Lenses

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Dan Havlik Posted: Oct 13, 2014 0 comments

We've covered a lot of exotic lenses being sold for exorbitant prices on eBay in the past– remember this $96K Nikon 6mm F/2.8 fisheye? – so this rare glass offering really caught our eye.  It’s a Nikon 13mm F/5.6 wide-angle lens currently drawing a maximum $18,099 bit on eBay. (The auction ends on Thurdsay.)

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Dan Havlik Posted: Sep 25, 2014 0 comments

Here’s a little more photo gear news we didn’t fully get to in our comprehensive photokina coverage last week. Third-party lens manufacturers Sigma and Tamron both made waves at the show by announcing intriguing new zoom lenses.

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Dan Havlik Posted: Aug 19, 2014 0 comments

Maybe it’s just August but there seems to be a lot of weird lens news lately. Now a very rare and very large, Nikon 6mm F/2.8 Fisheye Lens has turned up on eBay with an asking price of $96,187.50.

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Dan Havlik Posted: Aug 18, 2014 6 comments

The news last week that Canon’s rare, 1200mm super telephoto lens was on sale again reminded us of another giant piece of glass that generated tons of buzz when it was introduced in 2008: the Sigma 200-500mm F2.8 APO EX DG.

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Dan Havlik Posted: Aug 15, 2014 0 comments

An extremely rare, Canon EF 1200mm f/5.6 L USM super telephoto lens has gone on sale at a UK retailer for £99,000 ($165,270). The lens is one of the largest interchangeable lenses in the world and the longest with autofocus.

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George Schaub Posted: Aug 15, 2014 0 comments

Being in general a wide to moderate tele-zoom kind of guy, I have found myself occasionally frustrated by lacking a long zoom or tele prime when shooting in the great outdoors. There are some scenes and places that cry out for a longer focal length, and it’s not from laziness but more accessibility that creates the need.

C.A. Boylan Posted: Jul 18, 2014 0 comments
Tamron recently added the SP 150-600mm f/5-6.3 Di VC USD (A011 for Nikon mount) and the 16-300mm f/3.5-6.3 Di II VC PZD macro (B016 for Canon and Nikon mount) to the lens profile for aberration correction offered for Adobe’s Photoshop CC, Camera Raw and Lightroom 5. The lens profile will be bundled with the Camera Raw 8.5 update and Lightroom 5.5. Customers who use these lenses will be able to utilize the software for easy correction of lens distortion, chromatic aberration and peripheral light fall-off based on design data.
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Stan Trzoniec Posted: Jul 18, 2014 Published: Jun 01, 2014 0 comments
Considering that this opticis only a tad slower than the Nikkor 200-400mm f/4, with a drop of a stop when you zoom out, has a 5x zoom range, is lighter, and costs about half of the near $7000 price tag of the 200-400mm f/4, it is certainly worthy of consideration for those who can appreciate what it has to offer in both range and versatility.
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Joe Farace Posted: Apr 15, 2014 Published: Mar 01, 2014 0 comments
Sigma’s 18-35mm f/1.8 DC HSM is part of their DC series of lenses designed for APS-C-sized sensors so the imaging circle is matched to the size of the sensor. For this assignment, I used a Canon EOS 60D with a 22.3x14.9mm sensor, producing an equivalent angle of view of a 28-56mm lens. Shooters of Nikon, Pentax, Sigma, and Sony cameras, the other mounts for which the lens is available, will achieve an angle of view equivalent to 27-52mm. Unlike other lens manufacturers, Sigma priced the different mounts the same ($799) so don’t feel you’re going to be paying a premium for your camera choice. Bucking a trend with camera manufacturers’ lenses, the Sigma 18-35mm f/1.8 DC HSM includes a lens hood at no extra charge.
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Jack Neubart Posted: Mar 17, 2014 Published: Feb 01, 2014 1 comments
When my fascination with macro began all my work was done by available light. Getting sharp images at life-size magnification took all the resolve I could muster, especially when dealing with heat and humidity or frigid conditions. It’s tough to hold a camera steady in those situations. What I wouldn’t have given for image stabilization!
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George Schaub Posted: Dec 17, 2013 Published: Nov 01, 2013 1 comments
The 70-200mm focal length has been the standard tele-zoom choice for many years, offering near normal to a good tele range that suits many practical purposes. Yet, quite a few stock-in-trade 70-200mm lenses had been slow or lost significant aperture as soon as you left the shortest zoom setting, making them a real challenge for handheld, low-light, or even max focal length shooting. Certainly, improvements in sensors and processors in terms of the high ISO/image quality ratio have helped. If you’re too slow on shutter speed with a variable aperture zoom you can always jack up the sensitivity. But that’s not always a great choice and it seems to force you to compromise image quality just to make up for the lens losing “speed” just when you need it most.
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Jack Neubart Posted: Sep 03, 2013 Published: Aug 01, 2013 1 comments
While the Sigma 150mm f/2.8 lens has been out for a good while we decided to take a closer look at one of the most interesting pro-oriented products in their lineup. One of the key selling points in this lens is built-in optical image stabilization (“OS” in Sigma-speak) to aid in achieving camera-shake-free, handheld exposures. Granted, image stabilization in a macro lens is not the be-all and end-all of successful close-ups, though it sure gives added insurance. And because the Sigma 150mm OS macro is optimized for full-frame D-SLRs, it allows for use at the stated focal length with such cameras and provides even greater effective focal length with APS-C-type SLRs.
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Jack Neubart Posted: Aug 16, 2013 1 comments
There are two types of fisheye: circular and diagonal. The Rokinon 8mm f/3.5 Aspherical Fisheye Lens is of the diagonal type, delivering a rectangular image with cropped-sensor lenses. The lens I worked with is designed for the Nikon DX (APS-C/cropped) sensor. The APS-C version provides a 180-degree field of view. Other versions are available for other “cropped-sensor” interchangeable-lens cameras, including Micro Four Thirds. My tests were conducted using the Nikon D300.
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George Schaub Posted: Aug 12, 2013 Published: Jul 01, 2013 5 comments
There’s something about a fixed focal length lens that brings the photographer out in me. It forces me to move in and back from compositions without resorting to a zoom. Yes, there are times when a zoom is most appreciated—especially the fast constant aperture zooms now available—but a prime puts me in a mindset that a zoom has yet to match.

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