Picking the best lens for macro photography can be a real challenge. There are dozens of options available, all capable of transforming small objects into works of art, and each offering a slightly different set of features. Fortunately, no matter your skill level or budget, there is almost certainly a macro lens suited to your needs – you just have to know how to find it!

Below, I share my top 11 macro photography lenses, including a range of options for all budgets, subject preferences, and major brands. I’ve also made sure to include models for both DSLR and mirrorless cameras, so no matter your needs, we’ve got you covered.

Let’s get started!

1. Canon EF-S 35mm f/2.8 Macro IS STM

The Canon EF-S 35mm f/2.8 is one of my absolute favorite macro lenses because it’s simple, inexpensive, and highly effective. I wholeheartedly recommend it for beginners who are looking for a way into macro photography without breaking the bank (plus, it’s designed for Canon’s less-expensive line of APS-C cameras, which are wildly popular among beginner and amateur shooters). The 35mm focal length does require you to get very close to your subject, but after taking Canon’s 1.6x crop factor into account, the effective focal length is actually in the area of 56mm.

Note that you can use the 35mm f/2.8 on APS-C DSLRs like Canon’s Rebel lineup – or you can purchase an adapter and mount the lens on one of Canon’s excellent APS-C RF-mount mirrorless cameras, such as the EOS R10 or EOS R50.

The best part about this lens is the built-in ring light. No, it’s not extremely powerful, but it can easily be the difference between a good shot and a blurry shot, and it’ll cast a nice, even glow over your subjects. The lens also features image stabilization, which is always a nice bonus. Note that you’ll need to get extremely close to your subject for high magnifications, so the lens isn’t ideal for insect macro photography – but it works great for shooting flowers, products, and other still subjects. It may not be as versatile or even as sharp as other lenses on this list, but this lens offers outstanding value for money!

Pros

• Inexpensive
• Built-in ring light
• Optical stabilization (unusual for this price range)

Cons

• Optical performance isn’t as good as more expensive lenses
• Plastic construction instead of metal
• No weather sealing
• Not suitable for full-frame cameras

2. Nikon AF-S 40mm f/2.8G Micro

This 40mm f/2.8 macro lens has long been revered as one of the best options for Nikon shooters who want to get started with close-up photography (and who also appreciate a versatile all-around lens). It’s small, light, and lets you shoot brilliant photos of tiny subjects without spending a lot of money.

In fact, the Nikon 40mm f/2.8 is quite similar to the aforementioned Canon 35mm macro lens, though it does lack both a ring light and image stabilization. Neither of these omissions is a huge deal, however; if you’re set on a ring light, you can always purchase one as an accessory, and image stabilization is more of a luxury than a necessity when doing macro work. As with the Canon 35mm lens listed above, you’ll need to get very close to your subjects for the most detailed shots, so unless they’re very cooperative, you may struggle to capture insects – but you can certainly enjoy plenty of flower and nature photography without issue.

This is a DX lens, which means it won’t function on full-frame cameras. But on APS-C models, the 40mm focal length is equal to 60mm, so in addition to macro shots, the lens offers plenty of potential for portraits and street photography. While the f/2.8 aperture can’t compete with f/1.8 or f/1.4 lenses, it still offers pleasing bokeh and out-of-focus backgrounds. My favorite aspect of the 40mm f/2.8 is the price: It’s by far the cheapest option on this list, so if you’re a Nikon shooter and you’re on the fence about diving into macro photography, it’s an excellent first choice.

Pros

• Incredible value; one of the cheapest autofocus macro lenses available
• Great optical performance

Cons

• Designed for crop-sensor cameras
• Autofocus can be a bit slow
• Plastic construction and no weather sealing

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

Serious macro shooters who want top-notch image sharpness will be more than pleased with the RF 100mm f/2.8L, one of Canon’s most recent lens releases and an all-around photography powerhouse. It’s designed for RF-mount mirrorless cameras, and its high price point does put it out of reach for most beginners and hobbyists, but you do get what you pay for.

Not only does this lens produce optically stunning images, but it packs some outstanding bonus features that’ll impress any macro photographer. There’s a three-position focus limiter, which guarantees faster, more-reliable autofocus for different shooting scenarios. There’s also an innovative ring for controlling spherical aberration, which basically lets you adjust the optical quality of the out-of-focus elements of your image – not a must-have, but a nice feature that can certainly come in handy.

If you’re a serious macro photographer looking to upgrade from a more basic macro lens, or if you’ve long appreciated Canon’s 100mm f/2.8L designed for DSLRs but are switching to mirrorless, this is the lens to buy.

Pros

• Exquisite image quality
• Reliable, accurate autofocus
• Unique spherical aberration control ring

Cons

• Very expensive; not ideal for casual shooters
• Autofocus can be a bit slow
• Focusing elements tend to be noisy

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

For years, the Nikon AF-S 105mm f/2.8G IF-ED lens was basically the holy grail of Nikon macro photography. First released in 2006, it easily held its own against much more modern competitors and is still an excellent lens option to this day. However, Nikon recently launched an updated version specifically designed for Z-mount mirrorless cameras, the Nikon Z 105mm f/2.8 VR S, and the result is a stunning performer that ought to sit at the top of every Nikon macro shooter’s wishlist.

What makes this lens stand out? For one, it offers near-impeccable optical quality. Images are wildly sharp, which is essential if you want to capture pro-level macro photos. Additionally, autofocus is fast and reliable, and the lens even offers a custom function button that you can assign to different functions in your camera menu. Then there’s the built-in image stabilization, which will help you get sharp images even when handholding in low light (or at high magnifications!), and there’s also a focus limiter switch that’ll increase autofocus speeds in certain situations.

Of course, like the Canon RF 100mm f/2.8L discussed above, the Z 105mm f/2.8 is quite expensive. But if you’re a serious shooter looking to make prints of your work – or simply aiming to capture as much detail as possible – it’s worth every penny.

Pros

• Amazing image quality
• OLED screen shows focusing information
• Less expensive than the Canon 100mm f/2.8

Cons

• OLED screen is somewhat of a gimmick
• The focus limiter switch only includes two positions
• Still relatively pricey

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

If you’re a Sony photographer in need of a world-class macro lens, then look no further than the 90mm f/2.8 Macro, which combines the best of what its Nikon and Canon competitors have to offer. The lens features strong, durable construction along with dust and moisture resistance, which can be especially helpful when doing macro photography in rain, snow, and more.

Image stabilization can be enabled via a switch on the side, and this lens also has a three-position focus limiter similar to the Canon RF 100mm f/2.8. Sony’s lenses are renowned for their superb optical quality and this one is no exception, producing images that are tack sharp with outstanding contrast and color rendition. There is a customizable function button, and you can quickly change from manual focus to autofocus with a sliding ring.

One slight limitation is this lens’s f/22 minimum aperture – even stopped down to f/22, depth of field is still extraordinarily thin at high magnifications. But you can always use focus stacking to compensate (which will help you bypass diffraction for sharper results). At the end of the day, flower and product photographers will adore this lens, and while insect shooters may wish for a slightly longer focal length, it’ll still do an excellent job.

Pros

• Specially coated optical elements help reduce lens flare and other common problems
• Very fast autofocus
• Focus ring can slide backward and forward to engage and disengage manual focus

Cons

• 90mm isn’t quite as long as the 100mm and 105mm focal lengths offered by competitors
• Relatively large minimum aperture of f/22

6. Sigma 105mm f/2.8 DG DN Macro Art

While some photographers are reluctant to use third-party lenses, manufacturers like Sigma and Tamron have been working hard to produce outstanding glass, and recent offerings from both companies have been equal to first-party counterparts in every respect – and even besting them in some areas. Plus, third-party models tend to be substantially cheaper than Canon, Nikon, and Sony lenses, so they’re an excellent way to gain access to serious photographic features without breaking the bank.

Sigma’s 105mm f/2.8 Macro deserves serious consideration from any photographer interested in taking beautiful macro shots; it offers everything a close-up shooter could need, including stunning image quality, fast autofocus, and good weather resistance. One interesting feature is the manual aperture ring, which lets you smoothly change the aperture by hand. This lens also focuses internally, so unlike some other lenses, you won’t see the front barrel protruding outward (which helps if you’re taking pictures of skittish insects, and it’ll also stop you from knocking flowers or products as you photograph).

Some users find Sigma’s autofocus to be a bit slow, but that has never been my experience – plus, most macro photographers prefer to work with manual focus, anyway. Currently, Sigma only makes this lens for Sony and Leica cameras, which might be an important limitation to keep in mind depending on your current gear. If you’re a Canon or Nikon shooter looking for a high-quality third-party macro lens, I do recommend some other options below, but you might also check out some of Sigma’s handful of alternative macro lenses, many of which are truly excellent (though they can be difficult to find new).

Pros

• Outstanding value; priced lower than similar first-party lenses
• Solid, durable construction
• Physical aperture control ring for those who prefer a more tactile shooting experience

Cons

• Images are sharp but don’t quite match the quality of top-notch macro lenses on this list
• Only available for Sony and Leica mounts

7. Fujifilm XF 80mm f/2.8 R LM OIS WR

It might seem a little strange to see an expensive 80mm macro lens on this list, but keep in mind that Fujifilm does not produce full-frame cameras; this lens is designed for their X line of APS-C cameras, which gives this lens an effective focal length of 120mm. In other words, the Fujifilm 80mm f/2.8 gives you the best of both worlds: the versatility of a shorter lens combined with the extra working distance of a longer lens. In fact, as one of the longer lenses on this list, the 80mm f/2.8 is a particularly good choice for insect and even pet photographers, who wish to capture stunning detail shots but struggle to get close to their subjects.

This lens sports all the features you would expect given the price tag, including weather sealing, a focus limiter switch, and a ring for manually adjusting the aperture. Built-in optical image stabilization is rated at five stops, which is a huge benefit for macro photographers who prefer to work without a tripod, and autofocus is fast and silent. I do wish the minimum aperture went beyond f/22, but it’s definitely not a deal-breaker, and you can often get better results by focus stacking, anyway.

Unlike other camera systems, you won’t find a huge range of macro lenses for Fujifilm models, but with a lens this good, you won’t really need to look at anything else.

Pros

• Effective 120mm focal length when mounted on a Fujifilm APS-C camera
• Sturdy build quality
• Good built-in image stabilization

Cons

• Somewhat expensive, especially for an APS-C lens
• Surprisingly large

8. Tokina ATX-i 100mm f/2.8 Macro

Macro photographers who want to move beyond inexpensive lenses such as the Nikon 40mm and Canon 35mm but don’t want to empty their pocketbooks will find a lot to love in Tokina’s 100mm f/2.8 macro lens. Built for full-frame cameras, this lens offers astonishing value and great optical performance, even if it lacks some of the features offered by its higher-priced competitors. Its 100mm focal length is great for macro photography as well as portraits, and image quality is very good.

Though this lens is half the price of others in its focal-length bracket, it does come with some trade-offs. Body construction is high-grade plastic instead of metal, and there is no weather sealing or image stabilization. Autofocus is fine but not quite as snappy as similar lenses from Sony, Canon, and Nikon. Fortunately, these drawbacks probably won’t matter to most macro shooters, while you and your bank account will definitely appreciate getting a great lens at such a low price.

Pros

• Excellent value; half the price of many of its peers
• Clutch mechanism for quickly switching between manual focus and autofocus
• Barrel does not rotate when extended

Cons

• Plastic build is fine but not as durable as metal
• Some photographers prefer lenses with internal focusing
• Autofocus is on the slower side

9. Olympus M.Zuiko Digital ED 60mm f/2.8 Macro

While Micro Four Thirds cameras aren’t as popular as they once were, they still enjoy a dedicated following, and there are plenty of photographers who appreciate their small size and impressive selection of lenses. When using a Four Thirds sensor, focal lengths are doubled to find their full-frame equivalent – so this Olympus 60mm f/2.8 macro lens offers an effective 120mm of reach. It’s also significantly cheaper and lighter than similar full-frame lenses, which is a huge benefit for macro photographers who like to travel (or those who simply wish to avoid lugging a heavy lens into the field).

In terms of features and image quality, this Olympus 60mm f/2.8 macro lens has everything you’d expect from a top-notch performer: Images are sharp, focusing is fast and reliable, and a three-position focus limiter lets you shoot subjects that are far away, really close, or all of the above. There’s no built-in image stabilization, but many MFT cameras offer in-body stabilization for sharper shots at high magnifications or in low light.

Overall, if you want to capture macro shots with an Olympus or Panasonic camera, you can’t beat the combination of price, size, weight, and performance this lens has to offer.

Pros

• Small and lightweight
• Effective 120mm focal length
• Lens barrel has helpful built-in indicators for focusing on close subjects
• Works on both Olympus and Panasonic cameras

Cons

• No built-in image stabilization
• Good image quality for an MFT lens but can’t quite match that of its full-frame peers

10. Irix 150mm f/2.8 Macro

At first glance, the Irix 150mm f/2.8 might not seem worth considering: It’s manual focus, doesn’t include image stabilization, and its optical performance isn’t in the same league as some of its peers. Look closer, however, and macro shooters will quickly find a lot to like. For one, it features the longest focal length of any lens on this list, which is great for photographers who want to take high-magnification shots without getting physically close to their subjects. With 150mm of reach, you can capture bees, grasshoppers, and butterflies in glorious detail, and you won’t have to worry quite so much about scaring your subjects away mid-shot.

The lens features outstanding weather sealing, and a huge, chunky manual focus ring to help you nail the shot. If you’re only just delving into macro photography, working manually may take some getting used to, but it’s actually a highly effective method for specifying the point of focus with precision. Focus can also be physically locked so it won’t change from one shot to the next, and you even get a large, Arca-type foot that works great on many tripods. Finally, the price is about half the cost of its Canon-, Nikon-, and Sony-made peers, so if you need a long lens but you’re on a budget, this is a great pick.

Pros

• Long focal length compared to most of its peers
• Strong weather sealing
• Built-in tripod foot for improved ease of use

Cons

• Manual focus only
• Images aren’t quite as sharp compared to other macro lenses
• No built-in image stabilization

11. Laowa 100mm f/2.8 Ultra Macro APO

Laowa has made quite a name for itself by producing unique lenses that offer outstanding results; this 100mm f/2.8 macro lens continues the tradition by going beyond “standard” macro magnifications. You might even consider this a super macro lens.

You see, most macro lenses, including every other lens on this list, let you reproduce subjects at a 1:1 ratio. It sounds complex, but it really just means that the sizes of objects on your camera sensor will correspond to the sizes of the objects in real life. In other words, at 1:1 magnifications, you can capture incredible detail that you just can’t get with a normal lens. But this Laowa lens takes things a step further: it’s capable of shooting at a 2:1 ratio, so tiny subjects are twice as large on your camera sensor as they are in real life. That feature, combined with the 100mm focal length, means you can capture shots with this lens that you can’t get with any other lens on this list.

There are some important trade-offs, however. The Laowa 100mm f/2.8 is not only manual focus but also manual aperture, which means you can’t set the aperture on your camera. This adds up to quite a steep learning curve, but if you want mind-blowing macro shots that are impossible to achieve with other lenses, then it’s worth the effort. It’s also half the price of its peers, which makes its limitations a little easier to deal with. That said, if you’ve never used a close-focusing lens before, you may want to start with one of the other models on this list; the Laowa 100mm f/2.8 is really a specialist model, and 1:1 macro magnification is plenty close for most purposes.

Pros

• Incredible 2:1 magnification
• Excellent value
• Large, easy-to-reach focus ring

Cons

• All-manual control makes for a steep learning curve
• Barebones set of features compared to its peers
• The long focal length with no image stabilization is difficult to use without a tripod

The best lenses for macro photography: final words

Macro photography is an incredibly fun, challenging, and rewarding pursuit, and for many photographers, brings an almost endless amount of joy. Boring, everyday objects can look like priceless works of art when photographed up close, while flowers, insects, and other elements of the natural world can take on an otherworldly beauty.

While you can explore this type of photography with close-up filters and extension tubes, a true macro lens can take things to a whole new level. If you’re looking for the best lens for macro photography, you can’t go wrong with any of the options on this list; the important thing is to find a lens that fits your style and budget.

Now over to you:

Which macro lens do you plan to pick? Which do you like best? Share your thoughts in the comments below!

Best lenses for macro photography FAQ

The post 11 Best Lenses for Macro Photography (2023) appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Earlier this week, Sigma announced that three lenses will soon be available for Nikon Z-mount cameras: The 56mm f/1.4 DC DN Contemporary, the 30mm f/1.4 DC DN Contemporary, and the 16mm f/1.4 DC DN Contemporary. 

While the lenses have not been specifically designed for the Nikon lineup – you can already grab EF-M mount, X mount, Micro Four Thirds mount, L-mount, and E-mount versions – they are the first Sigma lenses available for Z-mount cameras, and the three units will undoubtedly provide Sigma’s usual optical excellence at a very reasonable price. Note the “DC” designation, which indicates that the lenses will be optimized for Nikon’s APS-C cameras, not Nikon’s full-frame models.

The 56mm f/1.4 DC DN Contemporary caters to hobbyist portrait shooters; with Nikon’s 1.5x crop factor, the lens offers a handy 84mm focal length equivalent, perfect for headshots, half-body photos, and even full-body shots (in scenarios with plenty of space). Thanks to the f/1.4 maximum aperture, you can expect gorgeous background bokeh, not to mention outstanding low-light performance that’ll ensure you can shoot indoors and at night without issue. In fact, thanks to its wide aperture, the 56mm f/1.4 is also a great option for casual event photography or even night street shooting, and when paired with the right camera, you’ll get very impressive AF.

Then there’s the 30mm f/1.4 DC DN Contemporary, which boasts a 45mm focal length equivalent on Nikon crop-sensor cameras – perfect for wider portraits, events, travel, and everyday walkaround photography. While the new Z-mount lens won’t quite reach that Nifty-Fifty sweet spot, it’s ideal for beginner and intermediate shooters looking to upgrade from a basic kit lens setup. I’ve used the 30mm f/1.4 myself (the Sony E-mount version), and I was pleasantly surprised by how lightweight and compact it was; it can easily slip into a pocket, a purse, or a camera bag, and you’ll hardly even notice it’s there. The optics are very nice, too, and with the f/1.4 maximum aperture, it’s an easy model to recommend to hobbyists of all stripes.

Finally, Sigma unveiled the 16mm f/1.4 DC DN Contemporary for Nikon Z-mount models, a slightly more specialized model that should find plenty of interest among astrophotographers, landscape photographers, and architectural photographers. Crop-sensor astrophotography shooters will love the ultra-wide maximum aperture, while the 16mm focal length (which matches a 24mm focal length on crop-sensor cameras) is ideal for scenic shooting. If you’re a Z-mount photographer just delving into the world of wide-angle photography, it’s an outstanding pick.

Unfortunately, we don’t have expected ship dates for the three lenses listed above. The press release does claim the three lenses “will be simultaneously released in Z mount,” though when that will be is anyone’s guess. 

On the other hand, we do have expected prices (based on Sigma’s already-released non-Nikon versions of the lenses). The Sigma 56mm f/1.4 will likely cost $479, the Sigma 30mm f/1.4 will likely cost $339, and the Sigma 16mm f/1.4 will likely cost $449; you may also have the option to purchase the three models together for $1267. All in all, the prices are exceptionally reasonable, making the lenses top choices for anyone seeking a blend of image quality, low-light performance, and portability.

Now over to you:

What do you think of these lenses from Sigma? Will you be interested in purchasing any of them? Share your thoughts in the comments below!

The post Sigma Announces Three Lenses for Nikon Z-Mount Cameras appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Looking for the best travel tripod for your next photo adventure? You’ve come to the right place.

In this article, I share my top 10 tripod recommendations, including options for every shooting style, budget, and level of experience. So whether you’re a beginner looking for your first portable tripod or a serious travel shooter in need of a high-quality tripod to take on lengthy trips, we’ve got you covered.

Let’s dive right in, starting with my number one pick:

1. Manfrotto Befree Advanced Twist Camera

If budget is a key consideration, the Manfrotto Befree Advanced Twist Camera Tripod is a great choice; it offers plenty of impressive features, yet it’s currently on sale for just over $150 (and it normally costs just $225).

This travel tripod is portable and compact with a fluid head and twist-closure locking system. It’s ideal for pretty much every travel photography situation, including street scenes, night shots, and landscapes. The carbon fiber build makes it easy to transport, and the three independent head controls clamp the camera quickly and precisely, allowing for quick use and effective panning. Use it to capture stunning motion-blur shots of bikers and cars whizzing by, then lock the head in place to capture a gorgeous vista.

The Manfrotto Befree is just under 16 in (40 cm) when closed, but it can be extended to nearly 5 ft (1.5 m), perfect for capturing those elevated travel shots. And the center column allows you to adjust the tripod height incrementally as needed, which can come in handy when fine-tuning your compositions.

2. Gitzo GT1545T Series 1 Traveler

Whether you’re having a staycation or are heading to far-away lands, you’ll enjoy using the Gitzo GT1545T Series 1 Traveler, an impressively rugged pro-level travel tripod that works great even when photographing in tough conditions, such as wind, rain, and rushing water.

The Traveler features a portable, four-section design with an Arca-type ball head, short center column, and shoulder strap. It weighs just 3.2 lb (1.45 kg), which is ideal for long days of shooting; you can carry it for hours without issue – yet it’s capable of supporting 22 lb (10 kg) of weight, so you can easily use it to stabilize your mirrorless or DSLR camera, even with a mounted 135mm or 200mm lens.

At the end of the day, the Traveler is one of the most solid travel tripods on the market, though it does come with a hefty price tag. I really only recommend it for serious shooters, though advanced amateurs who want to invest in a high-level support system should also give it a look.

3. Benro MeFOTO RoadTrip Pro (Aluminum)

The Benro MeFOTO RoadTrip Pro Aluminium isn’t very pricy, yet it’s an excellent travel tripod thanks to the sturdy, lightweight design and excellent ergonomics.

The MeFOTO RoadTrip Pro offers rock-solid support to help you blur water and capture star trails, and while it’s made of aluminum (which often makes for heavy products), it weighs just over 3.5 lb (1.65 kg) for easy transportation. You can strap it to your camera backpack or carry it over your shoulder during long hikes, and you shouldn’t experience any discomfort along the way.

The five-section legs extend over 5 ft (155 cm), and they even offer a reverse-fold length of just 15.7 in (40 cm), so you can easily carry the tripod inside a bag or suitcase. The ball head can be locked for accurate panoramic shooting, which often comes in handy when photographing landscapes.

4. K&F Concept D254C1

Seeking a solid travel tripod that won’t break the bank? The K&F Concept D254C1 is a top-notch model that can handle all of your travel photography needs, especially if you’re a beginner or hobbyist shooter on a budget, or someone simply looking for a lightweight model to use on occasion.

With a variable working height of 21 in (53 cm) to 63 in (160 cm), the D254C1 allows you to capture a range of photographs, from low-angle landscapes to elevated architectural shots. And for those situations where a tripod is a bit too cumbersome, it converts to a lightweight monopod (or, if you need one, a walking stick!).

The 22 lb (10 kg) load capacity can support heavy cameras and lenses, while the 28mm metal ball head can achieve many angles and even high-quality panoramic shots. You’ll pay less than $150, and given the quality, it’s a real bargain!

5. MeFOTO GlobeTrotter

Looking for a top-notch travel tripod that offers plenty of height and impressive stability? Then check out the MeFOTO GlobeTrotter, a carbon fiber tripod featuring strong and durable twist-lock legs, a rock-solid base, and – for added flexibility – five-section legs.

The GlobeTrotter extends to a maximum height of 64 in (163 cm), which is ideal for taller photographers and those seeking a uniquely high-angle perspective, and it folds down to a diminutive 16 in (41 cm). In other words, you should have no problem getting sharp shots at any height, nor should you struggle to pack the tripod in your suitcase or camera bag.

The included ball head offers highly accurate panning, plus the tripod looks great (it comes in a range of colors, including silver). Other advantages include the 26 lb (12 kg) load capacity, which means you can mount your heavy DSLR and use the tripod all day long, and the lightweight body, which is perfect for lengthy photo adventures. The price is on the higher side, but the package includes the legs and a very nice head, not to mention a handy case that you can use on your travels!

6. Manfrotto Compact Action

If you want a cheap, surprisingly lightweight aluminum tripod for travel photography, the Manfrotto Compact Action may be the perfect pick.

The Compact Action may not look like much, but it’s an indispensable tripod for any circumstance; it’s one of the best travel tripods for beginners, and I highly recommend it for anyone just getting started with travel shooting. In addition to the legs, it offers a decent, easy-to-use head, and it can extend plenty high for taller shooters.

The Compact Action’s biggest drawback is the load capacity: It can only handle camera rigs up to 6.6 lb (3 kg), but as long as you’re working with smaller cameras and/or lenses – such as an APS-C mirrorless camera and a kit zoom – you should be just fine.

7. 3 Legged Thing Leo 2.0

Leo 2.0 – from the 3 Legged Thing Pro range – is a good travel tripod for hobbyists and even more serious photographers: It’s powerful, versatile, and compact, yet it won’t break the bank. It also looks extremely cool, featuring a metallic silver finish with orange accents (or, if you prefer, a mix of gray and bronze).

The Leo 2.0 offers a range of working heights from 4.9 in (12.5 cm) to a very nice 54 in (1.38 m). If you enjoy capturing sweeping landscapes from a low angle, the Leo 2.0 offers just what you need, while taller photographers will appreciate the impressive maximum height and the handy center column.

This tripod only weighs 3.4 lb (1.52 kg), yet it can hold up to 20 times its weight, so you shouldn’t have a problem capturing sharp images no matter your camera setup.

8. 3 Legged Thing Legends Jay

If you want to invest in a long-lasting tripod, then check out the Legends Jay, a carbon fiber tripod from the highly acclaimed 3 Legged Thing brand.

This adjustable leveling-base tripod is built with travel photography in mind and is well-suited to wildlife photography, landscape photography, and even videography. It comes with three detachable legs and works well on all terrains, so you should have no problem shooting in the wilderness, on a beach, in water – you name it!

Thanks to the carbon fiber design, the tripod weighs just 3.1 lb (1.4 kg) and supports up to a whopping 30.9 lb (14 kg) of camera gear. Even full-frame DSLR users should be just fine (and with a 70-200mm f/2.8, too). Plus, the Legends Jay is impressively compact and can easily be transported inside a camera bag or cabin luggage.

Note that the product linked above does not include a head. You’ll need to buy this separately, or you can grab it as part of a (very pricey) Legends Jay kit.

9. Sirui Traveler 5CX

The Sirui Compact Traveler 5CX may not be flashy, but it’s impressively flexible and costs just over $100, which makes it one of the cheapest models on our list and another great option for beginners.

We love the lightweight design: The Compact Traveler clocks in at just over 1.5 lb (0.72 kg), which is ideal for photographers hoping to work all day with a tripod on hand. And despite the weight, this tripod can handle a 13 lb (6 kg) camera setup, so you can confidently use it with full-frame DSLRs and even (some) telephoto lenses.

The Compact Traveler boasts a working height range of 3.5 in (8.9 cm) to 52 in (132 cm). It’s highly portable, not to mention durable, and it can be used to shoot everything from macro scenes to cityscapes and low-light landscapes. While it isn’t quite as rugged or stable as options like the Gitzo Traveler, it’ll certainly get the job done!

10. Vanguard Veo 235CBP

The Vanguard Veo may be the last option on this list, but don’t let that fool you; it’s an outstanding travel tripod, one that can easily handle long trips and offers a winning combination of price and performance.

The strong carbon fiber material, lightweight design, and high-quality ball head make the Vanguard Veo a wonderful tripod for capturing architecture, landscapes, and even wildlife. Plus, the Veo features an excellent 17.6 lb (8 kg) load capacity, extends to 61 in (155 cm), and folds down to 16 in (41 cm).

And the tripod comes with a few bonuses, too, including a leg that converts to a monopod, a plate with a built-in smartphone adapter, and a Bluetooth remote control that is perfect for vlogging. The price tag isn’t low, but it’s not especially high, either, so it’s a good option for folks who are looking to invest in a solid model without spending an exorbitant amount of money.

Best travel tripods: final words

The market is saturated with tripods, but a few rise above the rest. Hopefully, now that you’ve finished this article, you know which travel tripod is best for your needs – and you’re ready to head out on a travel photo adventure!

So pick a tripod, pack it up, and get ready to have tons of fun!

Now over to you:

Which travel tripod do you plan to buy? What will you use it for? Share your thoughts in the comments below!

The post 10 Best Travel Tripods You Can Buy (in 2023) appeared first on Digital Photography School. It was authored by Jeremy Flint.

The CP+ Camera & Photo Imaging Show – the “world’s largest camera video equipment show” – is slated to begin on Thursday, February 23rd, and in the lead-up, you can expect to see a slew of exciting E-mount lens announcements from Sigma, Tamron, and Sony itself. 

What lenses are on the way? According to Sony Alpha Rumors, the Sony 50mm f/1.4 GM should launch on February 21st and will feature a rugged design and an impressive 11-blade aperture. While Sony does already offer a 50mm f/1.4 lens for E-mount cameras, the new GM model will presumably improve upon the older model in key ways, including AF speed and portability.

Given the wide maximum aperture, the nifty-fifty focal length, and the large number of aperture blades, the 50mm f/1.4 GM will undoubtedly cater to portrait photographers. But assuming the unit is sufficiently lightweight, I could see it used by travel photographers as a walkaround lens or by wedding and event photographers as a general-purpose prime. 

SAR also anticipates the release of several “ new E-mount lenses” from Sigma either “next week or in March”: a 17mm f/4 DG DN Contemporary lens and a 50mm f/2 DG DN Contemporary lens – both for full-frame Sony E-mount bodies –  as well as a 23mm f/1.4 DC DN Contemporary lens designed for Sony APS-C cameras.

The 17mm f/4 lens should be ideal for landscape and cityscape shooting as well as for travel snappers seeking a lightweight lens that provides an ultra-wide perspective; the 50mm f/2 DG DN is likely designed for beginners and enthusiasts who can’t afford the cost (or the size) of a 50mm f/1.4 lens but who require excellent sharpness, AF capabilities, and build quality in a compact package. Finally, Sigma’s 23mm f/1.4 lens will feature a near-35mm perspective when mounted on an APS-C camera, making it a perfect choice for hobbyists looking for a more expansive field of view when shooting family, events, and street scenes.

Finally, you can expect a new lens from Tamron on February 22nd. Here, however, SAR notes that the lens may not actually be for Sony E-mount cameras; it could be an “X- or Z-mount version of a current E-mount lens or…a completely new lens.” 

Regardless, the next week should be an exciting one for Sony shooters, especially those looking to add a powerful prime lens (or two) to their bag. So be sure to keep an eye out for news regarding these lenses!

Now over to you:

Which of these Sony lenses interests you most? Will you purchase any of them? Share your thoughts in the comments below!

The post Upcoming E-Mount Lenses: A 50mm f/1.4, a 23mm f/1.4, and More appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Camera equipment is not cheap, nor is it easily replaceable. And while some models are more durable than others, they’re all frustratingly easy to break. In other words, if you don’t take care of your equipment, you could find yourself in a tough situation – one that could cost you thousands of dollars or (potentially worse!) a ruined trip.

Bottom line: Keeping your camera equipment safe and in working order is an essential part of photography. Below, I share five tips to ensure that your camera stays as good as new, even if you travel through wet, sandy, or dangerous areas.

Let’s dive right in!

1. Regularly clean, repair, and service your equipment

There’s an age-old saying: “Prevention is better than the cure.” So your first step in ensuring that your camera is in good working condition is to keep it that way. Get into the habit of regularly cleaning your camera. There are plenty of good camera cleaning products out there, and the process only takes a few minutes. Simply wipe your camera clean of dust and any other dirt or debris. You should also clean your lenses, but be warned: Lens elements are easily scratched, so make sure that you work carefully and always use lens-compatible materials.

Some photographers like to clean their camera sensors, but I’d really recommend avoiding touching or cleaning this unless you know what you’re doing. Instead, if you notice dust spots on your sensor, take it to your local camera shop for a quick clean.

Another piece of advice: If you notice a problem with your camera – even if it’s minor – get it fixed right away. Don’t leave it for later; small irritations can turn into major problems, especially if they cause an issue during a paid shoot.

It’s also worth getting your camera serviced professionally every now and again. Yes, it might be an annoying expense, but it is a small price to pay to ensure your camera remains in perfect working condition.

2. Be aware of the elements

Water and sand are two of the biggest dangers your camera will ever face. Anyone whose lens or sensor has been scratched by sand knows how problematic even a few grains can be, and water (especially sea spray) can also cause serious issues. Fortunately, there are ways to keep your camera safe from sand and water, even when you’re working in beach or desert environments (or, at least, to minimize the risk).

First, you need to know how sealed your camera is. Some high-end cameras are heavily weather sealed, whereas other cameras offer no protection whatsoever. You should use this as a baseline when determining how to handle your camera in tricky conditions, though even if your camera boasts pro-level weather sealing, you should still be careful. Here are some tips to follow (and while you can be slightly more relaxed when dealing with rugged camera bodies, it’s better to be safe than sorry):

• Always carry a plastic bag with you. They’re great for protecting your camera from rain and water, and they’re dirt cheap! However, if you plan to frequently shoot in rain, sand, or sea spray, you might consider investing in a rain cover.
• Carry a small towel at all times to wipe your camera clean. This is especially vital near the coast where the salt in seawater can be corrosive.
• Avoid changing lenses, especially when it’s windy; a lens change is a perfect time for dust, sand, and water to head straight for your sensor. If you must change lenses, do it quickly and make sure you protect your camera from the wind.
• After you finish your shoot, remember to wipe and clean your camera. Sand has a way of making its way inside cameras and lenses, so even if you think your camera is clean, give it a wipe anyway.

3. Know your surroundings

Like sand and water, theft can be a major camera danger. Fortunately, with a little bit of common sense and caution, you can avoid being a victim. The key is to know your surroundings and take action accordingly.

For example, if you’re walking on a busy sidewalk, keep away from the curb and keep your camera away from the roadside where snatches and grabs on motorbikes do happen. If you’re sitting at an outdoor table at a restaurant, put your camera in your bag or wrap the strap around your arm. And if you need to grab a piece of equipment from your bag, don’t leave your camera on a tripod and turn away.

It’s important to take precautions even in quiet countryside parking lots. Don’t leave cameras or valuables on display; hide them away, or – better yet – take them with you. As long as you use common sense and know what is happening around you, you shouldn’t run into any problems.

Pro tip: If you plan to take your equipment into populous areas, it can be a good idea to purchase an insurance policy. That way, even if your gear is stolen or damaged, you won’t have to shell out for a whole new camera system.

4. Use your tripod wisely

I’ve only ever had one accident with my camera, and it was when I was using a tripod. Basically, I rushed to mount my camera, and in my haste, I didn’t clip it in properly. The camera fell straight into a muddy puddle! Lucky for me, the mud stopped my camera from bouncing off into the river that I was photographing, and my camera also avoided the rock I was standing on. With a bit of cleaning up, I was able to use the camera straight away. In other words, I was very fortunate.

That said, you may not be so lucky. Make sure you use your tripod carefully. I am always astonished when I see people setting up tripods without evenly distributing the weight; this can cause the entire setup to topple over. I’ve also seen people setting expensive cameras on cheap tripods that are not secure enough to take the weight of the rig.

Whenever you’re using a tripod, the key is to take your time. Work deliberately, ensure the head is secure, and be certain the legs are balanced. When you set your camera on the tripod and let go, hold onto the strap for a few seconds to ensure it’s not going to fall. Only once you’re completely confident the tripod is stable should you let go. Also, be especially careful when there are high winds – it seems ridiculous, but a sudden gust can easily knock over your setup.

5. Store your equipment safely

Here’s my final tip for keeping your camera in good working order: Be very careful about how you store it when not in use.

After all, no matter how frequently you take photos, you’ll run into stretches of time when your camera isn’t in your hands (even if it’s just for the night). And if you’re not careful, humidity and sunlight can cause problems.

So what should you do? First, avoid storing your equipment in places of high humidity, like laundry rooms and damp basements. Moisture can cause fungus, which will make its way onto your lens elements and wreak havoc.

You should also avoid leaving your camera in direct sunlight. Try to store it in a cupboard rather than just leaving it out to gather dust. A great tip is to keep your equipment in your camera bag and place your bag in a cupboard. Not only will this protect against dust, but it’ll also ensure everything is in one place and out of sight.

If you have the money and you’re concerned about your gear, you may wish to invest in a dry cabinet. These units will regulate the humidity and keep your equipment at safe levels, and while they do cost a few hundred dollars, the cost can be worth it (especially if you live in a high-humidity environment).

How to keep your camera safe: final words

There’s nothing more frustrating than seeing an amazing photo opportunity in front of you and not managing to capture the shot – either because your camera is broken or because you haven’t prepared for the environment.

Fortunately, with a little bit of care, forward planning, and common sense, you can avoid any issues by keeping your camera safe and in working order. So remember the tips I’ve shared above, and add them to your workflow!

Now over to you:

Do you have any additional tips that we missed? Share your thoughts in the comments below!

The post How to Keep Your Camera Safe (and Working): 5 Essential Tips appeared first on Digital Photography School. It was authored by Kav Dadfar.

It’s official: This spring, Canon will release two new mirrorless bodies – the EOS R8 and EOS R50 – as well as two new lenses – the RF-S 55-210mm f/5-7.1 IS STM and the RF 24-50mm f/4.5-6.3 IS STM. 

But now that we have access to the manufacturer’s specifications, what will the new equipment offer for photographers and videographers? And how much can you expect it all to cost?

The Canon EOS R8 is a full-frame mirrorless camera fully compatible with Canon’s RF-mount lenses; with a 24 MP sensor, an unusually compact design, and a $1500 price tag (body only), it should slot into the entry-level end of the company’s EOS R lineup. At present, Canon does offer a cheaper full-frame mirrorless model, the EOS RP, but the EOS R8 improves on the RP in nearly every way: It boasts enhanced AF capabilities (Canon promises “class-leading autofocus”) and blazing-fast 40 FPS continuous shooting speeds, not to mention uncropped 4K/60p video (versus the severely limited 4K/24p video on the EOS RP). 

Canon notes that the EOS R8 is “aimed at the up-and-coming video or photo enthusiast” and is a solid choice “[f]or users who’ve already explored interchangeable lens cameras but haven’t yet broken into mirrorless.” Personally, I think the camera has much broader appeal; a compact body, a speedy shutter, and impressive video capabilities make the EOS R8 an excellent option for serious content creators, hybrid shooters, and enthusiast photographers looking to make the jump to full frame (perhaps from Canon’s EOS M series), as well as current EOS RP and even EOS R owners seeking a faster, more portable model. 

The EOS R50, on the other hand, is a true entry-level camera. Canon touts it as “[c]ompact, lightweight, and ideal for those looking to step up their video quality,” and at just $680, it certainly is affordable. The R50 packs plenty of features for video-focused content creators: uncropped 4K/30p recording, a fully articulating screen, and a delightfully small design. But it should also satisfy beginner still photographers; for under $700 (or $800 with the RF-S 18-45mm kit lens), you gain access to a 24 MP APS-C sensor, a decent-quality electronic viewfinder, excellent autofocus, and 15 FPS continuous shooting.

I can imagine the EOS R50 fulfilling a variety of needs. Thanks to the compact design and solid image quality, frequent travelers might use it for on-the-go vlogging and still photography, while street photographers and casual action photographers can rely on the camera’s fast continuous shooting speeds and excellent AF capabilities to stop movement in its tracks. The R50 should also work well as a casual, walkaround-type camera for indoor and outdoor photography; hang it around your neck or carry it in your bag, and you’ll be ready to shoot family events, social outings, and so much more at a moment’s notice.

As for the new lenses: Both the RF-S 55-210mm f/5-7.1 IS STM and the RF 24-50mm f/4.5-6.3 IS STM are impressively affordable (at $350 and $300, respectively), and while I doubt either will offer breathtaking optical capabilities, they should come in handy for everyday shooting scenarios. The 55-210mm lens provides decent telephoto capabilities for headshot photography, basic wildlife photography, and pet photography; the 24-50mm lens boasts a wide-to-standard focal length that can capture portraits, landscapes, street scenes, and event shots.

Release dates for the new cameras and lenses vary. The EOS R50 and the RF-S 55-210mm f/5-7.1 IS STM are currently set to begin shipping in mid-March, while the EOS R8 and the RF 24-50mm f/4.5-6.3 IS STM are slated for mid-April (according to B&H’s estimation, at least). Of course, these dates are subject to change, so if you’re interested in purchasing any of the products, be sure to check retailer websites for the most accurate information.

Now over to you:

What do you think of the EOS R8 and the EOS R50? How about the new lenses? Are you planning on buying any of the new gear? Share your thoughts in the comments below!

The post Canon Announces the EOS R8, the EOS R50, Plus New Lenses appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Which is better for photography, optical or electronic viewfinders? It’s a tough question, one that’s been argued about for years, even as EVF technology has been introduced, upgraded, and upgraded some more.

In this article, I aim to give a thorough overview of OVFs vs EVFs. I cover the pros and cons of both viewfinder options, and I explain why you might prefer one over the other. The truth is that neither EVFs nor OVFs are obviously superior; instead, it’s about determining what will work best given your particular photographic interests and needs.

By the time I’ve finished, you’ll understand the key differences between these two technologies, and you’ll be able to confidently decide whether EVFs or OVFs are the way forward.

What is a viewfinder?

A viewfinder is one of the most basic elements of any camera; it’s what you use to look at the scene you plan to capture. When you hold your camera up to your eye, whether you’re photographing with a DSLR, mirrorless, film camera, or point-and-shoot device, the tiny little hole you look through is known as the viewfinder.

Now, not all cameras offer viewfinders. Some forego it altogether and just have a giant LCD screen on the back (in fact, you almost certainly own one of these models – a smartphone!). But it’s common for cameras to include a viewfinder along with the rear LCD screen, especially higher-level models designed for serious enthusiasts and professionals.

As you’re likely aware, most modern viewfinder-sporting cameras feature one of two viewfinder types:

1. Optical viewfinders
2. Electronic viewfinders

Let’s take a look at each in turn:

Optical viewfinders: the basics

Optical viewfinders (OVFs) use decades-old technology that allows you to view a scene directly through the lens. (Or, well, through mirrors that reflect the light directly from the lens.) When you look through an OVF, you see the scene as your lens sees it, just the same as if you were looking through a window; nothing is changed in any way, shape, or form.

Therefore, an OVF lets you see exactly what your shot will look like, and the view is not dependent on any type of fancy technology in order to function. OVFs work even when your camera is turned off! Note that optical viewfinders generally come on DSLRs and not mirrorless cameras.

Electronic viewfinders: the basics

An electronic viewfinder (EVF) is a tiny, high-resolution screen that you hold less than an inch from your eye, which shows data captured by the camera sensor. When you look through an EVF, you see the scene as the camera sees it. It’s similar to Live View mode, except the screen is designed to be viewed up close so it more closely mimics the experience of optical-viewfinder shooting.

Since EVFs are entirely digital, they can show you a wealth of information and data – in addition to a representation of the scene you’re photographing. You can see things like a live histogram and a digital level, highlighted in-focus areas (i.e., focus peaking), focus guides, and more.

Also – and perhaps most important of all – electronic viewfinders show exactly what your scene will look like when photographed, not what the world in front of the lens looks like. The data is captured by the camera sensor so you can view accurate exposure information in real time. If your shutter speed is too fast and you’re therefore underexposing the scene, the EVF preview will look dark. And if your aperture is too wide and you’re therefore overexposing the scene, the EVF preview will look bright.

Note that EVFs aren’t offered by DSLRs, only mirrorless cameras. Unfortunately, not all mirrorless cameras possess EVF technology; it’s one of the first features that gets sacrificed to keep product prices down, so some beginner mirrorless models include only a rear LCD.

Why is a viewfinder useful?

Since most cameras these days include some sort of LCD display – even if they also offer an optical viewfinder or an electronic viewfinder – you may be wondering: Why do we even need viewfinders in the first place? Can’t you just compose using the rear LCD?

Well, even in today’s fast-paced, tech-centric world, there are plenty of reasons why you might prefer to compose your shots with the viewfinder instead of the rear LCD screen. Here are a few of the major ones:

1. The scene appears much larger in a viewfinder compared to an LCD, which gives you a better sense of how your picture will look, improves your ability to compose, etc.
2. Pressing and holding your camera against your face keeps your setup more stable.
3. Following a moving subject with a viewfinder is (relatively) easy; following a moving subject with an LCD often feels impossible.
4. Looking through the viewfinder can help you connect with your subject, especially if you’re shooting portraits.

Ultimately, it’s generally worth purchasing a camera with a viewfinder, especially if you take your photography seriously.

Reasons to use an optical viewfinder

Optical viewfinders may be old, but they’re certainly useful. In this section, I share several key reasons why you should go with an OVF:

1. Optical viewfinders show the real scene

The most important benefit of OVFs, and the reason many photographers prefer them over EVFs, is that they present an unfiltered and unaltered view of the scene as you compose your shot.

As I mentioned above, optical viewfinders work even if your camera is turned off, in much the same way that looking through binoculars, a telescope, or even a paper towel roll can be done without a battery.

Consequently, OVFs have no issue with accurate color rendition or screen refresh rates, nor do they struggle in low light; they’re windows, and your eye is simply peering through the glass.

Because you’re looking at the scene through a (hopefully sharp) camera lens, the OVF image tends to look crisp. EVF images, on the other hand, don’t always look especially sharp – and in certain scenarios using certain cameras, they can even look unpleasantly grainy.

2. Optical viewfinders are great for action photography

When you look through an OVF, you see the real, unfiltered scene with essentially zero lag. And when photographing action subjects – such as sports or birds in flight – this can be a huge deal.

As you track a hawk through the air, for instance, you can see the hawk as it is, not with a split-second delay that might cost you a perfect shot.

Whereas EVFs, by definition, will always have some level of lag. Fortunately, the amount of lag present in many recent mirrorless cameras is minimal, but it’s still an important consideration to bear in mind, especially if you plan to purchase an older mirrorless model.

3. Optical viewfinders look great in low light

If you only shoot outside during the day, this won’t matter much to you. But if you work at night or indoors – for instance, shooting still lifes, food photography, or studio portraits – then it’ll make a huge difference.

Because optical viewfinders show the actual scene, a dimly lit room will look somewhat dark, but it will stay sharp and easy to see.

Electronic viewfinders rely on the camera sensor, which isn’t quite so effective. In dark rooms, EVFs tend to get very grainy, and this can certainly make shooting in low-light conditions far less enjoyable.

Optical viewfinder drawbacks

Optical viewfinders do have some significant limitations, and these may be deal-breakers (depending on the type of photographs you like to take).

One of the most important OVF drawbacks is that you can’t see the image when you take a picture, a phenomenon known as viewfinder blackout. When you press the shutter button, the mirror in a DSLR camera flips up and out of the way to let light pass through to the image sensor. During this process, the OVF goes completely dark.

Viewfinder blackout isn’t very noticeable when using fast shutter speeds, but if you’re shooting at about 1/30s or slower, you will see a big, blank box of nothing – just for a brief moment when you take a picture. In most situations, this blackout period is not going to make or break the photograph, but it can cause issues if you are shooting fast-moving subjects. In those cases, the short viewfinder blackout period can be enough for your subject to move around quite a bit.

Another disadvantage of optical viewfinders? They show you the world as it really is, not as it will appear in your final photograph. The OVF sees what your eyes see, which is not necessarily what your camera sensor sees.

Unless you have a solid grasp of metering modes, metering techniques, and how they affect your exposure, you’re at risk of creating pictures that are too bright or too dark. But peering through the OVF, your preview will look great, and it’s only after you’ve taken the photo that you’ll realize your shots are under- or overexposed.

Reasons to use an electronic viewfinder

A handful of years ago, electronic viewfinders (EVFs) couldn’t compete with optical viewfinders – but EVF technology has come a long way, and they’re now used by plenty of professionals. What makes them so valuable?

1. Electronic viewfinders do a great job of simulating the exposure

Electronic viewfinders are completely digital. You’re not merely stuck looking at the scene as your eye would see it; you can program the EVF to simulate the exposure in real time so you know precisely how an image would be exposed if you pressed the shutter button. You can make adjustments on the fly and fix exposure mistakes before they manifest.

It’s difficult to overstate how useful this is. If you’re doing a paid portrait session, for instance, you never have to worry about accidentally underexposing the entire set of files. And if you happen upon a once-in-a-lifetime bird sighting, you can essentially know that you’ve nailed the exposure before you fire the shutter. Basically, if you’ve ever encountered a scenario where you thought you got the shot but later realized it was unusably under- or overexposed, then you can understand the value of the EVF exposure-simulation feature.

(You can even program the EVF to show a real-time histogram, so you can carefully evaluate your exposures for lost highlights and shadow detail as you consider different compositions.)

2. Electronic viewfinders offer creative previews

Since the EVF feed is mediated by the camera sensor, you can adjust the picture mode – which means you can see the scene with all sorts of creative looks before you ever take a photo.

For instance, set your camera to its Monochrome mode, and the world through the EVF will turn black and white. (For a budding black-and-white photographer, this is a game-changer!)

You can also use various film-style modes on Fujifilm cameras. Depending on your camera, you may even be able to customize the EVF mode to meet your needs.

Of course, you can achieve all of these effects in post-processing. But seeing the scene in black and white, or in sepia, or with a green tint in real time makes it much easier to visualize the end result, which will in turn improve your images!

Electronic viewfinder drawbacks

As you might expect, there are some important downsides to EVFs. For one, they consume a lot of power; cameras that rely on electronic viewfinders tend to have much shorter battery lives compared to their OVF-laden counterparts, and many photographers who use EVF cameras are in the habit of carrying spare batteries.

Also, though electronic viewfinders show you a good representation of how your final image will look, they’re not perfect. As I discussed above, EVFs can get pretty grainy in low light, which is problematic for frequent night and indoor shooters.

Plus, while EVF clarity is decent (and getting better all the time) and the refresh rates are often lightning-fast, there’s a difference between EVFs and OVFs in every situation. This can be especially problematic if you shoot action and need to follow your subjects with pinpoint accuracy, or you shoot detailed landscape and cityscape images and you need to see every little detail in the viewfinder.

EVF vs OVF: Which should you choose?

Like many aspects of photography, it all comes down to what will suit you and your needs as a photographer. Some people prefer the analog precision and clarity of an optical viewfinder, while others like the high-tech features offered by electronic viewfinders. At the end of the day, what really matters is that you use the right tool for the job.

So now that you’re familiar with OVF vs EVF technology, ask yourself: does one option suit my shooting style better than the other? If the answer is “Yes,” then by all means, go for that one!

Now over to you:

What do you think about optical vs electronic viewfinders? Do you prefer one over the other? Leave your thoughts in the comments below!

The post Optical Versus Electronic Viewfinders: Which Is Best in 2023? appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Zoom lenses are cheap, effective, and incredibly popular; they’re used by hordes of photographers around the globe. For many beginners, a nice kit zoom is an amazing way to get started with photography, and for many professionals, a high-quality zoom is pretty much always mounted to their camera.

But what actually is a zoom lens? And what advantages does a zoom offer over a prime? In this article, I share all the basics, from a simple zoom lens definition to a handful of reasons why you should add a nifty zoom to your camera bag.

So if you’re ready to become a zoom glass expert, then let’s get started!

What is a zoom lens?

A zoom lens refers to any lens that offers multiple focal lengths. In other words, when using a zoom lens, you can capture images with several different fields of view simply by twisting the zoom ring on the lens barrel.

An 18-200mm zoom lens, for instance, can capture photos at 18mm, at 200mm, and at any focal length in between.

A prime lens, on the other hand, only offers a single focal length, so if you want to adjust your image field of view while using a prime, you have to physically move forward or backward. An 18mm prime lens would allow you to capture wide-angle shots but not telephoto files, while a 200mm prime lens would allow you to capture telephoto shots but not wide-angle images.

While pretty much every camera manufacturer offers a variety of zoom lenses, here are a few common zoom focal lengths to keep in mind:

• 24-70mm
• 18-55mm
• 70-200mm
• 16-35mm
• 200-400mm
• 70-300mm
• 75-300mm

Note that some zooms offer far wider focal length ranges than others. A 12-24mm model, for instance, only offers ultra-wide and standard wide focal lengths, while an 18-300mm model boasts wide-angle, standard, telephoto, and even super-telephoto focal lengths. Of course, as I explore below, not all zoom lenses are equally effective, and their prices can vary wildly, too.

3 reasons to use a zoom lens

Zoom lenses come with a handful of key benefits, including:

1. Zooms are convenient

What’s the main reason photographers love zoom lenses? They’re unbelievably convenient.

Instead of carrying around a handful of primes in a big camera bag, you can mount a nice zoom lens onto your camera and literally never take it off. It saves you the hassle – and the danger – of changing lenses, which will in turn ensure that you never miss a shot because you were trying to switch to a different focal length.

Plus, if you like to take photos while traveling and space is limited, a zoom lens can be a lifesaver. You’ll manage to capture all the same shots, but without sacrificing tons of storage space and/or luggage weight bringing an array of primes.

Of course, depending on the type of photography you do, a single zoom lens may not be enough. And there may be times when you’ll need to switch to another lens, especially if you tend to shoot a mix of ultra-wide and super-telephoto images.

But in general, a zoom will dramatically decrease the weight and volume of your equipment, allowing you to travel and photograph with much greater freedom.

2. Zooms can save you money

As I mentioned above, zooms come at a range of price points. And as I discuss down below, you have to be careful when purchasing a zoom because optical quality isn’t always top-notch.

But if your goal is to cover a range of focal lengths and you buy a zoom, that means you won’t need to purchase a slew of primes. So while you may need to spend quite a bit to acquire a high-quality zoom lens – more than a single high-quality prime lens would cost – you’ll potentially save money in the long run because you can grab one lens rather than three, four, or five.

Imagine, for instance, you’re hoping to do portrait photography with a range of focal lengths, from a standard-wide 24mm all the way to a short-telephoto 60mm, 70mm, or 80mm.

A nice 24-70mm zoom lens will be a real investment. But it may end up costing less than the price of a 24mm lens, a 28mm lens, a 35mm lens, a 50mm lens, and an 85mm lens, all of which together will deliver the same range of focal lengths as the 24-70mm glass.

Note: This math will change depending on the focal lengths you hope to cover, the quality of the lenses, the maximum apertures, and so on. Always do a careful comparison before buying to make sure you’re marking the right choice!

3. Zooms can capture a variety of images

Some photographers prefer the simplicity of prime shooting, and they do have a point: Working with a single 50mm lens offers a certain wonderful straightforwardness that just isn’t present when shooting with a 24-70mm lens.

But what if you’re photographing a scene that features a wide array of subjects? When traveling in a national park, for instance, you might encounter distant wildlife, stunning vistas, and interesting close-up details. That 50mm prime lens won’t get you the shots you’re lens looking for, and unless you’re prepared to carry and swap multiple lenses – and unless you can do it all at high speeds – you’ll be forced to pick one type of subject and sacrifice the others.

With the right zoom, however, you can quickly adjust your focal length as you shoot, and you can capture everything: the distant deer, the nearby patterns in the rock walls, and the entire mountain landscape.

Zoom lens drawbacks

I’m a huge zoom lens fan, but these lenses are far from perfect. Here are a few reasons why you might want to avoid buying a zoom:

1. Optical quality is often lacking

It’s true: Zoom lenses tend to offer softer and more distorted images compared to their prime counterparts (especially when looking at primes versus zooms in the same price range).

Zoom lenses tend to be especially weak at the extreme ends of their range, and while there are plenty of zooms that avoid this problem and offer pro-level image quality, they can cost a significant sum. On the other hand, you can grab a very sharp prime lens for a few hundred dollars – and while you’ll lose significant flexibility, depending on the type of photography you do, that may not matter.

Before you reject zoom lenses due to image quality issues, however, it’s important to identify the purpose of your images and determine whether any reduced optical quality will really make a difference. Even cheap zoom lenses often create passably sharp images, and you can improve sharpness further by narrowing the lens aperture when shooting.

2. The maximum aperture can be variable (and narrow)

Many zoom lenses, especially zooms that are designed for beginners, feature a variable maximum aperture (often written like this: f/3.5-5.6). Therefore, as you extend the lens, the maximum aperture value will change. If you’re using an 18-55mm f/3.5-5.6 lens, you’ll be able to use an aperture of f/3.5 at 18mm – but as you start to zoom in, the maximum aperture will change, until you’re forced to shoot at f/5.6 and narrower.

This may not matter at all if you like to use a narrow aperture to keep the entire frame sharp – but if you frequently work in low light or hope to capture files that boast gorgeous background bokeh, this aperture narrowing can be very frustrating.

Relatedly, even the best zooms don’t offer maximum apertures quite as wide as many primes. You can purchase a 24-70mm lens with an f/2.8 maximum aperture, but you can grab a 50mm lens with an f/1.8, f/1.4, or even an f/1.2 maximum aperture instead!

Who should buy a zoom?

I highly recommend purchasing a zoom lens if:

• You need to change focal lengths while shooting and don’t have time to switch lenses
• You aren’t too concerned about optical quality or you have the money to buy a pro-level lens
• You frequently travel and want to keep your gear size and weight to a minimum
• You plan to shoot casually and like the convenience that a zoom can provide

On the other hand, I’d recommend avoiding zoom lenses if:

• You want to maximize optical quality as much as possible
• You don’t mind changing lenses or working with a single focal length
• You work in low light and therefore need ultra-wide apertures

More specifically: If you plan to photograph events, landscapes, or travel scenes, a zoom could be a very good buy. But if you’re looking to capture products or portraits in low light, you may want to consider buying a prime (or three) instead.

Zoom lenses: final words

Now that you’ve finished this article, you know all about zoom lens photography – and you’ve hopefully determined whether a zoom is right for you.

At the end of the day, both zoom and prime lenses have their benefits, and it’s tough to go wrong with either. If you’re really struggling to decide, you can always rent a few different models and see what you think!

Now over to you:

Do you plan to buy a zoom lens? Why or why not? Share your thoughts in the comments below!

The post Zoom Lenses: Your Comprehensive Guide appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Looking for a mirrorless camera that’s both affordable and plenty powerful? Canon has not one but two models on the way, both of which will be “announced…next week” and feature a combination of high-level tech and sub-$1500 price tags.

According to Canon Rumors, the imaging company is preparing to unveil the EOS R8 and EOS R50. The two products – a full-frame and an APS-C camera, respectively – will boast RF mounts and round out the entry-level end of Canon’s mirrorless lineup, giving beginner and intermediate photographers an opportunity to access the latest camera technology without paying thousands of dollars.

But while we don’t have any official specs for the EOS R8 and the EOS R50, we do know – based on reliable rumors reported by CR – that they’re far from identical and are designed to appeal to different sets of users.

The EOS R8 will likely contain a full-frame 24 MP sensor, top-notch autofocus capabilities, a whopping 40 frames-per-second continuous shooting mode, and 4K/60p recording. CR notes that the camera won’t offer in-body image stabilization, though it will be remarkably lightweight (1.02 lb/461 g) and cost just $1499.

Based purely on the specs listed above, the EOS R8 should target several types of consumers: intermediate photographers looking to make the jump to full frame, entry-level photographers seeking a combination of speed and solid image quality, and hybrid shooters in need of a model that can handle both video recording and still photography. The lightweight (and presumably compact) build will make the R8 attractive to vloggers and travel photographers, especially when you factor in the low price.

Then there’s the EOS R50. Canon Rumors has had very little to say about this model, but we do know that it will contain an APS-C sensor and cost an unprecedented $679 (or $1029 with multiple kit lenses). At present, Canon’s cheapest RF-mount mirrorless camera is the $879 EOS R10, but the EOS R50 – with its budget-friendly price tag – should do more to draw in digital photography beginners looking to capture high-quality files without spending a fortune.

The EOS R50 will undoubtedly include a far more limited feature set compared to the EOS R10 and the EOS R8, but you can still expect the camera to offer excellent image quality, reasonably fast autofocusing, solid ergonomics, and fast continuous shooting.

So if you’re a beginner or intermediate shooter looking for a new camera, keep an eye out for the upcoming EOS R8 and EOS R50 announcements!

Now over to you:

Are you interested in the EOS R8? How about the EOS R50? Why or why not? Share your thoughts in the comments below!

The post The Canon EOS R50 and EOS R8 Will Debut “Next Week” appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Tripods and monopods are popular camera accessories designed to keep your camera and lens stable. But while both products have their benefits, they’re not identical – and they also come with several major (but different) drawbacks.

In this article, I share everything you need to know about tripods vs monopods. I discuss their advantages, their disadvantages, and I explain which one is the better choice for your needs.

Let’s dive right in!

What is a tripod?

Pretty much every photographer, from beginner to professional, has seen a tripod; it’s a three-legged accessory that supports camera rigs.

With your camera mounted to a tripod, you’re free to walk around, investigate different compositions, even leave the scene and come back – though as I explain below, the primary benefit of a tripod is its stability, which allows you to eliminate camera shake and create stunning long-exposure images.

Note that tripods vary widely in terms of maximum and minimum height, sturdiness, and weight. You can grab lightweight tabletop tripods that can literally fit in a purse, and you can also purchase huge carbon fiber tripods that are cumbersome to carry but are rock-solid in the field.

What is a monopod?

A monopod, as the name suggests, is like a tripod, except it has only one leg:

You might think of a monopod as a walking stick for your camera. It’ll support a camera rig, it’ll improve stability, but it won’t stand on its own. As you can probably imagine, this comes with various drawbacks – discussed in detail below – but also several major advantages, including greater speed and flexibility.

Like tripods, different monopods offer different levels of sturdiness, heights, and weights.

Tripod vs monopod: tripod benefits

Many professional photographers prefer tripods over monopods, for two key reasons:

1. Tripods are far more stable

While a monopod can reduce camera shake – leading to sharper photos, especially in low-light scenarios – a sturdy tripod can eliminate camera shake completely.

With a tripod, you can capture long-exposure landscape photos that feature a mix of tack-sharp detail and motion blur (due to moving water and clouds). That’s why tripods are heavily favored by landscape photographers and astrophotographers; without a tripod, their long-exposure shots would be soft throughout, and though a monopod might somewhat reduce this softness, it just isn’t stable enough to get pro-level results.

Tripods are also favored by product and still-life photographers. Often, these photographers need to focus stack (i.e., capture several identical images with different focus points), and a sturdy tripod is essential for maintaining the camera position as they fire off multiple shots.

2. Tripods force you to slow down

Most photographers don’t really think about this, but tripods are slow to set up. And while this can be a drawback (see below!) it can also be a benefit.

The extra effort that goes into tripod setup forces you to really think about each composition and whether it’s genuinely worth pursuing. And as you set up the tripod, you may notice other composition opportunities that you wouldn’t have considered had you been working with a (much faster) monopod.

Tripod vs monopod: tripod drawbacks

Tripods are invaluable photographic accessories, yet they come with plenty of difficulties. Here are a few key downsides to consider:

1. Tripods are expensive

There are a lot of cheap tripods on the market. Unfortunately, these products tend to be very low quality, which means that they’re often very difficult to use and they won’t keep your camera steady in most (if not all) cases.

Good, sturdy tripods that are capable of capturing long-exposure images often cost a pretty penny. Many photographers purchase tripod legs and the tripod head separately; depending on your desired stability, portability, and features, expect to pay $500+ for a satisfactory model.

2. Tripods are cumbersome and inconvenient

Nearly every tripod ever made – regardless of the price – has been far more cumbersome than a standard monopod. (The exception is tabletop tripods, though these are limited in their functionality.)

Tripods are heavier than monopods, which means that you may start to feel fatigued or even frustrated carrying one around all day. They’re also more difficult to pack in a camera bag or a suitcase, and when fully extended, they can get in the way (which is why tripods can often cause problems when used along busy city sidewalks, for instance, and why tripods are often banned from museums and other popular attractions).

3. Tripods are slow

I know, I know; in the previous section, I claimed that the slow, deliberate tripod approach was beneficial! And that’s true – it can be helpful – but in certain situations, it can also be a drawback.

For instance, if you’re photographing from the bleachers at a football game, every time you change position, you’ll need to fold up your tripod legs. Then, once you’ve found your new spot, you’ll need to get set up again, during which you may miss out on some key images.

In other words, when you’re working in a fast-paced scenario, a monopod is likely the better accessory to have; it’ll keep your camera sturdy, but it won’t take precious seconds to set up and take down and set up again.

Tripod vs monopod: monopod benefits

Tripods might be the more popular option, but monopods certainly have their place. Here’s why:

1. Monopods are faster and more flexible

Sports photographers love to use monopods. You can set up a monopod in seconds, and once your camera is mounted to the monopod head, you’ll never have to take it off.

Action is happening at the far end of the field? No problem! Just grab your entire rig and sprint into position. Because monopods are so much slimmer than tripods, you won’t have to worry about hitting pedestrians or other photographers along the way.

And because monopods are so much lighter than tripods, they’re easy to carry around without getting tired. In fact, a monopod will prevent fatigue by supporting your heavy lenses.

2. Good monopods cost less

As I explained above, tripods can be very pricey, especially if you’re looking for a model that can handle difficult outdoor scenarios.

But a solid monopod costs nowhere near as much. You can grab a very nice monopod for around $100 – one that you can use in plenty of situations – though you’ll generally need to buy a head separately, so do bear that in mind before purchasing.

Tripod vs monopod: monopod drawbacks

Monopods come with one major disadvantage:

1. A monopod won’t keep your camera rock-steady

Monopods are great, and they certainly allow you to shoot for long hours without arm fatigue and lower your shutter speed while capturing sharp photos.

But a monopod, no matter the quality, won’t keep your camera completely steady. You can’t use a monopod to capture a 10-second long-exposure shot, which is the reason landscape photographers (and other long-exposure fine-art photographers) almost never use them.

Tripod vs monopod: which should you choose?

Tripods and monopods both offer lots of support for your camera, and they both have their place in a photographer’s toolkit. However, there are a handful of scenarios where a monopod is better than a tripod or vice versa.

Specifically, I recommend purchasing a monopod if:

• You often shoot in fast-paced scenarios where speed is key
• You work with long lenses and want to give your arms a break
• You need a bit of extra stability but aren’t looking to capture long-exposure shots
• You work in low-light scenarios and want to be able to marginally lower your shutter speed without issue

On the other hand, I’d encourage you to buy a tripod if:

• You want to capture long-exposure images of landscapes, cityscapes, or the night sky
• You don’t mind working at a slower pace
• You’re willing to spend significant money for a quality product
• You need to capture multiple images with identical framing

Tripod vs monopod: final words

Now that you’ve finished this article, you know the benefits and drawbacks of tripods and monopods – and you’re hopefully ready to make a purchase.

Remember that tripods and monopods are both excellent pieces of equipment. The key is to figure out what you want to shoot, then make your purchase accordingly.

Now over to you:

Which do you plan to use, a tripod or a monopod? Have you tried either option before? Share your thoughts in the comments below!

The post Tripod vs Monopod: Which Should You Use? appeared first on Digital Photography School. It was authored by Daniel.