Prime Lenses and Zoom Lenses: A lens with a fixed focal length is being called a prime lens.
Prime lenses have a more simple build than zoom lenses and they can be designed to have very much better performance, sharpness and quality than zoom lenses. Short Zoom Lenses: Zoom lenses which cover the range of up to 50-60mm can be considered in this category. However the most important feature of these lenses is their convenience of avoiding lens change. Wide-angle and Ultra Wide-Angle Lenses: Lenses with a focal length of 21mm to 35mm are normally called wide-angle lenses. If you mostly shoot inside buildings, a lens covering focal lengths of 28mm or below will be suitable. Long telephoto Lenses: Lenses with a focal length of 135mm or above are normally considered as long telephoto lenses. Medium Telephoto Lenses: Lenses with focal length of the range 85-135mm are sometimes referred as portrait lenses.
Prime medium telephoto lenses have less perspective error and as mentioned earlier their image quality is sharper and brighter and bigger aperture size prime lenses are cheaper than zoom lenses with the same maximum aperture size. Macro Lenses: Macro lenses are designed to provide very high level of magnification and also very short focusing distances.
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It’s been almost two years since Canon launched the EOS 1200D in India, and now the company has announced its successor with the EOS 1300D which is an affordable beginner product with a few fancy features over its predecessor. The Canon 1300D is equipped with an 18-megpaixel APS-C CMOS sensor while the ISO range stays at 100-6400. The rear LCD remains 3-inches, now with a 920k-dot resolution, making it 50 percent more dot-laden than its predecessor. These are very similar lenses that arrived at the same time, so you are sure to see many similarities between these reviews. The 500 L IS II is essentially the smaller, lighter, less expensive, wider angle version of the 600 L IS II.
Canon issued a development notice for the 500 L IS II and 600 L IS II nearly two years prior (August 26, 2010). Formal announcement press releases were issued on February 7, 2011 with delivery expected in May 2011. With a 500mm focal length, the 500 L II IS will primarily see use in wildlife, sports, journalism and any other similar long-focal-length-need uses.
For many of these uses, and especially when using a full frame DSLR, the 600mm focal length is my preference. But the weight difference, for portability and handholding reasons, will most frequently be the reason I choose the 500 L IS II over the 600 L IS II.
Before the 500 L IS II and 600 L IS II arrived, I typically used the 600 L IS when shooting from a tripod or monopod and not traveling far from the house or car. The 600 L IS II now has a weight similar to what the 500 L IS I weighs, so the lines of use become more blurred for me.
Handholding this lens is aided by a best-available-at-review-time 4-stops of image stabilization assistance (the 500 L IS I was rated for two stops). After a discussion I had recently, I'll share a hint about getting good results with image stabilization. The shutter should be actuated with a slow, steady pressure being applied to the release button.
You then need to hold the camera and lens as steady as possible until after the exposure is completely finished.
In this mode, only 1 axis of stabilization is provided - allowing a linearly-moving subject to be tracked.
Using these lenses, I found mode 3 to be to my liking and have made this mode my default action IS mode.
I gave mode 3 a significant amount of workout with those lenses and have made mode 3 my standard action setting. As I have said before, off was my previous choice as I usually need a faster-than-handholdable shutter speed to stop the action I am shooting.
When IS is active, you will hear some clicking and whirring in this lens, but the IS implementation is very well behaved.
In Mode 3, IS sound will be heard when the shutter release is half-pressed, but the image is not stabilized until the precise moment that the shot is taken. The IS system automatically disables itself during tripod use when shutter speeds longer than 1 second are used. I have not used a big white Canon L IS lens that I did not like, so my expectations were of course quite high for the 500 L IS II. Stopping down to narrower apertures makes very little difference in resulting image quality - other than some vignetting clearing in the corners.
They performed very similarly - results from both are included in the ISO 12233 chart tool (link at the top of this review). The 500 L IS II shows itself especially impressive when compared to the also-sharp 500 L IS I Lens.
CA (Chromatic Aberration) is very well controlled showing slightly less than the 600 L IS II and about the same as the 400 L IS II. Don't point this lens into the sun, but do expect better backlit-subject performance from the version II lens. The 500 L II creates a nice quality background blur (bokeh) and delivers a solid amount of blur due to the long focal length and wide (relative to that focal length) aperture. Front and rear lenses elements utilize a Fluorine coating that repels dust and dirt - and makes cleaning easier.
The Fluorine coating benefit is easy to see from a cleaning standpoint - fingerprints specifically are much easier to remove from a lens coated in this manner. I rarely use these lenses without the hood, so getting fingerprints onto the front lens element takes concerted effort. Dust does get blown into the large lens hood hole - and cleaning the dust from the Fluorine-coated front lens element is very easy.
Driven by Ring USM (Ultrasonic Motor), the 500 L IS II focuses extremely fast and very quietly. All Canon super telephoto lenses focus internally and have FTM (Full Time Manual) focusing available. The subject size in the viewfinder changes slightly over long focus pulls, but most of the size change is related to the subject turning into a blur. New on the 2010 and later-announced super telephoto L lenses is the third focusing mode: "PF" or Power Focusing.


This mode allows manual rack focusing to be operated smoothly by turning a playback ring that is normally used for the focus preset function. Turn the ring slightly to get the low speed electronically-driven AF and turn it to a greater degree to obtain the higher speed.
Low speed is hard to catch before moving into fast speed, and fast speed seems too fast to be usable to me. The feature works properly, but as I've said before, you are going to need a solid tripod setup and a steady hand to not induce movement while turning the ring. The electronic focusing is very quiet, but image stabilization needs to be turned off if recording sound at the camera. I use AI-Servo focusing mode for shooting sports and other action, but like to shoot a focus-and-recompose portrait at times during the event. The Autofocus Stop feature makes it easy to obtain focus lock, turn off autofocus and recompose for a framing that places the active focus point(s) off of the subject. Alternatively, changing the camera setup to rear-AF button focus only can enable this functionality. These lenses are relied on by the world's best photographers shooting the world's biggest events. Especially with shallow depth of field that long focal length, wide aperture lenses can create, focus accuracy is critical. The lens' focusing speed is also highlighted in AI Servo mode where it is able to track fast moving subjects at even close distances. While I intend to use this lens for athletic events, my spring sports season ended about a week before this lens arrived. The closer and faster the subject is moving, the harder it is for a camera and lens to drive AF fast enough to maintain focus. A galloping quarter horse at a small-rider full-frame-filling distance is very challenging (challenging for me also).
The RAW image capture was processed in DPP using the Standard Picture Style with no adjustments made other than sharpness being reduced to only "2".
You will see that the chin strap and ears are slightly better aligned with the sharp plane of focus than the eyes, but the eyes are still sharp - that's what counts.
Canon super telephoto lenses all have long MFDs (Minimum Focusing Distances) - even relative to their focal lengths. The resulting new MM (Maximum Magnification) value of .15x is still nothing to write home about. Following is a comparison table showing the recent, current and near future Canon super telephoto lineup as of review time. When the series III extenders were introduced, much was made about their performance with the new series II super telephoto lenses. As a lens that will be primarily used outdoors (and will be frequently traveled with), this build quality is critical.
To that end, Canon indicates that the 500 L IS II has "double the impact resistance" over the 500 L IS I lens.
Note that the version II super telephoto lenses do not have the protective meniscus front lens element that the older super telephoto lenses had. With the large lens hood in place during use, the front element is already very protected on the Canon super telephoto lenses. Here is a table of comparable Canon telephoto lenses with the weight specification included.
It will make a real difference in your experience - and therefore, quite possibly, in your shots.
As you can see in the picture above, there is a minimum height requirement for using this lens. I was laughing when I took the picture, but I have gotten many more laughs from the online discussions that have occurred over this picture. You can better see the color change in the larger images available in the large lens image comparison tool.
Also shown in this image is one of the two attachment points for the included lens neck strap - which is shown below. The lens strap attaches to the tripod ring, which allows the camera to be rotated without the neck strap following the rotation.
It is now stronger, smoother and again features 90° detents for perfect framing orientation. Two tripod ring feet are included for use on tripods or monopods - the monopod foot is delivered as the optional attachment and is shown above.
When adjusting the tripod head, a heavy lens can quickly fall forward - which then can topple the entire tripod - resulting in a potential disaster for the mounted gear. The entire lens hood is no longer covered, but the padded nylon cover can easily be removed with one hand - simply pull the Velcro-attached tab. The cap can be attached with the hood in ready to use position (snug fit) or reversed position. Canon super telephoto lenses come in a nice, very protective, lockable (keys included) lens trunk. The 400 L IS II, 500 L IS II and 600 L IS II hard cases share the same design with different inserts provided for a custom interior fit.
The new cases feature two side-mounted carry handles and feet on three sides of the cases including those opposite of the carry handles. Missing to me is the handle that lifts the case straight up from the most-flat storage position (the previous 600 hard case had this handle). The hard cases are nice for storage and are very protective, but I find some of the other manufacturer's soft cases to be more practical for my uses (such as some of the smaller Nikon super telephoto lens cases).
Unlike the 300 L IS II and the 400 L IS II, the 500 L II IS comes with a conventional paper manual in the box. The last two big white IS II lenses I received included a CD with all of Canon's lens manuals in PDF format - my preference.
Update: The 500 L IS II owner's manual is now available for available for download - you will find the link for doing so at the top of this review. The price may fall over time, but it may also go up - this lens' price went up $1,000.00 from when it was first announced until it hit the streets. Such price increases along with strong used product demand historically have made the high Canon super telephoto lens price tags much easier to tolerate.
It is very possible that you could use one of these lenses for 7 years or more and sell it for a price similar to what you paid.
And the subject types will likely be the same as the 600 L IS II will be used to capture - here are the typical ones.
These subjects typically need as much focal length as you can get and 500mm is a nice number in this regard.


Think football, soccer, baseball, rugby, golf, snow skiing, surfing, motorsports of all kinds, cycling, air competitions, yachting and a huge list of other active events. The lighter weight of this lens is going to make it far more useful for panning with the in-flight aircraft at these shows.
Photojournalists and law enforcement agencies will take another significant percentage of 500 L IS II captures. This lens will allow photojournalists to stand behind crowds and still create tightly framed shots of the event they are covering. While I'm not sure that I would buy this lens just for landscape photography, it performs very well in this use. With an in-between focal length, the 500 L IS II is noticeably smaller and lighter than the other two.
The 500 is usually going to be the better choice for you if handholding and carrying for long periods of time. As with the 400 L IS II and 600 L IS II, a majority of photographers are not going be able to afford this lens. Around ten months back, Apple ran an outdoor campaign, using photographs clicked by users of the iPhone 6. Guess which were the most talked-about brands of the year 2015 and win exciting prizes (Hurry! Zoom lenses normally show different types of errors in different focal lengths while prime lenses have the least amount of such errors. This kind of distortion causes the nearby images to be photographed very much bigger than far away objects. This kind of lens allows you to capture a considerable angle of a scene without the need to have a big distance with the subject(s).
Tele lenses which have varying focal length are called telephoto zoom lenses while those with a fixed focal length are simply called telephoto lenses.
This is because their perspective distortion is low and a suitable distance between the subject person and camera can be maintained. The camera features a 9-point auto-focusing system that allows fast and accurate auto-focusing on the subject.
You also have a choice of another package which will include a EF-S 55-250 IS II zoom lens for INR 38,995. My wife is just outside of the picture to the left - there was NO CHANCE my 500 was going to hit the floor. Thus, I depend solely on the commissions received from you using the links on this site to make any purchase. The campaign fetched ad agency TBWAMedia Arts Lab an outdoor Grand Prix at Cannes.The second leg of the campaign is out. However deciding on what lens to buy and what lens is suitable for a specific type of photography is a bit difficult. As the focal length is fixed, in order to compose a photo you will need to adjust your distance to the scene to have specific objects or people in the photo. Photos taken with a 50mm lens seem similar to what our eyes see at the scene (perspective, angles etc).
If convenience is not a matter for you, we recommend you to use more than one lens which have a better performance in a smaller focal length range. These lenses are suitable for taking photos inside buildings, street photography and so on.
You can easily find 55-200mm, 55-250mm, 70-300mm, and similar telephoto zoom lenses for most of the DSLR brands. Many telephoto zoom lenses can be used in this range, but they are heavier, bigger and their maximum aperture size is smaller than prime lenses. The biggest change however is the addition of Wi-Fi and NFC connectivity, which now allows you to instantly transfer images to your smartphone or remotely frame a shot with Canon’s Camera Connect app.
The brand is running a similar campaign presently; it comprises stunning photographs clicked by users of the iPhone 6s and iPhone 6s Plus. You must not reproduce, duplicate, copy, sell, resell or exploit any material on the Website for any commercial purposes. In this article we learn about advantages and main purpose of using specific types of lenses, hoping that we make it easier for you to decide. In zoom lenses, you will use the zoom level to compose the photo instead of changing the distance of camera to the scene. These lenses can be considered short zoom lenses while they also cover wide and super wide range.
However because of the big range of the lens and complicated design, different focal lengths of the lenses might show different errors and quality. This distance is a few centimetres for macro lenses so you can take photos from a shorter distance and have a sharp and very detailed photo of a very small object (like a small flower or a bee). The EOS 1300 D is powered by a DIGIC 4+ dedicated image processor and comes with 18 megapixel APS-C size CMOS sensor. To view all the ads, click here: This is a global campaign known in the media as 'Apple World Gallery'.
Again the zoom types provide flexibility while prime lenses provide sharper photos, cheaper price and bigger aperture size (i.e. These lenses normally have a lower performance than short zoom lenses and fixed focal length telephoto lenses.
The company claims the EOS 1300D to render higher resolution images with lesser noise, even under low-light conditions. Reportedly, this year's campaign includes over 50 images clicked by over 40 photographers (both, amateur and professional), that are being displayed in around 85 cities across over 25 countries. The camera has five creative filters like soft focus, grainy black and white, toy camera effect, fish-eye effect, and miniature effect. In Delhi, the billboards carry the Airtel logo.On its web page, team Apple says about the images, "The world's most popular camera is better than ever.
Imagine what you can do with a camera this advanced, along with the powerful editing tools built into your iPhone."Meanwhile, Israeli photographer Sephi Bergerson shot an entire Indian wedding on his iPhone 6s Plus. The post-production editing can also be done on the iPhone 6s Plus, he says.Wondering whether the video is a piece of branded content released by Apple, surfers have left several comments on the YouTube page. Bergerson's response reads: "Why can't someone just do something because they want to see how it comes out?



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