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Tuesday, June 23, 2009

Canon EF 100mm f2.8 Macro USM review

This telephoto macro lens is capable of focusing to life-size (1X) without attachments. Although it replaces the EF 100mm f/2.8 MACRO lens marketed in 1991, it is a completely new design. It incorporates a ring type USM giving quiet, high-speed autofocus. The full-time mechanical manual focus gives very smooth manual focusing. For the first time in a 1X focusing telephoto macro lens, Inner focusing is used. The lens length remains constant and a long Working distance of 149mm makes worrying about getting too close to the subject unnecessary. Also, during focusing the front ring does not rotate making use of front-mounting accessories like macro ring lites simple and effective.
Handling,
Canon has obviously put some effort into the build of this lens as it feels solid and extremely well made. The controls are well laid out and easy to use. The ultrasonic focusing is excellent too - silent, fast and accurate> The only thing that goes against it is its large size, but as its focusing is internal it don't get any bigger like most other Macro lenses do when focusing close-up.

Image quality,
Whether the lens is wide-open or stopped down, the quality is excellent. One tiny comment would be that there is a little the centre and be rounded along the outer edges
', CAPTION, 'Barrel Distortion',BELOW,RIGHT, WIDTH, 400, FGCOLOR, '#CCCCFF', BGCOLOR, '#333399', TEXTCOLOR, '#000000', CAPCOLOR, '#FFFFFF', OFFSETX, 10, OFFSETY, 10);" onmouseout="return nd();">Barrel Distortion, but you only likely to notice it in a image of straight sided buildings.. In all of out tests it performed well and it is diffecult to find and faults with the image quality.

Value,
Canon has produced a great lens here and for once you don't have to re-mortgage the house to get hold of one. Shame it's only available for Canon. It's a top notch professional lens but as a reasonable price. Well reasonable for Canon but still quite expensive for most photographers.

Monday, June 22, 2009

Nikkor AF 80-400mm f/4.5-5.6 ED VR D - Review / Lab Test Report

Introduction

Released back in 2000 the Nikkor AF 80-400mm f/4.5-5.6D ED VR was the first in a row of new Nikon lenses featuring a Vibration Reduction (VR) mechanism which is certainly one of the key selling arguments besides the very attractive zoom range of the lens. The VR has an efficiency equivalent to 3 f-stops (at cost of slow shutter speeds like all optical image stabilizers). Unlike its Canon counterpart the VR is capable to detect panning so it is not necessary to switch between two different modes for static and action scenes. The VR should be switched off when using the lens on a tripod - otherwise you risk added blur because the lens tries to find non-existing motion.

The AF 80-400mm VR is a gold ring lens indicating a professional grade Nikon lens for F-mount DSLRs. It's a full frame lens and there're no limitations regarding the usage on film and digital SLRs. On current APS-C DSLRs like the Nikon D200 (used for testing) the focal length is equivalent to 120-600mm (5x ratio).

The build quality of the lens is good but don't expect an all-metal tank - many parts are made of good quality plastic. The Nikkor has a conventional zoom ring making it quite convenient to set an exact focal length. The zoom action feels a little on the stiff side. As you can see in the product shots above the lens extends quite a bit when zooming towards the long end of the zoom range but this is typical for zoom lenses in this focal length class. The AF 80-400mm VR features a detachable tripod collar which is certainly needed regarding the weight class of the lens. Unfortunately it isn't exactly the best implementation around because turning the ring between horizontal and vertical layout is imprecise at best. Most users will probably prefer to take it off.

Thanks to an IF (internal focusing) design the front element does not rotate so using a polarizer is no problem. The lens has no internal AF motor and relies on a slotted drive screw operated by the camera. As a result AF operation will generate a moderate degree of noise. The AF speed is quite slow - one of the primary points of criticism with its the user community. Sports photography is not really a strong aspect of the 80-400mm VR but things aren't all that bad on the D200. The lens has a focus limiter which can be useful in low-light situations where the camera's AF may tend to hunt at times. If you deactivate AF on the camera you still need to turn an AF-MF ring on the lens in order to use the focus ring - otherwise it remains detached from the focus gears. Quite awkward compared to the recent AF-S designs.

Specifications
Optical construction	17 elements in 11 groups inc. 3 ED elements
Number of aperture blades	9 (rounded)
min. focus distance	2.3m @ 400mm (max. magnification ratio 1:4.8)
Dimensions	91x171mm
Weight	1340g
Filter size	77mm (non-rotating)
Hood	Nikon HB-24 (supplied), barrel-shaped
Other features	Lens provides distance (D) information to the camera. Tripod collar. Vibration Reduction (VR).

Lens kindly provided by Horst Schneider!

Nikkor AF-S 300mm f/4D IF-ED Review / Test Report

ens kindly provided for testing purposes by Josef Merk!

Introduction

The Nikkor AF-S 300mm f/4D IF-ED is the longest tele fix-focal length lens in the current line-up that remains within the financial reach (around 1250€/US$) of serious amateurs. Surprisingly Nikon does not offer an AF-S 400mm f/5.6 so for anything longer you either have to add a tele-converter or go for the AF 80-400mm f/4.5-5.6D ED VR which has about the same form factor.

Released back in the early 2000 the AF-S 300mm f/4 is obviously a full format lens. In the tested APS-C scope (Nikon D200) the field-of-view is equivalent to classic 450mm. The Nikkor AF-S 1.4x extends the reach to 420mm (630mm equiv.) f/5.6.

The build quality of the lens is exceptionally high. The outer barrel is made of metal with a silky finish. The very broad, rubberized focus ring operates very smooth and slightly damped. A build-in telescope lens hood (lockable) is also supplied. In order to provide a more balanced usage on a tripod or monopod Nikon also implemented a detachable tripod-collar.

The AF-S 300mm f/4 is a true IF (internal focusing) design so its length remains constant regardless of the focus setting and the front element does not rotate. Using a polarizer is therefore no problem unless you extend the lens hood. Thanks to a silent-wave motor the AF is very fast and near-silent.

Specifications
Optical construction	10 elements in 6 groups inc. 2 ED elements
Number of aperture blades	9 (rounded)
min. focus distance	1.45m (max. magnification ratio 1:3.7)
Dimensions	90x223mm
Weight	1440g
Filter size	77mm (non-rotating)
Hood	barrel shaped (build-in)
Other features Distortions The naked AF 300mm f/4D IF-ED produces an insignificant degree of distortions only measurable under lab conditions. Adding tele-converters does merely affect this base characteristic. Vignetting The AF-S 300mm f/4 is a full frame lens so it can take advantage of a sweet spot behavior on the D200. Vignetting is detectable at f/4 (0.4EV) but it shouldn't be overly field-relevant. At f/5.6 vignetting is absolutely negligible. There's even less vignetting at wide-open aperture when adding a Nikkor AF-S 1.4x or a third-party (Soligor) AF 1.7x DG converter.	Lens provides distance information (D). Tripod collar.

Sunday, June 21, 2009

Canon EF-S 18-55mm 1:3.5-5.6 IS review Andy Westlake, January 2008

Canon's 18-55mm 1:3.5-5.6 IS is the latest in its line of inexpensive dSLR kit lenses which began with the original 18-55mm in 2003, as an accompaniment to the groundbreaking EOS Digital Rebel/300D (widely considered to be the camera which started the affordable dSLR revolution). The focal length range was chosen to be equivalent to the popular 28-90mm kit lenses then available for entry-level 35mm SLRs, and lightweight plastic construction was used to keep costs down. The design was slightly refreshed with the introduction of a mk II version to accompany the Digital Rebel XT/350D, however this only really featured subtle cosmetic changes, with no improvement to the optics. And those optics were never the strong point of this lens, which gained a reputation as a somewhat mediocre performer, with many users looking to upgrade fairly rapidly.

But Canon has now produced a major upgrade in the shape of this IS version, which looks destined to become the new standard kit lens for Canon's APS-C dSLRs such as the EOS 450D. IS stands for Image Stabilization, and the new lens features a wholly new, simplified optical image stabilization module, which Canon claim offers similar performance to that offered in their higher end (and hitherto much more expensive) IS lenses. This new lens is a clear response to the competitive threat posed by other manufacturers offering sensor-shift stabilization in relatively inexpensive dSLR bodies, so the big question is whether it can deliver the goods in terms of image quality, in the face of some strong competition at this entry-level point.

Changes compared to the non-IS versions

Side-by-side comparison of the 18-55mm IS to the non-IS mkII version suggests that it offers more than simply the addition of an IS unit. The new lens is slightly longer than its predecessor (70mm vs 66mm), and the front element is substantially larger in diameter (44mm vs 37mm); the optical diagram reveals that the next three elements are also larger, presumably to accommodate the demands of the optical IS unit. The aperture diaphragm has been moved rearwards in the lens assembly, and the lens coatings also appear to have been changed. However the lens remains impressively lightweight and compact; addition of the IS unit adds nothing to its diameter, and just 10g to the weight. As an added bonus, the minimum focus distance has been reduced from 0.28m to 0.25m, offering a welcome increase in maximum magnification from 0.28x to 0.34x. Overall this represents a pretty impressive technical achievement by Canon’s lens designers.

(www.dpreview.com)

camera second, kamera second, info CAMERA, nikon, canon

Nikon D60 (with 18mm-55mm lens)

There was a time when the idea of an entry-level dSLR was a bit of an oxymoron. Even the least expensive SLR was a large step up from the digital compacts at the time, but these days entry-level SLRs are being made to be entry level, and their prices line up closely with the most expensive compact cameras. Nikon's D60 is a good example of the current breed of these dSLRs. It checks in with a healthy 10.2-megapixel CCD sensor, a slightly small-by-comparison 2.5-inch LCD, and an upgraded, optically stabilized kit lens. While those features are nice, the D60 falls behind the competition in several areas in terms of its specifications. For instance, Sony's DSLR-A200 also sports 10.2-megapixels, but has a slightly larger 2.7-inch screen, body-based image stabilization, similar in-camera editing and dynamic-range optimization features, and costs less than this Nikon. Its performance numbers were slightly worse than the D60, but not by very much. Meanwhile Canon's Rebel XSi, which we haven't reviewed as of this writing, offers 12.2-megapixels, a 3-inch LCD, 14-bit digital-to-analog conversion, and also comes with an optically stabilized lens, though its list price is higher than the D60. The main issue with this Nikon is that it doesn't feel like a major upgrade over the D40x, while Sony's and Canon's upgrades over their predecessors are easy for consumers to understand, such as the Rebel's shift from 10.1MP to 12.2MP.

The fact that the D60 looks almost exactly like the D40x probably doesn't help Nikon's public perception on this model. In our first briefing on this camera, Nikon even said that it has the exact same form factor as the D40x. Of course, that's not a bad thing, since the design is good. At 19.4 ounces with a battery and an SD card, and without a lens, it's lightweight enough to shoot comfortably for a day, and the kit lens is one of the lightest Nikon lenses I've worked with, so it doesn't add much weight. The body is also quite small and will fit well into smaller camera bags, though the grip will leave your pinky finger dangling off the bottom of the body--something that tends to bother me, but doesn't bother most people. As has become the trend, many of the camera's controls are accessed through a virtual control system on the LCD instead of physical buttons on the camera body.

When Nikon first switched to this system, I was a bit hesitant, but I am now pretty quick with it. I can see why users that are used to a compact camera might find this system more familiar than trying to learn the layout of a hard-button-based system. Nikon also includes a nice visual representation of aperture and shutter speed to underscore the fact that the aperture blades make a smaller opening for light in the lens as you make the f/stop a higher number, while showing bars that wrap around those virtual aperture blades as you make the shutter speed faster. They still make you press the "i" button to get into the control system, which wasn't intuitive to me the first time I encountered it, though there's so little space on the camera back, and the button doubles as a zoom control in playback mode. That double functionality was my biggest gripe about this system though, since I ended up zooming in during the automatic image review quite a bit and had to first press the shutter button halfway to exit that before getting into the control system. I could have turned the automatic image review off in the custom function menu, but I don't think that is an adequate solution to this issue. One thing Nikon could do is relocate the playback button above where it is now, to the left shoulder of the camera, behind the lug for the strap. Then they could shift the other three buttons up one and give the control system its own button.

Given that Nikon prices the D60 higher than some competitors, notably Olympus's Evolt E-510, Pentax's K200D, and the aforementioned Sony A200, you'd think that they would include more than this camera's three autofocus points. Even more so since the Pentax and Sony offer 11- and 9-AF points respectively and, along with the Olympus, offer sensor-shift image stabilization systems that work with all lenses for their respective mounts. Of course, the big benefit of optical image stabilization is that you'll see the stabilizing effect while you frame your shot, which becomes more useful when your lens' focal length becomes longer. However, this shouldn't be a major issue until you reach focal lengths in the range of 300mm and higher, so if you don't plan to get a very long lens, the edge provided by lens-based stabilization may be moot compared with the sensor-shift alternatives.

Nikon's menu system in the D60 hasn't changed much from the D40x, but it now includes a retouch menu, so you can tweak your images in the camera after you shoot them. In addition to the tweaks included in the D40x, such as D-Lighting (to fix minor exposure issues and bring detail out of shadow areas all in one-step), red-eye reduction, and cropping, Nikon has added a couple of new filter effects with the D60. Red, green, and blue Intensifiers let you add some saturation to those colors, while the Cross Screen filter mimics a traditional Cross Star lens filter, adding a twinkle to small light sources and highlights in an image. The Cross Screen can look cool, and Nikon includes controls for the angle, length, and number (4, 6, or 8) of points, as well as the intensity of the effect. Be careful to use this filter in moderation though--it can have a digitally enhanced look to it if taken too far.

Nikon has also built an NEF (Nikon's RAW image file type) to JPEG converter. While this makes up a little bit for the fact that you're limited to shooting basic (highly compressed) JPEGs when shooting RAW+JPEG with the D60, I'd rather Nikon include this and let me shoot fine (lowest compression) JPEGs in RAW+JPEG mode. Still, it's nice to be able to do a basic conversion on the fly if needed.

More fun than the RAW conversion is the D60's Stop Motion Movie mode, which lets you convert a series of JPEG files into an AVI movie up to 640x480 pixels at a frame rate of up to 15 frames per second. The process is really easy, and you can even change the start and end points, remove specific frames from the middle, and change the frame rate before finalizing. A preview option lets you confirm you've got it right before committing. I made a short clip of a couple of subway trains moving through Penn Station, but I got conversion errors whenever I tried to upload it to YouTube.

Another nifty new feature is the Rangefinder function. The feature converts the exposure/exposure compensation scale to a distance-based focus assist when you're in manual focus mode and not shooting in full manual exposure mode. Since the D60, like the D40 and D40x before it, can only autofocus with Nikon's AF-S and AF-I lenses, the Rangefinder feature offers a nice bit of help when focusing with a non-AF-S or AF-I lens, such as Nikon's relatively inexpensive AF Nikkor 50mm f/1.4D prime lens. That 50mm Nikkor uses a coupling pin to rely on the AF motor built into Nikon's more expensive SLR bodies. Be warned though, in low light, the Rangefinder function may get a bit confused, just as the camera's AF system tends to.

I'm not entirely certain why, but while the D40 had a flash sync speed of 1/500 second, the D40x and now the D60 have a sync speed of 1/200 second, as does the Canon Rebel XSi. Both the Pentax K200D and the Olympus E-510 sync at 1/180 second, while the Sony A200 and Panasonic Lumix L10 have sync speeds of 1/160 second. If you don't know what a sync speed is, it's the fastest shutter speed you can use with the camera's built-in flash. Since there are times when you need a fast shutter speed to stop the motion of a subject, but still might need to use the flash as fill flash (perhaps for a backlit subject in motion, such as a soccer player running toward you down the field), the general rule is that a faster sync speed is better. As such, the Nikons' and Canon's sync of 1/200 second is the best of the budget bunch, but it would've been even nicer if Nikon would've kept the 1/500 second speed of the D40.

The D60 performed well in our lab tests, showing a slight improvement over the D40x in its low-light shutter lag and RAW shot-to-shot times, but was a tad slower on start up, though it's still plenty fast. The camera took 0.4 second to start up and capture its first JPEG and took 0.5 second between subsequent JPEGs with the flash turned off. With the flash turned on, that stretched to 0.8 second, while the camera took 0.5 second between shots when shooting RAW. Shutter lag measured an impressive 0.4 second in our high contrast test and 0.7 second in our low contrast test, which respectively mimic bright and dim shooting conditions. However, in my field tests, the camera did get confused on several occasions when shooting in dim light. Sometimes, it would fail to achieve focus in situations where a lot of cameras were able to achieve focus. When it was able to focus in dim situations, it locks rather quickly, but it just isn't quite as reliable as some more expensive Nikons, or as reliable as I remember the D40x to be. In our continuous-shooting test, the D60 was able to capture an average of 2.8 frames per second (fps), putting it extremely close to Nikon's claim of 3 fps.

Image quality from the Nikon D60 is very nice, though our numerically based color accuracy test, and close side-by-side scrutiny with images from other very accurate (and more expensive) models, showed that its images aren't quite as color accurate as competitive cameras we have tested so far. However, most people won't be able to tell a major difference in this area. Unless you're completely fanatical about colors being represented absolutely exactly as they exist (something most consumer-oriented film rarely did back in the day), then it shouldn't be a major issue for you. This is especially true since the D60 turned in pleasing, if slightly oversaturated, colors and in other ways its image quality is nice for a camera of its class.

The D60 includes Nikon's 3D Matrix Metering II to determine exposure when not using center-weighted, or spot metering. Nikon's Matrix mode does a very good job of determining the best exposure for a given scene. Generally, it seems to make the most logical compromise between preserving highlight or shadow detail. For example, if faced with a high contrast scene and the area of highlight detail is significantly smaller than the main area of shadow detail, the camera will likely sacrifice the highlights to hold onto the shadows. However, since the system also compares the given scene with a database of images, the camera should notice if you're shooting a portrait, or other scene, in which a simple compromise wouldn't be best. I have to say that I am impressed with the camera's metering.

As has been the case with other Nikon SLRs recently, the D60 does a very good job of keeping noise in check. At ISO 100 and ISO 200, noise is virtually nonexistent and only starts to creep in at ISO 400, though it doesn't take away any significant amount of sharpness or shadow detail. By ISO 800 a minor amount of grain is present, a very minor amount of sharpness becomes softened, and an equally small amount of shadow detail falls away. Even at ISO 1,600 there is a decent amount of shadow detail and a ton of sharpness given such a high sensitivity in an entry-level SLR. At ISO 3,200, which Nikon calls Hi1, noise is quite heavy, a large amount of shadow detail is lost, and while noise obscures a lot of sharpness, there's still quite a bit. Still, I suggest sticking with ISO 1,600 and below whenever possible.

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Tuesday, June 23, 2009

Canon EF 100mm f2.8 Macro USM review

Monday, June 22, 2009

Nikkor AF 80-400mm f/4.5-5.6 ED VR D - Review / Lab Test Report

Introduction

Nikkor AF-S 300mm f/4D IF-ED Review / Test Report

Introduction

Distortions

Vignetting

Sunday, June 21, 2009

Canon EF-S 18-55mm 1:3.5-5.6 IS review Andy Westlake, January 2008

Changes compared to the non-IS versions

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Nikon D60 (with 18mm-55mm lens)