Read lens reviews and group tests written by expert photographers.
While primarily aimed at sports and wildlife photographers, the 300mm f/2.8 VR II is also a wonderful lens for portraiture and press photography. This latest version by Nikon is an update on an already tried and tested design, but it has been brought up to date with the additions of the latest VR II technology among other things. Tom Mason takes a closer look.
If I was in a different field of photography, my kit bag probably wouldn’t include any zooms, only prime lenses. But as in life, in photography we sometimes have to compromise. So if you’re going to use a zoom, it had better be good. Let’s find out if the snappily-titled Canon EF 16-35mm f/2.8L II USM is any good.
Now you can have a second camera which can match an SLR and fit in a pocket, so what about those days when you want something serious that doesn’t give you back ache? Why not have a good lens for your mirrorless for those occasions?
The reason why anybody would be investing the in X-range of cameras is because of the image quality, with that ‘Fuji look’. The combination of the X-Pro1 /X-E1 and any of these three lenses is going to produce wonderfully sharp, crisp and vibrant images.
As a Canon shooter who uses prime lenses primarily I was excited by the announcement from Canon last year that they were releasing a 40mm 2.8 prime lens. Typically I shoot weddings with a 35mm and 85mm lens combination so the focal length wasn’t too far off one of my standard camera combinations.
It isn’t big and grand but because it’s a cunningly designed little prime it can give a star turn which zooms can’t match. Compared to a kit lens it costs a little more money, but in comparison with lenses that can match it optically it is cheap.
Tamron have given photographers another choice to consider when looking at a standard zoom. But can its specifications on paper live up to the hype and be a viable alternative to the industry standard 24-70mm zooms out there whilst maintaining a similar size and weight and all at a very competitive price point? That’s a tall order.
Like all the Pen lenses the 40-150mm is tiny, light and perfect for travelling. Optical performance is great for such a tiddler and belies the crash diet it has been on to achieve its travel weight.
This diminutive lens was launched with the last generation of Pens, and aside from its 100 degree wide field of view the big news then was that this is an MSC (Movie-Still-Compatible) lens. That plainly means that it’s optimised for movies and stills… and translated that means it’s fast, smooth and silent when focusing.
I was half expecting the 150mm to be a slightly more grown up version of Sigma’s 105mm macro that I tried last year. This, however, is a very different beast; modern, slick and smooth.