Posts Tagged ‘maximum aperture’
Tamron’s SP150-600mm f/5-6.3 Di VC USD is amongst the longest zoom lenses available for ‘full-frame’ and APS-C format DIGITAL SLR cameras. As a Di zoom lens, it can be utilized on both of the ‘full frame’ and cropped sensor systems. Its focal length range is equivalent to 225 to 900mm with DX sensor DSLR’s from Nikon and Sony and 240 to 960mm on Canon EOS DSLR’s.
The optical design of this zoom lens is necessarily complicated, using twenty elements in thirteen groups. The leading group contains 3 LD (Low Dispersion) glass elements (2 within the 1st group, 1 within the 3rd) for enhanced optical correction effectiveness, making it possible for the zoom lens to compensate for on-axis aberrations at the telephoto end.
Tamron’s eBAND (Extended Bandwidth & Angular-Dependency) coating and conventional BBAR (Broad-Band Anti-Reflection) have been used to suppress internal reflections as well as minimise flare and ghosting. The nine-bladed iris diaphragm closes to a rounded aperture for appealing bokeh.
Tamron’s VC (Vibration Compensation) system uses 3 voice coils for lenses with Canon and Nikon mounts. The driving coils trigger the shake-compensating VC zoom lens group electromagnetically through 3 ceramic ball bearings, which in turn support these with very little friction.
Stabilisation is not incorporated into Sony mount models because it is included in their DIGITAL SLR bodies.
The USD (Ultrasonic Silent Drive) AF drive within the zoom lens promises to deliver high torque, extremely fast reaction times, and extremely low noise. Full-time manual over-ride is possible in AF mode.
The most obvious targets for this zoom lens are sporting and wildlife photographers, especially birders, that are hunting for a long telephoto zoom lens at a reasonable cost. There are not many 600mm lenses for DIGITAL SLR cameras which belong to this category – or close to it.
Build and Ergonomics
Being a comparatively large and hefty zoom lens, the SP150-600mm f/5-6.3 Di VC USD is much better suitable for pro as well as pro-sumer digital camera bodies compared to entry level DSLRs. It felt nicely balanced on an EOS 5D camera, owing to its strategically-positioned tripod mount. Although not quite as comfortable or simple to manage on an EOS 70D.
You can easily sit the bigger digital camera with the zoom lens attached on a steady support and be certain it’s going to stay in place and secure enough to capture with, which is convenient when you need to take a quick photo and do not have a tripod close at hand. However, the dimensions and weight of the zoom lens make it most suitable for tripod mounting – and you will need a durable and stable tripod with a quality head.
There is absolutely nothing to make a complaint in regards to the build quality of the zoom lens. As stated by Tamron, it’s moisture-resistant and you will easily feel the rubber sealing gasket should you run a fingertip across the zoom lens mount.
Even though the barrel is manufactured primarily from polycarbonate plastic material, it is actually high-quality and there aren’t any gaps to be noticed wherever components join. The overall finish is actually first-rate and all of the necessary components are of a suitable quality and properly designed to augment the lens.
Without the hood affixed, the barrel measures just under 260 millimeters long. Installing the hood contributes an additional 102 millimeters. The overall weight with the hood and tripod collar installed is just below 2 kgs.
The inner barrel at the front end of the lens is threaded for 95 millimeter filters, whilst the outer barrel features a bayonet mounting for the lens hood. The barrel flares gently outward starting about twenty five millimeters back from the hood mount.
Lateral chromatic aberration was very well managed for this kind of high-magnification zoom lens and we uncovered no noticeable coloured fringing within test shots.
We detected a small drop in image sharpness towards the 600mm focal length setting in photos taken with both cameras. Nevertheless, focal lengths up to around 300mm supplied impressive sharpness and an abundance of contrast.
Autofocusing was actually rapidly as well as precise with the evaluation zoom lens, provided light levels were sufficient and there was adequate contrast in the subject matter for the lens to lock on to. In inadequate illumination as well as with low contrast subjects, hunting was common and it may take a second or so for the zoom lens to lock on – and even then you’ll probably need to make use of AF area selection and choose the area carefully when the primary subject is off-centre.
Tracking motion was not quite as simple as we expected and we found it challenging to maintain the subject within the frame – and sharp – whenever recording bursts of images following moving birds.
The photographing technique to accomplish a high percentage of razor-sharp images calls for plenty of practice. Unfortunately we haven’t had enough practice for this type of shooting.
Setting the focus limiter enhances your chances whenever photographing in indifferent lighting circumstances along with when subject contrast is low, especially using longer focal length settings. However even when there seemed to be an abundance of light, we discovered minor hesitation when the zoom lens was required to change focus rapidly between close and distant subjects.
With smaller – and more normal – adjustments to focusing distance, the zoom lens reacted rapidly enough to satisfy the majority of prospective buyers, though minor hesitation often happened with the longer focal lengths. With stationary subjects, the zoom lens can capture an abundance of detail.
Stabilisation was extremely effective, permitting the lens to be handheld at shutter speeds as slow as 1/160 second and obtain over fifty percent of the photographs crisp. The stabilisation of the viewfinder image makes it much simpler to compose shots, especially when the subject is not moving.
Depth of field is actually exceptionally shallow with longer focal lengths and, should you shoot with the zoom lens wide open, the plane of sharpness is extremely narrow. This brings about smooth bokeh this is certainly extremely attractive and offers exceptional separation of the subject from the background.
Both the rectilinear distortion and vignetting were relatively low – but clearly apparent. Distortion was within the shape of pincushion distortion. It was present through the entire focal length range, although you most likely would not notice it inside photos unless they included straight line running parallel to the image frame.
Vignetting was most obvious at the extremes of the zoom range, with edges as well as corners being a little bit over a stop darker as compared to middle. The darkening disappear around a stop down from maximum aperture. Both problems are very easily remedied, either with in-camera processing or during post-capture editing.
Backlit subjects were managed exceptionally well, with thanks to the generous lens hood. We were not able to force the zoom lens to flare, even if a bright source of light was on the edge of the frame. A smallish region around the bright spot displayed minimal loss of contrast; the remainder of the frame maintained the entire dynamic range anticipated from the subject.
The Tamron SP 150-600mm f/5-6.3 Di VC USD would definitely rate a recommendation based on its price alone, all the other factors being equal. Its nearest rival is Sigma’s 150-500mm f/5-6.3 APO DG OS HSM, that features a comparable AF drive mechanism and optical stabilisation. Nevertheless it covers a reduced range and its coatings are not up to the specifications of Tamron’s eBAND coatings.
Sigma additionally makes a considerably much longer zoom lens, their 300-800mm f /5.6 EX zoom, that is in excess of 1 / 2 a metre long – without lens hood – and weighs in at 5.88 kgs. Its price places it beyond the reach of all but the most committed (as well as cashed-up) specialists.
Canon as well as Nikon each make telephoto zoom lenses however both have maximum focal lengths of 400mm, though with maximum apertures which ranges from f/4-5.6. Both Canon’s EF 100-400mm f/4.5-5.6L IS USM and Nikon’s AF-S 80-400mm f/4.5-5.6G ED VR Nikkor lens sells significantly more than the Tamron.
Tamron additionally makes a 200-500mm f/5-6.3 Di LD (IF) zoom lens, that is an older design which is lacking Vibration Compensation, USD silent focusing as well as eBAND anti-reflective coating.
This makes the Tamron zoom lens something of a bargain.
This new zoom lens is approximately thirty millimeters longer and 715 grms weightier versus the earlier model as well as its close focusing distance is actually twenty cm longer. Given the longer range and less expensive price tag, that is quite a remarkable accomplishment.
Previously, opting for a ruggedized digital camera has demanded some serious sacrifices. Either that’s meant comically large housings or less than stellar performance, you could not get yourself a fantastic point-and-shoot digital camera which you can also safely bring on the slopes, the back of a motorbike or while diving. This year’s Olympus Stylus Tough TG-3 is the first such product I have seen that is worth your money. A fast lens, quick focusing as well as solid image quality make the TG-3 an excellent choice even if you simply intend to record the flower garden or perhaps a young child’s 1st steps, but it will also handle far more sophisticated photographing situations effortlessly.
The TG-3 packs the typical collection of high end point-and-shoot functions, such as a 16-megapixel BSI CMOS sensor, a fast 25-100mm, f/2-4.9 aperture 4x internal zoom lens, built-in Wi-fi and also the exact same processor chip Olympus utilizes within the flagship OM-D E-M1 mirrorless digital camera. On the sensor front, it can calculate altitude or water depth as well as atmosphere or water pressure, all of which can be displayed in the digital camera. Additionally, there is built-in GPS, which can locate your position in ten seconds or less, adding location information to individual pictures. My personal favorite feature, however, is the optional LED Light Guide, which redirects light from the camera flash to a ring round the zoom lens, allowing you to record macro photos just like a professional.
I spent a few days photographing with the TG-3. Granted, this is not the most competent point-and-shoot available on the market — Sony’s RX100 III most likely has that honour — however the digital camera nonetheless dealt with significantly different photographing conditions just like a champion. I discovered the focus speed to be excellent, allowing the capture of fast-moving objects without missing the shot. The display screen was bright enough for framing photos as well as confirming exposure and sharpness in direct sunlight, and the controls were responsive and simple to comprehend.
The digital camera can pair with Olympus’ Image Share application on an Android os or iOS smart phone or tablet, and overall performance there is extremely good also. You scan a QR code on the camera’s display screen to get connected the 1st time, then going forward you just launch Wi-fi mode in the TG-3 and open up the Olympus application. Following that you’re able to fire off photos remotely as well as transfer pictures individually or in a group. The in-camera PhotoStory mode additionally allows you to take Instagram-size (1:1) split-photos, with three pictures in one single frame. I could to upload to Instagram merely seconds after shooting.
Needless to say, battery-life is not going to correspond to exactly what you’re going to get with a mirrorless digital camera or DIGITAL SLR, however I did manage to take over five hundred photos as well as 3 1/2 mins of 1080p movie in one recharge. The camera charges through USB, however it utilizes a proprietary cable, so you will need to bring that accessory with you on overnight excursions. In general, I was extremely pleased with the TG-3. I did not have an opportunity to bring it under water or even drop it from a height of 2 m (which it’s thought to survive unscathed), however I would not hesitate to utilize this particular ruggedized point-and-shoot for everyday photography, it’s really a incredibly solid pick. In short the Olympus Stylus TG-3 is a ruggedized digital camera which doesn’t blow.
To numerous photographers — novices and experts alike — digital SLRs signify quality. The fact that you can detach the lens and exchange it for an alternative is irrelevant to those who will never purchase a second optic, and it’s that particular section of the marketplace that Sony’s concentrating on with its Cyber-shot RX10. Everything about the Cyber-shot RX10 is DSLR-like — its form factor, integrated EVF, focusing performance and picture quality are all on par with numerous higher end SLRs — but its awesome 24-200mm lens is permanently affixed. By opting with this relatively rigid design, Sony’s able to produce a constant f/2.8 aperture and extremely high-quality optics in a comfortable package, at a price tag considerably under what a comparable detachable lens would command, were it to really exist to start with. The end result, quite simply, is incredible, however as the price is at the upper end of even deep-pocketed consumers’ budgets, you will want to catch our complete review prior to making any purchase.
Visually, the Cyber-shot RX10 is much like a digital SLR in virtually every way. You will find a noticable grip, a top-mounted monochrome LCD, a pop-up flash, a hot shoe (in this instance, Sony’s Multi Interface Shoe), dedicated mode and exposure-compensation dials, an XGA OLED viewfinder, a 3-inch 1.23M-dot Liquid Crystal Display that tilts upwards 84 degrees and downward 43 degrees and a reasonably large SLR-like lens up front. From the inside, however, the Cyber-shot RX10 is very similar to its compact counterparts, the RX1 and RX100 Mark II. As a matter of fact, the 10 features exactly the same 20.2-megapixel 1-inch BSI CMOS sensor as that latter model, which, although nonetheless quite large, is smaller than the APS-C and 35mm sensors in traditional DSLRs. What’s more, it contains Sony’s potent new BIONZ X processor, which is also located in the Alpha 7 and 7R, along side Sony’s freshly launched A5000.
But back again to that lens. The 24-200mm Zeiss Vario-Sonnar T* optic is unquestionably the celebrity of the show, thanks in no small part to its constant f/2.8 aperture. What makes that significant, you may well ask? The majority of zoom lenses, particularly those permanently connected to a camera, incorporate variable aperture lenses. Although some may perhaps allow you to capture at f/2.8 from the widest focal length (24mm in this instance), you simply will not discover many point-and-shoots boasting of that equivalent aperture at the tele end at the same time. Commonly, a lower-end lens allows apertures no greater than f/5.6 or even f/6.3 at 200mm, and having f/2.8 available instead, you can actually take significantly crisper photos in lower light, or images with velvety bokeh (shallow depth of field) during the daytime. You have still got f/5.6 (right up to f/16) for your use, needless to say, immediately available utilizing the dedicated ring dial round the base of the lens, in case you are after different imaging effects, alternatively.
You can still find a great deal more hardware components to discover, too. Sony’s placed loads of emphasis on connectivity with the Cyber-shot RX10. On the sound front, you can find headphone and microphone jacks, stereo microphones up top as well as being compatible with Sony’s advanced audio accessories utilizing the accessory port which is also a hot shoe — for mounting wireless receivers as well as shotgun mics. You will find an HDMI interface with clean, uncompressed output, a micro-USB interface for data transfers and charging the camera’s 1,080mAh battery (exactly the same unit included in NEX cameras as well as select current Alphas), a dual Memory Stick/SDXC flash card slot and a tripod socket at the base. The camera is rather comfortable to hold on to, and even though it is weightier than you would anticipate, it will not weigh you down whilst it dangles from the neck strap.
Sony hasn’t modified its UI a great deal since the NEX series’ creation in 2010, but just like the other RX products as well as current Alphas, the Cyber-shot RX10 incorporates a tab-based user interface that many of us significantly prefer. Settings are really simple to find along with every thing displayed in a linear format, it’s simple to hop from category to category to generate each of the modifications you require without first going back to your home screen. Capturing choices like file size, ISO and SteadyShot are displayed in the first tab; customizable key modifications and display alternatives are within the next tab, accompanied by wireless-connectivity features, then playback; and then finally general settings like sound levels and display monitor brightness can be found in the 5th tab.
Additionally, there are a great deal of dedicated controls around the camera, and so you will not absolutely need to spend much time in the main menu whatsoever. A function button off to the right of the LCD launches a quick-adjust setting, with direct access to drive mode, flash options, ISO, white balance, metering, et cetera. A display button cycles through a variety of display modes, such as a full-screen real time feed, an advanced settings panel with histogram and physical alignment indicators and an image preview screen with a thorough settings readout placed at the border. Also there is a specific video capture button, an alternative settings dial and a control ring on the back. Up top, you will find there’s backlight switch for lighting the grayscale LCD, a flash release button, a user-configurable button, an exposure-compensation dial and a zoom toggle switch around the shutter release. Additionally there is a focus-mode selector switch along the front side of the camera, right below the lens.
Incorporating WiFi, it’s also possible to control the camera utilizing a smartphone or even tablet running Sony’s PlayMemories Mobile app. After establishing a connection to the camera’s wi-fi hotspot, you’re able to only shoot in auto mode with the app — as soon as you connect, auto will override all of the existing camera settings. Photos are sent to the connected device right after capture. Although this is an excellent solution for group self-portraits as well as other tripod photos, as a result of the diminished control options, we would advocate capturing directly on the camera and then transferring pictures to the app from either the camera’s playback mode or perhaps the live gallery viewer within the application. Wi-fi connectivity helps make sharing pictures on the internet a piece of cake, nevertheless — your Instagram account will certainly benefit enormously from the Cyber-shot RX10‘s huge sensor and mighty lens.
At release, Sony’s RX100 arrived with an ambitious price tag, which was a significant sum for a point-&-shoot, especially one which did not appear a great deal different from a model one half its price to the inexperienced eye. Then again extraordinary performance — for any digital camera, actually; not only a pocket-size compact — established this the essential everyday camera of 2012. You can actually make the identical argument here. The Cyber-shot RX10 delivers that level of performance to a considerably larger, although a lot more versatile form factor. Shutter lag is just about nonexistent and also camera’s speed overall is practically flawless. Even wi-fi transfers are far more seamless than we have experienced with a lot of other digital cameras, including previous models from Sony.
The camera can power on and capture its first shot in just over 1.5 seconds. When shifting the frame between a subject 2 meters in the distance and another centimeters from the lens, the Cyber-shot RX10 managed to expose and refocus in approximately 0.25 second. Meanwhile, in the speed-priority continuous setting, we managed to capture 20 successive JPEGs at 9 fps, as opposed to the “approximately ten frames per second” which Sony estimates within the standards. When it comes to transporting pictures wirelessly, it took us 17 seconds from choosing a picture on the camera to receiving a 2-megapixel image on this smart phone, which includes the amount of time needed for this smart phone to connect with the Cyber-shot RX10‘s Wi-fi. Transfers ended up being a great deal faster when choosing pictures on this smart phone instead, because the couple were already paired. A 2-megapixel picture took roughly one second to transfer, whilst a full-resolution photo took only five seconds.
Battery life, as you would probably expect from a camera this large, is superb. The Cyber-shot RX10 utilizes the identical battery as each and every previous NEX digital camera along with the latest Alpha mirrorless cams, and that means you may perhaps already have spare NP-FW50 1,080mAh packs laying about. If you are planning to be away from an electric socket for several days, it would not hurt to take a spare. Nonetheless, we succeeded in making it through every complete day’s shooting with a great deal of juice to spare. We devoted 2 days photographing without recharging the battery pack. The capacity meter reflected a 31 % charge remaining following taking over 700 pictures as well as 5 mins of 720p video, together with a number of Wi-fi transfers as well as some on-camera picture reviews.
As if you didn’t already have enough to anticipate having with the Cyber-shot RX10… Picture quality, no real shock, is incredible. Truly, with this selling price, we would not put up with anything less. No matter whether you want to shoot in bright sunlight or a evening street scene illuminated by a solitary dim light, photos are crisp and free from noise, even at ISO 6400. Video looks phenomenal likewise, even if caught at night.
The Cyber-shot RX10‘s quick power-on and focus times make it quite easy to acquire the photo. In an exposure which includes a fast paced subject, and following a rapid adjustment on the setting dial, pictures can be clicked straight away. The exposure and color balance are precise, plus details are really sharp, regardless of whether the subject is going along very fast.
The tilt-up screen and 24-200mm lens present you with a massive amount of versatility. For street photographers, this really is a necessity.
The Cyber-shot RX10‘s aperture ring, mounted around the lens, allows you to access specific f-stops directly.
The Cyber-shot RX10 is a master of focus and exposure when you take close-up photos. Elements across the foreground are exceedingly razor-sharp, even with comparatively high ISO, while the background is properly blurred, as you would anticipate by having an f/2.8 aperture.
Video quality is every bit as remarkable. The Cyber-shot RX10 has the ability to record at resolutions as high as 1080/60p with AVCHD encoding. Exposures were spot-on universally, and also videos recorded at high sensitivities (ISO 12,800) appeared much better than predicted.
As it is with Sony’s QX10 and QX100 lens cameras, the full-frame Alpha 7 and 7R and even the RX100 Mark II and RX1, the Cyber-shot RX10 lacks competition from other brands, especially if you are looking for virtually identical specifications and performance. Which is not to state you do not possess other choices, nevertheless, if an integrated, fixed-aperture, telephoto zoom lens combined with a 1-inch sensor are the thing that you’re after, there exists ultimately not anywhere else to look. You’re able to, obviously, go for a conventional digital SLR, and of course, if you already possess an assortment of lenses (or you are intending to develop one), an interchangeable-lens camera is definitely your best option.
Canon’s 70D along with the D5300 from Nikon each offer serious still picture and video chops, and they also incorporate built in Wi-fi, as well. You will need to bring your own lens into the mix, including the body-only for the Canon along with the Nikon, in addition to the price of lenses, you are going to considerably surpass the Cyber-shot RX10‘s selling price once you have included the required optics. When it comes to superzooms, Panasonic’s Lumix FZ200 also contains a lens with a constant f/2.8 aperture, which includes a massive 25-600mm focal length, even so the 1/2.3-inch 12.1-megapixel sensor is considerably less proficient compared to what you will get using the Sony. The FZ200 is equipped with affordability on its side, though.
Ultimately, we really love the Sony Cyber-shot RX10. In reality, we battled to fill the negatives segment with anything apart from a high price tag. However your money goes an incredibly long way here, and if you need to record razor-sharp pictures and full-HD movies in just about any lighting condition, with a substantial focal range, you will be challenged to identify a more suitable shooter. This is actually the very best fixed-lens digital camera we have ever used, and we would not be astounded if the RX10 Mark II, when ever it shows up, would be the sole equivalent model worthwhile considering.
Wonderful Constant f/2.8-aperture 24-200mm lens
Phenomenal image and video quality in all lighting conditions
Excellent performance and battery life
Dedicated exposure-compensation dial
WiFi with NFC
Sony’s Cyber-shot RX10 may perhaps be expensive, but this camera’s a must-buy if you’ve got the money to invest.
Tags: 200mm lens, cmos sensor, compact digital camera, compact system, control layout, Digital Camera, digital slr, dispersion glass, DSLR, glass elements, image stabilisation, inch lcd screen, latter model, liquid crystal display, maximum aperture, optical viewfinder, quality optics, Review, rigid design, rx series, rx100, Sony, sony cyber shot, Wide angle lens
Developed to be especially compact for an FX-format zoom lens, this 24-85mm NIKKOR is ideal for people who want a walkabout lens that offers the freedom to shoot a wide variety of day-to-day moments and subjects. The versatile 24-85mm range covers most commonly used focal lengths with ease: from landscapes to portraits, you can go fairly wide or zoom into distant objects without needing to change lenses.
Sharp and Steady
Complementing the versatile focal range is Nikon’s second-generation Vibration Reduction technology (VRII) — that allows substantially sharper handheld images across the zoom range and dramatically reduces image blur, especially when shooting towards the telephoto end of the range. VRII also enables you to shoot using shutter speeds up to four stops slower, enabling you to shoot more effectively when shooting in low light.
Nikon’s Super Integrated Coating ensures superb color reproduction, while Extra-Low Dispersion (ED) glass and three aspherical lens elements help deliver stunning sharpness and contrast, even at maximum aperture.
Good to Go
Well-balanced in terms of size, weight, price and image quality — and boasting a weather-sealed mount — this lens offers a worthwhile combination of precision NIKKOR optics, broad focal range and lightweight build for people on the go.
At the heart of the Fujifilm FinePix T300 digital camera sits a 14 megapixel CCD image sensor, which allows capture of not only high-resolution still images, but also of high-definition 720p video at 30 frames per second. The Fuji T300 places its sensor behind a FUJINON-branded 10x optical zoom lens, with actual focal lengths ranging from 5 to 50mm. This equates to the same range as a 35mm camera with a 28mm – 280mm lens, a useful wide angle to a moderate telephoto Maximum aperture ranges from f/3.4 at wide angle to f/5.6 at telephoto. Given the powerful telephoto reach, mechanical image stabilization is obviously a necessity to fight blur from camera shake, and the Fuji FinePix T300 includes sensor shift stabilization.
The Fuji FinePix T300 lacks any form of optical or electronic viewfinder, instead relying on a 3.0-inch LCD display with 230,000 dots of resolution, roughly equivalent to a 320 x 240 pixel array, with each pixel comprising separate red, green, and blue colored dots.
It also includes both smile and blink detection capability, automatic red-eye removal, and a motion panorama mode that stitches up to three separate shots into a single image.