With the popularity of zooms, particularly of constant aperture f2.8 types amongst the press, not to mention DSLRs with variable ISOs and ultra-high sensitivities, the fast prime has been overlooked in recent times. But that’s changing. After the surprise AF-S 50mm f1.4 revamp, Nikon’s latest pro-level prime is a 24mm, again, with a maximum aperture of f1.4, to rival Canon’s offering. It’s unequivocally aimed at photojournalists and ideally suited for low-light photography where flash would be conspicuous. However it’s a big bulky affair when compared with the likes of the Nikon AF-D 24mm /2.8 and weighing in at 620g is no lightweight either.

Like the AF-S 50mm f1.4, the new 24mm adopts the whisper quiet Silent Wave Motor, but unlike the fifty, focusing is very fast. Indeed, it’s so fast and quiet that you barely notice its operation; a fact aided by the inner focus mechanism and, as a result, lack of barrel extension. While not instantaneous, it’s not likely to disappoint. The most impressive thing about this lens, though, is its optical performance. While not stretching itself on the 12-megapixel Nikon D700 we had in for the testing, the 24mm has excellent definition wide-open, with even the edges not too far behind the centre.

What is noticeable at the maximum aperture, though, is quite distinct barrel distortion at closer distances and vignetting, a trade-off for the high resolving power that results in a rather gentle curve in our chart. Best overall performance is at f5.6 with the edges only a fraction behind the centre, but this isn’t a lens you’ll buy to use at f5.6 very often. Indeed you’ll likely want to invest in a decent set of ND filters, or one of the novel vari-ND filters perhaps, if you want that soft beautiful bokeh at wider apertures in daylight. You might also want to invest in a split-image focusing screen, as the depth of field at f1.4 provides no margin for mistakes at close distances even with a fine-tuned AF system.

As for the vignetting, well, the new Nikon bodies offer the option of in-camera correction along with automatic chromatic-aberration removal, at least with JPEGs. All the same, despite the use of ED glass and aspheric surfaces there’s a hint of fringing at the maximum aperture on high contrast edges. Like other recent offerings from Nikon the 24mm features at least one glass surface with the Nano crystal coat and as expected the lens copes very well with flare and ghosting with the Sun in the frame, but not nearly so well when stray light hits the large convex front element at a higher incidence. Then veiling flare is particularly problematic. A slightly skimpy bayonet-type hood is provided and is well worth keeping it handy just in case.

The new 24mm AF-S Nikkor is phenomenally sharp, and not just stopped down a little but from f1.4, but there are a couple of shortcomings. The first is the price. If you’re not going to be using it at f1.4, then there are perfectly good - and cheaper - alternatives in Nikon’s range. Second, the G-series lenses don’t have manual aperture control rings, limiting compatibility with certain older film cameras and other makes for video work. But apart from that the AF-S 24 is about as good as it currently gets.

There’s no doubting the Nikkor AF-S 24mm f/1.4 G ED is a pricey option, but it’s performance is stunning not only stopped down but wide-open, where it really counts.

Overall Rating 5 / 5

Read the Full Review

Sigma has quietly been strengthening its professional lens range with new models aimed at full-frame DSLRs. Not only has the company added a number of pro-worthy large-aperture primes but they’ve also taken the opportunity to revisit the constant-aperture zooms.

Arguably the single most important zoom in a pro-photographer’s armoury is the 24-70mm f2.8, and it’s a lens that must be bombproof – capable of landscapes, portraits and close-ups with equal aplomb. Sigma’s previous iteration was considered a solid performer but the new model has seen a complete overhaul and has been completely redesigned inside and out.

The new 24-70mm f2.8 IF EX DG HSM, to give it it’s full-name, hints at some of the new features, but it’s in the flesh that the lens impresses most. Unlike branded rivals the new Sigma is a short stubby affair, not quite 10cm long, with an enormous front element and 82mm filter ring. The wide body is purposefully designed to reduce corner shading on full-frame pro-cameras, but can be used without detriment on APS-C format DSLRs, becoming effectively a 35-105mm f2.8.

Thanks to a new inner-focus (IF) mechanism the overall length doesn’t change during auto-focusing improving balance and focus operation generally. The addition of a hyper-sonic motor (HSM) is one of the headline features, delivering not only a welcome speed bump but virtually noiseless focusing with real-time manual override, easily matching the Nikon and Canon rivals in performance – focusing speed especially. 

Build quality is equally impressive too, and several cuts above Sigma’s more consumer orientated model and feels both solid and durable but the lack of colour, save for some gold accents and lettering, a nod towards its optical quality, makes the outer quite sombre in appearance. Orange or yellow distance scales would know doubt help and be advantageous in low light, but it’s of no real significance overall.

Both focus and zoom rings are well damped with no looseness or sloppy action, of which rival brands aren’t always exempt. Indeed the zoom action is a little on the heavy side, but this preferable to it being too light from new, and will likely slacken off after time. However, unlike some of the very latest rivals, zooming increases the length, by about 20mm overall.

While the ergonomics are generally excellent, the bundled hood is tight fitting, necessitating some force both in fitting and then later with removal. All makers seem largely indifferent to hood design, with the big marques often being the worse offenders, and yet it plays a significant role in both handling and performance. The supplied petal shape hood isn’t particularly deep, but Sigma’s Super Multi-layer Coating technology is some of the best in the business and the 24-70mm seems essentially impervious to flare and ghosting.

In our real life shooting tests the Sigma performed very well throughout the zoom range. The resolution is excellent in the mid-range at 35mm from corner to corner, easily matching the highly regarded Canon EF 24-70mm f2.8 L through most of the aperture range – though it doesn’t quite have the same bite at maximum aperture.

It’s similar story at 70mm, it has superb contrast, excellent colour rendition and amazingly consistent resolution, but while it’s the equal at wider apertures it can’t quite achieve the equivalent results of the Canon when stopped down. If we have an anomaly it’s in the test results at 24mm. The Sigma has very good central sharpness, even wide open, but it’s let down by some softening at the edges and despite the use three aspheric lenses and the use of both Extraordinary-Low-and-Special-Low-Dispersion glass, there was higher than average chromatic aberration.

There were some other, albeit slight, weaknesses too. We expected some barrel distortion, but at 24mm, the Sigma has some waveform distortion that’s trickier to remove in post. It’s not impossible to correct though in Photoshop and it’s really only an issue with strong horizontal lines at the top and bottom edge of the frame. There was some vignetting wide-open too, noticeable just in the extreme corners, though that isn’t unusual at all and is easily removed from both JPEGs and Raw files with software. For all that, our real life shooting examples of landscapes, flowers and foliage at 24mm were utterly convincing, and at the longer focal lengths the Sigma really excelled.

At £920, the 24-70mm f2.8 IF EX DG HSM slots into their own range well, it’s much more costlier than the earlier model, which is being kept in range for now, but the optical improvements and fast, near silent focus operation is tempting, especially if this will be your main lens. It’s also true that the Sigma comes in comfortably lower in price than the camera marques – a pretty useful attribute in these times.  Nikon and Sony (Zeiss) have recently updated their models, but the Canon offering is several years old and may be modernized soon, possibly even with the addition of Image Stabilisation, if the rumours are to be believed. On the other hand the Sigma is here now and delivering results that would please the most hardened pro.

While there are both strengths and weaknesses, the Sigma 24-70mm f2.8 IF is without doubt a compelling alternative to rival marques

Overall Rating 4 / 5

Read the Full Review

Whichever brand of camera you have few can complain at the choice of zooms available but there’s real dearth of primes for APS-C format DSLRs. Sony’s range leans heavily on the Konica Minolta legacy but the DT 30mm f/2.8 Macro SAM is a completely new design. Used with APS-C sensors the 30mm matches the field of view of a 45mm on full-frame, a handy focal length for general shooting as well as having the flexibility of a macro to achieve 1:1 (life-size) view in a petite package. Attached to Alpha 450 a 14.2-megapixel camera with a fixed screen, the 30mm Macro has a similar finish and is a good match in terms of size and balance.

The ergonomics are excellent too, even if the exterior is somewhat frugal-looking.The focus ring is thin, for example, but there’s a rubber ring around the leading edge that’s used both to assist focus and absorb the odd bump or two. It lacks any depth of field scale too, sadly something that’s often missing on much more expensive macro lenses. And, there are scant few niceties – there’s no focus limiter, nor declutching of the focus ring during auto-focus – meaning you have to be careful not to obstruct the ring as spins back and forth.

Elsewhere there are signs of the lens being made to a tight budget, as well. It has a plastic barrel and a polycarbonate mount, which accounts for it weighing next-to-nothing. And it uses a front group to focus, at times you’ll be working just a couple of centimetres from the front element, as the barrel extends 2cm. Lighting subjects at this distance can be tricky as can using the optical viewfinder to compose and focus. However, I suspect this lens has been made for the legions of snappers who’ve become accustomed to using the incredible close focusing abilities of digital compact cameras with the benefit of live view.  When matched with one of the Sony models boasting a titling screen, such as the A550, the DT 30mm would come into its own for low-level close-ups.

For all that, the lens is a good performer optically. At f2.8 there’s some softening and vignetting at the edges but chromatic aberration is very low, disappearing when stopped down. While lacking a hood the front element is exposed, but both flare and ghosting are minimised by some very effective internal baffles and lens coatings. Distortion is very low too, and with a flat field it’s an ideal lens for copying. As for sharpness, the corners aren’t far behind the centre throughout the aperture range and performance at the maximum aperture is good. You’ll need to stop down a way to get the best from it, indeed, you won’t see much of an improvement in image quality till f8. But it’s all there, in reserve, if you need it, and handy if you intend to use the lens as an all-rounder. From f11 you’ll likely notice the gentle fall away in performance, but there’s still good resolving power at f16 to combine additional depth-of-field for macro shots.

But perhaps where it scores so highly is, as a so-called walk-around lens. If you’re a Sony DSLR owner you’ll benefit immediately from the camera’s built-in image stabilisation, plus the natural field of view combined with the macro ability makes the little DT 30mm an essential purchase. While it may have a few shortcomings, it’s an incredibly likeable lens and with a street price of around £130 you won’t ever feel like you’ve been short-changed.

Sony’s 30mm Macro may have a plastic barrel and mount and look unconventional yet it’s image quality and versatility is easily worth its asking price.

Overall Rating 4 / 5

Read the Full Review

Think of a dedicated macro lens and chances are your first thoughts will be of one made by your particular camera-maker. All the big names make a range of focal lengths, usually based on the old 35mm film format with focal lengths of around 50mm, 100mm and 200mm. That’s fine if you have one of the full-frame DSLRs but if you’re selecting the coverage (or angle/field of view) based on one of these ‘classic’ focal lengths for an APS-C size cropped camera, you might just want to consider one of the ‘made for digital’ lenses. Typically these have shorter focal lengths to accommodate the APS-C sensor’s 1.5x-1.6x crop factor, and have been advocated by the independent lens makers especially - they’re usually quick to notice trends and announce new lenses, often well-ahead of the camera maker’s themselves.

The Sigma 70mm f/2.8 EX DG Macro is a good example of this. When paired with an APS-C DSLR it has the same angle/field of view as a ‘classic’ 105mm macro lens. However, it’s not just made for APS-C size digital cameras either, its image circle is large enough to cover a 35mm full-frame SLR, whether that be digital or film. So, the Sigma 70mm f/2.8 Macro is one of the most versatile of its type. As well shooting macro subjects to life size (1:1 magnification) and slightly more with a APS-C sensor, as a short tele, the 105mm equivalent focal length easily doubles as a portrait lens, allowing much tighter crops than a conventional portrait lens.

Sigma’s DG designation indicates they’ve paid particular attention to peripheral illumination, which is critical when using full-frame digital cameras but adds to the size of the barrel and to the cost of manufacturing. The 70mm Macro also boasts a pricey floating focus mechanism, arguably more informatively called close range correction by one rival but the economies of scale from selling the lens to a wide user base means it’s competitively priced. Indeed, the street price is around £375, which is even more surprising given the lens’ terrific optical performance.

Wide open there’s some vignetting but the Sigma is impressively sharp. Close down a stop to f4 and the lens really sings, albeit quite a bit more in the centre than edge. Indeed, with the exception of vignetting, after f4 the performance doesn’t actually improve, instead it declines gently but staying impressively high through to f11. As expected, definition starts to drop by f16 but even then it’s still excellent, with only the effects of diffraction, using the EOS 1Ds Mk III, being noticeable at f22. Thanks to three SLD (Special Low Dispersion) glass elements, chromatic aberration and is so low as to be hardly worth mentioning. And it’s the same story with distortion, it’s not noticeable in every day shooting but there’s a slight trace of pincushion. Sigma’s multi-layer coating is also noteworthy for its suppression of flare and ghosting, being easily on a par with the rival Nano Crystal Coat (NCC) from Nikon and SubWavelength structure Coating (SWC) from Canon.

That’s always a good thing, but it’s particularly relevant with this lens as the front element is quite exposed. A well-designed screw-in type hood is included in the price, which is great for filter use, particularly allowing polarizers, but it’s not particularly deep.

While the lens is quite a bulky affair on a small DSLR with a cropped sensor, such as the Canon EOS 550D, the ergonomics are still very good indeed. Along with the almost rubber–like coated feeling of the matte EX finish, a grip around the middle of the body ensures secure and easy fitting and removal, while the focus ring is both well-placed and smooth in operation. This last point will be of interest to macro-photographers, as AF systems aren’t really suited for ultra-close up use, especially when the subject is off-centre.

At other times autofocus is decidedly useful and the lens is both quick and accurate, if a little noisy in use. Sigma wisely includes a focus limiter operated by a chunky, well-placed switch that sits directly under your left thumb. This speeds up auto-focus operation preventing unnecessary hunting over the whole range, but it’s clever too in that the range is based on the position of the focus ring. When set to ‘Limit’ you can restrict the minimum focus distance to 0.55m for everyday use, or have the lens focus between 0.257-0.5m for macro work. That’s also the case when the lens is in manual focus mode.

If there’s a slight shortcoming to the design of the focus system it’s that the focus-ring doesn’t declutch, meaning it spins back and forth during autofocus, and you can’t switch between the two while it’s still moving. You must wait till it stops and use the AF/M switch. The lens also lacks the more modern IF (Internal Focus) design of rival marques as well as any optical image stabilisation, but if you’re a Sony or Pentax user (from the K10D onwards) the latter point isn’t going to be a concern.

Sigma has an excellent reputation for macro lenses, and yet the 70mm f2.8 EX DG Macro remains something of a hidden gem. While it’s true it lacks some of the more glamorous features of the camera maker’s offerings, if it’s sheer optical performance you value and you don’t want to break the bank, then this lens is a convincing alternative to the usual choices.

The Sigma 70mm f2.8 EX DG Macro is a gem and you don’t have to break the bank for it.

Overall Rating 4 / 5

Read the Full Review

With both tilt and shift movements, as a wider version of the earlier TS 35mm f/2.8 SSC FD, the original Canon TS-E 24mm f/3.5 caused quite a stir when introduced in the early 90’s. But the design was made for 35mm SLRs and with successively higher resolution DSLRs being launched the model was in need of an update.

Canon’s revamping has been substantial. You really only need look at the increase in filter size from 72mm up to 82mm to appreciate it’s a far bigger and, at 780g, far heavier model than the original. Despite the substantial increase in bulk, the maximum aperture remains the same at f3.5. However, much of this is due to the increase in size of the image circle to accommodate the greater tilt and shift movements off axis, now ±8.5 degrees and ±12 degrees respectively.

Just as the earlier model featured a rotating mount, so that the shift or tilt feature could be used in any direction, the new TS-E 24mm Mk II adopts a clever second rotating mount so that the tilt and shift feature can be used on the same axis. On the earlier model, the two were set at right-angles to each other from the factory, which was great for extending depth of field (DOF) in shifted, horizontal panoramas but restricting when to trying to increase DOF while reducing the effects of converging verticals.

With the complex tilt and shift movements, this and previous versions are of course manual focus. But even here Canon has tweaked the new model with a much broader, metal focus ring. Our particular test sample had a peculiar rasping sound during focus and the ring had some slight looseness to it but improvements to the build can be seen elsewhere.

Moreover these enhancements extend to the optical construction, which now adds Ultra-low Dispersion (UD) glass, SubWavelength structure Coating (SWC) to reduce ghosting and a circular nine-bladed aperture for smoother out-of-focus highlights, often referred to as Bokeh.

The earlier iteration included an aspherical element as part of the L-series specification, but the Mk II’s addition of UD glass substantially lowers lateral chromatic aberration where it’s usually most noticeable, right into the corners. Light fall-off, distortion and edge sharpness have all been noticeably improved too, especially wide-open, though sharpness is still behind the centre somewhat at least till f11. Thereafter, incidentally, the centre and edge performance closely matches that of the Mk I.

It’s at the wider apertures though that users will appreciate the dramatic improvement to the optical quality, as, unlikely as it seems, with the lens tilted the TS-E 24mm doesn’t really need to be stopped down much and so can be used handheld. However, technique is everything, so, even with the obvious benefit of Live View, there is quite a learning curve.

Image quality doesn’t suffer unduly when the lens is off axis, at least when kept within reasonable limits, and in any case extreme movements aren’t generally necessary at this focal length. But this lens is so good we really can’t complain about that or the asking price. And, as high as that undoubtedly is, the TS-E24mm f3.5L II isn’t that much more than the original now and is simply worth every penny.

The first of two TS-E lenses with user-selectable tilt and shift axis options comes with a steep learning curve but also improved optical performance over the original

Overall Rating 4 / 5

Read the Full Review

On the face of it, the GXR is a crazy idea. It’s an interchangeable lens camera with the added cost of a sensor built into every lens. But it has enabled Ricoh to produce carefully tailored pairings of lens and sensor, and there are advantages. The body/camera unit combinations are smaller than rival cameras, even Micro Four Thirds models, and the sealed camera units mean no more problems with sensor dust.

Not only that, the lens designers can choose any back-focus distance they like between the lens and the sensor – there’s no need to allow for pre-determined lens mount/sensor distances with complex retro-focus designs.

It’s a shame that the standard 24-72mm camera unit uses a smaller 1/1.7-inch sensor, but Ricoh’s A12 macro unit does not – it boasts an APS-C sized sensor the same size as those in digital SLRs. The question is, can it match a DSLR for quality?

We’d normally leave that verdict to the end, but the answer is a resounding ‘yes’! The A12 camera unit’s images are saturated, aberration-free and beautifully detailed. They rival and even surpass the quality you could expect from a conventional macro lens on a DSLR. There are certain handling and operational differences that we’ll get on to in a moment, but this lens demonstrates that the GXR really is a serious rival to conventional DSLRs and hybrid cameras.

In an attempt to make its lenses’ focal ranges easier to compare, Ricoh is quoting their equivalent focal lengths rather than their actual focal lengths. Otherwise, the different sensor sizes in the different cameras would quickly make things confusing. This lens has a quoted focal length of 50mm on the box, but its actual focal length, as marked on the barrel, is 33mm.

This could upset purists who prefer to stick to exact, real-life focal lengths. And they won’t much like the fact that the maximum reproduction size of this lens is 1:2, where a true macro lens should render things life-size on the sensor.

This lens does let you get very close to your subjects, then, but not quite as close as other macro lenses. It’s also worth pointing out the extraordinary 1cm macro mode on the standard 24-70mm GXR lens, which gives this one a good run for its money.

There are a couple of operational issues with the 50mm macro too. First, it has two focus ranges – normal and macro – and you have to use the macro button on the camera body to allow super-close focusing. Some other macro lenses also have adjustable focus ranges, but these are usually switches on the lens and are a bit more obvious.

The second issue is the autofocus, which isn’t particularly fast at the best of times, but which can fail completely if the detail under the focus point is low in contrast. The lens also has a strange habit of going straight past the focus point but then returning to it at the end of its travel, as if it’s doing a whole focus ‘pass’ before making its mind up. There is a manual focus ring, and it’s both smooth and precise, but the lack of an optical viewfinder does make it quite difficult to judge the focus perfectly, despite the very high resolution of the GXR’s LCD display.

This camera unit does cost £600, but that’s not actually a lot for an own-brand macro lens, despite the fact that this one also includes a sensor. And while the Ricoh 50mm does have some focusing issues, the results it produces are quite superb. If there was every any doubt about the Ricoh GXR’s quality potential, this lens should dispel it for good.

The clumsy focusing can make some close-up shots quite hard work, but the results produced by this camera unit are excellent even by D-SLR standards, with real depth and saturation, very high resolution and minimal aberrations.

Overall Rating 4 / 5

Read the Full Review

This is not Nikon’s first ultra-wide FX zoom. When the full-frame D3 body was launched Nikon also introduced the spectacular 14-24mm f2.8, a lens so good that this 16-35mm actually has quite a tough act to follow.

Perhaps the biggest problem with the existing 14-24mm, though is its cost. With a list price of over £1500, it’s a serious investment. It’s also a big, ungainly lens, and unlike this new model, it doesn’t have VR.

On paper, then, the new 16-35mm is an attractive alternative. It’s cheaper and lighter, and although the maximum aperture is lower at f4 versus f2.8, the Vibration Reduction system should make up for that. Perhaps its biggest advantage, is its focal length range. It doesn’t go quite as wide as the 14-24mm, but with a maximum focal length of 35mm, it’s just that little bit more versatile as a ‘walk around’ lens.

But all these advantages are relative. With a length of 125mm and a weight of 685g, this is still a big lens. It has the characteristic ‘trumpet’ shape of Nikon’s latest FX zooms: long and fat at the front and narrower where it fixes to the body. The extra length means that there’s plenty of space for the zoom and focus rings, though, so if you don’t mind the bulk you’ll find this an easy lens to handle.

Zooming and focusing are both internal. This means the length doesn’t change as you zoom and there are no extending barrels. Filters won’t rotate as you focus, either, though the lens’s extreme viewing angle means you’ll need to use a super-wideangle filter mount. It beats the 14-24mm, though, which has a permanent lens hood and wildly convex front element that defeats conventional filter systems altogether.

When you add this to the VR system, you’ve got a lens which doesn’t necessarily match the extreme performance of the older 14-24mm, but which could prove more practical in everyday use.

It’s still not cheap, but in this territory optical quality does cost a lot of money. You could look at Sigma’s rather amazing 12-24mm lens, which isn’t much more than half the price and goes wider than either of Nikon’s ultra-wideangles. It’s a few years old now, though, and unproven on the latest generation of full-frame DSLRs. Or you could take a look at Nikon’s older 18-35mm zoom, which sells for around £500 and is much smaller and lighter, though its design dates back to Nikon’s film cameras when know-how and expectations were lower.

The 16-35mm is not as ‘extreme’ as Nikon’s 14-24mm, but it is cheaper and rather more practical for everyday use.

Overall Rating 4 / 5

Read the Full Review

Canon’s L-series lenses are designed to the highest professional standards and have a reputation for optical quality. Not surprisingly, this means they’re more expensive, and at a whisker over £1000 this Canon 100mm macro lens costs £400 more than the standard non-L-series 100mm macro and £650 more than Canon’s 50mm macro. In other words, it had better be good!

Canon’s revamping the cosmetic appearance of its L-series lenses, replacing the glossy black coating with a more sober matt finish. Opinions might vary about whether the new finish looks or feels better than the old one, but this lens does feel pretty well put together. It’s a big lens, even for a 100mm prime, and at 625g it’s quite a weight, too. It’s not really an issue, since Canon’s full-frame cameras are pretty weighty in themselves, and much of the time macro shots are going to be taken on a tripod anyway.

Not that it’s strictly necessary with this one. For the first time, Canon’s incorporated Image Stabilization in one of its macro lenses, and this should help cut camera shake considerably. It’s not the sole solution, though. The bigger problem with handheld macro shots is that the shallow depth of field means the subject drifts in and out of focus however firm your stance, and Image Stabilization can’t do anything about this.

The autofocus is smooth and quiet, as it always is with Canon’s USM lenses, though the extra-long focus travel of a macro lens means it can take longer than usual. In fact, Canon offers three focus ranges selected via a switch on the lens barrel: full, 0.5m-infinity and 0.3-0.5m. It should speed things up when you’re working over a specific distance range but there’s also the danger of forgetting or leaving it on the wrong setting and wondering why it’s not working.

The manual focus action is smooth, and it’s not too highly geared, so it’s possible to make large but precise focus adjustments quickly. But while there is a distance scale, there are no depth-of-field markings, which is a bit of a surprise. These aren’t practical on a zoom, but on a prime lens used in conditions where depth of field needs to be precisely controlled, there seems no reason not to have them.

But there’s no faulting the Canon’s optical quality. In fact, we had to extend the vertical axis on the resolution chart to accommodate its peak resolution figures. Topping out at just below 3000 line widths/picture height, this lens can only enhance the reputation of Canon’s L-series lenses.

It’s extremely sharp both at the centre and the edge of the frame, and even wide open at f2.8, though it won’t always be easy to achieve these results in practice. The shallow depth of field at these distances means that comparatively little of the subject will be exactly on the plane of focus, and if you stop right down to maximise the depth of field, you risk losing definition to diffraction effects, shown in the chart as a dramatic drop in resolution beyond f16. That’s a bit of a disappointment since you’ll often want to use very small apertures to get as much depth of field as possible.

The Canon 100mm f2.8L Macro is an exceptionally sharp lens, but there are a couple of caveats. First, it’s twice the price of an independent lens like Tamron’s 90mm f2.8 Macro and a lot more than other Canon macros. Second, the lack of depth of field markings and the drop-off in performance at small apertures does limit its effective aperture range. It’s good, very good, but it’s not perfect.

This is an exceptionally sharp macro lens but with a price tag to match. It’s the first Canon macro lens to incorporate image stabilisation, though with macro photography depth of field is likely to cause more problems than camera shake.

Overall Rating 5 / 5

Read the Full Review

Panasonic’s micro four thirds cameras are very good, but with any interchangeable lens system, the bodies are only half the equation – they also need extensive, good-quality lens systems to back them up. And that’s just what Panasonic is trying to do here, introducing a fixed focal length macro lens to broaden the appeal of its cameras.

This one has a focal length of 45mm, and because this is micro four thirds, the equivalent focal length is easy to work out, thanks to the 2x focal factor. What you’re getting, then, is effectively a 90mm f2.8 which, as well as shooting close-ups, can also double as a portrait lens or short telephoto.

Panasonic’s premium lenses, like this one, are produced in conjunction with Leica, which bumps up the price but also gives an indication of the level of optical quality you should expect. And this lens certainly delivers here. Admittedly, the performance at f2.8 is just a little below par with some edge softening and vignetting, but from f4 on it delivers crisp, clear pictures with barely any distortion or chromatic aberration. It’s almost as sharp at the edges as it is at the centre, and the definition holds up right down to f11. At f16 and f22, diffraction effects set in, so while small apertures like these will give you more depth of field, they will also yield somewhat reduced outright definition. Indeed, f22 is probably best kept for emergencies, and if you do use it you will probably have to apply some sharpening later on for a bit more ‘bite’.

Optically, this lens is excellent, but the design and handling are slightly less impressive. For whatever reason, Panasonic hasn’t included a distance scale on the focus ring, and while this might not matter much with ordinary lenses in everyday use – most of us have come to rely on the autofocus anyway – it’s more of an issue here. Many macro photographers prefer to focus manually because it’s quicker (many autofocus systems can get ‘lost’ with really big focus shifts – including this one), and because you often need to focus manually ‘between’ key points to manage the depth of field properly and get them both sharp. Without any distance markings, though, you don’t know how far to turn the focus ring, or even which direction to turn it in.

That’s the difference between this lens and ‘classic’ macro lenses – it delivers excellent results, but doesn’t really have the hands-on focus control that this very specialised area of photography needs.

You can speed up the autofocus by restricting the minimum focus range to 0.5m, and this could prove ideal for portraiture and other longer-range photography as long as you don’t forget to reset the switch for close-ups, or you could waste a lot of time wondering why the lens won’t focus.

The focusing restrictions aren’t the only problem. It doesn’t feel like you’re getting an awful lot of lens for your money, either – at least not externally. The finish feels no better than that of the standard 14-45mm kit lens you get with Panasonic’s micro four thirds cameras. This, and the minimal controls could leave you feeling slightly short-changed. After all, Sigma’s 50mm f2.8 Macro costs less than half the price of this one and works just as well. The trouble is that you can’t get it (or any other independent lenses) in the micro four thirds mount. The Panasonic’s price is at least partly explained by its complex optical construction. It uses 14 elements in ten groups, which seems an awful lot for a fixed focal length lens (the Sigma uses ten elements in nine groups). It’s worth noting that the front element isn’t recessed at all, which does make this lens a bit more prone to flare, so it’s a good idea to fit the lens hood that comes with it as a matter of routine.

This lens does have a notable plus point, though, in the form of Panasonic’s Mega OIS image stabilisation system. Subject blur is a common problem with handheld macro shots, often because you’re shooting in poor light at marginal shutter speeds, or because you’re having to use a small lens aperture to get sufficient depth of field. All the same, it’s unwise to rely on image stabilisation alone. Unsharpness in close-ups is often caused by slight fore-and-aft movements, which send the subject in and out of focus. You often can’t help swaying slightly on your feet as you press the shutter release, and you may not even notice. Image stabilisation can’t help with this, which is one reason why a tripod is really a must for serious close-up work.

It’s great to see Panasonic beefing up its micro four thirds system with new lenses, but this one seems just
a bit pricey, regardless of its performance. If it was designed to fit pro-spec cameras it might be a different story, but as things stand its price seems out of step with the relatively modest cost of the four thirds cameras themselves.

The Panasonic 45mm f2.8 Macro delivers very good results, but that price tag is asking a lot

Overall Rating 3 / 5

Read the Full Review

The kit lenses you get with digital SLRs aren’t generally that good. They might be sharp enough, but their specifications and handling leave something to be desired. The Tamron 17-50mm f2.8 could be the answer, offering a significant step up in features, versatility and, perhaps, performance.

It’s a direct replacement for the 18-55mm kit lenses you typically get with an SLR, but this one has two big bonuses: a constant maximum aperture and Tamron’s VC (Vibration Control) anti-shake system.

It’s one of Tamron’s ‘Di II’ lenses, which are designed specifically for the APS-C sized sensors of digital SLRs. It can’t be used on a full-frame D-SLR or 35mm film camera. For this you need to be looking at Tamron’s ‘Di’ (‘digitally integrated’) range instead.

The f2.8 constant maximum aperture will be a big selling point for keen photographers. It makes this lens around half a stop faster than the average kit zoom at its minimum focal length and a massive two stops faster at full zoom. The wider apertures mean you can shoot in lower light levels without risking camera shake, and you don’t have to keep adapting to different maximum apertures at different zoom settings. This is especially useful if you like to shoot in manual exposure mode, where you’ll often find yourself taking a light reading and then weighing up different shutter speed/aperture combinations.

Tamron’s Vibration Control system adds to this lens’s low-light capabilities. It detects any camera movement during the exposure and counteracts it by instantly moving a floating element within the lens to compensate. It works in three axes to counter all kinds of shake and movement, and in the test shots taken for this review it gave sharp images at shutter speeds 2-3 stops slower than normal. The VC system kicks in when you half-press the shutter release, and you can hear the motors whirring quietly in the background as you frame the picture.

Despite the inclusion of the Vibration Control mechanism, this lens is only a little longer and heavier than its non-stabilised predecessor. That’s no mean achievement, given the size of the internal elements needed in an f2.8 constant aperture zoom.
There are 19 of these elements, arranged in 14 groups, which is a fairly complex design that inevitably makes this lens heavier than your average kit zoom. Compared to the constant-aperture 17-55mm zooms from Canon and Nikon, though, the Tamron is pretty compact. (It’s also around half the price.)

The zoom action is moderately heavy but there are no sticking points anywhere and only a single barrel extension, which feels pretty firm. There is a zoom lock on the lens barrel, but you’d probably end up using this just for storage and transit, since there’s no tendency towards zoom creep in everyday use. The internal focusing system means that the front element doesn’t rotate, so it’s fine for filters.

Focusing could be the weak point, if there is one. There’s no full-time manual override, so you’ll need to use the AF/MF switch on the side to override the camera. There is a distance scale on the manual focus ring, which has a very smooth and light action, though the focus travel is quite short.

Tamron has incorporated autofocus motors into this lens, which means that you don’t have to rely on the motor in the camera body. Just as well if you own one of Nikon’s cheaper, smaller camera bodies because these dispense with the AF motor altogether. The autofocus is pretty snappy, though it’s not quite as fast or as quiet as Canon’s USM or Nikon’s SWM lenses. These things are relative, of course, and to put it in perspective most Pentax and Sony lenses are a good deal noisier.

Overall, the Tamron’s finish and handling are very good. It’s a lot cheaper than comparable lenses from Canon and Nikon, but it doesn’t feel it. But will the price difference become apparent in the picture quality?

Not really. The Tamron does suffer from fairly heavy barrel distortion at the wideangle end of the zoom range, and it has to be stopped down to f4 or f5.6 to deliver its true sharpness, but this is pretty normal with constant-aperture zooms and the results from our tests were really very good. Interestingly, the test charts show it to be sharpest in the middle of the zoom range, and it also holds up well at maximum focal length, which is where most zooms tend to deteriorate.

If you have invested heavily in good Canon or Nikon systems it’s easy to see why you might prefer to stick with your camera maker’s own lenses, but for those on a tight budget the Tamron 17-50mm is an excellent alternative, providing similar levels of performance at a much lower price.
 

It’s not all about zoom range. A constant-aperture zoom like this one will open up your photography in other ways, and the Tamron gives you a lot for your money.

Overall Rating 4 / 5

Read the Full Review