Coming off the heels of an exciting year of lens announcements from Sigma, they have started 2014 with two more notable lens announcements as part of the Art and Contemporary lines of their Global Vision structure: the 50mm f/1.4 DG HSM and the 18-200mm f/3.5-6.3 DC Macro OS HSM.
Editor's Note: this post was written by Bjorn Petersen
When it's time to buy new gear, we usually need to seek out options that offer the best bang for the buck. In the process of doing so, we're forced to suppress our deep desire for the gear that provides the loudest bang. We've rounded up of some highest-ticket items sold at the B&H SuperStore, so we could fantasize about clicking the Checkout button with the confidence of a newly-minted billionaire.
Sigma recently announced a bunch of compelling new products, and we had the opportunity to chat with company representitive Jared Ivy about our favorites. In this video, we take a look at the new 18-35mm f/1.8 lens, the world's first f/1.8 constant-aperture zoom. We also learn some interesting tidbits about the Sigma USB Dock for lenses, and we get a first look at the new 24-105 f/4 optically-stabilized zoom.
Continuing our discussion of the year's most interesting lenses, let's revisit those exciting announcements as they pertain to digital SLRs. In 2008 we had PMA, Photokina and PhotoPlus - the trifecta of photographic expositions. These shows brought forth a plethora of delectable tools for both the serious and budding photographer. The following overview is in reverse-alphabetical order (as a change) so we begin with Sony.
In the right hands, almost any lens—including a fisheye lens—can be used for portraiture. Wide angle, normal, even super-telephoto lenses can be used successfully for portrait work. But if you had to narrow them down to select an optimal focal length for shooting portraits, it would have to be a lens in the range of 85 to 105mm.
When director Rick Mowat needed a quick and inexpensive solution for staging a play that involved multiple street locations and a hospital room, he turned to New York City photographer Stephen Andrus and a Panasonic projector. The nearly carpentry- and paint-free production of the new drama, Coda (For Freddie Blue) by Fred Crecca, can be seen June 10 - 13 at the Puerto Rican Traveling Theater, 340 W. 47 St.
While there may not ever be a "perfect" lens, there has long been a need for a one-lens solution for shooters who want to head out the door with one camera and one lens over their shoulder. The reasons vary. For some it's a matter of convenience. For some, it's a matter of pure laziness and for others it's the fear of getting dust on the sensor. For frequent flyers it's a matter of logistics, i.e., there's a limit to how much airlines allow you to carry aboard the plane (almost all of these lenses are surprisingly compact).
For many DSLR owners, there comes a time when one wants to go beyond the kit lens that came with the camera. The reasons vary. For some it's a matter of sharpness. For others it's a matter of speed and/or focal-length restrictions. And for some it's simply the fact they don't like the ''icky" feel of a plastic lens barrel, regardless of how sharp the lens may or may not be.
Regardless of the focal length of your favorite lens, I'd venture to say you've been in situations where you've tried to focus in tight on your subject and inevitably hit the wall—the minimum focus point of your lens. Sure you can crop, but in a perfect world it would be swell if each of our lenses would focus as close to our subjects as our mind's eye focuses. Alas, the world isn't perfect... but we do have macro lenses.