Are you struggling to find the perfect lens for your food photography adventures? You’re not alone! Food photography is a vast and diverse field, and choosing the right lens can make all the difference in capturing those mouthwatering shots that truly tantalize your audience.

In this article, we’re diving deep into the world of food photography lenses to help you find your culinary soulmate. Whether you’re shooting in a bustling kitchen or a controlled studio, going for wide-angle wonders or extreme close-ups, we’ve got you covered. We’re serving up our top 12 lens picks, encompassing options for all major camera brands and spanning a range of price points. By the time you’re done reading, you’ll have the perfect lens on your plate, ready to capture every delicious detail!

So let’s dig right in and discover our number one pick to make your food photos shine:

1. Nikon Z MC 105mm f/2.8 VR S

If you’re a Nikon Z-mount shooter, then you have to check out the Z 105mm f/2.8, which combines killer optics, a wide maximum aperture, and great focal length into a single package.

The 105mm f/2.8 is insanely sharp, which means you can capture your food in all its glorious detail, and the mid-telephoto focal length is perfect for capturing close-up shots of garnishes and specific food items, though you can also move back slightly to create images of full plates.

Thanks to the Vibration Reduction technology, you can photograph handheld in low light and still come away with solid shots – and if you’re working in extremely low light or with moving subjects (e.g., you’re photographing a chef as they prepare a dish in a dimly lit kitchen), the f/2.8 maximum aperture will make a huge difference.

The biggest drawback to the Z 105mm f/2.8 VR S is the price, but if you’re a serious food photographer in need of a pro-quality lens, it’s a stellar pick.

2. Canon EF 100mm f/2.8L Macro IS USM

If you’re a full-frame Canon shooter, then the EF 100mm f/2.8L is the best of the best; it promises astonishingly sharp images in almost any situation, and it’s an absolute dream to use.

The optics are incredible, and the build quality is exactly what you’d expect from a Canon “L” (luxury!) lens. You can focus down to 1:1, which makes for beautiful detail shots, or you can take a step back to capture photos that show the food in context.

The wide f/2.8 aperture allows you to shoot handheld in low-light situations, and thanks to Canon’s image stabilization technology, you can safely work at ultra-slow shutter speeds. The lens also separates the subject from the background with beautiful bokeh.

Yes, the 100mm f/2.8L is a bit expensive, but for the serious food photographer, it’s absolutely worth a look. On the other hand, if the L version is a little out of your budget, check out the “standard” Canon EF 100mm f/2.8 Macro USM. It might not be the luxury version, but it still delivers amazing food photographs (and for a much more affordable price).

3. Sony FE 90mm f/2.8 Macro G OSS

Medium telephoto lenses are great for tighter food photography, which is why the Sony 90mm f/2.8 (135mm on APS-C cameras) is perfect for serious food snappers who want to capture those beautiful detail shots.

The lens features a 1:1 reproduction ratio, so you can get astonishingly close to the food for a unique perspective, though you can also capture wider photos from a distance as needed.

If you like to shoot handheld, then you’ll appreciate the built-in image stabilization – this can be especially helpful in poorly lit restaurants and kitchens – and for food photographers who prefer to focus manually, there’s a big, grippy focus ring at the end of the barrel.

Optically, the 90mm f/2.8 is top of the line, and the high-quality elements reduce distortion and color fringing. While it’s on the pricier side, you pay for what you get – and with this lens, you get a lot.

4. Canon RF 100mm f/2.8L Macro IS USM

This Canon 100mm lens is the RF (i.e., mirrorless) version of the Canon EF 100mm f/2.8L featured above, and it is spectacular.

The RF 100mm f/2.8L Macro IS USM inherited all of the best features from the original EF model, including breathtaking optics and beautiful background bokeh; with the RF 100mm f/2.8L, creating ultra-sharp shots is practically effortless. The lens is also wonderfully designed, with a large – and sufficiently grippy – focus ring for folks who manually focus on their food.

You can create beautiful detail shots thanks to the 1:1 maximum magnification ratio, and while the lens is a little long for capturing photos of entire tables or counters, you can certainly produce nice images of entire plates.

One feature not present in the original 100mm macro is the spherical aberration ring, which lets you modify the look of the bokeh. If you like to shoot with a tripod at ultra-narrow apertures, this won’t make much of a difference – but if you’re a fan of that soft-focus, wide-aperture effect, then it’s definitely a tool worth exploring.

The RF 100mm f/2.8L is on the pricier side, but for professional food photographers or even serious hobbyists, it’s absolutely worth the cost.

5. Canon EF-S 60mm f/2.8 Macro USM

If you use a cropped-sensor Canon DSLR, you’ll need an EF-S lens, ideally one with close-focusing capabilities and a midrange focal length. The Canon EF-S 60mm f/2.8 is the perfect choice.

Thanks to the 1.6x Canon APS-C crop factor, you’ll get a nice 96mm focal length equivalent – long enough to prevent any wide-angle distortion, but not so zoomed-in as to become unwieldy, especially when photographing tabletop compositions.

As a true macro lens, the 60mm f/2.8 is capable of magnifying small subjects to life-size, so you can emphasize food intricacies and highlight every tiny detail. The optics are great, too, so you can expect pro-level sharpness with every click (assuming you’re using the right techniques, of course!).

The f/2.8 maximum aperture offers enough light to shoot handheld in good light, and it’s easy to create a blurred background that’ll make your hero ingredient pop. Plus, the lens is light and compact, so you can work comfortably in any kitchen or studio.

These days, the 60mm f/2.8 can be tough to find new, but it’s often available used for only a few hundred dollars – so if you can find a good copy, you’ll be in great shape.

6. Nikon AF-S 50mm f/1.8G

A good nifty-fifty lens can handle pretty much any type of photography, including food, and that’s where the Nikon 50mm f/1.8G comes in. It’s inexpensive, it’s optically impressive, and you can use it on Nikon DSLRs and mirrorless cameras alike (though to shoot it on the latter, you’ll need an FTZ adapter).

The rounded aperture blades create a beautiful circular bokeh when capturing shallow depth-of-field food shots – so when you’re shooting at the maximum aperture, and especially when getting up close, the results are spectacular.

If you’re just getting started with food photography, then a 50mm lens on a full-frame camera is a good way to get your feet wet; the standard focal length will provide a field of view closely matching the human eye, so you can confidently move back and forth between the food setup and the camera viewfinder.

The 50mm f/1.8 delivers tack-sharp images, plus it’s extremely portable (helpful for food photographers, including Instagrammers, planning to shoot on the go!). If you own a Nikkon full-frame mirrorless camera, you might also consider the Nikkor Z 50mm f/1.2 S. It’s expensive, but it’s also amazingly powerful.

7. Nikon 60mm f/2.8G Macro

The 50mm f/1.8 lens featured above offers an ultra-wide aperture – but what if you don’t need to shoot at f/1.8? In that case, I’d recommend the Nikon 60mm f/2.8, which loses a bit of light but makes up for it with top-notch close-focusing capabilities.

Happily, the 60mm f/2.8 offers true macro magnifications, so you can capture stunning close-up shots, while the 60mm focal length also allows for contextual images of food on the table. You can use the lens with both full-frame and APS-C cameras, though the 90mm APS-C focal length is less handy if you hope to capture environmental food shots.

At f/2.8, you can expect a beautiful bokeh effect, perfect for making your food photos stand out. Unfortunately, there’s no image stabilization – so while you may be able to get away with handholding in good light, you’ll always want to keep a tripod nearby.

8. Sony E 30mm f/3.5 Macro

If you’re just starting out in food photography and looking for an affordable little lens, consider the Sony 30mm f/3.5. On APS-C cameras, you’ll get a 45mm focal length equivalent – on the wider side, yes, but nice for more contextual food shots and helpfully compact for capturing your meals on the go. (Note that the 30mm f/3.5 is not designed for full-frame cameras; if you use any of Sony’s a7-series cameras, I’d recommend looking at the 90mm f/2.8 featured above.)

The Sony 30mm offers an f/3.5 maximum aperture, and while it’s not exceptionally fast, it does help keep the lens’s size and weight down, which is always helpful when shooting handheld (though in low light, you’ll want to bring a tripod).

Like several other lenses on this list, the Sony 30mm features 1:1 focusing, so you can fill the frame with the small details of any dish. Of course, you can also take a step back to capture the table, and you can even use the 30mm focal length to capture portraits, street scenes, and more. At just under $300, this lens is an absolute bargain.

9. Tamron SP 90mm f/2.8 Macro VC

If you like the idea of a longer macro lens but don’t want to shell out for one of the Canon 100mm f/2.8L lenses or the Nikon Z 105mm f/2.8 VR S, why not consider the Tamron 90mm f/2.8, which offers full macro capabilities and tack-sharp image quality for a very reasonable price?

Its elements are coated to minimize color fringing and ghosting, plus images are consistently gorgeous, especially when shooting at f/2.8. And thanks to the VC (Tamron’s version of image stabilization), you can capture sharp shots even in low light (while shooting in a dimly lit restaurant, for instance).

Note that the Tamron 90mm f/2.8 is available in several different mounts, including both Canon and Nikon – but the mounts are not interchangeable, so make sure you buy the correct one.

10. Canon EF 24-70mm f/4L IS USM

If you’re not ready to commit to one focal length for food photography, then you might do well with a zoom lens – one featuring a wide to short-telephoto range for a mix of image types. The Canon 24-70mm f/4L is very versatile, offering a perfect set of focal lengths plus great image quality for detail shots.

Unfortunately, the 24-70mm doesn’t offer true macro capabilities, but you do get a 0.7x magnification factor for some very nice close-ups. And while the maximum aperture isn’t as wide as the other choices presented in this article, the five-stop image stabilization promises sharp handheld photography in lower light.

Bottom line: For the budding food photographer after a more flexible lens, the Canon 24-70mm f/4L is a great choice. And it’s not too pricey, either, so it’s perfect for shooters looking to grab quality optics without breaking the bank.

11. Panasonic Lumix G Macro 30mm f/2.8 Asph Mega OIS

A 30mm lens on a Micro Four Thirds camera offers a 60mm full-frame equivalent focal length, so the Lumix 30mm f/2.8 provides a very natural perspective for standard food photography.

Don’t let the plastic build fool you; the 30mm f/2.8 delivers extremely sharp images even at its widest aperture, and if you’re shooting in the studio, you don’t really need tank-like build quality, anyway.

Plus, the lens is compact and lightweight, which makes it very easy to handle. It’s a great little lens for capturing food for social media; combined with a small camera like the Olympus OM-D E-M10 Mark IV, you can keep it in your bag or around your neck all the time and you’ll hardly even notice.

And if you like to shoot handheld, don’t worry; the lens offers image stabilization and a wide aperture, so you should do just fine even in low light. At around $300, it won’t be too hard on your wallet, either (always a bonus!).

12. Nikon PC-E 85mm f/2.8D Macro

Tilt-shift lenses are known for their use in architecture photography – but food photographers can also make good use of them, thanks to their capacity to change the focus plane (which allows you to extend the depth of field).

The Nikon 85mm f/2.8D is a tilt-shift lens, one that offers a nice food photography focal length, a wide maximum aperture, plus close-focusing capabilities. If you’re a food photography specialist and you’re looking for more glass to expand your capabilities, then I’d recommend you check this lens out.

On the other hand, it’s quite pricey, and the average food photographer won’t need the tilt-shift capabilities – so only invest if you know you’ll have a use for it.

Which food photography lens is best for you?

Choosing the best lens for food photography isn’t easy, and you should always consider the type of images you want to take before making a purchase.

If you work in a studio setting, you’ll often have plenty of space, so you’ll do fine with a longer focal length. You’ll also have control over the lighting, so a narrow maximum aperture isn’t such a big deal.

On the other hand, if you work on location, you’ll be going into different kitchens with all sorts of conditions; here, a versatile lens is key.

Finally, make sure to consider your budget. The lenses recommended in this article range from under $300 to over $2000, and while glass is important, there’s no need to overspend. The investment you make should always be linked to your experience level. Are you a beginner or are you already getting professional jobs? If you’re making a living from food photography, then it’s worth considering high-end lenses, as they’ll pay off. Otherwise, stick to cheaper options.

Now over to you:

Which food photography lens do you plan to buy? And do you have any recommendations of your own? Share your thoughts in the comments below!

The post The 12 Best Lenses for Food Photography (in 2023) appeared first on Digital Photography School. It was authored by Ana Mireles.

After years of waiting, it’s finally happened: Nikon has officially announced the Z8, a pro-level mirrorless camera that combines speed, high-resolution imaging, and class-leading video into a single package.

As we previously reported – based on information supplied by Nikon Rumors – the Z8 is similar to Nikon’s flagship camera, the Z9, though it features a few crucial differences. According to Nikon’s press release: 

“The Z8 condenses the advanced functionality and performance of the flagship Nikon Z9 into a compact and lightweight body while also maintaining superior robustness and reliability. The Z8 is ideal for a variety of image creators who seek new possibilities for visual expression in a wide range of genres and subjects, such as landscapes, wild birds, airplanes, portraits, and weddings.”

In other words, the Z8 echoes the feature set of the Z9, though it sheds the built-in vertical grip for added portability and comes with a slightly more palatable price tag.

The Z8 offers the same powerful full-frame 45.7 MP sensor found in the Z9, which boasts enough resolution for serious landscape and commercial shooters as well as top-notch low-light capabilities for event and street photographers. The Z8’s autofocus system, too, comes from the Z9, and Nikon has even added a few upgrades, including focusing down to -9 EV; in other words, the Z8 will be lightning-fast in a wide range of conditions and should easily satisfy serious sports, wildlife, and other action photographers.

Action shooters should also appreciate the impressive 20 FPS RAW continuous shooting speeds (which jumps to 30 FPS if you switch the image format to JPEG), perfect for freezing split-second moments. Nikon has also added another handy action-snapping feature: Pre-Release Capture, a mode that “allows the capture of images up to one second before the shutter-release button is fully pressed.” Thanks to Pre-Release Capture, you can effectively produce photos of scenes that have already happened. 

And the Z8, like the Z9, isn’t just a stills-capable camera. Nikon’s newest mirrorless model packs outstanding video features, such as 8K/30p and 4K/120p recording. The Z8 also features in-body image stabilization for reduced camera shake – a handy tool for both still and video shooters.

The Z8 may not be as expensive as the Z9 (which currently retails for $5497), but it doesn’t come cheap. You can currently preorder the camera for $3997 (body only), and units will start shipping toward the end of May. 

So if you’re a serious photographer who likes the performance of the Z9 but can’t stomach its price tag, consider the Z8. It’s an all-rounder camera that won’t let you down, whether you shoot landscapes, wildlife, sports, events, portraits, and so much more.

Now over to you:

What do you think of the Nikon Z8? Are you interested in purchasing it? Share your thoughts in the comments below!

The post Nikon Announces the Z8, With a 45 MP Sensor, 8K Video, and More appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Are you a thrill-seeker who loves creating stunning images of your adventures? Whether you’re scaling a mountain peak, exploring the ocean depths, or trekking through remote wilderness, adventure photography offers a unique opportunity to memorialize breathtaking moments and create lasting memories. But to get the best shots, you need the right camera – and choosing the perfect model can be overwhelming.

Fear not! I’ve compiled a list of 10 of the best cameras for adventure photography, ranging from affordable options for beginners to high-end models for experienced shooters. Whether you’re looking to upgrade your current camera or invest in your first serious unit, I’ve got you covered.

Why is it so important to have the right camera for adventure photography, you ask? Well, think about it: you’re taking photos in some of the most challenging and dynamic environments, where the lighting conditions, weather, and terrain can change in an instant. You need a camera that can keep up with you, withstand rough handling, and deliver stunning results.

So let’s buckle up and dive into my first recommendation:

1. Canon EOS R10

Need a camera that can capture your adventures and withstand your fast-paced lifestyle? Look no further than the Canon EOS R10! This entry-level mirrorless camera was launched in May 2022, and it’s perfect for adventure photography.

One of the best things about the EOS R10 is its 24-megapixel sensor, which allows you to take stunning images with plenty of detail. Plus, the fully articulating screen makes it easy to view your shots in crystal-clear definition, even in bright sunlight. And if you’re into action and high-speed adventuring, you’ll be pleased to know that the Canon EOS R10 has a shooting speed of 15 frames per second – perfect for capturing mountain bikers, bungee jumpers, or any other fast-moving subject.

Not only is the Canon EOS R10 light and powerful, but it’s also incredibly versatile. You can pair it with any of the RF lenses in Canon’s lineup to capture stunning wide-angle shots, beautiful telephoto images, and everything in between.

And if that wasn’t enough, the Canon EOS R10 offers 4K video recording capabilities, so you can relive your adventures in stunning detail. Bottom line: Whether you’re looking to capture photos or video, the Canon EOS R10 is a fantastic choice for any adventure photographer.

 2. Olympus Tough TG-6

The Olympus Tough TG-6 is the ultimate camera for adventurous souls who love to explore uncharted territories and capture epic moments along the way. Built to withstand the toughest environments, this camera is a durable and reliable companion; it can handle pretty much anything you throw at it, from hiking through backcountry trails to backpacking up steep mountains.

With its weatherproof construction and anti-fog properties, the Olympus Tough TG-6 can brave extreme conditions without compromising on image quality. Plus, it’s waterproof up to 49 ft (15 m), making it the perfect choice for capturing marine life while snorkeling or diving. You can snap up to 20 frames per second so you don’t miss a single moment, and with the 8x zoom, you can easily capture a variety of shots by zooming in or out.

But that’s not all. This camera also comes with built-in Wi-Fi, allowing you to track your location and easily share your photos with friends and family. And if you’re a fan of videography, you’ll love its 4K Ultra HD video recording capabilities.

Overall, the Olympus Tough TG-6 is a must-have for adventure junkies who want to document their travels in stunning detail.

3. Pentax K1 Mark II

Looking for a camera that can keep up with your adventurous spirit? Check out the Pentax K1 Mark II! This rugged DSLR is perfect for all your outdoor excursions, and its 36.4-megapixel full-frame sensor delivers top-notch image quality every time you press that shutter button.

The K1 Mark II has some seriously impressive features that earned it a spot on our list. For instance, if you’re shooting in bad weather, don’t worry – the K1 Mark II has got you covered with its fantastic weather seal.

And let’s not forget about the impressive 3.2″ LCD, which lets you preview and review your shots with ease. The K1 Mark II also offers access to the fantastic range of Pentax K-mount lenses, so you can always find the perfect glass for your needs. Plus, it can capture 4K time-lapses and comes with built-in GPS to help you track your position while photographing.

One of the most outstanding features of the K1 Mark II is its dynamic pixel shift resolution system. This records four files that are subsequently aligned and merged to create one high-resolution photo with greater detail, dynamic range, and reduced noise. Plus, the ISO range goes up to an impressive 819,200, giving you excellent low-light capabilities!

In short, if you’re looking for a camera that can handle literally anything, the Pentax K1 Mark II is the way to go.

4. OM SYSTEM OM-1

The OM-1 – from OM SYSTEM (formerly Olympus) – is a game-changer. This Micro Four Thirds camera uses next-generation technology to deliver high-quality images and amazing high-speed shooting performance.

It boasts an impressive 1053 autofocus points that cover the entire sensor, resulting in faster and more accurate performance. This camera is perfect for hobbyists and professionals who want to capture wildlife and action shots, and it excels in low-light conditions, making it perfect for those adventurous night scenes. And the best part? Its image stabilization is so good that you can ditch the tripod, even when the light is extremely low.

The OM-1 is also incredibly reliable, capable, and resilient, making it an excellent choice for adventure photographers who need a camera that can keep up with their adventures. And since it’s so comfortable to hold, you can focus on capturing amazing shots without worrying about hand fatigue or discomfort.

If you’re looking for a lightweight camera that won’t compromise on performance, the OM-1 Digital Camera is definitely worth considering. Say goodbye to heavy gear and hello to more freedom and flexibility on your next adventure!

5. Sony a7 IV

Are you ready to step up your adventure photography game? Look no further than the Sony A7 IV – a top-of-the-line mirrorless camera that’s perfect for enthusiast photographers and professionals alike.

With an incredible 33 megapixels, the A7 IV delivers stunning image quality that will blow you away. Plus, its lightning-fast autofocus and 10 frames-per-second continuous shooting make it a great choice for capturing fast-paced action with ease. And thanks to its impressive tracking capabilities, you won’t miss a single shot.

But that’s not all – the A7 IV offers excellent video capabilities, delivering gorgeous 4K footage that will bring your adventures to life like never before. Plus, it’s equipped with slots for SD memory cards and CFexpress Type A cards, and it features a handy vari-angle touchscreen LCD.

One thing’s for sure: This camera will exceed your expectations when it comes to low-light shooting. So whether you’re documenting a high-speed mountain bike race or capturing the beauty of a starry night sky, the Sony A7 IV will get the job done.

6. Canon EOS R5

As an adventure and travel photographer, I’m always looking for ways to lighten my load and make my gear more manageable. That’s where the Canon EOS R5 comes in – it’s a mirrorless camera that’s significantly lighter than Canon’s bulky DSLR models, making it a breeze to carry on long hikes and climbs. And if you’re lugging your gear over miles of rough terrain, your back will thank you for choosing a lighter option.

One of the EOS R5’s standout features is its image stabilization, which eliminates the need for a tripod and allows you to shoot handheld in low light with ease. No matter the scenario, you can rely on the R5 to produce sharp, stable images.

If you’ve already invested in Canon’s EF lenses, don’t worry – the R5 is compatible with them with the help of a handy adapter. And even if you’re starting from scratch with the new RF lenses, the quality and range available are top-notch.

Of course, none of this would matter if the R5 didn’t take incredible photos. Luckily, it does. The autofocus is lightning-fast and incredibly accurate, making it a breeze to capture fast-moving subjects like wildlife or action sports. And with 45 megapixels of resolution and top-notch ISO capabilities, you can be sure that your photos will be sharp, vivid, and full of detail.

Finally, it’s worth mentioning that the R5 is built to last. It’s tough and durable, which is essential for any camera that’s going to be taken on outdoor adventures. All in all, the Canon R5 is an excellent choice for anyone who wants a reliable, high-performing camera for adventure photography.

7. Fujifilm X-T100

Are you a beginner in adventure photography in search of a camera that’s easy to use, portable, and won’t break the bank? Then I highly recommend the Fujifilm X-T100! This lightweight and compact camera is a fantastic entry-level option that’s perfect for capturing all your outdoor escapades.

Equipped with a 24.2 megapixel APS-C sensor, this mirrorless camera produces high-quality images that’ll make your adventures look stunning. It’s versatile enough to handle various lighting conditions, from bright daylight to low-light scenarios. And thanks to a flexible rear screen that tilts up and down and flips outwards, you can frame your shots from any angle.

The X-T100 also features an electronic viewfinder and impressive battery life, so you won’t miss a shot while you’re out exploring. Plus, with a continuous shooting speed of 6 frames per second, you can capture every moment of your adventures.

In short, the Fujifilm X-T100 is an excellent camera for adventure photographers who want a high-quality, user-friendly camera that won’t weigh them down or break the bank.

8. Fujifilm X-H2

If you’re an experienced adventure photographer looking for a camera that can handle any shooting scenario, the Fujifilm X-H2 is an outstanding pick.

With a whopping 40.2-megapixel sensor, this camera delivers stunning high-resolution images. And thanks to its intuitive autofocus system, you can track subjects like animals, cars, and people with ease.

But that’s not all – the X-H2 also features up to 7 stops of image stabilization, which means you can shoot handheld at slower shutter speeds and still come away with crisp, sharp shots. And if you want to capture stunning 8K video while you’re out in the field, the X-H2 has got you covered.

With 9 weather-seal points, it’s built to withstand even the toughest outdoor conditions. Dust and moisture won’t stand a chance. But perhaps the best part? The X-H2 has dual card slots, including one CFexpress Type B memory card slot and one UHS-II SD memory card slot – so you’ll never have to worry about running out of storage space in the middle of a shoot.

In short, the Fujifilm X-H2 is the perfect camera for any adventure photographer who demands the best of the best.

9. Nikon Z6 II

If you’re an adventurer at heart and want a camera that can keep up with your passion, the Nikon Z6 II is one of the best options out there. It’s a vast improvement over its predecessor, the Z6, thanks to the valuable feedback from users.

One of the most impressive features of this camera is its autofocus and tracking functionality, which is second to none. The camera boasts 273 autofocus points, ensuring you never miss a shot. Plus, it comes with an additional card slot so you won’t run out of storage space while in the field.

The Nikon Z6 II is a dream come true for any experienced amateur or enthusiast photographer who’s looking for a high-performing camera that’s perfect for adventure photography. Its impressive 24.5-megapixel sensor and incredible low-light shooting performance make it an absolute winner, and let’s not forget its stunning 4K video capabilities. With this camera, you’ll be able to relive your adventures in cinematic quality, which is perfect for sharing with friends and family.

But what really sets this camera apart? Its portability. At just 1.6 lb (705 g), it’s easy to carry around wherever your adventures take you. Plus, its Vibration Reduction will help you capture fast-moving shots with limited camera shake so you can create truly epic images.

10. Nikon D3500

Looking for that perfect camera that’s both reasonably well-built and only costs a few hundred dollars? The Nikon D3500 is the way to go. It’s an all-around DSLR that’s great for beginners but packs a serious punch.

With 24.2 megapixels, a 3″ fixed screen, and a 5 frames-per-second continuous shooting speed, you can capture crystal-clear shots with ease. Plus, it has 1080p video capabilities, so you can create decently high-quality videos of your adventures.

While mirrorless cameras may be more modern than DSLR cameras, the Nikon D3500 is still a very capable option. The only potential drawback is that the AF system may be less advanced compared to today’s mirrorless cameras. But don’t let that discourage you! This sturdy, rugged, budget-friendly option is adventure-proof, making it an excellent choice for capturing all of your adrenaline-fueled moments.

Which adventure photography camera is right for you?

Now that you’ve finished this article, you should be familiar with some of the best cameras for capturing your most breathtaking adventures. From the rugged Pentax K1 Mark II to the lightweight Canon EOS R10, and the waterproof Olympus Tough TG-6 to the high-quality OM SYSTEM OM-1, there’s something for every type of photographer.

Whether you’re a seasoned professional or a beginner, these cameras offer the perfect combination of durability, flexibility, and performance to capture your experiences in stunning detail. So why not pick your model of choice and hit the trails? You never know what kind of adventure awaits you.

Now over to you:

Which of these adventure photography cameras do you like the most? Do you have a favorite that didn’t make our list? Share your thoughts in the comments below!

The post 10 Best Cameras for Adventure Photography (in 2023) appeared first on Digital Photography School. It was authored by Jeremy Flint.

Canon’s professional super-telephoto lens lineup is nearly complete.

Since the launch of the RF-mount, the company has released a series of class-leading ultra-telephotos to suit professional sports and wildlife photographers, including the RF 400mm f/2.8L IS USM, the RF 600mm f/4L IS USM, the RF 800mm f/5.6L IS USM, and even the (ridiculously expensive) RF 1200mm f/8L IS USM. 

The April debut of the RF 100-300mm f/2.8L IS USM further rounded out the lineup, but with a notable gap: Canon has yet to develop a 500mm f/4L. Sure, you can grab the RF 100-500mm f/4.5-7.1, but the zoom’s variable aperture is a major limitation, especially for folks who frequently shoot in low-light scenarios. A pro-level 500mm lens should feature an f/4 maximum aperture, outstanding build quality, top-tier optics, and blazing-fast autofocus – and while the 100-500mm zoom is a powerful option, it can’t quite compete.

Fortunately, while Canon hasn’t teased an upcoming 500mm f/4 launch, Canon Rumors promises “an official announcement later in 2023” for “an RF version of the EF 500mm f/4L IS USM II.”

The lens may not be a simple RF-mount 500mm f/4 prime, however; instead, CR writes, “The most consistent bits of information that we have received suggest that the RF version of the 500mm will…be a zoom in the form of an RF 200-500mm f/4L IS USM 1.4x. With the TC engaged, you’ll get a 280-700mm f/5.6L IS USM.”

Assuming that the 200-500mm f/4L boasts all the characteristics of the original 500mm f/4L, just with zoom capabilities, it would be an unprecedented release. An f/4 super-telephoto zoom that reaches 500mm has not, to my knowledge, ever been developed – and with the built-in 1.4x teleconverter, it’ll extend to a whopping 700mm, perfect for photographing birds, small wildlife, and distant athletes. Plus, thanks to the shorter telephoto focal lengths, you’ll be able to capture a variety of subjects and compositions without needing to switch lenses at critical moments.

Of course, a pro-level super-telephoto zoom will presumably come with a pro-level price tag. Canon Rumors suggests that “we’ll be getting another five-figure lens from Canon,” which certainly seems plausible (I’d predict an MSRP in the $11000-14000 range). 

In other words, while a high-quality 200-500mm f/4L zoom would be hugely effective for pro and semi-pro wildlife photographers, sports photographers, and more, it’s unlikely to be accessible to most beginners and enthusiasts. Still, the lens would certainly make waves in the industry, and for serious shooters, it could be a game-changer!

Now over to you:

What do you think of a 200-500mm f/4L zoom? Would you be interested? Share your thoughts in the comments below!

The post Canon’s Rumored Super-Telephoto Lens: The RF 200-500mm f/4L 1.4x appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

I was sent the Zhiyun Fiveray F100 LED Light Stick a while back, and now that I’ve spent some time putting it to the test, I’m ready to share my thoughts. While it’s a great LED-based photo and video (and whatever else you’d like to use it for) light, it has one large flaw that saw me stashing it back in its case a few times.

But don’t fret; not all is lost! The Zhiyun Fiveray F100 is a very capable light and has many selling points. Let’s dive right in…

The Fiveray F100 LED Light Stick: overview

The Fiveray F100 LED Light Stick from Zhiyun-Tech is a lightweight, portable, and very versatile 100W LED light for photographers, content creators, filmmakers, and vloggers. Featuring an output of 1200 lux at 3.3 ft (6200K), it has a CRI of 96 and a TLCI of 97 for color accuracy. It also has a variable color temperature of 2700-6200K.

The precise color adjustability allows you to match ambient conditions and other light fixtures; it also allows you to produce creative effects. You can choose between CCT, HSI, and FX light-effect modes with variable light intensities from 0% to 100%. There are also six creative lighting effects: SOS, Fire, TV, Flash, Faulty Bulb, and Candle.

Ideal for various applications, the F100 is powered by six integrated 2600 mAh lithium batteries that last 31 minutes when the light is set to full brightness. It supports 100W PD fast charging via its USB-C port.

The stick light has a 1/4″-20 mounting thread hole so you can attach it to your compatible supports. The package also includes modifiers specifically designed for the F100 model, such as 2-leaf barndoors, a diffuser, and a grid. It also comes with a USB-C charging cable and a storage bag.

The Fiveray F100 LED Light Stick: performance

First of all, for those of you that haven’t used a lot of LED lighting before, the F100 Light Stick’s CRI of 96 is considered just fine (Color Rendering Index, or CRI, is a measurement of how natural colors render under an artificial white light source when compared with sunlight).

As for the TLCI: It’s not something I’ve paid any attention to in the past, but some say it’s very important. (TLCI, or Television Lighting Consistency Index, is a single averaged score up to 100 that is determined by the color response that would result when using a video camera. A TLCI in the range 85-100 doesn’t need any color correction, a 70-85 score would need a simple correction, and a 50-70 score would need complex color correction.)

That’s a lot of words that basically say, “It’s the right color.” Having used the product myself, I agree: It does pretty well! I’ve used two of the F100 lights on a menu shoot, and the colors came out great. (Unfortunately, my client has requested that I don’t share the images publicly.)

The biggest thing for me when using a light bar on a food shoot is being able to control the illumination effectively. I want the light coming out of the LED to go to where I want it to go, and while it’s certainly not as easy to direct as a conventional set of lights (I typically use a pair of Westcott FJ400 strobes, which are Bowens mount lights and have an array of light modifiers), the Zhiyun Fiveray F100 comes with a cute little grid modifier that easily attaches around the light. It also comes with a handy set of barn doors; while these offer less control than the grid, they certainly allow you to stop some of the light spill that’s typically produced by light fixtures like the Fiveray F100.

Note that you can use the Fiveray F100 to achieve a range of color temperatures. Here, the same light stick has produced a very warm light as well as a much cooler light:

The 100W-rated LED light also has a handy suite of built-in lighting effects, including SOS, TV, Faulty Bulb, Candle, Flash, and Fire. They’re all pretty good, and if you’re making a film or a TikTok for your photography business, maybe you could use one of the effects (or maybe not; it’s up to you!).

While we’re talking about filming and effects, it’s worth mentioning that the unit can get warm. However, it does have a smart built-in fan array that automagically keeps the operation of the LED at a totally workable temperature. With all the fans and airflow, the F100 certainly isn’t waterproof or splashproof, so don’t take it in the pool!

With the CCT mode giving you color temperatures from 2700-6200K (warm to cool whites) and the HSI mode giving you plenty of colors, the light is a really handy addition to your camera bag. Make no mistake, it’s not going to replace a set of studio lights or even a well-powered pair of flash units, but for adding creative light and for doing photography closer up, the Fiveray F100 is a well-priced option that you should consider.

The main drawback

I did start this article by mentioning a problem with the Fiveray F100, and I really feel like I need to mention it. After experiencing this design flaw myself and doing some research (just to make sure I wasn’t doing it all wrong!), I have come to realize that others are having a similar experience.

Specifically, the main dial that controls all of the features of the light is almost impossible to use.

I don’t have special thumbs – they’re not extra slippy! I just found that controlling the power output of the F100, as well as switching between modes and working through an effect, was a time-consuming and often frustrating experience. Midway through setting a color or a power output setting, the light would change modes or flick into an effect.

If I had all the time in the world and I were working on my own on a project with these lights, they would be fine. However, if I were using them in a production environment with others, the time spent fiddling around would just be too much, I fear.

The Fiveray F100 LED Light Stick: final words

The Fiveray F100 LED Light Stick is a great light for smaller projects (though if you need to flick between modes, it’s important that you’re not faced with time constraints). And if you can just set and forget these lights – for instance, if you’re using them to light your live stream with one consistent color and power output – they’re excellent!

They come in a nice compact carry case with their modifiers, and they can also be charged via USB-C (PD). PD means that charging is fast, and you can also use the light while it’s charging!

But if the control dial was larger and had a rubberized finish, I really do think the Fiveray F100 would be a much better product.

The post Zhiyun Fiveray F100 LED Light Stick Review: A (Mostly) Great Light appeared first on Digital Photography School. It was authored by Sime.

It’s official (or about as official as it’ll ever be):

The Nikon Z8, the long-awaited full-frame mirrorless camera that we first discussed over three years ago, will debut on May 10th, 2023. While Nikon hasn’t technically confirmed the Z8’s announcement, the imaging company has scheduled a “5.10.23 Launch Event” YouTube live stream.

How do we know that the launch is for the Z8? As Nikon Rumors pointed out, if you look carefully at the question mark in the bottom right-hand corner of the launch event graphic, you can see the outline of an “8” – plus, the timeline corresponds closely with NR’s previous reporting, which predicted a launch date in April or May. 

While we don’t have any confirmed Z8 details, and while Nikon Rumors has emphasized that “some of [its rumored specifications] will not be correct,” here are just a few of the camera’s likely features:

• A 45.7 MP full-frame sensor
• 20 FPS RAW continuous shooting
• A 3.69M-dot EVF
• A design that mirrors the Z6 and Z7
• In-body image stabilization
• 8K/60p video
• Dual CFexpress and SD card slots

In fact, some of NR’s sources have labeled the Z8 as a “mini” or “baby” Z9, which is Nikon’s current flagship mirrorless model; it offers breathtaking AF capabilities, a 45 MP sensor, an ultra-rugged body, and 8K/60p video, though it also costs a whopping $5,500. The Z9 sports a built-in vertical grip, though as I noted above, the Z8 will likely use a design similar to the (more compact) Z6 and Z7. 

The Z8, therefore, should be suited to generalist professionals and serious enthusiasts who are willing to pay for high-level gear but aren’t looking for a rugged, action- and wildlife-focused design. The new camera will boast in-body image stabilization, a high-resolution sensor, and dual card slots to satisfy professionals, yet the smaller form factor and the presumably reduced price will make it a better choice for travel photographers as well as slightly more casual shooters.

So if you’re interested in a full-frame mirrorless model that offers the power of the Z9 without the bulky body and the eye-watering price tag, keep an eye out for the Z8! 

Now over to you:

What do you think of the Nikon Z8? Will you purchase it? What do you hope it offers? Share your thoughts in the comments below!

The post The Nikon Z8 Will Be Announced on May 10th appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Inexperienced photographers tend to think that the camera matters far more than the lens – however, as veteran shooters know, the lens is a hugely important part of photography. After all, a lens influences image sharpness, autofocusing speed, field of view, background blur, low-light shoot flexibility, and so much more.

But once you own a good lens, how can you get the most out of it? How can you learn its features, its focal lengths, and its unique way of rendering the world so that you can use it to create gorgeous photos?

I’ve handled a lot of glass over the years, and as a result, I know how to get to know a new lens (or improve your understanding of the lenses you already own). In this article, I share my top tips for working your way through this process, including a few handy tests and exercises as well as more general tips for approaching new glass.

Are you ready to master your lenses? Then let’s dive right in!

1. Use one lens exclusively for a month

In the book Outliers, author Malcolm Gladwell put forward the now-famous idea that true mastery of a skill takes 10,000 hours of practice. I’d say that the idea of putting in 10,000 hours applies to photography as a whole rather than photography using a single lens, but by using the same lens for an extended period of time, you’ll certainly get to know that lens really, really well.

If you own multiple lenses and need to use them regularly (e.g., for upcoming paid sessions), you don’t have to be super vigilant about this. Just try to take a single lens out on a shoot, and if you can maintain the streak for a few days in a row, that’s fantastic.

If you like how it feels to just use a single lens, try taking it further by extending the exercise out for a week, a month, or even longer. It’s up to you, but the more time you spend with that one lens, the better you’ll get at visualizing its field of view before you raise the camera to your eye. You’ll be able to create compositions before you look through the viewfinder, and your keeper rate will grow dramatically.

This exercise is best done with a prime lens, but it works for zooms, too. If you do work with a zoom, you may want to start by picking a single focal length and sticking to it. Of course, you’ll eventually need to test out other focal lengths if you want to really get to know a lens’s capabilities, but beginning in one place can be a good idea.

One recommendation: Before you head out with your lens, spend a bit of time thumbing through the manual. Make sure you’re familiar with all of its features, including any switches or rings on the barrels. Then be sure to practice using these different elements when out shooting!

2. Test your lens at every aperture

Part of mastering a lens is getting to know how it performs. And the fact is that every lens’s performance varies across its aperture range, so I highly recommend you spend some time with the glass you’re looking to master and really assess it at all apertures.

Print off a test chart or make your own, then mount your camera on a tripod and take a series of photos as you go from the lens’s widest to its narrowest aperture. All lenses are softer at their widest and narrowest aperture settings, so don’t be surprised if that’s the result you get – but the details matter, too. How sharp is your lens at its widest aperture? How do you feel about the level of detail? How about at its narrowest aperture? What are your thoughts?

Here, it can help to take notes for each aperture (after all, it’s a lot to remember!). And once you’re finished with your tests, spend some time thinking about what the results mean for you photographically.

For instance, if you often use small apertures when you take photos, then you’ll need to figure out when blur due to diffraction starts to become a serious problem. And if you prefer to use wider apertures, consider whether shooting wide open will net you some reasonably sharp images, or whether you’ll need to stop down slightly.

If you like that shallow depth-of-field look yet your lens struggles at wide apertures, remember that the key is to find a balance between bokeh and image quality. For example, I find that when I make portraits with a short telephoto lens, I get the best results at f/2.8. The f/2.8 aperture ensures that most of my model’s face is in focus, yet the bokeh still has a beautiful quality:

Of course, you might prefer a different aperture, and that’s okay! The point is to spend some time testing and thinking about the results.

Note: If you’re working with a zoom lens instead of a prime lens, carefully read this next section:

3. Test a zoom lens at different focal lengths

Prime lenses are relatively easy to test: You print off a test chart, you set up your camera, and you take images throughout the aperture range.

The situation becomes a little more complicated with zoom lenses, however. This is because you have an extra variable: focal length. Not only does sharpness vary according to the aperture, but focal length also has an effect. Very few zoom lenses offer outstanding optical quality across their entire focal length range. Therefore, if you really want to understand your lens, you’ll need to test it at a variety of focal lengths.

Personally, I like to think of zoom lenses as several prime lenses in one package. For example, when I owned a 17-40mm zoom, I tended to set it to 24 or 35mm for most of my shots. At other times I would use 17mm – if I wanted a real ultra wide-angle effect – or 40mm. So to me, it was four lenses in one – a 17mm, 24mm, 35mm, and 40mm lens.

These photos show the difference between the 17mm and 40mm focal lengths:

But remember: Breaking your lens up into a few specific focal lengths is essential. Do the corresponding tests, and as you become more familiar, you can expand your sense of each subject.

4. Zoom with your feet

Regardless of whether your favorite lens is a prime or a zoom, it’s helpful to practice zooming with your feet rather than using the zoom ring (also, if you have a prime lens, you have no choice in the matter!). Zooming with your feet is an expression used to describe the process of moving physically closer to or farther away from your subject to change its size in the frame rather than using the zoom ring on a zoom lens.

For zoom lens owners, this comes back to the earlier idea of a zoom lens essentially containing three or four prime lenses in one. If you have an 18-55mm kit lens, for instance, then your lens behaves very differently at different focal lengths. At 18mm, it’s a wide-angle lens that’s ideal for subjects like landscapes. At 55mm it’s a short telephoto lens that you can use for portraits.

In terms of perspective, both focal lengths are very different. You will only learn about perspective and the way it changes as you move closer to or further from your subject if you stick to using your zoom lens at a single focal length. If you use the zoom ring to change the subject size, you won’t learn about perspective.

For example, with an 18-55mm lens set to 18mm, you need to get fairly close to the subject to obtain the dramatic perspective associated with wide-angle lenses:

But if you’re further away from the subject, the perspective is much less dramatic:

5. Shoot different subjects

We tend to think of lenses as associated with specific subjects. For example, wide-angle lenses are ideal for landscapes and short telephoto lenses are perfect for portraiture.

But what if you mix it up a little? What happens if you use a short telephoto lens for landscape photography or a wide-angle lens for portraiture? The idea is to take yourself out of your comfort zone and find creative ways to use your favorite lenses, which will expand your understanding of the glass.

If you use a wide-angle lens for portraiture, you’ll soon find that if you get too close to your model, you’ll end up with some very unflattering effects. But what if you step back and include more of your environment? Suddenly, you’re taking a very different approach! Experiments like these can add new skills, new understandings, and new ways of working to your repertoire.

6. Push your compositions to the limit

My final tip for mastering a lens? Really push yourself. Take each technique to the extreme and see what you can do with it. Only by really pushing your equipment can you really understand it!

If you have a wide-angle lens, what happens if you get as close to your subject as you can? What happens if you use the lens’s widest aperture setting?

And if you have a telephoto lens, how can you maximize the compressed perspective that the longer focal length offers? What subjects can you shoot to make the most of the layered effect?

That’s the process of experimentation. Not all of your experiments will work – but when they do, you’ll be adding new skills to your repertoire!

Tips for mastering your lenses: final words

Hopefully, these tips have given you some ideas for working with and getting to know your favorite lenses. Instead of fantasizing about the next lens you are going to buy, spend some time getting to know the glass you already own!

You may find that pushing the lenses you already own to their limits can be deeply rewarding.

Now over to you:

How do you plan to master your lenses? Do you have any additional tips that we missed? Share your thoughts in the comments below!

The post 6 Tips for Effectively Mastering Your Lenses appeared first on Digital Photography School. It was authored by Andrew S. Gibson.

Travel photography is a highly rewarding pursuit, but if you’re serious about getting the best shots, it pays to carry the right equipment, including a lens that can handle a broad range of travel subjects: astrophotography, architecture, landscapes, people, food, and more.

That’s where this article comes in handy. Below, I use my experience as a professional travel photographer to rank the 10 best travel photography lenses on the market in 2023, including options for plenty of budgets, brands, and camera systems (including models for the latest and greatest mirrorless lineups).

So whether you’re new to travel photography and looking to purchase your first lens, or you’re a travel-photography veteran looking to invest in some pro-quality glass, this article will give you everything you need to get started.

Let’s dive right in!

1. Nikon Z 24-120mm f/4 S

The Z 24-120mm f/4 S is our all-time favorite travel photography lens – and for a whole host of reasons, too. For one, it provides an impressive range of focal lengths, which is perfect for those seeking a single high-quality lens for all their travel needs. At 24mm, you can capture beautiful travel landscape shots; at 50mm, you can shoot portraits; and a 120mm, you can capture detailed photos of distant landscapes and architectural features.

The 24-120mm f/4 S is impressively sharp, so even if you’re hoping to create magazine-quality files or large prints, it’ll be up to the task. And while the lens only features an f/4 maximum aperture, this should be enough for all but the most demanding conditions, especially if you’re willing to carry a good travel tripod.

The elegant and attractive design, compact size, and solid build make it a great choice for amateur and pro-level travel photographers alike. It’s not the cheapest lens on the market, but the price is reasonable compared to f/2.8 alternatives, and you certainly get a lot for your money.

2. Canon EF 24-105mm f/4L IS USM

Regarded as one of the heavyweights of the photography manufacturing industry, Canon offers some of the best travel photography lenses on the market – including the impressive EF 24-105mm f/4L IS USM, an absolute travel classic that combines a versatile zoom range with built-in image stabilization.

This lens is great for all-around shooting; it covers a broad range of focal lengths, and you can capture everything from expansive cityscapes to architectural details, which makes the lens suitable for travel photographers of all stripes. No, it can’t quite go toe to toe with the Nikon Z 24-120mm f/4 in terms of versatility, but the price is significantly less, and the extra 15mm on the long end won’t make a huge difference for most shooters.

The 24-105mm f/4 boasts impressive sharpness, though the f/4 maximum aperture isn’t as fast as f/2.8 options (and therefore less than ideal for astrophotography and handheld photography in low light). But if you’re in need of a do-everything lens for serious travel shooting, the 24-105mm is a great pick.

3. Canon RF 24-240mm f/4-6.3 IS USM

If you are using Canon’s latest mirrorless cameras – such as the EOS R5, R6, or R7 – then the RF 24-240mm f/4-6.3 IS USM is a great introductory lens, particularly if you travel frequently and wish to minimize gear weight. This handy little unit is remarkably compact, and you can slip it in a bag, a backpack, or a purse without issue (though you’ll want to make sure you protect it from bumps and scrapes!).

The lens is also excellent for travel shooting thanks to its expansive focal-length range and outstanding versatility; with wide, standard, and telephoto focal lengths, you can capture pretty much any subject, including landscapes, cityscapes, detail shots, and street portraits.

The 24-240mm is also reasonably well priced, making it a decent choice for beginners (compared to other RF-mount lenses, anyway!). Unfortunately, the lens does include some disadvantages – the maximum aperture is relatively narrow for low-light shooting, the optics aren’t on the same level as Canon’s L-lens lineup, and no lens hood is supplied – but if you’re looking for a do-everything lens to get started with travel photography, it’s a solid choice.

4. Nikon Z 24-200mm f/4-6.3 VR

The Nikon Z 24-240mm f/4-6.3 is a solid mirrorless lens for travel photography; the zoom range makes it capable of handling nearly any situation, and the quiet autofocus is great for capturing people and even wildlife unobtrusively.

The lens boasts plenty of travel photography possibilities thanks to its impressive portability and great design. Optically, expect to capture clear, sharp, and vivid images at every focal length, though you may encounter some softening toward the image corners.

The weather sealing prevents dust and moisture from entering the lens, and even serious travel photographers will appreciate the wide-to-telephoto zoom range, ideal for pretty much any type of travel photography, including landscapes, architecture, flowers, portraits, and more. The variable maximum aperture isn’t great for folks who often work handheld in low light, but you can handle most difficult scenarios by carrying a tripod, so this shouldn’t pose too much of a problem.

5. Sony E PZ 18-105mm f/4 G OSS

Sony offers an excellent lineup of APS-C mirrorless cameras, many of which are perfect for travel photography thanks to their compact size and impressive image quality. Of course, every travel camera needs a good lens, and the Sony 18-105mm f/4 is our first choice; it combines solid build quality, great optics, and a good price for an all-around impressive package.

While not a superzoom, the lens spans an impressive 5.8x zoom range from ultra-wide to short telephoto. It works especially well for street photography and even landscapes, where you can zoom in and out to frame shots accordingly, though it’s certainly a capable portrait and architecture lens, as well.

Autofocus is smooth and quiet, plus the lens also boasts Optical SteadyShot technology, which reduces camera shake and prevents blur when working handheld in low light. The f/4 maximum aperture isn’t ideal for shooting in the dark, but it’s not terrible, either, and even serious shooters will manage to make do. Finally, the lens is a Sony pro-quality lens, yet despite the excellent image and build quality, it’s surprisingly affordable, so it’s a good pick for serious photographers who are on a budget.

6. Sony E 18-135mm f/3.5-5.6 OSS

The Sony E 18-135mm f/3.5-5.6 OSS is an impressive all-around lens for travel photography; use it to photograph landscapes, architecture, people, and even (at 135mm) the occasional wildlife. Note that the lens is compatible with Sony’s E-mount APS-C mirrorless cameras but will not give great results on Sony full-frame models.

One of the lens’s key features is the built-in OSS (Optical SteadyShot) technology, which is great for low-light handholding. And if you frequently capture detail shots, you’ll love the short minimum focusing distance. The 18-135mm is lightweight and compact, too, which makes it perfect for the amateur photographer in search of a first travel photography lens. You can easily store it in a backpack or bag, and thanks to its small size, you can leave it on your camera for days of shooting and you’ll hardly even notice.

It’s not the most optically impressive lens, and the variable maximum aperture is a bit of a letdown, but for casual travel photography, the 18-135mm is certainly worth a look.

7. Fujifilm XF 18-135mm f/3.5-5.6 WR LM R OIS

If you’re a Fujifilm shooter, then look no further; the XF 18-135mm f/3.5-5.6 is one of the best travel lenses on the market, and it’s certainly an outstanding option for Fujifilm camera users. It’s great for capturing a wide range of travel subjects, from landscapes and cityscapes to wildlife and people, while the 5-stop image stabilization will keep you shooting crisp handheld shots in low light.

You can get in close to your subjects thanks to a short minimum focusing distance (always handy for detail shots). And solid weather resistance, not to mention impressive image quality, are both welcome features of this amazing lens. As with a number of other models on this list, the variable maximum aperture is somewhat limiting, and the lens is on the expensive side, but the great optics and useful focal length range make this handy lens our favorite Fuji pick.

8. Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4 OIS

If you’re a Panasonic shooter, then this 12-60mm f/2.8-4 lens is one of the best travel lenses you can buy; it delivers a superb focal-length range on Four Thirds cameras, spanning from 24mm to 120mm. You’ll get plenty of travel photography opportunities, and you can expect to capture breathtaking wide landscapes, standard street shots, and even mid-telephoto portraits. Thanks to the telephoto reach on the long end, you can even zoom in to highlight specific features, or you can hunt for architectural abstracts and the like.

This lens is lightweight, compact, and delivers sharp image quality even at 60mm. And don’t forget about the built-in image stabilization, which lets you shoot in low light without a tripod, always helpful for travel shooters. Unfortunately, the maximum aperture does narrow as you zoom from 12mm to 60mm, but you can still work with a decently wide f/4 aperture, even at 60mm.

9. Sigma 18-200mm f/3.5-6.3 DC Macro OS HSM

The Sigma 18-200mm f/3.5-6.3 is a great travel lens for Canon and Nikon APS-C users, and it boasts an impressive combination of features, from a lightweight, compact design to an expansive zoom range. The price is highly reasonable for beginner travel photographers, too, which makes it a great budget lens (especially compared to standard Canon and Nikon options).

Note that the Sigma 18-200mm is designed for APS-C DSLRs, so you can expect focal-length reach spanning from around 27mm to 300mm, which is absolutely outstanding for basically any type of subject, be it landscapes, portraits, street scenes, or wildlife. You’ll also like the included lens hood, which lets you block out sunlight in impressive conditions for improved optical performance.

And although the lens is missing weather sealing, the built-in image stabilization offers improved performance in low light and is ideal for nighttime street photography, interior scenes, and more.

10. Tamron 18-200mm f/3.5-6.3 Di III VC

If you need a versatile travel photography lens for Sony APS-C mirrorless cameras, then check out the Tamron 18-200mm f/3.5-6.3, which offers an impressive zoom range for landscapes, cityscapes, architectural details, people, and pretty much everything else.

The built-in image stabilization system will keep your photos sharp in low light, while the advanced design delivers extraordinary image quality (even if sharpness falls off toward the telephoto end of the zoom range). Often lengthy zooms like this one suffer optically, but we’re quite impressed overall by its capabilities, and it offers enough detail for printing and high-quality displays.

The lens body is lightweight and compact, so you won’t feel weighted down by gear as you shoot, and the price is highly affordable – in other words, it’s yet another outstanding option for travel photographers on a budget.

The best lens for travel photography: final words

Ultimately, the best lens for travel photography depends on your camera setup, your image requirements, and what you plan to shoot. At the end of the day, it’s a personal choice – and as long as the lens you choose is compatible with your camera system, covers the zoom range you require, is within your budget, and delivers the right image quality, you can’t go wrong.

So good luck choosing a travel lens!

Now over to you:

Which lens will you purchase? Which is your favorite? Share your thoughts in the comments below!

The post 10 Best Lenses for Travel Photography (in 2023) appeared first on Digital Photography School. It was authored by Jeremy Flint.

Canon has steadily developed its RF lens lineup over the last handful of years, but while the company has released several super-telephoto lenses – including the RF 400mm f/2.8L IS USM, the RF 600mm f/4L IS USM, and the RF 100-500mm f/4.5-7.1L IS USM – a fast RF-mount lens in the 300mm range has remained conspicuously absent. 

According to Canon Rumors, however, that’s all about to change. While Canon won’t be releasing a 300mm f/2.8 prime in the near future, the imaging company does plan to unveil an RF 100-300mm f/2.8L IS USM zoom, which will be “announced in the next couple of weeks.”

CR doesn’t offer any specifications for the upcoming 100-300mm f/2.8, but you can expect the lens to pack all of the same perks as the highly regarded EF 300mm f/2.8L IS II USM – with, of course, the benefit of a flexible focal length. In other words, the lens should be exceptionally sharp (one reviewer claimed that “the Canon EF 300mm f2.8L IS II USM lens may reach as close to optical perfection as any Canon DSLR lens made”), feature lightning-fast focusing, and boast outstanding build quality.

Fast 300mm lenses are designed primarily for sports and wildlife photographers who require super-telephoto focal lengths in low-light scenarios, and the additional 200mm of zoom should allow for a nice mix of close-up and wider perspectives. If the 100-300mm f/2.8 is compact enough, it could even replace the 70-200mm f/2.8 lens (another sports photography staple) for some shooters.

Of course, fast super-telephoto lenses do come with a major drawback: they’re eye-wateringly expensive. And while the RF 100-300mm f/2.8L’s cost hasn’t yet been confirmed, CR does report a hefty $9499 USD price tag – over $3000 more than the existing EF 300mm f/2.8L IS II USM. So while an RF 100-300mm lens will certainly find its way into the hands of many a professional, enthusiasts and semi-pros may be left out in the cold.

Now over to you:

What do you think of the upcoming RF 100-300mm f/2.8L? Would you be interested? How would you use it? Share your thoughts in the comments below!

The post Canon to Launch the RF 100-300mm f/2.8L IS USM appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Tripods are essential photography tools, and the SANDMARC Tripod Carbon Edition for iPhone is one of the best I have ever used. Mobile photographers will appreciate its many useful features and thoughtful design, and those who rely on DSLR or mirrorless cameras will also find plenty to like.

Small enough to be quite portable, tall enough to be highly useful, and light enough to be hardly noticeable, this tripod checks almost every box on my list and includes one of the best iPhone mounts available. While the price might be a turn-off for some, the adage “You get what you pay for” certainly rings true here.

Of course, even the best tripods aren’t perfect for all photographers. I’ve now spent several weeks putting the tripod through its paces, and in this SANDMARC Tripod Carbon Edition review, I help you decide whether it’s the right purchase for you.

The SANDMARC Tripod Carbon Edition: overview

SANDMARC has been building photography gear for over a decade, and the company’s years of experience are certainly on display with the Tripod Carbon Edition for iPhone. It is, in many ways, exactly what you would expect from a traditional tripod, but it also includes some extras that make it ideal for mobile phone photography.

It’s not quite as diminutive as some of its travel-oriented peers, but it is far more useful and practical in situations where its competitors fall short – literally. With a center column that extends to nearly 64 in (162 cm) and a fully articulating ball head that can tilt, swivel, and lock in any position, this tripod is as easy to recommend as it is to use.

I’ve collected an assortment of tripods over the years: big, heavy models with tank-like construction; small, flexible iPhone tripods that can wrap around tree limbs; and travel tripods that have some great features but also deal-breaking compromises. The SANDMARC Tripod Carbon Edition for iPhone reaches, in many ways, the sweet spot. It offers a great balance of size, weight, functionality, and portability. Even though it’s marketed towards mobile photographers, I can easily recommend it to nearly anyone who just needs a solid tripod for taking pictures.

Pros:

• The compact size and lightweight design make it great for travel
• Impressive height when fully extended
• The all-metal phone mount holds iPhones and almost every other mobile phone securely in place
• The ball head is easy to adjust

Cons:

• More expensive than most of its peers
• Slightly cumbersome to return to its fully compact form

Design and details

The basic design of the SANDMARC Tripod Carbon Edition is hardly radical. It features three telescoping legs and a vertical center column that can be raised and lowered, as well as a ball head that can be tilted up to 90 degrees for vertical shooting. But it’s not the overall design that separates this tripod from others on the market; instead, it’s the various thoughtful choices and attention to detail.

The most striking feature of this tripod is its weight. Barely over 1 kg (2.28 lb), this tripod is hardly noticeable in a gear bag or backpack, and it’s significantly lighter than every other tripod in its class that I have ever used. This is due to the carbon fiber construction, which ensures that the tripod is sturdy without adding extra weight. It also raises the price significantly, but that’s a relatively small trade-off, especially if you plan to use the tripod for years.

In addition to being as light as a proverbial feather, the tripod is delightfully diminutive and collapses down to nearly the same size as my insulated 1 L water bottle. This portability is thanks to an innovative solution that allows the legs to be tilted all the way up along the raised center column, which is a stark contrast to how most of its counterparts are constructed. Most tripod legs collapse on the bottom while the ball head sticks up on top, but SANDMARC’s solution creates a more compact package size while also serving to protect the ball head.

With the legs and center column fully extended, the tripod soars to a height of over 63 in (161 cm), which is tall enough for the iPhone photography scenarios most users are likely to encounter on a daily basis. The legs can be locked into a horizontal position while leaving the center column protruding upward, which adds to the overall level of flexibility and customizability that this tripod offers. A weighted bag can be hung from the hook at the bottom of the center column to increase stability, and the locking mechanisms on the ball head tighten and loosen with a quick twist of the thumbs.

Ease of use and build

I found this tripod to be quite simple to use for daily shooting. It goes from fully compact to fully extended with a few quick twists of the collar locks on the legs, and it can be repositioned with very little effort. When you’re ready to frame your shots, the iPhone mount can be rapidly attached to the ball head by twisting the attached D-ring. The built-in level on the ball head helps ensure that your shots are straight, and adjustments to the position of your camera are quick and precise.

Once again, the key factors that set the tripod apart are its carbon-fiber construction and extra attention to detail. While many other tripods are similarly easy to use and roughly the same physical size, the SANDMARC Tripod Carbon Edition for iPhone is so light it barely registers when toting it from one location to the next.

Additionally, there is nary a plastic piece to be found, with sturdy metal hardware on every joint. Even the ballast hook is metal and built to last, plus it can be easily unscrewed and replaced with another hook or accessory as needed.

There are a few elements of this tripod that could be improved, but these are really just minor nits, not significant drawbacks. Folding the legs back to their fully inverted position takes a bit of effort because the securements that hold them in place have to be pulled out one by one. I never quite got the hang of how to do this quickly and easily, but other photographers might feel differently.

The ball head, while simple and easy to use, is also the source of some minor frustrations. The locking mechanism that secures the mounting plate to the ball head must be tightened and loosened by hand. It would be nice if the mounting plate could be snapped in place and released with a latch, but this is certainly not a deal-breaker.

Additionally, the ball head is not well suited to big DSLRs with battery grips and long lenses, but given that this tripod caters to mobile photographers, I’m not sure this really counts as a drawback. For those who want one single tripod that can meet all of their photography needs, while this tripod will almost always work, I might recommend another option for wildlife photographers lugging around 600mm lenses.

Ideal for mobile photography

If you want a nice tripod that works with nearly any camera in nearly any shooting condition, I can easily recommend the SANDMARC Tripod Carbon Edition for iPhone, though there are plenty of other options to consider.

However, if you are looking for a tripod that is ideally suited for mobile photography, it would be difficult to recommend any option except this one. Despite the Apple-centric name, the tripod’s sturdy all-metal mounting bracket easily accommodates nearly any mobile phone, and the tripod’s light weight, small size, and ease of use make it a great choice for nearly any type of mobile photographer.

The mobile phone mounting bracket on this tripod is, to put it plainly, the best one that I have ever used. It’s made of sturdy metal with no plastic to be found, has a confident and secure spring-loaded clamp, and features two threaded locations for attaching the included Arca-Swiss plate. Rubber pads on the inside of the bracket are designed to grip your smartphone and securely hold it in position.

I have worked with all manner of mobile phone mounts, and I’ve had myriad problems with them all. I’ve had mounts that cracked, bent, broke in half, or were just incredibly cumbersome to use. The SANDMARC iPhone mount is built to last for years, operates smoothly, and works exactly as you would expect every time you use it. The included carrying bag has a zipper pouch in its inner lining to store the mount when you don’t need it, and when you do, it’ll be ready to go in seconds.

All of this might sound a bit hyperbolic, but SANDMARC’s iPhone mount really is exceptional. When you combine it with all the rest of the features that this tripod has to offer, it quickly becomes clear why it’s such an easy piece of photography gear to recommend.

The SANDMARC Tripod Carbon Edition review: final words

The SANDMARC Tripod Carbon Edition for iPhone is a very impressive tool for photographers who use mobile phones, and it works great with most DSLR and mirrorless cameras, as well. Its lightweight carbon-fiber construction, small but versatile ball head, high-quality phone mount, and surprising portability ensure that it’s suited to a variety of photography types.

You can currently pre-order the tripod on SANDMARC’s website (the ship date is estimated for May 2023).

Now over to you:

What do you think of SANDMARC’s newest tripod? Are you impressed? Disappointed? Share your thoughts in the comments below!

The post SANDMARC Tripod Carbon Edition: A Comprehensive Review appeared first on Digital Photography School. It was authored by Simon Ringsmuth.