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Posts Tagged ‘Prime’

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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‘Everybody Street’ documentary free streaming options arrive on YouTube, Prime Video

21 Nov

Cheryl Dunn’s 2013 street photography documentary Everybody Street is now available to stream on YouTube and on Amazon Prime Video. The YouTube stream is ad-supported and the Prime Video option requires an Amazon Prime subscription. Alternatively, viewers can purchase the documentary on DVD. Everybody Street was previously only available on-demand through Vimeo.

The documentary, which enjoys a healthy 7.7-star rating on IMDb, focuses on New York street photographers Bruce Davidson, Ricky Powell, Mary Ellen Mark, Elliott Erwitt, and others, covering their life and work in the city.

IMDb explains:

Shot by renowned photographer Cheryl Dunn on both black and white 16mm film and color HD, the documentary pays tribute to the spirit of street photography through a cinematic exploration of New York City, and captures the visceral rush, singular perseverance and at times immediate danger customary to these artists.

Articles: Digital Photography Review (dpreview.com)

 
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5 Reasons to Use Prime Lenses For Better Photos

08 Nov

The difference between prime lenses and zoom lenses can often be a source of confusion for photographers who are picking up a camera for the first time.

I remember when I first started with photography, wondering why someone would choose a lens with a fixed focal length over one with a whole range of focal lengths built into one.

Surely that would mean creating more work for yourself?!

Fast forward a few years, and I’d stepped into the world of wedding photography with my chunky DSLR and equally chunky 24-70mm zoom lens. Shooting an entire wedding with just that one lens was a piece of cake – I could go from wide-angle shots of the church to a tight, flattering portrait shot with just a twist of the zoom ring.

I’d found the perfect tool for the job… but I had to admit – it wasn’t enjoyable.

Then I started reading more about prime lenses and their various advantages. The only compromise was that I’d have walk closer to my subject, rather than just zooming in with my lens. I looked down and remembered I had two good legs, so I decided to take up the challenge!

I’m not going to tell you that prime lenses are better than zoom lenses, as they aren’t. Neither one is better than the other – it just depends on your needs.

What I’d like to do with this article is to explain why I believe that using prime lenses has helped me to produce better photos. I hope that it gives you some perspective on why you may want to choose a prime lens over a zoom lens too.

1. Composition

5 Reasons to Use Prime Lenses For Better Photos 1

I’m not saying I couldn’t have composed this photo with a zoom lens, but using a lens with a fixed focal length helped me pre-visualise the shot before I took it, making the whole process much faster.

Some might think that being able to change your composition with a zoom lens without even moving your feet would be an advantage.

However, I found it confusing to have an entire range of focal lengths literally at my fingers, and wouldn’t know where to stand before I lifted the lens to my eye. After all, a quick swivel of the barrel would ‘correct’ any distance issues, so standing in just the right spot seemed less critical.

Prepare to spit out your coffee at your screen with my next statement: Zooms can make you a bit lazy with your compositions.

However, using a prime lens encourages you to envisage the composition by the constraints of your focal length. You get set in place to take the shot even before holding the camera to your eye.

The more you get used to using just one focal length, the quicker you’ll be able to visualize your final shot by looking at the scene (with your eyes, sans camera!). In my opinion, zoom lenses with their myriad focal length options don’t encourage you to develop this skill as much.

2. Light

5 Reasons to Use Prime Lenses For Better Photos 2

In the last light of the day, capturing this image without a fast prime lens (shot at f/1.4) could have proven difficult.

Prime lenses, in general, have wider maximum apertures than zooms. More light is let in when the shutter opens, meaning you’ll be able to get the exposure you need in a low light situation without having to increase your ISO or lower your shutter speed.

Being able to shoot with a lower ISO means clearer images. And being able to use a faster shutter speed will help to improve the sharpness of your shot.

If you’ve ever wondered why those indoor shots of your kids taken with your kit lens (I’m guessing it’s a f/3.5-5.6 zoom, or similar) are slightly blurry, there’s a good chance it’s because your lens isn’t letting in enough light. Your camera is slowing down the shutter speed a bit too much to compensate.

By investing in a f/1.8 prime lens, for example, you give your camera more of a fighting chance. You allow it to take advantage of higher shutter speeds to produce sharper images.

3. Depth of Field

5 Reasons to Use Prime Lenses For Better Photos 3

By shooting wide open (f/1.4), brings the viewer’s attention to the bride’s face, despite its unusual positioning in the frame.

Now, depth of field is the main reason most photographers love using prime lenses. Prime lenses have a wider maximum aperture than zooms, enabling you to take advantage of a shallower depth of field.

Depth of Field refers to the range of focus in your image. Shooting at a wide aperture of f/1.4 provides more out-of-focus blurring effect (‘bokeh’) than there would be if you were to shoot at f/2.8. Assuming that all other variables remain constant.

The ability to blur the area both in front and behind your subject using a wide aperture helps to separate your subject from other elements in the photo. The subject stands out more.

You can still produce nice bokeh with a telephoto zoom lens by shooting at the maximum aperture at a longer focal length. In turn, altering perspective and creating a different look to the image.

While shooting with a wide aperture won’t make you a better photographer, it does allow a higher degree of creative control over your image. Being able to fine tune what is and isn’t in focus in your picture using a wider aperture is just one other great way to take your photography to the next level.

4. Size/Weight

5 Reasons to Use Prime Lenses For Better Photos 4

You may require more than one prime lens to allow you to shoot subjects at various distances. The size/weight of each lens is usually much less than a zoom.

Size and weight of your lens is a subjective one. I think that in general, every photographer would prefer to have a lighter lens on their camera, given a choice!

When I switched from using a heavy 24-70mm zoom to a lightweight 35mm prime lens, it was as if I’d bought a whole new camera. The shooting experience just felt so much better.

Now I’m not suggesting that just by having a smaller, lighter camera in your hands, that you’ll be able to produce better photos. However, the shooting experience will undoubtedly be more pleasurable. Having fun with your photography is an excellent catalyst for taking more pictures, which will eventually mean you’ll improve. You see what I’m getting at here?!

One thing to note: a prime lens doesn’t necessarily mean it’ll be small and light. Indeed, many fast (i.e., wide aperture) prime lenses are rather large and heavy. Similarly, there are plenty of small, lightweight zooms.

For the most part, you’ll be able to find a small, lightweight prime lens that offers all the advantages listed in this article. I guarantee it’ll feel better on the end of your camera than a zoom.

5. Image Quality

5 Reasons to Use Prime Lenses For Better Photos 5

Ok, hold your horses for a second. I don’t want to wage a prime versus zoom war here! The difference in sharpness and general image quality between these two types of modern-day lenses is, for the most part, indiscernible.

However, the above statement is only valid for expensive, ‘pro-grade’ zoom lenses – usually the ones with a fixed aperture, i.e., a zoom lens which doesn’t automatically change its aperture when you twist the zoom ring. Or only ones that contain a large amount of high-quality glass.

Fixed aperture zooms are bigger, heavier, more expensive, and usually on par in image quality with even the best prime lenses.

Instead, I’m referring to the difference in image quality between a cheap prime lens and a cheap zoom lens. For around $ 100, you’ll be able to get a much sharper image from a cheap prime lens than you would an equivalent zoom.

All the major camera brands offer a cheap prime lens that ticks the above boxes. It’ll be able to knock the socks off the zoom lens that came with your camera.

Final Comment

I used zoom lenses for the first few months in my career as a wedding photographer, then switched to primes. I’ve never looked back.

I currently shoot with a 35mm lens for 99% of the wedding day. When I can’t get close enough to the action, I use an 85mm lens. Having only two focal lengths to think about is incredibly liberating. Through consistently limiting my focal length options, I’m able to ‘see’ in 35mm or 85mm terms, whether the camera is to my eye or not.

I appreciate zoom lenses have their place and are an excellent choice for many photographers. That said, I encourage you to have a play around with a prime lens to see how it can improve your photography too.

The post 5 Reasons to Use Prime Lenses For Better Photos appeared first on Digital Photography School.


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Photokina 2018: Hands-on with new Voigtländer M and E-mount prime lenses

30 Sep

New Voigtländer lenses for M and E-mount

Voigtländer is one of the oldest names in photography. These days licensed by Japanese lensmaker Cosina, the Voigtländer brand is still going strong. We’re at Photokina, where we got our hands on the company’s newest lenses.

First up is a lens that was quietly released earlier this year for Leica M-mount. The Nokton 50mm F1.2 Asph is a fast standard prime lens designed for high-resolution digital imaging on modern Leica rangefinder cameras.

New Voigtländer lenses for M and E-mount

While at 1,099 Euros ($ 999) it’s not exactly cheap, it’s a good deal more affordable than Leica’s 50mm F0.95 Noctilux. The all-metal Voigtländer doesn’t have quite the same high-quality feel as the Leica, but it’s very nicely built. The focus and aperture dials rotate with a lovely smoothness and crisp clickiness (respectively) that set this lens apart from most of today’s polycarbonate lenses.

New Voigtländer lenses for M and E-mount

Unlike Leica’s own lenses, the Voigtländer doesn’t offer 6-bit coding for Leica’s digital rangefinder bodies.

The Nokton 50mm F1.2 is priced at 1,099 Euros ($ 1,059) and is available now. A companion lens, the medium-wide Nokton 35mm F1.2 Asph II is also available now, for 1,299 Euros ($ 999).

New Voigtländer lenses for M and E-mount

In addition to M-mount lenses, Voigtländer was also showing off its new primes for the Sony E-mount. This is the new 110mm Macro APO-Lanthar, also first announced earlier this year at the CP+ show in Yokohama Japan.

New Voigtländer lenses for M and E-mount

The 110mm offers 1:1 macro capability and a closest focusing distance of 35cm (13.7 in). It uses three floating lens groups for focusing to ensure optimal quality at all distances – according the Cosina – and apochromatic correction to satisfy the resolution requirements of 40MP+ sensors.

Electronic contacts on the mount communicate the lens’s focal length, focus distance and aperture settings to Sony E-mount cameras.

New Voigtländer lenses for M and E-mount

The 110mm is a beautifully-made lens, but at 771g (27 oz) it’s fairly weighty and as you can see in the previous image, it gets fairly long at its minimum focus distance, too. As well as effective macro photography, the APO-Lanthar could provide a useful portrait capability for Sony E-mount shooters.

The 110mm Macro APO-Lanthar will be available soon for 1,199 Euros ($ 1,099).

New Voigtländer lenses for M and E-mount

Voigtländer’s Nokton 40mm F1.2 Asph for Sony E-mount is an E-mount version of the M-mount Nokton that Voigtländer has been selling for many years. It offers a minimum focus setting of .35m (13.7 in) in a body weighing 420g (14.8 oz).

New Voigtländer lenses for M and E-mount

The Nokton 40mm F1.2 features a 58mm filter ring, and a ten-bladed aperture.

New Voigtländer lenses for M and E-mount

Like the 110mm, the 40mm has electronic contacts to communicate lens settings to Sony E-mount cameras. First announced last year, it is available now for 1,099 Euros ($ 1,099).

New Voigtländer lenses for M and E-mount

Voigtländer’s new 21mm F3.5 Color-Skopar is another E-mount prime. The lens is constructed of nine elements, including one aspherical element and one anomalous partial dispersion element, in eight groups.

New Voigtländer lenses for M and E-mount

The 21mm F3.5 Color-Skopar has a minimum focusing distance of 20cm/7.87in and uses a ten-blade aperture diaphragm. The lens will start shipping soon for 749 Euros (US price TBD).

New Voigtländer lenses for M and E-mount

Also on show are two ‘concept’ lenses, which may or may not enter production, depending on feedback from the market. This is the first one, an ultra-compact ‘Ultron’ 35mm F2 for Leica M-mount. Finished in a classic-looking combination of black and chrome, the Ultron could be a very attractive option for users of film and digital rangefinders looking for a compact and lightweight medium-wide prime.

New Voigtländer lenses for M and E-mount

Next up is another 21mm F3.5 Color-Skopar, but again in Leica M-mount. Much smaller than its E-mount equivalent, this tiny prime is almost a pancake lens.

New Voigtländer lenses for M and E-mount

Despite its size, the 21mm F3.5 is very nicely made. It features a large, nicely-machined aperture dial and a pegged focus ring for one-finger focusing.

New Voigtländer lenses for M and E-mount

The third and final concept lens is an E-mount version of the new Nokton 50mm F1.2 Asph.

New Voigtländer lenses for M and E-mount

We believe that optical construction is the same as the M-mount version, but the addition of electronic contacts will ensure that the SteadyShot stabilization systems in Sony’s E-mount cameras work properly with this lens, as opposed to an M-mount version fitted via an adapter.

Articles: Digital Photography Review (dpreview.com)

 
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Sony announces lightweight FE 24mm F1.4 G Master prime

21 Sep

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Sony has taken the wraps off of its new full-frame 24mm F1.4 G Master prime lens. Despite that fast maximum aperture, Sony has created a remarkably small and light lens compared to its peers, with a weight of just 445 grams (15.7 ounces). Compare that to the Sigma 24mm F1.4 Art shown below, which is 50% heavier and considerably more bulky, albeit cheaper.

It’s a departure from traditional GM lenses, which tend to be large so as to not sacrifice optimal performance. This lens bucks the trend by prioritizing both optical performance and size and weight.

Sony’s new 24mm F1.4 GM is significantly smaller than the Sigma equivalent to its left. In hand on a Sony body, it feels more like a F1.8 prime, which is really quite an achievement for a F1.4 lens, particularly one with the optical performance of the 24mm GM.

The 24mm F1.4 GM has a total of 13 elements, including two XA (extreme aspherical) which significantly reduce coma, and three ED elements. Sony’s Nano AR coating reduces flare and ghosting, and so far, we’re impressed by the lack of distracting flare artifacts and high contrast images even when shooting into the sun. 11 aperture blades yield smooth bokeh and circular out-of-focus highlights even when you stop down to F2.8, as well as 22-blade sharp sunbursts if you stop down further with bright, pinpoint light sources.

Focus is is driven by a new, evolved Direct Drive SSM motor that deliveries ‘approximately three times greater thrust’ than the previous system, but with high positional accuracy, according to Sony. In our initial tests, it’s faster to focus than the Sigma 24mm F1.4 Art, so we’re impressed by the speed of focus considering its F1.4 maximum aperture.

Its manual focus ring offers a linear response: a rarity on mirrorless lenses and useful when shooting video. It almost feels like a mechanically coupled focus ring. An aperture ring (with a ‘de-click’ feature), customizable focus hold button and AF/MF switch are also available. As with all G Master lenses, the 24mm F1.4 is weather-sealed.

Focus is silent, and there’s minimal focus breathing. That combined with the linear focusing behavior and small lightweight design makes this lens very suitable for video.

The Sony FE 24mm F1.4 GM will ship in October for $ 1400. Stay tuned for in-depth analyses of the optical characteristics of this lens, but in the meantime you can judge the performance yourself from our sample images, linked below. And if you’re itching to assess sharpness, have a look at our aperture progression of a cityscape at the end of our sample gallery.

View our Sony FE 24mm F1.4 GM sample gallery

Watch DPReview TV’s first impressions

Press Release

Sony Expands Full-Frame Lens Lineup with Launch of 24mm F1.4 G Master™ Prime

New Large Aperture Wide-Angle Prime Lens is the most compact and lightest in its class[i] , with superb sharpness even at F1.4

SAN DIEGO, Sept. 20, 2018 – Sony Electronics, Inc. – a global leader in digital imaging and the world’s largest image sensor manufacturer – has today introduced an exciting new addition to their acclaimed G Master series of full-frame E-mount lenses, a 24mm F1.4 prime lens.

Expertly engineered to deliver best in class performance across all aperture settings, the new FE 24mm F1.4 GM (model SEL24F14GM) utilizes Sony’s most advanced optical technologies to satisfy the needs of the most demanding photographers. The new lens is the most compact and lightweight in its classi, measuring approx. 3.0 inches x 3.64 inches and weighing only 15.7 ounces, with a filter diameter of 67mm. Built to meet the strict standards of Sony’s flagship G Master series, the FE 24mm F1.4 GM offers exceptionally high resolution and beautiful bokeh, two qualities that are signature attributes of the G Master brand.

“We are continuing to evolve our lens lineup to maximize the power of our innovative ? camera lineup, ” said Neal Manowitz, vice president of imaging solutions at Sony Electronics. “The new 24mm prime brings an exciting new perspective to our flagship lens series. With its incredibly lightweight design and signature G Master quality, our 30th native full-frame mirrorless lens opens up a new world of creative opportunities for today’s photographers, videographers and multi-media creators.”

Realizing consistently high resolution across the entire frame, even at F1.4, the FE 24mm F1.4 GM boasts a new optical design comprised of 10 groups with 13 elements, including two XA (extreme aspherical) and three ED (Extra-low Dispersion) elements. The incorporation of two XA elements effectively suppresses sagittal flare[ii] to ensure that point light sources like distant stars can be accurately reproduced, making the FE 24mm F1.4 GM a compelling proposition for astrophotography. For impressive clarity, Sony’s unique Nano AR Coating is applied to reduce lens flare and ghosting, even in landscape shots where the position of the sun can be problematic with a normal lens.

This outstanding performance is packaged in an extremely compact and lightweight body weighing it at only 15.7 ounces, a welcome relief for landscape or adventure photographers that are hiking, climbing or traveling over long distances. This advantage is further compounded when the FE 24mm F1.4 GM is paired with one of Sony’s award winning ?7 / ?9 cameras. The lightweight lens design has been realized in part by the development of a new high power DDSSM (Direct Drive SSM) that delivers approximately three times greater thrust than the previous focus system, enabling fast response, high positioning accuracy and quiet operation for both stills and movie shooting.

This incredible lens is also a perfect complement to Sony’s APS-C sensor mirrorless cameras such as ?6500 and ?6300, and brings the total number of native Sony ? E-mount lenses to 48[iii].

In addition to its landscape and starscape shooting abilities, the FE 24mm F1.4 GM also has excellent close up performance of 0.24 meters (0.79ft.) and delivers soft and natural bokeh, a feature that is common across Sony’s entire G Master series of lenses. This is achieved by extreme control over factors like spherical aberration, and axial and lateral chromatic aberration, at the design and manufacturing stages, as each lens is individually tested and adjusted to achieve maximum performance.

The FE 24mm F1.4 GM also includes a number of professional controls that aide ease of operation for both stills and movie shooting. These include an aperture ring that allows direct, intuitive aperture control, and a focus ring that features Linear Response MF for fine, responsive manual focus control. There is also a customizable focus hold button, and a focus-mode switch that makes it possible to quickly select auto or manual focus to match changing shooting conditions.

Pricing and Availability

The FE 24mm F1.4 GM will ship in October 2018 for approximately $ 1,400 US and $ 1,900 CA. The lens will be sold at a variety of Sony authorized dealers throughout North America.

[i] Compared to other full-frame 24mm F1.4 auto-focus prime lenses. As of September 2018 press release, based on Sony research

[ii] A phenomenon that results in an unnatural spreading of point light sources that appears somewhat like a bird spreading its wings and becomes more pronounced towards the image periphery. It is most common in large-aperture lenses

[iii] Including converters, excluding discontinued models

Sony FE 24mm F1.4 GM specifications

Principal specifications
Lens type Prime lens
Max Format size 35mm FF
Focal length 24 mm
Image stabilization No
Lens mount Sony FE
Aperture
Maximum aperture F1.4
Minimum aperture F16
Aperture ring Yes
Number of diaphragm blades 11
Optics
Elements 13
Groups 10
Special elements / coatings XA (extreme aspherical) + ED elements, Nano AR coating
Focus
Minimum focus 0.24 m (9.45)
Maximum magnification 0.17×
Autofocus Yes
Motor type Linear Motor
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale No
Physical
Weight 445 g (0.98 lb)
Diameter 75 mm (2.95)
Length 92 mm (3.62)
Sealing Yes
Colour Black
Filter thread 67 mm
Hood supplied Yes
Hood product code ALC-SH154

Articles: Digital Photography Review (dpreview.com)

 
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Sigma now shipping Art series prime lenses for Sony E-mount

19 Jun

Sigma has announced that its five of its Sony E-Mount Art-series primes, announced earlier this year, are now shipping. The 20mm F1.4 DG HSM, Sigma 24mm F1.4 DG HSM, Sigma 35mm F1.4 DG HSM, Sigma 50mm F1.4 DG HSM and 85mm F1.4 DG HSM are designed for Sony’s full-frame a7-series and a9 mirrorless interchangeable lens cameras. The E-Mount version of the 14mm F1.4 DG HSM (shown above, in prototype form) is expected later.

Optically the E-mount primes are unchanged compared to their DSLR-mount predecessors but are compatible with high-speed continuous autofocus and should offer faster data throughput compared to using a DSLR-mount version with an adapter. This should improve autofocus speed across the board, compared to using a DSLR-mount version with an adapter – something we hope to test for ourselves in the coming weeks.

Press release:

Sigma Ships Five Prime Art Lenses for Sony E-mount Cameras with Full-Frame Sensors

Ronkonkoma, NY – June 19, 2018 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, today announced availability of five of its interchangeable Art prime lenses for Sony E-mount camera systems – Sigma 20mm F1.4 DG HSM ($ 899 USD), Sigma 24mm F1.4 DG HSM ($ 849 USD), Sigma 35mm F1.4 DG HSM ($ 899 USD), Sigma 50mm F1.4 DG HSM ($ 949 USD) and Sigma 85mm F1.4 DG HSM ($ 1199 USD).

Offering the same high-performance optical design as other lenses in the Art line, the new Sony E-mount models feature a newly developed control algorithm that optimizes the autofocus drive and maximizes the data transmission speed. In addition, these lenses are compatible with Sony’s Continuous AF (AF-C) and high-speed autofocus, which are not addressed by Sigma Mount Converter MC-11. Like MC-11, the lenses are compatible with in-camera image stabilization and in-camera lens aberration correction, which includes corrections for peripheral illumination, chromatic aberrations and distortion.

Key Features and Benefits

Autofocus Tuned for Each Lens

Thanks to an autofocus drive control program tuned for each lens and high-speed data transmission, the lenses offer a high-speed autofocus at the same performance level as that of a lens designed exclusively for mirrorless cameras. In particular, in E-mount cameras offering Sony’s Fast Hybrid AF, AF-C mode delivers exceptional subject following performance. Autofocus remains
extremely precise even in those E-mount cameras offering only contrast AF.

Compatible with In-Camera Image Stabilization

The lenses are compatible with in-camera image stabilization. The Sony E-mount camera senses the focal length of the lens and automatically optimizes image stabilization performance.

Data Loaded for Compatibility with In-Camera Aberration Correction

The lenses are fully compatible with in-camera aberration correction, which includes corrections for peripheral illumination, chromatic aberrations and distortion. By matching corrections to the optical characteristics of the lens, this function takes image quality to an even higher level.

Native Mount for a More Rigid and Stable Feel

Making the mount native to the lens means a more rigid and stable feel to the lens. Featuring a special surface treatment to enhance strength, the brass bayonet mount offers a high-precision fit and exceptional durability. The mount connection area incorporates rubber sealing for dust- and splash-proof construction.

Available Mount Conversion Service*

This service converts the mount of Sigma lenses to that of a different camera body, allowing photographers to continue using their favorite lenses over the long term regardless of camera system.

*The Mount Conversion Service is different from a normal repair. In order to apply for the service, please contact your nearest authorized Sigma subsidiary or distributor: http://www.sigma-global.com/en/about/world-network/.

**This service is performed exclusively by Sigma.

Articles: Digital Photography Review (dpreview.com)

 
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Zeiss launches new lineup of lightweight and compact ‘Supreme Prime’ lenses

26 May

Zeiss has announced a new lineup of 13 ‘Supreme Prime’ lenses for large format cinematographers who want smaller and lighter glass that still produces top-quality results. The kind of lenses that’ll make your salivary glands work… and your wallet groan.

The Supreme Prime range will comprise focal lengths from 15mm to 200mm, and Zeiss says that most of those lenses will have a maximum aperture of T1.5. In fact, ten of the focal lengths will offer a maximum aperture of T1.5, while the 15mm and 150mm will be T1.8, and the 200mm will be a T2.1.

Despite their diminutive size, Zeiss stresses that the Supreme Primes are designed for high-end advertising work and movie production; consequently, they will be compatible with large format (full-frame) movie cameras such as the Sony Venice, ARRI Alexa LF, and the RED Monstro. Zeiss says the lenses will be versatile and able to create different looks because of their “gentle sharpness, the aesthetic focus fall-off, and elegant bokeh” which the company claims makes them suitable for a wide range of production styles.

Communication between the lenses and the camera will be performed via the Zeiss eXtended Data and Cooke’s /i metadata protocols. These record optical characteristics and lens settings to every frame recorded to assist post-production processes, especially when visual effects need to be added to the footage.

The 25mm, 29mm, 35mm, 50mm, and 85mm lenses will be released in August 2018 and the 100mm will be ready in December. All six can be purchased together as a set for $ 108,000, but you’ll have to wait until 2019 for the 15mm, 18mm, 21mm, 65mm, 135mm and 150mm focal lengths to finish drip-feeding into the range. The 200mm T2.1, meanwhile, will arrive in 2020.

To see the new Zeiss Supreme Prime lenses in action, check out the sample film below shot with these lenses on the Sony Venice, Phantom 4K, and RED Monstro VV. And if you want to learn more about the lenses, head over to the Zeiss website.

Press Release

New High-End Cinema Lens Family ZEISS Supreme Primes

With its 13 high-speed, full-frame, prime lenses for high-quality film productions, ZEISS is focusing on maximum quality, low weight, and significant versatility when it comes to creating superb visual imagery.

ZEISS has introduced a new family of high-speed lenses for high-end film production: The ZEISS Supreme Prime family consists of 13 lenses with fixed focal lengths between 15 and 200 millimeters, the majority with a maximum aperture of T1.5. “The lenses are designed for film productions of an extremely high quality,” says Christophe Casenave from ZEISS. “They are perfect for high-budget advertising or feature films, for example.” ZEISS Supreme Primes are designed to cover cinematic large format camera sensors and are compatible with all of the latest camera models, such as the Sony Venice, ARRI Alexa LF, and RED Monstro. According to Casenave, the versatility of the Supreme Prime lenses to create different visual looks is due to the gentle sharpness, the aesthetic focus fall-off and elegant bokeh. The lenses are extremely flexible and can be used equally well for science fiction thrillers as well as for dramas.

Compact and Lightweight

“Weighing an average of 1600 grams (3.5 pounds), ZEISS Supreme Primes are significantly lighter and smaller than comparable lenses on the market,” says Casenave. With these compact and lightweight lenses, ZEISS is responding to many camera operators’ desire for compact equipment that still meets the highest standards of quality. “ZEISS Supreme Primes are unbelievably rugged and reliable. Regardless of whether filming in the desert or in the Arctic, the lenses perform flawlessly. And in the event that something should ever break, our worldwide service network provides fast and professional help.”

ZEISS eXtended Data Metadata Technology

The ZEISS Supreme Primes are equipped with the ZEISS eXtended Data metadata technology. Introduced in 2017, ZEISS eXtended Data provides frame by frame data on lens vignetting and distortion in addition to the standard lens metadata provided using Cooke’s /i technology1 protocol. This greatly speeds up the entire film production’s workflow. When using visual effects for example, with only a few clicks, the lens properties can be removed so that computer-generated effects imagery can be accurately applied to the captured imagery. The lens properties can then be reapplied with the same click of a button and combined with the film material to create a realistic image. Previously, all of the data had to be measured manually so that it could be corrected in post-production. But ZEISS eXtended Data eliminates this time-consuming job.

Price and Availability

The first ZEISS Supreme Primes lenses with focal lengths of 25, 29, 35, 50, and 85 millimeters will be available starting on August 1, 2018. The ZEISS Supreme Prime 100 millimeter will be available in December 2018. The set of six lenses, consisting of the focal lengths mentioned above, is available from ZEISS Cinema lens dealers for 108,000 USD. The remaining focal lengths will be released successively until 2020.

Articles: Digital Photography Review (dpreview.com)

 
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Video: A closer look at NiSi’s new F3 cinema prime lenses

12 Apr

One of the most surprising announcements from NAB this year came from filter maker NiSi, who decided to release a set of cinema prime lenses. No, that’s not a typo. And Cinema 5D’s Nino Leitner was at NAB to see the lenses in person and ask the NiSi rep some questions about the lineup.

The NiSi F3 Cinema Prime lenses cover focal lengths from 25 to 100mm—25mm T2.1, 35mm T2.0, 50mm T2.0, 75mm T2.0, and 100mm T2.0—and give video shooters yet another set of relatively affordable options in a market that is quickly becoming crowded. So the main question Leitner asked was: what makes these special?

The answer is two fold. First, Nisi boasts of the artistic properties of the lenses, which produce flaring with “a lot of character” while maintaining great center resolution. And second, the lenses feature an interchangeable mount; users can swap between Sony E, Canon EF, and PL mounts using a set of standard Allen keys that can be ordered alongside the lenses.

To learn more about these lenses, watch the full video above or check out our launch coverage here.

Articles: Digital Photography Review (dpreview.com)

 
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NiSi jumps into lens game, unveils five full-frame cinema prime lenses

07 Apr
Credit: NiSi

With NAB 2018 just a few days away, the video gear news is coming fast and furious. Atomos shared some exciting news for Panasonic EVA1 shooters, Apple revealed the new ProRes RAW format, Adobe’s video apps got some major updates, and now the more unexpected of them all: NiSi, the camera filter company, has released a set of cinema primes.

If this news had come out on April 1st, it would have been suspect. Alas, it’s April 6th, and the new NiSi F3 cinema lenses are very much real.

Designed to cover full-frame sensors, the NiSi F3 lenses will come with interchangeable PL, Canon EF, and Sony E mounts. There are five lenses in all—25mm T2.1, 35mm T2, 50mm T2, 75mm T2, and 100mm T2—and each is built within an identical housing for maximum convenience when fitting lens accessories. NiSi plans to add an 18mm lens to the lineup in mid-2018, but here’s a closer look at current lineup, followed by a detailed spec breakdown:

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Regarding the F3 lens line’s performance, NiSi promises that the lenses’ “apochromatic optical design […] results in excellent Axial aberration and Transverse aberration performance. It gives a natural and pure color with almost no purple/green fringing both within focus and in bokeh.”

The company also claims “the lenses contain a unique optical coating design which controls dispersion perfectly while retaining rich details.” This allegedly results in “stylized flare and contrast enhancement.”

Credit: NiSi

The lenses are currently live for pre-order on the NiSi website, where you’ll need to put in a deposit of $ 1,000 per lens. Shipping is expected to start on June 1st, and you can see the retail prices listed below:

  • NiSi F3 25mm T2.1 – $ 3,000
  • NiSi F3 35mm T2 – $ 2,500
  • NiSi F3 50mm T2 – $ 2,500
  • NiSi F3 75mm T2 – $ 2,500
  • NiSi F3 100mm T2 – $ 3,000
  • Full Set of Five Lenses – $ 12,000

Note that if you pre-order before April 30th, you can take advantage of a $ 500 discount on each individual lens, or the full set of five. That means that, for the next 24 days, it’s actually cheaper to buy all five lenses individually because of the $ 2,500 in total discounts you’d be getting.

To learn more about the Nisi F3 cinema prime lenses or pre-order a set for yourself, head over to the NiSi website.

Articles: Digital Photography Review (dpreview.com)

 
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Lensrentals: Cheap Veydra Mini Prime lenses are ‘optically excellent’

27 Mar

Roger Cicala over at Lensrentals went on another OLAF testing spree, and this time the victim of his optical bench tests were the extremely affordable Veydra Mini Prime cinema lenses made for E-Mount and Micro Four Thirds sensors. These lenses are so inexpensive that Cicala has assumed (for some time) that they were also probably also ineffective. But as Roger put it:

[Today] we learned for the umpteenth time that doing scientific testing is a great way to shoot down Roger’s assumptions.

It turns out these lenses aren’t bad at all… in fact, Roger calls them “optically excellent.” And when he put them to the test against Zeiss CP.2 primes that cost 3x (or more) as much money, the Veydra Mini Primes (and here, again, we’re going to use his wording) “the Veydras just kick some serious resolution butt in this comparison.”

Here’s just one of those comparisons (more in the full test at Lensrentals), between the Zeiss Compact Prime CP.2 85mm T2.1 (average of 10 samples) and the Veydra Mini Prime 85mm T2.2 (average of 9 samples):

Zeiss on the Left, Veydra on the Right

Of course, this is a comparison on a single parameter: absolute resolution. But it’s also a comparison between a lens that costs $ 3,990 (the Zeiss CP.2) and $ 1,000 (the Veydra Mini Prime). Still, as Roger points out several times:

[These tests] won’t tell you a thing about how [the lens] focus breathes, how it handles, or whether it has that ‘film’ look. I will simply tell you how well it resolves (because you can roll your artsy eyes all you want; sometimes you have to make things look sharp).

The other factor to keep in mind is the image circle, because the Veydra Mini Primes are… well… mini. They’re only made for Micro Four Thirds and Super 35 image size and won’t cover a full-frame sensor. Still, the results of his test left Roger (and by extension, us) impressed.

Check out the full test over on Lensrentals, and if you’ve used them, drop a line in the comments about their real world performance.

Articles: Digital Photography Review (dpreview.com)

 
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