also branded as Rokinon and Bower in other markets), has released its new AF 75mm F1.8 FE lens for full-frame Sony camera systems.
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Aside from the rather unusual focal length (I think we can all appreciate the decision not to add yet another 85mm FE lens to the market), the lens has another interesting feature. On the barrel of the lens, Samyang has included a ‘Custom’ switch that will turn the ring on the barrel from a focus ring (Mode 1) to an aperture ring (Mode 2). It’s not a dedicated aperture ring, but the ability to switch on-the-fly is a nice addition, especially for a lens from a budget manufacturer.
Onto the more standard specifications, the lens is constructed of ten elements in nine groups, including two high-refractive (HR) elements and three extra-low dispersion (ED) elements. It offers an aperture range between F1.8 and F22, has a minimum focusing distance of 69cm (27″), features a nine-blade aperture diaphragm and uses a 58mm front filter thread. The lens weighs just 230g (8oz) and measures in at 65mm in diameter (2.56in) and 69mm (2.72″) long, making it an incredibly compact and lightweight lens for its focal length.
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Below are a few sample photos, provided by Samyang:
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Samyang hasn’t shared pricing or availability information yet, but we have contacted the manufacturer and will update the article accordingly when we receive a response.
Articles: Digital Photography Review (dpreview.com)
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Venus Optics has announced its Laowa 100mm F2.8 2X Ultra Macro APO Lens is now available for Canon RF and Nikon Z camera systems, joining versions for Canon EF, Nikon F and Sony FE mounts.
It’s been exactly two years since the lens was originally announced and in that time the Laowa 100mm F2.8 2X Ultra Macro APO has earned numerous accolades and positive reviews for being an impressive-yet-affordable macro lens that punches well above its price point.
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Aside from the additional mount options, the new models remain unchanged from their previously-announced counterparts. They’re constructed of twelve elements in ten groups, feature an F2.8 through F22 aperture range, offer 2x magnification and have 13-blade aperture diaphragms (same as the Sony FE version).
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| A size comparison from Venus Optics showing the Laowa 100mm F2.8 2X Ultra Macro APO lens (far-right) compared to similar macro lenses from Nikon, Canon and Sony. |
The new models come in at the same size as the Sony FE model, weighing 650g (23oz) and measuring in at 72mm (2.8in) in diameter and 155mm (6.1in) long. Below is a gallery of sample images we captured with the original Canon EF version of the Laowa 100mm F2.8 2X APO Macro lens adapted to an EOS R:
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The Canon RF and Nikon Z mount models are also priced the same, retailing for $ 449 on Laowa’s website and authorized retailers. An optional tripod collar is available as an accessory for $ 30.
Articles: Digital Photography Review (dpreview.com)
The post How to Choose the Best Lens for Wildlife Photography appeared first on Digital Photography School. It was authored by Shreyas Yadav.
Before you select a lens for wildlife photography, first ask yourself – what are you passionate about photographing? Do you love exploring the forest and chasing big cats on a wildlife safari? Perhaps you love photographing birds flying around? Maybe you love to explore reptiles and amphibians?
After you have figured out what you are passionate about, think about how many of those subjects are available and whether you can access that location. For example, if I am passionate about exploring forests full of tigers, leopards, and elephants, I have to see if those subjects – and the location – are accessible to me at least once a month.
Alternatively, if I am passionate about colorful birds, I have to check if I can access those locations at least once a month.
If you can access the location and subject of your choice, you are lucky. It will make your lens selection an easy decision. Since you will be using that lens every month, it makes complete sense to own the glass.
On the other hand, if you love birds and African Big five. If you live away from Africa, then it is better to buy a lens that is perfect for birds – which you are more likely to shoot every weekend. Whereas, you may only visit Africa once every three years. Hence, think about it before you purchase a lens.
The most crucial factor is the budget. How much cash you can allocate to the lens. Keep aside some money for the camera body, accessories, and most importantly for travel, as wildlife photography involves a considerable amount of travel. While travel is sometimes hectic and a bit expensive, it is an awesome experience!
Key factors to consider while selecting the lens for wildlife photography
To summarise, below are the key factors to consider while selecting the lens for wildlife photography:
Let’s start with the technical factors you should consider while choosing the best lens for wildlife photography.
The range of focal lengths is essential to photographing wildlife images. You need longer focal lengths to photograph birds and mammals. For photographing birds, you need a focal length of at least 400 mm. And it can go up to 600 or even 800 mm.
If you are photographing mammals, the required focal length is from 200mm up to 600 mm. The longer the focal length, the better reach you will have.
However, there are exceptions in some of the cases.
When you want to show wildlife in its habitat or if you can approach the wildlife at a close distance, you can use shorter focal lengths, such as 12mm or 14mm.
But in most of the wildlife cases, there will be a distance between you and the wildlife you photograph. Hence longer focal lengths are useful.
Lens aperture determines how much light passes through the lens to the camera’s sensor. Larger apertures help to capture maximum light.
Large aperture lenses focus faster than smaller aperture lenses too.
In wildlife photography, the action is fast, so to capture fast action, you need a quicker focusing lens. Hence, it’s preferable to use a lens with a large aperture in Wildlife photography.
The maximum aperture can be f/2.8 and f/4. The lenses with a fast aperture (smaller number) can focus fast.
Image quality, depth of field, and sharpness are superb for lenses with a faster aperture.
Select the lens with an aperture value of f/2.8 or f/4. The smallest aperture you can go up to is f/5.6. Try not to choose lenses slower than f/5.6.
Focusing speed is critical for wildlife and bird photography.
The best lens should focus fast and accurately and should be able to focus precisely – even in the low light as well.
Focusing speed is mainly dependent on the maximum aperture and lens construction.
While looking at the lens construction, we will not be able to figure out the focusing speed. But, based on the maximum aperture number, we can get an idea of lens focusing speed.
A lens with a maximum aperture of f/2.8 or f/4 focuses fast and accurate.
In general, a fixed focal length lens performs better than a zoom lens because of less moving glass elements. (There are exceptions. Some of the zoom lenses focus fast; we will discuss it later in this article)
Controls and ergonomics determine how you can handle and use the lens.
Lens zooming and manual focus rings should be smooth and accurate.
The lens should zoom with optimized ring rotation, so you don’t have to rotate the zoom ring by 360 degrees.
Autofocus and manual override (A/M or M/A) is a great feature. It means you can autofocus the lens. Further, to fine-tune the focus, you can manually focus it.
Vibration reduction/image stabilization helps to compensate for any camera movement. This feature helps to capture a sharp image at low shutter speed.
The weight of the lens is a significant factor in choosing the lens too. Less weight is always preferred because you can carry the lens while hiking or traveling. Similarly, smaller size lenses are right for traveling and packing.
Most of the wildlife and bird photography lenses are a bit heavy and bigger. Of course, there are exceptions. Some of the lenses are equally great in terms of image quality at a much lower weight and size. But the price of those lenses is higher. We will evaluate those lenses as well in the next sections.
As you will be using the lens for many years, compatibility with a teleconverter is essential.
The lens should be compatible (in terms of Autofocus performance such as accuracy and speed) with the teleconverter.
Teleconverters help to expand the range of the lens. For example, a 70-200mm f/2.8 lens with a 2X converter will be 140-400mm f/5.6. It doubles the focal range of the lens and reduces the maximum aperture of the lens from f/2.8 to f/5.6.
For any lens brand, generally, there are 1.4X, 1.7X, and 2X teleconverters. If the lens is compatible with all 3 teleconverters, it’s excellent! But at least it should be compatible with either one of the teleconverters.
If your lens is compatible with teleconverters, you will be able to extend the focal length of the lens.
The right lens for wildlife photography should be able to take beatings from outdoor weather.
The lens should withstand against rain drizzle, temperature extremes (both hot and cold temperatures), and dust.
Weather sealing should be good enough to stop raindrops and dust from entering into the lens.
The weather sealing of the lens depends on lens construction, protruding lens elements, type of seals at zoom/focus ring, and at the camera mount.
With that said, while photographing outdoors, take care. It is always better to clean the lens after each photography trip. Cleaning of lens contacts, lens mounts, front elements, zoom/focusing rings, and protruding parts is good enough.
Low light focusing performance is dependent on the lens and camera as well. Both camera and lens play an essential role in low light focusing.
Most of the wildlife action happens during early dawn and late dusk. During this edge of day, light conditions are poor.
Good lenses should be fast and accurate enough to focus in low light.
A lens’s low light performance depends on the maximum aperture and moving glass elements. Larger apertures of f/2.8 or f/4 and less moving glass elements mean the lens focuses fast. (Assuming your camera is having excellent low light autofocus performance.)
Now you are aware of what technical factors to look for, let’s learn what types of lenses are available for Wildlife photography.
A prime lens has a fixed focal length.
Prime lenses are best for birds and wildlife at a distance.
Because of fewer moving glass elements and maximum aperture, autofocus performance is excellent.
Image quality, sharpness, low light capability, and focus response is excellent for a prime lens. Prime lenses are compatible with teleconverters too.
One caveat is, if the wildlife approaches closer to you, you cannot zoom out and take the picture. Instead, you are stuck with a fixed focal length. In this case, you may want to take a portrait/close up image.
Compositional flexibility is limited when using prime lenses.
Prime lenses are higher in price and can be a bit heavier as compared to zoom lenses.
However, buying the best prime lens is the most significant investment you can make in your photography. These lenses last more than a decade and keep making beautiful images.
Out of your budget, try to spend the maximum amount of money on buying the best prime lens.
A telephoto zoom lens is a variable focal length lens. You can change the focal length of the lens by rotating the zoom ring on the lens.
Telephoto zoom lenses are best for birds and wildlife at long and short distances.
As compared to prime lenses (fixed focal length), Zoom lenses have more moving glass elements. This affects the focus performance.
However, there are exceptions.
Some of the Telephoto zoom lenses are as fast as prime lenses. We will see which of those lenses are in this article.
Telephoto zoom lenses are compatible with teleconverters. However, teleconverter compatibility is limited. Telephoto zoom lenses are fully compatible with some of the teleconverters, while only partially compatible with other teleconverters.
When choosing a telephoto zoom lens, check the teleconverter compatibility as well.
The main advantage of a zoom lens over a prime lens is variable focal length. Variable focal length helps in photographing farther as well as closer objects. Zoom lenses give freedom in image composition as well.
The size and weight of zoom lenses are relatively manageable as compared to that of prime lenses. Most of the zoom lenses are hand-holdable and travel-friendly.
While selecting the telephoto zoom lens, look out for aperture numbers such as f/2.8 and f/4 (for particular lens you can go up to f/5.6). Try to get the largest possible aperture for the telephoto zoom lens. This helps in autofocus performance, low light capability, Image sharpness, and smooth bokeh.
Micro-lenses are a prime lens (fixed focal length).
If insects, snakes, butterflies, or small creatures are your interest, then micro lenses are for you.
The most popular lenses among the photographers are 105mm f/2.8, 180mm f/2.8 and 90mm f/2.8. Among all 105mm f/2.8 lenses are the right balance of image quality, range, size, weight, and price.
There are additional micro-lenses from third party brands such as Sigma and Tamron.
Micro 4/3rd format lenses are a bit different. The cameras with the Micro 4/3rd system have a smaller sensor size.
For example, a full-frame 100mm lens will become 150mm (1.5 X) on the crop sensor (small camera sensor body). Whereas on the micro 4/3rd system cameras, a 100mm lens will become 200mm (2 X).
Micro 4/3rd systems have their benefits such as size, compactness, weather sealing, and convenience. With a small sensor, as compared to a full-frame sensor, there is a compromise in terms of image quality and dynamic range. Lenses for the Micro 4/3rd system are built well. The quality of the glass, weather sealing, and ergonomics are excellent too.
In wildlife photography, weather conditions will be hostile. You have to hike along with your gear. Size and weather resistance of the equipment matters.
Hence specifically for wildlife, photography Micro 4/3rds is an excellent and unique option to consider.
As you are now aware of what type of lenses are available for wildlife photography, let’s look into the process of lens selection.
These steps will help you to select the best lens for wildlife photography.
Find out what your area of interest is and identify what you want to photograph. You may want to photograph birds or big animals or small creatures. The key is to find out your objects of interest.
Once you have found out what do you love photographing the most, select the lens accordingly. For example, if you love photographing birds, then select a telephoto (prime lens). If you like photographing butterflies, insects, and snakes, then select a micro-lens.
Before you buy the lens, rent it. Also, try renting similar options in the lens. For example, if you are looking for a telephoto (prime) lens for birds, then rent and use the lenses such as 600mm f/4, 500mm f/4, and 400mm f/2.8 and see which lens you find comfortable while using.
If you want to photograph wild animals, try using lenses such as 70-200 f/2.8, 300mm f/4, and 200-500 f/5.6. By using the lens, you will be able to evaluate it better.
Once you have evaluated and tried the lens, it is time to buy the lens. Generally, there is no discount for good lenses. Also, it is better to buy the new lens as you are going to use the lens for a long time (likely, more than a decade). Once you buy the lens, make sure all the functions work correctly.
Make sure you have a lens warranty in place, and you are good to go!
What is your favorite object? Which lens have you selected?
If you have any questions regarding lens selection for wildlife photography, please let us know in the comments below.
The post How to Choose the Best Lens for Wildlife Photography appeared first on Digital Photography School. It was authored by Shreyas Yadav.
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Yongnuo has announced the YN50mm F1.8S DA DSM, it’s newest autofocus ‘nifty/thrifty fifty’ lens for Sony E-mount APS-C camera systems.
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Yongnuo currently offers 50mm F1.8 lenses for both Canon EF-mount and Nikon F-mount, but this new ‘nifty fifty’ is designed specifically for use with Sony’s a6000 series mirrorless cameras.
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The lens is constructed of eight elements in seven groups, including one low-dispersion element to minimize aberrations. Yongnuo says the lens also features a seven-blade aperture diaphragm, gold-plated contacts with a metal bayonet mount and a ‘nanometer multi-layer coating’ to minimize ghosting and flares. The internal autofocus is driven by a digital stepping motor (DSM) and the lens offers an onboard Micro USB port for upgrading the firmware.
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The lens doesn’t currently have a price or release date, but considering Yongnuo’s previous lenses sought to undercut the already-affordable ‘nifty fifty’ lenses on the market, you can count on this one coming in very cheap when it hits retailers’ shelves. The lens measures in at 58mm (2.3in) long, 64mm (2.5in) diameter and weighs roughly 146g (5.15oz).
Articles: Digital Photography Review (dpreview.com)
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Viltrox has announced the release of its new 33mm F1.4 APS-C autofocus lens for Canon EF-M mount, Sony E-mount and Fujifilm X-mount camera systems as well as the impending arrival of a 20mm T2 cinema lens for L-mount camera systems.
The Viltrox 33mm F1.4 APS-C lens is one of the three APS-C lenses it teased back in August 2019. The autofocus lens is constructed of ten elements in nine groups, including one extra-low dispersion (ED) element and one high-refraction element.
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It features Viltrox’s ‘noiseless’ stepping motor (STM focus motor) for driving the autofocus unit, features an aperture range of F1.4 through F16, uses a nine-blade aperture diaphragm, has a minimum focusing distance of 40cm (15.75in) and uses an ‘HD Nano’ multilayer coating on an unspecified number of elements to help improve water resistance and minimize chromatic aberration.
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No dimensions are given for the lens in the press release, but it weighs 270g (9.5oz) and uses a 52mm front filter thread. Viltrox says pre-orders will open tomorrow on its website, with a retail price of $ 279.99.
Viltrox also told us to expect other ‘lens(es)’ to launch sometime in May, likely a nod to the 23mm and 56mm F1.4 lenses in Viltrox’s APS-C lineup.
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Viltrox has also shared the details of its forthcoming 20mm T/2 cinema lens for L-mount camera systems.
The lens will be constructed of 12 elements in 9 groups, include one double-sided aspherical element, four ED elements and one short wave-length, highly-transparent element. Like the 33mm F1.4 APS-C lens, the 20mm T/2 lens offers Viltrox’s ‘HD Nano’ coating on an unspecified number of elements.
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The lens has a minimum focusing distance of 25cm (9.8in), has an aperture range of T2 through T16, uses a 14-blade aperture diaphragm and uses an 82mm front filter thread. It will measure in at just over 100mm (4in) long, 80mm (3.15in) diameter at the front and will weigh 808g (28.5oz).
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No specific release date or pricing information has been given at this time, with ‘coming soon’ being the only indicator so far. We have contacted Viltrox for more information and will update this article if we receive further information.
Articles: Digital Photography Review (dpreview.com)
The post Review – Viltrox 85mm f/1.8 Lens for Fujifilm appeared first on Digital Photography School. It was authored by Suzi Pratt.
It used to be that photographers were wary of third-party camera lens makers because they often sacrificed quality for a cheaper price. However, that’s no longer the case today. In fact, third-party lens makers such as Tamron and Sigma are now creating viable lens alternatives that even professional photographers are turning to. Relatively new to the game is Viltrox, a Chinese camera accessory manufacturer. They recently put out the Viltrox PFU RBMH 85mm f/1.8 STM and I tested it out with my Fujifilm X-T3. Here are my thoughts.
The Viltrox 85mm f/1.8 lens is a fixed autofocus lens available for both Fujifilm X-Mount and Sony E-Mount cameras. It’s interesting to note that this is a full-frame lens as it works with both Sony FE and crop-sensor camera bodies; if Fujifilm made a full-frame mount, it would likely work with that as well.
This is a hefty lens, weighing in at 1.4 lbs (636 grams). It is an all-metal body that, unfortunately, is not weather-sealed. However, it would likely be able to hold up well over time, given its hard exterior.
The lens is simple with no buttons or controls on the body, which made for an interesting usability experience (more on that below). It comes with both a lens hood and front and rear caps.
One of the biggest selling points of this lens is its price: US$ 399 for an f/1.8 short prime lens is a pretty good deal.
Looking at Fujifilm’s native lens library, your closest other choices are the XF80mm f/2.8 for US$ 1,199.00 and XF90mm f/2 for US$ 729.99.
When compared to these two lenses, the Viltrox 85mm f/1.8 seems like a steal at its price point, plus it is the fastest lens of the bunch.
Part of the joy of shooting with a Fujifilm camera is the experience. Most cameras, including the Fujifilm X-T3 and X-H1 that I use, have dedicated buttons and dials for setting details such as shutter speed and ISO.
All official Fujifilm lenses are built to integrate well with this shooting experience as they include a dedicated aperture ring used to control your F-stop. This little tidbit is where shooting with the Viltrox 85mm f/1.8 took some getting used to.
The Viltrox lens has no buttons or dials on it, and no aperture ring for adjusting the aperture. Instead, the front dial on your Fujifilm camera becomes the default way of changing your aperture. For long-time Fujifilm shooters, this is a strange thing to get used to.
Another thing to get used to is the weight of this lens.
Fujifilm mirrorless cameras are typically quite lightweight and compact compared to many of their full-frame competitors. As a result, which camera body you choose to pair with this lens can make a big difference in how you shoot with it.
When attached to my Fujifilm X-T3, the camera was harder to hold due to the shallow grip on the X-T3. In comparison, the Viltrox felt better balanced when paired with the Fujifilm X-H1, which has a more solid body with a deeper handgrip.
However, don’t forget that you can enhance the grip of most cameras like the X-T3 by using the optional battery grips or adding an L-bracket.
The autofocus is a mixed bag. While the autofocus mechanism is accurate once you secure focus, it does quite a bit of hunting when you first begin framing your subject. This is also not a very quiet lens, and you can hear the focus mechanism as it works to find focus. It’s not necessarily a dealbreaker unless you shoot a lot of fast-moving subjects, or really need dependable autofocus. But you get what you pay for.
Image quality is spot on and in line with what you would expect from a Fujifilm camera. Sharpness, color, and contrast are all great at various apertures, but the best feature is the bokeh. When shooting wide open at f/1.8, you get bokeh that is insanely smooth and gorgeous.
Is the Viltrox 85mm f/1.8 lens worth it? It depends on your budget and expectations for quality.
Many features from solid build quality, respectable integration with the Fujifilm system, and overall image quality are on-point. However, autofocus is not as reliable as it would be on a native Fujifilm lens.
Then again, you’ll be paying a lot more money for a similar Fujifilm lens, so if the cost is an issue, you really can’t go wrong with this lens given its price point.
The post Review – Viltrox 85mm f/1.8 Lens for Fujifilm appeared first on Digital Photography School. It was authored by Suzi Pratt.
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