Sigma 402965 16 mm F1.4 DC DN Contemporary Sony E Lens - Black

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One more example: Beautiful sunrise, but it feels like it needs something to me. Better – adding a human element, closer to the camera adds depth that the first image is missing. 2. No clear subject in the image For portrait photography, I prefer a prime lens such as the XF90mm F2.0 because of its sharpness and bokeh ” explains Andrew Hall. The Sigma 16mm f/1.4 DC DN Contemporary Lens for Sony E (402965) stands out as a remarkable lens with a wide aperture and outstanding quality within its price range. Highly recommended for complementing the Sony E10, this lens delivers exceptional image quality. Its low aperture makes it a versatile choice for low-light conditions, and the overall performance exceeds expectations, making it a valuable addition to any photographer's/videographer's toolkit.

Early in 2012, Fuji released the X-Pro 1 system, with this 35mm f/1,4 being one of the 3 flag-ship Fujifilm lenses. What that means is that objects closer to the camera appear larger than ones farther away, even if they are the same size in reality.

Is 50mm good for portraits?

That said, because the 16mm focal length is mainly limited to zoom lenses, it is at a disadvantage over the more popular 14mm focal length, which has a plethora of prime lenses. As you can see, ‘weather resistant’ is a bit of an understatement, and bears testament to the incredible build quality of the 23mm f/2 WR lens. For such an ultra-wide-angle lens, sharpness is very good on the whole and, if you stop down to f/5.6, that remains true right out to the extreme edges and corners of the image frame. Lateral chromatic aberration is also very well controlled, even with automatic in-camera correction switched off. Vignetting is quite noticeable at f/2.8 but in-camera correction is also available for this. Use a wide lens to take photos of people that show their environment (think the shop keeper in the example above), add a sense of fun or even humour, or tell a story. But know it will likely not be flattering to the subject.

But not everyone has a Canon camera with IBIS, so I asked Ben to make some similar tests with his EOS R body. So here he is filming with no stabilisation from the camera or the lens, and this is filmed in 1080 for uncropped coverage on the EOS R. The camera is held on the end of a Switchpod stand which you can see reflected in his sunglasses. The only ways to reduce converging verticals are to either (i) aim your camera closer to the horizon, even if this means that you'll capture a lot of ground in addition to the subject (which you crop out later), (ii) get much further from your subject and use a lens with a longer focal length, (iii) use Photoshop or other software to distort the photo so that vertical lines diverge less, or (iv) use a tilt/shift lens to control perspective. And now for the EOS R with Enhanced movie stabilisation – again a purely digital solution here, and as you saw on my clips, there’s a significant crop. As for the result here, at times it looks very smooth, but there’s also an undesirable judder as Ben walks. Your mileage will of course vary.Ok, now for video starting with a focus pulling test between the two bottles, with the nearest one being close to the minimum focusing distance. You can see here the R5 and 16mm smoothly refocusing between the bottles when the central AF target falls on them. It may not be particularly fast in this test, but again is very smooth and confident. Canon skipped image stabilization for this one. If you're using an upmarket EOS R3, R5, or R6 with IBIS, you'll be able to eke out longer handheld stills and smoother video footage. If you're using an EOS R or RP, you may miss the feature for handheld video work, but you aren't likely to run into problems for photos. RF 16mm F2.8 STM: In the Lab

Vignetting is something of a non-issue, given that Fujifilm’s in-camera correction produces images with virtually none. It is slightly visible, shooting wide open, but is all but gone when shooting at f/2.8. It is rather academic as even when shooting wide open, you will be hard pushed to notice it unless you are photographing paint drying on a wall. Sigma 16mm F1.4 DC DN C for Z Mount One of the things I love most about this lens is its exceptional optical quality. The images captured are sharp, with excellent contrast and vivid colors. The lens produces sharp images, even in low-light conditions, which is a testament to its impressive f/1.4 aperture. Those wanting an even more affordable 35mm option can look at the 35mm f/2, another extremely popular lens.)With a lens of this focal length and a semi-fast f/2.8 aperture, it won’t be pleasing any of the bokeh-whores out there, but still, there’s enough subject separation to elevate your image from the smartphone shooters out there.

If you’re after an ultra-wide-angle zoom, my choice would be the 10-24mm f/4, which many call the best Fuji lens for landscape photography. For many photographers (including myself), this is one of the best Fuji prime lenses ever made. When I tested a range of Fujifilm lens options for this review, I had this Fuji 23mm f/1.4 on my camera 90% of the time… and absolutely loved it. Seeking the best printer for your business? Hit your productivity targets with inkjet and laser printers that are a perfect fit for any workspace – including home offices. Shooting at lower f stops (wider aperture) means you can achieve faster shutter speeds. This means a nifty fifty is an ideal lens for photographing fast-moving subjects. Now, a fixed wider focal length might not be ideal subjects like sport or wildlife, but a 50mm lens is great for photographing kids or even pets.Above: Closing the aperture one stop to f4 reduces the coma while also sharpening-up the edges of the landscape elements, and I’d recommend it if you can accommodate the reduction in light. That said, if you’re not examining the far corners, the astro performance isn’t bad at f2.8 considering the price of the lens. Sharpness remains very good across the whole image frame, right into the corners (Image credit: Matthew Richards) The 50 mm prime lens, popularly known as the nifty fifty lens, is also called the normal or standard lens. Almost all types of photographers will have one 50mm lens in their kit. It is mainly due to the fact that the perspective of this focal length is similar to the perspective of the human eye. Do I need a 50mm lens if I have a 18-55mm? As you’d expect at the price, the lens has no ‘professional’ aspirations and is aimed predominantly at the beginner/mid-range photography sectors. As such, there are no weather-seals but the standard of construction nevertheless feels solid and robust.