One of the more interesting VDSLR-related sidebar stories has been the "rediscovery" of manual-focus lenses among VDSLR shooters. Most manufacturers long ago pulled the plug on manual focus lens R&D in order to concentrate their energies into improving AF technologies. And then video came along and lo and behold, all of these AF speed queens turned out to be less than ideal, not to mention too noisy, for shooting anything other than stills.
With the advent of full frame D-SLRs a few years ago many pros and amateurs alike were excited to be able to go back to the familiar "35mm" perspective and focal lengths on their lenses. Long limited by technology to APS-C size (about 2/3 the size of 35mm) sensors digital was finally able to go toe to toe with film. But the initial cameras cost nearly $8,000, putting them out of the range of most photographers. But the newest crop of full frame models have brought the costs down to a fraction of that. So should you go back to full frame with your next camera purchase? We'll take a look at some of the models and pros and cons...
Photography provides the perfect excuse for enjoying sumptuous, delectable meals without remorse. The joy of sampling local delicacies while traveling is a great reason for dismissing your stringent diet. After all, passing up French cheese in Paris or Teppanyaki in Japan would be unjust and wrong.
If you own a Canon or Nikon APS-C format compact DSLR and you're looking for a reasonably-priced, fast wide-to-short-telephoto lens to go along with your camera, you should take a look at the Sigma 17-50mm/f2.8 EX DC OS HSM zoom lens.
There's no shortage of lens adapters out on the market, designed to adapt still-camera lenses for use on video camcorders and film cameras, and some are better than others. Adaptimax is one of the better ones. Engineered and manufactured of anodized aluminum alloy with chrome-plated brass lens mounts, Adaptimax lens adapters are designed for precise optical alignment of Nikon and Canon lenses on select video camcorders.
I love little babies, but photographing them can be challenging. I also love a challenge. Surmounting this challenge starts with my camera and lighting equipment. I use a Nikon D3s and 24-70mm Nikkor lens. I'm usually hovering right over the baby, so I prefer a shorter lens.
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.
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