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Posts Tagged ‘50mm’

Going Back to Basics – My Week With a Canon EF 50mm f/1.8 II Lens

12 Dec

The post Going Back to Basics – My Week With a Canon EF 50mm f/1.8 II Lens appeared first on Digital Photography School. It was authored by Megan Kennedy.

The demise of my first Canon EF 50mm f/1.8 II lens was an unfortunate one.

First, I dropped it – which is OK.

It happens. Still recoverable, I know.

Until, clumsily, I stood on it too.

And, just to be sure it was finished, what was left of the lens then rolled down a small hill. When I caught up, I scooped it up in my hands, all scratches and broken glass. It was my first, and I was gutted.

Nevertheless, after what seemed like an appropriate period of mourning, I did what any photographer would. I bought something newer, and shinier.

I decided to graduate to a Canon EF 24-105mm f/4L IS USM. From there it was all systems go, zooming in and out of those hard to reach spots and enjoying the freedom that a versatile medium-range workhorse affords. And despite the occasional bashing here and there, its been my go-to lens ever since.

Recently, however, I acquired another Canon EF 50mm f/1.8 II. Just like my old one, but much less crunched. So I decided to see what going back to a prime lens would be like. Especially after relying so heavily on the reach of the Canon EF 24-105mm f/4L IS USM. Here’s a quick rundown on my week with the Canon EF 50mm f/1.8 II and why a break from your old favorite can be surprisingly beneficial.

Suddenly lighter

The first difference I noticed after clicking the Canon EF 50mm f/1.8 II into place was the weight, or should I say, the lack thereof? The bulk of the Canon EF 24-105mm f/4L IS USM was enormous compared to the little ‘plastic fantastic’ (as the Canon EF 50mm f/1.8 II has come to be known). Photographing with the Canon EF 50mm f/1.8 II, I had a lot less neck pain, which meant I could stay out shooting for longer without needing some painkillers.

Ditching the weight of the Canon EF 24-105mm f/4L IS USM had another benefit too. Without swinging around a heavy lens, I was able to move a lot more freely. I could crouch, jump up and down, do some parkour…

Okay, I’m not that athletic.

However, being able to move allowed me to line up shots with more ease.

A lighter lens meant I could easily sneak my camera under this umbrella for a photograph

Slowing it down

The technical differences between Canon EF 24-105mm f/4L IS USM, and the Canon EF 50mm f/1.8 II took some getting used to – zoom being one of the most pronounced. Instead of getting closer to a subject in-camera, I needed to reassess what I wanted to achieve. This meant strategically positioning my body to get the shot. Sure, I walk around seeking out subjects to photograph all the time. But, with the Canon EF 50mm f/1.8 II, I needed to be just a little more active to get the image I was after.

Sticking with the Canon EF 50mm f/1.8 II got me thinking about the physical and mental elements that come together to create a successful shot. It made me slow down and appreciate the machinations of photography and the tactility of the image-making process.

Lots of light

One of the biggest differences between the Canon EF 24-105mm f/4L IS USM and the Canon EF 50mm f/1.8 II is written in the name of the lenses themselves. It’s aperture. While the Canon EF 24-105mm f/4L IS USM can manage a valiant F/4, it doesn’t quite cut the mustard compared to the Canon EF 50mm f/1.8 II, opening up to an aperture of f/1.8.

What does this all mean? Basically, the Canon EF 50mm f/1.8 II can allow a lot more light to pass through to the camera’s sensor. That’s a big deal in low lighting conditions. For example, shooting at night with the Canon EF 24-105mm f/4L IS USM may require a much slower shutter speed or higher ISO value to achieve the same exposure the Canon EF 50mm f/1.8 II can at a faster shutter speed and a lower ISO. This means that the Canon EF 50mm f/1.8 II can produce much better image quality in low light.

Photographing in darker environments can be challenging. But the Canon EF 50mm f/1.8 II allowed me to experiment at different times of the day without having to worry about available light. Of course, its a consideration when calculating exposure, but I was a lot less concerned about clogging up my images with insane amounts of noise than I would be with the Canon EF 24-105mm f/4L IS USM in the same conditions.

The f/1.8 aperture of the Canon EF 50mm f/1.8 II allowed me to take this shot with a lot less noise and a faster shutter speed

Extension tubes

Another benefit of the ample aperture of the Canon EF 50mm f/1.8 II is its versatility when coupled with a set of extension tubes. Extension tubes physically move your lens away from the focal plane. This makes the minimum focusing distance (the shortest distance at which a lens can focus) smaller, meaning you can get closer to your subject while still maintaining focus. It’s a way to shoot macro photography without an expensive dedicated lens.

However, extension tubes do have their drawbacks. One of them being diminishing the available light in a scene. With the addition of each extension tube, less light is able to reach the camera sensor. This drop in light can be difficult to contend with if you don’t have a tripod and a perfectly still subject. A fast lens like the Canon EF 50mm f/1.8 II is ideal in this situation. Even on a terribly overcast day, I was able to get some nice, sharp shots at a decent shutter speed. It meant that I could hand-hold my camera to take macro shots that may have required a tripod with the Canon EF 24-105mm f/4L IS USM.

Bokeh

One aspect of the Canon EF 50mm f/1.8 II lens that I was eager to experiment with was its capacity for bokeh. A Japanese word meaning ‘blur’or ‘blurry’, bokeh refers to the quality of the out of focus parts of an image. The term is often used to describe how unfocused bright points in a scene are rendered as disks of light in a photograph.

While all lenses are capable of bokeh effects, zoom lenses tend to smooth a background over rather than shape it. Prime lenses, on the other hand, deliver a more defined disk-like bokeh result. In addition, bokeh requires the lowest possible aperture value to take full effect. This makes the maximum f/1.8 aperture of the Canon EF 50mm f/1.8 II ideal for some sweet bokeh magic.

Seeking out opportunities for bokeh made me re-evaluate my surroundings. I had to quickly develop an eye for points of light that I could use to disperse into globes of color. But with the ease that a small camera lens affords, the little ‘nifty fifty’ produced some really fascinating results with little effort on my part.

Testing bokeh out on a rainy night in the city

Conclusion

There are plenty of other comparisons to explore between the Canon EF 50mm f/1.8 II and the Canon EF 24-105mm f/4L IS USM. I know, a week isn’t a very long time to truly get accustomed to a new piece of equipment, but challenging myself to a week of prime-lens-only photography was a lot less difficult than I thought it would be.

In fact, it was pretty fun!

Up until now, I’ve been a one-camera-one-lens kinda gal.

But playing around with the Canon EF 50mm f/1.8 II made me think twice about my equipment repertoire. And with the weight and maneuverability of a small mammal, captivating bokeh and such a tight performance in low light conditions, I think I might just add it to the camera bag too. Just in case.

Without stepping on it this time.

 

Do you use the nifty fifty? What are your thoughts?

The post Going Back to Basics – My Week With a Canon EF 50mm f/1.8 II Lens appeared first on Digital Photography School. It was authored by Megan Kennedy.


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Thoughts and Field Test: Sigma 50mm f/1.4 for Sony E-Mount

17 Oct

Sigma recently announced nine prime lenses coming to their Art lens lineup for Sony E-mount shooters. We got to test out the new Sigma 50mm f/1.4 DG HSM Art Lens for Sony E-mount mirrorless cameras, an update to the previous Sigma 50mm f/1.4 released in 2014. Here’s what we thought.

What’s in the Box

Like all Sigma lenses, this one comes packed in its own zippered carrying case. It also comes with front and end caps and a lens hood. It’s ready to use right away, although you may want to buy a 77mm UV filter to protect it while in use.

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Specs

This E-mount lens is designed for full-frame format Sony mirrorless cameras. However, it can also be used with APS-C models (although it will slightly crop the resulting image).

The lens has an aperture range of f/1.4 to f/16. When shooting at the maximum aperture of f/1.4, it produces a shallow depth of field with smooth bokeh, making it great for portraiture.

The Sigma 50mm f/1.4 Art lens is made for several camera mounts including Nikon and Canon DSLRs, Sony A-mounts and Sony E-mounts. This lens we tested was made for Sony E-mounts and used with a Sony a7R III.

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Look and Feel

Sigma designates this lens as part of its Art series, which means it’s designed for high optical performance in a range of shooting environments.

Off the bat, the lens has a high-quality look and feel to it. Comprised mostly of metal, this lens is big and bulky. While that may be great for those with bigger hands, having a big and heavy lens that only covers a single range may be an issue for some.

Autofocus Performance

This lens worked so flawlessly with the Sony a7R III that it felt like a native lens. With a clear, contrasting point the autofocus is fast and responsive. Sometimes the lens was slower to focus in low light scenarios, but never in such a way that made it unusable. If you need to focus manually, simply flip the switch from AF to MF and use the large focusing ring near the front of the lens.

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Image Quality

Images captured with this lens are crisp with excellent, well-saturated colors. Even when shooting wide open at f/1.4, photo subjects are sharp with buttery-smooth bokeh in the background. There isn’t a lot of vignetting either.

The lens appeared to hit critical sharpness at f/8, although shooting at f/2 provides a nice balance of image sharpness and bokeh.

If all third-party lens mounts worked this flawlessly, I doubt photographers would even bother using lens adapters.

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

What About the Sigma MC-11?

If you’ve recently switched from a DSLR to the Sony mirrorless, you’re probably familiar with the Sigma MC-11 lens adapter. It’s a popular way to use existing DSLR lenses (i.e. the Canon 50mm f/1.4) on Sony cameras. But while the MC-11 has been popular, Sigma is pushing for photographers to adopt native lenses for their camera mounts, including Sigma’s lens options.

Why go for a native mount?

  • You can tune the lens to work with each focal length you’re shooting at.
  • Focus hunting is minimized.
  • Better autofocus including continuous AF, eye AF and face recognition.
  • Native mounts work better for video AF.

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Why This Lens May Not Be for You

Overall, the Sigma 50mm f/1.4 DG HSM Art lens is a winner when it comes to build and image quality. But here are two reasons why it may not work for you.

Expensive

Firstly, there’s the price. At $ 949 this is an expensive 50mm lens. By comparison you could get a Sony FE 50mm f/1.8 for $ 248 or a Sony FE 50mm f/2.8 macro for $ 498. But fast Sony Zeiss 50mm lenses always come at a high price. The Sony Planar T FE 50mm f/1.4 costs $ 1,498, while the Sony Zeiss 55 f/1.8 is priced at $ 998.

So depending on your needs, you may need to budget quite a bit of money for a fast Sony prime lens. But if you’re in the market for a basic nifty fifty, there are much cheaper options.

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Large

Secondly, there’s its size and weight. At 1.8 lbs it’s large and bulky, comparable in size to the Sony 24-240mm and the Canon 24-70mm f/2.8. By comparison, the Sony Zeiss 55mm f/1.8 is only 0.62 lbs and is more compact and portable.

If you’re looking for a compact prime lens that’s easy to travel with, this Sigma lens probably isn’t your best bet.

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Lens size comparison. From left to right: Sigma 50mm f/1.4 Art, Sony 24-240mm, Sony 24-70mm f/4, Sony 55mm f/1.8

In Conclusion

For photographers set on having a fast 50mm prime lens, the Sigma 50mm f/1.4 Art lens is a great choice. It’s smaller and more reasonably priced than the Sony 50mm f/1.4 lens, and produces crisp and beautiful images.

However, photographers with a smaller budget, or who want to carry smaller lenses, may want to consider other 50mm options at lower price points in more compact packages.

Sigma 50mm f/1.4 Art lens at f/11

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Sigma 50mm f/1.4 Art lens at f/8

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Sigma 50mm f/1.4 Art lens at f/4

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Sigma 50mm f/1.4 Art lens at f/2

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Sigma 50mm f/1.4 Art lens at f/1.8

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Sigma 50mm f/1.4 Art lens at f/1.4

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Sony 55mm f1.8 at f/1.8

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Photokina 2018: Hands-on with Tokina’s Opera 50mm F1.4 premium full-frame lens

30 Sep

Hands-on with the Tokina Opera 50mm F1.4

We first saw a prototype of Tokina’s new 50mm F1.4 Opera lens at the CP+ show in Japan earlier this year. After waiting all summer, we finally gotten hands-on time with a working model at this year’s Photokina in Germany. The Opera series is Tokina’s high-end lens lineup – the equivalent to Sigma’s Art line – and the 50mm F1.4 is the first lens in the series to come into production.

Available in both Nikon and Canon full-frame DSLR mount, the lens is specifically meant to be paired with high-resolution cameras like the Nikon D850 and Canon EOS 5DS R. Set to ship around the end of October, it is priced at $ 950.

Hands-on with the Tokina Opera 50mm F1.4

The build quality of this Opera lens is superb. Weighing 33.5oz / 950g it’s about 4.8oz / 135g heavier than the Sigma 50mm F1.4 Art, but handles well on a Canon EOS 5D Mark IV. It doesn’t feel front heavy.

The large rubberized focus ring matches the directional turn of the mount it’s meant for – turning the ring to the right achieves minimum focus on a Canon and infinity on a Nikon. And the ring continues to turn beyond its minimum and infinity point.

Hands-on with the Tokina Opera 50mm F1.4

The Opera 50mm F1.4 is made of 15 elements arranged in 9 groups. 3 of those elements are super low dispersion elements to compact chromatic aberration – there’s also one aspherical element in the rear focus group. To deal with flaring, the lens is coated with Tokina’s Extremely Low Reflection coating. The front element has a 72mm filter size, smaller than the 77mm filter size of the Sigma’s front element.

Minimum focus distance for this lens is 0.4m / 1.3ft, the same as the Sigma.

Hands-on with the Tokina Opera 50mm F1.4

Autofocus is achieved using an ultrasonic ring-shaped AF motor which is very quiet in operation. There’s also a manual focus decouple switch on the side of the lens barrel.

The lens has 9 rounded aperture blades which we hope will result in very nice bokeh. And this is the first Tokina lens ever to include an electronic diaphragm (specifically for the Nikon version).

Hands-on with the Tokina Opera 50mm F1.4

There are a total of 8 weather sealing points in the construction of the Opera, which should keep water and grime out of the internal construction. There is also a rubber gasket around the lens mount to keep nastiness out of your camera body.

Hands-on with the Tokina Opera 50mm F1.4

Overall we’re excited to get Tokina’s first Opera series lens in and start shooting with it. It’s priced exactly the same as the Sigma Art version and seems to be built to a similar level of physical and optical excellence. Seeing as Sigma’s version is one of our favorite 50mm F1.4s out there, we have high hopes for the Tokina Opera 50mm F1.4. Stay tuned for a sample gallery.

Articles: Digital Photography Review (dpreview.com)

 
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Canon RF 50mm F1.2L USM sample gallery

19 Sep

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Of the four lenses launched alongside the Canon EOS R earlier this month, the RF 50mm F1.2L USM was one that we were excited to get our hands on. As soon as it landed in our office a few days ago we got started on a dedicated gallery, shot in Raw mode on the new Canon EOS R.

You’ll notice that quite a lot of the images in this gallery were shot at F1.2, because, well, why not? This is lens is seriously sharp wide open and a lot of fun to shoot with. See for yourself how it performs.

View our Canon RF 50mm F1.2L gallery

Articles: Digital Photography Review (dpreview.com)

 
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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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Yongnuo releases 50mm F1.4 for Nikon F-mount

21 Aug

Lens and camera accessory manufacturer Yongnuo has announced the availability of the new YN 50mm F1.4N E II lens for Nikon F-mount cameras. This announcement comes roughly three months after Yongnuo released the same lens for Canon EF-mount cameras.

As is to be expected, the YN 50mm F1.4N E II lens for Nikon F-mount is identical to its Canon equivalent in every way aside from the metal lens mount. It features an electromagnetic aperture with full shooting mode support, a 7-blade aperture diaphragm and a built-in USB port for on-the-fly firmware updating.

The nine optical elements in seven groups feature a multi-layer coating for reducing glare and ghosting while simultaneously letting in more light. The front filter is 58mm in diameter and the lens weighs 577g/20.35oz.

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The YN 50mm F1.4N E II lens for Nikon F-mount is currently available through multiple sellers on eBay for roughly $ 175. The lens will likely make its way to other retailers, such as Amazon and B&H, in the coming weeks.

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Hands-on with the Pentax HD FA* 50mm F1.4 (for real this time)

10 Aug

Hands-on with the Pentax HD FA* 50mm F1.4

The last time we saw the Pentax D FA* 50mm F1.4 it was an unfinished prototype at the CP+ show in Yokohama, back in March. Following some delays earlier this year (and a lot of patience from the Pentax faithful), it’s finally shipping, and is available now for $ 1200.

Check out our full gallery of samples from the Pentax HD FA* 50mm F1.4

Now that the finished article is in our hands and we’ve had some time to shoot with it and examine the results, we wanted to update our earlier impressions of this powerful lens, including some notes on image quality with the full-frame K-1 II.

Hands-on with the Pentax HD FA* 50mm F1.4

First announced last October, the HD Pentax-D FA* 50mm F1.4 SDM AW is a weather-sealed fast prime for the company’s full-frame DSLRs.

Optical construction consists of 15 elements in nine groups, including three anomalous dispersion elements and one aspherical. The combination of ‘Aero Bright Coating II’ and ‘HD coating’ is claimed to help reduce flare and ghosting in challenging lighting, while the ‘Super Protect’ coating keeps dust and moisture from adhering to the front element.

The 50mm F1.4 has nine rounded aperture blades, and a minimum focus distance of 40cm / 15.75″. The maximum magnification at the closest focus distance is 0.18x.

Hands-on with the Pentax HD FA* 50mm F1.4

The ‘D FA*’ label designates this as a flagship lens for Pentax, and it certainly feels like it. When we first handled the lens in prototype form back in March, we didn’t know its exact optical makeup but published schematics show exactly how much glass has been packed inside. It’s no surprise that the 50mm F1.4 is heavy (910g / 2lbs) and solid-feeling, and the K-1/II is no lightweight either. Despite its bulk though, the 50mm balances well on the K-1 II assuming you don’t mind the combined weight of the package.

Hands-on with the Pentax HD FA* 50mm F1.4

As you can see, the 50mm F1.4 is a big lens, even without the large hood attached. The only controls are an autofocus switch and a broad, nicely damped manual focus ring. The distance scale is likely to be appreciated by users preferring manual focus, and the lens can focus down to 0.4m or 15.75 inches.

Hands-on with the Pentax HD FA* 50mm F1.4

The 50mm F1.4’s ‘AW’ label stands for ‘all weather,’ which is made most visible by the bright red gasket on the rear of the lens. A number of other seals at key points in the body of the lens help protect against both dust and moisture incursion. We haven’t tested it, but in general our experience with high-end Pentax equipment in tough weather has been very reassuring.

Hands-on with the Pentax HD FA* 50mm F1.4

Ricoh claims that a newly developed SDM ring-type motor provides 7.5x as much torque as previous models, which makes sense given how much glass needs to be moved around inside the lens. Focusing is taken care of internally with a silent ring-type SDM motor, and though it isn’t what we’d call ‘lightning fast,’ it’s fine for most shooting. The K-1/II and 50mm combination definitely isn’t up to the task of tracking fast-moving kids around the frame, but after our in-depth testing of the K-1 II’s autofocus system, this didn’t come as any surprise.

In use, the most limiting factor about this lens is probably its sheer weight. Attached to a K-1 II, the total package weighs two kilos (~4.4 pounds) and that’s the kind of weight that can quickly become uncomfortable during shooting.

Hands-on with the Pentax HD FA* 50mm F1.4

Since the 50mm F1.4 makes use of an electromagnetic diaphragm, note that it is only fully compatible with recent DSLRs – specifically, the K-1 Mark II, K-1, K-3 II, K-3, KP, K-70, K-S2 and K-S1. The lens will mount on older cameras and work fine, but only at its maximum aperture setting of F1.4.

Hands-on with the Pentax HD FA* 50mm F1.4

Photograph by Wenmei Hill

The Pentax 50mm F1.4 is a pretty expensive lens (at $ 1200 it’s almost twice the price of the excellent Sigma 50mm F1.4, which is sadly not available for Pentax), but for many users of the company’s full-frame DSLRs, its performance could justify the cost. As far as sharpness is concerned, the HD 50mm F1.4 is up there with the best of its competitors, even when shot wide open.

It’s not perfect though. Longitudinal chromatic aberration (which is near-impossible to remove post-capture without some penalty) is a major factor in images shot at faster apertures. Look closely at the image above (taken at F1.8) and you can clearly see how the wire mesh in front of our subject is ringed with bright green fringes in the areas just beyond the zone of sharp focus and magenta fringes in the areas just ahead of the in-focus point.

Hands-on with the Pentax HD FA* 50mm F1.4

Photograph by Carey Rose

This is a another example (admittedly a stress-test) shot at F2.8. To see the issue at its worst, take a look at the area upper left (it might help to download the full-sized original). Unlike lateral CA, longitudinal chromatic aberration is very hard to correct in post-processing, especially in a scene like this.

Hands-on with the Pentax HD FA* 50mm F1.4

Photograph by Wenmei Hill

This is a more everyday subject (shot at F2.4, with flare slightly reducing overall contrast) and as you can see, longitudinal CA is much less objectionable. How and where it appears depends to a large extent on the content of your images, and overall the Pentax HD FA* 50mm F1.4 gives excellent performance. This shot is a good example of the very pleasant bokeh (free of common nasties like onion ring patterns in the out of focus highlight disks) that the 50mm F1.4 delivers at wide apertures.

Hands-on with the Pentax HD FA* 50mm F1.4

Photograph by Wenmei Hill

As well as pleasant bokeh, the 50mm F1.4 can also make really pretty-looking sunstars. This shot was taken at F16.

Hands-on with the Pentax HD FA* 50mm F1.4

So it’s big, it’s heavy and it’s very sharp. But is it worth $ 1200? That’s a hard question to answer, given the paucity of other options for Pentax full-frame users. Older Pentax primes are showing their age, and currently, third-party 50mm options for PK mount are non-existent. Right now, for Pentax users wanting a modern fast 50mm, the HD FA* 50mm F1.4 is the only game in town.

Speaking of third-party options, the Pentax HD FA* 50mm F1.4 is almost certainly an OEM product, and bears a striking external resemblance to the recently-released Tokina ‘Opera’ 50mm F1.4. This isn’t particularly significant (the Pentax 15-30mm F2.8 and 24-70mm F2.8 look suspiciously similar to Tamron-branded lenses, for example) and this kind of an arrangement makes sense given the relatively small market for Pentax full-frame glass.

Currently we don’t know much about the Tokina Opera beyond the fact that it will be available in Canon EF and Nikon F mounts (schematics and detailed specifications are yet to be released) but we’re interested to compare the two lenses as soon as we get a chance.

Check out our full gallery of samples from the Pentax HD FA* 50mm F1.4

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Pentax FA* 50mm F1.4 SDM AW lens shipping in July for $1199

29 Jun

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First announced last October, Ricoh is ready to ship the HD Pentax-D FA* 50mm F1.4 SDM AW, a weather-sealed fast prime for the company’s full-frame DSLRs. The lens has 15 elements in 9 groups: one anomalous dispersion and three aspherical. A newly developed SDM ring-type motor has 7.5x as much torque as previous models in order to move all of that glass quickly and smoothly. As the lens uses an electromagnetic diaphragm, it is fully compatible with only the K-1 Mark II, K-1, K-3 II, K-3, KP, K-70, K-S2 or K-S1.

HD and Aero Bright II coatings reduce flare and ghosting while a Super Protect coating on the front element should help repel dirt and precipitation. The lens is sealed against dust and moisture and weighs in at 910g / 2lbs. The 50mm F1.4 has nine rounded aperture blades, and a minimum focus distance of 40cm / 15.6″. The maximum magnification is 0.18x.

You’ll be able to pick up the FA* 50mm F1.4 SDM AW in late July at an MSRP of $ 1199.

Official samples:

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Press Release:

RICOH ANNOUNCES AVAILABILITY OF HD PENTAX-D FA? 50mm F1.4 SDM AW STAR-SERIES LENS

First model in new generation of high-performance K-mount lenses delivers exceptional imaging performance and superior dependability in a wide range of shooting conditions

WEST CALDWELL, NJ, June 28, 2018 ?Ricoh Imaging Americas Corporation today announced the availability of the first model in its new generation of PENTAX Star series lenses, the HD PENTAX-D FA?50mm F1.4 SDM AW. This large-aperture, prime lens delivers stellar imaging performance and maximum light transmission—the hallmarks of the acclaimed Star series line—and is the perfect companion to any K-mount digital SLR camera including the full-frame PENTAX K-1 and new PENTAX K-1 Mark II models.

Premium-quality Star-series lenses deliver the highest performance among the PENTAX SLR interchangeable lens series, and have enjoyed enthusiastic support from PENTAX SLR camera users since the days of film. In addition to the initial design concepts of optimum image quality and large apertures for maximum light transmission, the series has embraced the additional concepts of exceptional toughness and outstanding operability, achieved through the development of a dustproof, weather-resistant lens housing. The resulting lenses provide superior dependability in wide range of shooting conditions.

The HD PENTAX-D FA?50mm F1.4 SDM AW lens delivers exceptional resolving power from the center to the edges of the image field, even when set to open aperture. The lens incorporates state-of-the-art PENTAX-developed lens coating technologies — including the new Aero Bright Coating II for exceptionally low reflectance and high-grade high-definition (HD) Coating — that enable it to produce extra-sharp, high-contrast images free of flare and ghost images. The lens’s dustproof, weather-resistant body also makes it extremely dependable and durable for shooting in demanding outdoor conditions. Its PENTAX K-mount covers the image circle of a 35mm-format full-frame image sensor.

The new lens is the first produced following Ricoh’s extensive review of standards for the top-of-the-line Star series. Engineers evaluated a variety of approaches to minimize aberrations and deliver the highest image quality. The HD PENTAX-D FA?50mm F1.4 SDM AW lens is designed to deliver optimum imaging performance with all compatible camera bodies, including next-generation digital SLRs.

| Key Features |

  1. New-generation, high-performance Star-series lens with large F1.4 maximum aperture

This lens has been developed as a new-generation member of the high-performance Star series — a lineup designed to deliver extra-clear, high-contrast images with edge-to-edge sharpness while keeping aberrations to a minimum. The lens, which is the result of an extensive review of traditional Star-series standards, provides greatly improved resolving power, which enables it to deliver excellent imaging performance even with more advanced, next-generation camera bodies. Developed as the first model of the new-generation Star-series lenses, the new lens boasts an extra-large F1.4 maximum aperture, useful with many different subjects in a range of applications, including portraiture with an effectively de-focused (bokeh) background, and handheld shooting of indoor scenes. It provides exceptional image quality even at open aperture, as well as outstanding performance at close ranges.

  1. State-of-the-art optical technology

The lens is treated with PENTAX-developed Aero Bright Coating II — a lens coating developed using a state-of-the-art nanotechnology process. It consists of a silica aerogel layer with a uniform porous structure over a regular multi-coating layer that reduces surface reflections across a wide wavelength range and produces crisp, high-quality images.

By coupling this advanced lens coating with the high-grade, multi-layer HD (high definition) Coating, average reflectance in the visible ray spectrum is reduced to less than 50% compared to conventional multi-layer coatings. As a result, the lens effectively reduces flare and minimizes ghost images even in demanding lighting conditions, such as backlighting. The lens incorporates three super-low dispersion glass elements and one aspherical element to effectively compensate for chromatic and spherical aberrations, enabling it to produce brilliant, high-contrast images with edge-to-edge sharpness. Since distortion is minimized even at a focusing distance of approximately one meter, the lens produces crisp, distortion-free images over the entire focusing range, from the minimum focusing distance to infinity.

  1. Dustproof, weather-resistant construction

Developed as an AW (all weather) model, this lens features a dependable dustproof, weather-resistant body with eight special seals to prevent the intrusion of water and dust into the lens interior. When paired with a PENTAX weather-resistant digital SLR camera body, it forms a durable, reliable digital imaging system that performs superbly in demanding conditions — even in rain or mist, or at locations prone to water splashes or spray.

  1. Newly developed ring-type motor

This lens features a newly developed ring-type SDM (supersonic direct-drive motor), which generates as much as 7.5 times the torque as the SDM installed in previous-generation lenses. This enormous driving power assures a smooth, high-speed shift of the heavy, multi-element rear lens group during focusing operation.

  1. Other features

?Nine-blade, round-shaped diaphragm produces a natural-looking de-focus (bokeh) effect up to an F2.8 aperture setting, while minimizing the streaking effect of point light sources

?A minimum focusing distance of 0.4 meters, effective for capturing images with a de-focus effect

?Electromagnetic diaphragm-control mechanism,* for flawless, high-precision exposure control during movie recording

?SP (Super Protect) coating to keep the front surface free of dust and spots

* This mechanism is available when the lens is mounted on a PENTAX K-1 Mark II, K-1, K-3 II, K-3, KP, K-70, K-S2 or K-S1 camera body.

| Pricing and Availability |

HD PENTAX-D FA?50mm F1.4 SDM AW will be available in late July 2018 at www.ricohimaging.com and retail outlets nationwide for a manufacturer’s suggested retail price of $ 1,199.95.

HD Pentax-D FA* 50mm F1.4 SDM AW specifications

Principal specifications
Lens type Prime lens
Max Format size 35mm FF
Focal length 50 mm
Image stabilization No
Lens mount Pentax KAF4
Aperture
Maximum aperture F1.4
Minimum aperture F16
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 15
Groups 9
Special elements / coatings 1 aspherical + 3 anamalous dispersion elements, Aero Bright II + HD + Super Protect coatings
Focus
Minimum focus 0.40 m (15.75″)
Maximum magnification 0.18×
Autofocus Yes
Motor type Ring-type ultrasonic
Full time manual Yes
Focus method Internal
Distance scale Yes
DoF scale No
Physical
Weight 910 g (2.01 lb)
Diameter 80 mm (3.15″)
Length 106 mm (4.17″)
Sealing Yes
Colour Black
Filter thread 72 mm
Hood supplied Yes
Tripod collar No

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More information released on Yongnuo YN 50mm F1.4 II

02 Jun

Yongnuo has unveiled a new version of its 50mm F1.4 lens – the upcoming YN 50mm F1.4 II. The new model follows an update to the company’s 50mm F1.8 offering (predictably called the 50mm F1.8 II), giving photographers a new and inexpensive alternative to Canon’s venerable EF 50mm F1.4.

Yongnuo’s new lens features a USB port for firmware updates, support for live view focusing, electromagnetic aperture, and a new external design. The company emphasizes the 50mm F1.4 II’s bokeh capabilities.

The YN 50mm F1.4 II features 9 elements in 7 groups, electromagnetic aperture with support for M/Av/Tv/P/B modes, gold-plated contacts and a metal mount, glass optics with a multilayer coating for better light transmission with controlled glares/ghosting, as well as both manual and auto focus, a focus distance indictor, and the same DC motor drive system found in the original model.

The Hong Kong company detailed the new lens on its website, but pricing and availability have yet to be announced.

Via: PhotoRumors

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Meike introduces full-frame Sony edition of its 50mm F1.7 lens

12 May

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Chinese lens manufacturer Meike has added a new version of its existing 50mm F1.7 lens to its range, but this time for full-frame Sony users. The existing model, introduced in February, was aimed at users of mirrorless cameras systems and comes in APS-C and MFT mounts. The newly released version features a wider covering circle meant for larger sensors – at the moment those in Sony E-Mount cameras.

As before, this new model is manual focus only and has a minimum focus distance of 50cm. It uses 6 elements in 5 groups and has a filter thread that measures 52mm. Meike says it weighs 310g, measures 61×54.5mm, and that it uses a metal mount and barrel. Although the spec sheet doesn’t mention the number of blades in the iris, the product shots show 12 edges on the aperture—the same as in the existing model.

The lens is listed on Amazon USA for $ 130, and for €131.50 in some parts of Europe. It is listed as unavailable in the UK and no price is given. For more information, visit the Meike website.

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