Showing posts with label Tamron. Show all posts
Showing posts with label Tamron. Show all posts

1.7.22

Best lens for wildlife photography in 2022


Best lenses for wildlife photography – When it comes to wildlife photography then getting in close is key. There are many long lenses on the market and depending on your budget and what camera type and brand you own will determine what is available to you.


To help you make a better informed decision we’ve rounded up the very best wildlife lenses from those that are compatible with DSLRs to Mirrorless, and we’ve included all the major brands so there is something in there for everyone.


When it comes to purchasing longer lenses unfortunately prices get pricey! For those on a tighter budget we have thrown in a couple of budget suggestions, but it’s also worth having a look at the second hand market to see what is available. Often you can save at least a third of the full retail price when shopping second hand.


So without further ado, here are our recommendations for the best lenses for wildlife photography:



Best Nikon DSLR lenses for wildlife photography
1. Nikon AF-S NIKKOR 200-500mm f/5.6E ED VR – £1,399


Nikon AF-S NIKKOR 200-500mm f/5.6E ED VR

At a glance:Minimum aperture f/32
Maximum aperture f/5.6
Lens construction 19 elements in 12 groups (including 3 ED glass elements)
95mm filter thread
Weighs 2300g (including tripod collar)

The versatile 200-500mm Nikon lens is perfect for those wildlife photographers needing to shoot at a variety of distances. The f/5.6 maximum aperture setting will feel slightly limiting in low light but during daylight is more than adequate. Weighing in at 2300g this lens will add a lot of extra weight to your camera bag, however the variable focal length makes up for this.


2. Nikon AF-S NIKKOR 300mm f/2.8G ED VR II – £6,299

Nikon AF-S NIKKOR 300mm f/2.8G ED VR II

At a glance:Minimum aperture f/22
Maximum aperture f/2.8
Lens construction – 11 elements in 8 groups
52mm filter thread
Weighs 2900g

If you’re after high quality imagery then the Nikon AF-S NIKKOR 300mm f/2.8G ED VR II is a beauty of a lens but at just shy of £6,300 it is by no means affordable to most! You can get it cheaper by shopping around and on the second hand market we found one at £3300 making it more of a viable option for some.

There is no doubt that having those extra stops of light up to f/2.8 with the 300mm reach will get you superb results and the 9 blade circular aperture diaphragm helps produce perfect background blur. This lens also uses a 4 stop Vibration Reduction system meaning you can be confident when out in the field that you are eliminating camera shake. Any Nikon user wanting high quality and professional looking results should consider this lens.

Best Canon DSLR lenses for wildlife photography
3. Canon EF 70-200mm f/2.8L IS III USM – £ 2,200

Canon EF 70-200mm f/2.8L IS III USM

At a glance:Minimum aperture f/32
Maximum aperture f/2.8
Lens construction – 23 elements in 19 groups
77mm filter thread
Weighs 1480g

You can’t go wrong with a 70-200mm f/2.8 lens. Their versatile nature makes them not only useful to wildlife photographers but also almost for every other genre of photography too!

This lens comes with a 3.5-stop image stabilisation guard against camera shake and can track with precision thanks to a ring-type USM autofocus system.

The Canon EF 70-200mm f/2.8L IS III USM is also water and dust resistant, which will give you great peace of mind when out in the field in harsher conditions.

4. Canon EF 75-300mm f/4-5.6 III – £240

Canon EF 75-300mm f/4-5.6 III

At a glanceMinimum aperture f/45
Maximum aperture f/4
Lens construction – 13 elements in 9 groups
58mm filter thread
Weighs 480g

For those who are just starting out or on a tight budget then the Canon EF 75-300mm f/4-5.6 III lens is well worth considering. This affordable lens is by no means perfect and comes with some restrictions such as its variable maximum aperture range, however when it comes to value for money you can’t argue with what you get. Its lightweight construction and flexible zoom are ideal if you are travelling, and thanks to its integrated AF motor it’s also fast to focus and track moving subjects.

The Canon EF 75-300mm f/4-5.6 III is compatible with Canon DSLR cameras and EOS-M mirrorless cameras with an EF-EOS M Mount adapter.

Best third party DSLR lenses for wildlife photography
5. Sigma 150-600mm f/5-6.3 DG OS HSM S – £1,329

Sigma 150-600mm f/5-6.3 DG OS HSM

At a glanceMinimum aperture f/22
Maximum aperture f/5
Lens construction – 24 elements in 16 groups
105mm filter thread
Weighs 2860g

The Sigma 150-600mm f/5 – 6.3 DG OS HSM is not only incredibly versatile having a reach from 150mm to 600mm, it is also built to withstand. This is thanks to its dust and splash resistant structure and its oil-repellent coating on the forefront and rear lenses that can be easily wiped to prevent oil and fat from sticking to the surfaces.

The lens comes with an intelligent OS (Optical Stabiliser) function feature that includes 2 modes. Mode 1 is for general photography and mode 2 helps track moving subjects with accuracy making it ideal for wildlife photographers.

On the downside the variable maximum aperture setting between f/5 and f/6.3 (which is determined by where the focal length is set) is restrictive in lowlight conditions, however this lens still works out as great value for money at just over £1300.

6. Tamron 100-400mm F/4.5-6.3 Di VC USD – £819

Tamron 100-400mm F/4.5-6.3 Di VC USD

At a glance:Minimum aperture f/45
Maximum aperture f/4.5
Lens construction – 17 elements in 11 groups
Minimum object distance 1.5m
Weighs 1135g (Canon fit), 1115g (Nikon fit)

If weight is an issue then the Tamron 100-400mm F/4.5-6.3 Di VC USD is comparably much lighter to many of its market rivals. The Canon fit weighs slightly more than the Nikon fit, which comes in at a light 1115g.

Key features of the Tamron 100-400mm F/4.5-6.3 Di VC USD are the autofocus system and a moisture resistant construction and fluorine coating aimed to give you peace of mind in bad weather. The lens also has three low dispersion lens elements that compensate for chromatic aberrations.

Finally this lens is compatible with Tamron’s 1.4x teleConverter, which if you want that extra reach but can’t afford to upgrade to a longer lens is a great solution.

Best mirrorless Canon lenses for wildlife photography
7. Canon RF 100-500mm F4.5-7.1L IS USM – £2,980

Canon RF 100-500mm F4.5-7.1L IS USM

At a glance:Minimum aperture f/32 at 100mm / f/54 at 500mm
Maximum aperture f/4.5
No. of diaphragm blades 9
Filter thread 77 mm
Weighs 1530g

For Canon mirrorless shooters the Canon RF 100-500mm F4.5-7.1L IS USM Lens is an excellent option that comes with a large variable focal length and also produces high quality results.

This lens comes with a 5-stop Image Stabilisation feature giving greater flexibility in lowlight, and includes ASC technology, which stands for Air Sphere Coating to prevent flare and ghosting in images. The Dual Nano USM motor is also worth a mention that enables fast, smooth and near silent AF shooting. It isn’t cheap though at just shy of £3000, however it has much to offer wildlife shooters.

8. Canon RF 800mm F11 IS STM – £1,100

Canon RF 800mm F11 IS STM

At a glance:Minimum aperture f/11
Maximum aperture f/11
Lens construction 11 elements in 8 groups
Filter thread 95mm
Weighs 1260g

If you need a long reach then the Canon RF 800mm F11 IS STM should be on your list. This lens is aimed at the enthusiast, and ideal for any wildlife photographer needing to keep their distance but wanting to get shots close in on the action – for example on a safari.

On the downside the fixed aperture setting at f/11 will feel restrictive at times, however in good light this won’t be an issue. On the positive side this lens only weighs 1,260g which is incredibly light for a lens with this kind of reach. It also only measures 281.8mm in length making it easier to transport. It’s worth noting Canon makes a similar 600mm model that retails at £860.

Best mirrorless Nikon lenses for wildlife photography
9. Nikon Nikkor Z 70-200mm f/2.8 VR S – £2,419

Nikkor Z 70-200mm f/2.8 VR S

At a glance:Minimum aperture f/22
Maximum aperture f/2.8
No. of diaphragm blades 9
Filter thread 77 mm
Weighs 1440g

The Nikon Nikkor Z 70-200mm f/2.8 VR S is an excellent lens and produces superb quality results. This model comes with ghosting, flare and chromatic aberration combative features and is pinpoint sharp thanks to its accurate tracking and AF feature. This lens has a minimum focus distance of just 0.5m at the wide end of the zoom, and 1m at the telephoto end.

The versatile nature of a 70-200mm f/2.8 lens is not only great for capturing wildlife – for example bird photography – but it’s also useful for shooting other genres as well so is a worthy investment.

10. Nikkor Z MC 105mm f/2.8 VR S – £1,049

Nikkor Z MC 105mm f/2.8 VR S

At a glance:Minimum aperture f/32
Maximum aperture f/2.8
No. of diaphragm blades 9
Filter thread 62mm
Weighs 630g

For those Nikon mirrorless users who want to capture the smaller animal kingdom like butterflies and insects then the Nikkor Z MC 105mm f/2.8 VR S should be at the top of your list! This professional macro lens produces excellent results and includes Nikon’s anti-reflective ARNEO and Nano Crystal coatings, which combat flaws like ghosting and unwanted image flare.

With a minimum focusing distance of 0.29m the Nikkor Z MC 105mm f/2.8 VR S lets you get extremely close into your subject, and produces images at a 1:1 reproduction ratio for detailed results.

Best Sony FE mount lens for wildlife photography
11. Sony FE 200-600mm f/5.6-6.3 G OSS – £1,700

Sony FE 200-600mm f/5.6-6.3 G OSS

At a glance:Maximum aperture f/5.6
Dimensions 111.5 x 318 mm
No. of diaphragm blades 11
Filter thread 95mm
Weighs 2115g

For wildlife Sony shooters who are after a versatile lens the Sony FE 200-600mm f/5.6-6.3 G OSS is a strong contender. This lens is fast and accurate to focus thanks to Sony’s DDSSM (Direct Drive SSM) system, and the image quality is also excellent.

This lens comes with an 11 blade aperture mechanism creating desirable bokeh. It’s worth noting though the lens is limited to a maximum f/5.6 or f/6.3 depending on where the focal length is set.

This lens is centre weighted so feels balanced when out in the field, which is reassuring to know. If you want to extend your reach even further the Sony FE 200-600mm f/5.6-6.3 is compatible with a 1.4x or 2.0x teleconverter. This gives a maximum focal length of 840mm (with a 1.4x) or 1200mm (2.0x) at f/13.

Best Fujifilm XF mount lens for wildlife photography
12. Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR – £1,699

Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR

At a glance:Maximum aperture f/4.5
Minimum aperture f/22
No. of diaphragm blades 9
Filter thread 95mm
Weighs 1375g

The Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR is a super telephoto zoom lens capable of producing high quality results. With a 5 stop image stabilisation system this lens combats issues like camera shake and has automatic detection when panning.

At 1375g this lens is light enough not to cause too many issues whilst in transportation, and the 100-400mm reach gives most wildlife photographers a decent focal range to play with. This lens is dust and water resistant and will operate in conditions down to -10 °C. A great all rounder for those who need something versatile.

Best Micro Four Thirds lenses for wildlife photography
13. Olympus M.Zuiko Digital ED 300mm f/4.0 IS Pro – £2,599

Olympus M.Zuiko Digital ED 300mm f/4.0 IS Pro

At a glance:Minimum aperture f/4
Dimensions 92.5 x 227mm
Filter thread 77mm
Weighs 1270g

Weighing in at 1270g the Olympus M.Zuiko Digital ED 300mm f/4.0 IS Pro is an excellent choice for many wildlife pros and enthusiasts. Although Olympus have priced it at £2,599 with some shopping around you can get it around £500 cheaper than their suggested full price.

This lens benefits from Olympus’ sync IS system that provides enhanced camera shake reduction with the correct setup. Finally this lens is dust, freeze and splashproof, and gives a 600mm equivalent reach.

14. Panasonic Leica DG Vario-Elmarit 50-200mm F/2.8-4 ASPH Power O.I.S. – £1,399

Panasonic Leica DG Vario-Elmarit 50-200mm F/2.8-4 ASPH Power O.I.S.

At a glance:Minimum aperture f/22
Maximum aperture f/2.8
Lens construction – 21 elements in 15 groups
Weighs 655g

This lens offers micro four third users great flexibility thanks to its variable focal length and wide maximum aperture settings that vary between f/2.8 and f/4 depending on where the focal length is set.

These wide aperture settings will come in handy in lowlight and produce brilliant bokeh when blurring out the background. This lens is weather sealed giving users greater peace of mind when out in the field. It also gives a 100-400mm equivalent.

20.8.20

Tamron designs 18-500mm megazoom – all the lenses you need, in one!


Tamron has created 6 mirrorless zoom lenses, from an 18-100mm all the way to 18-500mm!

Tamron has designed a series of six mirrorless megazoom lenses for APS-C cameras, the most extreme of which is an incredible 18-500mm f/3.5-6.5.

If the design makes it to market, this new Tamron 18-500mm f/3.5-6.5 would eclipse even the impressive Tamron 18-400mm f/3.5-6.3 Di II VC HLD – the world's first 18-400mm and the current king of extreme zoom ranges. However, while that is one of the best superzoom lenses for Nikon as well as being among the best Canon superzoom lenses, it's a DSLR optic. 

Tamron's suite of new lenses, however, are designed for mirrorless cameras, which invariably means that they will be much smaller and lighter. It also means that we could be seeing them not just for Canon and Nikon bodies (including the Nikon Z50, for which they would be perfect), but potentially also Sony and Fujifilm's APS-C systems as well. 

Accordingly, as APS-C optics, that 18-500mm focal length actually becomes significantly more thanks to the smaller format's crop factor; on Nikon, Fujifilm and Sony it would become a 27-750mm lens in equivalent full-frame (35mm) terms, while on Canon it becomes a whopping 28.8-800mm! 

The patent for the six lenses was spotted by Japanese outlet Hi Lows Note, which monitors designs filed with the Japan Patent Office. The formulas for each lens are as follows: 


Optical design for the Tamron 18-500mm f/3.5-6.5 

Tamron 18-100mm f/4.0-5.6
Zoom ratio: 5.610
Image height: 13.323~14.200 mm
Focal length: 18.301 43.535 102.674 mm
F number: 4.080 5.350 5.660
Half angle of view: 39.191 17.680 7.605
Lens length: 87.002 101.835 129.999 mm
Back focus: 14.503 27.315 42.000 mm

Tamron 18-200mm f/3.5-6.5
Zoom ratio: 10.443
Image height: 13.364~14.200 mm
Focal length: 18.554 55.051 193.767 mm
F number: 3.600 5.075 6.450
Half angle of view: 38.673 13.734 4.106
Lens length: 97.735 117.599 180.000 mm
Back focus: 13.815 13.815 13.815 mm

Tamron 18-260mm f/3.5-6.5
Zoom ratio: 14.097
Image height: 14.200 mm
Focal length: 18.566 70.020 261.733 mm
F number: 3.605 5.550 6.489
Half angle of view: 37.748 10.466 3.048
Lens length: 120.000 133.768 180.000 mm
Back focus: 18.272 16.100 14.646 mm

Tamron 18-300mm f/3.5-6.5
Zoom ratio: 15.668
Image height: 14.200 mm
Focal length: 18.558 70.005 290.760 mm
F number: 3.605 5.550 6.489
Half angle of view: 38.867 10.945 2.825
Lens length: 130.000 162.903 199.994 mm
Back focus: 22.929 17.476 14.750 mm

Tamron 18-400mm f/3.5-6.5
Zoom ratio: 20.894
Image height: 14.200 mm
Focal length: 18.556 85.026 387.712 mm
F number: 3.605 5.550 6.489
Half angle of view: 38.856 9.039 2.136
Lens length: 155.243 186.883 260.000 mm
Back focus: 24.232 17.831 14.746 mm

Tamron 18-500mm f/3.5-6.5
Zoom ratio: 26.125
Image height: 14.200 mm
Focal length: 18.549 95.016 484.592 mm
F number: 3.605 5.550 6.489
Half angle of view: 38.845 8.104 1.727
Lens length: 156.884 208.996 300.000 mm
Back focus: 23.776 19.470 14.746 mm

17.7.20

A Different Experience for a Landscape Photographer: Fires at Night


I'm mainly an Arizona based golden time landscape photographer, and I also mix in Milky Way and telescope based astronomical photography of galaxies and nebulas. On June 5th, a lightning storm struck the Catalina Mountains near Tucson, and almost literally, all hell broke loose.


Thankfully, so far, there has been almost no home or property damage, but more than a 1,000 firefighters from several Western states are trying to keep the fire in check.


With great views from my backyard, I wanted to try to document the fire. I used my Sony A7 III and a tripod, along with a couple of different lenses, mostly a Tamron 70-180mm f/2.8. I also used a Sony wireless Remote Commander so I could take my exposures without touching the camera and jiggling my setup during time exposures. I got a lot from the experience, so I wanted to share what I learned. I think these techniques would work for a lot of non-typical night events, like volcanoes and urban fires.

Trial and Error

Night fire photography was something new to me, and the first night out I made a lot of mistakes. I tried very high ISO settings, like 8,000, but the highlights in the flames blew out quickly. 

I settled for settings of 1,200-3,200 ISO and 1/80 to 15 second exposures. When I used short time exposures I could minimize moving and blurring of the flames. When I went longer, I gathered a lot of light from the surrounding terrain but the motion of the flames spoiled the shot. My images were generally shot at f/14 and f/16. I wanted a good depth of field, and it reduced my focus worries a bit. Of course that required longer time exposures.

Time exposures varied depending on what I wanted to capture. In the image below, this is a 15 second f/9 exposure at ISO 1,600 because I wanted to capture more smoke. It blurred the flames a little, but that's part of the trade off.

Focusing

Focusing is tough. The light is low, and auto focusing often failed. I opted for manual focusing, and that worked well, although I found I had to reset focus a few times during the night, perhaps because temperatures drop rapidly in the desert at night. 

I could have — and would love to have — used an external monitor for focusing, but I was trying to keep my equipment load light as I was changing locations often.

My Evolving Methodology

If I had composition I liked, I generally took 4 or 5 of each one, all at the same settings, to make sure vibrations from my movements near the camera did not mess up an image. Although using the Remote Commander, I finally wound up moving 15-20 feet away to make sure I wasn't causing any vibrations while moving. I also increased and decreased my exposure times, and took multiples of those images as well. 

I wanted to try some panoramas, so tried 3-5 overlapping side by side images that I hoped to assemble later, and tried those at multiple exposure times. Here's one example, a 1/80 second exposure at 1,600 ISO at f/13. This time I had a bit more light because it was just after sunset. This is three images stitched together in Photoshop.


Preserving Stars

I really wanted to get some stars in these images, and I thought my experience shooting the Milky Way could help. I got the best results keeping the exposure time down and the ISO up to minimize star trails. This image is a good example. 

I was shooting with my Tamron 70-180 mm lens, zoomed out to 70 mm, at f/2.8 for 10 seconds. And lo, above the smoke, were some nice stars. Had I gone longer, the stars would have been elongated.



Processing

I shot everything raw, really a requirement to get the most out of the dynamic range the Sony offered. As I opened each image in Camera Raw, I usually increased the exposure slightly, decreased the shadows, and often decreased highlights. That was to keep the flames from blowing out, even at shorter time exposures. It was trickier when I had panoramas, as I wanted to keep the settings the same, so I highlighted the multiple images and adjusted them as one. Camera Raw or Lightroom makes that easy. Even with my best efforts, a lot of the flames were blown out, but I still think they are a decent representation of what I saw.

With a single image in Photoshop, I often was not happy with the result, and wanted to push the images a bit further to get more shadow detail, otherwise I'd just see flames emerging from a deep black background. I found Luminar 4 very helpful here, using their AI Accent adjustment I could begin to see the landscape. I wound up using the AI Accent tool on almost every photo I did.

Shooting at high ISOs resulted in some visible noise in the smoke and the sky. I used Topaz Denoise AI plug-in. It's the best tool I've seen for noise removal, and they recently added a night mode that worked well. I reduced any color or mono noise quite easily, then was back in Photoshop and often used a light unsharp mask. 

Panoramas came out quite well, and Photoshop provide a terrific tool to create them with little effort. I would take my 3 or 4 images, use Adobe Photomerge under the automate command, and the clever software algorithms made creating a large pano easy. Sometimes the software had trouble matching frames because they were so dark. I found it worked much better if I raised the exposure and the shadows on images before expecting Photoshop to merge them. When I did that, every pano succeeded. 

Final Thoughts

I was hardly an expert on this kind of night photography, and over several nights taking photos I learned a lot. Some of this will be old hat to photographers who do a lot of this. Here are my main lessons:

Use a tripod. It's almost impossible to capture anything worthwhile without a steady platform
Since long exposures are used on almost every photo, it's essential to have some kind of remote trigger. Some are corded. Some are wireless. I really prefer wireless models because they won't tug on your camera gear. I bought a little lanyard for the Sony Remote Commander at a local hardware store and wore it around my neck. I got a bright yellow lanyard so if I dropped it in the dark I'd have a good chance of finding it again.
You won't need to be really high in ISO. There's plenty of light from the fire.
You will need to push shadows if you want to see some of the terrain.
The better the dynamic range of the camera, the better you can do under these conditions. My Sony was exemplary, but my shooting partner had an old Canon 5D and it got excellent photos too.
Panoramas worked quite well, but before stitching them you may have to push the exposure up to let Photomerge do its magic. Then you can lower the exposure when you have your panorama assembled.

Mel Martin

10.5.20

Versatile and Useful: A Review of the Tamron 35-150mm f/2.8-4 Di VC OSD Lens

A walkaround lens with a decent zoom range, reasonable aperture, good image quality, and an affordable price is something of a unicorn for a lot of photographers. The Tamron 35-150mm f/2.8-4 Di VC OSD lens seems to check all those boxes, making it one of the most intriguing lenses I have seen in a few years. This excellent video review takes a look at the lens and what you can expect from it in practice. 

Coming to you from Julia Trotti, this excellent video review takes a look at the Tamron 35-150mm f/2.8-4 Di VC OSD lens. Along with a super useful focal length range and reasonable maximum aperture range, the 35-150mm f/2.8-4 comes with Three Low Dispersion elements to reduce chromatic aberrations and improve clarity, three hybrid aspherical elements for reduced distortion and improved sharpness, Broad-Band Anti-Reflection coating for reduced flares and ghosting and improved contrast, a 0.27x maximum magnification, Optimized Silent Drive motor, vibration compensation of up to five stops, moisture-resistant construction, and a rounded nine-blade diaphragm for smooth bokeh.

I am personally quite intrigued by this lens, and it very well may end up being my next walkaround lens. Check out the video above for Trotti's full thoughts.