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

11 Sep

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

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

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

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

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

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

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

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

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

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

Now over to you:

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

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

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Zeiss will raise the prices of all its lenses in the US on October 1

27 Aug

Zeiss has announced it will be increasing the price of its lenses in the United States starting October 1, 2021.

According to a graphic, embedded below and shared by Leica Rumors, lenses in the Batis and Loxia lines will increase by $ 50 per unit, while the Milvus (ZE & ZF.2) and ZM lenses will increase by $ 75 and $ 100 per unit, respectively. Zeiss’ T* UIV and POL filters will increase by 10% each.

If you’re already in the market for one, you might want to pick one up within the next month. Otherwise, count on shelling out a little more cash to get your hands on the Zeiss lens of your choosing.

Articles: Digital Photography Review (dpreview.com)

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Sirui rehouses its 1.33x anamorphic lenses for cinema rigs and adds T-stops

15 Aug

Chinese anamorphic lens manufacturer Sirui has introduced a new set of lenses bases on its existing four models. The Sirui MARS lenses are designed to offer better handling for rigged cameras, and come with built-in mod gears for both aperture and focus rings. The apertures have also been reclassified as T-stops and the focus throw of each of the models has been significantly extended to make accurate focus adjustments easier with follow focus equipment.

While the standard 1.33x anamorphic lenses from Sirui come in a range of mounts, the MARS set is offered only for the Micro Four Thirds system – though the company tells me they are considering other mounts for the future. The focal lengths on offer are 24mm, 35mm, 50mm and 75mm, which correlate directly with the existing lenses. To unify the iris though the f/1.8 lenses now are marked T2, and the f/2.8 aperture of the 24mm is now marked as T2.9. Further modifications to the lenses include harmonised filter threads at 67mm (the existing 24mm takes a 72mm filter) and each of the MARS lenses is heavier and longer than its original equivalent.

From the group shot photograph it appears that Sirui has managed to reposition focus and aperture rings so that they all fall in the same place. This will allow lens changes without too much rig adjustment, helped too by the fact that now each lens has its own 1/4in thread mounting socket aligned between the two rings. The lenses also now have focus and iris scales that are visible from the side of the lens instead of only from the top.

Sirui says it hasn’t changed its optical designs for these lenses in the process, and the number of elements used and the way they are grouped is exactly the same as in the original models – though some close-focus specifications have changed.

At the moment the lenses are available only as a set rather than individually, and they come in a hard case that can hold them all. The sets are due to begin shipping on 20th August, and will cost just under $ 4000 – a premium of about $ 600 over buying all four of the original versions. For more information see the Sirui website.

Manufacturer information:

SIRUI MARS 1.33x Anamorphic Lens Set for Micro 4/3

Lens Kit for Micro 4/3 mount
2.4:1 cinematic widescreen vision
1.33x crop anamorphic front element
Built in Mod Gears
Long Focus throw
1/4inch screw mount
Fast T2 aperture (35mm, 50mm, 75mm), Range T2-T16
Fast T2.9 aperture (24mm), Range T2.9-T16
Oval shaped bokeh and horizontal flaring
Create a cinematic feel in your videos
67mm filter thread
Manual focus

With its 1.33x Ratio, the lens takes full advantage of the 16×9 sensor crop that these cameras shoot video in to produce a 2.4:1 aspect ratio that is synonymous with theatre movie experiences.

The lens kit uses an optically distorting anamorphic front element to squeeze the horizontal axis of the shot by 1.33 times which allows for more information to be fit onto the sensor. This is then stretched back out in post-production or in-camera (see manufacturers specs for compatibility) to create the wider field of view and ratio compared to a conventional aspherical lens.

The lens kit reproduces flares beautifully whilst the coatings on the lens keep them from obscuring the entire frame. The fast aperture of T2 to T2.9 to creates a very shallow depth of field increasing the oval-shaped bokeh effect that is found in anamorphic lenses. this soft out of focus area is one of the many benefits that a true anamorphic lens brings over its filter counterparts or digital crop bars that are used to imitate the anamorphic ‘look’.

SIRUI MARS 1.33x Anamorphic Lens Set is in four focal lengths: 24mm, 35mm 50mm and 75mm, which allow you to shoot from wide angle to telephoto. The solid build quality, signature anamorphic look and the affordable price combined to open up more opportunities for creative composition.

1.33x Squeeze for 2.4:1 Aspect Ratio

Normal spherical lenses shoot standard 16:9 video.
With a cylindrical optical element in the front, SIRUI anamorphic lens squeezes the image down 1.33 times horizontally. When the final image is desqueezed, you’Il end up with an ultra-wide CinemaScope 2.4:l aspect ratio.

Oval Bokeh Balls and Blue Lens Flares

The elliptical highlights and blue light streaks produced by SIRUI anamorphic lens offer plenty of anamorphic feel, adding a sprinkle of magic to your footage.

Comprehensive Focal Lengths

MARS has a collection of four focal lengths in the set, covering the most important focal lengths to shoot a complete project. This lens set will definitely give videographers more control over various settings.

Precise T-Stops

The lens set features declicked aperture rings measured in T-stops. Among the four lenses, except for the 24mm with a T-stop of 2.9, the other three have the same T-stop of 2.0. These fast lenses perform extremely well under low light conditions.

Solid Build Quality

This lens set is of full metallic housing with standard 67mm filter threads. The weight and size of the lenses differ slightly due to different mounts. A threaded front is included for screw-in accessories like the matte box.

Built-In Mod Gears

Mod gears on the focus ring and the aperture ring are designed for extra smooth control. To save you the trouble of readjusting accessories when changing lenses, the diameter and the distance between the focus ring and the aperture ring of each lens is made the same.

Long Focus Throw

To gain enough space for accurate focus pulling, the four lenses are all engineered with a long focus throw (the longest one reaches up to 303 degrees). Graduations on both sides of the focus ring allows you to quickly pull focus to the desired position.

1/4″ Screw Hole

With a 1/4″ screw hole at the bottom, the lens can be mounted directly on the quick release plate to maintain the balance of the whole setup.

M4/3 Native Mount

This lens set is available in native mount for Micro Four Thirds, compatible with Z CAM BMPCC4K, Olympus and Panasonic (specific models) cameras. Unified native mounts make shooting a lot easier for people who want to step into the anamorphic world.

Waterproof and Drop-Proof Strong Suitcase

Plastic injection molding housing, high-density EVA lining as well as the embedded rubber ring make the suitcase strong enough to meet an international standard rating of IP68, ensuring tight protection from the inside to the outside. This suitcase facilitates photographers/videographers to carry the lens set around without worrying about the safety of the gear.

Articles: Digital Photography Review (dpreview.com)

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A Guide to Choosing Camera Lenses – Where? When? Why?

04 Aug

Becoming a pro at choosing the correct lenses for different situations takes time and practice but is important for getting the best shots. However, it becomes second nature after a while. In this article I will try to help you cut that time based on my own experience and decide what camera lens to use. I will also talk about Continue Reading
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This Is Why Camera Lenses Are Expensive

23 Jul

As someone interested in photography and looking at equipment did you ever think “why are camera lenses so expensive?” Having used DSLRs for nearly 20 years, I can tell you that camera lenses being expensive is due to several factors. Let me explain this and also give you some tips on saving money on your next lens purchase. One of Continue Reading
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College Photography Instructor Bans Kit Lenses, Cites “Subpar” Quality

10 Jul

The post College Photography Instructor Bans Kit Lenses, Cites “Subpar” Quality appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

How do you feel about kit lenses? Are they capable of good photos? Or are they an utter waste of time, the type of lens that should be discarded at the earliest opportunity?

According to one college photography instructor, who banned the use of kit lenses in her editorial photography course, kit lenses aren’t just poor quality; they simply shouldn’t be used – at least not by photography students. As the instructor explains in her syllabus, “You are talented enough by this point to not compromise your image quality by using these subpar lenses…You should do everything within your power to never use these lenses again.”

Here’s the full quote, as posted to Reddit by a frustrated student:

The 18-55mm kit lenses that come with entry-level, crop-sensor DSLRs are NOT good quality. You are required to have the insurance for this class, and since most assignments require a trip to the cage for lighting gear, I am also blocking the use of these lenses. You are talented enough by this point to not compromise your image quality by using these subpar lenses. Student work from this class has been licensed commercially as stock photography, but if you shoot with an 18-55mm lens, you are putting your work at a serious disadvantage, quality-wise. You are not required to BUY a different lens, but you are required to use something other than this lens. You should do everything within your power to never use these lenses again.

The student went on to explain that the class is designed for second-year photography undergraduates, and that the “cage” – where students can borrow lenses to complete assignments – “is only accessible two hours a day, two days a week.”

In other words, while students who don’t own acceptable equipment (i.e., non-kit lenses) can technically continue the course without purchasing additional lenses, they’ll need to show greater dedication than their peers, put in extra hours on campus, and compete with other students for access to school-owned equipment.

While this lack of course accessibility is bound to frustrate plenty of current and would-be students, it’s the instructor’s sweeping criticism of kit lenses that has photographers up in arms.

As the Reddit community was quick to point out, plenty of beautiful photos, including work published in top-notch newspapers and magazines, have been taken with kit lenses or similar. And furthermore, there are high-quality kit lenses available, many of which are perfectly adequate for pro-level photos. Sure, some kit lenses do offer soft image quality, but you can often correct the problem by stopping down to f/8 or so.

And as the original poster explained, even “older full-frame kit lenses are more than adequate for all but the most demanding of applications,” and the class assignments involve “shooting with big strobes – mostly [at] f/8+ and ISO 100.”

For me, kit lenses are one-hundred percent adequate for a whole host of situations. Their image quality is often decent, and with the right technique, you can come away with some very nice results. Plus, kit lens focal lengths tend to be very useful. At 18mm, you can capture scene-setting wide-angle images; at 25-35mm, you can do some impactful street and photojournalistic photography; and at 45-55mm, you can do intimate portraits, headshots, and more.

That’s not to say that kit lenses are superior to their much more expensive prime counterparts. Kit lenses aren’t as sharp, as fast focusing, or as effective in low light as, say, a high-quality 50mm f/1.4 lens. But the point isn’t that kit lenses are the best, it’s that they’re good enough – and that both students and professionals can use kit lenses to great effect.

Now over to you:

What do you think about kit lenses in photography? Do you like them? Dislike them? Do you think they should be banned from photography classes? Share your thoughts in the comments below!

(Via PetaPixel)

The post College Photography Instructor Bans Kit Lenses, Cites “Subpar” Quality appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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10 Best Lenses for Landscape Photography (in 2021)

06 Jul

The post 10 Best Lenses for Landscape Photography (in 2021) appeared first on Digital Photography School. It was authored by Jeremy Flint.

the 10 best lenses for landscape photography

If you want to take beautiful landscape photos, you need to choose your lens carefully. After all, a lens determines the quality of your image; pick a good lens, and you have the potential for amazing results. But get the lens wrong, and your images will be consistently unsatisfying.

That’s why, in this article, I’ll take you through all the best lenses for landscape photography you can buy today – including options for Canon, Nikon, Sony, and Fujifilm, as well as choices at every price point.

So without further ado, here are our recommendations of top-notch landscape lenses, starting with the number one pick:

1. Canon EF 16-35mm f/4L IS USM

If you use Canon full-frame DSLRs, then the 16-35mm f/4L IS USM is an excellent choice; it carries the prestigious L-series label and features a very nice focal range and sharp image quality.

There is an f/2.8 version of this lens, but the f/4 version gives equally stunning results and comes with a cheaper price tag. It’s a fast and dynamic lens with an ultrasonic focus system and a minimum focusing distance of 11 inches (0.28 meters), perfect for photographing close foreground subjects. Plus, the 4-stops of image stabilization and great in-built weather sealing allow you to capture sharp landscape photos in all lighting and weather.

If you want to create stunning images of expansive scenes, then this is one of the best landscape lenses on the market in 2021.

2. Canon RF 15-35mm f/2.8L IS USM

The Canon RF 15-35mm f/2.8L is the ultimate lens for landscape photographers looking to give their images a professional edge. It’s a great match for Canon mirrorless users, although there is a huge hike in price compared to the Canon EF 16-35mm f/4 (featured above).

The 15-35mm is a joy to use, and photographers will love its edge-to-edge sharpness, amazing image quality, and superbly silent and fast autofocus. The lens promises image stabilization of up to five stops, which is a big deal if you plan to shoot landscapes handheld in low light.

Overall, the RF 15-35mm f/2.8L is a landscape photographer’s dream, thanks to its ideal focal length and great all-around performance.

3. Nikon AF-S 16-35mm f/4G ED VR

The Nikon 16-35mm f/4G is one of the best landscape lenses for full-frame Nikon DSLR users, and a perfect match for photographers in search of that beautiful wide-angle perspective.

The lens is both portable and durable, plus it packs great Vibration Reduction for low-light handheld photography. The 16-35mm focal length range is ideal for landscape photography and allows you to shoot stunning near-far compositions for pro-level results. It is also (relatively) inexpensive, compact, and much lighter than most f/2.8 zooms (at 24 oz/680 g).

The lens accommodates filters with a 77mm thread – a standard filter size that will please a lot of photographers. And the lens optics are beautifully designed to enhance sharpness and contrast.

4. Nikon Z 14-30mm f/4 S

The Nikon Z 14-30mm f/4 lens was Nikon’s first ultra-wide-angle zoom for Z-mount cameras, and it remains one of the best landscape lenses for Nikon full-frame mirrorless cameras in 2021.

The 14-30mm f/4 is lightweight, and it’s also extremely portable. It supports direct filter attachment to the front of the lens, which expands the creative possibilities for ultra-wide landscape photography. It’s well designed with resistance to dust and water and features fabulous optics for clear and sharp shots.

Ultimately, the compact design and incredible corner-to-corner sharpness make the Nikon 14-30mm f/4 a lens worth considering.

5. Fujifilm XF 10-24mm f/4 R OIS

The Fujifilm 10-24mm f/4 lens is one of the best lenses for Fujifilm X-mount cameras, and an excellent landscape photography lens for many reasons.

Key features include enhanced optical image stabilization, an elegant design, improved weather sealing, an ultra-wide-angle view and focal range, and silent shooting. This wide-angle zoom feels and looks fabulous and offers great image sharpness across the focal range. The construction is good quality, and you get a minimum focusing distance of 9 inches (0.24 meters).

Thanks to the ultra-wide angle of view, the 10-24mm f/4 provides gorgeous landscape possibilities for APS-C users.

6. Sony E 10-18mm f/4 OSS

Coupled with Sony’s E-mount cameras, the 10-18mm f/4 is a super wide-angle zoom lens, though bear in mind that it’s designed to work with APS-C cameras only (its focal length equivalent is 15-27mm).

The superior glass provides optimal optical performance, with excellent contrast and sharp image quality, even at the 10mm focal length. It is one of the best-quality landscape lenses for APS-C Sony mirrorless users out there, plus it’s small and lightweight (it only weighs 7.9 oz/225 grams).

The Optical SteadyShot feature keeps handheld shots blur-free, and the constant f/4 maximum aperture is decent enough for noise-free shooting in low light. Its minimum focus distance of 10 inches (0.25 meters) and attractive zoom range let you capture expansive landscapes with precision.

7. Fujifilm XF 16-55mm f/2.8 R LM WR

Fujifilm 16-55mm f/2.8 landscape photography lens

One of the biggest reasons to grab the Fujifilm 16-55mm f/2.8 for landscape photography is its versatility – it features a fantastic focal length range, from wide-angle to short telephoto, along with an excellent maximum aperture for astrophotography.

It also offers the opportunity to capture the landscape with real accuracy; as you can imagine, optical performance is top-notch, and thanks to the f/2.8 aperture, sharp results are practically guaranteed, even in low light.

The Fujifilm 16-55mm f/2.8 is suitable for landscape photographers in search of an all-around performer, especially someone who requires quality, precision, and sharpness across a wide focal range.

8. Canon EF 24-70mm f/2.8L II USM

Yes, it’s on the pricey side, but the greatest benefit of the 24-70mm f/2.8 lens for landscape shooters is the versatile focal range offered for shoots. At 24mm, you can capture beautiful wide-angle images; at 70mm, you can shoot intimate landscapes, close-up scenes, and more.

Astrophotographers will love the f/2.8 maximum aperture, which allows for a low ISO when photographing the night sky.

Bottom line: The 24-70mm f/2.8 is an incredibly sharp lens, and if you can afford it, buy it. For those who want to spend less cash, Canon offers a cheaper f/4 version.

9. Canon EF 24-105mm f/4L IS II

With a versatile zoom range that extends beyond the 24-70mm lens featured above, the Canon EF 24-105mm f/4L packs a punch in terms of focal length range, image quality, and edge-to-edge sharpness.

Thanks to the extra reach on the telephoto end, you can zoom in to highlight specific landscape features and create more intimate, even abstract images. But you can always capture standard landscapes in the 24-35mm range, and the image stabilization ensures you can shoot in lower light without a tripod.

10. Sony FE 70-200mm f/4 G OSS

If you’re a Sony mirrorless shooter, the 70-200mm f/4 G is a great choice; it’s a telephoto zoom lens with a constant f/4 maximum aperture, and it delivers great image quality with wonderful background bokeh.

While the focal length range sits squarely in the “telephoto” arena, you can use the 70-200mm to hone in on various elements of the landscape (and potentially even wildlife, too!).

It is a fast lens and performs well out in the field, especially when coupled with its image stabilization and f/4 maximum aperture, both of which allow for improved performance in low light.

The best lens for landscape photography: final words

There are quite a few excellent lenses for landscape photography, far too many to list – but I hope this article has been helpful, and that you can now confidently choose the best landscape lens for you.

Ultimately, the ideal lens comes down to your own individual needs and budget, so don’t feel pressure to choose the most expensive or most popular option. Instead, think about your camera model (and its corresponding lens compatibility), as well as features such as image quality, build quality, image stabilization, focal length, and more.

Briefly, the Canon EF 16-35mm f/4L and the Nikon Z 14-30mm f/4 S lenses are excellent choices for those looking for a mix of price and quality. The Canon EF 24-105mm f/4 L IS II and the Sony FE 70-200mm f/4 G are great if you love to capture a range of landscape shots from wide-angle to telephoto. Finally, for anyone looking for a budget-friendly landscape lens, the Sony E 10-18mm f/4 OSS is a reasonable buy.

Now over to you:

Do you have a favorite landscape photography lens? Which lens on this list was your favorite? Share your thoughts in the comments below!

The post 10 Best Lenses for Landscape Photography (in 2021) appeared first on Digital Photography School. It was authored by Jeremy Flint.

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Canon to “Soon” Announce Three New RF Lenses (Including the 14-35mm f/4L)

26 Jun

The post Canon to “Soon” Announce Three New RF Lenses (Including the 14-35mm f/4L) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Over the next handful of months, Canon will release at least three new RF-mount lenses, according to Canon Rumors. They are:

The Canon RF 14-35mm f/4L IS USM
The Canon RF 70-400mm IS USM (maximum aperture unknown, but potentially f/5.6-7.1)
The Canon RF 16mm f/2.8

While the new glass is unconfirmed by Canon, Canon Rumors shares a few details (as well as some helpful guesses).

Let’s take a closer look at each item, starting with:

Canon RF 14-35mm f/4L IS USM

As explained by Canon Rumors, “expect to see a Canon RF 14-35mm f/4L IS USM as a little brother to the Canon RF 15-35mm f/2.8L IS USM.”

On the wide end, the lens will offer a breathtaking perspective for landscapes, urban scenics, and architectural photos; on the long end, the lens will feature a conventional 35mm focal length, perfect for tighter landscapes and even the occasional portrait. Plus, you’ll get a respectable f/4 maximum aperture – not enough for easy ultra-shallow depth of field effects or astrophotography, but absolutely usable for standard landscape scenarios assuming you bring your tripod.

Note that the 14-35mm will feature Canon’s “L” lens designation, so you can expect top-notch image quality rivaling some of the best glass on the market. Add in the image stabilization, and you’ve got yourself a relatively versatile wide-angle zoom, perfect for landscape photographers, travel photographers, and more.

Canon RF 70-400mm (maybe f/5.6-7.1) IS USM

The RF 70-400mm will be Canon’s second super-telephoto zoom designed for the RF mount, following in the footsteps of the powerful RF 100-500mm f/4.5-7.1.

But while the 100-500mm is an L lens – designed for professionals and with a price to match – the 70-400mm will likely be a more casual, portable option. According to Canon Rumors, there’s no “L” label on the 70-400mm, though you can expect image stabilization and a (consistently fast) USM autofocusing motor for wildlife and sports.

While I can only speculate, I suspect the 70-400mm is designed for frequent travelers in need of a portable “do-anything” telephoto, as well as for enthusiast bird and wildlife photographers. Interestingly, Canon offers an EF-mount counterpart, the much-loved 100-400mm f/4.5-5.6L IS II USM. Yet the 100-400mm is an L lens, offers an f/5.6 maximum aperture at 400mm, and is very pricey, none of which is likely for the 70-400mm. It’ll be interesting to see how the two lenses stack up and whether Canon’s new lens will venture into the sub-$ 1000 “budget” superzoom range.

Canon RF 16mm f/2.8

The RF 16mm f/2.8 “is a non-L prime lens,” explains Canon Rumors, and will be especially useful as “a nice and compact 25mm f/2.8…if an APS-C RF-mount camera is coming.”

Still, expect a lens compatible with Canon’s full-frame mirrorless stable. At 16mm, you’ll capture beautiful landscapes and architecture, as well as travel and street photos with an unusually wide perspective. And thanks to the f/2.8 aperture, the RF 16mm should be suitable for serious astrophotography.

At the very least, you can expect a relatively inexpensive, compact lens for Canon’s up-and-coming mirrorless shooters.

Canon to announce three new lenses: final words

Assuming Canon can deliver on expectations discussed above, these three lenses should satisfy plenty of enthusiasts and even the occasional professional.

If you’re a photographer seeking a nice wide-angle perspective for serious landscape work, keep an eye out for the RF 14-35mm, which will cover all but the widest of landscape focal lengths and offer top-notch image quality to boot.

For enthusiasts in need of an all-purpose telephoto zoom, the 70-400mm will be the lens to beat, though I’d recommend you consider image quality reports before buying.

And if you’re in need of a compact, lightweight, ultra-wide prime, the 16mm f/2.8 should be worth a look.

Now over to you:

What do you think of these rumored lenses from Canon? Do any interest you? Do you wish that Canon had prioritized different lenses? Which ones? Share your thoughts in the comments below!

The post Canon to “Soon” Announce Three New RF Lenses (Including the 14-35mm f/4L) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Researchers propose ‘spaceplates’ to miniaturize lenses by reducing air gaps

17 Jun

The addition of the spaceplate reduces the distance needed between the lens element and the sensor, thus allowing smaller lenses

A lot of work has been done using high refractive index glasses, diffraction grating systems and lens element design to reduce the size of camera lenses, but a group of researchers are now targeting the air-space between those elements in a bid to create miniaturized optical systems. The team from the University of Ottawa proposes inserting what they call ‘spaceplates’ into a lens construction to alter the optical path in such a way that the gaps between elements in the lens can be reduced. They further propose that when combined with metalenses these spaceplates could, in theory, allow optical systems that are almost flat and extremely thin.

This shows how the research team propose the spaceplate idea could make regular lenses smaller, and replaced when the spaceplate is combined with a metalens

In any lens it is the area reserved for air – the gaps between the elements – that takes up the most space. These gaps of course are carefully calculated and are key to directing the path of light as it passes through from the front element to the camera’s sensor. The idea here is to compress those gaps using multiple layers of metasurfaces that provide negative refractive indexes to shorten the light path between one element and the next. In photographic and telescope optics mirror lenses aim to achieve a similar end, not so much by shortening the light path but by allowing the same distance to be traveled inside a shorter-than-usual lens barrel.

Metasurfaces are materials that alter the path of light not by using bulbous glass or plastic elements but by tiny structures within their make up. As light passes through grids, nets and grates within the material redirect the light, altering its path. The grating system in Canon’s DO lenses works in a broadly similar way bit on a different scale.

Trails using oil between the lens element and the spaceplate showed that the same area of the subject, a painting in this case, could be rendered in-focus with less distance between the lens and the sensor when a spaceplate was used.

The spaceplate idea is still very much at the concept stage, and trails conducted have used liquids and vacuums instead of air. They have also produced relatively small improvements, but at the same time the construction of the metasurface layers of the spaceplates has been kept relatively simple. So far the team has achieved a compression factor of R=5, and say that if they can achieve a factor of R=40 by combining multiple layers of metasurface materials to a thickness of 100µm they could reduce the air space in a typical smartphone camera lens from 1mm to 0.1mm.

Although the technology is most likely to be employed in industrial processes before consumer products, the idea does offer potential for interchangeable lens system cameras too. The team has demonstrated that the spaceplate does not affect focal length, works with all visible wavelengths and offers high transmission efficiency. Scaling up to spaceplates with more metasurfaces should be relatively easy as manufacturing processes are already in use.

Don’t expect to see spaceplates in camera lenses anytime soon, but it certainly could be something we see in the future in other products, such as projection lenses in AR/VR and holographic headsets. For more information you can read the full paper on the Nature website. Warning: it’s 6700 words long, isn’t easy reading and contains no jokes.

Articles: Digital Photography Review (dpreview.com)

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Can Camera Lenses Go Bad? Camera Lens Shelf Life Explained

14 Jun

Can a camera lens go bad over a period of time? What is the life of a camera lens? These are the questions that linger in your mind if you have multiple lenses in your kit. If you are on a budget, you might be looking at buying used camera lenses. In this case you also need to know what Continue Reading
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