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Posts Tagged ‘50mm’

HD Pentax-D FA* 50mm F1.4 SDM AW sample gallery updated

28 Apr

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We’re putting the finishing touches on our review of the HD Pentax-D FA* 50mm F1.4 SDM AW – a lens we already know to be very large and very sharp. Take a look at some of the additional sample images we’ve gathered throughout the process of testing the lens, and keep your eyes peeled for a full review in the very near future.

See our updated HD Pentax FA* 50mm F1.4 sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Mitakon Speedmaster 50mm F0.95 III lens launches with improved optics

18 Apr

Zhong Yi Optics has launched the new Mitakon Speedmaster 50mm F0.95 III lens with Sony FE, Canon RF, and Nikon Z-mount options. The new Mitakon lens features an F0.95 to F16 aperture range alongside 10 elements in seven groups, including four extra-low dispersion elements and one ultra-high refraction element, and an 11-blade aperture diaphragm.

This compact prime lens is designed for low-light scenes, according to ZY Optics, which has utilized a new optics design with improved flare resistance for version III. The 50mm F0.95 lens features a metal body, 50cm minimum focusing distance, 67mm front filter thread, and 1.58lb / 720g weight.

Below is a gallery of sample images taken with the Mitakon Speedmaster 50mm F0.95 III lens:

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ZY Optics currently lists the Mitakon Speedmaster 50mm F0.95 III lens on its website for $ 799 USD. The older Mark II version of the lens is still available to purchase at $ 519 USD from select online retailers.

Articles: Digital Photography Review (dpreview.com)

 
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Review: Yongnuo 50mm f/1.8 lens for Canon – At just US$50 could this be the most affordable “nifty fifty”?

18 Mar

The post Review: Yongnuo 50mm f/1.8 lens for Canon – At just US$ 50 could this be the most affordable “nifty fifty”? appeared first on Digital Photography School. It was authored by Kunal Malhotra.

The 50mm f/1.8 lens, or as we call it, the ‘Nifty Fifty,’ is one of the most widely used lenses in the market. This is usually the first lens a modern digital camera owner desires to purchase after the kit lenses.

The reasons why this is the most popular lens are fairly simple – the first being affordability, and the second, the ability to produce pleasing bokeh.

In terms of affordability, the Yongnuo 50mm f/1.8 lens is ideally the cheapest Nifty Fifty. Priced at less than US$ 50, this is less than half of the Canon variant and works on APS-C as well as full-frame cameras.

However, the Yongnuo lens for Nikon costs around US$ 70 as it includes the focus motor. I recently bought one for my Canon 5D Mark iii, so I thought of sharing my views about this lens.

Build quality and ergonomics

The Yongnuo 50mm f/1.8 lens looks exactly like the Canon 50mm f/1.8 lens (discontinued version). The plastic used in the Yongnuo lens feels a bit cheaper though. Surprisingly, the rubber grip is smooth, and the ‘AF and MF’ switch is similar to Canon.

The construction of the lens consists of 6 elements in 5 groups and has 7 diaphragm blades – the same as the Canon variant. This Yongnuo lens is light to carry as it weighs only 120g – 40g lighter than its competitor. Overall the lens looks and feels good at this price point.

Focus speed and accuracy

I have been using this for almost a month now, during the day as well as night time. The focus speed is a bit slow as the lens hunts for focus, especially in low light conditions. If you are shooting stationary subjects, then it is fine, but if you want to nail the focus swiftly, then you might be disappointed.

Though the focus speed is not that fast, the accuracy is fairly good. It takes time to focus but when it does the focus is accurate. I would not recommend this lens for video shooters as it messes a lot with the focus. However, if you are a hobbyist and casually shoot portraits or still objects, this lens can do the job.

Sharpness and Image Quality

Before clicking photos using the Yongnuo 50mm f/1.8, I had much less expectation from this lens. To my surprise, this lens produced amazing sharpness and image quality. I did not compare it side by side with its competitor lens, but I am sure it is on par with it.

The few image samples that you see are all shot at an event during the sunset/evening time. The images are tad sharp, and the colors also look natural. I had done a test on vignetting performance, and at f/4 it was almost gone. This lens worked for me when I was shooting stationary subjects as well as when shooting performing artists at an event.

For me, the bokeh shape was a bit unpleasant at f/1.8, and I’m not sure exactly why. I used this lens at f/2.8 and achieved sharp and crisp images with minimum vignetting and shallow depth of field effect.

Conclusion

This lens by Yongnuo is for someone who has just started with photography or has a tight budget but still wants to achieve the f/1.8 look at 50mm. The focus speed is something that might irritate you, but once it focuses the image quality is quite impressive. I would suggest this lens to someone who shoots still subjects or portraits without much movement. If you are a wedding, event or a professional portrait photographer, you might be disappointed.

Have you used this lens? What are your thoughts?

The post Review: Yongnuo 50mm f/1.8 lens for Canon – At just US$ 50 could this be the most affordable “nifty fifty”? appeared first on Digital Photography School. It was authored by Kunal Malhotra.


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Zenit announces ridiculously fast 50mm F0.95 fully-manual lens for Sony full-frame cameras

17 Mar

Zenit has announced a 50mm F0.95 manual lens for Sony full-frame cameras.

The Zenitar 0.95 | 50, as it’s called in Zenit’s branding, is fully manual without any electronics inside. It features a fast aperture and an impressive 14-blade diaphragm that Zenit claims provides perfectly round bokeh.

The lens is constructed of nine elements in eight groups and constructed entirely of glass and metal. Considering the metal construction and massive optical elements, it shouldn’t come as a surprise that the lens weighs quite a bit for its focal length, 1.1kg / 2.43lbs.

Below is a gallery of sample images captured with the lens:

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The lens is set to be released in Russia next week for a price of 50K ruble, which converts to roughly €680 or $ 770 USD. There’s no mention of an international release timeframe for the time being.

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic launches 50mm F1.4, 70-200 F4 OIS and 24-105mm F4 Macro OIS full-frame lenses

02 Feb

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Panasonic has launched a trio of Lumix S lenses alongside its S1 and S1R full-frame mirrorless cameras. The three new lenses are a 50mm F1.4 – Panasonic’s ‘reference lens’, a 70-200 F4 OIS and a versatile 24-105mm F4 OIS Macro, which will serve as the kit lens for both cameras.

The Lumix S Pro 50mm F1.4 features 13 elements – two aspherical and three ED – and an 11-blade aperture. Panasonic claims that one of the aspherical elements is among the largest ever created, with a diameter of over 40mm. The lens has two focus motors – linear and stepping – designed to operate with 480 fps sensor readout. Panasonic says that the lens has been designed for smooth exposure changes with minimal focus breathing for video capture.

The Lumix S Pro 70-200 F4 OIS’s stabilization works in conjunction with the S1/S1R’s in-body IS to provide up to 6.5 stops of shake reduction. It has 23 elements, including aspherical, UHR, UED and ED. It uses a linear motor with a 480 fps AF control. As with the 50mm F1.4, the 70-200 is weather-sealed, has a focus clutch and is designed to reduce focus breathing.

Finally, there’s the Lumix S 24-105mm F4 Macro OIS, which will serve as the kit lens for both the S1 and S1R. It too is stabilized, and has one ED, two aspherical ED, two aspherical and three ED elements. The 24-105 uses a linear motor, again with 480 fps AF control. The minimal focus distance on this general-purpose lens is 0.3m, with a maximum magnification of 0.5x.

All three lenses are dust and moisture-sealed, and the two ‘S Pro’ models include a focus clutch for quick switching between auto and manual focus.

The three new lenses will ship in early April. The 50mm F1.4 is priced at $ 2299, the 70-200 F4 at $ 1699 and the 24-105mm F4 at $ 1299. Buying the S1/S1R kit effectively lowers the price of the 24-105mm F4 to $ 899.

Press Release

Panasonic Launches Three L-Mount Interchangeable Lenses for the LUMIX S Series Full-frame Digital Single Lens Mirrorless Camera

LUMIX S PRO 50mm F1.4 (S-X50), LUMIX S PRO 70-200mm F4 O.I.S. (S-R70200) and LUMIX S 24-105mm F4 MACRO O.I.S. (S-R24105)

Newark, NJ (February 1, 2019) – Panasonic is proud to introduce three new interchangeable lenses based on the L-Mount system for the LUMIX S Series Full-frame Digital Single Lens Mirrorless Camera. Specially focusing on professional use, the LUMIX S Series pursues uncompromising photographic expression with its high-quality cameras and lenses.

The L-Mount is a lens mount for mirrorless cameras that was launched by Leica and is equally suitable for both the APS-C format and full-frame cameras. Leica Camera, Panasonic and Sigma are set to offer a user-friendly solution that will allow photographers to ‘mix and match’ any of the three manufacturers’ APS-C and full-frame cameras with any lens from each other’s product portfolios. The aim of the L-Mount Alliance is to provide customers with a diverse and future-proof range of products. The advantages are a large inner diameter of 51.6 mm that enables the realization of extremely fast lenses and extremely compact dimensions. The configuration of the lens-to-camera communication interface is future-proof and the L-Mount also offers an option for the construction of sealed systems that are insensitive to dust and moisture.?The L-Mount thereby opens up an almost limitless spectrum of new creative possibilities.

All interchangeable lenses of the LUMIX S Series provide high performance yet the “LUMIX S PRO” lenses further boast ultimate optical performance to be certified by LEICA for clearing stringent LEICA standards. Panasonic is committed to designing and developing 10 or more lenses with a focus on “LUMIX S PRO” lenses by 2020 and further expanding the S Series lens lineup.

LUMIX S PRO 50mm F1.4 (S-X50)

The LUMIX S PRO 50mm F1.4 is a large-aperture fixed focal length LUMIX S PRO lens that is the core of all LUMIX S Series lenses. Ensuring versatile use with its 50mm focal length and F1.4 high speed, the LUMIX S PRO 50mm F1.4 boasts stunningly high resolution and a descriptive performance from the center to the corners of the image despite its large aperture. It provides smooth defocus gradation from the focus peak to the neighboring area of the image. It also describes the point light sources in the background as impressive, beautiful bokeh. The optical performance of this LUMIX S PRO lens is outstandingly high to clear stringent LEICA standards.

Comprising 13 lenses in 11 groups, the use of 2 aspherical lenses and 3 ED (Extra-low Dispersion) lenses effectively suppresses both axial chromatic aberration and chromatic aberration of magnification. Astigmatism is also corrected with those aspherical lenses, achieving high resolving performance.

A double focus system combining a linear motor and stepping motor achieves sensor drive at a maximum speed of 480 fps. It realizes fast, high-precision AF to ensure that you will never miss a photo opportunity. Adoption of a focus clutch mechanism enables instant AF/MF switching and accurate manual focusing. The LUMIX S PRO 50mm F1.4 also excels in video recording performance with a mechanism that suppresses focus breathing, which was a fatal problem of all interchangeable lenses designed for still image photography.

The refined design of the LUMIX S Series provides high operability as a tool for professionals. The rugged dust/splash-resistant* design withstand use under harsh conditions even in 10 degrees below zero for high mobility. The filter diameter is 77mm, with an 11-blade circular aperture diaphragm.

*Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.

LUMIX S PRO 70-200mm F4 O.I.S. (S-R70200)

The second lens is also a LUMIX S PRO lens. The LUMIX S PRO 70-200mm F4 O.I.S. telephoto zoom lens provides high-resolution, high-contrast images across the entire zoom range. It can be used for wide-ranging situations, from portraits to sports. Panasonic LUMIX’s image stabilization system 5-Axis Dual I.S. (Image Stabilizer) 2*1 can be used with the LUMIX S PRO 70-200mm F4 O.I.S. for the first time as a lens of a full-frame mirrorless camera system, to ensure that you will never miss a photo opportunity. The optical performance of this LUMIX S PRO lens is outstandingly high to clear stringent LEICA standards.

The lens unit comprises 23 lenses in 17 groups and the use of an aspherical lens and 3 ED (Extra-low Dispersion) lenses effectively suppresses both axial chromatic aberration and chromatic aberration of magnification. Designed in pursuit of optimum lens alignment, it achieves beautiful bokeh with minimum vignetting.

The O.I.S. (Optical Image Stabilizer) in the lens effectively compensates for the hand-shake movement, making it easy to shoot even without a tripod or in low-lit situations. Complying with the camera’s Body I.S., the 5-Axis Dual I.S. 2*1 makes it possible to use 6-stop slower shutter speed*2. The high-precision linear motor achieves sensor drive at a maximum speed of 480 fps for fast auto focusing. The adoption of a focus clutch mechanism enables instant AF/MF switching and accurate manual focusing. The LUMIX S PRO 70-200mm F4 O.I.S. also excels in video recording performance with a mechanism that suppresses focus breathing, which was a fatal problem of all interchangeable lenses designed for still image photography.

The refined design of the LUMIX S Series provides high operability as a tool for professionals. The rugged dust/splash-resistant*3 design withstand use under harsh conditions even in 10 degrees below zero for high mobility. The filter diameter is 77mm, with a 9-blade circular aperture diaphragm.

*1 5-Axis Dual I.S. 2 can be used with the camera LUMIX S1R and S1, as of February 1, 2019.

*2 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm, when LUMIX S1R is used.

*3 Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.

LUMIX S 24-105mm F4 MACRO O.I.S. (S-R24105)

The LUMIX S 24-105mm F4 MACRO O.I.S. is a versatile standard zoom lens covering wide-angle to medium-telephoto. It assures high descriptive performance across the entire zoom range. In addition to its versatile use with a wide and long zoom range, the LUMIX S 24-105mm F4 MACRO O.I.S. enables 0.5x macro shooting with a minimum focusing distance of 0.3m. Panasonic LUMIX’s image stabilization system 5-Axis Dual I.S. (Image Stabilizer) 2*1 can be used with LUMIX S 24-105mm F4 MACRO O.I.S. for the first time as a lens of full-frame mirrorless camera system, never to miss the photo opportunity.

The lens unit comprises 16 lenses in 13 groups and the use of 2 aspherical lenses and 2 ED (Extra-low Dispersion) lenses effectively suppresses chromatic aberration and achieves high resolution.

The O.I.S. (Optical Image Stabilizer) in the lens effectively compensates for the hand-shake movement, making it easy to shoot even without a tripod or in low-lit situations. Complying with the camera’s Body I.S., the 5-Axis Dual I.S. 2*1 makes it possible to use 6-stop slower shutter speed*2. The high-precision linear motor achieves sensor drive at a maximum speed of 480 fps for fast auto focusing. The LUMIX S 24-105mm F4 MACRO O.I.S. also excels in video recording performance with a mechanism that suppresses focus breathing, which was a fatal problem of all interchangeable lenses designed for still image photography.

The refined design of the LUMIX S Series provides high operability as a tool for professionals. The rugged dust/splash-resistant*3 design withstand use under harsh conditions even in 10 degrees below zero for high mobility. In addition, a fluorine coating on the front element repel water and oil and prevent them from attaching. The filter diameter is 77mm, with a 9-blade circular aperture diaphragm.

*1 5-Axis Dual I.S. 2 can be used with the camera LUMIX S1R and S1, as of February 1, 2019.

*2 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=105mm, when LUMIX S1R is used.

*3 Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.

Panasonic Lumix S Pro 50mm F1.4 specifications

Principal specifications
Lens type Prime lens
Max Format size 35mm FF
Focal length 50 mm
Image stabilization No
Lens mount Leica SL
Aperture
Maximum aperture F1.4
Minimum aperture F16
Aperture ring Yes
Number of diaphragm blades 11
Optics
Elements 13
Groups 11
Special elements / coatings 2 aspherical + 3 ED elements, fluorine coating
Focus
Minimum focus 0.44 m (17.32)
Maximum magnification 0.15×
Autofocus Yes
Motor type Linear Motor
Full time manual Yes
Focus method Internal
Focus notes Has both linear and stepping motors
Distance scale Yes
DoF scale No
Physical
Weight 955 g (2.11 lb)
Diameter 90 mm (3.54)
Length 130 mm (5.12)
Materials Magnesium alloy
Sealing Yes
Colour Black
Filter thread 77 mm
Hood supplied Yes
Tripod collar No

Panasonic Lumix S Pro 70-200 F4 / Lumix S 24-105mm F4 specifications

  Panasonic Lumix S Pro 70-200mm F4 OIS Panasonic Lumix S 24-105mm F4 Macro OIS
Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 70–200 mm 24–105 mm
Image stabilization Yes
CIPA Image stabilization rating 6 stop(s)
Lens mount Leica SL
Aperture
Maximum aperture F4
Minimum aperture F22
Aperture ring Yes No
Number of diaphragm blades 9
Optics
Elements 23 16
Groups 17 13
Special elements / coatings 1 aspherical + 1 UED + 3 ED + 1 UHR elements, fluorine coating 2 aspherical ED + 2 aspherical + 1 UED + 2 ED elements, fluorine coating
Focus
Minimum focus 0.92 m (36.22) 0.30 m (11.81)
Maximum magnification 0.25× 0.5×
Autofocus Yes
Motor type Linear Motor
Full time manual Yes
Focus method Internal
Distance scale Yes No
DoF scale No
Physical
Weight 985 g (2.17 lb) 680 g (1.50 lb)
Diameter 84 mm (3.31)
Length 179 mm (7.05) 118 mm (4.65)
Materials Magnesium alloy
Sealing Yes
Colour Black
Zoom method Rotary (internal) Rotary (extending)
Power zoom No
Filter thread 77 mm
Hood supplied Yes
Tripod collar Yes No

Articles: Digital Photography Review (dpreview.com)

 
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Leica releases limited ‘Safari’ edition M10-P camera, Summicron-M 50mm F2 lens

01 Feb

Leica has announced the launch of a limited edition Leica M10-P Edition ‘Safari’ camera and accompanying Summicron-M 50mm F2 Edition ‘Safari’ lens.

The launch of the limited edition pieces continues Leica’s tradition of olive green camera releases. In Leica’s own words, ‘Leica cameras with the olive green enamel finish were originally designed and created for hard-wearing military use, as they were seen as robust and reliable tools that consistently delivered under extreme conditions.’

The Leica M10-P Edition ‘Safari’ is identical to its less colorful counterpart in terms of specs and includes a full-grain cowhide leather carrying strap as well as a matching leather case for memory cards and credit cards, both of which were designed to ‘complement the unique aesthetic of the limited edition camera.’

The Leica Summicron-M 50mm F2 Edition ‘Safari’ lens is the first time a Leica M lens will be available in the olive green finish. Aside from the new color, the limited edition lens features a distance scale and focal length engravings that are hand-filled with red paint to ‘contrast to the other bright white engravings on the lens.’ Like the camera, this lens is identical to its black and silver counterparts.

Interestingly, the camera and lens are being sold separately with no option of getting them together as a kit. Leica says the M10-P Edition ‘Safari’ camera body is available today for $ 8,450 in a limited run of 1,500 units while the matching lens will be available on February 15, 2019 for $ 2,750 in a run of just 500 units. Both the camera body and lens are available for pre-order at B&H.

Leica Camera Continues a Longstanding Tradition with the Leica M10-P and Leica Summicron-M 50 mm f/2 “Safari” Limited Editions

The first-ever release of a Leica M-Lens in the olive green coloring accompanies the fifth iteration of “Safari” camera offerings

January 31, 2019 – The launch of the limited Leica M10-P Edition “Safari” camera and Leica Summicron-M 50 mm f/2 Edition “Safari” lens reopens a beloved chapter in Leica Camera’s ongoing tradition of special olive green camera releases. Dating back nearly 60 years, the eye-catching finish has recurred throughout the brand’s rich history, making each rare piece highly sought after among Leica collectors and enthusiasts alike. Leica carries forth this tradition with the new limited edition camera body and limited edition lens in the olive green enamel finish, which when paired together, create the perfect symbiosis of functionality, design and history.

Leica cameras with the olive green enamel finish were originally designed and created for hard-wearing military use, as they were seen as robust and reliable tools that consistently delivered under extreme conditions. The rugged aesthetic of the Leica M1 “Olive” for the German armed forces, made in 1960, proved to be a great success from its onset. The subsequent olive green Leica M3 and M4 cameras were also created exclusively for the rigors of military use in the field, however, in response to rising popularity and increasing demand, in 1977 the olive green Leica R3 “Safari” camera became the first of its ilk to be created for sale to the general public. As popularity grew and the legacy carried on over the years, Leica Camera launched the M6 TTL “Safari” in 2000, the M8.2 “Safari” in 2008 and, most recently in 2015, the M-P (Typ 240) “Safari.” Each piece, a significant highlight in Leica’s historic lineage and timeline of milestones.

Today, Leica continues the tradition of these unique and storied cameras with the Leica M10-P Edition “Safari”, a modern take on the olive green finish, at its core containing the same performance and technical capabilities of the standard Leica M10-P and its industry-leading quiet mechanical shutter. The limited edition camera is accompanied by a leather carrying strap as well as a matching leather case for SD memory cards and credit cards. Both accessories are crafted from brandy-colored, genuine full-grain cowhide and complement the unique aesthetic of the limited edition camera, of which there are only 1,500 units available worldwide.

For the first time in Leica’s history, a Leica M-Lens will be available in the legendary olive green finish. The matching Leica Summicron-M 50 mm f/2 Edition “Safari” will be offered separately from the camera, with only 500 units being made available. In addition to the special enamel finish, the Leica Summicron-M 50 mm f/2 Edition “Safari” is distinguished by its distance scale and focal length engravings, which are precisely engraved and carefully hand-filled in red paint – in contrast to the other bright white engravings on the lens. The technical specifications and optical performance are identical to those of the well-regarded production model, though the artful coloring and compact design of this high-performance standard lens makes it an attractive addition to any photographer’s set of Leica M equipment.

Every bit of visible metal components of the Leica M10-P Edition “Safari” and the Leica Summicron-M 50 mm f/2 Edition “Safari” lens are crafted from solid brass. The premium enamel finish in olive green makes the camera and lens resistant to finger marks and scratches, providing enduring protection against external elements such as solvents, chemicals and UV light to ensure a long-lasting look that can stand the test of time and transcend generations, just as its forebears before it.

The Leica M10-P Edition “Safari” camera body is available for sale today for $ 8,450. The Leica Summicron-M 50 mm f/2 Edition “Safari” premium lens will be available starting February 15th for $ 2,750. Both camera and lens are sold separately at Leica Stores, Boutiques and Dealers.

Articles: Digital Photography Review (dpreview.com)

 
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Review: Nikon Z 50mm F1.8 S

24 Jan

Nikon Z 50mm F1.8 S
$ 599
www.nikon.com

Gold Award

93%
Overall score

One of three lenses launched alongside the Nikon Z6 and Z7, on the face of it the Z 50mm F1.8 S might appear the most pedestrian of the group. It’s hard to get too excited about a medium-fast 50mm these days, but in its promotional literature Nikon claimed that its latest standard prime is anything but a standard standard. In fact, the company claimed that the Z 50mm S would offer superb resolving power, low aberrations and excellent wide-aperture performance, impressive enough to challenge assumptions about what lenses of this type should be capable of.

The Nikon Z 50mm F1.8 is twice as heavy, twice as large and about twice the price of the company’s equivalent lens for F mount – but is it twice as good? We’ve been shooting with one for a few weeks, and one thing’s for sure – it’s a radically different lens.

Key specifications:

  • Focal length: 50mm
  • Format: Full-frame
  • Aperture range: F1.8-16 (1/3EV steps)
  • Filter thread: 62mm
  • Close focus: 0.4m
  • Hood: Included HB-90, bayonet attachment.
  • Length / Diameter: 76 x 86.5mm
  • Weight: 415g (14.7oz)
  • Optical construction: 12 elements in 9 groups, including Nano Crystal Coating
  • Special elements: 2 ED, 2 Aspherical.

Compared to its nominal F-mount equivalent, the Z 50mm F1.8 S is an obvious step up in terms of optical technology. Featuring advanced coatings, almost twice the number of elements (including two aspherical and two ED) and three additional groups, the new prime is substantially more complex. Compare this to the single aspherical element in the F-mount version (itself a novelty when the lens was introduced in 2011) and it’s obvious that Nikon has taken the opportunity to completely redesign its newest standard lens for the radically different dimensions of the new Z mount.

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Design and handling

The Z 50mm F1.8 S is as different optically to its F-mount predecessors as it is cosmetically. Somewhat reminiscent in overall look and feel to a modern Sony ZA or Sigma Art-series prime, the new lens is smooth, stylish and simple in design. Constructed from a mixture of polycarbonate and aluminum, the barrel of the 50mm is dominated by a wide and well-damped metal focus ring. A single A / M focus switch is the only other moving part. Since the new Z-series cameras feature in-body stabilization, the lens itself is unstabilized.

‘Build quality’ is a notoriously hard quality to measure, and one that we have to assess subjectively, on the basis of anecdotal (but as extensive as we can manage) experience. The Z 50mm F1.8 looks nice, handles well, feels neither too heavy nor too light, and appears to be manufactured to a high standard. There is no give in the focus ring, no wobble in the mount, and after weeks of use it hasn’t fallen apart in my hands. Etc., and so on.

In common with other prime lenses we’ve seen that are specifically designed for mirrorless camera systems, the Z 50mm F1.8 S has a relatively small, concave front element.
The only physical switch on the barrel of the Z 50mm F1.8 is for manual / automatic focus. Since the Z6 and Z7 feature in-body Vibration Reduction, there’s no need for the lens to be stabilized.

Less anecdotally – and more importantly – we’ve put the Z 50mm F1.8 to pretty hard use in the past few weeks. Unusually hard, in fact. I’ve spent hours with the Z7 and 50mm shooting in extremely wet and windy conditions on multiple occasions recently, working on a photo project on Washington’s Pacific coast. In rain heavy enough to somehow soak down, under, into and around multiple layers of waterproof clothing, the Z7 and Z 50mm F1.8 kept on working without any serious problems.

The only issue I had after extended exposure to the elements was a very occasional glitch where the Z7 would switch out of automatic focus and into MF mode. Re-seating the lens in the mount was enough to clear the problem. Whether the issue was caused by moisture getting into the camera (I didn’t see any when I looked later) or into the M / A switch on the lens I don’t know. Either way it didn’t prevent me from working.

This image shows the rubber gasket around the Z 50mm F1.8’s mount, which helps keep dust and moisture from getting into the camera. Our experience shooting with the lens in exceptionally wet conditions suggests that it’s highly effective.
This is the Z 50mm F1.8 S side-by-side alongside the Z 35mm F1.8 S. Good luck telling these lenses apart if you’re fishing around inside a camera bag.

We already know from Roger Cicala’s tear-down that the Z7 is impressively well-sealed, and while the Z 50mm F1.8 S might not be gasketed to the same standard (we won’t know that for sure until Roger takes one apart), it certainly seems very well sealed from my experience.

One frustration – although it’s not the optical designers’ fault – the new 50mm and 35mm F1.8 Z primes are so similar to one another cosmetically, that they’re almost impossible to distinguish in a camera bag. They’re almost the exact same size and shape, very similar in weight, and both use a 62mm cap. A Nikon Z shooter carrying both would practically be forced to label them in some way to avoid mixups in the field. Ditto the HB-89 and HB-90 lenshoods, which are mechanically interchangeable and almost indistinguishable (to the extent that I have no idea why Nikon bothered to make two different hoods), but which are frustratingly shy of being exactly identical.

Focus

The Z 50mm F1.8 S is an internal focus design (the lens doesn’t get bigger or smaller when focusing) and in normal or bright lighting conditions, it focuses quickly and accurately on a Z6/7. Autofocus actuation from the stepping motor isn’t as fast as Nikon’s snappiest F-mount zooms with more powerful ring-type AF motors, but it’s at least as fast as most of the company’s older primes and good enough for rapid acquisition of most subjects. The Z 50mm F1.8 S focuses slightly faster than the Z 35mm F1.8 S but there’s not much to choose between them.

As well as being rapid, autofocus is effectively silent, too. Video shooters might detect a subtle ‘zip’ sound on the in-camera audio as the lens makes large focus adjustments, but it’s very subtle. Normal video AF movements are slow and smooth enough (this can also be customized) that you probably won’t notice it, even if you’re relying on the in-camera microphones for sound.

The large focusing ring makes up most of the length of Z 50mm f1.8 S’s lens barrel, and offers fine-geared control over focus via a ‘focus by wire’ system.

The Z 50mm F1.8 S uses a ‘focus by wire’ system for manual focus, which offers very precise control from the wide, nicely-damped focus ring. The movement is speed-sensitive, not linear, meaning that a slow rotation of the ring will result in a similarly slow movement of the focusing group. If you move the ring quickly, the motor will respond more rapidly and make a larger focus movement.

This is great for stills, but some videographers (especially those that use follow focus systems) might find themselves wishing for a linear response, where X degrees of movement of the ring always results in X amount of focus movement. This is less a criticism of the lens, more of the Z system at this point but we’re hoping that Nikon can adjust this behavior via firmware. Similarly, it would be nice to have the option of switching the direction of the manual focus ring, for photographers coming from different systems.

Articles: Digital Photography Review (dpreview.com)

 
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Meike releases 50mm F1.7 full-frame budget lens for Canon EOS-R, Nikon Z cameras

23 Jan

Hong Kong-based company Meike has launched its 50mm F1.7 lens for the Canon EOS-R and Nikon Z6 / Z7 full-frame cameras. This manual focus full-frame lens features 6 elements in 5 groups, 0.5m / 1.6ft minimum focusing distance, a nanotechnology multi-layer coating, and 310 gram / 11oz weight.

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The Meike 50mm F1.7 lens, which is designed for portrait photography, sports a dust- and water-resistant design with a brushed metal housing and metal bayonet. The model is available now with an included front and rear lens caps, a lens hood, pouch, and cloth for $ 139.99 USD through Amazon (EOS R, Nikon Z).

Articles: Digital Photography Review (dpreview.com)

 
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Nikon Z 50mm F1.8 S sample gallery

07 Jan

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The Nikon Z 50mm F1.8 is one of three lenses to launch with the Z system, and it’s quickly becoming a staff favorite thanks to its edge-to-edge sharpness and a pleasing absence of chromatic aberration. Nikon claims that the Z 50mm F1.8 redefines what an F1.8 standard lens can do – take a look at our gallery and see for yourself.

See our Nikon Z 50mm F1.8 S
sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Lensrentals tears down Canon’s 50mm F1.2 RF lens to reveal new optics, tech and surprises

13 Dec
Photo kindly provided by Lensrentals

For the latest edition of LensRentals gets down and dirty with camera equipment, Lensrentals founder Roger Cicala tore down Canon’s new 50mm F1.2L RF lens to reveal what tech and construction is lurking inside.

‘Usually, I start tear down posts with a joke about “those of you who are following along by disassembling your own lens at home”,’ reads one of the introductory paragraphs of Cicala’s teardown blog post. ‘Well, no joke today; this is not a home disassembly project. I’m not really sure it’s even a Lensrentals disassembly project. But we got out tools out and boldly went where we probably shouldn’t have gone.’

The unusual screw arrangement is seen tucked inside the front barrel assembly of the Canon 50mm F1.2L RF lens — photo kindly provided by Lensrentals

Right off the bat, Cicala came across something he had never seen in a lens before — a unique screw arrangement on the front part of the lens barrel. Figuring the unique arrangement ‘was some kind of binary code for “Do Not Enter”,’ Cicala instead flipped the lens over and started to disassemble it from the rear.

With each new layer peeled back, new surprises awaited Cicala. There was wiring, rather than simple ribbon cables (which Canon has almost always preferred), a denser PCB, and a little extra electrical shielding.

Cicala noted the denser PCB and wiring (visible bottom-right) inside the Canon 50mm F1.2L RF lens — photo kindly provided by Lensrentals

The teardown also confirmed Canon is using the same USM motor for the 50mm F1.2L RF as it is for its much, much larger 400mm F2.8L IS III lens, which Cicala teases as Lensrentals’ next teardown. Near the USM motor, Cicala noticed an interesting tensioning spring, but it remains unknown what purpose it serves.

Photo provided kindly by Lensrentals

Eventually, Cicala turned the lens back over and removed the front lens barrel. After a little work, what he ended up with was the stripped down optical core of Canon’s 50mm F1.2L RF lens. ‘Like a shaved cat, it’s always kind of shocking how small the core of the thing is,’ says Cicala.

The stripped-down optical core of the Canon 50mm F1.2L RF lens — photo kindly provided by Lensrentals

Other details revealed in the teardown include a piece of electrical discharge tape that seemingly leads to nowhere, additional sealing felt and a collection of springs that serve an unknown purpose.

Photo kindly provided by Lensrentals

All in all, Cicala was impressed with the lens, going so far as to say that this lens, and this lens alone, makes him lust for Canon’s EOS R system. Cicala concludes his assessment saying ‘One thing that is very clear […] Canon has invested very heavily into developing the lenses of the R system. This level of engineering didn’t all happen in the last year, they’ve been working on this for quite a while.’

To read and see the entire teardown, head over to the Lensrental blog and set aside a good ten minutes or so.

Articles: Digital Photography Review (dpreview.com)

 
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