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Using Interchangeable Lenses

Interchangeable Lenses

Among the most essential part of a digital SLR is the lens- or, more properly, lenses, because, unlike other types of digital cameras, which might utilize add-on lens adapters, the lens of a DSLR is totally interchangeable. I’m not going to inform you much about how lenses work. The majority of the rest of this area will handle useful matters connecting to interchangeable lenses on a DSLR. The only things you truly need to understand about lenses are these:

■ Lenses consist of precision-crafted pieces of optical glass (or plastic or ceramic product) called aspects, organized into groups that are moved together to alter the magnification or focus. The components may be based upon pieces of spheres, or not (in which case they are aspherical), and provided special finishes to decrease or get rid of undesirable reflections.

■ Lenses include an iris-like opening called a diaphragm that can be changed in size to admit basically light to the sensing unit. In addition to adjusting the amount of light that passes through the lens, the diaphragm and its shape impact things like relative overall sharpness of an image, the amount of an image that remains in focus, the brightness of your view through the viewfinder, and even the shape and qualities of out-of-focus highlights in your image. I’ll describe these elements in more information as they show up.

■ Lenses are installed in a real estate that keeps the aspects from rattling around and supplies a method to move them to change focus and magnification. The lens housing can include a microprocessor, a small motor for changing the focus (and, in non-DSLR electronic cameras, for zooming), and maybe a mechanism for reducing the effects of cam shake (called vibration reduction). Included are threads or a bayonet mount for attaching filters, a fitting that connects to your electronic camera, and different levers and electronic contacts for interacting with the cam body. You might find a switch or two for changing from autofocus to manual focus, locking a zoom lens so it doesn’t extend mistakenly while the cam is being carried, and a macro, lock/lockout button to restrict the looking for range of your autofocus mechanism so your lens won’t seek focus from infinity to a few inches away whenever you partly depress the shutter release. Everything else is details, and we’ll take a look at them in this and later chapters of this book. Lens Interchangeability The ability to remove a lens and swap it for another is one of the crucial advantages of the digital SLR. Interchangeable lenses make a very cool tool because they broaden the professional photographer’s flexibility in several ways:

■ Swapping lenses lets you alter the “reach” of a lens, from wide-angle to medium telephoto to long telephoto. The zoom lenses on non-SLR cameras offer some of this flexibility, but they can’t provide the zoom of the longest telephotos and telephoto zooms, nor the wide-angle point of view of the quickest focal lengths discovered in some interchangeable lenses and zooms

■ Interchangeable lenses let you pick a lens optimized for a particular function. Do everything zooms are necessarily a compromise that might perform fairly well in a broad series of applications, however excel at none of them. Using an SLR lets you select a lens, whether it’s a zoom or a repaired focal length lens (called a prime lens) that does a specific thing effectively undoubtedly. A lens with a zoom variety, extending from wide-angle to long telephoto might be plagued with distortion at one end of the variety or another (or both!). A multi-purpose lens is most likely much slower than an enhanced optic, perhaps with an f/4.5 or f/5.6 optimum aperture. With the schedule of interchangeable lenses, you can select a really quickly, f/1.4 lens when you need one, or select a lens that’s particularly excellent in a provided zoom range (say, 12-24mm). Select another lens for its splendid sharpness, or since it provides a dreamy blurred effect that’s perfect for portraiture. Use zooms when you need them and prime lenses when they are better fit for a task.

■ Lens swaps make it simple for those with extra-special requirements to discover some glass that fits their specific requirements. Fisheye lenses, those with a point of view control shifts, macro lenses for a bug’s eye view of that prize flower, or hyper-expensive super-long telephoto optics with built-in correction for electronic camera shake are offered to anyone who can afford them. As you know, however, lenses aren’t definitely interchangeable. Lenses designed to fit on one specific supplier’s brand name of video camera probably won’t fit on another supplier’s cam (although there are exceptions), and it’s highly most likely that you’ll discover that many lenses produced by the manufacturer of your digital SLR can’t be used with present cam designs. I can’t provide a thorough lens compatibility chart here, because there are hundreds of various lenses readily available, however you might discover some of the guidelines in this section helpful. The first thing to understand is that lens compatibility isn’t even a problem unless you have older lenses that you wish to use with your current digital camera. If you have no lenses to move to your new camera body, it makes no distinction, from a lens perspective, whether you choose a Nikon, Canon, Sony, Olympus, Pentax, or another DSLR. You’ll want to purchase existing lenses produced your video camera by the vendor, or by 3rd parties such as Tokina, Sigma, or Tamron, to fit your electronic camera. One exception might be if you had a hankering for an older lens that you might acquire used at an attractive cost. In that case, you’ll have an interest in whether that older lens will fit your new camera. You likewise might be thinking about backwards compatibility if you own a lot of costly optics that you want to use with your brand-new electronic camera. That compatibility depends a lot on the style approach of the video camera vendor. It’s easier to create an entire brand-new line of lenses for a new camera system than to find out how to utilize older lenses on the current devices. Some vendors opt for bleeding-edge innovation at the expenditure of compatibility with earlier lenses. Others bend over backwards compatibility.

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5 good reasons why you must buy a prime lens

Canon EF 100mm f/2 USM Lens

Do you need a prime lens? Sooner or later you will absolutely discover the term repaired focal length while learning to take images – right? Do you currently have one?

I bought my very first prime lens about nine months back. Now I have actually seen a few reasons why a prime lens should never be missing out on in my photo bag again.

What are prime lenses?

A prime lens is a fixed focal length lens that does not permit you to zoom in or out. Simply put, the determined focal length of the lens is the distance is the range between the point of convergence in your lens to the sensor or film in your electronic camera.

Prime lenses permit a handful of benefits compared to their zoom equivalents. The first, and most desirable, is the availability of fast apertures. With a quick aperture, a lens has the ability to take full advantage of the amount of offered light by opening its aperture to an f/2– f/1.2 and even f/.95 range! A lot of zoom lenses do not shoot any faster than a f/2.8.

Having the ability to contend a fast & wide-open aperture likewise permits the shooter a more shallow depth of field. Depth of field (DOF) is the range between the foreground, topic and background. Shooting wide-open provides a narrow DOF, isolating the topic from its surroundings in regards to sharpness and clarity. The closer the lens is to the subject, the softer the foreground/background will end up being.

Prime lenses and imagination: you compose your photo.

There are probably 1,000 fantastic reasons to buy a prime lens. The decisive factor for me is the structure of the image. Again and again I failed in my picture structure because of “I have too much in my image”. A 50mm set focal length is stated to have roughly the exact same field of vision as the human eye. This indicates that the view through your viewfinder represents your field of vision. That makes your photographic life simpler. Due to the fact that you simply can’t zoom. You cannot “wide-angle”. It’s not working! If you want more – or less – in your image, use your feet. It’s that simple. It assisted me a lot. I approached the topic, kept my range. I looked again and thought a lot more before I pushed the shutter button. Here.

The fixed focal length teaches you to picture the basics

Zoom lens vs. fixed focal length: Sharp images

A set focal length (in English also Prime Lens or Fixed Lens) gives you very sharp images. There are a variety of reasons that this is so. On the one hand, a repaired focal length has fewer optical components than the traditional zoom lens therefore the image is sharper on your sensor.

In addition, a zoom lens generally has increasingly more distortions and chromatic aberrations. This means color fringes on high-contrast edges, ideally near the edges of the image and the corners of the picture. These chromatic aberrations occur basically depending on the quality of the lens.

The 50mm trick: the lovely bokeh

As quickly as you research study repaired focal lengths, you will often see the term open aperture. Because that is often what makes a good repaired focal length: the possibility of taking images with a fantastic bokeh with a so-called open aperture. With a zoom lens, it is not always simple to get a terrific bokeh, since it requires little aperture values (here, by the method, a brief refresher on the topic of aperture).

Light strength: Lots of light for great images

Just as great bokeh can be created with a little aperture value, a lens with a small aperture value (for instance with an open aperture of f/ 1.8) lets a great deal of light through. The lamellas of the aperture are wide open and allow a lot of light to strike the sensing unit when the shutter is launched.

This is great if you take images in bad lighting conditions and (naturally) want to do without a flash. With a zoom lens that begins with an aperture of f/ 5.6 or in the zoom range even from f/ 6.5, you will have trouble getting a sharp photo in low light without the above ISO (Iso expensive = image- Sound) or a long exposure time (exposure time too long = image blurring). With a fast fixed focal length you are much more independent to take pictures in undesirable light circumstances.

The most inexpensive lens: the fixed focal length

If you have a look around the entry-level market for prime lenses, you will be amazed at how cheap a usable prime lens can be. My first prime lens – the Canon 50mm prime lens with an aperture of f/ 1.8 – expense simply under 100 euros. And I still like the lens! A couple of months ago I bought an 85mm set focal length. It was a bit more expensive, however obviously – pricier is constantly possible. As soon as you look for a fixed focal length with f/ 1.4 or f/ 1.2, you will view as constantly – uh, it can be even more costly.

If you don’t desire to take expert advertising photos, you do not require these. I am really pleased with my two repaired focal lengths of 50mm and 85mm.

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2020 TIPA Winning Cameras and Lenses

In Madrid The Technical Image Press Association(TIPA) announced the winners of the 2020 TIPA World Awards.

What is TIPA?

The TIPA Award is widely regarded as one of the best known and most prestigious photography awards. . TIPA both recognise and honour industry companies and their products and serve as an important benchmark and guide for consumers in making their purchasing decisions.

Since 1991, the TIPA World Awards logos have shown which are the best photographic, video and imaging products each year. For over 25 years, the TIPA World Awards have been judged on quality, performance and value, making them the independent photo and imaging awards you can trust. I cooperation with the Camera Journal Press Club of Japan (

The TIPA jury is made up of the world’s best-known photography and imaging professionals.

2020 TIPA World Awards Process

Finalists are usually voted on at the TIPA general assembly by representatives from TIPA member magazines from around the world. The assembly was originally scheduled for mid-March in Las Vegas. However, when travel restrictions were established, the TIPA board implemented product recommendations and an online voting procedure for members globally.

Based on detailed tests and comparisons, a list of candidates and laureates are compiled.

List of 2020 TIPA winning products:


  • Best DSLR Advanced Camera: Canon EOS 90D
  • The best DSLR Expert camera: Nikon D780
  • Best DSLR Professional Camera: Canon EOS-1DX Mark III
  • Best APS-C Advanced Camera: Nikon Z 50
  • Best APS-C Expert Camera: Sony A6600
  • Best APS-C Professional Camera: Fujifilm X-Pro 3
  • Best Full-Frame Expert Camera: Sigma fp
  • Best Full-Frame Professional Camera: Sony A7R IV
  • Best Full-Frame Photo / Video Camera: Panasonic Lumix DC-S1H
  • Best Medium Format Camera: Fujifilm GFX100


  • Best DSLR – Prime lens: Tamron SP 35mm f / 1.4 Di USD
  • The best DSLR macro lens: Laowa 100mm f / 2.8 2x Ultra Macro APO
  • Best DSLR – wide angle zoom lens: Tokina ATX-i 11-16mm f / 2.8 CF
  • The best DSLR – professional lens: Nikon AF-S Nikkor 120-300mm f / 2.8E FL ED SR VR
  • The best MFT lens: Panasonic Leica DG Vario-Summilux 10-25mm f / 1.7 ASPH
  • Best without mirror – Prime Standard lens: Nikkor Z 58mm f / 0.95 S Noct
  • The best mirrorless – wide-angle zoom lens: Sigma 14-24mm f / 2.8 DG DN Art
  • The best without mirror – Standard zoom lens: Sigma 24-70mm f / 2.8 DG DN Art
  • The best mirrorless – Telephoto zoom lens: Canon RF 70-200mm f / 2.8L IS USM
  • Best Professional Portrait Photo Lens: Canon RF 85mm f / 1.2L USM (DS)

Compact cameras

  • Best Expert compact camera: Sony RX100 VII
  • Best Vlogging compact camera: Canon PowerShot G7 X Mark III
  • Best Premium Compact Camera: Fujifilm X100V

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Sony-D Lenses

The short answer – Sony-D lenses are Sony-A lenses that have Advanced Distance Integration. D lenses have 8 contacts, non-D lenses have 5 contacts.

Buying Sony lenses could be confusing. So before I go straight to the explanation of what is Sony-D, I will explain the main differences and the evolution of the Sony lenses.

Sony produces cameras with two lens mount systems: E-mount and A-mount. E-mount is used on mirrorless camera bodies. While A-mount lenses are for the standard Sony unique Translucent Mirror type camera bodies. Yet, using the Sony lens adaptors like LA-EA1, LA-EA2, LA-EA3 or LA-EA4, A-mount lenses can also be used effortlessly on E-mount cameras.

The A-mount was originally Konica Minolta A-mount camera system, which is now used with Sony. Sony A-mount  lenses are optically, mechanically and electrically identical to their Minolta predecessors Therefore, all Minolta AF (i.e. Minolta a-mount) lenses from Minolta are compatible with Sony alpha cameras. The older Minolta lenses for film cameras could be used on modern Digital SLR cameras.

The list of existing Sony A-mount lenses on Wikipedia.

Sony-A mount lenses in our web shop.

Also, could be confusing that the Sony-A mount is also called Sony α (the lower case to Greek letter alpha, often transliterated as Sony Alpha). To make it more complicated, Sony has caused even more confusion. Before, if the camera was an Alpha, it had an A-mount or alpha mount. If it was a Nex camera, it had an E-mount. Sony has come out with Alpha E-mount cameras. So it is good to be aware that not all Alpha cameras have Sony-A mount. If the camera says E-mount, it is not compatible with Minolta (and Sony-A) lenses without the Fotodiox lens mount adaptor. This found this website very useful when it comes to lens and camera compatibility.

Of course, as like many other models the Sony lenses are also going through transformation and development. The old Minolta lenses are not all D lenses, while most modern Sony-A lenses are all D lenses. You can quickly tell if a lens is a D lens or not by counting the number of contacts on the lens mount. D lenses have 8 contacts, non-D lenses have 5.

I have collected here some of the best explanations from different forums that explain why Sony-D lenses are better than non-D lenses:

” That doesn’t have anything to do with the ‘D’ designation. In Minolta/Sony ‘talk’ the ‘D’ indicates that the lens has the ‘D’ chip, which gives distance information to the body. You’re thinking that the ‘D’ means that the lens is optimized for digital cameras. However, as Minolta used the ‘D’ before digital came out.”

“Sony now uses the term “distance encoder” in its lens descriptions, which as far as I know means the same thing as “Advanced Distance Integration” (ADI). Personally, I’ve never noticed that using ADI makes much difference in results.”

“The Minolta 24-105mm f3.5-4.5 (D) Lens was one of the first lenses with ADI (Advanced 
Distance Integration) flash metering system. The D indicates Distance integration”

“Sony-D-compatible” means the lens has 8 electrical contacts rather than 5 which allows additional data to be exchanged between camera body and lens, and that the lens sends focus distance information back to the body. The body can use the distance information to adjust the flash output if you select ADI flash mode. 8 pin lenses started appearing with the Minolta xi range (about 1993, I think), but ADI only came in about 2000 (with the Minolta 5/7/9 series cameras). Many treasured legacy lenses (e.g. the Beercan) are only 5 pin, and even today some current lenses are still only 5 pin, e.g. the excellent Tokina 11-16/2.8.”

” The ‘D’ function was originally designed by Minolta to help with flash exposures when the subject was against a reflective background. The ‘D’ lenses were designed to work with the 5600HS D flash, and a body that was able read the ‘D’ distance information.

“This is how it works: Suppose you wanted to take a picture of a subject standing 10′ in front of you. Two feet behind the subject is a highly reflective surface. Normally, if you try and take a picture in this type of situation, the picture would come out with the subject being underexposed. This is because the light from the flash bouncing back from not only the subject, but the reflective background. Because of this strong reflection, the light output from the flash would be cut off before the subject is properly illuminated.”

“With the ‘D’ system in place, the camera would know that you are focusing on a subject ten feet in front of you. Therefore the reflection from the background would be disregarded, as it is further away from your focused point. If you were to shift focus to the reflective background, then the camera would then measure the light from the reflective background and not the darker foreground.”

“I believe every Minolta/Sony DSLR from the Maxxum 9 could take advantage of the ‘D’ chipped lenses and ‘D’ flashes. I’m not sure if Sony was found other uses for the distance information in the newer cameras.”

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Common Canon fit Abbreviations

This article is focusing on common Canon fit photography terms, acronyms, & abbreviations, which are used on Canon lenses. In addition other brands as well, such as Sigma and Tamron, that can be used on Canon digital cameras.

Common Canon Abbreviations

SLR – single-lens reflex camera – typically uses a mirror and prism system (hence “reflex” from the mirror’s reflection) that permits the photographer to view through the lens and see exactly what will be captured.

Digital SLR or DSLR – a digital camera that combines the optics and the mechanisms of a single-lens reflex camera with a digital imaging sensor, as opposed to photographic film.

Canon FL lens mount – FL fit was before 1964.

Canon FD lens mount FD fit was before 1987.

EF mount was introduced in 1987.

EF – electronic focus.

EF-S (introduced in 2003) designed for EOS DSLR models with a compact sized sensor – APS–C (Advanced Photo System Cropped frame) sensor size – lenses lighter and smaller, greater wide-angle choice.

RF mount (introduced in 2018) implements a 12-pin connection between the camera and the lens, a 50% increase over the 8 pins found on the EF mount. Along with more data channels, provides higher speed data transfer for extremely fast AF, enhanced image stabilization and image quality optimization. Canon EF and EF-S lenses can be used on cameras that have the RF mount with mount adapters.

EF-M (introduced in 2012) – more compact compared to the EF and EF-S range, designed exclusively for use with EOS M cameras.

IS – image stabiliser (Canon).

L – Designation for Canon’s professional line of lenses. While more expensive than consumer-grade lenses, these are compatible with Canon Rebel cameras and all use the Canon EF mount. If the lens has a red line, the lens is part of Canon’s L series.

AFD – Arc-Form Drive is the first autofocus motor used in Canon EF lenses. Louder and slower than USM motors. Slower reaction time and no full-time manual focus override. If an autofocus Canon lens has no indication on its barrel what sort of AF motor is used, it is either AFD or MM.

MM –Micro Motor -the least advanced AF motor used in Canon lenses along with AFD. It is a smaller version of the AFD motor. MM is only used in the cheapest Canon lenses, like the EF-S 18-55mm f/3.5-5.6 IS II kit zoom. Does not allow full-time manual focus override like the more sophisticated USM systems do. If an autofocus Canon lens has no indication on its barrel what sort of AF motor is used, it is either MM or AFD.

STM – Stepping Motor – The inclusion of the STM motor allows the camera to focus smoothly and quietly while shooting video and particularly so when using Canon DSLRs equipped with Dual Pixel AF systems. This motor also allows quick AF speeds during still image capture.

USM – Ultrasonic Motor – The inclusion of an ultrasonic motor makes the lens focusing fast and quiet.

DN – lenses designed for compact system cameras.

DODiffractive Optics lenses are built to the same exacting standards as L series lenses, but these are designated with a green ring around the lens barrel instead of a red one.

TS-E – lenses with tilt and shift functions,

MP-E – it is a is a prime lens, there is physical extension is because it focuses very close. MP-E focuses from life-size to 5 times life size, provides closer images than macro.

PL mount (Positive Locking) mount or Arri PL – lens mount developed for cinema lenses.

CN-E – cinema lenses for Canon Cinema EOS (Cinema Electro-Optical System). Prime lenses are available with an EF mount, while the CN-E zoom lenses are available in either EF or PL mount. The biggest visual difference between EF and CN-E lenses is that the cinema lenses have gearing around them that allows the focus and aperture to be easily and smoothly controlled via a follow focus or remote control.

I, II, III – designates which version of a Canon lens to distinguish the older model from the newer one.

Read more about Photography Glossary.

Common Sigma Abbreviations

Sigma makes their lenses in a variety of mounts, including Canon (also Nikon, Pentax, Sony/Minolta, some Olympus, and even their own Sigma SA mount).

They backwards engineer the mount and do not pay a license to Canon, so they generally do not use the term “EF” but instead label it as “Canon AF”.

They do not make any lenses using the EF-S mount. Instead, their digital lenses for the “crop” cameras are labelled “DC” and will fit any EF or EF-S mount without interference. So unlike the EF-S lenses, Sigma DC lenses can be used on the older non-EF-S models like the D30/D60/10D.

AF – Autofocus

ASP – Aspherical Lens Elements. A type of lenses that virtually eliminates the problem of coma and other types of lens aberration. They are particularly good at correcting distortion in wide-angle lenses as well as contributing to a lighter and smaller lens design.

APO – Apochromatic lenses. Uses special low dispersion glass for minimum colour aberration and telephoto quality improving contrast and sharpness. APO Zoom Marcos offer up to 1:2 magnification (one half life-size) in the telephoto range with instant shifting from normal to macro shooting. APO Tele-Macros offer a 1:2 image size close focus, when the macro switch is engaged the zoom control ring is fixed at the telephoto end.

CONV – These lenses can be used with the APO Teleconverter EX. It can increase the focal length and will interface with the cameras automatic exposure function.

DC – Lenses designed for APS-C DLSR cameras. Lenses which have been designed so that the image circle matches the smaller size of the image sensor of most Digital SLR’s. Also compact and lightweight.

DG – Lenses compatible with full-frame sensor DSLR cameras. Large aperture lenses with wide angles and short minimum focusing distances. Have peripheral illuminations so are the ideal lenses for Digital SLR cameras, but are still suitable for 35mm SLR’s.

DF – Dual Focus. Disengages the linkage between the internal focusing mechanism and outer focusing ring when in the AF position. Allows holding of the lens as the focusing ring does not rotate during auto-focusing, but gives an adequate focusing torque of the focus ring when manually focusing the lens.

DL – Deluxe. Full-featured lenses and come with a custom lens hood, feature half stop increments on manual aperture settings, depth of field scale, distance scale, infrared correction mark.

EX – Excellence. Used to define professional type lenses, it denotes a superior build and optical quality.

HF – Helical Focus. Eliminates front lens rotation, allowing the use of a perfect hood and easy to use polarising filters.

HSM – Sigma’s designation for Hypersonic Motor. Uses a motor driven by ultrasonic waves to provide quiet, high-speed Auto Focus. Virtually silent, highly responsive auto and manual focusing.

IF – Inner Focus. The lens is able to focus without physically changing its size, where optical movement is limited to the interior of the non-extending part of the lens barrel, allowing for a more compact and lightweight lens as well as closer focusing distances.

MACRO – Used on those lenses which have the ability to be used for close up (macro) photography. Some will have a magnification ratio of 1:3 focusing at 50cm, such as some of their standard Zoom lenses.

OS – Sigma’s designation for Optical Stabiliser. Has a built-in mechanism that compensates for camera shake. Alleviates camera movement when shooting by hand held camera.

RF – Rear Focusing. A system where all the lens elements are divided into specific groups, with only the rear group moving for focusing, making the auto-focus operation smoother and faster.

UC – Ultra Compact. The smallest, lightest lens of its type.

ART – Designed to emphasize creative expression above compactness and multi-functionality

MC – Sigma Mount Converter

Common Tamron Abbreviations

ASL – lenses use one or more aspherical lenses.

DI – Digitally Integrated Design


Digitally Integrated Design – A Generation of lenses designed for optimized use with digital SLR cameras.

Di II – Lenses for APS-C sized sensors only. They are constructed for the exclusive use on digital SLR cameras with smaller-size imagers (Canon EF-S size – max. 16 x 24 mm)

Di III – Lenses for compact system cameras. They are engineered specifically for mirrorless interchangeable-lens cameras. They cannot be used with digital SLR cameras with a built-in mirror box or with conventional SLR cameras.

PZD (Piezo Drive) – it has a piezo drive motor. Read more here.

USD – it has a high-frequency Ultrasonic Silent Drive motor, enabling speedy, silent autofocusing.

XR – Extra Refractive Index Glass Technology. Gives Tamron lenses better performance and allows them to have more compact designs.

Read more about Tamron abbreviations in Tamron glossary


Canon EF-S 18-55mm f3.5-5.6 IS II DSLR Lens Black

This is a cropped frame sensor Canon electronic focus lens (EF-S) with image stabiliser (IS), 2nd version of the model (II)