When we first got the Panasonic 100-300mm f4-5.6 in for review, we had very high hopes. This is the lens that I really wish I had when I was a paparazzi and just out of college. It has an equivalent field of view of 200-600mm and also has image stabilization built into it to compensate for camera shake.
Samyang’s 16mm f2 is the company’s second lens dedicated to APS-C DSLRs. That doesn’t mean that you can’t mount them on a full frame camera though–you’ll just get a lot of vignetting. The lens is characterized by some sweet and smooth manual focusing, a manual aperture ring, and a functional distance scale just like most other lenses from Samyang and Rokinon. And like all of the others, we don’t recommend them for the person that shoots with their DSLR in auto mode.
This lens is priced very affordably, and because of its APS-C sized sensor design, we also believe that its cinema version, the 16mm T2.2 might just be the best damned wide angle prime that someone can spring for when using the Black Magic Cinema Camera.
Editor’s Note: Want more from Samyang and Rokinon? Check out our guide to their lenses.
Fujifilm has been working on their X Pro 1 for a while via firmware updates. And the company constantly strives to improve the product’s autofocusing and other features. Since Firmware 3.01 came out, I was itching to try it out on something a bit more practical besides objects around my apartment and street subjects. Instead, I wanted to try it during an actual shoot.
As many veteran readers of this site may know, many of us are geeks and love the Cosplay world. And so when my friend Lulu wanted to dress up as the Witch from Left4Dead (if you’ve never played that game, you should), I figured that I should put Fujifilm’s newest firmware to the test.
Micro Four Thirds has long had an excellent wide angle zoom, but unfortunately it isn’t very heavily mentioned in forums or anywhere else. But the fact of the matter though is that Panasonic created a 7-14mm f4 zoom lens a while back: giving us the equivalent of 14-28mm at an f8 aperture in the full frame world. Featuring a constant F4 zoom, this is the lens that an architectural or landscape photographer will almost never have to stop down. This beast of a wide angle also sports 7 aperture blades, 16 elements in 12 groups, a minimum focus of just under 10 inches, and a fairly compact size for a lens of this type.
During our three week testing period, we weren’t really surprised by this lens’ performance. It was everything we thought it would be: stellar.
As the current creme-de-la-creme of Sony’s NEX lenses, the 24mm f1.8 renders a near 35mm field of view on the 1.5x Crop APS-C sensor inside of their NEX cameras. When the NEX 7 came in for review, we nearly had it constantly mated to the camera. Plus, when the F3 was announced, the lens spent its fair amount of time on the camera.
When I say we, I mean that I and a little more than half of the staff took it for a run.
And we essentially all thought nearly the same thing.