RSS
 

Posts Tagged ‘Lenses’

Sigma’s high-end Art lenses get $100 Black Friday discount

21 Nov

Sigma has announced its Black Friday sale, and fans of the company’s high-end Art line will want to pay attention. This ‘unprecedented’ Art sale takes up to $ 100 off both prime and zoom Art models, and runs from now until November 30th.

Buyers will need to order the lenses through Sigma’s website or shop through a Sigma authorized dealer in the US to get the discounted pricing.

The Black Friday sale covers eight prime and five zoom Art lenses (below), plus the MC-11 mount converter. All of the lenses are discounted by $ 100, with the exception of the 30mm F1.4 | Art lens, which is only discounted by $ 50. The lens converter is also discounted by $ 100.

Here’s the list of all 13 lenses on discount starting today:

High-Performance Art Prime lenses

  • 14mm F1.8 DG HSM Art ($ 1,599 Retail Price) World’s First F1.8 Ultra-Wide Angle – $ 100.00 off
  • 20mm F1.4 DG HSM Art ($ 899 Retail Price) Bright & Sharp Wide-Angle – $ 100.00 off
  • 24mm F1.4 DG HSM Art ($ 849 Retail Price) Front Filter Compatible, Fast-Aperture Wide Angle – $ 100.00 off
  • 30mm F1.4 DC HSM Art ($ 499 Retail Price) A Low-Light Pro for APS-C – $ 50.00 off
  • 35mm F1.4 DG HSM Art ($ 899 Retail Price) A Groundbreaking Flagship Wide-Angle – $ 100.00 off
  • 50mm F1.4 DG HSM Art ($ 949 Retail Price) Redesigned for High Megapixel DSLRs – $ 100.00 off
  • 85mm F1.4 DG HSM Art ($ 1,199 Retail Price) Award-Winning Ultimate Portrait Lens – $ 100.00 off
  • 135mm F1.8 DG HSM Art ($ 1,399 Retail Price) Award-Winning Prime with Reach – $ 100.00 off

Versatile Premium Art Zooms Lenses

  • 12-24mm F4 DG HSM Art ($ 1,599 Retail Price) Ultra-Wide Zoom Excellence – $ 100.00 off
    18-35mm F1.8 DC HSM Art ($ 799 Retail Price) The First and Fastest of its Kind – $ 100.00 off
  • 24-35mm F2 DG HSM Art ($ 999 Retail Price) Prime Performance, Zoom Versatility – $ 100.00 off
  • 24-105mm F4 DG OS HSM Art ($ 899 Retail Price) Exceptional Usability for High-Resolution Cameras – $ 100.00 off
  • 50-100mm F1.8 DC HSM Art ($ 1,099 Retail Price) Larger Aperture and Long Reach for your APS-C Sensor – $ 100.00 off

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Sigma’s high-end Art lenses get $100 Black Friday discount

Posted in Uncategorized

 

Moment releases new case and lenses for Apple iPhone X

21 Nov

Moment has launched a new photography case and lenses for the iPhone X, all of them currently listed for preorder on the company’s website. The protective case, which is simply called Photo Case, is black with a canvas or optional walnut wood backing, and is joined by wide-angle, macro, super fisheye, and telephoto lens options.

The lenses attached directly to the Photo Case.

Moment’s system gives the iPhone X—and select other phones—a sort of interchangeable lens system, enabling photographers to quickly attach and remove various lenses to the device as needed. The Photo Case doubles as a slim protective case, featuring microsuede on the inside, a thin rubberized body, and support for an optional wrist strap.

The lenses, meanwhile, are made with glass and feature Moment’s new bayonet system for locking the lens to the case. Moment explains that its lenses are durable due to the use of “aerospace grade metal” and a unique hardening process. The company offers a 12-month warranty for their lenses.

The Moment for iPhone X is available to preorder at the following prices:

  • Photo Case: $ 30
  • Wide Lens: $ 100
  • Superfish Lens: $ 90
  • Macro Lens: $ 90
  • Tele Lens: $ 100

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Moment releases new case and lenses for Apple iPhone X

Posted in Uncategorized

 

6 Tips for Mastering Your Lenses

13 Nov

Most photographers have a favorite lens (you can read about mine here), maybe even two or three. But do you know how to get the best out of that lens? I’ve used lots of lenses over the years. As a result, I know that it takes time to get to know a lens, and longer still to master it. These tips will help you work your way through that process.

Mastering camera lenses

1. Use the lens exclusively for a month

In his book Outliers, author Malcolm Gladwell put forward the now-famous idea that true mastery of a skill takes 10,000 hours of practice. The idea of putting in your 10,000 hours applies to photography as a whole rather than using a single lens. But there’s no doubt that by using the same lens, and no other, for an extended period of time it will help you get to know that lens really well.

You can put this idea into practice in a small way by taking just one camera and one lens out on a shoot. For example, if you have a portrait shoot then take along a short telephoto prime lens. If you’re shooting landscapes, take a wide-angle lens.

Mastering camera lenses

I often take just a single lens on a portrait shoot. The only lens I had on me for this one was an 85mm short telephoto.

You can take it further and extend the exercise for a week, a month, or even longer. It’s up to you.

This exercise is easiest with a prime lens. If you do it with a zoom I suggest that you pick one focal length and stick to that. The idea is to get familiar with how a specific focal length behaves. You can’t do that if you are zooming from one to the other.

2. Test your lenses at all apertures

Part of mastering your lenses is getting to know how they each perform at various apertures. There are two things to consider here – technical performance and aesthetic quality.

No lens gives consistent image quality across its aperture range. All lenses are softer at their widest and narrowest aperture settings than the middle ones.

If you tend to use small apertures when you take photos (perhaps you are a landscape photographer) then you need to be aware of an effect called diffraction that creates a softening effect as you stop down. Yes, you get more depth of field at f/22, but photos taken at f/11 or f/16 may be sharper overall.

Test your lenses to see where the visible effects of diffraction kick in. That way you know the smallest aperture you are happy using, in relation to sharpness for each lens in your kit.

At the other end of the scale, a lens is always softer at its widest aperture. If your favorite lens is a prime then you probably open the aperture to create bokeh. As you stop down the depth of field increases, there is less bokeh, and the image gets sharper.

The key is to find the balance between bokeh and image quality. For example, I find that when I make portraits with a short telephoto lens I get the best results at f/2.8. More of the model’s face is in focus and the bokeh still has a beautiful quality. You can see the difference in the two portraits below.

Mastering camera lenses

3. Zoom lenses – test at different focal lengths

The situation becomes a little more complicated with zoom lenses. This is because you have an extra variable – focal length. Not only does sharpness vary according to the aperture, but focal length has an effect too. Very few zoom lenses give equal optical quality across their entire focal length range.

When it comes to zoom lenses I prefer to think of them as several prime lenses in one. For example, when I owned a 17-40mm zoom I tended to set it to 24 or 35mm for most of my shoots (these focal lengths were conveniently marked on the barrel). At other times I would use 17mm if I wanted a real ultra wide-angle effect or 40mm. So, to me, it was four lenses in one – a 17mm, 24mm, 35mm and 40mm lens.

These photos show the difference between the 17mm and 40mm focal lengths on this lens.

Mastering camera lenses

Mastering camera lenses

This approach simplifies the task of getting to know your zoom lens because you are getting to know it at three or four focal lengths rather than across the entire range.

4. Zoom with your feet

Regardless of whether your favorite lens is a prime or a zoom it is helpful to zoom with your feet rather than use the zoom ring (of course, if you have a prime lens you have no choice in the matter!) Zooming with your feet is an expression used to describe the process of moving physically closer to or farther away from your subject to change its size in the frame, rather than using the zoom ring on a zoom lens.

For zoom lens owners, this comes back to the earlier idea of a zoom lens being three or four prime lenses in one. For example, if you have an 18-55mm kit lens then your lens behaves very differently at different focal lengths. At 18mm it’s a wide-angle lens ideal for subjects like landscapes. At 55mm it’s a short telephoto lens that you can use for portraits.

In terms of perspective, both focal lengths are very different. You will only learn about perspective and the way it changes as you move closer to or further from your subject if you stick to using your zoom lens at a single focal length. If you use the zoom ring to change subject size, you won’t learn about perspective.

For example, with an 18-55mm lens set to 18mm, you need to get fairly close to the subject to obtain the dramatic perspective associated with wide-angle lenses.

Mastering camera lenses

If you are further away from the subject the perspective is much less dramatic.

Mastering camera lenses

5. Try different subjects

We tend to think of lenses as associated with specific subjects. For example, wide-angle lenses are ideal for landscapes, and short telephoto lenses are brilliant for portraiture.

But what if you mix it up a little? What happens if you use a short telephoto for landscape photography or a wide-angle for portraiture? The idea is to take yourself out of your comfort zone and find creative ways to use your favorite lenses. Ways that perhaps hadn’t occurred to you before.

If you use a wide-angle lens for portraiture you will soon find that if you get too close to your model then it’s going to create some very unflattering effects. But what if you step back and include more of your environment? Suddenly you’re taking a very different approach than you would with a short telephoto lens. Experiments like these can add new skills and new ways of working to your repertoire.

I made this portrait with my 17-40mm zoom set to 17mm.

Mastering camera lenses

6. Push your composition to the limit

The final tip is to push your composition to the limit. It’s all about taking various techniques to the extreme and seeing what you can do with them.

If you have a wide-angle lens, what happens if you get as close to your subject (whatever it is) as you can? What happens if you use the widest aperture setting instead of a smaller one?

If you have a telephoto lens how can you maximize the compressed perspective that those lenses give you? What subjects can you shoot to make the most of the layered effect you can get with a longer lens?

This is a process of experimentation. Not all of your experiments will work. But when they do, just as with the previous tip, you’ll be adding new skills to your repertoire.

Here is a landscape photo that was taken with a telephoto lens.

Mastering camera lenses

Next steps

Hopefully, these tips have given you some ideas for working with and getting to know your favorite lenses. Instead of fantasizing about the next lens you are going to buy (dreams are nice, but new lenses are expensive!) how about learning to make the most out of the ones you already own?

You may find that true creativity lays as much in pushing the lenses you already own to their limits as it does with buying new gear.


You can learn more about lenses, and how to get the most out of them, in my ebook Mastering Lenses. It also contains a buying guide to help you make wise choices when you buy your next lens!

The post 6 Tips for Mastering Your Lenses by Andrew S. Gibson appeared first on Digital Photography School.


Digital Photography School

 
Comments Off on 6 Tips for Mastering Your Lenses

Posted in Photography

 

Hands-on with new Fujifilm X and GF lenses

27 Oct

Hands-on with new Fujifilm X and GF lenses

We’re at the Photo Plus Expo show in New York, where Fujifilm is showing off its new XF 80mm F2.8 R LM OIS WR and GF 45mm F2.8 R WR prime lenses.

First up is the snappily-named XF 80mm F2.8 R LM OIS WR. It’s equivalent to a 122mm prime on X-series bodies, and as you can see, it’s a big lens. It also fills an appropriately big gap in Fujifilm’s historical lens lineup, being the first of Fuji’s X-mount lenses to give full 1:1 macro reproduction.

Hands-on with new Fujifilm X and GF lenses

As usual for Fujifilm’s current lenses, the 80mm offers the option of manual aperture control via a dedicated dial, and a large focusing ring provides very fine control over focus, if required.

Hands-on with new Fujifilm X and GF lenses

The XF 80mm F2.8 R LM OIS WR is optically stabilized, and is rated to provide around 5 stops of correction. This should help greatly in the macro focusing range, as well as making the lens more usable in general, in lower lighting conditions.

Hands-on with new Fujifilm X and GF lenses

Toggle switches on the lens barrel allow the photographer to restrict the lens’s focusing range, as well as activate / deactivate the OIS stabilization system. The XF 80mm F2.8 R LM OIS WR is weather sealed (that’s what the ‘WR’ means) and like all of Fujifilm’s high-end lenses, it’s built to a very high standard of construction.

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

Hands-on with new Fujifilm X and GF lenses

The Fujinon GF 45mm F2.8 R WR is a very different beast. Designed for Fujifilm’s medium-format GFX 50S, it offers an equivalent field of view to 36mm on a full-frame camera.

Hands-on with new Fujifilm X and GF lenses

At 490g (1.08 lb) the 45mm F2.8 is small and light by the standards of medium format lenses, and should be a useful prime lens for everyday shooting. A broad focusing ring and dedicated aperture control dial allow for manual control if desired.

Hands-on with new Fujifilm X and GF lenses

Optical construction comprises 11 elements in eight groups, including one aspherical and two ED elements. Again, the ‘WR’ designation means that this lens is sealed against dust and moisture incursion – just like the GFX 50S.

The Fujinon GF 45mm F2.8 R WR will be available next month for $ 1700.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Hands-on with new Fujifilm X and GF lenses

Posted in Uncategorized

 

First look at upcoming Pentax ‘star series’ lenses and silver edition K-1

27 Oct

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

Ricoh is showing off two upcoming lenses at the Photo Plus Expo show in New York this week. The HD Pentax-D FA* 50mm F1.4 SDM AW is designed for full-frame cameras, while the HD Pentax-DA* 11-18mm F2.8 is intended to be paired with the company’s APS-C DSLRs.

We weren’t able to get our hands on the new lenses, sadly – they’re still under glass – but we’re told that they’re cosmetically near-final. Click through for a closer look.

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

We’ve known about the HD Pentax-D FA* 50mm F1.4 SDM AW for a while, but the last time we saw it (also under glass) it was little more than a lens-shaped lump of plastic. Things have advanced since then, and the copy on show here appears to be a working prototype.

The upcoming 50mm is one of a new generation of ‘star series’ lenses that Ricoh intends for high-resolution imaging with its flagship K-1 and (presumably) follow-up full-frame models.

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

The 50mm F1.4 will come with a generously proportioned lens hood. The ‘AW’ in the designation stands for ‘All Weather’ and denotes environmental sealing, which should mean that like the K-1, it will stand up to use in harsh conditions.

A new ring-type SDM autofocus drive promises fast, quiet focusing. Pricing has yet to be announced, but the new 50mm should be available in spring of next year.

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

Meanwhile, the HD Pentax-DA* 11-18mm F2.8 is intended to be paired with the company’s APS-C DSLRs, and covers an effective focal length range of ~17-28mm. The fast maximum aperture of F2.8 is fixed across the zoom range, and while it hasn’t been spelled out anywhere, the sample on show appears to feature a switch for optical image stabilization, covered in black tape.

This would be a bit odd, given that Pentax’s DSLRs are stabilized in-body but could point towards hybrid stabilization. The alternative explanation (and probably more likely) is that it’s either a zoom lock or simply a vestigial bump which will be removed in shipping lenses.

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

Beyond the usual hyperbole (photographers should be able to ‘effortlessly capture breathtaking landscapes’ with this lens, apparently) details of the exact specification are sparse. Along with the mystery switch, the focus scale has also been obscured.

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

No pricing information has been shared, but we’re told that the 11-18mm will be available next summer.

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

Here’s the new K-1 ‘Silver Edition’, announced in August. This special edition of Ricoh’s flagship full-frame DSLR features a special silver coating, to match the silver versions of Pentax Limited lenses.

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

This is the kind of thing that often looks great in manufacturer-supplied renderings, but a bit tacky in real life. We’re pleased to see that in person, the silver K-1 looks pretty classy.

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

A special silver hotshoe cover is an especially nice touch. The K-1 silver edition is limited to 2000 copies worldwide.

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

Alongside its conventional cameras and lenses, Ricoh is also showing off its new Theta V 360-degree camera, which improves on the original model with much better resolution and advanced video features. Learn more about the Ricoh Theta V

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on First look at upcoming Pentax ‘star series’ lenses and silver edition K-1

Posted in Uncategorized

 

Ricoh announces new lenses for both APS-C and full-frame Pentax cameras

27 Oct

The two lenses Ricoh has announced today are part of the company’s Star-series line of high-performance lenses, being designed from the ground up for use with higher megapixel DSLR camera bodies.

Let’s start with the HD Pentax-DA* 11-18mm F2.8. Designed for crop-sensor cameras such as the Pentax KP, K70 and K-3 II, it offers an equivalent focal range of 17-27.5mm with a constant F2.8 aperture. Pricing has yet to be disclosed, and you have a bit of a wait if you’re interested in this lens; availability is scheduled for the summer of 2018.

Up next will be of particular interest to Pentax K-1 users. The HD Pentax-D FA* 50mm F1.4 SDM AW is designed for full-frame image sensors, and is the first new prime lens Ricoh’s announced for the K-1 since that camera was released. To go with the K-1’s rugged design, the FA* 50mm F1.4 comes with all-weather construction, and also a newly developed supersonic direct-drive autofocus motor for both faster and quieter AF operation. The FA* 50mm F1.4’s pricing is also unavailable, though it’s scheduled to be released a little sooner in the spring of 2018.

Press Release

RICOH ANNOUNCES NEXT-GENERATION, HIGH-PERFORMANCE PENTAX STAR-SERIES LENS LINE

Optimized for super-high-resolution photography with high-megapixel digital SLRs, new Star-series lenses on display at Photo Plus Expo 2017 and Salon de la PHOTO 2017

NEW YORK (Photo Plus Expo 2017, Booth #845), October 26, 2017 — Ricoh Imaging Americas Corporation today announced a new generation of high-performance Star-series lenses optimized for super high-resolution photography and high megapixel digital single-lens reflex (D-SLR) cameras. The first two lenses developed for the new-generation of Star-series quality—the HD PENTAX-D FA? 50mm F1.4 SDM AW and the HD PENTAX-DA? 11-18mm F2.8—will be on display as reference products at Photo Plus Expo 2017 at the Javits Convention Center in New York (October 26-28) and SALON de la PHOTO 2017 in Paris (November 9-13).

Premium-quality Star-series lenses deliver the highest performance among the PENTAX K-mount interchangeable lens series, and have been highly regarded by PENTAX K-Mount users since the days of film. In addition to the initial design concepts of optimum image quality and large apertures for maximum light transmission, the series has embraced the additional concepts of exceptional toughness and outstanding operability, achieved through the development of a dustproof, weather-resistant construction. The resulting lenses provide superior dependability in a wide range of shooting conditions, and are the perfect companion to PENTAX SLR camera bodies.

Although final names, specs and pricing will not be released until 2018, here are preliminary key features of the two lenses:

  • HD PENTAX-D FA? 50mm F1.4 SDM AW
    • PENTAX K-mount covering the image circle of a 35mm-format full-frame image sensor
    • Newly developed ring-shaped SDM (Supersonic Direct-drive Motor) for faster, quieter AF operation
    • AW (All-Weather) construction to prevent intrusion of dust and rain and ideal for use in demanding shooting conditions
    • Minimum shooting distance of 0.4 meters
    • Note: this is an updated version of the reference product shown at CP+ 2017
    • Availability: Scheduled for the spring of 2018
  • HD PENTAX-DA? 11-18mm F2.8
    • PENTAX K-mount covering the image circle of an APS-C-format image sensor
    • High-performance Star-series model providing excellent resolution even at open aperture
    • Large-aperture, ultra-wide-angle zoom lens with a maximum aperture of F2.8 (fixed) and an angle of view between 17mm and 27.5mm (in the 35mm format)
    • Availability: Scheduled for the summer of 2018

| About Ricoh Imaging Americas Corporation|

Ricoh Imaging Americas Corporation is a subsidiary of Ricoh Company Ltd., a global technology company specializing in office imaging equipment, production print solutions, document management systems and IT services. Headquartered in Tokyo, Ricoh Group operates in about 200 countries and regions.

The company now known as Ricoh Imaging Americas Corporation was originally founded in 1919, under the name Asahi Optical Joint Stock Co. and launched its first SLR camera in the 1950s under the PENTAX name. Today, Ricoh Imaging Americas Corporation continues to produce the heritage-rich, award-winning line of PENTAX DSLR cameras, lenses and sport optics equipment as well as Ricoh’s offering of stylish and compact digital cameras, known for their wide-ranging, rich set of features.

For further information, please visit www.us.ricoh-imaging.com

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Ricoh announces new lenses for both APS-C and full-frame Pentax cameras

Posted in Uncategorized

 

Hands-on with the new Olympus M.Zuiko Digital ED 17mm F1.2 and 45mm F1.2 Pro lenses

26 Oct

Olympus Digital ED 17mm F1.2 and 45mm F1.2 Pro lenses

Olympus has introduced two new lenses in its M.Zuiko Pro F1.2 prime lens lineup, the Digital ED 17mm F1.2 Pro and the Digital ED 45mm F1.2 Pro. Both lenses promise to give Micro Four Thirds shooters excellent flexibility in low light situations, in addition to providing shallow depth of field and excellent image quality.

The two prime lenses join the existing Digital ED 25mm F1.2 Pro in the Olympus lens lineup.

Olympus Digital ED 17mm F1.2 and 45mm F1.2 Pro lenses

Olympus says the design philosophy for its Pro F1.2 prime lenses is to deliver aesthetically pleasing ‘feathered’ bokeh without sacrificing any sharpness or resolution, even when shooting wide open. Both lenses use Olympus’ new Z Coating Nano technology to suppress flares and ghosting in order to Provide extremely clear image quality.

Olympus Digital ED 17mm F1.2 and 45mm F1.2 Pro lenses

So, what is ‘feathered bokeh’? Olympus says that unlike many lenses which Produce ring-shaped or solid bokeh (with sharper outlines), the Pro F1.2 primes deliver bokeh with extremely smooth transitions from in-focus to out-of-focus areas, resulting in smoother backgrounds that make a foreground subject stand out better, creating a sense of depth. Olympus says that feathered bokeh does not come at the expense of resolution, which remains extremely high, even wide open.

Olympus Digital ED 17mm F1.2 and 45mm F1.2 Pro lenses

The Digital ED 45mm F1.2 Pro is built around 14 elements in 10 groups, including one ED lens, four HR lenses, and one aspherical lens. It contains three bonded lens elements, including the ED lens, to compensate for problems that sometimes occur on wide aperture lenses, such as out-of-focus color bleeding (axial chromatic aberration) and peripheral color bleeding. It has a minimum focusing distance of 50cm and weighs in at 410g.

Olympus Digital ED 17mm F1.2 and 45mm F1.2 Pro lenses

The Digital ED 17mm F.12 Pro is built around 15 elements in 11 groups. Want to know how that breaks down? Get ready for acronym soup!

The 17mm F1.2 Pro includes six ED lenses (more than any other Zuiko lens), including one Super ED lens, three ED lenses, one EDA lens, and a newly developed ED-DSA lens, along with a Super HR lens and an aspherical lens. According to Olympus, this combination effectively compensates for chromatic aberrations, as well as spherical aberrations that can affect wide primes. The result, they say, is excellent optical performance with feathered bokeh.

The 17mm lens has a minimum focusing distance of 20cm and weighs in at 390g.

Olympus Digital ED 17mm F1.2 and 45mm F1.2 Pro lenses

What is a ED-DSA lens, you might ask? It’s a Dual Super Aspherical lens that features an extremely large thickness ratio between the center and periphery of the lens, made from ED glass. Olympus claims to be the first company to successfully mass produce this type of lens, and that it results in a lens which possess the characteristics of both an ED (Extra-low Dispersion) lens and a DSA (Dual Super Aspherical) lens to compensate for spherical, comatic, and astigmatism aberration.

According to Olympus, producing this lens as a single element reduces the total number of lens elements, improving performance as well as reducing the overall length of the lens.

Olympus Digital ED 17mm F1.2 and 45mm F1.2 Pro lenses

Both lenses use the Olympus MSC (Movie and Still Compatible) autofocus mechanism, which provides smooth high-speed focusing while remaining virtually silent, despite being wide diameter lenses. Olympus says this system provides class-leading AF performance when paired with the E-M1 Mark II body (as low as 0.12 seconds for the 17mm lens). Additionally, there are no limits on what AF points can be used, even at the widest aperture, thanks to Olympus’ use of on-sensor phase detect autofocus.

Olympus Digital ED 17mm F1.2 and 45mm F1.2 Pro lenses

All three M.Zuiko F1.2 Pro primes share virtually identical sizes, with less than a couple millimeters of variation between them, and have very similar weights. All use the same 62mm lens diameter, allowing them to share filters and other accessories.

Olympus Digital ED 17mm F1.2 and 45mm F1.2 Pro lenses

Both lenses are designed with ease of use in mind. The wide focus ring has been placed near the front of the lens in order to make manual focusing easier when paired with cameras that have large grips, such as the E-M1 Mark II. As with some other Olympus lenses, a clutch mechanism allows users to instantly switch from auto to manual focus by pulling the focus ring toward the camera body. Olympus even says it designed a gradually curving surface around the L-Fn function button to make it easier to access when shooting through the viewfinder.

Since all the Pro F1.2 lenses are so similar in size, Olympus has printed each lens’s focal length in oversized numbers to make it easy to tell them apart.

Olympus Digital ED 17mm F1.2 and 45mm F1.2 Pro lenses

In addition to excellent optical performance, Olympus has built the Pro F1.2 primes to meet the needs of demanding users. Both lenses are dustproof, splashproof, and freezeproof (to 14ºF/-10ºC), making them ideal for use even in extreme conditions.

Olympus Digital ED 17mm F1.2 and 45mm F1.2 Pro lenses

Both the 17mm and 45mm lenses should provide great performance for Micro Four Thirds photographers, especially those who work in low light conditions or who desire very shallow depth of field.

When combined with Olympus’ existing 25mm F1.2 Pro lens, the set represents a trio of fast primes at very useful focal lengths of 17mm, 25mm, and 45mm. (34mm, 50mm, and 90mm equivalent.) Their small size, when combined with a compact Micro Four Thirds camera body, could make a great kit for photographers who prefer to travel light but like to shoot with fast primes.

Olympus Digital ED 17mm F1.2 and 45mm F1.2 Pro lenses

The M.Zuiko Digital ED 45mm F1.2 Pro will be available in late November 2017, and the M.Zuiko Digital ED 17mm F1.2 Pro will be available in late January 2018. Both will retail for $ 1,199, the same price as the existing 25mm F1.2 Pro lens.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Hands-on with the new Olympus M.Zuiko Digital ED 17mm F1.2 and 45mm F1.2 Pro lenses

Posted in Uncategorized

 

Olympus 45mm and 17mm F1.2 Pro lenses emphasize bokeh quality

26 Oct

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_2115725642″,”galleryId”:”2115725642″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

Olympus has announced 17mm and 45mm F1.2 Pro primes, offering high-end fast 35mm and 90mm equivalent lenses. The lenses use the same 60mm filters that the existing 25mm F1.2 Pro uses and, like that lens both are weather sealed and dust proof.

The two lenses expand the company’s series of F1.2 lenses, which are equivalent to 35 and 90mm F2.4 lenses for full frame. This allows Micro Four Thirds users to achieve very shallow levels of depth-of-field at the focal lengths where they need this capability. The lenses are designed to be consistent in size with one another.

Olympus says it’s focused the design not just on achieving sharpness but also on providing attractive bokeh. It says its research showed that bokeh with a soft edge produces the most attractive result, producing a smooth transition from in-focus to out-of-focus regions, and with minimal risks of interference patterns occurring in backgrounds.

To achieve this, both lenses are designed so that spherical aberration is not fully corrected (that would give completely uniform bokeh). Instead it focuses peripheral light rays slightly in front of the plane of focus, giving a soft roll-off to the edges of the bokeh. This, they say, is how many much-loved ‘classic’ lenses gave desirable, ‘3D’ rendering.

The 17mm lens includes a unique ED-DSA element, which has dual aspherical lenses formed from soft and hard-to-work extra low dispersion glass. They claim to be the only company currently able to do this.

The company also highlights that its cameras should be able to achieve very high levels of focus precision even with off-center points. Both lenses also have the snap-back focus clutch system, so that videographers can manual focus with a linear focus response.

Olympus mentions that there’s been a trend towards bokeh-optimized primes in recent years but says its design approach gives attractive bokeh without any of the light loss causes by the use of apodization filters in Fujifilm’s APD or Sony’s STF lenses.

Each lens will cost $ 1200. The 45mm will go on sale in late November, and the 17mm will be available in late January 2018.

Press release

BEAUTIFUL BOKEH: TWO NEW OLYMPUS LENSES EXPAND THE M.ZUIKO PRO F1.2 PRIME LINEUP

M.ZUIKO Digital ED 17mm F1.2 PRO and M.ZUIKO® Digital ED 45mm F1.2 PRO Offer Smooth Feathered Bokeh and High Resolution at the Brightest Aperture

CENTER VALLEY, PA., October 25, 2017 — Olympus expands its M.ZUIKO F1.2 PRO prime lens lineup with the new M.ZUIKO Digital ED 17mm F1.2 PRO (34mm focal length in 35mm equivalent) and the M.ZUIKO Digital ED 45mm F1.2 PRO (90mm focal length in 35mm equivalent). These Micro Four Thirds® system lenses join the currently available M.ZUIKO Digital ED 25mm F1.2 PRO (50mm focal length in 35mm equivalent) to deliver outstanding resolution and beautiful feathered bokeh at a maximum aperture of F1.2.

The M.ZUIKO Digital ED 17mm F1.2 PRO and M.ZUIKO Digital ED 45mm F1.2 PRO give M.ZUIKO PRO lens users more flexibility in low-light environments as well as an extraordinarily shallow depth-of-field. Each is designed to achieve a new level of depictive performance, delivering three-dimensional images that represent subjects as they appear in the real world through a combination of feathered bokeh and sharp resolution.

By focusing not only on the bokeh’s size but also its quality, each lens produces a feathered bokeh effect that better emphasizes the main subject and allows it to stand out within the image. The shallower depth of field produced at F1.2 is especially ideal for portrait photographers.

The newly developed ED-DSA lens, which possesses the characteristics of both an ED (Extra-low Dispersion) lens element and a DSA (Dual Super Aspherical) lens element, is incorporated in the M.ZUIKO Digital ED 17mm F1.2 PRO. The ED-DSA lens compensates for common wide-angle lens issues, including chromatic aberrations, distortion and color bleeding on the image periphery.

Like other lenses in the M.ZUIKO PRO series, the M.ZUIKO Digital ED 17mm F1.2 PRO and M.ZUIKO Digital ED 45mm F1.2 PRO feature compact, lightweight construction and a dustproof, splashproof, freezeproof (to 14°F/-10°C) design, giving photo enthusiasts and professionals the ability to capture brilliant images in a variety of shooting conditions.

U.S. Pricing and Availability
The M.ZUIKO Digital ED 45mm F1.2 PRO will be available late November 2017, while the M.ZUIKO Digital ED 17mm F1.2 PRO will be available late January 2018. Both lenses will have an estimated street price of $ 1,199.99 USD/$ 1,499.99 CAD. For a complete list of specifications for the M.ZUIKO Digital ED 45mm F1.2 PRO, visit the Olympus website: http://getolympus.com/lenses/m-zuiko-ed-45mm-f1-2-pro.html, and for the M.ZUIKO Digital ED 17mm F1.2 PRO lens, visit http://getolympus.com/lenses/m-zuiko-ed-17mm-f1-2-pro.html.

Main Features

1. Depictive performance that delivers feathered bokeh and outstanding resolution

Feathered bokeh provides an ultra smooth transition from the sharp to the defocused areas of the image to provide an overall softer background. This results in a subject that stands out with lifelike dimensionality.

In the M.ZUIKO Digital ED 17mm F1.2 PRO, there are 15 elements in 11 groups, including specialized lens elements like the newly developed ED-DSA lens. The ED-DSA lens element, which possesses the characteristics of both an ED (Extra-low Dispersion) lens and DSA (Dual Super Aspherical) lens, reduces the overall weight and the number of lens elements. This design effectively compensates for various types of aberrations that tend to occur in wide-angle lenses, such as chromatic aberration, distortion and color bleeding on the image periphery (magnification chromatic aberration).

The M.ZUIKO Digital ED 45mm F1.2 PRO contains three optimally placed and bonded lens elements, including one ED lens, which compensate for typical problems on wide-aperture lenses like out-of-focus color bleeding (axial chromatic aberration) and peripheral color bleeding (magnification chromatic aberration). The extensive use of special lenses incorporated into 14 elements in 10 groups results in superb optical performance and feathered bokeh effects, even at the widest aperture setting.

Both lenses use the same Z Coating Nano technology as the M.ZUIKO Digital ED 25mm F1.2 PRO for sharp, clear image quality that significantly reduces ghosts and flares that tend to occur in backlit images.

2. Fast, high-precision AF

Both lenses are equipped with the MSC (Movie- and Still-Compatible) autofocus mechanism that provides virtually silent and smooth high-speed focusing performance, even when using the maximum aperture of F1.2. Additionally, there are no AF point limitations, even at the widest aperture, due to the On-Chip AF system in all Olympus OM-D® and PEN® cameras.

Using Face Priority or Eye Priority AF, two modes which are highly regarded by professional portrait photographers, brings out the true power of these large-aperture lenses.

3. Compact, lightweight construction and dustproof, splashproof and freezeproof (14°F/-10°C) performance

The M.ZUIKO PRO F1.2 prime lens lineup is exceptionally compact, lightweight and provides unrivaled mobility, dustproof, splashproof and freezeproof (14°F/-10°C) performance consistent with the M.ZUIKO PRO series. A uniform lens filter diameter across the three F1.2 lenses allows for use of the same lens filters, such as protection filters and PL filters.

Other Features

  • Excellent close-up shooting: The M.ZUIKO Digital ED 17mm F1.2 PRO has a minimum focusing distance of 20 cm and a maximum image magnification of 0.15x (35mm equivalent: 0.3x), while the M.ZUIKO Digital ED 45mm F1.2 PRO has a minimum focusing distance of 50 cm and a maximum image magnification of 0.1x (35mm equivalent: 0.2x), providing outstanding close-up shooting performance.
  • Premium design: Each lens was designed with the professional photographer in mind. The focusing ring placed at the front of the lens makes focusing easier when paired with the large grip of the flagship OM-D E-M1 Mark II camera. The L-Fn Button is located on a gently curving surface to make it comfortable to access. The MF Clutch mechanism allows the photographer to instantly switch between auto and manual focusing mode by pulling the focusing ring toward the camera body.

Lens Accessories:
Lens Cap, LC-62F (bundled): This lens cap is designed for quick and easy removal from lenses with a filter diameter of ?62mm, and can be used even when the lens hood is still attached.

Lens Case, LSC-0811 (bundled): A purse-string-type lens case with three-layer construction thatsecurely protects the lens. The lens can be stored in the case with the lens cap, protection filterand lens hood (stored) attached to the lens.

Lens Hood, LH-66C (bundled): A lens hood specifically designed for the M.ZUIKO Digital ED 17mm F1.2 PRO lens to reduce the amount of unnecessary light entering the lens when shooting in backlit conditions. The hood release lock button features a nonprotruding design that prevents the hood from accidental detachment.

Lens Hood, LH-66B (bundled): A lens hood for use with the M.ZUIKO Digital ED 25mm F1.2 PRO and the M.ZUIKO Digital ED 45mm F1.2 PRO lenses to reduce the amount of unnecessary light entering the lens when shooting in backlit conditions. The hood release lock button features a nonprotruding design that prevents the hood from accidental detachment.

Protection Filter, PRF-ZD62 PRO (sold separately): This protection filter maximizes the abilities of M.ZUIKO PRO lenses bearing the Zuiko name. It features ZERO coating, which cuts reflection by approximately one-half compared to conventional multicoating, black-edged glass, and a satin-finished black alumite aluminum frame for a matte surface that suppresses reflections.

Sales Outline for Separately Available Accessories

Product Name

MSRP

Planned Launch Date

Lens Cap, LC-62F

$ 23.99 USD
$ 21.99 CAD

On sale

Lens Case, LSC-0811

$ 26.99 USD
$ 26.99 CAD

On sale

Lens Hood, LH-66B

$ 44.99 USD
$ 44.99 CAD

On sale

Protection Filter, PRF-ZD62 PRO

$ 64.99 USD
$ 64.99 CAD

On sale

Olympus 17mm and 45mm F1.2 Pro specifications

  Olympus M.Zuiko Digital ED 17mm F1.2 Pro Olympus M.Zuiko Digital ED 45mm F1.2 Pro
Principal specifications
Lens type Prime lens
Max Format size FourThirds
Focal length 17 mm 45 mm
Image stabilization No
Lens mount Micro Four Thirds
Aperture
Maximum aperture F1.2
Minimum aperture F16
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 15 14
Groups 11 10
Special elements / coatings 1 Super ED, 3 ED, 1 ED-DSA, 1 EDA, 1 Super HR, 1 aspherical 1 ED, 4 HR, 1 aspherical
Focus
Minimum focus 0.20 m (7.87) 0.50 m (19.69)
Maximum magnification 0.15× 0.1×
Autofocus Yes
Motor type Stepper motor
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale Yes
Physical
Weight 390 g (0.86 lb) 410 g (0.90 lb)
Diameter 68 mm (2.68) 70 mm (2.76)
Length 87 mm (3.43) 85 mm (3.35)
Materials Magnesium alloy
Sealing Yes
Colour Black
Filter thread 62.0 mm
Hood supplied Yes
Hood product code LH-66C LH-66B
Tripod collar No

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Olympus 45mm and 17mm F1.2 Pro lenses emphasize bokeh quality

Posted in Uncategorized

 

Irix announces 100mm filter system for wide angle lenses

21 Oct

Lens manufacturer Irix announced earlier today that it plans to release a filter holder and a collection of filters in 100x100mm and 100x150mm sizes—a system designed especially to fit its 15mm F2.4 lens. The holder accepts a special bayonet mount adapter to attach to the front of the 15mm lens, while a range of additional screw thread adapters will allow the holder to be used with other lenses.

The Irix Edge 100 system will consist of a dual slot holder that the company claims is the lightest in its class. The holder is made from ‘aluminium alloy’ and features a rotating joint to allow easy positioning of graduated filters and polarisers.

Irix says that the holder, called the IFH-100, has a profile that’s slim enough to avoid mechanical vignetting even when two filters are held in front of the 15mm lens, and that a layer of black velvet covering the forward surfaces prevents light leak during long exposures.

The filter system includes 2mm-thick filters in the 100x100mm and 100x150mm sizes—to begin with the company will launch mostly NDs, ND grads and a polarizer, but has plans to offer a filter that cuts the effect of pollution. The holder accepts filters from other systems as well, and the company plans to offer adapter rings for lenses with threads of between 67mm and 82mm. Irix already has a series of circular screw-in filters under the Edge brand.

Price and availability have yet to be announced. For more information visit the Irix website.

Press Release

Irix presents its Edge 100 filter system

The TH Swiss company would like to announce the expansion of its range of Irix accessories with the Edge 100 series filter system. Among new products, there will be a versatile holder – the IFH-100 – with dedicated adapters and a wide choice of 100x100mm and 100x150mm filters.

The Irix Edge IFH-100 filter holder

The Irix IFH-100 is a universal filter holder designed for size 100mm filters. Its lightweight compact construction and bayonet adapter are created especially for the Irix 15mm f/2.4 lens, allowing the use of two filters at the same time without any vignetting effect. The construction of the filter holder base on the removable adapters allows for quick and easily attachment to the lens, along with free rotation around the optical axis when using the graduated or polarizing filters.

The ability to use removable adapters with thread diameters from 67mm to 82mm means that the holder can be used with lenses produced by Irix in the future, along with other brands. Each adapter has an additional thread for attaching the cap to the lens.

The filter holder is made of an aluminium alloy, which guarantees the high strength and stiffness of its structure. This has enabled to get an extremely compact size while keeping wide functionality, along with an aesthetic design together with the whole Irix product line. It is worth mentioning that the IFH-100 is the lightest holder of its class. The front surface of the filter holder is covered with a light-absorbing velvet fabric that blocks access to the side light, what is especially important when using high density optical ND filters.

The Irix Edge 100 filters

With the introduction of the IFH-100 filter holder, the Edge 100 series filters will also be available in two formats. The first, size 100×150, will contain gradual filters with a soft and hard transition, and also a reversed gradual filter dedicated to taking pictures of sunrises and sunsets. These rectangular filters will be available in ND4, ND8 and ND16 versions. In the square format, Neutral Density filters with densities ND32, ND128, ND1000, ND1000K will be available for the 100x100mm, along with a polarizing filter. There are future plans by the manufacturer to introduce filters which reduce light pollution.

Edge 100 series filters have a thickness of 2mm and are made from high quality optical glass which is also used in the production of the optical elements in lenses. Filters are coated on both sides with an anti-reflective nano-coating to keep high contrast and natural colours in pictures. The additional water and oil repellent coating also ensures easy cleaning of the surface.

The premiere at Photo Plus Expo 2017

The Edge series will be available at the Irix booth (No.929) during the Photo Plus Expo in New York City on October 26-28, 2017.

The full range of new Irix Edge accessories, along with pricing and availability information, will be published in the near future.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Irix announces 100mm filter system for wide angle lenses

Posted in Uncategorized

 

Canon hit two milestones today: 90 million cameras and 130 million lenses

18 Oct

Canon has hit two couple major production milestones today. Specifically, Canon says it has now produced 130 million EF-series interchangeable lenses and 90 million EOS cameras. And in case you’re curious, the camera maker revealed that an EOS 5D Mark IV was its 90 millionth EOS camera to go through production, while the 130 millionth interchangeable lens distinction goes to an EF 16-35mm f/2.8L III USM.

Both the EOS and EF series made their debut in March 1987, eventually picking up production speed in the early 2000s as DSLRs became more popular.

The company boasts a 14-year consecutive No. 1 share of the global interchangeable lens digital camera market, as well as the distinction of being first to bring certain features to the market with its EF lenses, including image stabilizer tech and an ultrasonic motor. Canon’s EOS Series also has some notable distinctions in its past, including being the first to offer an electronic lens mounting system and fully digitized communication between the lens and camera body.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Canon hit two milestones today: 90 million cameras and 130 million lenses

Posted in Uncategorized