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Nikon 14-24mm F2.8 S and 50mm F1.2 S for Z-mount unveiled

16 Sep

Nikon has officially announced two more lenses for its Z-mount, full-frame mirrorless system: the Nikkor Z 14-24mm F2.8 S and 50mm F1.2 S. Both are slated to arrive by the end of 2020.

Nikkor Z 14-24mm F2.8 S

The 14-24mm is almost 35% lighter than its AF-S 14-24mm F2.8 G predecessor for DSLRs, and thanks to a nearly-flat front element it accepts conventional threaded filters (albeit very large 112mm ones) via the included HB-97 lens hood. That’s unusual for a lens of this type, and a rear filter holder also accepts trimmed gel filters.

Overall the lens measures a relatively compact 88.5mm (3.5in) x 124.5mm (5in), and weighs 650g (1.4lb). It includes a nine-blade aperture and features Nano Crystal and ARNEO anti-reflective coatings to control ghosting, flare and coma. Like the recent Z 24-70mm and 70-200mm F2.8 zooms that this lens complements, the 14-24mm offers ‘extensive’ weather sealing and includes a small OLED display panel on the lens barrel itself.

Nikkor Z 50mm F1.2 S

The Z 14-24mm may be relatively compact for its class, but the Z 50mm F1.2 S is decidedly not. With optics one and a half times bigger than those used by the Z 50mm F1.8, it weighs in at 1090g (2.4lb) and measures 89.5mm (3.6in) x 150m (6in).

It features a ‘symmetrical’ optical design, which Nikon says improves its ability to provide edge-to-edge sharpness. The lens features two focusing groups, each with its own STM stepping motor, and its optical formula includes three aspherical elements to boost resolution and reduce distortion. Nano Crystal and ARNEO coatings are also used, and like 50mm F1.2 also includes weather-sealing and lens barrel display.

The Nikkor Z 14-24mm S F2.8 will go on sale in November for $ 2400; the Nikkor Z 50mm F1.2 arrives in December for $ 2100.

Z 14-24mm F2.8 and 50mm F1.2 official sample images

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Press release:

NIKKOR Z INNOVATION CONTINUES: NIKON INTRODUCES TWO ESSENTIAL NIKKOR Z LENSES EQUIPPED WITH INCREDIBLE OPTICS TO DELIVER UNRIVALED IMAGE QUALITY

The Ultra-Wide NIKKOR Z 14-24mm f/2.8 S and Powerful NIKKOR Z 50mm f/1.2 S Lenses Bring Groundbreaking Advancements in Optical Performance and Design to the Nikon Z Series

MELVILLE, NY (September 16, 2020) – Today, Nikon Inc. unveiled two exciting additions to the rapidly expanding NIKKOR Z lens lineup, demonstrating the brand’s commitment to the evolving Nikon Z series. These new full-frame S-Line1 lenses showcase the superior optical performance and capabilities of the Nikon Z mount for photographers and creators. The ultra-wide angle NIKKOR Z 14-24mm f/2.8 S is the world’s shortest2 and lightest2 full-frame f/2.8 zoom lens with a 14mm field of view, enabling a versatile range to capture expansive views including cityscapes, landscapes, astrophotography and more. Meanwhile, the NIKKOR Z 50mm f/1.2 S is the paramount fast-aperture prime lens engineered for optical excellence to help Z series users achieve unrivaled power, exceptional sharpness and show-stopping bokeh.

“This is an exciting time for Nikon lens technology as we lead the way in providing the most incredible optics available today,” said Jay Vannatter, Executive Vice President, Nikon Inc. “The highly anticipated NIKKOR Z 14-24mm f/2.8 and the powerful NIKKOR Z 50mm f/1.2 lenses demonstrate the incredible innovation behind the Z series and the limitless possibilities of what our engineers are capable of achieving.”

NIKKOR Z 14-24mm f/2.8 S: Broaden Your Horizons with the Essential Ultra-Wide Angle Zoom Lens
The much anticipated NIKKOR Z 14-24mm f/2.8 S is the shortest and lightest full-frame zoom lens of its kind, offering unique user benefits and incredible rendering capabilities across the wide zoom range. Joining the previously announced NIKKOR Z 24-70mm f/2.8 S and NIKKOR Z 70-200mm f/2.8 VR S lenses, this lens completes the trinity of coveted fast aperture Z series zooms. The 14-24mm is a versatile lens that proves the optical superiority of the Nikon Z mount, producing excellent edge-to-edge sharpness, minimal distortion and exceptional photo and video capabilities for creators. The new optical design allows for a significantly shorter lens that is nearly 35 percent lighter than its predecessor, the popular AF-S NIKKOR 14-24mm f/2.8, making this lightweight lens ideal for a trek into the field. Meanwhile, its wide-angle zoom range offers video content creators a new option for capturing tack-sharp establishing shots, interiors or POV angles.

The NIKKOR Z 14-24mm f/2.8 S lens is engineered to deliver unrivaled optical excellence and maximum usability. This thoroughly modernized lens design features a nearly flat front lens element, which allows the attachment of a threaded filter to the included additional lens hood (HB-97). This design provides users the ability to attach a Neutral density (ND) filter, as well as the new Neutral Color NC Filter 112mm or Circular Polarizing Filter II 112mm3, while a rear filter holder also accepts a trimmable filter gel. With the option to easily use multiple filter types, users can capture epic landscapes with greater versatility and flexibility in more lighting conditions than ever before. An excellent choice for photographing stunning night-time views, the 14-24mm lens delivers amazing low-light performance with a constant f/2.8 aperture and stellar point light reproduction capabilities that suppress sagittal coma and flare for tack-sharp stars and city lights.

The NIKKOR Z 14-24mm combines a robust design and reliable performance with custom controls, including a customizable one-touch shortcut button, EL Display panel and custom control ring, making controls and settings convenient and accessible. The optical formula includes four ED lens elements, helping to control chromatic aberrations, and capture fine details, including colors and lines, with consistent accuracy – a true benefit to those shooting interiors and architecture. Additionally, flare, ghosting and coma are suppressed, even with harsh backlight, thanks to the lens’ Nano Crystal Coat (N) and anti-reflective ARNEO Coat, while its robust fluorine coating and extensive weather sealing allow Nikon Z series users to shoot confidently in rugged and unpredictable environments. As an added benefit to videographers, the lens also features an electro-magnetic diaphragm, to help maintain smooth exposures as light changes.

NIKKOR Z 50mm f/1.2 S: Immense Details. Exceptional Sharpness.
The new NIKKOR Z 50mm f/1.2 S is Nikon’s fastest and most optically impressive AF prime lens yet, effortlessly balancing the combination of intense sharpness and dreamy bokeh. For pro-level creators that need powerful performance and versatility, the 50mm f/1.2 delivers a standard focal length with unrivaled sharpness, speed, and life-like clarity. With a bright f/1.2 aperture and premium S-Line engineering, the NIKKOR Z 50mm lens is the definitive and versatile prime for a range of photography styles including portraiture, street photography, landscapes, nightscapes and more.

The NIKKOR Z 50mm f/1.2 S lens effortlessly achieves a soft and enchanting bokeh, with a circular background blur that is smooth and gradual when focusing for a natural “fall-off”. The bright f/1.2 aperture affords a dramatically shallow depth of field with beautiful subject isolation for stunning portraiture, while it also offers exceptional low-light performance. Maximizing the capabilities of Z series’ technology, the 50mm f/1.2 lens adopts stepping motors (STM) as well as a multi-focusing system4, enabling multiple lens elements to focus simultaneously for fast and precise autofocusing, even when shooting close-up or wide open. Furthermore, the lens’ ability to maintain stable exposure in changing lighting conditions, combined with its quiet operation and minimal focus breathing, establishes the lens as an appealing tool for video creators.

The NIKKOR Z 50mm f/1.2 S lens tells a story of balance in design and functionality, seamlessly harmonizing intense resolution and velvety bokeh. The symmetrical optical design prevents light from being bent or distorted as it passes through the lens, meaning the purest, sharpest image reaches the camera sensor without any added distortion or aberration for true edge-to-edge sharpness. This innovative lens design also includes three aspherical elements to help virtually eliminate distortion, for superior resolution, point light reproduction and superb three-dimensional clarity. Designed for pro-level reliability, the NIKKOR Z 50mm is a superbly balanced lens constructed with robust weather sealing, a customizable control ring and shortcut button, as well as an EL Display panel to enhance workflow. Meanwhile, the lens is engineered with Nikon’s Nano Crystal and ARNEO Coating to minimize flare, ghosting and coma, allowing Z series users to confidently shoot in a variety of lighting scenarios, including harsh backlighting, to capture any scene with incredible sharpness and clarity.

Pricing and Availability
The NIKKOR Z 14-24mm f/2.8 S lens will be available in November 2020 for a suggested retail price (SRP) of $ 2,399.95*, while the NIKKOR Z 50mm f/1.2 S lens will be available in December 2020 for a suggested retail price (SRP) of $ 2,099.95*. For more information on the latest Nikon products, including the new NIKKOR Z 14-24mm f/2.8 S and NIKKOR Z 50mm f/1.2 S lenses and the full Nikon Z series, please visit ?www.nikonusa.com.

Nikkor Z 14-24mm F2.8 S and Z 50mm F1.2 S specifications

	Nikon Nikkor Z 14-24mm F2.8 S	Nikon Nikkor Z 50mm F1.2 S
Principal specifications
Lens type	Zoom lens	Prime lens
Max Format size	35mm FF
Focal length	14–24 mm	50 mm
Image stabilization	No
Lens mount	Nikon Z
Aperture
Maximum aperture	F2.8	F1.2
Minimum aperture	F22	F16
Aperture ring	No
Number of diaphragm blades	9
Optics
Elements	16	17
Groups	11	15
Special elements / coatings	4 ED elements, Arneo + Nano Crystal coatings	2 ED + 3 aspherical elements, Arneo + Nano Crystal coatings
Focus
Minimum focus	0.28 m (11.02″)	0.45 m (17.72″)
Maximum magnification	0.13×	0.15×
Autofocus	Yes
Motor type	Stepper motor
Full time manual	Yes
Focus method	Internal
Distance scale	Yes
DoF scale	Yes
Physical
Weight	650 g (1.43 lb)	1090 g (2.40 lb)
Diameter	89 mm (3.5″)	90 mm (3.54″)
Length	125 mm (4.92″)	150 mm (5.91″)
Materials	Magnesium alloy
Sealing	Yes
Colour	Black
Zoom method	Rotary (extending)
Power zoom	No
Filter thread	112 mm	82 mm
Filter notes	Also supports rear gel filters
Hood supplied	Yes
Tripod collar	No

Articles: Digital Photography Review (dpreview.com)

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Nikon to Announce the 14-24mm f/2.8 and 50mm f/1.2 for Z Mount

15 Sep

The post Nikon to Announce the 14-24mm f/2.8 and 50mm f/1.2 for Z Mount appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Nikon hasn’t managed to capture much airtime over the past few months, what with the Canon EOS R5 and R6 launch as well as the Sony a7S III announcement.

But Nikon continues to produce top-notch kit, and we’ll see the fruits of the company’s labor later this week, with the official announcement for two new lenses:

The Nikkor Z 14-24mm f/2.8 S.

And the Nikkor Z 50mm f/1.2 S.

Both lenses are designed for Nikon’s Z mount cameras, which means that they’ll be compatible with Nikon’s mirrorless bodies: the Nikon Z5, Nikon Z6, Nikon Z7, and Nikon Z50.

Let’s take a closer look at what you can expect from these two lenses.

The Nikkor Z 14-24mm f/2.8 S

This lens will be a Z mount remake of a popular F-mount (DSLR) lens, the Nikkor 14-24mm f/2.8G.

And, if the original lens is anything to go by, the Nikkor Z 14-24mm f/2.8 S will be an absolute powerhouse.

At the very least, the Z mount 14-24mm will give Nikon users an ultra-wide zoom with an f/2.8 maximum aperture, which will be appreciated by many photographers, including astrophotographers and other low-light shooters. At present, Z mount f/2.8 zooms are limited to the 24-70mm f/2.8 and the 70-200mm f/2.8; while both of these are excellent lenses, they just don’t offer the perspective that you can get from a 14-24mm lens.

According to Nikon Rumors, the Nikkor 14-24mm f/2.8 will work with front filters (which is always a concern with ultra-wide lenses), but will also take rear filters. The 14-24mm will be relatively compact, and will feature “smooth and silent autofocus.”

In other words:

The Nikkor Z 14-24mm f/2.8 will likely be a lens that does a lot of things well, from landscapes and astrophotography to those ultra-wide travel and event shots that draw the viewer straight into the scene.

The Nikkor Z 50mm f/1.2 S

Nikon already offers a Z mount 50mm lens: the Nikkor Z 50mm f/1.8 S.

But the new 50mm f/1.2 S will go beyond the 50mm f/1.8 S; that extra maximum aperture may not seem like much, but it’s critical for low-light shooters of all types, as well as anyone who’s after the best possible bokeh.

That’s why, if you’re a portrait photographer or an event photographer, the Nikkor Z 50mm f/1.2 S should be at the top of your wish-list.

While the 50mm f/1.2 S is likely to offer stellar image quality, such a wide maximum aperture comes with a serious price:

The lens is going to be big and hefty. This certainly won’t be your easy-to-carry nifty fifty, so if that’s what you’re after, look elsewhere. But it will be a high-quality, well-built, weather-sealed lens that many professionals are after.

Conclusion

The Nikkor Z 14-24mm f/2.8 S and the Nikkor Z 50mm f/1.2 S lenses are bound to be impressive (even if they have a price tag to match!).

So if either lens seemed appealing, I recommend you keep an eye out for Nikon announcements over the next few days.

You won’t regret it!

Now over to you:

Are you excited for these two new lenses? And if you could pick one of them, which would you take? Share your thoughts in the comments!

The post Nikon to Announce the 14-24mm f/2.8 and 50mm f/1.2 for Z Mount appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Fujifilm XF 50mm F1.0 pre-production sample gallery

03 Sep

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Nearly one year after its development announcement (which was itself a year after the original idea of producing an F1.0 XF lens), we’ve gotten our hands on a pre-production copy of the Fujifilm XF 50mm F1.0 R WR. Offering a 75mm-equivalent field of view, it’s the fastest-aperture mirrorless lens with autofocus that we’ve yet seen, and of course, offers wonderfully smooth blurred backgrounds for whatever subject you’re pointing it at. Take a look through our sample gallery to get a sense of how it performs.

Articles: Digital Photography Review (dpreview.com)

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Fujifilm XF 50mm F1.0 R WR will sell for $1500 this fall

03 Sep

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Fujifilm has formally announced its XF 50mm F1.0 R WR portrait prime lens, the world’s first F1.0 lens for mirrorless cameras that includes autofocus capability. It’s also the 35th lens Fujifilm has developed for its lineup of X-series cameras.

The XF 50mm F1.0 has 12 elements in nine groups, and contains one aspherical element and two extra-low dispersion (ED) elements. It has a rounded diaphragm and its wide maximum aperture means that, paired with Fujifilm’s X-Pro3 and X-T4 cameras, users can autofocus at a luminance level of -7EV. That’s dimmer than a night lit by a quarter moon.

The wide, focus-by-wire focus ring gives users 120° of rotation, allowing for precise movements. It weighs in at 845g (1.86lb), and is dust, moisture and freeze resistant down to temperatures of -10°C (14°F).

Fujifilm says the XF 50mm F1.0 R WR will be available in Fall 2020 at a price of $ 1499 USD ($ 2000 CAD).

Press release:

Heralding a new age of portrait photography: FUJINON XF50mmF1.0 R WR Lens

Introducing the world’s first F1.0 lens with Autofocus*1

Valhalla, N.Y. – September 3, 2020 – FUJIFILM North America Corporation is pleased to announce the launch of the FUJINON XF50mmF1.0 R WR Lens (hereafter “XF50mmF1.0 R WR”), the world’s first autofocus lens with a maximum aperture of F1.0, designed for mirrorless cameras. The XF50mmF1.0 R WR is the 35th interchangeable lens for the lineup of X Series digital cameras.

“We’re really excited about the XF50mmF1.0 R WR,” said Victor Ha, senior director of marketing and product management for the Electronic Imaging Division of FUJIFILM North America Corporation. “Not only is it the fastest interchangeable lens Fujifilm has ever produced, but it’s also an incredible tool for visual storytellers to use in telling their stories because its autofocus can achieve critical focus at very shallow depth of fields.”

XF50mmF1.0 R WR Features:

Achieves an Incredibly Shallow Depth-of-Field

The XF50mmF1.0 R WR consists of 12 lens elements in nine groups and also contains one aspherical element and two extra-low dispersion (ED) elements to achieve optimum control of spherical aberration. Used at or near to its maximum F1.0 aperture, XF50mmF1.0 R WR can produce an astonishingly narrow depth-of-field. Its precision-engineered, rounded diaphragm produces large, smooth bokeh for a professional look. Use this new power in selective focus to keep only the subject’s eyes in focus and to create captivating, close-up character images. “But it’s not just for portraits,” said Ha. “Take this lens out onto the street or into a lifestyle session and you’ll turn cluttered locations into clean backdrops with unrivaled subject separation.”

More Options in Low-Light Conditions

The very wide, maximum aperture on XF50mmF1.0 R WR means there are more options when it comes to making images in low-light conditions. At night, or in darkened interiors, XF50mmF1.0 R WR offers the widest apertures yet seen on an XF Lens, allowing more light to be drawn in when capturing your image. The FUJINON XF50mmF1.0 R WR lens also easily achieves fast shutter speeds that freeze movement and keep ISO settings lower for detail-rich results. Alternatively, combine high ISO settings with the F1.0 aperture for incredible versatility and use in other low-light applications like astrophotography.

World’s First F1.0 Autofocus Lens for Mirrorless Cameras

As the world’s first autofocus F1.0 lens made for any mirrorless system, including full-frame, XF50mmF1.0 R WR brings more light to the sensor than any previous XF lens, making it possible for the autofocus to operate on FUJIFILM X-Pro3 and X-T4 cameras at -7EV luminance level. Leaving behind a previous limit of -6EV luminance level with other XF lenses X Series users now have fast and precise low-light autofocus, even in near-darkness. With the added benefits of on-sensor Phase Detection Autofocus (PDAF), Face/Eye AF and a powerful DC (direct current) motor, precise and fast autofocus at shallow depths of field is now also a possibility.

120° of Precise Focus

To make the most of its super-shallow depth-of-field, focusing must be precise. As a result, XF50mmF1.0 R WR has a focus ring that has been designed to be more accurate than any previous XF Lens. This makes it possible to adjust the focus from the minimum focusing distance to infinity very precisely. For this, XF50mmF1.0 R WR uses 120° of rotation in its focusing ring to let you focus manually with minimal error – and to achieve accurate focus when using your X Series camera’s Focus Peaking and Focus Assist modes. The 120° of rotation also makes autofocus movements notably precise and deliberate, while the lens’ engineering is designed to minimize focus shift effects during image making.

Lightweight, Durable, Weather-Resistant Design

Despite being a fast, F1.0 lens, XF50mmF1.0 R WR is a lens you can use to make amazing pictures almost anywhere. Measuring 4.07in (103.5mm) long and weighing 1.86 pounds (845 grams), the lens is still quite compact and portable. Like all other weather-resistant XF Lenses, it is sealed in 11 locations to protect against moisture and dust, as well as being capable of use in temperatures down to 14°F (-10°C). When allied to a similarly specified, weather-resistant X Series mirrorless digital camera body, XF50mmF1.0 R WR lets you make unique images in the toughest environments.

Pricing and Availability

The XF50mmF1.0 R WR lens is expected to be available in Fall 2020 at manufacturer’s suggested retail prices of $ 1,499.95 USD ($ 2,000.00 CAD).

For more information, please visit https://fujifilm-x.com/en-us/products/lenses/xf50mmf1-r-wr/.

*1 Among interchangeable lenses for mirrorless digital camera systems as of September 3, 2020, according to Fujifilm data

Fujifilm XF 50mm F1.0 R WR specifications

Principal specifications
Lens type	Prime lens
Max Format size	APS-C / DX
Focal length	50 mm
Image stabilization	No
Lens mount	Fujifilm X
Aperture
Maximum aperture	F1
Minimum aperture	F16
Aperture ring	Yes
Number of diaphragm blades	9
Optics
Elements	12
Groups	9
Focus
Minimum focus	0.70 m (27.56″)
Maximum magnification	0.08×
Autofocus	Yes
Full time manual	Yes
Focus method	Internal
Distance scale	No
DoF scale	No
Physical
Weight	845 g (1.86 lb)
Diameter	87 mm (3.43″)
Materials	Magnesium alloy
Sealing	Yes
Colour	Black
Filter thread	77 mm
Hood supplied	Yes

Articles: Digital Photography Review (dpreview.com)

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Hands-on with the new Fujifilm XF 50mm F1.0 R WR

03 Sep

Hands-on with the new Fujifilm XF 50mm F1.0 R WR

Fujifilm’s fastest lens is here – the new XF 50mm F1.0 R WR is a versatile low-light lens aimed at portrait photographers and creative photographers that need extremely narrow depth-of-field. Read on to learn more.

Hands-on with the new Fujifilm XF 50mm F1.0 R WR

The gestation period of the new Fujifilm XF 50mm F1.0 R WR has been lengthy – originally planned as a 33mm, the company’s engineers ultimately decided that the size, weight and cost penalties incurred by the wider field of view weren’t practical. Hence: Fujifilm’s fastest-ever lens is now a 50mm – or 75mm equivalent on the company’s X-series APS-C mirrorless interchangeable lens cameras.

Hands-on with the new Fujifilm XF 50mm F1.0 R WR

Despite being ‘downsized’ at the design stage, the XF 50mm F1.0 is still far from a small lens, and weighs in at a considerable 845g (about 1.9lb) without the included (and very effective) hood or front / back caps. That’s a good deal heavier than the X-T4 shown here (526g, or 1.2lb).

Despite its weight, the mass is well-distributed, and the lens doesn’t feel too heavy or unbalanced on the (relatively chunky) X-T4. It’s unlikely to handle so well on many of Fujifilm’s smaller ILCs, but it’s also much less likely to be purchased alongside one of them.

Hands-on with the new Fujifilm XF 50mm F1.0 R WR

As we’d expect for a high-end Fujifilm XF lens, the 50mm F1.0 features a large faux-mechanical aperture ring, for direct control over aperture, on the lens. By setting it to ‘A’, aperture can be automatic or manually controlled via the camera body in M and Av modes depending on your settings.

The broad knurled ring towards the top of this image is the focus ring, which offers ‘focus by wire’ control over manual focus, and it moves smoothly, offering fine-grained control over exact focus position.

Automatic focus is usable but (no surprise) not exactly fast, and because depth of field at wide apertures is so narrow, we did experience occasional issues with focus ‘hunting’ when a scene was heavily defocused.

Hands-on with the new Fujifilm XF 50mm F1.0 R WR

Offering an equivalent focal length of 75mm, this is a perfect lens for traditional portraiture. Don’t expect to be taking any closeups though – the minimum focus distance of 0.7m limits the maximum magnification ratio to 0.08x. Basically, in our shooting, there were several times when we found that we wanted to get closer to our subjects than we were able to.

Hands-on with the new Fujifilm XF 50mm F1.0 R WR

Optically, the XF 50mm F1.0 is pretty complex, and construction comprises 12 elements in nine groups, including one aspherical and two ED (Extra-low Dispersion) elements. The front element is concave, and considering this is an APS-C lens, the front filter ring is relatively large, at 77mm.

Nine rounded aperture blades ensure circular bokeh at wide apertures – something that keen portrait photographers will appreciate.

Hands-on with the new Fujifilm XF 50mm F1.0 R WR

The ‘WR’ in the lens name stands for ‘weather resistant’ and the XF 50mm F1.0 is sealed against dust and moisture incursion. You can see the rearmost gasket (which forms a seal against the camera lens throat) in this picture – it’s the black rubber ring around the outside edge of the mount. It’s also rated for operation in temperatures down to 14°F (-10°C).

The XF 50mm F1.0 will go on sale this fall for $ 1500 USD.

Articles: Digital Photography Review (dpreview.com)

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The Laowa 50mm F2.8 is the first 2x macro lens for MFT systems

19 Aug

Chinese lens manufacturer Venus Optics has introduced a new Ultra Macro lens to its Laowa line-up with a 50mm F2.8 model that offers a 2x macro function. The Laowa 50mm F2.8 2X Ultra Macro APO is claimed to be the first-ever 2x macro lens for the MTF system, and has a minimum focus distance of 13.5cm (5.3in).

Marked with the company’s ‘CA Dreamer’ slogan, the lens has apochromatic correction achieved with three extra-low dispersion elements in the 14-elements-in-10-group construction. The company says lateral and longitudinal chromatic aberrations are corrected and that out-of-focus highlights appear free of color fringes. As the lens provides the view you’d expect from a 100mm on a full-frame sensor Laowa says it also makes an excellent portrait lens.


Jimmy Chan	Paul Harcourt Davies

Nicky Bay	Paul Harcourt Davies

The lens is chipped and allows body-controlled apertures as well as full EXIF data to be recorded in the image metadata. The lens has a 7-bladed iris, a 49mm filter thread and it weighs 240g (8.4oz), while the short flange distance has allowed the company make it just 79mm (3.1in) in length.

The Laowa 50mm F2.8 2x Macro costs $ 400 before tax and is available to purchase now on the Laowa website.

Press release:

Venus Optics announced the world’s first 2x macro lens for MFT: Laowa 50mm f/2.8 2X Ultra Macro APO

Venus Optics, the camera lens manufacturer endeavoring in unique ultra-macro lenses, announce the release of Laowa 50mm f/2.8 2X Ultra Macro APO Lens. The new 50mm lens is specially designed for Micro Four Thirds (MFT) cameras and it is the first- ever 2X macro lens designed for this sensor size. The lens also features an apochromatic (APO) design to minimize the chromatic aberrations across the frame. The ex-VAT retail price is USD 399/pc and pricing may vary in different countries.

1) Focus from infinity to 2X macro magnification

Unlike most of the MFT macro lenses in the market which can focus only up to 1X, the new Laowa 50mm macro lens offers a 2X maximum magnification ratio along with a minimum focusing distance of 5.3” (13.5cm). It has become the first lens ever designed with a greater- than-life-size (2:1) maximum magnification for MFT cameras, allowing photographing close subjects with finer details. The wider magnification range also makes itself flexible for shooting subjects at different sizes. The lens can focus to infinity and serve as an excellent portrait lens with its 100mm equivalent field of view on 35mm sensors.

2) Equipped with a CPU chip and motor (Automatic aperture)

The lens is equipped with a CPU chip and motor and the aperture can be controlled via the camera body. All the lens data is directly recorded on EXIF. Moreover, the focus magnifier would automatically triggered for easier focus control when the focus ring is rotated.

3) Apochromatic optical (APO) design

The new 50mm f/2.8 2X Ultra Macro has a optics design with 14 elements in 10 groups, three out of which are extra-low dispersion glasses to minimize chromatic aberrations across the frame.
This lens has inherited the exceptional APO design from Laowa 65mm f/2.8 2x Ultra Macro APO, where both lateral chromatic aberration (LaCa) and longitudinal CA (LoCA or Bokeh Fringing) are eliminated.

4) Lightweight & Compactness

The 50mm lens is extremely compact and light in weight. It measures 3.1” (79mm) long and weighs only around 8.4oz (240g). Venus Optics take advantage of the short flange distance of mirrorless cameras and compress the size of the lens to the minimal. An internal focus design is also adopted so that the length of the lens can be maintained during focusing.

5) Compatible with MFT

With the previous success of the Laowa 65mm f/2.8 2x Ultra macro APO which was optimized for APS-C, the new 50mm lens is specially developed for MFT mirrorless camera users. It can be used on Panasonic, Olympus, BMPCC 4K, etc.

6) Pricing & Availability

The lens is currently available to order in authorized resellers and in Venus Optics official website (http://www.venuslens.net/). Shipping starts immediately. The ex-VAT retail price in the US is USD 399/pc. Pricing may vary in different countries.

Specifications

Format	MFT
Focal length	50mm
Angle of View	24°
Aperture	f/2.8-22 (Automatic aperture)
Optical Structure	14 elements in 10 groups
Aperture Blade	7 blades
Closest focusing distance	13.5cm
Max. Magnification	2X
Focus	Manual
Filter thread	ø49mm
Dimensions	ø53.5mm x 79mm
Weight	240g

Articles: Digital Photography Review (dpreview.com)

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Meike’s new 50mm F1.2 lens for mirrorless (and EF) mounts costs just $350

28 Jul

Are you looking for fast glass on a budget? If so, Meike’s new 50mm F1.2 might satiate your needs without burning a hole in your wallet.

The ultra-fast lens will come in Canon EF, Canon RF, Nikon Z and Sony E mount when it ships mid-August. The lens is constructed of 12 elements in 7 groups, including an undisclosed number of multi-coated elements. It features an aperture range of F1.2-F22, has a minimum focusing distance of 60cm (_24”) and uses a 67mm front filter thread.

The manual-focus lens measures in at 72mm (2.83”) long and weighs 620g (1.37lbs). For comparison, Canon’s RF 50mm F1.2 weighs 950g (2.09lbs). Below is a video overview of the lens from Arthur R:

The Meike 50mm F1.2 lens is currently available to pre-order for Canon EF, Canon RF, Nikon Z and Sony E mount camera systems for $ 350. The first units are expected to start shipping on August 15.

Articles: Digital Photography Review (dpreview.com)

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ZY Optics releases ultra-fast 50mm F0.95 ‘Speedmaster’ lens for Canon EF mount

16 Jul

Zhongyi Optics (ZY Optics) has announced the release of its new Mitakon Speedmaster 50mm F0.95 manual lens for Canon EF-mount cameras.

The lens might be similar in specs to its mirrorless counterparts (Canon RF, Nikon Z and Sony FE) released back in 2019, but ZY Optics says the lens has a different optical design featuring 12 elements in 6 groups, including one high-refractive element and five ultra-low dispersion elements.

The lens is constructed of metal, features an eleven-blade aperture diaphragm (F0.95-F16), uses an 82mm front filter thread and has a 65cm (2.13’) minimum focusing distance. It measures in at 89mm (3.5”) diameter and 122mm (4.8”) long, weighing 1.5kg (3.3lbs).

Below is a sample gallery of images provided by ZY Optics:

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The Mitakon Speedmaster 50mm F0.95 lens for Canon EF cameras is available now on the ZY Optics online shop for $ 799.

Articles: Digital Photography Review (dpreview.com)

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Yongnuo announces new 50mm F1.8 ‘nifty fifty’ autofocus lens for APS-C E-mount cameras

15 Apr

Yongnuo has announced the YN50mm F1.8S DA DSM, it’s newest autofocus ‘nifty/thrifty fifty’ lens for Sony E-mount APS-C camera systems.

Yongnuo currently offers 50mm F1.8 lenses for both Canon EF-mount and Nikon F-mount, but this new ‘nifty fifty’ is designed specifically for use with Sony’s a6000 series mirrorless cameras.

The lens is constructed of eight elements in seven groups, including one low-dispersion element to minimize aberrations. Yongnuo says the lens also features a seven-blade aperture diaphragm, gold-plated contacts with a metal bayonet mount and a ‘nanometer multi-layer coating’ to minimize ghosting and flares. The internal autofocus is driven by a digital stepping motor (DSM) and the lens offers an onboard Micro USB port for upgrading the firmware.

The lens doesn’t currently have a price or release date, but considering Yongnuo’s previous lenses sought to undercut the already-affordable ‘nifty fifty’ lenses on the market, you can count on this one coming in very cheap when it hits retailers’ shelves. The lens measures in at 58mm (2.3in) long, 64mm (2.5in) diameter and weighs roughly 146g (5.15oz).

Articles: Digital Photography Review (dpreview.com)

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Affordable anamorphic: hands-on with the Sirui 50mm F1.8 1.33x

12 Apr

Affordable anamorphic: hands-on with the Sirui 50mm F1.8 1.33x

The Sirui 50mm F1.8 1.33x Anamorphic is interesting for more than a couple of reasons, but the thing that makes it immediately attractive is that at $ 700/£660 it’s a lot more affordable than almost all other proper anamorphic lenses for filmmakers using interchangeable lens camera systems.

The lens is designed for APS-C and Super 35mm sensor sizes and comes in mounts for Sony E cameras, Fujifilm X and for Micro Four Thirds models. When used with a Super 35-sized sensor we get the equivalent of a 56mm horizontal field of view, while on a Micro Four Thirds camera this converts to an approximate 75mm horizontal field of view.

On E mount

The a7R IV may not be the ideal Sony camera for shooting all types of video, but it does include an APS-C/Super 35 crop mode, which is where it produces its best quality 4K video. This cropping might be a bug bear for some videographers, but it makes the camera a good match for this lens. It’s possible to use crop mode with FHD resolution as well, but since the camera produces better FHD footage in full sensor mode, we’d recommend sticking with 4K.

However, to see the footage de-squeezed live it’s necessary to use an external monitor with that capability since the feature isn’t built into the camera.

On X mount

Offering this lens in X mount makes a lot more sense now than it would have just a year ago – Fujifilm has upped its video game considerably with the X-H1, X-T4 and new firmware for the X-T3. The Eterna mode makes nice video straight out of the camera, but we also have F-Log and decent data rates too.

The Fujifilm X-T3 doesn’t technically need the grip to shoot video, as the body had both mic and headphone ports, but the grip makes the system easier to hold with the weight of the lens on the front. As with the Sony, you’ll need an external display with an anamorphic preview feature to see the de-squeezed image in real time.

On Micro Four Thirds

Users of the Panasonic GH5 have a couple of choices over the way they use this lens. It has an Anamorphic Mode that uses the 4:3 sensor area to capture video for de-squeezing in software afterwards. As this mode uses almost the whole sensor, the final image contains 18+MP of data to work with.

When you use this mode with the Sirui 1.33x anamorphic lens the wide aspect gets de-squeezed to a 16:9 format with a higher resolution than you’d get shooting in the normal 16:9 video mode, while the in-camera de-squeeze preview feature allows us to see what we are shooting via the rear screen.

To get the wide, cinematic anamorphic look that most will be expecting you need to shoot in the normal 16:9 mode, with Anamorphic Mode switched off. Even with Anamorphic Mode off you can still use the de-squeeze preview on the rear screen and inform the IS system that you have a 1.33x anamorphic lens attached.

The GH5S can also capture anamorphic footage using its 4:3 region, however, due to the nature of its multi-aspect sensor, the resolution isn’t quite as a high as the GH5 in this mode. Like the GH5, it can also show a de-sqeezed preview of the anamorphic image in-camera.

Fit and finish

The lens is constructed from 11 elements arranged in 8 groups, and features a 10-bladed iris. It certainly isn’t big but is long and thin, and weighs more than you might expect. It feels very solidly made and is nicely finished in a semi-matte black paint.

The focus and aperture markings are shown only on the top of the lens, and distances are indicated in both feet and meters with paint sunk into engraved characters.

Front element

The front element of the lens has that characteristic square baffle opening that we often see on anamorphic lenses. As with many single focal length anamorphic lenses the squeezing element is mounted onto the front of the basic optical design of the lens.

Front element

When viewed from the front, the circular iris of the lens appears elongated into an upright oval shape. This is because we are viewing it through the anamorphic element mounted on the front of the construction. When viewed through the rear the iris is shown to be round – well, a nearly round decagon at least.

The size of the front element, and its flat design, makes it a magnet to the flare so many film makers love. The flare appears in oval rings accompanied by thin blue lines that shoot horizontally across the frame. The blue tint seen in the front element appears to be designed to enhance the blue-ness of that line.

It is easy to overdo this effect so that the flare becomes the subject rather than whatever you are shooting, so caution is advised.

Aperture and focus rings

The aperture range on offer spans F1.8-16, while the closest focus is 0.85m / 33″ which is just close enough to get a decent tight head shot. Of course the aperture ring is clickless so exposures can be adjusted during recording without disturbing the audio track. The aperture ring turns smoothly with plenty of resistance to prevent accidental rotation, and you can get from one extreme to the other via a twist of about 90°.

The focusing ring takes a twist of 143.6° and must be turned to the left to reach infinity. The ring is quite stiff and the fine ribbing on the barrel may not always be enough to get a firm grip.

Image format on APS-C

When used with a camera recording in 16:9 mode the de-squeed image works out to a ratio of about 2.35:1, similar to the classic CinemaScope look. The black letterboxes above and below help illustrate the difference between this aspect ratio and the standard 16:9 video format.

Image format on Micro Four Thirds

This is a grab from footage recorded in Anamorphic Mode on the Panasonic Lumix DC-GH5. In this mode the camera records from the whole 4:3 sensor, so the 1.33x anamorphic effect only de-squeezes to 16:9, but it is a higher resolution 16:9 format image than you’d get recording in 16:9 with a normal lens.

Shooting in 16:9 with this lens on a Micro Four Thirds camera will also result in a 2.35:1 CinemaScope aspect ratio, albeit with a longer apparent focal length than on an APS-C/Super 35 sensor.

Trademark blue flare

Here’s an example of the blue-line flare that is a characteristic of this lens when aimed close to a light source. Some people will love it, and others will find it a distraction. As with most things, moderation might be the best policy.

Articles: Digital Photography Review (dpreview.com)

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