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Elowah Falls

Thu, 18 Feb 2010 18:04:43 GMT

7) The Super Zoom Lens for Canon EF-S

Sat, 13 Feb 2010 19:27:12 GMT

THE SUPER ZOOM OPTION FOR CANON EF-S

The All-In-One Super Zoom Lens Option
The main reason for purchasing a DSLR is the ability to switch lenses in order to obtain maximum image quality, which brings the concept of super zoom lenses into question. If you really want a do-it-all super zoom lens then maybe a DSLR is not the best way to go. Check out Super Zoom Point and Shoot cameras such as Canon's PowerShot SX1 IS. They are less expensive, smaller, lighter and offer similar if not better performance (with the exception of high-ISO). However, if you really want/need a one lens do-it-all solution then these are your best options:

1) Canon 18-200 f/3.5-5.6 16 (29-320mm): $595
Every lens in this category provides a huge zoom range but seriously compromised image quality, whether Canon, Tamron or Sigma. The Canon seems to be the least compromised of the lot but also offers a slightly shorter zoom range, just keep in the mind that many of the super zooms completely fall apart beyond 200mm so they are of limited value.

2) Tamron 18-270 f/3.5-6.3 VC (29-432mm): $550
Amazingly compact for such a monstrous zoom range. The Canon provides slightly better optical quality and better autofocus performance but if you must have that extra not-so-sharp 70mm of zoom then this is the way to go.

3) Canon 24-105 f/4L IS (38-168mm): $1,059
While hardly a super zoom it is closest you can get to having normal focal length and longer telephoto focal length in one lens without compromising image quality. Ideally you would couple this lens with a Canon 10-22 for ultra wide angle.

4) Canon 28-300 f/3.5-5.6L IS (45-480mm): $2,420
The cost, size, weight and push-pull zoom action of this lens are huge compromises but this is the only true super zoom that offers good image quality. The money spent on this single lens could get your 2-4 separate lenses that as a whole provide superior image quality through the same zoom range.

The Two Zoom Lens Option
If you can handle carrying and switching two lenses then you will get much better results over the single super zoom lens. Here are your best options:

1) Canon 70-200 f/4L IS (112-320mm): $1,210
The best tele zoom made by anyone. You will be most happy and impressed by this lens. There two downsides to this lens, the cost and the fact that it does not cover the wide to standard focal length, so you will need at least two lenses. Coupled with the 17-55 f/2.8 IS for $1,060 you have the best optics produced by any manufacturer on crop sensor DSLR!

2) Canon 70-300 f/4-5.6 IS (112-480mm): $550
Not as good in all regards as the 70-200 version, although, it costs less and offers a lot more reach at the long end. Once again, you will need to purchase and carry another lens to cover the wide and standard focal lengths. Consider keeping the 18-55 f/3.5-5.6 IS kit lens or stepping up to either the 15-85 f/3.5-5.6 IS for $720 or 17-55 f/2.8 IS for $1,060.

3) Canon 55-250 f/4-5.6 IS (80-400mm): $255
Another step down in quality but also price. This lens is super cheap, compact, light weight and a very good performer considering the above three points. Once again, you will need to purchase and carry another lens to cover the wide and standard focal lengths. Consider keeping the 18-55 f/3.5-5.6 IS kit lens that came with your DSLR, as it offers similar cost, size, weight and performance characteristics/advantages as the 55-250. This combination beats any of the super zoom lenses for image quality and also costs less.

6) Upgrading your Canon or Nikon 18-55 kit lens

Fri, 05 Feb 2010 17:52:00 GMT

UPGRADING YOUR NIKON OR CANON 18-55 KIT LENS

1) Fast Prime: Nikon 35 f/1.8 or Nikon 50 f/18, Canon 35 f/2 or Canon 50 f/1.8
This is a fixed focal length lens, otherwise known as a prime lens. Prime lenses do not zoom. The reason for purchasing this lens is that it provides a much larger aperture compared to the kit zoom lens and for that matter any other zoom lens available.

Lets talk about the name of these lenses, for instance the 35 f/1.8. The first "35" number indicates the focal length, which is the angle of view that you see when looking through the camera's view finder. All entry level (below $2,500) DSLR have crop sensors to save cost on fabricating the sensor and on the glass use on dedicated crop sensor lenses. Focal length on crop sensor cameras is a bit more complicated than on full frame cameras because the smaller sensor essentially "sees" into the center portion of the total image that the lens projects back into the camera. Nikon cameras are 1.5x crop and Canon's are 1.6x crop, meaning that the 35mm lens sees 35mm but your camera only sees 52.5mm (35mm x 1.5 = 52.5mm). So whenever you put a lens on your camera you need to multiple it by 1.5 for Nikon and 1.6 for Canon to understand the focal length that it will produce.

The "normal" focal length is 50mm, which is approximately what the human eye sees without using one's unconscious peripheral vision. Any focal length number smaller than 50mm is considered wide angle, while any focal length number larger than 50mm is considered telephoto. This means that the Nikon 35 f/1.8 would provide a "normal" view of 52.5mm on your crop sensor camera. So this is a very good lens to get because you do not have to "train" your eye to see wider or tighter shots than normal.

Now the second part of the 35 f/1.8 name, the "f/1.8" portion. The number after the "f/" signifies the lens's maximum aperture opening size. The SMALLER the number after the "f/" the LARGER the aperture opening. Do you get that, it is an inverse relationship! The larger the aperture opening the more light the lens lets into the camera. The more light you let into the camera the faster the shutter speed the camera will produce in any given lighting condition. Can you imagine how this would be helpful in low-light conditions, such as shooting indoors or at night?

Since these large aperture lenses produce faster shutter speeds in low-light conditions they are called "fast" lenses. The main benefit of faster shutter speeds in low-light conditions is that it prevents the normal shaking of your camera rom causing the subject in your image to look blurry. Faster shutter speeds also prevent the subject from blurring as a result of their motion.

In addition to speeding up the camera's shutter speed, large apertures also provide shallower depth-of-field, which is the distance between in-focus and out-of-focus. The larger the aperture the smaller the depth-of-field and the more the in-focus subject "pops" out from the out-of-focus background. This is a highly desirable look for portraits.

So why would you purchase a 35 f/1.8 or any of the fast prime lenses listed above? For all the reasons we just reviewed: 1) it captures images in low-light conditions without camera shake or subject motion blur, and 2) when taking portraits it renders a beautifully blurred background to highlight your sharp and in-focus subject.

A quick note about Nikon's affordable 50 f/1.8 fast prime. Like Canon's 50 f/1.8 this lens only costs $100 but unlike Canon's it cannot be used on Nikon's entry level and affordable DSLRs. You need a D80, D90, D200, D300 or D300s to use this lens, and unfortunately none of those camera bodies are affordable. Nikon cut their costs by leaving out an in-body AF motor, which means you have to get the more expensive 35 f/1.8 or the much, much more expensive 50 f/1.4. It is unfortunate that Nikon did this but luckily the 35 f/1.8 is a great lens, even at twice the price.

2) General Purpose Fast Zoom: Tamron 17-50 f/2.8 for Nikon or Canon, Canon 17-55 f/2.8 IS
So now that you understand how to interpret lens names, what can you tell me about these lenses? First that the focal length is not fixed but has a range from 17mm to 50mm or 55mm, and to understand what this range will look like on your camera you need to multiple by 1.5 or 1.6 (17mm x 1.5 = 25.5mm and 50mm x 1.5 = 75mm), so for example the Tamron lens really "sees" from 25.5mm to 75mm on a Nikon body. That is a very useful range in that you see quite a bit wider than the normal 50mm and quite a bit tighter than the normal 50mm. This zoom range is similar to the kit lens, so you should have a good idea of the what that zoom range "looks" like.

The big difference between these fast zoom lenses and the kit lens is signified by the "f/2.8" part of the lens name. This means that the lens has a maximum aperture of f/2.8. Now this is a smaller or slower aperture as compared to the 35 f/1.8 prime as discussed above but it is still considerably larger and faster than your current zoom lens. With this lens you get the best of both worlds, the versatility of a zoom with the faster aperture for less camera shake and better portraits. You should get on of the Fast Primes in option 1 above because they perform even better in low-light and offer even more subject pop from shallow depth-of-field.

With Canon's 17-55 f/2.8 IS you get the best general purpose zoom currently made for either a crop sensor camera or a full frame camera. It is insanely sharp throughout the zoom and aperture range, plus has image stabilization, a feature I discuss in the next section. This lens isn't cheap but it offer uncompromising quality.

3) General Purpose Daylight Zoom: Nikon 18-105 f/3.5-5.6 VR, Canon 15-85 f/3.5-5.6 IS
Okay here's last lens upgrade type. Now what can you tell me about these lenses, why would you want this lens over the others? The lens has significantly more zoom range on the telephoto end. This allows you to get "closer" to your subject while making the "view" much tighter. Now what's the obvious trade-off of this increased zoom range? The "f/f3.5-5.6" is a much larger number, which means you have less light available for faster shutter speeds that reduces camera shake and subject motion blur. We will talk about how the "VR" portion of this lens eliminates the camera shake problem in a bit. Back to the aperture f/3.5-5.6 discussion. The other thing you will notice is that the aperture designation f/3.5-5.6 isn't just a single number but a range, similar to the zoom range. This means that the maximum possible aperture changes or reduces as you zoom. So at the long 105mm end of the zoom range the maximum aperture is only f/5.6, which is very small and slow.

Now lets discuss what the "VR" and "IS" designation means. VR stands for "Vibration Reduction" and IS stands for "image stabilization", a very useful feature that eliminates camera shake that results form long or slow shutter speeds. The VR/IS feature does nothing to help any subject motion blur that may occur from slower shutter speeds. One other fact that I would like to introduce, is that the longer the focal length the more camera shake will effect the photo. Think about this, it makes perfect sense. If you magnify an image in a microscope very small movements of the slide or slide contents result in huge movements in your magnified view. Right? Same principle here. The rule-of-thumb is that you need a shutter speed at least equal to the focal length, but double is preferable. Of course you need to use the actual focal length, such as 105mm x 1.5 = 157.5mm, so at this focal length you need at least 1/157 second to be free of camera shake, that is without VR/IS. With VR/IS you can cut it in half.

So why would you get this slower f/3.5-5.6 lens in the first place? The intended purpose of this lens is for outdoor and daytime photography. This is the best hiking and travel lens, especially when couple with any of the Fast Primes list above in option 1 for low-light and evening photography.

Final Recommendations
There would be nothing wrong with having all three lenses and even more for that matter! However, budgets are limited so you probably only want to purchase and use one or two lenses:

Option 1: Keep your current kit lens for general outdoor/daylight use and purchase the a Fast Prime from Option 1 above for low-light and portrait use. This is the lowest cost option and allows you to upgrade your kit lens in the future.

Option 2: You could replace your current kit lens with a General Purpose Fast Zoom from option 2 above for improvements in both general outdoor/daylight use and low-light/portrait use. Go with this option if you don't want to switch lenses and you don't mind having less than the ideal set up for each of the two types of photography discussed in this posting.

Option 3: You could replace your current kit lens with a General Purpose Daylight Zoom from option 3 above for improvements in general outdoor/daylight use and purchase a Fast Prime from Option 1 above for low-light and portrait use. This option will cost the most but provide you with the best performance for the two types of photography discussed in this posting.

Example of intentionally uncorrected images

Mon, 11 Jan 2010 18:58:31 GMT

8) Best Canon Fast Prime Lens

Sat, 09 Jan 2010 19:14:36 GMT

Prime Comparison for Lowlight and Shallow DOF Candids/Portraits

35f/1.4L vs 50 f/1.4 vs Sigma 50 f/1.4 vs 85 f/1.8 vs 85 f/1.2L II vs 100f/2.8 vs 100 f/2.8L IS vs 135 f/2L (200 f/2L IS offers the bestperformance but has not been included as a result of costconsiderations and long focal length)

Each lens excels for a particular use. So there is no clear "best" choice but only well defined photography needs:

1)Low light: There are two factors to address, camera shake and subjectmotion blur. IS or wider focal lengths will take care of camera shake.Larger apertures and higher ISO will take care of subject motion blur.Unfortunately, IS is only available on the relatively slow 100 f/2.8 LIS macro. So the best low light lenses are the wider/faster lenses,such as the 24 f/1.4L II, 35 f/1.4L, 50 f/1.2L and 85 f/1.2L II.

2)Bokeh: So many factors at play here, such as the maximum aperture,centre performance of the lens at wide apertures, focal length anddistance to subject. The 85 f/1.2L II has the largest apertureavailable for the shallowest depth-of-field and background blur even atthe comparably wider focal length. The 100 f/2.8 macros fall short inthis regard but their closer focus distance more than make up for thesmaller aperture. The 135 f/2L is the sharpest wide open, with the 85Ljust shy, even when stopped down. The 100 macros are sharp wide openbut at f/2.8 any of the other primes will easily match or beat the 100macros at f/2.8, which is fairly slow for primes. The 135 has thelongest focal length and with f/2 you have very shallow depth-of-field.The 100 f/2 also produces very shallow depth-of-field. With closesubject focus distances, such as head only portraits, the macro 100'sexcel in producing super shallow depth-of-field and massive backgroundblur. The new 100 f/2.8L IS with 9 rounded blades should match or beatany of the lenses at close focusing distances. However, for overallBokeh performance in a wide variety of conditions there's little thatcan come close to either the 85 f/1.2L II or 135 f/2L.

3)Macro: If you need macro capabilities then you can go with thededicated macro lenses or use extension tubes and magnifying filters. Ihave not used tubes so can't comment on personal experience but manyhave posted on forums that tubes with any of the fast primes willproduce excellent macro photos. However, I would expect the dedicatedmacros to be the best bet if macro is important.

_______________________________________________________

Best Value: Weighted Performance Score + Price Factor with lens hood
1) 100 f/2.8L IS $1,000: 25 + 5 = 30
1) 135 f/2L $1,070: 25 + 5.25 = 30.25
2) 35 f/1.4L $1,400: 26 + 7 = 33
2) 85 f/1.2L II $1,840: 24 + 9.25 = 33.25
2) Sigma 50 f/1.4 $500: 31 + 2.5 = 33.5
3) 50 f/1.4 $390: 40 + 2 = 42
4) 85 f/1.8 $400: 42 + 2 = 44
4) 100 f/2.8 $640: 41 + 3.25 = 44.25

Total WEIGHTED for Lowlight and Overall Optics Performance Score
1) 85 f/1.2L II: 2x3 + 1x2 + 1x2 + 1x2 + 2x2 + 3 + 5 = 24
2) 135 f/2L: 4x3 + 1x2 + 1x2 + 1x2 + 1x2 + 3 + 2 = 25
2) 100 f/2.8L IS: 3x3 + 2x2 + 3x2 + 2x2 + 1x2 + 1 + 1 = 25
3) 35 f/1.4L: 1x3 + 4x2 + 2x2 + 3x2 + 1x2 + 1 + 2 = 26
4) Sigma 50 f/1.4: 2x3 + 2x2 + 3x2 + 3x2 + 2x2 + 2 + 3 = 31
5) 50 f/1.4: 2x3 + 5x2 + 4x2 + 1x2 + 3x2 + 2 + 6 = 40
6) 100 f/2.8: 4x3 + 3x2 + 5x2 + 3x2 + 1x2 + 1 + 4 = 41
7) 85 f/1.8: 3x3 + 5x2 + 4x2 + 3x2 + 1x2 + 3 + 4 = 42

Total Unweighted Performance Score
1) 135 f/2L: 4 + 1 + 1 + 1 + 1 + 3 + 2 = 13
1) 100 f/2.8L IS: 3 + 2 + 3 + 2 + 1 + 1 + 1 = 13
2) 35 f/1.4L: 1 + 4 + 2 + 3 + 1 + 1 + 2 = 14
3) 85 f/1.2L II: 2 + 1 + 1 + 1 + 2 + 3 + 5 = 15
4) Sigma 50 f/1.4: 2 + 2 + 3 + 3 + 2 + 2 + 3 = 17
5) 100 f/2.8: 4 + 3 + 5 + 3 + 1 + 1 + 4 = 21
6) 50 f/1.4: 2 + 5 + 4 + 1 + 3 + 2 + 6 = 23
6) 85 f/1.8: 3 + 5 + 4 + 3 + 1 + 3 + 4 = 23

_______________________________________________________

Comparison Details

Most hand-hold-able in Low-light
1) 35 f/1.4L at f/1.4
2) Sigma 50 f/1.4 at f/1.8
2) 85 f/1.2L II at f/1.2 or 1.4
2) 50 f/1.4 at f/2
3) 100 f/2.8L IS at f/2.8 with IS
3) 85 f/1.8 at f/2.2
4) 135 f/2L at f/2
4) 100 f/2.8 at f/2.8

Best DOF Subject Isolation between 3 and 10 feet
1) 135 f/2L at f/2
1) 85 f/1.2L II at f/1.4
2) 100 f/2.8L IS at f/2.8 with close focus
2) Sigma 50 f/1.4 at f/1.8
3) 100 f/2.8 at f/3.2 with close focus
4) 35 f/1.4L at f/1.4
5) 85 f/1.8 at f/2.2
5) 50 f/1.4 at f/2

Best Wide Open Performance
1) 135 f/2L at f/2
1) 85 f/1.2L II at f/1.4
2) 35 f/1.4L at f/1.6
3) Sigma 50 f/1.4 at f/1.8
3) 100 f/2.8L IS at f/2.8
4) 50 f/1.4 at f/2
4) 85 f/1.8 at f/2.2
5) 100 f/2.8 at f/3.2

Best Optimal/Peak IQ Performance at f/5.6
1) 135 f/2L
1) 50 f/1.4
1) 85 f/1.2L II
2) 100 f/2.8L IS
3) Sigma 50 f/1.4
3) 85 f/1.8
3) 100 f/2.8
3) 35 f/1.4L

Best AF Speed and Accuracy
1) 135 f/2L
1) 100 f/2.8L IS
1) 85 f/1.8
1) 100 f/2.8
1) 35 f/1.4L
2) 85 f/1.2L II
2) Sigma 50 f/1.4
3) 50 f/1.4

Shortest MFD
1) 100 f/2.8L IS at 1 ft
1) 100 f/2.8 at 1 ft
1) 35 f/1.4L at 1 ft
2) 50 f/1.4 at 1.5 ft
2) Sigma 50 f/1.4 at 1.5 ft
3) 85 f/1.8 at 2.8 ft
3) 135 f/2L at 3 ft
3) 85 f/1.2L II at 3.2 ft

Best Build Quality
1) 100 f/2.8L IS - the only sealed lens
2) 135 f/2L
2) 35 f/1.4L
3) Sigma 50 f/1.4
4) 100 f/2.8
4) 85 f/1.8
5) 85 f/1.2L II - the manual focus by wire and free rotating front
6) 50 f/1.4

_______________________________________________________

Aperture, Shutter Speed and ISO comparison

Light Level 1
f/1.4 = 1/60
f/2 = 1/30 or double ISO
f/2.8 = 1/15 or triple ISO

Light Level 2
f/1.4 = 1/125 or half ISO
f/2 = 1/60
f/2.8 = 1/30 or double ISO

Light Level 3
f/1.4 = 1/250 or third ISO
f/2 = 1/125 or half ISO
f/2.8 = 1/60

_______________________________________________________

Low-light hand-hold-ability comparison

35 f/1.4L
-sharp at f/1.4
-requires 1/30 second shutter speed
-ISO 100 = 6

Sigma 50 f/1.4
-sharp at f/1.6
-requires 1/60 second shutter speed
-ISO 100 = 7

50 f/1.4
-sharp at f/2
-requires 1/60 second shutter speed
-ISO 100 = 8

85 f/1.2L II
-sharp at f/1.4
-requires 1/125 second shutter speed
-ISO 100 = 8

85 f/1.8
-sharp at f/2
-requires 1/125 second shutter speed
-ISO 100 = 9

100 f/2.8L IS
-sharp at f/2.8
-requires 1/60 second shutter speed w/ IS
-ISO 100 = 9

135 f/2L
-sharp at f/2
-requires 1/250 second shutter speed
-ISO 100 = 10

100 f/2.8
-sharp at f/2.8
-requires 1/125 second shutter speed
-ISO 100 = 10

_______________________________________________________

DOF comparison

35 at three feet
f/1.4 = 0.18 ft
f/2 = 0.26 ft
f/2.8 = 0.37 ft

35 at five feet
f/1.4 = 0.52 ft
f/2 = 0.73 ft
f/2.8 = 1.04 ft

35 at ten feet
f/1.4 = 2.11 ft
f/2 = 3.02 ft
f/2.8 = 4.36 ft

50 at three feet
f/1.4 = 0.09 ft
f/2 = 0.12 ft
f/2.8 = 0.18 ft

50 at five feet
f/1.4 = 0.25 ft
f/2 = 0.35 ft
f/2.8 = 0.5 ft

50 at ten feet
f/1.4 = 1.02 ft
f/2 = 1.45 ft
f/2.8 = 2.06 ft

85 at five feet
f/1.4 = 0.08 ft
f/2 = 0.12 ft
f/2.8 = 0.17 ft

85 at ten feet
f/1.4 = 0.35 ft
f/2 = 0.49 ft
f/2.8 = 0.7 ft

100 at three feet
f/2.8 = 0.04 ft

100 at five feet
f/2.8 = 0.12 ft

100 at ten feet
f/2.8 = 0.5 ft

135 at five feet
f/2 = 0.05 ft
f/2.8 = 0.06 ft

135 at ten feet
f/2 = 0.19 ft
f/2.8 = 0.27 ft

_______________________________________________________

Wide Open Performance

Canon 35 f/1.4L
35mm f/2.8: 2077 C & 1652 B, -0.4%, 0.21 V, 1.0 CA
35mm f/1.4: 1873 C & 1574 B, -0.4%, 1.05 V, 1.0 CA

Canon 50 f/1.2L
50mm f/2.8: 2097 C & 1697 B, -0.7%, 0.12 V, 1.3 CA
50mm f/1.2: 1885 C & 1506 B, -0.7%, 0.88 V, 1.29 CA

Sigma 50 f/1.4
50mm f/2.8: 2104 C & 1756 B, -0.57%, 0.15 V, 0.66 CA
50mm f/1.4: 1779 C & 1664 B, -0.57%, 0.63 V, 0.6 CA

Canon 50 f/1.4
50mm f/2.8: 2053 C & 1761 B, -0.4%, 0.05 V, 0.33 CA
50mm f/1.4: 1754 C & 1415 B, -0.4%, 0.82 V, 0.37 CA

Canon 85 f/1.2L
85mm f/2.8: 2108 C & 1863 B, -0.2%, 0.05 V, 0.68 CA
85mm f/1.2: 1763 C & 1752 B, -0.2%, 0.65 V, 0.54 CA

Canon 85 f/1.8
85mm f/2.8: 1923 C & 1688 B, -0.1%, 0.13 V, 0.61 CA
85mm f/1.8: 1813 C & 1536 B, -0.1%, 0.71 V, 0.61 CA

Canon 100 f/2.8macro
100mm f/2.8: 1828 C & 1739 B, -0.03%, 0.62 V, 0.20 CA

Canon 135 f/2L
135mm f/2.8: 2058 C & 1909 B, 0.1%, 0.18 V, 0.46 CA
135mm f/2: 1921 C & 1762 B, 0.1%, 0.67 V, 0.43 CA

_______________________________________________________

Peak f/5.6 performance

Canon 35 f/1.4L
35mm f/5.6: 2040 C & 1815 B, -0.4%, 0.2 V, 1.0 CA

Canon 50 f/1.4
50mm f/5.6: 2055 C & 1956 B, -0.4%, 0.05 V, 0.28 CA

Canon 85 f/1.2L
85mm f/5.6: 2112 C & 2041 B, -0.2%, 0.01 V, 0.62 CA

Canon 85 f/1.8
85mm f/5.6: 2014 C & 1993 B, 0.1%, 0.05 V, 0.60 CA

Canon 100 f/2.8 macro
100mm f/5.6: 2030 C & 2019 B, 0.03%, 0.07 V, 0.42 CA

Canon 135 f/2L
135mm f/5.6: 212

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