Besides sensor size, quality glass is the other major hurdle that smartphones need to overcome if they ever want to truly compete, quality-wise, with their bigger more capable brothers.
But since attaching a 500mm lens to a smartphone looks… well… kind of dumb, the folks at Canadian startup Algolux are taking a software-based approach and producing some truly incredible results in the process. Read more…
For landscape photographers, getting your entire scene in focus while keeping things as sharp as possible at the same time can be a challenge.
But if you follow the simple technique laid out by photographer Joshua Cripps in the tutorial above, as he puts it, it becomes “as easy as manually removing a corn syrup-based artificially-flavored confectionary product, from the infantile grasp of a newborn Homo sapien.” Read more…
It’s fairly well-known that, when it comes to capturing images, more important than almost any camera body is the glass being put in front of it. However, there are times when your camera body plays a vital role in determining the quality of the image rendered by said glass.
To prove this and also help show off what glass performs best with a particular body, DxOMark has published a series of articles that break down what the best lenses are for the Nikon D800E. Read more…
Reikan Technology, the company behind the FoCal automatic lens calibration tool, tells us that it has released a new web-based tool for researching the performance of camera and lens combinations. Read more…
[…] the Canon EF 24-70mm f/2.8 MkII is the highest scoring professional fixed-aperture mid-range kit zoom of any brand in the DxO Mark database and comfortably outperforms rivals as well as the firm’s earlier Mark I version, particularly with regard to the sharpness levels across the frame. We’re used to seeing a noticeable deterioration in performance in the outer fields at longer focal lengths even with high-quality optics from the big-name marques but the new Canon bucks that trend.
The company writes that the main issue is the lens’ price of $2,500 — quite steep when compared to rival lenses. Check out the full review for a more detailed breakdown of how the new 24-70mm performs.
Modulation Transfer Function (MTF) charts are a very commonly used tool in the photo industry for measuring and describing how sharp a particular lens is. However, it’s a system that is largely enigmatic to those outside the realm of optic experts and camera gearheads.
For those of you who don’t want to learn how to read MTF charts, camera gear testing service DxOMark has announced a new metric that boils a lens’ sharpness down to a single easy-to-understand-and-compare number: the Perceptual Megapixel. Read more…
Despite its girth, weight, and price, Canon’s original 24-70mm f/2.8L is a highly-regarded general-purposes lens. When the followup Mark II version was announced back in February, the higher-price tag, similar specs, and lack of IS had many photographers scratching their heads. Then the reviews started coming out. Read more…
After being announced back in 2002 as a replacement to the 28-70mm, Canon’s 24-70mm f/2.8 (above right) quickly became an extremely popular and highly regarded lens due to its friendly all-around focal range and sharpness. When the Mark II version was unveiled back in February to succeed “The Brick”, as the Mark I version is called, photographers grumbled at its hefty $2,300 price tag, the fact that it uses an 82mm filter instead of 77mm, and the lack of Image Stabilization. Roger Cicala over at LensRentals tested out the new lens, and has extremely positive things to say about it:
This is short, sweet, and simple. The resolution absolutely, positively kicks butt and takes names. It is way better than the lens it replaces. It’s better at 70mm than the best Canon zoom I know of, the 70-200 f/2.8 IS II. It’s even better at 24mm than the sharpest 24mm prime we have, the Canon 24 TS-E. In the center, in the corners, it doesn’t care. We only had 5 copies to test, but they were all very similar with little copy-to-copy variation.
Resolution is not everything, of course. But it’s certainly an important thing. Unless the real lens reviewers find some dramatic problems with this lens, I’d have to lean towards worth-the-money on this one. I can’t believe I’m saying that a $2,300 standard zoom is worth the money. But then again, I can’t believe I’m seeing a zoom lens out resolve a $2,000 world-class prime, either.
Really more useful for landscape and macro photographers who are going to be shooting through very small apertures (f/22 and above), this video from FStoppers explains what diffraction is and how it can affect your shots. The trade off, as they explain in the video, is between a large depth of field and a sharp image; and the trick is to find your “sweet-spot.”
The difference isn’t as obvious on the video even at 1080p, so if you want to see full resolution examples be sure to head over to the original post.
You probably know that stopping down (i.e. increasing your f-stop number) can increase the sharpness of your subject, but how much should you stop down to boost resolution without losing that nice, creamy bokeh? Roger Cicala did some research on this question and writes:
For those lenses that do benefit, stopping down just to f/2.0 provides the majority of resolution improvement. The difference between wide open and f/2.0 is generally much greater than the difference between f/2.0 and the maximum resolution.
Getting the edges and corners sharp requires stopping down to at least f/4 for most wide-aperture primes, and some really need f/5.6. Stopping down to f/2.8 may maximize center sharpness but often makes only a slight difference in the corners, at least on a full-frame camera.
None of the lenses performed any better after f/5.6 (for the center) or f/8 for the corners. Most were clearly getting softer at f/11.
If you’re using a wide-aperture lens, stopping down to just f/2.0 will reap big gains in sharpness while still keeping the depth-of-field narrow. Furthermore, for some lenses you don’t really even need to worry about stopping down for sharpness, since it hasn’t a relatively negligible effect on the outcome.