The Micro Four Thirds camera world has often been a major battle ground more than a collaboration: and that’s very evident with the release of the new Panasonic 12mm f1.4. For many years, Olympus has had the 12mm f2–a stellar lens in many ways that still remains so today. This was an owner’s only choice if they wanted a 24mm equivalent prime, but now Panasonic has an f1.4 option. On top of that, it has a working aperture ring, a nice build quality overall, fantastic image quality, and weather resistance built into the design. In many ways, it’s an excellent lens–and could probably be an essential piece of kit for every Micro four thirds camera user.
The world of portrait photography is becoming more and more filled with great lens options available for purchase. Sony. Zeiss, Sigma, and Tamron all make some absolutely fantastic ones that were recently announced: but one lens is seriously looking to outdo all of them. Nikon has shown some recent true innovation with the Nikon 105mm f1.4. This lens is the longest telephoto lens to have an f1.4 aperture and also something that absolutely no one else has. Though Sony’s 85mm f1.4 G Master has 11 aperture blades and Tamron’s 85mm f1.8 has vibration control, nothing has the pure perspective flattening that a 105mm lens can–and nothing has the out of focus bokeh ability.
The Pentax K-1 is probably the greatest thing to happen to many Pentax users in a while; and when you consider some fantastic lenses like the company’s Pentax 15-30mm f2.8 you start to see more and more how someone could almost want to switch systems. The Pentax 15-30mm f2.8 is a weather sealed beast of a lens that works very well with the Pentax K-1 and is designed for landscape, architecture, and Real Estate photographers. But it’s also a generally great walkaround lens if you’re the type that enjoys shooting wide. Like all wides, it can also be used to deliver a very unique perspective when shooting portraits.
With 9 aperture blades in its design and HD coatings to render even more details, there’s a lot to love here.
If you were to tell me that I would honestly fall in love with a Canon lens like the Canon 11-24mm f4 L USM earlier this year, I would’ve told you that I’ve had my heart broken by the company many times in the past few years since the Canon 5D Mk III came out. But when I had the chance to play with the Canon 11-24mm f4 L USM, I was rather excited by its output. Not because Canon flew me and a bunch of other journalists out to the Hot Air Balloon festival in New Mexico, but because when it was first announced I was honestly intrigued. The lens is billed as being completely and totally rectilinear–and when bringing the images into Adobe Lightroom, Adobe’s algorithms seemed to agree.
As one of the company’s wide angle zoom lens options, this is a lens designed for architecture, real estate, and landscape photographers. Instilled with Canon’s weather sealing present in most L lenses, it’s an optic that you’re bound to enjoy if you love shooting wide.
If you’ve ever used a Tokina lens, you’ll know that they’ve always been the even more affordable option that always performs with great image quality–and the Tokina 24-70mm f2.8 Pro recently was rated by DXO Mark’s as being not too far behind what Canon offers. In my review published last year, I felt that the Tokina lens delivers better color than the Canon 24-70mm f2.8 L II USM, and while DXOMark thinks that the Canon version is sharper, it probably is. But Tokina’s lens is more contrasty–which gives the appearance of a sharper image very easily.
When you look at a Zeiss lens, it’s very common to feel gear lust–and that’s what the Zeiss 15mm f2.8 Milvus lens will create in you. As the company’s widest lens and one of the newest additions to the Milvus lineup, it’s also one that will inspire you quite a bit due to its gorgeous way of rendering the world around you. Those that will really love this lens are landscape, architecture and real estate photographers. These shooters will also most likely be ones that wok professionally especially as they’re some of the few that will be able to justify the purchase to themselves.
But if you can get your hands on one, you’ll never want to go back to anything else.
Along with recent announcement of the 135mm f2 and 15mm f2.8 Milvus lenses, we were also treated to the Zeiss 18mm f2.8 Milvus lens. This lens is the company’s offering in-between their 15mm and 21mm focal lengths that are supposed to deliver architecture, Real Estate, Cityscape and landscape photographers a different experience. Like the others out there, this lens is weather sealed and characterized with the blue ring towards the back of the lens–which aids in weather sealing overall. Additionally, it boasts manual focusing, a rubber focusing ring and an all metal body.
Indeed, it’s one heck of a lens designed for the outdoor photographer.
Compare the Fujifilm 100-400mm f4.5-5.6 R LM OIS WR lens to anything else on the APS-C camera market, and you’ll find pretty much no sort of equivalent product. It’s weather sealed, has optical image stabilization, doesn’t change its aperture very much throughout the range, and is built incredibly well. Then tag onto it the fact that it’s made by Fujifilm–one of the best lens makers of all time. Keep moving forward, and consider the fact that you’re putting this glass in front of the company’s excellent X Trans Sensors; designed by Fujifilm but manufactured by Sony. If you’re a sports, photojournalism, wildlife photographer
or professional creeper then this lens may indeed by an option that you’ll want to consider.
Announced quite a while back, the Fujifilm 100-400mm f4.5-5.6 R LM OIS WR may also be the company’s most expensive lens. But if you need something like this, it’s worth every penny.