The Tamron SP 24-70mm f/2.8 Di VC USD lens for Canon EF mount is a well-performing wide angle to short telephoto zoom lens with a fast maximum aperture. This lens’ focal length of 24-70mm on a full-frame sensor is suitable for most general shooting situations, and with the built-in VC vibration compensation system, it is ideal for low-light shooting.
Designed and built for a wide variety of situations, the new Panasonic Lumix G X Vario 12-35mm F2.8 ASPH / POWER O.I.S. Lens offers a very popular zoom range of 12-35mm on Micro Four Thirds cameras (24-70mm in 35mm equivalent format).
Two new lenses from Sony have hit the market: The A-mount SAL18135 18-135mm and the E-mount SEL-18200LE 18-200mm zoom lenses, the former with a maximum aperture of f/3.5-5.6, the latter with a maximum of f/3.5-6.3.
Leica has always been at the forefront of the camera industry in regard to design and performance. Its unequaled combination of German design and precision with regard to imaging quality illustrates how it continuously pushes boundaries in a refined and respectable manner.
So, you’ve got yourself an iPhone, and now you want to know how to get better images and video with it. Luckily for you, Action Life Media (ALM), a manufacturer of iPhone accessories, makes a couple of rigs designed to do just that.
Further aligning itself with the needs of independent filmmakers, Zeiss announced at NAB two interchangeable-mount additions to its Compact Prime CP.2 family of cine primes. Joining one end of the lineup is a super-wide Distagon 15/T2.9, and complementing the other end is a Sonnar 135/T2.1 telephoto.
Filling a void in Nikon’s current autofocus FX-format lens lineup, the AF-S NIKKOR 28mm f/1.8G is a general wide-angle lens with a fast maximum aperture. This fixed prime lens is ideal for almost any situation, providing a 75° angle of view (on full-frame sensors) that isn’t too wide or too narrow for most applications.
Upgrading its previous DC series telephoto lens this week, Sigma is releasing the APO 50-150mm f/2.8 EX DC OS HSM telephoto lens in Canon’s EF mount, with Nikon and Sigma mount versions to follow in early May.
The recently announced Pentax SMC DA 645 25mm f/4 AL (IF) SDM AW lens is a highly attractive optic that fills the previous void for a wide-angle lens that can be used with the Pentax 645D camera system.
Zeiss’s new Distagon T* 2.8/15 combines two aspherical lenses and five special glass elements to correct extraordinarily for chromatic aberration and distortion. Since distortion is inherent to lenses of this focal length, this reduction provides a noticeable difference from past designs and sets a new standard for super-wide lenses.
Ricoh has just announced a new camera unit, or module, for its GXR digital camera system. The Ricoh Lens A16 24-85mm f/3.5-5.5 camera unit 5 provides yet another option in the continuously expanding Ricoh GXR digital camera system.
Along with fast reflexes and the ability to keep a half step ahead of the action, sports and nature photographers depend heavily on the flexibility and performance of their gear. If you’re a Sony shooter with a penchant for sports and nature photography, you’ll be interested in Sony’s new SAL 500mm f/4.0G, an A-mount super-telephoto that according to the specs and features is quite a hunk of glass.
Ask any serious Nikon, Canon or Sony DSLR owner which of their zooms is their favorite and chances are it will be their 24-70mm f/2.8, a lens that makes easy work out of shooting fast in tight environments.
Sometimes technology gets in the way of quality. For example, the finest wristwatches made today are self-winding units with jewels used as pivot points. They’re mechanical works of art assembled by hand, and you won’t find a battery or quartz crystal inside any of them.