I am finally back in Denver after a three week-long trip to the UK and I am trying to catch up with all the news and announcements that we’ve missed. The first news items are related to Canon lens announcements from last week. Canon announced the EF 16-35mm f/4L IS USM image-stabilized full-frame lens for enthusiasts and professionals who want something cheaper than the EF 16-35mm f/2.8L II USM. Usually, f/4 lenses are lighter and smaller than their f/2.8 counterparts. However, the difference between the 16-35mm f/4L and 16-35mm f/2.8L is not as big – the former is just a tad thinner and weighs 20 grams lighter in comparison. The three biggest differences are obviously the smaller maximum aperture of f/4, $500 price difference and image stabilization. With a very similar optical design featuring the same number of elements and groups, 2 Ultra-low Dispersion (UD) and 3 Aspherical elements, the 16-35mm f/4L IS seems to challenge its big brother in a number of ways, even in optical performance.
One of the frequently asked questions by our readers when we post information on Zeiss lenses (which are often optically stellar), is why Zeiss does not make autofocus lenses for DSLR cameras from Nikon and Canon. As you may already known, Zeiss is currently making autofocus lenses only for two specific mounts – Sony E (for NEX / Alpha series mirrorless cameras) and Fuji X. This line of autofocus lenses labeled as “Touit” is limited to a few lenses at the moment, with full autofocus capability and compatibility with both Sony and Fuji mirrorless cameras. So one might naturally ask why Zeiss has finally started making autofocus lenses and wonder if it has plans to start developing autofocus lenses for Nikon and Canon mounts. Although I have known the reason behind this for a while now, I decided to ask the question again from the Zeiss team at the Photo Plus show in NY last year. Specifically, I wanted to find out if Zeiss is planning to change their strategy in the future in regards to DSLR lenses.
There is a lesson here for all, especially when purchasing expensive gear. Expensive is a relative term with a value that varies per individual and can’t be generalized, the stuff being said here applies to all values of items. It comes down to how much value the item has to you and whether you are willing to risk that value versus the warranty programs being offered. Obviously the bigger the expense, the higher the risk.
In this article, we explore DSLR and mirrorless cameras and take a look at pros and cons of both in detail. When compared to mirrorless cameras, DSLR cameras by design have some inherent flaws and limitations. Part of it has to do with the fact that SLR cameras were initially developed for film. When digital evolved, it was treated just like film and was housed in the same mechanical body. Aside from the circuitry required for a digital sensor and other electronics, new digital film media and the back LCD, the rest of the SLR components pretty much stayed the same. The same mechanical mirror, the same pentaprism / optical viewfinder, the same phase detection system for autofocus operation.
Last week was a very busy week for us at Photography Life, since we participated in the PDN Photo Plus Expo in New York and took part in a number of activities related to the event. This was the first time that I took part in a photography event of this magnitude and it was quite an overwhelming experience. My good friend and our team member Tom Redd was able to join me and we both flew from Denver to New York to take part in a four day conference. In this article, I will go over some of the highlights of the event and talk about the upcoming products and some hands-on information, accompanied by photos. I was planning to cover the event at the conference on a daily basis, but I was not able to do it due to my hectic schedule. In summary, it was a great event that will hopefully benefit our site greatly going forward (more on that later).
Different manufacturers use very different abbreviations to describe the technology used in their lenses even if the technology itself is quite similar. Some abbreviations can be difficult to understand and easily mixed up. We’ve already covered Nikon lens abbreviations. This article will help you understand Canon lens naming terminology.
Our readers often ask us if it is possible to get Lightroom to provide the same colors as one would see from camera-rendered JPEG files when shooting in RAW format. Unfortunately, as you might have noticed when importing files, Lightroom changes the colors immediately after import, when the embedded JPEG files are re-rendered using Adobe’s standard color profiles. As a result, images might appear dull, lack contrast and have completely different colors. I have heard plenty of complaints on this issue for a while now, so I decided to post series of articles for each major manufacturer on how to obtain more accurate colors in Lightroom that resemble the image preview seen on the camera LCD when an image is captured. In this article, I will talk about getting accurate colors from a Canon DSLR in Lightroom.
Canon has just announced a number of new products, with a new lens and high-end compact camera among them. The new lens is a replacement for the older, 2011 release of the 55-250mm f/4-5.6 IS kit zoom lens for Canon APS-C sensor DSLR cameras. The Powershot G16 enthusiast compact camera is a direct replacement of the Powershot G15. The lens and camera offer minor improvements over their predecessors.
This is a part two to my “why are some lenses so expensive?” article that I wrote yesterday. I already explained the difference between consumer and professional-level lenses in the first post, so now it is time to talk about exotic lenses. With so many exotic lenses on the market today, some of which seem to be in relatively high demand (at least judging by their lack of availability), one might wonder about what makes them so special when compared to everything else. This post is not meant to be technical or basic – I think you can get most of that from the first article. Instead, I want to focus on craftsmanship, price, perceived value and niche marketing – the main drivers behind exotic lenses.
Every once in a while, I get asked why some lenses are so much more expensive compared to others. Interestingly, this question comes from both beginners and advanced photographers, but in different contexts. Beginners want to know why pro-level lenses are a lot more expensive than consumer lenses, while knowledgeable photographers wonder about what makes niche/exotic lenses from companies like Zeiss and Leica so much more expensive than modern professional lenses. These are all interesting and valid questions, so I thought writing a couple of articles to attempt to answer these questions would be useful for our readers. In this article, I want to answer the first beginner question on what makes professional lenses expensive.