Lens Reviews

Location, location, location. That's what someone who is just getting started in wildlife photography will tell you is the secret to the trade. Certainly, the wildlife available in the remote Sahara of Africa is far more interesting to those who are used to the rolling hills of Ohio, but there are two other key components to successful wildlife photography: preparedness and luck.

If there’s a more challenging photographic discipline than wildlife photography, I don’t know what it is. It requires heavy and expensive long focal length lenses, a sturdy tripod, and the physical prowess to schlep all this gear through physically demanding environments. If you’re thinking “that’s not you, Joe,” you are correctamundo so I asked a few friends for advice on telephoto lenses and this is what they told me.

The new super wide angle Distagon T* f/2.8 15mm lens for Canon and Nikon mounts is neither lightweight nor inexpensive (1.6 lb for Nikon, 1.8 lb for Canon mount, $2950) but what you get from this manual focus lens is exceptional image quality and facility that is perhaps unmatched by any other lens in its focal length class. With a 95mm filter thread and integral and fully compatible lens shade, the lens offers an extraordinary 110-degree angle of view that is pleasure to work with on a wide variety of subjects. The fast f/2.8 aperture is matched on the narrow end by a minimum aperture of f/22, which at 15mm means there’s potential for extraordinary depth of field effects using the 10-inch closest focusing range. While decidedly not a portrait lens, the 15mm is ideal for landscape, street photography and creative advertising work, as well as architectural and urban photography, as I discovered in mybrief time working with it.

Hands on with a Hasselblad X1D II 50C medium format mirrorless camera, Hasselblad 24mm f/4.8 HCD wideangle lens and the enigmatic Hasselblad XH Converter 0,8. Does this change our attitude toward converter lenses? Continue reading to find out.  

It's not what most photographers would consider essential glass, but in mid-2017, when I heard it was available, I knew the 8-15mm f/3.5-4.5 fisheye Nikkor was a lens I'd like a lot. What I didn't realize was how much "a lot" was going to be. It turned out that I liked to have it with me whenever I was photographing.

“Date your cameras and marry your lenses,” a Sony staffer professed after I arrived in San Diego last week for the unveiling of two new lenses; the 50mm f/1.4 ZA prime and 70-200mm f/2.8 GM zoom. Our select group of journalists were repeatedly told, “Do not leak this launch.” Considering the leaks of cameras introductions from their competitors this summer, the firm request was understandable and we obliged.