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First impressions of the Sony 50mm F1.2 GM

17 Mar

First impressions of the Sony FE 50mm F1.2 GM

It seems that every camera company is flexing its optical muscles these days to churn out F1.2 lenses. Sony, not one to be left behind, just released its first F1.2 prime, the FE 50mm F1.2 GM. One can’t help but ponder if Sony made this lens, at least in part, to dispel the myth that the smaller lens mount diameter – compared to its mirrorless peers – makes such fast lenses impossible (Sony claims F0.63 E-mount lenses can be made, but don’t make business sense).

Either way, while the Planar T* FE 50mm F1.4 ZA optic was impressive in its own right, offering a very flat field of focus and minimal aberrations, the 50mm F1.2 appears to exceed it in nearly every respect.

Click through for a closer look.

Size and weight

The FE 50mm F1.2 GM is surprisingly compact and lightweight for what it offers. Next to the Planar T* 50mm F1.4 ZA, it’s nearly the same size and at 778g weighs exactly the same, despite offering half a stop more light gathering and shallow depth-of-field capability. Both lenses are exactly the same length: 108mm. The F1.2 GM has a slightly larger diameter, with the largest section of its barrel measuring 87mm compared to 83.5mm for the F1.4 ZA. This can be explained by the approximately 36% increase in surface area required for an F1.2 aperture compared to F1.4. Still, the filter diameter is a modest 72mm.

Mount each lens on a camera body, close your eyes, and you won’t be able to tell which lens is attached. Well, save for the nicer rubberized manual focus ring on the F1.2 GM.

The Sony optic is the smallest and lightest of its competitors, weighing 18% less than Canon’s RF 50mm F1.2 and 30% less (and 30% shorter) than Nikon’s 50mm F1.2 S.

Build quality and sealing

Despite its compact size, the 50mm F1.2 GM feels very well-built. Similar to other lenses in the GM-series, it’s rated as ‘dust and moisture resistant’, with seals around all buttons and rings. A rubber gasket around the mount should help protect against moisture and other elements entering the camera body. Sony says that hybrid metal and engineering plastic has been used for durability and to reduce the weight of the lens. Finally, a fluorine coating on the front element should make water, oils, fingerprints and dirt easy to clean off.

External controls

The FE 50mm F1.2 GM lens offers a number of external controls. A focus mode switch allows you to quickly switch between auto and manual focus. Two focus hold buttons can be customized to any function available to all other custom buttons on the camera body. The manual focus ring has a nice rubberized texture that makes it easy to grasp and that also differentiates it from the aperture ring. The focus ring offers a linear focus response for intuitive focus pulls in video and stills…

External controls (continued)

The aperture ring has a texture similar to the lens barrel but with ‘teeth’ to make it easy to grasp and turn. F-stops are marked in 1/3 EV steps. The aperture ring can be ‘clicked’ or ‘de-clicked’, with the latter setting making it easier to smoothly change the aperture if you wish to vary the depth-of-field while shooting video.

Optical design

The optical construction comprises 14 elements in 10 groups. Three extreme aspherical (XA) elements – shown here in orange – help minimize aberrations and reduce the overall size of the optics. These XA elements also play a role in maintaining high resolution across the frame at wide apertures.

Bokeh

Enhanced surface precision of the molds used to create those XA elements in the last slide helps ensure smooth bokeh. Pictured at the top left in this image (courtesy of Sony) is a conventional aspherical lens surface, leading to an undesirable circle of confusion (top right). At the bottom left is a surface trace of one of Sony’s XA lens surfaces with 0.01µm surface precision, creating a clean circle of confusion (bottom right) and generally pleasing bokeh.

Sony claims that spherical aberration has been carefully controlled at the design and manufacturing stages for smooth foreground and background bokeh, and the comparative images Sony showed us against competitors were convincing, though we’ll reserve final judgement for after our own testing.

Bokeh

An 11-bladed aperture ensures circular out-of-focus highlights even as you stop down. In the image above you can see perfectly circular discs even after stopping the lens down 1.7 stops, which would be difficult for a lens with 9 or 10 aperture blades to do. Though there are many other factors that contribute to pleasing bokeh, this should help the F1.2 GM pleasantly render out of focus lights and produce smoother, more Gaussian bokeh.

There’s some mechanical vignetting that leads to cat’s eye effect wide open as you can see on the left, but it mostly disappears as you stop down to F1.8 and is completely gone by F2, as you see on the right.

Sharpness

MTF traces provided by Sony suggest impressive performance wide open (leftmost MTF graph), with over 90% contrast retained for higher resolution 30 lp/mm detail (green) at the center of the frame continuing out at least 6mm from the center of the imaging circle. Meanwhile, this 30 lp/mm trace, indicative of lens’ sharpness, never dips below 60% anywhere in the frame, typically hovering nearer to 70% at image peripheries.

The fact that the sagittal and tangential traces generally closely follow each other indicate that astigmatism is well-controlled, which suggests that bokeh should have a pleasing rendering, which bears out in our initial impressions.

A quick note on reading these graphs: sagittal or radial traces are solid while tangential traces are dotted. Orange traces are for 10 lp/mm detail, often indicative of lens’ contrast performance. The higher the traces, the better.

Sharpness

What does sharpness at F1.2 look like in real-world shooting? Have a look at this image at 100%. Depth of field is razor thin at F1.2, but Sony’s Eye AF is generally accurate enough, and AF speeds with this lens are responsive enough, that hit rates are high. Which brings us to…

Autofocus

Two independent floating focus groups allow for close focusing distances, and are driven by four ‘extreme dynamic’ linear motors (two per focus group). We’re told by Sony that these linear motors are very efficient at generating linear motion, as they don’t require any translation of rotational motion to linear motion, as ring-type and stepper motors do. The results speak for themselves, both in this demonstration video from Sony and in our own independent tests that confirm the 50mm F1.2 GM is the fastest-to-focus lens of its type. We measure only a mere 0.65s for the lens to rack from minimum focus distance (0.4m) to infinity, and 0.5s to rack from 0.7m – still a very close working distance for the 50mm focal length – to infinity.

In comparison, the tiny FE 35mm F1.8 optic takes a similar 0.5s to rack from its minimum focus distance to infinity, while the Nikkor 35mm F1.8 S takes a bit over 1s to do so. And those lenses are more than a stop slower.

The minimum focus distance of 0.4m (15.8″) yields a maximum magnification of 0.17x. Unfortunately, focus breathing, or a change in magnification with focus distance, is pretty significant and might be an issue for video shooters.

Longitudinal chromatic aberration

When it comes to fast lenses of this type, longitudinal chromatic aberration, abbreviated simply as LoCA, is one of the major aberrations we tend to worry about, especially as it tends to be hard to remove in post-processing and can be distracting. It shows up typically as magenta and green fringing in front of and behind the focus plane, respectively, around high contrast objects in the image.

There is almost no such fringing to speak of with the FE 50mm F1.2 GM, not even after drastic contrast adjustments that would exaggerate any LoCA present in the image, as we have done above (+45 in Adobe Camera Raw).

Sony tells us the lack of this aberration is due in part to the XA elements, as well as the use of the latest advanced simulation technology.

Flare, ghosting and sunstars

Sony’s ‘Nano AR (anti-reflective) II’ coating helps reduce flare as well as the appearance of distracting ‘ghosts’, both caused by reflections off of the internal elements. Nano AR II was developed specifically for application to large optical elements with highly curved surfaces, such as the XA elements increasingly found in Sony’s lenses.

The image above was shot by pointing the camera at the sun and angling it in such a way as to introduce as much flare and ghosting as possible. Results are impressive: there is very little loss of contrast, and the 2 or 3 visible ghosts (the purple and blue circles at upper right) aren’t too distracting or unsightly, instead appearing rather diffuse.

The 11-blade aperture produces 22-point sunstars with point light sources in the frame, if you stop the aperture down (pictured here is F11).

Lateral chromatic aberration

As is the case with many modern, well corrected lenses, lateral chromatic aberration, which shows up as magenta and cyan or green fringing at image peripheries that does not improve significantly upon stopping down, isn’t much of an issue, particularly because it’s taken care of digitally. Above, the left half of the image is identical to the right half, except that it’s had any lateral CA removed using the included profile embedded in Sony Raw files (processed here in Capture One). Noticeable mostly at high contrast edges, lateral CA simply isn’t an issue after it’s been removed, either in your favorite Raw converter, or in-camera by selecting ‘Auto’ for ‘Chromatic Aberration Comp’ under the ‘Lens Comp’ option in the camera menu.

This particular example is a crop from an extreme corner of the frame, so even if you leave lateral CA uncorrected – which you shouldn’t – this level of aberration is nothing to concern yourself over.

Distortion

We don’t tend to worry about distortion on 50mm prime lenses, but we do find it interesting that there is a noticeable amount of pincushion distortion if you go looking for it by comparing uncorrected vs. corrected images. The left half of this image is corrected while the right half is not; note the slight inward bend of the right edge of the stone wall on the right compared to the straight edge on the left. And the magnification of the rectangular tiles on the left relative to those on right, particularly obvious if you look at the center of the image.

These artifacts are all due to distortion correction having been applied to the left half of the above image only. For whatever reason, Sony has chosen to leave some optical distortion behind in the optical formula for, albeit very easy, digital correction afterwards. It’s worth noting that, for now, Adobe Camera Raw allows for no such provision for distortion correction – not until Adobe has profiled this particular lens – while Capture One honors the built-in manufacturer distortion correction profile included in Raws shot with the 50mm F1.2 GM. This is one of the reasons we have chosen to include some Capture One conversions in our gallery of this lens.

Price and availability

The FE 50mm F1.2 GM is Sony’s 60th E-mount lens, its 40th full-frame E-mount lens, introduced right around the 5th anniversary of the introduction of Sony’s first GM lenses. From our initial testing we’d venture to say the FE 50mm F1.2 GM is probably one of Sony’s sharpest, fastest to focus, and most aberration free primes

Expect to see it in the wild mid-May 2021, at an MSRP price of $ 1999 USD.

See our Sony FE 50mm F1.2 GM Sample Gallery

Articles: Digital Photography Review (dpreview.com)

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Leica’s Noctilux-M 50mm F1.2 is an homage to one of its most iconic lenses

29 Jan

The last Leica Noctilux 50mm F1.2 lens was produced 46 years ago. Now, nearly half-a-century later, the iconic lens has been reborn in the form of the Noctilux-M 50mm F1.2 ASPH, a ‘new’ lens from Leica that pays homage to a classic.

An advert for the original Noctilux 50mm F1.2 lens (note it uses the same six-element, four-group optical construction as the new Noctilux-M version).

The original Noctilux 50mm F1.2 lens was the first to feature aspherical elements in its optical design. This, along with its large maximum aperture, made for a unique aesthetic that’s become synonymous with the Noctilux line. Leica says the original lens’ ‘visual signature embodies the original essence of the “Leica look” and has helped shape the landscape of Leica’s iconic reputation for the best lenses.’

So, rather than go back to the drawing board, Leica stood atop its own shoulders and based the new lens so similarly to its predecessor that Leica says the resulting images are ‘nearly identical.’ Despite that, Leica says ‘the purpose of this lens is by no means limited to nostalgia or trips down memory lane,’ going on to say that when ‘stopped down to F2.8 or further, the Noctilux-M 50 f/1.2 ASPH delivers impeccably sharp images that live up to the quality expectations of modern-day digital photography.’

The lens is constructed of six elements in four groups, including two aspherical elements. It features a 16-blade aperture diaphragm, has a 1m (3.3ft) minimum focusing distance and uses a 49mm front filter thread. The lens measures 61mm (2.4″) in diameter, 52mm (2″) long (without lens hood) and weighs 405g (14.3oz).

This lens marks the third in the Leica Classics Range, which has seen reissues of the Summaron-M 28 f/5.6 of 1955 and the Thambar-M 90 f/2.2 of 1935. To further pay homage to Leica’s lens history, the Noctilux-M 50 f/1.2 ASPH will come in both silver and black versions — a nod to Leica’s transition from silver to black anodized lenses over the years.

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The silver chrome edition of the Noctilux-M 50 f/1.2 ASPH ‘features a brass lens barrel, a front-ring engraving that reads LEITZ WETZLAR (distinguished from the contemporary LEICA engraving) and along with the clear lens container is packaged in a vintage-inspired box that even further recreates the 1966 original.’ The silver chrome edition is limited to just 100 units worldwide and will retail for $ 16,395.

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The black anodized version of the Noctilux-M 50 f/1.2 ASPH will come in packaging ‘inspired by the box of the original [Noctilux].’ Leica doesn’t specify how many of the black anodized versions it will be making, but it doesn’t appear to be a limited edition. Units are available now through Leica Stores and authorized dealers for $ 7,695.

Leica has shared a number of Raw photos captured with the lens that you can download and play around with on its product page.

Articles: Digital Photography Review (dpreview.com)

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Canon releases mostly minor firmware updates for five cameras and its RF 50mm F1.2 lens

20 Nov

Canon has released a barrage of firmware updates for a number of its mirrorless cameras and a single RF lens, bringing new and improved features, as well as the usual bug fixes. None of the updates offer major improvements in autofocus or other areas, but they all take care of a few ‘phenomena’ and offer support for newer Canon lenses.

Canon RF 50mm F1.2 L USM

We’ll go ahead and get the most minor firmware update out of the way first. The Canon RF 50mm F1.2 L USM lens has received a version 1.0.5 firmware update that ‘Reduces image noise when performing high sensitivity shooting with the RF50mm F1.2 L USM lens attached to the EOS C70 camera.’ How exactly a firmware update for a lens addresses noise issues is a bit intriguing, but it never hurts to have the latest update anyway. You can download firmware version 1.0.5 for the Canon RF 50mm F1.2 L USM lens on Canon’s website.

Canon EOS R and RP

We’ve grouped these two updates together, because they offer the exact same changes, according to Canon’s changelog. Firmware version 1.6.0 for the EOS RP and firmware version 1.8.0 for the EOS R improves color balance when shooting with the Canon RF 50mm F1.8 STM lens and adds support for Canon’s newer RF 70–200mm F2.8 L IS USM and RF 100–500mm F4.5–7.1 L IS USM lenses. You can download firmware version 1.6.0 for the EOS RP and firmware version 1.8.0 for the EOS R on Canon’s respective product pages.

Canon EOS R5 and R6

As with the EOS RP and R firmware updates, the latest updates for Canon’s EOS R5 and R6 cameras are identical to one another based on the changelogs. Firmware version 1.2.0 for both cameras addresses the following changes and improvements:

When using high-speed or low-speed continuous shooting modes, in Drive Mode with [High Speed Display: OFF], the visibility of the subject within the frame has been improved when shooting moving objects.*
*During continuous shooting black frames will be inserted between frames in the viewfinder and live view. This will improve the visibility of moving subjects in live view and in the viewfinder.
Adds the [Auto] setting to the [Viewfinder brightness] menu that will brighten and dim based on ambient light conditions.
Enables 2nd curtain shooting sync during radio transmission wireless flash shooting when the Speedlite EL-1 flash is attached to the camera.
Enables manual flash output (excluding high-speed sync and optical transmission wireless flash shooting) to be selected and set up to 1/8192 from the camera menu screen when the Speedlite EL-1 flash is attached to the camera.
Improves compatibility of HEIF images recorded in the camera with MIAF (Multi-Image Application Format) standards.
Adds support for AF and release during zoom operations for some RF and EF lenses.

You can download firmware version 1.2.0 for the EOS R5 and EOS R6 cameras on Canon’s respective product pages.

Canon 1D X Mark III

Lastly, Canon has updated its flagship DSLR, the EOS 1D X Mark III. Firmware version 1.3.0 addresses the following changes and improvements:

Enables 2nd curtain shooting sync during radio transmission wireless flash shooting when the Speedlite EL-1 flash is attached to the camera.
Enables manual flash output (excluding high-speed sync and optical transmission wireless flash shooting) to be selected and set up to 1/8192 from the camera menu screen when the Speedlite EL-1 flash is attached to the camera.
Improves compatibility of HEIF images recorded in the camera with MIAF (Multi-Image Application Format) standards.
Fixes the phenomenon that may result in the occurrence of time-out under certain conditions during FTP transfer.

You can download firmware version 1.3.0 for the EOS 1D X Mark III on Canon’s product page.

Articles: Digital Photography Review (dpreview.com)

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What you need to know about Nikon’s new 14-24mm F2.8 S and 50mm F1.2 S Z-mount lenses

17 Sep

What you need to know about Nikon’s new Z 14-24mm F2.8 S and Z 50mm F1.2 S

We’ve known they were coming for a while, but Nikon’s mirrorless lens roadmap moved two steps further forward with the launch of the new Z 14-24mm F2.8 S and Z 50mm F1.2 S. Keep reading to learn more about these two premium Z-mount lenses.

Z 50mm F1.2 S

Good news for Nikon Z shooters looking for a standard lens – you now have another option. The new Z 50mm F1.2 S is positioned between the affordable (and excellent) Z 50mm F1.8 S and the considerably less wallet-friendly Z 58mm F0.95 S.

Size and weight

First (and most obvious) things first: This is a pretty big lens. At almost six inches long (without the hood) and with an 82mm filter thread, the new Z 50mm F1.2 S is almost twice as big as the F1.8, and almost twice the weight (1095g, or 2.4lb). Nikon claims that key optics in this new lens are ‘1, 1/2x larger’ than in the F1.8, and the new lens also houses twin STM motors for accurate focus throughout its operating range.

Amazingly, the Nikon 50mm F1.2 S is even larger and heavier than the Canon RF 50mm F1.2L USM, which weighs in at 950g (2.1lb).

Size and weight

For the historically inclined, the last 50mm F1.2 from Nikon (the Nikkor 50mm F1.2 AI-S) weighed less than 400g (0.9lb) and was only 5cm (2in) long. However, due to the compromises involved in stuffing an F1.2 maximum aperture into the narrow F-mount, it was not, sadly, a particularly good lens. This 50mm F1.2, however, promises to be much better.

Optical construction

Optical construction comprises 17 elements in 15 groups, including three aspherical elements and two ‘ED’ extra-low-dispersion elements, and both Nikon’s Nano Crystal Coating and the newer ARNEO coating for flare, ghosting and coma suppression. Meanwhile, distortion is well-controlled and nine rounded aperture blades should help keep out of focus highlights circular at wider apertures.

Because of the exceptionally wide dimensions of the Z-mount, the rear element of the lens can be very large, helping to keep light rays near-perpendicular when they reach the sensor.

Nikon describes the optical construction of this lens as ‘symmetrical’, and in theory this should mean that the Z 50mm F1.2 S is capable of high resolution at all apertures, across the frame. This is obviously something that we want to put to the test as soon as we can.

Twin STM focus motors

The Z 50mm F1.2 S becomes the latest Nikon lens to feature twin STM focus motors, which should increase focus accuracy at close distances, as well as being quieter and more power-efficient than traditional Ultrasonic motors. Minimum focus distance is 0.45m (about 18″) and of course manual focus is also possible using the large focus ring. As we’d expect, this is ‘manual focus by wire’ but very finely-geared for precise adjustment.

Nikon promises ‘minimal’ focus breathing (where magnification changes as the lens is focused), which is good news for videographers.

Handling and operation

There’s no getting around the fact that this is a large lens, and it makes the Z6/7 feel pretty small by comparison. We strongly suspect, however, that it will pair well with those cameras when used with their optional grip, and of course any future high-end Z-series camera with a bit more heft.

Handling and operation

In terms of operation, the Z 50mm F1.2 S is also pretty consistent with other high-end S-series Nikon lenses of late. A control ring can be customized for direct control over exposure compensation or aperture (and other things, but those are the two most useful) and an ‘Fn’ button can be customized via the camera for quick access to various modes and features. Meanwhile an OLED status panel on the barrel shows focus and aperture + hyperfocal distance information. In line with other S-series lenses, the Z 50mm F1.2 S is ‘extensively’ sealed against dust and moisture.

The Nikon Z 50mm F1.2 S will be available in December for $ 2099.

Z 14-24mm F2.8 S

Nikon’s AF-S 14-24mm F2.8 was a wildly popular lens, and for many years it was among the best wide-angle zooms you could buy. Nikon was always going to create an equivalent for its new mirrorless Z mount and here it is: the Z 14-24mm F2.8 S.

Size and Weight

The old AF-S 14-24mm F2.8 is a famously large, unwieldy lens, thanks mostly to its enormous front element. The new Z 24-24mm F2.8 is an altogether more portable option, and considerably lighter (650g / 1.4lb compared to 970g / 2.1lb). That’s a weight reduction of 35%.

It’s not a small lens by any means, but at around five inches long, it is the smallest and also lightest 14-24mm F2.8 on the market (albeit in a class of only three – the third being Sigma’s 14-24mm F2.8 DG HSM Art). Minimum focus is 0.28m (~11in) so get ready to shoot some classic ‘wildflowers at sunset’ landscapes.

Optical construction

Optically too, this lens is totally different to its nominal F-mount predecessor. This is very obvious from the flat front element, which contrasts very clearly with the large, bulging front element of the older AF-S 14-24mm. And yes, this does mean that you can use screw-in filters, although you’ll need to attach the included HB-96 hood to do it, and you’ll need to hunt down 112mm filters – not a particularly ‘standard’ size (or a cheap one), but both Nikon and B+W do make them.

If you don’t fancy shelling out for massive new filters, there’s also a tray for trim-able 40.5mm drop-in gel filters at the very rear of the lens.

Optical construction

Internally, the new Z 14-24mm F2.8 S comprises 16 elements in 11 groups, including three aspherical and four ED elements. Like the 50mm F1.2, it features both Nano Crystal and ARNEO coatings. Nikon promises “stellar point light reproduction capabilities” and excellent coma and flare suppression, which should make this lens ideal for wide-aperture astrophotography.

Weather-sealing

The front element is coated with fluorine, to aid with cleaning if moisture and fingerprints should make their way onto the glass. Speaking of which, the Z 14-24mm F2.8 is sealed against dust and moisture.

Price and availability

The Nikon Z 14-24mm F2.8 S will be available in November for $ 2399 – a considerable premium over the older AF-S 14-24mm, but one that’s hopefully justified by its image quality. We’ll be sharing sample images as soon as we get hold of a production lens.

Articles: Digital Photography Review (dpreview.com)

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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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MS Optics reveals its latest lens, the Elnomaxim 55mm F1.2 for Leica M-mount cameras

31 Jul

Miyazaki san of MS Optics fame has released his latest M-mount lens, the Elnomaxim 55mm F1.2.

Bellamy Hunt over at Japan Camera Hunter is still working to translate the details of the lens, but what is known at this point is that the lens uses a gauss type optical design with an extremely simple formula. Specifically, the lens is Miyazaki san’s take on the Zeiss 50mm F2 Sonnar lens originally designed for the Zeiss Contax I rangefinder.

The entirely manual lens features an aperture range of F1.2 through F16, has a minimum focusing distance of one meter (3.25ft) and has a 49mm front filter thread. The lens measures in at 50mm diameter, 43mm long and weighs 180g (6.35oz).

Japan Camera Hunter has shared a few sample photos captured with the lens:

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As is the case with most MS Optics lenses, this thing isn’t going to win any sharpness contests, but it has character.

The Elnomaxim 55mm F1.2 lens for M-mount is available in black chrome and silver chrome, and is currently available to order from Japan Camera Hunter for $ 1,200. Units are being produced in small batches, so expect stock to come and go.

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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Cosina announces ‘Stills Edition’ version of its Nokton 40mm F1.2 lens for Sony E-mount

02 Jun

Cosina has announced the upcoming release of its latest ‘Stills Edition’ (SE) lens, the Voigtlander Nokton 40mm F1.2 SE lens for Sony E-mount camera systems.

The manual 40mm F1.2 SE lens is nearly identical to its non-SE version. It’s constructed of eight elements in six groups, features an aperture range of F1.2 – F22, has a 55-degree field of view and uses a ten-blade aperture diaphragm. The SE version also features the same built-in encoder for metadata and distance, which works alongside Sony’s in-body image stabilization to offer the best results.

As with other lenses in the SE series, the only notable difference compared to the non-SE version is a slightly changed external design, different groves on the rings and the removal of the aperture de-click button. Below are a few sample photos from Cosina, captured with the lens (the images feature borders and aren’t high-res):

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The lens weighs 340g (12oz), has a 58mm front filter thread and comes with a lens hood. Cosina’s website says the lens will be released on June 24 at a suggested retail price of 100,000 yen (~$ 930).

Articles: Digital Photography Review (dpreview.com)

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Cosina announces upcoming Voigtlander Nokton 35mm F1.2 III lens for M-mount

20 Feb

Alongside the 60mm F0.95 it released, Cosina Japan has also announced the Voigtlander Nokton 35mm F1.2 Aspherical III VM lens for Leica M-mount camera systems.

Like the 60mm F0.95 lens, the Voigtlander Nokton 35mm F1.2 VM lens doesn’t yet have pricing or availability information available for regions outside of Japan, where it’s expected to be released in March 2020 for ¥135,000.

The lens is constructed of nine elements in seven groups, features an aperture range of F1.2 through F22 and has a 12-blade aperture diaphragm. The minimum focusing distance is 50cm (20in) and the front filter thread is 52mm.

Compared to its second-generation predecessor, the Voigtlander Nokton 35mm F1.2 Aspherical III VM has been reduced in size, coming in at 20-percent shorter and 30-percent lighter at 50.5mm (2in) and 332g (11.7oz), respectively. The lens will work with all M-mount Leica cameras and most Vessa cameras (not the Bessa L or R).

You can find out more information on Cosina’s website.

Articles: Digital Photography Review (dpreview.com)

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