This new, compact, and extremely versatile lens ought to be a terrific addition to a lot of photographers, and we have the opportunity to shoot a pre-production version for a couple of days. The lens features 6-stops of Picture Stabilization, the most of any Fujinon lens, making it great for reduced light usage, despite its own f/4 aperture. It also has a minimum focusing distance of just 35cm, enabling photographers to receive nice close-up photos when zoomed into 80mm. With its 9-blade curved aperture, the bokeh balls are nice and smooth, and the overall bokeh is tender and pleasing without being too distracting.
The OIS is designed to automatically detect if the camera is used on a tripod, and consequently there is absolutely no switch to turn the OIS on/off. In fact, there are no buttons on this lens in any way. The focus ring will be focus by wire, and while some may prefer the push/pull clutch ring like a few lenses have, the resistance is nice and manually focusing when shooting videos is a breeze. The zoom ring has a nice amount of resistance for this, despite being somewhat hefty, there’s no zoom creep when the lens is pointed down, eliminating the need for a zoom lock. The lens is also weather sealed in 10 spots throughout the barrel, making it great for those who shoot in inclement conditions. With some zoom lenses that package in greater than 4x optical zoom, the telephoto end of the zoom range can occasionally be a bit soft. On this lens, the sharpness from 40-80mm is top notch, and I found myself using the telephoto range of the lens more so than the wide end. While 16mm is usable for wide angle photographs, I would like the 10-24 or 8-16 for landscape photos.
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.
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:
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.
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.
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.
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.
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.
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.