Sale Nikon 35mm f/2D AF Wide-Angle Nikkor Lens for Nikon 35mm and Digital SLR Cameras

Buy Nikon 35mm f/2D AF Wide-Angle Nikkor Lens for Nikon 35mm and Digital SLR Cameras

Nikon 35mm f/2D AF Wide-Angle Nikkor Lens for Nikon 35mm and Digital SLR Cameras Product Description:

• Compact, lightweight wide-angle lens for general photography
• 62-degree (44-degree with Nikon DX format) picture angle for candids, portraits, and travel photographs
• Nikon Super Integrated Coating for minimized flare and ghost, providing good color balance
• Fast f2 maximum aperture make this ideal for low-light, hand-held shooting
• 0.85-Foot close focusing distance

Product Description

Compact and lightweight, this very fast f/2 wide-angle lens is perfect for scenic and landscape photography as well as environmental portraits

Customer Reviews

Most helpful customer reviews

100 of 106 people found the following review helpful.
Definitely a 5-Star Lens!
By Bob Denhaan
Light, fast, sharp, and as far as I'm concerned the perfect focal length.I started out using 50mm primes, but quickly got tired of how tight they were indoors. All my shots were becoming head/shoulder shots, and forget about trying to get two or three people in the shot without them all being posed in an "everyone squeeze together now" shot. That gets real old, real fast.Let me emphasize that:This lens has a much better field of view at normal shooting distances (the distance that you normally stand from your subject).That is often overlooked, but trust me, backing up 15 feet in a crowd or a house to get your shot is tedious at best, and often impossible. It is typically easier to move in towards your subject a little (or crop the photo later) than it is to keep backing up, especially while looking into the viewfinder. I realize it's not totally fair to rate other equally sharp, good quality lenses differently, based solely on their focal length, but it is my opinion that this lens is by far the most useful in the greatest number of situations.I also used to be fixated on huge apertures, but have since realized that most real world shooting is not done below f/2 anyway. This lens is sharp as anything out there and is great in low light. Yes, I acknowledge that f/2 isn't quite as good in super low light as other lenses out there (I know because I have a 50mm f/1.2), but it is good enough for most shooting, and below f/2 the depth of field becomes tricky anyway; so again, not as useful.Lastly, some people don't like the plasticy feel of new lenses, but I love them. They are so much lighter and silky smooth. I've seen enough heavy, gummy, brassed-up, metal lenses in my time to know there's nothing magical about all-metal builds either. So to me it's just another modern improvement that works like a charm.Most that I've seen tend to resell online for 90%+ of full retail value, so even if you somehow didn't like it, your risk in buying and trying is very low....

92 of 98 people found the following review helpful.
Sharp, moderate-contrast lens, but DX users might wait for 35mm f/1.8 AF-S
By Glenn Carpenter
I really wanted to love this lens, but instead I just like it. Perhaps I can explain some of the reasons for that in a moment, but first the positives.I think this is a beautifully-made little gem of a lens. I love the way it's put together and the way it feels in use. These AF-D lenses were strongly criticized for their build when they first came out, by photographers who were then used to the heavy, all-metal construction of the AI/AI-S Nikkors. A little time having now passed, the light, undamped, nearly frictionless feel of the focus ring seems just about perfect to me. The aperture diaphragm has a flawless, beautifully symmetrical action, and the overall heft and appearance of the lens is substantial and gives an impression of very good quality at this lens' modest price point. I very much like having it on my camera. It is small, unobtrusive, and gives the classic "normal" field of view on DX bodies such as my D90. It is, as others have said, a true "photographer's lens."It is also sharp, in fact its single distinguishing characteristic in my opinion is its very good sharpness at wide-open aperture. All lenses lose acuity at wide apertures, but this lens loses less than most, being nearly as sharp at f/2.8 as it is at f/5.6, and still quite good wide open at f/2.0. I have no qualms at all about putting this lens on my camera in low-light conditions and using it at any aperture right up to the maximum, even if I might want to make fairly large prints of the resulting images. One could nitpick to a degree (always stop down when sharpness is paramount), but I find the results absolutely acceptable and then some. A very good performance.Actual peak (stopped-down) sharpness is very good but not quite equal to the best I've seen. Taking a variety of test shots with this lens and with my excellent 16-85mm VR zoom set at 35mm (this has become my reference lens for such purposes), the 16-85mm VR has an appreciable edge over the 35mm at all apertures it is capable of (f/4.5+). It's really hard to see the relevance of small differences in sharpness like this unless you are going to be printing large reproductions and expecting critical perfection, but the difference is there, and it definitely favors the 16-85. The 16-85mm is as sharp at f/4.5 as the 35mm is at f/8, and the 35mm never reaches the slightly higher level of sharpness that the 16-85mm can attain by f/5.6. The difference is naturally larger at wider apertures, and the 16-85, shooting with VR "on," can make far sharper images of static subjects in low light than the 35mm is capable of producing. This advantage does not carry over to objects in motion, however, an advantage that goes to any "fast" prime lens like this 35mm.The 35mm is not a high-contrast lens. It does not use Nikon's contrast-enhancing ED glass in any of its elements, and colorful scenes are subtly toned-down by this lens in comparison to Nikon's most contrasty lenses. Again my 16-85mm is my standard in this regard, and comparing the two against one another, colors that leap off the screen when photographed with the 16-85 are less brightly rendered by this 35mm, with the difference actually being fairly significant. Although this can be a good thing with some subjects, I prefer the more dramatic color rendition of the higher-contrast lenses for the types of general photography I am inclined to use a 35mm lens for.Overall, this is a fine lens. It has similar characteristics to the also-very-good 85mm f/1.8 AF-D Nikkor, and yet I find myself much more attached to the 85mm, which I love, than to the 35mm. Why? It really has to do with the particular benefits of these lenses being more relevant in the longer focal length. Depth-of-field isolation, for example, is a very attractive creative possibility with an 85mm lens, yet almost a contradiction in a 35mm lens, which naturally has a very wide depth of field. Such isolation is particularly helpful in portraits, for which the 85mm is well suited, the 35mm less so. The less aggressive color renditions can likewise be beneficial in photos of people, as skin tones are nicely reproduced and distracting colorful elements within the frame are less noticeable: again, less relevant in the 35mm focal length.The ability to stop action with short shutter speeds, another purview of fast lenses, also is of limited usefulness in a 35mm lens. Kids playing close by, perhaps, but animals and sports? Not really. Finally there is the realm of low-light photography, where for still subjects, a slower lens with VR remains the better choice, allowing the maintenance of smaller apertures for broader depth and improved sharpness.The result: for me, at least, only a limited set of minor niches exist for which the 35mm becomes the best choice: low light photography of moving subjects, occasional uses where narrow depth of field might be desirable in its focal range, and scenes of a type which benefit from its subtler color rendition.The reality is that prime lenses used to be a photographer's first choice because they simply gave better image quality than zooms - but zooms have come a long, long way and that is simply no longer the case today, at least not with this particular lens. What that means for my own photography is that I have to invent reasons to use this lens in place of my standard zoom, and when I do I invariably wind up taking it off again fairly quickly, because so much flexibility is lost with little compensation and because the less contrasty images simply don't have quite the impact that the 16-85mm VR can reliably produce.This lens does earn each of its four stars for its very solid performance in all areas, but unlike the 85mm f/1.8 I am not inclined to treat it any more generously than that. It is a fine lens, but, for me, does not quite have the "must have" status that some others give it.Notes:- Nikon has recently announced a 35mm f/1.8 AF-S prime for DX that will probably prove to be a much better choice for almost anybody shooting that format. Its optics will likely be optimized for high linear resolutions within the smaller DX image circle, and it may well turn out to be good enough to knock our socks off. No mention of ED glass in the literature, so we'll have to see if it turns out to be a high-contrast lens like many of the better/newer Nikkors. It's very reasonably priced. I have one on order and will likely post a review once I've had a chance to use it a while.- Because this is not a "G" type lens (meaning it has an aperture ring), and because it fits the FX/film format as well as DX, those who use more than one of these formats or who have older film cameras could benefit from this lens' versatility and might find it to be an excellent choice.- Focus is very quick and perfectly accurate on my sample.- Early copies of this lens commonly suffered from a problem with oil on the diaphragm blades. I haven't heard any references to this being an issue on newer samples. Be particularly aware if you are buying this lens used, especially if the particular sample's age/history is uncertain.- This lens has both a distance scale and a very good depth-of-field scale, unfortunately a rare feature on newer designs. The new DX version looks to have neither, which could be of some importance for anybody needing to choose between the two. On the other hand, the AF-S lens will allow immediate manual-focus over-ride, whereas the older AF-D lens requires that its user flip a switch on the camera body to go from auto- to manual-focus.

43 of 44 people found the following review helpful.
Decent lens at a good price
By Gary Gray
I purchased this lens to use on my Nikon D300. On the D300 this lens gives a standard field of view close to 50mm. It is light weight and made of plastic and easy to keep in a vest pocket. Center sharpness is good, edge sharpness is not as good wide open. The construction is not professional grade; however, I've used it quite a bit and it seems to be okay in every situation I've tried. Autofocus speed is good and quiet. The manual focus mechanism is smooth and acceptable. Bokeh is acceptable but nothing dramatic. It has a manual aperture adjustment ring and ring lock. I've also tried this lens on my Canon bodies using an adapter. On a full frame body this lens is fairly sharp wide open and vignetting is well controlled, so if you own a Nikon D3, it should work fine. I did notice a bit of corner softness on the full frame bodies. It also has mild chromatic aberration on the edges, but not excessive. For the price, it's a good prime lens and will give you as good a result as any zoom lens at 35mm. If you need better optics, you'll have to spend quite a bit more, but shooting as a professional photographer, I'd have no qualms taking this lens to any job that required this focal length.

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Cheapest Nikon 28mm f/2.8D AF Nikkor Lens for Nikon Digital SLR Cameras

Buy Nikon 28mm f/2.8D AF Nikkor Lens for Nikon Digital SLR Cameras

Nikon 28mm f/2.8D AF Nikkor Lens for Nikon Digital SLR Cameras Product Description:

• Compact, lightweight wide-angle lens for general photography
• 74-degree (53-degree with Nikon DX format) picture angle for candids, portraits, and travel photographs
• Nikon Super Integrated Coating for minimized flare and ghost, providing good color balance
• Exceptionally light at only 7.4 ounces
• 0.85-Foot close focusing distance

Product Description

28mm D-Series Wideangle lens for Nikon cameras

Customer Reviews

Most helpful customer reviews

135 of 149 people found the following review helpful.
Competent and inexpensive: bargain "normal" lens for DX
By Glenn Carpenter
This is an undistinguished but competent lens, a viable solution for DX users looking for a "normal" lens at a bargain price, and a useful and inexpensive wide angle for FX and film shooters.It can not be said that Nikon spared no expense in the development of this lens. They spared plenty, settling on a minimalist, simple, proven optical formula, without the close-range correction (CRC) used in some of its more-expensive contemporaries, and with an unambitious f/2.8 maximum aperture. That last detail, in today's world of small-frame DX DSLRs, becomes the lens' single major drawback. Today's zoom lenses are good enough to equal the performance of a prime in most regards, making fast apertures the last remnant of fixed-focal-length superiority in the minds of most photographers, and a prime lens as slow as an f/2.8 professional zoom is left with comparatively little to recommend it. Yet that has ironically led to this lens' one significant advantage: it has remained cheap while prices for other lenses have risen significantly, and for those whose needs it meets, it can be seen as quite a bargain.Its performance is perfectly respectable. In fact, wide-open at normal shooting distances, it is already quite sharp, something that can not be said for many fast primes, and it manages to provide crisp, modern, contrasty color renditions, no doubt thanks to state of the art - as of its introduction - lens coatings. It has the nice, rather frictionless focus feel that was common to most early AF primes, with the easy-to-reach, front-mounted focusing ring that was a welcome holdover from manual-focus days. Many newer lenses, with focus rings hidden from easy reach (behind the zoom ring, for example) are much more difficult to use when manual focus is called for, although most do have the advantage of allowing instant manual over-ride. Like any AF-D lens, the user of this lens must flip a switch on the camera body to disengage the focus motor and switch from auto to manual focus.There is one other nice feature of this lens that holds up very well in today's DSLR world, and that it its 28mm focal length. While anything in the 28mm-35mm range can be considered a "normal" lens for DX, Nikon's own 35mm DX prime is a bit on the long side for many, and at 28mm this lens represents an excellent alternative. I've owned and used (and posted a review of) the 35/1.8G, and I love it, but in my opinion this is one of its drawbacks. I personally prefer the slightly wider field of view of the 28mm perspective, which in my experience is a bit handier for indoor photography in tighter spaces and a bit more natural-feeling as a "normal" lens for DX. Sigma's 30mm f/1.4 is another alternative, and faster, but I found my copy to be mediocre at wide apertures and would generally hold it to f/2.8 or so anyway, taking away much of its advantage of speed - and it is a much more expensive lens.The 28mm begins to look like a very good choice when its workmanlike performance, its "normal" field of view, and its small size are considered against its very low current price. For DX users, this lens is not exactly a bargain when purchased new - it is more expensive than the 35mm/1.8G, for example - but used prices are a different story, and for photographers willing to buy used, it can be a bargain. For a DX shooter on a budget, who is looking for a "normal" lens and who does not already have a professional-level midrange zoom that offers an f/2.8 aperture, the 28mm can be a uniquely affordable and versatile tool for general photography. Combined with inexpensive standard and telephoto zooms, this lens can complete a modest collection of starter lenses that will leave very few types of photography off limits. In fact, somebody looking to start out in SLR photography on a budget could do a lot worse than to pick up a decent copy of this lens, a used Nikon D50/D70/D80, and begin making pictures limited in quality only by their own talents.My rating of three stars for this lens should not be considered negative. I don't think a higher rating is justified, and I don't believe in rating lenses on a sliding scale depending on their price - a four star lens is a four star lens, whether it sells for $150 or ten times that. It is up to the reader to make their own judgement as to whether the price makes the lens a more or less compelling purchase. This lens does exactly what it is supposed to do, and it does it well. The basis for my rating is as follows: the lens performs competently, but not spectacularly, as a 28mm prime. By itself, that would probably justify four stars, but it's only fair to also take into account its very modest design capabilities. Its slow speed in particular, compared with other lenses of its type, reduces its appeal; and the lack of a sophisticated, highly corrected optical formula is a factor as well. This lens, while possibly a bargain and a fine choice for many photographers, is practically the definition of average in terms of performance, and that's how I rate it.Miscellaneous notes:- Vs. Nikon's 35mm f/1.8G: The 35/1.8 is a bit sharper, but the 28/2.8 is sharp as well. With mostly minor distinctions, these lenses do pretty much the same things on DX, and the 28mm can be picked up on the used market for much less than the 35mm sells for. The real distinctions between these lenses are the price, the speed, and the focal length. While most will understandably settle on the 35mm, for many photographers the 28mm could be the better choice.- Vs. Sigma's 30mm f/1.4: My copy of the Sigma was mediocre at wide apertures, removing most of its advantage over the 28mm Nikkor. It is much heavier, much more expensive to buy either new or used, and has very close to the same field of view. If speed is paramount, it is the obvious choice - otherwise the Nikon's price and overall performance make it the better buy (with the Nikon 35/1.8G probably better still).- For FX: It's tougher to make an argument for this lens on FX. FX shooters are less likely to be bargain hunters, and there are better choices almost regardless of one's criteria for selecting a lens. I can envision a narrow niche for an FX shooter who wants an unobtrusive, lightweight lens and a moderate wide-angle view; and in such a case, this lens' low purchase price makes it a perfectly satisfactory option. Sigma's 30mm and Nikon's 35/1.8G are DX lenses and are therefore removed from consideration for FX shooters. The obvious alternatives on FX would be Nikon's 35mm f/2D or 24mm f/2.8D - but in reality, for most FX users the real alternative will be an f/2.8 midrange zoom.- Buying new vs buying used: Good lenses tend to hold their value very well, and they last a long time. Consequently the market for used lenses is vibrant and relatively efficient. In the case of this lens, the disparity between the new purchase price and the current used market value is high, and I would advise any prospective purchaser of this lens to find a good used copy from a reputable source, such as many of the used vendors right here on Amazon. Be sure to price-check against other vendors to ensure you're getting a fair price, of course. Buying used avoids the large one-time depreciation from buying new and will probably allow the user to re-sell the lens at some time in the future with little or no loss of value. This is a good strategy for any cost-conscious photographer.Other Lenses:I've had the opportunity to own and use many different Nikon lenses and have posted my impressions of some of them here on Amazon. For those interested, here are short summaries. I have used all these lenses on Nikon DX-sized DSLRs, most recently my current D90. Refer to the full reviews for further detail.Sigma 30mm f/1.4 HSM: *** Poor focusing consistency and below average large-aperture acuity combine for disappointing real-world performance. Fast max aperture, very capable if used with appropriate care.Nikon 35mm f/1.8 AF-G: ****1/2 Terrific lens at a bargain price. Not without flaws, but excellent in all important respects. A pleasure to use.Nikon 35mm f/2 AF-D: **** Sharp, especially at large apertures, moderate contrast. Classic "normal" lens for DX but consider new 35mm f/1.8 AF-S instead.Nikon 50mm f/1.8 AF-D: *** My sample was unacceptably poor at large apertures. Perhaps a below-average sample. Focal length not ideally suited to DX.Nikon 85mm f/1.8 AF-D ****1/2 Very good short-to-moderate telephoto on DX. Acceptable at large apertures, very sharp stopped-down, moderate contrast. Potentially excellent for portrait use.Nikon 16-85mm VR ***** Very sharp at all settings, excellent contrast, very useful zoom range including true wide-angle at 16mm. Excellent VR. Best-kept secret for DX users.Nikon 28-200mm AF-G *** Of two samples, one was excellent and one poor, so watch for sample variations. Very good contrast. Not ideal hand-held due to lack of VR. Not ideal for tripod use due to design.Nikon 55-200mm VR **** Very good lens, very good sharpness and contrast, no fatal flaws. Cheap feel and feature-challenged, but has effective VR. A bargain.Nikon 70-300mm VR *** My sample had very poor performance above 200mm, good to very good elsewhere. Good contrast, generally very good focus performance. Good sports/action lens. Not good where critical sharpness is desired. Possibly a below-average sample.

30 of 32 people found the following review helpful.
A Wonderful Little Lens
By CC
This is my second copy of this lens. I sold my first one when I went digital and didn't think I would need it anymore. However I found zoom lens were sometimes to large or slow and found myself wanting a fixed prime lens for my Nikon D300. So I bought another one a few months ago and love it. It is the equivalent of a 42mm on my D300 and it stays on the camera most of the time. It is sharp, has beautiful colors and is lightweight. I use it mostly for landscape photography and set the aperture and focus manually for the greatest depth of field.A very well made lens.

22 of 25 people found the following review helpful.
Extremely Sharp Lens, Well Built - Smooth/Damped Focusing
By Oracle DBA
This is probably one of Nikons underappreciated lenses. For those looking for an affordable 28mm wide angle lens that is very sharp, this is it. It is well built (Made in Japan) with very good IQ.

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Compare Prices Cities and Knights of Catan

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Compare Taylor Food Service 25-Pound Analog Portion Control Scale, Stainless Steel

Buy Taylor Food Service 25-Pound Analog Portion Control Scale, Stainless Steel

Taylor Food Service 25-Pound Analog Portion Control Scale, Stainless Steel Product Description:

• Rugged stainless steel construction
• Removable platform for cleaning
• Shatterproof lens
• Angled dial for easy reading
• 25-Pound in increments of 2-ounce( 11 kg by 50 g.)

Product Description

Taylor has been producing precision instruments for 150 years. Today's product lives up to that tradition of accuracy, dependability, and precision that the company was founded on. Taylor takes temperature seriously and its instruments are engineered to be the top in quality and engineering. Our corporate engineers and staff are the best in the industry. Safety, quality, and dependability are Taylor's Corporate goals. Feel safe -be safe with Taylor.

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0 of 0 people found the following review helpful.
25 pound scale
By che
the 25 lb scale is just want I was needing, exactly as stated in the info. Great service, good shipping and packaging and looks nice. Easy to clean up. Very happy with the scale

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Buy Online Muscle Chest Superman Costume: Boy's Size 8-10

Buy Muscle Chest Superman Costume: Boy's Size 8-10

Muscle Chest Superman Costume: Boy's Size 8-10 Product Description:

• The child Deluxe Muscle Chest Superman includes the jumpsuit with attached boot tops, cape and belt.
• A fun musclular chest is built right into the jumpsuit of the Deluxe Superman costume for kids.
• Please note: This item's color may vary due to inherent manufacturing variations or your computer monitor's color settings. The item you receive will be identical or substantially similar to the item pictured in this listing.

Product Description

In this deluxe Child Superman Costume, your child will be faster than a speeding bullet and more powerful than a locomotive! Child superman costume features jumpsuit with enhanced superhero muscles, cape, and belt. A classic super hero costume your child will not want to take off! SIZE NUMERIC SIZE AGE Small 4-6 3-4 Medium 8-10 5-7 Large 12-14 8-10

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0 of 0 people found the following review helpful.
Very satisfied
By Soccer Lady
I bought this for my 6yr old son and he absolutely loved it. He was so excited when he opened it. He is on the taller side for his age and it is a little big. He loves the cape. He likes to wear the costume to bed so I've washed it a lot and it still looks like new.

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Buy Canon USA BP-512 Directional Stereo Mic DM 50 for Camcorders with Advanced Access Shoe

Buy Canon USA BP-512 Directional Stereo Mic DM 50 for Camcorders with Advanced Access Shoe

Canon USA BP-512 Directional Stereo Mic DM 50 for Camcorders with Advanced Access Shoe Product Description:

• Directional stereo microphone
• Fits onto Canon camcorders equipped with advanced accessory shoe

Product Description

Get near-professional quality sound for your movies and more with this DM-50 Directional Stereo Microphone that connects to the Advanced Accessory Shoe. Select from pure shotgun or shotgun + surrounding sound modes.

Customer Reviews

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228 of 229 people found the following review helpful.
Decent and flexible. Not great.
By G. Katsoulis
The build quality is better than expected. It feels solid in your hand and well put together. The DM-50 fits well onto the camera and is nicely balanced. It runs a little less than the length of the camera, so it does not overwhelm the camera's profile. This is not a big issue, but it does mean the microphone should not get in your way under normal shooting conditions.The microphone itself has some play, presumably to cushion it from camera noise. If so, it does not do a perfect job - more on this below.To discuss the audio quality, I have to discuss the three modes, "Shotgun", "Stereo 1" and "Stereo 2"."Shotgun" mode captures audio primarily from directly in front of the camera. While I have done no scientific tests I would guess it's main balance is at about 35 or so degrees. This mode captures sound in mono from a single element at the front of the unit. In this mode the audio quality is not great. There is little low-end response and the quality and the sound has, for lack of a better term, a slightly plastic quality to it. It is surprising when compared to the sound recorded from the side elements, which seem warmer and more dynamic."Stereo 1" mode seems to capture sound at about 90 degrees, combining both the front element and two separate elements along the side. The overall perceived quality of the sound is much better than using the shotgun alone. There is more warmth and richness in this mode, and it provides a nice balance of front centered sound, with some ambience from the sides."Stereo 2" mode captures sound at more than 180 degrees. The rear facing element seems to be designed to capture nearby sounds, but not more distant sounds. This could only be my perception, but if not, it seems like a nice way to allow commentary from the camera operator. However, the "Stereo 2" seems to be a little too weighted towards capturing sound from the sides at some expense to the front element. As a result, the sound quality itself is a little better, but the mix appears slightly off.In all three modes, the isolation of sound it not perfect. Because the provided documentation says almost nothing about how the DM50 is designed, it is difficult to know how many elements are present and in what combination they are recording sound in each mode. It seems that even in "Shotgun Mode" the left and right front elements are still slightly present, but mixed in mono with the front facing mic.In terms of eliminating motor noise, the DM50 does a better job than the on-board microphone, but the sounds of the motor and any manipulation of the controls are still present. In "Stereo 2" mode, the motor noise is cut in half from what you hear from the on-board microphones. In "Stereo 1" mode the noise is down to about a quarter and in "Shotgun" I would estimate it is about an eighth.With the Canon HV20, the most common sound issue I find is with clicking the function button while shooting to gain control over exposure (usually a three click process). The DM50 does not eliminate this sound. In "Shotgun" mode the DM50 does the best job of reducing the problem, but even with the rubber rings in which the microphone rests, some of that sound it transfered up the camera.The DM-50 promises "near professional" quality sound and that is what it provides. For professional sound you will need to find a more dedicated microphone, such as the VideoMic or Stereo VideoMic, or perhaps both if you wish to have coverage for the same theoretical range as the DM-50. However, the DM-50 provides excellent flexibility that it's competitors do not, so you should consider what your shooting needs are. The DM-50 also does not use batteries, but draws power from the Camera's battery. This can be either an advantage or a disadvantage depending your preference, but it is something to keep in mind when purchasing.The DM-50 is best suited to users who want a single, trouble free microphone that can carry them through a variety of situations. In "Stereo 1" mode, the microphone is at it's best, providing a good balanced sound, though I wish sound from all around the microphone were captured in even quality. This disparity is perhaps the biggest problem with the microphone.

110 of 110 people found the following review helpful.
Perfect All Around Mike For Everyday Use
By Stephen W. Worth
I recently bought a Canon HV30, and after reading the reviews, I determined that I would need some sort of external mike. It's too easy to pick up the sound of jiggling controls with the lightweight plastic housing on Canon camcorders. I had trouble picking a mike from the various candidates at first, but after doing a little research, I realized that the Canon DM-50 is the best choice. Here's why...First and foremost, this mike doesn't add much size to the camcorder itself. The other mikes I looked at were as big or bigger than the camera. With a camera like the HV30, size is important. If you put a giant furry mike on top of it, you'll never get away with casual shooting in a public place. Everyone will see your camera from a mile away and either hide or mug for the camera. I like to keep my camera tucked in a big pocket in my jacket, so I can pull it out to shoot inconspicuously. This is the only mike that comes close to allowing me to do that.Secondly, one type of mike doesn't cut it for all purposes. For dialogue, you need a mono shotgun. For ambient sound, you need a stereo wide dispersion mike. It makes no sense at all to get a mike that only serves one purpose. You just need to carry two mikes around with you and switch all the time. The Canon DM50 does either or both with a simple flick of a switch.Thirdly, this mike is self powered. No need for an additional battery. This mike puts very minimal drain on the camera's battery. That is much better than carrying around the added weight of a bunch of AAs or a 9 volt.When I got this mike, I did some tests, shooting in difficult situations... I shot music at a loud piano bar, ambient sounds at a quiet coffee house, and dialogue above the clatter of dishes at a busy restaurant. The Canon DM50 performed well under all of these conditions. There isn't a terrific amount of bass in this mike, but that is to be expected for a microphone of this type. It's enough, however, to put across music well without sounding too tinny. I experienced no camera noise in any of my tests. This mike does the job.If I was a pro shooting movies for theaters, I'd want a really good mike on a boom. But I'm not a pro, and the Canon HV30, good as it is, isn't a pro camera. I'm shooting off the cuff vacation movies and documenting panel discussions for my work. This mike is perfect for that. No need to hesitate to get this mike if you can afford it. It's all you need.

22 of 24 people found the following review helpful.
Works for me
By Bakari Chavanu
I've been using this directional mic for almost three years and have never noticed camera noise. It's compact and provides a good reach for most ambient sound situations.

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Reviews Canon 3x Video Zoom Lens for the XL1 and XL2

Buy Canon 3x Video Zoom Lens for the XL1 and XL2

Canon 3x Video Zoom Lens for the XL1 and XL2 Product Description:

• Wide-angle zoom lens for Canon XL1 and XL2 series camcorders
• Fully electronic interface with the XL1
• Get an over 50% wider angle of view
• Manual zoom and focus
• 1.5 neutral density filter built in

Product Description

The world's widest field-of-view DV camcorder lens. Horizontal angle of more than 70 degrees, representing an increase of nearly 50% of the standard 16x lens. This 3.4mm-10.2mm short zoom lens enables the user to shoot scenes ranging from vast landscapes to extreme close-ups with utmost ease.

Customer Reviews

Most helpful customer reviews

0 of 0 people found the following review helpful.
Excellent, sharp and WIDE!
By chiflatin
I have an XL H1 and this lens was a perfect compliment to the 20x which is sometimes not wide enough for smaller spaces. This lens worked excellent for DV shots where I needed the 3.4mm wide angle and still have the bright 1.8 iris.The close focus range is unbelievably close (mere inches, if that!) and also has a nice built-in ND filter.Not sure what else to say about it other than it's a must have lens and the first one to upgrade to!

1 of 2 people found the following review helpful.
The other lens you need for the XL2.
By Stephen Rustad
The Canon 3x lens is the perfect complement for the 20x lens that ships with the Canon XL2. Interior shots and expansive vistas, to name just two possible shooting scenarios, demand the wider angle offered in the 3x lens. Frankly, I think the camera shouldn't ship without both lenses.

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