#sigma 8-16mm

[libramonthlyhoroscope1]

Fuji 50-140 portraits

One of the unique strengths of the Fuji ecosystem is the wide range of lenses of varying quality and price points specifically designed around the APS-C sensor (in this case a 1.5x crop factor compared to 35mm/full frame). Fuji’s APS-C-centric focus has allowed them to both maximize the potential of an APS-C sensor and also develop lenses purposefully for that smaller sensor. And they have developed a lot of very good, very well received lenses with pro-grade features and apertures. For the most part, you can find an equivalent Fujinon APS-C lens for just about all the traditional DLSR focal length/aperture combinations. That’s simply not something you can say on every platform.

Fuji 50-140 portraits

Other brands focus primarily on full frame and, as a result, most of their APS-C lenses tend to be consumer-grade. If you want pro-grade lenses on, say, Sony or Canon (I’ve owned multiple Sony and Canon APS-C mirrorless cameras), you are often required to revert to full frame lenses, which, by nature, are larger and heavier because they have been designed to cover a full frame image circle. This quickly defeats the ideal of “smaller and lighter”. With most brands, you are buying lenses for the potential of using them on either APS-C or full frame, but Fuji’s approach is that “we are going to do APS-C”, and so they do it well. One such lens that you won’t find on other APS-C platforms is the Fujinon XF 50-140mm F2.8 R LM OIS WR lens. The 50-140 OIS (as we’ll call it for brevity in this review), joins a host of other quality first party lenses designed by Fuji for the APS-C sensor.

A quick breakdown of what all those letters in the name mean if you don’t “speak Fuji”.

50-140mm is the equivalent range of 76-213mm on a 35mm/full frame sensor (every lens mounted on an APS-C camera has the crop factor of the camera applied)

R = Ring, or that the lens has an aperture ring

LM = Linear Motors, meaning that the lens has Fuji’s upscale focus system

OIS = Optical Image Stabilizer

WR = Weather Resistant, meaning that the lens has weather sealing components in the lens.

In short, the 50-140 OIS has most of Fuji’s premium lens boxes checked. This is a pro-grade lens, the equivalent of the popular 70-200mm F2.8 lenses that available on all major full frame camera systems and are one of the most popular tools for any portrait, event, or wedding photographer. I have used a 70-200mm type lens in 98% of the weddings that I’ve ever shot. I would consider the 50-140 OIS to be one of the indispensable lenses on the platform, and it is the third lens in the Fujinon pro-zoom trinity, including the 8-16mm F2.8 (my review here) and the 16-55mm F2.8 (my review here). The 50-140mm is not a new lens (it was released in January 2015), but I personally came late the Fujifilm platform and having been slowly working my way through the catalog. This is the ninth Fujinon lens that I have covered.

Fuji has some excellent lenses in their XF (Fuji X-mount) catalog (and some rabid fans that support them!), but as someone who reviews a broad range of products (and not just within one brand), I have felt that in many cases the Fuji lenses I’ve covered didn’t quite measure up to their counterparts on other systems in the “price-to-performance” ratio. Put simply, many of the Fuji lenses I’ve tested over the past couple of years have seemed overpriced while others feel a little dated. I think part of this is due to the fact Fuji is a fairly closed system. There is very little third party development for the XF mount other than manual focus options from a lot of small players. Years ago (2013) the Zeiss Touit series was released in Fuji XF with autofocus (I reviewed them all on Sony), but those lenses now also feel overpriced and dated in their performance. Fuji has never (to this point) gotten autofocus lenses from Sigma, Tamron, or Samyang – the kinds of quality, less expensive autofocus lenses that are making Sony such an attractive platform right now. The most exciting trend in the past two years is that Chinese manufacturer Viltrox has produced several quality autofocus lenses in both Sony and Fuji mounts. I’ve reviewed the 85mm F1.8 AF lens and the XF 33mm F1.4 from Viltrox from them, and am working on the 23mm F1.4 review right now (though I’m covering that lens on Sony). Those Viltrox lenses have only gotten minor headlines on Sony because there are so many options there, but I know from my audience that these lenses on Fuji have been enthusiastically received. And it’s no surprise: the Viltrox AF 85mm F1.8 costs $399 USD; the Fujinon XF 90mm F2 costs $950 USD!

This has to be considered when you are talking about a $1600 USD APS-C lens, particularly when other systems have very compelling 70-200mm F2.8 third party zooms that all cost less than the 50-140 OIS (in some cases, significantly less). If you are already invested in the Fuji ecosystem this choice is more binary, but if you are shopping between systems and considering what to buy into, the choice becomes more complicated. A lot of the size advantages for APS-C disappear when you start to put pro-grade glass (like the 50-140 OIS) in front of them. This review will attempt to fairly explore both strengths and weaknesses so that you can make an informed decision. If you would prefer to watch your reviews, you can choose either my long format definitive review or shorter standard review video below.

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Fujinon 50-140 OIS Build, Features, and Handling

As noted, this isn’t a small lens. It is a little more svelte than the typical full frame 70-200mm but is fairly similar in size to most 70-200mm F4 lenses on full frame. The Sony GM 70-200mm (a mirrorless lens like the 50-140mm) is actually on the larger and heavier side when compared to DSLR lenses, and it’s 1480g weight is almost 50% higher than the 995g of the Fujinon lens. It’s also 24mm longer at 200mm than the 176mm of the Fujinon, and is 5mm wider in diameter (88 vs 83mm). This is pretty much what you expect, right?

But, as always, the third party lenses tend to be the disrupters. Tamron “tossed a grenade” into the room in 2020 with the release of their 70-180mm F2.8 zoom for Sony FE (my review here). This lens competes with the very best optically, has extremely fast, quiet, and smooth autofocus, and is also extremely disruptive in terms of size. The Tamron is lighter (810g), shorter (149mm), and even narrower in diameter (81mm) than the Fujinon lenses despite it being designed for APS-C and not full frame. The Tamron also $400 cheaper at $1199. This lens has not only been disruptive on the Sony platform but also changes the calculus on APS-C vs full frame (the Tamron + a Sony a7III weighs 1460g; the Fuji X-T4 + 50-140mm weighs 1521g). The Fuji combination is also more expensive by several hundred dollars. Which of these combos looks smaller and lighter to you?

[graypixllc]

Part of every photography class I teach includes a demonstration and group photo with the 8x10 Deardorff. Canon 80D, Sigma 8-16mm. NIK Silver Efex Pro

[scotianostra]

Abhainn Ruadh by The Unexplored Via Flickr: which seems an appropriate name for this river.

[1008988]

[SFD] 06/17 2019 SDQH9365 Via Flickr: 千葉県 南房総市 西浜海水浴場

[spearfishing-freediving-world]

awesome🤩👍 Reposted from @the.christian.cee W H I T E 🧜‍♀️ @ddkaye10 follow us 👇👇👇👇👇👇 @spearfish.and.freedive.world . . . . . . . . #philippineimages #forumsession #forumtraveller #sonya6500 #itsmorefuninthephilippines #lonelyplanet #diving_guru #wheninmanila #sandfworld #freediving #girlsthatfreedive #freedive #travelawesome #travelgram #SinoPinas #diving #divingspecials #wtnadventures #fotografiaunited #discoverocean #saltnomads #freediver #angelsofthesea #freedivingart #freediversunited #saltedline #saltedlinehousing #a6xxxsaltedline #seafrogshousing Shot with @sonyphinc A6500 + Sigma 16mm 1.4 on @saltedline A6xxx underwater housing + 8" Dome https://www.instagram.com/p/CdI4nrys3rJ/?igshid=NGJjMDIxMWI=

[greecetravelphoto]

Monastery of Kalabaka by federico_calogiuri

[garr8]

Storm over Scrabo.

Storm clouds brewing over Scrabo Tower, Newtownards, County Down, Ireland. This is my painting from my original photo  taken using a Fuji XPro1 camera coupled with a Sigma 8-16mm ultra wide angle rectilinear lens. 

[ruby-la-rouge]

some random shit about me

I am a plus size model and I love artistic photographic modelling.

I work for myself from home and have a fairly flexible schedule, but transport can be an issue. I don't have a registered car due to not needing to register it anymore since I work from home and don't go out often.

I am quite eccentric and unconventional and have been through a lot. I've worked as a licenced electrician, a stripper/exotic dancer, grape vine pruner, office administrator, bar attendant, professional Dominatrix and of course in my younger years I worked at some fast food restaurants. Now I am an independent content creator - for me this means I broadcast live to the world on many different platforms to entertain and inspire others to follow their truth, to be authentic, be the best versions of themselves and to pay it forward. I started on a platform that used to be owned by Microsoft, I had over 24,000 followers and I went live on that platform 5 days a week for 8 hours a day and had 30 - 60 viewers regularly, sometimes up to 1000 viewers. In June 2020 Microsoft gave Mixer to Facebook and I lost 98% of those followers and basically had to start from the bottom again. Now I invest a lot of my energy into Instagram, Twitch and Onlyfans, but I also use Facebook and Twitter. I have always been into photography, one of my favourite photographers would have to be Robert Mapplethorpe, I used to love developing photos in the dark room during photography classes and using the pin-hole cameras. Playing with light and shadow is a lot of fun and I would like to do more of it. I did a modelling course a long time ago at a place called 'Rachel's Model Management', which used to be in the Adelaide CBD, but has moved to Glenside now, it taught me a fair bit about posing, etiquette, deportment, grooming and fashion, but that was a long time ago and I am sure I need to work on all those things.

Lately I have been doing most of my photography myself, I have a backdrop and a ring light and the camera on my phone is average, so that has been going nicely. I plan on getting an expensive camera and lens soon (Sony A6400 and Sigma 4402965 16mm) to improve the quality of my content, plus I have some other exciting new stuff coming soon - mermaid tail, lingerie, toys, etc

I would love to do some underwater MERMAID photography with my tail when that arrives if anyone is interested.

I am interested in developing my modelling portfolio more and working more on my skills as a model and photographer, so if you are interested in collaborating with me send me a message.

I prefer an initial meeting before there is any photos taken.

[japan-at-all]

[kenhchiasethongtinhay]

Góc nhìn của máy ảnh (Phần 2)

Góc nhìn và trường nhìn phụ thuộc vào độ dài tiêu cự và kích thước cảm biến. Một vấn đề xuất hiện tại góc nhìn rộng nhất của ống kính là ảnh sẽ bị méo. Để khắc phục tình trạng này, chúng ta có thể dùng phần mềm chuyên chỉnh sửa ảnh (Đọc thêm bài viết “Méo hình và cách khắc phục”). Hiểu được bản chất và vai trò của góc nhìn, chúng ta có thể vận dụng vào việc lựa chọn ống kính cho từng trường hợp chụp ảnh.

Trong trường hợp này, bạn sẽ cần phải nắm bắt được phạm vi lớn của cảnh để chuyển tải đến người xem một không gian rộng lớn. Do đó, bạn phải cần một ống kính có góc nhìn rộng với tiêu cự ngắn. Một ống kính góc rộng với độ dài tiêu cự nhỏ hơn 25mm trên APS-C là một lựa chọn được khuyến khích. Ống kính có thể dùng cho mục đích chụp phong cảnh, kiến trúc, cảnh quang đường phố có thể kể đến: Canon EF 16-35MM F/2.8L II USM, Nikkor 12-24MM F/4 G IF-ED, Sony 10-18mm f/4 OSS, Sigma AF 8-16mm f/4.5-5.6 DC HSM…

Đây là thể loại nhiếp ảnh rất linh động và phức tạp vì người chụp luôn luôn phải di chuyển nhanh chóng theo đối tượng. Bạn cần một ống kính với tiêu cự thay đổi, cho phép linh hoạt hơn so với khi bạn đang chụp chân dung trong một studio, nơi bạn có thời gian để thay đổi ống kính. Nếu chỉ thích sử dụng ống kính prime và có điều kiện, bạn có thể mang theo hai thân máy với ống kính tiêu cự khác nhau trên mỗi camera. Một ống kính gắn vào máy ảnh sẽ cho tiêu cự 23mm và máy kia sẽ có tiêu cự từ 80mm đến 200mm. Danh sách các ống kính phù hợp để chụp ảnh sự kiện, đường phố là: Canon EF-S 18-135mm f/3.5-5.6 IS, Nikkor AF-S DX 18-105mm f/3.5-5.6G ED VR, Leica Elmarit-M 28 mm f / 2.8 ASPH …

Bạn thường cần phải tập trung sự chú ý của người xem vào nơi hành động cụ thể đang diễn ra. Nó tạo ra nhận thức rằng bạn đang ở gần các hành động trong khi thực tế, bạn có thể chụp từ một khoảng cách xa so với chủ thể. Một ống kính 70-200mm hoặc 70-300mm là lý tưởng trong tình huống này. Tránh xa các ống kính siêu zoom như các ống kính 18mm-200mm. Trong khi bạn có thể tránh việc phải thay đổi ống kính, ảnh của bạn sẽ bị nhiễu và bạn sẽ hy sinh chất lượng quá nhi��u cho sự tiện lợi. Để chụp ảnh hành động, thể thao trong nhà nên dung các ống kính: Canon EF 70-200mm f/2.8L IS II USM, Sony FE 70-200mm f/4.0 G OSS,  Nikkor AF-S 70-200mm 1:2.8G ED VR II…

Các môn thể thao như bóng đá, ô tô đua,…đòi hỏi ống kính có chiều dài tiêu cự lớn. Các khoảnh khắc như tàu lượn trên không, cú sút phạt thủng lưới hay xe máy ôm cua, với những ống kính thích hợp bạn có thể bắt dính nó một cách dễ dàng. Tùy vào ngân sách, bạn có thể mua một ống kính có chiều dài tiêu cự từ 100mm đến 600mm hoặc ống kính 70mm - 300mm zoom để chụp linh hoạt hơn. Các ống kính dùng để chụp ảnh thám hiểm, thể thao ngoài trời là Tamron 150-600mm f/5-6.3, Nikkor AF-S 600mm f/4E FL ED VR, Sony 70-300mm F/4.5-5.6 G SSM, Olympus 70-300mm f/4-5.6 Zuiko ED…

Tất cả các loại ống kính macro có sẵn với độ dài tiêu cự khác nhau đều hữu ích tùy thuộc vào đối tượng bạn định chụp. Nhưng khi chụp hình các loại côn trùng nhỏ như bướm, ong, ruồi… bạn nên sử dụng ống kính có độ dài tiêu cự 60mm vì nó đảm bảo rằng đối tượng sẽ không phát hiện ra bạn và bay ra khỏi khung hình. Danh sách các ống kính phù hợp với chụp ảnh macro/sản phẩm bao gồm:  Nikkor AF-S 60mm f/2.8G ED, Canon EF-S 60mm f/2.8 Macro USM, Sigma 105mm f/2.8 EX DG OS HSM, Laowa STF 105mm F2.0, Tamron SP 90mm f/2.8 Di VC USD…

"QC" Dịch vụ quay video chuyên nghiệp, quay phim sự kiện, quay video clip, quay phim HD, tất cả các dịch vụ về quay phim…

Hotline + Viber + Zalo: 0972.123.018 (Cameraman)

Mẫu tham khảo : www.heytv.vn

Facebook : https://vi-vn.facebook.com/rophistudio/

Trang Chủ : https://seotukhoa.com.vn/

[dailyautumn]

Autumn trees by Takashi Hososhima Via Flickr: This is first time I visited National Showa Kinen Park in autumn. And it's much more beautiful than I expected! This is taken at Japanese garden of the park. 昭和記念公園に紅葉を見に行きました。秋に同公園に行ったのは初めてですが、日本庭園のその美しさは想像以上でした。 Canon EOS 7D + Sigma 8-16mm F4.5-5.6 DC HSM

[hawk-feathers]

Sun N Fun! Day 1!

Day 1 Photos. ~1300 something photos taken, 10 actually posted.

Camera and lenses: Canon 7D MKII + Canon 70-200mm f/2.8 IL II L + Sigma 8-16mm f/4.5-5.6

[graypixllc]

Antietam in the winter. Camping last Thanksgiving weekend. Canon 80D, Sigma 8 to 16mm. NIK Analogue Efex Pro. 

[fumarinesthings]

2018年レンズ別登場回数ランキング

前からやりたいと思っていたので、集計しました。

ちなみにカメラは、APS-CのPENTAX K-3Ⅱです。

ブログ登場回数

1位：19回：smc PENTAX-M 50mm/1.4：Kマウント

2位：18回：Rollei-HFT Planar 50mm/1.8：Ｍ４２マウント

3位：12回：MIL TOL By Kenko ED 400mm/6.7：Ｔマウント

4位：11回：RMC Tokina 17mm/3.5：Ｋマウント

　　　　　  MC Mir-47K 20mm/2.5：Ｋマウント

6位：10回：KIRON 28mm/2 MC：Ｋマウント

　　　　　  SMC TAKUMAR 28mm/3.5：Ｍ４２マウント

　　　　　  HELIOS 44-2 58mm/2：Ｍ４２マウント

　　　　　  PENTACON 200mm/4：Ｍ４２マウント

10位：8回：SAMYANG 10mm/2.8：Ｋマウント

　　　　　  Carl Zeiss Jena electric MC S 135mm/3.5：Ｍ４２マウント

12位：7回：CARL ZEISS JENA Ⅱ 24mm/2.8 MC MACRO：Ｍ４２マウント

　　　　　  TAMRON SP 90mm/2.5 52B：アダプトール２

14位：6回：ROKINON 14mm/2.8：Ｋマウント

　　　　　  MC ZENITAR-K 16mm/2.8：Ｋマウント

　　　　　  Carl Zeiss Jena Flektogon 35mm/2.8：Ｍ４２マウント

　　　　　  Mir-1B 37mm/2.8：Ｍ４２マウント

　　　　　  XR RIKENON 50mm/2：Ｋマウント

　　　　　  AUTO mamiya/sekor 55mm/1.4：Ｍ４２マウント

20位：5回：MIR-20M 20mm/3.5：Ｍ４２マウント

　　　　　  Super-Multi-Coated MACRO-TAKUMAR 50mm/4：Ｍ４２マウント

　　　　　  Super-Takumar 55mm/1.8：Ｍ４２マウント

　　　　　  MC JUPITER-9 85mm/2：Ｍ４２マウント

　　　　　  Cyclop T3C-2 100mm/2：Ｍ４２マウント

25位：4回：PENTACON electric 135mm/2.8 MC：Ｍ４２マウント

　　　　　  JUPITER-36B 250mm/3.5：ペンタコン６

27位：3回：Holga HL-P 60mm/8：Ｋマウント

　　　　　  MACRO YASHINON 60mm/2.8 TOMIOKA：Ｍ４２マウント

　　　　　  HELIOS-40 85mm/1.5：Ｍ３９マウント

30位：2回：PHOENIX/SAMYANG MC AUTO ZOOM 18-28mm/4.0-4.5：Ｋマウント

　　　　　  Rodenstock-Trinar 55mm/3.5：Ｍ４２マウント

　　　　　  PENTACON AV 80mm/2.8：Ｍ４２マウント

　　　　　  ISCO-GOTTINGEN EDIXA-ISCONAR 100mm/4.5：Ｍ４２マウント

　　　　　  RANK TAYLOR HOBSON 8.25INCH/4.5 XEROX：Ｍ４２マウント

35位：1回：SPIRATONE fish-eye 12mm/8：Ｍ４２マウント

　　　　　  smc PENTAX-M 40mm/2.8：Ｋマウント

　　　　　  INDUSTAR-50-2 50mm/3.5：Ｍ４２マウント

　　　　　  SMC PENTAX-DA 50mm/1.8：Ｋマウント

　　　　　  MC HELIOS-44-3M 58mm/2：Ｍ４２マウント

　　　　　  Carl Zeiss Jena Sonnar 180mm/2.8：Ｍ４２マウント

　　　　　  CARL ZEISS JENA DDR SONNAR AUTO 200mm/2.8 MC：Ｍ４２マウント

　　　　　  MC RUBINAR 1000mm/10 MACRO：Ｍ４２マウント

　　　　　  Lensbaby 3G：Ｋマウント

　　　　　  Rising Pinhole Wide V：Ｋマウント

　　　　　  SIGMA Art 18-35/1.8：Ｋマウント

46位：出番なし(笑)

Carl Zeiss Jena Flektogon 35mm/2.8 modified：Ｍ４２マウント

SPIRATONE MACRO 35mm/3.5：Ｍ４２マウント

MC RUBINAR 500mm/5.6 MACRO：Ｍ４２マウント

CARL ZEISS JENA DDR MC SONNAR 300mm/4：ペンタコン６

LENSBABY Circular Fisheye 5.8mm/3.5：Ｋマウント

COSINA 20mm/3.8 MC WIDE ANGLE：Ｋマウント

VOIGTLANDER 35-70/3.5-4.8 MACRO：Ｋマウント

PENTACON auto 29mm/2.8 MC：Ｍ４２マウント

PENTACON auto 50mm/1.8：Ｍ４２マウント

TAMRON 80-210/3.8-4.0：アダプトール２

多分５５本？？？

長文失礼しました・・・自己��足用です。

[spearfishing-freediving-world]

🔝🤩👌 Reposted from @the.christian.cee L E S E R E N E Shot with @sonyphinc A6500 + Sigma 16mm 1.4 on @saltedline A6xxx underwater housing + 8" Dome Follow us 👇👇👇👇👇 @spearfish.and.freedive.world . . . . . . . . #underwater #spearfishing #hot #yoga #friends #spearfish #fishing #fish #hunting #diving #dive #freediving #underwaterphotography #photography #photographer #freedive #freediver #snokeling #ScubaDiving #scuba #amazing #scubadiver #scubadive #fun #SandFworld #beautiful #beauty #GoPro #Sharks #awesome https://www.instagram.com/p/CaGc-L3IdcE/?utm_medium=tumblr