The post Nikon 200-500mm f/5.6 Review: The Most Versatile Wildlife Lens You Can Buy? appeared first on Digital Photography School. It was authored by Shreyas Yadav.

Wildlife photography is as exciting as it is challenging. Picture yourself on an African savannah, photographing a grazing herd of elephants, followed by a beautiful eagle on the nearby tree…

Just encountering these subjects is exhilarating – but capturing a top-notch photo requires patience and technical skill, not to mention a quality lens. Because here’s the unfortunate truth: Photographing distant wildlife can’t be done with a wide-angle zoom or a standard prime. If you want to capture lots of detail, you need significant reach (generally 300mm at minimum). And if you want to capture a variety of subjects, both small and large, skittish and tame, you need a lens that can zoom in and out as the moment demands.

Fortunately, Nikon’s 200-500mm f/5.6E ED VR lens seems to be the perfect wildlife photography glass. It’s versatile, it has plenty of reach, and it’s available for a very reasonable $1400 USD. It weighs about 2300 g (81.02 oz), and the best part is that it boasts a fixed maximum aperture of f/5.6. In addition to a fixed aperture, there are three extra-low dispersion glass elements (ED) and powerful vibration reduction (VR), plus the lens comes with a tripod collar. The 200-500mm f/5.6 is stable when mounted on a tripod; it also works great with both full-frame (FX) and crop-sensor (DX) Nikon cameras.

But is the Nikon 200-500mm f/5.6E ED VR as great as it sounds? This field review of the Nikon 200-500 f/5.6 lens considers it from the perspective of a nature and wildlife photographer. I’ve spent plenty of time testing the lens, and below, I explain how this lens performs in the wild; I also share my thoughts on the lens controls and ergonomics. (Ergonomics are important, especially if the lens has to be used from dawn to dusk in the wilderness!)

Ready to find out whether the 200-500mm f/5.6 should be your next lens purchase? Read on!

Nikon 200-500mm f/5.6 lens specifications

Let’s kick things off with a look at this lens’s impressive specifications, starting with:

Focal length

The focal length of the lens is from 200mm to 500mm. As an FX lens, the effective focal length on FX bodies is 200mm to 500mm, while on DX Nikon bodies, the effective focal length is approximately 300mm to 750mm.

Aperture

The Nikon 200-500mm’s maximum aperture is f/5.6, and the minimum aperture is f/32. This is an E-type lens (electromagnetic diaphragm mechanism), which gives better control over the aperture blades as compared to mechanical linkages. This feature is compatible with newer cameras; however, when using older DSLR cameras, the aperture will be fixed to f/5.6.

Extra-low dispersion glass elements

The lens has 3 ED glass elements. ED glass element helps reduce chromatic aberration and offers better image quality overall.

Minimum focusing distance

This is the minimum distance between the lens and an object at which the lens focuses. The Nikon 200-500 f/5.6 has a minimum focusing distance of 2.2 m (7.2 ft). For wildlife and bird photography, this is a perfect minimum distance. With a minimum focusing distance of 7.2 ft, the lens acquires perfect focus in most cases.

Autofocus

Thanks to Silent Wave Motors (SWM), the lens focuses quietly and accurately. When focusing, you can instantly override autofocus with manual focus and vice versa (M/A). The lens can be focused manually (M), as well.

Teleconverter support

The Nikon 200-500 f/5.6 is compatible with TC-14E III (1.4X) series teleconverters when used with DSLR cameras that can autofocus up to f/8. During low-light conditions, the autofocus performance of the lens when using the TC-14E III is satisfactory and usable.

With the TC-17E (1.7X) and TC-20E (2X), the aperture goes beyond f/8, hence autofocus is not possible. For this reason, I don’t recommend using the Nikon 200-500 lens with TC-17E and TC-20E teleconverters.

Camera compatibility

Full-frame (FX) cameras, crop-sensor (DX) DSLR cameras, and Nikon mirrorless cameras (with the FTZ mount adapter) are compatible with the lens. However, on older Nikon cameras, such as the Nikon D200, you cannot change the aperture; it’ll be fixed at f/5.6.

Filters

The Nikon 200-500 f/5.6 accepts 95mm screw-on filters. When carrying this lens into the wilderness, I recommend you have a filter. It protects the front glass element from dust, mild drizzle, and minor scratches. I use a filter while photographing and do not see any significant loss in image quality. However, make sure you use a high-quality lens filter to ensure minimal loss in quality.

Vibration reduction

This lens has excellent vibration reduction performance. I have achieved sharp images at 1/30s in low-light conditions. Nikon claims the VR offers an extra 4.5 stops of handholding.

There are two VR modes: Normal and Sports. Normal mode works fine for me while hand-holding the lens on the ground as well as the safari vehicle, so I tend to keep it set to Normal mode.

Weight

Weighing in at approximately 2300 g (81.2 oz), the lens initially feels somewhat heavy. However, as you start handholding this lens regularly, you get used to the weight. I am now able to handhold this lens for two to three hours without any issues.

Lens hood

The included HB-71 hood is made from plastic. It’s a decent hood but on the big side. However, I do use a hood on the lens, mainly to protect the front glass element of the lens from minor bumps, tree twigs, and rain.

Size

The lens diameter is 4.2 in (108 mm), and the length is 10.5 in (267.5 mm) at 200mm. The lens fits perfectly in midsized camera bags such as the Lowepro Flipside 400 with the body attached. You can invert the lens hood so it fits, too.

Controls and ergonomics

Now that we’ve got the specs out of the way, let’s take a look at the Nikon 200-500mm’s controls and ergonomic performance:

Controls

The Nikon 200-500mm f/5.6E has five switches (see the photo displayed above!):

1. M/A | M. M/A means while autofocusing you can override with manual focus if required; M gives fully manual focus.
2. FULL | Infinity-6m. FULL allows the lens to focus across the entire focusing range. I use FULL all the time and have never missed the focus. The Infinity-6m option limits the focusing range of the lens so it will only focus from 6m to infinity. Any object that is closer than 6m won’t be in focus, so I do recommend generally using the FULL option.
3. VR ON | VR OFF. This activates the Vibration Reduction. Set this to ON. I set it to ON even when mounted on a tripod.
4. NORMAL | SPORT. This sets the type of Vibration Reduction. I recommend setting the VR type to NORMAL. For wildlife and birds, NORMAL mode works great.
5. LOCK 200 | UNLOCK. The LOCK 200 button locks the lens to 200mm. You cannot zoom the lens when it is locked, so the lock switch is perfect for when you are traveling and your lens is packed. It avoids unintended zooming during travel.

Ergonomics

The lens is a bit heavy, but as you continue to use it, you will be able to easily handhold it. However, hiking with this lens can be hard due to its weight, especially when carrying it up the mountains.

The zoom ring is smooth with an excellent rubber grip. The zooming feels smooth and is precise. The manual focus ring feels slightly loose, but I do find the quality of the manual focus to be excellent.

The Nikon 200-500 f/5.6 fits in a midsized camera bag if it’s first dismounted. However, to accommodate the lens and camera, a larger bag is required. The lens hood makes this awkward; either you can invert the lens hood and keep it in the bag or use a slightly bigger bag. I use this lens with the Lowepro Flipside 300, but when my camera is attached, I use the Lowepro Flipside 400 instead.

Weather sealing

The weather sealing of this lens is quite decent, and I have used this lens in a moderately dusty forest and some drizzle. Just make sure you clean the lens after using it in rougher environments. (I carry a Nikon Lenspen Pro kit for cleaning, which is user- and travel-friendly.

The overall construction of the lens is good. It can definitely handle minor bumps, but some parts are made up of plastic, making the lens construction not as rock-solid as pro-grade lenses.

Using the Nikon 200-500mm f/5.6 for nature and wildlife photography

Now it’s time for the good stuff: How does this lens perform when used in the field? Since I use this lens to photograph wildlife, and since most of you will do the same, that’s what I’ll discuss!

Focusing speed

Wildlife actions happen in a few seconds, so focusing speed is critical for wildlife photography. Happily, the speed of focus with the Nikon 200-500mm f/5.6 is good. When the lighting is solid – such as during morning and early evening – this lens focuses fast and accurately. I have tested this lens’s focusing in a wide range of conditions: in forests, on safaris, in grasslands, and in drizzle. Here’s my breakdown of how it performs:

The lens focuses superbly when used in/with:

• Bright light (e.g., the light during the morning and evening)
• Drizzle and normal dusty environments
• Birds in flight (moving at a slow-to-medium pace)
• Animals and birds behind other objects (e.g., trees, grass)
• Animals in action (moving fast or slow)
• Smaller birds and wildlife such as sunbirds, frogs, and grasshoppers (when they are slow-moving or stationary)

Focus performance was average in/with:

• Early morning or late evening light. This is the time when the action occurs for leopards, tigers, owls, and nocturnal creatures. You may need an external light such as flashlights or headlights (not a camera flash).
• Rainy or dusty weather.
• Very fast wildlife action, such as a kingfisher diving for fish or a swallow flying over the water.
• Very small wildlife that’s moving (e.g., crabs, bees)

Focus performance was poor in/with:

• Nighttime lighting or in heavy rain.
• Birds in flight at a very long distance against a plain and cluttered background. Here, the lens struggles to focus. I’ve also experienced this type of focus hunt while photographing birds in flight against blue sky at longer distances.

Low-light performance

This is a tricky one, as it depends on how your camera performs in low light and how you photograph. Many of the latest cameras by Nikon are good enough to shoot in low light, however, so it’s the lens performance (and your technique) that you’ll want to consider.

Overall, I’d say this lens’s performance is somewhere between good to average in low light. But if you follow the below techniques, you can achieve awesome images in low light:

• Use a bean bag or tripod.
• Use an f/5.6 aperture.
• Use shutter speeds from 1/30s to 1/60s.
• If the lens is struggling to autofocus quickly, focus manually.
• Shoot in RAW so that you can recover detail and process images effectively.
• Shoot at a reasonably high ISO. This depends on your camera, but ISOs in the 2000-4000 range can provide a great balance between image quality and exposure.

Here is an image I shot in near-darkness during a late winter evening. I used a bean bag, the aperture was set to f/5.6, and the shutter speed was 1/30s. The ISO was around 2500.

This type of shot I was able to repeat multiple times.

In short, in very low light scenarios the lens performance is average. But if you combine it with the techniques I shared above, you can achieve stunning images.

A range of focal lengths

The Nikon 200-500mm is a hugely popular lens, and its focal length is one of the prime reasons. This range is perfect for wildlife photography and works well on both full-frame and crop-sensor cameras. 500mm is great for birds, while the 200-400mm range is great for wildlife.

If you are using a full-frame camera, you will get a focal length of 200mm to 500mm, and if you are a DX shooter, the effective focal length you will be getting is around 300mm to 750mm. In my experience, 750mm is superb for bird photography, and 300mm is great for animals and other wildlife. I use my Nikon 200-500mm f/5.6 on a crop-sensor (DX format) body. When I am on a safari, I can easily photograph eagles, woodpeckers, small forest birds, tigers, elephants, and snakes.

The one caveat is that you can’t capture wildlife when they get too close. I switch to a shorter telephoto lens in such scenarios.

Lens image quality

When the lens is wide open, the aperture is f/5.6 from 200mm to 500mm. At 200mm, the f/5.6 aperture is a bit slow, but at 500mm, f/5.6 is excellent. This is where you are going to use it the most.

I use the lens wide open 70% of the time, primarily for slow-moving birds and wildlife. If the objects are relatively close, I get sharp images using f/5.6.

In some scenarios, such as birds in flight, fast-moving wildlife, and wildlife at a distance, I stop down the lens to f/7.1 or f/8. This is mainly to extend the depth of field, which in turn prevents a loss of sharpness due to front- or back-focusing.

If the objects are at a shorter distance and not moving very fast, an f/5.6 aperture produces nice colors and sharpness. If the objects are moving fast, however, I’d recommend using f/8 to achieve sharp images. While you adjust your aperture for image sharpness, also ensure you have enough shutter speed to freeze the action.

Here are the techniques I use to get sharp images with this lens every time. I have applied these techniques in the wild and repeatedly captured crisp photos:

• Set the lens aperture to f/5.6 or f/8 depending on the subject.
• Set the shutter speed to at least 2x times the focal length (for example, if you are at 500mm, use a shutter speed of at least 1/1000s).
• If you can’t use a fast shutter speed due to low light, use Vibration Reduction along with stable support such as a tripod or bean bag (I’ve found that, with VR activated, my shutter speeds can be as low as 1/30s and I can still capture sharp photos).
• Use AF-C with dynamic focus areas or AF-S with the focus area set to the center point.
• If needed, increase the ISO. For most of the latest Nikon cameras, ISO 2000 to ISO 4000 is the sweet spot!

Manual focus override can come in handy!

The manual focus override feature is useful when the lens struggles to autofocus. Usually this happens if there is clutter in front of the main object (e.g., grass or leaves in front of a bird). In this case, use the manual focus ring to focus. As I mentioned above, the manual focus ring does feel a bit loose, but the precision is good.

Manual focus override is also useful in low-light conditions. You will end up getting perfectly focused images every time!

Nikon 200-500mm f/5.6E ED VR verdict

Pros:

• Maximum aperture of f/5.6 for the entire zoom range
• Excellent Vibration Reduction
• Focal length is perfect for wildlife and nature photography
• Good focusing speed and image quality
• Affordable price for a super-telephoto lens

Cons:

• Hood is on the large side
• Some people may find this lens a bit heavy
• Bigger filter thread (95mm) makes for pricier filters

The Nikon 200-500 f/5.6E VR is a beautiful all-around lens. It is perfect for animals and birds. If you are looking for the most versatile lens for wildlife and nature, the Nikon 200-500m f/5.6 E ED VR is for you! Given the $1400 price tag, no other lens comes close.

Compatible with all current Nikon DSLRs and mirrorless cameras, this lens is your best friend in the wilderness. You will certainly enjoy photographing the wildlife – and you’ll capture some amazing shots!

Which telephoto lens do you use? What do you think about Nikon 200-500mm f/5.6 lens? Let us know in the comments below.

The post Nikon 200-500mm f/5.6 Review: The Most Versatile Wildlife Lens You Can Buy? appeared first on Digital Photography School. It was authored by Shreyas Yadav.

The post The Best Circular Polarizers for Photography (2024) appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

The circular polarizer, also known as the circular polarizing filter, is an essential tool for photographers who shoot landscape, nature, and wildlife images – especially near lakes, streams, or other bodies of water. It’s a simple glass circle that attaches to the front of almost any camera lens, and it enhances colors while reducing unwanted glare and reflections. (A polarizing filter also protects the lens from dust, dirt, and debris.)

At the most basic level, a circular polarizer works by preventing light from entering your camera lens, just like sunglasses block light from entering your eyes. However, the magic (or more accurately, the physics) of circular polarizers lies in the light-blocking process. When you rotate the bezel of a circular polarizer, specific wavelengths of light are prevented from coming through and reaching your camera sensor. This means you can minimize certain types of light – such as reflections and glare – which makes circular polarizers ideal for scenes plagued with reflections on water.

Circular polarizers are easy to use and strongly recommended for anyone who enjoys taking pictures of the great outdoors, but they’re great for other types of photography, too, including portraiture and macro work. You can find circular polarizers at a wide range of price points, and the models below are the best options currently available!

1. Best circular polarizer for landscape photographers: The PolarPro QuartzLine

While PolarPro is relatively new in the camera space, the company has quickly developed a reputation for professional-grade gear. The QuartzLine Circular Polarizer Filter is an outstanding option for landscape photographers and should be at the top of your list if you like to take shots of the great outdoors. It’s a bit expensive, but the results are worth it – and I’m always willing to recommend an expensive option that will last for years over a cheaper solution that you will find yourself replacing over and over when it breaks or doesn’t meet your needs.

This circular polarizer shares similar elements with other options, but each component of the PolarPro QuartzLine’s construction is designed to meet the needs of demanding landscape photographers who want a no-compromise solution for creating outstanding images. The glass is designed to be scratch-resistant, and the metal frame features thick, chunky texturing that makes it easy to rotate even with gloves on in cold weather. The biggest downside is the price, which might be a bit of a barrier for casual and hobbyist photographers, but the quality of the results more than makes up for it.

2. Best circular polarizer for wildlife photographers: The Breakthrough Photography X4 CPL

Wildlife photographers face tough, grueling, and downright punishing conditions in pursuit of their craft. These individuals often wait for hours in all types of weather in the hopes of capturing beautiful images of animals in their natural habitat. Wildlife shooters need camera gear that can stand up to incredible challenges, and the Breakthrough Photography X4 CPL certainly fits the bill. It has everything you would expect in a circular polarizer of this caliber, including durable metal construction and no trace of a color cast, which means colors will be accurate and true to life.

The major advantage this circular polarizer offers for wildlife photographers is the thick, chunky, red frame, which is easy to grasp and turn precisely in extreme weather conditions. The red isn’t for the sake of looks, either; it’s designed to help you easily identify the filter from among all the others in your gear bag.

Finally, this filter only sacrifices one stop of light, giving you greater flexibility when shooting in low light and/or with telephoto and super-telephoto lenses, which often have smaller maximum apertures. The X4 CPL isn’t cheap, but it gets the job done and is a great option for wildlife work.

3. Best circular polarizer for portrait photographers: The Hoya NXT Plus

4. Best circular polarizer for architecture photographers: The B+W High-Transmission MRC-Nano Master

5. Best circular polarizer for macro photographers: The Heliopan SH-PMC

While Heliopan name might not be as widely known as others on this list, the company makes some of the best camera filters you can find, and the SH-PMC Circular Polarizer is a particularly excellent choice for macro photographers. It has all the features you would expect from a quality filter, including metal construction and high-grade glass to ensure accurate color reproduction. Additionally, this filter has a special 16-layer coating for added durability. It all adds up to a filter that, while not inexpensive, certainly exemplifies the “You get what you pay for” adage.

Macro photographers demand uncompromising performance from their camera gear, so this circular polarizer is easy to recommend. It helps capture vibrant, vivid colors while blocking only about one stop of light, which ensures maximum photographic flexibility. I take a lot of macro photos and usually don’t like adding filters to my lens because it can interfere with incoming light, but this filter is built to such exacting standards that it’s not a problem. Macro shots taken with this filter are bright, crisp, colorful, and free of the unsightly glare that can plague other close-up photos.

6. Best circular polarizer for casual photographers: The Tiffen Circular Polarizer

Ah, Tiffen – my favorite brand of photography gear to recommend for casual photographers who want to learn, grow, and experiment without spending a lot of money. This Tiffen circular polarizer isn’t going to win any awards for quality or construction, but it does a great job of letting casual users get the benefits of a CPL without emptying their pocketbooks. It’s big and chunky compared to its slimmer, more expensive peers and doesn’t have micro-coatings or German-made glass, but it works great and is a perfect gateway to a whole new type of photography for casual shooters.

The best thing I can say about this Tiffen circular polarizer is that it just works, and works well, in a variety of situations. Professional photographers and online pixel-peepers might demand more, but it’s ideal for casual shooters who just want to enhance colors and reduce reflections and don’t plan to make wall-size prints or sell shots at an art show. It has a durable metal ring, and the 10-year warranty makes it even easier to recommend.

Additional considerations when choosing a circular polarizer

Before I conclude this article, I want to mention a few additional factors for you to keep in mind before you purchase a polarizing filter:

Avoid cheap circular polarizers: One of the hallmarks of any good filter, especially circular polarizing filters, is that they do not alter the color of the light. Not only are cheap filters less effective than their pricey counterparts, but they often have adverse effects on the light that they do let in through your lens. It’s not uncommon for photos taken with cheap circular polarizers to have a green or blue tint to them due to the low-quality materials used in the construction of the filter. This can be corrected to some degree if you shoot in RAW, but the best solution is to spend a bit more on a filter that is simply better at its primary function.

Use a high-quality lens: While circular polarizers can certainly help minimize reflections and enhance colors, they are just one part of the photo-taking equation. You can buy the most incredible circular polarizer in existence, but if you attach it to a cheap, low-quality lens, your images can still come out looking soft, muddy, or washed out. My number-one recommendation for new photographers looking to upgrade their gear is to get a better lens, and then look at additions like circular polarizers.

Practice, practice, practice: One thing I’ve learned and seen repeated consistently in over a decade of being a photographer: you have to give yourself time to understand your camera gear. If you get something new like a circular polarizer right before you head out on a big trip or photo adventure, you can easily find yourself knee-deep in frustration and may end up ditching the polarizer altogether. Give yourself time to get to know your circular polarizer, learn how to control exposure on your camera, study techniques like composition and framing, and more than anything, take lots of pictures. If your circular polarizer isn’t doing what you want it to, there’s a good chance you just need to put a little more work into learning how to use it to get the shots you want.

Improve your photos with a circular polarizer!

Circular polarizers are one of the easiest ways to enhance your images. They’re simple, they’re easy to use, and you will see the results right away – though to really get the hang of working with a CPL, you may need to put in lots of practice.

The best part about choosing a circular polarizer is that you can’t really go wrong with any of the options on this list. Don’t worry about making a bad choice; just focus on finding one that suits your needs and know that it will probably suffice in many situations, not just the one for which it is recommended.

Now over to you:

Which circular polarizer do you plan to purchase? Do you have a favorite of your own or tips for using one effectively? Share your thoughts in the comments below!

The post The Best Circular Polarizers for Photography (2024) appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

The post The Best Laptops for Photographers in 2024 appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Choosing the best laptop for photographers isn’t simply about identifying which model has the biggest screen, the longest-lasting battery, or the most storage. While there are indeed laptops that are great for virtually any type of photographer, your own needs, style, and workflow are essential to consider when searching for that perfect product.

Fortunately, there are a lot of outstanding laptops available in 2024. So whether you prefer Mac or Windows, shoot professionally or just occasionally, or like taking pictures but don’t even know the difference between an SSD and a CD-ROM, today’s laptop market certainly has what you need. The laptops I share below are ideal for different types of photographers, and no matter what you shoot, you’re likely to find one that fits your requirements (and at a price that works for you).

One important thing to consider when looking at my list of photography laptops is that they can all be configured in many different ways. You can customize the amount of RAM and the size of the internal SSD storage drive; in some cases, you can even customize the graphics card, which can be useful depending on the type of photo editing you do. I’ve included specific configuration recommendations for each laptop, but you can always tweak things to your liking when you place your order.

1. Best Mac laptop for professional photographers: MacBook Pro 16-Inch (M3 Pro)

Recommended configuration: M3 Pro, 12-core CPU, 18-core GPU, 36 GB RAM, 512 GB SSD storage

If you shoot professionally and like Apple devices such as iPhones, iPads, and Mac computers, the MacBook Pro 16-inch with M3 Pro CPU is far and away the best laptop for photo editing available today. The screen is bold, bright, and big enough to handle nearly any photography job you can think of. It has an array of ports that professionals will love, including three Thunderbolt 4 ports for ultra-fast data transfers, an SDXC card slot for importing pictures, and an HDMI port (which is great for showing images to clients on large screens!).

The standout feature of this laptop is its M3 Pro CPU, which is ideal for professionals due to its incredible power and speed. It allows you to load huge RAW files in a snap, scroll through massive photo libraries without skipping a beat, and perform complex edits and photo exports without lag. The battery life is incredible, easily lasting a full day even under demanding conditions.

The laptop is very expensive and the 16-inch screen pushes the limits of portability, but for professionals who don’t like to compromise, the MacBook Pro 16-inch with M3 Pro chip is as good as it gets.

2. Best Windows laptop for professional photographers: Dell XPS 16 9640

Recommended configuration: Intel Core 9 Ultra 185H, NVIDIA GeForce RTX 4060, 32 GB RAM, 512 GB SSD storage

Dell has long been producing high-quality laptops, and their latest XPS 16 demonstrates a continual refinement of a winning formula that has served professional photographers well for years. This 16-inch model has everything a photographer could ask for in a laptop, and it even boasts a few specs that will help ensure it remains relevant for years to come.

The screen, while not as high-resolution as the MacBook Pro, is bright and renders colors beautifully, which makes it great for working with large RAW files. It has a bevy of expansion ports for connecting monitors, external storage, and other peripherals, and it has the sheer power to churn through hundreds of images in no time.

In some ways, this laptop is perhaps too powerful, with a graphics card that can handle not just photo editing but high-end gaming. However, with more editing software taking advantage of GPU processors for certain tasks, the included GeForce 4060 helps ensure that this meets the demands of professionals well into the future.

The inclusion of a MicroSDXC card reader instead of a full-size card reader is a strange choice, and an HDMI port would have also been a welcome addition, but these are certainly not dealbreakers. If you’re a professional photographer who prefers Windows over Mac, the Dell XPS 16 is tough to beat.

3. Best Mac laptop for hobbyist and amateur photographers: MacBook Pro 14-inch (M3)

Recommended configuration: M3, 8-core CPU, 10-core GPU, 16-core Neural Engine, 16 GB RAM, 512 GB SSD storage

While not as large or rip-roaring as its M3 Pro counterpart, this 14-inch MacBook Pro is no slouch. Its size and specs make it ideal for hobbyist and amateur photographers who need a good balance of power, portability, and price. The M3 chip can easily handle any task a hobbyist photographer can throw at it, including intense editing in Photoshop or managing a massive library in Lightroom. And don’t let the slightly smaller screen fool you: 14 inches is a great size for people who need to edit photos at home but want a machine that can fit in any backpack, briefcase, or bag.

Amateur photographers will appreciate the SD card reader and HDMI port, even if they don’t use the latter as often as professionals might. The real star of the show, however, is the ultra-high-resolution display that punches far above its weight and makes sharp details in huge RAW and JPEG files truly shine.

Also impressive is the battery in this laptop, which – like its larger sibling – can last all day and sometimes longer without issue. This MacBook Pro is a game-changer for photographers who are used to carrying around a power adapter and constantly looking for wall outlets.

Bottom line: This 14-inch MacBook Pro is a photo-editing powerhouse that should be at the top of the list for any hobbyist or amateur shooter.

4. Best Windows laptop for hobbyist and amateur photographers: Microsoft Surface Laptop 5

Recommended configuration: 15-inch, Intel Core i7 12th Gen, 16 GB RAM, 512 GB SSD storage

For decades, Microsoft had been content to make Windows, the most widely used operating system on the planet, and let other companies handle the hardware. That all changed in 2012 with the introduction of the original Microsoft Surface RT, which was rapidly followed by a growing lineup of laptop and desktop hardware suited for professionals and creatives. The Surface Laptop 5 refines everything its predecessors set in motion and is perfectly suited for hobbyist and amateur photographers (as well as other artistic-minded individuals).

The laptop’s large 15-inch touchscreen showcases a bright, brilliant 2496×1664 pixel Dolby Vision display, which is capable of showing rich details of high-resolution RAW files. Thanks to the Core i7 processor, the Surface Laptop 5 offers a seamless editing experience and can churn through batches of photos without pause. Additionally, the expansive touchpad makes it easy to navigate through your files and folders and perform precise edits on your pictures.

The Surface Laptop 5 does lack an SD card slot but includes a high-speed USB-C Thunderbolt 4 port that lets you connect an external monitor or copy hundreds of photos and other files to external drives at lightning-fast speeds. Professional photographers probably want a bit more than what the Surface Laptop 5 offers, but hobbyists and amateurs will be extremely well-served by this machine for years to come.

5. Best Mac laptop for casual photographers: MacBook Air 13-inch (M3)

Recommended configuration: M3, 8-core CPU, 10-core GPU, 512 GB SSD storage

For years, Apple’s MacBook Air lineup was great for surfing the internet, watching movies, and working with light productivity apps for creating presentations or making video calls. But it didn’t offer enough power for photographers, forcing even casual shooters to spend hundreds more on a higher-end laptop to find one that would meet their needs.

Fortunately, thanks to the power of the M3 chip, this is no longer the case. The MacBook Air 13-inch M3 is a bit too limited for high-end photo editing, but casual photographers who value portability and battery life over expansion ports and gigantic screens will find everything they need in this laptop.

The 13-inch screen on this MacBook Air makes the machine supremely portable, and its two USB-C Thunderbolt 4 ports let you connect a monitor and an external SSD at the same time, which makes for a superb photo-editing setup. The M3 chip might not have the same image-editing prowess as its souped-up counterparts, but it can certainly hold its own; it will let you breeze through a huge Lightroom library or use the latest AI-powered image-editing software with aplomb.

In many ways, the MacBook Air is a jack-of-all-trades model that’s ideal for casual photographers who require one laptop that offers a balance of capability, portability, and price. It won’t blow your socks off, but if you’re a casual shooter and photo editor, it’ll do everything you need.

6. Best Windows laptop for casual photographers: Lenovo ThinkPad L13 Yoga 13.3″ Touch 2-in-1 Laptop

Recommended configuration: Intel Core i7-1355U, 16 GB RAM, 512 GB SSD storage

Lenovo knows a thing or two about making solid, reliable laptops that are great for a variety of tasks, including photography. The company’s ThinkPad line, which was created years ago by business-behemoth IBM, continues this tradition. The ThinkPad L13 Yoga 13.3″ is a phenomenal option for people who need a laptop that is well-suited for editing and managing photos as well as surfing the internet, balancing a checkbook, and creating documents.

In addition to a good screen, solid connectivity options, and a respectable processor, the ThinkPad L13 Yoga has a trick up its sleeve that casual photographers will appreciate: It flips end-over-end to become what’s essentially a touchscreen tablet, which is great for swiping through images and even doing light editing.

In addition to an ultra-fast Thunderbolt 4 port for data transfers, this laptop also includes an HDMI port for attaching another screen or even a TV. It’s an easy model to recommend to anyone who likes to do casual photography and wants a portable machine that won’t let them down.

Laptops for photographers to avoid

If you’re still not sure which laptop is right for you, or if none of the above options seem like the perfect pick, you may feel inclined to look at other models. That’s completely okay! However, there are certain types of laptops that simply aren’t ideal for photographers and that I urge you to avoid:

17-inch (or larger) laptops: Even the most demanding professionals – and certainly casual and hobbyist photographers – will want to steer clear of 17-inch behemoths. Such large laptops might sound like a good idea on paper, but these monsters quickly become tiresome and are ultimately more trouble than they’re worth in most photography situations. They’re too big to be truly portable, unreasonably expensive for what you get, and rapidly go from cool to cumbersome. A photographer considering a large laptop to have the added screen real estate would, in almost every scenario, be better served by a smaller laptop and an external display.

12-inch (or smaller) laptops: While laptops with small screens certainly serve a purpose for many people, photographers will quickly find themselves frustrated with these machines. They’re great for portability, but small screens are exceedingly bad for most types of photo editing, and these laptops usually have poor battery life, as well. They are often relatively inexpensive, but the tradeoffs aren’t worth it if you intend to do much in the way of photography.

Chromebooks: The two biggest advantages offered by Chromebooks are their price and simplicity: they can be purchased for as low as $200 and are great at running the Google Chrome web browser. These laptops are ideal for people who need a reliable way to connect to the internet, but they’re not great for much more. While there are some web-based image editing and photo management tools available, Chromebooks are not a good all-around solution for photographers. They typically do not have powerful processors compared to Windows or Mac laptops and are severely constrained by the software they can install. Even casual photographers will quickly outgrow the capabilities of a Chromebook. If you are into photography and price is a top priority, I would strongly recommend a lower-spec version of a laptop on this list or even one that’s a few years older instead of a Chromebook.

Pick the perfect laptop to enhance your workflow

There’s never been a better time to buy a laptop for photography, and the ones on this list are ideal choices no matter your needs.

Whether you’re a professional who’s ready to spend thousands of dollars on a class-leading machine or a casual photographer looking for simplicity and portability, there are some outstanding options for you to consider.

Now over to you:

Which laptop do you plan to buy and why? Do you have any other recommendations that I missed? Share your thoughts in the comments below!

The post The Best Laptops for Photographers in 2024 appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

The post A Practical Review of the Fujifilm XF 18-55mm f/2.8-4 R LM OIS appeared first on Digital Photography School. It was authored by Sean McCormack.

This article was updated in June 2024 with contributions from Sean McCormack and Jaymes Dempsey.

The humble kit lens. I’ve had my fair share of them: the Canon 18-55mm, the Nikon 18-55mm, the Olympus 14-42mm, and the Olympus 12-50mm. The quality is certainly mixed. The Canon is very plastic. The Nikon is better built. The Olympus 14-42mm has a funny design where you have to click out the center of the lens before it would operate. They all have a variable aperture – usually f/3.5-5.6 – so they’re certainly not the fastest lenses on the market.

Then I purchased a copy of the Fujifilm XF 18-55mm f/2.8-4 R LM OIS, and it put them all to shame. It’s undoubtedly the best kit lens I’ve ever used, and for photographers in search of a lightweight lens that takes amazing images in a variety of situations, it’s a great pick.

Below, I share my review of the Fujifilm XF 18-55mm f/2.8-4, based on my experience using the lens in the field. Bear in mind that this isn’t a lab-heavy, spec-focused review; instead, I explain exactly what I love so much about this lens, and I discuss shooting scenarios where it excels. I also display a slew of photos I’ve taken with the XF 18-55mm lens so you can see for yourself how it performs.

Let’s dive right in!

What makes the Fujifilm XF 18-55mm f/2.8-4 a great kit lens?

As I said in the introduction, I’m not going to focus heavily on technical details. However, these are the basic specs to keep in mind:

• Mount: Fuji X-mount
• Focal length: 18-55mm
• 35mm equivalent focal length: 27-84mm
• Maximum aperture: f/2.8 (at 18mm), f/4 (at 55mm)
• Minimum aperture: f/22
• Maximum magnification: 0.08-0.15x
• Weight: 310g
• Dimensions: 65mm (diameter) by 70.4mm (at 18mm) to 97.9mm (at 55mm)
• Filter size: 58mm

So with that out of the way, let’s talk about what makes this little kit lens so impressive!

Size and build quality

The first thing that hits you is that the Fujifilm XF 18-55mm is almost a stop faster than other kit lenses – even with the variable aperture, you get an f/2.8 maximum aperture on the wide end and an f/4 maximum aperture on the long end – yet it’s still very compact.

Most kit lenses are cheap and plasticky, yet this lens boasts almost all metal construction and feels extremely durable. It has a nice weight in hand and fits easily in your pocket, which is convenient when you don’t want to carry around a camera bag (you can put your Fujifilm 18-55mm lens in one pocket and your Fujifilm camera in the other!). The compact size is ideal for on-the-go photography and casual shooting, but it’s also a big benefit if you travel regularly and don’t want to lug around a big, bulky setup.

When I hold my Fujifilm XF 18-55mm, I get a real sense of robustness. Out of all the kit lenses I’ve used, this level of durability is only perhaps matched by the matched perhaps only by the Nikon 18-55mm. Therefore, you can use it comfortably in the great outdoors, at events where you sometimes get jostled, around rambunctious pets, and at sports games.

And if you’re the type of photographer who doesn’t like to baby your equipment, the impressive robustness will prevent you from needing to purchase a new kit lens a few months down the line.

Optical performance

Optically, the Fuji XF 18-55mm lens is surprisingly sharp, especially when you consider that it’s a kit lens.

In fact, Fujifilm has probably done itself a disservice with this lens. It’s so good that people might not be inclined to get the more “serious” Fujifilm XF 16-55mm f/2.8 R LM WR, which costs around double the 18-55mm kit lens.

(Comparing the two lenses, the extra 2mm at the wide end and the fixed maximum f/2.8 aperture are definitely appealing, but with the 18-55mm being so good, I’ve easily resisted the temptation to make that purchase. I probably will go for it in the future, but I’ll keep the kit lens and carry it with me in my travel photography bag.)

I’ll also note that I’ve observed no distortion when using the XF 18-55mm f/2.8-4. In other words, the optics are very solid, and you don’t have to worry about capturing amateurish-looking pictures like you might with a lower-quality kit lens.

Maximum aperture and image stabilization

As I mentioned above, finding a kit lens with an f/2.8-4 maximum aperture is fantastic. Most kit lenses can’t open the aperture very wide, which makes it difficult to shoot in low light (e.g., in your home, at night, in the shade, etc.). But when shooting the XF 18-55mm f/2.8-4 at 18mm, you get a maximum f/2.8 aperture. This offers the flexibility needed to capture sharp, high-quality images in tough lighting conditions.

The wider maximum aperture comes with a second benefit: you can create shallow depth-of-field photos with a very nice background blur. It’s something that very few kit lenses provide, and it allows you to capture portraits with a refined, professional look. (To see what I mean, check out the sample images below!)

There’s one other feature that’s certainly worth a mention: the optical image stabilization. This counteracts camera shake and allows you to capture handheld photos at slow shutter speeds, which can be helpful in low light or when shooting with a narrow aperture. Most of Fujifilm’s cameras don’t include in-body image stabilization, so the value of this technology shouldn’t be overlooked. The OIS is pretty good, too; I’ve found that it gives me about four stops more than the 1/focal length rule (i.e., the reciprocal rule) you’ve probably heard about.

The Fujifilm XF 18-55mm lens in use

The 18-55mm focal-length range (27-84mm in 35mm terms) is the perfect zoom for anyone getting their first camera. It covers wide-angle focal lengths for landscapes and scenic shots, but it still has enough reach on the long end to make a great portrait. (You get nearly 85mm when zoomed in completely, which is a hugely popular focal length for portraiture.) And shooting portraits at f/4 will get you some very nice background bokeh effects; you just have to make sure there’s a decent amount of separation between the subject and the background.

How you set the aperture on the XF 18-55mm is different from most other lenses. Using a fly-by-wire system, you change the aperture using a ring on the lens. But because of the variable aperture, there are no markings on the lens (unlike most other lenses from Fujifilm). It means you are dependent on the screen or electronic viewfinder to see what the aperture is set to. When you half-press to focus, the aperture opens up, focuses the shot, then goes to the set aperture.

One more thing I love about the 18-55mm focal length: You can shoot a portrait at 55mm, then quickly do a pull-back shot of the scene. That way, you can capture a mix of tight photos and more environmental images, which is a must for most photographers these days.

Sample images shot with the Fujifilm XF 18-55mm f/2.8-4

I’ve used my XF 18-55mm lens extensively, so I’ve included some sample images that show the lens in various use cases.

First, we have a typical portrait session. Using the 18mm end of the lens, you can do a wide shot, showing the subject in full length along with the environment. You can use a wide aperture to have the background go out of focus slowly. 

As the session progresses, you can zoom in to 55mm and start shooting tighter portraits. Even though your aperture will be f/4, it’s still shallow enough to render the background out of focus for a really beautiful effect.

Even when out on a casual walk, you can capture different perspectives from the same position. For instance, you can create a shot of the woods in general or a feature of the path ahead:

The maximum magnification on this lens isn’t outstanding, but you can definitely capture some nice detail images. You can shoot a whole branch:

Or just a single leaf:

Traditionally, landscape photographers favor narrow apertures, but having the option of a wide aperture like f/2.8 means you can do astrophotography with this lens:

You can also capture landscapes at night by widening the aperture:

It’s also a great lens for shooting concerts. Concerts tend to involve very low light, which means that a fast lens is essential. The extra stop here is a real benefit and gives you more room to freeze the action compared to other kit lenses.

Is the Fujifilm XF 18-55mm f/2.8-4 right for you?

The many features of the Fuji XF 18-55mm lens make it the king of kit lenses for me. None of the others combine such outstanding robustness and a wide maximum aperture, and many don’t offer such impressive optical performance or image stabilization.

I certainly recommend the XF 18-55mm, especially for photographers seeking a great travel lens, a workhorse model, or a durable lens for everyday photography. The biggest drawback to this lens is the price – compared to other kit lenses, you’ll pay a significant amount – but it’s still not wildly expensive, and given the quality it provides, it’s likely worth the cost.

You can check out the Fujifilm XF 18-55mm f/2.8-4 on Amazon!

The post A Practical Review of the Fujifilm XF 18-55mm f/2.8-4 R LM OIS appeared first on Digital Photography School. It was authored by Sean McCormack.