Lens Reviews

There are a number of new lenses, including those for “full-frame,” Micro Four Thirds, and “mirrorless” compact system cameras debuting this year, listed in alphabetical order. Here’s a sampler, with a sprinkling of filters thrown in for good measure. We’ve shown prices when available at press time—if not, check the websites of the companies for updates.

The difference between a “constant” aperture zoom and other standard zooms is that when you increase the focal length on the standard zoom the maximum aperture narrows. This might make the difference between being able to hand hold or not when zooming in, and may indeed force the use of higher ISOs. Known as “fast” lenses, constant aperture zooms are pricier and bulkier than their variable-aperture counterparts. And to sweeten the pot, we’ve seen more and more fast lenses with built-in image stabilization, which gets you even more low light and steady shot capability.

The Sigma 85mm f/1.4 EX DG HSM lens (average price: $969 on various Internet sites) is designed for full-frame cameras; with an APS-C multiply by your usual factor. At about 25 oz, I’d describe the lens as substantial, but not hefty. One of the reasons for the weight is the build—11 elements in eight groups, including the use of SLD glass, Sigma speak for Special Low Dispersion. The big chunk of glass on the end requires a 77mm filter. As to handling, Sigma has gone from their black “crinkle” finish to a smooth black rubberized finish that feels great to the touch. It’s plastic, not metal, but based on my experience with previous Sigma lenses, I’ve found them to be built to professional standards and can take a lot of abuse.

There are three main elements in depth of field—focal length, aperture, and distance to subject—and depth of field is a very important part of a 2D photograph. It’s how we judge scale (or are fooled by it), how we note the importance of certain subjects within the frame, and how we define content and context in the scene. With these three controls, and using various points of view, it seems we have infinite variations to choose from, and that’s part of the creative play of photography. Now you can add a fourth element to the mix—tilts that range from mild to extreme and that create “slices” of sharpness within the frame. The tool that helps us create that effect is the latest optic from Lensbaby, which they dub the Edge 80.

There are two general classifications of lenses that define how you use them in the field—zooms and single focal length, the former being a variable focal length lens that has many convenient advantages, and the latter being a single focal length that, in the group we’re covering here, is what’s known as a “fast” lens. Fast doesn’t mean that it focuses quicker than its zoom cousins, though it might—it usually means that it offers a wide maximum aperture, anywhere from f/1.2 to f/2.8, and that aperture stays put, unlike some zooms where the aperture varies by going narrower as you zoom into longer focal lengths. And to help refine the group we’re covering here we’re also topping out the focal length at 50mm, which makes these lenses prime for street and low-light photography, candid and photojournalism work.

Canon offers five different 70-300mm zoom lenses in its product lineup. Why so many? They obviously think this is a popular and practical focal length range and I happen to agree. I even own one of them myself—the EF 70-300mm f/4-5.6 IS USM—but the EF 70-300mm f/4-5.6L IS USM tested is the mac daddy of ’em all. Part of the reason for its high price tag ($1599) is that it’s the only one of the five lenses that is resplendent in white paint (the better for TV cameras to see), making it part of the “L” series. (See “Just For The ‘L’ Of It.”) Canon’s L lenses typically have wide apertures fixed throughout the zoom range but in this case all five lenses in this focal length range have identical f/4-5.6 apertures.

The new Canon EF 70-300mm f/4-5.6L IS USM telephoto zoom lens features two Ultra Low Dispersion (UD) elements for improved image quality and reduced chromatic aberration. It incorporates a floating focusing mechanism for sharpness from close-up (3.9 feet) to infinity plus an Image Stabilization (IS) system that Canon claims increases usability by approximately four stops. The IS system includes a function that allows it to continue to operate even when the camera or the lens, the latter being a better idea, is mounted on a tripod. There’s an optional ($189.95) Canon Tripod Mount C for mounting on a tripod or monopod but I was unable to get one for testing. The lens is dust- and water-resistant and features a Fluorine coating that resists smears and fingerprints and significantly eases lens cleaning, but that doesn’t make me suggest less vigorous lens protection. More later.

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.