WD200711ZA-sm.pdf

Lensbaby 3G
$270 • lensbabies.com
The 3G doesn’t like sharp objects,
and that’s the point: It selectively
highlights part of an image and blurs
the rest. Squeeze the accordion-like
lens body to set the focus, then
guide that point to any part of the
frame by bending the lens. A built-in
locking mechanism holds the position
for fine-tuning or multiple
exposures. Fits Canon, Nikon, Olympus,
Pentax, Samsung, and others.
EDITORS’
PICK
Sigma 18–200 mm
F/3.5-6.3 DC OS
$820 • sigmaphoto.com
No more fumbling for the right
lens—this versatile barrel handles
everything from wide-angle family
reunions to end-zone catches. When
the lens is zoomed to telephoto, an
optical image stabilizer keeps the
camera steady and assists with long
exposures. Fits Canon and Nikon.
Tamron SP AF
11–18 mm F/4.5-
5.6 Di II LD
$569 • tamron.com
On a 35-mm camera, this ultrawide
lens would create a fisheye-like
effect, but it’s nearly distortion-free
on DSLRs. Perfect for shooting parties
in your tiny apartment without
having to climb out on the fire
escape. Note: Large-diameter end
can cause built-in flash to cast a
shadow on close shots. Fits Canon,
Nikon, and Sony.
Digicams
Burning Question
HowDoIPick
aLensfor
MyDSLR?
In the continuous race for more megapixels, there will never be
a winner. Fantastic optics are what you want for a shooting marathon.
The great thing about a DSLR is that you’re not stuck with just one lens but
can choose the right glass for any situation.
Which lens to buy depends on the lens mount your camera uses. There are
several different connectors, and they’re specific to each maker. The Canon
EF mount, Nikon F mount (also used by current Fuji DSLRs), Pentax K mount,
Sigma SA mount, and Minolta AF mount (used by Sony) are all physically and
electronically incompatible with each other. Leica, Panasonic, and Olympus
use the Four Thirds system for a more universal approach.
You can often save a chunk of change by buying a nondigital lens: Oldschool
SLR lenses generally function just fine on DSLR cameras as long as
the mounts match up. Make sure the lens you want will work on your camera before
spending money, however. Small alterations to DSLR bodies may leave an SLR lens with
autofocus problems and other difficulties. Check your camera manual or ask the manufacturer,
and test the lens with your camera in the store to avoid trouble later on.
Next, take into account the magnification factor. The image sensors on most DSLRs
are smaller than a 35-mm negative. Because lens measurements are based on the 35-mm
standard, all the numbers on the side of your lens may be misleading. For example, a
lens labeled “18-mm ultrawide” could be the equivalent of a 29-mm lens when mounted
on a digital camera. As a rule of thumb, multiply the 35-mm zoom measurement by a
factor between 1.5 and 2, depending on the type of camera, to estimate the measurement
for your digital camera.
Almost everyone except specialty shooters (like bee portraitists, say) will want a
medium-distance lens for general shooting, sometimes called a standard lens. Most
starter lenses included with DSLR kits are in this range. If your body came naked, pick
a lens that zooms between 28 mm and 70 mm (after considering the magnification factor)
for versatility. For indoor shots, stay wider—that means lower—than 40 mm.
Finally, consider the aperture range that works best for you. Aperture, measured by
f-stop ratings, describes how much light passes through the lens. Smaller numbers—
f/2.8 compared with f /8, say—connote bigger openings. A lens with a lower aperture
number can compensate for darker indoor shots, like at a concert, because the aperture
lets in more light. A high aperture, like f/22, requires brighter light. Aperture settings
also affect depth of field, or how much of an image is in focus. Ultralow apertures such
as f/1.4 might not keep both a subject’s nose and eyes sharp, while higher apertures can
render both foreground flowers and distant trees with equal crispness. —z.s.
WIRED TEST
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