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°.
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.
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.
Panasonic has added a trio of new guns: a Lumix G 14mm/2.5 ASPH wide-angle, a Lumix G Vario 100-300mm/f4-5.6 OIS super zoom and most intriguing of the three, a "two-eyed" Lumix G 12.5mm/f12.5 3D lens designed to capture 3D imagery when used with Panasonic Lumix G series cameras.
For photojournalists, wedding photographers and others who often find themselves shooting stills or video under less than desirable lighting conditions, the new Nikkor AF-S 35mm f/1.4G completes the trifecta of Nikkor high-speed hotties that include Nikon's previously released AF-S 85mm f/1.4G and AF-S 24mm f/1.4G.
In the right hands, ultra wide-angle lenses can produce awesome images. They can also be awsomely expensive, especially the ones made by the same company that made your camera. If this rings true for you, take a look at Vivitar's Series 1 13mm f/2.8 Aspheric Super Wide lens.
Even though fast super-telephoto lenses are known to be notoriously heavy, the new Canon EF 400mm/f/2.8 IS II USM, even at 8.49 lb, is more than 28% lighter than its predecessor, making it one of the lightest in it's class.
According to Canon, the new Canon EF 300mm f/2.8L IS II USM is 8% lighter and measurably faster than its predecessor, with improved image-stabilization characteristics, which should capture the attention of sports and action shooters alike.
For shooting on the ultra-wide side, Canon has announced the Canon EF 8–15mm/4L Fisheye USM, a rather unique lens in the sense that the wide end of its zoom range produces a circular 180-degree true fisheye image when used on a full-frame DSLR, and a full-field rectangular 180-degree fisheye image when used on a compact (APS-C format) DSLR.
I've long been a big fan of wide-angle lenses, so I was really pleased when David Edelstein (our intrepid Nikon sales muckety-muck) dropped off one of the 1st production samples of Nikon's latest ultra-wide zoom lens, the AF-S Nikkor 16-35mm f/4G ED VR.
Canon shooters—APS-C format and full-frame DSLRs alike—seeking a fast (f/2.8), well corrected (two FLD and three SLD elements), short-to-midrange tele zoom might want to have a look-see at the pro-quality attributes of the new Sigma 70–200mm f/2.8 EX DG OS HSM zoom lens.
You won’t see very far with your telescope without an eyepiece through which to gaze. Eyepieces for telescopes come in many different designs to fit many different budgets. They are made with a variety of specs, which include apparent field of view, eye relief (measured in millimeters) and focal length.
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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°.
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. 
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.
Panasonic has added a trio of new guns: a Lumix G 14mm/2.5 ASPH wide-angle, a Lumix G Vario 100-300mm/f4-5.6 OIS super zoom and most intriguing of the three, a "two-eyed" Lumix G 12.5mm/f12.5 3D lens designed to capture 3D imagery when used with Panasonic Lumix G series cameras.
For photojournalists, wedding photographers and others who often find themselves shooting stills or video under less than desirable lighting conditions, the new Nikkor AF-S 35mm f/1.4G completes the trifecta of Nikkor high-speed hotties that include Nikon's previously released AF-S 85mm f/1.4G and AF-S 24mm f/1.4G.
In the right hands, ultra wide-angle lenses can produce awesome images. They can also be awsomely expensive, especially the ones made by the same company that made your camera. If this rings true for you, take a look at Vivitar's Series 1 13mm f/2.8 Aspheric Super Wide lens.
Even though fast super-telephoto lenses are known to be notoriously heavy, the new Canon EF 400mm/f/2.8 IS II USM, even at 8.49 lb, is more than 28% lighter than its predecessor, making it one of the lightest in it's class.
According to Canon, the new Canon EF 300mm f/2.8L IS II USM is 8% lighter and measurably faster than its predecessor, with improved image-stabilization characteristics, which should capture the attention of sports and action shooters alike.
For shooting on the ultra-wide side, Canon has announced the Canon EF 8–15mm/4L Fisheye USM, a rather unique lens in the sense that the wide end of its zoom range produces a circular 180-degree true fisheye image when used on a full-frame DSLR, and a full-field rectangular 180-degree fisheye image when used on a compact (APS-C format) DSLR.
I've long been a big fan of wide-angle lenses, so I was really pleased when David Edelstein (our intrepid Nikon sales muckety-muck) dropped off one of the 1st production samples of Nikon's latest ultra-wide zoom lens, the AF-S Nikkor 16-35mm f/4G ED VR.
Canon shooters—APS-C format and full-frame DSLRs alike—seeking a fast (f/2.8), well corrected (two FLD and three SLD elements), short-to-midrange tele zoom might want to have a look-see at the pro-quality attributes of the new 
You won’t see very far with your telescope without an eyepiece through which to gaze. Eyepieces for telescopes come in many different designs to fit many different budgets. They are made with a variety of specs, which include apparent field of view, eye relief (measured in millimeters) and focal length.
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