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Manfrotto launches ‘50% more rigid’ carbon fiber twin-leg tripods for video

27 Sep

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Accessories manufacturer Manfrotto has launched a pair of carbon fiber tripods for videographers that it claims are 50% more rigid than their aluminum counterparts and which come in a choice of configurations. The CF Twin Leg models feature dual risers and offer users a choice of leg spreading braces. The first model has a removable middle spreader half way up the legs and the other has the spreader attached to the feet. Both can have rubber or spiked feet, and are essentially the same in all other respects.

A 100mm bowl comes as standard along with a 75mm adapter to make the set-up compatible with a wider range of heads, and the legs are available as an optional kit with the Nitrotech N8 and N12 video heads as well as the 504. The legs in either configuration will cost £659.95/$ 699.95 with no head, and are available for pre-order on the Manfrotto website.

Press release

{pressrelease}

MANFROTTO EXPANDS ITS VIDEO SUPPORTS RANGE WITH TWO NEW TWIN-LEG TRIPODS IN CARBON FIBRE

Carbon fibre with new internal lock mechanism
100mm bowl with 75mm aluminium adapter
50% increased rigidity*

Manfrotto, world leader in the photography, videography, imaging equipment and accessories industry, has expanded its video tripod range with two new twin-leg video tripods made of carbon fibre.

The two brand-new, twin-leg video tripod models are the perfect solution for professional videographers looking for robust, rigid and lightweight support.

A 50% increase in rigidity* is achieved thanks to the combination of carbon-fibre tubes and a new patent-pending internal leg lock mechanism.

Manfrotto’s two new twin-leg carbon-fibre video tripods feature a 100mm bowl and include a 75mm aluminium adapter, for compatibility with a wider range of video heads.
Moreover, the tripod feet with spiked option give great versatility when it comes to different shooting locations.

The twin-leg carbon fibre tripods are available in two models: the first with an easily removable middle spreader and telescopic arms, and the second with a ground spreader, telescopic arms and incorporated rubber shoes.

Both twin-leg carbon-fibre tripods are also available in combination with Manfrotto Nitrotech N12, N8 and 504 video heads.

All Manfrotto video tripods are engineered with a focus on quality and dedication to continuous innovation. These products are the perfect solution for all videographers looking for a great support for their video shooting. Manfrotto’s new twin-leg carbon-fibre tripods will take support for their video gear to the next level.

*Compared with the Manfrotto aluminium versions 546B, 546GB, 545B, 545GB.

RRP £659.95. For more information, please visit www.manfrotto.co.uk

{/pressrelease}

Articles: Digital Photography Review (dpreview.com)

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What you need to know about the Fujifilm GFX 50R

26 Sep

What you need to know about the Fujifilm GFX 50R

Fujifilm’s latest digital medium-format camera is the GFX 50R, a rangefinder-styled interpretation of the GFX 50S that was announced at Photokina 2016.

Bearing more than a passing resemblance to some of Fujifilm’s medium-format film rangefinders, the GFX 50R is 145g (0.32lb) lighter than the 50S, and is 25mm (0.98″) thinner. The smaller size and redesigned controls serve to make the 50R handle very differently from its elder sibling.

What you need to know about the Fujifilm GFX 50R

But before we get into the handling, let’s take a quick look over what isn’t new on the GFX 50R. Compared to the 50S, we have the same sensor, processor, battery, film simulations and viewfinder panel (though EVF magnification takes a dip, at 0.77x compared to 0.85x).

This means that you’re getting the same impressive image quality as the 50S in a smaller, lighter package and for less money – $ 4500 USD, to be precise. So while the hardware itself isn’t the most exciting, the 50R does represent a new low price of entry to the world of medium-format digital imaging. There’s still a question as to the advantages of this larger format over existing full-frame cameras, but there’s some silver lining in that the 50R grants you access to Fujifilm’s excellent lineup of sharp, well-built GF lenses.

What you need to know about the Fujifilm GFX 50R

As you can see, the GFX 50R slots in nicely between Fujifilm’s X-E3 and an old Fuji GW690 III from the 1990s in terms of size. Though the 50R approaches the Hasselblad X1D for compactness and is much smaller than the Pentax 645Z, it’s still a substantial camera. The 50R’s rangefinder styling necessitates a smaller grip than the GFX 50S, and as a result, the 50R is best used with two hands.

What you need to know about the Fujifilm GFX 50R

Here, you can more clearly see the resemblance in controls between the GFX 50R and the X-E3. Both come with AF selection joysticks and a similar array of buttons, and both eschew a ‘standard’ four-way controller in favor of using directional swipes on the touchscreen. Despite our fears of Fujifilm’s touchscreen interface mis-reading those directional swipes, they work just as they do on the X-E3, which is to say, rather well.

This layout, which places most of the direct controls within reach of your right thumb, isn’t as convenient on the 50R as on the X-E3. With a suitably compact lens, the X-E3 can be easily operated one-handed. The extra heft of the 50R, regardless of which lens is attached, means you’ll likely be supporting the camera with your left hand and manipulating controls with your right.

What you need to know about the Fujifilm GFX 50R

Along the bottom of the camera are a few other changes. The battery slots in here, rather on the side like the GFX 50S. There are also ports for AC power and USB-C behind a rubberized door. The GFX 50R does not support USB charging, but it does allow for tethered shooting and is fully compatible with Capture One.

Fujifilm has confirmed that there won’t be a battery grip option for the GFX 50R, and as such, there are no connectors for one on the camera.

What you need to know about the Fujifilm GFX 50R

The top-plate controls on the GFX 50R are likewise similar to the X-E3. There’s no dedicated ISO dial, but the front dial that surrounds the shutter button can be configured to serve that purpose. By default the rear dial biases the shutter speed in 1/3-stop increments above and below the chosen whole-stop value on the dedicated shutter speed dial. There are also plenty of physical customizable buttons, though they’re not always easy to find with your eye to the finder – they’re small, and sit nearly flush with the body.

As a staff, our views are mixed regarding the On/Off switch. In truth, no one is really a fan of it, but some of us are more indifferent than others. Whichever side of the fence you’re on, there’s no denying that it’s on the small side and a little awkward to reach.

What you need to know about the Fujifilm GFX 50R

Getting back to the inside of the camera, we should note that because the GFX 50R has the same processor as the 50S, the camera exhibits some slight lagginess not present on the likes of the X-T3. This is particularly noticeable when enabling the Color Chrome effect, as an example.

But as we said at the start, the processor / sensor combo in the GFX 50R is capable of really stunning image quality, and the camera remains overall quite responsive.

What you need to know about the Fujifilm GFX 50R

So at its core, the GFX 50R is a smaller, cheaper 50S. But to make your GFX 50R kit as compact as possible, you’ll want to pick up the GF 50mm F3.5 pancake prime when it’s released in 2019. It’s one of three lenses from Fujifilm’s updated roadmap, and should pair well with the 50R.

Pictured above, the GF 50mm F3.5 is extremely compact, and offers a field-of-view equivalent to 40mm and a depth-of-field equivalent to roughly F2.8 on a full-frame 35mm sensor.

What you need to know about the Fujifilm GFX 50R

Our full GFX 50R review is already underway, so stay tuned for updates to our sample gallery as well as further studio testing in the coming weeks. You can get your very own GFX 50R when shipping begins in November.

Articles: Digital Photography Review (dpreview.com)

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Photokina 2018: Hands-on with Sigma’s new Global Vision lenses

26 Sep

A closer look at Sigma’s new Global Vision lenses

Six years after launching the Global Vision line at this very show in 2012, Sigma took the wraps off five new lenses at Photokina this year, and we were there at the launch event to see (and handle) them for ourselves. Click through for more information and some early first impressions.

First up is the new 56mm F1.4 DC DN ‘Contemporary’ for Sony APS-C format E-mount cameras and M43 – where it provides an equivalent focal length of 84mm and 112mm, respectively.

A closer look at Sigma’s new Global Vision lenses

At 280g (9.9 oz) the 56mm is a very lightweight lens, and with the lenshood (shown in the previous slide) removed, it’s actually the smallest of Sigma’s current fast-aperture E-mount / M43 primes.

A closer look at Sigma’s new Global Vision lenses

Optical construction consists of 10 elements in six groups, and the lens features a nine-bladed aperture. We weren’t able to use it on a camera, but Sigma claims that ‘smooth autofocus’ should make this lens ideal for video use. Pricing and availability will be confirmed at a later date.

A closer look at Sigma’s new Global Vision lenses

Next up is the latest in Sigma’s range of wide-aperture ‘Art’ series primes for full-frame ILCs – the 28mm F1.4 DG HSM. Compared to the 56mm, this fast wideangle prime is quite a hefty piece of glass, but if performance is in line with its stablemates, it should be capable of great things.

Sigma tells us that its benchmarks were Nikon and Zeiss’s 28mm F1.4 primes, and performance from its new Art-series option should be ‘best in class’.

A closer look at Sigma’s new Global Vision lenses

Key to the 28mm F1.4’s claimed performance is its optical makeup, which comprises 17 elements in 12 groups, including no fewer than three aspherical elements, two FLD and three SLD (“F” low-dispersion and ‘Special’ low-dispersion respectively) elements. Sigma claims that this design provides ‘thorough’ correction of chromatic aberration and minimal distortion.

A closer look at Sigma’s new Global Vision lenses

Unlike Sigma’s earliest Art-series primes, the new range are weather-sealed, and employ water and oil-repellant coating on their front elements. The 28mm F1.4 certainly feels like a solid professional tool, but Sigma has yet to confirm its actual weight.

A closer look at Sigma’s new Global Vision lenses

Price, likewise, is TBD but we understand that the upcoming 28mm F1.4 will be somewhere around $ 1300, pre-tax.

A closer look at Sigma’s new Global Vision lenses

Even larger and even heavier is the 40mm F1.4DG HSM. Created from Sigma’s 40mm cine lens, the company claims that this fast standard prime is its sharpest ever lens of this type.

A closer look at Sigma’s new Global Vision lenses

As you can hopefully tell from our pictures, it’s a big lens, measuring 87.8mm x 131mm (3.5in. x 5.2in) and weighing in at 1.2 kilos (43 oz). An 82mm filter ring is bigger than most, but not quite as bonkers as the 95mm thread on Canon’s new 28-70mm F2!

Like Sigma’s 28mm F1.4, the 40mm F1.4 is dust and moisture-sealed.

A closer look at Sigma’s new Global Vision lenses

Designed to satisfy the resolution requirements of 50MP sensors and 8K video, the 40mm F1.4 is highly corrected for distortion (which, it is claimed, is below 1%) and coma. Optical construction consists of 16 elements in 12 groups, including three FLD and three SLD elements. Pricing and availability have yet to be confirmed.

A closer look at Sigma’s new Global Vision lenses

This is a lens that Sigma fans (and photography fans in general) have been waiting for, for some time: the new 70-200mm F2.8 DG OS HSM ‘Sports’ While not an ‘Art’ series lens, the 70-200mm was designed to meet the needs of the most demanding professional photographers, and the company claims that it will be competitive with own-brand equivalent lenses from the other major camera manufacturers. This shot shows off the various focus and OS switches, and the removable Arca-Swiss compatible tripod mount collar.

A closer look at Sigma’s new Global Vision lenses

The 70-200mm F2.8 makes generous use of magnesium alloy in its construction, for strength and low weight. Sigma processes this material in-house, at a brand new factory built at its existing site in Aizu, Japan. In keeping with other Sport-line lenses, it is dust and weather-sealed, and features and oil and water-repellant coating on the front element.

A closer look at Sigma’s new Global Vision lenses

Optical construction of this internal zoom lens is pretty impressive on-paper, comprising 24 elements in 22 groups, including ten low-dispersion elements – nine ‘FLD’ and one SLD. Sigma claims that this advanced optical makeup ensures attractive bokeh and excellent correction of color aberrations. On the mechanical side, ‘intelligent OS’ is capable of correcting for shake in all directions, with total shake-reduction effectiveness still to be confirmed. Ergonomically, while we couldn’t mount it on a camera (we’re hoping to do that soon!) the lens feels exceptionally nicely made and very well-balanced, and some photographers will be pleased to see that Sigma has put the zoom ring at the front of the lens.

An AF function button can be customized either via the host camera or Sigma’s USB Dock, and the 70-200mm will be available in Canon EF, Nikon F and Sigma SA mounts, pricing and availability still TBD.

A closer look at Sigma’s new Global Vision lenses

Last but definitely not least is the 60-600mm F4.5-6.3 DG OS HSM. A beast of a lens (that’s a technical term) this 10X sports zoom is among Sigma’s most versatile, capable of covering everything from goalmouth action at one end of a football pitch to goalmouth action at the other end without swapping lenses.

A closer look at Sigma’s new Global Vision lenses

Relatively compact at 60mm (relatively…) at 600mm, this lens is quite a handful, and in terms of optical construction it just beats out the other four lenses released by Sigma by featuring 25 elements, in 19 groups. Like the 70-200mm, the 60-600mm is partially constructed using magnesium alloy from Sigma’s new factory.

A closer look at Sigma’s new Global Vision lenses

The 60-600mm is highly customizable, and usefully it features a zoom lock at all zoom positions, to help prevent ‘zoom creep’ when you’re trying to frame shots. It will be available in late October for $ 1999.

Articles: Digital Photography Review (dpreview.com)

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Roundup: essential news from Photokina 2018

26 Sep

Introduction

You might not have been expecting much from Photokina this year. The industry’s two biggest brands have already unveiled their major products and it’s the final Photokina before the show tries to re-schedule itself into irrelevance. So, a couple of lens announcements and a chance to get hands-on with the Nikon Z7, Canon EOS R, Fujifilm X-T3 and Sony 24mm GM, right?

You could not be more wrong. It’s been a cracking opening day at the show, with some of the most exciting news in years. ‘What did I miss?’ you might ask. Well, let me tell you…

Panasonic and Sigma collaborate on Leica L mount

Sixteen years after Olympus and Kodak announced the formation of the Four Thirds system, three members of that consortium: Panasonic, Sigma and Leica, announced they will collaborate on a shared system.

All three brands have settled on Leica’s L mount (originally the ‘T’ mount, when the APS-C Leica T model was announced back in 2014). All three brands have said they’ll be making lenses and cameras for the new system, which is arguably the biggest coming together of major brands since Four Thirds.

Click here for more about the collaboration

We’ll look separately at what Panasonic and Sigma is intending to do with the system, since they’re both pretty big news. We won’t be looking so much at Leica, since they celebrated the event by launching a new S-series camera.

Panasonic developing S1 and S1R full-frame mirrorless cameras

They exist only as mockups at this point, but Panasonic has given a fair amount of detail about its first two L-mount full-frame mirrorless cameras.

The S1R will be a 47MP high-res model, while the S1 will be a more flexible 24MP camera. Both will offer in-body image stabilization and will be able to shoot 4K video at up to 60 frames per second.

The company also announced three lenses: a 50mm F1.4, a 24-105mm of unspecified brightness and, in an indication of who they’re targeting with these cameras, a 70-200mm F2.8.

Click for more details of the Panasonic Lumix S1 and S1R

The company reiterated its commitment to developing the Micro Four Thirds system in parallel, with the announcement of a 10-25mm F1.7 zoom for the smaller system.

Sigma adopting L mount and building full-frame Foveon

Sigma’s contribution to the L-mount collaboration extends beyond the lenses that you might expect. It says it will use the L mount in future, rather that its own SLR-era SA mount.

The company also says it’s working on a full-frame camera that will use one of its own Foveon sensors behind the L mount. Existing SA-mount lens users will either be able to have their lenses converted to L mount or can use an SA-L adapter that Sigma will make.

Perhaps most excitingly, Sigma says it will make an EF-L mount adapter, which immediately expands the system’s attractiveness, while we wait for all the stakeholders to deliver their promised lenses.

Click here for more information

Fujifilm to hit 100MP

Fujifilm also announced it will launch a 4K-capable, high resolution mirrorless camera with in-body stabilization. But in this case it’s talking about the GFX series of medium format bodies, and by high resolution it means 100MP.

Oh, and it’ll feature on-sensor phase detection for the first time.

Click here to read more

Ricoh working on significantly updated GR III

In any other year the major reworking of one of the industry’s few truly classic products would get higher billing, but not this year. Which is a shame, since Ricoh is promising to update and improve just about everything on the camera, without spoiling what makes it so attractive in the first place.

The GR III will still be a 28mm equiv. camera, will still be built around an APS-C sensor and will still feature the classic ‘GR’ styling that dates back to the small sensor GR Digital of 2004 (itself echoing the look of the GR series of film cameras before that). However, the GR III will include sensor shift image stabilization and on-sensor phase detection, both of which will be a major step forward for the series. It will also add a touchscreen for the first time.

The company says nothing of weather sealing, which is something of a shame, since the GRs (like all cameras with extending lenses) can suffer when the weather has periods of strong fluffy, blustery lint or dusty downpours.

Click here for more about the Ricoh GR III

Fujifilm GFX 50R

Maybe more unfair than taking so long to get to the Ricoh GR is that I’ve taken even longer to get to Fujifilm’s GFX 50R. A camera that’s long been hoped for and one that, unlike many other being discussed today, actually exists.

At heart it’s a redesigned variant of the GFX-50S but in a rangefinder-styled body. Essentially a hybrid of an X-E3 and a housebrick, the camera will sell at a considerable discount to the 50S, having launched for just $ 4500. Better still, and update to Fujifilm’s GF lens roadmap shows a 40mm-equiv GF 50mm F3.5 ‘pancake’ lens in the works.

There are also two stabilized zooms in the works, over the next two years.

Alongside the GFX 50R announcement, Fujifilm said that Phase One’s Capture One software will now support its medium format cameras both for Raw development and tethered shooting. This is a major addition for the brand, helping make its products fit more easily into some professionals’ workflows.

Click here for more about the GFX 50R

Sigma 56mm F1.4 for Micro Four Thirds and E mounts

As well as talking about its future system commitments, Sigma unveiled some actual lenses. You know, that you’ll be able to buy in the near future.

Most exciting to us is the Sigma 56mm F1.4 DC DN lens. It’s a small(ish) portrait lens for the Micro Four Thirds or Sony E-mount. It’ll behave as a 112mm F2.8 equivalent on Micro Four Thirds or a 84mm F2.1 equivalent on APS-C Sony cameras, giving a comfortable working distance for head-and-shoulder portraits and a good degree of control over depth-of-field.

If it’s anything like the existing 16mm and 30mm F1.4 lenses in Sigma’s DN lineup, I’d expect the 56mm F1.4 to be sharp, fast at focusing and sensibly priced. Which is a very likable combination.

Click for more about the Sigma 56mm F1.4 DC DN

Sigma lenses

As well as the 56mm, Sigma also announced a 28mm F1.4 and 40mm F1.4 as additions to its Art range of primes. Despite being competitively priced, many of the lenses in this series have a reputation for being among the best lenses one the market, optically. They also tend to be fairly sizeable, but if IQ is what you’re after…

Sigma also said it will introduce an updated stabilized 70-200mm F2.8 as part of its ‘Sports’ range. This will be available in Canon EF, Nikon F and Sigma SA mount. We’ll be interested to see whether a Sony E mount version becomes available at a later date.

There’s also a successor to the storied 50-500mm F4.5-6.3 ‘Bigma,’ in the shape of the 60-600mm F4.5-6.3 ‘even Bigma-er.’*

Click here to see Sigma’s forthcoming lenses

*As no one will ever call it.

Hasselblad lenses

Not to be outdone, Hasselblad used the show to announce three new lenses and a teleconverter. And even these are pretty exciting.

The XCD 80mm F1.9 is the brightest lens the company has ever made. This will be equivalent to a 63mm F1.5 on full-frame, which is a big step forward for the system. There’ll also be a 135mm F2.8, giving something akin to a 107mm F2.2 equiv. Add on the 1.7x teleconverter and it becomes a 230mm F4.8 (180mm F3.8 equiv).

Finally, there’s the 63mm F2.8 (50mm F2.2 equiv), which will compete head-on with the similarly-specced lens from Fujifilm. All three lenses add significantly to the system’s capabilities.

Click here for more

Sony announces, err..

Apparently content to have a significant headstart on their full-frame mirrorless rivals (or perhaps content to highlight this headstart), Sony said little of substance at its press conference, beyond that it’s going to keep making lenses: twelve additional lenses (over an unspecified period).

In fairness, the company has only just released the 24mm F1.4 GM lens, so the product development teams probably aren’t actually in laurel-resting mode but, other than more lenses, the only thing its promised is Eye-AF that works on animals. Possibly on a new product, some time in the future.

Click to read (slight) more about Sony’s briefing

Wrap-up

For a show that’s about to surrender its relevance, Photokina 2018 has proven to be more lively than expected. There’ll be little bits and pieces over the coming days but this is likely to be it for industry-rocking announcements.

And, if you aren’t great at reading between the lines, our take on it is pretty simple: in a declining camera market, the enthusiast and professional are kings (and queens).

DPReview has been covering the show for 18 years and, while there have certainly been shows with more launches in the past, we can’t remember a time that heralded so many interesting products for people who really care about photography. In the space of a few weeks we’ve gone from there being two full-frame mirrorless brands to a point where there’ll be six by the end of 2019. Along with a what could be a fast 100MP medium format option. And a thoroughly-refreshed Ricoh GR, for the street shooters.

It’s going to be a busy year. In a good way.

Articles: Digital Photography Review (dpreview.com)

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ON1 Photo RAW 2019 due out in November with revamped UI, improved Lightroom migration

26 Sep

ON1 has announced the upcoming version of its photo editing program ON1 Photo RAW 2019. Due out November 2018, ON1 claims version 2019 ‘is one of the biggest and best releases in our history [and] will include tons of improvements to the photo editing workflow and new features.’

Specifically, ON1 Photo RAW 2019 will have an updated UI, a new non-destructive workflow for layers, auto-alignment of layers, focus stacking, a new portrait module, a new AI-powered masking tool, a new text tool, new digital asset management updates and — arguably most significant — a Lightroom photo settings migration plug-in.

Starting with the user interface, ON1 says version 2019 will have a ‘fresh and modern feel.’ Specifically, ON1 says the overall UI will have improved contrast and updated icons, tabs and sliders that take up less screen real estate.

Before diving into the other features, we’re going to hit on the new Lightroom Photo Settings Migration feature. Detailed in the above video, you can now easily export your Lightroom catalogs directly into ON1 Photo RAW 2019 and bring along all metadata and non-destructive edits with the images. While the edits won’t be exact, ON1 notes its AI-powered algorithms will do their best to get more most accurate edits possible using what ON1 Photo RAW 2019 has to offer.

The workflow for layers is no longer a separate module. In ON1 Photo RAW 2019, the non-destructive layers workflow will be present inside of the Develop and Effects module. ‘This will allow for creating or editing multilayered files, including raw files, and keep the nondestructive settings for each photo layer,’ says ON1 in its press release.

Focus Stacking is also new. As the name suggests, it automatically blends a collection of images together at varying focusing distances and lets you adjust it in real-time to get just the right amount of depth of field. The Auto-Align Layers feature combines multiple images as layers for easier masking and blending when editing.

A new Portrait Module can automatically detect faces in images and features a custom toolset for precise retouching. ON1 specifically mentioned the ability to ‘smooth skin, brighten and sharpen eyes and whiten teeth.’

The AI Masking Tool isn’t due out until a December update to ON1 Photo RAW 2019, but ON1 says it ‘will allow [you] to easily identify areas of your photo to create a selection or mask and the AI technology detects your subject matter and automatically creates a beautiful mask.’

Other additions include a new Text Tool, a Layered HDR Workflow and additional Filter Options in the Effects module. Support for new cameras and lenses have also been added.

ON1 Photo RAW 2019 is set for a November 2018 release and is currently available for pre-order on ON1’s website for $ 100 for a limited time. If you own any previous versions of ON1 software, pre-orders are only $ 80 for a limited time.

Articles: Digital Photography Review (dpreview.com)

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Sigma announces 28mm F1.4 Art, 40mm F1.4 Art, 70-200mm F2.8 Sport and 60-600mm F4.5-6.3 Sport

26 Sep

Sigma has announced four lenses for Canon EF, Nikon F and Sigma SA mounts. The 28mm F1.4 DG and 40mm F1.4 DG are both part of the company’s premium ‘Art’ range that prioritize image quality over price and weight. These two lenses will also be available for the Sony E mount. The new lenses help round-out the series, which now includes a range of prime lenses extending from the 14mm F1.8 DG HSM up to the 135mm F1.8 DG.

The 28mm F1.4 DG adds a semi-wide option to Sigma’s impressive range of ‘Art’ prime lenses.

The 28mm F1.4 DG | Art has a 77mm filter thread, matching that of the 24mm F1.4.

The 40mm F1.4 DG | Art is a near perfect ‘normal’ lens: a close match for the diagonal length of a full frame sensor. It’s been a historically popular focal length, so we’re pleased to see its return.

The Sigma 40mm F1.4 DG | Art has an 82mm filter thread.

In addition, Sigma has introduced a redesigned, stabilized 70-200mm F2.8. The 70-200mm F2.8 DG OIS is, as you’d expect, part of the company’s Sport range of optics and is likely to offer a less-expensive alternative to OEM 70-200s. We will, of course, be testing its performance as soon as one becomes available.

Finally, Sigma has announced the 60-600mm F4.5-6.3 DG OIS, a monster telephoto lens, also part of its Sport range. Despite the sport designation, we suspect the lens will be used more for birding and airshow shooting.

The Sigma 60-600mm F4.5-6.3 DG | Sport is a substantial beast, even at its 60mm setting.

But that’s nothing compared to seeing it at full stretch. It certainly lives up to the ‘Bigma’ nickname of its predecessor.

As you’d expect, it features a focus limiter, OIS control switch. In addition, there’s a ‘Custom mode switch’ that can be used in conjunction with the Sigma USB Dock to access customized adjustments of the lens’s focus and stabilizer behavior.

Sigma Unveils Five New Global Vision Lenses

Sigma’s 28mm F1.4 DG HSM Art, 40mm F1.4 DG HSM Art, 56mm F1.4 DC DN Contemporary, 70-200mm F2.8 DG OS HSM Sports, and 60-600mm F4.5-6.3 DG OS HSM Sports will make their public debut at Photokina 2018

Cologne, Germany – September 25, 2018 – Sigma today announced five new Sigma Global Vision lenses shown for the first time at the 2018 Photokina expo in Cologne, Germany from September 26th-29th in Hall 4.2 on Stands B020, B028I and C029. From wide-angle to hyper-telephoto, the new Sigma Global Vision introductions arrive as some of the most anticipated lenses in the industry, further facilitating artistic expression for photographers.

Sigma 28mm F1.4 DG HSM Art
The new Sigma wide-angle model stands out with its thoroughly corrected magnification chromatic aberration and sagittal coma flare, as well as completely minimized distortion thanks to its optical design. It features water- and oil-repellent coating on the front lens element and its overall dust- and splash-proof structure ensures excellent performance even in the most challenging shooting conditions. The high-speed AF, thanks to the HSM (Hyper Sonic Motor) with an updated algorithm, captures the perfect moment instantly. Available in Sigma, Nikon, Canon and Sony E camera mounts, this lens is a great contender for street photography, as well as shooting landscapes and night skies.

Full technical specifications are available here: https://bit.ly/2DdAiVE. Pricing and availability will be announced later.

Sigma 40mm F1.4 DG HSM Art
The 40mm F1.4 DG HSM Art is Sigma’s first lens developed originally to live up to the sought-after angle of view and performance standard for a benchmark cine lens. This lens effectively arranges three FLD (“F” Low Dispersion) glass elements and three SLD (Special Low Dispersion) glass elements to correct axial chromatic aberration and magnification chromatic aberration. Designed for exceptional sharpness at maximum aperture, this lens excels at available light photography. With less than 1% distortion and near non-existent sagittal coma flare, this lens demonstrates consistent optical results featuring both 8K-compatible resolution and a beautiful bokeh. It is available for Sigma, Nikon, Canon and Sony E mount camera systems.

Full technical specifications are available here: https://bit.ly/2QHliC5. Pricing and availability will be announced later.

Sigma 56mm F1.4 DC DN Contemporary
This lens completes the Sigma large aperture series of portable wide-angle, standard, and telephoto prime lenses in Micro Four Thirds and Sony E mounts. Featuring compact design, light weight and outstanding image quality offered in Sigma’s Contemporary line, this lens stuns with a beautiful bokeh effect and the amount of brightness expected from F1.4 lenses even in the mid-telephoto range for cropped sensor cameras. In addition, this lens is characterized by smooth and quiet autofocus ideal for video shooting. Compatible with the Sony E mount Fast Hybrid AF, it also achieves precise AF tracking. By using the face recognition or eye AF functions of the camera, focus will continuously be on the face or the eye even if the subject moves during the shoot.

Full technical specifications are available here: https://bit.ly/2PLuSTh. Pricing and availability will be announced later.

Sigma 70-200mm F2.8 DG OS HSM Sports
One of the most anticipated lenses from the Sigma Global Vision line, the Sigma 70-200mm F2.8 DG OS HSM Sports is the new flagship large-aperture telephoto zoom lens that meets the most stringent needs of professional photographers. Robust yet lightweight, the lens’ magnesium body ensures high mobility and its dust- and splash-proof structure together with the water- and oil-repellent coating on the front element ensure safe use even in the most challenging shooting conditions. It also incorporates Intelligent OS with an acceleration sensor and the latest algorithm capable of panning in all directions. The lens’ optical design, incorporating 10 exclusive low-dispersion glass elements, allows for extremely high resolution, from the center to the corners. By optimizing spherical aberration, a smooth and natural bokeh effect is achieved when using the Sigma 70-200mm F2.8 DG OS HSM Sports for portrait photography. The versatility of this lens is demonstrated in various customization options via an AF Function button either through the camera body or Sigma USB Dock. The newest F2.8 large-aperture zoom lens from Sigma comes in Sigma, Canon and Nikon mounts.

Full technical specifications are available here: https://bit.ly/2DlyWbE. Pricing and availability will be announced later.

Sigma 60-600mm F4.5-6.3 DG OS HSM Sports
The Sigma 60-600mm F4.5-6.3 DG OS HSM Sports is the world’s first 10x optical zoom telephoto lens with a tele end of 600mm. Incorporating 25 elements in 19 groups, excellent and consistent image quality can be achieved throughout the entire zoom range. This lens’ intelligent OS featuring the latest algorithm delivers an image stabilization effect of 4 stops. Its optical design ensures maximum correction of magnification chromatic aberration encountered in hyper-telephoto shooting. This offers both high resolution and consistent edge-to-edge performance throughout the entire zoom range. In addition, when shooting at the focal length of 200mm, the Sigma 60-600mm F4.5-6.3 DG OS HSM Sports can also be used for telephoto macro photography, with a maximum magnification ratio of 1:3.3, thanks to its high rendering performance. Its multi-material build, which incorporates magnesium among other components, ensures durability and enhances portability, allowing for comfortable handling of the 10x zoom lens. The zooming mechanism has been engineered to make both smooth rotation and straight zoom possible. Versatile and robust, the new Sigma hyper-telephoto zoom lens is available in Sigma, Canon and Nikon mounts starting in late October 2018 for $ 1999 USD.

Full technical specifications are available here: https://bit.ly/2xmASv1.

Sigma 28mm F1.4 DG HSM | 40mm F1.4 DG HSM specifications

	Sigma 28mm F1.4 DG HSM \| A	Sigma 40mm F1.4 DG HSM \| A
Principal specifications
Lens type	Prime lens
Max Format size	35mm FF
Focal length	28 mm	40 mm
Image stabilization	No
Lens mount	Canon EF, Nikon F (FX), Sigma SA Bayonet, Sony FE
Aperture
Maximum aperture	F1.4
Minimum aperture	F16
Aperture ring	No
Number of diaphragm blades	9
Optics
Elements	17	16
Groups	12
Special elements / coatings	Three SLD + two FLD elements	3 FLD + 3 SLD elements
Focus
Minimum focus	0.28 m (11.02″)	0.40 m (15.75″)
Maximum magnification	0.19×	0.15×
Autofocus	Yes
Motor type	Ring-type ultrasonic
Full time manual	Yes
Focus method	Internal
Distance scale	Yes
DoF scale	No
Physical
Weight		1200 g (2.65 lb)
Diameter	83 mm (3.27″)	88 mm (3.46″)
Length	108 mm (4.25″)	131 mm (5.16″)
Sealing	Yes
Filter thread	77 mm	82 mm
Hood supplied	Yes
Tripod collar	No
Other
Notes	Weight and dimensions for Sigma mount

Sigma 70-200 F2.8 DG OS HSM | 60-600mm F4.5-6.3 DG OS HSM specifications

	Sigma 70-200 F2.8 DG OS HSM \| S	Sigma 60-600mm F4.5-6.3 DG OS HSM \| S
Principal specifications
Lens type	Zoom lens
Max Format size	35mm FF
Focal length	70–200 mm	60–600 mm
Image stabilization	Yes
CIPA Image stabilization rating		4 stop(s)
Lens mount	Canon EF, Nikon F (FX), Sigma SA Bayonet
Aperture
Maximum aperture	F2.8	F4.5–6.3
Minimum aperture	F22	F22–32
Aperture ring	No
Number of diaphragm blades	11	9
Optics
Elements	24	25
Groups	22	19
Special elements / coatings	one SLD + nine FLD elements	1 SLD + 3 FLD elements
Focus
Minimum focus	1.20 m (47.24″)	0.60 m (23.62″)
Maximum magnification	0.21×	0.3×
Autofocus	Yes
Motor type	Ring-type ultrasonic
Full time manual	Yes
Focus method	Internal
Distance scale	Yes
DoF scale	No
Focus distance limiter	Yes
Physical
Weight	1805 g (3.98 lb)	2700 g (5.95 lb)
Diameter	94 mm (3.7″)	120 mm (4.72″)
Length	203 mm (7.99″)	269 mm (10.59″)
Sealing	Yes
Zoom method	Rotary (internal)	Rotary (extending)
Power zoom	No
Zoom lock	Yes
Filter thread	82 mm	105 mm
Hood supplied	Yes
Tripod collar	Yes
Other
Notes	Weight and dimensions for Sigma mount

Articles: Digital Photography Review (dpreview.com)

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Sigma unveils 56mm F1.4 DC DN lens for Sony E and Micro Four Thirds

26 Sep

Sigma has announced the 56mm F1.4 DC DN lens for Micro Four Thirds and Sony E mounts. The compact 56mm lens becomes the sixth DN lens for mirrorless cameras and will make a handy portrait lens on both systems.

On Micro Four Thirds, the lens will behave as being equivalent to a 112mm F2.8 lens on full frame. On Sony E mount, it will act as an 84mm F2.1 equivalent. In both instances it should lend itself to offering a good degree of control over depth-of-field and, if previous Sigma pricing for the DN range is anything to go by, should be a sensibly-priced option.

The lens will be part of Sigma’s ‘C’ (for Contemporary) range of lenses which aim to strike a balance between quality and price.

The Sigma 56mm F1.4 DC DN is likely to be a keenly-priced portrait lens for both Micro Four Thirds and Sony E mount.

Press Release:

Sigma Unveils Five New Global Vision Lenses

Full technical specifications are available here: https://bit.ly/2DdAiVE. Pricing and availability will be announced later.

Full technical specifications are available here: https://bit.ly/2QHliC5. Pricing and availability will be announced later.

Full technical specifications are available here: https://bit.ly/2PLuSTh. Pricing and availability will be announced later.

Full technical specifications are available here: https://bit.ly/2DlyWbE. Pricing and availability will be announced later.

Full technical specifications are available here: https://bit.ly/2xmASv1.

Sigma 56mm F1.4 DC DN specifications

Principal specifications
Lens type	Prime lens
Max Format size	APS-C / DX
Focal length	56 mm
Image stabilization	No
Lens mount	Micro Four Thirds, Sony E
Aperture
Maximum aperture	F1.4
Minimum aperture	F16
Aperture ring	No
Number of diaphragm blades	9
Optics
Elements	10
Groups	6
Special elements / coatings	SLD element
Focus
Minimum focus	0.50 m (19.69″)
Maximum magnification	0.14×
Autofocus	Yes
Motor type	Stepper motor
Full time manual	No
Focus method	Internal
Distance scale	No
DoF scale	No
Physical
Weight	280 g (0.62 lb)
Diameter	67 mm (2.62″)
Length	60 mm (2.34″)
Sealing	Yes
Filter thread	55 mm
Hood supplied	Yes
Tripod collar	No
Other
Notes	Weight and dimensions for Sony mount

Articles: Digital Photography Review (dpreview.com)

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Sony to release 12 more E-mount lenses in two years, add AI to cameras

26 Sep

At Sony’s press conference at Photokina the company announced that 12 more E-mount lenses will be arriving over the next two years, bringing the total to 60.

In addition, the company emphasized its focus on both speed and integrating artificial intelligence into its approaches. One application of the latter Sony talked about was using machine learning to train its Eye AF algorithm to detect and track eyes of animals, with benefits to both wildlife and pet photography.

Articles: Digital Photography Review (dpreview.com)

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Sigma to take Foveon full frame and adopt L mount

26 Sep

Sigma has said it will create a full-frame Foveon camera and will adopt the Leica L mount for its system. Sigma will allow existing users to adapt or convert SA mount lenses to the L mount.

The full-frame L-mount Foveon will arrive in 2019, according to Sigma CEO Kazuto Yamaki. The company will produce its first native L-mount lenses in 2019, too.

He also said the company would not create any more cameras using its proprietary SA mount. However, existing SA-mount users will not be left out in the cold: the company will be able to convert some SA mount lenses to L mount. Those who want to retain SA compatibility will alternatively be able to use an SA-L mount adapter.

Sigma will also make a Canon EF to L mount adapter available, which will be interesting to Sigma, Leica and Panasonic users.

Foveon at full frame

The existing Sigma SD Quattro models required buyers to invest in a proprietary lens mount.

The move to full frame should offer further improvements to the image quality of the Foveon design, which interprets color by capturing light at three different depths in the sensor and then mathematically deriving which wavelengths are most likely to have reached each of these depths.

A larger chip won’t in itself reduce read noise or noise that stems from the color convolution: things that have hampered dynamic range and low light capability in previous Foveon chips. However, it should let the camera capture more light, which will reduce the impact of noise from other sources.

We were impressed with the performance in good light of the Sigma SD Quattro H, which used a larger-than-APS-C-sized APS-H sensor but were put off by the need to invest in proprietary lenses. The move to L mount, both as an end in itself and as a mount that allows DSLR lenses to be adapted to it, should ease these concerns.

Articles: Digital Photography Review (dpreview.com)

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Hasselblad announces three XCD lenses, including its fastest lens ever

25 Sep

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Hasselblad has announced three new lenses and one teleconverter for its XCD lens system. The lenses are the XCD 80mm F1.9, the XCD 65mm F2.8 and XCD 135mm F2.8, all of which are designed for the X1D digital medium format camera. In all, this brings the system to nine focal lengths covering 21-230mm (16.6-178mm full-frame equivalent).

The standout lens for most users will be the XCD 80mm F1.9, which is not only the fastest lens currently in the X System, but the fastest lens Hasselblad has ever released. Offering a field of view equivalent to 63mm and depth-of-field equivalent to F1.5 on a 35mm full-frame system, Hasselblad claims that the lens comes with ‘superior optical surface precision’ on its aspherical elements to allow for smooth bokeh and a twin motor drive for quick autofocus.

At 1045g (2.3lb), the 80mm F1.9 is currently the heaviest lens in the XCD lineup.

It has 14 elements in 9 groups and, at 1045g (2.3lb), it’s currently the heaviest lens in Hasselblad’s XCD lineup.

Hasselblad has also announced the XCD 65mm F2.8, with a 51mm equivalent field of view. With a close-focus distance of 0.5m (20in), the lens is positioned as a versatile option for street and travel photography.

Lastly, the company has announced the XCD 135mm F2.8 alongside the X Converter 1.7. On its own, the 135mm F2.8 provides roughly a 107mm field of view and a close focus distance of 1m (3.3ft). The lens and 1.7x teleconverter were designed to be paired without any loss of optical quality, and together offer a 230mm (178mm equivalent) field of view, F4.8 maximum aperture and a minimum focus distance of 1.05m (3.5ft).

As with all current XCD lenses, the 80mm, 65mm and 135mm lenses come with built-in leaf shutters to allow for full flash synchronization up to 1/2000s shutter speed.

They are all available for pre-order now, and will begin shipping in December 2018. The 80mm F1.9 will retail for $ 4845 / £3690 / €3990; the 65mm F2.8 will retail for $ 2750 / £2090 / €2290; the 135mm F2.8 will retail for $ 4050 / £3090 / €3390; bundling the 135mm F2.8 with the X Converter 1.7 brings the retail price to $ 4845 / £3690 / €3990.

Official sample images

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Press release:

Hasselblad expands its X1D lens lineup with three new XCD lenses, including XCD 1,9/80, Hasselblad’s fastest lens ever

Increasing the capabilities of the X1D-50c mirrorless medium format camera, Hasselblad adds three new lenses to its XCD lens family, including the XCD 1,9/80, with the largest aperture of a Hasselblad lens ever, the XCD 2,8/65 and the XCD 2,8/135 telephoto lens with X Converter 1,7. The three new lenses and one dedicated teleconverter expand the XCD family to nine different focal lengths.

The XCD 1,9/80 represents a major milestone for Hasselblad with an impressive f/1,9 aperture, Hasselblad’s largest lens aperture, offering an extremely shallow depth of field and light-gathering ability. Thanks to Hasselblad’s optical design expertise and rigorous calibration standards, the XCD 80mm boasts superior optical surface precision, avoiding poor bokeh results or out of focus highlights often seen in high aperture lenses with aspherical surfaces. The lens’ distinct twin motor drive provides quick autofocus performance, while offering a precise manual focus experience. Maximizing the artistic potential of X1D image makers for a stunning shooting experience with a field of view similar to 63mm on a full frame system, it is especially suitable for portrait, nature and product photography with its ability to produce pleasing bokeh through excellent subject isolation and shallow depth of field.

The XCD 2,8/65 is the ideal standard lens in any X System photographer’s kit. With a 50mm full frame equivalency, it’s designed to achieve the ‘normal’ focal length and mimic the human field of view. Thanks to its f/2,8 maximum aperture and 0.5 m (20 in.) minimum focus distance, the XCD 65mm is the versatile option for street, travel and general photography.

Growing the telephoto range, the XCD 2,8/135 and X Converter 1,7 expand the reach of Hasselblad’s X1D-50c. Available as both a paired kit or as a stand-alone lens, the XCD 135mm and dedicated teleconverter have been designed as a cohesive unit to ensure no decrease in image quality when the teleconverter is used. Without the teleconverter, the XCD 135mm has an aperture range of 2,8-32 and a field of view similar to 105mm lenses on full frame cameras and features a minimum focus distance of 1 m. With the X Converter 1,7, the lens’ focal length grows to 230mm (178mm full frame equivalent) with a f/4,8 maximum aperture and minimum focus distance of 1.05 m. The telephoto focal length is ideal for portrait, outdoor, and landscape photographers looking to document details and subjects with stunning image quality.

Like the other XCD lenses, the XCD 80mm, XCD 65mm and XCD 135mm feature an integral central shutter, offering exposure times from 60 minutes to 1/2000s with full flash synchronization through the entire range.

The XCD 80mm, XCD 65mm and the XCD 135mm lenses are now available for pre-ordering and will begin shipping in December 2018.

The XCD 80mm lens has an MSRP of €3,990, $ 4,845, £3,690, JPY¥ 576,000 (excl. VAT) / CNY¥ 38,500 (incl. VAT).

The XCD 65mm lens has an MSRP of €2,290, $ 2,750, £2,090, JPY¥ 331,000 (excl. VAT) / CNY¥ 22,100 (incl. VAT).

The XCD 135mm lens has an MSRP of €3,390, $ 4,050, £3,090, JPY¥ 489,000 (excl. VAT) / CNY¥ 32,700 (incl. VAT).

The XCD 135mm lens with X Converter 1,7 has an MSRP of €3,990, $ 4,845, £3,690 , JPY¥ 576,000 (excl. VAT) / CNY¥ 38,500 (incl. VAT).

For full specs, sample images and more info, please visit:
www.hasselblad.com/x-system-lenses/xcd-19-80mm/
www.hasselblad.com/x-system-lenses/xcd-28-65mm/
www.hasselblad.com/x-system-lenses/xcd-28-135mm/

About Hasselblad

Founded in 1941, Hasselblad is the leading manufacturer of medium format cameras and lenses. Made in Sweden, Hasselblad cameras are renowned for their iconic ergonomic design, uncompromising image quality and Swedish craftsmanship. For over half a century Hasselblad cameras have captured some of the world’s most iconic images – including the first landing on the moon – and helped shape the way we look at the world through genuine photographic artistry. Trusted by NASA and used by the greatest photographers in the world, Hasselblad continues to create products with uncompromising image quality that inspire.

The Hasselblad H Camera System with its professional lens family and unique advancements is widely acknowledged as the most comprehensive digital camera system of its kind available today. Hasselblad was the first to launch the fully integrated medium format camera system incorporating the latest in CMOS sensor technology. In 2016 Hasselblad launched the H6D, a technological feat with an all new electronic platform, delivering superior craftsmanship and image quality. Later the same year, Hasselblad introduced the world’s first compact mirrorless digital medium format camera – the X1D. Hasselblad’s X1D sensor benchmarked the highest score in the history of DxO Mark’s independent testing.

Headquartered in Gothenburg, Sweden, Hasselblad is a global brand with offices in New York, London, Tokyo, Paris, Copenhagen, Hamburg and Shenzhen with distributors throughout the world.

Articles: Digital Photography Review (dpreview.com)

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