Fujifilm’s 23mm f1.4 will render an equivalent of 35mm on Fujifilm’s APS-C X series cameras. As one of the classic focal lengths, this has been a lens that photographers have been asking for for a while. The lens features a minimum focusing distance of around 11 inches, 11 lens elements in 8 groups, an all metal build, a snap-back style focusing ring that lets you toggle between autofocus and manual focus, and overall just some seriously beautiful image quality. And there is very little to complain about with this lens.
Justifying the purchase of $899 to yourself though, will be one of the toughest things to do.
When Sigma announced their 24-105mm f4 DG HSM OS, we believe that the world was taken a bit by surprise. No one saw it coming at all. And so we were pleasantly surprised to play with the lens at Photo Plus Expo 2013. It’s amongst one the newest additions to the company’s line of Art lenses and is meant to be a strong competitor to Canon’s 24-105mm f4 L; though we’re not sure it will be able to hold its own to Nikon’s 24-120mm f4 offering.
However, during our short time with the lens at Photo Plus, we began to think that this optic was created to be something inspired by Zeiss.
A lot of refined glass and a lot of engineering were put into the creation of this lens. The Sigma 800mm f/5.6 EX DG APO HSM Autofocus Lens for Nikon AF-D is big–really big. This lens is the third telephoto prime lens from Sigma I’ve reviewed, and it’s certainly the longest one. After working with Sigma’s 300mm and 500mm, this lens had me really curious. I sat there thinking, “Do I need it?” It is not a complicated lens. However, it is a tank cannon.
“You’re not going to want to send it back,” said PCMag.com’s Jim Fisher, a good friend and colleague of mine who remarked about the Zeiss 135mm f2 when I told him that I got it in for review. Though Jim and I are different types of shooters, I didn’t realize just how correct he would be when I first twisted the luxury optic onto my Canon 5D Mk II.
Despite the fact that we’ve still tested pricier lenses on this site, Zeiss’s 135mm f2 exudes an aura of absolute allure and lust. With an all metal exterior build, uber smooth manual focus ring, Zeiss micro contrast, bokeh worth biting your lip to, and the feel of a real professional lens–the only thing that you’ll need to sell for it is your soul, a kidney, maybe a finger, and perhaps a couple vials of blood.
There are few things more frustrating than thinking you have produced a great photograph and then finding something very wrong with it. You depress the shutter button, look at the camera’s LCD and you feel a flush of pride at capturing an amazing moment. But such a wonderful feeling is short-lived when you enlarge that image on the computer screen only to discover that the image isn’t sharp.
It’s an experience that can happen even to the most experienced photographers who are using advanced and expensive camera equipment. The reason for this lack of sharpness often has little to do with the quality of the lens or the features of the body. Instead, it’s often about technique and how you are handling the camera.
With that in mind, we offer 7 tips that will help you to achieve consistently sharp photographs.
Sigma’s 30mm f1.4 has been an unexpectedly pleasant surprise. The lens is first off billed as being optimized for APS-C DSLR cameras. But instead of having an EF-S mount, the lens has an EF mount–which is something that many third party manufacturers do. And then there is the super pleasant surprise: the fact that the lens works exceptionally well on full frame cameras. For the past couple of weeks, we’ve been testing the lens on the Canon 70D and the Canon 5D Mk II. And we’ve had some surprising results.
Even though we’re quite pleased with what we’ve gotten from the lens, it has its faults.