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What is a Canon EF 24-105mm f/4L IS II USM?

When Canon announced a EOS 5D Mark IV final year, it arrived on a stage during a same time as dual new full-frame optics: a EF 16-35mm f/2.8L III USM, and a revamped EF 24-105mm f/4L IS II USM.

Both lenses play a pivotal purpose in Canon’s EF full-frame lineup. However, it’s a EF 24-105mm f/4L IS USM that’s some-more versatile and is expected to be a bigger seller formed on a fact that a lens it replaces has been one of Canon’s best-selling full-frame optics for a past 10 years.

The strange EF 24-105mm f/4L USM has been a renouned lens with Canon users for many opposite reasons. For those creation a burst from an APS-C DSLR to full frame, it’s seen as one of a best multi-purpose lenses we can buy, and there’s mostly an inducement to buy it with a new DSLR as partial of a pack and save a substantial sum of income in a process.

What’s more, when we take a L-series standing into consideration, we know that it’s been engineered to Canon’s high standards and advantages from a form of build peculiarity that will see it tarry visit and perfectionist use over many years.

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Canon EF 24-105mm f/4L IS II USM – Features

Favoured by those wanting to lift a singular lens on location, a EF 24-105mm f/4L IS II USM falls into a customary wizz stay of reward lenses and differs from a strange EF 24-105mm f/4L IS USM in a series of ways.

I’ll hold on a approach it’s built to withstand a final of veteran use, with extended insurgency to startle and quivering shortly, though let’s initial outline what else is new.

Canon EF 24-105mm f/4L IS II USM

The lens facilities a revised visual pattern compared to a predecessor, that Canon claims improves fortitude and edge-to-edge sharpness around a frame. Where a strange lens featured an visual pattern of 18 elements in 13 groups with 8 orifice blades, this newer lens incorporates 17 elements in 12 groups with 10 orifice blades.

You’d consider that this would revoke a weight of a lens a little, though it’s indeed somewhat incomparable and heavier than a predecessor.

Modifying a visual construction has seen a limit magnification boost somewhat from 0.23x (at 105mm) to 0.24x (at 105mm). However, there’s no change to a smallest focusing distance, that stays during 0.45m.

Canon EF 24-105mm f/4L IS II USM

Elsewhere, a lens facilities Canon’s latest visual picture stabilizer, that is privately designed to negate fuzz effects that are ordinarily compared with camera shake. The good news here is that a picture stabilizer is now effective to 4 stops rather than 2.5, creation it probable to grasp crook handheld shots during slower shutters speeds.

Unlike many cheaper customary zooms, a limit orifice stays during a consistent f/4 right by a wizz range, though can be stopped down to a smallest of f/22.

In customary Canon fashion, a lens uses an ultrasonic engine to safeguard autofocus is both quick and quiet. The full-time manual-focusing ring allows users to make excellent focusing adjustments on a fly, though carrying to switch to primer mode first.

Canon EF 24-105mm f/4L IS II USM

Canon has also ensured a lens provides smoother orifice changes during film capture, by implementing a new electronic orifice diaphragm complement (EDM).

As you’d pattern for a lens that’s set to turn a customary go-to choice for many veteran and fan photographers, it includes continue sealing to forestall users carrying to reserve it divided in inauspicious continue conditions.

At a back of a lens there’s a rubber ring that compresses and effectively seals it opposite a camera’s steel lens mount.

Towards a front of a lens you’ll notice a famous red ring that’s synonymous with Canon’s reward L-series optics, and it accepts filters and adapter rings around a 77mm thread usually like a precursor.

Canon EF 24-105mm f/4L IS II USM – Build and handling

As already quickly mentioned, a EF 24-105mm f/4L IS II USM is heavier than a lens it sets out to replace. Not usually does it import 125g more, it’s physically larger.

The disproportion in length is many apparent when it’s noticed side by side with a original, and by being that tiny bit longer (11mm to be precise) it has authorised Canon to make a wizz and concentration rings larger.

Canon EF 24-105mm f/4L IS II USM

I didn’t confront any difficultly locating or differentiating one ring from another from behind a camera on a comparison lens, though with this newer ocular we do get somewhat improved squeeze of them both.

The wizz ring operates opposite a focal operation with a consistently well-spoken motion, and it never feels like you’re compulsory to put some-more force into rotating it during one indicate than another.

When it’s used during a telephoto end, a front of a lens extends by approximately 40mm, though continues to feel good offset with full support DSLRs such as a EOS 5D Mark IV with that we tested it.

Canon EF 24-105mm f/4L IS II USM

There’s zero to forestall it being joined to a Canon APS-C DSLR (equivalent to a 38-168mm lens). However, on smaller bodies such as a EOS 77D, it does make a camera feel utterly nose-heavy and not as good balanced.

During a revamping process, Canon has updated a outmost pattern of a lens to compare a demeanour of other stream L-series zooms such as a EF 24-70mm f/2.8L II USM. In a past, it’s always been sincerely easy to tell a strange 24-105mm lens detached from Canon’s latest 24-70mm quick orifice zoom; they now demeanour really similar.

When it’s compared directly with a predecessor, you’ll notice utterly a few tiny differences such as a focal length markings being closer to a physique of a lens, bolder white lettering, and a dismissal of a name of a lens during a front of a barrel, that is now printed beside a front element.

Canon EF 24-105mm f/4L IS II USM

The pattern and position of a AF/MF and stabilizer switches stays most a same during a side, though given a stabilizer switch was somewhat recessed on a comparison version, it isn’t on this newer version.

The primer concentration ring provides a really liquid and appreciative feel in use, and altogether a lens meets a flawless build peculiarity that one would pattern from Canon and a lens that breaks a four-figure cost barrier. You even get a close switch to forestall a wizz fluctuating over 24mm – though we frequency used it, given there was no pointer of a wizz wanting to climb when it was indicating down.

Although a lens is concordant with a comparison EW-83H lens hood, users are suggested to use a granted EW-83M hood, that now thatch into place to forestall it from being incidentally knocked off; it requires we to subdue a tiny symbol to recover it. Within a boxed essence we also get Canon’s latest character of lens top and a compress lens pouch.

Canon EF 24-105mm f/4L IS II USM – Autofocus

Testing this new lens alongside a aged suggested that it’s incompletely quieter when it goes about a business of focusing – however, it isn’t wordless to a indicate that it manners out operational focusing noises being picked adult by a built-in microphone during film recording.

Canon EF 24-105mm f/4L IS II USM

As for autofocus speed, we didn’t knowledge an apparent alleviation between new and old, with any lens clearly focusing as quick as a other between nearby and distant subjects.

However, what is an alleviation is a approach a orifice can now be practiced silently during film recording, statute out a annoying clicking sound we used to get on a comparison lens as a orifice blades moved.

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What is a Sigma 135mm f/1.8 DG HSM Art?

Since a pregnancy of a reward Art operation of lenses towards a finish of 2012, Sigma has left from strength to strength. The 35mm f/1.4 DG HSM Art lens that kicked a whole array off has given been assimilated by 4 some-more focal lengths – 20mm, 24mm, 50mm and 85mm – to fill out an considerable set of f/1.4 primes.

For a subsequent move, a organisation is going wider and longer with somewhat slower f/1.8 designs, and here we’re looking during a Sigma 135mm f/1.8 DG HSM Art – a savage of a lens with a vast £1399 cost tag.

Perhaps surprisingly, this is a initial new autofocus 135mm primary lens for DSLR cameras that we’ve seen for utterly some time. While Canon, Nikon and Sony’s offerings are all superb, they’re looking a bit enlarged in a tooth, and a mint Milvus 135mm f/2 announced by Zeiss during Photokina final year is primer concentration only.

So Sigma has a event to uncover us usually how good a discerning autofocus 135mm primary can be with an up-to-the-minute, no-compromise manifest design. And child does it deliver.

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Sigma 135mm f/1.8 DG HSM Art

Sigma 135mm f/1.8 DG HSM Art – Features

Sigma is creation some really confidant claims for this new optic, observant that not usually is it formally pointy for use with 50-megapixel sensors, it also minimises axial chromatic aberration. To this finish a 13-element, 10-group pattern includes dual super-low apportionment (SLD) potion elements and dual ‘F’ low apportionment (FLD) potion elements. The aim is to give super-sharp, purify images, even during f/1.8.

Autofocus is driven by an ultrasonic-type hypersonic motor, with full-time primer concentration overrule also available. A floating concentration resource is employed to say high picture peculiarity opposite a full concentration stretch range, from forever to a smallest of 87.5cm. At this indicate a lens gives a extent magnification of 0.2x, that equates to a theme area of 12 x 18cm with full-frame cameras.

Sigma 135mm f/1.8 DG HSM Art

Sigma has commissioned a diaphragm resource with 9 dull blades that keeps a orifice near-circular down to a smallest environment on offer, that is f/16. Nikon users will advantage from a built-in electromagnetic diaphragm of a form Canon users have enjoyed for years, that Sigma says should give some-more quick bearing during continual shooting.

The lens is accessible in Canon, Nikon and Sigma mounts, though it can also be used on Sony E-mount cameras around a £200 Sigma MC-11 mountain converter, with all functions seamlessly confirmed – including autofocus and electronic orifice setting.

Sigma 135mm f/1.8 DG HSM Art – Build and Handling

Sigma 135mm f/1.8 DG HSM Art

The initial thing you’ll notice on unboxing a 135mm is a size; during 91.4mm in hole and 114.9mm in length, it’s a vast square of pack that weighs 1130g. As many of a potion is strong towards a front of a lens, it indeed feels heavier in-hand than we competence expect.

It’s really best matched for use on incomparable cameras such as a Canon EOS 5D series; on some-more modestly sized bodies such as a Sony Alpha 7 II, for example, it becomes really front-heavy. we positively began to notice a weight after carrying it around for a few hours – it isn’t something you’d wish to projection around on a off-chance of anticipating a suitable subject.

Build peculiarity is accurately as we’ve come to pattern from Sigma’s reward line, that means it’s really good indeed. Ahead of a steel territory immediately adjacent to a camera body, a tub is primarily done of high-quality plastics. The vast primer concentration ring rotates intensely uniformly though any spirit of backlash, with a tiny window on a tip of a tub indicating a stream concentration distance.

A rubber sign to stop dirt or H2O removing into a camera encircles a lens mount, while a front and back potion surfaces are treated to a water- and oil-repellent coating.

At a front of a lens you’ll find a non-rotating thread for attaching 82mm filters. It’s surrounded by a bayonet mountain for a low cylindrical hood, that can be topsy-turvy over a tub when not in use.

On a side there’s a span of switches, one to change between automobile and primer focus, and another that can be used to extent a concentration stretch operation to 1.5m to infinity, or 0.875m to 1.5m. This can be accessible for shortening sport in some situations.

As is common from Sigma, a lens is dull off by a few neat pattern touches: a white inlay in a concentration mode switch gives a discerning manifest acknowledgment of when it’s set to autofocus, while a ridged reason around a non-rotating territory of a tub affords a secure hold.

Sigma 135mm f/1.8 DG HSM Art – Resolution

Sigma 135mm f/1.8 DG HSM Art

Tested on a 42.4-megapixel Sony Alpha 7R II, a Sigma 135mm f/1.8 achieves startling formula in a Applied Imaging MTF tests. In a centre of a support it’s crook far-reaching open than many lenses grasp during their best apertures. Not surprisingly, a corners aren’t utterly as overwhelming during f/1.8, though stop down to f/5.6 and they locate adult with a centre. This is one of a many considerable sets of MTF measurements we’ve seen to date.

Sigma 135mm f/1.8 DG HSM Art – Shading

Sigma 135mm f/1.8 DG HSM Art

The 135mm gives impressively low vignetting for a discerning prime, aided no doubt by a vast front elements. Even during f/1.8 we see tiny over a stop of fall-off in enlightenment during a support corners, with a light form that isn’t unattractive. Stop down to f/2.8 and vignetting is many eliminated.

Sigma 135mm f/1.8 DG HSM Art

Sigma 135mm f/1.8 DG HSM Art – Curvilinear Distortion

Distortion is unusually low. In a draft tests we can magnitude usually a spirit of pincushion-type span of lines towards a edges of a frame. Examination of real-world images shows this to be of no regard whatsoever, though if you’re super-picky it can simply be corrected in software.

Sigma 135mm f/1.8 DG HSM Art

Sigma 135mm f/1.8 DG HSM Art – Autofocus

Sigma has employed a focusing resource that moves a smaller elements towards a back of a lens, and this gives impressively discerning and wilful autofocus on a Canon EOS 5D Mark IV we used for testing.

For tighten concentration distances, of adult to 4 or 5 metres perhaps, we found a AF was flattering accurate; during longer distances it became increasingly reduction reliable, however. This kind of poise is flattering common with SLRs and becomes ever some-more manifest as sensor resolutions increase. As a result, you’ll roughly positively need to configure autofocus micro-adjustment to get consistently pin-sharp autofocus.

For this purpose a 135mm is concordant with Sigma’s USB dock, that also allows a lens’ firmware to be updated in destiny if this turns out to be necessary. Meanwhile, to grasp accurate primer concentration on a DSLR you’ll need to use magnified live perspective – forget about perplexing to use a viewfinder.

Sigma 135mm f/1.8 DG HSM Art

I also tested a lens on a Sony Alpha 7 II regulating a MC-11 converter and detected that while a autofocus slows down noticeably, it’s still utterly tolerable. But a outrageous advantage is that a camera’s on-sensor hybrid AF complement gives consistently accurate results, no matter what a concentration stretch and wherever in a support we place a concentration point.

Unlike with a manifest finder of a DSLR, you’ll also grasp an accurate illustration of concentration and abyss of field, no matter what orifice you’re regulating – vast or small. Switch to primer concentration mode and you’ll find that branch a concentration ring will automatically rivet a magnified MF Assist view.

Sigma 135mm f/1.8 DG HSM Art – Image Quality

So now for a blazing question: accurately what does £1399 buy we in terms of manifest quality? If you’ve review any of a new reviews of Sigma lenses, a answer won’t warn we one iota. You get an positively overwhelming lens with glorious sharpness and really few manifest aberrations or flaws to pronounce of.

Indeed, when we reviewed a Zeiss Batis 135mm f/2.8 recently, we remarked that few lenses would be means to compare it. But a Sigma comes astonishingly close, notwithstanding a stop-and-a-half faster aperture.

It resolves an considerable volume of fact far-reaching open, while blurring divided beautifully out-of-focus elements both in front of, and behind a craft of focus. Chromatic misconception is unusually low, if not wholly absent; exaggeration is negligible, and vignetting is kept to really excusable levels. If we can’t get poetic cinema with this lens, it substantially isn’t Sigma’s fault.

Sigma 135mm f/1.8 DG HSM Art

However, this is a lens that will taxation your detailed technique to a limit. Depth of margin during f/1.8 is vanishingly slim, so a smallest transformation of possibly a photographer or theme after focusing will be seemingly visibly when observation your images on-screen.

What’s more, we found that with a strong weight, a Sigma 135mm is surprisingly formidable to keep solid hand-held; in general, we indispensable shiver speeds around 1/500sec to be reliably giveaway from blur, and usually a stop or so slower when regulating a Sony Alpha 7 II with a in-body stabilisation. This contrasts with a Zeiss Batis 135mm f/2.8, that consistently gave me pointy hand-held shots during many slower shiver speeds due to a lighter weight and manifest stabilisation.

Should we buy a Sigma 135mm f/1.8 DG HSM Art?

With a vast distance and even heftier cost tag, a Sigma 135mm f/1.8 DG HSM Art is a dilettante ocular that’s especially directed during mural and marriage photographers looking for something additional to make their images mount out from a crowd. With a smashing sharpness and unreal credentials blur, it provides a demeanour that few other lenses can match.

Sigma 135mm f/1.8 DG HSM Art

But overwhelming as it is, a problem confronting Sigma is that a closest rivals from Sony, Canon and Nikon are all rather cheaper, while still being some of a many rarely regarded lenses in their sold ranges. The Canon and Nikon f/2 optics are a satisfactory bit slimmer and lighter too, that creates them some-more unsentimental to lift around during a enlarged shoot.

Despite this, Sigma has to be applauded for bringing such a spectacularly excellent lens to market.

Verdict

It might not be lens that many fan photographers are expected to buy, though it would positively be value employing for a special occasion. For mural photography in particular, a Sigma 135mm f/1.8 DG HSM Art is really special indeed.

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What is a Fujifilm XF 50mm f/2 R WR?

When Fujifilm announced a smaller and lighter choice to a XF 35mm f/1.4 R in a figure of a XF 35mm f/2 WR, everybody suspected it competence be a initial lens in a new array of primes.

It didn’t take prolonged for Fujifilm to announce a second example. The XF 23mm f/2 R WR XF has turn a renouned choice with those who are after a some-more compact, weather-sealed choice to a XF 23mm f/1.4 XF R.

At a start of a year, Fujifilm combined another primary to a f/2 array with a recover of a Fujinon XF 50mm f/2 R WR. This mid-telephoto primary offers a focal length that’s homogeneous to 76mm and is an choice to a Fujinon XF 56mm f/1.2 R – a lens that’s picked adult a repute for being one of a excellent lenses for portraiture in a X-system.

With £300 separating a XF 50mm f/2 R WR from a XF 56mm f/1.2 R, it seems those who’ve hold out for Fujifilm to recover an affordable lens for sharpened portraiture, travel, low-light and bland subjects finally have what they’ve been watchful for.

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Fujifilm XF 50mm f/2 R WR – Features

Although a lens is slower than a Fujifilm XF 56mm f/1.2 R, there are advantages to be had from production a smaller front component and tying a limit orifice to f/2.

The large interest is a unsentimental stretch and weight. When it’s placed alongside a XF 56mm f/1.2 R, we get a most improved suspicion of usually how petite it is. The disproportion in weight (205g) is conspicuous when it’s interconnected with a Fujifilm X-series physique – and in sequence to keep a lens as tiny and lightweight as possible, Fujifilm has grown an visual regulation that arranges 9 potion elements in 7 groups.

Fujifilm XF 50mm f/2 R WR

Of these 9 lens elements, one is an aspherical ED (extra low dispersion) lens, that is designed to minimise opening fluctuations between opposite focal distances and forestall round and chromatic aberrations. Just like a other lenses in Fujifilm’s array of f/2 primes, it facilities 9 winding orifice blades that are designed to describe distinguished round bokeh during far-reaching apertures.

Thanks to a middle focusing system, users needn’t tatter about a front component rotating or changeable behind and fourth.

To safeguard a focusing is both quick and silent, a lens inherits a same stepping engine as used inside a XF 35mm f/2 WR and XF 23mm f/2 R WR. If a lens performs as good as these lenses do, we design faster and quieter focusing than we get on a XF 56mm f/1.2 R.

Fujifilm XF 50mm f/2 R WR

The WR shortening in a name highlights that this is one of Fujifilm’s weather-resistant lenses. It facilities no fewer than 10 seals around a tub to keep dampness and dirt during bay, and you’ll find a rubber sign around a fringe of a steel mountain to forestall dampness or dirt creeping inside a camera body.

Its weather-resistant standing will interest to outdoorsy forms and those who don’t like a suspicion of carrying to stop sharpened in severe continue or severe environments. Although there’s zero to stop it being used with non-weather-sealed cameras, it’s expected to find itself being interconnected adult with a manufacturers weather- and dust-resistant Fujifilm X-T2 and Fujifilm X-Pro2 bodies.

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Fujifilm XF 50mm f/2 R WR

Another partial of a spec not nonetheless mentioned is a 46mm thread during a front for attaching filters and adapters. This is smaller than a 62mm filter thread on a XF 56mm f/1.2 R, and somewhat incomparable than a 43mm filter thread on both a XF 35mm f/2 WR and XF 23mm f/2 R WR.

The lens’ smallest concentration stretch is another area where it has an advantage over a XF 56mm f/1.2 R. It has a limit magnification of 0.15x and can concentration within 39cm of a subject. By approach of comparison, a XF 56mm f/1.2 R can usually concentration as tighten as 70cm.

Fujifilm XF 50mm f/2 R WR – Build and Handling

Compare this lens to Fujifilm’s wider f/2 primes and you’ll notice it’s a fragment longer than a XF 23mm f/2 R WR and not as stubby as a XF 35mm f/2 WR.

It has a same disproportion in hole between a back and a front of a lens, ensuing in a orifice ring being somewhat incomparable than a primer concentration ring. In customary Fuji tradition, a orifice ring is located closest to a mount, definition fingers of a ancillary palm can find it simply though carrying to change a holding position.

Fujifilm XF 50mm f/2 R WR

It’s assembled to a same high customary as a siblings in a f/2 range, and feels each bit as plain as you’d design for a lens that’s designed to work as good on Fujifilm’s reward mirrorless cameras as it is on their fan and entry-level models.

The fact it doesn’t have any switches on a tub gives it a purify and stylish appearance. As good as carrying good aesthetics, it operates uniformly and precisely.

Fujifilm XF 50mm f/2 R WR

The orifice ring clicks by a operation in 1/3-stop increments and offers a small some-more rotational insurgency than we get on a XF 56mm f/1.2 R. This good turn of feedback translates to a really gratifying user knowledge from behind a camera.

Rotating a orifice ring anti-clockwise to a farthest indicate sets it to a ‘A’ setting, where users can take control of shiver priority or let a camera confirm on a best orifice environment in a Auto mode.

Fujifilm XF 50mm f/2 R WR

The electronically operated primer concentration ring is easily damped, too. It provides a allied turn of insurgency to a XF 35mm f/2 WR and XF 23mm f/2 R in use, while a sincerely prolonged customary round lens hood that’s granted with a lens does a excellent pursuit of preventing flare-causing issues when sharpened towards a light.

My examination representation was granted in black, though those who opted for an X-series camera in a china finish will be blissful to know this lens is also accessible in china to match.

Fujifilm XF 50mm f/2 R WR – Autofocus

Fujifilm’s latest lenses have come a prolonged approach from early examples in terms of AF performance. Compare it to a Fujinon XF 56mm f/1.2 that was famous for creation some annoying whirring noises as it focused and you’ll notice this lens is a distant quieter performer.

Fujifilm XF 50mm f/2 R WR

It isn’t wholly silent, however – we can still hear a gloomy clicking when a shiver is half-depressed and a orifice blades move, though on a whole it’s a large improvement.

Testing a lens with an X-Pro2 and afterwards switching opposite to regulating a XF 56mm f/1.2 R also highlighted that this newer lens is merely faster during locking on and appropriation focus.

Fujifilm claims a lens has a concentration speed of 0.157sec – incompletely slower than a 0.053sec speed totalled by a XF 23mm f/2 R WR lens.

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What is a Sony FE 50mm f/1.8?

It’s no tip that a Alpha 7 array of full-frame compress complement cameras (CSC) has been a exile success for Sony. By providing glorious picture peculiarity in a package that’s smaller and some-more unstable than any allied full-frame DSLR, it has turn one of a many renouned of a new multiply of mirrorless systems.

Its significance to Sony is best illustrated by a contrariety between a company’s discerning enlargement of a new, full-frame FE lens operation over a past dual years, and a relations recession of both a APS-C E-mount and bequest Alpha-mount systems.

One of Sony’s new additions to a full-frame choice is a FE 50mm f/1.8. At customarily £239, it’s a firm’s many affordable FE ocular by some way. The focal length will be now informed to generations of film users; for many years 50mm f/1.8 lenses were granted with 35mm SLRs as standard. Traditionally, they offer a multiple of glorious picture peculiarity and a usefully vast limit orifice for low-light shooting, while being some-more compress and reduction costly compared with their f/1.4 cousins.

Sony FE 50mm f/1.8 1The FE 50mm f/1.8, interconnected with a Sony A7R

It’s mostly claimed that 50mm lenses give a margin of viewpoint identical to a tellurian eye, nonetheless given a border of a marginal prophesy this is an oversimplification. But it is loyal to contend that lenses around a 40-50mm joint tend to pierce a really healthy viewpoint to images, commanding conjunction a wideangle exaggeration of shorter focal lengths, nor a application effects customary of telephotos. Because of these qualities, they’ve gained a tag ‘normal’.

However, record has changed on given we were sharpened film and focusing manually. In these days of high-quality zooms, in-body picture stabilisation and ISO capabilities over a dreams of film users, a attractions of a 50mm primary lens are reduction clear. So does a FE 50mm f/1.8 still aver a place in a Alpha 7 user’s pack bag?

Sony FE 50mm f/1.8: Features

Even during a cursory glance, a FE 50mm f/1.8 is scarcely sized for this form of lens. However, a demeanour inside a 60mm-long tub reveals why: there’s a lot of dull space between a mountain and a behind element. In essence, Sony has finished an blending chronicle 
of an SLR lens, starting with a classical double Gauss visual pattern that many discerning 50mm primes have traditionally been formed upon, afterwards adding an adapter tube to place it a right stretch from a sensor.

Sony FE 50mm f/1.8The vast orifice allows resourceful focusing with shoal abyss of field

It’s not utterly that simple, though, since while a six-element, five-group visual regulation sounds sincerely standard, Sony has employed an aspheric component during a back, that is many reduction common. In principle, this should go a prolonged proceed to expelling round aberration, that tends to be a problem with discerning primes, robbing images of their sharpness during vast apertures. It’s also claimed to revoke aberrations such as coma towards a edges of a frame.

The orifice diaphragm consists of 7 winding blades that are designed to say a near-circular opening during wider settings for some-more appealing fuzz characteristics. Up front there’s a non-rotating 49mm filter thread and a bayonet mountain for a connection of a enclosed cylindrical ALC-SH146 hood.

The lens can be used on Sony’s E-mount APS-C cameras such as a Alpha 6300, on that it gives a 75mm homogeneous angle of viewpoint renouned for people pictures. However, distinct Sony’s existent APS-C-dedicated E 50mm f/1.8 OSS, there’s no visual stabilisation, that creates a FE lens a reduction unsentimental choice for users of a smaller format. Of course, users of second-generation Alpha 7 models will advantage from in-body picture stabilisation.

Sony FE 50mm f/1.8: Build and handling

Sony FE 50mm f/1.8 2

Weighing customarily 186g, a FE 50mm f/1.8 is clearly lightweight as full-frame lenses go, interjection to a primarily cosmetic tub construction. The finely ridged manual-focus ring has a tough cosmetic covering, while in a calming touch, a mountain is metal. The lens is smaller than any of Sony’s FE zooms, and when used on an Alpha 7 physique it creates for a sincerely compact, watchful set-up. However, it’s not as tiny as Sony’s FE 35mm f/2.8 and FE 28mm f/2 primes, that use optics designed for a brief prong stretch of a E-mount.

Sony FE 50mm f/1.8: Focusing

One evil of a FE 50mm f/1.8 that has carried over from normal manual-focus SLR lenses relates to focusing. Unlike some-more complicated designs, that overwhelmingly occupy high-speed inner focusing, a FE 50mm f/1.8 works by racking a whole visual section behind and forwards instead. Indeed, during a smallest concentration stretch of 0.45m, a front of a lens extends roughly 1cm brazen from a forever position. This proceed isn’t a problem for primer focusing, though turns out to be distant from ideal for autofocus.

Indeed, when it comes to AF, this is substantially a slightest acceptable lens I’ve used for many a year. Even when used on a Alpha 7R II with a much-lauded on-chip phase-detection, autofocus is delayed and mostly feels uncertain. The lens tends to noticeably mistake a symbol and regulate behind to scold concentration – poise that’s many some-more customary of a contrast-detection system. Because a concentration engine has to pierce lots of potion around this isn’t a discerning process, and we mostly found that we was hold adult for a second or dual watchful for a lens to grasp focus. Video shooters will also find that a whirring of a DC engine is heard on their soundtrack.

Sony FE 50mm f/1.8 7The 50mm focal length is ideal for transport photography, though a lens’s delayed focusing can be a problem if events change quickly

With immobile subjects this imbecility isn’t too unpropitious to a picture-taking process, nonetheless it is rather irritating. Fortunately, concentration correctness is consistently high, customarily so prolonged as we place a AF area on a flattering high-contrast target. But when faced with perplexing to get a discerning shot, it all-too-frequently fails to conflict in time. To yield some context, Canon’s new EF 50mm f/1.8 STM also uses a unit-focus, double Gauss pattern though is noticeably quieter and quicker.

You can, of course, concentration manually, regulating a broad, uniformly rotating ring on a barrel. This employs a focus-by-wire resource that instructs a lens’s inner engine to pierce a visual unit. Like many such systems, it allows really accurate focusing when used in unison with a camera’s concentration aids, such as magnified and peaking views. But it’s not generally discerning – for example, there’s no change in insurgency when a concentration reaches a finish of a travel. To be fair, this is hackneyed with CSC lenses, and you’ll customarily get some-more pleasing primer focusing from rather pricier designs.

Sony FE 50mm f/1.8: Image quality

The FE 50mm f/1.8’s focusing might be disappointing, though a visual peculiarity is utterly a opposite. Indeed, a images it creates are generally glorious given a price. Wide open, it combines considerable sharpness in a focal craft with appealing credentials blur. Stopped down to a best apertures it gives glorious levels of fact right opposite a frame. This poise is broadly customary of double Gauss 50mm f/1.8 lenses in general, though a aspherical component seems to be doing a job, and dilemma sharpness during vast apertures is rather improved than common for designs that rest utterly on required round lens surfaces.

Sony FE 50mm f/1.8 9With a discerning f/1.8 orifice a lens is ideal for hand-held sharpened in low light

One serve indicate that’s simply ignored is that lenses this good can also give sharper-than-usual shots when stopped down considerably, since while a softening outcome of diffraction is unfit to avoid, there are few other aberrations to devalue it.

Distortion is, to all intents and purposes, self-existent as is parallel chromatic aberration. Vignetting is utterly manifest during f/1.8, though it isn’t visually disgusting and adds impression to resourceful concentration shots that mostly helps to combine courtesy on a subject.

However, there is some longitudinal chromatic aberration, that manifests as phony fringing around splendid highlights when sharpened during vast apertures, utterly in out-of-focus areas of a frame. While this can infrequently be unpropitious to your images and is formidable to mislay in post-processing, you’ll onslaught to find a better-corrected discerning primary during this kind of price.

Sony FE 50mm f/1.8 8

Distortion is unusually low, so true lines stay straight

Out-of-focus backgrounds are customarily rendered smoothly, nonetheless splendid highlights tend to come out rather hard-edged, and turn increasingly oval as we pierce off-centre.

Overall, a FE 50mm f/1.8 is able of giving some really nice-looking images. More complicated designs such as a Sony FE Planar T* 50mm f/1.4 ZA that we reviewed recently (AP 20 August) can positively give even improved results, though 
at a really many aloft price.

Sony FE 50mm f/1.8: Sharpness, shading and distortion

Sharpness: There’s not many to protest about in terms of sharpness, with a lens delivering flattering good regulation far-reaching open. It improves gradually as it’s stopped down, with a really sharpest images performed around f/5.6-f/11. The corners are measurably softer than a centre during all apertures adult to f/8, though interjection to a aspheric element, they are improved than what we would pattern from a 50mm f/1.8 during vast apertures.

Sony FE 50mm f/1.8 6Solid line: Centre Dotted line: Corner

Solid line: Centre

Dotted line: Corner

Shading: As common for this kind of lens, vignetting is utterly apparent during vast apertures, with a limit of 1.5 stops fall-off during a corners of a support during f/1.8. But it reduces quick on interlude down, dropping to a hardly conspicuous 0.6 stops during f/2.8 and disintegrating wholly by f/4.

Sony FE 50mm f/1.8 4

f/1.8

Sony FE 50mm f/1.8 5

f/2.8

DistortionTypically for a 50mm prime, exaggeration is unusually low. Unlike with many CSC lenses this near-perfect improvement is wholly visual and doesn’t rest on any program compensation. In unison with a lens’s normal focal length, this regulation in subjects being drawn in a really natural-looking fashion.

Should we buy a Sony FE 50mm f/1.8?

It’s easy to know what Sony has finished with this FE 50mm f/1.8 lens. By giving it a tried-and-tested double Gauss design, a lens can broach a really decent picture quality, definition a association is spared a need to spend resources building a new visual formula. The outcome is a lens costing a lot reduction than Sony’s existent Sonnar T* FE 55mm f/1.8 ZA lens. But this proceed comes with drawbacks, too – many notably, a painfully delayed autofocus.

This is a shame, as it creates a lens formidable to suggest wholeheartedly. It’s OK if we especially take your time over sharpened immobile subjects, though this kind of discerning primary is good matched to genres where discerning focusing is desirable, such as environmental portraiture and transport photography. For these, a 55mm f/1.8 would be a improved choice. However, users on a bill who can endure a AF are doubtful to be unhappy by a picture quality.

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As photographers, we all like a challenge, so when we was asked if I’d like to attend a FIA World Endurance Championship during Silverstone in Northamptonshire, to try out a new Fujifilm XF 100-400mm f/4.5-5.6 R LM OIS WR lens, we jumped during a chance. However, as we step out of a automobile into a low reservoir and peek adult during dim clouds, we think, ‘This isn’t how we envisaged my day starting’.

After donning my cagoule and creation my approach to a press centre, we motionless to accept a conditions for what they are. Today’s assignment is not usually going to be a perfectionist exam for a lens, though also for a Fujifilm X-series cameras in my bag, that we acknowledge I’ve been somewhat distrustful of regulating for motorsport and fast-paced movement in a past. Would this be a day that changes my notice of a speed and response of autofocus on a X-series cameras?

After picking adult my press tabard, we prepared to fire a initial use event of a day by coupling a lens to a front of my Fujifilm X-T1. Although we have an X-Pro2 during a bottom of my bag, we opt for a X-T1 since we find it handles improved with incomparable and heavier lenses, and feels some-more DSLR-like when it’s lifted to a eye with a mainly positioned EVF.

Related: Best Cameras

Fujifilm XF 100-400mm 11

The initial advantage we spin wakeful of is a weight saving. Compared to my Canon EF 100-400mm f/4.5-5.6L IS II USM that we typically use for motorsport, a lens is 265g lighter. This competence not sound like a outrageous weight saving, though trust me each gram we can save is a reward when you’re lugging pack around a lane all day. One approach Fujifilm has managed to strew weight from a lens is to use high-quality cosmetic in a construction of a barrel, rather than metal. Needless to say, it doesn’t feel utterly as plain as a telephoto wizz with a steel body, and for a cost we would have favourite to see a switches done from steel rather than plastic. These points aside, it’s a attractive lens.

Fujifilm XF 100-400mm

Prior to streamer trackside, we insert my straight battery hold to a X-T1, that improves a change and doing of a lens when it’s trustworthy to such a compress body. we take adult my initial vantage indicate tighten to a pit-lane opening and use a successive few mins to familiarize myself with a position of a switches on a barrel. The lowest of a 3 is used to rivet and invalidate a visible image-stabilisation system. Above it are dual serve switches. The initial appoints primer orifice control around a orifice ring that’s located behind a focal length markings. The orifice ring offers glorious feedback and notches into position when it’s rotated. The switch above boundary a focusing range, with a choice to set it from a smallest concentration stretch (1.75m) to forever or 5m to infinity.

Fujifilm XF 100-400mm 9

Unlike many telezooms, there’s no MF/AF switch on a barrel. Instead, single, continual and primer concentration modes are tranquil around a physique of a camera. After knocking behind a zoom-lock switch, we insert and secure a cosmetic lens hood, that is vast adequate to forestall raindrops attack a front component and thatch with a calming click.

It’s during this indicate we notice a hood is versed with a possess hood-release symbol and filter-slide window – a latter being a useful underline for those wishing to stagger polarising filters facilely though a need to mislay a hood altogether. Setting a X-T1’s expostulate mode to continuous, AF to continual and a AF mode to zone, I’m all set adult and prepared to use a lens.

Fujifilm XF 100-400mm 10

The finely grooved rubberised wizz ring is descending easily to hand, and relaxation off a tripod collar allows me to upswing a tiny ascent picture and grasp improved squeeze of a barrel. The wizz operates opposite a 100-400mm focal operation (equivalent to 150-600mm in full-frame terms) in reduction than a entertain turn, and supposing your left palm supports a lens directly underneath it’s probable to extend a lens to full telephoto with a short, pointy turn of a wizz ring. The suit is liquid opposite a endless focal range, nonetheless it requires some earthy bid to change a optics – a outcome of a formidable lens pattern that’s done adult of 21 elements in 14 groups. A discerning peek during a orifice in a viewfinder tells me it closes to f/5 during 200mm and continues to gradually tighten thereafter, doing during f/5.6 between 350mm and 400mm.

Fujifilm XF 100-400mm 5

My initial try during panning formula in a few confused frames and a speed of a cars is holding time to adjust to. Refining a shiver speed to 1/125sec improves my success rate of pin-sharp shots, and to find out how good a X-T1 and lens can invariably concentration on cars travelling directly towards a camera during over 100mph we immigrate to a faster dilemma on a track. Even with a shiver speed set over 1/1000sec and a smaller executive organisation of 9 AF targets comparison in section AF mode, a theme is proof too discerning for a autofocus to keep up. Inspecting a detonate of 11 frames during 8fps reveals I’m removing one or dual frames neatly in focus. This less-than-ideal rate army me to prefocus on a accurate area of a lane in singular AF before locking a concentration to MF. Firing off another continual detonate during 8fps doesn’t see my success rate improve. It’s time for a rethink.

Fujifilm XF 100-400mm 12

As we open my bag to find a lens cloth, we peek down during a X-Pro2. Would this be a answer to my focusing woes? It turns out that substituting a X-T1 for a X-Pro2 was a best preference we done all day. After environment a X-Pro2 to continual focus, a concentration operation of a lens to 5m-infinity and environment adult a executive organisation of 9 AF targets in section AF mode, we clap out another detonate to constraint cars travelling directly towards a camera. This time, we fire 12 frames during 8fps. A discerning magnified investigation on a shade reveals during slightest 6 are pointy and serviceable – a most improved success rate. I’ll acknowledge a lens isn’t doing as good with a X-Pro2, though for currently during slightest this is a concede I’m prepared to make.

Fujifilm XF 100-400mm 4

In between races, we download my shots and check them closely on my MacBook. It doesn’t take prolonged before we realize a picture peculiarity constructed by a lens is excellent. Sharpness from 100-300mm, even during a lens’s widest aperture, is substantial opposite a frame. Towards a telephoto finish of a zoom, some signs of softening were remarkable during f/5.6, with diffraction also softening a glorious fact over f/11. Vignetting is rubbed unusually right by a focal range, and a same can be pronounced about chromatic aberrations, that were absent from all images on a day and successive exam images we prisoner in brighter conditions a integrate of days later.

Fujifilm XF 100-400mm 1

In a afternoon, we spend a substantial volume of time contrast a lens with Fujifilm’s 1.4x teleconverter (£329), that effectively translates a lens into a 210-840mm telephoto wizz in 35mm-equivalent terms. The additional length enables me to fill a support firmly with my theme for larger visible impact, though what with a converter shortening a limit orifice of a lens to f/6.3-8 we have small choice though to pull a X-Pro’s attraction adult to ISO 3,200 or over to grasp a discerning adequate shiver speed to solidify a cars in their tracks. we also find that a autofocus speed stays sprightly with a 1.4x converter attached.

Fujifilm XF 100-400mm 2

Image Stabilisation

The OIS shortening in a lens name indicates it is versed an visible image-stabilisation system. This is tranquil around a OIS switch on a tub underneath a focus-limit and manual-aperture control switches. However, distinct some telezooms that yield some-more than one mode to safeguard conscious panning and sloping isn’t mistaken for camera shake, there’s no second mode on this lens – it’s set to possibly on or off.

Fujifilm XF 100-400mm 6

The image-stabilisation complement is effective to 5 stops, and in between sharpened we had a possibility to locate adult with Fujifilm’s motorsport ambassador, Dirk Bogaerts, who uses a OIS complement for each shot he takes, including panning shots. Dirk also recommends gripping a IS mode set to continual from a camera’s menu, that constantly stabilises a lens all a time OIS is switched on. Extending a wizz to 400mm and carrying out a exam in between races reliable a IS system’s effectiveness. we was means to fire pointy shots during as delayed as 1/30sec handheld. Pulling behind to 100mm and repeating a same exam suggested it’s probable to grasp pointy shots during a slower 1/8sec shiver speed, though we need a solid hand.

Fujifilm XF 100-400mm 3

Final thoughts

After a full day’s testing, we can contend a XF 100-400mm f/4.5-5.6 R LM OIS WR is a lens that fulfils a ardour of those who’ve been watchful patiently for a longer wizz in Fujifilm’s choice of XF lenses. It doesn’t have a steel build we typically design to see from a wizz of a pedigree, though as we discovered, this plays a critical purpose in gripping it as light as possible. It’s a lens that can be carried over a shoulder for prolonged durations though discomfort, and a image-stabilisation complement is so effective that it doesn’t always need a use of a monopod or tripod.

Fujifilm XF 100-400mm 7

I went a whole day ancillary a lens in a palm of my left palm and didn’t find myself job on my monopod once. The lens’s continue insurgency and fluorine coatings give we a certainty we need to use it though any form of protection, and it continued to work though error after a drenching and many determined showers.

Fujifilm XF 100-400mm 8

My revisit to Silverstone incited out to be a perfectionist workout, not usually for a lens though also for my dual Fujifilm X-series cameras. The lens rubbed well and looked a partial joined to a X-T1, though swapping to a X-Pro2 was a branch indicate of a day – a glorious response and correctness of a autofocus complement increasing a series of pointy shots we was means to constraint in discerning succession. If Fujifilm can mix a X-T1’s doing with a reckless AF opening of a X-Pro2, afterwards wildlife, movement and sports shooters will have a ideal partner for a XF 100-400mm f/4.5-5.6 R LM OIS WR.

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When it comes to DSLR picture quality, flattering many all of us have listened a aged credo about a peculiarity of a lens being some-more critical than a cost of a camera. In this honour it pays to get off to a best probable start when shopping your initial DSLR, or when holding your initial stairs towards building a lens collection.

Sigma 18-50mm DC EX HSM OS 5

Thing is, good lenses like Sigma 17-50mm f/2.8 EX DC OS HSM cost money, and when purchasing a DSLR many people are many some-more expected to spend as many as they can on a camera and settle for a inexpensive pack lens, some-more mostly than not with a focal operation of between 18-55mm; a supposed ‘standard zoom’. This is far-reaching adequate to fire landscapes and groups of people, while also carrying adequate strech to support for particular portraits and to besiege circuitously subjects from their surroundings.

While there’s no denying a coherence a customary wizz offers, many pack lenses tend to be a bit groundless and plasticky. In further they customarily offer a limit orifice that starts during f/3.5 during 18mm, gradually interlude down to f/5.6 by a time we strech 50mm or 55mm.

The Sigma 17-50mm f/2.8 EX DC OS HSM lens (herein referred to as a ‘Sigma 17-50mm’), by contrast, takes things adult several notches in all areas, from ubiquitous build peculiarity to performance. Specifically designed for use with DSLRs propitious with an APS-C sensor, it’s a many incomparable and some-more plain ocular than your customary pack zoom.

Sigma 18-50mm DC EX HSM OS 4

Just as importantly (if not some-more so) it also offers a quick f/2.8 orifice via a focal range. Not usually will this concede we to fire during aloft shiver speeds in bad light, it can also be used creatively to emanate a shoal abyss of margin that keeps your categorical theme pointy while throwing a credentials out of focus. Judged quite on a merits as a artistic tool, a customary wizz with a consistent f/2.8 like this is intensely useful.

In this honour a Sigma 17-50mm we have on exam here represents a poignant ascent over your customary pack lens. But during around £550 it’s not cheap. Sure, we can substantially replenish around £100 if we were to buy your DSLR as a body-only choice rather than going for a pack lens package. But is a Sigma 17-50mm value this additional investment? And does it consequence a closer demeanour during full cost if we already possess a pack lens of a identical focal range? Let’s take a closer demeanour during what it delivers for a additional outlay.

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A lens for a critical landscape photographer

We don’t mostly cover lenses on their lonesome, though a Canon EF 11-24mm f/4L USM is a bit special. It’s a widest-angle horizontal wizz lens for full-frame DSLRs in a world, creation it a ideal messenger for a just-announced Canon 5DS or 5DS R.

At £2799 a Canon EF 11-24mm f/4L USM is distant out of strech for many photographers, though should be of seductiveness to veteran landscape photographers and really critical enthusiasts.

Canon EF 11-24mm f/4L USM – Design and Focusing

While a Canon EF 11-24mm f/4L USM doesn’t have a perfect stretch of a high-end wizz or primary that focuses on some-more extended focal lengths, this lens is a challenging presence. It’s large, and really heavy.

Its 1.18kg weight now outlines this out as a critical lens, and it’s front-heavy too. Looking during a thing, this is not surprising.

The Canon EF 11-24mm f/4L USM uses an awful lot of potion has a really bulbous front that probably mandates a bound hood, that protects a potion that blooms out from a front. You can’t use a lens with any filter holders during benefaction – stream models only won’t fit – though Canon says it’s operative with Lee Filters to furnish one in a future.

As you’d wish from a Canon EF lens of this grade, build peculiarity is fantastic. It’s entirely weather-sealed too, able of behaving in all conditions as prolonged as you’re clever about safeguarding a front lens element.

There’s no orifice ring here, only wizz and focusing, and to us a attrition of a dual rings felt roughly a same. The wizz ring requires only a entertain spin to pierce by a lens’s focal range, creation discerning adjustments easy. We found a AF/MF switch easy to find from a position behind a camera too.

Canon EF 11-24mm f/4L USM – Features

The Canon EF 11-24mm f/4L USM uses an Ultrasonic Motor for quick and wordless focusing, and is a initial to use dual layers of underling wavelength coating. What this does is to revoke light and ghosting caused when light passes by a several potion layers that make adult a lens: it’s now used in only a few high-end lenses.

There are no fewer than 4 4 aspherical lenses in a Canon EF 11-24mm f/4L USM, damaged down into 16 elements and 11 groups.

Naturally, a lens like this is designed for primarily landscape photography, and as such a smallest focusing stretch isn’t super-close: 32cm during 11mm, operative a approach down to 28cm during 24mm. That’s identical to a 28cm of a apparent Nikon alternative, a Nikon AF-S NIKKOR 14-24mm f/2.8G ED.

Early Verdict

While we’re nonetheless to take a Nikon AF-S NIKKOR 14-24mm f/2.8G ED out for a correct shoot, initial impressions advise it offers accurately a peculiarity you’d wish for from a £2800 lens.

Incredible build peculiarity and a perfect volume of potion that goes into a construction creates it commanding to use during first. But we can’t wait to see what a images are like.

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A lens for a critical landscape photographer

We don’t mostly cover lenses on their lonesome, though a Canon EF 11-24mm f/4L USM is a bit special. It’s a widest-angle horizontal wizz lens for full-frame DSLRs in a world, creation it a ideal messenger for a just-announced Canon 5DS or 5DS R.  

At £2799 a Canon EF 11-24mm f/4L USM is distant out of strech for many photographers, though should be of seductiveness to veteran landscape photographers and really critical enthusiasts.

Canon EF 11-24mm f/4L USM – Design and Focusing While a Canon EF 11-24mm f/4L USM doesn’t have a perfect stretch of a high-end wizz or primary that focuses on some-more extended focal lengths, this lens is a challenging presence. It’s large, and really heavy.

Its 1.18kg weight now outlines this out as a critical lens, and it’s front-heavy too. Looking during a thing, this is not surprising.

The Canon EF 11-24mm f/4L USM uses an awful lot of potion has a really bulbous front that probably mandates a bound hood, that protects a potion that blooms out from a front. You can’t use a lens with any filter holders during benefaction – stream models only won’t fit – though Canon says it’s operative with Lee Filters to furnish one in a future.

As you’d wish from a Canon EF lens of this grade, build peculiarity is fantastic. It’s entirely weather-sealed too, able of behaving in all conditions as prolonged as you’re clever about safeguarding a front lens element.

There’s no orifice ring here, only wizz and focusing, and to us a attrition of a dual rings felt roughly a same. The wizz ring requires only a entertain spin to pierce by a lens’s focal range, creation discerning adjustments easy. We found a AF/MF switch easy to find from a position behind a camera too.

Canon EF 11-24mm f/4L USM – Features

The Canon EF 11-24mm f/4L USM uses an Ultrasonic Motor for quick and wordless focusing, and is a initial to use dual layers of underling wavelength coating. What this does is to revoke light and ghosting caused when light passes by a several potion layers that make adult a lens: it’s now used in only a few high-end lenses.

There are no fewer than 4 4 aspherical lenses in a Canon EF 11-24mm f/4L USM, damaged down into 16 elements and 11 groups.

Naturally, a lens like this is designed for primarily landscape photography, and as such a smallest focusing stretch isn’t super-close: 32cm during 11mm, operative a approach down to 28cm during 24mm. That’s identical to a 28cm of a apparent Nikon alternative, a Nikon AF-S NIKKOR 14-24mm f/2.8G ED.

Early Verdict

While we’re nonetheless to take a Nikon AF-S NIKKOR 14-24mm f/2.8G ED out for a correct shoot, initial impressions advise it offers accurately a peculiarity you’d wish for from a £2800 lens.

Incredible build peculiarity and a perfect volume of potion that goes into a construction creates it commanding to use during first. But we can’t wait to see what a images are like.

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