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Posts Tagged ‘Lens’

Tokina announces redesigned ATX-i 100mm F2.8 1:1 Macro lens for Canon EF, Nikon F mounts

15 Nov

Tokina has announced the release of its new ATX-i 100mm F2.8 Macro lens for full-frame Canon and Nikon DSLR cameras.

The ATX-i 100mm F2.8 Macro lens is constructed of nine elements in eight groups and features a 1:1 reproduction ratio at 30cm (11.8in) from the sensor with a minimum focusing distance of 11.5cm (4.5in). Tokina has used a ‘flat-field’ optical design which it claims ‘suppresses the field-of-view curvature to zero [for] excellent edge-to-edge sharpness at all focus distances and apertures.’

The lens uses Tokina’s One-Touch Focus Clutch Mechanism for quick switching between auto and manual focus by snapping the focus ring forward (for autofocus) or backward (for manual focus). The lens weighs 490g (17.28oz) and measures 9.5cm (3.74in) long and 7.3cm (2.87in) diameter.

Below are three sample photos captured with the lens and shared with us by Tokina:

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The redesigned 100mm F2.8 Macro is the second lens in the ATX-i lineup, joining Tokina’s redesigned ATX-i 11-16mm F2.8 lens. It is avaialble to pre-order today (B&H) and will begin shipping December 6, 2019 for an estimated price of $ 429.

Press release:

Kenko Tokina announces the release of the NEW atx-i 100mm F2.8 Macro F

Same great optics, brand new look – The atxi 100mm f/2.8 Macro FF lens for full-frame Canon and Nikon DSLR cameras

Huntington Beach, CA, November 15, 2019: Kenko Tokina, Japan’s leading manufacturer of premium camera accessories, is releasing the Tokina atx-i 100mm f2.8 Macro FF lens for full-frame DSLR cameras from Nikon and Canon. Distributed in the US exclusively by Kenko Tokina USA, this new lens provides unparalleled versatility with the award-winning optics.

The Tokina atx-i 100mm F2.8 FF Macro is a versatile mid-range auto-focus telephoto lens with excellent close focusing capabilities reaching life-sized (1:1) reproduction at 11.8 inches (30cm) from the sensor plane. Engineered for Canon EF and Nikon F mount full-frame DSLR cameras.

At (1:1) reproduction, the lens provides a very comfortable 4.5 inches of working distance between the front of the lens and your subject. The fast f/2.8 aperture makes it easy to focus in low light and renders soft beautiful bokeh. Making it an excellent choice for portraits, landscapes, video, and small world photography.

The Tokina atx-i 100mm F2.8 Macro is a “flat-field” optical design that suppresses the field-of-view curvature to zero. This means the lens yields excellent edge-to-edge sharpness at all focus distances and apertures. The lens’ multi-coatings render natural color with extremely low light falloff, perfectly controlled chromatic aberration, flare and ghosting.

The One-Touch Focus Clutch Mechanism makes switching from auto-focus to manual focus simple. While in AF mode the user only needs to snap the focus ring back toward the camera to engage “real” manual focus control. This gives photographers an authentic tactile MF feel with hard stops on either side of the focus range like traditional manual lenses. Additionally, the directional rotation of the focus ring matches the direction of proprietary Nikon and Canon lenses.

“This is the second lens offering in the new atx-i series.” says Yuji Matsumoto, President at Kenko Tokina USA. “It combines the award-winning optics of the original ATX model with a sleek new look that matches the cosmetics of today’s advanced DSLR cameras.”

Worldwide sales of the Tokina atx-i 100mm F2.8 FF Macro lens will begin on December 6, 2019 with authorized Tokina USA retailers taking pre-orders November 15, 2019.

Estimated USA Street Price of $ 429.00

More information is available at https://tokinausa.com.

Articles: Digital Photography Review (dpreview.com)

 
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Review: Sigma 35mm f1.2 ART Lens for Sony E-Mount

14 Nov

The post Review: Sigma 35mm f1.2 ART Lens for Sony E-Mount appeared first on Digital Photography School. It was authored by Anabel DFlux.

sigma-35mm-f1-2-art-lens-review

Considering the amount of articles I’ve written about shallow depth of field, it is safe to say that anything wider than f/1.8 is my sweet spot. However, Sony has found itself severely lacking in my favorite fast aperture: f/1.2. Well, my friends, Sigma has come to save the day with the brand new Sigma 35mm f1.2 ART Lens for Sony E Mount! It’s the fastest autofocus lens available for Sony mirrorless cameras to date.

I had the pleasure of taking this lens out for a spin on my Sony A7r IV and Sony A7r III and making all of my creamy bokeh dreams come true.

Lens build

Sigma-35mm-f1.2-ART-lens-review

Upon first glance, this lens is large and heavy. Many people wouldn’t realize this is a wide-angle 35mm focal length. The weight is a bit daunting when you use a mirrorless system, especially since one of the big selling points of mirrorless is the small size of the camera. However, the benefit of mirrorless is that all you’re carrying is the weight of the lens, which I don’t mind.

The weight of the Sigma 35mm f/1.2 ART lens is very worthwhile. The following are the reasons why.

In true ART fashion, the lens is solid, sturdy, and what I’d consider shock-resistant. Give it a bump, you’ll see (no, please don’t do that intentionally!). The lens features a dust and splash-proof structure with additional water and oil-repellent coating on the frontmost surface of the lens. I can personally attest to these, having already taken this optic out in some dire conditions. I put lenses through the wringer, and if they can’t survive me, they aren’t a worthy build!

Also, akin to the ART line is the beautiful glass that is vibrant, sharp, clear, and perfect. It’s very reminiscent of the Canon L-series glass, which I was obsessed with, and was thrilled to find similar in the Sigma ART line.

Lens features

Sigma-35mm-f1.2-ART-lens-review

If you’re a native Sony G-Master user who picks up the Sigma 35mm f1.2 ART lens for the first time, you’ll likely see a familiar feature – an aperture ring. This smooth and easy to use manual adjustment of the aperture is quite a useful feature (especially for those who dabble in video and cinema).

Additionally, what’s really interesting about this lens is the ability to click/de-click the aperture ring, allowing complete silence or clicks to let you know you have turned the ring.

The inclusion of the AFL button adds to the lens’s functionality as you can assign it to various operations.

Lens communication

Sigma-35mm-f1.2-ART-lens-review

You don’t invest thousands of dollars on a camera like the Sony Alpha to not use those features, yes? So why would you grab a lens that isn’t compatible? You just don’t. As such, my deal breaker is whether or not the Sigma 35mm f/1.2 ART lens can speak the Alpha’s native tongue (being a non-Sony-brand lens).

Well, the answer is one that I certainly hoped for: The Sigma is fluent in Sony speak!

As one of the first ART lenses designed exclusively with mirrorless in mind, it’s communication with the popular Sony mirrorless system is key (considering the lens only comes in Sony E mount and L mount). All autofocus features (including eye-tracking [human and animal] and AI autofocus) translate brilliantly between the camera body and optics.

Autofocus

Sigma-35mm-f1.2-ART-lens-review

First of all, the autofocus of the Sony Alpha 7r IV and 7r III are just fantastic. Paired with this lens that is great at communicating with the camera, and you have a recipe for winning. My photo sessions have been so much smoother as a result.

Autofocus has been fast, accurate, and a dream. I have had a hard time putting this lens down, and can always find at least one excuse to bring it along for the ride.

I’ve gone as far as to shoot canine sports with it, even though a focal length of 35mm requires me to get closer to my subject than I’d usually like. However, it’s well worth it for that creamy bokeh, because canine agility fields tend to be quite cluttered with obstacles (which makes for a busy frame without the bokeh).

Whether your subject is running at you, away from you, or to the side, there is no discrepancy in autofocus.

Sharpness

Review: Sigma 35mm f1.2 ART Lens for Sony E-Mount

Edge to edge sharpness doesn’t even begin to describe how crystal clear the Sigma 35mm f/1.2 ART lens is. If I closed my eyes, I’d swear I was shooting with Canon L glass. The ART glass has been truly tremendous, especially in recent lens releases.

I found that my subject was just as sharp in the center point as any corners. This is great for those that want to take advantage of the 35mm focal length width and do some off-center frames.

The full-frame capability gives it a further wow factor. When attached to my Sony A7r IV – a 60+ megapixel camera – the images viewed on a massive print-calibrated 4k screen equals some jaw-dropping moments. Pairing tack sharpness with this lens’s visual sharpness results in an image that would make even the ultimate pixel peepers happy. From my own use, I’d say peak sharpness was around f/2.0 – f/2.8.

What you see is what you get, as the sharpness translated to prints beautifully.

Bokeh

Review: Sigma 35mm f1.2 ART Lens for Sony E-Mount

You don’t buy an f1.2 lens not to use it at its widest aperture! It took a bit of effort on my part to ever take it off f/1.2.

The bokeh is creamy, beautiful, and completely effortless. The subject separation is superb, and the client’s response to these magical images is pure bliss. I loved using this lens with cluttered backgrounds as the distraction smoothed away. Even when the aperture is widened to f/2.8, the bokeh continues to be smooth and satisfying.

There is some slight vignetting at the corners, but I quite enjoy this look and add a bit more of it in post-production. Those photographers that are miffed by vignetting may not be too thrilled. However, the 35mm wide focal length does allow for a wee bit of cropping so you can remedy that situation with some corner snips.

The bokeh balls produced with the Sigma 35mm f1.2 lens are very smooth and lovely. You won’t find yourself trapped with no onion-ring bokeh in the editing room, as seen in many other types of similar lenses.

Chromatic aberration

Review: Sigma 35mm f1.2 ART Lens for Sony E-Mount

Much to my positive surprise, I have not experienced any chromatic aberration or fringing with this lens – even on extremely contrasting subjects. This tends to be a common problem with very wide apertures. Whatever magic Sigma did to this particular lens clearly works because I have yet to encounter fringing.

With that said, I’m not saying there isn’t going to be fringing in some peculiar situations, but just that I have not yet personally encountered it. I have encountered fringing immediately with several f/1.4 and f/1.8 lenses from Sony (even the G-Master), unfortunately.

Pros

Review: Sigma 35mm f1.2 ART Lens for Sony E-Mount

  • Fast and beautiful f/1.2 wide aperture.
  • Full-frame lens.
  • Physical aperture ring with click/de-click switch.
  • Excellent communication between Sony E-mount cameras and this Sigma lens.
  • Beautiful creamy bokeh with no onion-ring issues.
  • Fast autofocus and vibrant output.
  • Little to no chromatic aberration.
  • Price is still very competitive, despite being in the four-digit range.

Cons

Sigma-35mm-f1.2-ART-lens-review

  • Heavy, bulky, and large for a 35mm lens (especially on a mirrorless system).
  • Only available in Sony E-Mount and in Sigma/Leica/Panasonic L-Mount (the lens is designed exclusively for mirrorless systems. Some may see this as a con if they don’t own a mirrorless system).

Conclusion

Review: Sigma 35mm f1.2 ART Lens for Sony E-Mount

Sigma 35mm f/1.2 Art Lens Review: Conclusion

My final thought is simple: “this lens will be permanently attached to one of my mirrorless cameras.” The investment is well worth the amount of use you’ll likely get out of this lens, even if you don’t shoot at extremely wide apertures such as f/1.2. I have always found it more worthwhile to invest in lenses that grant you more options and versatility rather than less.

The Sigma 35mm f/1.2 Art Lens can easily become a staple of any kit, with an incredibly vast array of uses from portraits, pets, events, fine art, and everything in between. With the popularity of prime lenses, this one is definitely a top contender.

Have you used the Sigma 35mm f1.2 ART Lens? Share your thoughts with us in the comments below!

The post Review: Sigma 35mm f1.2 ART Lens for Sony E-Mount appeared first on Digital Photography School. It was authored by Anabel DFlux.


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Voigtlander’s 75mm F1.5 Vintage Line Nokton lens is now available for $999

12 Nov

Earlier this year, Voigtlander released details of a 75mm F1.5 Vintage Line Nokton lens for Leica M-mount camera systems. Now, the lens is shipping and effectively replacing the 75mm F1.8 Heliar Classic lens Voigtlander previously offered.

As noted in our initial coverage, the lens comes in black and silver variations. It features an optical design made of seven elements in six groups including three low-dispersion elements and one aspherical element. The lens is manual focus with a minimum focusing distance of 70cm (2.3ft) and features a clicking aperture ring with a range between F1.5 and F16 using a twelve-blade aperture diaphragm.

The 75mm F1.5 Nokton weighs in at 350g (12.35oz) and measures in at 63.8mm x 63.3mm (2.5in x 2.5in). Leica Rumors has posted a gallery of sample images (JPEG, straight out of camera) taken with the lens attached to a Leica M10 in an album on Flickr. Below is a gallery of sample images provided by Leica:

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The lens is available in black and silver models and currently in stock at B&H for $ 999.

Articles: Digital Photography Review (dpreview.com)

 
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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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Lens Rentals celebrated Halloween by testing its rental gear for ghosts and good vibes

02 Nov

In the spirit of Halloween, the team over at Lens Rentals decided to do a little experiment to see if any of their gear was haunted. However just one item in, the plan took a very Roger-esque turn, pivoting from a ghost-hunting endeavor to tearing down the very pieces of gear he was originally using to look for paranormal activity.

After someone had remark that some of its photography gear was used to record various paranormal shows and another individual showed concern of whether or not any of Lens Rental’s gear was haunted, Cicala and his trusty sidekick Aaron decided to put their gear to the test unlike they’ve ever done before.

The array of paranormal-detecting devices Roger and Aaron purchased.

After hunting down an array of various paranormal-detecting devices (and purchasing a dozen 9-volt batteries), Roger and Aaron got to work setting up their testing area. At the suggestion of those more familiar with the paranormal, the duo set up what was supposed to be a pentagram (looks more like a random geometric shape in our book) with multiple ‘Ghost Detector’ modules around the perimeter and burned a candle in the middle to get the paranormal juju flowing.

Clearly someone used that mic pack under sketchy circumstances.

After letting the candle work its magic, the pair put a Sennheiser microphone in the center and used both the ‘Ghost Detectors’ and the EMF detectors to see which how it reacted. Sure enough, the wireless mic pack was haunted (according to the two detectors, at least). The pair also tested their microwave (definitely haunted), as well as their coffee maker (which was thankfully spared by the spirits). It was even discovered that Aaron was haunted too. As a result, it turned out their previous testings couldn’t hold up, as there’s the chance Aaron himself was causing the bad vibes.

So, Roger and Aaron decided to instead direct the various paranormal-detecting devices they purchased to test out the Lens Rentals gear. We’ll let you see the full teardown of the gadgets over on Lens Rentals’ blog post, but suffice to say the Ghost Detector Array, EMF Meter and Ghost Magnet were all relatively cheap pieces of tech that mostly consisted of random PCBs and (in the case of the Ghost Magnet) motors.

The inside of one of the EMF detectors Roger and Aaron purchased.

Considering all of the paranormal devices are now torn down, it’s safe to say Lens Rentals will no longer be offering a spirit-cleansing add-on for future rentals. So you might want to be careful and bring a Shaman along with you on your next photo shoot just in case.

Articles: Digital Photography Review (dpreview.com)

 
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As promised, Canon updates EOS RP firmware to add 24fps recording, additional lens support

01 Nov

As promised earlier this month, Canon has published the latest firmware update for its EOS RP camera that adds support for 24fps video recording.

Firmware version 1.4.0 isn’t a major update, but it fulfills the promise Canon made to add Full HD 23.98p recording to the entry-level full-frame mirrorless camera. The update also adds support for the Canon RF 85mm F1.2L USM DS lens, which is said to arrive before the end of the year.

You can download firmware version 1.4.0 for the Canon EOS RP on Canon’s website for macOS and Windows computers.

Articles: Digital Photography Review (dpreview.com)

 
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Lens Hoods: What Are They Really For, and Do You Need Them?

31 Oct

The post Lens Hoods: What Are They Really For, and Do You Need Them? appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

lens-hoods-what-are-they-for

Most camera lenses come with something called a Lens Hood, which looks like a short circular tube that attaches to the front. These diminutive devices seem a little strange, but they can serve several very useful purposes. While some people might be tempted to toss them on the shelf and never give them a second thought, knowing what lens hoods are and how to use them can have a significant impact on your photography.

Lens Hoods: What Are They Really For, and Do You Need Them?

Why use Lens Hoods?

Imagine this: it’s a bright, sunny day and you are outside for a stroll. The sun is beating down hard and you’re having a bit of trouble seeing clearly, so you hold your hand up to your forehead in an effort to block the light. Congratulations, you’ve just made your very own lens hood for your face! I know this is a bit of an oversimplification, but the lens hood on a camera is about the same as using your hand or a ball cap to block a bit of light when it’s bright out.

Image: It’s kind of like putting a ball cap on your camera, but a lot more effective.

It’s kind of like putting a ball cap on your camera, but a lot more effective.

Why would this be beneficial for photography? Since you need light to make photographs, wouldn’t blocking the sunlight be counterproductive? It might seem so, but in reality, you aren’t making the scene any darker just as putting a cap on your head doesn’t make the sun any less potent.

Indeed, the primary reason to embrace your lens hood as an essential photographic companion is that it makes your pictures look better. Its purpose is to prevent your photos from developing a washed-out appearance that tends to happen under certain lighting conditions. They also offer other benefits mostly related to the protection of your camera gear.

Image: The lack of a lens hood gave this picture a washed-out appearance.

The lack of a lens hood gave this picture a washed-out appearance.

These types of pictures happen because harsh, intense light enters the camera lens and gets scattered across a portion of the image as a result. Lens hoods can mitigate much of this problem by acting as a shade over the front glass element.

Image: Attaching a lens hood gave the shot much more contrast and vibrance. Shadows can be brought u...

Attaching a lens hood gave the shot much more contrast and vibrance. Shadows can be brought up in post-production, but if a picture is too washed-out, it can be much more difficult to fix.

When I first got into digital photography many years ago, I didn’t understand the point of lens hoods. I kept them on a shelf at home because they mostly just got in the way and made my camera take up a lot more space in my bag than it needed to.

Or so I thought.

The nice thing about lens hoods is that they are a low-tech solution to what can often be a fairly major problem. Once you start to see the benefits of having a hood on your lens, you won’t see them as a useless waste of space, but essential components of your camera kit.

Image: I always use my lens hoods for portraits. I never know when I will be shooting a backlit scen...

I always use my lens hoods for portraits. I never know when I will be shooting a backlit scene, and if it happens, it’s good to have the hood to shade the lens.

One thing I have realized over the years is that you need to be prepared to meet the demands of whatever situation you are photographing. Few things are more frustrating than realizing you messed up a picture because of something you could have easily solved with a little pre-planning.

Lens hoods can indeed be a little awkward. However, it’s better to have one on your lens than realize afterward that many shots appear hazy and poorly-lit because you didn’t shade your lens properly.

Image: Lens hoods are particularly useful when shooting into the sun.

Lens hoods are particularly useful when shooting into the sun.

Additional benefits

Aside from protecting your pictures from harsh light, lens hoods can physically protect your camera gear too. This is one of the reasons I leave mine on at all times since I often bump and bang my camera. Having a hood protruding from your lens means it will absorb the brunt of most impacts.

If it does get broken, it’s far cheaper to replace than your lens.

Image: After years of use, my lens hoods are full of scratches and scuffs. I’d rather have the...

After years of use, my lens hoods are full of scratches and scuffs. I’d rather have these easily-replaceable plastic parts bear the brunt of any impacts instead of my actual camera lenses!

I try to be careful with my camera gear and I don’t intentionally abuse it, and I think the same is true of most photographers. But despite my best efforts, accidents certainly can happen. In the normal course of a photoshoot, my camera gets picked up, set down, bounced around, tossed into a bag, put in the trunk of my car, used, and maybe even abused just a little.

A protruding plastic ring isn’t going to save my camera if it gets run over by a dump truck, but it has helped avoid countless bumps and bruises over the years. Is it inconvenient to have the hood always sticking out of my lens? A little, but it’s a lot less inconvenient than having to buy new gear!

Image: I had to follow this cat for a little while and practically lay flat on the ground, to get th...

I had to follow this cat for a little while and practically lay flat on the ground, to get this shot. Having a hood on my zoom lens was a little extra peace of mind knowing that it wasn’t going to get scratched or dinged in the process.

If you do feel like your lens hood is a little too much to deal with, most of them have a simple solution. Reverse the hood and screw it on your lens backward. This might cover some of the knobs and switches on your lens, but it will keep the hood handy while simultaneously storing it in a convenient and easy-to-access location.

Image: You can attach most lens hoods backward for easy storage. This helps protect the barrel of yo...

You can attach most lens hoods backward for easy storage. This helps protect the barrel of your lens but can leave some controls covered up.

Drawbacks

There are a couple things to note about lens hoods that could be a factor in helping you decide whether to use them. The first and most important issue involves vignetting. Some lenses, particularly wide-angle lenses, can result in photos with darker corners with the lens hood attached. This isn’t a huge issue and can often be fixed on your computer, especially if you shoot in RAW, but it is something to keep in mind.

Additionally, there’s no getting around the fact that the added length of a lens with a hood attached can be inconvenient. This is especially noticeable on telephoto lenses and it can be annoying if you’re not used to it.

My solution has been to treat the hood as a normal part of any lens in my kit. If it means I need to find a larger camera bag or be a little uncomfortable shooting in tight spaces, so be it. For me, the tradeoff is worth it, but your opinion might be different. Regardless, it is something to keep in mind.

Image: Hoods on telephoto lenses can stick out quite far, but I have just come to accept this as a n...

Hoods on telephoto lenses can stick out quite far, but I have just come to accept this as a normal part of my kit. I don’t see it as an inconvenience in the same way that I don’t treat a seat belt in my car as an inconvenience.

Conclusion

Despite a few downsides, lens hoods can be an important part of your camera collection. I recommend using one at all times, even if you’re not entirely sure you will need it. I have found myself in more than a few frustrating situations where I know I would have gotten the shot if only I had a lens hood. As such, I rarely take them off my lenses now.

What about you? Do you use lens hoods, or have you learned to live without them? What other advantages or disadvantages do they have that I might have missed? Leave your thoughts in the comments below!

The post Lens Hoods: What Are They Really For, and Do You Need Them? appeared first on Digital Photography School. It was authored by Simon Ringsmuth.


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Funleader LensCap 18mm F8.0 is an ultra-light, ultra-wide body cap lens

29 Oct

Artboard, a photography gear company located in Hong Kong, has launched a new Kickstarter campaign for the Funleader CapLens 18mm F8.0 lens, a small, slim, and lightweight ultra-wide model with a fixed aperture. The lens can double as a camera body cap, according to Artboard, offering protection while retaining the option of quickly snapping ‘playful’ images.

The Funleader CapLens 18mm F8.0 isn’t intended to offer a high level of quality, Artboard explains; rather, the company launched this model to give photographers ‘a lens for playful usage.’ The lens offers greater color accuracy and detail when compared to a Lomo camera while retaining a similar vignetting effect.

The lens features 6 elements in 4 groups, multi-coated glass, a 0.8m minimum focusing distance, and 100-degree FOV. The model is constructed from brass with a chrome plating finish and it is ultra-light at 80g (2.8oz). Below is a gallery of a few low-resolution sample photos:

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Artboard is offering the Funleader in Sony E-mount and Leica L-mount as a reward for Kickstarter pledges starting at HK$ 833 (approx. $ 107). Assuming the campaign is successfully funded and the lens is produced as anticipated, the company expects shipping to backers will start in December 2019. You can find out more information and secure your pledge by heading to the Kickstarter campaign.


Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Articles: Digital Photography Review (dpreview.com)

 
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4 Ways to Use the Canon 11-24mm Lens

28 Oct

The post 4 Ways to Use the Canon 11-24mm Lens appeared first on Digital Photography School. It was authored by Nisha Ramroop.

4-ways-to-use-the-canon-11-24mm-lens

You finally got your hands on the esteemed Canon EF 11-24mm F/4L USM lens. It’s a heavy, sharp, ultra-wide thing of beauty with an awesome perspective. Now you’re wondering, other than capturing the entire scene in front of you, how does one maximize this lens? Here are a few ways to you can use the Canon 11-24MM lens:

4-ways-to-use-the-canon-11-24mm-lens

1. Compositional Impact

When you first look through the Canon 11-24mm lens, everything looks high impact and with a “wow” factor, as the view is quite unique. However, shooting at an ultra-wide focal length does not automatically translate to better pictures. No matter what lens you use, all the elements that make a great picture still apply.

4 Ways to Use the Canon 11-24mm Lens

Wide-angle lenses are used extensively in landscape photography for the “near-far” style of composition. This translates to the ability to include generous foreground elements, as well as a middle and background (e.g skies). Keep in mind that an ultra-wide amplifies your distances further. This all amounts to creating an image with great depth and compositional impact.

4 Ways to Use the Canon 11-24mm Lens

One of the reasons that an 11-24mm lens needs time to master is because, by default, ultra-wide lenses include everything in a scene. When you are creating a photograph, though, it’s still about composing to include (and exclude) all the elements you want.

2. Lines and space

The minimal distortion on the Canon 11-24mm lens allows you to keep your straight lines straight. When you need a large angle of view in your architectural photography, this feature is quite useful. This is also great if you are inside a space with a lot of detail to capture. Conversely, of course, it works against you when want to exclude the details.

4-ways-to-use-the-canon-11-24mm-lens

In enclosed spaces, it is often hard to capture an entire room unless you use an ultra-wide lens. The angle of view on the Canon 11-24mm lens (mounted on a full-frame) does the job sharp and with minimal distortion. It is not limited to building interiors though, think about that cave or canyon you want to capture.

Using an ultrawide (that is not a fisheye) will go a long way towards capturing such spaces.

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Image 1: Horizon Centered Image 2: Lens tilted up slightly Image 3: Lens tilted down slightly

All lenses give the effect of converging lines when pointed above or below the horizon. However, it is more noticeable when you use a wide-angle lens, though, as you capture a greater expanse. Furthermore, with wides and ultra-wide lenses, you change the location of your “vanishing point” even with small variations in your composition. So, be mindful of your verticals.

Note: The vanishing point is that point where lines converge or meet and appear to vanish.

3. Perspective exaggeration

As mentioned previously, an ultra-wide lens exaggerates distances. This perspective exaggeration makes nearby objects look even bigger (nearer) and those further away look even smaller (farther). Great high-impact images occur when you master the art of perspective.

4-ways-to-use-the-canon-11-24mm-lens

Head-on Shot

It helps to remember that shorter focal lengths, as well as having the camera nearer to the subject, both lend themselves to a stronger perspective/bigger perspective exaggeration effect. Also of note, angles play a huge role when you are showing perspectives. When you shoot at a 45-degree angle, for example, the image will have more depth than if you shoot at a more head-on (flat/plane aligned) angle.

Image: The same Image as above, shot at an angle

The same Image as above, shot at an angle

So practically speaking, when using a wide-angle lens, there is often an innate need to move closer to the subject, which is what affects the perspective. While perspective exaggeration works well with landscapes, it does not work well for portraiture (no one wants their nose to look bigger, right?)

4. Artistic

Perspective exaggeration (above) is one of the ways you can get creative with your Canon 11-24mm lens. You can use it to emphasize detail in your foreground, while still capturing the background scene. If you shoot flowers, for example, getting closer will make them appear bigger than they really are.

If you want to prevent perspective exaggeration, place your subject in the center of the frame. For a more artistic approach though, you can emphasize the perspective exaggeration by placing your subject closer to the edges.

4-ways-to-use-the-canon-11-24mm-lens

Shooting from lower positions is another great way to get creative with this lens.

Conclusion

The Canon EF 11-24mm F/4L USM lens is a great lens to have in your arsenal.

After investing in such an amazing lens, though, you should maximize it. Experiment with architecture and interiors, getting closer to your subject and let your creative side out to play.

Remember, wider does not automatically mean better, and the rules of composition still apply (and can even be more challenging).

Share your perspectives with us below!

The post 4 Ways to Use the Canon 11-24mm Lens appeared first on Digital Photography School. It was authored by Nisha Ramroop.


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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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