Photography Gear Reviews

Canon 17-40mm f4L USM Lens Review

Why you should still consider the Canon 17-40mm f4L.

The Canon 17-40mm f/4L has been around for a while now but it is still worth considering for many photographers. There are better lenses out there but this is no slouch and given the incredible value now offered by this lens it is well worth another look.

Who is the Canon 17-40mm f/4L for? Arguably everyone shooting with a DSLR today has use for a focal range like this.

We talk about sensor crop factor so often in modern day photography. The majority of the time it makes very little difference. If people spent more time focusing on the progression of their skills and less time worrying about their gear we would all be better off. At the wide end of the scale though, crop factor is an issue and this is particularly true with the Canon 17-40mm f/4L. However this turns out to be one of it’s biggest strengths.

Attached to a cropped sensor camera the lens has a 35mm equivalent range of 27-64mm. This is a perfect range for so many types of photography and will act as a very good general purpose lens. It is also very similar to the classic 24-70mm on a full frame camera. On the wide end it is probably not wide enough for all your landscape needs so coupling it with a 10-22 would be a very good option.

Image quality is a significant step up from the kit lens with good sharpness across the frame. The low light performance is limited due the the constant f/4 aperture but a boost in ISO will still make it useable and it is still better than the f/5.6 kit lens.

Most DSLR photographers are looking to upgrade to a full frame camera at some point in their photography journey. If you owned this lens at the point of upgrade it would then turn into very good landscape lens. The lens works on both cropped and full framed cameras. I have now used this lens as my main landscape lens for many years and it is very well suited to that purpose.

The focal range is perfect for so many landscape situations and the quality is a very reasonable and rarely have I wished I had more. In landscape photography the quality of your image will depend on your location, your composition and your light, much more than the having the best lens attached to your camera.

Despite this, the image quality does fade to the edge of the frame when shooting at 20mm and below. It softens slightly and there is some relatively severe distortion, although this is common for a wide zoom like this. You will probably want to keep people out of the edges at 17mm or they will end up looking very warped. With landscapes this is not too much of a problem but is worth being aware of when composing your shot.

The lens is well made and has a quiet USM motor. The lens is weather sealed although only once a filter is attached to the front threads. The front element moves inside the barrel when you zoom so allows water to creep in if no filter is attached. The filter threads are attached to the outside of the barrel though and do not move or rotate making it ideal for attaching a circular Polariser. The filter thread is 77mm matching many other lenses meaning you may not have to reinvest in filters. This is especially true if upgrading from the 10-22 lens. The lens is also relatively light at 500g meaning carrying it out to hard to reach landscapes is not an arduous task.

The lens has 12 elements in 9 groups, it has 7 aperture blades, a minimum aperture of f/22 and focuses nice and close at 28cm. This means you can get nice and close to your subject and get some really interesting wide angle shots.

There is a small amount of Chromatic Aberration but this very effectively removed in Lightroom particular in landscapes where the majority of your image will be in sharp focus.

In the process of buying and researching this lens it is likely going to be compared to both the Canon 16-35mm mkii f/2.8 and the Canon 16-35mm f/4 IS. Both these lenses offer better image quality and versatility than the 17-40mm. They are, however, both more than double the cost of the Canon 17-40mm f/4L leading to a questionable return on that extra investment. It would really come down to a decision about what you want to use the lens for. For example, if you plan to shoot a lot of video then the 16-35mm f/4 is going to be worth it, thanks to the stabilisation. If low light ability is key then the 16-35mm f/2.8 may be the one to go for. If it is purely for landscapes then the Canon 17-40mm f/4L wins hands down. The quality difference does not justify a doubling of the price. Once a landscape image is printed you would really struggle to tell the difference between these three lenses.

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As mentioned earlier the cost of this lens is now it's big selling point. It is now more affordable than ever. Under $500 in the US and around £350, when bought second hand, this is the cheapest Canon L lens currently available. That represents incredible value for money considering everything the lens offers, especially when it comes to landscapes. The lens has been capturing beautiful photographs for many years and will continue to do so despite newer and more expensive models being available.

I can recommend the Canon 17-40mm f/4L to anyone, but particularly those looking for a big bang for their buck and a lens that will transition well from a cropped sensor camera to a full frame one.

Buy in the UK - Canon EF 17-40 mm

Buy in the US - Canon EF 17-40mm

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My Photo Editing Setup

What device are in my photo editing setup?

In a recent video I mentioned that I had invested in a new 4k monitor. I promised to make a video covering my photo editing setup, so here it is.

I have been using a 27 inch iMac for a number of years and have been very happy with it. However it started to feel a little sluggish despite a couple of DIY upgrades over the years. Once i started making videos I invested in the Apple MacBook Pro 15inch with the 2GB graphics card. I quickly realised this was packing more punch than my iMac. Running two machines is also still problematic when working with Abobe Lightroom as there is currently no way to easily sync a catalogue. This for me is a big downside of the Adobe Lightroom workflow.

I decided two things. Firstly I want a seamless workflow where all my current live files and work is in one place and secondly, I need to upgrade to 4K.

Having done some research I was happy to see that my Macbook Pro was capable of driving 4K screen at 60hz. This was perfect but I wanted ease of use where there was no time wasting plugging and unplugging cables.

Enter the OWC Thunderbolt 2 Dock. The OWC Thunderbolt 2 Dock allows me to connect all my different devices to the laptop by plugging in just one Thunderbolt cable. It is the perfect solution to ensure I can be mobile again very quickly and plug back in when I want full workstation functionality.

The monitor I went for in my photo editing setup was a reasonably priced Asus 4k monitor. Specifically the Asus PB279Q 27-Inch 4k. I have been really pleased with the quality of the Asus PB279Q 27-Inch 4k so far although I feel a longer period of testing and is required.

I have written before about how I love music. I honestly do not think I could have been a photographer without music. If I am editing photos then I am listening to music. I am also bit of an Audiophile so I see value for money in having good audio gear. The Sennheiser HD650 headphones and Graham Slee Solo headphone amp take care of this along with the Bose Soundlink Mini for when I want to go mobile or avoid wearing headphones.

The Mac mini server setup, with attached HDD’s, gives me all the storage space I need (a lot for videos) and keeps everything organised and in one place.

I am very pleased with how my current setup is working and most importantly the investment has seen a great improvement in my productivity.

If you are looking to purchase any of the items included in the setup then please support me by using the affiliate links below.

Hardware:

Asus PB279Q 27-Inch 4k - UK | US
OWC Thunderbolt 2 Dock - UK | US
Bose Soundlink Mini - UK | US
Graham Slee Solo - UK | US
Sennheiser HD650 - UK | US
Airport Extreme - UK | US

Software:

Adobe Lightroom and Photoshop - To get a free trial and try them for yourself click here.

Other items include the:

Macbook Pro 15 Inch
Focusrite Saffire Pro 24
iPhone 6S
Cambridge Audio DacMagic

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Canon 400mm f5.6L Lens Review

Could the Canon 400mm f5.6L be the best lens for wildlife photography?

In this video we review the Canon 400mm f5.6L and decide if it is the best lens for wildlife photography.

What is a lens like the Canon 400mm f5.6L for? It's a long lens that is going to find its natural use with wildlife photography and sports. It is for times when you want to get closer to your subject when you are physically not able to get any closer.

This lens has been around for a long time but it continues to be a great lens and demand attention and it is easy to see why. The price is now also extremely competitive for a lens like this.

When deciding which long lens to buy, it is important to think about what you are going to be shooting and where. Currently there is no perfect long lens. If top image quality is your main priority, you are going to be looking at an extremely expensive piece of glass that is very large and heavy. This is generally fine for sports. You find a good spot, setup a tripod or monopod and then the action happens around you enabling you to capture it.

With wildlife though, most of us are not high end wildlife videographers and we just want to capture nice shots. It is therefore about finding the right balance between quality, size, cost and whether you can hand hold it.

For me, the Canon 400mm f5.6L lens gets that balance bang on. Let me tell you why.

Firstly, the weight of this lens makes it portable enough to carry pretty much anywhere. At under 2kg almost any adult can handhold this lens for a decent length of time. For me this is vital, especially if you want to shoot birds in flight. On my recent trip to Scotland we went to shoot the sea eagles on the Isle of Skye. We were on a boat that was swaying about and there would have been no way I could have captured the same images using a bigger lens on a tripod or monopod. I also just prefer the versatility of handholding and being able to swing around in a different direction at a moments notice.

Secondly. The image quality. The lens is a prime lens with the quality to match. It's nice and sharp and chromatic aberration is well handled. There are, however, better lenses out there in terms of image quality. The 500mm f/4 mkii is about as good as it gets but the cost of this is astronomical and equal to a small country.

Thirdly is the cost. At around £900 in the UK and $1200 US for a new one it is cheaper than many other lenses, especially Canon L lenses. It is an older lens though so there are many examples out there. Second hand you can pick up a good one for under £700. If you do buy second hand be sure to check the serial number to establish the age of the lens as this could effect the cost further.

Next up the auto-focus of this lens is nice and fast. Again, it is not as good as the higher end lenses but is better than other lenses in a similar range, such as the Canon EF 300mm f/4.0L IS. The focus of the Canon 400mm f5.6L is accurate and generally locks on well.

The Canon 400mm f5.6L lens is not perfect however. Although the f/5.6 aperture allows canon to keep the weight down, it is not the best low light performer. To capture birds in flight and other wildlife you generally want a nice fast shutter speed to freeze the action so a bigger aperture can be a great help in keeping your ISO and noise down. However as time moves on cameras are becoming better and better in low light so you can safely increase your ISO without introducing a massive amount of noise. Effectively this mean this lens just keeps getting better and better.

The lens also does not have image stabilisation. At first thought this may seem a big loss but for me, because I am working most of the time with high shutter speeds, the IS really wouldn't have any effect other than helping me a bit when tracking a subject. The shutter speed alone will freeze all the movement.

The closest focal distance of this lens is also quite large so if you get too close to your subject the lens won't focus. At 3.5 meters you will not get much use out of the lens indoors although the lens clearly is not designed for that.

The lens can be used with full frame and Aps-c cropped sensor cameras. Used on a cropped sensor camera you get an effective focal length of 640mm. This is nice but is certainly not something I ever worry about. I have achieved good quality images with both a full frame camera and a cropped sensor. Also the Canon 400mm f5.6L is not ideal when used in conjunction with a tele-converter. Adding the 1.4x teleconverter will push the maximum aperture up to f/8 which would reduce auto-focusing capability to the 1Dx, 5Dmkiii and the 7Dmkii. You would also need some seriously bright conditions or high ISO’s to get well exposed shots at f/8. In both scenarios better images will always be captured by getting just a few feet closer to your subject.

Overall the Canon 400mm f5.6L is an amazing lens for wildlife photography. The balance between cost and image quality is just about perfect. With the ability to carry all day and hand hold comfortably, this lens is perfect for wildlife photography and still deserves serious attention after all these years. This is without doubt high up, if not top, of the rankings for ‘best lens for wildlife photography’

Buy now Canon EF 400mm f/5.6 L - in the UK

Buy now Canon EF 400mm f/5.6L - in the US

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Several images from the post and video were contributed by Lyle McCalmont, a very talented wildlife photographer from the North of England. Check him out on Flickr.

Canon EF 50mm f/1.8 STM Review

In this video review we take a look at the Canon EF 50mm f/1.8 STM.

Buying photography gear can be an expensive pursuit and this is particularly the case when it comes to lenses. When first looking at the price of lenses it can be a shocking experience. Even when using one of my favourite lenses, the Canon EF 500mm f4 L IS II USM, I am still astounded when reminding myself it costs £7000. Thankfully there are lenses out there that cost less than cars. The Canon EF 50mm f/1.8 STM is one such lens.

See my related video on why you should invest in your photography. https://www.firstmanphotography.com/blog/why-you-should-invest-in-your-photography

Budding photographers often ask me what lens they should buy when upgrading from the kit lens. My answer is almost always, a 50mm prime lens. Canon’s cheapest lens fits into this category so how does this ‘new’ cheapest lens shape up?

The Canon EF 50mm f/1.8 STM has always been an excellent upgrade from the kit lens, introducing photographers to prime lenses and the joy of extreme blurred backgrounds at a very reasonable price. It also teaches new skills, such as being more thoughtful about composition; when zooming is limited to what you can do with your feet. Shooting with bigger apertures also introduces bigger challenges when it comes to focusing due to the small depth of field where less than a millimetre of movement can be the difference between a great shot and an unusable shot.

The Canon EF 50mm f/1.8 STM Lens is an improvement on the previous version. The old lens had a cheap plastic construction and mount. The newer lens is still made from plastic, albeit a better plastic, but the mount is now of metal construction offering a more solid feel. Other improvements include the aperture blades; where the old lens had five, the new version has seven curved blades offering better bokeh. The bokeh is however a bit rough and does not have the creamy properties of more expensive lenses.

The focus system also receives an upgrade to STM. This is an improvement over the standard focus motor but is still quite noisy. The lens focuses very quickly though and without hesitation providing the kind of assurance normally reserved for much higher end lenses. Even when working with a very shallow depth of field at f/1.8, the focus rarely missed. The focus system is ‘focus by wire’ meaning the camera needs to be powered on in order for the lens to adjust focus, even in manual focus.

STM lenses operate well in live view mode and this often makes them great for video. Sadly this is not the case here due to the noise of the motor. Often this problem can be solved by manual focusing but because the motor operates in this mode as well, your only option is to move your sound recording off the camera. Whilst this step will improve your videos generally, it becomes more difficult and there is also the associated cost of buying microphones and sound recorders. The lens is also lacking image stabilisation which is not an issue for stills but is a must for any kind of decent video work.

Chromatic Aberration is present in areas of high contrast but is no worse than on the more expensive f/1.4 non L version of the Canon 50mm. Stop down a bit and this becomes better controlled.

In terms of sharpness this lens is offers improvements over the kit lens and other more expensive zoom lenses but is not at the level of more expensive primes lenses. Be happy with the sharpness. For the cost, you can't complain.

Overall the Canon EF 50mm f/1.8 STM lens is an improvement over the previous incarnation. There are some weaknesses along the way and there is a little point upgrading if you already own a 50mm 1.8. However the value and the opportunities it opens up make this lens a superb option to photographers upgrading from the kit lens. This will no doubt ensure this becomes Canon's new best selling lens.

Buy now Canon EF 50 mm 1.8 STM Lens - in the UK

But now Canon EF 50mm f/1.8 STM Lens - in the US

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Canon EF 100mm f/2.8L Macro IS USM Review

In this video review we take a look at the Canon EF 100mm f/2.8L Macro IS USM

Macro. This fascinating field of photography grips most photographers at some point in their careers and often never lets go. Magnifying the miniature and blowing it up into a super large print is an addictive pursuit and often wows people with the rarely seen results. However, there is more to owning a macro lens than just running around the house and shooting everything small you can find. This Canon EF 100mm f/2.8L Macro IS USM is a pro piece of glass and can be used for much much more.

Getting your hands on the Canon EF 100mm f/2.8L Macro IS USM, the first thing you notice (after that red ring of course) is the lens is relatively light. Although constructed from a plastic housing the lens still maintains a quality feel and the metal mount and water resistant rubber seal ensures the Canon EF 100mm f/2.8L Macro IS USM is safe and secure on your camera. This lens has all the usual Canon L quality and at 100mm distortion and vignetting is minimal even when shot wide open. Chromatic aberration is virtually non-existent thanks to the UD glass element.

The Canon EF 100mm f/2.8L Macro IS USM compares directly with the cheaper 100mm Canon Macro non L lens and you may be wondering why it is worth paying the extra for this, especially when the non L version is such a good lens anyway. The answer, apart from the slightly better build quality, is the Hybrid IS system. This system compensates for the usual angular movement but also for shift movement too. This is important for macro shots when you are getting in close and even the smallest movement will ruin your shot. It means shooting macro shots handheld becomes easier and your number of useable shots will increase. The stabilisation provides 2 stops at 1.0x magnification, 3 stops at 0.5x and 4 stops in normal shooting conditions.

graham slee solo and sennheiser hd650 headphones

The Canon EF 100mm f/2.8L Macro IS USM can be used for a lot more than close ups of flowers and bugs. The lens is such high quality that it is perfectly suited to studio work when shooting still life or product photography. I use the lens regularly for my water drop photographs and it is the perfect in this role.

If you want to shoot these water drop images for yourself check out this video tutorial - https://www.firstmanphotography.com/tutorials/water-drop-photography

The lens also doubles as a good portrait lens. The 100mm is an excellent portrait range on a full frame. At 160mm equivalent on a cropped sensor camera it is a bit longer but is still a useful portrait range. The IS works well for portraits and provides an added bonus in low light situations.

Overall the Canon EF 100mm f/2.8L Macro IS USM offers excellent value, especially given the cost, due to the versatility that it provides. If you are looking at the non L version my advice would be to save up the extra pennies and buy this lens. With a 5 out of 5 joy factor, you will not be sorry.

Purchase in the UK - Canon EF 100mm f2.8L Macro IS USM Lens

Purchase in the US - Canon EF 100mm f/2.8L IS USM Macro Lens

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Tamron 24-70 mm F2.8 VC USD Review

In this video review we take at look at the Tamron 24-70 mm F2.8 VC USD.

If you are looking at the Tamron 24-70 lens you are probably in the market for a 24-70mm lens. The 24-70mm zoom range is probably suited to more situations than any other range and forms part of the holy trinity of zoom lens with the 70-200mm and a lens on the wider end like the 16-35 Canon or the 14-24 Nikon. Living in the bag of most pro photographers this focal range is perfect for weddings, portraits, street photography, some landscapes and much more. The question is whether this offering of a Tamron 24-70 mm is enough to pull you away from the Canon or Nikon equivalents.

Living on a full frame camera this lens will offer the versatile range described above. On a cropped sensor camera however things get a big longer. The 35mm equivalent is 38-112 which is still useful but some of the wide areas are lost meaning, for example, the wedding group shot or some landscapes will be more difficult.

This lens has a f/2.8 aperture throughout the zoom range making it good for low light and matches that offered from Canon and Nikon. The USD (Ultra Silent Drive) means silent focusing and it does this well and without delay. The rubber ring around the lens mount ensures this is weather sealed and it has performed well in this area during the time I have used it.

The quality of this lens is very high and it takes professional grade images. Even in comparison to the most recent Nikon and Canon lenses this still holds up as a great shooter. There is some loss of sharpeners to the edges of the frame on a full frame camera and there are a couple of issues with flare at the long end. These are minor issues though and will not be noticed in everyday shooting.

This lens is optically not as good as the Canon and Nikon and if that is the most important thing to you then you should opt for one of them. However let me provide two good reasons why you should buy this Tamron 24-70.

Firstly, value. This lens is currently half the price of the Canon and Nikon equivalent at £679 in the UK and slightly closer to them at $1200 in the US. For glass that is almost as good, this is amazing value. The Tamron 24-70 has a secret weapon up its sleeve though - image stabilisation. No other 24-70 f/2.8 has image stabilisation leaving the Tamron 24-70 out on its own in terms of versatility. Although not totally necessary for still shots the image stabilisation makes this lens a must have for photographers shooting video. The stabilisation makes shooting video handheld a real joy and combined with some stabilisation in post (warp stabiliser) this lens can produce video that looks like is was shot with a very expensive rig.

With all this in mind the lens deserves some serious attention and if you are already looking at this lens then it is likely the price tag has already attracted you. Given the excellent images this creates and the ability to shoot high quality video with just one lens, this will certainly be sitting on many cameras where previously a Canon and Nikon lens would have ruled.

Tamron 24-70 mm F2.8 VC USD Lens for Canon and Nikon- Buy in the UK

Tamron SP 24-70mm Di VC USD Canon and Nikon - Buy in the US

iPhone 6S Unboxing and Review

A first look at the new iPhone 6s

In this video review we are unboxing the new iPhone 6s that was released today and having a quick look at some of the new key features.

The new iPhone 6s is very similar in form factor to the previous version, the iPhone 6, as is normal with the S iteration of iPhones.

The big new feature of the iPhone 6s is 3D Touch. This uses force sensors to figure out how much pressure you are applying to your touch and uses this for new contextual menus. When you press once on the screen you can preview or 'peek' at things in a list, such as, emails or iMessages. Then press harder again and the message will 'pop' into the screen. It is actually a very useful feature and feels incredibly natural to do.

We also play around with the new 'Live Photos’ feature of the iPhone 6s which look like they could be good fun.

The iPhone 6s also features two new cameras. A 5 megapixel front facing camera, or selfie camera and a 12 megapixel rear camera that could prove to be the best camera we have ever seen on a phone. I will be playing with the new camera for the next few days and then putting up a full review later in the week.

Check out the new iPhone 6s for yourself over on the Apple website.

iPhone 6s

Sigma 35mm F1.4 DG HSM | ART Lens Review

Is the Sigma 35mm F1.4 DG HSM Lens a True Contender?

Typically, when research begins to buy a new lens most people will begin looking at the options from their chosen camera manufacturer. This is a sensible approach as historically the output from the likes of Canon and Nikon was better than the offerings from third party manufacturers. Recently however things have changed with companies such as Sigma and Tamron producing some excellent lenses that are giving the big boys a run for their money. The truly superb Tamron 24-70 mm F2.8 VC, for example, challenges closely in image quality and offers benefits not found currently in the main models. There must be some nervous people around at present in Canon and Nikon as Sigma has been rolling out a number of new lenses branded under it's Art line and they have been gathering much favour.

The Sigma 35mm F1.4 DG HSM is one such example. Unboxing is a pleasant experience as you are struck by just how beautiful this lens looks and the solid feel in your hands. The metal construction is welcome in the face of the more recent plastic trend. The look is more Zeiss or Sony than Canon or Nikon. Once attached to the camera it formed a nice balance in the hand with a large focus ring perfectly placed with a satisfying smooth motion. On the smaller cropped sensor cameras the lens was a little more weighted towards the front as the optics and quality build provide some bulk. This lens is much bigger than your standard 50mm f/1.4 or f/1.8.

When shooting the first few images I noticed that focusing was off leaving images soft. Whilst this could just be the model I was using a lens should come ready to shoot perfect images, straight out the box. Not ready to give up on the initial impression this lens had made on me I spent a few irritating minutes shooting a wall chart from my tripod to calibrate my camera to the lens. Sigma do offer a lens dock for some of their new lenses where calibrations can be made to the lens itself and firmware can be updated but I would rather it all just worked so I could get straight to shooting.

On taking the first few frames i was reminded of just how much I love the 35mm focal length. It is neither a hugely wide field of view nor a close in one. In fact it is very near to the field of vision of the human eye. This makes it a hugely versatile focal length with virtually endless creative possibilities. It is the ideal focal length to hone your eye and get used to taking beautiful pictures because you are forced to think and work for it. Close in you can capture portraits whilst further away you can grab a beautiful landscape. In the middle it is perfect for documentary and street photography. On a crop sensor camera this lens will give you a 56mm focal length which is still perfect for street photograph and portraits.

The Sigma 35mm F1.4 DG HSM has thirteen elements in eleven groups and the optical quality is simply excellent. With nine aperture blades and a large f1.4 aperture the quality of the bokeh is dreamy and satisfying. Chromatic aberration is well controlled and I have never once felt the need to correct this in post production.

There is a small amount of distortion that is noticeable when shooting portraits close in but this would be true of most lenses at 35mm. There is noticeable vignette when shot wide open but performs better than the equivalent canon 35mm L and can be quickly and easily removed in post. In terms of sharpness the lens performs superbly well even wide open and at this focal length I could not ask for more. Sharpness across the image is better than the Canon and Nikon and as soon as you stop down a bit, you might get cut. The Sigma 35mm F1.4 DG HSM is not weather sealed but thanks to the build quality, should survive a bit of drizzle just fine.

This lens has been a joy to use and once you get your hands on it you simply want to hold on and never let go. If you are starting out with a cropped sensor this will act as a beautiful 56mm lens, then, on upgrading to full frame, you will already have an amazing 35mm in your arsenal. Whilst the focal length is covered by many excellent zoom lenses the optical quality achieved by this lens could make it worth the purchase alone. When you consider the low light capabilities, the simplicity and the value, at nearly half the price of the main manufacturer equivalents, the Sigma 35mm F1.4 DG HSM is a lens I will be keeping in my bag and very often attached to my camera.

Please use one of the below links if you decide to buy this lens.

Buy in the UK -