Sometimes your favorite lens just won't get you what you need, and that's where Lensbaby and LEE Filters come in handy. Lensbaby produces specialty selective-focus lenses. There is a wide selection of nice optics, like the Edge 80 and Sweet 35, which work perfectly with the Composer. I must say that seeing them in action is pretty cool, but they take some getting used to. It's not every day you have access to these effects, unless you own a Lensbaby.
Recently in the news: Nikon announced new telephoto and wide-angle zoom lenses, as well as seven new Coolpix Cameras; Canon unveiled three new PowerShots; Fujifilm adds to the FinePix line; NAMM 2013 brought a host of new audio-gear announcements, and more!
This is your B&H Photo Pulse News Roundup for February 1st, 2013. Be sure to follow us on Twitter for the latest news as it breaks.
Photography with a 35mm camera used to be a relatively simple affair. Camera bodies seemed as steadfast and unchanging as your grandma's hairstyle, and there seemed little reason or need to constantly upgrade your equipment. Sure, there was always the latest and greatest camera innovation, but there wasn’t always a 'need' to change. Film choice had more of an impact, in my opinion, than did your actual camera equipment. One's personal artistic vision was more important than the actual camera used. Today, although these general tenets of photography and equipment still exist, gear does play an ever-increasing role of importance in the final output.
A funny thing happened as photographic technology became better and better: lenses got smarter, but photographers?—not necessarily.
Yes, modern lenses are ultra-sharp and super-contrasty, they focus automatically, and undesirable artifacts like chromatic aberration and barrel distortion have improved. However, autofocus technology has brought three critical changes that serious photographers need to consider carefully when they choose their lenses, because they can be a hindrance to thoughtful photography if not used carefully.
Editor's Note: This is a guest blogpost by Brian Dilg of NYFA. For more educational resources, you can check out lots of their classes.
I'd been saving for months and months, which seemed like a lifetime, and I didn’t even have a driver’s license yet. I’d given my savings to my dad to pick it up early that day. I sat in class, and the clock seemed to be going in reverse. I had a volleyball tournament after school, but I hoped my dad would show up before the whistle. The match started, then the second game, and then the third, yet I didn’t see him. Then, in the fourth game I saw him come in with a brown paper bag, and take a seat next to Sharon. That just killed me—not sitting next to Sharon—but knowing that in that bag was basically my life's savings. Wouldn’t you know it? We tied up the match and went into overtime. That I was spiking with all my might goes without saying. Finally, with the last serve, an ace, the match was over, and before anything else, I ran over to the bleachers. He handed me the paper bag with a big smile. I opened it, and inside I saw that brand new Minolta 200 f4 lens I’d been saving so long for. I was in love!
Editor's Note: This is a guest blog post from Moose Peterson
I was reading a forum post by someone, who said, "I prefer prime lenses, and would rather zoom with my feet." I also read a blog post by someone that was comparing lenses of two different focal lengths, and they said, "If I want a wider angle, I'll just back up." Now, of course we've heard these references to "zooming with our feet" for years, but does it really work? We'll explore that in today's blog post.
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