#40mm prime lenses

[karingottschalk]

Can Our Adapted Vintage Panagor PMC 28mm f/2.8 Auto Replace Our Failed Fujifilm Fujinon XF 27mm f/2.8 Pancake Lens?

Can Our Adapted Vintage Panagor PMC 28mm f/2.8 Auto Replace Our Failed Fujifilm Fujinon XF 27mm f/2.8 Pancake Lens?

[the-hikers-eye-photography]

Micro Four Thirds (M 4/3) for Astrophotography - Can it be Done?

As it happens yes. Yes it can.

This past weekend I took a little roadrtip out to the high desert just outside of Los Angeles to shoot a little astrophotography. As I always do I brought my trusty full-frame Nikon D750 (outstanding dynamic range and low light performance with its 24 megapixel to full frame sized sensor ratio), and a variety of fast aperature wide angle lenses. But this time I wanted to try something a little different.

I recently picked up a Lumix 20 mm f/1.7 prime for my m 4/3 GX9 kit. Now 20 mm for m 4/3 is a full frame equivalent of 40 mm. Thats not a focal range one tends to shoot astro with, but in this case I just wanted to try it and see if the m 4/3 sensor could yield a positive result with a fast enough piece of glass attatched to it, and f/1.7 is fairly fast. With aperature the lower the number, the wider the opening, and therefore more light it is allowing to hit the sensor (this wide aperature is what is being refered to when a photographer talkes about "fast glass").

Ideally I would be shooting with about an 8 to 10 mm (a 16 to 20 mm full frame equivalent) f/1.7 lens, because in astrophotography the wider the field of view (wide at 16 to 20 mm as opposed to the 40mm I was using), the longer you can leave the shutter open without the stars beginning to streak as they move through the sky. At 40mm full frame equivalence I can really only comfortably expose for about 10 to 12 seconds, but if I were shooting at 20mm equivalence I could expose for 20 to 25 seconds, thus gathering twice as much light.

Anyway as my Nikon camera bodies were firing away on their respective time lapses, I set up my Lumix GX9 and took a few test shots to see what sort of result I could get. This shot is a two frame vertical panorama just to get a little more of the foreground in the shot.

The amount of detail I was able to capture with the m 4/3 GX9 was not the same as what I can get with my full frame gear, but if one were to take enough frames and stack them in an astro program like Sequator they could get some respectable results. But overall what I see here is about as good as the kinds of results I got back when I first started shooting astrophotography with a camera with an APSC sized sensor (a sensor size a little larger than m 4/3 but a little smaller than full frame).

===============

Lumix GX9

f/1.7

ISO 3200

13 Sec exposure

===============

All in all a very respectable result for a camera with such a relatively small sensor.

[nice-bright-colors]

Adulting is Hard: Black Friday Ed.

So all I really wanted was a new ‘Zelda’ - 3 Legged Things dedicated L bracket for my Nikon Z5.

So naturally I proceeded to add it, as well as a wish list of Nikon Z mount lenses to my cart. Upon checkout I casually noticed the total amount was north of $4500. So I slowly started to remove items from said cart.

I’m not a professional photographer, so I don’t need all that gear. Especially gear at the S-Line level of quality. It was then that I rationalized just one inexpensive lens. I chose a prime 40mm f/2. Between that and my new L Bracket, I got out of there for just under $400.

This looks a more my speed.

[gryphon1911]

Pentax 20-40mm f/2.8-4 Limited Lens Review

Background I thought about getting the Limited primes setup I had previously with my former Pentax bodies. Those were the 21mm, 40mm and the 70mm. This go around, I decided to see what the 20-40mm Limited zoom had to offer. Got this lens for half of what it would cost me to get the 21mm and 40mm alone. While not as small as those lenses – why not give it a go as I’ve never had it before! Let’s…

[louisthomsongradedunit2]

Equipment - Camera & Lenses

For this project I will be using my Canon 5D mark 2, I have had this camera for a while now so I am quite adept at using it it to its full potential and getting the most out of it. It is a full frame sensor camera meaning it picks up light in low light situations better than that of crop sensors, as well as improving image quality, so it will be ideal for this project.

For the majority of my shoots I shall be using my Canon 40mm prime lens. It is small and doesn't add much to the overall weight of my camera so will be particularly handy for on location shoots and shooting handheld if I decide to. It can open up its aperture to f2.8 meaning it will be good for this type of low-light photography I shall be shooting as it will let more light in allowing me to keep my ISO lower to reduce noise. Being a prime lens, I feel the images it produces usually have more contrast and depth to them compared to zoom lenses so this will also be good.

Although I do intend to shoot the majority of the project with this lens, I have access to the college store if I need wider or telephoto lenses for particular shoots.

[nikonstudio]

New Addition to the Family - Nikon ZFC Black Edition

The gear I will be bringing with me to Belgium and Iceland in 2024.

First impression? Meant for use with small z-mount prime lenses only, tributing the days when Nikon launches the FM2 with her AIS glass family. Nothing too bulky, off-balanced.

To contemplate adapting the camera with say an FTZ-II, you want to still restrict yourself to only the standard Nikon AF-S prime lenses like the 1.8s, 2s and 2.8s, so as to keep the overall CG balanced. Failing to do that would only bring harm to either your comfort or aesthetics (hideous hand grip add-on mandatory)

I find the use of Speedbooster yielding a similar experience in weight distribution (in fact a tad worst off than basic adaptor), with mounting my Canon 40mm F/2.8 STM edging the acceptability index, though offering the added benefits of a full-frame PoV and one stop of light advantage and DoF.

I must highlight the crippled FTZ-II adapter at least once here, with a deep frown for leaving shooters of AIS and AF-D glasses in the air. That's both an irresponsible and unprofessional act on the part of the newer, disrespectful young design team of Nikon.

In my book, the Nikon ZFC is still but a Nikon D7500 that's put on a diet with a change of superficial facade.

Enough said! Let's go take some pictures!

[ericlwoods]

I think I have found it: Sony FE 40mm f/2.5 G

I think I have found it: Sony FE 40mm f/2.5 G

I write “so…” posts as attempted self interventions. Occasionally I get it wrong. One of those times was when I wrote about the Sony G 28mm, 40mm, and 50mm prime lenses. But first, let me back up. I have been very happy with the Sony A7c. This camera has been excellent in every way and has succeeded at every task I threw its way. But after many attempts and false starts what has eluded me has…

[digital-cameras-singapore]

Cosina is bringing its Voigtlander 40mm F1.2 Nokton, 35mm F2 Macro APO-Ultron lenses to Nikon Z-mount

Cosina is bringing its Voigtlander 40mm F1.2 Nokton, 35mm F2 Macro APO-Ultron lenses to Nikon Z-mount

Cosina has announced it’s bringing two of its Voigtlander prime lenses to Nikon mirrorless cameras. According to Cosina, the Voigtlander Nokton 40mm F1.2 Aspherical and Macro APO-Ultron 35mm F2 will be available for Nikon Z-mount cameras systems. Nokton 40mm D F1.2 The Nokton 40mm D F1.2 Aspherical was previously only available for Leica M-mount and Sony E-mount camera systems. That will soon…

[thephoblographer]

The New Normal? These 40mm Primes Make A Strong Case

These 40mm prime lenses are more versatile than you think.

Some say 40mm lenses are perfect for everyday photography. 40mm might seem like a weird focal length to some, but this focal length is loved by many. Falling between the more popular 35mm and 50mm focal lengths, 40mm primes have been making a name for themselves of late. Being a tad longer than 35mm lends to more pleasing bokeh when used to shoot close-ups. Being shorter than 50mm lenses, 40mm…

[hatdigidigidog]

Philippines vs Thailand Badminton Men's Singles Quarterfinals Sea Games 2019

Court dimensions

The badminton court is 13.4m long and 6.1m wide. For singles the court is marked 5.18m wide. The lines marking out the court are easily distinguishable and coloured white or yellow. The lines are 40mm wide. A court may be marked out for singles only. The back boundary lines also become the long service lines and the posts or the strips of material representing them are placed on the side lines.

The diagonal full length of the full court is 14.366m.

Posts

The posts are 1.55m high from the surface of the court and remain vertical when the net is strained. The posts are placed on the double side lines irrespective of whether singles or doubles is played. The posts or supports must not extend into the court beyond the side lines. Where it is not practicable to have posts on the side lines, some method can be used to indicate the position of the side lines where they pass under the net, eg by the use of thin posts or strips of material 40mm wide, fixed to the side lines and rising vertically to the net cord.

Net

The net is 760mm in depth and a minimum of 6.1m wide. The top of the net from the surface of the court is 1.524m at the centre of the court and 1.55m over the side lines for doubles. There must be no gaps between the ends of the net and the posts. If necessary, the full depth of the net at the ends is tied to the posts.

Equipment

Badminton Racket

Modern Badminton Rackets are light in weight and don’t weigh more than 100 grams. The frame of the Racket can be made of common metals like steel or aluminum. Sometimes rackets are made of alloys, tough carbon fiber, ceramic, or boron. Its length does not exceed 680mm and width does not exceed 230 mm.

Shuttlecock

Sixteen feathers fixed in a cork base enveloped in a thin leather sheet make a shuttlecock. Interestingly, the best Badminton Shuttlecocks are made from feathers from the wing of a goose. The shuttle weighs between 4.74 to 5.50 grams.

Badminton Shoes

A good pair of Badminton Shoes provide good grip, cushioning and some flexibility at the forefoot.

Badminton Accessories

The commonly used Badminton Accessories are Grip, Badminton Clothes, Socks, Wrist Band and Head Band.

Grip

A grip made of cloth or synthetic fiber absorbs sweat and provides you a drier feel.

Badminton Clothes

Comfortable T-shirts and shorts, that don’t hinder your movement are ideal to play Badminton. A cotton round-neck or a collar t-shirts with a pair of light shorts are usually preferred.

Socks

Wear a pair of thick cotton socks as they help to absorb sweat. They also prevent your feet from slipping inside your shoes. Avoid wearing Nylon socks that don’t absorb sweat.

Wrist Band

If you perspire a lot, you may consider getting a wrist band that prevents your sweat from flowing to your racket handle.

Head Band

Wear a Head Band if you wear spectacles. It prevents your lenses from getting wet and also stops the sweat and hair from getting into your eyes while playing.

Basic Skills

Grip

The right grip in holding the racket is really important to achieve control on shots while avoiding the chances of a wrist injury. A proper grip will allow you to play both backhand and forehand strokes effortlessly.

Stance

The stance is how you stand while playing badminton, both in between a rally and before the serve. A stable and correct stance will bring a huge change in the results due to easier movement.

Footwork

Badminton is played on a court with limited space, and the athletes have to take care of the same while playing. Footwork plays a huge role in helping with an effective and organised movement on the court. In fact, some coaches even raise footwork to prime importance over other skills.

Serve

Service is among the most basic skill that you need to master in Badminton. Also, you should ensure to make a legal service otherwise it might lead to penalty points.

Drop Shot

Badminton Drop Shots are delicate badminton shots that can win you points that aim at scoring points in deception. Played with both backhand and forehand, these are used to move the opponent to the frontcourt. This creates space in the midcourt and backcourt for you to exploit. There are slow and fast drop shots, played judging the situation.

Clear or Lob

The lob shot in Badminton can be imagined as a shot with an inverted ‘U’ trajectory. It is normally played from the forecourt with an aim to lift or ‘lob’ the shuttle over the opponent. The idea is to land it as near to the baseline as it is, at an angle that is impossible to clear. This is similar to the drop in challenging the opponent with sudden motion backwards this time. It can also be executed by both backhand and forehand. This generally results in the creation of space in the front and midcourt, opening plenty of opportunities.

Technical and Tactical Skills

Technical Skills

The Ready Stance - it is a position in badminton wherein the right stance is readied by the player in order to minimize the amount of movements that would be needed in order to hit the shuttlecock Forehand and Backhand Grip - these are the two basic grips that new players must familiarize themselves with. By doing either of these, it would be much easier for players to control their shots Footwork - it is a necessary skill in order to play badminton. A proper foot walk would help in mastering the sports Strokes - initially, there are four strokes that the player can use.   Underarm Backhand Serve - it is a type of serve that beginners can use

Tactical Skills

Applying pressure on hitting the shuttlecock Position yourself in the central base It would be easier to hit the shuttlecock on the corners of the court Deceive your opponents during singles match

Rules of the Game

Rules

A player must wait until his opponent is ready before serving. If the opponent attempts a return then he is ruled having been ready. The feet of both players must remain in a stationary position until the serve is made. Your feet can not be touching the line at this time. It is not a fault if you miss the shuttle while serving. The shuttle cannot be caught and slung with the racket. A player cannot hold his racket near the net to ward off a downward stroke by his opponent or to interfere with his racket.

Faults

The shuttle, at the instant of being hit is higher than the servers waist or the head of the racket is higher than the servers racket hand. The shuttle does not land in the correct service court. The server's feet are not in the service court or if the feet of the receiver are not in the court diagonally opposite the server. The server steps forward as he/she serves. Any player balking or feinting his opponent before serve or during serve. A serve or shot that lands outside the court boundaries, passes under or through the net, touches any other obstructions or a players body or clothing. The boundary and service lines are considered in play. The shuttle in play is struck before it crosses the net to the striker's side of the net. You may follow through over the net. A player touching the net or its supports with his body or racket while the shuttle is in play. Hitting the shuttle twice in succession by a player or team.

Scoring System

A match consists of the best of 3 games of 21 points. Every time there is a serve – there is a point scored. The side winning a rally adds a point to its score. At 20 all, the side which gains a 2 point lead first, wins that game. At 29 all, the side scoring the 30th point, wins that game. The side winning a game serves first in the next game.

Interval and Change of Ends

A 1 minute interval between each game is allowed. In the third game, players change ends when the leading score reaches 11 points.

Officiating the Game

The officials are the judges responsible to ensure a fair badminton game is being played. They consists of:

Umpire: 

The ‘main judge’ for the particular badminton game. He/she has the power to overrule any decisions made by the service judge or line judges. The umpire is the person ensuring that the badminton game is run smoothly and prevent any players from delaying the game play.

Whenever a player requests to change the shuttle, the umpire will need to approve that the change could be made.

The umpire also looks out for faults committed around the net area such as whether a player touched the net when returning the shuttle.

Besides, the umpire is responsible to make a ‘fault’ call when the shuttle touches the player or the players’ attires except for the badminton racket. In badminton, it will be a fault/foul to a player if the shuttle touches any part of that player’s body or attire.

Service Judge: 

The service judge is responsible in making a ‘service fault’ call and to provide shuttles to the players.

Line Judges: 

Line judges sit beside the badminton court (right in front of every in/out lines) to determine whether the shuttle is inside or outside the boundaries of the court.

Their calls are usually very subjective and are often controversial.

Analysis

A seamlessly flawless victory for the Thailand’s Men Badminton Team has emerged in the 2019 Sea Games against the Philippines. It was an intense battleground fought till the end that had shocked the arena throughout the period of the game. Although the Filipino lost, he still showed determination and key perseverance that had paved way for him to reach that far. Despite such event, it has led both teams to pursue more on the strife of becoming better players that would soon reach the heights of endless possibilities. Overall, it was a fair and just game that showed great precision in officiating the game and calling calls, and the totality of the set-up has showed professionalism all throughout.

VIDEO LINK: https://www.youtube.com/watch?v=gTm2dbteyt4

References: 

Department of  Local Government, Sport, and Cultural Industries. (n.d.). Badminton. Retrieved  from www.dlgsc.wa.gov.au:  https://www.dlgsc.wa.gov.au/sport-and-recreation/sports-dimensions-guide/badminton#:~:text=The%20badminton%20court%20is%2013.4,The%20lines%20are%2040mm%20wide.

Heda, R. (2019,  July 5). 7 basic badminton skills you can learn without coaching.  Retrieved from Kreedon.com: https://www.kreedon.com/basic-badminton-skills/

MST. (n.d.). Badminton  Rules. Retrieved from web.mst.edu:  https://web.mst.edu/~ima/rules/Badmintonrules.html

TutorialsPoint.  (n.d.). Badminton- Equipment. Retrieved from www.tutorialspoint.com:  https://www.tutorialspoint.com/badminton/badminton_equipment.htm

[karingottschalk]

Today Our Fujifilm Fujinon XF 27mm f/2.8 R Pancake Lens Failed & We Feel Really Badly Let Down

Today Our Fujifilm Fujinon XF 27mm f/2.8 R Pancake Lens Failed & We Feel Really Badly Let Down

[steadired]

I have found a lot more spare time to practice this last month but I'm starting to drive my cats crazy and I feel like they are missing their marks just to get back at me. They act like they don't even care. This is my practice camera. I intended it to be a simple camera but as I shot more, I kept on adding features. It's a black magic pocket cinema camera 4k to which I tried a few different lenses. The final choice I ended up with is an Olympus 14-40mm f2.8. This lens allows me to use most of the focal lengths I would normally use when I'm working, without having to switch out primes (its micro 4/3 so it's equivalent to a 28-80mm). It also has a focus with hard stops that allows me to put on the Tilta Nucleus-M focus and zoom motors that I already had. I don't pull focus myself, unless I'm practicing on my broadcast setup. (If your interested I'll share my broadcast rig in another post.) The motors allow other operators that want to practice pulling focus help me out. If you'r interested in doing that and your in the los Angeles area please leave a comment below. Adding a FIZ unit to the rig meant I had to add some rails. It took me time to find rails that would be low profile enough use the steel weighted top plate as well. Luckily, they are also the cheapest available made by Smallrig. I also added my Teradek bolt 500 so the ac could view everything on a monitor and not chase after me. Adding the motors on the lens meant that now the internal microphones were completely blocked, so I added the Rode videomic pro. (I tried a few other mics but this was the one I found easiest to use, as I am definitely not an audio guy.) I normally power all of this off of my steadicam. However, when I do pull the camera off and use it to make youtube videos (shameless plug: link in the description) I have no way to power it. I already have a bunch of gold mount batteries so I used a dtap splitter and taped a battery to the tripod. This fell enough times, and ended up braking a few cables, before I got a way to mount it. It now has enough weight to it that I don't need to add the other steel plate to the weight cage like I use to. Photos by @ellekellerphotography (at Los Angeles, California) https://www.instagram.com/p/B_pleicpHOr/?igshid=1romkolbtgwhl

[tinabritton-photography]

Artisan research -

In class we were directed to find 5 movie clips, one of which needs to be of an artisan, as this is what our video is to be about.

One of my all time favourite movies since I was a kid was The Good, The Bad, and The Ugly. I don’t feel like I’m cheating by adding this film, even though Iain Wallace showed it in class. So many memories flooded back as we watched this film clip. My dad was a Clint Eastwood fan and a fan of the spagetti westerns. I must have seen this particular film 100 times.

2nd sclip is an artisan clip titled The Artisan Press - A film by Stefan José Films @stefanjosefilms. I was inspired by the video in such a way that it made me want to go try the technique. The music was just right and I really liked how the artisan spoke about his craft throughout and the close shots and depth of field used in the video.

3rd clip another artisan film. Shot By SASHA. I could not understand a thing the presenter was saying, but I did not need to even though it was captioned. His voice was deep and mysterious, but as I read the words, I felt the humour and when the drums boomed in the music, suddenly I felt  like I was in a photographic gunfight. The music was spot on though, thoroughly enjoyed it. Sasha is a photographer, and because I make art with my photography, that makes me, not only a photographer, but also an artisan. Black and white shots are inspiring and the whole ambience gave me goose bumps. And then I said to myself, damn, she’s using a Hasselblad! I want one.

4th clip, another fav Godzilla. I grew up on Spagetti westerns, Star Trek and Godzilla. Godzilla 2014. While I find the old Godzilla movies the best, I was rivetted by the cinematography of this 2014 version. The shots were dynamic and the entire movie was visually stunning.

Another favorite film of mine Blade Runner. A cinematic wonder. But now, we have Blade Runner 2049. A move that saw Roger A. Deakins, after 14 nominations over the years, win the Oscar® for Cinematography. I looked for some movie clips for this movie and found so many, but I also found a video created by Vice as they went to the set during the making of the film. Inside the Making of ‘Blade Runner 2049′.

I have also included ‘The Beauty Of’ which are film segments in a soundscape.

Artisan Research -

Cinematography is defined as the art and science of how light is recorded with an image sensor or on film. It encompasses the camera, how we move the camera, the images it collects and the light entering the lens.

Video is storytelling, no mature if we are making a movie or an Artisan video is key. The viewer is led through each frame at a time through the story of who a person is and why they practice their craft.

Cinematography is setting a mood framework in which to tell you story in. Camera angles and movement, lighting choices and colouring are an important part of setting a mood.

Lighting is a huge concern in Cinematography. There is natural light, if there are sufficient windows, or there is a partly cloudy day.

https://www.studiobinder.com/blog/cinematography-techniques-no-film-school/#cinematography

Different types of camera shots –

·      Close-ups creates empathy and personality

·      Extreme long shot includes lots of space about the area and landscape behind the subject. This establishes general location, say, as in the beginning of a scene.

 Camera angles –

·      High angles – Looks down on the subject. This can make the subject seem vulnerable or small so look at for this.

·      Low angle – looking up at a subject/ character. This can give the character a more powerful feel. It can also make the viewer feel smaller in comparison.

Some of the Best Lenses for filming –

 ·      Prime lenses are tops – Canon, Sony or Sigma 35mm, 40mm, 50mm, 85mm, 105mm

·      Zoom lenses – Canon 24-70mm f/2.8 USM, 70-200mm f/2.8 USM, 24-105 f/3.5-5.6 IS STM, etc.

·      https://www.adorama.com/alc/6-best-canon-lenses-for-videography

Lighting –

Film/Cinematography lighting is similar to photography lighting.

·      Lighting creates atmosphere and mood.

·      Candlelit

·      Dark and shadowy is eerie

·      Key lighting

·      Fill lighting

·      Backlighting

·      Side lighting

·      Practical lighting – Practical lighting is using lamps, candles, light from appliances like the tv. These can create rich cinematic night time scenes.

·      Bounce lighting

·      Soft lighting

·      Hard light

·      High Key lighting

·      Low key lighting

·      Motivated lighting – mimics natural light such as, moonlight, street lamps, sunlight and night time.

·      Ambient light – Using available light perhaps with some diffusers.

·      https://www.adorama.com/alc/basic-cinematography-lighting-techniques

 Mise en scene –

·      French for “The arrangement of the scenery, props, etc. on the stage of a theatrical production or on the set of a film” I.E. the setting or surroundings/composition of an event. From the Oxford dictionary.

Diegetic sound –

·      Is a sound in the scene that was natural to the scene such as an opening door and closing and footsteps recorded in real time. If a sound can be heard in real life, this is diegetic sound.

Non-diegetic sound –

·      This is sound that is added to a video work during the editing process such as music for effect or mood.

Editing –

·      Dissolve – when one scene melts into another. This can show the passage of time. The character can be in one place and then there apartment in the next.

·      Wipes – Can be used as a transitional technique from one scene to another. Use them sparingly, or not at all, in my opinion.

Camera movement –

·      Panning – This can be used to give the audience a panoramic view of a setting to establish a scene. There are different types of pans, such as, the whip pan which is fast. It jolts the audience. A slow pan gives the audience time to admire the landscape or take in the scene.

·      Slow push in –

·      Static shot –

·      The tilt – the tilt is a reveal tactic, bringing something to our attention.

·      The zoom – the zoom is sudden incoming shot into the scene.

·      The dolly – the dolly is a gliding shot that moves the camera fon a track system forward or sideways into or through a space.

·      The reverse dolly zoom – is the reverse of the dolly in that it is zooming out from the seen on a dolly track system. This is an intense technique.

·      The pedestal shot – this moves the camera up and down

·      The crane or boom shot – this could also involve a camera tilt. The crane or boom shot – the definition is in the name. This is a huge 3 dimensional move. The camera is mounted onto a crane or boom and moves in large sweeping motions to capture a scene.

·      Steadicam or gimble shot – Like a dolly, only the camera is attached to the camera operator which allows for a graceful glide through the scene.

·      Handheld shot – the camera moves through the shot much like a dolly or Steadicam, only it causes a shaky effect to the seen which adds immediacy and anxiety in the audience. We see these shots in found footage films like Blair Witch.

·      Rack Focus – the camera does not move the camera, it moves the lens. It is a focus shift.

Combining these techniques into your film can make for an interesting film.

https://www.youtube.com/watch?v=GbnYBmqBbKA

Special effects –

·      Are effects that cannot be captured through the usual filming techniques.

https://www.youtube.com/watch?v=NvybQ5RpMkc

Colour Palettes –

Here are some colour palettes from my research. These are quite interesting and informative.

[benmandefield]

my leica m6 and m2

[newcanoninfo]

These 35mm Primes are Great For Almost Every Genre of Photography

These 35mm Primes are Great For Almost Every Genre of Photography – There are lots of prime lenses out there that are great for specific types of photography. 14mm primes are great for landscapes, 40mm primes are great for street photography, and 85mm primes are great for portraits, but what if we told you that there is a sweet spot in the prime lens world? 35mm primes are like a multi-tool. They're great for weddings, environmental portraits, street photography, product photography, architectural work, and they're still wide enough to capture landscapes, cityscapes, and even out of this world astrophotography. Join us after the break to take a look at six 35mm primes that will rock your world. All of the 35mm primes we have listed here are incredibly impressive. Along with having one of the most versatile prime focal lengths, they're well built, offer wide apertures for low light shooting, they produce ridiculously sharp images, they're fast to focus, produce great colors, and they'll even make you breakfast (okay, they won't make you breakfast, but you get the point). Slap one of these 35mm primes on your camera and you will be ready to shoot to matter what situation you find yourself in.  (Read More...) ≠ promoted by #NewCanonInfo

[peekchores]

Getting to know Sony's trio of compact 24mm, 40mm and 50mm G prime lenses https://ift.tt/7InshE0