Every genre of photography requires an appropriate lens. Each lens will differ in maximum aperture, build quality, and other factors. If you do still-life or product photography, certain lenses will suit your work better than others. Here is more about what you need to keep in mind when looking for the best dslr lens for product photography and also the best lens for art photography.
best dslr lens for product photography
1. Our Pick: The Canon 100mm f/2.8L IS Macro
If we had to choose one product photography lens to use all the time, it would be this one:
The Canon 100mm f/2.8L macro.
First, the focal length is great for product photography. It’s long enough for a bit of flattering compression, but short enough that it can be used easily in the studio.
Second, the image quality is outstanding. The Canon 100mm macro is one of Canon’s sharpest lenses, and chromatic aberration is well controlled.
Third, handling is very good. The manual focusing ring is large and easy to use. If you haven’t done manual focusing before, this is a great lens to start with.
Finally, this is a true macro lens, which means that you’ll be able to get ultra-close shots of tiny products, including rings, necklaces, and other jewelry items.
2. Also Good: The Nikon 105mm f/2.8 VR Micro
This is the companion lens to our first choice, the Canon 100mm f/2.8L.
While it’s not quite as incredible as its Canon counterpart, the Nikon 105mm micro is still a great product photography option at a reasonable price.
For one, it offers true macro capabilities, letting you focus all the way up to 1:1, and get those up-close-and-personal photos product photographers love.
The Nikon 105mm micro is also tack sharp with little chromatic aberration. You won’t have to worry about image quality problems with this lens; it’s too well put together.
Like the Canon 100mm macro, the Nikon 105mm micro has an excellent product photography focal length. You’ll be able to work comfortably with your subject, but you won’t feel like you’re getting too close or too far away.
The one drawback to this lens is its weight (it is a bit heavy), but this doesn’t matter much in a product setting. You can just pop it on a tripod and shoot for the whole day!
3. Best Budget Option: The Canon 50mm f/1.8 STM
The lens is super cheap making it an affordable addition to your kit bag.
Fifty millimeters isn’t the ideal focal length for product photography. But for the beginner looking get started with product shooting, this lens will do a good job–even if it’s not perfect.
(Did I mention that this lens is dirt cheap? It is!)
First, image quality is good. The lens is a decently sharp wide open, but gets significantly sharper when stopped down to f/8 or so (which is what you’ll want to use for product photography, anyway). Chromatic aberration is present, but manageable with a bit of post-processing.
Handling is decent. The lens is very small and plasticky, and you can feel this when you use the manual focusing ring. But it’ll definitely get the job done, and–with a little practice–you’ll start capturing some sharp product photos.
Finally, while this lens doesn’t give you true macro magnifications, it’s no slouch in the close-focusing department. You can get high-quality shots of small products and details.
So for the budget shooter or beginner, the Canon 50mm f/1.8 is an excellent option.
best lens for art photography
4. The Tamron 70-200mm f/2.8 Macro
The 70-200mm range is great for product photography. The trick is finding a lens that can span those focal lengths while giving high-quality images.
Fortunately, the Tamron 70-200mm f/2.8 does exactly that.
The Tamron 70-200mm is sharp across the board, even when wide open (at f/2.8). At f/8 it’s even sharper, which is perfect for your product photography needs.
The lens also has low dispersion elements to combat chromatic aberration, and it manages to pull this off, keeping chromatic aberration well-managed. There is some fringing at the edges of the frame when at the focal length extremes (i.e., 70mm and 200mm), but nothing too concerning.
Handling is good–the manual focus ring is large, and shouldn’t give you too many problems when nailing focus.
Now, the 70-200mm isn’t a true macro lens, but it does focus fairly close. You’ll want to be careful, however; at its minimum focusing distance, the 70-200mm performs poorly in terms of sharpness and chromatic aberration. So if you’re going to be shooting a lot of close-ups, it makes sense to stick with a true macro lens, such as one of the options featured above.
But if you’re looking for a high-quality lens that spans a lot of focal lengths, you should give the Tamron 70-200 macro a shot.
5. Sigma 25-105mm f/4 ART
Sigma’s series of ART lenses are known for their incredible optics, and the Sigma 25-105mm f/4 is no exception.
The lens offers gorgeous image quality, especially on the wider end. As you get down to 105mm there is a decline in sharpness, but this can be remedied by stopping down to f/5.6 or f/8 (and these are the apertures you’ll be using for product photography, anyway!).
Chromatic aberration is something of a problem at the focal length extremes, though primarily at the edges of the frame. And this can be taken care of in post-processing, while affecting the final photo very little.
Handling is good–the manual focus ring works smoothly. You’ll have no trouble focusing with this lens.
Regarding focal length:
The 24-105mm focal length range is a good choice for product photography. The longer end of the lens will allow you to get a nice compressed look, while the wider focal lengths allow you to take more experimental product photos.
All in all, this is a great lens for a good price.
6. Canon 180mm f/3.5L Macro
I’ve already talked about what is arguably Canon’s most versatile macro lens, the 100mm f/2.8L.
But Canon has another macro lens that is suitable for product photography:
The Canon 180mm f/3.5L.
This lens is tack-sharp across the board, wide open and beyond. In fact, this lens delivers some of the best image quality Canon has to offer, and you will never worry about issues with sharpness.
The focal length is a bit long for casual product photography, but for a specialist who often shoots jewelry or other small items, this lens could be the perfect choice. The longer focal length will get you a better working distance, so you can photograph rings and necklaces without worrying about being uncomfortably close to your subject.
And handling is strong, with a large manual focus ring that you should have an easy time working with.
Unfortunately, this lens does come with a hefty price tag. But if you’re the type of serious shooter who needs a dedicated, long macro lens for product photography, then it will be worth it.
7. Nikon 50mm f/1.8G
The Nikon Nikkor 50mm f/1.8G is a complement to Canon’s 50mm f/1.8 STM. It’s small, fast, and inexpensive. In other words, it’s perfect for the Nikon shooter who just wants to get started in product photography without spending a huge chunk of change on the Nikon 105mm VR micro.
As noted above, 50mm is short for product photography. But it’ll still do the job, and will ensure you manage to get images free of wide-angle distortion.
Images are pin-sharp, especially when stopped down a bit for increased depth of field.
While the lens is a bit plasticky, handling is still good. You’ll be able to do fairly precise manual focusing with your product photos.
So for the more casual Nikon shooter looking to get started in product photography, give this lens some attention.
8. Sigma 105mm f/2.8 OS Macro
The Sigma 105mm f/2.8 macro is the cheapest true macro lens on this list. But don’t let that fool you–because this Sigma produces amazing, professional-quality photos.
First, you’ll be able to shoot consistently tack-sharp photos that suffer from little to no chromatic aberration.
You’ll also be able to get extremely close to your subjects, taking shots of tiny details that are hard to see with the naked eye. And the handling is great; the lens has a large, easy-to-spin focusing ring.
In general, the Canon 100mm f/2.8L and the Nikon 105mm f/2.8 VR are better options than the Sigma 105mm, which is more aimed toward budget shooters.
But if you don’t want to pay for the Canon or the Nikon, then Sigma may be the way forward.
9. Canon 70-200mm f/4L
The Canon 70-200mm comes in a number of different forms, but this one is the cheapest of them all, as it lacks both an f/2.8 maximum aperture and any image stabilization.
However, neither of these features are particularly useful for product photography, which is why the less expensive Canon 70-200mm is all you need.
You’ll definitely appreciate this lens’s focal length, which spans the 70-110mm product photography sweet spot. And you’ll love the optical quality, which is great throughout, even when shooting at the maximum aperture.
The manual focus ring is small, but nothing prohibitive. You’ll be able to focus manually whenever you need.
10. Tamron 35mm f/1.8
The Tamron 35mm is a relatively inexpensive option at an unusual focal length–one that appeals to the more experimental product photographers out there.
While product photographers like to work at around 100mm, there’s a lot you can do with a wide-angle lens such as the Tamron. You can create unique wide-angle product shots, which feel different than the traditional telephoto images.
The Tamron 35mm is sharp at all apertures, though things do improve as you narrow the aperture. And you should be prepared to deal with a bit of chromatic aberration, which does plague this lens on high-contrast situations.
That said, you’ll be happy with this lens, especially at common product photography apertures.
Because you’ll get your sharp images–with a bit of a twist!
Best Lenses for Product Photography: Conclusion
That concludes our list for the best product photography lenses out there.
However, if you’re still struggling to choose a product lens, remember:
- Choose a focal length that fits your subject matter.
- You want a lens that’s tack sharp
- You want a lens that handles well
And that’s it!
The next step is to start shooting some products!
Basics of photography
Every camera, from the tiny webcam embedded in your laptop to the full-frame pro cameras built by Nikon and Canon, operates under the same set of basic principles. They come from the very name of photography, the roots of which are the Greek photos, meaning light, and graph, meaning to draw or record — ergo, a photograph is essentially a map of light. When you take a picture of your favorite cityscape, you’re not actually documenting the streets, or the skyscrapers, or the milling crowds — you’re drawing up a recording of the light reflecting off of them.
The most common technique for making this recording is by channelling light through a lens onto a photosensitive material that soaks it up and turns it into an image. That light-absorbing canvas was once film, which has since been replaced by electronic sensors in modern digital shooters. In either case, initiating the light capture is done by opening a shutter in front of the photosensitive surface. By adjusting how long that shutter stays open (shutter speed), the sensitivity of the digital sensor (ISO), and how much light passes through the lens (aperture), you can control exactly how your image appears.
Since light is the only information your camera collects, it should come as no surprise that well-lit scenes typically come out looking sharper and nicer than dark and moody shots illuminated only by a streetlight — more light just gives you more information to work with. When shooting in the dark, the camera must work either harder (with higher ISO) or longer (with a slower shutter speed) to properly recreate the image in front of it. That’s where the flash comes in, a strobe of white light synchronized with the opening of the shutter. It comes with tradeoffs of its own, though: the strength of the flash can wash out fine detail in nearby subjects or lead to the infamous red-eye effect. Tripods are also invaluable in counteracting the blur caused by shaky hands. Unfortunately, they can do nothing about motion within your composition, and they aren’t exactly portable.
Ultimately, the number one lesson in photography is that there are always tradeoffs. If you want the best possible image quality, you’ll need specialized, expensive, bulky equipment. Should portability be your highest priority, you’ll have to accept that some photos and creative ideas will be beyond your reach. There are a number of other considerations to take into account when composing an image — and, consequently, choosing the best camera for the job — which we’ve detailed below. Once you’ve wrapped your head around what they will mean for your intended photography adventure, you should have a good idea of the kind of camera that will best suit your needs.
The key settings
If you’re new to digital photography, the three things you should acquaint yourself with first are the ISO, aperture, and shutter speed. The three work in concert, and if you can manipulate and control them all, you’ll take fabulous photos without even touching the rest of your camera. Together, they’re known as the Exposure Triangle, because they control how much light you’re exposing the camera to (aperture), how sensitive the camera is to that light (ISO), and how long your exposure lasts (shutter speed).
For some help calculating the depth of field for your chosen camera, aperture setting, and focusing distance, you can use Simple DoF on iOS or DoF Calculator for Android.
Coming from the International Organization for Standardization, ISO (it’s not an acronym) describes the light sensitivity of your camera’s sensor set against a common standard. It was originally known as “film speed,” as it was a static measure of the amount of light a given type of film could absorb, but in modern digital cameras ISO can be adjusted up and down. Higher ISO means a brighter image, which is achieved by digitally amplifying the information collected during exposure. It’s an imperfect process that generates errors, which become apparent in your pictures as discoloration and noise — the unattractive speckling effect you usually see in low-light photos.
The quality of your camera’s sensor and noise-reduction processing will affect the maximum ISO at which you can produce images that are still worth using. From among the cameras we’ve tested ourselves, Canon’s 5D Mark III and Nikon’s D4 are the best in that respect. They can shoot at ISO 12,800 the way most cameras perform at ISO 1000, allowing you to keep shooting in significantly lower light.
AS BRUCE DICKINSON MIGHT SAY, I’VE GOTTA HAVE MORE LIGHT!
Measured using the horribly confusing f-number scale, the aperture is another dead-simple setting saddled with obtuse nomenclature. Basically, most lenses have the ability to constrict the light that passes through them using an internal element (called a diaphragm), which can be extended and retracted using controls on the camera. If you want more light in your image, you pull that diaphragm back as far as it goes, or if you need less, you extend it and limit the incoming rays to a narrower, more focused hole. Aperture, therefore, is just a relative measure for the diameter of your lens opening. Lower f-numbers indicate a wider aperture, with f/2.8 and below being the extremes, while higher ones signify that more light is being blocked.
One side effect of a wide-open lens is that it lets in a lot of unfocused light rays. The result is a shallow depth of field, meaning anything in front of or behind the area on which you’re focusing will appear blurry. Wide aperture settings tend to constrict the in-focus area to a razor-thin sliver, particularly on nearby subjects, giving you the much-desired soft background “bokeh” effect.
When you want a larger focus, the obvious countermeasure is to tighten up the aperture to f/8 or narrower — it bundles up the incoming light into a more focused beam, which will result in greater depth to your focus area. The most extreme depth of field effects are the exclusive preserve of large-sensor cameras; you simply can’t achieve the same defocusing effect with smaller sensors, which retain a generous in-focus depth even at f/1.4.
Shutter speed controls how long the camera spends collecting light, as opposed to ISO and aperture, which direct how much light is absorbed at once. It’s measured in fractions of a second, so a shutter speed of 1/125 means the shutter is open for one 125th of a second. Higher shutter speeds mean the camera captures a shorter period of time, which is key for getting blur-free action shots, while lower speeds allow you to soak up more light, albeit at the risk of blurry results if your camera and subject aren’t still.
Of course, you don’t always have to fear motion blur. Strap your camera to a tripod and you can exploit the blur to your advantage — that’s how the pros create those pictures of highways decorated by streaks of light or waterfalls that look like they’re composed of cascading wisps of smoke instead of frozen drops of water. Most of the time, you’ll want to match your settings to your circumstances, but it’s also good fun to sometimes start with a given set of attributes and rearrange your scene to match them.
Other features that matter
The trifecta above represents the most important controls on your camera, but there are other attributes you need to be mindful of in the pursuit of the best image quality.
You can tweak your settings as much as you like, but without a truly sharp piece of glass to filter light through, your pictures will never look their best. The distinction between sharpness and softness in imaging is one of detail: sharp photos retain a clear separation between edges and colors right down to a pixel level.
Unfortunately, nobody has yet invented an easy metric for quantifying lens quality, so you won’t be able to simply walk into a store and order up the Superlative Edition of your favored lens. Part of the problem is that lens performance varies both with aperture and zoom level. The sharpest lenses at f/4 are typically f/1.8 or f/1.4 lenses that have been pulled back from their highest setting. Similarly, lenses start to exhibit distortion at the extreme wide (16mm and lower) and telephoto (135mm and above) ends of their zoom range, which some cameras are able to automatically correct for with software.
LENSES ARE LIKE SUNSCREEN: ALL-IMPORTANT
There are a couple of easy guiding principles that can steer you in the right direction. First: construction materials matter. Canon’s L series of lenses and the higher end of Nikon’s Nikkor line are both built out of real glass on the inside and extremely robust materials on the outside. The kit lenses bundled with DSLRs and the non-removable lenses on cheaper cameras are made from plastic both on the inside and out, which makes them less reliable in the long term and less impressive when you come to review your results. That’s not a universal rule — there are some exceptionally good lenses with plastic optics — but generally, you’ll be able to tell a good lens by its considerable weight and durable feel.
The second point to remember is that prime lenses — those without a zoom function, whose focal length is fixed — tend to perform better than zoom lenses thanks to their simpler construction. For the absolute best results, you’ll want a camera capable of exchanging lenses, along with wide-aperture lenses at each of the most common focal lengths: 24mm, 50mm, 80mm, 100mm, and 200mm, for instance. That’s more than a backpack’s worth of gear to heave around with you (and quality glass weighs quite a bit anyway), so do it only if you’re unwilling to compromise a little sharpness for a lot more flexibility.
A common misconception is that shutter lag actually has anything to do with the shutter. Sure, there’s a minuscule delay between the instruction to open and the shutter actually opening, but the lion’s share of lag actually comes from the automated focusing and metering systems. Metering is where the camera judges how long it needs to expose the image for, while autofocus is a little more self-explanatory. Cameraphone makers have gotten wise to the fact that people want to see the picture taken the moment they press a button, so we now have phones that continuously refocus and re-meter the scene so as to be ready at a moment’s notice. Samsung even features a “Best Shot” feature on the GS4, which takes a dozen photos while you’re focusing and firing and then chooses the best one automatically.
Every phone and camera maker is trying to dodge the problem of focusing speed, but the only true solution is more focusing points on your camera combined with a faster focusing motor for the lens. The reliability and speed of autofocus, particularly in low light, is one of the ways in which professional cameras still stand head and shoulders above the rest. Canon’s EOS 1D-X packs in a whopping 61 AF points, 41 of them of the more precise cross-type variety. Stick a fast-focusing lens on that camera and you can bid adieu to shutter lag.
STRAYING BEYOND 8 MEGAPIXELS IS OVERKILL FOR ALL BUT THE PROS
WHETHER OPTICAL OR ELECTRONIC, A GOOD VIEWFINDER IS WELL WORTH HAVING
If there’s one rule to follow in photography, it’s that bigger sensors mean better photos. That’s a generalization, of course, but it’s based on a very basic empirical truth: the bigger the photosensitive surface area, the more light is taken in at a time. Practical evidence for this is abundant, from the Nikon 1 series that disappointed everyone with its undersized CX sensor, to the Nokia Lumia 1020, the best cameraphone on the market largely thanks to its enormous 1/1.5-inch sensor.
Full-frame cameras derive their name from the size of their sensors, which match the “full frame” of 35mm film, and are predictably the professional’s favorite option. With a full-frame camera, a 24mm lens gives you exactly that focal length, whereas with smaller sensors, you’re subject to a crop factor that tends to turn everything into a slightly more zoomed-in version of itself (i.e. if the sensor is 1.5 times smaller than full-frame, as with Nikon’s popular DX format, you get 1.5 times the focal length; with a 24mm lens; that’d mean an effective focal length of 36mm).
Alas, price and sensor sizes scale rather proportionally, so medium format and full-frame cameras are usually outside the reach of most enthusiasts, which is why the most popular digital SLRs like the Canon Rebel T4i today feature the APS-C format. It’s a happy compromise.
Strictly speaking, a megapixel contains 1 million pixels, but it’s somewhat meaningless to know that your camera shoots 10 million pixels at a time. What you want to know, and what the megapixel count truly tells you, is how big you can make your image without having to enlarge it digitally (and suffer the resultant degradation in image quality). A 3-megapixel photo is more than dense enough to be printed out at the US standard 6- by 4-inch size at 300ppi, while 9 megapixels get you closer to a regular sheet of paper at the same density. Compromise a little on the pixel density, say down to 200ppi, and you’ll get massive printouts from a humble old 12-megapixel shooter. Now, there are no guarantees that the actual photo would look good — megapixel numbers only measure the number of data points recorded by the camera — but at least you’ll be able to do it.
Practically speaking, however, you’re not likely to need such huge images. Most digital imaging ends up being consumed on computer screens, and if all you need are new profile shots for Facebook even a solitary megapixel will suffice. If you’re shooting for billboards, murals, or other enormous photo sizes, you should get all the megapixels you can (like the whopping 36 from the Nikon D800) but for the average photographer, other specs matter far more.
VIEWFINDER / LCD
Optical viewfinders are a funny thing. Until you use one, you wonder why everyone bothers with the effort, then you get your first DSLR and suddenly you can’t live without one. Mirrors in SLR cameras reflect the exact image that will be imprinted onto the sensor through a sort of porthole atop the camera: that’s your viewfinder. Once again, the more expensive models offer a more luxurious experience, with the Canon 7D and Nikon D700 featuring bigger, more comfortable viewfinders than entry-level DSLRs. Electronic viewfinders (EVF) are getting much better and starting to compete, particularly in Sony’s line of single-lens translucent (SLT) cameras like the A77, and they offer helpful guides and more information to make your shot better anyway. It’s features vs. accuracy, and while the purists tend to stick with optical viewfinders, the electronic variety is catching up quickly.
If your camera doesn’t have a viewfinder, then you’d better make damn sure it’s equipped with a good LCD. You’ll be using it to both frame and review photos, so any shortcomings in terms of color fidelity or resolution can force you into a guessing game you don’t want to play. LCD resolution is measured in dots, with 230,000, 460,000, and 920,000 being the typical values. The more dots the better, obviously, but do take a moment to check out the quality of the screen as well. Sony and Samsung are using OLED displays in some of their latest cameras, which look fantastic. Touchscreens are finally starting to get good, too, from the tap-to-focus features on the Olympus PEN E-P5 to the completely touch-friendly Canon T4i — they’re not essential yet, but are increasingly a great thing to have.
Like a big-name actor who’s too important to sit in the middle of the cast list but not so crucial as to headline the show, the camera’s white balance (WB) gets a dedicated slot at the end. This is the function that everyone leaves on auto, which is why the majority of indoor pics on Facebook look yellow. In simple terms, cameras are a bit dumb. If you don’t tell them that you’re under incandescent lights (which cast a yellow hue), they won’t account for it and will try to balance the colors before them based on their presets. All modern cameras have a WB preset for artificial lighting, but only the more professionally inclined ones give you granular control over white balance and the ability to easily tweak it on the fly.
The best solution we’ve found for overcoming unnatural color tinging is to feed your camera a sample image. The majority of DSLRs now have the option to set WB by taking an image of something that you know is white under the particular lighting conditions you intend to shoot in. Thus, when the camera snaps a nice white sheet of paper under the lurid orange and violet lights of a trade show floor, it’ll calibrate itself to know that white looks a little different at that spot.
It was only a few years ago that video recording was considered a novelty in still cameras, but today HD video is a standard, and assumed, feature. Still, there are pitfalls to beware, such as a selection of cameras that will lock the focus and zoom when video recording starts (for example, the otherwise excellent Canon S95), significantly limiting your options. Reliable autofocus, in the cameras that are capable of it, remains a mirage. You’ll do well to learn to love manual focus if you want your videos to be free of the irritating focus jumps that cameras do when they get confused as to what you’re trying to film.
Cameras with larger sensors make capturing video a harder process compared to simpler point-and-shoots, owing to their greater sensitivity, bulkier bodies, and typically mechanical zoom and focus mechanisms. They give you more to worry about, as lens operation noises are often picked up by the integrated microphone. However they also provide access to a range of cinematic effects that smaller cams can’t touch. Want to start your movie masterpiece with a gorgeously circular bokeh that gradually comes into focus on your leading man? You’ll need something in the class of a Canon 60D with a wide-aperture lens to match.
FIGMENTS OF MARKETING IMAGINATION: DIGITAL ZOOM AND DIGITAL IMAGE STABILIZATION
Zoom is a simple concept — it’s how close you can get to whatever you’re shooting without having to physically move closer — but it’s not always obvious what you’re really getting. The actual x-multiple of your zoom is much less important than the angle measurements at the widest and closest settings, which measure how much you can fit into your photo. A camera that starts at 28mm and has 10x zoom will ultimately get closer (280mm) than one that begins at 24mm (240mm when zoomed in), though the tradeoff is a slightly smaller field of view when you’re zoomed out. If you want to be as close as possible to your subject, the most important number is the telephoto angle — more so than the x-multiple.
But be warned: cameras with huge zoom tend to be hard to hold steady when zoomed in, so getting sharp photos might be tough even with the best image stabilization. Additionally, as we’ve mentioned, great zoom comes with image quality dropoffs — lens makers have to compromise on something, so if you’re going after a massive zoom range, it won’t deliver sublime images the way a fixed focal length might.
When it comes to zoom operation, fixed-lens cameras have the upper hand. They usually have powered zoom mechanisms, allowing you smooth control at the press of a button. Interchangeable lenses are more fiddly for the newcomer, as their zoom is usually (but not always) controlled mechanically with a ring around the body of the lens. That gives more granular control to those who want it, but can be off-putting to the casual user.
Finally, do yourself a favor and ignore the very idea of a “digital zoom.” It’s done either by enlarging the picture (and reducing its quality) or cropping down to a smaller area of the sensor, both of which you can do much better with dedicated post-processing software on your computer — a few phones like the Lumia 1020 offer clever ways to zoom and re-process on your device, but they can’t match Photoshop or even your average desktop viewer.
As with digital zoom, digital image stabilization (IS) is more of a marketing ploy than a useful feature. The optical stuff, however, is a whole other story. Lenses with optical IS are equipped with internal elements that move in the opposite direction of any small movements you make, steadying the image that arrives onto the sensor. Nikon’s “Vibration Reduction” is particularly effective, allowing you to shoot at two or three steps slower shutter speed than you usually would be able to without motion blur. For example, if 1/40 shutter speed is your floor before you start seeing blurring on a regular lens, its VR version will move that down to 1/25. Canon’s version of this is called the “Optical Image Stabilizer,” Panasonic’s is “MegaOIS,” and virtually every other camera and lens maker has its own variety too.
Sony and Olympus have made a habit of building image stabilization right into the body of their DSLRs, simplifying lens design and reassuring users that all of their lenses will be stabilized. Ultimately, whichever system you choose, each serves the purpose of reducing the deleterious effects of unintended motion and should be considered highly desirable in a camera. If you’re going after a shooter with a long telephoto zoom, optical IS should be the first thing you look for.