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Posts Tagged ‘17mm’

ZY Optics unveils $399 17mm F0.95 ‘Speedmaster’ lens for MFT cameras

17 Sep

ZY Optics has announced the release of its latest lens, the Mitakon Speedmaster 17mm F0.95 for Micro Four Thirds (MFT) camera systems.

The 17mm manual focus lens is constructed of 12 elements in 9 groups and offers a 34mm full-frame equivalent focal length when attached to a MFT camera (63º angle of view). It features an aperture range of F0.95-F16, uses a nine-blade aperture diaphragm, has a 58mm front filter thread and has a minimum focusing distance of 30cm (11.8”). The aperture ring is stepless for quiet adjustment during video shooting.

Below are a selection of sample photos provided by ZY Optics:

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The lens measures in at 72mm (2.95”) diameter, 65.4mm (2.57”) long and weighs 461g (.92lbs).

The Mitakon Speedmaster 17mm F0.95 for MFT camera systems is available to purchase now on the ZY Optics website for $ 399.

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Review: Laowa 17mm f1.8 Lens with Micro-Four-Thirds Mount

22 Oct

The post Review: Laowa 17mm f1.8 Lens with Micro-Four-Thirds Mount appeared first on Digital Photography School. It was authored by Mark C Hughes.

review-laowa-17mm-f1.8-lens-MFT

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The new Laowa 17mm f1.8 lens for MFT

There are a lot of gear reviews for new photography gear. Many focus on technical specifications and others focus on sharpness and precision of the optics. I had a chance to spend a few weeks with the Laowa 17mm f1.8 lens for Micro-Four-Thirds (MFT) mount. This is a bit of a different lens that requires a slightly different approach to a review. I am hoping this approach will help you decide if this is a lens for you.

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The New Laowa 17mm f1.8 lens is a fully manual compact design with metal construction, a small metal hood and clear markings on the barrel

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This lens fits 46mm threaded filters (common for MFT)

Technical Specifications

I will run through the technical specifications of the Laowa 17mm f1.8 lens as they have some interesting but limited impact on this review (aside from the price). As a 17mm lens on an MFT mount, this has a corresponding field of view that corresponds to a 34mm lens on a full-frame (FF) sensor (65 degrees). The lens has nine elements in seven groups with a seven-bladed iris. The filter diameter is 46 mm, and the weight is 172g. It is not weather-sealed, and the MSRP is $ 149USD.

Image: Works great even in low light conditions

Works great even in low light conditions

Practical details

Aside from the mathematics of technical specifications, I think a lens review should provide more practical details. Details that describe the intangibles about the lens. Things you only realize when you have the lens in your hand or on your camera.

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Perfectly balanced with smaller MFT camera bodies like the Pen F

For starters, this is a completely manual lens with manual focus and manual aperture control.

It is a small but solid – really solid – lens with metal construction and even a small metal lens hood (not much shading from this guy). This lens does not feel plastic-y in any way shape or form. The movement of the aperture ring and focus control feels great, and the aperture ring has quiet click settings (it is not clickless but moves easy) and the markings on the focus ring are clear.

This lens feels like something from the best film era vintage lenses and is well-sized to match the size of smaller MFT camera bodies.

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Works well with the Olympus EM5 MK II

Focal range

At 34mm FF equivalent, the Laowa 17mm f1.8 is a prime lens size that, along with a 50mm FF equivalent, should be in any photographer’s bag. Some famous photographers have operated with only lenses in this range. At a 34mm FF equivalent, it provides a relatively wide field of view and a more forgiving range for focus. Wider lenses tend to be more forgiving when trying to focus them. With the manual focus on this lens, not getting focus perfect can still result in usable images.

Image: Because it has a wide field of view, you can get pretty close.

Because it has a wide field of view, you can get pretty close.

Image: Once the focus is set, the lens performs well.

Once the focus is set, the lens performs well.

Sharpness

As for image quality, the lens does reasonably well. It is not the sharpest (even when you nail focus) and it is clear that when fully wide open, the lens is sharper in the center of the image but softer at the edges. Saying this doesn’t really describe the image results from this lens. The image is sharp where it needs to be and softer where is it okay to be softer. The look from the lens is great. In addition, the seven-bladed iris produces very nice starbursts when closed down for night shots of light sources.

Image: Even with close-ups, there are little problems resolving the images and little vignetting.

Even with close-ups, there are little problems resolving the images and little vignetting.

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The seven-bladed iris allows for very nice starbursts at night

Size

As for size and usability, this Laowa 17mm f1.8 lens fits smaller MFT bodies really well (like a Pen F) and looks a little dwarfed on a bigger body (like an EM1X). Not only does this lens fit well on smaller bodies, but it looks entirely old school like the cameras that are going for that stylistic approach.

I had many people asking me if I was shooting with a film camera when I had this lens on my Pen F. I seemed to reinforce this feeling when I tried to focus and take a photograph and took forever. This is not a run-and-gun lens.

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The lens is small and can seem overly-small on larger MFT bodies

Old-school feel and slow approach to photography

I am old enough to have shot film with manual film cameras. I thought I had left that all behind to use all the technical horsepower in modern cameras to really nail technically-challenging circumstances trying to get the best images. As a consequence, I had forgotten about the slower process of taking photographs when all you had was a split prism and a needle for a light meter.

When you connect a manual lens on an MFT camera, you operate primarily with the histogram/light meter to get a good exposure. You have to think about ISO, shutter speed, aperture, and focus. It takes time.

Image: Fun to experiment with when you have the time

Fun to experiment with when you have the time

Slow photography is like slow food

I remember years ago traveling in Italy and going to a slow food restaurant.

The whole concept with slow food is to make it more of an experience and to take time to savor the flavors and textures. I think shooting with a manual lens is similar. It means that you are shooting slower and have to think way more about your images – no run and gun.

Slow photography is forced on you when you shoot with this type of lens. With cell phones, you pull them out and shoot. You barely focus. There is no thought to the process, and maybe that means that people can focus on the subject matter of their images. However, at other times, it means that you really aren’t thinking much about the images you are taking.

Image: Despite being quite a wide lens, there is little obvious distortion with the Laowa 17mm f1.8...

Despite being quite a wide lens, there is little obvious distortion with the Laowa 17mm f1.8 lens.

Nailing focus

Trying to nail focus with a manual focus lens also means you have to slow down. Back in the old manual focus film camera days, you had split prisms and micro prisms in your viewfinder to help you get your focus right. These tools are not available on modern digital cameras.

However, with mirrorless bodies on MFT cameras, you have other tools at your disposal including magnification and focus peaking. I was able to custom set my camera’s buttons to allow me to set one button for magnification and another for focus peaking. It’s still not fast, but it worked fairly well.

Image: Even for moving subjects, such as from a balloon, once you have your exposure and focus set,...

Even for moving subjects, such as from a balloon, once you have your exposure and focus set, it performs like any other lens.

This magic of this type of lens is that you need to slow down and think about the image you are composing. You need to think about everything from ISO to aperture to shutter speed and finally focus. If any are off, you can instantly see that you have screwed up. If you think back to the film days, it wouldn’t be until you got your images developed that you would know you messed up. When I was using this lens, I knew immediately when I screwed up, even when I thought I had all the settings right.

Image: Limited distortion even for buildings

Limited distortion even for buildings

That process of slowing down and understanding what you are doing was a great deal of fun. The lens was wide enough and fast enough (aperture wise, not in any other way) that I would feel comfortable taking only this lens out to take some shots.

Not for the faint of heart

Slow means you can’t shoot fast. This seems obvious, but when someone says to you, “take our picture, “…they pose and wait for you. This lens will not do that quickly, regardless of how good you are.

You can take portraits, but you need to plan the shots and be ready when the opportunity comes up. An old street photography trick used to be to set your exposure with an intermediate aperture, put your focus at 3 feet, and point and shoot. In practice, this is not quite so simple. Nailing the exposure is a little trickier because you need to be looking through the lens to get the exposure balanced.

Image: This lens is great to travel with because of its width and small size

This lens is great to travel with because of its width and small size

The Results

I really enjoyed the Laowa 17mm f1.8 prime lens. I have other similar prime lenses, but all are equipped with autofocus and electronic apertures. They also feel pretty plastic. They are more expensive, but sharper. This lens feels great, is super-solid, shoots well and needs lots of attention to your images. It forces you to shoot like a photographer. You feel like a photographer. It also makes you look like a photographer.

At $ 149 USD, the Laowa 17mm f1.8 lens is quite the value. My images turned out great and I fell in love with taking slower pictures again. I had a chance to slow down and smell the roses, or in this case, take more deliberate thoughtful images.

Would you use a lens like this? Share with us in the comments below.

The post Review: Laowa 17mm f1.8 Lens with Micro-Four-Thirds Mount appeared first on Digital Photography School. It was authored by Mark C Hughes.


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Laowa opens pre-orders for new 17mm F1.8 MFT lens, set to ship later this month

21 Oct

Venus Optics has announced the Laowa 17mm F1.8 for Micro Four Thirds (MFT) camera systems is currently available to pre-order and will ship later this month.

The manual lens, which costs $ 149, is constructed of nine elements in seven groups, features a seven-blade aperture diaphragm, has a 15cm minimum focusing distance and a 46mm front filter thread. The 34mm full-frame-equivalent focal length offers a 65-degree angle of view and the lens weighs in at just 172g (6oz).

Venus Optics also notes the lens is ‘drone-friendly,’ due to the versatile MFT mount, lightweight design and its Frog Eye Coating (FEC), which allegedly repels water and dirt off the front lens element.

Below is a sample gallery of images Venus Optics has provided:

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You can pre-order the Laowa 17mm F1.8 MFT now on Laowa’s website for $ 149. The first units are expected to ship out in ‘late October,’ according to Laowa.

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Olympus 17mm F1.2 Pro sample gallery

10 Dec

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The Olympus 17mm F1.2 promises to open up new possibilities for Micro Four Thirds shooters seeking razor-thin depth-of-field and smooth, ‘feathered’ bokeh. We’ve had the chance to do some shooting with it both close to home and on the road in Charleston, South Carolina. Take a peek at our extensive sample gallery.

See our Olympus 17mm F1.2 Pro
sample gallery

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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.

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

26 Oct

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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

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MS Optics launches ultra-slim 17mm F4.5 pancake lens for Leica M

17 Jan

Japanese manufacturer of hand-made lenses, MS Optics, has launched a 17mm F4.5 lens for the Leica M system that is just 10.2mm thick. The Perar 17mm F4.5 Retro Focus Ultra Thin lens has an angle of view of 100° and weighs only 60g. The lens has been designed and made by Sadayasu Miyazaki who has made a reputation converting classic lenses for the Leica M system.

The lens uses four elements in four groups and focuses from 0.4m to infinity, while the minimum aperture is F16. A good deal of vignetting is said to be present when the lens is used wide open, but the designer says that when the focus is set to 1.40m everything from 0.8m to infinity will be sharp.

The lens is available in limited numbers from Japan Camera Hunter in Japan or from the European distributor Taos Photographic, priced ¥80,000/€950 (between $ 700 and $ 1000)

Product description

MS Optics Perar Ultra-Wide 17mm f4.5 Retrofocus

Miyazaki San is ready to release the next lens in his new series of lenses. This time entering the ultra-wide category with a tiny 17mm lens. This tiny lens packs a huge punch.

Lens details:
PERAR 17mm F4.5 Full MC – retro focus super wide ultra-thin design only 10.2mm long
This is a slow lens, but it tosses the standard practice for retro focus lens designs in the trash, as it is as small as a body cap, weighs only 70 grams, and is just 10.2mm long, making it easy to use outdoors. Performance is very high from maximum aperture. Due to the four element four group optical design and full multi-coating, the characteristics of this lens are excellent color rendition and high contrast. When the distance scale is set to 1.4m, everything from 0.8m to infinity is in focus. To take good snaps, hold the camera upright against your chest without looking through the viewfinder, approach the subject, and press the shutter while looking at the subject directly, and you can capture dynamic expressions.

A weakness of the lens is the peripheral light fall off, especially at maximum aperture, but this lens is improved compared to the 21mm and 24mm Perars. Distortion is kept to +/-2%, which is about the average for a 28mm lens, but it may stand out in some circumstances. Compared to the Zeiss Distagon 18mm F4, this is neither superior nor inferior, but taking into consideration the fact that the Zeiss lens is a 10 element optical design, 70mm in diameter, 51.5mm long, and weighs 350g, I think the good points of my lens are pretty clear. For a filter, the glass removed from a 34mm filter can be attached inside the hood.

Specifications

  • ULTRA MINI retro focus 17mm f4.5 (ultra-wide 100 degree coverage)
  • 4 elements in 4 groups, all multi-coated
  • Leica mount with focus coupling from 0.85m to infinity
  • Focuses down to 0.3m on mirrorless cameras
  • Size: 50mm diameter x 10.2mm length
  • Weight: 60g for lens, 100g for set

@ f4.5 – there is some coma
@ f8 – lens is pretty much at peak performance
@ f11 – corners improve a bit more

Limited stocks are available of this lens and there is a waiting period as they come in trickles.

Articles: Digital Photography Review (dpreview.com)

 
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Samsung NX Mini real-world gallery updated with 17mm F1.8 samples

01 Aug

You’d know just by looking at it that the Samsung NX Mini is the slimmest and lightest interchangeable lens camera on the market. Tucked inside is a 1″-type, 20MP CMOS sensor along with Wi-Fi with NFC and 1080/30p video. The aptly named Mini also introduces a new NX-M lens mount. We’ve updated our existing NX Mini samples gallery with images from the 17mm F1.8 prime. See gallery

Articles: Digital Photography Review (dpreview.com)

 
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SLR Magic announces 17mm T1.6 lens for Micro Four Thirds

14 Dec

17mmT16-2.png

Hong Kong-based lens maker SLR Magic has announced an addition to its family of video-oriented manual focus fast primes for Micro Four Thirds. The 17mm T1.6 offers an angle of view equivalent to 34mm on full frame, and has geared focus and aperture rings. It will be available at the end of December 2013.

News: Digital Photography Review (dpreview.com)

 
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Just Posted: Olympus M.Zuiko 17mm F1.8 sample gallery

08 Feb

Scott17.jpg

Just posted: Olympus M.Zuiko 17mm F1.8 sample gallery. We’ve been shooting with the Olympus 17mm F1.8 lens for a while now and have put together a sample gallery showing the sorts of things it can do. We’ve also prepared some notes on the experience of shooting with the 34mm equivalent fast prime for Micro Four Thirds and included some shots that match ones we included in our Sony RX1 gallery. Beyond that we’ve tried to show a the lens at a series of apertures to show how the lens behaves.

News: Digital Photography Review (dpreview.com)

 
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