Lenses
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Lenses, Test Reports
Tom Fuller Aug 01, 2000 0 comments

My first encounter with a Vivitar Series 1 lens goes back more than 15 years to the 600mm "Solid Cat," one of the slickest super-telephotos ever made. In addition to great optics, the lens featured an overall length and diameter of--and I'm not joking--around...

Lenses
Steve Bedell Aug 01, 2009 0 comments

“Most pro lenses have much sturdier construction than their consumer counterparts.”

I’m a pro photographer and have been for about 30 years. I mostly shoot portraits and a few weddings. I’m not one of those guys who will be first in line for the latest 15-800mm f/1.2 lens. As a matter of fact, I’m pretty much an equipment minimalist. But when I need a lens, I...

Lenses
Steve Bedell Sep 14, 2011 Published: Aug 01, 2011 1 comments
I really like extreme lenses. Extremely wide, extremely fast, and extremely long lenses will all allow you to create unique images that stand out from the crowd. When I heard about the Sigma 8-16mm lens I wanted to get my hands on one and start shooting, so I asked my editor if I could borrow one from Sigma for testing. He wanted to know what I was going to do with it, so naturally I told him: take portraits. You might, as he did, find this a little odd—taking portraits with a wide-angle lens, and a very wide lens at that. After all, don’t photographers usually use long lenses for portraits?

Why are photographers taught to use long lenses for portraits? There are four basic tenets behind this reasoning: narrow angle of view, shallow depth of field, flattering perspective, and a comfortable working distance between you and your subject. However, flip these “rules” on their head and you’ll see why I like working with wides: wide angle of view, great potential depth of field, unique perspective, and, oddly enough, working right in your subject’s face. In short, I use the special nature of a wide lens to give my portraits a new and unique look.

Lenses
Peter K. Burian Dec 01, 2001 0 comments

Minolta's New "D" Series
Minolta introduced a new series of D-type lenses, with an Advanced Distance Integration (ADI) distance encoder chip for superior results in flash photography with the Maxxum 7 and Maxxum 5. By adding distance information to the equation, they...

Lenses
Roger W. Hicks Aug 01, 2007 0 comments

"My" Leica M8--a loaner from Leica for review--came with a 50mm f/2 bar-coded Summicron. The 18x27mm sensor turns this into a 67mm lens in 35mm terms: rather long for someone whose standard lens on 35mm has for decades been a 35mm. So as soon as I got the M8, I started using other, older lenses. There is, after all, an enormous choice, from 12mm (18mm...

Lenses
Roger W. Hicks ... Aug 01, 2006 1 comments

As we said in the review of the new Zeiss Ikon (ZI) 35mm rangefinder (April 2006 issue of Shutterbug or online at www.shutterbug.com), we received six of the seven Zeiss ZM-mount lenses announced at photokina 2004: 15mm f/2.8, 21mm f/2.8, 25mm f/2.8, 28mm f/2.8, 35mm f/2, and 50mm f/2. The 85mm f/2 (listing at $2759, plus $127 for the lens shade) still wasn't available as we...

Lenses
Roger W. Hicks May 01, 2007 0 comments

Quality, according to the old saying, doesn't cost: it pays. These new manual-focus, Nikon-fit "ZF" lenses are a perfect illustration of that saying. Sure, they are built by Hirofumi Kobayashi in Japan, but they are built to Zeiss standards from Zeiss designs, and they feel like the Zeiss lenses of yesteryear: smooth, solid, beautifully finished, with a lot of...

Lenses, Test Reports
Peter K. Burian Dec 01, 2004 0 comments

All Photos © 2004, Peter K. Burian, All Rights Reserved

The first interchangeable-lens autofocus SLR produced by Olympus, the E-1 was also the first digital camera to employ a "Four Thirds" CCD sensor. The smallest imager in any digital SLR camera, this one is roughly half the size of the 35mm film frame standard. Consequently, the effective focal...