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Posts Tagged ‘f/2.8’

ICYMI: Canon 28mm F2.8 IS USM sample gallery

15 Oct
ISO 100 | 1/800 sec | F8

Canon’s 28mm F2.8 IS USM may not be the most exciting lens in the company’s lineup, but it’s reasonably affordable, lightweight and solid. As fall weather begins to hit Seattle, we find ourselves visiting the sunny images of this gallery and thinking fondly of summertime past. Take a look to see what this little lens can do.

Articles: Digital Photography Review (dpreview.com)

 
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Taking the Canon 28mm F2.8 IS USM to Big Sur, California

08 Oct

Big Sur, little lens

Standing alongside the Bixby Creek Bridge in Big Sur, California. Processed to taste from Raw.
ISO 125 | 1/160 sec | F11

By virtue of a considerable quantity of dumb luck, we had timed it perfectly.

Our belongings shifted gently to and fro in our rented cherry-red Hyundai Sonata as we zig-zagged freely along Highway 1 in California’s Big Sur region, a stretch of road that has been described as the ‘longest and most scenic stretch of undeveloped coastline in the contiguous United States.’*

We were visiting Big Sur just into the off-season, with Highway 1 subdivided by a massive landslide to the south and a bridge closure to the north. As a result, the road was remarkably unoccupied, devoid of the typically ubiquitous caravans of gawking tourists.

Although the extensive closures tacked on about six hours of additional driving onto our trip, the journey along the famous Nacimiento-Fergusson Road – the only way in and out of the region cut-off by the closures – was unforgettable. Unfortunately, thanks to the rampant switchbacks, it was also literally nauseating. Can’t have it all, I guess.

It was into this scenario that I brought Canon’s diminutive 28mm F2.8 IS USM lens attached to an EOS 5D Mark IV; my only photographic tools for the duration of our time in central California.

Fitting into the lineup

Photograph courtesy Jordan Stead

The Canon 28mm F2.8 IS USM is not a new lens by any means. So why write about it now? Well, for starters, we didn’t yet have a gallery on it here at DPReview. It also happens to be among the smallest and lightest full-frame Canon lenses around, and so a great way to (attempt to) minimize the bulk of bringing a full-frame DSLR on my vacation.

Announced back in early 2012 alongside its 24mm cousin, the 28mm IS is very straightforward. You get a rubberized focus ring with a fairly long throw, an AF/MF switch and a stabilizer on/off switch. And that’s about it.

Alongside Canon’s EF 40mm F2.8 Pancake and two ‘nifty fifties,’ it’s among the the lightest full-frame lenses that the company currently offers, though it is by far the most expensive of this group with a current MSRP of $ 499. Despite its price, the 28mm IS does not come with any claims of weather-sealing, which is a disappointment.

I’m happy to report that, despite the lack of weather sealing, the EF 28mm F2.8 IS USM survived a few drops of salt water. Processed to taste in Adobe Camera Raw.
ISO 100 | 1/200 sec | F8

Regardless, the build seems very good. The outer barrel is polycarbonate, and the mount is metal. Due to the stabilizer, there’s a very slight rattle if the camera is jostled while the power is off, but the 28mm has an overall dense feel of quality to it.

For use on 30MP (and even higher pixel count) cameras, the 28mm is good, if not mind-blowing in terms of sharpness. There are also noticeable amounts of green and purple fringing if you leave those corrections off, but both the camera’s JPEG engine and Adobe Camera Raw tame those handily, so it’s rarely an issue.

Corrections off Corrections on
I actually quite like some vignetting, and in certain situations, I think it can add to a certain ‘mood.’ It certainly won’t be everyone’s cup of tea, though.

The biggest issue you’re likely to run into comes in terms of vignetting, which is readily noticeable with this lens. In particular, if you have the corrections turned on within Adobe Camera Raw, the corner exposure will be lifted enough as to perhaps introduce unwanted noise, especially if your image was already taken at a higher ISO value.

Recommendations

I’ll freely admit that I haven’t been much of a 28mm guy until this past year and half. That changed after I was tasked with reviewing the Leica Q, and subsequently purchased a secondhand Nikon Coolpix A as a casual carry-everywhere camera.

Without a super fast aperture or a telephoto lens to fully isolate subjects and blur backgrounds into oblivion, the 28mm F2.8 IS USM made me slow down and focus on my compositions more. Processed to taste in Adobe Camera Raw.
ISO 160 | 1/125 sec | F4

What I find most intriguing about the 28mm focal length this Canon offers is that it forces me to think more holistically about the images I’m making. Without telephoto compression or a faster aperture to more easily isolate my subject, the context becomes nearly as important as the subject itself.

When I pick up a 35mm, 50mm or 85mm lens, I know that I’m likely going to get a faster aperture, and more background compression, making the scene look a little more ‘interpreted.’ When I pick up a 24mm-and-wider lens, I’m often doing my very best to exaggerate the perspective between objects that are both near to me and far away for a more interesting look.

But with 28mm, I feel almost as though I’m simply documenting what’s happening in front of me without letting the optics of wider or more telephoto focal lengths influence the look of the scene.

Processed to taste in Adobe Camera Raw.
ISO 100 | 1/250 sec | F8

In other words, it’s a fun challenge if you’re used to those other options. As with many photographers, I’ll admit I sometimes find myself relying on fancy gear as a crutch to make a photograph more ‘interesting.’ On the other hand, this 28mm lens just got out of the way and recorded what I put in front of the camera; it was up to me to make the most of my subjects and compositions.

If you haven’t given 28mm a try, I’d certainly recommend it, and if you happen to be a Canon shooter, the EF 28mm F2.8 IS USM represents a solid, lightweight and affordable option.

Samples

Please do not reproduce any of these images on a website or any newsletter / magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review), we do so in good faith, please don’t abuse it.

Unless otherwise noted images taken with no particular settings at full resolution. Because our review images are now hosted on the ‘galleries’ section of dpreview.com, you can enjoy all of the new galleries functionality when browsing these samples.

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_6264240715″,”galleryId”:”6264240715″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

* Per Wikipedia: Marvinney, Craig A. (1984). “Land Use Policy Along the Big Sur Coast of California; What Role for the Federal Government?”. UCLA Journal of Environmental Law & Policy. Regents of the University of California. Accessed 22 August 2016.

Articles: Digital Photography Review (dpreview.com)

 
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The clockwork lens: Lensrentals tears down famed Minolta 40-80mm F2.8 Gearbox Zoom

27 Sep

Lensrentals tears down famed Minolta 40-80mm F2.8 Gearbox Zoom

Photograph by Tom Leonard

The Minolta MC Rokkor X 40-80mm F2.8 zoom is a unique lens, which uses a gearbox for controlling focus and zoom. The advantage of this design? It’s pretty small for an F2.8 zoom, especially one made in the 70’s, and more precise than a conventional helicoid. The downside? It’s fiendishly hard to take apart – as Roger Cicala and Aaron Closz at Lensrentals recently found out…

Lensrentals tears down famed Minolta 40-80mm F2.8 Gearbox Zoom

Image courtesy of Lensrentals

Roger and his team started by removing parts of the rear lens assembly, including the aperture ring. So far, so conventional. In Roger’s words: “We were starting to feel a little confident now. That confidence, as you will see, was entirely misplaced.”

Lensrentals tears down famed Minolta 40-80mm F2.8 Gearbox Zoom

Image courtesy of Lensrentals

Removing the leatherette that covers the lens barrel revealed several screws which – once unscrewed – allowed the gearbox housing to be removed, revealing the complicated mechanism for controlling zoom and focus.

Lensrentals tears down famed Minolta 40-80mm F2.8 Gearbox Zoom

Image courtesy of Lensrentals

Inside the housing, you can see the macro selection and focusing mechanisms, both of which move what Roger is calling ‘The Magic Slot’ (indicated with a red arrow). If this looks complicated, that’s because it is. In Roger’s words, “this is a mechanical art of the highest order”, ensuring that even when the lens is zoomed, the focus point remains unchanged. That was impressive stuff for the 1970’s (and even today).

Lensrentals tears down famed Minolta 40-80mm F2.8 Gearbox Zoom

Image courtesy of Lensrentals

Back to the lens barrel, and things are getting even more complicated…

Here, the green arrow is pointing to the zoom stem, while the red arrow indicates a heavy duty brass post covered with a white bumper. Since “normal lens terms like helicoid and cam don’t work here” Roger is calling this ‘The Golden Post’.

Lensrentals tears down famed Minolta 40-80mm F2.8 Gearbox Zoom

Image courtesy of Lensrentals

For a full explanation of exactly how all of this works, we’d recommend heading over to Roger’s original blog post, which explains things in fascinating detail. In the meantime, here’s a picture of the mechanical zoom and focus assembly, removed from the lens barrel.

Lensrentals tears down famed Minolta 40-80mm F2.8 Gearbox Zoom

Image courtesy of Lensrentals

With this assembly removed, the 40-80mm starts to look rather more like a conventional lens. To completely disassemble it, though, the team referred to ‘Aaron’s Second Rule of Disassembly’. Specifically – All leatherette must be removed. Because underneath leatherette, you’ll invariably find screws.

Lensrentals tears down famed Minolta 40-80mm F2.8 Gearbox Zoom

Image courtesy of Lensrentals

Finally, after “about an hour of time and a thorough and complete use of our full lexicon of unprintable words”, Roger and Aaron managed to get the inner barrel out of the outer casing.

Lensrentals tears down famed Minolta 40-80mm F2.8 Gearbox Zoom

Image courtesy of Lensrentals

With the front optics taken out, the aperture blades were revealed. After such a complex disassembly, Roger and Aaron “were glad to see something that looked familiar”.

Lensrentals tears down famed Minolta 40-80mm F2.8 Gearbox Zoom

Image courtesy of Lensrentals

And here is the 40-80mm F2.8, reduced (almost) to its component parts. Roger’s final takeaway, from one of the most complex disassemblies he’s ever done?

“There were some slick engineers working on things at Minolta back in the 1970s, thinking way outside the box”.

If this article whetted your appetite, we’d encourage you to head to Lensrentals for a full explanation of the entire process (including MTF charts!) and read more about the unique 40-80mm F2.8 in Tom Leonard’s article, ‘A forgotten solution: Why this strange 1975 zoom lens is so sharp’. See links below.

Read the full article on Lensrentals.com

Read Tom Leonard’s writeup of the Minolta MC Rokkor-X 40-80mm F2.8

Articles: Digital Photography Review (dpreview.com)

 
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SLR Magic announces CINE 18mm F2.8 lens for Sony E-Mount

14 Sep

SLR Magic has released a new model in its series of manual-focus lenses for full-frame Sony E-Mount cameras: the SLR Magic CINE 18mm F2.8 wide angle. The optical design of the lens incorporates 10 elements in 8 groups and allows for a minimum focus distance of just 20cm (~7.9 inches).

The new lens features a black anodized body, a low weight of only 445 grams and compact dimensions, making it an interesting option for use on gimbals and other video-centric camera supports. It also comes with a 62mm filter thread. The aperture features a manually controlled diaphragm and 9 blades, and allows you to stop down from F2.8 to F16.

The SLR Magic line-up now covers a range from 18 to 75mm, with the latest addition looking like a good option for landscape and architectural photographers, in addition to video-shooters.

The SLR Magic CINE 18mm F2.8 will be available through authorized retailers starting in October, and will set you back $ 500.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm adds GF 45mm F2.8 R WR, expands medium-format lens roadmap

10 Sep

Fujifilm’s offerings for its GF medium-format system have expanded with the addition of the Fujinon GF 45mm F2.8 R WR. It will provide a 36mm equivalent view of the world when used on the company’s GFX 50S, and is dust- and weather-resistant. Lens construction includes a 9 blade aperture and 8 groups with 11 elements, including one aspherical and two ED lenses.

Fujifilm plans to launch a GF 250mm F4 R LM OIS WR telephoto prime and a GF 1.4X TC WR teleconverter next year, both of which are hinted to on an existing roadmap. The 250mm gives a 198mm equivalent view.

A firmware update is also on the way for the GFX 50S to add support for Fuji’s X Raw Studio and better functionality with third party studio flash controllers. Here’s the full list of improvements:

FUJIFILM GFX 50S: V.2.0 Key Features

  1. Supports FUJIFILM X RAW STUDIO which enables users to convert RAW files with X Processor Pro.
  2. Improves radio flash controller usability allowing users to shoot with compatible third party studio flash in high speed sync or TTL mode via their radio controllers.
  3. Supports backup and restore of camera settings from one camera to another via FUJIFILM X Acquire.
  4. Addition of “Eye Sensor + LCD Image Display” in View Mode that allows for shooting through the viewfinder and checking images on the LCD.
  5. ON/OFF for 1/3-step shutter speed adjustment.
  6. Addition of “Shoot Without Card” mode so camera will not shoot without SD card inserted.
  7. Addition of “-6” and “-7” to EVF’s brightness settings.

The Fujinon GF 45mm F2.8 R WR is scheduled for arrival in November for $ 1700.

FUJIFILM ADDS SIXTH GF LENS TO GFX MEDIUM FORMAT MIRRORLESS CAMERA SYSTEM FOR STREET

FUJINON GF45mmF2.8 R WR Lens adds versatile wide angle lens to the series; updated GF Lens Roadmap announced and new GFX firmware coming soon

Valhalla, N.Y., September 7, 2017 – FUJIFILM North America Corporation today announced the new FUJINON GF45mmF2.8 R WR, a highly versatile wide angle lens. The GF45mmF2.8 R WR lens has a focal length equivalent to 36mm (in the 35mm format) and a maximum aperture of F2.8. With its compact and lightweight design weighing just 490g, this lens is perfect for street and documentary photography.

The new GF45mmF2.8 R WR is the sixth interchangeable GF lens to be added for the FUJIFILM GFX 50S medium format mirrorless digital camera system. Taking advantage of the mirrorless system’s structure, the G Mount has a short flange back distance of just 26.7mm that reduces the back focus distance as much as possible to prevent vignetting and achieve edge-to-edge sharpness. As with all GF Lenses, the GF45mmF2.8 R WR is a professional quality lens capable of reproducing rich tones and unique colors.

With a construction of 8 groups and 11 elements using one aspherical lens and two ED lenses, the GF45mmF2.8 R WR lens is equipped to provide the highest image quality while reducing aberrations. The lens features Nano GI coating to suppress ghosting and flare, and is weather and dust resistant capable of operating in environments as cold as 14°F/-10°C. The GF45mmF2.8 R WR lens combines reliability and high performance to be the ultimate tool for professional photographers.

FUJINON GF45mmF2.8 R WR Lens Key Features:

  • FUJIFILM G Mount is compatible with the FUJIFILM GFX 50S
  • Weather and dust resistant design capable of operating at temperatures as low as 14°F/-10°C
  • 8 groups and 11 elements construction using one aspherical lens and two ED lenses
  • 9 blade aperture creates smooth and circular bokeh
  • Nano GI coating suppresses ghosting and flare

New FUJINON GF Lens Development Roadmap
Also announced today is the latest development of the G Mount Lens Roadmap, showcasing the continued expansion of the interchangeable lens range for the FUJIFILM GFX 50S medium format mirrorless digital camera. The latest roadmap adds two new lenses: the GF250mmF4 R LM OIS WR telephoto prime lens with a focal length equivalent to 198mm (in 35mm format) and maximum aperture of F4 for beautiful bokeh when shooting portrait and landscape images; and the GF1.4X TC WR, a high-performance teleconverter capable of multiplying the focal length by 1.4x. Compatible with the GF250mmF4 R LM OIS WR lens, the GF1.4X teleconverter provides a focal length of 350mm (equivalent to 277mm in the 35mm format).

With the addition of the two lenses, the GF lens lineup includes a total of eight lenses covering focal lengths from 18mm – 277mm (in the 35mm format) to correspond to an expansive range of photographer needs.

New Firmware Updates Coming Soon
Fujifilm will release a new firmware update for the FUJIFILM GFX 50S medium format mirrorless digital camera. Expected in late November 2017, this update will add new support for FUJIFILM X RAW STUDIO, improved third party studio flash controller usability and new functions to improve operability.

FUJIFILM GFX 50S: V.2.0 Key Features

  1. Supports FUJIFILM X RAW STUDIO which enables users to convert RAW files with X Processor Pro.
  2. Improves radio flash controller usability allowing users to shoot with compatible third party studio flash in high speed sync or TTL mode via their radio controllers.
  3. Supports backup and restore of camera settings from one camera to another via FUJIFILM X Acquire.
  4. Addition of “Eye Sensor + LCD Image Display” in View Mode that allows for shooting through the viewfinder and checking images on the LCD.
  5. ON/OFF for 1/3-step shutter speed adjustment.
  6. Addition of “Shoot Without Card” mode so camera will not shoot without SD card inserted.
  7. Addition of “-6” and “-7” to EVF’s brightness settings.

Availability and Pricing
The new FUJINON GF45mmF2.8 R WR lens will be available in November 2017 for USD $ 1,699.95.

Fujifilm GF 45mm F2.8 R WR Specifications

Principal specifications
Lens type Prime lens
Max Format size APS-C / DX
Focal length 45 mm
Image stabilization Yes
Lens mount Fujifilm G
Aperture
Maximum aperture F2.8
Minimum aperture F32
Aperture ring Yes
Number of diaphragm blades 9
Optics
Elements 11
Groups 8
Special elements / coatings One aspherical, two ED elements + Nano GI, fluorine coatings
Focus
Minimum focus 45.00 m (1771.65)
Maximum magnification 0.14×
Autofocus Yes
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale No
Physical
Weight 490 g (1.08 lb)
Diameter 84 mm (3.31)
Length 88 mm (3.46)
Materials Magnesium alloy
Sealing Yes
Colour Black
Filter thread 62.0 mm
Hood supplied Yes
Tripod collar No

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm XF 80mm F2.8 R LM OIS WR Macro offers 1:1 reproduction

10 Sep

Fujifilm is officially announcing the XF 80mm F2.8 Macro, a lens that previously appeared on the company’s X-mount roadmap. The 80mm F2.8 is equivalent to 122mm on X-series bodies, and is the first of Fuji’s X-mount lenses to give full 1:1 macro reproduction.

Its WR designation means it’s weather-sealed to resist dust and moisture, and its OIS stabilization claims 5-stops of correction. AF is quiet thanks to a linear motor, and a fluorine coating on the front element aims to make it less prone to smudging.

The Fujifilm XF 80mm F2.8 R LM OIS WR will be available in November for $ 1200.

FUJIFILM ANNOUNCES NEW ULTRA-COMPACT X-E3 WITH 4K VIDEO, TOUCHSCREEN, UPGRADED AF TRACKING AND BLUETOOTH CONNECTIVITY; NEW FUJINON XF80MMF2.8 R LM OIS WR MACRO LENS

Latest development of the X Mount Lens Roadmap unveiled; new Firmware Updates for FUJIFILM X-Pro2, X-T2, X100F and X-T20 coming soon

Valhalla, N.Y., September 7, 2017 – As a leader in advanced digital camera technology, FUJIFILM North America Corporation today announced the new FUJIFILM X-E3 rangefinder style mirrorless digital camera with outstanding image quality and enhanced handling. The X-E3 features the latest 24.3MP X-Trans CMOS III image sensor and the X-Processor Pro high-speed image processing engine, along with a new image recognition algorithm in an ultra-compact body.

Also announced today is the new XF80mmF2.8 R LM OIS WR Macro Lens, the first 1.0x magnification mid-telephoto macro lens in the X Series lineup of interchangeable lenses. The lens features a focal length equivalent to 122mm (in the 35mm format) and a maximum aperture of F2.8 for beautiful bokeh.

Exceptional Autofocus Tracking and High-Speed Response
The FUJIFILM X-E3 features a large phase detection autofocus (AF) area and provides photographers with enhanced tracking performance for moving subjects. Equipped with a newly developed image recognition algorithm, the X-E3 is able to track moving subjects half the size, or moving twice as fast as previous models.

The X-E3 supports both Full HD and 4K video recording. Videos can be shot with Film Simulations in-camera to easily produce creative high-resolution footage.

The compact and lightweight X-E3 is perfect for quick snapshots, boasting high-speed response times including a start-up time of just 0.4 seconds, shooting interval of 0.25 seconds, shutter time lag of 0.05 seconds and autofocus speed as fast as 0.06 seconds.

Enhanced Connectivity and Intuitive Touchscreen Control
The X-E3 is the first X Series model to feature Bluetooth® low energy wireless communication. Providing photographers with enhanced connectivity, this feature offers the ability to pair the camera with a smartphone or tablet for easy transfer of pictures via the free FUJIFILM Camera Remote application.

The X-E3 features a high-resolution 3.0 inch 1.04M-dot static touchscreen LCD monitor to provide users with easy, intuitive operations in a variety of shooting and playback modes. When shooting with the X-E3, the touchscreen can be used to select the focus area, or focus on a specific point before taking a picture. For playback, users can enjoy the ability to swipe or scroll through images, double-tap to enlarge, drag an image once enlarged, along with pinch-out and pinch-in sizing. A new Touch Function feature will also be available on the X-E3, enabling users to create customized camera functions by swiping left, right, up and down on the touchscreen panel.

Ultra-Compact and Lightweight Body for Portability and Practicality
Making it the perfect companion for everyday shooting and travel photography, the new FUJIFILM X-E3 is the most compact and lightweight model with a viewfinder within the X Series interchangeable lens camera range. The X-E3 also features a Focus Lever positioned on the rear side of the camera that allows photographers to use joystick-type operations in eight directions to easily select a focus area.

The top plate features two precision-milled aluminum dials, giving the camera a premium feel and allowing users to easily adjust the shutter speed and exposure compensation while maintaining focus on taking a picture. The Exposure Compensation Dial now has the C position for exposure compensation up to ±5 stops. The new X-E3 is also equipped with an Auto mode selector lever for selecting the fully-automatic Advanced SR Auto mode where the camera can automatically select the optimum settings for a given scene.

FUJIFILM X-E3 Key Features:

  • 24.3MP APS-C X-Trans CMOS III sensor
    o X-Processor Pro
    o Start-up time of 0.4sec
    o Ultra-fast AF speed of 0.06sec
    o Offers 5.0fps live-view shooting
    o Shutter time lag of 0.050sec
    o Shooting interval of 0.25sec
  • 3.0 inch 1.04M-dot static TFT color LCD touchscreen monitor
  • Upgraded AF tracking performance
    o Newly developed image recognition algorithm to track moving subjects up to half the size, or moving twice as fast as previous models.
  • 4K video can be recorded at [3840 x 2160] 29.97p, 25p, 24p, 23.98P, 100Mbps
  • Continuous recording: up to approximately 10min
  • Full HD video can be recorded at 59.94 fps, 50 fps, 29.97 fps, 25 fps, 24 fps and 23.98 fps, and with Film Simulation effects
    o Video can be outputted to external monitor via the HDMI port and input audio from an external microphone
    o Easily connect to external HDMI monitor and turn on HDMI Rec Control to automatically enable a clean HDMI output when the camera’s shutter release button is pressed
    o Touch AF to change the focus area and refocusing according to subject movement functions in video recording
  • 25 high-performance FUJINON X Mount lenses for ultimate versatility
  • Bluetooth® low energy wireless communication to pair the camera with a smartphone or tablet device for easy transfer of pictures
  • Free FUJIFILM Camera Remote app for Remote Control function

FUJIFILM X-E3 Accessories:

  • X-E3 Metal Hand Grip (MHG-XE3)
  • X-E3 Bottom Leather Case (BLC-XE3)

FUJINON XF80mmF2.8 R LM OIS WR Macro Lens
The new XF80mmF2.8 R LM OIS WR is a lightweight, mid-telephoto macro lens designed to deliver the very best results from Fujifilm’s unique X-Trans CMOS sensor. Capable of achieving high quality macro shots, the XF80mmF2.8 R LM OIS WR features an optical construction of 16 elements in 12 groups, including one aspherical lens, one Super ED lens and three ED lenses. As the first in the X Series interchangeable lens series to have a 1.0x magnification factor, the XF80mmF2.8 achieves high resolving power and beautiful bokeh, making it a perfect lens for capturing stunning macro images.

The XF80mmF2.8 R LM OIS WR has enhanced AF capabilities utilizing a Floating Focus System that suppresses aberration. The lens also supports handheld shooting with Optical Image Stabilization. A fluorine coating has been applied to the front lens element, making it less susceptible to smudges, water and dirt, further improving its durability. The lens is also designed to be weather and dust resistant, and operates in temperatures as low as 14°F/-10°C.

FUJINON XF80mmF2.8 R LM OIS WR Lens Key Features:

  • FUJIFILM X Mount is compatible with all FUJIFILM X Series interchangeable system cameras
  • Weather-sealed at eleven points around the barrel for weather and dust resistance; operates as low as 14 degrees Fahrenheit / -10 degrees Celsius
  • 16 lens elements in 12 groups including one aspherical ED lens, one Super ED lens and three ED lenses
  • Uses Floating Focus System for improved AF
  • Optical Image Stabilization system achieves 5-stop image stabilization
  • Focus lens driven by a linear motor for fast and near-silent autofocus performance
  • Fluorine coating applied to front lens elements for improved durability
  • Compatible with XF1.4x and XF2.0x teleconverters

Updated X Mount Lens Roadmap Unveiled
Also announced is the latest development of the X Mount Lens Roadmap for developing interchangeable lenses for the X Series line of mirrorless digital cameras. The latest roadmap adds two new lenses: the ultra-wide angle zoom lens XF8-16mmF2.8 R LM WR and the telephoto prime lens XF200mmF2 R LM OIS WR. With the expansion of the high performance X Mount lens lineup, Fujifilm covers more focal lengths from ultra-wide to telephoto to support a wide range of photography styles and shooting scenarios.

New Firmware Updates Coming Soon
Fujifilm will release new firmware updates for the FUJIFILM X-Pro2, X-T2, X100F and X-T20 X Series cameras in November and December 2017 to add new functionality and improve operability. These updates will include new support for FUJIFILM X RAW STUDIO, dramatic improvements to the AF-C tracking algorithm in zone and tracking AF mode, addition of 4K video support and computer tethering functions and enhancements to touch panel operations.

FUJIFILM X-Pro2: V.4.0 Key Features

  1. Addition of 4K video mode using Film Simulation modes (excluding HDMI output for recording).
  2. Supports tether shooting via USB or Wi-Fi using compatible software* to enable transfer of images to a computer, or to control camera from the computer.
    *Requires FUJIFILM X Acquire and Tether Shooting Plug-in PRO/ Tether Shooting Plug-in (Adobe® Photoshop® Lightroom® 6 or CC is required).
  3. New AF tracking algorithm enhances AF-C to track moving subjects half the size, or moving twice as fast as previous models.
  4. Supports FUJIFILM X RAW STUDIO which enables users to convert RAW files with X Processor Pro.
  5. Improves radio flash controller usability allowing users to shoot with compatible third party studio flash in high speed sync or TTL mode via their radio controllers.
  6. Supports backup and restore of camera settings from one camera to another via FUJIFILM X Acquire.

FUJIFILM X-T2: V.3.0 Key Features

  1. New AF tracking algorithm enhances AF-C to track moving subjects half the size, or moving twice as fast as previous models.
  2. Supports FUJIFILM X RAW STUDIO which enables users to convert RAW files with X Processor Pro.
  3. Improves radio flash controller usability allowing users to shoot with compatible third party studio flash in high speed sync or TTL mode via their radio controllers.
  4. Supports backup and restore of camera settings from one camera to another via FUJIFILM X Acquire.

FUJIFILM X100F: V.2.0 Key Features

  1. Supports backup and restore of camera settings from one camera to another via FUJIFILM X Acquire.
  2. Supports FUJIFILM X RAW STUDIO which enables users to convert RAW files with X Processor Pro.
  3. Improves radio flash controller usability allowing users to shoot with compatible third party studio flash in high speed sync or TTL mode via their radio controllers.

FUJIFILM X-T20: V.1.1 Key Features

  1. Touch panel operation while looking into the electronic viewfinder.

Availability and Pricing
The new FUJIFILM X-E3 will be available in three versions in late September 2017.
The X-E3 Body, Black or Silver will be available for USD $ 899.95.
The X-E3 Body with XF18-55mm Lens Kit, Black or Silver will be available for USD $ 1,299.95.
The X-E3 Body with XF23mmF2 R WR Lens Kit, Black or Silver will be available for USD $ 1,149.95.

The new FUJINON XF80mmF2.8 R LM OIS WR lens will be available in November 2017 for USD $ 1,199.95.

Fujifilm XF 80mm F2.8 R LM OIS WR Macro Specifications

Principal specifications
Lens type Prime lens
Max Format size APS-C / DX
Focal length 80 mm
Image stabilization Yes
Lens mount Fujifilm X
Aperture
Maximum aperture F2.8
Minimum aperture F22
Aperture ring Yes
Number of diaphragm blades 9
Optics
Elements 16
Groups 12
Special elements / coatings One aspherical, one ED, three Super ED elements + fluorine coating
Focus
Minimum focus 0.25 m (9.84)
Maximum magnification 1×
Autofocus Yes
Motor type Linear Motor
Full time manual Yes
Focus method Internal
Focus notes Floating focus system
Distance scale No
DoF scale No
Physical
Weight 750 g (1.65 lb)
Diameter 80 mm (3.15)
Length 130 mm (5.12)
Materials Magnesium alloy
Sealing Yes
Colour Black
Filter thread 62.0 mm
Hood supplied Yes
Tripod collar No

Articles: Digital Photography Review (dpreview.com)

 
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Sigma updates firmware for popular 24-70mm F2.8 Art lens and MC-11 converters

19 Aug

Sigma has released firmware updates for both its 24-70mm F2.8 DG OS HSM | Art lens and its Mount Converter MC-11 SA-E and EF-E. Both updates address an issue in which the optical stabilization mechanism malfunctions when the lens is used with either of the aforementioned MC-11 mount converters.

The products can be updated using Sigma Optimization Pro 1.4.1 or greater for Windows or version 1.4.0 or greater for Mac, as well as with the Sigma USB Dock.

Articles: Digital Photography Review (dpreview.com)

 
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Lensrentals on the Sigma 24-70mm F2.8 Art: a lot for less than the competition

29 Jul

Following some initial lab testing results, Lensrentals has published a full review of the highly-anticipated Sigma 24-70mm F2.8 Art. While lab testing suggests that it doesn’t quite keep up with the established, much more expensive options from Canon and Nikon, a competitive price tag is one of the lens’ major selling points. Depending on your budget and needs, that price difference might tip the scale. Reviewer Zach Sutton sums it up:

“However, here is where the Sigma shines once again, offering itself at a $ 1,300 price tag, whereas the Canon 24-70mm f/2.8L II sits at $ 1,750, and the Nikon 24-70mm f/2.8E at $ 2,400. The Sigma provides a lot for significantly less than the competition.”

Check out the full review and let us know what you think of the 24-70 in the comments.

Read Lensrentals’ full
Sigma 24-70mm F2.8 Art review

See our Sigma 24-70mm F2.8 Art sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Sony patents 400mm F2.8 lens for a curved medium format sensor

21 Jul

It’s a great day for innovative patent news. Earlier today, we told you about a Nikon patent for a lens that was designed to work with a full-frame curved sensor camera. But that might not be the most innovative curved sensor patent you’ll hear about today. That title goes to Sony, and their 400mm F2.8 lens designed for a curved medium format sensor.

Sony Alpha Rumors first spotted the Japanese patent, which describes a lens designed for a curved 645 size sensor—that’s bigger than the sensors found in the Fuji GFX-50s and Hasselblad X1D-50c. The lens is “single focus” and “can be used as an interchangeable lens” reads the translated patent. It goes on to say that, thanks to the curved sensor design “High MTF can be obtained.”

Here’s are a couple of diagrams, in case you’re curious and know a thing or two about optical design. The lens seems exceptionally simple in design, possibly thanks to the benefits of a curved sensor:

As with all patents, there’s plenty of reason to doubt this exact diagram will materialize into a real product; however, it does mean Sony is thinking about medium format and curved sensors, and that should have anybody interested in digital camera innovations very excited.

Like we said earlier today, it’s not so much “will” someone bring this tech to photographers, but “when” and “who will get there first?” May the most innovative company win.

Articles: Digital Photography Review (dpreview.com)

 
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Sample gallery: Sigma 24-70mm F2.8 DG OS HSM Art

12 Jul

The 24-70mm F2.8 zoom is one of the most versatile lenses out there and Sigma’s latest version, part of the optically-outstanding ‘Art’ series, has drawn a lot of interest since its announcement as an alternative to pricier first party lenses. Check out our gallery for some initial samples shot with the lens.

See our Sigma 24-70mm F2.8 Art gallery

Articles: Digital Photography Review (dpreview.com)

 
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