The focal length remains the same, paying attention to the size of the sensor; the focal length is steady. Thus, the 70-300mm is a 70-300mm on an FX camera, a DX camera, a Medium Format camera, or even a Large Format view camera.

One thing that stands out to me is the portability of the lens. The Nikon AF-P 70-300mm f/4.5-5.6E, which is often praised for its small size and weight, is a heavier lens at 680 grams – not counting the extra 125 grams for the FTZ II adapter, without which you can’t use it on Nikon Z.

Affordable But Not “Cheap”

In most respects, the Fujifilm XF 70-300mm F4-5.6 turns in a great performance given its compact, lightweight design and quite affordable pricetag. And it will prove doubly attractive to Fujifilm X-mount shooters given the paucity of compelling alternatives, either from third parties or Fujifilm itself. A simple experiment can be carried out to show this, you can buy a 50mm f1.8 FX Nikon lens and set it to f1.8, then attach it to one of their FX cameras, then one of their DX cameras and low and behold the shutter speed on both cameras will he identical, when the sensor is at the same ISO value. The autofocus is surprisingly accurate and decently fast, the components and weather sealing are very good, and the lens itself is very lightweight and compact making it a great telephoto option to use when traveling. Are there better telephoto lenses out there? Sure, but there are practically none at that focal range, quality, and price level, making the Tamron 70-300mm stand in a league of its own that is a great lens for the price. Seeking the best printer for your business? Hit your productivity targets with inkjet and laser printers that are a perfect fit for any workspace – including home offices.

I’ll tell you how I work and it’s really really easy, can I find evidence of a product being used to create stunning images in a variety of scenarios, does this stunning image rubbish people’s negative opinions about said product... if so then the negative comment is meaningless. People worry waaaaay too much about sharpness. It's not 1968 anymore when lenses often weren't that sharp and there could be significant differences among them; today they are all pretty much equally fantastic. There is no significant falloff at any aperture, at least on most Sony cameras which correct it by default. But for that, you get full weather-sealing, much better macro capabilities, more effective stabilization, a nine-bladed aperture and, of course, far more telephoto reach. And impressively, all of those extra capabilities have been achieved without adding a single gram above the weight of the 55-200mm.

Buy. Sell. Trade. Create.

The first thing you notice about the Fujifilm XF 70-300mm f4-5.6 R LM OIS WR is just how lightweight it is for a super-telephoto lens. There are many 70-300mm lenses on the market, but not all of them have weather-sealing like this one does - as denoted by the WR designation. This is a perfect example of the advantages of the APS-C format, as used across the Fujifilm X-Series - the smaller sensor and associated smaller image circle allow reduced lens proportions. If this lens were constructed for use with a Full Frame camera it would be significantly larger and heavier. My X-S10 offers only ON or OFF for the Lens Modulation Optimizer, and I can't see any difference with it ON or OFF.

If I was working in nasty, dirty areas, I'd forget the cap, and use an uncoated 67mm Tiffen UV filter instead. Uncoated filters are much easier to clean, but more prone to ghosting. Canon's manual suggests that the front element should be held while attaching a 58mm filter or lens hood Wide-open it's slightly softer, but considering how narrow is the depth-of-field at 5.6, so what; nothing's in focus anyway unless you're shooting boring flat things.The 5m-∞ position prevents the lens from autofocusing closer than 5 meters (16 feet). Use this setting only if you're having a problem with the lens attempting to focus on irrelevant close items, or if for some reason the lens is "hunting" from near to far looking for distant subjects. The reason of it being annoying in both directions is exactly why I refuse to partake in discussions about it... when people start talking about photons of light and all that other stuff it makes you want to never take your camera out again, I suppose one advantage of it is a great sleep aide when a person has insomnia. If Jordan uses a GH5 to frame Chris tightly from across the river then the photo will have the same DOF as Chris’ photo taken with the GFX100S which shows far more than Jordan in the frame. my personal preference in this price range is for the Canon EF 70-200mm f/4L USM Lens over the 70-300. Thankfully, flare and ghosting really aren't an issue for this lens. We didn't see much of either, and a really big, quite effective lens hood is included with the product bundle to help keep the sun off the front of the lens.

Of course, that size, weight and cost also brings pro-grade image quality thanks to a significantly more complex optical design. And the 100-400mm offers quite a bit more reach at the telephoto end of the range, although the 70-300mm counters that with an extra 30mm at the wide-angle end.Near the corners, bokeh suffers from heavy cat's eye effect when shooting wide-open. Stopping down just a little improves the situation significantly, however. Onion ring effect is visible even in diffuse specular highlights. If Chris wades into the river to get an equally framed shot of Jordan (GFX100S = weather-sealed...) then when he is close enough to frame that photo it will have far less DOF.