RSS
 

Posts Tagged ‘24mm’

Sigma Releases 24mm f/2 and 90mm f/2.8 Lenses for E-Mount and L-Mount Cameras

11 Sep

The post Sigma Releases 24mm f/2 and 90mm f/2.8 Lenses for E-Mount and L-Mount Cameras appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Sigma releases 24mm and 90mm lenses

Sigma has unveiled two powerful lenses for Sony E-mount and L-mount cameras: the 24mm f/2 DG DN Contemporary and the 90mm f/2.8 DG DN Contemporary.

The lenses slot into Sigma’s “I” lineup, a series of glass featuring top-notch build quality, portable bodies (Sigma claims the I series is perfect for “everyday use”), and high-resolution imaging on par with even the most demanding mirrorless cameras. 

And the Sigma 24mm f/2 continues this I series tradition, offering outstanding build quality in a portable package. The lens is entirely metal, from the barrel and mount to the focus and aperture rings (and yes, the 24mm f/2 does sport a manual aperture ring, for photographers who prefer a more tactile, analogue method of shooting). 

Sigma 24mm f/2 lens

Sigma notes that the 24mm f/2 works well for “night sky photography, events, and interiors,” as well as “day-to-day use.” It certainly should perform well in low-light situations like indoor events (e.g., weddings) thanks to the wide f/2 maximum aperture, though Sigma might be selling the lens short; in addition to the aforementioned uses, I’d also peg the 24mm f/2 as an excellent street photography lens – it’s compact, fast, and sharp, even if its 24mm focal length is wider than the 35mm/50mm street photography standards – a capable landscape lens, especially for photographers looking to lighten their load, and an ideal travel lens.

The 24mm f/2 aims for optical perfection. Sigma explains that “lens resolution is extremely high and is uniform from the center to the periphery of the image,” while the lens features “the highest level of optical performance even at its maximum aperture of f/2.”

And the price is a quite reasonable $ 639 USD, ideal for budget-conscious photographers in need of a second or third lens.

The 90mm f/2.8 features a similar design – all metal, to match existing I-series lenses, plus a manual aperture ring, a compact build, and a “sleek, stylish finish.” At 90mm, I hadn’t expected the lens to be quite as travel-ready as its 24mm counterpart, yet the 2.4 inch (59.7 millimeter) barrel is ultra-slim and even pocketable.

Sigma 90mm f/2.8 lens

Who should buy the 90mm f/2.8? Sigma advertises the lens as ideal “for portraits, close-ups, weddings, and events,” and I’d probably add product and still life photography to that list, thanks to the short telephoto focal length, not to mention the “exceptional resolving power that can keep up with the latest ultra-high-resolution cameras.” Plus, the lens offers a 1:5 magnification ratio; it’s no true macro lens, but can certainly get you a close perspective for detail shots.

Like the 24mm f/2, the 90mm f/2.8 sells for a very reasonable $ 639 USD. And both lenses should begin shipping at the end of September, so if you’re a Sony or L-mount shooter looking for a well-built, compact prime, I highly recommend you take a look.

Now over to you:

What do you think of these new lenses from Sigma? Do either of them appeal to you? Share your thoughts in the comments below!

The post Sigma Releases 24mm f/2 and 90mm f/2.8 Lenses for E-Mount and L-Mount Cameras appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


Digital Photography School

 
Comments Off on Sigma Releases 24mm f/2 and 90mm f/2.8 Lenses for E-Mount and L-Mount Cameras

Posted in Photography

 

Sigma introduces 24mm F3.5, 35mm F2 and 65mm F2 lenses for E and L mounts

02 Dec

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_6918445138″,”galleryId”:”6918445138″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Sigma has introduced its new I-series of compact, premium full-frame lenses for Sony E-mount and Leica/Panasonic/Sigma’s L-mount. The 24mm F3.5, 35mm F2 and 65mm F2 DG DN | Contemporary lenses share similar designs and have weather-sealed metal bodies. All three lenses have aperture rings and by-wire manual focus dials, and are driven by stepping motors.

The 24mm F3.5 DG DN has a total of 10 elements, which include both SLD and aspherical glass. The special elements, along with Sigma’s ‘Super Multi-Layer coating’ help to reduce ghosting and flare. The 24mm F3.5 has a minimum focus distance of 11cm (4.3″) and a max magnification of 1:2 (0.5x). The lens weighs in at just 225 grams (7.9 ounces) and includes a petal-type lens hood.

Next up is the 35mm F2 DG DN. It too has 10 elements and uses SLD and aspherical glass as well as the Super Multi-Layer coating. The minimum focus distance is 27cm (11″) with the max magnification coming in at 0.18x. The lens is slightly heavier at 325g (11.5oz).

Lastly we have the 65mm F2 DG DN, which bumps the number of elements up to 12, and uses the same special elements and coatings as its shorter siblings. It has a minimum focus distance of 55cm (22″) and a maximum magnification of 0.15x. The 65mm weighs in at 405 grams (14.3oz). It comes with a metal tube-style hood.

All three lenses come with both metal lens caps that attach magnetically and with conventional plastic pinch-type lens caps. Sigma will offer a magnetic lens cap holder that’s attached to a carabiner.

The 24mm F3.5, 35mm F2 and 65mm F lenses will be available in mid-January for $ 549, $ 639 and $ 699, respectively.

Press release

SIGMA Introduces Full-Frame Mirrorless I series Premium Compact Prime Lenses

New Lenses Offer Outstanding Performance, Superior Build Quality and Elegant Design

Ronkonkoma, NY – December 1, 2020 – Today, SIGMA Corporation introduces the I series of lenses for full-frame mirrorless cameras. Pairing both for exceptional optical performance and stylish, compact design, the three new lenses – the 24mm F3.5 DG DN | Contemporary, 35mm F2 DG DN | Contemporary, and 65mm DG DN | Contemporary – join the previously released 45mm F2.8 DG DN | Contemporary to establish a new benchmark in compact performance lenses. Featuring all-metal construction for durability and cutting-edge optical designs, the I series lenses are available in L-Mount and Sony E-mount.

“When it comes to mirrorless cameras, striking the proper balance between performance and size is even more crucial. We believe there is a growing demand for compact, high-performance, high-quality lenses,” reports SIGMA America President Mark Amir-Hamzeh. “The introduction of the I series of full-frame mirrorless-exclusive lenses answers this call. The I series represents a new option: premium compact primes that are stylish in appearance with impressive specifications and optical performance.”

Built to the mechanical and operational standards of SIGMA Cine lenses, in compact mirrorless form, the I series have outstanding feel and touch in the hand. The well-damped manual focus ring, aperture ring, and autofocus switches embody true functional beauty.

The I series is being announced with 3 new lenses:

  • 24mm F3.5 DG DN | Contemporary (MSRP $ 549)
  • 35mm F2 DG DN | Contemporary (MSRP $ 639)
  • 65mm F2 DG DN | Contemporary (MSRP $ 699)

The three new lenses will be available for sale through authorized US retailers in mid-January, 2021.

The 45mm F2.8 DG DN | Contemporary, available now (MSRP $ 549), is also part of this series.

Key I series Lens Features:

  • All I series lenses feature an all-metal body, with high-precision metal internal parts, and a metal lens hood. The 24mm F3.5 is a petal-type hood.
  • All I series lenses feature a manual aperture ring and knurled surfaces for an enjoyable tactile experience.
  • The 35mm F2 and 65mm F2 lenses feature a newly-designed arc-type auto/manual focus mode switch.
  • The 24mm F3.5, 35mm F2 and 65mm F2 lenses all feature a dust and splash-proof mount
  • The three new lenses each ship with both a plastic lens cap and a magnetic metallic cap.
  • An optional magnetic cap holder (model CH-11, MSRP $ 29) features a mini-carabiner for clipping to a camera bag, jacket or belt loop, and has a donut-style center hole to easily remove the cap when it is time to place it back on the lens.

Product Specifications:

SIGMA 24mm F3.5 DG DN | Contemporary

Exceptional compact wide-angle prime | 1:2 close-up magnification | Lovely round bokeh | Stepping motor | Designed to minimize flare and ghosting | Super Multi-Layer Coating

Lens Construction:

10 elements in 8 groups (1 SLD, 3 aspherical)

Autofocus Motor:

STM

No. of Diaphragm Blades:

7 rounded

Min. Focus Distance:

4.3 in. (10.8cm)
Max. magnification ratio 1:2 (half macro)

Filter Size:

55mm

Dimensions (DxL):

L-Mount: 2.5 x 1.9 in. (64 x 48.8mm)
E-Mount: 2.5 x 2.0 in. (64 x 50.8mm)

Weight:

L-Mount: 7.9 oz. (225g)
E-Mount: 8.1 oz. (230g)

SIGMA 35mm F2 DG DN | Contemporary

Outstanding image quality and bokeh, compact size, perfect for everyday use.
Stepping motor | Designed to minimize flare and ghosting | Super Multi-Layer Coating

Lens Construction:

10 elements in 9 groups (1 SLD, 3 aspherical)

Autofocus Motor:

STM

No. of Diaphragm Blades:

9 rounded

Min. Focus Distance:

10.6 in. (27cm)

Max. Magnification Ratio:

1:5.7

Filter Size:

58mm

Dimensions (DxL):

L-Mount: 2.8 x 2.6 in. (70 x 65.4mm)
E-Mount: 2.8 x 2.7 in. (70 x 67.4mm)

Weight:

11.5 oz. (325g)

SIGMA 65mm F2 DG DN | Contemporary

Sharp images with beautiful bokeh | High backlight performance with thorough flare & ghosting control | Stepping motor | Designed to minimize flare and ghosting | Super Multi-Layer Coating

Lens Construction:

12 elements in 9 groups (1 SLD, 2 aspherical)

Autofocus Motor:

STM

No. of Diaphragm Blades:

9 rounded

Min. Focus Distance:

21.7 in. (55cm)

Max. Magnification Ratio:

1:6.8

Filter Size:

62mm

Dimensions (DxL):

L-Mount: 2.8 x 2.9 in. (72 x 74.7mm)
E-Mount: 2.8 x 3.0 in. (72 x 76.2mm)

Weight:

14.3 oz. (405g)

Sigma 24mm F3.5 | 35mm F2 | 65mm F2 DG DN specifications

  Sigma 24mm F3.5 DG DN Sigma 35mm F2 DG DN Sigma 65mm F2 DG DN
Principal specifications
Lens type Prime lens
Max Format size 35mm FF
Focal length 24 mm 35 mm 65 mm
Image stabilization No
Lens mount L-Mount, Sony FE
Aperture
Maximum aperture F3.5 F2
Minimum aperture F22
Aperture ring Yes
Number of diaphragm blades 7 9
Optics
Elements 10 12
Groups 8 9
Special elements / coatings 1 SLD + 3 aspherical elements, Super Multi-Layer coating 1 SLD + 2 aspherical elements, Super Multi-Layer coating
Focus
Minimum focus 0.11 m (4.33″) 0.27 m (10.63″) 0.55 m (21.65″)
Maximum magnification 0.5× 0.18× 0.15×
Autofocus Yes
Motor type Stepper motor
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale No
Focus distance limiter No
Physical
Weight 225 g (0.50 lb) 325 g (0.72 lb) 405 g (0.89 lb)
Diameter 64 mm (2.52″) 70 mm (2.76″) 72 mm (2.83″)
Length 49 mm (1.93″) 65 mm (2.56″) 75 mm (2.95″)
Materials Magnesium alloy
Sealing Yes
Colour Black
Filter thread 55 mm 58 mm 62 mm
Hood supplied Yes
Tripod collar No

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Sigma introduces 24mm F3.5, 35mm F2 and 65mm F2 lenses for E and L mounts

Posted in Uncategorized

 

Comparing a 24mm Versus 50mm Lens for Photographing People

28 Nov

The post Comparing a 24mm Versus 50mm Lens for Photographing People appeared first on Digital Photography School. It was authored by Meredith Clark.

24mm versus 50mm for photographing people
Image taken with a Canon 60D and a Canon 24mm lens.

How does a 24mm lens compare to a 50mm lens when photographing people? Both are great options, given the low price point, but they do have slightly different strengths when it comes to people photography.

In this article, I’ll show you several different images of the same model, location, and pose, photographed with both a 24mm and a 50mm lens. This will provide a good visual of the difference between the two lenses, and should give you insight as to when you might want to reach for each option.

Equipment used

For continuity, all images in this post were taken with a Canon 60D and either the Canon 24mm f/2.8 or the Canon 50mm f/1.8 lens.

The Canon 60D is an APS-C (cropped-sensor) camera, so you’ll need to multiply the focal length of each of your lenses by 1.6x in order to determine their effective focal length on this camera (though if you use Nikon APS-C cameras, your crop factor is 1.5x).

So on a cropped sensor camera, a 24mm lens functions roughly as a 38mm lens, and a 50mm lens functions as an 80mm lens.

24mm shows off the background

When it comes to photographing people, a 50mm lens emphasizes the subject, whereas a 24mm lens shows the environment.

24mm versus 50mm for photographing people
Image taken with a Canon 60D and a 50mm lens.

That’s why a 50mm lens is great for head and shoulders portraits, while a 24mm lens is great for photographing people in the context of their surroundings. In the above example, you can see that the 50mm lens provided a tight shot of these two sisters, with a blurred background that keeps all the attention on their faces.

However, the context for this session is also important – it took place at a family vineyard, and the clients wanted to be sure that the grapes were visible in the background of some of the images. As you can see above, the grapes weren’t visible in the portrait taken with the 50mm lens, nor would closing down the aperture really give the perspective of the vineyard that my clients were looking for.

So after taking a few portraits with the 50mm, I switched over to my 24mm lens in order to capture a few wider shots.

24mm photo of two girls
Image taken with a Canon 60D and a Canon 24mm lens.

The shot above shows the same girls, the same exact location, and a very similar pose. The only real difference is that, with the switch to the 24mm lens, you can see more of the girls and the area around them.

In some instances, you may want to minimize the area around your subject, in which case the 24mm lens would not be ideal. However, in this case, it allowed me to capture images that highlighted both the girls and the vineyard, which was what the clients were after.

Bonus tip: Photographing sibling sets with a 24mm lens also allows you to see the height differences between siblings more easily (thanks to the wider perspective), which is something that a lot of parents really enjoy.

50mm photo of a young man
Image taken with a Canon 60D and a 50mm lens.

Think about the background color

Another thing to consider, besides the contents of the background in your images, is the coloring of the background.

In the image above, the deep-colored wood background brings a moodiness to the image that could be appropriate for a musician. However, the interesting thing is that the overall feeling of the image changes quite a bit when you look at it from the 24mm angle of view:

24mm photo of a young man
Image taken with a Canon 60D and a 24mm lens.

The second image, though in the same location, feels a lot less moody and dramatic than the first. The lighter stonework around the door brings a sense of balance to the image that just wouldn’t be achieved as well with the 50mm lens in this location.

In my experience, this balance is especially important when it comes to converting images to black and white.

24mm versus 50mm for photographing people in black and white

As you can see in the left image, the lighter stonework around the darker door serves as a frame for the subject and naturally draws your eye in toward him.

In addition, the increased contrast and texture provides some of the key ingredients for black and white images, which makes the image on the left more aesthetically pleasing than the image on the right.

24mm vs 50mm: Try using both!

Overall, while there may be instances in which the content or coloring of your background may cause you to reach for one of these lenses over the other, I’m very much in favor of using both of them whenever possible.

Here’s a quick example from my own life to explain why both are so great for their own reasons. I recently photographed my girls in their Halloween costumes. I started with the 50mm lens because it’s my favorite:

two girls in costumes at 50mm
Image taken with a Canon 60D and a 50mm lens.

I love this image of both girls – the 50mm lens really lets you see their faces and expressions, and the bokeh of the 50mm f/1.8 helped soften the construction site in the background of the image. However, the closer crop also means that only a small portion of their costumes is visible.

So I switched over to my 24mm lens to take a full-length photo (below) of my little monkey and lion.

Now I can really see them from head to toe. I can see the little fake feet of the monkey costume that freaked out my youngest daughter so much that she begged her sister to switch costumes with her. I can see the height difference between the two of them. I can see the black flats that my oldest daughter is so proud of and wears to any event that she deems remotely “fancy.”

Those are all things that I want to look back on and remember. I love both images for different reasons and am so happy to have them both, thanks to my trusty 24mm and 50mm lenses.

two girls in costumes at 24mm
Image taken with a Canon 60D and a 24mm lens.

24mm vs 50mm for photographing people: conclusion

I hope this has given you a good idea of how these two focal lengths compare when photographing people.

Have you tried a 24mm lens? How do you use it? Do you have a 50mm lens and do you use it for people photography? Which lens is your favorite? Please share your comments and images below!

The post Comparing a 24mm Versus 50mm Lens for Photographing People appeared first on Digital Photography School. It was authored by Meredith Clark.


Digital Photography School

 
Comments Off on Comparing a 24mm Versus 50mm Lens for Photographing People

Posted in Photography

 

Tamron 24mm F2.8 M1:2 sample gallery

19 Aug

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_7551077222″,”galleryId”:”7551077222″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

The Tamron 24mm F2.8 Di III OSD M1:2 debuted late last year alongside 20mm and 35mm options. These full-frame E-mount primes offer 1:2 macro reproduction at an affordable $ 350 price point. Not to mention that they’re extremely lightweight: the 24mm F2.8 weighs 215.5g / 0.5lb. That’s an extremely attractive feature if you’re looking to, for example, hike up a mountain. Take a look at how it handles subjects near, far and somewhere in between.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Tamron 24mm F2.8 M1:2 sample gallery

Posted in Uncategorized

 

MS Optics is back with a 24mm F2 Leica M-mount lens that’s almost as small as a body cap

10 Jun
A comparison between the 24mm F/2 Aporia and a standard Leica body cap.

Boutique Japanese optics manufacturer MS Optics has released its latest bespoke lens, a 24mm F2 pancake lens for Leica M-mount cameras.

The MS Optics Aporia 24mm F2 M-mount lens is a return to Miyazaki’s specialty — wide-angle pancake lenses. This Gauss lens is barely larger than a Leica M body cap, yet manages to pack inside six elements in four groups and a focusing range from .5m (1.5ft) to infinity.

We promise that’s a lens on the Zeiss Ikon.

According to MS Optics founder and lens designer, Mr. Sadayasu Miyazaki, Gauss lenses tend to struggle with ‘coma flare from mid-frame into the corners causing reduced contrast and peripheral light falloff.’ Miyazaki says it was a struggle to get around this shortcoming, he’s managed to ‘bring it to a satisfactory level of performance’ thanks to low-dispersion elements.

The lens measures just 50mm (2”) diameter, 5.8mm (.23”) thick and weighs just 45g (1.59oz) — roughly the weight of a golf ball. Below are a few sample photos, captured by Bellamy Hunt of Japan Camera Hunter (JCH):

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_4682246134″,”galleryId”:”4682246134″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

The 24mm F2 Aporia is being stocked in very limited numbers on the JCH website in gold, black chrome and silver chrome. Right now all models are sold out, but Bellamy Hunt of JCH tells us units are currently being put through quality assurance and will go live ’in the coming weeks.’

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on MS Optics is back with a 24mm F2 Leica M-mount lens that’s almost as small as a body cap

Posted in Uncategorized

 

Sony releases minor firmware updates for a9 II and 24mm F1.4 GM, 135mm F1.8 GM lenses

17 Jan

Sony has released minor firmware updates for its a9 II camera system, as well as its 24mm F1.4 GM and 135 F1.8 GM lenses.

For the a9 II, firmware version 1.01 improves the FTP transfer functionality to speed up how soon after shooting photos the images can be transferred. Additionally, the firmware update corrects a condition where the camera can sometimes turn off at random times when looking back through Raw images and improves JPEG image quality when shooting under certain, unspecified conditions.

Both the 24mm F1.4 GM and 135mm F1.8 GM receive, via firmware ’02,’ improved aperture response when the lenses are attached to Sony’s a9, a9 II and a7R IV camera systems, as well as the ability to select ‘Focus Priority’ from the ‘Aperture Drive in AF” menu when attached to Sony’s a9 camera system.

You can download firmware version 1.01 for Sony a9 II camera systems, as well as firmware version ’02’ for Sony’s 24mm F1.4 GM and 135mm F1.8 GM lenses for mac OS and Windows computers on Sony’s website. Details and instructions on how to install the firmware can be found on the respective download pages.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Sony releases minor firmware updates for a9 II and 24mm F1.4 GM, 135mm F1.8 GM lenses

Posted in Uncategorized

 

Nikon Z 24mm F1.8 S sample gallery

13 Dec

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_5655925478″,”galleryId”:”5655925478″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

The Nikon Z 24mm F1.8 was formally announced late in the year, and as 2019 comes to a close it has made its way into our hands. We tried it out on the full-frame Z7 as well as on the DX-format Z50 where it serves as a nearly-35mm equivalent.

See our Nikon Z 24mm F1.8 S
sample gallery

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Nikon Z 24mm F1.8 S sample gallery

Posted in Uncategorized

 

Hands-on: Tamron’s new 24mm and 35mm Di III OSD M1:2 are featherweight options for Sony shooters

30 Oct

Hands-on with Tamron’s 24 / 35mm Di III OSD M1:2

Tamron just announced a trio of featherweight full-frame lenses for Sony E-mount, each of which weighs less than eight ounces and offers a 1:2 macro capability. The new Di III OSD M1:2 range of F2.8 primes are highly portable options for Sony shooters, which sacrifice lens brightness for impressive compactness and light weight.

We’re still waiting to see results from these new lenses, but we had the chance to check them out in person at last week’s Photo Plus Expo in New York.

Hands-on with Tamron’s 24 / 35mm Di III OSD M1:2

The 20mm F2.8 Di III OSD M1:2 will be coming in the new year, and a working sample wasn’t available to use at the show but it’s physically and cosmetically extremely similar to the 24mm, shown here. The 24mm F2.8 Di OSD M1:2 weighs in at 7.6 oz (215g) and measures 2.5in in length. That’s compared to 7.8 oz for the 20mm, and in fact all three of these new lenses are essentially the same size, not including their hoods.

Hands-on with Tamron’s 24 / 35mm Di III OSD M1:2

All three of the new primes feature ‘front element focusing’ which basically means that when the lenses rack from their nearest to furthest points, the front element moves within the lens, and the size of the lens does not change.

The ‘OSD’ (Optimized Motor Smart Drive) focus motors provide silent automatic focus, although on the a7III which we used, there is some noticeable ‘wobble’ as the lens finds its mark. This could be a pre-production issue (and it could be related to the horrible tradeshow light) but we’ll reserve judgement until we receive final shipping samples.

This photo shows off the shallow petal-style hood of the 24mm F2.8, and the 67mm filter thread, which is common to all three lenses.

Hands-on with Tamron’s 24 / 35mm Di III OSD M1:2

If you didn’t get the message yet, these are tiny lenses, and so light that when mounted onto an a7R II, they feel like they’re hardly even there. Some photographers will always lust after brighter, more ‘professional’ options but for everyday shooting, assuming the image quality holds up, we anticipate these primes being very appealing to casual Sony a7-series shooters.

Hands-on with Tamron’s 24 / 35mm Di III OSD M1:2

The 35mm F2.8 Di III OSD M1:2 looks almost identical to the 24mm, and in fact shares a similar optical design, of nine elements in eight groups (compared to ten elements in nine groups, for the 20mm and 24mm). These contain LD (Low Dispersion) and GM (glass-molded aspherical) lens elements and BBAR (Broad-Band Anti-Reflection) Coating, to reduce flare and ghosting.

Hands-on with Tamron’s 24 / 35mm Di III OSD M1:2

The 35mm doesn’t need such a wide hood, and ships with a rather attractive ‘snoot’ style hood which serves to protect the front element not only from stray light, but also from accidental scratches and scuffs.

Hands-on with Tamron’s 24 / 35mm Di III OSD M1:2

The hood is removable, at which point the 35mm F2.8 is near-impossible to distinguish from the 20mm and 24mm. The fact that all three lenses weigh almost the same, measure almost the same in length, and use the same 67mm filter thread could lead to confusion when groping around in a dark camera bag, but we suspect that their combined weight of less than 1.5 lb (about 680g) will more than make up for the inconvenience, for a lot of photographers.

All three of Tamron’s new Di III OSD M1:2 lenses will ship for $ 349, with the 24mm and 35mm (featured in this article) shipping next month, and the 20mm coming in early 2020.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Hands-on: Tamron’s new 24mm and 35mm Di III OSD M1:2 are featherweight options for Sony shooters

Posted in Uncategorized

 

Nikon Z 24mm F1.8 S to ship in October for $1000

04 Sep

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_8457715087″,”galleryId”:”8457715087″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Nikon has formally announced the Nikkor Z 24mm F1.8 for its full-frame mirrorless system. The wide-angle prime becomes Nikon’s seventh native Z-mount lens, and is one of three remaining lenses on the roadmap for 2019 – the others being the 70-200mm F2.8 and the much-hyped 58mm F0.95 Noct.

The 24mm F1.8 offers dust and drip resistance, and is built with one extra-low dispersion and four aspherical elements. Nikon’s Nano Crystal Coat is also present to reduce ghosting and flare. Additionally, the lens provides the ability to assign aperture and exposure compensation control to the focus ring, and Nikon claims that the lens boasts reduced focus breathing.

The Nikkor Z 24mm F1.8 S will ship in mid to late October for $ 1000.

Nikkor Z 24mm F1.8 S official sample images

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_8980586013″,”galleryId”:”8980586013″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

NIKON EXPANDS ITS HIGH-PERFORMANCE S-LINE WITH THE NEW NIKKOR Z 24MM F/1.8 S –
A FAST, WIDE-ANGLE PRIME LENS

The Versatile NIKKOR Z 24mm f/1.8 S Delivers Superior Optical Performance, Equipping Nikon Z Series Creators with an Incredibly Sharp, High-Resolution Lens to Explore Wide-Angle Perspectives

MELVILLE, NY (September 4, 2019 at 12:01 A.M. EDT) – Today, Nikon Inc. announced the fast, wide- angle NIKKOR Z 24mm f/1.8 S, the latest addition to the ever-expanding NIKKOR Z lineup of lenses. The 24mm f/1.8 S is optimized for capturing everything from cityscapes to environmental portraits and is built to take advantage of Nikon’s large Z-mount, delivering the ultimate combination of fast, bright and sharp performance in nearly all lighting conditions.

“The NIKKOR Z 24mm f/1.8 S continues our commitment to offering exciting prime lenses to Nikon Z 7 and Z 6 users, while also providing exceptional level of quality achieved by the S-Line of NIKKOR Z lenses,” said Jay Vannatter, Executive Vice President, Nikon Inc. “The combination of wide-angle perspective and a fast f/1.8 aperture is optimal for all types of photography including landscapes, making the NIKKOR Z 24mm f/1.8 S a must-have lens to unleash the full potential of the Nikon Z series.”

The NIKKOR Z 24mm f/1.8 S – A Storyteller’s Dream Lens:
The NIKKOR Z 24mm f/1.8 S joins the S-Line of high-performance NIKKOR Z lenses, giving creators an essential focal length to add to their kit of fast prime Z-mount lenses. The lens takes advantage of the most advanced NIKKOR technologies to deliver optical superiority, exceptional sharpness, beautiful bokeh and high-resolution across the entire frame, even at maximum aperture.

The new NIKKOR Z 24mm f/1.8 S was designed for photographers and videographers looking to capture gorgeous wide-angle landscapes or vivid street photography, a travel adventure or a stunning starscape. For videographers and content creators, this popular focal length is a staple for production due to its natural perspective. Thanks to the advantages of the lens’ bright and fast f/1.8 maximum aperture along with the wider Z-mount, Nikon Z series users can capture exceptionally sharp images in dimly lit settings, with a lens that’s ideal for nighttime shooting and astrophotography.

The NIKKOR Z 24mm f/1.8 S features 9 rounded aperture blades, allowing users to capture beautifully circular bokeh that adds a level of dimensionality to help capture compelling content. Users can confidently explore their creative potential in nearly any landscape thanks to the lens’ reliable dust and drip resistant design, ideal for tough weather conditions. The lens construction also consists of four Aspherical Lens Elements and one Extra-Low Dispersion (ED) glass element to combat aberration, while Nikon’s patented Nano Crystal Coat helps eliminate ghosting and flare. The 24mm f/1.8 S is further equipped with Nikon’s Multi-Focusing System, which uses two AF drives in tandem to deliver superior resolving power and achieve fast and accurate autofocus, even at minimum focus distance.

In addition to achieving the top-notch image quality that storytellers and content creators have come to expect from the S-Line of NIKKOR Z lenses, the NIKKOR Z 24mm f/1.8 S is also optimized for video capture. As a popular cinematic focal length, the 24mm f/1.8 S will be a welcome addition to Z series shooters’ arsenals, boasting near-silent stepping motors for ultra-quiet performance, reduced focus breathing, a customizable control ring for smooth control of aperture and exposure compensation and the ability to take advantage of the in-camera 5-axis VR + eVR of the Nikon Z series cameras.

Price and Availability
The NIKKOR Z 24mm f/1.8 S will be available in mid to late October 2019 at a suggested retail price (SRP) of $ 999.95. For more information on the latest Nikon products, including the new NIKKOR Z 24mm f/1.8 S and the full Nikon Z mount system, please visit www.nikonusa.com.

Nikon Nikkor Z 24mm F1.8 S specifications

Principal specifications
Lens type Prime lens
Max Format size 35mm FF
Focal length 24 mm
Image stabilization No
Lens mount Nikon Z
Aperture
Maximum aperture F1.8
Minimum aperture F16
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 12
Groups 10
Special elements / coatings 1 ED + 4 aspherical elements, Nano Crystal and Super Integrated coatings
Focus
Minimum focus 0.25 m (9.84″)
Maximum magnification 0.15×
Autofocus Yes
Motor type Stepper motor
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale No
Focus distance limiter No
Physical
Weight 450 g (0.99 lb)
Diameter 78 mm (3.07″)
Length 97 mm (3.82″)
Materials Magnesium alloy
Sealing Yes
Colour Black
Filter thread 72 mm
Hood supplied Yes

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Nikon Z 24mm F1.8 S to ship in October for $1000

Posted in Uncategorized

 

Prime Lens Comparison – 24mm vs 35mm vs 50mm vs 85mm vs 135mm

29 Jun

The post Prime Lens Comparison – 24mm vs 35mm vs 50mm vs 85mm vs 135mm appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video, Julia Trotti does a prime lens comparison with portrait photography.

You’ll learn about focal lengths, background-to-foreground separation and compression, and distortion.

Take a look.

?

In this video, Julia compares the following lenses using her Canon 5D MkIII:

  • Sigma 24mm f1.4
  • Canon 35mm f1.4
  • Canon 50mm f1.2
  • Canon 85mm f1.2
  • Canon 135mm f2

Julia first tests the lenses shooting full body photos with her model, Maralyn, from the same standing position to show how much background compression each lens shows, as well as the bokeh.

Then she does shots where her model fills more of the frame. To do so, she moves closer and further away to get the model in roughly the same position in the frame but showing what happens to the background in each shot.

The Sigma 24mm has the least background to foreground compression (shows more of the background) when doing full body shots.

The 85mm and the 135mm have great compression, and large background to foreground separation, with no distortion. The 135mm has the most background to foreground separation and compression of all these lenses.

Be sure to watch the video to see the photo examples that detail how the background compression is effected by each lens.

 

You may also find the following helpful:

How to use Focal Length and Background Compression to Enhance Your Photos

5 Important Focal Lengths to Know and the Benefits of Each

Get Your Creative Juices Flowing with Different Focal Lengths

8 Focal Lengths Illustrated

 

prime lens comparison

The post Prime Lens Comparison – 24mm vs 35mm vs 50mm vs 85mm vs 135mm appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


Digital Photography School

 
Comments Off on Prime Lens Comparison – 24mm vs 35mm vs 50mm vs 85mm vs 135mm

Posted in Photography

 
« Older Entries