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 did not change. Same mechanical mirror, same pentaprism / optical viewfinder, same phase detection system for autofocus operation. While new technological advances eventually led to extending of features of these cameras (In-camera editing, HDR, GPS, WiFi, etc), DSLRs continued to stay bulky for a couple of reasons. First, the mirror inside DSLR cameras had to be the same in size as the digital sensor, taking up plenty of space. Second, the pentaprism that converts vertical rays to horizontal in the viewfinder also had to match the size of the mirror, making the top portion of DSLRs bulky.
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.
For all the Canon folks, there’s a new discount program for Canon DSLRs that slashed the prices down (considerably in some cases). If you were planning on buying a new Canon DSLR, this is probably as cheap as these particular models (5D Mark III, 7D and T5i/700D) will get before Christmas rebates. Although some discounts are quite minor, you can get up to $300 off the Canon 5D Mark III. Along with the discount, you’ll also get some free stuff thrown in (before December 31st) with value ranging from $68 all the way up to an impressive $175 at B&H. Free accessories include compatible memory cards, batteries, cases, etc. On top of all this there also B&H’s +4% rewards program. Discounted price is listed after checkout and the drop is most likely a permanent price cut.
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.
Canon has just announced a successor to the popular but aging 60D. The new member of EOS family is called 70D and packs a number of improvements over the rest of the line-up, including the higher-end 7D model. 70D is positioned squarely against Nikon’s D7100 DSLR with virtually identical body-only price and competitive on-paper specifications.
One of our readers, Simon Speich sent me an interesting article that compares Canon and Nikon Telephoto lenses. He created a couple of fun charts that take into account lens weight, maximum aperture and focal length and he came up with a graph that shows which manufacturer offers the best focal length to weight ratio. Give it a read, I thought this was great to share with our readers!