There was considerable buzz generated at The Photography Show in Birmingham, England last week with the unveiling of the new Irix premium lens line from TH Swiss. The first in what promises to be an assortment of premium glass is the ultrawide Irix 15mm f/2.4.
Every company that makes lenses usually designs a few that are ideal for portraiture. The trend these days for studio and boudoir portraits is toward fast prime lenses, while zooms remain popular for location and wedding photography. Wide-angle lenses may get you closer to the subject but perspective distortion exaggerates a subject’s nose and ears.
Back in the day when fixed-focal-length optics reigned supreme, the 35mm lens, along with its wider cousin, the 28mm, was known as the lens a portrait or wedding photographer would use for group or full-length portraits or, especially if it had a fast aperture, the photojournalist would use to grab street candids. Today, with our wide zooms we’re often happy enough with an f/4 maximum aperture and we tend to overlook what faster fixed-focal-length lenses could do to help our photography.
An aperture set at f/2 is twice as big as one set at f/2.8 and four times larger than f/4. What’s Pi got to do with f/stops, and why do we use such a seemingly arbitrary numbering system? Continue reading to learn the answers to these and a few more arcane aperture facts.
THE GOODS is a new feature in Shutterbug that spotlights the hottest premium photo gear out there. If you have a product you’d like considered for The Goods, e-mail images and info to editorial@shutterbug.com.
Here are some tips I discovered when researching this month’s column. One was from my wife who uses this technique all the time—smile! And you know what, people smile back, making you appear friendly and non-threatening. The other was from Michael Archambault, who suggests you “acknowledge that street photography is not perfect.” Or as my grandfather once told me, “If you spend your whole life looking for happiness, it’ll make you miserable.”
What’s normal? Not asking about your weird uncle Walter who puts mayonnaise on his French fries—and his spaghetti. When photography went digital, understanding focal lengths became much more difficult. Let’s unravel a few of the mysteries so that we can make better educated decisions about lenses.
Tamron unveiled another new lens this morning: the SP 90mm F/2.8 Di VC USD 1:1 MACRO (Model F017). The new SP 90mm F/2.8 Di VC USD 1:1 MACRO (Model F017) is the follow-up to the Tamron 90mm f/2.8 Di Macro from 2012, and has been updated with several key features.
Tamron announced the new SP 85mm F/1.8 Di VC USD (Model F016) lens this morning, which the company is calling “the world’s first fast aperture telephoto lens with VC (Vibration Compensation).”
Pentax’s parent company, Ricoh Imaging, has been teasing that it would be announcing a new full frame digital SLR for several months now and today that phantom camera was finally unveiled. Ricoh just introduced the long awaited Pentax K-1, which is equipped with a 36.4-megapixel full frame CMOS sensor about the size of a piece of 35mm film.
At least according to the above photograph (supplied by Canon USA, of course) and some anecdotes we heard from photographers who shot the big game, Canon’s lenses appeared to still dominate the sidelines at this past Sunday’s Super Bowl.
When I was a cub photographer in high school, I was very proud of my Kodak Signet 40 camera. With the attached flash unit, even if I did not look like a professional, I felt like one. Later, thanks to my obsession with large aperture lenses, I moved up to a Heiland H2 Pentax camera complete with its awesome Auto Takumar 50mm f/2 lens that I carried throughout Europe and later for the local newspaper.