Say the word “telephoto” and many shooters automatically think “Oh, telephotos bring things closer.” Now while this is true—particularly in the mind’s eye of newbies to the sport—the imaging abilities of telephoto lenses go well beyond “bringing things closer.”
Nikon as announced firmware upgrades that will correct certain glitches for its 10-30mm f/3.5-5.6, 30-100mm f/3.8-5.6, and 10-100mm f/4.5-5.6 Nikkor 1-series zoom lenses.
One of the broadest categories of lenses we sell at B&H is wide and extra-wide-angle lenses. As for defining the parameters of wide and ultra wide, the safest definition of a standard wide-angle lens would be a lens with an angle of view between 62° and 84°.
With all of the technological advancements in the world of autofocus—both in relation to the lenses themselves as well as camera’s AF features—manual focus lenses have also gained popularity recently for a number of reasons.
With few exceptions, a camera with a ten-to-twelve power, wide angle to telephoto zoom lens should be more than enough optical coverage to satisfy anyone’s needs. As for the specifics, we’re talking about a zoom lens with an angle-of-view range of about 74° to 8°.
There’s a sea of iPhone accessories available, but how many of them end up in the hands of people who love photography, video and pro audio? The right iPhone accessory could prove to be the ultimate holiday gift.
The number of fast, wide-aperture prime optics we carry at B&H has grown over the past year, and in a world that has become increasingly populated by slower, variable aperture zooms, this is encouraging news.
There’s something rather thrilling about being able to examine something up close, and it can be anything, a common object or otherwise. If it’s in print form, so much the better, because when viewing prints—especially larger prints—you don’t have to squint through a viewfinder to see it.
If you've ever flown over the Grand Canyon or Rocky mountains at 35,000 feet, you already know how humbling and enlightening this experience can be. Tall mountains appear small, almost flush to the plains leading up to them.
Canon Inc. and Canon U.S.A., Inc. today raised the curtain on an all-new interchangeable-lens digital cinema camera that combines exceptional imaging performance with outstanding mobility and expandability to meet the demanding production needs of today's motion picture industry.
If you currently own a Leica S2 and have been hankering for a wide-angle lens with an angle of view of 84°, Leica has answered your prayers. The newly announced Leica 30mm f/2.8 Elmarit-S ASPH enables you to capture imagery with the depth and drama of a 24mm (35mm equivalent) lens, using your Leica S2.
Now that manufacturers have automated focus, exposure and stabilization, what’s left? How about not having to frame your subject with your video camera, yet still being able to capture all the action 360° around you?
Deciding what to include and what not to include in your camera bag when planning a trip is part art, part science and part ego. The ego part comes into play when you insist on taking a 500mm f/4 lens along with you, despite the fact you know it's far too heavy to drag around all day.
With the exception of the filters used for black-and-white photography (see the article Black & White Landscape Photography) the numbers of filters used for capturing color landscapes are few, mostly due to the fact that, in digital imaging, many white balance and filter effects can be addressed in camera.
Photographing cityscapes is like shooting landscapes… only more so. I say this because cityscapes consist of hundreds of buildings that qualify as skyscrapers. New York City, which for the record has more buildings than any other city on the planet, has more than 5,500 high-rise buildings.
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Say the word “telephoto” and many shooters automatically think “Oh, telephotos bring things closer.” Now while this is true—particularly in the mind’s eye of newbies to the sport—the imaging abilities of telephoto lenses go well beyond “bringing things closer.”
Nikon as announced firmware upgrades that will correct certain glitches for its 10-30mm f/3.5-5.6, 30-100mm f/3.8-5.6, and 10-100mm f/4.5-5.6 Nikkor 1-series zoom lenses. 
One of the broadest categories of lenses we sell at B&H is wide and extra-wide-angle lenses. As for defining the parameters of wide and ultra wide, the safest definition of a standard wide-angle lens would be a lens with an angle of view between 62° and 84°.
With all of the technological advancements in the world of autofocus—both in relation to the lenses themselves as well as camera’s AF features—manual focus lenses have also gained popularity recently for a number of reasons.
With few exceptions, a camera with a ten-to-twelve power, wide angle to telephoto zoom lens should be more than enough optical coverage to satisfy anyone’s needs. As for the specifics, we’re talking about a zoom lens with an angle-of-view range of about 74° to 8°.
There’s a sea of iPhone accessories available, but how many of them end up in the hands of people who love photography, video and pro audio? The right iPhone accessory could prove to be the ultimate holiday gift. 
The number of fast, wide-aperture prime optics we carry at B&H has grown over the past year, and in a world that has become increasingly populated by slower, variable aperture zooms, this is encouraging news.
There’s something rather thrilling about being able to examine something up close, and it can be anything, a common object or otherwise. If it’s in print form, so much the better, because when viewing prints—especially larger prints—you don’t have to squint through a viewfinder to see it.
If you've ever flown over the Grand Canyon or Rocky mountains at 35,000 feet, you already know how humbling and enlightening this experience can be. Tall mountains appear small, almost flush to the plains leading up to them. 
Canon Inc. and Canon U.S.A., Inc. today raised the curtain on an all-new interchangeable-lens digital cinema camera that combines exceptional imaging performance with outstanding mobility and expandability to meet the demanding production needs of today's motion picture industry.
If you currently own a Leica S2 and have been hankering for a wide-angle lens with an angle of view of 84°, Leica has answered your prayers. The newly announced Leica 30mm f/2.8 Elmarit-S ASPH enables you to capture imagery with the depth and drama of a 24mm (35mm equivalent) lens, using your Leica S2.
Now that manufacturers have automated focus, exposure and stabilization, what’s left? How about not having to frame your subject with your video camera, yet still being able to capture all the action 360° around you?
Deciding what to include and what not to include in your camera bag when planning a trip is part art, part science and part ego. The ego part comes into play when you insist on taking a 500mm f/4 lens along with you, despite the fact you know it's far too heavy to drag around all day.
With the exception of the filters used for black-and-white photography (see the article Black & White Landscape Photography) the numbers of filters used for capturing color landscapes are few, mostly due to the fact that, in digital imaging, many white balance and filter effects can be addressed in camera.
Photographing cityscapes is like shooting landscapes… only more so. I say this because cityscapes consist of hundreds of buildings that qualify as skyscrapers. New York City, which for the record has more buildings than any other city on the planet, has more than 5,500 high-rise buildings.
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