The post How to Use Old Film Lenses With New Digital Cameras (A Guide) appeared first on Digital Photography School. It was authored by Adam Welch.

Do you want a sharp, well-built lens? Of course you do! Everyone does. As many photographers already know, the lens makes a huge difference to your photos (even more than the camera, in fact!).

But if you’re like me, browsing through the latest high-end lenses can be a little depressing. The cost of luxury-grade glass can easily peak in the thousands of dollars, which is prohibitive for most folks and means that it’ll probably be a long time before you get your hands on brand-new class-leading lenses.

However…

What if I told you that you could have excellent lenses without breaking the bank?

You see, I recently discovered a method for retrofitting older film lenses to function with our modern cameras, and that is what I plan to share with you today! Take a look:

The value of old lenses

The great news is that the majority of lenses designed for film cameras are built like photographic tanks and possess extremely capable optics. These lenses are also readily available and affordable on almost any budget. You won’t find them new, but there are some great used copies to choose from.

The bad news is that these lenses are mostly manual-focus prime lenses. As a result, your autofocus won’t work, and you’ll need to develop your manual focusing skills in order to capture sharp photos. Also note that metering won’t work with these old film lenses (with at least one exception; we’ll talk about it later).

Of course, old lenses come with another major downside: they’re rarely natively compatible with newer camera equipment. A modern mirrorless camera and a 30-year-old film lens aren’t designed to fit together – and if you force the fit, you risk damaging both pieces of equipment.

So how is it done? How can you make a twenty-, thirty-, or even forty-year-old piece of gear work with today’s advanced camera bodies?

Adapting your old lenses to new cameras

Believe it or not, the answer is deceptively simple. For virtually every lens and camera combination, there is an adapter that will enable you to use the lens with the camera, regardless of manufacturer. Here’s an example:

I have an old analog Nikon F3 that was given to me by my father along with a couple of lenses: a Nikkor 85mm f/1.4 and a Nikkor 50mm f/1.8.

The entire kit remained mostly forgotten in a camera bag, and I kept it in storage for years. One day I stumbled across some information about how a few photographers were using old M42 Zeiss screw-mount lenses with their DSLRs using adapter rings.

They were producing outstanding photographs, and that got me thinking – if it was possible to find adapters for these old M42 lenses, could there also be manufacturers who produced similar adapters for other lens types?

Almost instantly, the old Nikon F3 leaped from some distant corner of my memory. My main shooting body (at the time) was a Canon 7D MkI. Could I possibly use my thirty-year-old Nikkor film, Canon 7D? Shockingly, the answer was “yes!” All I needed were these unassuming aluminum adapter rings, which I sourced on eBay for about $12 USD each.

The side of the ring matches the Nikkor mount:

My other ring mates with Canon camera bodies:

The entire process is very simple; the adapter simply snaps onto the lens:

And here’s another image, this time without the adapter in place:

Then it’s business as usual when attaching the adapted lens to the camera. Just line up the indicator dot with the mounting dot on your camera body, apply a slight twist, and wait for the lens and camera to lock together.

You’re done!

Tips for adapting old lenses

If you decide to switch adapters for whatever reason, don’t worry; the adapters should be removable! You simply need to depress a small spring catch. (Most brands have these.)

And remember, as I said earlier, old film lenses are completely manual models. This means that you’ll need to focus the lens by hand (i.e., using the focus ring on the lens barrel). It also means that you’ll need to adjust the aperture by hand (using the aperture ring on the lens barrel) instead of letting your camera do this for you.

At first, manual focus and manual aperture adjustments might seem like a pain. But that might change over time! Personally, I enjoy the deliberateness this action forces. You have to think about your composition so much more, and you get to experience the effects of the aperture adjustment literally firsthand.

(It might seem trivial, but the latter point is a big one! When you’re shooting with a particular window of sharpness in mind, you don’t have to constantly press the depth of field preview button. You can instead just turn the manual aperture ring, then watch as the plane of focus changes in real-time.)

Don’t worry if this manual operation doesn’t appeal to you. Like I said, it takes some getting used to, but pretty soon, you’ll be using various manual settings like a pro.

Additionally, for those who are really against manual focus, manual metering, and the like, the exception concerning the adapter rings I spoke of is that some are now being made with focus indicator chips built into the adapter. While this chip doesn’t enable you to use autofocus, it does allow the lens to communicate with the camera when the selected point of focus has been obtained. This is completely personal preference. I opted for the non-autofocus indication adapters because I wasn’t comfortable using aftermarket electronics of that type with my camera. Again, this is completely subjective.

Please Note: Neither the author nor Digital Photography School are responsible for any damages to your camera or lens as a result of using aftermarket devices. Please be an informed photographer prior to attempting any modifications to your precious gear!

Now, here are some images produced through a little Frankensteinish innovation.

Adapt some amazing film lenses!

Well, there you have it:

An effective way to use amazing film lenses to create beautiful photos – with a little help from an adapter or two.

If you have any old film lenses lying around that you think could make a good candidate for adaptation, go for it! And if you can’t find any suitable equipment, you can always go to your nearest camera store (or head over to a site such as eBay) and purchase some inexpensive new versions. Have fun working with your cheap and high-quality lenses.

The post How to Use Old Film Lenses With New Digital Cameras (A Guide) appeared first on Digital Photography School. It was authored by Adam Welch.

The post How to Choose the Perfect Macro Lens appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

When I first became interested in macro photography, I knew that my main lens at the time – a telephoto zoom – wasn’t going to get me close enough to capture the level of detail I was after. I also knew that camera manufacturers offered specialized macro lenses, which would allow me to magnify my subject and highlight all those beautiful details.

In other words, I knew that I needed a macro lens.

But when it came to choosing the best macro lens for the job, I was lost. I ultimately decided on an old 60mm f/2.8 lens that I purchased on eBay, not because I thought it was perfect for my purposes, but because I didn’t have much money to spend and the price was palatable.

It’s been a long time since I bought that first lens. I’ve since upgraded, upgraded again, and upgraded some more. In fact, over the years, I’ve used countless macro lenses from several different camera brands. I now have a much better perspective on what makes a “perfect” macro lens, and in this article, I break it down for you.

What is the best macro lens?

This seems like a simple question, but the answer is pretty complex. It depends on a number of factors, including:

• Physical requirements (i.e., do you want a smaller, more handholdable lens, or are you willing to use a huge lens that requires a tripod?)
• Your budget
• Your preferred subject matter (the macro genre spans a number of subjects, each with its own challenges; for instance, photographing insects is very different from photographing flowers!)
• Your preferred style (if you want to capture impressionistic, near-abstract macro photos, you’ll want to choose a different lens than if you want to capture photos that are sharp throughout)

In other words, there is no one ideal macro lens. However, there are a few basic guidelines you can use to choose the ideal macro lens for your needs, and today, I concentrate on three main considerations: image quality, focal length, and price.

Macro lenses and image quality

When it comes to choosing lenses, photographers often focus on image quality, especially sharpness.

But I’m happy to tell you that, for macro photography, this is generally less of an issue.

Why? Macro lenses are incredibly sharp. Even lenses on the lower end of the price spectrum offer professional-level sharpness, especially when stopped down slightly. I have used plenty of macro lenses over the course of my photography career, and I have never been dissatisfied with the level of sharpness. One of my macro lenses even had fungus on one of the glass elements, and it was still extremely sharp.

However, this does not mean that low-end macro lenses are indistinguishable from the pricier options. Expensive macro lenses do often provide better sharpness; it’s just that the starting point is a lot better. More expensive lenses also tend to produce better bokeh, which matters a great deal for certain types of macro photography (such as the shallow depth-of-field macro shots that I love and that are displayed throughout this article).

Furthermore, low-end macro lenses sometimes have problems with chromatic aberration (generally purple and yellow fringing that occurs in the high-contrast parts of images). One of the cheapest macro lenses that I purchased suffered from chromatic aberration, though the problem was less frustrating than it sounds; I was able to reduce the CA by stopping down slightly, and I was also able to remove it in post-processing.

That said, I do prefer to avoid chromatic aberration whenever I can. So when I discuss different lenses below, I note any chromatic aberration problems that I’ve experienced.

Macro lens focal lengths

I will center this discussion around focal length; it’s an easy way of narrowing down potential macro lenses because focal length often determines and limits your macro photography options.

Macro lenses can be classified into three focal-length categories: short (35-60mm), midrange (80-105mm), and long (150-200mm).

The short macro lens (35-60mm)

• Pros: Lightweight and inexpensive
• Cons: Less impressive bokeh, shorter working distance (bad for insects)

Short macro lenses tend to be used for more casual macro outings, or as “all-purpose lenses” that you switch to macro when needed. They’re easy to store, easy to carry, and pretty inexpensive. They’re also easier to hand-hold because of their small size.

However, a big drawback with short macro lenses is the reduced working distance. Working distance refers to the distance from the end of the lens to the subject. In order to do high-magnification photography with, say, a 60mm macro lens, the subject has to be extremely close to the lens. This can cause problems. First of all, insects generally require a bit of distance when photographed, so getting close often isn’t an option.

Additionally, your head (or your camera) might cast an unwanted shadow onto the subject, depending on the lighting conditions. Shorter lenses also tend to have less pleasing bokeh.

However, if you are looking to do casual macro photography with more portable equipment and strong image quality, then a shorter macro lens might be just the thing for you. My first macro lens had a 60mm focal length, and while I did need to get in close to capture high-magnification images, it did the job well. These days, a short macro lens wouldn’t be my top choice for flower or insect macro photography, but it’s a great inexpensive option for a beginner. Plus, as I noted above, you can use a shorter macro lens for more than just macro photography; these lenses also tend to be great for portrait photography, street photography, travel photography, still-life photography, and more.

So which short macro lens is best? The current phase-out of DSLR systems and expansion of mirrorless systems makes quick recommendations more complicated, but here are my thoughts:

If you’re a Canon DSLR shooter, you should look at the Canon EF-S 60mm f/2.8 USM, which is a great all-around lens that also offers excellent macro capabilities. (Note, however, that it is designed for APS-C cameras, not full-frame models!) You’ll likely need to buy it on the used market, and prices can fluctuate pretty substantially, but if you’re patient, you can get a good deal.

Canon mirrorless users should consider the Canon RF 35mm f/1.8 IS, which offers good optics for a decent price, plus the image stabilization can be useful for handheld macro photography. The biggest drawback to this lens is the lack of true macro magnifications, but the 1:2 magnification ratio will still get you close enough to capture lots of hidden details.

Nikon DSLR photographers might look at the Nikon 40mm f/2.8G, which is compatible with both full-frame and APS-C cameras, boasts true macro magnifications, and is available for a fantastically low price.

If you’re a Nikon DSLR photographer with a bit more to spend, you should consider the Nikon 60mm f/2.8G, which gives you a bit more reach; it’s also available on the used market for a significant price reduction. Nikon mirrorless users can work with Nikon F-mount (i.e., DSLR) lenses via the FTZ adapter, but I’d encourage you to also look at the Nikon Z MC 50mm f/2.8 lens, which offers great optics, a sleek build, and 1:1 focusing, even if it’s a bit pricier than the lenses mentioned above.

I also want to briefly mention the Nikon 60mm f/2.8D, which is near and dear to my heart because it was the first macro lens I ever purchased. At this point, the lens is only available on the used market, but that can work in your favor, as you can purchase it for ultra-low prices. I was always quite impressed by its sharpness. It is worth noting that the autofocus is quite slow, but I always use manual focus when shooting macro (and you probably should, too!), so this was not a problem.

If you’re a Sony shooter, your macro options are perhaps a bit more limited, but you still have some good short macro lenses to consider. There’s the Sony 30mm f/3.5; it’s quite short for most macro work, and you’ll have a hard time using it to photograph subjects such as insects, but as an all-purpose budget lens that also close-focuses, it’s a good buy. For more dedicated Sony macro photography, the Sony 50mm f/2.8 lens is my recommendation thanks to its greater working distance, wider maximum aperture, and solid build.

The midrange macro lens (80-105mm)

• Pros: Larger working distance, somewhat inexpensive, very good bokeh, lightweight, lots of options
• Cons: Working distance is still fairly short; higher-end midrange macro lenses can be quite expensive

Midrange macro lenses are my personal favorite among the macro options. They are a great option for flower photography, especially more abstract level flower photography like I tend to do. Why?

First of all, these lenses are relatively lightweight, which means that I can hand-hold them without much trouble at all, even in low light. This allows for much greater flexibility.

Second, a midrange macro lens offers a perfect working distance for flower photography. I like to get a midrange distance from the flowers that I am photographing – not so close that I am nearly touching the flower, but not so far away that other flowers, leaves, and branches get in the way.

Third, these lenses offer high-quality optics yet can often be found at reasonably low prices, especially if you’re willing to buy from a third-party manufacturer. For example, Tamron offers an array of excellent 90mm macro lenses, and you can generally find them for $400 or less.

If you want to do insect photography, or if you often photograph with a tripod and want plenty of working distance, I would recommend looking at a longer macro lens. However, if you are interested in doing handheld flower photography or if you’re on a budget but want a more dedicated macro lens, I recommend a midrange model.

First among the less expensive options are the aforementioned Tamron 90mm macro lenses. For a long time, I used this Tamron 90mm f/2.8 lens, which is available for both Nikon and Canon. While I had occasional issues with chromatic aberration, the sharpness, bokeh quality, and price more than made up for it. Another option around this price point is the Tokina 100mm f/2.8 for Canon and for Nikon.

Looking toward medium-level prices: Canon mirrorless users should consider the RF 85mm f/2, which offers very nice optics and an unusually wide maximum aperture (for a macro lens, anyway). I do wish it reached true macro 1:1 magnifications – instead of the slightly less impressive 1:2 – but the close-focusing performance is still very solid.

I also like the Canon EF 100mm f/2.8 USM. You’ll likely need to buy it used, but you can find some very reasonably priced models, and the 1:1 magnification capabilities plus the 100mm reach are fantastic for nature close-ups.

Sigma also offers the 105mm f/2.8 Macro for Canon and for Nikon, which I’ve used extensively and loved. The build quality is phenomenal, and while the autofocusing isn’t especially fast, if you work with manual focus (which I recommend), it’ll do just fine.

Finally, on the pricier side, we have two DSLR lenses: the Nikon 105mm f/2.8G VR and the Canon 100mm f/2.8L IS. The Nikon 105mm is tough to find new, but if you can find a good used copy, you may end up with a pro-level lens for a bargain price.

If you’re a Canon mirrorless user, you also have the option to purchase the Canon RF 100mm f/2.8L IS. It’s expensive, but it includes all the features of the original Canon 100mm f/2.8L IS as well as some fantastic new features, such as 1.4x magnification capabilities and a spherical aberration control ring for even greater control over the bokeh quality.

And Nikon mirrorless users should grab the Z MC 105mm f/2.8 VR S, which is an amazing midrange macro lens that’s ideal for macro professionals and serious enthusiasts.

Finally, no rundown of the best midrange macro lenses would be complete without mentioning the Sony 90mm f/2.8. Yes, it’s expensive, but the build quality is outstanding, and the sharpness and bokeh are great for pro-quality macro images.

The long macro lens (150-200mm)

• Pros: Amazing working distance, generally excellent bokeh and image quality.
• Cons: Heavy, often very expensive, not much selection

Longer macro lenses tend to have astonishingly good image quality, though for a (generally) steep price. I’ve spent a lot of time shooting with the Sigma 150mm f/2.8, for instance, and I was always very impressed by both the bokeh quality and the sharpness.

These longer macro lenses also offer the best working distance of the bunch, which is often essential for insect photography.

Another advantage of the longer working distance is the ease with which you can use a popular creative macro technique: shooting through out-of-focus flowers.

Yet these lenses are quite heavy, which makes hand-holding for long periods difficult, and doing so in low light nearly impossible. You’ll want to consider these lenses if you wish to do high-level insect photography, or if you desire top-notch image quality and don’t mind the weight or price.

My list of recommended long macro lenses includes the reasonably priced Sigma 150mm (available for both Canon and Nikon DSLRs). Like some of the other DSLR lenses on this list, it’s a bit harder to find, but it offers excellent image quality and is built like a tank. For a long time, I kept it as a backup macro lens for flower photography (my Canon 100mm f/2.8L is my main lens), and I turned to it when I wanted a bit more working distance. (Eventually, I realized I enjoyed the flexibility of midrange macro lenses a little too much, so I sold my Sigma 150mm, but I do sometimes miss it!)

Next, we have the newer Irix 150mm f/2.8 Macro, which is available for Nikon F-mount cameras, Canon EF-mount cameras, and Sony E-mount cameras. I personally like Irix lenses, and this one offers excellent reach for a great price, but it’s important to bear in mind that the Irix 150mm Macro includes no autofocusing capabilities whatsoever. Therefore, while it performs well as a manual-focus macro lens, you probably won’t find yourself using it for any other purposes.

And then, offering stunning image quality with a high price tag, are the Nikon 200mm f/4 and the Canon 180mm f/3.5L. Both of these models are designed for DSLR cameras, though mirrorless photographers shouldn’t have a problem using them via the corresponding DSLR-mount to mirrorless-mount adapters. These two lenses are fabulous for long-range macro photography, and if you’re serious about the macro genre and you desire a greater working distance than a midrange macro lens can provide, you may find them worth the price.

Choosing the perfect macro lens: final words

While most macro lenses allow for high-quality images, different ones will meet certain needs better than others.

To summarize:

• If you are looking for a more general-purpose lens for casual macro shooting, choose one of the short-range lenses.
• But if you are looking for a more serious macro photography lens and prefer to shoot handheld with greater flexibility, go with one of the midrange lenses.
• Finally, if you want to shoot insects or want perfect image quality, choose a long macro lens.

Still uncertain about which lens to purchase? Ask your questions in the comments section below, and I will do my best to help!

The post How to Choose the Perfect Macro Lens appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

The post How to Make An Inexpensive DIY Light Tent appeared first on Digital Photography School. It was authored by Darren Rowse.

Note: This is a great DIY light tent tutorial that we originally published in 2008. Since then, thousands of our readers have used it to build their own DIY tents (with outstanding results!). It’s worth mentioning, however, that in the last 15+ years, light tents have become substantially cheaper. You can now purchase an inexpensive light tent on Amazon for around $30. Of course, DIY models do come with plenty of benefits, and if that’s your preferred approach, then read on!

Light tents are a great way to capture images lit by soft, flattering light, and they’re used by a wide variety of photographers: product shooters, macro snappers, flower photographers, and more. If you need to photograph (relatively) small subjects and you want to create a consistent white-background effect, then a light tent (also known as a light box) is the perfect tool for the job.

When I was looking to delve into product photography, I was browsing my local photography store, and I came across a pop-up light tent. It consisted – as most light boxes do! – of a collapsible white fabric box with a hole in the front. It also had three lights, which were designed to be positioned around the outside of the box.

I was going to purchase the light tent, but then I saw the $100 price tag. No way was I going to spend $100 on some fabric and three lights when I could do it myself for far less! So I left the store and designed a DIY light tent of my own:

It might not look quite as polished as a store-bought model, but it does a very nice job, and it cost very little.

If you’re like me, and you don’t want to shell out cash for a light tent that you can build yourself, then this article should help you out. I explain the step-by-step process for constructing your own DIY light tent (and I also offer a few tips so you can make the most of it while shooting!).

Building a DIY light tent: the materials

You don’t need to spend much to make your own light tent. Most – or all – of the materials below are probably lying somewhere around your house. Here’s what you need:

A box

The box can be any size, though if it’s too big, you may have trouble positioning your lights around it. I prefer the box to be as square as possible.

You can purchase boxes, but these days, it’s easy to find them for free. I got mine from work – the office was going to throw it out – but you can always repurpose a box from a package delivery.

Fabric

A light tent should have fabric over all but one of its sides, so make sure you sure you buy enough fabric to cover most of your box.

You want it to be somewhat translucent and neutral in color. For my DIY light tent, I used white muslin fabric, which you can grab from most arts and crafts stores.

Other folks have suggested fabrics such as white nylon and white fleece. If you don’t want to spend on fabric and you have some white undershirts lying around, you can even use those; cut up the sides to split each shirt in two. (If you use multiple shirts, be sure that the colors are identical, or your end result may not turn out so nice!)

Tape

I used tape to secure the fabric to the sides of the box. This is especially useful if you want to try out different fabrics. I used regular masking tape, which keeps the fabric in place but is fairly easy to remove and adjust.

White board

This will line the inside of the box and will also serve as a background for your photos. For this, I like to use Bristol board, a heavyweight paper (.006″ thick) designed for drawing/art. White board is ideal for high-key backgrounds, but if you want a different look, you can go for different colors.

I would suggest buying two or three sheets of board as you will be cutting up two to line your box (or more, depending on the size!), and you’ll also need one for the background.

Glue

This is to stick the lining in the box. You can use a glue stick for this. Another option is spray adhesive.

Lights

A light tent won’t work so well without lights. If you don’t already have the right type of lights lying around, this will be the most expensive part of your DIY setup.

In my opinion, lighting is the most important part of this box. Without it, you won’t get the picture you desire. When building my box, I went to my local hardware store and picked up some daylight bulbs. I don’t recommend using more conventional light bulbs – these will create a yellow color cast. I purchased 90-watt compact fluorescent bulbs, which didn’t cost a lot and did the job well. Basically, any full-spectrum light bulbs will do.

You’ll also want to obtain a lighting fixture. If you have one of those desk lamps, it’ll work fine. If you don’t have a light fixture that you can use, I’d suggest getting a clamp-on work light.

Miscellaneous tools

Last, you’ll want to make sure you have a few standard household tools on hand: a sharpie marker, a tape measure, a straight-edge ruler, scissors, and a knife.

The step-by-step process for building a light tent

Now that you have your materials, it’s time to build your tent! The process is fairly easy, so you shouldn’t have much trouble, even if you’re not much of a DIY person. When you’re done, you’ll be able to take clean and crisp shots, like this:

Step 1: Mark your box

Place the box face up, so the open flaps are at the top. You’ll need to mark a two-inch border along the edges of the four box faces (i.e., all but the top and the bottom).

So using your tape measure and sharpie, mark several points 2 inches from the side of the box along every edge. When you’re done, you should see a spotted border:

Then use your straight-edge ruler to connect all the points. That should give you a nice-looking square/rectangle in the middle of the box with a two-inch border around it.

(Again, leave the top and the bottom of the box alone!)

Step 2: Cut out the boxes

Next, cut out the boxes that you’ve drawn. Do this on all four main sides of the box, avoiding the top and the bottom.

When you’re done, cut off the flaps on the top of the box. Leave the bottom intact.

Step 3: Line the box with Bristol board

We want to create liners for all of the exposed cardboard inside the box. Therefore, you’ll want to cut 16 strips from your Bristol board. The length of the strips will need to match the box dimensions.

Take your strips of Bristol board, then glue them into the box. If you applied marker to the Bristol board before cutting, make sure the marks are against the cardboard so they can’t be seen. Here’s what you should have at this point in the process:

Step 4: Add the background

Now it’s time to give the box a backdrop. Take another piece of Bristol board and cut it so the width is the same as the inside of the box. The length should be much longer than the box, however!

Place the long piece of Bristol board into the box so that the piece curves to the bottom, like so:

Avoid creasing the board as this will show up in your photo. Cut off any excess paper that is sticking out the top.

Step 5: Add the fabric

All that’s left is to prepare the fabric and secure it to your light tent! First, cut the fabric into squares/rectangles to cover three of the open sides. Next, cut a big piece that’s capable of completely covering the top of the box.

Finally, tape the fabric so all the holes in the box are covered, except the front hole (i.e., the hole that faces the background). Tape the top piece on, too.

Here’s the result:

And you’re done! Now all you have to do is light the box, place a subject inside, and start snapping away! The most basic one-light setup that I recommend involves placing your light above the box so it’s pointed down:

But there are many variations you can do to get the photo you want. If you light your subject from above but are noticing strong shadows, try positioning additional lights on the other sides of the box.

Don’t be afraid to get very close to your subject, even if that means putting your camera partially inside the box:

If you’re interested in creating those ultra-bright, high-key backdrops that are popular in product photography, post-processing programs can be a big help. You may need to brighten the whites and/or the highlights until you get the look you want.

Here’s my DIY light tent in action:

And here’s another example image:

Capture some top-notch product photos!

Well, there you have it! As you should now be aware, creating a nice light box is pretty darn easy.

So go make your light box. Test it out on some fun subjects. Pretty soon, you’ll be creating the kind of product photos that belong on a website!

Now over to you:

Will you create a DIY light box? Do you have any additional advice? Share your thoughts in the comments below!

This tutorial was submitted by Jeffrey Bail. See Jeffrey’s Flickr account here.

The post How to Make An Inexpensive DIY Light Tent appeared first on Digital Photography School. It was authored by Darren Rowse.

The post A Practical Review of the Canon 100mm f/2.8L Macro Lens appeared first on Digital Photography School. It was authored by Stacey Hill.

This article was updated in May 2024 with contributions from Stacey Hill and Jaymes Dempsey.

For the longest time, the Canon EF 100mm f/2.8L Macro lens was on my “want” list. Oddly, when I finally did buy it, I didn’t use it all that frequently, and it sat in the cupboard, just gathering dust, for a couple of years.

But that didn’t last. These days, the Canon 100mm f/2.8L Macro is my absolute favorite lens. It’s my go-to model for doing still life, food, and, of course, macro photography.

Below, I share my practical, hands-on review of the Canon 100mm Macro. I don’t spend time on specifications and studio tests; instead, I focus on what the lens is like to work with in the field. I explain why I think it’s so special, I discuss how I personally use it, and I share a lot of example photos (all taken with the lens). I also delve into its pros and cons. That way, if you’re thinking of purchasing the 100mm f/2.8L Macro but you’re not quite sure whether it’s worth the (somewhat steep) price, you’ll be able to make an informed decision.

Let’s get started!

What’s so great about the Canon EF 100mm f/2.8L Macro?

Sharpness, image quality, color, and versatility – the Canon 100mm Macro has it all!

When I use this lens, I know that it’ll pick up absolutely every detail, assuming I use a sufficiently fast shutter speed and I nail the focus exactly. In other words, when this lens is sharp, it’s crystal clear.

Unfortunately, due to the combined weight of the lens (625 g) on my Canon 7D Mark II, I find it difficult to handhold and get crisp shots. So I use the 100mm f/2.8L Macro on a tripod to maintain stability and to guarantee the focus is bang on.

This lens has a richness to the colors that I appreciate – it gives the best color reproduction of any of my lenses. Also when I shoot at its widest maximum aperture of f/2.8, the soft background blur is wonderfully creamy!

Finally, the Canon 100mm f/2.8L is designed as a macro lens (and it offers a 1:1 magnification ratio). Given the macro focus, its versatility is impressive. I use the lens for an array of genres: macro photography, food photography, flower photography, and still-life photography. I don’t do a lot of portrait shooting, myself, but it’s also a favorite lens for portrait photographers due to the telephoto focal length, beautiful background bokeh, wide maximum aperture, and incredible sharpness.

This lens is quiet, it’s fast, and it’s a lovely lens to use. Once I mastered the art of precise focusing with a really tiny depth of field and was able to consistently get sharp shots, the quality of the images impressed me more and more.

How I use my Canon EF 100mm f/2.8L lens

In this section, I focus on my personal use of the 100mm Macro lens, and I do my best to explain how I work with it to get nice photos.

1. Food photography

Working with natural light in my home studio sometimes means the light is not always abundant. And even when the light is bright, I often need to filter it quite heavily so I don’t blow out the highlights on parts of the food I’m photographing (such as whipped cream or icing). I’ve found that working in slightly less-than-ideal light conditions is where this lens really comes into its own.

The 100mm f/2.8L’s maximum aperture captures a lot of light, and I’m able to maintain a reasonable shutter speed even in these low-light conditions. While I do sometimes bump up the ISO a small amount, it’s not enough to affect the quality of the image.

Additionally, given this lens’s incredible optics combined with the excellent magnification capabilities, I can capture the finest small details, which really add character to food shots taken with this lens. Water droplets on fruit or the tiny hairs on a raspberry become things of wonder, brought into view by this lens’s impressive clarity!

2. Flower photography

Earlier in this article, I mentioned how, after purchasing the Canon 100mm Macro, I didn’t use it right away. Well, flower photography is what finally forced me to get my Canon 100mm lens out of storage and onto my camera! I had become interested in still-life photography, and I was basing my compositions around flowers as main subjects.

As it turned out, this lens is spectacular for photographing flowers. Since you can focus so close, flowers offer many opportunities to be creative with this lens. You can shoot the whole flower, move in to shoot just a few petals, or highlight ultra-tiny details.

The 100mm Macro’s lovely color and soft background bokeh are perfect for flower photography, and I enjoy using the lens with a wide maximum aperture. It is a lot of fun to experiment with areas of selective focus and use the shallow depth of field in unexpected ways.

3. Macro photography

There is a whole world of things too small for our eyes to see naturally that suddenly become revealed when we shoot with a macro lens. It is fascinating to uncover tiny details in everyday objects, and that’s yet another area where the Canon 100mm f/2.8L Macro performs beautifully.

Creating abstracts using textures or just exploring the details on small items is possible with this 100mm Macro lens. The ordinary becomes extraordinary when you can get up close and personal.

The toughest part of using macro lenses at high magnifications is the technical side of things; even with narrower apertures, you’ll have an ultra-thin depth of field, and at such high magnifications, you’ll also struggle with blur to camera shake.

I don’t like to handhold this lens for those exact reasons. When I use this lens, my camera is mounted on my tripod – and I know that I can get sharp focus with a very narrow depth of field on a small subject.

4. Other genres

I am not a portrait photographer, but I do have cats, and they are fun to shoot with this lens as it picks up so much detail.

Again, I personally struggle to successfully handhold my DSLR with this lens and get sharp images, so I don’t shoot with it off my tripod very often. But you don’t have to use this lens at high magnifications, and when you take several steps back for a wider perspective, handholding the 100mm Macro is a lot easier.

Canon EF 100mm f/2.8L Macro specifications

This is a practical review, so I don’t want to focus on technical specifications. However, here’s a quick list of specs to keep in mind:

• EF mount for Canon full-frame DSLRs
• 100mm focal length
• f/2.8 maximum aperture
• Weight: 625 g
• 1:1 maximum magnification ratio
• 0.99 ft/300mm closest focusing distance
• Image stabilization for handheld shooting

Canon EF 100mm f/2.8L Macro review: final words

After using this lens extensively, here’s my breakdown of pros and cons:

Pros

• Extremely sharp
• Ultra-shallow depth of field
• Bokeh is smooth
• Beautiful color reproduction
• Decent image stabilization
• Compatible with Canon full-frame and APS-C DSLRs; can be used with Canon RF-mount cameras via an adapter
• 1:1 maximum magnification
• Comes with a lens hood and carry bag

Cons

• Heavy and can be difficult to handhold
• Expensive
• 300mm minimum focus distance means you have to get reasonably close to your subject for a life-size reproduction

I love the Canon 100mm f/2.8L Macro, and for me, the pros of shooting with this lens far outweigh the cons. Yes, it can be difficult to handhold effectively, especially at high magnifications, but that’s where a tripod saves the day.

For photographers looking to get high-quality photos of small subjects – whether that’s food items, flowers, jewelry, tiny products, or something else – this lens is a great choice. And since the optics are so incredible and the bokeh is so creamy, you can also use it for more conventional subjects, such as portraits and landscapes.

Now over to you:

Will you get the Canon EF 100mm f/2.8L Macro? Why or why not? Share your thoughts in the comments below!

The post A Practical Review of the Canon 100mm f/2.8L Macro Lens appeared first on Digital Photography School. It was authored by Stacey Hill.

The post The Nikon 24-70mm f/2.8G ED: A Practical Review appeared first on Digital Photography School. It was authored by Barry J Brady.

This article was updated in May 2024 using original contributions from Barry J Brady.

Invest in your lenses. Camera bodies will come and go, but a good lens can last a very long time.

That was the advice I received when I started taking my photography seriously. Initially, it seemed a bit ridiculous. I bought a cheap 70-300mm lens and used it at the first wedding I photographed. I thought the images were fantastic until I bought a better lens a year later. It was only then that I realized how much of a difference a good lens can make.

This is a review of the Nikon AF-S FX Nikkor 24-70mm f/2.8G ED lens, which I’ve used frequently. However, it is not a technical review. I don’t spend lots of time discussing specifications, nor do I include resolution charts or autofocusing tests.

Instead, I focus on how this lens performs, and on its strong and weak points. I also share plenty of photos I’ve taken with the lens. Many will be edited in Photoshop, while others will be straight out of the camera; I include labels on the edited images so you know the difference.

Ready for a hands-on review of the Nikon 24-70mm f/2.8G? Let’s dive right in!

An overview of the Nikon 24-70mm f/2.8G ED

The Nikon 24-70mm f/2.8G ED is regularly referred to as one of the best midrange zoom lenses that Nikon ever made. That sounds like a crazy statement, but when you look at the images produced by this lens, you can understand why.

In my view, this is a perfect all-around lens. In fact, once you get your hands on this lens, you may find that you keep it on your camera most of the time. Not only does it have a really good focal range for everyday photography, but it’s also a good travel lens. I’ve heard many photographers say that the 24-70mm f/2.8G was the only lens they took on vacation and it worked great.

Here’s a quick look at the technical specifications:

• Focal length: 24-70mm
• Mount: Nikon F-mount (can be used on Nikon Z-mount cameras with the FTX adapter)
• Format: Full frame (can be used on a Nikon APS-C body, but will be cropped)
• Maximum aperture: f/2.8
• Minimum aperture: f/22
• Dimensions: 83mm (diameter) x 133mm (length)
• Weight: 900 g
• Zoom ratio: 2.9X
• Minimum focusing distance: 38 cm

Photography genres where this lens shines

Not sure if the Nikon 24-70mm f/2.8G is right for you? Here are the five genres that it works great for:

1. Landscape photography

The Nikon 24-70mm f/2.8G isn’t considered an ultra-wide-angle lens, but at 24mm on a full-frame sensor, you will get a viewing angle of 84 degrees. This is a pretty wide angle of view, and you can use it to capture beautiful landscape images.

But I recommend this lens for landscape photography for several additional reasons.

First, the Nikon 24-70mm f/2.8G boasts beautifully made glass elements that handle light beautifully. There is some distortion at 24mm, but it’s easily corrected in Photoshop.

Second, the lens is really sharp. In fact, I think it makes images seem almost too sharp! If you use a tripod and you properly focus your Nikon 24-70mm f/2.8G, you may find that you won’t need to do much sharpening during post-processing, simply because the optics are so great.

The color rendition on this lens is great, too; as you can see in the example images, the colors are wonderfully vibrant.

Bottom line: This lens is good for landscapes. It’s not necessarily a great dedicated landscape photography lens – the 24mm wide end is a little longer than what many landscape photographers look for – but it can certainly perform well for this type of photography.

2. People photography

The Nikon 24-70mm f/2.8G lens can work well for people photography, including portraiture, weddings, and events. The focal length flexibility makes it easy to zoom in and out as needed, and the wide maximum aperture allows you to work indoors without too much trouble.

When photographing human subjects, you want to capture minimal perspective distortion, especially when doing portraits. Therefore, if you plan to use the 24-70mm for people photography, I do recommend generally shooting at 50mm and upward.

Note: With a wide-open aperture, you’ll be able to effectively isolate your subject and generate a soft, out-of-focus background. The bokeh on this lens is good – more on that later!

3. Close-up and macro photography

While this 24-70mm model is not a macro lens, it has a 37 cm (14.5 in) minimum focusing distance. That may not sound impressive, but at 70mm, you can get pretty close to your subject.

If you are shooting on a high-resolution sensor, you will be able to crop in quite a bit, so you’ll be able to produce some really nice close-up images, like this one here:

Again, the Nikon 24-70mm f/2.8G is not a dedicated macro lens. However, if you want to get in close to a subject, it can do that. The sharpness and clarity are both amazing, which helps you highlight lots of little details, and even if you’re not a serious macro shooter, having close-up capabilities in your back pocket often comes in handy!

4. Street photography

Street photographers traditionally use prime lenses for their work. (Take a look at the setup of a serious street photographer, and you’ll often see a 35mm f/1.8, a 50mm f/1.8, or an 85mm f/1.8 lens.)

Sometimes, however, it’s good to have a little more flexibility, and the 24-70mm is perfect for this. You can shoot at 35mm, 50mm, or 70mm, and you will get great results each time. Plus, depending on your creative vision and the scene in question, you can shoot anywhere from f/2.8 on up.

Another big selling point of this lens for street photographers: it has a Silent Wave Motor (SWM), which means the autofocus is quick and quiet. There is some vignetting when the lens is used wide open at f/2.8, but I actually think this adds some depth and contrast to street photography images.

5. Travel photography

When planning a photography trip – or simply a vacation that includes some shooting time – you’ll always need to consider which lenses to pack and which lenses to leave at home. Weight is always a consideration. Space matters, too.

Fortunately, many photographers view the 24-70mm as a perfect travel lens. At 24mm, you can capture some great images of wide open spaces; you can also easily capture the interiors of churches and cathedrals. Zoom in to 50mm or even 70mm, and you can get pretty close to your subject. Step in even closer, and you can capture some wonderful cameo and detail shots.

The 24-70mm is almost designed for travel photography. Yes, it lacks a little on the long end – 70mm doesn’t give you a ton of magnification power – but you will come home with bright, sharp, color-filled images!

How the Nikon 24-70mm f/2.8G performs

I’ve already touched on many of the Nikon 24-70mm f/2.8G’s major benefits, but I do want to give a quick rundown of the lens’s performance:

1. Autofocus

This lens focuses quickly and accurately. I use it on an older DSLR – the Nikon D800 – and it works really well. You can, of course, choose to focus manually, but I would only suggest doing that when shooting landscapes or close-up scenes. If you have a subject that is moving, autofocus is necessary, and the 24-70mm f/2.8 will do a solid job.

2. Optics

The Nikon 24-70mm has amazing optics. It is sharp throughout the zoom range, and while you can expect a bit of vignetting at f/2.8, it’s nothing that you can’t deal with in Lightroom or Photoshop. It also produces good color, which is vibrant and rich.

When the lens is zoomed out to 24mm, you will see some barrel distortion. Once you zoom in, however, the distortion goes away, so you only really need to watch for it when working at the wide end. Plus, as with the vignetting issue mentioned above, this barrel distortion is easily fixed in Photoshop or Lightroom, so don’t be overly concerned about it.

3. Bokeh

Many lenses are judged not only on how sharp they are but also on how smooth and creamy they render out-of-focus areas.

In this area, the 24-70mm does a decent job. To get high-quality background blur (i.e., bokeh), you’ll need to zoom out to 70mm or get very close to your subject; you’ll also need to use a wide aperture such as f/2.8. In my view, the bokeh on this lens is not breathtaking, but it is smooth and soft. The bokeh is not perfect, but it is acceptable, especially when you consider how much this lens offers.

4. Handling

The 24-70mm f/2.8G is quite large and heavy. This is because the wide maximum aperture requires larger glass elements, and the body of the lens is metal. It is a durable lens and can take some rough handling, but be careful – it’s an expensive lens, so you don’t want to take it for granted.

On its own, the lens is around 900 g. When mounted to my Nikon D800 without a battery back, the combined weight of the lens and camera body is around 2 kg (4.4 lb). That’s a fair amount of weight to carry around, and while you can certainly use this lens handheld for long periods, it’s something to bear in mind.

The Nikon 24-70mm f/2.G ED: verdict

This 24-70mm lens has been praised as one of the best lenses Nikon ever made, and after using it, I can see why. It’s a great addition to any photography bag, and you may find that you keep it on your camera most of the time.

It’s tack-sharp, the wide maximum aperture is impressive, and the focal length flexibility is so useful. It’s a perfect all-around, everyday lens, though it’s also great for professional purposes.

Now, the 24-70mm f/2.8G ED’s specifications do come with significant costs, so it’s not cheap. It can also be harder to find now that Nikon has shifted to its Z-mount mirrorless lineups, though you shouldn’t have any trouble finding used copies.

When considering the price, just remember that you should invest in your lenses. They will generally outlast your camera bodies, and if you look after them, you’ll have them for many years. This is one of those lens types; you can count on it to produce great images for many years.

You can check out the Nikon 24-70mm f/2.G ED on Amazon.

The post The Nikon 24-70mm f/2.8G ED: A Practical Review appeared first on Digital Photography School. It was authored by Barry J Brady.

The post Choosing a Beauty Dish: What Size Is Right for Portraits? appeared first on Digital Photography School. It was authored by John McIntire.

Beauty dishes are common and well-loved lighting modifiers. They’re particularly great for portrait photography – beauty is in the name, after all! – and they also tend to be cheaper than decent-sized softboxes, so they offer more bang for your buck.

Years ago, your choice of beauty dish was quite limited. Nowadays, if you try searching for beauty dishes, you will be presented with dozens of options that vary greatly in size.

So when you’re faced with this kind of choice, what do you do? How do you know what size beauty dish to buy? In this article, I discuss three common beauty dish sizes, and I share examples so you can see the kind of effect each size will have on your photos.

Note that all of the beauty dishes discussed here are silver, and none of them are collapsible. As long as they are of decent quality, the fact that a beauty dish is collapsible should have no impact on your images.

What is a beauty dish?

Before I get into the nitty-gritty, I’d like to start with the basics:

Beauty dishes are bowl-shaped modifiers that are known for the contrasty light they provide. The quality of light is usually somewhere between hard and soft (when brought in close to your subject). This sets them apart from other modifiers, like umbrellas and softboxes, where the goal is to achieve the softest light possible.

With beauty dishes, you can achieve well-defined edges and shadows but still retain a flattering light on your subject:

Beauty dishes often come with grids and diffusion socks to help modify them further. Grids increase the directionality of the light, while diffusion socks diffuse the light further, softening it a bit and altering the shape.

What beauty dish sizes are available?

A search for a beauty dish should reveal a huge amount of results these days. You can find tiny beauty dishes that are designed for speedlights, and you can find massive beauty dishes that are ideal for lighting groups of people.

However, I’d like to focus on three normal-sized beauty dishes: 27 inches, 20 inches, and 16 inches. These are the sizes that you’ll generally want to consider for a standard portrait studio setup.

Below, I explain the benefits of the different sizes, and I share sample images taken with each type of beauty dish. I photographed the same subject with each dish, and I also made sure that the beauty dishes were positioned the same distance from the subject to clearly demonstrate the differences in lighting they provide.

1. The 27-inch beauty dish

At 27 inches in diameter, this beauty dish is at the upper reaches of what you can expect to find in terms of size. When it’s positioned close to your subject, the light it provides is really soft and is comparable to a medium-sized softbox, but with a bit more contrast. It also provides large catchlights in your subject’s eyes.

Because of its size, it’s easy to bring the light further away from your subject to achieve a similar effect to that of smaller beauty dishes, while giving you more room to work. A 27-inch beauty dish would also be great for lighting multiple people, whereas you might struggle to get decent results with a smaller beauty dish.

There are a couple of disadvantages to a beauty dish this big. The bigger the light source is in relation to your subject, the less bright your subject’s eyes are going to be. If you want bright, clear eyes, a smaller beauty dish may be the way to go.

A 27-inch beauty dish also makes it harder to control the light fall-off since the bigger source will cast more light behind your subject (assuming you don’t use a grid).

2. The 20-inch beauty dish

The second beauty dish we’re going to discuss comes in at 20 inches. This is pretty close to what may be considered a standard size for a beauty dish (if there is such a thing). Placed 1-4 feet away from your subject, the quality of light it produces is great for all sorts of portraiture and for a wide variety of subjects.

A 20-inch beauty dish is great for both male and female subjects, though for flattering portraits of older people, you may want avoid beauty dishes entirely. Instead, opt for large softboxes and umbrellas.

As a beauty dish of this size won’t be a great deal bigger than your average subject’s head (from an appropriate distance), you’ll also have good control over the light fall-off, and you’ll have even more control if you introduce a grid.

3. The 16-inch beauty dish

This last beauty dish is 16 inches in diameter. This is the size that I use the most as a portrait photographer, and it’s been that way since I bought it well over a decade ago. (Look carefully at the image above, and you’ll see just how battered and it is.)

Because a 16-inch beauty dish is quite small, it is easy to control and great to bring in really close to your subject. This beauty dish clearly lights and defines your subject’s eyes. And since it’s a harder light source, it also provides clearly defined edges between shadows and highlights – but in a flattering manner.

If you want to reduce light fall-off as much as possible, this size is definitely the way to go. However, if you want to increase light fall-off, you are better off with a larger modifier. To increase fall-off, you need to move the light away from your subject. But moving a 16-inch beauty dish any distance from your subject will result in extremely hard light that you might find unflattering on most subjects.

In terms of portability, this size beauty dish is great. It doesn’t weigh very much at all and just carrying it in your hand takes minimum effort.

When used as something other than a key light, this size beauty dish is really effective. Its small size makes it unobtrusive and easy to position anywhere you need, whether you want to use it as a hair light or for fill.

So what size beauty dish should you get?

Some of the differences between these three modifiers can be subtle and hard to spot if you’re new to lighting. If you’re still wondering which dish should opt for, my best advice (which is by no means gospel!) would be to evaluate how you would use it and what you want to photograph.

Do you need portability? Get a small 16-inch beauty dish, or consider a collapsible model.

Will you be shooting groups of people often? Go for the largest beauty dish you can afford.

Are you shooting in a small space? Go for a smaller beauty dish.

Are you shooting in a large space where you can’t get the lights very close to your subject? Again, go for the biggest one possible.

Whichever you choose, make sure it comes with both a grid and a diffusion sock so you can have the most possible control over the light.

No matter which way you choose to go, you are going to find yourself with a versatile and useful modifier that will last you for years!

Now over to you:

Have you used any beauty dishes? Do you have a favorite size? Share your thoughts in the comments below!

The post Choosing a Beauty Dish: What Size Is Right for Portraits? appeared first on Digital Photography School. It was authored by John McIntire.

The post K&F Concept Filters Review: A Hands-On Test of 4 Filters appeared first on Digital Photography School. It was authored by Kav Dadfar.

This article was updated in May 2024 with contributions from Kav Dadfar and Jaymes Dempsey.

I’ve long been an advocate of carrying as little camera equipment as possible. In fact, most other photographers are surprised to hear how little I carry with me on any trip.

Besides the extra weight, carrying more gear means you have more things to lose or have stolen. But while carrying less is always better – in my opinion, anyway! – there are some things I simply can’t live without. Filters are one type of accessory that I always take with me, as they’re essential for my photography. So when I was sent four new K&F Concept filters, I was very excited to put them to the test.

Here are the K&F Concept filters that I review below:

• The 77mm ND8-ND128 Variable Neutral Density filter
• The 77mm ND2-ND32 Variable Neutral Density and Circular Polarizing filter
• The 77mm Circular Polarizer filter
• The 77mm ND2-ND32 Variable Neutral Density filter

I display test shots for each of the filters I tried, and I offer my thoughts on the performance of each model.

Note: K&F Concept sent me these filters free of charge. However, I am not paid or affiliated with K&F Concept, and my review is honest and based on my personal experience using the products!

Why should you use filters?

As advanced as digital cameras are these days, they still occasionally need some help to capture photos the way you want, especially if you’re a landscape, cityscape, or outdoor portrait photographer. Often the big issue in photography is light. Too much of it, not enough, too harsh, in the wrong place – if only you could control outdoor light like in a studio!

Filters can help a photographer control light in varied circumstances. There are lots of filters that satisfy different needs. Two of the most common filters in use today are neutral density filters and polarizing filters.

Polarizing filters

Polarizing filters help remove unwanted reflections. For example, if you are photographing water or through glass, they’ll reduce reflections so you can capture the subjects behind the reflective surface. In addition to reducing reflections, they also boost color saturation (especially blues and greens). So they’re great for photographing popular landscape subjects, such as waterfalls, beaches, lakes, and rivers.

Neutral density filters

Neutral density filters reduce the amount of light that enters the lens. This allows you to select a shutter speed that’s slower than usual.

ND filters are commonly used to create motion blur in the landscape – such as when photographing water during the day or moving clouds.

However, even in day-to-day photography, ND filters can be useful to help avoid overexposure at wide apertures. Outdoor portrait photographers sometimes carry ND filters for this exact reason.

Square filters vs screw-on filters

There are two types of filters these days: square filters and screw-on filters.

Square filters are square or rectangular pieces of glass (or plastic) that attach to your lens by way of a holder.

As the name suggests, screw-on filters screw onto your lens directly (i.e., no holder is necessary).

There are pros and cons for using both, and certain types of filters are commonly found in one configuration. I have always used square filters, but the K&F Concept filters that I tested were all screw-on, so it was a chance for me to experience something new.

The K&F Concept filters that I reviewed

As I noted in the introduction, I reviewed these K&F Concept filters:

• The 77mm ND8-ND128 Variable Neutral Density filter
• The 77mm ND2-ND32 Variable Neutral Density and Circular Polarizing filter
• The 77mm Circular Polarizer filter
• The 77mm ND2-ND32 Variable Neutral Density filter

K&F Concept offers plenty of other options, but these four filters provide a nice overview of the company’s filter selection. I was able to test circular polarizers and neutral density filters to give you a sense of whether K&F Concept’s filter lineup is worth considering.

Note that I tested the 77mm version of these filters simply because I was using a lens with a 77mm filter thread. If you purchase any of the filters I discuss, make sure you match the filter size to your lens’s thread, not mine; otherwise, you’ll find that the filters don’t screw onto your lens. K&F Concept offers each filter in various sizes, and the performance is identical from size to size, so my review of the filters will remain relevant regardless of your lens size.

Packaging and unboxing

My first impression of the filters was of the beautiful and secure packaging in which they arrived. K&F Concept packages each filter in a hard cardboard box, with each filter placed in a hard plastic case inside the cardboard box. Each filter is further protected inside the plastic box because it’s wrapped in a plastic bag and placed on a piece of foam.

The plastic box makes the filters extremely accessible when needed, as the lid flips open. The circular polarizing filter comes in a slightly different plastic box – it twists open rather than flips – but it’s still secure inside due to some rubber ridges. This stops the filter from rattling around in the case.

I will need to stick some small stickers on the plastic boxes and write the filter name on them to make them easier to find; this is currently lacking on the plastic boxes. Other than that, the packing is very impressive.

Build and ease of use

With the exception of the circular polarizer filter, the filter frames are made from an aluminum alloy. (The polarizer filter frame is made from extra-tough magnalium). Even though the frames are very slim in design, they certainly feel rigid, and I noticed no real bending even when I tried to force them.

All the filters are made from coated optical glass that is designed to reduce reflections. It’s also waterproof and scratch-resistant, which is always helpful for outdoor photography where you never quite know what you’ll encounter!

Bottom line: The filters are highly durable and should serve you well, even if you shoot in fairly rough environments.

Filter performance

As someone who has always used square filters, I was skeptical about the quality of these screw-on filters. I was worried they would affect image quality by producing vignettes or color casts – this is a common problem when using cheaper filters – so I was determined to conduct rigorous tests.

I deliberately headed out during the early afternoon as I wanted to evaluate these filters in harsh light. Below, I share my sample images and my thoughts on the performance of each model.

Testing the K&F Concept Circular Polarizer

I conducted my first test with the 77mm Circular Polarizer filter. Below are two images taken from the same place only seconds apart. The image on the left was captured with no filter. Then I placed the filter onto my lens to capture the image on the right:

Note the reflections in the water in the unfiltered shot; in the polarized image, the reflections are almost completely gone, allowing you to see the rocks on the riverbed.

If you look carefully, you can see that the blue in the sky was subtly boosted by the polarizing filter. There is a very slight vignette in the top left corner, but this is so minor that it can easily be removed in post-production.

Testing the K&F Concept ND2-ND32 Variable Neutral Density filter

I conducted the next test with the 77mm ND2-ND32 Variable Neutral Density filter. It screwed in easily and was easy to remove without any jamming.

This filter is a variable ND model, so by rotating the front of the filter, you can get different light-blocking intensities. Therefore, it was important to test the filter at a variety of strengths. As you can see from my sample images below, the ND filter performed very well across the board, with no color casts or vignetting.

I also didn’t come across the X-cross issue – where an X-shaped vignette appears across the frame – that sometimes occurs with variable ND filters.

Testing the K&F Concept ND8-ND128 Variable Neutral Density filter

The 77mm ND2-ND32 Variable Neutral Density filter was also easy to screw on and remove from my lens, and it performed well, too:

Vignetting was kept to a minimum, there was no X-cross, and the image colors were natural.

The thing that I found so useful with these variable filters is the ease of transporting them and the amount of space saved in my camera bag. To be able to carry two ND filters that cover such a wide range is definitely a huge benefit!

Testing the K&F Concept ND2-ND32 Variable Neutral Density and Circular Polarizing filter

The final filter tested was the 77mm ND2-ND32 Variable Neutral Density and Circular Polarizing filter. While I was impressed with the other filters, this is the one that I really found useful.

If I need to shoot with an ND filter and a polarizer, I normally screw on my circular polarizing filter, then screw on my filter holder ring, put the holder on, and add the filters I need before I’m ready to shoot. It’s a time-consuming process, and it’s one that I’d prefer to avoid.

Fortunately, this K&F Concept filter does it all! It works as a polarizer and as a variable ND filter, so instead of mounting multiple filters to the front of my lens, I can just add one. You can see below how using the filter gave me a longer shutter speed to achieve smooth water – even in relatively bright light – and also removed much of the water reflection. This helped bring out the details on the riverbed.

K&F Concept filters: verdict

As mentioned, I have always been skeptical of using circular or screw-in filters. However, I am thoroughly impressed with the K&F Concept filters I reviewed. The image quality is superb and the added benefit of just using one variable ND filter and adjusting the gradient without having to stack filters is really useful.

The thing that I really loved about these filters is how premium they look, feel, and perform. In fact, I didn’t notice any difference between these K&F Concept filters and my (much more expensive) square filters.

Another huge benefit of these filters is the cost. At the time of writing, the 5-stop variable ND and CPL filter is priced around $90. And you get six filters for that price! Individually purchasing high-quality filters will be a lot more expensive. This will obviously help anyone starting out and wanting to build their accessories up without spending a small fortune. I, for one, will be adding these filters to my collection!

The post K&F Concept Filters Review: A Hands-On Test of 4 Filters appeared first on Digital Photography School. It was authored by Kav Dadfar.