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Posts Tagged ‘Mounts’

Tokina announces redesigned ATX-i 100mm F2.8 1:1 Macro lens for Canon EF, Nikon F mounts

15 Nov

Tokina has announced the release of its new ATX-i 100mm F2.8 Macro lens for full-frame Canon and Nikon DSLR cameras.

The ATX-i 100mm F2.8 Macro lens is constructed of nine elements in eight groups and features a 1:1 reproduction ratio at 30cm (11.8in) from the sensor with a minimum focusing distance of 11.5cm (4.5in). Tokina has used a ‘flat-field’ optical design which it claims ‘suppresses the field-of-view curvature to zero [for] excellent edge-to-edge sharpness at all focus distances and apertures.’

The lens uses Tokina’s One-Touch Focus Clutch Mechanism for quick switching between auto and manual focus by snapping the focus ring forward (for autofocus) or backward (for manual focus). The lens weighs 490g (17.28oz) and measures 9.5cm (3.74in) long and 7.3cm (2.87in) diameter.

Below are three sample photos captured with the lens and shared with us by Tokina:

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The redesigned 100mm F2.8 Macro is the second lens in the ATX-i lineup, joining Tokina’s redesigned ATX-i 11-16mm F2.8 lens. It is avaialble to pre-order today (B&H) and will begin shipping December 6, 2019 for an estimated price of $ 429.

Press release:

Kenko Tokina announces the release of the NEW atx-i 100mm F2.8 Macro F

Same great optics, brand new look – The atxi 100mm f/2.8 Macro FF lens for full-frame Canon and Nikon DSLR cameras

Huntington Beach, CA, November 15, 2019: Kenko Tokina, Japan’s leading manufacturer of premium camera accessories, is releasing the Tokina atx-i 100mm f2.8 Macro FF lens for full-frame DSLR cameras from Nikon and Canon. Distributed in the US exclusively by Kenko Tokina USA, this new lens provides unparalleled versatility with the award-winning optics.

The Tokina atx-i 100mm F2.8 FF Macro is a versatile mid-range auto-focus telephoto lens with excellent close focusing capabilities reaching life-sized (1:1) reproduction at 11.8 inches (30cm) from the sensor plane. Engineered for Canon EF and Nikon F mount full-frame DSLR cameras.

At (1:1) reproduction, the lens provides a very comfortable 4.5 inches of working distance between the front of the lens and your subject. The fast f/2.8 aperture makes it easy to focus in low light and renders soft beautiful bokeh. Making it an excellent choice for portraits, landscapes, video, and small world photography.

The Tokina atx-i 100mm F2.8 Macro is a “flat-field” optical design that suppresses the field-of-view curvature to zero. This means the lens yields excellent edge-to-edge sharpness at all focus distances and apertures. The lens’ multi-coatings render natural color with extremely low light falloff, perfectly controlled chromatic aberration, flare and ghosting.

The One-Touch Focus Clutch Mechanism makes switching from auto-focus to manual focus simple. While in AF mode the user only needs to snap the focus ring back toward the camera to engage “real” manual focus control. This gives photographers an authentic tactile MF feel with hard stops on either side of the focus range like traditional manual lenses. Additionally, the directional rotation of the focus ring matches the direction of proprietary Nikon and Canon lenses.

“This is the second lens offering in the new atx-i series.” says Yuji Matsumoto, President at Kenko Tokina USA. “It combines the award-winning optics of the original ATX model with a sleek new look that matches the cosmetics of today’s advanced DSLR cameras.”

Worldwide sales of the Tokina atx-i 100mm F2.8 FF Macro lens will begin on December 6, 2019 with authorized Tokina USA retailers taking pre-orders November 15, 2019.

Estimated USA Street Price of $ 429.00

More information is available at https://tokinausa.com.

Articles: Digital Photography Review (dpreview.com)

 
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Tokina launches redesigned ATX-i 11-16mm F2.8 CF lens for Canon EF, Nikon F mounts

18 Oct

Tokina has announced the release of its new ATX-i 11-16mm F2.8 CF lens for Canon EF and Nikon F mount crop-sensor cameras.

The re-designed lens is constructed of 13 elements in 11 groups, including two aspherical elements, a ‘large’ aspherical P-MO element and two all-glass molded low dispersion (SD) elements.

Other features include an aperture range of F2.8-F22, a nine-blade aperture diaphragm, a 77mm front filter thread and a minimum focusing distance of 30cm (11in). Tokina has included its One-Touch Focus Clutch Mechanism for easy switching between autofocus and manual focus by snapping the focus ring forward (for autofocus) or backward (for manual focus).

The Tokina ATX-i 11-16mm F2.8 CF weighs 555g (19.58oz) and measures 84mm (3.31in) long. It is currently available for pre-order for $ 449 (Adorama, B&H) and will hit official retailers shelves on November 8, 2019.

Press Release:

Kenko Tokina announces release of the NEW ATX-i 11-16mm F2.8 CF lens

NEW ATX-i Series from Tokina updates the Best-Selling super wide-angle lens for crop-sensor DSLR cameras from Canon and Nikon.

Huntington Beach, CA, October 17, 2019: Kenko Tokina, Japan’s leading manufacturer of premium camera accessories, is releasing the Tokina ATX-i 11-16mm F2.8 CF super wide-angle zoom lens for crop-sensor DSLR cameras from Nikon and Canon. Distributed in the US exclusively by Kenko Tokina USA, this new lens is ideal for photographers and video content creators who specialize in landscape, architecture, documentary, environmental portraits, and night sky imagery.

The Tokina ATX-i 11-16mm F2.8 CF is re-designed for an improved user experience and better image quality. The constant- aperture lens provides excellent edge-to-edge sharpness and resolution. Reduces flare and ghosting, while maintaining excellent contrast and color. A new waterproof topcoat also makes it easier to clean.

Popular among cinematographers too, because the lens provides a wide cinematic feel, minimized breathing, no edge distortion while panning, and the overall weight and internal focus design makes it an ideal choice for gimbal work.

The One-Touch Focus Clutch Mechanism makes switching from AF to manual focus (MF) simple. While in AF mode the user only needs to snap the focus ring back toward the camera to engage “real” manual focus control. This gives photographers an authentic tactile MF feel with hard stops on either side of the focus range like traditional manual lenses. Additionally, the directional rotation of the focus ring matches the direction of proprietary Nikon and Canon lenses.

Tokina ATX-i 11-16mm F2.8 CF MACRO

“This lens offers technical advancements over the current ATX version,” said Yuji Matsumoto, President at Kenko Tokina USA. “It offers enhanced performance and a sleek new look that matches the cosmetics of today’s advanced DSLR cameras.”

“It is an excellent upgrade to one of Tokina’s most popular lenses.” said Greg Napoli, National Sales Manager for Kenko Tokina USA. “The original 11-16mm lens has been a staple of our line-up for years and this new version will continue to find its way into more camera bags.”

Kenko Tokina announces release of the NEW ATX-i 11-16mm F2.8 CF lens

The new Tokina ATX-i 11-16mm F2.8 CF incorporates a complex optical design, with 13 elements in 11 groups. Using 2 aspherical lenses including a large aspherical P-MO element and 2 all-glass molded Low-Dispersion (SD) elements, the lens effectively suppresses chromatic and spherical aberrations. The front element provides super-low distortion and low light fall-off for straight lines and minimal exposure vignetting. Perfect for architectural, landscape, astrophotographers, and cinematographers.

Worldwide sales of the Tokina ATX-i 11-16mm F2.8 super wide angle zoom lens will begin on November 8, 2019 with authorized Tokina USA retailers taking pre-orders October 17, 2019.

Price: $ 449.00

More information is available at https://tokinausa.com.

Articles: Digital Photography Review (dpreview.com)

 
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Irix announces an 11mm T4.3 cine lens for Canon EF, Sony E, MFT and Arri PL mounts

12 Sep

Lens manufacturer Irix has launched a new 11mm T4.3 lens for Canon EF, Sony E, MFT and Arri PL camera systems.

The lens, which appears to be a cine version of its 11mm F/4 lens, is constructed with a magnesium housing with various rubber seals for weather resistance. It’s comprised of 16 elements including four high-refractive index (HR) elements, three aspherical elements and two low-dispersion (ED) elements.

The lens weighs 1.1kg (2.43lbs) and features Irix’s Magnetic Mount System, which makes it easy to attach compatible accessories, including the lens hood. Irix has also added its new Multi Start Thread focusing mechanism, which ‘allows quiet and precise focusing even under adverse weather conditions such as rain, humidity or extreme temperatures.’

Other features include a 95mm diameter front flange and Mod 0.8 standard geared rings.

The 11mm T4.3 cine lens will be offered in Arri PL, Canon EF, MFT and Sony E mounts. Pricing and availability has not yet been announced, but ‘will be available shortly.’ For more information, keep up to date on the Irix website.

Irix Cine 11mm T4.3

IRIX, known for high mechanical and optical quality, pleasantly presents the 11mm T4.3 – the second full-frame lens from its new cinematography line. Enjoy the new perspective of super panoramic film shots made with Irix Cine lens!

Irix 11mm T4.3 is the second unique lens from the new Cine line. Its extremely short focal length, rectilinear image projection and the large image circle of 43.3mm (covering the full-frame format) make it one of the most outstanding cine lenses on the market. Depending on the diagonal of the sensor, the lens can provide a moderately wide angle of view for classic wide-angle shots or super-panoramic 123-degree viewing angle in a 2.39:1 widescreen format. Irix 11mm T4.3 thanks to its unique parameters, provides a perspective not available in film optics, thus releasing creativity in creating dynamic shots.SAR

The same, but different optics
The lens optical system is based on the new optical formula, developed especially for cinematic purpose. It consists of 16 optical elements, which four are made with high refractive index (HR) glass, three other have aspherical surfaces and the last two are made with low-dispersion glass (ED). The use of the large front lens and other special glass elements provides crisp cinematic shots in a resolution up to 8K while keeping the focus “breathing” effect at the lowest level. The lens offers a large maximum T number of 4.3 which can be reduced to T22, thanks to the rounded shape of iris blades.

Functional and highly innovative
When designing the lens mechanical system of 11mm T4.3, we used newly developed technical solutions that have been successfully implemented in the Irix Cine 150mm T3.0 lens. The new Multi Start Thread focusing mechanism allows quiet and precise focusing even under adverse weather conditions such as rain, humidity or extreme temperatures. The focusing geared ring rotates 180 degrees and depending on the lens version, has a focusing scale with metric or imperial units.

Thanks to another innovative solution like the adaptive ring, the Irix Cine 11mm T4.3 ensures great ergonomics of operation both by hand and with follow focus mechanism. Moreover, despite the very short optical system layout, geared rings of focus and aperture were placed at the same height as in other Irix Cine lenses – all for better ergonomics and more intuitive use.

The exceptional functionality is a distinctive feature of all Irix products. The same applies to the Irix Cine 11mm T4.3, whose extremely compact design (weights 1,1 kg) has been also equipped with an innovative Magnetic Mount System for accessories. The MMS system allows quick and easy attachment of a variety of dedicated accessories. The lens hood included in the kit with the lens is the first element of the MMS system. The system will be expanded with further accessories in the future.

Prepared for all weather conditions
The ultra-wide field of view of the Irix 11mm T4.3 means that its natural work environment is outdoor. It’s durable magnesium housing and numerous rubber seals guarantee the safety of both the optical system and the camera sensor in every weather conditions.

Designed to work in accordance with film industry standards
The 11mm T4.3 is another lens of the Irix Cine line that proves the newest technical solutions can perfectly harmonize with well-established film industry standards. The lens has a front flange with a diameter of 95mm and geared rings in the Mod 0.8 standard, which ensures its compatibility with most cine gear accessories. Attention to maintaining the standard also applies to the family of Irix cine lenses whose geared rings are in the same position and have unified rotation angle.

Irix Cinematic
The new line of Irix Cine Lenses is created in close cooperation with professional filmmakers; their ideas and suggestions were an important factor in the design process. The designers earlier experience in the field of photography led us to create new and better solutions for Irix Cine products.

Available camera mounts
The new Irix Cine 11mm T4.3 will be offered in following lens mounts: Canon EF, Sony E, MFT and Arri PL.

Price and availability
The price and availability of the Irix Cine 11mm T4.3 lens will be announced shortly.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Canon explains how its new RF lens mount is better than smaller, older mounts

18 Jun

Canon Imaging Plaza, an official Canon YouTube channel dedicated to showing off the latest Canon technologies and cameras, has shared a video highlighting the benefits of its new full-frame RF lens mount and the advantages it has over older lens mounts, such as its own EF mount.

The four-and-a-half-minute video uses CGI renderings and example images to show off the various benefits Canon’s RF mount offers and the technology that goes into its RF lenses.

A rendering comparison from the video showing how the light can be better controlled through elements when the elements are able to be placed close to the imaging sensor.

The narrator addresses the shorter back focus distance and larger diameter mount, which allows Canon to move the rear-most elements in lenses closer to the sensor, which helps to minimize chromatic aberration and allows engineers to get more creative with lens designs. Having the rear-most lens elements close to the sensor creates its own problems though, which leads the video to Canon’s SubWavelength Structure Coating (SWC) and Air Sphere Coating (ASC) technologies, which are designed to minimize ghosting and flaring in images.

A comparison shot from the video that shows how the shorter back focus distance and larger diameter mount can yield better image quality—especially near the edges of the frame—thanks to better aberration control.

The video also mentions the additional contacts found in the RF lens mount, which are designed to increase the bandwidth of data and power that flows to and from the lens through the camera.

While this video is clearly about Canon’s RF mount, the pros (and cons) of larger-diameter lens mounts and shorter back focus distances also apply to Nikon’s new Z mount, which is both larger in diameter (55mm to the RF’s 54mm) and features a closer flange focal distance (16mm to the RF’s 20mm).

Articles: Digital Photography Review (dpreview.com)

 
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Multi Turret rotating prototype mounts three lenses on a single camera

13 Apr

The folks at Newsshooter recently published a demonstration of Multi Turret, a rotating mount that enables camera operators to quickly toggle between three different lenses. The Multi Turret originates from cinematographer Ian Kerr CSC, according to Newsshooter, and was showcased at NAB 2019.

Multi Turret is currently in the prototype stage; versions have been created that are compatible with the Sony FS7 Mk2, A7S/R, Venice, and other alpha-mount cameras. According to a website dedicated to the Multi Turret, future models compatible with Arri and Red cameras are expected ‘shortly.’

The prototype demonstrated to Newsshooter supports three Canon EF lenses, but other versions that support PL, K, F, and other mounts ‘are likely also possible,’ according to the Multi Turret site. Switching between lenses only requires the camera operator to rotate the mount, which repositions a different lens in front of the camera.

According to Kerr, who has registered the design with the USPTO, Multi Turret enables users to:

  • Switch quickly between lenses (prime or lightweight zoom) without an assistant, lens case or incurring the wrath of a director who won’t wait for a conventional lens change.
  • Select from multiple focal lengths while still using primes and the depth of field/ low-light capabilities they provide.
  • Select from a wider range of field of views (and speeds) than any zoom can provide. An example would be mounting 14mm, 35mm and 135mm high-speed lenses.
  • The length, weight and centre of gravity of the system is reduced compared to larger ratio zoom lenses. Great for shooting in cars or handheld.
  • The Multi Turret allows for the conversion of lens mount types and camera mount types. For example, you could mount a PL mount lens, and EF lens and an F mount lenses on the same turret and switch rapidly between them.
  • Love that unique visual “swing” effect that occurs when you switch between lenses.
  • Customize your lens package for the scene you’re shooting. Wildlife at night? All long primes! In-car work? A short zoom, a 20mm and a 35mm or whatever you prefer. Throw a Swing/ Tilt or Lens Baby in the mix!

Multi Turret is only a prototype at this time and therefore is not available commercially. Anyone interested in knowing more about the prototype and what lead to its creation can check out the team’s Multi Turret Manifesto.

Articles: Digital Photography Review (dpreview.com)

 
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7Artisans announces a new 60mm macro lens for multiple mounts

01 Mar

7Artisans is set to launch a new macro lens in a range of mounts from MFT to APS-C in May this year, according to Photo Rumors. Details are a little thin on the ground, but what is known so far is that the lens will cost in the region of $ 200 and will have a close-focus distance of 65mm.

The maximum aperture will be F2.8 and with the help of an optional extension tube users can expect to achieve 5x magnification for extreme macro photography. The website says the lens will be available in Sony E, Canon EF-M, Fujifilm X and Micro Four Thirds mounts and we should expect it to arrive in May of this year.

The 60mm focal length is a popular choice for photographers using cameras with APS-C sensors, as the angle of view achieved is similar to that of the classic 90mm macro on a full frame system. Mounted on a Micro Four Thirds model however the focal length will seem much more like a 120mm. For more information keep an eye on the 7Artisans website where it will probably pop up a little closer to the launch date, or during the CP+ show starting today, where the lens may well be exhibited.

Articles: Digital Photography Review (dpreview.com)

 
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Apple mounts 32 iPhones XR on bullet-time rig to shoot experimental video

30 Jan

Apple posted an experimental video on its Youtube channel today that was edited using footage from 32 iPhone XR devices mounted on a circular bullet-time rig.

In the video you can see all sorts of different materials and objects, such as dry ice bubbles, slime or burning metal balls, filmed from varying angles, using creative lighting techniques and a range of the camera’s special modes, for example the 240 fps slow-motion mode.

A making-of video gives you a behind-the scenes look, showing how the rig is being assembled and how a team of technicians is working to achieve the desired special effects.

We’d assume most of the editing for the video done was done on a desktop or laptop computer rather than a mobile device, but still, the results are stunning and show in an impressive way what smartphone cameras are capable of these days.

This isn’t the first video of this kind. Apple shared a similar video last year and back in 2014 photographer Paul Trillo and Microsoft mounted 50 Nokia Lumia 1020 on a rig to achieve a bullet-time effect.

Articles: Digital Photography Review (dpreview.com)

 
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Sigma 28mm F1.4 Art lens now available for pre-order on Canon, Nikon, Sigma and Sony mounts

12 Jan

Sigma has officially opened up pre-orders for the 28mm F1.4 DG HSM Art lens it first showed off at Photokina in September 2018.

The lens, which Sigma said would be available in Canon EF, Nikon F, Sigma SA and Sony E mounts, is listed as pre-order for $ 1,399 USD at both Adorama and B&H.

As a refresher, the 28mm F1.4 DG HSM Art lens has a 17-element optical design including two F Low Dispersion (FLD), three Special Low Dispersion (SLD) elements and three aspherical elements. It has a minimum focusing distance of 28cm / 11.02in, a nine-blade aperture diaphragm, maximum magnification of 0.19x and a 77mm filter thread — the same as Sigma’s 24mm F1.4 DG HSM Art lens.


Update (January 11th, 2019): It appears the Sony E-mount version of the Sigma 28mm F1.4 DG HSM Art lens is now available for pre-order as well at both Adorama and B&H. The article has been updated accordingly to reflect this change.

Articles: Digital Photography Review (dpreview.com)

 
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Kipon adds Nikon Z and Canon R mounts to medium format lens adapter range

14 Dec

Chinese optics manufacturer Kipon has added the Nikon Z and Canon R mounts to its range of medium format to full frame camera adapters. The company claims the adapters ‘virtually eliminate any crop factor’ by way of optics within the adapter that compensate for the difference in imaging areas of the full frame and medium format systems, and says the diagonal angle of view is maintained.

The eight Baveyes focal reducers use a five-element design and work with a number of popular medium format brands, namely Pentax, Mamiya and Hasselblad.

These adapters already exist for Sony full frame, Leica M and Leica SL cameras.
The new adapters will cost $ 695 and can be ordered from this week.
For more information see the Kipon website.

Press information

KIPON start to deliver 8 models new Baveyes/focal reducer for new Nikon Z mount & Canon R mount cameras

KIPON start to deliver 8 models new 0.7x Baveyes/focal reducer for new Nikon Z mount & Canon R mount cameras, increased Baveyes lineup for using medium format lenses on full frame cameras from 24 to 32 models.

  • Baveyes Pentax645-Nikon Z 0.7x
  • Baveyes Pentax67-Nikon Z 0.7x
  • Baveyes MAMIYA645-Nikon Z 0.7x
  • Baveyes Hasselblad V-Nikon Z 0.7x
  • Baveyes Hasselblad V-EOS R 0.7
  • Baveyes MAMIYA645-EOS R 0.7x
  • Baveyes Pentax67-EOS R 0.7x
  • Baveyes Pentax645-EOS R 0.7x

KIPON Baveyes introduces a line-up of the world’s first lens adapters that bring the famous medium format optics to Sony E, Leica SL and Leica M, Nikon Z, Canon R 35mm full frame cameras, virtually eliminating any crop factor image loss and maintaining diagonal angle of view.

The transformation results in a 0.7x factor to the original lens focal length with a gain of one stop in lens speed. Foremost in the advanced adapters, is the custom designed five element multicoated formula by German optics research institution, with the ability to use full frame SLR lenses on crop sensor camera bodies and mirrorless cameras.

Many medium format lenses are legendary for contrast, flare resistance, color saturation, bokeh and are in a class of their own compared to even the best 35mm format glass. And the Sony, Leica, Nikon, Canon image sensors, in the heart of their robust camera bodies, give new life to these medium format legendary lenses.

The retailer price for these optic focal reducer is 695USD,can order from Amazon Japan and Tmall China and Ebay factory shop from this week.

Articles: Digital Photography Review (dpreview.com)

 
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Kipon announces five ‘Elegant’ F2.4 prime lenses for Canon RF and Nikon Z mounts

11 Dec

Lens and lens adapter manufacturer Kipon has announced a new series of lenses for the latest Canon and Nikon full-frame mirrorless cameras.

The Elegant series, as it’s called, consists of five prime lenses in the following focal lengths and apertures: 24mm F2.4, 35mm F2.4, 50mm F2.4, 75mm F2.4 and 90mm F2.4. Each lens comes in both Nikon Z and Canon RF mount options and is entirely manual. The lenses features a focus ring, a physical aperture dial, and focus guide markings. The exact optical construction of each lens remains unknown, as the press release is vague and short on details.

The lenses will be available by the end of December 2018 with the following pricing:

• 24mm F2.4 — $ 499 USD
• 35mm F2.4 — $ 468 USD
• 50mm F2.4 — $ 325 USD
• 75mm F2.4 — $ 355 USD
• 90mm F2.4 — $ 386 USD

Although not currently available for purchase, the lenses will be listed on Kipon’s Adorama and eBay shop when they become hit shelves later this month.


Update (12/10/2018 247pm EST): As pointed out by diligent readers, these five lenses are effectively rebranded and re-mounted versions of the IBE-Optics HandeVision IBERIT 24, 35, 50, 75 and 90mm f/2.4 lenses available for Fujifilm X, Leica L, Leica M and Sony E mounts.

Articles: Digital Photography Review (dpreview.com)

 
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