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Posts Tagged ‘f3.5’

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

02 Dec

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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)

 
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Meyer Optik Görlitz announces its new Lydith 30mm F3.5 II lens for full-frame, APS-C mounts

25 Aug

Meyer Optik Görlitz is back at it again with the release of a new prime, the Lydith 30mm F3.5 II. While it bears the same name as its predecessor, which was released under the previous owners of the Meyer Optik Görlitz brand via Kickstarter back in 2017, this new version features an entirely new optical design and construction.

Like its predecessor, this mark II version is based on the original Lydith lens, released back in 1964. OPC Optics, the new owners of the Meyer Optik Görlitz brand, doesn’t share the exact optical construction, but if it’s true to the original 1964 lens, it will feature five elements in five groups.

The original Lydith F3.5 lens and its optical construction.

The lens features a minimum focusing distance of 15cm (6in), features a stepless aperture (F3.5–16) and has a 52mm front filter thread. It comes in a variety of full-frame and APS-C lens mounts, including Canon EF, Fuji X, Leica L, Leica M, M42, MFT, Nikon F, Pentax K and Sony E.

Below are a few low-resolution sample photos, captured with the lens:

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The lens is currently available to purchase from the Meyer Optik Görlitz website and authorized retailers for $ 900.

Articles: Digital Photography Review (dpreview.com)

 
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The GF 30mm F3.5 R WR? sample gallery (DPReview TV)

25 Jul

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How does the Fujifilm GF 30mm F3.5 stack up to other lenses for Fujifilm’s medium format system? In this gallery from DPReview TV we feautres samples that assess sharpness, bokeh, flare and more.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Fujifilm GF 30mm F3.5 review

25 Jul

The GF 30mm F3.5 R WR is a wide angle prime lens for Fujifilm’s medium format GFX system, with a focal length equivalent to 24mm on full frame. It offers impressive sharpness, but not without a few compromises. Watch our review to learn more.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Intro
  • Sample photos
  • Size and design
  • Chromatic aberration
  • Minimum focus
  • Flare control
  • Autofocus speed
  • More sample images!
  • Bokeh
  • Sharpness
  • Who's it for?

Sample gallery from this episode

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Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm GF 30mm F3.5 R WR sample gallery

30 Jun

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Fujifilm’s GF 30mm F3.5 R WR is a relatively compact, weather-resistant wide-angle prime lens for the company’s GFX medium-format cameras. It’s roughly equivalent to a 24mm F2.8 lens in full-frame terms, and in our shooting on both 50 and 100 Megapixel camera bodies, we’ve found it to be an impressive performer. From the Cascade foothills to Puget Sound, click through our gallery to see how it looks for yourself.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm’s GF 30mm F3.5 R WR lens to ship in late July

30 Jun

Fujifilm has announced that its GF 30mm F3.5 R WR wide-angle lens will ship in late July or early August for $ 1699. The lens, which has been on the G-mount roadmap for several months, is equivalent to a 24mm lens when mounted on a GFX body.

The GF 30mm F3.5 has a total of 16 elements, including aspherical and extra-low dispersion glass. Focusing is internal and the lens has been designed to minimize focus breathing. It’s lightweight and compact (relatively speaking), weighing in at 0.5kg (1.1lbs). The ‘WR’ in the product name indicates weather-resistance, and Fujifilm says that the lens can operate at temperatures as low is -10°C (+14°F).

View our GF 30mm F3.5 sample gallery

Press release

Fujifilm Launches FUJINON GF30mmF3.5 R WR Lightweight, High Resolution Lens

Valhalla, N.Y., June 30, 2020 – FUJIFILM North America Corporation today announced the launch of the FUJINON GF30mmF3.5 R WR (GF30mmF3.5 R WR), a wide-angle prime lens with a focal length equivalent of 24mm (in the 35mm film format) for the FUJIFILM GFX System of large format*1 digital cameras.

With its dust and weather-resistant design, the GF30mmF3.5 R WR caters to a variety of shooting styles including landscapes, architecture, as well as casual snapshots on the move. “This lens is a great compliment to our existing series of GF lenses and gives image-makers a great wide-angle option for landscapes, architecture, or wide environmental portraits,” said Victor Ha, senior director, marketing and product management with the Electronic Imaging Division of FUJIFILM North America Corporation. “We are really excited to see the images our community will make with this lens.”

Main product features:

Image quality

The lens consists of thirteen lens elements in ten groups, including two aspherical elements and two extra-low dispersion (ED) elements. The high-performance lens groups are positioned to control various aberrations, especially distortion to which wide- angle lenses are prone, to achieve edge-to-edge sharpness. The lens is able to resolve an impressive amount of detail, compatible with 100MP sensors — “enabling the photographer to re-create the atmosphere of each scene with a sense of visual honesty and feeling,” said Ha.

Portability

This compact lens weighs approximately 18 ounces (510g) and measures 3.9 inches (99.4mm) with a maximum diameter of 3.3 inches (84mm). In addition, the slim design balances well on a GFX System camera, making it a perfect lens to carry on-the-go.

Performance

The new GF30mmF3.5 R WR lens uses an internal focusing system, offering fast and quiet autofocus (AF). Focus breathing is just 0.05%, making it a great lens for recording video. Like all of Fujifilm’s lenses in the GF family, the GF30mmF3.5 R WR incorporates Fujifilm’s optical design and production technology processes to achieve a sub-micron level precision lens surface. This allows the lens to bring out the full potential of the FUJIFILM GFX 50S and GFX 50R mirrorless digital cameras, as well as the 100MP image sensor of the FUJIFILM GFX 100.

Durability

The lens is sealed at nine locations to make it dust and weather-resistant. It can also be used in temperatures as low as 14°F (-10°C), offering photographers peace-of-mind when shooting in inclement weather or dusty environments.

The GF30mmF3.5 R WR lens will be available in late July or early August in the U.S. and Canada for a manufacturer’s suggested retail price of USD $ 1699.95 and CAD $ 2299.00. For more information, visit https://fujifilm-x.com/en- us/products/lenses/gf30mmf35-r-wr/ .

*1 Fujifilm’s large-format GFX System digital cameras include an image sensor that measures 55mm diagonally (43.8mm x 32.9mm), with an area approx. 1.7 times that of a full-frame 35mm sensor.

Fujifilm GF 30mm F3.5 R WR specifications

Principal specifications
Lens type Prime lens
Max Format size Medium Format (44x33mm)
Focal length 30 mm
Image stabilization No
Lens mount Fujifilm G
Aperture
Maximum aperture F3.5
Minimum aperture F32
Aperture ring Yes
Number of diaphragm blades 9
Optics
Elements 13
Groups 10
Special elements / coatings 2 aspherical + 2 ED elements
Focus
Minimum focus 0.32 m (12.6)
Maximum magnification 0.15×
Autofocus Yes
Focus method Internal
Distance scale No
DoF scale No
Physical
Weight 508 g (1.12 lb)
Diameter 84 mm (3.31)
Length 99 mm (3.9)
Materials Magnesium alloy
Sealing Yes
Colour Black
Filter thread 58 mm
Hood supplied Yes

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm GF 50mm F3.5 impressions: an easy lens to love

18 Mar

Introduction

Fujifilm GF 50mm F3.5 | 1/60 sec | ISO 400 | F8

Adobe Camera Raw Settings: Adobe Color Landscape, Daylight WB, Highlights -25, Shadows +60, Vibrance -6, Sharpening 40, Luminance Noise Reduction 0, Color Noise Reduction 25

Over the past half-century, 50mm lenses, with a field of view that most closely approximates natural human vision, have reigned supreme as the classic ‘normal’ lens for 135 film and full-frame digital cameras. In the days before ubiquitous zoom lenses, 50mm primes were kitted with just about every 135 SLR on the market. If you’ve ever shot with a Canon AE-1, a Pentax K1000, or Olympus OM-1, there’s a better than 90% chance it had a 50mm lens on it.

In my nearly 30 years as a photographer, I’ve purchased a 50mm (or equivalent) prime for every camera system I’ve ever owned. Over the past 15 years of teaching photography, I’ve recommended the 50mm prime lens to literally thousands of students as the highest-quality, most-affordable, must-have upgrade for anyone getting ‘serious’ about photography.


Fujifilm GF 50mm F3.5 sample gallery

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The hard truth is, though, I’ve never truly loved shooting with any of my 50mm primes and they’ve tended to sit in the bag more often than my other lenses. For me, the ‘normal’ 50mm has always been a little boring and I find a 35mm or 40mm a little more interesting with a slightly wider-than-normal view that doesn’t really feel wide. Generally speaking, 40mm lenses also tend to be rather compact and you’ll find them on many classic fixed-lens rangefinders from the 1970’s including the legendary Canonet G-III QL17 and the Rollei 35. Canon’s current 40mm F2.8 ‘pancake’ lens is a lovely performer as well.

Speaking of 40mm (equivalent) lenses, I have to mention an old favorite of mine: the Panasonic Lumix 20mm F1.7 for Micro Four Thirds. This was one of the first MFT prime lenses, released in late 2009 alongside the wonderful Lumix GF1. Although a bit dated, the Lumix 20mm still holds up very well on my 20MP Olympus Pen-F.

Panasonic Lumix GF1 with 20mm F1.7

The Lumix 20mm also has at least one notable superpower: a close focusing limit of just 20cm, which is significantly closer than just about any non-macro-specific lens I’ve ever used. This very close focusing enables Micro Four Thirds to transcend its inherent depth-of-field limitations (or lack thereof) to produce images with extreme background blur, albeit limited to close subjects. The slightly wider-than-normal field of view also includes a bit more context, which can make ordinary junk-drawer-stuff visually interesting in a way that classic 100mm macro lenses can’t. In short, it’s just a very ‘arty’ lens that makes casual photography really fun for me. As a bonus, it happens to be very small and very sharp.

Fujifilm’s new 50mm F3.5

So when Fujifilm announced the new GF 50mm F3.5 for the GFX system, with its 40mm full-frame equivalent field of view, I got very excited. I imagined a larger version of the Lumix 20mm mated to an ultra high resolution medium format sensor. Is it a dream come true? Well, yes and no. Let me explain.

Fujifilm GF 50mm F3.5 | ISO 200 | 1/500 sec | F11
Adobe Camera Raw Settings: Adobe Color, Daylight WB, Exposure +0.5, Highlights -100, Shadows +100, Sharpening 40, Detail 10, Luminance Noise Reduction 0, Color Noise Reduction 25

I recently drove a 4500-mile loop from Seattle, WA to Santa Fe, NM and back. DPReview kindly loaned me their copy of the Fuji GF 50mm F3.5 to try out along the way, so I attached it to my own GFX 50R and hit the road. It wasn’t a photo-specific trip and I was pretty much always on the way to somewhere else so I didn’t get to shoot in ideal lighting conditions. The images from this road trip are a good example of the sort of casual shooting I might do with the lovely Olympus Pen-F and Lumix 20mm F1.7.

Here are my thoughts.

It’s still kind of big

Everyone writing about this GF 50mm has commented on how ‘tiny’ it is. Well it’s definitely smaller than Fujifilm’s other larger-than-full-frame GF lenses, but calling this a ‘tiny’ medium format lens seems a bit like describing a 16-passenger van as a ‘tiny’ bus. Yes, it’s the smallest Fujifilm GF lens to date, but it’s still larger than an old Hasselblad 80mm F2.8 or the wonderful Pentax 645 75mm F2.8, both of which have a larger aperture and were designed for even larger formats. Proportionally, the GFX 50R with 50mm F3.5 feels something like a Texas-sized version of the for-real tiny Pen-F and 20mm F1.7.

Inoffensive bokeh

In general, a lens’s maximum aperture affects its physical size and weight (and price). It’s clear that Fujifilm had compactness in mind here and I’m neither thrilled nor disappointed in the result. Honestly, I’d rather have a slightly larger F2.8 lens or a slightly smaller F4 lens. This lens’s maximum F3.5 aperture feels like a compromise nobody really asked for. Does it matter? Not much… F3.5 is fine. The half-stop either way would make very little difference in terms of light gathering or depth of field.

ISO 250 | 1/3200 sec | F3.5
ACR Settings: Default

ISO 250 | 1/250 sec | F11
ACR Settings: Default

My casual impression of the bokeh is that I generally like it. Perhaps it could be a bit smoother (more ‘beautiful’) in shots with busy foliage and smaller apertures, but there’s certainly nothing specifically negative to say about it. In all, the out of focus rendering is very nice, very clean, and very modern. Some people might even say ‘generic looking.’ It’s just not the sort of bokeh that really stands out in any particular way – but that’s not a bad thing.

It’s a darn good lens

Yes, as expected, it’s sharp. Very, very sharp. Fujifilm has claimed that all the GF lenses were designed for more than 100MP of resolution. I have no problem believing that statement. To be honest, I’d be shocked if anyone had a legitimate reason to be disappointed in the sharpness of any modern digital medium format lens. I feel obligated to note, however, that digital medium format should be held to a higher standard, particularly when you consider the physical size and weight (and cost) of such systems.

Does that mean this (and other GF lenses) are, in general, measurably sharper than all other lenses? Not necessarily. There are plenty of extremely sharp lenses for other systems. That said, even the best lenses are rarely the same sharpness across the frame at all apertures. When pixel-peeping at 100%, I was rather impressed to see essentially perfect sharpness all the way out to the extreme corners and I didn’t notice any practical difference in quality throughout the aperture range.

ISO 100 | 1/250 sec | F5.6
ACR Settings: Classic Chrome, Highlights -80, Shadows +20, WB Daylight, Sharpening 60, Detail 10

No lens corrections or transform adjustments.

ISO 100 | 1/60 sec | F11
ACR Settings: Classic Chrome, Highlights -80, Shadows +20, WB Daylight, Sharpening 60, Detail 10

No lens corrections or transform adjustments.

I don’t myself shoot charts or flat brick walls so I can’t comment scientifically on this lens’s ‘square-ness’ or lack of distortion. In my studio, I often capture flat artwork but 50mm is not a focal length I would ever use for that purpose. What I can say is that in the field, I didn’t notice any geometric distortion that would matter for a real subject.

I should also note that I couldn’t find any chromatic aberrations in any images I shot through this lens. I’d be extremely impressed if this were a smaller format lens, but again I expect nothing less from a modern medium format optical formula.

ISO 400 | 1/250 sec | F11
ACR Settings: Adobe Color, Highlights -50, Shadows +50, WB Daylight

The pine needles are impressively sharp and detailed even in the extreme corners. Note the total lack of color fringing.

ISO 100 | 1/500 sec | F8
ACR Settings: Adobe Color, Exposure +0.75, Highlights -70, Shadows +20, WB Daylight, Sharpening 60, Detail 10

No lens corrections or transform adjustments. Note the total lack of color fringing.

So is this the sharpest, cleanest lens in the world? I have no idea, and I don’t care. In my opinion, this lens (really any GF lens) is so close to practical perfection from corner to corner at almost any aperture, that discussion of inherent sharpness or distortion is virtually irrelevant. At this level, depth of field, diffraction, plane of focus, focus precision, and vibration are far more critical issues. If anyone is getting ‘soft’ rendering out of this system, it is almost certainly a result of technique, or in very rare cases, a manufacturing defect.

Fast, confident autofocus

On my GFX 50R, focusing from close to far with the 50mm seems faster than all my other GF prime lenses except the 23mm. The 45mm is just a bit slower. The 63mm feels noticeably sluggish by comparison. The most notable difference, though, is the surprisingly quiet confidence exhibited by this new 50mm. It locks on almost instantly with hardly any ‘wobble’ and a barely audible ‘zip’ sound. The 23mm is almost this good. The 110mm is slower of course, but surprisingly not far behind, considering the longer focal length and how much further the large glass elements must travel. The other primes all make significantly more noise and require a deeper in-out movement to lock on a subject.

The 50mm exhibits surprisingly quiet confidence

All in all, I’d say Fujifilm made the autofocus of this 50mm medium format lens feel a lot more like one of the better X-mount APS-C lenses than any other medium format lens I’ve used. It’s certainly faster than manual focus on Hasselblad V system lenses, faster than Pentax 645 AF lenses, and faster than Mamiya / Phase One AF lenses I’ve used in the past. It’s also faster than my Lumix 20mm on the Pen-F, though not nearly so fast as the best lenses from Canon, Nikon, or Olympus. But let’s put this into perspective… if you’re an event or sports shooter and ultra-fast autofocus is a primary concern, then medium format is NOT the droid you’re looking for. Full stop.

Close focus could be closer

The minimum focus distance of 55cm is really the only thing I find disappointing about this otherwise wonderful lens. In theory, Fujifilm’s 50mm F3.5 should have a full-frame depth-of-field equivalence of F2.8, which should blur backgrounds more than the Lumix 20mm’s full-frame depth-of-field equivalence of F3.4.

In reality, the GF 50mm just doesn’t focus close enough to win this particular contest. There were so many times when I wanted to get just a little closer than the GF 50mm would allow. If there’s enough time, attaching a Canon 500D close up filter can help you get a little closer, though I felt the +2 diopter of the Canon 500D was not quite enough to match the 20cm close focusing magic of the Lumix 20mm.

Fujifilm GFX 50R + GF50mm F3.5
ISO 800 | 1/60 sec | F3.5
Shot at minimum focus distance

Olympus PEN-F + Lumix G 20mm f/1.7 II
ISO 800 | 1/60 sec | F2.2
Shot at minimum focus distance

It would be easy to suggest simply cropping into the much higher resolution GFX image to match the close crop of the Pen-F. But even if you get to a similar crop with similar resolution, the physics of being closer to the subject produces a more dramatic perspective and depth of field rendering.

Articles: Digital Photography Review (dpreview.com)

 
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C-4 Precision Optics releases $39,000 4.9mm F3.5 Hyper Fisheye lens for Sony E mount

13 Mar

For $ 39,000 USD, you can now purchase a 4.9mm F3.5 Hyper Fisheye lens for Sony’s full-frame E mount. This wild lens offers a 270-degree field of view, meaning that it can photograph the area behind the focal plane. For the curious photographers and videographers without nearly $ 40,000 burning a hole in their pocket, the lens can be rented from Lensrentals for around $ 1,250 a week.

The 4.9mm F3.5 Hyper Fisheye lens has unique origins. Back in 2015, Roger Cicala and the Lensrentals team announced the launch of C-4 Precision Optics as an April Fools’ Day prank of sorts. There were various lenses discussed in the article, including a 66.6mm F0.666 Micro Four Thirds lens, a 150mm F1.0 full-frame prime lens and a full-frame 4.9mm F3.5 270-degree fisheye lens.

The lattermost lens was nicknamed ‘The Light Bender’ by Cicala and the C-4 Precision Optics team. Unlike most April Fools’ Day pranks, however, this one is no longer a laughing matter. Of the lens, Cicala wrote on the Lensrentals blog, “That means this lens not only shows everything from one side to the other (for the mathematically challenged among you, that would be 180 degrees), it actually shows stuff that’s behind you.”

In February 2019, Cicala and the Lensrentals team including Aaron Closz, Brian Caldwell and Wilfried Bittner, assembled a prototype version of the fisheye lens. You can see a video of this process below.

The lens is now out of prototype stage and available for preorder and rental. This specialty manual lens for Sony E mount delivers a 270-degree field of view and weighs a hefty 12.97 kilograms (28.6 pounds). Optically, it includes five extra-low dispersion lens elements. To help put into perspective what a 270-degree field of view looks like, you can see a sample image via Lensrentals below.

Sample image captured using the C-4 Precision Optics 4.9mm F3.5 Hyper Fisheye lens. Image credit: Lensrentals.

Comparing the 4.9mm F3.5 Hyper Fisheye lens to other fisheye lenses, Cicala says it most closely resembles Nikon’s legendary Nikkor 6mm F2.8 fisheye, which is very rare and can sell for upwards of six figures (USD). The Nikon lens captures images with a 220-degree field of view.

Physically, the lens is very different from most other lenses. It includes built-in extendable tripod legs and you mount the camera to the lens inside the tripod array. The lens has been designed with immersive video applications and specialty applications in mind. Accordingly, it cannot be set up and used as simply as other more traditional fisheye lenses.

The C-4 Precision Optics 4.9mm F3.5 Hyper Fisheye lens shown with an attached Sony mirrorless camera. As you can see, the camera mount to the lens inside of the built-in extendable tripod legs. Image credit: LensAuthority.

For those interested in learning more about the lens, we recommend heading to Lensrentals to read a full recap of the prototype assembly process, which includes dozens of detailed images. It’s very neat to see a hand-built lens come to life.

The C-4 Precision Optics 4.9mm F3.5 Hyper Fisheye lens is available for Sony E mount and can be ordered via LensAuthority for $ 39,000 USD. You can also rent the lens from Lensrentals. This will cost $ 1,246 USD for a week.

Articles: Digital Photography Review (dpreview.com)

 
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Across the American west: Fujifilm GF 50mm F3.5 sample gallery

09 Feb

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Fujifilm’s GF 50mm F3.5 pancake prime isn’t exactly tiny, but it is impressively small given the large medium-format sensors it’s designed to work with. We paired it with a GFX 50R and took it out on the open road and to coastal California to see how it handles as a walk-around travel companion.

Articles: Digital Photography Review (dpreview.com)

 
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New GF roadmap highlights upcoming 30mm F3.5 and 80mm F1.7 lenses

25 Jan

Two new lenses have been added to Fujifilm’s medium-format lens roadmap: the Fujinon GF 30mm F3.5 R WR and GF 80mm F1.7 R WR. The 30mm F3.5 provides a 24mm equivalent focal length and will slot in comfortably between the existing GF 23mm F4 and 45mm F2.8.

The 80mm F1.7 will provide a 63mm equiv. focal length and, at F1.34 equivalent, becomes the brightest lens that Fujifilm has developed for its GFX system. Fujifilm promises it will match the optical performance of its excellent 110mm F2. Both lenses are weather-sealed.

The introduction of these two additional lenses to the roadmap will bring Fujifilm’s total number of GF lenses to 13. No pricing or availability is given at this time.

Press release:

FUJIFILM UNVEILS LATEST DEVELOPMENTS FOR G-MOUNT INTERCHANGEABLE LENSES, COMPATIBLE WITH GFX SYSTEM CAMERAS

Exclusive 13-lens lineup, including 2 newly-announced lenses, provides comprehensive shooting coverage

Valhalla, New York – January 23, 2020 – FUJIFILM Corporation has unveiled the latest plans to add to its Family of GF Lenses, designed exclusively for the GFX Mirrorless Camera System; which is equipped with Fujifilm’s large format (43.8mm x 32.9mm) image sensor, an imaging surface approximately 1.7 times the size of 35mm full-frame sensors*1.

Bringing the eventual total to 13 lenses, this expanded GF lens lineup will accommodate even broader shooting categories and diverse shooting styles.

More about the two lenses recently added to the GF lens development roadmap:

FUJINON GF30mmF3.5 R WR: An impressive, wide-angle, prime lens. This wide angle 30mm lens is an equivalent 24mm focal length in the 35mm film format and is a perfect solution for landscape photography.

This lens will be a slim, compact, and lightweight lens offering incredible resolving power for high-resolution imaging sensors.

FUJINON GF80mmF1.7 R WR: A unique, wide-aperture, standard lens. A standard 80mm lens with an equivalent focal length of 63mm in the 35mm film format, which is incredibly suitable for portraiture and making images in low-light conditions.

This will be the lens with the widest aperture among GF lenses and be an incredible solution for portrait photographers who want beautiful, creamy bokeh with their GFX System Cameras.

This compact and lightweight lens will have a wider angle of view than the highly popular GF100mmF2 R LM WR and deliver the same level of incredible image quality.

*1 – Image sensors measuring 36mm×24mm

Articles: Digital Photography Review (dpreview.com)

 
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