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Wednesday, 4 January 2012

Sigma 2.0x APO Tele Converter Lens for Canon SLR Cameras

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This large aperture telephoto zoom lens has a minimum focusing distance of 100cm (39.4 ) throughout the entire zoom range. It is very convenient for close-up photography. This lens uses two ELD (Extraordinary Low Dispersion) glasses and two SLD (Special Low Dispersion) glasses for utmost correction against chromatic aberrations. This lens super multilayer lens coating reduces flare and ghost which is a common problem with digital cameras. It incorporates HSM (Hyper Sonic Motor) which ensures a quiet and high-speed AF. The design incorporates inner focusing and inner zooming systems. The overall length of the lens does not change during focusing and zooming ensuring convenient handling. When this lens is used with the 1.4x EX DG APO or 2x EX DG APO Tele Converters (optional) it becomes a 98-280mm f/4 AF telephoto zoom lens or a 140-400mm f/5.6 AF telephoto zoom lens respectively. Features: Minimum focusing distance of 100cm maximum magnification of 1:3.5. The super multi layer lens coating and lens design reduce flare and ghost. ELD and SLD lenses for correction of aberrations. HSM ensures a quiet and high-speed AF Specifications: Focal Length: 70-200mm Minimum Aperture: f/22 Lens Construction: 18 Elements in 15 Groups Angle of View: 34.3 - 12.3deg. Number of Diaphragm Blades: 9 Blades Minimum Focusing Distance: 100cm/39.4 Maximum Magnification: 1:3.5 Filter Size: 77mm Dimensions: Diameter 86.6mm X Length 184.4mm (3.4 x 7.3 ) Weight: 1380g/48.7 oz.

  • Dedicated to Canon AF SLR cameras

  • Optimized for use with telephoto and telezoom lenses

  • High-performance optical design with 6 elements in 5 groups

  • 10-pin electrical interfaces

  • Ideally suited for use with the 70-200mm f2.8 APO EX HSM zoom lens




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Thursday, 8 December 2011

EF 85mm f/1.2L II USM Medium Telephoto Lens

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Retaining the impressive optical performance and large aperture of the original EF 85mm f/1.2L USM this new medium telephoto lens uses a Ring-type USM high-speed CPU and optimized algorithms to achieve an autofocus speed approximately 1.8x faster than the original. The high-speed AF and circular aperture create a shallow depth-of-field that brings attention to the subject and blurs the background which is ideal for portraits and weddings. The floating optical system which includes an aspherical lens element suppresses aberrations and ensures excellent imaging performance. EF 85mm f/1.2L II USM Medium Telephoto Lens LP1219 & Lens Hood ES-79II

  • Retaining the impressive optical performance and large aperture of the original EF 85mm f/1.2L USM

  • High-speed CPU

  • Ensures excellent imaging performance

  • The high-speed AF and circular aperture create a shallow depth-of-field that brings attention to the subject and blurs the background

  • This new medium telephoto lens uses a Ring-type USM




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Tuesday, 29 November 2011

Canon WCDC52A Wide Converter Lens for the S1 IS Digital Camera

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This Wide Converter gives you the equivalent of an ultra-wide angle 26.6mm lens on a standard 35mm camera. Designed for the S1 IS. Note: Requires Lens Adapter / Hood Set LAH-DC10.

  • Compatible with the Powershot-S1IS/S2IS

  • Extend the angle of view

  • Requires conversion lens adapter (LA-DC52E)




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Sunday, 13 November 2011

Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens For Nikon Digital SLR Cameras

Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens For Nikon Digital SLR Cameras

>>> BlackFriday Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens For Nikon Digital SLR Cameras

Technical Details


  • Fast f/2.8 Zoom-Nikkor lens
  • Nikon VR II (Vibration Reduction) image stabilization
  • 7 Extra-low Dispersion (ED) elements;
  • Nikon Super Integrated Coating (SIC); exclusive Nikon Silent Wave Motor (SWM)
  • Focuses to 4.6 feet


I am writing this review from the perspective of someone who also owns the earlier version of the Nikon 70-200mm f/2.8G VR Nikon 70-200mm f/2.8G ED-IF AF-S VR Zoom Nikkor Lens for Nikon Digital SLR Cameras. This new lens will be referred to as "VR2" in this review while the earlier version of this lens will be referred to as the "VR1".



Here are my initial impressions after using this lens and comparing it with the earlier version of this lens the VR1.



This professional-grade telephoto zoom lens is very well-made. Its focus is lightning fast and it produces very sharp photos with very good contrast and dynamic colors even when shot wide-open at f/2.8. The increased sharpness at the corner is easily noticeable even at f/2.8 and now makes this lens suitable for landscape shots. I find this increased sharpness at the corner beneficial even for portrait shots when I shoot off-center rule-of-thirds portrait shots. The improved color and contrast is easily noticeable in certain shots in back-to-back comparison against the VR1.



The VR mechanism is very effective and helpful in keeping the photos sharp even when shooting at low shutter speeds in low-light conditions. The 1-stop improvement over the earlier version the VR1 makes a very big difference specially when shooting this lens from extended to maximum focal length with no monopod or tripod support. Being able to shoot handheld at 1/10th at 200mm is no easy task but it is possible with this new version.



The tripod leg support is nothing less than excellent ... slim yet very sturdy with provision for two-screws mounting support. The tripod support can easily be rotated for shooting in vertical portrait position or downside up for easy hand carry. The tripod leg can easily be detached if needed for a less-obtrusive hold when shooting handheld.



Though this lens is heavier than the VR1 the added weight is not immediately noticeable. The shorter length and larger diameter makes for a more balanced hold when shooting handheld.





How does this lens compare with the earlier version the VR1? Here is a quick and easy to read summary:



First a definition of terms. The term "FX" refers to full frame Nikon camera bodies (D3x D3s D3 and D700). The term "DX" refers to cropped/APS-C Nikon camera bodies (D300s D300 D200 D100 D2 D1 D90 D80 D70 D60 D40 D5000 D3000).





THE ADVANTAGES OF THIS LENS OVER THE VR1



1. Sharp corners on FX and DX even when shooting wide-open at f/2.8

2. Less vignetting on FX and DX when shooting wide-open at f/2.8 (vignetting on DX at f/2.8 now irrelevant)

3. 1-stop improvement in VR (1-stop improvement really makes a big difference when shooting at 135-200mm).

4. Improvement in the bokeh compared to the VR1

5. Improvement in color and contrast specially when shooting backlit subjects against the sun

6. More resistant to lens flaring (due to nano-coating)

7. Shorter more compact length makes it easier to pack carry and use in crowded spaces

(the lens and the hood of the VR2 are both shorter than the lens and hood of the VR1)





THE DISADVANTAGES OF THIS LENS OVER THE VR1



1. More expensive than VR1

2. Slightly heavier than VR1

3. Not as good as the VR1 when used with teleconverters in DX bodies for long reach

4. Shorter reach or magnification than the VR1 when shooting at close range

(e.g. shooting at 200mm focal length is equivalent to 164mm when shooting from 10 feet away)



For FX users who still do not have a 70-200mm f/2.8G zoom lens go ahead and acquire this lens. The corner sharpness of this newer version is remarkable specially when stepped down for landscape shots. Even for portrait shots the increased sharpness at the corner is beneficial when shooting rule of thirds portrait shots.



For FX users who already have the VR1 you will need to gauge whether the advantages will be worth the cost of getting this lens. If you need to shoot at this lens maximum focal length of 200mm the lower magnification or the shorter "effective focal length in terms of field of view" when shooting at near range may be a major concern for you. This is specially a concern for events or wedding photographers. Note however that some photographers have adapted to this and actually found it helpful that the magnification remain near constant which minimizes the need to zoom out as the photographer approaches a subject or when the subject gets closer to the photographer. For some photographers the reduced magnification when shooting at closer range is thus something that one can adapt to and take advantage of. It would still be best however to try the lens first and see how this impacts on your shooting style.



For DX only users who already have a VR1 I currently see no advantages to upgrading to this new version unless you need the one-stop advantage of the VR2 and/or if you want even less vignetting (easily corrected in post-processing) and/or if you want a lens that is more resistant to flare ... and/or more importantly planning to upgrade or to add an FX body.



For DX users who still do not own the VR1 I recommend that you seriously consider getting this lens. Not only do you get the benefits of the newer version as listed above getting this lens means that you will be well-positioned when you upgrade or add an FX body. Once you acquire or add an FX body it will not surprise me that you will be doing a lot more shooting with the FX than with the DX. Since this lens is optimized for the FX then getting this lens over the VR1 may prove to be a good decision. With regard to the issue of a shorter effective reach when shooting at near ranges this should not be an issue with DX due to the 1.5X field of view of the APS-C sensor. If anything it may even be an advantage when shooting up close.



Ultimately both versions of the Nikkor 70-200mm f/2.8G have their strengths and their weaknesses and it is up to the user to decide which version best fits his/her requirements.



As an FX and DX user I have bought this new version knowing full well its strengths and its one limitation. The VR2 improved on what is already an impressive performance of the VR1 and then some. Except on the issue of lower magnification or focus breathing which hardly matters for me the VR2 is an impressive step-up from the VR1.



I did retain my VR1 but this is primarily as a substitute to using a Nikkor 200-400mm f/4 VR. Matched with my 3 kinds of Nikkor teleconverters the The VR1 is my lighter (and less expensive) version of the Nikkor 200-400mm and I use this with my DX D-300. The excellent center resolution of the VR1 is an asset when used in this manner. The other time when I use the VR1 on my D300 is when my VR2 is already on my D700. For all other usages however I use the VR2 whether on FX or DX.





EDIT: For those who need to shoot up-close at 200mm focal length for maximum reach this bit of info will be helpful.



Distance of subject / Effective focal length in field of view of the Nikon VR2 at 200mm

(Nikon 70-200mm VR2 at 200mm compared against a Nikon 200mm prime/fixed focal length lens)



1.27m ............... 128mm

1.40m ............... 132mm

2.00m ............... 147mm

3.00m ............... 164mm

5.00m ............... 176mm

10.0m ............... 186mm



Credits: Marianne Oelund



Edit: Sept. 13 2010: I sold my Nikkor 70-200mm f/2.8 VR and retained only the Nikkor 70-200mm f/2.8 VR2.

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Monday, 18 April 2011

Nikon 16mm F/2.8D AF Fisheye Nikkor Lens

Fisheye lens for Nikon cameras

  • Fisheye 16mm

  • Full-frame fisheye images with a picture angle of 180° (diagonal)

  • Close-Range Correction (CRC) system provides high performance at both near and far focusing distances

  • Nikon Super Integrated Coating for minimized flare and ghost providing good color balance

  • Picture angle: 180° [107° with Nikon digital cameras (Nikon DX format)]



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Sunday, 17 April 2011

Canon EF 500mm f/4L IS USM Super Telephoto Lens for Canon SLR Cameras

The Canon 2532A002 EF 500mm f/4L IS USM Lens is the next-generation super telephoto L-series lens with an Image Stabilizer it's one of the world's best lenses for wildlife and nature photography. The optical system is newly designed with a maximum aperture of f/4. One fluorite element and two UD-glass elements effectively correct aberrations resulting in sharp and excellent delineation. Order the Canon 2532A002 EF 500mm f/4L IS USM Lens today!

  • EF mount; super telephoto lens

  • Fluorite and Ultra-low Dispersion-glass; image stabilizer; internal focusing; full-time manual focus

  • 500mm focal length

  • f/4 maximum aperture

  • Ring-type UltraSonic Motor (USM)



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Saturday, 16 April 2011

Canon TS-E 17mm f/4L UD Aspherical Ultra Wide Tilt-Shift Lens for Canon Digital SLR Cameras

The widest tilt-shift lens in Canon's lineup the new TS-E 17mm f/4L lens expands shooting possibilities exponentially on EOS Digital cameras. Designed with UD glass to minimize and compensate for chromatic aberrations with specially coated aspherical elements for the highest possible glare-free image quality this tilt-shift lens offers an angle of view of 93 degrees. New TS revolving lets users freely combine tilting and shifting within the range of +/- 90 degrees in the direction of movement. The lens also has an improved tilt & shift knob with an enhanced range of movement of up to +/- 6.5 degrees and revolving lenses for better operability it uses a circular aperture for beautiful out-of-focus areas and has an SWC lens coating to control ghosting and flare to a far greater degree than with earlier coating technologies.

  • Tilt and shift lens compatible with all Canon EOS cameras; ultra wide 17mm focal length

  • High-precision lens elements for low distortion and high resolution; +/- 6.5 degrees Tilt and +/-12mm Shift

  • Aspherical and UD lens elements minimize chromatic aberration

  • Circular aperture for creative blurred highlights

  • Floating internal focus mechanism delivers high-image quality throughout focus range



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