If you've ever noticed an unsightly colored fringe or halo on objects in your photographs, you've seen chromatic aberration. It's a common problem in photography and can detract from an otherwise good image. Fortunately, there are ways to minimize or even eliminate it, both before you hit the shutter button and after when editing your picture.
What is an aspherical lens and what does it do? Canon has shared a video that explains the problems engineers face in lens design and how the company solved them using aspherical lenses.
When you look through your viewfinder and things seem a little bit blurry or lacking definition, it's probably because you are using an “el cheapo” lens. So you read reviews and buy a much more expensive lens, and what do you do next?
Color fringing in photos is most often due to chromatic aberration, when a camera lens doesn't focus all colors onto the same point. It's a common problem, especially with cheaper lenses, but we may soon be seeing much less of it thanks to a new breakthrough at Harvard.
Zeiss has just announced its new Milvus 35mm f/1.4 lens that has "practically no chromatic aberrations" thanks to aspherical lens elements and the particular glass materials used.
A team of researchers at Harvard are trying to revolutionize the world of optical lenses. Instead of traditional curved lenses that suffer from various optical flaws, they are working on a completely flat and ultra-thin lens that overcomes age-old problems and pushes optical quality to the limits of the laws of nature.
I love short telephoto lenses because of how versatile they can be for anything from portraits to landscapes.
While most of the attention in the photography world is focused on full-frame and APS-C products -- hardly surprising since those are what most companies focus on -- Micro Four Thirds is still one of the best systems on the market.
Alongside its new 27mm f/2.8 lens for APS-C E-mount cameras, 7Artisans has released its affordable 50mm f/1.8 prime lens for Nikon Z mount.
Zoner Photo Studio X's spring update promises to bring "the world's best HDR photo editing" to the Windows-based photography app, alongside other new features and improvements.
After years of the RF mount remaining "closed," Sigma and Tamron have both finally broken through and will each release lenses for Canon's mirrorless mount.
After some teasers on Chinese social media late last year, TTArtisan has released the AF 56mm f/1.8 prime lens for APS-C mirrorless cameras.
Following the journey of the James Webb Space Telescope and the brilliant minds who made it possible, Deep Sky is a new IMAX film hitting theaters tomorrow, April 19. PetaPixel chatted with one of these brilliant minds, NASA's Matt Mountain, who has worked on the Webb team since 2002.
Sony has announced the FE 16-25mm f/2.8 G, a compact and affordable ultra-wide lens that is the spiritual sibling to the FE 24-50mm f/2.8 G lens Sony announced in February.
Expanding on the success of its Night Walker APS-C and Super35 cinema style series launch, Sirui has announced two new T1.2 S35 cine lenses through Indiegogo: The wide angle T1.2 16mm and telephoto T1.2 75mm.
Tamron has announced that its popular 28-75mm f/2.8 Di III VXD G2 (Model A063) fast-aperture standard zoom lens is coming to Nikon Z system mirrorless cameras.
I normally dismiss ultra-fast aperture lenses because they tend to be overly large, overly expensive, and overly excessive. I rarely want to have the shallowest depth of field possible, and an f/1.2 lens is only two-thirds of a stop brighter than a reasonably priced f/1.4 lens. But what if I can have my cake and eat it too?
Sigma announced the 50mm f/1.2 Art for full-frame cameras, promising to combine optical excellence and outstanding autofocus performance in the smallest and lightest chassis on the market.
I have to admit that I haven't given enough time to review the many, many lenses that are coming to us out of China. The only thing harder than knowing which Chinese camera companies belong to which other camera companies is knowing how to pronounce the often strange naming conventions given to the brands.
DxO PureRAW 4 promises to “supercharge your cameras and lenses” by offering a suite of image quality corrections for RAW files: deep-learning noise reduction, superior demosaicing, as well as per-lens correction of distortion, softness, vignetting, and aberrations.
The upcoming solar eclipse on April 8 is a highly anticipated event, in large part because it will be the last to cross over North America for 20 years. It is a special event to witness and photograph, though it does require planning and preparation.
For decades, professional photographers have been using the pairing of a 70-200mm f/2.8 and a 300mm f/2.8 to achieve their telephoto goals. Canon introduced the RF 100-300mm f/2.8 L IS USM recently and it just about covers the range of both those lenses. But is it as good?
Camera equipment is expensive, making it hard for beginners to build kits and get started. Because of this, it can be tempting to opt for budget-friendly options for some pieces of equipment. Unfortunately, that's not always wise.
This article will review two prototype lenses from Light Lens Lab: the “1966” 50mm f/1.2 lens and the SPII 50mm f/2 multi-coated rigid design lens. Light Lens Lab based in China has an interesting business model. Instead of designing new highly corrected camera lenses, they re-create special lenses from past decades.
It's a shame the Vivo X100 Pro won't find itself in the hands of many mobile photographers in North America because it raises eyebrows for all the right reasons.
Sigma's new 15mm f/1.4 DG DN Art diagonal fisheye lens is unique, a little bit weird, and definitely niche. The company knows it won't be a big seller, but that's not why it decided to make it. Sigma made it to prove a point.
It’s not often that I get to review a lens that the world has never seen before. I’ve reviewed plenty of f/1.4 lenses and I’ve reviewed the occasional 15mm fisheye, but a 15mm diagonal fisheye with an f/1.4 maximum aperture is a first for me.
Viltrox is bringing the AF 27mm f/1.2 Pro lens, the second in its ultra-large aperture prime lens Pro series of optics that aims to combine ultra-high resolution and super large aperture that produces "pleasant" bokeh, to Sony and Nikon APS-C cameras.
When I heard about the latest Sigma lens, the 500mm f/5.6 DG DN Sport, I wanted to revisit the Yamnuska Wolfdog Sanctuary. The new lens sounded ideal because it is unobtrusive, lightweight enough to handhold easily, and has the reach to capture these elusive Wolfdogs in their natural surroundings.
Sigma has long struck an exciting balance between offering high-quality alternatives to lenses the major camera makers offer and creating unique optics that offer something different from existing lenses. Sigma's two newest lenses both mostly fall into the latter category. The Sigma 500mm f/5.6 DG DN OS Sports lens is not wholly unique but fills an empty void in the E-mount and L-mount systems.