Lloyd’s eponymous diglloyd.com website publishes a popular blog and a wide variety of articles and guides geared towards professional and advanced photographers. Lloyd is a longtime photographer, having used a wide variety of film formats and lenses including 35mm, 4X5 view camera, 6X7, 645 and 617.
Lenses are a critical part of your camera kit but top-quality glass doesn’t come cheap. How do you choose between a fast prime lens and a top-quality zoom? This is the fourth article of a multi-part series discussing the “zoom versus prime” question.
Over about a decade of shooting ZEISS lenses and all the major brands and 3rd party lenses, I’ve developed a sense of what I like in the final image—and that involves contrast, particularly high micro contrast. Learn more about what that means for your images.
ZEISS provided a pre-production sample of the Milvus 1.4/35 for this first look and overview. Over the course of a few weeks using the 50-megapixel Canon 5Ds R, I shot the Milvus 1.4/35 alongside its ZEISS Classic 1.4/35 ZE predecessor and also the Canon 35mm f/1.4L II, making a wide variety of comparisons near and far of landscapes, buildings and interiors, looking to thoroughly understand image quality and operational characteristics.
As in part one of this series, the goal of this article is to establish by “tell and show” a conceptual framework by which one evaluates the “prime or zoom” choice for one’s own work. Accordingly, this is not a comparative lens review, but discusses what the best prime can do in general, and in a specific comparison, what it delivers versus a pro-grade zoom.
This is the first article of a multi-part series discussing ZEISS DSLR prime lenses against the best native zooms, starting with the ultra wide angle range (15mm, 18mm, 21mm). While the scope of the examples in this series is confined to DSLR lenses for Canon and Nikon, the same general considerations apply to lenses for mirrorless cameras.
Wide angle lenses are usually conceived of for their essential function of “fitting more in”, since some spaces and places afford no viable alternative. Yet one of the hardest things to do with a wide angle lens is to fit in only what is needed, that is, to take out as much as possible, but not too much. In this in-depth article Lloyd Chambers from diglloyd.com explains how to harness the potential of wide angle lenses.