Peter Burian | Photocrati

Q and A: What’s the difference between the new Sigma 10-20 mm f/3.5 lens and the original?

Question

Is there really a difference in performance and innovation between the new Sigma 10-20 mm f/3.5 and the original 10-20mm f/4 lens. The latter is much more affordable. Is the difference of several hundred dollars justified? R. P.

Answer

Yes, the newer model is more expensive (though only by $170), but do note that the maximum aperture is a constant f/3.5 at all focal lengths. The other Sigma 10-20mm zoom does not have a constant maximum aperture; it’s an f/4-5.6 lens. In other words, the widest aperture is quite similar at very short focal lengths, but with the older lens, it diminishes to a smaller f/5.6 as you zoom toward the 20mm end.

That is the primary benefit of the 10-20mm f/3.5 lens and it would be important for photographers who often shoot in low light, without flash or a tripod. Granted, even f/3.5 is not an extremely wide aperture and we often shoot at f/11 to f/16 with an ultra wide angle lens (for extensive depth of field). On the other hand, the wider aperture at longer zoom settings can make the difference between the need to use ISO 800 (at f/3.5) versus ISO 1600 (at f/5.6) in a very dark location. And as you know, every camera produces superior image quality at a lower sensitivity setting.

If you don’t often shoot in very low light, the good news is that the original Sigma 10-20mm f/4-5.6 EX DC HSM lens is excellent; you should be perfectly happy with that model. It’s also smaller and 8 ounces lighter (because of the smaller maximum apertures) and accepts smaller/more affordable 77mm vs. 82mm filters.

Granted the more expensive f/3.5 lens has some other benefits. (more…)

Nikon D5000 Digital SLR Review: Field Test Report

Peter Burian tests this affordable 12.3 MP DSLR with variable-angle LCD, D-Movie mode and sophisticated Nikon technology

Nikon’s most affordable enthusiast-level DSLR-the 12.3 megapixel D5000-is positioned between the D3000 and the D90 and offers the best of both worlds. The D5000 is as easy to use as the entry-level camera and provides even more Scene modes but it employs powerful technology and advanced features developed for the larger prosumer-grade model.That includes D-Movie mode in Live View, although the LCD screen is slightly smaller and provides lower resolution when compared to the D90. (more…)

Q and A: What are the best, affordable LCD monitors for photographers?

Question

I appreciate your test reports on Photocrati.com and want to ask for a recommendation about a computer monitor. What are the best LCD monitors for photographers and what is available at a reasonable price? I don’t want to pay thousands of dollars. S.R.

Answer

Most reviewers agree that the Eizo Color Edge CG series is among the very best in LCD monitors for digital photographers and graphic arts professionals. Some of the CG models do cost thousands, but the 22-in CH222W (B&H: CH222W), (Amazon 22IN 1650X1050 Coloredge Blk Dig/alog) is more affordable and ships with a hood to block stray light. This model provides 1680 x 1050 resolution, a very wide color gamut (97% sRGB , and 92% Adobe RGB coverage) and other pro-grade features such as dual DVI interface and ColorNavigator calibration software. Brightness is 200 cd/m2 (more than adequate) and the contrast ratio is 800:1.

Many of us want to spend less, making two other monitors more popular. (more…)

Comparative Digital SLR Lens Review: Fast, Wide Aperture Lenses

Field Test Report

Peter Burian tests five lenses with great light gathering ability: the Canon EF 70-200mm f/4L IS USM, Tamron AF 70-200mm f/2.8 Di LD (IF) Macro, Tokina AF 50-135mm f/2.8 AT-X Pro DX, Nikon 17-55mm f/2.8G ED-IF AF-S DX and the Sigma AF 30mm f/1.4 EX HSM DC

Because most digital SLR camera owners demand compact, lightweight lenses, the vast majority of zooms feature a small maximum aperture. A typical kit lens is designated as f/3.5-5.6 indicating that the maximum aperture is quite small at the short end and becomes very small at longer focal lengths. In practical terms, that translates to moderate light gathering ability. The larger the numeral the smaller the opening in the lens and the less light that will reach the camera’s digital sensor.

A wide aperture lens is ideal for fast shutter speeds in low light conditions when you cannot use flash or a tripod. Shooting at f/2.8 allowed me to get many sharp photos at 1/125 sec. during a stage performance, using ISO 1000. With a more typical (smaller) aperture, much higher ISO levels would have been required for the same shutter speed and the images would have been seriously degraded by digital noise. (Nikon 17-55mm at f/2.8.) (c) 2009 Peter K. Burian

(more…)

Q and A: What are the fastest memory cards?

Question

I want to get the fastest memory card for my Nikon D200 for sports photography. However, after doing some research on the Internet, I’m confused. Which one is really the fastest? Several companies claim that they have the “fastest” cards, but the UDMA cards are supposed to be the fastest. Which one should I buy? D.M.

Answer

That’s a valid question, D.M., for anyone who uses CompactFlash (CF) cards but also for DSLR owners who use SDHC cards. Before answering however, I need to emphasize one essential point. No matter which camera you use, it’s impossible to increase the maximum framing rate by switching to a faster memory card. i.e. If the specifications indicate a top speed of 5 frames per second, you will never be able to shoot at a greater speed (because of a mechanical limitation). (more…)