| Review : Sigma 24mm f/1.4 DG HSM Art |
| Many photographers swear by the principal lenses, particularly fast principal lenses. Such lenses fixed focal lengths. This simplifies the complex provision of the elements of lens found in zooms, having for result of the more pointed images. |
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| Review : Canon EF11-24mm f/4L USM |
| If you are a landscape or an architectural photographer seeking the zoom with possible most wide-angle, your research will probably finish with the Canon EF11-24mm f/4L USM lens. |
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| First look : Panasonic Lumix DMC-GF7 |
| This camera is meant for right-handed users. Shutter release, power and Intelligent Auto buttons and the mode dial sit at the top right, while a dedicated video-recording button sits at the rear, below the mode dial and near the thumb rest. |
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| Review : Olympus OM-D E-M5 Mark II |
| The Olympus OM-D E-M5 Mark II is the successor with the E-M5, the first model of the series mirrorless of camera of the OM-D of the company. |
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| Review : Nikon D5500 |
| Nikon's new D5500 is the successor to the Nikon D5300, which rests just above level of D3300 entry. Thus, D5500 can be considered a higher camera of the level of entry DSLR. |
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| Review : HTC's Re camera |
| These wearable cameras are small enough to fit in your palm or be attached to your body, are unobtrusive and meant to record images or video for activities that would be difficult for a regular camera to capture. Think jogging, swimming, cycling or bungee jumping. |
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| Review : Panasonic Lumix DMC-GH4 |
| The a7 II cannot shoot 4K or UHD videos. And even the feature-packed Samsung NX1 can shoot 4K videos at a bit rate of only 100Mbps. |
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| Review : Samsung NX1 |
| On its own, the body weighs 550g. However, with the NX 16-50mm f/2.0-f/2.8 lens which was used for this review, it weighs about 1.2kg. This would still be lighter than many mid-range DSLRs. |
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| Review : Fujifilm X100T |
| On paper, it shares the same 16.3-megapixel X-Trans APS-C CMOS sensor, EXR Processor II image processor and Fujinon 23mm f/2.0 (35mm equivalent of 35mm format) fixed lens with its X100S predecessor. |
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| Review : Leica V-Lux (Typ 114) |
| Digital Life had previously featured a new group of bridge cameras with fast lenses (lenses with big apertures), such as Casio's Exilim EX-100, which uses a 28-300mm lens with a constant f/2.8 aperture throughout. |
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| Canon PowerShot G7 X |
| Canon must have been looking at the immense success of the Sony Cyber-shot DSC-RX100 prosumer compact series with much envy. |
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| SMC Pentax-DA 18–135mm f/3.5-5.6ED AL (IF) DC WR All-Weather Friend |
| Offered as a kit companion to the Pentax K-3, K-50 and K-5 II bodies, the Pentax 18–135mm f/3.5-5.6ED AL IF DC WR is also stocked in stores as a standalone lens. I have a certain affection for kit lenses. They are every photographer’s go-to lens when one is just starting out. These lenses take quite a beating and after awhile, are usually retired to the back of the cabinet as the photographer’s kit expands. |
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| Sony Cyber-Shot DSC-RX100 III Perfecting The Threequel |
| With the RX100 series, Sony has managed to do the unthinkable not once or twice but three times in a row. The original RX100 was the first truly pocketable camera with a 1-inch large sensor and a fast 28–100mm f/1.8-4.9 lens at the wide end. |
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| Take A Look At Remote Releases |
| The Hama CA-1’s lightweight plastic casing doesn’t seem particularly impressive, but looks can be deceiving. With four 433MHz signal channels and a working distance of over 30 metres, this shutter release can be used anywhere – even through walls! |
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| Advertising Feature Head Into Action |
| Difficult locations, weather conditions, time constraints: the world is conspiring against professional photographers. However, there are a number of areas that photographers shouldn’t, and often aren’t, willing to compromise on: reliability, consistency and creativity. It’s in this search for creative control that editorial photographer, Les Wilson, turned to Elinchrom. |
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| Learn From The Best 2014 |
| You’ve invested in the gear but are you getting the most out of it? We had a hunt for the best specialist workshops around, courtesy of the names you trust. |
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| Let’s Check These Budget Flashguns (Part 4) |
| On the face of it, $350 or less can buy you a very smart and sophisticated flashgun. For example, most of the models in this group feature motorised zoom heads, which can automatically adjust to the focal length of the lens, or keep step with zoom lenses; typically, the range is about 24-105mm. |
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| Let’s Check These Budget Flashguns (Part 3) |
| New and recent cameras, including the 7D, 60D, 600D and 650D, enable you to use the pop-up flash as a wireless controller for flashguns that have a wireless slave mode. This means you can easily use the flashgun off-camera, to give a more three-dimensional, natural lighting effect. Check out our step-bystep guide below to see how to set up wireless slave operation. |
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| Let’s Check These Budget Flashguns (Part 2) |
| The single most useful aspect of dedicated flashguns is that they offer E-TTL (Electronic – Through The Lens) flash metering. A pre-flash pulse of light is fired, reflected back from the scene and measured by the camera’s metering system, and the strength of the flash is set accordingly. |
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| Let’s Check These Budget Flashguns (Part 1) |
| An add-on flash can give an extra dimension to your photography, without the harsh, red-eye look that plagues pop-up flash. We shine the spotlight on eight flashguns costing $350 or less |
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| Point Of Focus Taking Wing |
| Inspiration can come to visit at any- time. There’s no telling when some- thing wonderful might fl y in and land right in front of our lenses, setting our photographic souls soaring. |
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| Exploring Fall Colors Lighting Classic (Part 2) |
| There are many ways to use composition creatively. When we slow down to contemplate lines, curves and patterns, we see how they interact with color. Col- or allows your eye to rest on the patterns of nature. Patterns are everywhere—they can be found in the smallest of subjects or in a large expanse of landscape. |
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| Exploring Fall Colors Lighting Classic (Part 1) |
| We come inside with dewy shoes and arms full of firewood. The air shifts, the leaves fall, and the farm stands are full of crimson, browns and orange. The cooler wet weather creeps in; we light the first fire in the wood stove and walk slowly into autumn. |
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| Gear Electronics Technology Camera Panasonic |
| With a 1 inch, 20.1-megapixel MOS sensor, the Panasonic LUMIX DMC-FZ1000 is the first compact camera to also shoot 4K video. Offering a 4K MP4 format, as well as 1920x1080p in AVCHD or MP4, the FZ1000 can capture 8-megapixel still images from 4K video footage. |
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| Notes From The Field Photographer’s Block |
| I soon realized it was the speckles of sunlight that became a distraction and were working against me. It wasn’t until I returned after the sun was hidden that the scene began to welcome me. I was having better luck in completely shaded areas. |
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| 2014 Macro Lenses Group Test (Part 5) - Sigma 105mm f/2.8 EX DG Macro |
| Much nearer the ‘classic’ 100mm macro focal length than Sigma’s 70mm lens, this one also feels rather more refined. For example, while both have a high standard of finish, the 105mm lens’s focus distance scale is neatly tucked away behind a viewing window, and the manual focus ring is much larger and more comfortable to use. |
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| 2014 Macro Lenses Group Test (Part 4) - Sigma 50mm f/2.8 EX DG Macro |
| When you’re shooting at the minimum focus distance, depth of field is extremely small. For example, with a 100mm lens on an APS-C camera, it’s just 0.6mm at an aperture of f/2.8, so only areas that are within 0.3mm in front of or behind the focus point will be rendered sharply. Even at f/11, the depth of field is only 2.6mm. |
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| 2014 Macro Lenses Group Test (Part 3) - Canon EF 100mm f/2.8L Macro IS USM |
| Less a revamp of Canon’s older EF 100mm f/2.8 lens, this is a new design with the ‘L’ Luxury badge, boasting top-notch buildquality and weather seals. The standout feature is a unique ‘hybrid’ image stabiliser: whereas most IS lenses compensate for regular camera shake or vibration, the system fitted to this lens also counteracts camera shift in both vertical and horizontal planes. |
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| 2014 Macro Lenses Group Test (Part 1) - Canon EF 50mm f/2.5 Compact Macro |
| True macro lenses offer a magnification factor of 1.0x or 1:1 at its closest focus setting. Fit one of these lenses to a camera such as the EOS 60D or 600D, and a standard UK postage stamp will fill the whole frame. That might not sound particularly impressive, but when you consider that the 18Mp sensors in these cameras enable very large format prints, the potential for creating massive enlargements from shots of tiny objects is really quite astonishing. |
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| 2014 Superzoom Lenses Group Test (Part 4) |
| Canon’s EF lens mount dates all the way back to 1987, when it was launched for EOS 35mm film cameras. So-called ‘Electro-Focus’ lenses all have a built-in electronic autofocus actuator. Indeed, whereas some other makes of D-SLR have a mechanical link to the lens which can drive autofocus via a screw-drive, Canon’s film-based and digital EOS SLRs have only electrical contacts – so without an internal actuator, autofocus is unavailable. |
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| 2014 Superzoom Lenses Group Test (Part 2) |
| The starting point for choosing any type of lens is what camera body you use, and it’s especially true for superzooms. There are two main types of Canon D-SLR, those like the 5D (in all of its three incarnations) which have full-frame sensors, and those like the 650D, 60D and 7D that have APS-C (Advanced Photo System-Classic) sensors. |
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| Teleconverters For Your Lens Review |
| The Mark II Canon Extender EF 1.4x has all the same premium optics as its predecessor, but it now has enhanced weather-resistant construction and improved anti-reflective internal surfaces. Because of these improvements, both the weight and price has increased, making it an expensive accessory to your L-series lenses (it only works with Canon’s L-series lenses). |
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| Go-faster Telephoto Lenses Group Test (Part 3) |
| With its focal length of 400mm on a full-frame camera, and 640mm effective reach on an APS-C body, this is a great lens if you need serious telephoto power. At 1.25kg, it also weighs less than the Canon 70-200mm f/2.8 lenses, so is light enough for prolonged handheld use. |
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| Go-faster Telephoto Lenses Group Test (Part 2) |
| Despite being the same size and only 50g heavier than Canon’s cheaper 70-200mm f/4, this lens offers a four-stop image stabiliser and full weather seals, more worthy of an L-series lens. |
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