Best overall		Nikon NIKKOR Z 24-70mm f/2.8 S		SEE IT	This versatile standard zoom offers superb image quality.
Best wide-angle		Nikon NIKKOR Z 17-28mm f/2.8		SEE IT	This wide-angle zoom offers an ideal balance of price, size, and quality.
Best for portraits		Nikon NIKKOR Z 85mm f/1.2 S		SEE IT	For dreamy portraits, you can’t beat this Nikon prime lens.

Building a Nikon lens collection is a critical part of your photography journey. In some ways, adding the right lens to your kit is even more important than your choice of camera, especially if you concentrate on a particular genre of photography, such as portraits, wildlife, or street photography. The type of lens you select can make a significant difference between so-so photos and consistently excellent images. Whether you’re shooting with a full-frame DSLR, an APS-C DSLR, or a Nikon Z-series mirrorless camera, we’ll help you sort through the best Nikon lenses available.

Best Nikon mirrorless lenses

• Best overall: Nikon NIKKOR Z 24-70mm f/2.8 S
• Best wide-angle: Nikon NIKKOR Z 17-28mm f/2.8
• Best for portraits: Nikon NIKKOR Z 85mm f/1.2 S
• Best telephoto: Nikon NIKKOR Z 70-200mm f/2.8 VR S
• Best budget: Nikon NIKKOR Z 50mm f/1.8 S Lens

Best Nikon DSLR lenses

• Best F-mount lens overall: AF-S FX Nikon NIKKOR 85mm f/1.4
• Best F-mount telephoto zoom: AF-S FX NIKKOR 200-500mm f/5.6E ED VR lens
• Best budget F-mount lens: Nikon FX NIKKOR 50mm f/1.8D

How we chose the best Nikon lenses

The writers and editors at Pop Photo have decades of experience with just about every major camera and lens manufacturer, including Nikon. We have hands-on experience with most of the lenses on this list. We also factored in user and editorial reviews. Given the wide variety of Nikon lenses, we aimed to choose options for most situations and price points. Overall image quality, handling, autofocus, build quality, and lens features were all important factors when making our selections. 

The best Nikon lenses: Reviews & recommendations

Nikon makes a wide array of lenses for its DSLR and mirrorless lineup. Lenses span the full spectrum of lens types and budgets, so you’re sure to find a quality Nikon lens that fits your needs. 

Best overall: Nikon NIKKOR Z 24-70mm f/2.8 S

SEE IT

Specs

• Lens mount: Nikon Z, full-frame
• Aperture range: f/2.8 – f/22
• Image stabilization: No
• Filter size: 82mm
• Minimum focus distance: 1.25 feet
• Weight: 1.77 pounds
• Dimensions: 3.5 x 4.96 – 6.15 inches

Pros

• Versatile zoom range
• Excellent image quality
• Lightweight and compact
• Useful OLED display

Cons

• Focus is a little slow compared to the competition

A quality 24-70mm lens is something that most photographers should have in their kits. It offers an extremely versatile focal length range that’s ideal for a vast range of situations, meaning you can switch lenses less often. And this Nikon lens is one of the best available across all brands. It offers exceptional sharpness across the zoom and aperture range, with minimal aberrations or fringing, resulting in superb image quality. 

This standard zoom lens features a fast and constant f/2.8 aperture, making it ideal in low-light situations like wedding receptions or indoor family shoots. Its autofocus is slightly slower than other lenses in this class, partly because it uses two stepper motor AF actuators instead of linear focus motors. But it is accurate and quiet, and there is very limited focus breathing, making it a good option for videographers.

The lens isn’t cheap, but it is roughly the same as the mirrorless f/2.8 options from Canon and Sony. And it offers a lot in terms of quality and features. For example, the OLED display on the top is handy for checking focal length, aperture, or focus distance. Nikon built it with robust weather sealing to protect it against the elements. And it’s also the lightest 24-70mm available at the moment. If you want to save some money, Nikon also makes an excellent 24-70mm f/4 that, at $1,000, is less than half the price, albeit with a slight drop in image quality and a slower maximum aperture.

Best wide-angle: Nikon NIKKOR Z 17-28mm f/2.8

SEE IT

Specs

• Lens mount: Nikon Z, full-frame
• Aperture range: f/2.8 – f/22
• Image stabilization: No
• Filter size: 67mm
• Minimum focus distance: 7.5 inches
• Weight: 15.9 ounces
• Dimensions: 3 x 4 inches

Pros

• Very compact and lightweight for the class
• Internal focus and zoom
• Can focus very close
• Good balance of quality and price

Cons

• Minimal controls on the lens body
• Control ring is hypersensitive

While this lens isn’t at the top end of Nikon’s wide-angle lineup, it is very well-balanced in regard to price and quality, which is why it earned our top wide-angle spot. It is very reasonably priced but still has a lot to offer. Weighing just under a pound and measuring four inches long, it’s extremely compact and lightweight for the class. It is one of our favorite lenses to hike with, as a result. 

This wide-angle zoom lens features fully internal zoom and focus, meaning the lens doesn’t change length at all. That makes it ideal for video use, especially when using a gimbal, as you won’t need to rebalance when changing focal length. It can also focus as close as 7.5 inches, making it possible to get some unique wide-angle closeup shots. 

Though this lens won’t offer the same sharpness as Nikon’s higher-end S lineup, it is plenty sharp for most people and situations. The f/2.8 aperture and rounded nine-blade diaphragm results in pleasing bokeh, especially when you get close to your subjects. And despite the ultra-wide perspective, you can use a reasonable 67mm filter on it. For the price, this lens is quite impressive. 

Best for portraits: Nikon NIKKOR Z 85mm f/1.2 S

SEE IT

Specs

• Lens mount: Nikon Z, full-frame
• Aperture range: f/1.2 – f/16
• Image stabilization: 
• Filter size: 82mm 
• Minimum focus distance: 33.46 inches
• Weight: 2.6 pounds
• Dimensions: 4 x 5.6 inches

Pros

• Superb image quality
• Fast f/1.2 aperture
• Fast and accurate autofocus
• Rugged build quality

Cons

• A bit pricey
• Bulky and heavy

An 85mm prime is the quintessential portrait lens, and this Nikon version is a premier example of one. It offers truly excellent image quality, with excellent sharpness across the image and at all apertures. But its bokeh is where it really shines. Thanks in part to the rounded 11-blade diaphragm, the bokeh is wonderfully smooth, with beautiful transition from focused and defocused areas. It contrasts the sharpness of the lens perfectly.

As a member of Nikon’s S line of lenses, this 85mm features rugged build quality with weather sealing. It offers a programmable control ring and L-Fn function button, and there is an auto/manual focus switch as well. The autofocus is speedy and reliably accurate, so it can keep up with even rapidly moving subjects like little kids. 

Of course, the fast f/1.2 aperture results in a steep price tag and a lot of bulk. If you want to save $2,000 and a pound and a half of weight, the NIKKOR Z 85mm f/1.8 S is your best alternative. 

Best telephoto: Nikon NIKKOR Z 70-200mm f/2.8 VR S

SEE IT

Specs

• Lens mount: Nikon Z, full-frame
• Aperture range: f/2.8 – f/22
• Image stabilization: Yes
• Filter size: 77mm
• Minimum focus distance: 1.64 feet
• Weight: 2.99 pounds
• Dimensions: 3.5 x 8.66 inches

Pros

• Stunningly good image quality
• Extremely fast, quiet, and accurate autofocus
• Built-in stabilization
• Excellent handling

Cons

• Pro-level price tag

Besides a 24-70mm, a 70-200mm is one of the most versatile zoom lenses you can buy. They can cover most situations at weddings, work extremely well for motorsports and other sporting events, and are great wildlife lenses. And Nikon’s mirrorless version of this popular lens is possibly the best to have ever existed. 

The NIKKOR Z 70-200mm offers truly stunning image quality. It’s extremely sharp across the zoom and aperture range. The colors and contrast are pleasing and true to life. And the bokeh is very attractive, resulting in beautiful portraits. The autofocus is very fast, accurate, and quiet, so you’ll be able to trust it even if you’re shooting a wedding ceremony in a poorly lit church.

As we would hope for a 70-200mm, it provides image stabilization to improve low-light performance. It’s built to Nikon’s S-line standards, meaning it’s dust and moisture-resistant and gets a fluorine coating on the front element. And the OLED lens information panel displays aperture setting, focus distance, and depth of field figures right on top of the lens for quick reference. Of course, it comes with a price tag to reflect all these pro features, but it is a spectacular lens for those who want the absolute best. 

Best budget: Nikon NIKKOR Z 50mm f/1.8 S Lens

SEE IT

Specs

• Lens mount: Nikon Z, full-frame
• Aperture range: f/1.8 – f/16
• Image stabilization: No
• Filter size: 62mm
• Minimum focus distance: 1.31 feet
• Weight: 14.64 ounces
• Dimensions: 2.99 x 3.41 inches

Pros

• Excellent overall image quality
• Very fast autofocus
• Reasonably priced
• Relatively compact and lightweight

Cons

• No fluorine coating on the front element

If you are just starting out in photography and looking for a single, relatively affordable but quality lens, you’d be hard-pressed to beat Nikon’s 50mm f/1.8 S. It isn’t the cheapest Nikon lens you can buy, but the quality you get makes this one we would recommend over less expensive options. It offers a ton of value for the relatively low price, which you simply won’t find elsewhere.

It’s as sharp as much more expensive lenses, even when shooting wide open. The bokeh is pleasing, and it results in minimal distortion, vignetting, and aberrations. The autofocus is also as fast as its more expensive peers, so you can trust it’ll keep up with fast-moving subjects. The f/1.8 aperture is fast enough for most, though if you want extra low-light performance and razor-thin focus areas, Nikon’s 50mm f/1.2 S is another option, albeit for more than twice the price.  

In terms of build quality, you also get a lot for your money here. It’s weather sealed and offers a programmable control ring which you can use for a variety of camera and exposure settings. Nikon did leave out a fluorine coating on the front element, so you will want to take extra care in cleaning your lens before shoots. Finally, it’s relatively compact and lightweight, making it comfortable to keep on your camera even for long days of shooting. 

If you don’t mind a slightly wider perspective and want to save $350, the NIKKOR Z 40mm f/2 is a fantastic choice.

Best F-mount lens overall: AF-S FX Nikon NIKKOR 85mm f/1.4

SEE IT

Specs

• Lens mount: Nikon F, full-frame
• Aperture range: f/1.4 – f/16
• Image stabilization: No
• Filter size: 77 mm
• Minimum focus distance: 2.79 feet
• Weight: 1.31 pounds
• Dimensions: 3.39 x 3.31 inches

Pros

• Very sharp optics
• Attractive bokeh
• Relatively lightweight for the class 
• Highly accurate autofocus

Cons

• Strong vignetting when wide open

The AF-S FX Nikon NIKKOR 85mm f/1.4 lens is one of the best Nikon DSLR lenses for portraits. It produces sharp-as-a-tack images. And thanks to its f/1.4 aperture, it creates beautiful bokeh that softens the background to emphasize your main subject.

The autofocus of this 85mm isn’t as fast as other lenses, but for most portrait situations, it’ll keep up just fine. And it makes up for the lack of speed in its accuracy. Plus, the lens is relatively compact and lightweight for an 85mm, so you won’t mind carrying it with you for a full day of shooting. 

For budget-minded Nikon shooters, take a look at the AF-S NIKKOR 85mm f/1.8G.

Best F-mount telephoto zoom: AF-S FX NIKKOR 200-500mm f/5.6E ED VR lens

SEE IT

Specs

• Lens mount: Nikon F, full-frame
• Aperture range: f/5.6 – f/32
• Image stabilization: 
• Filter size: 95mm 
• Minimum focus distance: 7.22 feet
• Weight: 5.07 pounds
• Dimensions: 4.25 x 10.53 – 13.5 inches

Pros

• Versatile range for sports and wildlife
• Excellent image quality across zoom range
• Reasonably priced
• Vibration reduction of up to 4.5 stops

Cons

• Not fully weather-sealed

Distant subjects are no longer out of reach with the AF-S FX NIKKOR 200-500mm f/5.6E ED VR lens. It provides an awesome zoom range, making it an ideal choice for sports and wildlife photographers. The image quality from this super-telephoto zoom lens is superb, resulting in highly detailed shots. It also offers 4.5 stops of vibration reduction to help obtain sharp images even when hand-holding the lens. 

Another benefit to this lens is that it is compatible with Nikon’s teleconverters. That means that you can get up to twice the focal range for even more reach. And don’t forget, an APS-C camera adds 1.5x (or about 750mm) to the lens’ reach as well. Unfortunately, it isn’t fully weather-sealed, but it does offer a rotating tripod collar for better balance when using a tripod or monopod in either landscape or portrait orientation.

Best budget DSLR lens: Nikon FX NIKKOR 50mm f/1.8D

SEE IT

Specs

• Lens mount: Nikon F, full-frame
• Aperture range: f/1.8 – f/22
• Image stabilization: No
• Filter size: 52mm
• Minimum focus distance: 1.48 feet
• Weight: 5.47 ounces
• Dimensions: 2.5 x 1.54 inches

Pros

• Tiny and lightweight
• Very affordable
• Excellent image quality

Cons

• Needs to be stopped down for the best performance

Despite its low price and compact 2.5 by 1.5-inch size, this little Nikon lens is the perfect go-to lens for a variety of scenarios. It weighs a mere 5.5 ounces, so it’s a lightweight companion, making it ideal for travel or hiking adventures. The lens provides excellent sharpness so, but it does perform best when stopped down a few stops. At f/2.8 or so, the lens performs beautifully.

One caveat, though, is that this nifty fifty only works in manual focus with older cameras without an AF motor built-in, like the Nikon D40. If you use a body with the body-mounted screw to drive autofocus, it will focus quickly and accurately. These older 50mm lenses are getting a bit hard to find these days, so if you are thinking of picking one up, you may not want to wait much longer.

Even more Nikon lenses to consider

Nikon NIKKOR Z 14-24mm f/2.8 S

Nikon’s 14-24mm f/2.8G lens for its F-mount cameras was the premier example of an ultra-wide-angle zoom lens across any brand, and this Z-mount version is even better. It is a pound lighter than the DSLR lens and features a handy OLED display. And it offers truly exceptional overall image quality with edge-to-edge sharpness. The fast f/2.8 aperture makes it an ideal choice for astrophotography, and the ultra-wide perspective with well-handled distortion is fantastic for real estate work.

Nikon NIKKOR Z 600mm f/4 TC VR S

For professional wildlife and sports photographers, you can’t beat Nikon’s 600mm lens. It offers a bright f/4 aperture, stunning image quality, fast autofocus, and five stops of vibration reduction. But perhaps the most unique feature is the built-in 1.4x teleconverter. With a simple flip of a switch, you’ll get 840mm reach. And since the teleconverter is integrated into the lens, it maintains the weather sealing as well as image quality. Nikon also makes a 400mm version with a built-in 1.4x teleconverter, resulting in a reach of 560mm, should you want something a little less dramatic. 

What to consider when buying the best Nikon lenses

Nikon has an extremely expansive list of lenses, especially when you are looking at both F-mount and Z-mount options. Choosing a lens can be challenging as a result, but careful consideration of the items below will help you find the best Nikon lens for your needs. 

Focal length

The first step to making any lens decision is narrowing down what focal length you need or want. To put it simply, focal length determines how much you see (angle of view) and how large things appear (magnification). A telephoto lens, which has a narrow angle of view and high magnification, won’t work for real estate photography. On the other hand, a wide-angle lens, with its wide view and low magnification, isn’t ideal for most portrait and wildlife situations. As a result, it’s important to consider the types of images you want to create before choosing a focal length.

The other piece of the focal length puzzle is if you use an APS-C or full-frame camera. Focal lengths are listed in reference to their use on full-frame cameras. However, lenses used on APS-C cameras will result in a narrower angle of view due to the camera’s crop factor. Because of this, you will need to take that into account when buying a lens for your APS-C camera. For example, if you want a wide-angle lens, you will need to go extra wide in order to actually have that wide angle of view on a crop sensor camera. 

Prime versus zoom

Once you know the focal length you want, you can decide if a prime or zoom lens is better for your needs. A prime lens offers a single focal length, while a zoom lens offers a range of focal lengths. Which is best mostly comes down to personal preference and your shooting style, but there are advantages and disadvantages to both. 

Prime lenses are typically higher in quality and can offer faster maximum apertures. They can also be more affordable. But they aren’t as versatile since you’ll need to be able to physically move or switch lenses to change the perspective. Zoom lenses are more convenient since you can simply zoom in or out to change the view. But the quality is typically slightly lower than prime lenses, and they can get very expensive.

Aperture

The maximum aperture of a lens is provided right in the name of the lens and is important for a few reasons. First, a wider aperture will let in more light, making it better in low-light conditions. Wedding photographers, astrophotographers, or anyone shooting indoors or in dark situations will want to prioritize a wide (also called fast) maximum aperture. Second, aperture is one factor in determining depth of field. If you want a shallow depth of field for greater separation of your subject and background, be sure to choose a lens with a wide maximum aperture.

Some zoom lenses will feature a variable maximum aperture, such as f/4.5-5.6. This means that as you zoom in, you will get a smaller aperture and lose light. That can get frustrating when shooting in low light conditions or trying to achieve a shallow depth of field. You’ll have to pay more for a lens with a constant maximum aperture, but it may be worth it for you. 

Size

Lens size can be an especially important factor if you plan to travel or hike with the lens or if you have long shooting days, such as weddings. Lugging around a bulky piece of glass is not very fun if you aren’t prepared for it. Nikon makes some excellent compact and lightweight options of popular focal lengths or zoom ranges, so be sure to check the size closely if that is something that is important to you.

FAQs

Final thoughts on the best Nikon lenses

Best Nikon mirrorless lenses

• Best overall: Nikon NIKKOR Z 24-70mm f/2.8 S
• Best wide-angle: Nikon NIKKOR Z 17-28mm f/2.8
• Best for portraits: Nikon NIKKOR Z 85mm f/1.2 S
• Best telephoto: Nikon NIKKOR Z 70-200mm f/2.8 VR S
• Best budget: Nikon NIKKOR Z 50mm f/1.8 S Lens

Best Nikon DSLR lenses

• Best F-mount lens overall: AF-S FX Nikon NIKKOR 85mm f/1.4
• Best F-mount telephoto zoom: AF-S FX NIKKOR 200-500mm f/5.6E ED VR lens
• Best budget F-mount lens: Nikon FX NIKKOR 50mm f/1.8D

Nikon makes lenses for just about every situation, from portraits to wildlife to real estate. It also makes lenses at a range of price points. Though the best lens comes down to what you want to shoot and your budget, chances are good that you will be able to find a Nikon lens that is suitable for your needs. 

Why trust us

PopPhoto has a long history of delivering the opinions of some of the sharpest and most prolific camera dorks the world has to offer. Since 1937, we’ve been reviewing cameras, providing wisdom from well-known photographers, and generally just nerding out about all that goes into making great pictures. Our current crop of writers and editors have decades of professional photography and camera writing experience among them. Collectively, we’ve probably shot with just about every camera and lens combo you can imagine—as well as some obscure stuff you may not even know about. Remember the Casio Tryx folding camera? PopPhoto does.

We also get that buying a camera is a big decision, which is why we’re dedicated to helping folks choose the right one (or, in our case “ones”) for their needs. Case in point: Handing over top dollar for an expensive rig may leave you unsatisfied if it doesn’t fit your preferred shooting style. Sure, a $6,000 sports-oriented DSLR can capture landscapes, but do you really need to do it at 30 frames-per-second? No, you don’t.

The post The best Nikon lenses of 2023 appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

Let’s face it: The best camera straps don’t necessarily include the one that came with your camera. Sure, it’s functional, but it’s not much else—so maybe it’s time to ditch the stock, second-rate options, especially if you end up with neck or back pain (or both) after a long day’s shoot. The bottom line is that while all straps are designed as photography equipment support, how they accomplish their intended purpose differs from one to the other. 

Consider, for example, how a wedding or photojournalist who regularly shoots with two DSLRs is best served by different camera support than a casual photographer with a compact mirrorless model and lightweight lens. The former may prefer a camera harness to support the extra weight, while the latter may opt for a more minimalist crossbody strap. Whatever the choice, the recommended camera straps should work for the individual person and the type (and amount) of gear they’re carrying. With that in mind, we’ll guide you through some of the most important variables to help you select the perfect camera strap—or two.

• Best sling strap: BlackRapid Curve Breathe
• Best dual camera harness: HoldFast Gear MoneyMaker
• Best fashionable: Capturing Couture DSLR Strap
• Best hand strap grip: JJC Hand Strap Grip
• Best wearable camera support: SpiderPro Single Camera System
• Best budget: USA Gear TrueSHOT Camera Strap

The best camera straps: Reviews & Recommendations

Best sling strap: BlackRapid Curve Breathe

SEE IT

The BlackRapid Curve Breathe strap combines a sling design and shoulder pad with quick and easy access to a DSLR or mirrorless camera. An underarm strap keeps the shoulder pad in place and special cam-locks secure the camera to the strap. This model is for right handed-shooters but the similarly designed BlackRapid Breathe is designed for southpaws. If you want to forego the shoulder pad and want the versatility of wearing a sling strap crossbody as a neck strap or a shoulder strap, take a look at the Peak Design Slide for heavier cameras, such as full-frame and DSLR cameras, or the Peak Design Slide Lite for mirrorless cameras.

Best dual camera harness: HoldFast Gear MoneyMaker

SEE IT

Constructed of real full-grain leathers with a buffed back for a suede-like feel, HoldFast Gear’s MoneyMaker bridle camera harness is clearly a quality product designed to stand up to years of use. Stainless steel hardware adds to the longevity of this harness that comes with all the components you need to safely attach and carry two cameras, as well as D-rings for clipping on miscellaneous camera accessories. Optional components are available to add a third camera, too. The leather harness is available in small, medium, and large sizes to accommodate all physiques. It’s a little pricey but well worth the extra dollars to keep you comfortable and your cameras secure.

Best fashionable: Capturing Couture DSLR Strap 

SEE IT

If plain camera straps are too aesthetically boring for you, check out Capturing Couture’s DSLR neck and shoulder straps. The company offers a variety of patterns like this attractive and gender-neutral Navajo Red design to jazz things up. The strap is two inches wide but comes with a plush velvet-backed neck pad to make it comfortable around your neck or on your shoulder. It’s adjustable, of course, and promises durability thanks to its nylon webbing construction. Decorated with functional metal rivets, the strap is adjustable and waterproof, too.

Best hand strap grip: JJC Hand Strap Grip

SEE IT

Available for most DSLRs with a ¼”-20 tripod socket, this hand strap grip is adjustable to fit hands of all sizes. A padded cushion helps keep your hand comfortable and circulation from air holes keeps the padding breathable. A thinner, secondary strap wraps around the wrist and snaps onto the grip for extra security if the camera slips from your hand. And the camera can be attached/detached to a tripod thanks to the included quick-release plate. The same style strap is available for mirrorless models as well. Check the specifications for the several grips styles to make sure it’s the right one for your camera.

Best wearable camera support: SpiderPro Single Camera System

SEE IT

This specially designed waist belt is an excellent camera system for photographers who prefer to wear their camera close to their body rather than dangling from their shoulder or neck. Adjustable to accommodate a wide range of waist sizes (and extensions are available, which is helpful if you want to wear the belt over winter weather clothing), Available for one or two camera setups, the SpiderPro Holster system utilizes a pair of metal plates (one on the camera; one on the belt) to lock the camera into place. Plenty of accessories—including lens pouches—complete the system. If you’d rather use your own belt or want to wear your camera on a backpack strap (or switch between the two), check out the Peak Design Capture Camera Clip.

Best budget: USA Gear TrueSHOT Camera Strap

SEE IT

This inexpensive camera strap features stretchy, padded neoprene that helps distribute the weight of your gear for extra neck protection. Built-in pouches provide an on-the-go home for accessories like media cards. If you’d rather have a handgrip, also consider the padded Movo Wrist and Grip Camera Strap.

Features to consider when shopping for the best camera straps

Wading through an ocean of camera straps to find the best one can be overwhelming. Luckily, we’re here to help you navigate the long list of recommended camera straps. Narrowing down some criteria from the start makes the process of selecting camera accessories a little easier. For one, how much gear will you be carrying? If you’re a dedicated long-lens, DSLR shooter, for example, you should be sure the camera strap can hold all that weight. At the same time, take into consideration the comfort level provided by different styles of camera supports. It’s one thing to wander the city streets for a couple of hours with a camera hanging around your neck or from your shoulder. But if you plan a rugged adventure that requires a full day of hiking and picture taking, comfort is key (and so is a support system that keeps your camera protected from bouncing off those steep, rocky inclines).

Camera neck straps and crossbody straps often come in various widths and the widest straps may dig into your neck or be uncomfortable when worn across the body. A narrower strap may work better especially for women choosing a crossbody strap. Take a look at the camera support’s design and imagine under what conditions you’ll be wearing it before making a decision. Other smaller considerations include the material it’s constructed from—do you like the look and feel of leather, or are man-made fabrics and webbing a preferred option? As you look through our selections for the best camera straps, keep your photography habits and style in mind.  

Related: With the best film accessories, the only thing negative will be in your camera

It pays to accessorize

If you’ve ever felt neck or shoulder pain after a long day’s shooting, you quickly realize how important it is to find a camera strap that’s not only strong enough to hold your camera, but also offers a level of comfort that’s often missing from camera strap designs. A crossbody sling strap takes most of the camera/lens weight off the neck and shoulder by angling the strap across the chest. Equally important is the addition of shoulder padding to avoid excess pressure from the weight of the camera. Sling straps are generally adjustable to fit various heights (and widths) of photographers for a perfect fit.

It takes two to make a thing go right, it takes two to make it outta sight

The ultimate in multicamera support, the camera harness is designed to accommodate two (or sometimes three) cameras at the same time. While not everyone needs or wants access to more than one camera in lieu of taking the time to switch lenses, there are certain photographic shoots where it’s critical. Wedding photographers, photojournalists, and sports photographers are most likely to take advantage of this style of camera support.

Sure, you can carry two or three cameras without a harness, but if you’ve tried that then you know that it’s uncomfortable, unbalanced, and easy for individual camera straps to get tangled together, making it almost impossible to shoot with either camera. With a harness, the cameras sit at either side of your body within easy reach and the harness itself is designed to provide stability to distribute the weight of the cameras to avoid neck/shoulder/back strain. Just be sure to select a size to fit your physical measurements.

Don’t just dream it, be it

With few exceptions, camera gear is pretty basic. Cameras are clad in all black or black and silver. And that works for the most part, but if you want to add a little snap to your camera accessories, the easiest—and most affordable—way to do that is via a decorative and colorful camera strap. You may be able to find a weaver who makes custom camera straps or stumble across a vintage strap in the attic if there’s a photographer in your family. But it’s more likely that you’ll find a commercially made neck or shoulder strap with an attractive design. Even if you’re not a fashionista, it’s always fun to add a splash of color to your gear and there’s a huge range of patterns so everyone should be able to find a match for their personality and taste.

Best camera strap for gripping results

There are times when a standard camera strap may actually work against you when shooting. One such scenario is when the camera is mounted on a tripod since a traditional strap will likely get tangled and become an annoyance. The strap becomes even more troublesome when you need or want to dismount the camera from the tripod to shoot handheld, especially for those unexpected run-and-gun opportunities. 

The best alternative is a hand strap grip. This device attaches to the camera’s tripod socket and wraps around your hand, essentially securing the camera to your hand and eliminating the need for a neck or shoulder strap. Better yet, most hand straps come with a quick-release plate providing even greater flexibility when moving from tripod to handheld. If your hands are especially large (or very small), check specifications to make sure there’s a good fit. A too loose or too tight hand strap can interfere with your ability to shoot comfortably.

Less stress doesn’t have to mean more cost

Prices for camera straps and supports vary widely and while we all want to stay within budget, it’s important to consider how much money you’ve invested in your gear before skimping too much on an accessory that keeps your camera safe from an accidental drop. Make sure that whatever you choose provides a secure attachment and is designed to hold the weight of your heaviest camera/lens combination. Generally speaking, because of their relatively small size and lightweight, compact and mirrorless cameras are more safely supported by less hefty straps. And, in the end, you may opt to use the camera strap that came with your camera since you know it’s designed to support that gear.

Wear it out so it doesn’t wear you out

Perhaps one of the most comfortable ways of carrying a camera is to clip it onto a belt or a backpack strap. This type of system distributes the weight of your gear to areas that are less likely to feel the strain of direct pressure like you would on the shoulder or neck. And you’ll generally feel less back pain as well. Most of these wearable type devices function much like a quick release plate. The camera locks on for security but can be removed in a split second when it’s time to grab a shot. And, better yet, you’re less encumbered during activities like hiking or biking with no dangling straps to get tangled.

FAQ

Related: Keep the mood light with these accessories for great portraits

A final word on shopping for the best camera straps

When searching for the recommended camera straps for your needs, keep in mind that these camera accessories need to be strong enough to safely support your photography equipment, while at the same time keeping you comfortable when shooting for long periods of time. Given that one style of camera strap may be perfect for one type of shooting, while others may be better for others, you may want to consider adding one or more styles to your collection to cover all bases if (when) your bank account is flush. The best camera strap will be one you can wear with purpose and pride.

The post The best camera straps in 2023 appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

Best for professionals		Olympus OM- E-M1X		SEE IT	The full-sized body balances big lenses nicely.
Best for videos		Olympus OM-D E-M5 Mark III		SEE IT	It offers many of the same features as the flagship camera.
Best for traveling		Olympus OM-D E-M10 Mark IV		SEE IT	It may be small, but it’s no slouch on the spec sheet.

Olympus has a long history in the photo industry, producing a wide range of cameras since 1936: medium format, rangefinder and 35mm film cameras, including the unique Pen half-frame 35mm camera. (The latter was the late fashion photographer Bill Cunningham’s first camera.) The company moved into digital in 2003 with the E-1 DSLR built around a 5-megapixel Four-Thirds sensor and then transitioned into mirrorless using Micro Four Thirds (MFT) sensors. 

In the early days of digital, Olympus was innovative and developed new features before any other manufacturer. For example, the E-1 was the first digital camera to offer live view (albeit a cruder version that today’s cameras). The company also created a mechanism to shake dust off off sensors, to name just a couple of features that were on the leading edge. That experience prepared Olympus to bring some notable technology to its present day cameras so you have plenty of options to choose from.

Now, the company has sold off its digital camera division, but many of its most popular lines will continue on under the OM Systems name. In the meantime, here are the best Olympus cameras for any type of shooting.

• Best for professionals: Olympus OM- E-M1X
• Best for beginners: Olympus PEN E-PL10
• Best for videos: Olympus OM-D E-M5 Mark III
• Best for traveling: Olympus OM-D E-M10 Mark IV
• Best tough: Olympus Tough TG-6

How we picked the best Olympus cameras

The writers and editors at PopPhoto have collective decades of experience and have shot with every camera system under the sun. This list comes from a mixture of personal experience and community-based research. It also pulls from in-depth spec comparisons based on technical features. 

The category-specific recommendations take into account the wants and needs of different kinds of photographers, but many of these bodies can work across genres.

The best Olympus cameras: Reviews and recommendations

Best for professionals: Olympus OM- E-M1X

SEE IT

Why it made the cut: It handles like a pro DSLR and can churn out up to 18 fps with the electronic shutter mode making it our choice for the best Olympus professional camera. 

Specs: 

• Megapixels: 20.4
• Sensor size: Micro Four Thirds
• FPS: 18 (electronic shutter)

Pros:

• Grip provides more room for batteries
• Super-fast image capture
• 5-axis image stabilization
• Extreme weatherproofing

Cons:

• Bigger than other M43 bodies

Capturing photographs of athletes in action, dancers, birds and other fast moving subjects requires a camera with speedy response. The continuous number of frames per second that a camera can shoot is one key specification. At, say, five frames per second (fps) you may be able to freeze the motion of relatively slow action like a baseball player at bat or a ballerina moving leisurely from one position to the next but a bird in flight or a hockey player skating across the ice at breakneck speed will easily elude a slower fps rate. But at accelerated continuous shooting speeds, your odds of capturing great shot of peak action is vastly improved.

But high speed capture doesn’t mean much without continuous autofocus that’s fast (and accurate) enough to keep up with a camera’s burst rate. Keep in mind that at extreme shooting speeds, the camera may lock focus and exposure on the first shot rather than making continuous adjustments throughout the burst. Newer and higher end cameras sometimes provide special options to fine-tune how AF works when shooting different scenarios. 

Whether you’re photographing birds in your backyard, athletes on the soccer field or race cars zipping around the track, the Olympus OM-D E-M1X keeps pace with up to 10fps shooting speed (18fps with the electronic shutter). Tweak autofocus sensitivity and choose the subject, such as cars or aircraft, for even better tracking. The camera is a bit large and pricey but handles action shooting very well.

Best for beginners: Olympus PEN E-PL10

SEE IT

Why it made the cut: A classically designed body wraps around modern imaging tech to create a stylish, capable camera. 

Specs:

• Megapixels: 16.1
• Sensor size: Micro Four Thirds
• 4K video at 30 fps

Pros:

• Very attractive
• Weighs well under a pound
• Pop-up flash

Cons: 

• No eye-level viewfinder
• Relatively low megapixel count

Before everyone had a cell phone, small, point-and-shoots were the defacto entry level cameras. That category of digital camera has pretty much gone the way of the dinosaur. And that’s not all bad news because now even entry-level cameras offer features—like in-body image stabilization—that you’d never find on a point-and-shoot. At the same time, these more sophisticated models are snapshot easy to use. With one-touch shooting modes to match most picture-taking situations, entry level cameras can do all the work to make great photos.

At the same time, extra features, these cameras provide more room to grow than the early point-and-shoot models. That also makes them more capable than the best camera phones, especially under less than ideal shooting conditions. Of course you won’t want to give up selfies or posting on social media, so look for a flip LCD and Wi-Fi connectivity.

With its flip down selfie touchscreen and Wi-Fi/Bluetooth connectivity, this petite camera offers all the benefits of the camera phone in your pocket and a whole lot more. Although there’s no viewfinder, the best beginner Olympus camera, the PEN E-PL10 offers in-body image stabilization to help prevent blurry images when shooting in low light. And you’ll get 4K video, too. 

Best for videos: Olympus OM-D E-M5 Mark III

SEE IT

Why it made the cut: With 4K video capture and a 5-axis image stabilization system that works during movie capture, this is the most well-rounded option for video shooters.

Specs

• Megapixels: 20.1
• Sensor size: Micro Four Thirds
• 4K video up to 30 fps

Pros: 

• Burly weatherproofing
• Small and light
• Lots of physical buttons for control
• Solid eye-level electronic viewfinder

Cons:

• Can feel cramped due to its size
• Just OK in super low-light

All camera manufacturers have upped their video features over the past few years, with most offering an option to shoot 4K. Not everyone needs the super-resolution of 4K. 

In addition to resolution settings, look for a variety of fps, although you’re not likely to find as many fps options for 4K as for full HD, HD and SD. But it’s always good to have a choice of 30p, 24p and 60p. If you want to get creative, a slow motion feature is always fun.

Other specifications to consider include in-body image stabilization to keep your footage steady while you’re on the go. And having a microphone jack is key to getting the best sound. A headphone jack is a bonus but generally only found on high-end models. 

In addition to 4K video, the Olympus OM-D E-M5 Mark III is the best Olympus camera for video because it’s equipped with IBIS (in-body image stabilization) to keep your footage smooth and steady. The camera has a mic jack so pick up an external microphone to ensure good audio. And, if you’re up to post-processing color grading, this camera has a flat profile so you can apply your preferred look and aesthetic.

Best for traveling: Olympus OM-D E-M10 Mark IV

SEE IT

Why it made the cut: Despite weighing just under a pound and sporting a super-small form factor, this full-featured mirrorless camera can do pretty much anything.

Specs

• Megapixels:
• Sensor size: Micro Four Thirds
• Weight: 14.5 ounces

Pros

• Very small and light
• Solid weatherproofing
• 5-axis stabilization

Cons

• Can feel cramped for people with big hands
• Feels ridiculously small when attached to big lenses

When you spend your hard-earned cash on a vacation, you want to be sure you come back with great images. Even when your outing doesn’t stray far from home, you’ll want to capture some of the sights you’ve visited for the day.

Naturally, size matters. You’ll likely be doing a lot of walking, so look for a smallish camera body and a lens that doesn’t add much to the size/weight of the rig but still gives you the focal length flexibility you’ll need. Although accessory flashes are available for mirrorless cameras,  having a built-in flash is preferable so it won’t add to the builk, weight or cost of your setup.

Weighing less than a pound (without a lens), this camera won’t weigh you down during your travel explorations. A built-in flash, 5-axis image stabilization and a tiltable LCD enable creative shooting angles. 

Because it’s so small and weighs under a pound, you can attach a compact lens to it and have a walk-around camera that will fit in a purse or, if you’re feeling fun, a fanny pack making it our pick for the best Olympus travel camera.

Best tough: Olympus Tough TG-6

SEE IT

Why it made the cut: You can literally take this 8x-zooming tough camera diving to a depth of 50 feet and capture 12-megapixel photos and 4K video.

Specs: 

• Megapixels: 12
• Waterproof down to 50 feet
• 8x zoom

Pros:

• Fully waterproof with no case needed
• 8x zoom built-in
• Built in instruments like a compass and GPS for recording data about photos

Cons:

• Small sensor
• Relatively slow lens when zooming

The compact camera market has all but disappeared thanks to smartphones. But, the waterproof models have stuck around because they can go places your iPhone can’t. Olympus has been making its line of Tough cameras for more than a decade. The TG-6 is the best Olympus tough camera because it’s fully waterproof down to 50 feet and it also protects against dust getting into the delicate electronics. 

It doesn’t just survive underwater, the TG-6 thrives there. It offers several underwater-specific shooting modes designed to overcome common challenges that come with shooting while submerged. For instance, it can remove some of the gnarly blue cast that can show up while diving. It can shoot 4K movies or lower the resolution to catch HD footage in slow motion. It’s great for really capturing your friends’ bad decisions so you can play them back later. 

What to consider when shopping for the best Olympus cameras

Like any digital camera, selecting the best Olympus camera model depends on your photographic interests, intentions, and skill level. If you plan to shoot sports or birds, you’ll need an Olympus camera that provides high speed capture with equally adept autofocus. Want to keep things simple and uncomplicated? Check out one of Olympus’ beginner cameras. Need to take pictures around (or in) the pool or at the beach? There’s an underwater camera for you, too.

Ruggedization

Despite their relatively small size, high-end Olympus cameras like the OM-D E-M1-series offer some of the best ruggedization and weather proofing around. Just know that the pro models really amp up the protection while the more consumer-oriented models don’t go quite as hard. If you’re planning to take your camera body up into the mountains or out into gnarly weather conditions, it’s worth paying extra for the burlier models.

Understanding the crop factor

One of the specifications to keep in mind when choosing the best Olympus digital camera is that the company’s mirrorless cameras pack Micro Four Thirds sensors, which create a 2x crop factor on lenses. That’s great news for photographers who want or need the extra reach from their lenses. It also translates to using shorter, lighter lenses for telephoto photography. For example, a 100mm-400mm lens delivers the same field of view as a 200mm-800 lens. And given Olympus digital cameras’ excellent in-body 5-axis image stabilization (IBIS) on some of their cameras, shooting telephoto and low light (slow shutter speed) images is not a problem.

At the same time, keep the 2x crop factor in mind when choosing a wide angle lens for landscapes or astrophotography. 

The Olympus MZuiko Digital ED 7-14mm f/2.8 PRO lens ($1,349) is a good choice and delivers a 14mm-28mm 35mm-equivalent field of view. Sigma and Panasonic offer MFT lenses as well, so you have options other than the Olympus branded optics.

FAQs

Final thoughts on the best Olympus cameras

With a wide variety of cameras, at a range of price points, Olympus has made it easy to find a model with the features and specifications you need to make great pictures. From speedy burst modes for wildlife and bird photography to excellent in-body image stabilization for low light/slow shutter speed shots and even a rugged camera that works under even the toughest of conditions, we’re sure there’s a model for you.

The post The best Olympus cameras in 2023 appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

Best portrait lens		Canon 85mm f/1.2L II		SEE IT	A super-high-end option at a classic focal lenth
Best wide-angle		NIKON Z 14-24MM f/2.8 S		SEE IT	Tame distortion and great sharpness make this the landscape champ
Best macro		Tamron 90MM F/2.8 Di VC USD		SEE IT	A tried-and-true performer up-close

Picking a camera lens is one of the very first creative decisions involved with the photographic process. There’s a seemingly endless supply of different options out there and the choice you make will have a profound effect on your photos. The advent of mirrorless brought with it the need for lenses to match the new formats. Initially, photographers were dependent on adapters to fit legacy lenses from brands like Canon and Nikon to the APS-C, full-frame and micro four-thirds mirrorless cameras while companies such as Canon, Fuji, Nikon, Olympus, Panasonic and Sony grew their line of native lenses for those formats. Adding to the mix, third-party lens manufacturers such as Sigma and Tamron continue to play an increasingly important role in meeting the needs of photographers in search of the best camera lens. 

• Best portrait lens: CANON EF 85MM F/1.2L II USM
• Best wide-angle lens for landscapes: NIKON Z 14-24MM f/2.8 S 
• Best super telephoto lens for wildlife photography: SIGMA 60-600MM F/4.5-6.3
• Best macro lens: TAMRON 90MM F/2.8 Di VC USD
• Best lens for street photography: NIKON AF NIKKOR 35MM F/2D 
• Best budget lens: NIKON 50MM F/1.8D 

What to look for when shopping for the best camera lens

When searching for the best camera lens, there are a number of criteria to take into consideration. In addition to making sure the lens is available for your camera’s mount (or there’s an adapter), it’s important to know how you’ll be using the lens. Are you looking for the best lens for portraits? Or maybe you’re searching for the best lens for landscapes. Or perhaps photographing tiny subjects is your thing and you’ll need a macro lens. Of course, there are all-around, one-size-fits (almost) all scenarios, too. Just keep in mind that the best lens for astrophotography won’t work well for portraits; nor will the best landscape lens necessarily be the right option for macro shots.

One critical specification regardless of what lens you choose is how the sensor size will affect the effective focal length. On full-frame cameras, that’s not an issue because the sensor is the same size as a 35mm piece of film. But if you’re shooting with an APS-C or micro four thirds model, you have to consider the crop factor. An APS-C camera will crop the frame by 1.5x or 1.6x (depending on the brand), so a 100mm lens will provide a field of view of 150mm (35mm equivalent). It’s simply capturing a smaller amount of the image created by the lens itself, which makes the image appear zoomed in. A micro four thirds sensor will double the effective focal length so that 100mm lens delivers a 200mm (35mm equivalent) field of view. That’s usually not much of an issue with telephoto lenses where you want a longer range but it’s especially important to note for wide-angle lenses so be sure to do a little math before you pick out a lens.

There are certain features that increase the price of a camera lens. A lens with a maximum aperture of f/2.8 or faster (lower f-number) will cost more than those with f/stops that start with a maximum aperture of, say, f/3.5. Optical image stabilization, sometimes called vibration reduction, SteadyShot or simply OIS or OS is particularly important for longer, heavier lenses. There are also invisible factors that come into play, like the quality of the glass, the types of coatings applied to the surfaces, and the weather sealing. 

Everything else being equal, some smaller bells and whistles such as the inclusion of a carrying case for the lens, a lens hood, a manual aperture ring and other bonuses may sway you one way or the other. But shouldn’t make or break your choice. 

Things to consider when shopping for a portrait lens

When shooting portraits of individuals, or even very small groups, focal length is one of the key criteria for choosing the best camera lens and getting a great shot. Generally speaking, a short telephoto lens—an 85mm or 105mm, for example—is ideal, especially for tight compositions (headshots, waist level/head and shoulders, etc.). For full body and larger group shots, you may want to go as wide as 70mm or 50mm, but not much wider to avoid distortion unless you can back up and shoot wide. 

Also critical is a maximum aperture of at least f/2.8 (or larger) for a shallow depth of field. Shooting wide open (or close to it), softens the background creating a beautiful bokeh effect, that eliminates any distractions and puts the visual emphasis on the main subject. Separating the subject from the background is one of the components of a successful portrait. Lenses also get sharper as you stop the lens down a bit, so you can shoot an f/2.8 lens stopped down to f/4 and expect improved sharpness. 

While there’s nothing wrong with shooting a portrait with a short telephoto zoom, most photographers prefer prime lenses for portraits for the best results. A fast, 85mm lens is the oft-preferred choice among pro’s and because this focal length/aperture combo is so popular, just about every manufacturer offers a version so you shouldn’t have any problems finding one for your specific camera.

Best portrait lens: Canon EF 85mm f/1.2L II USM

SEE IT

The Canon EF 85mm f/1.2L II USM, which is compatible with Canon full-frame and APS-C cameras, fits all the specs for a great portrait lens with its 85mm focal length and fast aperture. L-series lenses, like this one, are known for their excellent quality and autofocus performance, aided by its AF USM (ultrasonic motor). Check out Canon’s other 85mm lenses if price is an issue.

Nikon users can grab a great priced 85mm f/1.8 prime lens, which meets the specs needed for a portrait lens even though it’s just a hair slower than other Nikon 85mm models. 

Also check out the Sigma 105mm f/1.4, which comes in Canon, Nikon Sigma, Sony E-mount and L-Mount, gives you a little lens-to-subject distance wiggle room but still provides great bokeh and a sharply focused subject.

Things to consider when choosing the best camera lens for landscapes

Broad vistas, carpets of flowers in the spring, mountain ranges, city scapes, oceans with crashing waves and even the night skies all require a wide-angle or ultra wide-angle lens to capture stunning outdoor scenes. While some astrophotographers and underwater shooters might prefer a 14mm or wider prime lens, a 14-24mm zoom works just as well, particularly at the 14mm end, and provides extra versatility to cover a range of subjects.

A large maximum aperture is not as critical for wide-angle shots as it is for portraits and other genres that are visually more appealing with a soft background. However, an f/2.8 maximum aperture will serve you well under a variety of conditions, especially when shooting night skies or taking a housed camera underwater to photograph shipwrecks.

Best wide-angle lens for landscapes: Nikon Z 14-24mm f/2.8 S 

SEE IT

Designed for full-frame Nikon Z-series cameras, the high-end Z 14-24mm f/2.8 S lens provides edge-to-edge sharpness for outstanding landscape images. The lens is compact and its aspherical lenses are ideal for keeping cityscape lights and stars sharp. As a bonus, there are two options for adding filters: screw in 112mm filters at the front and a slot at the rear element for filter sheets and gels. 

Other options for ultra-wide-angle lenses include the Sony FE 12-24mm f/2.8 G Master for full-frame cameras. A little extra coverage starting as 12mm and a constant aperture throughout the zoom make this an attractive, albeit pricey, camera lens.

Sigma offers two versions of its 14-24mm f/2.8 art series lens. One for Canon or Nikon; the other for mirrorless L-mount and Sony E-mount cameras.

What to consider when choosing the best camera lens for wildlife photography

Wildlife can be elusive—and skittish if you get too close—so a super-telephoto (or telephoto) zoom is a must for any wildlife photographer. 

While long lenses have the reach you need, keep in mind that telephoto/super-telephoto models are generally slower than other lenses with maximum apertures starting at around f/4.5 at the widest end. The longer the lens, the less light it’s capable of funneling to the sensor as the maximum f/stop goes to f/5.6 and higher. This is where shooting with an APS-C or Micro Four Thirds sensor comes in handy since a crop factor is applied (1.5x or 1.6x or 2x, respectively). If you’re shooting full-frame but want to increase the focal range, check to see if a tele-extender is available. Just be aware that you will lose even more f/stop flexibility.

Other key specs of this photography gear to check out include whether or not the lens has image stabilization (most telephoto and super-telephotos do) since you’ll likely be handholding the lens. Do you plan to shoot from a tripod? Make sure a tripod collar one is available if it isn’t bundled with the lens. Also, a focus limiter feature is a handy option although not critical to make great images. 

Best super telephoto lens for wildlife photographers: Sigma 60-600mm f/4.5-6.3

SEE IT

This 60-600mm super telephoto zoom is great for wildlife because it’s long enough to photograph the most elusive lioness and her cubs on a photo safari but wide enough to frame a pod of dolphins riding the bow waves of a boat or visitors to the bird feeder outside your back door. Available for Nikon, Canon, and Sigma, this image-stabilized lens comes with a tripod collar and is dust-and splash-proof.

Sony shooters should check out the Sony FE 200-600mm f/5.6, which features Sony’s excellent SteadyShot image stabilization.

While we generally recommend zooms for wildlife photography, don’t overlook some of the primes on the market. For example, the Canon RF600mm f/11 IS STM lens is compatible with Canon’s EOS R mirrorless system. And while its maximum aperture is only f/11, it should work well in brightly lit conditions. Although you may need to boost the ISO to get a fast shutter speed, this lens costs less than half the price of other super telephoto options. 

Things to consider when shopping for the best macro lens

One of the key specifications of a macro lens is its reproduction ratio. This figure indicates the relationship between the image and the actual size of the subject. For example, a macro lens with a 1:1 ratio reproduces the image at the same size as the subject. A 1:2 ratio is half the size while a 2:1 macro lens will capture an image at twice the size. 

In addition to the reproduction ratio, the working distance is extremely important. This differs from the minimum focusing distance because it measures the distance from the front of the lens to the subject (versus from the focal plane to the subject). For example, a 100mm macro provides a wider span between lens and subject than, say, a 60mm macro. Given the sensitivity of insects to your presence, it’s easy to scare them away so you’re better off with a 90-105mm macro on a full-frame since you’ll be farther away. 

It’s best to choose a camera lens with a minimum aperture of at least f/22 (f/32 is even better). While you generally want a blurred background, you’ll need to stop down the lens to get a depth-of-field that will keep your close-up subject in focus. 

 Best macro lens: Tamron 90mm f/2.8 Di VC USD

SEE IT

The Tamron 90mm f/2.8 Di VC USD is a 1:1 macro lens with a minimum aperture of f/32 for better depth-of-field and vibration compensation (VC), a proprietary form of image stabilization. Available for Canon, Nikon and Sony cameras (the latter without VC), the lens is moisture-proof and dust-resistant. 

Other candidates for this category include the Sigma 105mm f/2.8 G DN Macro Art lens with its 1:1 magnification, focus limiter switch, AFL button and dust- and splash-proof build. Two versions are available: one for Nikon and Canon; another for L-mount and Sony e-mount. And it can double as a portrait lens, too.

The Panasonic Lumix G 30mm f/2.8 macro lens is a good option for Micro Four Thirds users (60mm 35mm-equivalent focal length). This 6.35 ounce lens can focus as close as 0.345 feet and features optical image stabilization.

Things to consider when choosing a camera lens for street photography 

Street photographers need to be nimble and relatively unobtrusive (but not hidden). That translates into a small camera and a compact lens. For many, a 35mm lens—many of have a low profile—offers the best option. A 35mm lens isn’t so wide that it will distort subjects’ faces yet it’s wide enough to capture a broad range of street scenes. And there’s generally enough depth-of-field to help ensure sharply focused images at the touch of the shutter. While some photographers prefer a 50mm lens (see our Best Budget Lenses), we still think 35mm is ideal. For cropped sensor cameras, you may end up with a lens that’s a little longer or shorter.

Above and beyond size and focal length, an maximum aperture of f/2.8 or larger works well on the street, not only for low light but to ensure a fast enough shutter speed to grab the action. If the lens comes with an equally compact lens hood, all the better since a hood will help prevent lens flare. But, there’s no rule that says lens flare is always bad—sometimes it can add an extra sense of style.

Best lens for street photography: Nikon AF NIKKOR 35mm f/2D

SEE IT

This compact lens has proven its worth over the years for candid shots that require a wide aperture and quick autofocus. At 7.2 ounces and measuring 2.5 x 1.7 inches (D x L), the Nikkor 35mm f/2D is highly portable. And for a true street photography touch, there’s a manual aperture ring for quick exposure changes.

Fuji X-series users will fall in love with the Fujinon XF27mm f/2.8 R WR, even though its 35mm-equivalent focal length is 40mm. Razor thin at 0.90 inches, only 2.4 inches in diameter, and weighing a mere 2.9 ounces, this is an amazing lens. Add weather resistance, a manual aperture ring, and a tiny lens hood (that also protects the lens) and it’s tempting to switch to an x-series camera just to use an XF27mm lens.

Best camera lens on a budget: what you get for under $200

Don’t underestimate the importance of a quality lens. In fact, it’s often better to skimp a little bit on a camera, ignore most kit lenses and spend the extra dollars on a better lens. You’ll likely update your camera at some point but lenses will stay with you through multiple camera purchases. 

That said, you don’t have to spend a bundle to add an excellent lens that will serve you well regardless of how long you’ve been shooting or plan to pursue photography. Fortunately, some of the least expensive lenses fall into the “must have” category of the nifty fifty. A 50mm lens is probably the most versatile glass you can put on your camera since it’s appropriate for a wide range of scenarios. Better yet, there are some excellent options for budget-conscious photographers.

Best bargain camera lens: Nikon 50mm f/1.8D

SEE IT

Despite its low price and small size, this fast, Nikon 50mm lens produces images that are razor sharp. At 2.5 x 1.5 inches (D x L) and weighing only 5.5 ounces, this pint-size lens packs a punch with its great optics, swift autofocus, and manual aperture ring. 

Canon full-frame mirrorless R-series users will appreciate the RF50mm f/1.8 STM lens for its fast aperture, small size, and quiet STM (stepping motor), which is perfect for video as well as stills. 

If your budget is super tight, you may want to check out the Yongnuo 50mm f/1.8 prime, available for Nikon and Canon DSLRs.

FAQs

What to keep in mind when shopping for the best lens for your photography 

Many of us spend more time selecting a camera than choosing the best lens. While cameras are an integral part of your photography equipment, lenses can make or break your images regardless of whether you’re shooting with an entry-level or a pro-level camera. With that in mind, you may want to go for a single quality lens over two or three mediocre pieces of glass. Be discerning and take your time building your stash of glass. Lenses will be with you for a long time.

The post Best camera lenses of 2023 appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

_The handmade, labor-of-love trend isn’t just for artisanal pickles and custom-sewn shirts from Etsy. A cadre of small companies are hand-building cameras to buyers’ specs, crafting lenses you’d never see from an assembly line, building gorgeous wooden shutter release buttons, and more. Here are a few little brands making amazing things­—and the story of what it takes to create them. _

Have you ever wished for photographic equipment you’ve never seen in a store, or longed to give your out-of-the-factory camera a personal touch? Or just wanted to make a picture but you couldn’t find the gear to do it? These dedicated photographers did. Each of their stories is different but, inevitably, a certain spark—personal or practical—started these artisans on the path to creating their own products and bringing them to market on a small scale.

For Andrew Bellamy, who restores vintage rangefinder cameras (ilottvintage.com), it all began with a Minolta Hi-Matic 7 that he found sitting in pieces after his father’s death. Bellamy’s father was a camera technician in the 1960s and had been refurbishing cameras after he retired. Using his father’s tools, Bellamy restored the camera, successfully shot a roll of film with it, and, he says, “got the bug from there.”

Initially, Bellamy launched the Ilott Vintage website with images and information about restored cameras “to encourage the use of film and to [champion] the quality of this generation of cameras,” but he was “inundated with requests to buy” the cameras. In 2012, he made them available for purchase online. For a unique and gorgeous modern touch, he replaces the worn leather fronts and backs 
with real wood veneers, turning them into cameras unlike any you have ever seen.

Keith Canham (canhamcameras.com) fell in love with large-format photography after shooting with a 4×5 camera while at university; by 1983, he had built his own 4×5 camera. Six years later, he launched his company at the advice of Jack Deardorff (the last Deardorff family member to own L.F. Deardorff and Sons). He now designs and builds large-format cameras for other photographers, in incredible sizes such as 12×20 and 14×17.

But Canham is not the only one building cameras from scratch. About three years ago, shortly before he decided to pursue photography full-time, James Guerin built his first panoramic pinhole camera simply because he wanted to shoot images in that format. Around the same time, he was intrigued by a slit-scan photograph on Flickr, so he designed and built a slit-scan camera as well. Now he builds and sells both types of cameras (aupremierplan.fr).

Other photographic gear has gone custom, too. For bodyboarder Sean LaBrie (splwaterhousings.com), a financial incentive was the mother of invention. He made his first underwater housing in 1995 when someone told him he could earn money shooting and selling surfing imagery. After posting a housing he had made for himself on Craigslist, LaBrie got his first customer: renowned surf photographer Dave Nelson, who has been buying housings from LaBrie ever since. In 2001 this evolved into a part-time business crafting housings for some of the industry’s top surf photographers and quickly developed into a full-time venture a year later.

Some of these custom photo products are available to all, but others are more difficult to come by. According to Bellamy Hunt (www.japancamerahunter.com), MS Optical—known for hand-built lenses and lens conversions—started as “more of a hobby” for its creator Miyazaki Sadayasu, “after retiring from his previous job designing telescopes for a famous Japanese toymaker” in 2006.

Miyazaki-san’s lenses are sought after by photographers and collectors alike. If you want one, you’ll need to move quickly—the lenses are produced in limited numbers and often sell out at record speed. Lenses can be ordered from Japan Camera Hunter, where Hunt also supplies his customers with classic cameras and other products—including specially designed soft shutter releases.

Photo: Courtesy of Ilott Vintage

Making it Work
It’s one thing to have a good or even great idea, but executing it is a whole other issue. Not surprisingly, many of the people we spoke with have specific skills that enable them to bring their concepts to life. Combined with a background in photography—and a little bit of luck—their skills helped them get to where they are today and keep them working at improving their craftsmanship.

James Guerin’s prior 15-year-long career as a mechanical engineer is a perfect example of how his experience feeds right into his pursuit of designing and building his panoramic pinhole and slit-scan cameras. “Skills such as mechanical drawing, knowledge of machines and processes, materials and project management have been a big help,” Guerin notes.

SPL Waterhousing’s LaBrie brings together his experience with watersports, photography, and more than two decades of welding to create his camera housings. “I worked on cars and bicycles when I was younger, so figuring out how to build a box [waterproof housing] came naturally,” he says.

Although not an engineer, Keith Canham has a strong background in photography and degrees in math and physics, and he apprenticed as a piano technician for three years during high school while teaching himself how to build acoustic guitars. “When I decided I wanted a 4×5 camera, I already had woodworking skills from the piano restoration work and guitar building,” explains Canham, “so I taught myself to be a machinist and built the first camera.”

Getting the Word Out
Marketing can be a challenge; sellers must reach target markets and potential customers must find the goods. But there are more ways than ever for sellers and buyers to connect; the Internet helps. For example, one might find LaBrie while browsing through surf forums to see what underwater housings watersport photographers used.

“In the beginning,” LaBrie reports, “we did not advertise. It was 100-percent word of mouth. Now we do trades [of equipment] with certain magazines for ad space,” so LaBrie reaps the benefits both of advertising and of having top photographers and editors use his equipment.

When Canham isn’t making cameras, he can often be found at trade shows like PhotoPlus Expo at the Kodak booth (he sells specialty films from Kodak to his large-format customers). This provides a direct connection to potential customers, who range from landscape to fine-art, still-life, and portrait photographers.

But Guerin is just starting out. “The biggest challenge for me is exposure,” he says. “Commercial camera-making is a new thing for me, and I’m still an unknown quantity in the photo community. That’s slowly changing as I’ve been featured on various blogs and I keep fairly active on social media.” He posts photos of his cameras as well as his pinhole and slit-scan images on Flickr so he can connect with Flickr members interested in alternative photography.

Of course, editorial coverage also helps spread the word. Ilott Vintage has been featured in magazines ranging from photo-specific pubs to luxury lifestyle media.

But sometimes, getting the product in the hands of influential photographers is one of the best and most direct routes to building a customer base. That seems to be true in LaBrie’s case. With so much of our day-to-day communications centered on the Internet—social media, special-interest forums, blogs, etc.—as well as fundraising sites like Kickstarter, you don’t need a huge marketing budget. All you need is a high-quality product that addresses a need, some Internet savvy, and the willingness to invest time to get the word out. And that, we think, will help talented artisans join the ranks of the ones featured here to continue to bring unique products to photographers.

Keith Canham designs and builds custom large-format cameras, and can help you get specially sized Kodak film to go with them. Photo: Lonna Tucker.

The post Handmade Photography Gear: A Look Into the World of Custom Cameras and Accessories appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

The need for portrait retouching is practically a given, even if your subject is nearly flawless and your photographic talents outstanding. But making your clients—or family and friends—look their best can be time-consuming. Anthropics’ PortraitPro, recently updated to version 12, is an efficient, easy-to-use application that can make retouching quick and, when used skillfully, bring out the best in your portrait subjects. With presets or sliders (the latter offer more control), you can eliminate skin imperfections, enhance your subject’s features, adjust lighting, and even sculpt facial structure and change eye color. Moderation is key, though—in the end, you want your subject to look natural. Several editions of PortraitPro are available, all of which provide extensive retouching tools. This tutorial shows the Studio Edition.

Quick Tip Before you begin, go to PortraitPro > Preferences. Make sure the boxes for Don’t Save Over Original and Automatically Find Faces are checked. Check the box to have the program add the “_pp” suffix to saved images to identify the ones you’ve worked on. Review the other options and choose the ones that best fit your workflow.

Step 1 Define your subject. In the Control Panel, click Open Image and select a photo. Then click the button that best matches the age range and gender of your subject. Make sure View Before and After is selected so you can compare the two as you work. Unless you want to use the default preset as a starting point, go to Presets and click Reset to Original Image.

Step 2 Adjust outlines and points. The software automatically identifies key facial features. To adjust outlines, move the mouse into the Before view. Click and drag the yellow squares and outlines to more accurately fit the subject’s features. Pay close attention to the corners and centers. Note that you may need to modify outline positions as you retouch.

Step 3 Tweak facial features. There’s no set order for making adjustments, but we usually start with the details, such as the mouth, eyes, and nose. For instance: Under Portrait Improving Sliders, click Face Sculpt Controls > Mouth Shape. Move the sliders until you like the expression. We added a slight smile and adjusted this model’s upper lip. Click the Face Sculpt Controls arrow to close that section, then switch to Mouth & Nose Controls. Increase lip saturation, darkness, and hue, then add shine with the Moisten Lips slider. Make other adjustments as needed.

Step 4 Smooth the skin. Click the Skin Smoothing Controls > View/Edit Skin area. To mask the area of skin you want to adjust, first get the right brush size. Then select Extend or Cut Back to increase or decrease coverage as you paint the skin area you want to include or exclude. Watch the edges to avoid blurring details. Click OK to close the masking tools, then choose Skin Texture Type and Spot Removal options from the drop-down menus. Adjust characteristics via the sliders. But don’t overdo it!

Step 5 Touch up as needed. If skin smoothing went too far in some areas—or missed a few spots—stay in Skin Smoothing mode to make repairs. Switch to View After Only > 1:1. Then click the Touch Up Brush in the upper toolbar. Use the Navigator to scroll around and find anything that Skin Smoothing missed, such as stray hairs or imperfections. Then brush over the affected area. Use the Restore Brush to bring back some of the original skin texture where it’s needed.

Final Step Save your work. When you’re ready, save your image or save the session. The former (use Save As or Save JPEG/TIFF/PNG) will save the image in a standard file format. The latter saves a PortraitPro file as a session, which maintains the outlines, point positions, and slider values so you can continue working on the image when you reopen it. If you’re unsure, save the image as a Session first, then choose Save JPEG/TIFF/PNG.

The post Software Workshop: Using Anthropic’s PortraitPro For Fast Retouching appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

Open and Straighten

Use Control Points for Selective Adjustments

Paint on your changes

Apply some tonal contrast

Use Stacks to apply or 
adjust your final tweaks.

Save and share your work

The post Software Workshop: Five Tips For Mobile Photo Editing Using Snapseed 2.0 appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

The post Software Workshop: Creating a Composite Car Photo Like the Pros appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

You’ve invested in camera gear and you love taking pictures, but you’re not interested in a full-time photography career, especially when pros these days don’t exactly have it easy. Still, you can earn a little extra with your camera—if you’re willing to put in the time and effort—and keep your weekly paycheck, too. Whether you want to shoot weddings or portraits, sell prints or stock, or capture local sporting events, here’s the skinny on getting started. Try Weddings Wedding photography is almost recession-proof and, since weddings are seasonal and often on weekends, it’s relatively easy to shoot part-time. Freelance wedding photographer and writer Nathan Chandler splits his time between shooting and writing, and explains that his start in wedding photography began when family and friends saw his landscapes and casual portraits and assumed he could photograph nuptials, too. After about five years, Chandler was enjoying wedding photography enough that he begain actively trying to get wedding jobs. The Nebraska-based photographer now shoots about 20 each season. Seattle-based Chloe Ramirez started out as a second shooter for other wedding photographers. “That gave me the background and confidence to start photographing weddings on my own,” says Ramirez, adding that she didn’t go out on her own until after a solid year of second shooting. She also suggests styling your own wedding shoot for portfolio images by working with local vendors—make-up artists, venues, etc.—and exchanging pictures for their services. From there, send the final images to a wedding blog, says Ramirez. “If it gets picked up, that gives you and the vendors exposure for your businesses.” And, she adds, “Ask vendors if you can refer your brides and grooms; they will most likely return the favor and that will get you more inquiries.” During the three-to-four month wedding season, Ramirez shoots full-time, accepting up to four weddings per month, and puts her three-year-old daughter in daycare two days a week so she can concentrate on editing. “That way, when I am home with my family, I am present and not trying to juggle both [family and work].”

A Former Second Shooter

Take Portraits

Child and family photography is a growing market and a realistic—and often fun—option for photographers who want to earn a little money on the side.

Amy Grace, a parent of two and an active member of the family photo website Little Bellows, got her first DSLR two years ago. She began by shooting personal images, spending a lot of time photographing her children as well as friends and family. About a year ago, she got her first paid job and found that the “wisdom, patience, and attentiveness” learned from photographing her own children was “invaluable” for working with other families. Grace currently takes limited sessions—preferring no more than one client a month—so she can care for her children, but expects this to change in the future.

She posts weekly on Little Bellows and writes a column called “Motherhood With a Camera.” She says, “The weekly posts have increased my audience; the feedback and connections from readers are inspiring and encouraging, and it confirms that there is so much depth, talent, and purpose behind the often-dreaded moniker MWAC [Mother With a Camera].”

Not the Average MWAC

In addition to the inquiries from Little Bellows readers, Grace finds that her clients come to her via word of mouth—whether locally or via social media like Facebook.

Photographing since high school, Lora Swinson only started shooting portraits when her oldest son was born. Soon after, she asked everyone she knew if she could photograph them to get experience. “My biggest tip for anyone starting out is to ask your family members and friends for their help. Word-of-mouth is your biggest tool in this industry.” But, she cautions, “be honest and open about your skill level and what they should expect.”

Shooting Sports

Sell Prints

Selling your images—whether via galleries, online, or at art fairs—can be a challenge, but it isn’t impossible. Landscape and fine-art photographer Derek Jecxz combined research, persistence, and a portfolio of extraordinary images to sell his work. He entered competitions from “reputable” museums and galleries, which helped him get into other galleries. After a couple of years, licensing company Bruce McGaw Graphics approached him with a contract to reproduce and distribute his work.

New York City-based Deborah Gilbert makes hand-colored silver gelatin prints, and she has traveled far and wide to sell her work at art fairs. While she’d once do as many as 43 shows in a single year, she now concentrates on those in the Northeast. She suggests that newcomers start small with local shows where tables rent for for $20-$25. Larger shows may cost up to $2,000.

Gallery Bound

Gilbert points out that you won’t necessarily make more money at a higher-level show, especially after deducting fees. “You can make more at the smaller local shows at the Kiwanis club,” she says. She mixes both local and higher-end shows and recommends that if you’re traveling, pick locations where you have family or friends that you can stay with to cut down on hotel expenses.

Gilbert offers framed, original hand-colored photos for around $500, but also sells smaller, matted reproductions that cost less. Her matted works are standard sizes, so buyers won’t need a custom frame.

Both Jecxz and Gilbert caution photographers to do their research before handing over money to any online site since there are some organizations that really don’t deliver useful— if any—services. And to find lists of national art shows, Gilbert suggests subscribing to Sunshine Artist magazine.

Weddings Half the Time

Shoot Sports

Photographing your team from the bleachers isn’t much fun, so why not combine your passions for sports and photography? Pennyslvania-based Den Sweeney and partner Ho Chuen Kan (a.k.a. J-Kan) get hired by universities, high-school programs, and parent groups to shoot games as well as athletic portraits. In addition to showcasing your work using social media, Sweeney suggests that photographers shoot for fun to improve. But, adds the former hockey player, coach, and recruiter, “know the sport that you’re photographing.”

And don’t forget about the video setting on your DSLR. Lion Creative Group, headed up by Matthew Leone, recently added high school sports recruitment videos to its services. As Leone explains, there are many top-notch athletes vying for the attention of scouts and college coaches, but “college program budgets are getting slashed, so the best way to get noticed is a top-quality video.”

For those new to the field, Leone suggests approaching the “athletic directors and high school coaches of top programs; those are the ones that sniff out talent. The athletes trust their coaches and ADs. Get a coach and an AD to trust your service and they will help you multiple times.”

If extreme sports are your thing, check out Chris Garrison’s work. Garrison, who shoots wakeboarding and snowboarding, knows both sports well and, equally important, knows the athletes. He started by shooting for magazines part-time, submitting images to various publications, and last year he was able to make the switch to shooting full-time. “I think of editorial as paid advertising for my work, because that’s how the manufacturers [of extreme sports gear] find you.”

Family Pictures

Sell Stock

While pros now depend less on stock, there are still plenty of opportunities for amateurs with companies such as Shutterstock, iStock Photo, and Getty’s Flickr collection.

Scott Braut, VP of Content at Shutterstock, notes that the “images that sell best often express both concepts and literal subject matter. An image of a rock climber can be used to illustrate an article about extreme sports but also signifies business concepts.”

Concept

He suggests that contributing photographers pay attention to “advertisements, the news, lifestyle trends, fashion trends, political and social issues.” And, he says, upload images often. “The secret to a top-selling portfolio is to keep putting new work in front of customers.”

Jennifer Huls joined Shutterstock in 2012, less than two years after she first started learning to use her camera. A mother of three, Huls says that being a parent “takes up most of my time, but it is nice to have a part-time job that I can do from home.”

She submits 20 to 25 images a week to Shutterstock, about 90 percent of which are shot in her basement studio. So far, Huls reports, “I have met all of my earnings goals and hope that this year is as good as the last.” Her advice? “Shoot what you are passionate about and don’t worry about what will sell. Some will sell and some won’t, but at least you won’t get bored with it.”

The post How To: Earn Extra Cash With Your Camera appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

The post Software Workshop: Create Fantasy Photo Composites With Corel ParticleShop appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.