Earlier this year, Fujinon announced two cinema zoom lenses: MK 50-135mm T2.9 and MK 18-55mm T2.9. As they are currently available for Sony E-mount, Fujinon plans to expand the series and make it available for X mount as well.
Maybe you know that varifocal lenses are designed for stills and SLR cameras, and parfocal are designed for cinema and broadcast. But why would you want a parfocal zoom lens if you can use a varifocal even for the videos? What are the differences, and why does it matter anyway? This video by Vistek gives a great illustration of all this. It doesn’t only tell what the differences between the lenses are, but it gives examples that will make it much clearer to understand.
As soon as Sigma announced the new 135mm f/1.8, it immediately made it onto my GAS list. Then I saw the price and it came straight back off my list again. After speaking with photographer Keydrin Franklin, though, and seeing some sample photographs (they’re down below), I think it may be going back on.
Keydrin’s used to shooting long fast glass for location portraits. His go-to lenses are the Nikon 200mm f/2 and Nikon 105mm f/1.4. So the Sigma 135mm f/1.8 is a good fit with his shooting style. He’s had the Sigma 135mm f/1.8 on loan for the last couple of weeks to give his thoughts on this lens. So far, those thoughts all seem very positive.
They say that one man’s trash is another man’s treasure, and that’s certainly true for weird lens addict, Mathieu Stern. He regularly finds treasure that others only see as garbage. This time, though, he’s taking things literally, building the Crapinon 135mm DIY lens.
Mathieu often trawls the local flea markets looking for bargains, oddities and rare lenses. On this particular trip, he discovered a box of rubbish, discarded after the market had shut down. Inside it, was an old unidentified lens. He decided to take it home, and see if he could get an image out of it.
Sony’s new FE 85mm f/1.8 lens comes in at around half the price of the Zeiss Batis 85mm f/1.8. It’s also a third the price of the Sony 85mm f/1.4 G Master lens. We’ve already seen how the Sony & Zeiss f/1.8 lenses compare, but how does it stack up against the vastly more expensive Sony 85mm f/1.4?
Well, according to photographer Manny Ortiz, extremely well. He sees is as a fantastic option for both hobbyists and professionals who are looking to save a little money.
I’m sure you’ve heard this plenty of times: “Gear doesn’t matter.” I am also one of the people who stand behind this point, and I believe it’s the photographer who makes the image, not the gear. But of course, the view on this matter can’t be either black or white. In some cases and for certain reasons, gear does matter.
This is the issue Marc Falzon from The Analog Process addresses in his video. As a response to Ted Forbes’ “Why Gear Doesn’t Matter” video, Marc discusses why it matters after all and why we can’t just say that it doesn’t.
French company Airvada has launched Diodon, the world’s first inflatable drone. Yup, you read it right, inflatable drone. You use a compact electric pump to fill it with air, and it’s ready for a takeoff.
It sounds funny, but apparently, it’s quite powerful and has a few pretty good sides. So let’s check them out.
Long lenses are a must for certain types of photography, but they can be a huge investment. This is why people often opt for teleconverters. This may or may not be the best option, and maybe you’re having second thoughts whether you should buy a teleconverter or not.
In his latest video, Jay P. Morgan talks about the advantages and disadvantages of teleconverters. If you can’t make up your mind whether they’re worth the investment, this video might be of great help for you.
The Godox AD200 is the newest flash in the Godox line up. Around the world it’s sold under various brands. In the USA it’s the Adorama eVOLV 200. Here in the UK it’s the Pixapro Pika 200. Whatever it’s called, it’s been getting a lot of attention since it was initially announced. Last month we showed you Robert Hall’s quick hands on review.
Now, they’re out in the wild, shipping and being delivered as I type. One photographer who’s got his hands on one is our friend Francisco Hernandez. Francisco lives in South Texas, where the sun’s often brighter than average. As a consequence, he’s a big fan of high speed sync. So, he put the Adorama eVOLV 200 against the bright Texas sun to see just how well it performed.