LiteChaser is a complete camera filter system for the iPhone 11 affordable

It is a little bit of a specified that phone cameras are getting better and better in recent decades, to the point where you can now take professional-quality photos and videos together with your smartphone.
That’s well and accurate, but you may, like us, find that your snaps come out looking distinctly average a good deal of the time. Often, that’s because, while the camera may be strong, the lighting conditions might not be quite right, or your hand may be shaking a small bit, or some of other reasons. Input the likes of PolarPro, making amazing attachments for your smartphone to level up your mobile photography.
It has got a brand new range of accessories falling for the iPhone 11 and 11 Guru and 11 Pro Max — LiteChaser Pro, that will take your photos and video up a notch, and we wanted to run you through just what benefits you can reap from picking them up. If you believe a comprehensive filter system to get iPhone 11 can improve your photography, read on.
The core part of PolarPro’s LiteChaser system is a case on your phone, which unlocks its potential by letting you clip on several other accessories. In itself, however, it is a wonderful bit of security which looks sleek and nice, and won’t draw attention to itself when you’re not in the middle of shooting. read more


If it comes to bags, we are saturated with choices. But it seems nearly impossible to find a camera bag that is functional and stylish. When you spend so much cash to purchase a camera, you need a bag which will hold it preciously while traveling around, while shooting your pictures downtown, or even when you would like a very simple tote to put your things for daily. Your camera is the most precious thing you will carry around, not only because of it’s cost but since it holds all the memories that you have created.
We found the Article & Goods bag and fell in love. The silhouettes were motivated by fresh architectural lines and simplistic symmetry. The bags themselves are constructed with a high grade soft milled pebble leather with fully lined a cotton fabric. Our offerings include a dove grey and a classic black.
The khaki tote is made to withstand the rigor of weather while carrying your precious items in a stylish matter. It’s a small padded interior with huge inside spacing because it’s size. We found 4 standards for you to look in: read more

Why Sony Expands Full-frame E-mount lens lineup

Sony has announced the newest addition to their expanding full-frame E-mount Sony lens line-up, the FE 24-105mm F4 G OSS Standard Zoom.
The brand new full-frame lens covers the generally used 24-105mm focal length scope, providing exceptional G Lens imaging functionality with the most lightweight design in its category 1, maximising its flexibility and usability. Sony say it may be used for versatile shooting like landscape, portrait and weddings. The lens also features fast, precise and silent autofocus capabilities in both video and still shooting, making it an perfect match for Sony’s broad line-up of all E-mount cameras lens.
Sony’s brand new lens delivers excellent corner-to-corner sharpness during the entirety of its zoom range. The high image quality is made possible because of the advanced optical design that includes four aspherical lens elements, two of which are high precision AA (advances aspherical) lenses. Additionally, there are three strategically located ED (Extra-low dispersion) glass elements that operate to minimise chromatic aberration and ensure the greatest resolution is captured. read more

Fujifilm Fujinon XF 35mm f/2 R WR Lens

Designed for Fujifilm APS-C mirrorless cameras, this new streamlined Fujinon 35mm f2 lens provides the promise of reduced cost compared to f1.4 version, but higher image quality and weather resistance. It will be interesting to learn how it provides as we put it through its paces.
Fujifilm XF 35mm f2 R WR Managing and Characteristics
There’s no denying that nicely made lenses are a joy in themselves, little optical stones. This Fujifilm lens is superbly made with a metal exterior, which leads to a surprisingly heavy optic for its compact dimensions. Its solidity is not in doubt and it bayonets securely and smoothly onto the Fujifilm cameras. There is not any rotational play in the mount when seated.
The manual focusing ring is located towards the front part of the lens, is nicely ribbed for traction and turns smoothly. It has a fairly high resistance but this does give a great and dependable feel to guide focusing. Being digital in operation, this is a very different feel to the conventional focusing ring. read more

Nikon 1 Nikkor 6.7-13mm f/3.5-5.6 VR & 18.5mm f/1.8 lens reviews: best performing lenses in the range


Nikon’s 1 series cameras adopts a smaller 1-inch type sensor which allows the firm to offer lenses that are substantially more compact than most rivals with mirrorless offerings.  In fact with the exception of the new 32mm f/1.2, the lenses are so small they actually lack focus rings. Manual focus is still possible, however, it’s just that control is made via the camera body.   The small sensor also accounts for the shorter than usual focal lengths on offer. The new $500 image stabilized 1 Nikkor 6.7-13mm f/3.5-5.6 VR and $187 18.5mm f/1.8 have the equivalent angle of view in full-frame 35mm terms to a very useful 18-35mm and 50mm, respectively. read more

Nikon AF-S Nikkor 300mm and 400mm f/2.8G ED VR lens reviews: legendary performers in the range


High-speed telephoto lenses like these two are designed to offer the very highest image quality but they’re somewhat pricey and restricted to specialist use. Where once the 300mm was the most popular, the 400mm is, arguably the most flexible in the range (especially when used with tele-converters with the aim of maintaining autofocus) and therefore the most sort after today. Both models share a number of similar features including three ED glass elements, Nano Crystal Coat and an ultrasonic type AF motor. Both models also feature the latest 4-stop VR II spec image stabilization and have prices to match. read more

Zeiss Otus 85mm f1.4 Apo Planar T* Canon ZE and Nikon ZF.2 mount lens reviews: World’s best performing 85mm portrait lens?


The original high-speed 55mm Zeiss Otus model garnered worldwide acclaim for its outstanding optical performance and impressive mechanical construction, but at a buck short of $4,000, perfection came at a price. Today, Zeiss has announced the second model in the range, a high-speed 85mm lens with similarly hefty price tag ($4,490) and equally promising performance. It has an unusually complex optical construction for a moderate telephoto comprising of 11 elements in total with no less than six of those made from anomalous dispersion glass (with characteristics similar to fluorite) for chromatic aberration suppression, one asphere to reduce distortion and a floating optical system to lessen spherical aberration at close range. Like the earlier model the new manual focus 85mm Otus adopts an equally uncompromising mechanical construction using an all-metal outer and a large rubberized focus ring with a long throw for precise focus and large high-visibility distance markings. Both Canon ZE and Nikon ZF.2 mount versions feature an electronic interface for full-aperture metering and exposure control. read more

Nikon AF-S DX Nikkor lens 18-300mm f3.5-6.3G ED VR review: Accessibly priced option


Announced earlier in the year the Nikon AF-S DX Nikkor 18-300mm f3.5-6.3 G ED VR is a new lightweight and more accessibly priced version of the earlier DX 18-300mm f3.5-5.6 ED VR. With AF sensor capability unaffected by the slight reduction in maximum aperture from f5.6 to f6.3 substantial weight savings have been achieved. read more

Sigma 30mm F1.4 DC HSM A Canon and Nikon mount lens reviews: good all-round performer


Sigma is reorganizing its lens range in to three product categories; Contemporary, Sports and Art, the latter of which this new model is a part of is reserved for its highest performing lenses.  With its angle of view equivalent to a 45mm on a full-frame 35mm camera, the 30mm f/1.4 DC HSM A has been substantially revised with a new optical construction of 9 elements in 8 groups (over the previous 7 elements in 7 groups), closer minimum focus distance of 30cm (down from 40cm) and 9 diaphragm blades as opposed to the earlier iteration’s 8 blades. New algorithms are said to improve the AF performance of the built-in ultrasonic type motor, while compatibility with the firm’s innovative USB Dock allows focus adjustment and updating of firmware. Lastly, a high quality outer shell and finish has been adopted in accordance with others in the Art line, but despite the improvements, the price remains the same as the older model at $499. read more

Nikon AF-S Nikkor 500mm and 600mm f/4G ED VR lens reviews: legendary performers in the range

So what does all this mean to me and why did I bother writing a post on something we photographers should intuitively know by now? It’s evident that newer lenses produce better photos. It’s obvious but I believe we might sometimes loose just a little perspective with this’better’ scale.Take the vintage 43-86mm lens, recall this is reputed to be the’worst’ Nikon lens ever, this lens is older than many of its owners and to place it into perspective, 1 year earlier this lens came to market audio tapes were devised. That’s crazy, you would expect a lens that’s dubbed as the worst lens and made at a time prior to pocket calculators that it would be like shooting via a classic sock! It just isn’t. Yes it is soft, yes it is blurry at the edges, yes it moves in the highlights but it is still usable and frankly a shot taken with this lens and exhibited from the most common structure of our creation i.e. our telephones, nobody could ever know.Ok thus lets fast forward nearly half a century and compare what Nikon is up to now. The elderly 28-105mm lens that I’ve been using for over ten decades and taken literally tens of thousands of frames without incident, service or repair, how did these pictures compare? Pretty damn good in my view, yes its a’old’ lens but I have taken commercial jobs on it for my whole career. It has images have been in books, magazines, Adshels, posters and nearly every other printed media out there and I have never thought’oh that is a little soft/flat/distorted’.


Even though Nikon has stuck with the F-mount for more than 30 decades, they’ve made lots of tweaks and improvements during that time, also it looks like each time they do, there’s a new acronym to learn. First, a little background, then the translation dictionary.The first F-mount appeared in 1959, and lenses which were produced from then until about 1979 are usually known as Pre-AI. These lenses are dangerous on many current Nikon bodies. With the exception of a modified F5, altered F6, or stock Df, D40, D40x, D60, D3xxx, or D5xxx, mounting one of these lenses on your Nikon will lead to harm, and thus don’t even try it. If you find that you have one of those lenses and want to utilize it on a current camera, you have to have the lens converted into AI first. Nikon used to try it, but today it is carried out by numerous independent companies.The first autofocus lenses appeared in 1986. All these possess a”CPU” built into the lens, however, this is in fact just a fancy way of stating it’s a digital transfer of fundamental lens info to your camera. Ever since that time, we have had several variations of autofocus lenses: D-type (1992) adds space information into the information provided by the lens into the camera, AF-I, AF-S insert in-lens focusing motors, and G-type eliminates the aperture ring (but is otherwise identical to D-type). The key items to watch for are non-D versus D or G. This is found by taking a look at the aperture designation on the barrel, which would be something such as f/2.8, f/2.8D, or f/2.8G for plain autofocus, D-type, and G-type respectively.

Unlike the Nikkor 600mm f/4, which as a manual focus lens at the time was first introduced in back in 1977, the manual focus 500mm f/4 was only introduced in 1988 after repeated requests to the maker to offer a smaller, lighter weight option as that made popular by arch-rival Canon. The current AF version was introduced in 2007, weighs 3880g, boasts 14 elements in 11 groups (including 3 ED glass elements), and a single Nano Crystal Coat. As well as an ultrasonic type AF motor, it focuses to 4.0m (3.85m in MF) also has the latest 4-stop VR II spec and a sticker price of $8,030 to match. read more