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The idea of 4K video lenses sounds a bit crazy, doesn’t it? With modern lens design being so incredibly good and able to resolve loads and loads of detail, why does it matter? Canon developed a video explaining the science behind these lenses in a very interesting way.

Canon’s video breaks it down into four different components and talks about things like lens coatings, contrast, MTF, and resolution. According to the video, the lenses have to be able to resolve a 9MP image of some sort–which pretty much every lens released since 2009 is very capable of doing since that’s when the megapixel war took a very big leap with the release of the Canon 5D Mk II’s 21MP  full frame sensor and Sony’s A900 24MP full frame sensor. But if lenses are too sharp, then they create moire (in conjunction with the sensor) and other issues.

What’s really cool is how they explain light loss when beams of light pass through elements on a lens and how coatings helps minimize light loss. The animated video on Canon’s 4K Video Lenses is after the jump.

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Chris Gampat The Phoblographer SLR Magic Bokehmorphic review photos (7 of 15)

While Bokeh is often used as a crutch to create a beautiful image. When used correctly, however, it can do a terrific job to help tell a story visually. We’re not going to encourage to never stop down. In fact, you need to when telling certain stories with images. However, we are going to let you know about a couple of key secrets on how to get the best from your lens and get the best bokeh.

In fact, we do this as part of our lens testing here at the Phoblographer.

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After our standard Pro zoom lens shoot out, we decided to put the telephoto lenses against one another. As mirrorless camera systems have evolved and continue to develop, they’ve had to meet the demands of professional photographers who have picked up their systems. One of the classic zoom lenses that many photographers tend to reach for is the equivalent of a 70-200mm f2.8 lens. These lenses are great for portraits, events, weddings, landscapes and pretty much anything that you can think of due to their versatility.

So with Fujifilm, Samsung, Olympus, and Panasonic all offering their own versions, which one is the best?

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Mirrorless camera manufacturers have been working at creating better lenses and building out their systems. Very recently, the manufacturers with APS-C and Four Thirds sensors came up with constant aperture pro zoom lenses for their cameras.

Now don’t get us wrong: no manufacturer is making a bad lens or camera. In fact, all of them are superb. So with that in mind, we went about rounding up the information that we collected and figuring out which lens delivers the most pleasing results based on the specific system that they work with.

Our results are after the jump.

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Screenshot taken from the video.

Screenshot taken from the video.

Photographer Tony Northrup decided to do a head to head test of the latest competitor to Canon’s nifty 50 lens: the 50mm f1.8. He does some interesting tests, but in some ways, they seem flawed.

Tony compares the autofocus, and clearly states that the Canon optic nails focus while the Yongnuo didn’t quite do it all the way. However, this is common knowledge for almost every third party lens. I’ve tested Sigma, Tamron and Tokina glass all on Canon DSLRs and everything needs micro-adjustment because of the way that autofocus algorithms work and the lenses that your camera has become used to. In fact, Micro-adjustment isn’t hard to do. Sometimes, even Canon glass needs it–and the company has a patent to automatically do it.

To begin with, most folks using studio strobe also most likely use the higher end 50mm lenses.

There are other comparisons too like with vignetting and aberrations–both of which Tony truthfully states are easily fixed in Adobe Lightroom. Bokeh is compared and you see not much of a difference though there are Tony’s explanations of how the lenses will affect your images in real life use.

If you’re a beginner, springing for a 50mm f1.8 is a really nice option, but we overall recommend that you instead go straight to the f1.4 options which will last you much longer in your photography career. I still own the older 50mm f1.4 from Sigma and though I barely use it. It’s there for when I need it and when I do, it gets the job done,

Tony’s video comparing the Canon 50mm f1.8 vs the Yongnuo 50mm f1.8 is after the jump.

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Chris Gampat The Phoblographer Fujifilm 16-55mm f2.8 WR first impressions photos (2 of 25)ISO 4001-100 sec at f - 4.0

Fujifilm’s 16-55mm f2.8 LM WR is a lens that was missing from the company’s lineup for a little while, but has since surfaced. The equivalent of the more professional grade f2.8 general zoom lens, the Fujifilm 16-55mm f2.8 LM WR incorporates weather sealing, a real aperture ring, and a bunch of awesome features.

The lens features 14 weather seals, nine aperture blades, and three ED and Aspherical elements. For a standard zoom lens with a constant aperture it has a lot going for it–not to mention being in front of Fujifilm’s excellent X Trans Sensors.

For most photographers that use Fujifilm’s system professionally, this is a must-have. But for the rest of us, you’ll probably want to look elsewhere.

Editor’s Note: Fujifilm sponsors our Xpert Advice series that appears monthly on this site; but out reviews are still our own opinions.

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