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Editor’s Note: This is a syndicated blog post from photographer David Kai Piper. These and the images in this post are being used with permission. Additional BTS images are from Matthew Maddock.

The Fujifilm 16-55mm F2.8 R LM WR was just announced, and photographer David Kai Piper has been playing with it for a little while now. Here are his thoughts in addition to extra images that David allowed us to use not originally featured in his blog post.

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Chris Gampat The Phoblographer Samsung 50-150mm f2.8 OIS review product images (6 of 10)ISO 4001-40 sec at f - 4.0

When it comes to portrait focal lengths, Samsung has always delivered beautiful lens offerings, So when the 50-150mm f2.8 OIS came in for review, we were ecstatic to see what it offered. The lens is billed as one of their high end offerings–and so incorporates weather sealing, a rugged body, and lots of controls around it. To boot, the lens also delivers beautiful image quality overall.

With 20 elements in 13 groups comprising the inside, the lens is also an internal focusing and zooming one.

And to be quite honest, this lens has to be one of the best telephoto zoom lenses that we’ve tested here on the site.

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Chris Gampat The Phoblographer Sony 16-35mm f4 product photos (5 of 7)ISO 1601-50 sec at f - 4.0

Wide angle zooms are amongst some of the most sought after lenses by the photographers that love to shoot wide. Combine that with a constant aperture and you’ve got a photographer that will be happy for days. So when Sony announced their 16-35mm f4 OSS lens for the E mount system, we knew that it was going to be a hit. Due to the company’s collaboration with Zeiss for many years, the two have worked together to produce better and better lenses.

But while this lens will be highly sought after by many photographers, it probably shouldn’t be in everyone’s camera bags.

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Chris Gampat The Phoblographer Lomography LCA 120 product photos (1 of 7)ISO 2001-200 sec at f - 4.0

Earlier this year, Lomography announced the smallest 120 film camera with automatic metering ever made: the LCA 120. Traditionally, no photographer that uses 120 film on a regular basis has ever consistently wanted to shoot with a fully automatic mode. This is why many of these cameras have interchangeable backs, lenses, and various settings. There were also various medium format rangefinders, but those are another story.

The LCA 120 is a medium format (6×6) automatic metering camera with the only variable being ISO control. Focusing involves flipping a switch for zone control. Otherwise, this camera is also the most straightforward and simple medium format camera that I’ve ever touched.

This makes the LCA 120 arguably one of the best cameras that the Phoblographer has tested for street photography.

So what’s the problem?

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Chris Gampat The Phoblographer Zeiss Rokinon Sigma 85mm f1.4 three way comparison (2 of 3)ISO 4001-125 sec at f - 3.5

Your lenses are much more important than your camera is. They do a big job of helping to determine what kind of image quality comes out of the camera. And in the same way that you’d treat your camera with lots of care, you should be treating your lenses even better. You know some of the basics already–or at least you think you do.

To get the most from your lenses, you’ll need to understand how they work.

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Chris Gampat The Phoblographer Panasonic 15mm f1.7 review product photos (2 of 6)ISO 4001-100 sec at f - 3.5

The Panasonic 15mm f1.7 lens is a small, well designed lens for the Micro Four Thirds camera system–and we dare say that it is our favorite autofocusing lens for the system, too. Designed to be almost a pancake but with a wide f1.7 aperture, it pairs very nicely with some of the system’s medium to smaller camera. With nine elements in seven groups and seven aperture blades, it’s a fairly simply designed lens but whatever magic that Panasonic put into it makes the lens sing with pure image quality.

Introduced earlier this year, this lens is very heavily targeted at the street photographer and the person looking to take general candids and images due to its 30mm field of view.

And when our review period is over, we’re going to be very sad to say goodbye to it.


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