Fstoppers Gear Reviews

The Nikon 200mm f/2 VR II is one of those lenses you always read about, but short of running into a professional sporting event, an affluent amateur, or Ryan Brenizer you just don’t see them. They’re rare and they’re expensive, but besides the obvious lust factor of the lens, is it any good?

Large, imposing and drop dead gorgeous, the new Sigma 120-300mm f/2.8 EX DG OS APO HSM AF is one hell of a lens. Sigma has done an outstanding job in recent months producing some top quality lenses and they didn’t let up on the gas with the first Sport category offering in their new global vision. With two levels of optical stabilization, a wide open f/2.8 aperture, crazy fast and accurate AF and a beautiful body build, you want this lens, even if you don’t know it yet.

The Nikon 135mm f/2 DC is a bit of a gem in the portrait game but as the title might suggest, you might not have heard of this lens. This may be due to one of a few reasons: The primary being that it’s a reasonably old lens; it hasn’t been updated optically in its nearly 25 years in the Nikon lineup. Another being that even if you have heard of it, it’s probably because it has gotten a bad reputation as a “soft focus” lens due to its unique Defocus Control feature.

Sigma, hot on the heels of the outstandingly successful 35mm f/1.4 Art lens, has been releasing and announcing new lenses in their Global Vision realignment like crazy. Recently they released the 30mm f/1.4 lens for APS-C cameras, and I had high expectations for it after being told that the president of Sigma was aiming it to meet the performance set by the 35mm. So did it?

Monopods, once really only useful in a handful of situations, have evolved into irreplaceable members of our creative arsenals due to the advent of high quality video being produced in DSLRs. The idea of a “video monopod” might frighten video purists, but there are those such as Patrick Hall and myself who swear by them. Manfrotto’s version was a fantastic foray into the medium, but slightly pricey. Benro recently released their more affordable versions, and I was more than ready to see if they were able to hold their own.

Beauty retouching can be an arduous task in any photographer's workflow. The amount of detail that can go into retouching a glamor portrait can easily run into several hours. Learning the secrets of the pros can be even more difficult. Julia Kuzmenko McKim has made learning easy with her new book entitled 'Digital Photo Retouching: Beauty, Fashion and Portrait Photography'

While walking the floor at WPPI, there was one item we kept seeing over and over again: the MeFoto tripod. It seemed like everyone had one, and we had never heard of the brand. So we spoke with the guys at the MeFoto booth who agreed to let us test them out. Now after using all three sizes of MeFoto tripods, I can see why they were everywhere: they’re excellent.

As a wedding photographer, I run around a lot and need to be ready for any moment. Because the day of a shoot can always bring surprises, I have a motto of always being prepared with extras of everything. Usually this means my assistant or I lug around a bag or two with extra flashes, batteries, and other accessories. I'm always looking for things to help me smooth out my work flow and make any wedding day easier to handle. So, when Spider Camera Holster released their new Spider Monkey for camera accessories at WPPI 2013, I was eager to try them out.

For those photographers who do most of their work on the move, finding light-weight equipment that can really adapt to different situations is a tall order. Sometimes, even the most compact tripod or light stand still won’t fit into spaces or stay out of the way. The gratuitously named Nasty Clamps aim to amend that situation with their attach-anywhere attitude.

The Phottix Mitros TTL Flash was announced in early 2012 but saw another full year of development before it was finally officially released in March of 2013. That kind of time spent building a product really resonates with me, and I was expecting a finished product that was going to stand up to the rigors of daily use. I was not disappointed.

The Einstein E640 strobe from Paul C. Buff is compact, light weight unit capable of shouldering studio work yet portable enough to take on location. The unit weighs in at four pounds and because it is self contained, it does not require a battery pack which cuts down on gear bulk.

I shot around with the Einstein 640 and the 86 inch PLM (parabolic light) umbrella in studio to test the products and see how they stacked up in my work flow.

If you're in any job long enough, you're bound to come across quirky industry developments that just might help your work flow. Photography is no different. What's this you might ask? At first glance it might seem like a video game controller with a cleverly placed sticker on it.

I have been absolutely fascinated by wetplate processes for a while now: I find the medium absolutely unlike anything else in the world of art and photography, and the one-of-a-kind results from this hand-crafted process are simply beautiful. When I learned that there was a studio in San Francisco that specialized in taking collodion (tintypes, specifically) portraits of clients, I absolutely had to have one done.

Variable aperture lenses are generally scoffed at by anyone who has been shooting for a few years, myself included. That said, collectively variable aperture lenses probably make up a vast number of sales for lens manufacturers. They aren’t necessarily bad lenses, but it can be tricky to select the quality from the lousy. So how does Sigma’s second lens that carries its new design, the 17-70mm f/2.8-4 lens, fare? Actually, really well.

What first drew me to the panoramic format was that it's the way we naturally see. Sure, you can't really compare a camera's lens to the abilities of two (or even one) human eyes. But nevertheless, we are a horizontally-oriented species -- we live, work, and see along a horizontal plane. And so, after a bit of research, I dove in to get the Fuji GX617. Why not Hasselblad's XPAN? Why not the Linhof or Horseman variants? And how on Earth do you use these things? Let's find out...

About two months ago I was thinking about my upcoming wedding season that starts this weekend and lasts till June. Shooting a wedding every weekend can really challenge your creativity. So I decided I would add a 90mm tilt-shift lens to my bag to give my creative side a boost of adrenaline. I didn't realize how refreshing it would be to use this lens. In just a few months it's become my new favorite. Read on to learn why and see some photos taken with it.

*Edit* Since writing this article I have since moved from PASS to Pixieset as my online gallery of choice for my clients. You can read more about why I feel Pixieset is the best solution here, "Top 10 Reasons Pixieset Makes Sense for Professional Photographers."

I am a self professed tech nerd. I am always on the search for the latest innovations and products that will better my life and business. Over the last few months I have been using one that is a real game changer in my business. In a very short amount of time PASS has become an extremely valuable asset helping me book more clients and get my images in front of more faces.

Since I reviewed the Sigma 35mm f/1.4 last year, I have been hit with a barrage of inquiries as to if it was better to grab the Sigma 35mm f/1.4, the Canon 35mm f/2 IS or spend some real cash and spring for the Canon 35mm f/1.4 L. After using all three lenses for the past couple months, I'm finally ready to name my favorite. And you know what? This one was closer than you might think.

The 35mm focal length is one of the most popular primes made, probably only second to the 50mm if second to anyone. It’s popular because it is good for so many things, making us feel like we have to own fewer lenses to capture more amazing images. Most of you know that I’m very attached to my Sigma 35mm f/1.4, but when shooting with Canon’s new 35mm f/2 IS, I did my best to remain objective.

For the longest time, I've been using a 17" Macbook Pro for tethering. The big screen is great. Everything else, however, was a nightmare. I recently saw some colleagues of mine raving about a new product called the CamRanger, which allows you to tether to your Android device (April 2013), iPad or iPhone to your camera and had to try it out, as any solution that would resolve my near-daily tethering headaches would be fantastic.

Magic lantern is by far the best thing to happen to the DSLR cameras. It offers so many options not given to you by the normal Canon firmware that it should be sin not to install it. This is a quick little walkthrough on how I use ML for easy, accurate free-lensing.

PocketWizard has just announced the addition of a new trigger to its lineup: The PocketWizard Plus X. Priced at $99 (and already in stock at B&H), the Plus X offers much of the same functionality and reliability as PocketWizard's much-beloved Plus II and Plus III, but with a simpler, no-frills interface and a gentler price. Read on for the spec list, a mini-review, and my thoughts on the new unit.

In October, we had a huge month dedicated to all the great mirrorless cameras that are out there. While the Fuji X-Pro 1’s technology was promising, the Olympus OM-D E-M5 took away the best mirrorless camera award. While it’s all worth it, the OM-D E-M5 is a bit pricey, and therefore, not for everyone. So how do some of Olympus’ other cameras line up?
Today, we have the PEN E-PL5.

Some people love filters. I personally really like neutral density filters and I know there are those who swear by UV filters. For those of us who love these little glass lens enhancers, we have to separate from that love when we use ultra wide-angle lenses. That is, we used to. Not anymore thanks to Fotodiox’s Wonderpana system which is designed to give us the freedom to use those filters even on convex front elements.

If you haven’t heard of TetherTools.com yet, well… you have now. Tethered Tools makes a wide range of fantastic products to make your tethered shooting go more smoothly. They are THE one stop shop for all of your tethered shooting gear needs including software. They have seemingly infinite customizable tethering configurations that you should definitely check out.

I am the type of photographer that doesn't stay up to date on the latest gear. Instead, I find what works for me and I use it until I hear about something that works better. This is why it was so hard for me to hand in my Pocketwizard Plus II's for the Radiopopper PX system. But boy am I glad that I did.

Plus II's are tanks. They are virtually indestructible. I used them for years with nary a misfire. But there was one thing they couldn't do. High speed sync.

I'm a lifelong motor head. I salivate at a great custom exhaust on a big block V8 engine, or a custom candy paint job on a 1957 Chevy BelAir. I literally dream of pro-touring modernized 1960's muscle cars. So as a photographer, it would only make sense that I would crave to customize my cameras, especially after recently investing in a Phase One digital medium format which I cherish like I would a car. For years, I've been looking for a cool rugged camera strap system that fit my style and functional needs. Thanks to Vulture Equipment, I think I've finally found it.

I have been a fan of VSCO since their first film preset pack. Both VSCO Film 01 and 02 have a nice way of giving photos a subtle but believable film effect. This week I got the email that VSCO had released Film 03 and I was dying to check it out. It turns out that the effects seen in 03 are not quite as subtle as 01 and 02, because 03 emulates instant films. So I've decided to do a little review with some examples and share it with all of you.

When Adobe launched the Creative Cloud more than a year ago, it was not met with much fanfare from actual users of the software. Those around me heard about it, shrugged and moved on. I’m pretty sure many of us didn’t really fully understand what it exactly was. Fast-forward to today, and Creative Cloud has turned into something that is obviously Adobe's future, begging the question, "Is it good for Adobe, good for consumers or both?"

When major brands build product enhancements or special components, it’s only a matter of time before after-market options with much lower price tags become available. Generally speaking, off-brand products have about a 50/50 chance of being successful or disappointing. With the Nikon MB-D12 grip for the D800 being so highly priced, I took a look at Vello’s after-market model to see if it’s a worthy substitute.

Ah the ProDot, tied for the win as recipient of the most baffled and confused responses from photographers along side Tiffen’s confusingly expensive flashlight. Many of you laughed aloud when you saw this product hit the market, and even more after you watched the launch video. But is it possible that you might actually like the ProDot? Actually, yes.

When I need to send a contract out to a bride or other photography client I never have a stamp. Which makes the document sit on my desk till I finally force myself to swing by the post office (which is never a happy place). Well now there is a website that can help you bypass the mail and hopefully speed up the contract signing process.

Rokinon recently released a new offering in the 35mm lens range, and I was super excited to get my hands on it for a number of reasons. The great price, wide aperture, and popular focal length of 35mm makes for a great combo, but never having used a Rokinon product before I wasn't quite sure what to expect. After an extensive review covering nearly two months (thank you Rokinon, for lending it to me for that long!)

Telephoto lenses are a key part in nearly every photographer’s camera bag. Having a solid long telephoto lens in our arsenal lets us be prepared for numerous scenarios without having to switch out our primes and possibly miss the shot. Tamron’s latest lens revamp is the 70-200mm f/2.8 DI VC USD, and it’s a solid option for those looking at this focal length.

NEC is synonymous with high-end displays. Everyone knows they produce great monitors for professional imaging applications. But if they know that much, they also know they’re quite expensive. So why should you pay thousands of dollars for the PA301W 30” monitor when you can get one for a few hundred? What’s the difference? And is it worth it? Let’s find out...

There have been a few really great lenses released in the past couple months hogging the spotlight, so it wouldn’t surprise me if the newly released upgraded Tamron 90mm f/2.8 VC Macro passed under your radar. I’ve had a few weeks with it and have mixed feelings on Tamron’s latest prime.

Ok, you're probably pretty skeptical right now reading that title alone. I hear ya, so was I. Really Right Stuff is known for extremely high quality carbon fiber tripods, not cases, and definitely not something in mobile computing. After hearing my surprise, the guys at Really Right Stuff laughed and made me think of it this way: the iPhone is the most popular camera on the market. It would be weird if they didn't support it, as they are one of the best camera support companies out there. Hearing that, I was ready to give this thing a look.

Creative lenses have become a popular way to do things “in camera.” Sure, there are hundreds of options for numerous editing programs that can do creative effects in post, but there is something to be said about getting everything in camera as it’s happening, including tilt shift effects. Unfortunately for most of us, tilt shift lenses are just not in the budget. That’s where Lensbaby’s modular lens system comes into play.

From lifestyle to celebrities, Quavondo is a photographer that has a wide range of talent. He has a great ability to shoot many genres and do exceedingly well at it. Even prior to meeting him, everyone who knew of him would ask him how he would light his subjects, no matter what he shot. It seemed so effortless in execution but very appealing as an end result. Recently, he released a book with these answers.

Fewer things get me as excited and enthusiastic about gear in my studio than something reliable. I just want it to work. Part of the reason I haven’t shot much on a Nikon is that it takes too much thinking for me. Having shot on Canon for 10 years, I just like using something that my hands just understand. The same goes for tripods, lights, and most definitely applies to lenses. For me, the Sigma 35mm f/1.4 lens just works, and might be have the best combination of speed and sharpness in and auto focus-enabled lens I have ever had the pleasure of shooting.

Many of you are familiar with Scott Hargis, who has made his living as both a successful architectural photographer and in recent years, teacher. Scott has cris-crossed the world to teach his methods, including a recent trip to Dubai to teach at Gulf Photo Plus. Scott recently released a multi-part video tutorial that teaches his methods for shooting high-quality photos for real estate photography using off-camera flashes, and Scott was kind enough to send us a copy to review.

When I test products, I like to have a plan. I put together what I think the product should handle and then carefully execute and document the situation. It's the easiest and best way for me to give a fair assessment of the gear. A relatively straightforward and planned review was on my schedule for the C-Loop and Glide Strap but instead, I found myself in the midst of a natural disaster and the desire to capture the moment as best I could. This required the cooperation of this camera strap, and inadvertantly, resulted in this review.

Fstoppers Mirrorless Month really got me rethinking the entire small-camera strategy. I’m normally someone who doesn’t mind lugging a camera mounted to an 18th-century cannon, so long as it can take better photographs than the thing before it. But holding so many small cameras every day gets me thinking, is there another, better way to do this? And if so, what’s the best...?

The Olympus OM-D E-M5 might have a complicated name, but it shouldn’t put you off in any way from considering it as a serious option for your mirrorless camera arsenal.