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?
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.
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.
If you’ve bought (or been bought) or are buying a digital SLR camera you may have already discovered that the camera itself is just one of the many things you need to make the most of it. While some are just nice to have, others are absolute essentials. In this guide we will look at both kinds; those accessories that you should not consider buying a camera without and those which you may want to put on a “wish-list” for another day.
My love affair with fisheye started in May 2009, when a fellow photographer offered to let me try his fisheye lens. I suspect this was a ploy on his part to get me hooked, and it worked.
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 week Canon officially added three new EF lenses to their lineup, including the very much anticipated next generation 24-70mm f2.8 lens as well as two replacements for the very popular 24mm f2.8 and 28mm f2.8 primes.
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.
A colleague at work told me about his favourite lens, the “50mm f1.4”. He had used one for a while and could not fault it. With that sort of endorsement it was quite easy to take the plunge and the lens was ordered the same day. That was nearly 3 years ago and since then the 50mm f1.4 is almost permanently attached to my camera.
I had always thought of the Canon EF 200mm f/2.0 L IS USM as a bit of a unicorn – you hear tales about it and it’s magical qualities, but I very much doubted I would ever have the privilege of shooting with one myself. That all changed the moment the doorbell rang.