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Posts Tagged ‘35mm’

ExperimentalOptics launches Kickstarter for 35mm F2.7 pancake lens

11 Sep

ExperimentalOptics has launched a Kickstarter campaign to crowdfund the production of what it claims is the ‘smallest fastest pancake lens in the world.’

The 35mm F2.7 lens is measures just 7mm thick — the same height as exactly 4 quarters stacked on top of one another — and weighs 40 grams/1.4 ounces. Although most of the testing for the lens was done on full-frame mirrorless cameras — Sony from the looks of it — ExperimentalOptics says the lens really shines on APS and smaller cameras. On APS-C and APS-H cameras, the lens is equivalent to roughly 50mm, while Micro Four Thirds gives it an equivalent focal length of 70mm.

The lens, which is milled from a solid piece of metal has no moving parts and features a native M39 mount. It can be used with almost any camera though when paired with an optional helicoid adapter.

‘This is not a cheap, low quality, low speed toy lens,’ says ExperimentalOptics on the campaign page. ‘It is a high quality, fast lens, [that gives] you the utmost creative possibilities of speed, selective focus and bokeh – and all in an unobtrusive and uncompromisingly compact body that never gets in the way of your creative expression.’

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To find out more information and to secure your pledge, head on over to the Kickstarter campaign. A pledge of € 1,199 (approximately $ 1,390) will get you the 35mm F2.7 lens, a handmade lens pouch, a manual and free worldwide shipping. It’s set to ship in ‘late 2018.’

If you want to see more sample photos from the lenses, ExperimentalOptics has shared a gallery of sample images on its Flickr page.

Articles: Digital Photography Review (dpreview.com)

 
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dPS Writer’s Favorite Lens: Why I Love My 35mm F1.4

10 Sep

I’ve used a multitude of different lenses over the years, but never one that I have loved using so much as my 35mm f1.4.

This lens fits with my style of photography. I like things fairly natural and unmanipulated. I love isolating my subject and enjoy being able to photograph in low light without a flash. Also, I prefer getting close to what I am photographing.

Buddha Face - dPS Writer’s Favorite Lens: Why I Love My 35mm F1.4

My 35mm lens gives me a slightly wider field of view than our typical visual attention. Our visual attention is around 55 °, not including peripheral vision, and the angle of view of a 35mm on a full frame camera body is 63 °.

At wide aperture settings, this lens charms me. In most lighting conditions I can achieve super sharp focus and beautiful bokeh in my backgrounds. I am not left shaking in my boots wondering if my shutter speed is too slow.

This is not a review. This is an article about why I love my 35mm f1.4 lens and how I make the most of it in everyday use.

Why I Bought a 35mm f1.4 Lens

Nikkormat FTN with 50mm lens - dPS Writer’s Favorite Lens: Why I Love My 35mm F1.4

My original Nikkomat FTN and 50mm f1.4 lens

My first camera, purchased second hand in 1983, was a Nikkormat FTN with a 50mm f1.4 lens. After using this lens for 28 years it was no longer consistently producing sharp photos. I think it was just worn out.

At the time I had the popular 24-70mm and 70-200mm f2.8 zooms but was not happy with either of them. They were big, heavy third party lenses that also did not always produce sharp images. For a number of reasons, I was gravitating back to using prime lenses. I’ve always had a collection of older primes and love them.

I became so familiar with my old 50mm. I loved the wide aperture but preferred a wider angle of view. After checking online for example photos produced by the 35mm f1.4 lens, I convinced myself it was worth the money. At US$ 1696 it is not cheap. But I figured that if I use it for 10 years it works out to less than 50 cents per day.

Versatility in Most Situations

Lotus Flowers - dPS Writer’s Favorite Lens: Why I Love My 35mm F1.4

Capturing a diverse range of images with a single lens is a common reason people often prefer zooms. But I find I can use my 35mm lens to photograph just about anything. It just suits my style. I am not a sports or bird photographer so much.

For travel, street, environmental portraits, and even more standard portraits, I am happy to use my 35mm. At times I’ll need a telephoto to get in closer so I switch to my 105mm or a longer lens.

During the photography workshops I teach, this is often the only lens I take with me now. I can use it to demonstrate and make examples of anything that I am teaching. For the subjects I like to photograph I most often use this lens.

The great photographer Robert Capa said, “If your pictures aren’t good enough, you aren’t close enough.”

I find the 35mm lens is the perfect focal length to get close enough.

Street and Travel Photography

Poi Sang Long Festival - dPS Writer’s Favorite Lens: Why I Love My 35mm F1.4

Whether you’re shooting wide, medium or close-up street compositions, the 35mm f1.4 can capture them all well.

Taking in the feeling of a market or parade with a wide photo is essential to have in a series of images. Often using a 24mm or wider lens can squeeze too much into one frame. Choosing a location far enough back from the scene to include a good amount of it works best with a 35mm.

Medium range compositions, where you photograph some of the environment and one main subject, are perfect for a 35mm lens. You can get in close and still easily show enough of the surroundings to keep your subject in context with your photo story.

I do like controlling how much or how little of the background is in focus in a medium range composition. I don’t always choose the widest aperture setting as too much detail from the story could be lost. Having the widest aperture of f1.4 gives me more flexibility in how far back I can get from my subject and still control the bokeh.

Macro photos are not possible with this lens, but I can get pretty close. The lens can focus down to about 30cm (1 foot). For including some detail in a photo series, this is often good enough. If I need a macro image I swap lenses for my 105mm or 55mm micro.

Malu young Thai girl - dPS Writer’s Favorite Lens: Why I Love My 35mm F1.4

Environmental Portraits

Portraiture which includes some of the surroundings, telling more of the story, is my favorite genre of photography. I love using my 35mm f1.4 lens for creating environmental portraits. Being able to get in close enough to my subject and still see sufficient background is vital.

Connecting with my subjects is also important to me. Often I will be chatting with them while I am photographing. Other times I will be silent, only communicating with a smile and some gesturing.

Photographing with my 35mm I can create more intimate portraits than when I am further back with my 105mm.

Silver Temple Artist - dPS Writer’s Favorite Lens: Why I Love My 35mm F1.4

I’ve photographed this guy working on his pressed metal art many times. He’s at the Silver Temple in Chiang Mai that we visit during one of our photography workshops. I know he is comfortable being photographed.

When he’s busy we don’t talk much, if at all. I can be close enough to him to exclude a lot of the clutter in the background and show just what he is working on. Then I can come in closer and capture a little more detail.

Silver Temple Artist close up - dPS Writer’s Favorite Lens: Why I Love My 35mm F1.4

Regular Portraits

Photographers often prefer a longer lens than a 35mm for making regular portraits. I do use my 105mm much of the time for photographing people in posed positions. However, I like to create a variety of styles during a portrait session and I find my 35mm lens provides pleasing alternatives.

With wider lenses, you start to see some distortion, which is not all that great for portraits. At 35mm there is no real noticeable distortion, but even still, I usually will not place my subject at the edge of the frame.

Working with a model and using a 35mm lens it is important to build a rapport with them first. You do not want them feeling uncomfortable with you being so close. Showing them a sample of the photos you are taking will often help them relax and build their confidence in what you are doing. This is especially so if the model is concerned that being so close to the camera may be distorting their features.

This young woman was very confident and experienced in being photographed. Still, she was a little wary of me being so close. I had started the session photographing with my 105mm lens. Once I changed to the 35mm I made sure to show her some of the pictures I was taking with it and she loved them.

Thai Dancer - dPS Writer’s Favorite Lens: Why I Love My 35mm F1.4

Architecture and Landscape Photography

It’s not at all uncommon to use a 35mm lens for landscapes or photographing buildings. There’s no huge advantage of having such a wide aperture for these subjects as I will typically want more rather than less in focus. At times I will focus on an element in the foreground and intentionally blur out most of the landscape in the background.

Lack of distortion makes the 35mm a good choice for architectural photography. Having a similar field of view to what we see naturally also helps structural photos look more natural.

Chedi Luang, Chiang Mai, Thailand - dPS Writer’s Favorite Lens: Why I Love My 35mm F1.4

Loving a Lens

I’ve gotten a huge amount of use out of my 35mm f1.4 lens. The experience of using it frequently and really enjoying it has helped me to get to know it well. Being so familiar with a lens means you can make more creative photos with it.

35mm f1.4 Lens well loved - dPS Writer’s Favorite Lens: Why I Love My 35mm F1.4

My 35mm f1.4 looking well loved.

I love this lens and I have a feeling for it. I know, often by instinct, how much my background will be blurred. With the 35mm, I can be close enough to my subject to comfortably communicate with them. Also, I am able to include or exclude as much or little background detail as I want.

Lens love is different than lens lust. You can lust after a new lens every day of the week. To build a loving relationship with a lens you must be committed to taking it out frequently and enjoying spending time with it.

Here’s a video with more about why I love my 35mm f1.4 lens. Do you have a favorite lens? Which one, and why?

The post dPS Writer’s Favorite Lens: Why I Love My 35mm F1.4 appeared first on Digital Photography School.


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Nikon Z-mount launches with 24-70mm F4, 50mm F1.8 and 35mm F1.8 lenses

24 Aug

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You can’t launch a new camera system without lenses, and Nikon has three Nikkor Z-mount lenses available at and slightly after the launch of the Z 7 and Z 6. They include a 24-70mm F4 S, 50mm F1.8 S and 35mm F1.8 S (the ‘S’ represents the subtle silver ring around the lens, according to Nikon). The company is also developing a 58mm F0.95 Noct lens and has released a three-year roadmap of what’s next.

The 24-70mm F4 S features a buttonless collapsible design, 14 elements (which include ED aspherical, ED and aspherical) and both Nano Crystal and fluorine coatings. As with all of the new lenses, the 24-70 has electromagnetic aperture control, uses a stepping motor for autofocus and countermeasures to reduce focus breathing. A customizable control ring can be used to adjust focus, aperture and exposure compensation. The minimum focusing distance of the lens is 30cm (11.8″). The 24-70 will serve as a kit lens for both the Z 7 and Z6.

The Nikkor Z 50mm F1.8 S is one of two standard primes in the initial lineup. Of its 12 elements, two are ED and two are aspherical, and there’s a Nano Crystal Coat, as well. The lens has a nine-blade aperture, internal focusing and a minimum working distance of 40cm (15.7″).

The third of the initial group of lenses is the Nikkor Z 35mm F1.8 S, which has 2 ED and 3 aspherical elements as well as a Nano Crystal Coat. This lens has a rear focusing system and a minimum distance of 25cm (9.8″).

Press Release

NIKON RELEASES THE NIKKOR Z 24-70mm f/4 S, NIKKOR Z 35mm f/1.8 S, NIKKOR Z 50mm f/1.8 S, AND THE MOUNT ADAPTER FTZ, AND DEVELOPS THE NIKKOR Z 58mm f/0.95 S NOCT

Designed Exclusively for the Nikon Z Mount System, Featuring a New, Larger-Diameter Mount

MELVILLE, NY (AUGUST 23, 2018 AT 1:01 A.M. EDT) – Nikon Inc. is pleased to announce the release of three new lenses designed for the next-generation Nikon Z mount system’s full-frame (Nikon FX format) mirrorless cameras, for which a new larger-diameter mount has been adopted. The three new lenses are the standard zoom NIKKOR Z 24-70mm f/4 S, the wide-angle prime NIKKOR Z 35mm f/1.8 S, and the standard prime NIKKOR Z 50mm f/1.8 S. Nikon has also announced the Mount Adapter FTZ for Z System compatibility with existing NIKKOR F mount lenses and development of the NIKKOR Z 58mm f/0.95 S Noct lens1.

NIKKOR Z lenses pursue a new dimension in optical performance, by taking advantage of the superior design flexibility made possible by the combination of the larger Z mount with its inner diameter of 55mm, and a short flange focal distance of 16mm. The lenses offer sharp resolution with both still-image and video recording, and are equipped with functions that include: compensation for focus breathing (the shifting of the angle of view when focus is adjusted), quiet operation, smooth exposure control, a control ring and performance that is well suited for video capture.

The NIKKOR Z 24-70mm f/4 S, NIKKOR Z 35mm f/1.8 S, and NIKKOR Z 50mm f/1.8 S are S-Line interchangeable lenses. The S-Line is a newly designated grade of NIKKOR Z lenses that adhere to a new benchmark in optical performance, realizing rendering performance that surpasses that of conventional f/4 standard zoom lenses and f/1.8 wide-angle or standard prime lenses. From maximum aperture, clear and sharp resolution can be achieved as well as beautiful bokeh characteristics.

Additionally, the Mount Adapter FTZ has been designed to allow users of Nikon SLR cameras to utilize their existing NIKKOR F mount lenses with the Z mount system and enjoy taking advantage of an even wider variety of lens characteristics with their photography.

Development of the NIKKOR Z 58mm f/0.95 S Noct

Nikon is currently developing the NIKKOR Z 58mm f/0.95 S Noct, a standard prime manual focus lens and the fastest lens in Nikon’s history. The design of the Noct lens exemplifies Nikon’s mission to pursue the ultimate optical performance in the mirrorless category. As the result, the Noct is positioned at the top of the S-Line. In addition, Nikon is planning on releasing a variety of new lenses that will continue to expand its line of attractive, high-performance NIKKOR Z lenses that further extend photographers’ creative expressions.

NIKKOR Z 24-70mm f/4 S Primary Features

  • Standard focal-length range from wide-angle 24mm to medium-telephoto 70mm can effectively cover a wide variety of scenes and subjects with rendering performance that will change the perception of what is possible with zoom lenses with a maximum aperture of f/4
  • Optical design that suppresses variations in aberrations from shooting distances of close-up to infinity, demonstrating sharp resolution even in the peripheral areas of the frame from the maximum aperture, as well as fine point-image reproduction
  • Achieved a minimum focus distance of just 0.3 m across the zoom range
  • Adoption of an ED glass element, an aspherical ED lens element, and three aspherical lens elements
  • Nano Crystal Coat adopted to suppress ghosting and flare
  • Has the size needed to deliver an extremely high standard of optical performance, yet provides outstanding portability; employs a retracting mechanism that can be set on/off without pressing a button and reduces total length for a compact lens that can easily be taken anywhere
  • In consideration to a dust- and drip-resistance, the entire lens, including moving parts, has been sealed
  • Fluorine coat applied to front lens surface

NIKKOR Z 35mm f/1.8 S Primary Features

  • Rendering performance that redefines perceptions of what a 35 mm f/1.8 lens can do
  • Sharp resolution even in the peripheral areas of the frame from the maximum aperture, effective suppression of sagittal coma flare that enables superb point-image reproduction when capturing point light sources in night landscapes, and the soft and natural bokeh characteristics expected of a fast (bright) lens
  • Adoption of a new multi-focusing system featuring two AF drive units providing driving power at high speed and with high accuracy that achieves quiet, fast, and accurate AF control, as well as high image-forming performance at any focus distance
  • Adoption of two ED glass elements, and three aspherical lens elements
  • Nano Crystal Coat adopted to suppress ghosting and flare
  • In consideration to a dust- and drip-resistance, the entire lens, including moving parts, has been sealed

NIKKOR Z 50 mm f/1.8 S Primary Features

  • Superior rendering ignites creativity, and redefines perceptions of what a 50mm f/1.8 lens can do
  • Thorough suppression of axial chromatic aberration ensures superior resolution with faithful reproduction of the fine textures in subjects, even from maximum aperture
  • Sharp and clear rendering of details from the center of the frame to the peripheral edges, regardless of the shooting distance
  • The soft and beautiful bokeh characteristics at any shooting distance possible only with a fast (bright) lens
  • Adoption of two ED glass, and two aspherical lens elements
  • Nano Crystal Coat adopted to suppress ghosting and flare
  • Adoption of a new, powerful stepping motor (STM) enables quiet and accurate AF control during both still-image capture and video recording
  • In consideration to a dust- and drip-resistance, the entire lens, including moving parts, has been sealed

Mount Adapter FTZ Primary Features

  • Full compatibility with more than 90 lenses and functionality with approximately 360 existing NIKKOR F lenses from AI type onwards2
  • The unique characteristics of NIKKOR F mount lenses can be applied to Z mount system image quality
  • In-camera VR (Vibration Reduction) with three-axis VR is available when attaching a NIKKOR F lens without built-in VR; in-camera VR also performs well with stills and video recording
  • When attaching a NIKKOR F lens with built-in VR, lens VR and in-camera VR effectively work together to compensate for camera shake by enabling three-axis VR.
  • Various sections of the adapter are effectively sealed to ensure dust- and drip-resistant performance equivalent to that of NIKKOR F lenses
  • Designed to be lightweight yet tough with consideration for superior operability as a part of a complete system

Development of the New NIKKOR Z 58mm f/0.95 S Noct Lens that Pursues Ultimate Optical Performance

The NIKKOR Z 58mm f/0.95 S Noct that Nikon is currently developing will be a large aperture, standard 58mm prime focal-length, the fastest lens in Nikon’s history3, manual-focus lens positioned at the very top of the S-Line. It will stand to symbolize the Nikon Z mount system’s new dimension in optical performance.

It has inherited the design concept behind the original AI Noct-NIKKOR 58mm f/1.2, a standard prime lens released in 1977, named for “Nocturne” (a musical composition inspired by or evocative of the night), and was popular for its ability to finely reproduce point light sources as point images. This new Noct lens that is currently in development will take advantage of the advanced design flexibility afforded by the Z mount, pursuing ultimate optical performance. Development continues with the goals of achieving an extremely fast maximum aperture of f/0.95, offering the ultimate in NIKKOR rendering performance with superior detail and sharpness. Additionally, the goal is to achieve beautiful blur characteristics, or bokeh, with good continuity, and ensure outstanding point-image reproduction capabilities for more compelling, three-dimensional imaging.

The NIKKOR Z Lens Roadmap

Information in the roadmap, including release dates, are subject to change. Product names after the NIKKOR Z 58mm f/0.95 S Noct are not yet finalized.

Price and Availability

The NIKKOR Z 24-70mm f/4 S and NIKKOR Z 35mm f/1.8 S will be available September 27 for the suggested retail prices (SRP) of $ 999.95* and $ 849.95*, respectively. The NIKKOR Z 50mm f/1.8 S lens will be available in late October for the SRP of $ 599.95*. The Mount Adapter FTZ will be available September 27 for $ 249.95* SRP (Additional $ 100 savings when purchased together with a Z 7 or Z 6, through 12/31/2018). For more information on these and other Nikon products, please visit www.nikonusa.com.

Nikkor Z 24-70mm F4 S specifications

Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 24–70 mm
Image stabilization No
Lens mount Nikon Z
Aperture
Maximum aperture F4
Minimum aperture F22
Aperture ring Yes
Number of diaphragm blades 7
Optics
Elements 14
Groups 11
Special elements / coatings 1 aspherical ED + 1 ED + 3 aspherical elements, Nano Crystal and fluorine coatings
Focus
Minimum focus 0.30 m (11.81″)
Maximum magnification 0.3×
Autofocus Yes
Motor type Stepper motor
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale No
Focus distance limiter No
Physical
Weight 500 g (1.10 lb)
Diameter 78 mm (3.07″)
Length 89 mm (3.5″)
Materials Magnesium alloy
Sealing Yes
Colour Black
Zoom method Rotary (extending)
Power zoom No
Zoom lock No
Filter thread 72 mm
Hood supplied Yes
Tripod collar No

Nikkor Z 35mm F1.8 S / 50mm F1.8 S specifications

  Nikon Nikkor Z 35mm F1.8 S Nikon Nikkor Z 50mm F1.8 S
Principal specifications
Lens type Prime lens
Max Format size 35mm FF
Focal length 35 mm 50 mm
Image stabilization No
Lens mount Nikon Z
Aperture
Maximum aperture F1.8
Minimum aperture F16
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 11 12
Groups 9
Special elements / coatings 2 ED + 3 aspherical elements, Nano Crystal Coat 2 aspherical + 2 ED elements, Nano Crystal Coat
Focus
Minimum focus 0.25 m (9.84″) 0.40 m (15.75″)
Maximum magnification 0.19× 0.15×
Autofocus Yes
Motor type Stepper motor
Full time manual Yes
Focus method Rear Internal
Distance scale No
DoF scale No
Focus distance limiter No
Physical
Weight 370 g (0.82 lb) 415 g (0.91 lb)
Diameter 73 mm (2.87″) 76 mm (2.99″)
Length 86 mm (3.39″) 87 mm (3.43″)
Materials Magnesium alloy
Sealing Yes
Colour Black
Filter thread 62 mm
Hood supplied Yes
Tripod collar No

Articles: Digital Photography Review (dpreview.com)

 
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Kodak Alaris brings 35mm Pro Image 100 film to Europe

06 Jul
Mani.Rae/Flickr used under CC BY-ND 2.0, shot on Kodak Pro Image 100

Kodak Alaris has announced its 35mm Kodak Professional Pro Image 100 film is now available in Europe.

Until now, there was no official means of acquiring Kodak Professional Pro Image 100 film in the European market. Released in 1997, the film has a strong presence in Asia as well as a handful of South American countries, but it’s never been distributed through official Kodak retailers in Europe (or North America for that matter).

The decision to bring the film stock to Europe comes after Kodak Alaris ran a trial period in the UK, which apparently proved successful. Andrew Church, Printing and Operational Supplies and Film Capture Product Manager of Kodak Alaris, says ‘Pro Image 100 gained such positive feedback during its trial period in the UK that the decision whether it should be made available in further countries became easy for us. We are really pleased to offer this popular film to the whole European market.’

In Kodak’s own words, Pro Image 100 color negative film ‘is a medium speed (EI 100) film that features high color saturation, accurate color and pleasing skin-tone reproduction, and good underexposure latitude.’ Kodak adds ‘it is intended for portrait and social applications, and can be stored at room temperature—even in hot, humid climates. Its printing characteristics are similar to those of KODAK GOLD Films to help simplify printing for photofinishers.’

Both Lomography and Flickr have a great collection of photos captured on Pro Image 100 film.

Kodak Professional Pro Image 100 is currently available in packs of five rolls through all Kodak film dealers in Europe.

Articles: Digital Photography Review (dpreview.com)

 
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Canon teases CMOS sensor nearly 40 times larger than a 35mm full-frame sensor

19 Jun

In 2010, Canon revealed that it was developing the world’s largest CMOS sensor, one measuring about 40 times larger than a full-frame CMOS sensor. The company has now added more details about the project to its website, including a discussion of a real-world application.

Whereas a 35mm full-frame sensor measures 36 x 24mm, Canon’s massive chip measures about 200 x 200mm. Canon gives a little detail about some of the challenges presented by such a large sensor and how it overcame them, saying in part:

Increasing the size of CMOS sensors entails overcoming such problems as distortion and transmission delays for the electrical signals converted from light. To resolve these issues, Canon not only made use of a parallel processing circuit, but also exercised ingenuity with the transfer method itself.

Overcoming this problem allowed comparatively fast readout of the sensor’s huge pixels, allowing it to capture video at 60fps in conditions as dark as 0.3 lux, which is about as bright as a night scene illuminated by the moon.

The company says the sensor has already been used by Japan’s Kiso Observatory to capture the first ever video of meteors that otherwise would have been too faint to record. This allowed analysis of the meteor frequency, providing supporting evidence for a theoretical model of meteor behavior.

Canon also suggests the ultrahigh-sensitivity sensor could be used for various other applications requiring video in extreme low-light conditions, such as studying the behavior of nocturnal animals or shooting video of aurora.

Via: Canon

Articles: Digital Photography Review (dpreview.com)

 
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Neewer launches $120 35mm F1.2 APS-C lens for Fuji X and Sony E mount

15 Jun

Neewer, a photo gear brand out of China, has launched a new budget APS-C lens for Fuji X and Sony E mounts. The Neewer 35mm F1.2 mirrorless lens features a copper core and aluminum body, 6 elements in 5 groups, F1.2 to F16 aperture, 9 diaphragm blades, manual focus, and 150g / 5oz weight.

A multi-layer coating applied to the lens reduces ghosting and flares while increasing light transmission, according to Neewer. The Fuji X mount lens offering has appeared on Amazon as a new release with a $ 119.99 price tag, but is currently listed as unavailable. The Sony E mount variant doesn’t appear to be listed yet.

Via: PhotoRumors

Articles: Digital Photography Review (dpreview.com)

 
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Sony unveils FS5 II Super 35mm camera with 4K HDR and 120fps RAW

10 Apr

Sony has announced the latest member of its professional Super 35mm lineup, the FS5 II. Similar in looks and functionality to its predecessor, the upgrades to the FS5 II are mostly features that were available to its predecessor through paid updates—only now they’re ‘free’.

Inside, the Super 35 Exmor CMOS sensor remains untouched. Likewise, the E-mount body of the camera remains identical aside from the updated nameplate and a different color neutral density dial. Where the camera gets the biggest changes is in its color science, Raw shooting modes, and high frame rate functionality.

The stand-out feature of the FS5 II is the updated color science that’s gone into it. Sony says it’s taken everything it’s learned from developing the 6K Venice camera and brought it into the much more compact (and affordable) FS5 II. The changes are said to yield ‘rich mid-range colours, alluring facial tones, and a softer tonal look’. Also added are nine color profiles, including a few designed specifically for S-Log2 and S-Log3.

Here’s a closer look at the new camcorder:

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Also present in the FS5 II is Sony’s ‘Instant HDR’ workflow. This is one of the features available for the FS5 via a paid update, but it comes standard on the FS5 II. The Instant HDR workflow eliminates the need for color grading footage. This effectively means HDR video can be streamed straight from the camera when shot in HLG/BT.2020 mode.

Finally, the FS5 II features dual SD card slots that can internally record video up to 4K/30p and Full HD video at 1080/120p. For higher-resolution and RAW video, an external recorder is needed; however, if you are using an external recorder, the FS5 II can output 4K/60p video and even RAW 4K/120p, but only in four second bursts. At 2K, the FS5 II can output continuous RAW footage at 240fps.

The FS5 II is expected to launch in June 2018 for $ 4,750 USD body-only. For more details, check out the overview video at the top or head over to the Sony Pro website.

Sony Introduces FS5 II with 4K HDR, 120fps RAW and New Color Science

Sony’s Popular Super 35 mm handheld Camcorder Adds New Functionality Based on User Demand

Sony’s new Large Format Sensor lineup is expanding with the introduction of the FS5 II (Body: PXW-FS5M2, Lens Kit: PXW-FS5M2K). Complete with stunning 4096 x 2160 4K HDR and 120fps performance at 60Hz mode (and 100fps at 50Hz mode), as well as RAW capabilities, the new Super 35 mm camcorder marries outstanding image quality with an ergonomic modular frame, offering content creators ultimate creative flexibility.

In addition to S-Log 2/3, the FS5 II offers Instant HDR Workflow to produce HDR content, when shooting in HLG/BT.2020 mode, for quick post-production without the need for grading.

The FS5 II interchangeable lens, E-mount camcorder offers flexibility for applications including web commercials, music video production, dramas, corporate and event videography and documentaries.

Designed to meet the requirements of today’s content creators, the FS5 II features an all-new look with a refined picture tone to capture natural highlights, subtle, alluring and well rendered facial tones and a softer tonal look, for capturing lifelike portrayals. Using the accumulated expertise of Sony’s digital cinematography camera VENICE, the FS5 II promises a fresh and vivid look while still retaining plenty of creative options in post-production, as a result of its high performance 4K Super 35 Exmor® CMOS sensor.

Takuro Ema, product manager for Sony Professional Solutions Americas explains, “When Sony develops new camera technologies we gather feedback from all ends of the production chain – from DOPs to post production professionals. This camera was no exception. We’ve evolved and developed our hugely popular FS5 with default shooting capabilities and the FS5 II is now a powerful addition to the Large Format Sensor line-up which promises even more flexibility and creative choices.”

The FS5 II builds on Sony’s heritage for image quality, delivering stunning High Frame rate shots supporting four seconds of 120fps in 4K and continuous 240fps at 60Hz mode and 200fps at 50Hz mode in 2K (2048X1080) RAW output when used in conjunction with a compatible external recorder. Continuous 4K 60fps RAW output at 59.94p is fully supported, with 50fps supported at 50Hz mode.

The camcorder also offers High Frame Rate (HFR) recording to an internal SD card at Full HD 10bit 4:2:2 image quality and a frame rate of up to 240 fps of 8-second cache recording, allowing up to 10 x slow motion and capturing 239.76fps at HD or 2K, and playback at 23.98p. Continuous recording of 120fps in Full HD is also supported.

With an Instant HDR Workflow users can now reduce time in post-production and produce high-quality HDR content quickly without the need of grading. For productions of longer lead-times, S-Log 2/3 allows the HDR image to be fine-tuned via color grading.

Lightweight but robust, theFS5 II’s well balanced 0.8kg body, adaptability and creative features make it a perfect fit for movie shooting, while its modular design makes it easy to reconfigure for any application including mounting on a gimbal or drone. Sony’s unique Electronic Variable ND filter with Auto ND function covers a wide range of exposure adjustment, as well as creating a wide range of shallow Depth of Field control.

Now with ten Picture Profile settings, the FS5 II allows users to instantly and easily configure the camera for different shooting styles, such as cinematic and online content creation.

The FS5 II is planned to be available in June, with expected pricing as follows:

  • PXW-FS5M2, body only — $ 4,750 USD and $ 5,940 CAD
  • PXW-FS5M2K, with lens — $ 5,250 USD and $ 6,560 CAD

For further information, please visit www.sony.com/pro.

Articles: Digital Photography Review (dpreview.com)

 
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Dubblefilm launches two new pre-exposed 35mm effects films

28 Mar

Analogue photography brand Dubblefilm has introduced a pair of new effects films with partner Kono!. Named Bubblegum and Monsoon, the latest in a line of pre-colored emulsions work at opposite ends of the spectrum—with Bubblegum injecting lots of orange warmth and Monsoon creating a cool cyan/blue effect.

Dubblefilm describes Monsoon as having “added tone producing deep colours inspired by the freshness of a post-monsoon rain,” while Bubblegum produces “sweet colour too [sic] spark your visual taste buds.” Monsoon seems to be very popular, as it has already sold out on the Dubblefim site, though it is still available on Kono! as of this writing.

An example shot with Bubblegum Monsoon produces a much cooler result

The films are created from existing film stock made by Kono!, some of it unusual, which is then passed through a machine named The Reanimator. This machine pre-exposes the film to deliver the characteristic effects of each stock. The films are all C-41 process color negative emulsions and can be handled by a standard mini-lab. Dubblefilm says “Results will vary depending on shooting conditions,” but that you should “expect something truly surprising every time.”

The films are priced at £11/€12/$ 16 for a 35mm roll of 24 exposures. For more information, visit the Kono! and Dubblefilm websites.

Articles: Digital Photography Review (dpreview.com)

 
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Rokinon AF 35mm F2.8 FE sample gallery and impressions

18 Mar

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The Rokinon / Samyang AF 35mm F2.8 FE is an absolutely tiny full-frame lens built for Sony’s E-Mount. Similar in size and specification to Sony’s own Zeiss 35mm F2.8, the Rokinon is listed at an MSRP of $ 349 whereas the Sony is listed at $ 699 at the time of this writing.

So, by virtue of costing half as much as the Sony, does the Rokinon offer merely half the performance? Not exactly. The AF 35mm F2.8 FE may not knock your socks off, but it’s still a solid performer and a great option for budget-oriented E-mount users.

The Rokinon AF 35mm F2.8 FE mounted on a Sony a7R III.

Hold the Rokinon 35mm F2.8 in your hand, and you have to wonder if there’s any glass in it at all. It weighs over an ounce less than the Sony 35mm F2.8, which wasn’t exactly a heavyweight to begin with. It’s also very slightly shorter than its Sony equivalent, though both lenses take 49mm filters and can focus down to 0.35m. Unfortunately, the Rokinon omits the Sony’s claimed weather-sealing, and the lens mount lacks any sort of gasket.

Subjectively, the Rokinon’s plasticky build doesn’t have the premium feel of the Sony (nor would we expect it to at the price), but the construction feels solid. The mount is metal, and the included bayonet mount hood offers a bit of extra protection for the front element. The focus ring is damped enough to prevent accidental turning, but it too suffers an overly plasticky feel.

The Rokinon comes with a compact, bayonet-style hood.

Optical performance is pretty good, even on a 42MP a7R III. It isn’t eye-searingly sharp wide-open, but it’s more than adequate. Bokeh is neither buttery nor overly busy, but out-of-focus highlights take on a cats-eye shape near the edges of the frame, which may or may not be to your taste. Sunstars are possible if you close your aperture far enough, but they’re of average quality.

Autofocus performance is solid. It isn’t as instantaneous as lenses with floating focus elements, but is about on par with Sony’s own 85mm F1.8 and 50mm F1.4 Zeiss – certainly, swift enough for general use.

Though the Rokinon generally exhibits good out-of-focus renderings, there is some green and purple fringing noticeable in the upper-middle of this frame.

Longitudinal chromatic aberration hasn’t been too much of an issue for me, but you can see some green and purple fringing on the high-contrast edges in the upper-middle of the above image. Keep in mind that for our sample gallery, Adobe Camera Raw has a built-in profile for distortion and vignetting corrections. Lateral CA corrections were left off, and the lens seems to control for them fairly well.

It must be said, the Rokinon AF 35mm F2.8 FE is just a fun lens to use. On any a7-series camera, the Rokinon is so small, light and unobtrusive that it basically disappears on the camera body.

Though its F2.8 maximum aperture won’t isolate subjects as well as Rokinon’s or Sony’s F1.4 options, it strikes a great compromise between size, performance, and perhaps most crucially, price. If you’ve been eyeing the Sony Zeiss 35mm F2.8, we think this Rokinon AF 35mm F2.8 FE is also worth a look.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm GFX 50S firmware update adds Focus Bracketing and 35mm Format Mode

14 Mar

Earlier today, Fujifilm released firmware version 3.0 for its GFX 50S medium-format camera. And with the update come two new features: Focus Bracketing and 35mm Format Mode.

Focus Bracketing enables focus distance bracketing for up to 999 frames, shifting the focal location with each shutter activation at a scale from 1 to 10. The new 35mm Format Mode, meanwhile, results in the camera using the central 36 x 24mm portion of the sensor, producing 30.5MP Raw and JPEG images.

“When using 35mm format adapters,” the company explains in its changelog, “it will be easier to adjust the image size to 35mm format image circle lenses by changing the setting.”

The GFX 50S v3.0 firmware update can be downloaded now from Fujifilm’s website. Additionally, Fujifilm has also released a compatibility update for the H Mount Adapter G accessory.

Update Notes

GFX 50S Camera Body Firmware Update Ver.3.00

Addition of “Focus Bracketing”

The update will enable the photographer to shoot focus distance bracketing up to 999 frames. When the photographer start shooting, the focal location is shifted with each activation of the shutter by the step of focus shift set from 1 to 10.

Addition of “35mm Format Mode”

The update will enable the photographer to shoot central 36.0mm x 24.0mm (30.5M) cropped images as both JPEG and RAW files. When using 35mm format adapters, it will be easier to adjust the image size to 35mm format image circle lenses by changing the setting.

H MOUNT ADAPTER G” new firmware

The firmware update will expand the compatibility for the “H MOUNT ADAPTER G” accessory. Regarding the compatibility of lenses and accessories with H MOUNT ADAPTER G, refer to this URL.

Articles: Digital Photography Review (dpreview.com)

 
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