Gear

We're always searching for the perfect camera bag, but much like the Holy Grail, this can prove to be an elusive, if not impossible quest. The result is often multiple bags in a storage closet. Owning several bags can be a very good thing, however—unless you're asking an annoyed spouse.

The new Di series of lenses are Tamron's Digitally Integrated optics. They're designed to meet the performance characteristics of digital SLR cameras and image sensors. Like the other lenses in the Di line, the new SP AF28-75mm ƒ/2.8 XR Di LD Aspherical (IF) Zoom is optimized for a digital camera, but it will function fine on a film-based SLR body.

If you've snorkeled or scuba dived on vacation, you already know about the amazing world that lies beneath the water's surface. The remarkable creatures and seascapes are so stunning that they beg to be captured in photographs. Thankfully, you don't have to be a professional photographer with expensive gear to take dramatic underwater images.

After nearly seven years as an editor here at PCPhoto, I recently purchased my first digital camera. I've been shooting with digital cameras all along, but since there's a constant flow of the latest and greatest equipment through our offices, I never felt compelled to commit myself to a purchase. Content with just borrowing a camera for a time, I was reluctant to buy because I assumed that something better would always be on the horizon.

If you're looking for a low-priced, compact set of lenses that offer a great range for small-format digital SLRs, check out Sigma's new pair, the 18-50mm ƒ/3.5-5.6 DC and the 55-200mm ƒ/4-5.6 DC. These are ideal all-around focal lengths offering wide-angle and moderate telephoto ranges. Designed specifically for digital cameras (indicated by the DC), this combo typically offers an equivalent focal length range of 27-300mm on a small-format digital SLR for a 35mm camera. The image circle of these lenses won't cover a standard 35mm film frame.

When it comes to flash, it's easy to consign its use for night when there isn't enough light. The real power of flash lies in its ability to improve the quality of almost any photograph, however, whether shot at twilight or midday. More than just a source of illumination when light is lacking, it's a phenomenal tool for affecting exposure, contrast and color.

As digital photographers, we enjoy the freedom of working with a flexible, creative medium. Without batteries, though, our cameras and flash units would become high-tech paperweights. With the development of new batteries and chargers, there's now a great variety of power sources from which to choose. They offer vastly better performance than our old familiar standards. Here's how to choose among them, and how to get the best out of your batteries in the field.

From camping in the wilderness and hiking mountain trails, to first-class seating and four-star hotels, everyone's idea of what makes a memorable trip is different. Wherever you're traveling, reaching that destination can be an arduous journey, especially when you're intending to shoot.

Tokina's first lens produced exclusively for digital SLRs, the AT-X 124 AF Pro DX is a 12-24mm lens that combines rugged construction, internal focusing and a constant fixed aperture for terrific performance. Designed for Nikon and Canon digital SLRs that are built around an APS-sized sensor, the lens features a focal length equivalent of 18-36mm (1.6x lens magnification). In addition to wide-angle coverage, the AT-X 124 AF Pro DX also features a constant ƒ/4 aperture throughout the zoom range.

I love being surprised by the world, and a macro lens is a great way to discover those surprises. A macro lens lets you isolate and focus in on the often amazing and unexpected details around us. I had the chance to work with Sigma's new 150mm ƒ/2.8 macro lens (officially, APO Macro 150mm ƒ/2.8 EX DG HSM), and this combination of focal length and wide aperture offered a wonderful experience in exploring the realm of the close-up.