We recently reviewed the Sport Strap from BlackRapid which we really liked, but for some people straps are still too bothersome. There are alternatives that allow the photographer to clip their cameras to a belt and avoid the strap altogether if they so desire. The Capture Clip Pro from Peak Design and the SpiderPro Camera Holster from Shai Gear are both strapless camera carrying systems that give you the feeling of stepping back in time to the days of the wild west but instead of gunslinging, you’re a camera toting cowboy. In this head-to-head review, we will examine the Capture Clip Pro vs the SpiderPro Camera Holster and try to help you know which system might be best for you.
During the last few weeks, I have been trying to come up with a good solution for testing lenses that did not require constant movement when dealing with slightly de-centered lenses. The idea was to build a setup similar to macro rails, but one that is bigger in size and very stable at the same time. Stability is extremely important, because even a slight vibration can negatively affect lab results. Using an Arca-Swiss quick release setup was a no-brainer, because it allows moving the setup without having to deal with mounting and dismounting anything, while being rock solid when tightly secured. While my BH-55 Pro tripod head from Really Right Stuff has been serving me well for a while now, it was hard to use for minute adjustments that are often necessary when testing lenses. Therefore, I decided to replace it with a geared head that would allow very precise vertical and horizontal tilt adjustments, along with the ability to pan, when needed. My quick search revealed that unlike the army of pan/tilt heads and ballheads, which are made by a myriad of companies, there are only a few options available for geared heads today. One of them is the Manfrotto 405 Pro Geared head, which I am reviewing today.
This is an in-depth review of the Sigma 18-35mm f/1.8 DC HSM Art lens, world’s first constant f/1.8 zoom lens for DSLR cameras that was announced in April of 2013. Despite the recent trend of manufacturers to move their customer base to full-frame format, Sigma took a bold move and announced the professional-grade Sigma 18-35mm f/1.8 Art for DX/APS-C format only. With a focal range equivalent to 27mm-52.5mm in 35mm format, the lens provides a good range to work with for a variety of different needs and applications. And with its fast constant aperture of f/1.8, the Sigma 18-35mm opens up opportunities to shoot in low-light situations, something that was previously only possible with fast aperture prime lenses. Lastly, Sigma’s pricing of $799 MSRP for the lens made it the top choice in terms of value when compared to pro-grade lenses such as the Nikon 17-55mm f/2.8G DX, which sells for almost twice as much and does not offer the same low-light advantages.
This is an in-depth review of the new, much anticipated Nikon 58mm f/1.4G professional prime lens that was announced on October 17, 2013 along with the Nikon D5300 DSLR. Similar to the legendary classic, the NOCT Nikkor 58mm f/1.2, the AF-S NIKKOR 58mm f/1.4G is a specialized lens for such needs as portraiture, street, event / wedding photography and astrophotography. Thanks to its fast aperture of f/1.4 and a complex optical formula using aspherical elements, nano crystal coat and super integrated coating, along with a fast silent wave autofocus motor, the lens is also ideal for low-light photography needs. Unlike many of the Nikkor lenses that are optimized for maximum sharpness, the Nikon 58mm f/1.4G is the first modern lens of its kind that focuses on producing aesthetically pleasing images, rather than purely focusing on sharpness. I had a pleasure of shooting with this lens for the last 3 months and I wanted to get a full understanding of its strengths and weaknesses, especially when compared to the Nikon 50mm f/1.4G and f/1.8G lenses that I have been relying on for my photography needs. In this review, I will not only provide an in-depth analysis of the lens, but will also compare it head to head against Nikon’s 50mm prime lenses and the Voigtlander 58mm f/1.4 lens that I have been testing in parallel.
This is not meant to be an in-depth review of the Fuji XQ1, because I normally do not like spending time evaluating point and shoot cameras. First, there are too many of them and they recycle every year, sometimes even several times a year. Second, with the rise of the cell phone market with pretty impressive cameras, I just do not see the future of the point and shoot market. And lastly, the XQ1 simply ended up in my hands in error and I did not want to send it back without writing a few words about it.
This is an in-depth review of the Fujifilm X-E2, a second generation mirrorless interchangeable-lens camera from Fuji that was released on October 18, 2013 before the 2013 Photo Plus Expo event in New York. After the success of the X-E1, which I ended up picking as my mirrorless camera of choice, as explained in my detailed review, Fuji decided to update the camera with more features to make it even more compelling. Considering that the X-E1 was only a little over a year old and the high-end X-Pro1 had not been updated since it was initially released back in March of 2012, the X-E2 was a good indication of Fuji’s future plans to keep the mid-range product line updated every 12 to 18 months, while the high-end line will probably be updated every 24+ months. In this Fuji X-E2 review (based on initial firmware 1.00), I will provide detailed information about the camera along with some image samples and compare it to the X-E1 and the Olympus OM-D E-M1.
I thought I was perfectly happy using the standard hard plastic Nikon screen protector that came with my D800. It does what it’s supposed to do, right? It protects the screen from getting scratched without getting in the way of actually seeing the screen. Why mess with a good thing? That’s what I thought until I was given the opportunity to try out an Expert Shield Screen Protector.
This is an in-depth review of the Fuji XF 35mm f/1.4 prime lens, also known as “Fujinon XF 35mm f/1.4 R” that was released initially together with the Fuji X-Pro1 on September 21, 2011. Fuji specifically wanted to target professionals and enthusiasts with its X line, so it first introduced a professional-level mirrorless camera, the X-Pro1, along with three prime lenses: Fuji XF 18mm f/2, Fuji XF 35mm f/1.4 and Fuji XF 60mm f/2.4 Macro. And hence, being part of the Fuji X mirrorless interchangeable lens system launch, the Fuji 35mm f/1.4 played a big role in the success of the product line.
Let me start off this hands-on review of the Nikon 1 V2 with a reminder that no one camera can do everything that an owner may require. Regardless of the price paid, every piece of equipment comes with compromises. And, so it is with the Nikon 1 V2. I should also state upfront that I shoot more client videos with my Nikon gear than I do still photographs, so this review does contain a reasonable amount of evaluation from a video perspective.
We are back again at reviewing some of the lens classics and this time we have the Nikon NIKKOR-S Auto 50mm f/1.4 (Ai modified), which was first manufactured way back in 1962. One of our readers, Joe Ridley, was kind enough to send a number of Nikkor classics, and this lens is the second one that we are reviewing. Nikon has made so many different 50mm lenses its in 80 years of optical history, that the list of just 50mm lenses can get quite overwhelming. Many of us look at the modern 50mm primes without realizing that among all manufacturers, Nikon has the longest history of making these lenses. In fact, the very first Nikkor 5cm lens was made in 1937 specifically for Canon rangefinder cameras! And it is also worth pointing out that Nikon invented the very first 50mm f/1.4 lens after the World War II. This particular NIKKOR-S classic was designed for Nikon’s rangefinder cameras. Today, it is hard to find a converted version that works on modern DSLRs (mostly non-Ai versions), but you can snatch one for about $50 and get it converted for another $20-30. Or if you bought the new Nikon Df, you will be able to use this lens without having to convert it!