Posts Tagged ‘Lenses’

Voigtlander says the new 65mm F2 E-Mount macro is one of its finest lenses ever

25 Jul

Lens manufacturer Voigtlander has just introduced a 65mm F2 macro lens for Sony E-mount that it says, “rates as one of the finest in the history of Voigtländer.” The Macro APO-Lanthar 65mm F2 Aspherical is designed to cover full frame sensors, and allegedly boasts exceptional correction of chromatic aberration.

While the lens is manual focus, it has electrical contacts so exposure information can be recorded in the camera’s EXIF data, and distance measurements can be used to assist in-camera image stabilization systems. The contacts also allow focus peaking to be activated.

Macro enthusiasts will be able to focus down to 31cm to achieve a maximum reproduction ratio of 1:2, while a ten-bladed iris should provide at least attractively rounded out-of-focus highlights. The lens weighs 625g/1.4lbs, measures 91.3mmx78mm/3.6x3in and takes a 67mm filter.

The Voigtlander Macro APO-Lanthar 65mm f/2 Aspherical will go on sale from the 1st of August and will cost £750/€1,000/$ 1,060.

For more information visit the Voigtlander website.

Press Release

MACRO APO-LANTHAR 65mm F2 Aspherical

Announcing the release of the Voigtländer MACRO APO- LANTHAR 65mm F2 Aspherical, a Sony E-mount macro lens for full frame sensors incorporating an apochromatic optical design and inscribed with the designation “APO-LANTHAR”

We announce the release of the Voigtländer MACRO APO-LANTHAR 65mm F2 Aspherical, a Sony E-mount macro lens for full frame sensors. The APO-LANTHAR designation is given to especially high performance lenses in the Voigtländer lens lineup. The legendary APO-LANTHAR lens that continues to enthrall photographers with its outstanding imaging performace and beautiful rendering was born in 1954, but its origins can be traced back around 120 years (see additional info about the APO-LANTHAR below).

A need for apochromatic optical designs that reduce the longitudinal chromatic aberrations of the three primary colors (RGB) of light to practically zero arose with the increasing popularity of color film. Now, with the current range of high- resolution digitals sensors, this need for extremely high-level control of chromatic aberrations is even more pertinent than when film changed from monochrome to color. So rather than just being for already solved old technologies, apochromatic optical designs are indeed a subject requiring serious consideration in the digital age.

The Voigtländer MACRO APO-LANTHAR 65mm F2 Aspherical, which inherits the designation “APO- LANTHAR”, is a high performance manual focus macro lens optimized for the imaging sensors of Sony mirrorless cameras. The optical performance of this lens, which provides an image circle capable of covering a full frame sensor, rates as one of the finest in the history of Voigtländer. Sharp imaging performance is obtained from maximum aperture where you can enjoy blurring the background, and by utilizing a floating mechanism this lens delivers outstanding image quality for subjects from the minimum focusing distance of 31cm (reproduction ratio of 1:2) through to infinity. This lens is a manual focus and manual aperture design, but also features electrical contacts that enable the lens settings at image capture to be included in the Exif information of the image data. Furthermore, the lens is installed with a distance encoder to enable support for 5-axis image stabilization on bodies with this feature, for example by providing distance to subject information used in X,Y shift compensation. Focus peaking while manual focusing is also supported.

Main features

  • Full frame Sony E-mount with electrical contacts
  • Apochromatic optical design that eliminates chromatic aberrations
  • Enhanced high performance utilizing aspherical lens surfaces
  • Optical design optimized for digital imaging sensors
  • Extremely solid and durable all-metal barrel
  • Manual focus for precise focusing
  • Maximum reproduction ratio of 1:2 at a minimum focus distance of 31 cm

Additional info about the APO-LANTHAR

The history of the APO-LANTHAR begins with the HELIAR invented by Hans Harting in 1900. Despite its simple optical configuration of five elements in three groups, the HELIAR was a lens with superb depictive performance. As an example of the HELIAR optical formula still being valid in the present day, it is used in the currently available HELIAR Vintage Line 50mm F3.5, a lens known for its superb depictive performance. Furthermore, a HELIAR is recorded as being the lens used to take imperial portraits of Emperor Showa, and it is said the HELIAR lens was extremely highly regarded for its beautiful depictive performance and even treated as a family treasure by portrait photography businesses during the Showa period.

Moving forward about half a century from the birth of the HELIAR to 1954, Albrecht Wilhelm Tronnier developed a lens using the same five-elements-three-groups configuration as the HELIAR utilizing new glass types to achieve performance that exceeded the HELIAR. That lens was the APO-LANTHAR. The APO in APO- LANTHAR indicates an apochromatic optical design. The main characteristic of such a lens is that longitudinal chromatic aberrations caused by the different wavelengths (frequencies) of the three primary colors (RGB) of light are reduced to practically zero to achieve high-level color reproduction. Color film slowly gained popularity after its release in 1935, and one reason why the APO-LANTHAR was developed was to address a growing need to capture light more faithfully than possible with monochrome film.

The first camera to be fitted with an APO-LANTHAR lens was the 6 x 9 roll film rangefinder camera representative of post-war Voigtlander, the Bessa II. There were three different lens variations of this camera: APO-LANTHAR 4.5/100, COLOR-HELIAR 3.5/105, and COLOR-SKOPAR 3.5/105. The APO-LANTHAR 4.5/100 variation has red, green, and blue (RGB) rings indicating the apochromatic optical design engraved around the front of the lens barrel to differentiate it from the other versions as a special lens. Due to the rarity and high performance of the Bessa II fitted with APO-LANTHAR lens, this camera has become a legendary camera traded on the used market at high prices and the envy of camera collectors.

As homage to the RGB colors that differentiate the APO-LANTHAR from other lenses beginning with the BESSA II, the MACRO APO-LANTHAR 65mm F2 Aspherical also features three colored dashes indicating the RGB colors at the front edge of the lens barrel.

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Firmware update fixes Sigma MC-11 AF issues with incompatible lenses

23 Jul

Sigma’s MC-11 mount converters allow you to use your Sigma SA mount and EOS mount lenses with Sony’s E-mount camera bodies, and now they work just a little better. The newly launched firmware version 1.06 fixes AF-issues that can occur with some lenses that are not officially compatible with the converter.

You can find a lens compatibility chart on the MC-11 product page, and further detail about the update on the Sigma support website. As usual, you can install the firmware using Sigma’s Optimization Pro software.

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Concert Photography 101: Cameras and Lenses for Beginners

20 Jul

If you’ve ever wondered how to become a concert photographer, one of the very first steps is to acquire the right gear. You’ve probably been to a concert or festival and seen music photographers hauling tons of equipment such as two camera bodies and enormous lenses. While it’s certainly ideal for a professional to have this much stuff (and then some), most beginners or amateurs absolutely don’t need this much gear to get started. Read on for some of my suggestions on how to gear up as a beginning doing concert photography.

Concert Photography 101: Cameras and Lenses for Beginners

Concert photography rules

Before we get into gear, let’s discuss your typical concert photography setting. Whether you’re shooting a big arena show or a small, casual performance in a bar, concert photography rules are more or less the same. You get to shoot for the first three songs only, and cannot use a flash or strobe of any sort. With these two rules in mind, this means that you need gear that allows you to adjust and shoot quickly and pull off shots in a low lighting setting.

What kind of camera do you need?

First off, invest in a solid DSLR camera. While there are point and shoot cameras that could arguably get the job done, you need the lens choices that come with DSLRs. It doesn’t really matter what brand you choose. What does matter is being comfortable using it and knowing that you have a wide variety of lenses to pair with it. Canon and Nikon are two of the biggest camera brands that are among the most popular for concert photographers.

Crop Sensor or Full Frame?

When researching DSLR camera options, you’ll have a choice between investing in a crop sensor or full frame camera. The differences between the two types of DSLR cameras is best explained in this article.

To quickly summarize, crop sensor cameras are typically smaller in size and much cheaper than full frame cameras. The main disadvantage to crop sensor cameras has to do with their smaller sensor sizes that will impact available ISO options, thus resulting in slightly noisier or grainy photos than full frame cameras. In short, start out with a crop sensor camera if you’re on a budget, and aim to upgrade to a full frame camera the further you get in your concert photography career.

Concert Photography 101: Cameras and Lenses for Beginners

Canon 5D Mark III (full frame) on the left and a 6D on the right.

Suggested concert photography cameras

Full Frame

  • Canon EOS 6D
  • Canon 5D Mark IV
  • Nikon D810
  • Nikon D750
  • Nikon D610

Crop Sensor

  • Canon 7D Mark II
  • Canon 77D
  • Canon 80D
  • Canon EOS Rebel T6i
  • Nikon D500
  • Nikon D7500
  • Nikon D5600
  • Nikon D3400

What are the best concert photography lenses?

After you’ve invested in a DSLR, be sure to budget for the purchase of accompanying lenses, which can end up being just as expensive as the camera body. Generally speaking, you shouldn’t use the kit lens that automatically comes with your DSLR camera.

Most of these kit lenses are fine for shooting in ample lighting conditions, but they won’t perform well in the low light settings of concerts. Instead, what you want is a fast lens with a wide aperture (or f-stop) of between f/1.2-f/2.8. This will help you capture moving subjects in dark settings.

Concert Photography 101: Cameras and Lenses for Beginners

Canon 24-70mm f/2.8 and 70-200 f/2.8.

Start with prime lenses

For beginning concert photographers on a budget, prime lenses are your best bet. While these lenses have fixed focal lengths, meaning you can’t zoom with them, their low f-stops mean they will shoot better in low light. Prices and exact lens models will vary according to which camera brand you’ve chosen. Since I’m a Canon shooter, these lenses are geared toward Canon.

  • 50mm f/1.4 (or the cheaper 50mm f/1.8) – for Nikon try the 50mm f/1.8G
  • 85mm f/1.8 – for Nikon try the 85mm f/1.8G
  • 35mm f/1.4  – for Nikon try the 35mm f/1.4

Put these lenses on your wish list

Pretty much every professional concert photographer will have two go-to lenses on hand: a 24-70mm f/2.8 midrange zoom lens, and a 70-200mm f/2.8 telephoto lens. Neither of these lenses is cheap and should definitely be considered a long-term investment. But if you can afford one or both, don’t hesitate to add these lenses to your concert photography kit.

Concert Photography 101: Cameras and Lenses for Beginners

Keep an eye on third party brands

While it’s certainly ideal to purchase lenses in the same brand as your DSLR camera manufacturer, there are many third party companies producing cheaper and sometimes even better options. Great lens options exist from Sigma, Tamron, and Tokina, to name a few. Again, the specific options will depend on the DSLR camera body you’ve chosen, but here are a few possible options for Canon shooters:

  • Tokina 11-16mm f/2.8 (for Canon EF-S/crop sensor or Nikon DX)
  • Sigma 17-50mm f/2.8 (for Canon EF-S/crop sensor or Nikon DX)
  • Sigma 24-70mm f/2.8

If you’re on a budget

It’s a reality that concert photography equipment isn’t cheap. But there are some ways to score more affordable camera gear. First, look into used or refurbished camera bodies and/or lenses. As long as you purchase from an accredited source, you can save hundreds of dollars on gear.

On the flip side, keep in mind that camera gear retains its value as long as you take care of it. So if you buy a lower-end camera or lens and want to upgrade later on, it’s pretty easy to sell off your old gear to help you invest in newer options.

Finally, look for older models or previous versions of gear. For example, you could spring for the brand new Canon 5D Mark IV camera body, or you can save over $ 1,000 by investing in the older yet still very functional Canon 5D Mark III. The same is true for many other camera bodies and lenses on the market. It all depends on your budget and what kind of features you absolutely need to have.

Concert Photography 101: Cameras and Lenses for Beginners

In Conclusion

Consistently pulling off pro-quality concert photos often requires investing in pro-grade camera gear. But it’s best to start small and to upgrade over time as your skills and budget increase. What are your go-to concert photography cameras and lenses? Let me know in the comments below!

Concert Photography 101: Cameras and Lenses for Beginners

The post Concert Photography 101: Cameras and Lenses for Beginners by Suzi Pratt appeared first on Digital Photography School.

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This Olympus OM-D E-M5, lenses and accessories are made entirely from paper

18 Jul

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Japanese paper artist Kamihasami (his artist name means ‘paper-scissors’ in Japanese) has recreated the Olympus OM-D E-M5, a few lenses, and accessories using nothing but paper and paste.

The faithful recreation is identical to the original models, and includes things like an SD card, battery and battery charger, underwater housing, and flash. In fact, the models are so precise that the paper lenses can be attached to and removed from the paper camera body!

According to Kamihasami’s website, the entire creation process for this artwork took more than three months. Fortunately, his effort was not a waste, the paper OM-D E-M5 earned Kamihasami an award in the prestigious Kamiwaza Grand Prix competition.

To see more of Kamihasami’s paper artwork, visit his website or follow his page on Facebook.

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Sigma announces pricing and availability of 14mm and 135mm T2 Cine Prime lenses

14 Jul
The 14mm T2.0 will cost $ 4999 when it starts shipping later this month. The 135mm T2.0 will also ship in late July, for the same price.

Sigma has announced pricing and availability for its new Cine Prime lenses. The 14mm and 135mm T2 primes will be available later this month for $ 4999 each, or as part of two and seven-lens kits for $ 10,499 and $ 24,799 respectively.

Press Release:

Sigma Announces Pricing and Availability for the 14mm and 135mm T2 Cine Prime Lenses, Shipping This July

Full-frame sensor compatible, high-speed prime lenses bring Sigma’s esteemed Art lens technology to cinema cameras; the 14mm T2 FF and 135mm T2 FF begin shipping late July for a retail price of $ 4,999.00 USD each

Ronkonkoma, NY – July 13, 2017 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, today announced the availability of two brand new cine lenses: the Sigma 14mm T2 FF and 135mm T2 FF, which will both begin shipping late July 2017. Compatible with full-frame image sensors, these high-speed cine prime lenses are available for EF, E and PL mounts. They are available as individual lenses for a retail price of $ 4,999.00 USD each, or as part of two and seven lens sets for retail prices of $ 10,499.00 USD and $ 24,799.00 USD respectively.

Go fast and wide with the Sigma 14mm T2 Cine Prime
The Sigma 14mm T2 FF Cine Prime lens is the world’s first and only to offer an incredibly fast T2 at this ultra-wide angle focal length for full frame sensors. Bringing remarkable optical performance to the art of capturing moving images, the Sigma 14mm T2 offers cinematographers the opportunity for robust cinematic expression.

Resolving power like nothing ever seen before with the Sigma 135mm T2 Cine Prime
The Sigma 135mm T2 FF Cine Prime offers astonishing rendering performance unmatched by almost any lens on the market. Retaining the optical performance of Sigma’s original Art lens for the still photographer, this exceptional lens enables cinematographers to enjoy the highest image quality for shooting movies.

Both lenses offer the following benefits and capabilities:

  • Bright, T2 full frame maximum aperture
  • Capable of resolving up to 8K
  • Available in Canon EF, Sony E & PL Mounts
  • 180-degree focus rotation

The Sigma 14mm and 135mm lenses are fully compatible with full frame sensors. The addition of these lenses to the Sigma cine lineup expands the FF High Speed Prime Line to a total of seven lenses, from a super-wide 14mm to a brilliantly sharp telephoto 135mm.

Pricing for individual lenses and lens sets
The newest cine lens offerings from Sigma will be available individually as well as in sets for the following retail prices.

Individual lenses:
Sigma 14mm T2 FF – $ 4,999.00 USD
Sigma 135mm T2 FF – $ 4,999.00 USD

Two lens set with case:
Sigma 14mm T2 FF, 135mm T2 FF and a protective lens carrying case – $ 10,499.00 USD

Seven lens set with two cases:
Sigma 14mm T2 FF, 20mm T1.5 FF, 24mm T1.5 FF, 35mm T1.5 FF, 50mm T1.5 FF, 85mm T1.5 FF, 135mm T2 FF, and two protective lens carrying cases – $ 24,799.00 USD

The Sigma 14mm T2 FF and 135mm T2 FF Shipping Late July
The Cine 14mm and 135mm lenses and sets will begin shipping late July 2017 for EF, E and PL mounts.

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7Artisans unveils range of low cost, fast lenses for mirrorless cameras

11 Jul

Chinese optical manufacturer 7Artisans has introduced a collection of four lenses that are intended to provide low-cost alternatives to branded optics. The lenses are all designed for mirrorless cameras, and the company intermittently provides mounts for Sony E, MFT, Fujifilm X and Canon EOS M users, as well as one lens for Leica M cameras.

The lenses are all manual focus, feature a copper core with an aluminum exterior and some of them come in a choice of black or silver finish. There isn’t much information on the company website but the Amazon sales pages reveal some of their specification.

25mm f/1.8 | Sony E/Fujifilm X/MFT | $ 70

This lens was designed for APS-C and Micro Four Thirds sensors, and boasts an aperture range of f/1.8-16. It uses seven elements in five groups, has 12 iris blades and offers a 46mm filter thread.

35mm f/2 | Sony E/Fujifilm X/Canon EOS M | $ 156

A lens capable of covering a full frame sensor, this 35mm f/2 uses a 10-bladed iris and has a minimum aperture of f/16. It is constructed with seven elements arranged in five groups and offers a 43mm filter thread.

50mm f/1.1 | Leica M | $ 369

Designed for the Leica M family, this standard focal length uses 12 iris blades to form its click-less f/1.1- f/16 aperture range. The company says it has used a Sonnar design and high-refractive index glass to optimize the lens for use at the widest apertures. The lens has seven elements arranged in six groups.

The current version isn’t compatible with the Leica M4 and M4A, but models from September onward will be.

7.5mm f/2.8 | Sony E/Fujifilm X/MFT | $ 139

This is a fisheye lens that the company claims offers a maximum angle of view of 180°. It has 11 elements that are arranged in eight groups, and the 12-bladed iris closes to f/22.

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Video: Sony a9 falls short with Canon 300mm and 400mm lenses attached

24 Jun
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Sports shooters considering Sony’s speedy a9 have one major hurdle to overcome: glass. There’s a dearth of long, fast primes available to Sony FE shooters, and it seems like using off-brand glass while you wait for Sony to catch up just isn’t a great option.

In this video, photographer Dan Watson of Learning Cameras tried both the Sigma MC-11 and Metabones Mark IV lens adapters to test how well the a9 worked when attached to the Canon EF 300mm F2.8L IS II USM and Canon EF 400mm F2.8L IS II USM.

Watson mainly wanted to test the focusing capabilities, and unfortunately, the results were somewhat disappointing.

Before you dive into the video, it’s worth pointing a few things out. Our own Rishi Sanyal has tested the focus capability of the a9 with adapted lens, and points out a couple of caveats to Watson’s otherwise solid points:

First, the performance of far off-center AF points depends on the lens. While Watson is correct in pointing out that they don’t perform well with long lenses (despite working astonishingly fast with Sony’s own 100-400 F4.5-5.6), they do work well with shorter focal lengths (we’ve had success with a Sigma 85/1.4, Canon 35/1.4, 24-70/2.8, etc.). With these wider lenses, ‘Wide’ area mode will continue tracking subjects to the extremes of the frame.

Second, Sony A-mount lenses adapted with the LA-EA3 adapter do shoot at an impressive 10 fps with autofocus, something we confirmed with the 50/1.4 (as long as you’ve updated the firmware of the adapter).* With the Metabones and Sigma adapters though, as with all Sony FE bodies, only the L drive mode offers continuous focus. And it’s actually only 2.5 fps, not the 5 fps Watson mentions (technically L is 3 fps, but it slows to 2-3 fps with continuous focus).

With that out of the way, Watson’s video is a great resource for seeing how well (or not) the a9 performs when attached to the long, fast Canon primes sports shooters love. And while single-shot focus with central points is speedy and almost 100% accurate with long adapted lenses, the lack of true subject tracking (Lock-on AF modes) or continuous focus at speeds higher than ~2.5 fps (or in video) will probably be a deal breaker for many fast-action photographers.

Once you’ve lost the impressive high speed shooting advantages Sony baked into the a9, you might as well be shooting with any other camera. Moral of the story: stick to Sony glass and hope they keep churning out new lenses at break-neck pace.

You can watch the full demo for yourself up top. And if you’re considering jumping ship from Canon to Sony, keep this information in mind – like all previous Sony bodies, you’ll only have access to the a9’s slowest continuous drive mode when you’re adapting your own glass.

* We’ve not yet confirmed the performance of off-center points with long A-mount glass.

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Pricing for Sigma 14mm F1.8 DG HSM and 24-70 F2.8 DG OS HSM Art lenses announced, undercuts the competition

24 Jun

Announced in February, two highly anticipated full-frame lenses from Sigma are finally on their way to consumers. Sigma has also announced pricing – the 14mm F1.8 DG HSM will cost $ 1600; the 24-70mm F2.8 Art will cost $ 1300. In both cases, that’s well below the current asking prices for Canon and Nikon versions of similar lenses.

Sigma says the 14mm in Canon and Sigma mount will ship this month, and the Nikon version will be available in July. The 24-70mm will ship for all three mounts this month. Considering there’s not much time left in June, that’s basically now.

Press release

Sigma Begins Shipping Its 14mm F1.8 DG HSM and 24-70mm F2.8 DG OS HSM Art Lenses

The world’s first and only F1.8 ultra wide-angle full-frame lens for DSLR cameras is available now for $ 1,599.00 USD; the new Sigma Global Vision workhorse zoom lens is available now for $ 1,299.00 USD

Ronkonkoma, NY – June 22, 2017 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, announced today the pricing and availability for its new Sigma 14mm F1.8 DG HSM and Sigma 24-70mm F2.8 DG OS HSM Art lenses from its lauded Global Vision line. The ultra-wide angle full-frame 14mm F1.8 Art lens begins shipping in June 2017 for Canon and Sigma camera systems and in July 2017 for Nikon camera systems, for a retail price of $ 1,599.00 USD. The standard zoom full-frame 24-70mm F2.8 Art lens begins shipping in June 2017 for a retail price of $ 1,299 USD.

The Sigma 14mm F1.8 Art, which is the first and only F1.8 ultra wide-angle lens among interchangeable lenses for digital SLRs*, incorporates the same aspherical element as Sigma’s critically acclaimed 12-24mm F4 Art, allowing the lens to deliver a new dimension of visual experience. Boasting outstanding image quality from center to edge, the 14mm F1.8 Art features an 80mm front lens — the world’s largest glass aspherical lens in the industry, offering photographers an ultra-wide prime with virtually no distortion, flare or ghosting. Equipped with a superfast and efficient autofocus system, three FLD (“F” Low Dispersion) elements, and four SLD (Special Low Dispersion) elements to reduce chromatic aberration and coma flare, the 14mm F1.8 Art is suitable for a wide range of photographic needs including astrophotography, architecture and landscape photography.

The 24-70mm F2.8 Art lens, Sigma’s new workhorse standard zoom lens, touts a brand new Optical Stabilizer (OS), Hypersonic Motor (HSM) for highly efficient and fast autofocus, as well as a dust- and splash-proof mount with rubber sealing. The 24-70mm F2.8 Art lens embodies all the technical qualities and finesse that define the high-performance Sigma Global Vision Art series. A popular industry focal range covering a wide array of shooting scenarios, the 24-70mm’s optical design also includes three SLD (Special Low Dispersion) glass elements and four aspherical elements to ensure image accuracy and sharpness. The 24-70mm F2.8 Art aspherical elements use Sigma’s thicker center glass design and highly precise polishing process, delivering stunning images and bokeh effects. The lens’ purpose-built structure boasts a new metal barrel for optimal durability with TSC composite internal moving components designed to resist thermal contraction and expansion.

Both the 14mm F1.8 DG HSM and the 24-70mm F2.8 DG OS HSM Art lenses are available in Canon, Nikon and Sigma mounts. The Sigma and Canon mount lenses work with Sigma’s MC-11 Sony E-mount converter. The Nikon mounts feature the brand new electromagnetic diaphragm.

Sigma 14mm F1.8 DG HSM Art Lens Features and Benefits:

> Sharp, rich image quality

  • Minimized chromatic aberrations: Three FLD (“F” Low Dispersion) glass elements and four SLD (Super Low Dispersion) glass elements help reduce transverse chromatic aberration, which tends to be noticeable in shots taken with ultra wide-angle lenses. The result is outstanding image quality from the center of the image to the edges.
  • Distinctive bokeh effect: Even at the 14mm ultra wide-angle of view, F1.8 brightness makes possible a very shallow depth of field with the subject standing out dramatically against a pleasingly softened background. It’s the unique mode of expression that only a large-diameter lens can deliver.
  • Minimized distortion: Serving as the front lens element, the large 80mm precision-molded glass aspherical lens effectively minimizes distortion. Offering excellent peripheral brightness, this lens delivers outstanding image quality from the center to the edges.

> Offers full-frame coverage

Sigma 24-70mm F2.8 DG HSM OS Art Lens Features and Benefits:

> Superior optical performance

  • Optimal image quality for ultra-high-megapixel DSLRs: This lens offers top performance from the center to the edges of the image thanks to the optical system minimizing coma, which causes points of light to streak, and transverse chromatic aberration, which cannot be corrected via aperture control. The optical system also minimizes distortion, which can be particularly evident in wide-angle shots, resulting in excellent optical performance throughout the zoom range.
  • Expressive bokeh effect every time: At wide-open aperture, this lens offers outstanding photographic expression. The area in focus is extremely sharp, while the background exhibits a beautiful, creamy bokeh effect with only slight spherical aberration. Since large-diameter zoom lenses are often used at wide-open aperture, Sigma has paid close attention to the shape of the bokeh, aiming for artistic circularity.
  • Aspherical Lens Processing Technology: The Sigma 24-70mm F2.8 DG OS HSM Art incorporates an aspherical lens element that helps achieve extremely high resolution. This element is much thicker at the center than the edges, and forming its unusual shape is a feat of manufacturing technology. Moreover, Sigma processes the surface of this aspherical lens element with ultra-precise tolerances that are measured in hundredths of a micrometer. This extremely fine surface allows the Sigma 24-70mm F2.8 DG OS HSM Art to deliver a very natural and smooth bokeh effect, without the visible concentric rings that afflict typical aspherical lens elements.

> Fast and nimble autofocus photography

  • Designed for advanced utility in a wide variety of situations, the optical stabilizer (OS) offers a powerful stabilization effect. The newly designed large hypersonic motor (HSM) offers 1.3 times the torque of its predecessor for exceptionally stable performance.

Sigma Global Vision Line Features & Benefits:

  • Each lens is eligible for user customizable micro-focus and in-home firmware updates with the optional USB Dock and Sigma Optimization Pro software.
  • Each unit is crafted in Aizu, Japan and individually tested for QC and optical performance with the exclusive A1 MTF device.
  • Sigma’s Exclusive Mount Conversion Service allows lenses to be switched between any released mounts (fee-based).
  • Compatible with Sigma Mount Converter MC-11, allowing use of Sigma lenses in Sigma and Canon mounts with the Sony E-mount camera systems.

*As of February 2017

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Fujifilm earning report indicates strong sales of X-series, lenses and GFX 50S

13 Jun

Fujifilm’s earnings report for the fiscal year ending in March has been published and contains some interesting information on the company’s line of consumer imaging products. Sales figures of both X-Series cameras and lenses and the GFX medium format system have increased, according to the report.

‘The business of electronic imaging achieved a sales growth due to positive sales of the X-Series of mirrorless digital cameras such as FUJIFILM X-T2 and FUJIFILM X-T20 as well as their interchangeable lenses, and strong sales of the FUJIFILM GFX 50S, a medium-format mirrorless digital camera equipped with a large sized sensor, released in February.’

Overall, the sales of the company’s Imaging Solutions division decreased 3.2% from 352.9 billion Yen to 341.8 billion Yen due to the negative effect of the appreciation of the Japanese Yen in the foreign exchange market. However, operating income went up by 15% from 32 to 36.8 billion Yen, thanks to the sales expansion of digital cameras mentioned above, an increase in sales of high-end instant photo systems and improved profitability in various business categories.

The company is projecting a 2.4% increase in revenue over the next fiscal year for the Imaging Systems business, from 341 billion to 350 billion Yen, with operating income up nearly 17%.

You can read the annual report for yourself here [PDF].

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Sony provides firmware updates for ten E-mount lenses and LA-EA3 adapter

25 May

Sony has issued firmware updates for ten of its E-mount lenses and the LA-EA3 adapter. The updates address a variety of bugs and stability issues. You can view details and download the update for your operating system by clicking on the Drivers & Software button on the linked product pages below:

  • 70-200mm GM 
  • 70-200mm G 
  • 24-240mm G 
  • 28-70mm G 
  • 24-70mm Zeiss 
  • 16-35mm Zeiss 
  • 50mm f/1.8 
  • 24-70mm GM 
  • 50mm Zeiss 
  • 85mm GM 
  • LA-EA3 adapter

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