Sony Alpha SLT-A65 Review
Since my review of the Sony SLT-A77 hit the screens of many Digital Photography School visitors it’s obvious the company has pressed the right buttons for people wanting to lift their photo game.
Now we have ‘son of’ … a model similar in many respects, at a lower price, but with many of the A77′s remarkable features. The review camera was supplied with the kit lens, a Sony f3.5/18-55mm.
The heart of the camera is the Translucent Mirror, marked by the model ID: SLT stands for Single-Lens Translucent.
Unlike a reflex mirror in ‘normal’ DSLRs that flips up and down to alternate between viewing and shooting, a translucent mirror is fixed in the light path to give an interrupted — and continuously live — view of the subject. One of a number of benefits is to reduce blackout time between shots; the SLT camera is also lighter and faster to use than ‘normal’ DSLR cameras.
Identified as an Alpha camera, this model can use any of the Sony A-mount lenses, as well as those from the Konica-Minolta range and compatible with Sony’s SteadyShot internal stabiliser system.
The body is made from polycarbonate material, differing from the A77′s magnesium alloy/plastic construction; the A65 body is 110 grams lighter than the A77.
The LCD screen tilts vertically through 180 degrees and can be rotated leftward 270 degrees from the position in which the LCD monitor is facing forward. An eye sensor switches the view between the turret finder and the LCD screen. The only demerit of the screen is that it’s not so easy to swing downwards when attached to a tripod: the A77 excels in this department.
Sony Alpha SLT-A65 Features
The CMOS sensor captures 24.3 million pixels, more than most amateur photographers would ever need, but allowing enormous capabilities to crop and extract detail from the images.
With a maximum image size of 6000×4000 pixels expect to make prints measuring 51×34cm at 300 dpi — or even larger if you’re using sophisticated upscaling.
Video? Full HD and 1920×1080 pixel resolution. I found that auto focus tracked any changes in camera-subject distance fairly quickly, while exposure variations were handled smoothly. Unfortunately, like the A77, you can’t shoot still images while recording video.
Much of the camera’s operation can be managed from the external controls; the mode dial gives access to Program AE, shutter and aperture priority as well as manual operation.
(insert A65 menu 1 to A65 menu 3)
To get access to such matters as white balance, image size, colour space etc you access the finder menus. And menus they are! Control upon control! An easier way to get to some of these is is to tap the Function button.
For the nervous there’s a handy in-camera guide that can lead you into the mysteries of how to capture the more challenging shots. Unfortunately, just as I was about to list these, the camera (a pre-production model) froze on me, reviving only upon my emptying the battery.
Useful in the LCD display is a digital level gauge, showing fore-and-aft and lateral levels, down to an accuracy of +/- 1 degree.
Burst shooting of stills can be made up to 10fps with continuous focus in play all the time.
In deference to those who would use the camera’s more auto modes, there is a range of ‘Picture Effects’ that give access to 11 different ‘tools and filters’ to edit your images and movies as you shoot; these include partial colour effects, toy or retro camera effects etc.
Added to this is a collection of scene modes, which includes macro, sunset, night portrait etc.
Sony’s remarkable Sweep Panorama (and 3D panos) feature is also in the kit: expect to shoot panoramas out to 12,416×1856 pixels in span, stitched in-camera while you wait.
The flip-up onboard flash has a guide number of 12 (metres/ISO 100), meaning you could successfully capture a subject at f4 at a distance of three metres … or, using an ISO setting of 400: lens aperture of f4 with a subject distance of 12 metres.
Auto focus gets maximum attention: the A65 has a new 15-point AF with three cross sensors. Tracking Focus maintains accurate focus lock on a moving subject — even if it is briefly obscured.
Sony Alpha SLT-A65 ISO Tests
Fairly clean, sharp and accurately coloured all the way up to ISO 3200.
At ISO 6400 a slight increase in noise but sharpness still OK.
At ISO 12,800 noise more noticeable. At ISO 16,000 noise well up.
Sony Alpha SLT-A65 Verdict
Quality: with the A65 I captured stunning, sharp, brilliantly colour-saturated images.
Why you’d buy the A65: 24 megapixel shooting and a 10 fps burst rate appeal.
Why you wouldn’t: you (still) want an optical pentaprism view … just like your daddy’s SLR!
I did have a hassle with the close proximity of the on/off lever and the control dial. Maybe it’s my big butter fingers.
It would be a tragedy if this baby ended up shooting family pics and snapshots. It’s too good!
Whoever buys it, my prediction is that this one will fly off the shelves: super specs, well-engineered and megapixels to burn!
Sony Alpha SLT-A65 Specifications
Image Sensor: 24.3 million effective pixels.
Metering: 1200 zone multi segment, centre-weighted, spot.
Lens Mount: Sony A-mount, Konica-Minolta AF mount.
Exposure Modes: Program AE, shutter and aperture priority, manual.
Effective Sensor Size: 23.5×15.6mm HD CMOS.
35 SLR Lens Factor: 1.5x.
Shutter Speed (stills): 30 to 1/8000 second and Bulb. Flash sync: 1/160 sec.
Continuous Shooting: 3-12 fps.
Memory: SD/SDHC/SDXC, Memory Stick Pro Duo cards.
Image Sizes (pixels): Stills: 6000×4000 to 3008×1688.
Movies: 1920×1080 (AVCHD) — (PAL: 50p/28Mbps/PS, 50i/24Mbps/FX, 50i/ 17Mbps/ FH, 25p/24Mbps/ FX, 25p/17Mbps/FH); 1440×1080 (MPEG4) — (PAL: 25fps/12M), VGA: 640×480 (25fps/ 3M).
Viewfinder: Turret 1.3cm (2.36 million); 7.6cm LCD screen (921,600 pixels).
File Formats: JPEG, RAW (Sony ARW), JPEG+RAW, MPEG4, AVCHD.
Colour Space: sRGB, Adobe RGB.
ISO Sensitivity: Auto, 100 to 25,600.
Interface: USB 2.0, HDMI mini, ext mic.
Power: Rechargeable lithium ion battery, DC input.
Dimensions: 132×97x81 WHDmm.
Weight: 543 g (body only).
Price: get a price on the SLT-A65 at Amazon – Sony A65 With 18-55mm Lens
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Panasonic DMC-GF3 Review
If this is the way it’s going, I’m all for it: smaller, interchangeable lens cameras, with decently-sized sensors and sophisticated image processing internals.
Panasonic and Sony seem to be waging the war with their Micro Four Thirds models and this is another missile hurled at (IMHO) the oversize DSLRS, with or without flipping mirrors!
The GF3 leads the bunch in size — or lack of it! No question!
Claimed to be the world’s smallest and lightest system camera, it’s approximately 16.7% smaller and 16.2% lighter compared with the GF2 at just 325 grams (including 14mm lens, card and battery), built into a polycarbonate/aluminium body. The review lens supplied was the superb f2.5/14mm.
The GF3 is indeed a joy to handle, hold and stow. External controls are minimal. I particularly liked the on/off control, set in the form of a switch … and very positive.
If you need to select Program AE, shutter or aperture priority and manual, scene modes etc simply hit the menu button and choose from the screen display; you can also touch the screen to make your selection.
Panasonic DMC-GF3 Features
Maximum image size is 4000×3000 pixels; this means you could make a 30×25cm print at 300 dpi. Movies at Full HD 1920×1080 resolution can be shot in AVCHD format or 1280×720 in MPEG. While the AF worked effortlessly when shooting video, I did find the auto exposure a little tardy when correcting for brightness extremes. And, of course, you can’t take stills while recording video but you can of course select stills from a video sequence.
If you like the simple life you can rely on Intelligent Auto for both stills and video recording; additional iA features include AF Tracking, Face Recognition, Intelligent D-range Control, Intelligent Resolution, MEGA O.h3built into the lens), Intelligh3O Control and Intelligent Scene Selector.
The built-in flash pops up at a button touch and presents a decent 55mm of lens-to-flash separation, helping to lessen red-eye in portrait shooting.
I liked the AF function: when the screen is touched the system creates a green rectangle around that section and targets focus exactly there; you could aim it at a person’s eyes or, say, a bee on a flower!
There h3otal of 23 AF areas, with the camera dividing these into nine groups; touch one of these groups and the camera auto selects an optimal area within that group.
The popular defocus control function in iA mode is now easily operated with a slider on the touch screen, allowing users to adjust the defocus area for a sharp subject and softly focused background.
In My Colour mode you can enjoy fuss-free experimentation with colour modes like Expressive, Retro, High Key, Sepia and High Dynamic and (not my favourite!) Miniature Effect.
Panasonic DMC-GF3 ISO Tests
Fairly clean and useable right up untilI SO 1600. By ISO 3200 noise is fairly noticeable. IMHO ISO 6400 is unuseable.
Panasonic DMC-GF3 Verdict
Quality: I enjoyed the quality of the GF3′s shots, sharp and accurately coloured.
Why you’d buy the GF3: it’s real, real small; easy to fall in love with the AF function; you want to use Leica lenses.
Why you wouldn’t: you want to shoot stills while recording video; you want to attach an eye-level viewfinder.
This camera quite took my fancy, not only because of its tiny size, but because it has reduced the operational maze considerably: you can shoot in all the usual modes, enjoy the image options of RAW or JPEG or use it as a well-endowed point-and-shoot camera.
Panasonic DMC-GF3 Specifications
Image Sensor: 12.10 million effective pixels.
Metering: 144 zone multi pattern, centre-weighted, spot.
Lens Mount: Micro Four Thirds.
Exposure Modes: Program AE, shutter and aperture priority, manual.
Sensor: 4/3 type Live MOS 17.3×13mm. 35 SLR Lens Factor: 2x.
Shutter Speed (stills): 4 mins to 1/4000 second and Bulb. Flash sync: 1/160 sec.
Continuous Shooting: up to 3.8 fps. Memory: SD/SDHC/SDXC cards.
Image Sizes (pixels): Stills: 4000×3000 to 1440×1440.
Movies: 1920×1080, 1280×720 (AVCHD); 1280×720, 640×480, 320×240 (MPEG4).
Viewfinder: 7.6cm LCD screen (460,000 pixels).
File Formats: JPEG, RAW, JPEG+RAW, MPO (3D), MPEG4, AVCHD.
Colour Space: sRGB, Adobe RGB.
ISO Sensitivity: Auto, 160 to 6400.
Interface: USB 2.0, HDMI mini, AV, ext micxxxx.
Power: Rechargeable lithium ion battery, DC input.
Dimensions: 107.7×67.1×32.5 WHDmm.
Weight: 264 g (card and battery).
Price: Get a price on the GF3 in the following configurations:
- Panasonic Lumix DMC-GF3- Body Only
- Panasonic Lumix DMC-GF3with a 14-42mm Zoom Lens
- Panasonic Lumix DMC-GF3 with a 14mm F2.5 ASPH Lens
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Sony NEX-7 Review
This is a big gun in a small package. Considering the sensor has been ported from the A65 and A77 you would expect a fairly zinging performance and you’re not wrong!
The interchangeable lens, magnesium alloy bodied NEX-7 would also seem to gain from the absence of a partially-silvered mirror in the light path. However, as with all NEX cameras and most lenses, the smallish body is outweighed by the lens, so — with f3.5/18-55mm review lens attached — pocketable it wasn’t!
The 24.3 megapixel image capture produces a maximum 6000×4000 pixel image, so big prints? You betcha!
Video capture is right up there too, with Full HD 1920×1080 on tap. When shooting a video such matters as AF, manual focus and auto exposure are very smoothly in play; but you can’t shoot stills at the same time.
Sony NEX-7 Features
The viewing situation is excellent, with a 7.6cm LCD screen at the rear and a high res turret finder for eye level viewing, auto switchable with eye contact.
However, I could curse the designer who placed the tiny dioptric control wheel slap up against the eye-level finder, almost impossible to roll in either direction.
While we’re in whinge mode I also found it quite a chore to load/remove the memory card … the slot is hard up against the compartment hinge. So, a hinge whinge!
The LCD screen is tiltable through a vertical arc but does not rotate horizontally; in spite of this, with the screen tilted upwards, the camera can be attached to a tripod.
The inbuilt flash will be a help as a fill light but, with a Guide Number of 6 (ISO 100/metres) it will not be of much use for group photos unless you wind up the ISO setting.
There are ten external controls, including power, shutter, replay etc plus two unmarked control dials on top which respectively, handle exposure compensation and aperture/shutter speed. Warning: they’re easy to bump!
Much of the rest of the camera’s operation — PASM, image size, ISO setting etc — can be accessed via the ultra-clear viewfinder menu.
Claimed to be the “world’s fastest burst shooting speed of any mirrorless interchangeable lens camera”, the NEX-7 can fire off a round of shots at 10 fps. That’s 10 6000×4000 shots every second, with focus fixed at the first frame!
The camera’s Picture Effect mode offers in-camera effects that comprise 11 modes and 15 effects, such as new HDR Painting, Soft Focus, Miniature and Rich-Tone Mono. Other attractions include 3D Sweep Panorama, Soft Skin, Anti Motion Blur Modes etc.
The relatively small number of scene modes (eight) include twilight shooting, sports action, sunset etc.
Now a confession: the camera was so new there was no instruction manual available to help with the review, so if there are omissions please be kind to me!
Sony NEX-7 ISO Tests
Only when ISO 3200 was reached were there signs of image noise; sharpness and colour quality OK.
By ISO 6400 noise was slightly up but the image was still useable.
By ISO 12,800 noise up further but still — depending on the shot — still useable. Definition surprisingly good.
At ISO 25,600 noise was quite noticeable but image sharpness still acceptable. An amazing performance.
Sony NEX-7 Verdict
Quality: the camera displayed exceptionally good image quality and sharpness, along with an enjoyable easy operator interface.
Why you’d buy the NEX-7: access to E-mount lenses, Carl Zeiss and (via an adaptor) Sony A-mount optics.
Why you wouldn’t: you prefer external control of exposure modes; with lens attached the camera is not pocketable; pricey.
A significant camera that could shoot right up there with most DSLRs, but is as easy to use as a snapshot camera.
Sony NEX-7 Specifications
Image Sensor: 24.3 million effective pixels.
Metering: 49 zone multi segment, centre-weighted, spot.
Lens Mount: Sony E-mount.
Exposure Modes: Program AE, shutter and aperture priority, manual.
Effective Sensor Size: 23.5×15.6mm HD CMOS.
35 SLR Lens Factor: 1.5x.
Shutter Speed (stills): 30 to 1/4000 second and Bulb.
Continuous Shooting: 3-10 fps.
Memory: SD/SDHC/SDXC, Memory Stick Pro Duo cards.
Image Sizes (pixels): Stills: 6000×4000 to 3008×1688.
Movies: 1920×1080 (AVCHD); 1440×1080, 640×480 (MPEG4).
Viewfinder: Eye level 1.3cm (2.36 million); 7.6cm LCD screen (921,600 pixels).
File Formats: JPEG, RAW (Sony ARW), JPEG+RAW, MPEG4, AVCHD.
Colour Space: sRGB, Adobe RGB.
ISO Sensitivity: Auto, 100 to 16000.
Interface: USB 2.0, HDMI mini, ext mic.
Power: Rechargeable lithium ion battery, DC input.
Dimensions: 119.9×69.9×42.6 WHDmm.
Weight: 291 g (body only).
Price: Get a price on the Sony Alpha NEX-7 (Body Only) or Sony Alpha NEX-7 with 18-55mm Lens
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
The Ultimate, Expandable Expedition Camera Backpack: f-stop Satori EXP [REVIEW]
My history of cameras and backpacks goes back a couple of decades to my first year out of high school. It was then that I fell in love with hiking and camping outdoors and the obvious choice to bring along a camera to capture some of that beauty on film. In the following years I always struggled with the desire to bring along camera gear (sometimes with many lenses, tripod, flash, etc…) and camping gear. It always seemed to be one or the other as no bag could carry them both well. I had camera bag I’d sometimes strap onto the outside of my overnight pack and sometimes carry inside. It was never an ideal situation.
Fast forward to last summer. I was hiking in the hills outside of Boulder, Colorado with fellow photographer Ben Fullerton and while we were both testing the same pack from LowePro, we started up a conversation about what we’d like to see in a larger backcountry pack. Something that could hold all our gear (and we both differed on what we wanted to carry on a shoot) as well as camping equipment. He wanted a spot of a water bladder, I wanted a spot of a water bottle. He would carry two bodies, five lenses and a couple of strobes. I only wished to carry one body, a couple of lenses and a single strobe. But I also would bring my laptop. And plenty of Very Cherry Jelly Bellies.
Somehow this whole time f-stop had been off my radar. f-stop makes serious packs specifically for photographers who take their gear far from the comforts of a studio. They have a number of pros in the business as advisers and they listen to customers about what they would like improved. They build packs for adventure photographers and I requested a review copy of the Satori EXP, their largest bag designed for extended trips abroad or in the backcountry.
What arrived at my house was a bag perfect for scratching my gear-loving itch. I love versatility and this bag is all about expandability and expansion. At 62 liters it is big, but still sized to fit in most airline overhead compartments, meaning your gear stays close and out of the maul of the checked baggage system. Let me dive right into the modular features that make this bag a must-have for any photographer serious about carrying their gear in comfort while bringing along camping or travel gear. It has four main systems to help carry gear inside and out.
Internal Storage
Inside is where this bag starts to handle your gear. The integrated pockets of this pack are not too numerous not too few. The main compartment is accessed two different directions; from on top and from the front panel. The front panel flap, which sits against a wearer’s back, opens fully to reveal four pockets lining its inside. The bottom two are ideal for a filter or two and there are two memory card pockets at the top to keep your storage available. The nice thing about the lower pockets is they can be used as a means of adjusting lumbar support in the bag. if you like more lower back support, just load that second with two filters in storage cases and you’re set (l prefer wearing my pack this way). If you want support higher up, just load that pocket. It is also comfortable without anything in the pockets.
The top flap has an outer pocket and an inner pocket and they can devour a large amount of odds and ends. I won’t list it all out, but the inside pocket can easily hold two 77mm filters side by side, two hard-case memory holders and a card reader. The outer pocket is designed for easy access and a small first aid kit works here, plus it has pockets for business card (when in town or working tradeshows), cell phone and a key chain so your keys don’t go missing. A mesh pocket in here further divides the space for small items.
Inside the main compartment is a spot for a laptop (a padded sleeve which does not extend all the way to the bottom, helping ensure the laptop is not excessively bumped when setting the bag down on hard surfaces) as well as a sleeve for important documents or a water bladder, complete with Velcro loops to route the bladder hose.
On the back of the back are four more zippered compartments integral to the bag design. Two are on the very back and one has a grommet at the bottom to allow for water to escape, making it ideal for wet items such as a bathing suit or ski skins. On the bottom is a trash compartment to keep your wrappers and peels away from the rest of your gear. On the bottom is a pouch for a rain cover (not included, but available as an option if you don’t have your own). While traveling I have been able fit flip flops in the back compartment while additionally shoving in a book, paperwork, my glasses case and snacks.
Modular Space For Your Camera Gear
The Internal Camera Unit (ICU) takes the standard camera bag practice of padded Velcro space and let’s you decide how much bag space is taken up by your camera in lenses. Where other packs are built around the camera storage, f-stop takes a different approach and has created five different sizes of ICUs to let you decide how to configure your bag. From the smallest size, built to hold a single camera and a couple of lenses, the largest which can muster enough space to tote a 500mm prime lens and more, the ICU approach will insure no space is wasted when you want to carry more or less equipment.
The units Velcro into the main compartment with two or four attachment points and will leave as much as 2/3rd of the internal 62L of space available for camping equipment or other gear. The largest ICU will fill the entire space. In between are bags perfect for one or two cameras and a variety of lenses. In the medium version, I was able to fit a Canon 7D with 28-500mm L lens (equivalent to most 70-200mm lenses) attached, as well as the battery grip. Around this was placed another five lenses. There is also a thin version of the ICU to save more space if you are not carrying thick gear.
Lastly, the ICUs are designed to work in a number of the f-stop packs in their Mountain series, such as the popular Loka. It takes about four minutes to move an ICU from one bag to another (assuming both are empty bags) and the Velcro loops are a bit stuffed behind the pack frame stays, necessarily so. The ICUs also have a handle to make them easy to stuff into any other bag you may be bringing and helps keep dust and rain off your gear while in transport.
MOLLE For Universal Expandability
The MOLLE system is an industry standard used by the military and police units to allow for easy attachment of any number of devices via, you guessed it, Velcro. There are loops for expanding your bag’s carrying capacity on the sides and waist belt. f-stop makes a number of accessory pouches to hold items you want close at hand and not buried inside your bag, such as cable releases or remote triggers and units for flashes. Further, they also have single unit bags for smaller cameras (the Navin version can hold a Nikon D7000 and 28-300mm lens attached) that will fit on the belt loops to keep a camera always at hand.
Because of their positioning on the side of the pack, other brands of pack accessories can be used as well, such as the Outdoor Research crampon bags or the Dana Design side pouches, one of which can easily carry a small stove, water purifier and first aid kit on the outside of the Satori.
GateKeeper Straps All Over
GateKeeper is f-stop’s system for adding attachment straps all over the top, back and bottom of the bag. There are 14 of these points on the outside of the pack and the straps come in a variety of lengths. This system is superior to the typical daisy chain method as it keeps the straps tight against the pack. The back section can be used to carry a snowboard or rails for a dolly setup. The top and bottom sections can hold a sleeping bag, sleeping pad or additional gear pouches.
The GateKeeper system also allows for attachment of the Navin camera bag on the front of the pack while the wearer hikes, keeping a camera always at the ready. Additionally the straps can all be removed to insure smooth travel if the pack does need to be sent as checked baggage.
Odds And Ends
The bag also sports side compression straps which will hold your tripod firmly, ice axe or trekking pole loops sewn into back of the bag and a few extra attachment points on the back for spare straps. On the shoulder straps are D-rings, a sleeve to help route a water bladder hose and two other loops on the left shoulder strap to hold fast a two way radio, GPS, knife or cell phone.
A full list of stats and sizes can be found at f-stop’s website.
Conclusion
I know this post is long and I was not attempting to explain every aspect of the Satori, but there is a lot of cover in this bag and the effort f-stop has put into making it the best it can be, while realizing they never stop trying to improve their equipment so it meets the needs of the photographers who rely on solid gear to help them capture the beauty of the outdoors. The MOLLE system, the GateKeeper system and the ICU system exist in a number of f-stop’s packs and worth a look, no matter what your torso size or the amount of gear you wish to carry.
More information specific to the Satori can be found here.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
The Ultimate, Expandable Expedition Camera Backpack: f-stop Satori EXP [REVIEW]
Sigma 4.5mm F2.8 EX DC HSM Circular Fisheye [REVIEW]
While full frame sensor camera have enjoyed the use of fisheye lenses for a century, the newly created APS-C sensor cameras have remained lacking. Use of traditional fisheye would work, but the entire circular area would be cropped.
Enter the Sigma 4.5mm fisheye. This lens is built for cropped sensors, giving them a full 180° field of view withing a single frame. To achieve this field of view, the front element protrudes from the front metal of the lens, giving it the typical fisheye look. There is a focus ring and a distance scale, plus a small switch for manual or automatic focus. Because of the short focus distance and the overall size of the camera, the nearest in focus object can be as close as .75”/`19mm.
With a lens like this, a whole new world of images becomes possible. Shooting objects close is an easy subject as well as circles. Shooting converging lines takes on a new dimension as well as the night sky (which is one of the original intentions behind the development of the lens; atmospheric photography). I have some sample images later in the post to give you more ideas of how this lens can be used as well as the quality of the images.
I took this lens with me and my Canon 7D on a six week trip to Asia covering photo tours in Nepal and Bhutan as well as a personal week spent in India. I want to thank BorrowLenses.com for the lend of the lens.
Features
First, some stats from Sigma’s own site.
- Lens Construction 13 Elements in 9 Groups
- Angle of View 180º
- Number of Diaphragm Blades 6
- Minimum Aperture f22
- Minimum Focusing Distance 13.5 cm / 5.3 in
- Filter Size (mm) Insertion-type gelatin filter into rear of the lens
- Maximum Magnifications 1:6
- Dimensions (Diameter x Length) 76.2 x 77.8 mm/3.0 x 3.1 in
- Weight 470g / 16.6oz.
Use In Real Life
The biggest aspect of this lens to get used to is the field of view. More than once my feet were in the frame (even with fellow DPS writer Jim Goldstein warning me of this danger) and at times I could see my hand while manual focusing, or just holding the camera comfortably. There’s a mental extra to add before pressing the shutter release and that is to check the circle edge for any signs of the photographer behind the camera.
While in the field, I found the lens as comfortable as any other to hold and transport. It comes with a rear lens cap as well as a hood and lens cap for the front. Because of the bulging nature of the front lens, the lens hood (felted on the inside to create a firm attachment with the lens when in use) is needed to hold a cap. Additional filters can be used with this hood attached (72mm) if a narrowed version of the spherical world is okay.
I did have an almost constant worry about scratching the front of the lens with it sticking out as far as it does (which is not much at all, but more than I am accustomed to). Therefor, the hood and lens cap remained on more than usual. A minor point.
Shooting with the lens is no different than shooting with any other lens. It opens to f/2.8 and can get seriously close to subjects. This helps as shooting with a fisheye point of view can be challenging. Getting close to the subject and helping it dominate the field of view, while still giving the viewer some place to ‘go’ in the picture, is even more exaggerated with this lens than with a standard wide angle.
Video with the lens can be interesting. Side moving objects go from small to large in the middle to small again and it can be a bit odd for some viewers. Images shot straight forward, backward or straight up give a good full view of the action. For some additional tips on shooting with this lens, I have written a post on Photo Tuts+ (and I’m sorry most of it is a Premium article, that wasn’t my choice) that describes 14 different scenarios when this lens would be useful.
You may be asking what that blue ring is around some of the images. It is flare caused by the extreme angle of the lens. It is normal and can be easily remedied which a circular crop.
Samples
Click on any sample to see a full sized view.
Shadows of Swayambanath Temple, Kathmandu, Nepal
Tengboche Monastery and Mt. Everest, Tengboche, Nepal
Window To The World, Jaipur, India
Bath Room Floor, Amber Fort, Jaipur, India
Taj Mahal, Agra, India
The Milky Way From Phobjika Valley, Bhutan
Looking Up, Paro Dzong, Bhutan
So Much Stone, Red Fort, Delhi, India
Patterns, Amber Fort, Jaipur, India
Picture Of A Picture, Phobjika Valley, Bhutan
Kathmandu From Dharahara Tower, Nepal
Weavers In Thimphu, Bhutan
Weavers In Thimphu, Bhutan
Rice Field, Punakha, Bhutan
Prayer Wheels, Paro Dzong, Bhutan
Swayambanath Temple, Kathmandu, Nepal
Dzokyos On A Himalayan Trail, Nepal
Khumbu Glacier, Lobuche, Nepal
Conclusion
The Simga 4.5mm Fisheye is a treat to use and produces some stunning images. While use of standard front mounted filters limits the overall coverage, the fact that the field of view is so large negates the effectiveness of most options (NOTE: Filters can be used in the rear area of the lens but this was not tested). This produces a freeing effect as the filter needs to be used, mostly, as is, greatly simplifying image captures and focusing the photographer on creative use.
The lens does take some learning before stunning images emerge, but that curve isn’t long. It’s important to give yourself some latitude when starting out with this lens as experimentation is key to finding out what works for you.
Get a price on the Sigma 4.5mm f/2.8 EX DC HSM Circular Fisheye Lens
Sigma 4.5mm f/2.8 EX DC HSM Circular Fisheye Lens for Sony Alpha Digital SLR Cameras
Sigma 4.5mm f/2.8 EX DC HSM Circular Fisheye Lens for Canon Digital SLR Cameras
Sigma 4.5mm f/2.8 EX DC HSM Circular Fisheye Lens for Nikon Digital SLR Cameras
Sigma 4.5mm f/2.8 EX DC HSM Circular Fisheye Lens for Pentax Digital SLR Cameras
Sigma 4.5mm f/2.8 EX DC HSM Circular Fisheye Lens for Sigma Digital SLR Cameras
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Sigma 4.5mm F2.8 EX DC HSM Circular Fisheye [REVIEW]
GoDox Lighting Kit, Just the ticket! [Review]
I’ve got a little secret… I’m pretty rubbish at ‘off camera flash’ but you know the best thing, it’s easy to suck at something and not worry so much if you have the desire to learn how to get better.
Flash Lighting and Accessories by GoDox from Elemental
With digital photography, it’s pretty easy to try and try and try again, because there’s no developing time, there’s no film cost, there’s no fixer to spill! There’s simply no excuse for you to continue to suck at off camera flash… what? you can’t practice because a Canon Speedlite 580EX II is WAY TOOOOO EXPENSIVE? Fair call, they’re not cheap! They are really good, but you’re right, they’re not cheap… So, I have a very functional, robust alternative for you… It costs £80 (or £50 if you don’t ever want to plug in an external battery) per flash unit and you can also get a remote trigger for it for £50… So, essentially, for £130 you’re set up to use flash, off camera, remotely and ‘on the cheap’ Yeah!
The handy remote trigger is called a REEMIX RMII and, as well as being a 16 channel flash controller, can also control your camera* (remote shutter) and the receiver has a handy umbrella holder built in, so you can attach it to your flash unit, slot an umbrella in and go flashing wild.
You can take it a step further, with the GoDox thinkLite TT560PB you can add an external battery pack, the GoDox ProPac PB820. It plugs right into the flash unit and will have you flashing for a good while (250 to 320 full power flashes, 1 sec recharge time, 2 hr battery recharge time) and comes in photographer black or sexy lime green (I went green!)
Having picked up the three units, Here is my experience with them.. The start of my journey to better flashing if you will!
I have a Canon 580EXII.. That’s a great unit! It’s powerful, it’s fully featured and it’s EXPENSIVE. To work on an article that allowed more people who are just starting out, to be involved in trying off camera lighting, I wanted to use readily available and more ‘cost sensitive’ kit… I have tried out the Elemental studio lights once before, So, back on the http://studio-flash.com website I went and I came across the GoDox gear and made my enquiries. Hello? Scotland Yard?
I know how well my Canon flash unit works, so I had a good bench mark… The Canon has the higher guide number (Higher guide number = more powerful flash) of 39 as opposed to the 38 rated ThinkLite.. Not much in it really.. Though, the Canon does have all the bells and whistles, as well as ETTL (basically means your camera tells the flash what to do if it’s all compatible) For this little test, I wanted to set everything to manual to help teach myself what all the buttons did! That, I believe, is what you should do, too!
So, the first little test (that mattered!) that I used my ThinkLite for was a quick real estate shoot, I had a brightly lit outdoor shot of a house to take, I had a lovely blue sky that, if I exposed for, meant that the house was a bit dark.. I bumped the power on the little flash up to full, popped it on a Nasty Clamp and stuck that on the front fence facing the house… Taking a few photos, mostly inspired by a recent “One light real estate shoot” from Strobist, David Hobby, I tried to blend the flash in with the ambient light and get the photograph that I needed. The whole time using the REEMIX II to pop the flash and I also had the battery pack plugged in, giving me simply awesome recycle times (the time it takes for the little red light to come on and say “I’m ready to flash again!”)
Go Easy! It's my first shot it this type of thing 
You can see the Nasty Clamp attached to the right hand end of the railing above and the shadow of the front porch light headed up and left. This is pretty much out of the camera with a little perspective correction (I couldn’t stand in front, there’s a tree!) So the sky is nice and blue and the front of the house is easy to see because of that light there. It could be a bit brighter and with a bit of an ISO bump, it would be. This was f/8.0, so I probably could have opened her up a little more, too, if I needed to. I got what I was after.
The flash unit is very simple. It has an off / on switch, an 8 level power output switch (1/128, 1/64, 1/32, 1/16, 1/8, 1/4, 1/2, 1/1) and a couple of buttons to use the slave mode, slave mode doesn’t mean you can yell “Hey flash, get me a coffee” form the next room… It means that, in S1 mode, when you fire another flash, that the ThinkLite will also fire – this means that you can start getting all creative and have a pair of GoDox ThinkLite flash units and use one as your main light and one as your fill light or your hair light (fill, adds extra light where you need it – it fills and a Hair light is just that, adds a little light to the hair / side / back of the subject, gives your image some depth)
I had a whole three bedroom house to photograph for our real estate agent, the ThinkLite sitting on the end of the Nasty Clamp (Seriously, If you don’t have Nasty Clamps, get a pair! they’re such life savers!) with the remote trigger and external battery – I’d clip the unit on to the top of a door, angle it around until it was working how I wanted it to work and get my image. Mostly I’d fire the flash into a wall or ceiling to diffuse the small hard light that you typically get from a flash gun, the wall acting as a big reflector (Make sure your walls are white and not burnt orange… imagine light hitting a burnt orange wall and turning your photo into a big cup of Fanta!)
The kitchen shows the blend of flash and sun light..
This photo (above) is natural light through the roof / skylights, and the darker back of the house has the ThinkLite on the Nasty Clamp attached to the top of the shower screen door, low power firing out into the hall way. Whilst the balance of the color temp is way off (you see the bluer flash v the warmer sun) that’s very easy to fix with a gel for the flash or, if you’re a bit more lazy, in post!
the external battery hadn’t even dropped down a notch (it has 5 notches to show you when you need to recharge) I can see great use for an external batter as a wedding photographer or event photographer (I wish I had one of these when I was shooting events back in London!!!) You take the thing and clip it to your belt / put it in your camera bag and flash over and over…
This is all the gear I used on the day!
As I said at the start, I’m not a ‘Strobist‘ (not even in the same city, park or country!) …though, now with my new found love for lighting and the ability to practice (on everything and everyone… yay for my two year old!) I’m getting better at it!
So, let’s look at the specs of the ThinkLite TT560
Guide Number 38
Flash Modes M, S1, S2
Tilt 0 – 90°
Swivel 0 – 270°
Power Source 4 * AA batteries
Recycle Time 0.5 – 5s
Output Full, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/128
Colour Temperature 5600K +/-200K
Flash Duration 1/800 ~ 1/2000s
Dimensions 190 * 75 * 55mm
Net Weight 286g
There’s nothing automatic about this unit, and that makes you learn!
And a pricing re-cap?
- GoDox ThinkLite TT560PB £79.20
- GoDox REEMIX II £47.99
- GoDox ProPac £129.99
The kit has performed without fault since I picked it up a couple of months ago, it has really showed me that you don’t always need to get ‘amazing’ to teach yourself how to do something properly! Manual mode isn’t as scary as I thought, folks!
- Out of ten, I give the thinkLite TT560PB an eleven (this was a nine, but earlier today my two year old pushed over a chair and knocked the flash unit and my reemix flying – baby proof.
- The reemix is a straight eight out of ten, with a couple points taken off for the slightly fiddly channel switching, though for a remote to allow you to use 16 channels and to reverse control your camera, for under fifty quid is pretty darn good.
- The ProPac, whilst being the most expensive item in this test, is something I never want to be without again. Get one.
I hope this has been helpful to some of you! I hope to come back at some point when I’m more practised in my flashing and give you an update on how the gear’s doing – I’m about to order a couple more of the TT560 units myself.
–Sime
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
GoDox Lighting Kit, Just the ticket! [Review]
ThinkTank Shape Shifter Review
I’ve come to a grim realization recently and that is: There is no perfect camera backpack out there. And while that sounds like a bad way to start off a review, let me follow up my last statement with this one: The Shape Shifter is as close as I have been able to come to finding the perfect camera backpack! I get emails from various companies asking me to review products for DPS and my photography website and that’s always fun, but I want to start out the review by saying that I pursued ThinkTank to see if they’d send me a Shape Shifter for a recent trip to Italy. I searched the interwebs high and low for the perfect backpack for my trip. I had several different models from several different companies narrowed down, but in the end I wanted the Shape Shifter.
The Problem With Finding The Perfect Backpack For You Gear
I can already imagine there will be some comments saying that I’m wrong and that the perfect camera backpack is actually (fill in the blank). Well, let me respond to all of those ahead of time by saying that I can find something wrong with any backpack (or product for that matter). The reason being that no backpack is perfect for everything. Unfortunately, in reality you probably need several different backpacks for different trips, different shoots, different styles, etc. A massive backpack that holds all of the gear in my office is great for getting from point A to point B. But what if when I get to point B I want to explore and be light on my feet?
On the flip side, a light and sporty camera backpack is great for day trips and long hikes, but what about when you need to get a large amount gear to a location?
See what I mean? So the challenge becomes doing your best to find a backpack that fits somewhere in-between these two extremes. A camera that can hold a LOT of gear, but can also tear down when you need to go out and about.
Enter The Shape Shifter
I. love. this. backpack. My good buddy Jacob Lucas suggested it to me and when I looked it up on the ThinkTank website I knew my search was complete. I went to Italy with more gear than I would normally bring along because I was shooting a wedding for part of the trip. Because of that I had to bring a bit more gear than I would if I was just going for travel photography. The Shape Shifter was the only camera bag I took and you will not believe what I fit into this thing! Here’s the list…
1 – Canon 1Ds Mark III camera body
1 – Canon 5D Mark II camera body with BG-E6 battery grip
1 – Canon 24-70mm lens
1 – Canon 70-200mm lens
1 – Canon 50mm lens
1 – Canon 15mm Fisheye lens
2 – Canon 580EXII flashes
1 – Canon ST-E2 Flash Transmitter
1 – 15inch Macbook Pro
1 – Small Wacom Tablet with mouse and pen
1 – Lacie 500GB Rugged External HD
1 – Canon TC-80N3 Intervalometer
1 – B+W 10 Stop Filter
8 – CF Cards
3 – Extra batteries for 5DMII
2 – Chargers for 5DMII
1 – Extra battery for 1DsMIII
1 – Charger for 1DsMIII
1 – Manfrotto Tripod Legs/Head
Now that’s a lot of gear in one backpack and one thing a manufacturer will never be able to do is make that much gear weigh less than it actually does (unless the backpack came with an assistant to carry it). This backpack was quite heavy but that was fine because I only needed it to all be with me while I was traveling from point A (Texas) to point B (Italy). There’s no way that I’m going to check any of my photography gear on an airplane, especially when clients are counting on me to photograph their wedding! Once I got to the hotel we were staying at I took out a lot of the gear like the laptop, hard drive, Wacom tablet, and anything that I didn’t need for that specific night. When it was time to move from one hotel to the next, I’d pack everything up again just like before. If you don’t believe you can pack all the gear listed, here’s a quick time-lapse video as I pack the gear from the list above. (Note: I don’t pack the tripod and the 5DMII because they were being used to film the video. I do pack the battery grip for the 5DMII where the camera body would normally go. The tripod connects on the outside of the backpack via the very front pocket and some straps that connect at the top of the backpack).
INSERT VIDEO HERE <http://youtu.be/Gga6_3SQClE>
Why This Bag Is Awesome
There are actually quite a few reasons why this bag is awesome so I will touch on a few of them here…
It Holds All The Gear I Need
Sure I could have brought more lenses and gear but then my backpack would just keep getting heavier and heavier. With the range of lenses I brought, I never felt during the trip that I should have packed more gear.
It’s Ability To Shift Shapes
There were several days/nights in Italy where my wife and I were all on our own, free to travel and explore. On those nights all I really needed was a camera body, my tripod and my lenses. I could really strip everything down to just the bare essentials and that’s when you get to take advantage of the Shape Shifters ability to…well…shift shapes! If you don’t have much gear in your backpack, you can grab a zipper at the bottom of the packpack and zip the backpack down to only 3 inches thick. The zipper just compresses the width down and sort of streamlines everything. This can only be done in certain situations. If you have too much in the backpack the zipper won’t zip closed. Doing this make the backpack incredibly thin and low profile and really it just feels better in this configuration. I wish ThinkTank would find a way to shrink my camera bodies and lenses down to size so I could use this feature all the time!
Plenty of Pockets for Accessories
Pockets are always a good thing and the Shape Shifter has plenty of them. And not just pockets mind you but every pocket seems to have a purpose, a reason for being there. Some pockets are there to hold CF cards, some hold batteries, others hold cell phones, pens, etc. They aren’t just big pockets to stuff anything into (although there are a couple of those). When you really pack this bag up to it’s limits, you will stand back in disbelief over how much you just fit inside of it.
Lockable Zippers
This was a must on my trip to Italy. I wasn’t going to take a bag with me unless there was some way to lock it. Although the bag doesn’t come with the locks (I think that would be a great feature as well) you can find them at just about any store with a travel section. While I bought locks that came with keys, I would encourage any travelers out there to do the opposite and get a lock with a three digit combination. It was too complicated trying to keep the keys in a place that was easy to find but not too easy to find (if you know what I mean).
Comfortable Shoulder Straps
This is another must-have-feature for a travel backpack. If your backpack isn’t comfortable on your shoulder then really what is it worth? The Shape Shifter has exceptionally padded shoulder straps that sit very comfortably and never let me down. There were certainly times where I was sick of carrying this thing around at train stations and airports but that was just because of the weight, and we already decided there’s nothing they can do about the weight of my gear. The Shape Shifter also comes with a waist belt and a clip to connect your shoulder straps together. If you don’t want the waist belt it tucks away nicely inside the bottom of the backpack, or you can just remove them altogether. Very clever!
Potential Setbacks For Some Photographers
Like I said in the beginning: No camera backpack is perfect for everyone. So while I may love a feature about this bag, someone else could hate it for that very same reason! I understand that and I don’t think this would be a good review without stating the potential disadvantages of the Shape Shifter.
Camera Gear Tough To Access When Actively Shooting
I bought this bag so my camera gear would be protected from potential theft. Because of that reason, the gear also takes longer to get to when I’m shooting on location. If you buy a backpack that has super fast access to all your stuff, then you might want to consider that it proveds super fast access for thieves as well! So, this really comes down to the question that you have to ask yourself: Why do I want/need this backpack? We live in a fast food world and some people get all fussy if it takes them 10 seconds to get a lens out of their backpack instead of 6 seconds. It doesn’t bother me but that is just me.
Can’t Carry A Camera Body With Lens Attached
Again, I don’t mind this feature because it makes the bag thinner and lower profile. But I have heard a number of people complain about this so it is certainly noteworthy. Each compartment in the gear section of the backpack is specifically designed for either a lens or a camera body. There’s really not a way to pack a camera body with a lens attached. This means that if your walking around without a camera in hand and see something happening you’d have to unzip your backpack, grab a camera body, grab a lens, attach them and stow the lens and body caps, re-zip the backpack and then shoot.
My solution: Always have a camera in hand! Any time I’m walking around with my backpack, you can rest assured that I also have a camera body and lens around my shoulder via a Black Rapid RS-7 Camera Strap. I put the strap around my shoulder first, then put the backpack on second. It works perfectly and the backpack doesn’t constrict the movement of the RS-7.
Conclusion
The ThinkTank Shape Shifter is by far my favorite camera backpack that I’ve owned to date. The advantages to the backpack far outweighed any potential setbacks in my opinion and I really can’t think of a better solution. This bag gives me the ability to carry large amounts of gear, but also the option to strip everything down and go incognito if need be.
Get a price on a ShapeShifter at Amazon.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
ThinkTank Shape Shifter Review
Visual Stories ~ Behind The Lens with Vincent Laforet – Book Review
Pulitzer Prize-winning photographer Vincent Laforet may not need an introduction, but his first book does.
In case you’ve never heard of Vince Laforet, he is considered to be one of the most accomplished story telling photographers of his generation. Laforet was commissioned by international publications such as the New York Times Magazine, National Geographic, Sports Illustrated, Times, Newsweek and Life. He is an expert in aerial photography and was a pioneer in the use of HD-capable DSLRs.
In his book Visual Stories, he takes you through a very personal narrative illustrated with full-color spreads of big events such as Hurricane Katrina, Pakistan’s war zone and the Olympic games.
Be aware that this is not a book about gear or the technical aspect of photography. Although the exif data of each photo is given and Laforet does talk about lens selection and lighting, it is more about the photographic experience. He shares his thought process applied behind each frame, the preparation and research involved, the successes and failures. These personal anecdotes and unique stories make this book enjoyable and educational.
The book is divided into 13 chapters and features over 100 photographs. It’s impossible to have a just one favorite! Believe me – I tried. There is something of interest for every one in every chapter.
Some chapters, however, do stand out. For example, in Chapter 2 ‘A Story in a Single Image’, Laforet relates the challenges of telling one story, or an entire event, with merely one image. Using many examples from his career as a photojournalist, Laforet explains how he first visualizes the shot and then prepares for it. He also addresses how to decide what to include in or exclude from the frame, and why it is critical to stay focused on what is important, whether you are shooting the Olympics or a war zone.
Vincent Laforet is a specialist in aerial photography. Chapter 7 ‘In The Air’ reenforced my goal of shooting from a helicopter some day. If you also wish to explore photography from the air, you must read this chapter. From overall preparation and specific lens selection to weather and safety, he explains how to train your graphic eye how to see and frame a shot from above. “What you’re trying to do as a photographer from the air is to isolate that geometry in a way that looks beautiful in that two-by-three format.”
In the chapter ‘A Love Affair with New York,’ the author describes his years working the front-page beat for the New York Times – a challenging job. His daily assignment was to find a single image that spoke to the local news of that day. As you read this chapter you can actually feel his excitement as he hunts for just the one right image in the Big Apple.
Chapter 10 ‘The World Through a Tilt-Shift Lens’ is all about just that, seeing the world through a tilt-shift lens, and Vincent Laforet is a master at it! I guarantee that you will look twice at the amazing sample images!
The last chapter ‘Never Make a Mediocre Image’ may contain the most valuable lesson of the entire book. It begins with the thought-provoking line, “The reality for any photographer is you are only as good as your last photograph.” Vincent Laforet goes on to explains how he strives to reach the unattainable through perseverance. I’ll quote him again here with another great motivational line: “The reality is everyone has great ideas. The number of people who see them through to the end is incredibly small. And a lot of that has to do with perseverance.”
Visual Stories includes a DVD featuring 60 short videos of Laforet discussing the images in the book. This is a huge bonus! You will see and hear him personally describe his thought process as he created each picture in the book plus some technical aspects related to the image.
Who is this book for? For photographers and non-photographers alike. It’s an enjoyable read illustrated with beautiful photographs that will make anyone see the world in a different way. And for the photographer, you will be inspired to push your photography a bit further and go beyond the mediocre image.
Visual Stories is published by New Riders and can be purchased through Amazon by clicking here (at the time of publishing this review it is 39% off).
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Visual Stories ~ Behind The Lens with Vincent Laforet – Book Review
Tamron 18-270mm f/3.5-6.3 Di II VC Piezo Lens [REVIEW]
When I review lenses I take a look at who they are built for. I realize not every DPS reader wants to lug around a 5lb lens worth a couple month’s rent. While I love my main lens, it’s not for everyone and I’d be a fool to tell you you should buy it if you just want a portrait lens.
With that mentality in mind, I took a look at the Tamron 18-270mm after they sent me a review copy. Was it going to become my new pro lens of choice? No, and that’s not who it is built for.
Who it is built for, in my opinion, is anyone who loves to travel but doesn’t want to carry a quiver full of lenses for most occasions (read: heavy bag). Any zoom lens is a compromise as compared to a prime, or fixed focal length, lens and the limits of optics are a fierce field in the photography industry. An industry that didn’t see a competent 18-200mm lens until a couple of decades ago, is now seeing the limits pushed further with this 15X zoom entry.
Specifications
Length:96.4mm (3.8 inches)
Weight: 450g (15.4oz)
Filter Size: 62mm
Mounts Available: Nikon II, Canon, Sony (Note: Sony version is currently without VC capability)
Minimum Focus Distance: .49m (19.3 inches)
Current street price: $600 (Amazon currently have it for $585 via the links above and below)
In Real Life
To test this lens, I took it with me on a couple of trips. First was a six week combination photo tour and personal trip to Nepal, Bhutan and India. Next followed three weeks in Peru. If this isn’t travel testing a lens, I don’t know what is. If you are looking for benchmark laboratory results, I suggest you check out DXO Mark. They have great stats for the tech-minded folks who want clean-room results. I tested this lens in dirty, hot, high altitude and often wet conditions and I am not an optic specialist. Just someone who relies on optics to make a living.
Let me state for the record that the Tamron 18-270mm is not perfect. It’s a zoom lens after all, and as I mentioned, all zoom lenses compromise. This lens is meant to cover a very wide range and is built for DX or APS-C sensor cameras (or crop-sensor camera…or a number of other terms, just not full sensor frame cameras). I include many test shots below and each links to a full sized copy you may download and pixel peep if that helps you. I performed very little editing on each image, just the basics from knowing how my camera presents images, so you can get an idea of what’s possible. I also included some less than stellar shots to show the lens’ limits.
In the hand, the lens feels solid but light. It is not made from all glass and that helps the weight, which comes in at just one pound. This is common in lenses of this range and you have to spend nearly twice as much before finding a lens that has more heft and solid elements. Controls on the lens are simple and I appreciate the zoom lock the lens will drop forward without the lock if carried with the lens pointing at the ground. The zoom has a smooth feel from 18mm until about 50mm and then there is a bit more resistance in the control ring. It’s not as smooth from 50mm-270mm as it could be, but it is not a hindrance. When in manual focus mode, the focus ring is light and easy to move and care must be taken not to bump it, it’s that easy to use. The last control on the lens is the Vibration Control (VC) switch and that is simply “On” or “Off”
Tamron claims the VC is good for up to four stops of vibration reduction and it’s my guess that is in a test lab with certain acceptable parameters. In real life, I found the VC helped by about the standard stop to two stops. I pushed the lens in a couple of case to four stops and it simply did not perform in creating sharp images, such as knowing I had a good shot at 1/100 and 50mm without VC and then taking the shutter speed down to 1/6 to see what would happen. Hand holding at 1/6 is tough by any standards and I was calm and steady as I could be, but the results were not satisfactory. However, when I dropped to 1/25th (being one stop under the rule-of-thumb 1/focal length slowest speed) the results were in line with other lens’ ability to reduce vibration blur. So in that regard, while my test didn’t show four stops of VC, I think it may be in the wording on Tamron’s part how they define the starting point. In my book, this lens performed as well as others for its ability to reduce lens shake with VC on. It is a useful feature.
In the field the lens returned above average results for the price range and zoom ability. It’s hard to find a comparable lens to test it against. So I used the standard criteria of, “Would I suggest this lens to a friend?” In that regard, yes, yes I would suggest it to a friend who is thinking of traveling and isn’t looking to sell 24”x36” prints to art galleries. I liked the image quality even though it was not stellar because not everyone is looking for professional level results. If they did, we’d all have $3000 lenses and $8000 bodies. Take a look at the images below and tell me what you think. As this lens pushes 15x zoom, there is some noticeable distortion, especially at the edges (as expected), but it is well within the acceptable range for me. This distortion is least noticeable in the middle range of the zoom.
This lens fits a niche. That niche is people who love to travel or who want only one lens for taking shots of their kids, be they near or far. The aperture is about standard for other lenses close to this range (I’d love to see the top end brought down to f/5.6 instead of f/6.3). The focus isn’t lightning fast as high-end L lenses but it is solid, accurate and the casual tourist will enjoy it. It makes micro adjustments easily once it is locked on and subjects move. I didn’t find it to hunt during any of my tests except for in the lowest of lighting conditions when every lens hunts.
Conclusion
The bottom line for me with a lens like this; would I suggest it to my parents if they were, “…going on a trip and we don’t want to mess around with a bunch of different lenses. We just want something that works well for scenic shots but also can zoom in for details”? Yes, I would. The lens is well suited for the vacationing family who doesn’t want to take up room or weight with a professional lens but still wants versatility in their equipment. Just don’t expect the VC to help you by four stops, stick with the 1/focal length rule and you’ll do fine.
Order this Lens
Tamron AF 18-270mm f/3.5-6.3 Di II VC PZD LD Aspherical IF Macro Zoom Lens for CANON DSLR Cameras
Examples
Below are a number of examples taken while on the road. Clicking an image will bring up a full size image which may be a large file. Actually, it WILL be a large file. Don’t forget to check out DXO Mark for more laboratory data. All images shot with a Canon 7D and are handheld unless noted.
ISO 100, 18mm, f/5.6, 1/640
ISO 100, 270mm, f/6.3, 1/125
ISO 100, 169mm, f/6.3, 1/1250
ISO 100, 130mm, f/5.6, 1/320
ISO 100, 85mm, f/5.6, 1/320
ISO 100, 270mm, f/7.1, 1/160
ISO 100, 33mm, f/5.6, 1/500
ISO 500, 246mm, f/5.6, 1/200
ISO 500, 246mm, f/6.3, 1/125
ISO 800, 200mm, f/6.3, 1/100
ISO 800, 18mm, f/22, .3 seconds (tripod used)
ISO 800, 110mm, f/7.1, 1/80
ISO 1250, 18mm, f/4.5, 1/25 (Tripod used)
ISO 500, 92mm, f/7.1, 1/320
ISO 250, 27mm, f/5.0, 1/60
ISO 100, 54mm, f/9.0, 1/400
ISO 400, 270mm, f/7.1, 2 seconds (Tripod used)
ISO 2500, 50mm, f/5.6, 1/80
ISO 2500, 59mm, f/5.0, 1/13
ISO 2500, 18mm, f/6.3, 1/5
ISO 2500, 18mm, f.8.0, .3 seconds
ISO 320, 54mm, f/6.3, 1/160
ISO 4000, 100mm, f/5.6, 1/8000
ISO 100, 100m, f/32, 1/8
ISO 100, 110mm, f/5.6, 1/80
ISO 100, 270mm, f/6.3, 1/200
ISO 100, 23mm, f/13, 1/100
ISO 100, 23mm, f/10, 1/400
ISO 100, 92mm, f/13, 1/640
ISO 100, 246mm, f/6.3, 1/25
ISO 100, 50mm, f/7.1, /3 seconds (Tripod used)
ISO 100, 18mm f/10, 1/160
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Tamron 18-270mm f/3.5-6.3 Di II VC Piezo Lens [REVIEW]
Canon PowerShot G1X Announced
Another new camera announced today comes from Canon – the Powershot G1X. This camera too comes with a larger CMOS sensor – however unlike many other cameras with larger sensors is an all in one camera with no interchangeable lenses.
Canon are billing it as an alliterative to a DSLR (or a 2nd camera for those with a DSLR who want something smaller) in that it has a higher quality image but in a portable body but I have to wonder whether the recent array of smaller interchangeable lenses are going to make people overlook this option – it’s definitely a statement that they’re not looking to head down that route with their larger sensor compact cameras.
The beauty of not having to include lens mounts means that they’re able to keep the size down, quality up and still have a pretty good focal range.
The Canon Powershot G1X comes with a 4x zoom (a 28-112mm equivalent) lens (f2.8-f.8) and a 14 megapixel sensor. It has a wide array of manual controls, optical viewfinder, ISO of 100-12800, 3 inch swivelling LCD and 4.5 frames per second shooting (and up to 6 frames).
The G1X has a retail price of $799.
Canon PowerShot G1X News Release
Canon today introduces the PowerShot G1 X – a revolutionary new compact camera with a large CMOS sensor, designed to produce DSLR levels of image quality and control in a highly portable metal body. Created for professional and serious photographers, the PowerShot G1 X creates a prestigious new category at the top of Canon’s legendary G-series line-up, and redefines the performance achievable from a compact camera.
A high-quality camera in its own right or the perfect complement to a professional DSLR, the PowerShot G1 X combines EOS sensor technology with DIGIC 5 processing power, a new precision Canon lens and extensive manual control – creating the finest compact camera Canon has ever produced. Designed to be highly portable, the PowerShot G1 X features a zoom lens which retracts into a discreet, robust metal body, providing photographers with an unimposing camera that delivers high quality images and superior handling.
Professional levels of image quality
Incorporating Canon-developed technologies and expertise trusted by professionals worldwide, the PowerShot G1 X offers a level of image quality previously only possible with a Canon DSLR.
It’s Canon’s first compact camera to feature a large, 4:3 aspect, 14.3 Megapixel CMOS sensor measuring 18.7mm x 14mm – similar in height to the APS-C sensors used within EOS DSLR models. Featuring the same pixel size and structure as the EOS 600D, and a surface area approximately 6.3 times larger than the sensor in the acclaimed PowerShot G12, it provides DSLR image quality in a body small enough to carry anywhere.
The increased sensor size allows photographers to have greater control over the depth of field, with increased potential to creatively and artistically isolate a subject from its background. Improved dynamic range enables users to accurately capture shadows and highlights within the same frame, while the 14.3 Megapixel resolution allows for the output of large-sized prints, or permits images to be cropped for more powerful compositions.
The PowerShot G1 X also features a range of benefits that result from the advanced CMOS sensor technology developed within Canon’s EOS range. On-chip noise reduction ensures images are clear, even at high ISO speeds, while a 4-channel read-out provides high speed image capture – ensuring fast, responsive performance in all conditions.
Combining the large sensor with the DIGIC 5 image processor, the HS System in the PowerShot G1 X sets new standards for low-light performance, with a maximum full resolution ISO range of 100 to 12800 – a level never before seen in a Canon compact. Photographers can shoot using the ambient light in even the darkest of conditions, capturing natural shots with incredible detail and low noise – providing a powerful basis for low-light photography.
Precision lens technology
Developed using the same design, manufacturing and quality processes as the world renowned EF lens range, the lens in the PowerShot G1 X is built to achieve professional levels of image quality. Utilising Ultra high refractive index Aspherical (UA) elements and precision glass moulding technology, the lens achieves both a compact size and pin-sharp clarity for the most discerning of photographers. The lens retracts compactly into the camera body while offering a flexible 4x optical zoom range of 28mm – 112mm, giving photographers the option to use the zoom creatively and change the framing and perspective of their shot. A 6 blade aperture also combines with the largesized sensor to produce beautiful background blur.
To help ensure optimum image and Full HD movie clarity, the lens features a 4-stop optical Image Stabilizer (IS), allowing photographers to shoot in darker conditions and use shutter speeds up to four stops slower than would be possible without IS. The optical Image Stabilizer is supported by Intelligent IS which analyses the focal length, focal distance and type of camera movement and applies the most appropriate Image Stabilizer mode1. For example, when a panning motion is detected, Panning IS is activated and stabilises in only one direction for more artistic capture of movement across the frame. Hybrid IS technology is also included to capture macro subjects without the blur associated with shift camera shake.
The lens also includes an in-built 3-stop Neutral Density (ND) Filter, permitting the use of wider apertures in bright light to achieve a shallower depth of field, or to use slower shutter speeds to intentionally blur motion.
Extensive control
Following on from the control historically offered by the PowerShot G-series, the PowerShot G1 X offers Full Manual Control with shooting mode and exposure compensation dials for quick and intuitive access to a range of settings. For maximum control over the final image, the PowerShot G1 X fits seamlessly into the EOS photographer’s workflow, supporting 14-bit RAW capture for smooth gradations and natural colours which can be fine-tuned using the supplied Digital Photo Professional (DPP) software.
Giving photographers the option to capture split-second action, the PowerShot G1 X features High-speed Burst HQ, capturing bursts of six full-resolution shots at 4.5fps to freeze fast-moving action. Alternatively, users can shoot continuously at 1.9fps right up to card capacity in JPEG format – ensuring longer sequences of action are captured.
High quality, Full HD movies
The PowerShot G1 X supports Full HD (1080p) movie capture instantly at 24fps, via a dedicated movie button. Taking advantage of the camera’s large CMOS sensor, users can experience high quality movies, even in low light conditions, with the shallow depth of field associated with a larger sensor. Additionally, the 4x optical zoom can be used whilst filming, offering versatility, while stereo sound is also captured.
Professional handling
With its robust, stainless steel chassis and compact design, the PowerShot G1 X offers professional-quality handling. A large vari-angle, 7.5cm (3.0″) PureColor II VA LCD screen allows photographers to shoot from virtually any angle or position, to get the composition they desire. The bright, high-resolution, 920k dot LCD provides a sharp, detailed platform for image framing and review, while an optical viewfinder (OVF) with dioptre adjuster gives photographers the option to shoot according to their individual style. A newly-integrated manual pop-up flash provides the option to add additional light to a scene, and, using the hotshoe, external Canon Speedlite flashes can also be used.
Advanced shooting modes
A range of advanced shooting modes are provided to assist photographers in capturing challenging scenes and situations. When shooting in very dark conditions without a tripod for example, Handheld Night Scene captures a high-speed sequence of shots, combining the data to produce one well-exposed image with minimal blur.
Additionally, High Dynamic Range (HDR) mode captures scenes with a particularly high range of bright and dark tones, taking multiple exposures and combining them to deliver rich detail in shadows and highlights.
Expanded potential through accessories
Ideal for EOS DSLR users, the PowerShot G1 X is compatible with a range of EOS System accessories, allowing photographers to instantly expand the potential of the camera. Canon’s EX Speedlite flash units can be used for creative lighting, while the WP-DC44 waterproof case provides protection to a depth of 40m – ideal for shooting in the heavy rain or taking shots underwater – with full access to all controls.
An optional lens Filter Adapter, FA-DC58C, also enables photographers to use a range of filters, such as a circular polariser to enhance blue skies or remove reflections. For more even lighting when shooting macro subjects, a Macro Ring Lite adapter (MLA-DC1) allows Canon’s Macro Ring Lite or Twin Lite flash units from the EOS System to be used.
Offering truly advanced levels of professional control alongside unprecedented image quality, the PowerShot G1 X is the ideal camera for professional and serious photographers who demand DSLR flexibility and quality from a compact camera.
PowerShot G1 X – key features:
- Large 14.3 MP CMOS, DIGIC 5, HS System
- Compact 4x zoom; Intelligent IS
- 7.5 cm (3.0″) vari-angle LCD; OVF
- Full Manual, RAW, DPP
- Full HD, HDMI
- High-speed Burst HQ
- Smart Auto
- Extensive accessories
- HDR mode and ND filter
- Optional 40m waterproof case
Post originally from: Digital Photography Tips.
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