New answers tagged lens
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The best way to visualize what pictures taken with each lens look like is to convert your lens' focal length to the equivalent focal length on a full frame body in terms of the same angle of view. Then look at images that were taken with a camera/lens combination with the same angle of view. In the case of the 4/3" sensor on your Olympus EP-3, the conversion ...
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Those lenses have very little overlap, so you will generally known which one you need. They are not interchangeable for any given subject. There are subjects you can take with both but the result will not be the same except between 40 and 42mm, so the one you use is the one that gives the results you are looking for.
The 14-42mm is a wide-angle to medium ...
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Two points:
On "On the other hand, camcorders routinely have f0.95-f1.2 lenses", I simply dispute this finding. Take a skim at PL lenses available 1, there aren't any lens close to f1 that's economically reachable, which brings me to point 2.
I refer to Erwin Puts, lens expert 2. In his Leica Lens Compendium 3, he mentioned many technical difficulties in ...
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Neither of those lenses are good for portraits. A good allrounder would be to upgrade your kit lens to a fixed aperture Canon 17-55 F/2.8 IS USM (or tamron/sigma 18-50mm 2.8).
And then for portraits get the 85mm 1.8 or 85mm 1.2L if you can afford it.
But if you are up to upgrading to a L lens that can be used when you upgrade to FF, then 24-70 F2.8L would ...
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The larger the maximum aperture, the larger the lens. Therefore fitting an ultra-bright lens works against making the camera small. The size also increases in proportion to the focal-length, so the more zoom you fit in, the harder it becomes to make an ultra-bright lens can keep it compact.
There are a number of F/1.8 lenses in compact cameras but you will ...
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I believe F1.4 is the best you can do on a compact so far:
http://www.dpreview.com/news/2012/7/18/Panasonic-announces-Lumix-DMC-LX7-with-F1-4-2-3-24-90mm-lens
You know from 35mm format lenses that it is hard to find those that are sharp wide open. it is hard to get all those rays of light to hit a single small dot. On a compact sensor, those dots are even ...
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In my opinion, the EF 75-300mm f/4.0-5.6 lenses are some of the very few lenses in Canon's current lineup which should be avoided (the others are the unstabilized 18-55 lenses, because the price premium for the stabilized version is so small). As can be seen from this review, it's not a good lens; all that applies to both the USM and non-USM variants. You'll ...
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1) Yes, the price difference is because of image stabilization. It is not an unreasonable price difference for IS vs non-IS because of the cost and complexity added by the IS mechanism. The optics quality between the older 75-300 and the newer 70-300 is also significant.
2) Yes, it's hugely significant, particularly on the longer focal lengths. You can ...
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Ok, I verified this on my own version of that lens from my old xTi. That's normal behavior. The lens goes between macro and standard zoom. If you notice, when you put the lens at 55 it is a long way out, then as you move to 24, it slowly pulls back up against the body of the lens. Then from 24 to 18, it pushes back out again. Thing is, it does this a) ...
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You mentioned that your main subjects are landscape and architecture, for these 2 you will mostly need the wide lens, specially for architecture, and the Tokina 11-16mm will be great for that use.
The lenses you listed are all super zoom lenses and I don't think you'll ever have to use 100mm or more in landscape and architecture photography. The super zoom ...
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Fixed aperture is a very good feature that only one of those has. It just makes it easier to meter, control dof, and use fill flash. So go for the tamron. It is even pretty sharp. and super zooms are never a good idea, as they really make you feel disappointed at your DSLR.
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It's not a guarantee, but a general rule of thumb is that the longer the range of focal lengths, the lower quality the lens. The majority of those lenses have extreme focal ranges. Beyond that, shopping questions are generally considered off topic and this is very much a shopping question.
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Especially if your camera is old, the most likely candidate is that your sensor is dirty.
You can find this out, if you
put your camera in A-Mode (on the dial).
Then turn the wheel so that Aperture is f/16.
Face a white wall.
In manual focus, focus very far away (infinity). This way you won't see the structure of the wall.
Take a picture.
Inspect the ...
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i suspect you have a dust spec on your digital sensor (assuming here that this is a DSLR).
Fit a lens and set the aperture to be small ~f16 and take a photo of a light surface, you should see your blob. Change lens and repeat.
If the blob is still there then you have a dirty sensor that needs to be cleaned. If is not then you have a dirty lens and that ...
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Power Focus is described on Canon's Infobank page as "a mode that allows you to drive the autofocus motor electronically instead of having to use the focus ring." As you indicate in your question, it's meant for changing focus from one point to another very smoothly, for use while shooting video.
As one doesn't normally change focus in the middle of taking ...
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The everyday lens depends on your subject and, if you suppose that all the subjects you list are everyday subjects, there is no single perfect lens that will fit.
The best compromise I know of is the excellent Canon EF-S 17-55mm F/2.8 IS USM. This one covers the same range as your kit lens except it is significantly sharper and has a much brighter maximum ...
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buildings, landscapes
Then a wide focal length is the ideal, which you already got - 18mm on a T2i (1.6x crop factor) is ~28mm on a full frame. Wider than that and you'll start getting some serious perspective distortion you'd need to correct.
sports mode photography
Then a fast telephoto and good AF is essential. You already have a telephoto, depending ...
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On a crop body camera, the 18 to 55mm is really your every day or "standard" zoom range. You might benefit from a slightly longer range, but most likely your biggest gain would be getting a "faster" lens.
When we talk about the speed of a lens we're talking about how wide the aperture (the hole that the light is focused through) can get. The faster a ...
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I would pick up the Canon 50mm f/1.8. This has already been covered at length by multiple other threads here, so take a look at some of these great questions/answers:
Is it worth it to have the 50mm f/1.8 Canon lens?
Do I really need a fast 50mm lens?
Why do people recommend 50mm or other prime lenses as starting lenses for learning photography?
50mm tag - ...
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The cine lenses are different optically in that they are designed to minimise focus breathing, that is small changes in focal length when focussing, however they are very closely related to still photography designs.
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The other answers are spot on (so read them first). However, they're missing one other important element which is subject isolation. Some feel that this is less important in macro photography, so they don't mind a 50-60mm macro lens as sometimes want a wide background to show the environment of the subject. However, other times the background is highly ...
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For the EF 300mm f/2.8L IS removing the tripod collar was fairly straightforward: Loosen the tension knob and rotate until the red dot on the collar lines up with the red dot on the lens barrel and pull the collar straight back. This lined up the four slots on the collar with the four lugs on the lens barrel.
The new EF 300mm f/2.8L IS II has a ...
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I found this: "The 300f/4 IS collar is removable, but it does not open like the 70-200 collar. Remove the lens from the camera body and put the rear lens cap in place. Then back the collar screw fully out. Finally, rotate the collar around the lens while gently exerting pressure toward the rear of the lens. At one point, and one point only, the collar will ...
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If you're asking about merely using a smaller aperture, you'd do that when you want to increase the depth of field, or when you want to compensate for a slower shutter speed.
If you're talking about manually stopping the lens down using the the depth of field preview button, you'd do that when you want to (can you guess?) check the depth of field for the ...
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As others have said, the main practical difference between true (1:1 or greater magnification) macro lenses is the distance to the subject required to achieve the desired magnification. In general, long macro lenses do not directly affect depth of field or most other parameters of the image.
The main advantage of the longer focal lengths therefore, is that ...
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I had similar sounding problem with an ef 75-300 I bought about a year ago,
It felt almost as if the outer casing of the barrel was rubbing or catching in places against the inner making the movement feel a bit jerky!
over time however using the zoom ring seems to have become a more fluent action,
the front focusing ring is soft and smooth but it always was ...
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I have a Helios 44-2, which is 58mm. And also, they round off the numbers. a 17 mm lens may be 17.5 or 16.5, so this is why reviews sometimes compare brands of similar zoom ranges and state that one brand is wider than the other. Choosing a good "Range" or prime focal length is a bit of habit and a bit of knowledge of what makes a comfortable FOV to work ...
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It's tradition. I'm not exactly sure where the tradition comes from, but there is a series of traditional prime lenses for 35mm, and these are still carried on in prime lenses today, and in less likely places: zoom-reflector flashes tend to zoom in a series of big steps matching these focal lengths, and one often finds the same thing with compact camera ...
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First, most "label" focal lengths are approximate, so there may be a 29mm or a 32mm, but it's likely that they will be labelled 28mm and 35mm respectively (or, in this APS-C-is-a-valid-format world, they may both be labelled 30mm). To my knowledge, only a few makers (notably Hasselblad) will state their actual, measured focal length anywhere but on a data ...
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I have the UV filter to protect my lens and I wanted to see the change in quality. It doesn't change any of the colors or anything that I noticed, but it changed the rays of the sun and the "bubbles" that the sun made. Before I got the filter, I took a pic of a Palm tree with the sun shining through. I looked at the picture and noticed the sun and it didn't ...
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It is called a crop sensor camera, not a crop lens. The sensor is smaller, just as if you took the same image with a full frame camera and cropped it.
The lens does not know what kind of camera you are using. You could put a "crop sensor lens" on a APS-C, APS-H, FF or medium format camera, and it would still be the same. Put the OP's two lenses on each of ...
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Whether a lens is an EF or an EF-S lens, the actual focal length is always used. There are certain technical reasons why this is so, but the simplest is that a lens' focal length is defined as the distance from the film plane needed when the lens is focused at infinity to cast point light sources as a single point on the film plane. This doesn't change with ...
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Crop factor isn't a measure of a lens, it's a measure of a sensor. The lens use the same measure, which is actually the focal length of the lens, or the distance the light travels as it is brought to a single point of focus. The reason it doesn't take a lens that long is that a compound lens can move the light around within it. Crop factor is useful for ...
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The crop factor applies to all lenses shot on camera with a smaller sensor. They look the same because 70mm is 70mm on both lenses, and they're both cropped in exactly the same way.
I think the answers to Is an EF 50mm f/1.4 the same as 50mm with an EF-S lens on a Canon 550D? should help.
Also check out my answer to What is Angle of View?, because the ...
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Nikon cameras and lenses are covered by a 1 year warranty. Lenses have a 4 year extension of that warranty. If you have an issue under warranty it doesn't matter if it's in the 1st year or the 5th, the coverage will be the same.
If a lens is repaired under warranty, there will be no charge for the repair - you will have to cover the cost of shipping the ...
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Your best bet is to simply take photos of something and look at the image. There isn't any particularly fancy way to check. If the zoom still works and pictures taken at both ends of the zoom come out sharp and don't have distortions in the image, then you are probably ok. You could probably try taking a picture of a sheet of graph paper or some other ...
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While we don't deal with shopping questions on this site because they are too localized in time and needs, your questions are answered more generically by What to look for in a flash and What do I gain from moving to a full frame?
As far as lenses for events go, your costs are a big factor, but for parties you'll want something that goes from fairly wide to ...
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The answer totally depends on what you need and what you shoot. If I were you and;
If I'm into street photography, I'd buy 35mm. Also if I were to shoot at narrow places such as indoor parties etc. I'd buy 35mm again.
But if I plan to shoot staged portraits using models/make-up/planning then I'd go for 50mm.
Cropped sensor will give you a view like ...
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If you already own a different 135mm prime that is sharp I see virtually no reason to buy that lens. Canon doesn't make it anymore for a reason, it simply isn't necessary. Sure you can save a bit of time doing it during the shot instead of post, but you also have to weigh that with the cost of the additional lens to carry and buy.
As for how you can create ...
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Depending on who you ask, the diagonal field of view (cone of visual attention) of the human eye is somewhere around 54 degrees depending on the person, which is about half-way between those two focal lengths on a full frame sensor. So, in theory, on a crop sensor you should be much wider than 35mm, somewhere around 25mm on a Canon or 28mm on Nikon (or other ...
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Yes, the nifty fifty for a crop frame would be closer to the 35 prime, but ultimately the order of the day is still choose the lens you need for the shot you want. If you wanted a telephoto shot, then a 50mm wouldn't be the right choice for any sensor size. If you want 50mm effective, then a 35mm prime will give it to you on the crop sensor.
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The short answer to this question is YES, the 50mm f/1.8 will be fine for outdoor work.
I have the f/1.4 version and often find myself with just that lens on my camera all day. It is sometimes not so convenient but the plus side is that you are forced to work with what you've got so you think about positioning, composition, 'zooming with your ...
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Image quality. The wider the range of focal lengths on one lens, the more design compromises are made and the more correction must be applied deal with things like geometric distortion, chromatic aberration, and light fall off in the corners.
Aperture. Even though the EF-S 18-200mm f/3.5-5.6 has the same maximum aperture of f/5.6 as the EF-S 55-250mm ...
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A smaller zoom range means fewer compromises in the optical design and usually better quality. It's better to have a boat and a car and use them where appropriate than to have some sort of boatcar that doesn't do either job as well.
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Actually, in-body apertures have existed on interchangeable-lens cameras, and in a way that allows lenses of different focal lengths to have common maximum apertures. Perhaps the best-known camera to do this was the Pentax Auto 110, a 110-format film SLR. Pentax went that route with the Auto 110 because it would be sturdier and less complex than trying to ...
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When I am outdoors, I am generally shooting landscapes or doing closeups, especially of flowers. I have a love hate relationship with my kit lens of 18-55mm so I bought 50 mm manual first. The 50 mm is amazing for close-ups. Sharp images, nice bokeh and much better IQ than my kit lens. For a while I did landscapes with this too and I had no complaints. I ...
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I also have a D5100 and a 50 mm prime. I have to say that it's my favourite lens (of the ones I have), I love the bokeh and the shallow depth of field. I really like the portraits and some detail pictures, but I struggled with wider subjects like architecture. In many cases it was too wide for details and too narrow for capturing the whole building.
I found ...
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This is a good question, I had also experienced that kind of difficulty before. 50mm FX when installed on a DX nikon becomes a semi telephoto lens and will be harder to use when shooting in small spaces, you have to go further from your subject just to fit on screen. Framing the subject is really difficult when shooting on limited space like indoor. 35mm ...
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Wikipedia lists Canon's (outer) throat mount diameter as 54mm vs. Nikon's at 44mm. This means, at the mount, there is an extra 15.7mm of circumference on a Canon lens vs the same Nikon lens (assuming the lens is throat-diameter-limited). Depending on how Zeiss chooses to incorporate this extra girth in the packaging of the lens, the amount of additional ...
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It may be helpful to consider the numbers (10 line pairs per millimeter and 30 line pairs per millimeter) as being related to the size of the features in the scene they can reproduce. In the same way it would be difficult to reproduce fine details when drawing with a fat magic marker, 10 lp/mm may be too coarse to reproduce fine image details like hair and ...
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