Technical details
We believe that our clients, friends, partners and everybody who contact us deserve our best. Therefore, Clearview Media understands to deliver the ultimate best, using advanced tools and solutions, tailored to specific needs.
We rest assured that you have carefully analyzed our pre-press portfolio to have a better understanding of product quality. The draft following the initial contact will look to confirm this as well.
As for the photo shots, if you watch a fashion show carefully, or a sports event, you will probably see the white “guns” that photographers use. These “guns” are cream-white and you may have seen them at Spirit of Romania also, as well as other events that Clearview Media attended. Since lenses are the “eyes” through which the camera sees, we pay special attention to them. For standard range, we use a Tamron AF 28-75mm f/2.8 XR Di LD Aspherical (IF). This particular lens competes successfully with Canon L-series lenses, and especially the #1 challenger in this class, the famous Canon EF 24-70mm f/2.8L USM. Tamron delivers superior contrast in the 70-75mm range and brings a more even clarity distribution in the corners with aperture wide open. The constant 2.8 F number, even at 75mm, offers us the opportunity to capture distant shots in low light conditions. This is so far the only exception from Canon that we allow, and one of the few from the L-series lenses.
For a better saturation in portraiture, we often add a prime: Canon EF 50mm f/1.4 USM. We agreed that its “bokeh” offered is more than satisfactory, the 8 diaphragm blades pleasing us with a creamy background in our shots.
We capture panoramic and landscape shots with two favorites: actually a pair of zoom lenses and a prime. The pair is made of Canon EF 16-35mm f/2.8L USM and Canon EF-S 10-22mm f/3.5-4.5 USM 
when we go for the APS-C sensor and we want an ultra-wide angle, even with the inevitable corner distortion. We see in APS-C sensor the distance advantage given by the multiplier and the flexibility to opt for the EF-S glass, rather than the sensor size disadvantage. We try to stay away of the vignette effect that some lenses project on full-size sensors.
Our landscaping and panoramic prime is Canon EF 24mm f/1.4L USM. We can never say enough about what this beauty delivers. So we rather point you to the review page and sample shots. For us, it delivers outstanding architecture shots and landscapes. It is a great tool in our set and we gladly recommend it for wide angles.
When it comes to shooting distant subjects, it is time for creamy-white delight. We chose Canon 70-200mm f/2.8L IS USM and had no further comments besides saying we had no regrets, whether it was a concert, a trip or a walk in the zoo park with the kids. Its contrast and precise, fast, focus have been and will always be praised.
We are not the jack of all trades. We do not do macro or architecture on a daily basis. However, this does not mean that we dislike challenges and that we would deny ourselves an opportunity, say, to shoot for two days in Yellowstone Park or at the Louvre, par example. We do not know if two days are enough, though. We do know clearly what we can do and we do our best to do it the best way. We know there may be special cases such as when you wish to check from your living room the store hours displayed at the door of your favorite shop across the street. We know this calls for a bigger “gun”, Canon EF 100-400mm f/4.5-5.6L IS USM. Or when you wonder how many legs has the ant in your palm. We pack a Canon EF 100mm f/2.8 macro USMand we come to the rescue, what else can we do? We are ready. Like seeing your doctor: we diagnose quickly, and then start with the treatment.
