For years, lens makers have been abusing the word ‘macro’, adding it to any lens with a half-decent close focusing distance. But macro should mean that a lens can focus close enough to give a life-size or 1:1 magnification. This means that if you photograph, say, an SD card which measures 15x11mm, then the image will appear that size on the sensor. A half life-size or 1:2 ratio would give a 7.5×5.5mm image.
There is no such thing as the perfect lens, but you could say that the first edition of Canon’s 70-200mm f/4L IS USM got pretty darn close. For its range, it was compact, lightweight and delivered a fine optical performance at an attractive price. Indeed, when it came out in late 2006 it was among the very best telezooms around.
Laowa has found itself a niche in the lens market offering prime lenses with character, and its 9mm f/2.8 is one of its two recent arrivals. The other is a 25mm f/2.8 2.5-5x macro lens, and we’ll be testing it very soon.
Sigma’s already great reputation for excellent-quality optics has only been enhanced further with its Art series, especially the primes, winning plaudits and critical acclaim from photographers everywhere. Its latest introduction is the 105mm f/1.4 DG, a lens marketed by Sigma as the ‘bokeh master’, and the flagship of the f/1.4 Art family.
The 28mm f/1.4E ED is the latest in Nikon’s line-up of fast f/1.4 lenses, joining recent glass like the 24mm, 35mm, 50mm, 85mm and 105mm. So why would you need such a lens? What’s it designed for?
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