Tamron has just released a FUJIFILM X-mount version of its popular mid-range, wide-aperture zoom—the Tamron 17-70mm f/2.8 Di III-A VC RXD lens—which had been previously available only for Sony E-mount APS-C cameras. On the FUJIFILM X APS-C bodies, the camera sports a wide-to-telephoto 4.1x focal length range of 25.5-105mm and a constant wide f/2.8 aperture. This middle-range zoom is ideal for all sorts of general use, travel, portraiture,
Building on the popularity of last year’s 28-70mm f/2.8, Sigma has just announced the 16-28mm f/2.8 DG DN Contemporary. Portable, versatile, and all about wide angle, this sleek little zoom balances two of the most desirable assets in lens design: compactness and speed. And with those two attributes, this lens is positioned as a go-to choice for architecture, landscape, and travel shooting—instances where you value an ultra-wide field of
Sony Alpha Collective member Mahesh Thapa shares all you need to know about choosing and using APS-C lenses for landscape photography. Are photos taken with crop sensor cameras of lower quality? Can you use full-frame lenses on APS-C cameras? From prime to zoom lenses, ultra-wide angle to telephoto, Thapa will help you decide when building your landscape photography kit.
Do you shoot landscape photos with APS-C lenses? What has been your experience, and are you always pleased with the results? Jump into the conversation in the Comments section
Over the course of six years, Sony’s G Master lineup has offered some of the best lenses in the business—and yet Sony still pushes itself to get even better. With the release of the FE 24-70mm f/2.8 GM II, it’s easy to see Sony’s drive to improve in action based on all the upgrades made to one of its earliest, and still good, G Master lenses. Sony also appears to be watching industry trends, further tuning its optics and handling to suit the demands
Poised to shake up what it means to be a super-telephoto lens, Nikon has just announced the NIKKOR Z 800mm f/6.3 VR S lens. Summed up perfectly by the tagline “All the Reach, Half the Weight,” this lens is Nikon’s fresh take on an 800mm lens, which now uses a Phase Fresnel element to dramatically cut down on weight and size to make this huge focal length something that’s truly portable. More than just a sleek lens, Nikon also made sure to imbue
In contrast to the fast primes, high-performance zooms, and top-notch G Master lenses of its lens lineup, Sony recently and subtly introduced a trio of compact, modest, and sophisticated prime lenses: the FE 24mm f/2
Rokinon and Samyang have modernized their already modern autofocus Sony full-frame E-mount AF 35mm f/1.4 FE lenses, launching the Rokinon Series II and Samyang Series II versions that add the ability to customize settings, as well as being weather sealed.
Sony E-Mount 35mm f/1.4 Lenses
Externally, the new lenses feature a two-
Lensbaby has announced the Soft Focus II 50 Optic, the new and improved follow-up to one of the most sought-after optics from its heralded Optic Swap System, the original Soft Focus. Chief among the Soft Focus II's enhancements is a new 12-blade, manually adjustable internal aperture, which allows users to change the optical effect of their images quickly—from "dreamy and impressionistic" to high-contrast images that are "beautifully detailed and sharp."
There probably isn’t a photographer in the world who hasn’t thought, “If only I could get a bit closer, or have a longer lens, I could get the shot!” Well, Canon has heard your internal monologue and has just rolled out a pair of lenses that put the “super” in super-telephoto: the RF 800mm f/5.6 L IS USM lens, and the RF 1200mm f/8 L IS USM lens for its RF mount
Are optical designers designing (and re-designing) lenses today to create better bokeh at the expense of optical characteristics such as diffraction spikes (popularly known as star effects/sunstars/starbursts)? Is the trend toward creating “better” bokeh sending the lens-made diffraction spike the way of pay phones, SLR cameras, manual transmissions, and the internal combustion engine?
The photography world, especially on the Internet, is full of debates. Canon vs. Nikon.
Sigma has entered the FUJIFILM mirrorless world equipped with a trio of Contemporary lenses: a 16mm f/1.4, 30mm f/1.4, and 56mm f/1.4. Occupying three popular focal lengths and sharing a bright, f/1.4 maximum aperture, the new lenses provide a solid foundation for Sigma to increase the number of its X-Mount offerings over time.
Starting with the widest of the three, the 16mm f/1.4 DC DN Contemporary translates to the 35mm equivalent of 24mm when used on
Sigma has announced the 20mm f/2 DG DN Contemporary Lens for full-frame L and Sony E-Mount mirrorless cameras. The widest I-series lens to date, this compact prime shares the f/2 aperture and distinct craftsmanship of its predecessors while expanding coverage to include landscape, cityscape, and astrophotography. Wide, bright, and light, it is equally useful as a video lens, and particularly well suited for handheld vlogging and livestreaming.
Attention, Nikon Z mirrorless shooters! Your wide-aperture, super-telephoto dreams have been answered with the release of the Nikon NIKKOR Z 400mm f/2.8 TC VR S lens. This previously announced lens features a built-in 1.4x teleconverter, giving it an effective focal length of 560mm.
Nikon NIKKOR Z 400mm f/2.8 TC VR S lens
The new lens features Nikon
The video department at B&H Photo is pleased to announce the 7artisans Vision Cine line of cine-style prime lenses for mirrorless cameras. Crafted expressly for video use, these 25, 35, and 50mm lenses feature a super-fast T1.05 maximum aperture, cine-standard 0.8 MOD gearing, lovely bokeh, and focus scales in both feet and meters. Each focal length comes in Canon RF, Sony E, FUJIFILM X, Leica L, and MFT mounts.
To help speed lens changes between shots, each