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Sigma has announced two new lens for Micro Four Thirds (MFT) and Sony NEX system users. The lens are Sigma 30mm f/2.8 EX DN and Sigma 19mm f/2.8 EX DN featuring a newly developed linear AF motor that moving the lens elements directly without the need for gears or the drive of other mechanical parts.

The lens has Two glass mold aspherical lenses, including a double-sided aspherical lens which delivers excellent correction for all types of aberration. The Sigma 19mm f/2.8 EX DN has construction consists of 8 elements in 6 groups and a rounded 7 blade diaphragm to create an attractive blur to the out of focus areas of the image. It has equivalent angle of view as a 38mm (35mm equivalent focal length) on the MFT systems and 28.5mm (35mm equivalent focal length) on the E-mount systems.

The lens has three glass mold aspherical lenses to provide excellent correction for distortion, color aberration and field curvature. Comes with AF motor system, the lens gives an accurate and quiet autofocusing on the still images shooting even in video recording.

The objective is equipped with Vibration Reduction (VR) to capture sharper images when shooting telephoto subjects, two ED glass, ultra-fast and quiet auto focus operation. On a Nikon 30-110mm f/3.8-5.6 VR Nikkor 60mm diameter measures 61mm in length with weight approx. 180g/6.3oz.

ED – Extra-low Dispersion Glass
The goal also use ED (Extra-low Dispersion) glass to enable the production of lenses that offer clarity and color correction by minimizing chromatic aberration.

integrated coating
With SIC – Super Integrated Coating, the Nikon 30-110mm f/3.8-5.6 VR Nikkor a better performance of its optical lens that reduces and flare to a negligible level.

IF – Internal Focusing
Equipped with technology developed internally, the Nikon 30-110mm f/3.8-5.6 VR Nikkor offers an all internal optical movement is limited within the lens barrel nonextending.

Lens name Nikon 1 30-110mm f/3.8-5.6 VR Nikkor

Lens construction 12 groups and 18 elements

Angle of view 29°40′-8°20′

Number of diaphragm 7 (rounded diaphragm opening)

Minimum f-stop 16

Minimum focus distance 1.0m/3.3ft. from focal plane at all zoom positions

Maximum reproduction ratio (35mm equivalent ratio) 0.1x (0.28x)

Weight Approx. 180g/6.3oz

Dia. x length Approx. 60 x 61mm (distance from camera lens mount flange when lens is retracted)

Filter-attachment size 40.5mm

Lens cap type Snap-on

Lens hood HB-N103(supplied)

Lens case CL-N101(optional)

SAMPLE PHOTOS

Canon EF 70-300mm f/4.5-5.6 DO IS USM is a telephoto zoom. The aim has 70-300mm in length with maximum aperture of F/4.5-5.6. Focusing: Rear focusing system with focusing cam to the point close to 1.4 m / 4.6 feet and has a filter size of 58mm. The Canon EF 70-300mm f/4.5-5.6 DO IS USM weighs 25.4 ounces and measuring 3.2 inches in diameter and 4 cm long.

“Bokeh is good.” This objective measures good for the blur. F/5.6 is the best opening when the lens is at its widest focal length and f/16 is the strongest opening to 300mm. ”

Canon raises the stakes for professional photography with its EF 70-300mm f/4.5-5.6 DO IS USM telephoto lens with image stabilization. A virtually silent ultra-sonic motor (USM) gives the lens extremely fast autofocus. The lens also includes Canon’s Image Stabilization technology to dramatically reduce camera shake, compensating for approximately three stops in shutter speed without any perceptible increase in image blur.

DO Elements
Use of the new three-layer DO lens drastically reduces the overall length and weight of the lens system increasing the refractive power of each lens element and reducing the spaces between elements. It’s approximately 26 percent shorter and 36 percent lighter than any lens of comparable specifications.

Zoom lock
The EF 70-300mm lens features a zoom ring locking mechanism, locking the lens at its shortest total length. This helps to protect the lens from potential damage by preventing the zoom elements extending under their own weight, which might otherwise occur when the lens is mounted to a camera that hangs from a neck or shoulder strap.

Image Stabilization
The lens incorporates Canon’s Image Stabilization (IS) technology, compensating for approximately three stops without any perceptible increase in image blur when shooting static subjects or panning.

Fast AF
A rear focusing ring type USM, high-speed CPU and new AF algorithms combine to give the lens extremely fast auto-focusing. The lens has a minimum focusing distance of just 1.4m throughout the entire zoom range.

Construction of the lens has 16 elements in 12 groups and a diagonal angle of view at a temperature of 4 ° 10 ‘. Focus: Internal focusing system with focusing cam, a distance of 4.5m nearest center in ft / 14.77 and has a filter size of 52mm Drop-In. The Canon EF 600mm f/4L IS USM weighs 138.3 oz./3920g II. and measure 6.6 “/ 168mm in diameter and 17.6″ / 448mm in length.

Fluorite optical displays that provide sharper images with less chromatic aberration, the EF 600mm f/4L IS new large diameter Super II USM Telephoto also benefit from magnesium and titanium for the construction of lighter weight and the coating of fluoride continue to pollute, stains and fingerprints to a minimum.

Because image stabilization technology in order to compose a telephoto lens can inadvertently overcompensated and disturbing and frame distant subjects or in motion, the EF 600mm f/4L IS USM II includes three image stabilization advanced (mode 3), which activates only when the shutter is fully pressed. It allows users to surf the fast-moving subjects and then turn on only when really necessary.

Because the three IS modes give equivalent effect for up to four stops of extra performance, and thus added the Power Focus mode allows changing the fine focus while shooting video, the EF 600mm f/4L IS USM II is ideal to capture a quick-fire action. Other improvements such as better sealing dust and make the Canon EF 600mm f/4L IS USM super telephoto lens II is very high performance digital tools combine the advantages of a remarkable ease of use with Canon‘s excellent durability.

Lens-making is an art, artisans craft Nikkor optics ÄìNikon from the finest materials, pride in adding their intellect and technique to bring the world the best WA lenses to life. They push the tip of the lens-making in their efforts to provide the, Äúglass, AU makes the world, larger images OSA.

AF Nikkor work with Nikon SLRs for optimal performance, even very recent. The Nikon AF Nikkor 85mm is an ideal way f1.8D compact and portable telephoto lens for portraits indoors or outdoors. An excellent choice for your first telephoto lens, it features subtle blurring of background for beautifully natural and evocative portraits, the back of the system developed for fast optical performance and smooth, and weighs 13.2 ounces

Nikon Super Integrated Coating ensures exceptional performance
To improve the performance of its optical lenses, Nikon uses an exclusive lens coating that reduces multi-layer and flare to a negligible level. Nikon Super Integrated Coating achieves a number of objectives, including minimized reflection in the wider wavelength range and color balance and reproduction. Nikon Super Integrated Coating is especially effective for lenses with a large number of items, like our Zoom-Nikkor. In addition, Nikon, a multilayer coating process is tailored to the AO design of each particular lens. The number of coatings applied to each lens is carefully calculated to match the lens type and glass used, and also to ensure uniform color balance that characterizes Nikkor lenses. This results in lenses that meet much higher standards than the rest of the industry.

Back focus
With Nikon, rear focusing AOS (RF) system, all lenses are divided into specific lens groups, with only the rear lens group moving for focusing. This makes autofocusing operation smoother and faster.

Remote information
Nikkor D-type and G-type relay information about remote-camera Nikon AF bodies. This then allows possible advances like 3D Matrix Metering and 3D Multi-Sensor Balanced Fill-Flash. Note: Type D and G-type Nikkor provide information to remote cameras: Auto exposure; F6, F5, F100, F90X, F80, F75, F70, F65, F60, F55, F50, S Pronea, Pronea 600i, D2 series, D1 series, D100, and D70s/D70. Flash control, F6, F5, F100, F90X, F80, F75, F70, D2 series, D1 series, D100 and 85mm f/1.8D AF D70s/D70 cameras.Nikon is a medium telephoto lens. The lens is equipped with the 85mm lens with maximum aperture of F1.8. The lens construction has 6 elements in 6 groups and the diagonal angle of view at 28 degrees 30 minutes (35mm format), 18 degrees 50 minutes (Nikon DX format). Development close to 3 feet. Nikon 85mm f/1.8D AF The lens weighs 13.2 ounces and measures 2.8 inches in diameter and 2.3 cm long.

This lens normal full-frame ($ 220 street) is one of the cheapest food in the world of high speed Nikkor glass. As with all Nikon lenses G, diaphragm its parameters are processed electronically by the camera, there is no aperture ring. Nikon DX on the organs, with their APS-C size sensors, the new scale to the equivalent of 50mm to 75mm.

Less than 8 ounces and just over 2 inches long, the lens is compact, but big enough for the largest class-action full-frame 50mm f/1.8 lens from 1.5 to 1.75 inches. Aesthetically appealing, with marks of gold surfaces and easy to maneuver, it has a ring well damped manual focus that runs at 120 degrees for fully manual focus accurately. And you may find yourself using frequently, because the interface AF / MF is transparent: You can easily touch up focus manually while the lens is AF-ready. Thank you Silent Wave motor, AF is fast, accurate and virtually silent, well suited to video DSLRs, especially when using a microphone off camera.

On our optical bench, it has produced consistently excellent line sharpness and contrast for the number of outputs up to 11×14 inches, our benchmark. (Nikon 50mm f/1.8D lens introduced in the 1990s and again in the catalog, fell down into the Excellent range and good for larger openings.) In our tests using DxO Analyzer 4.0 distortion This target was rushing into the light-(0.26%). Although this may not seem like much, the comparable D Nikkor optics produced visible range barreling (0.50%) in our tests. Indeed, back in their heyday, the film-era glass 50mm f/1.8 for most manufacturers duly authorized Visible barrel distortion very visible.

Like all lenses in the 50mm full-frame body, Nikon offers a viewing angle that approximates that of the human eye. The result is imagery Free apparent perspective distortion that occurs with a broader and longer. For this reason alone, everyone needs a normal.

As a lens at high speed, it produces nicely defocused foreground and backgroud, high shutter speeds to stop action, and sends a lot of light for shooting dimly lit scenes and places. Its compact profile suits him to travel and street photography at prices unbelievable attractiveness.

SPECIFICATIONS:

50mm (51.47mm tested), f/1.8 (f/1.86 tested), 7 elements in 6 groups. Focusing turns 120 degrees.
Diagonal View Angle: 47 degrees.
Weight: 0.48 lb. Filter size: 58mm.
Mount: Nikon AF.
Included: Lenshood, soft case.
Street price: $220.

TEST RESULTS
Distortion: 0.26% (Slight) barrel.
Light Falloff: Gone by f/2.5.
Close-focusing Distance: 16.5 inches.
Maximum Magnification Ratio: 1:5.76.

Nikon 13mm f/5.6 Lens: Buy Now for $ 29,999.00

Considered the “Holy Grail” of Nikon lenses by Ken Rockwell fanatic, this insanely massive wide-angle primary is expensive for a reason. It is the broader goal of non-distortion of the existence, in addition to this, only 350 units have already been made​​.

In fact, this is the first time I’ve ever seen one of these for sale … anywhere. The goal was first prototype in 1973, and later produced in three installments a non-AI version and a version AI AI-S.

So if you have 30,000 clams to spend, or even less, we recommend you Ebayer SHPhoto-gmbh-bid will automatically be the envy (and perhaps the target), the Nikon fanboys everywhere.

Make your Sharper Image 14mm f/2.5 ASPH Panasonic G. Recently Lumix, Panasonic as one of the best companies in the gadget world is moving towards photography. It can be seen from the fact that the company has released a very unique goal for many types of aircraft, 14mm f/2.5 ASPH Panasonic Lumix G. This kind of thing is the next series of the previous target has already been published before. With some repairs, this type of lens is hoped to be able to give people the most fun they have dreamed photographs lately, with all the cameras they want. However, this 14mm f/2.5 ASPH Panasonic LUMIX G will not offer any sort of hood that you can use to protect your lens very well.

The good thing about this type of lens is that it produces a very smooth image that will make your image easily be edited very well. It is also very easy to sharpen very well because it uses the largest aperture of f / 2.5, which is only later able to move the party very soft in the corner of the image. Certainly, it makes this 14mm f/2.5 ASPH Panasonic Lumix G is really for you to everything from soft, because it will produce a sharp image, which will be more interesting for you to have.

Samyang Optics showed a prototype 7.5mm F3.5 fisheye lens for the Micro Four Thirds to focus on trade fairs Imaging in Birmingham, United Kingdom. The new lens is much more compact than the company’s existing 8mm fisheye lens designed for SLR. In a brief press release, the company also reveals that this goal is to be the first of a new set of optics specifically designed for interchangeable lens cameras, compact system.

7th March 2011 – Delta Company, the sole representative and distributor of optical products Samyang for Europe, is proud to present the prototype of the new manual fisheye lens cameras compatible with Micro Four Thirds.

Samyang UMC 7.5mm 1:3.5 Fisheye MFT is a manual lens provides ultra wide-angle 180 ° viewing angle. Outside the compact dimensions, it combines the best features of the popular model with emphasis 8mm, providing the highest quality optical closed in a compact and visually stunning. Samyang 7.5mm 1:3.5 Fisheye MFT UMC is the first model of the new series of lenses designed specifically for compact cameras of the interchangeable lens.

You can look more closely at the prototype of our new MFT Samyang 7.5mm 1:3.5 Fisheye UMC during fairs Focus on Imaging Birmingham. Please visit our booth in Hall 10, Q12 sector.

post by ableh

The Sigma Corporation is pleased to announce the new Sigma APO 120-300mm F2.8 EX DG OS HSM.
The successor of the APO 120-300mm F2.8 EX DG HSM, introduced on the market in July 2005, this new
lens offers the latest optical design technologies.

This large aperture optical zoom capabilities Sigma OS (Optical Stabilizer) and weatherproof
design throughout for use in harsh conditions. One and two SLD glass elements are used to FLD
maximum correction of chromatic aberrations.

The lens coating super multi-layer coating reduces flare and
persistence, and lens design incorporates an inner focusing and inner zooming system to ensure
sharp images throughout the zoom range. Improved optical performance provides an excellent
buoyancy correction of sagittal coma, and provides ultra-high resolution, comparable to a fixed focal length
objective. OS function offers the use of shutter speeds approximately 4 stops slower than otherwise
otherwise possible.

This system allows TV-hand photograph. The inclusion of HSM
(Hyper Sonic Motor) ensures quiet speed and high-AF, while allowing full time manual focus override.
The rounded 9 blades diaphragm creates an attractive blur away from areas of the image sharpness.
The addition of APO TELE CONVERTER option produces an ultra telephoto zoom with A

post by ableh

Last week, I listed my photography equipment. This week I thought I could write about the process of decision making I used to decide to buy one of the lenses.

The first time I had the privilege of holding and looking through a Canon 300mm f/2.8 I was hooked. It’s a double collegiate swimming. I watched the competition’s 10-meter diving when a press photographer sat down beside me and started taking pictures of the competition. One comment led to another and the next thing I knew I wanted the camera and lens and take photographs that divers. I do not know if any of the pictures I took were already printed in the newspaper, but from that moment I wanted a 300mm f/2.8.

Unfortunately, when I was a child in college and three in high school. There was no way I could afford such an expensive lens, so I opted for a 300mm f/4L Canon FD. I praise the f/2.8 model a couple of times, but the f/4L is a great goal and I was very happy with it.

This is the current model F/2.8L Canon 300mm IS USM. A superb piece of equipment.

Recently, I decided it was time to buy a new 300mm lens and my first thought was to buy the Canon EF 300mm f/2.8L IS USM. Emotion and pleasure potential of opening the box of f/2.8 L side, common sense tells me that I must also take into account the f/4L. As you know, common sense often gets in the way of fun, but now I had a difficult decision. I do not expect everyone to agree with my decision, nor that all should come to the same conclusion if they considered the same factors. However, it is the process I went through to decide which lens to buy. Your process may be different.

Why do I need a 300mm lens?

My first love of photography is nature photography and if you want to take pictures of birds and wildlife without scaring them away, a goal long term is essential. This was the easiest part of the process. I needed a 300mm lens – at least that’s what I said to my wife.

Price

By comparing the price of both lenses is easy. The f / 2.8 L, depending on where you look, around $ 4400 plus taxes and / or shipping. The f/4L USM is $ 1270. Since I do not work for a newspaper or magazine and not an employer to purchase the target for me, price is an important consideration. Through a series of circumstances (some call it luck) I had saved enough to buy the f2.8. However, I could choose to spend all my savings on photography f2.8 affected or purchase the f/4L and have money left over for other “toys.” The f/4L won on price.

Physical Size

If you will be involved in nature photography, you’ll eventually get out of town and the car. Remove lens and all your other gear through rugged terrain is not the same as laying around the margin of a football field. Mountains, lakes, marshes, woods are commonplace. The f/4L weighs 2.0 pounds and is 8.7 “long and 3.5 cm in diameter. The f/2.8 weighs 5.7 pounds and is 9.8″ long and 5 cm in diameter. The difference is 3.7 pounds significant when added to all other devices – a tripod, a camera, other objectives, etc. f/4L won it goes.

Max Aperture

The f/2.8 is much faster than f/4L but only by a stop. Can we stop to overcome the advantage of price and size of f / 4L?

I’m not a sports photographer so it is unlikely that I’ll never be fast action shooting at low light inside stadiums or fields, illuminated at night. However, the best moments of shooting for wildlife are early morning and late at night to shoot in low light is a strong possibility.

When I fell in love with the f/2.8, digital SLRs are not widely available (the EOS cameras had not been introduced) and photograph of the film was still king. My film of choice then was Kodachrome 64. There were things you could use to “push” the film, but for the most part, ASA 64 was the fastest, you can use and maintain excellent image quality. At this speed, a goal which was a stop faster was a big deal. Today, the lowest ISO on my Canon 7D is 100. I can easily increase the ISO two stops to 400 with little or no deterioration in IQ. Therefore, I can get shutter speeds with today f/4L I could with the help of Kodachrome 64 mm f / 2,8 which makes it even more difficult to justify the difference of over $ 3,000.

There is also the issue of my camera being with a cropped sensor compared to full-frame sensor from my old Canon F-1 but it’s the same with both lenses.

Ultimately, I bought the Canon EF 300mm f/4L IS USM. You can have different considerations and you can buy, or if you want to buy the f/2.8, but I’m very happy with the f/4L. Besides, I can always rent an f/2.8 so I really need to use one. I will look into the lens in a few weeks when I used it enough to really make if it is not.

Since I do not have a lens f2.8L for visual comparison, for this photo, I placed my 70-200mm f/2.8 L lens next to the 300 f/4L USM. As you can see, they are similar in size and 300 mm is actually 1.2 pounds lighter.

In photography, silver, or lack thereof, is often our primary consideration, but even if we can afford what we think about the purchase, using a disciplined approach, decision-making process before buying is always helpful.

Wish List

As promised, here is my wish list, in no particular order. Keep in mind that it is dynamic and may still have elements added.

- Second camera body – I want a 5D Mark II, but I may decide to get the T2i or 60D instead. Both have advantages – 5DMark II has a sensor size and a great camera. The T2i and 60D have the same sensor as my 7D. I could also buy two of the 60D and have money left over for the money it would take to buy the 5D Mark II.
-Filters – I’ve never been a big user of filters, because I do not pay top dollar for the glasses, then put another piece of glass on them. However, there are three that seem essential – a circular polarizing filter and two neutral density filters – an optical density 0.9 or 3-stop filter and an optical density of 1.8 or 6-stop filter .
- Canon EF 35mm f/1.4L USM Wide Angle Lens – Yes, I have a 24-105 zoom, but I like to have a primary objective which is equivalent to a 50mm lens with a full frame sensor.
- II Speedlite Flash Canon 580EX

I’m sure this list will grow, but these are items that I think most often.

Keep in mind that equipment does not take pictures. Anyone can take photos badly with the best equipment available. Only good photographers can take good pictures or large.

Photo credits (in order of appearance)
- “Canon EF 300mm f/2.8L IS USM” by corvo72corvo on Flickr Creative Commons.
- “Canon EF 300mm f/4L IS USM” by Steve Russell

post by ableh

Canon today unveils the world’s first fisheye zoom lens Offering Both circular and full frame images, thanks to year extreme wide-angle focal range of 8-15mm. Replacing the EF 15mm f/2.8 Fisheye, the new EF 15mm f/4L 8-Fisheye USM Is The latest addition to Canon’s L-series range of professional lenses, Providing Outstanding image quality, constant aperture zoom THROUGHOUT the range and a robust design for Challenging reliable shooting in weather conditions.

When paired with Canon’s full-frame DSLR Bodies Sucha have the EOS 5D Mark II or the EOS-1Ds Mark III professional photographers can choose to capture circular or full-frame fisheye images, Allowing Them to view a scene in A completely new and unique way. This new level of choice Provides Enhanced Flexibility When shooting scenes creative SUCH as the night sky, Where the full 180 º horizontal and vertical fields of view (FOV) allow to Be Every detail captured with incredible clarity in one single image.

When Used with EOS Bodies featuring APS-C or APS-H sensors, the EF 15mm f/4L 8-Fisheye USM Produces a more traditional, full frame fisheye view. A zoom-lock Mechanism measures is the lens body Allows the ranks to Be Limited to the focal length That Ensures the best possible full-frame view unsightly Without vignetting around the edge. ‘C’ and ‘H’ Markings can Be found next to the zoom operation ring, INDICATING the wide-angle zoom position wher

post by ableh

The Canon TS-E 17mm f/4L (around $ 2,499) is a unique and never before has such an extreme tilt angle shift lens wild / was available on a digital SLR.

Kudos to Canon for the construction of such a lens is a revolutionary exotic “first”. In early 2010, Nikon has nothing comparable, most Nikon tilt / shift being the 24mm f/3.5.

Architecture and landscape photographers in particular should be the review of this lens.

A major overhaul is in DAP as compared to the review of the Canon 17-40 and 16-35 zooms.
Solves problems without any objective can

The 17/4L Canon is expensive, but if I buy a lens tilt / shift, it would probably be my first choice because it is unique. Although expensive, it is a great value, because no other lens offers its capabilities.

The displacement capacity and low distortion of 17/4L architecture means that shooters have a very powerful tool at their disposal to create professional quality images. Landscape shooters will also benefit, with the possibility of moving away distractions and control depth of field through angle.

The ultra-wide viewing angle lets you take pictures of small spaces in a way that has hitherto been impossible without a camera. Think inside buildings (kitchens, churches, etc.), the exterior architecture, etc.

The Canon 17mm f/4L is reviewed in depth in DAP.

A standard (not change) ultra fisheye could be used with the correct software perspective, but with a large quantity of the harvest and the loss of resolution.
offers tilt Canon’t change /

Canon lenses available tilt / shift a number of years, including the f/3.5 24mm, 45mm f/2.8L f/2.8 L and the 90mm. In 2009, Canon introduced the 24mm f/3.5L II and 17mm f/4L.
Build quality and ergonomics

Build quality is very high. The 17/4L is almost exactly the same size as the TS-E II 24/3.5L, that is to say that this goal is fairly large, in agreement with the tilt and shift functionality.

The 17/4L weighs with sunscreen and hats to 897g (2 pounds). By comparison, weighs 815g and II 24/3.5L original weighs 625g 24/3.5L. This extra weight is not relevant in light of its purpose-built features, kudos to Canon for making the lens big enough to do the job well done.

There is no sun visor. This is very close to a fisheye rectilinear reflect the functions of slope and displacement at 17mm.
Buttons and controls

I found the tilt and shift very easy to use. They are much improved over the (original) Canon TS-E 24/3.5L. The issues I found are a bit tight when rotating squeeze past the viewfinder on the Canon 5D Mark II.

The 17/4L offers an amazing 12mm of passage, traditionally the absolute maximum for longer focal lengths, it is surprising to see it available on a 17mm lens! One would have expected and readily accepted a reasonable limit of 10mm or even 8mmm the shift, but to offer 12mm is amazing.

The tilt mechanism can be rotated to any angle independent shift, allowing an unprecedented versatility, something simply not possible with a Nikon tilt shift lens /, although this offer has SuperRotators Hartblei possibility first. It is easier to use Canon’s movements due to the smaller lens and front / rear shift mechanism.

Examples
The comprehensive review has many examples of much larger sizes. Examples of features are below.

The benefit change

The shift function can eliminate the disorder, or be used to “glue” a picture for a better resolution.

Not shown is the use of tilt, which may distort the plane of sharpness of the depth of field much more.

Unshifted (zeroed)

Shifted up (“rise”)

Stitched image, approximately 30 megapixels

Conclusions

My full review of DAP covers much more, including vignetting, distortion, flare and examples.

The 17/4L is unique in being both an ultra wide angle and tilt of the lens / delay, so some photographers could legitimately consider a camera accessory for the lens.

Based on what I observed in actual field shots, and its unique capabilities, I never hesitated to give the 17 / 4L my highest recommendation.

You can get the B & H Photo 17/4L, thank you for using these links.

See also my list of recommended gear and Canon lenses, and the pages of speed.
Learn more about Canon lenses

For in-depth reviews of lenses that fit Canon cameras (Nikon and others), subscribe to Diglloyd Advanced Photography (DAP).

DAP is not only about the lenses, these cameras and technology and to better images, written to be affordable for beginners, but valuable for professionals. The new material is constantly added, so sign up now!
Learn more about the Zeiss ZE for Canon

You can read an overview and mini reviews here. For in-depth coverage on line Zeiss ZE, see the Guide Zeiss ZF/ZF.2/ZE.

The guide has many examples of a much higher resolution, with real-crop pixels for each objective, in most cases, several pages of examples per glass. The new material is added regularly said the guide, so sign up now!

post by ableh

The first version of this lens won the nickname of his bigmir Heft 4.25 pound and enormous size.

Now is the Son of bigmir ($ 1,600, street), lighter at just under 4.2 pounds, but with a number of optical improvements, including image stabilization.

Like the original, this 50-500mm offers the widest range of zoom-10X-all objectives Sigma full-frame. It is much wider than the Canon 100-400mm f/4.5-5.6 IS (4X) or Nikon 80-400mm f/4.5-5.6 VR (5x) stabilized full editors.

An equivalent 75-750mm on most DSLRs APS-C sensor, it has four elements SLD HSM Sigma AF and silent AF motor that allows manual focus touch-ups. Its construction is superb, with a pretty

arrival and a removable tripod collar with grooves for grip.

In our test lab, its sharpness SQF numbers were excellent at 50 and 100 mm. As expected, they fell to Very Good Good then 200mm and 300mm, respectively. At 300 mm, it was just a little less than comparable Canon 100-400mm IS zoom. (Because of equipment limitations, we could test only SQF focal length 300 mm.)

Our DxO Analyzer Version 3.2 tests three focal lengths from all way out of 500mm is only a slight distortion of scope, a great improvement on the scores of distortion of the original Bigmir.

capacity of Close-up were equally impressive: The maximum magnification ratio reached 1:2.7 at 200mm, compared to only 1:05 of the comparable Canon, Nikon, Sigma and more.

The results OS? Three users obtained sharp images at shutter speeds 2 to 4 times slower than what was possible without OS. Bravo!

Most shooters use this lens on a tripod, eliminating the need for OS. And the earlier version, while more production, is still selling at $ 1,059 (street). Most of the many other new lens, however, it may be the best choice.

SPECIFICATIONS

• 50–500mm (48.61 mm–n.a. tested*), f/4.5–6.3 (f/4.33–n.a. tested*), 22 elements in 16 groups. Focus ring turns 130°. Zoom ring turns 130°.
• Focal lengths marked at 50-, 100-, 135-, 200-, 300-, 400-, and 500mm.
• Diagonal view angle: 46–5 degrees
• Weight: 4.17 lb filter size: 95mm
• Mounts: Canon AF, Nikon AF, Pentax AF, Sigma AF, Sony AF
• Street price: $1,600

Distortion:

• At 50mm, 0.20% (Slight) barrel
• At 200mm, 0.25% (Slight) pincushion
• At 500mm, 0.26% (Slight) pincushion

Light falloff:

• At 50mm, gone by f/5.6
• At 200mm, gone by f/7.1
• At 500mm, by f/10

Close-focusing Distance:

• At 50mm, 18.25 inches
• At 200mm, 21.75 inches
• At 500mm, 65.75 inches

Max. magnification ratio:

• At 50mm, 1:5.10
• At 200mm, 1:2.71
• At 300mm, 1:4.11

Stabilization: 2–4 stops