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Posts Tagged ‘f1.4’

DPReview TV: Sony 24mm F1.4 GM

22 Sep

In this episode of DPReview TV we take a look at Sony’s brand new 24mm F1.4 GM lens, a desirable focal length for many photographers. How does it perform? Chris and Jordan give us their first impressions.

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Sony 24mm F1.4 GM sample gallery

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Articles: Digital Photography Review (dpreview.com)

 
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Hands-on with the Sony 24mm F1.4 G Master

21 Sep

Hands-on with the Sony 24mm F1.4 G Master

The Sony 24mm F1.4 is the latest lens to join the company’s premium G Master lineup. It’s impressively compact given its size, and at 445g (0.98lb), it’s 200g – or almost half a pound – lighter than the Sigma 24mm F1.4 Art for DSLR cameras. It’s even lighter compared to the E-mount Sigma 24mm Art lens – 335g lighter – or about half the weight.

The 24mm F1.4 balances really nicely on a Sony a7R III, with the center of gravity very close to the body. Sony claims that the short flange distance as well as the inclusion of two XA (extreme aspherical) elements help keep the lens’ size down.

Hands-on with the Sony 24mm F1.4 G Master

The optical formula comprises 13 elements in 10 groups. Sony claims that the two XA elements combine with three ED (extra dispersion) elements to provide great resolution and coma suppression even at F1.4. The XA elements also help to combat field curvature and astigmatism, which are aberrations common to wide-angle lenses.

Hands-on with the Sony 24mm F1.4 G Master

The XA elements are claimed to contribute to the quality of the bokeh rendition, which our initial shooting shows to be very smooth. Sony says that these elements are manufactured to a precision of 0.01 microns, which should help prevent busy ‘onion ring’ patterns in your out-of-focus highlights, and generally yield smoother bokeh.

The 24mm F1.4 G Master features a 67mm filter thread, compared with the 77mm threads found on comparable offerings from Sigma, Canon and Nikon.

Hands-on with the Sony 24mm F1.4 G Master

The 24mm F1.4’s 11-blade aperture (seen here wide-open) also contributes to smooth bokeh, remaining circular down to F2.8. Continue closing the aperture down and you’ll be treated to some lovely 22-point sunstars.

Hands-on with the Sony 24mm F1.4 G Master

In terms of controls, the 24mm F1.4 comes with a physical aperture ring that allows you to select F1.4 – F16 in 1/3 stop increments. You can also click it to ‘A,’ which allows you to use the command dials on the camera to control aperture instead.

This lens handles very nicely for video shooters, as well. The aperture ring can be de-clicked for smooth, silent control during video shooting, and the manual focus ring comes with excellent feel and a linear (as opposed to speed-sensitive) response for those who like to manually pull focus. Sony claims minimal focus breathing thanks to a precision internal focus mechanism. Lastly, the light weight makes it easier to mount and use on a gimbal.

Hands-on with the Sony 24mm F1.4 G Master

On the other side of the lens is a customizable function button as well as the AF / MF switch. In terms of autofocus, a high-power direct drive SSM provides fast and silent autofocus, and Sony claims the new motor provides a higher level of positioning accuracy.

Sony also claims that this new motor provides three times greater thrust than the previous model, which we presume is the motor in the FE 35mm F1.4. In our preliminary shooting, we found the 24mm F1.4 GM focused slightly faster than the Sigma 24mm F1.4 Art, which itself is already quick for an F1.4 lens. The Sony had no problem keeping up with the newest member of the DPReview team, an excitable pup named Belvedere.

Hands-on with the Sony 24mm F1.4 G Master

As with all of Sony’s G Master lenses, the 24mm F1.4 is built to a high standard. Despite its light weight it feels quite solid, it’s dust and moisture-sealed and comes with a gasket on the mount. All focusing is taken care of internally, providing an additional measure against dust incursion.

Hands-on with the Sony 24mm F1.4 G Master

Until now, the most comparable option for Sony users wanting a fast 24mm was to adapt Sigma’s 24mm F1.4 Art (or Canon’s EF 24mm F1.4L II), or by the newly available E-mount version of the 24mm Art. The Sigma is a truly lovely lens, but even aside from the weight, the adapter pushes the center of gravity further out and it’s just not as comfortable to handle as the new G Master. The same holds true for the E-mount Sigma 24/1.4, which is essentially the same length as the DSLR version with the adapter.

Remove the adapter and the two lenses are more comparable, with the G Master actually measuring 2mm longer. But the G Master’s weight savings alone will make a significant difference for frequent travelers and users on all-day shoots.

Hands-on with the Sony 24mm F1.4 G Master

Though we’ve yet to fully test the 24mm F1.4 G Master, our initial impressions of its optics are positive. The contrast is high even at F1.4 (like the Sigma Art), and is noticeably better than the more ‘veiled’ look of the Nikon and Canon equivalents wide-open.

Wide-open sharpness is great, though as you’d expect, stopping down to F2 or F2.8 gets you even sharper results thanks to the elimination of purple fringing visible around high contrast edges at F1.4. Bokeh is smooth, with no onion ring artifacts. As with all fast, wide-angle primes, you’ll notice some longitudinal CA (purple/green fringing), but it’s reasonably well-controlled. There’s some lateral CA near the edges, but it’s easily removed in post-processing. Distortion and coma also look to be well-controlled. Vignetting is noticeable, but it’s mostly gone by F2.8. If you shoot directly into the sun you’ll get some ghosting flare artifacts, particularly at smaller apertures, but the Sony fares very well in this regard compared to the Sigma Art. There’s not much veiling flare wide open even with the sun just out of the frame.

We think the 24mm F1.4 G Master fills a useful gap in the Sony ecosystem, with a focal length and aperture combination that make it useful for reportage and event shooting. The lens will ship in October for a retail price of $ 1400 USD.

Articles: Digital Photography Review (dpreview.com)

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

21 Sep

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

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

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

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

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

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

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

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

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

Watch DPReview TV’s first impressions

Press Release

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

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

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

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

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

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

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

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

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

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

Pricing and Availability

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

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

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

[iii] Including converters, excluding discontinued models

Sony FE 24mm F1.4 GM specifications

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

Articles: Digital Photography Review (dpreview.com)

 
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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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New 32mm F1.4 STM joins Canon’s EF-M lens collection

07 Sep

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Despite the launch of four RF and two EF-mount lenses, Canon is out to show that it’s still committed to the EF-M system. Today the company announced the EF-M 32mm F1.4 STM, which will cost $ 479.99 when it is available later this month, and offers an equivalent focal length of just over 50mm when attached to an M-series mirrorless body.

Press Release:

CANON INTRODUCES NEW LENS FEATURING THE LARGEST AND FASTEST APERTURE IN THE EF-M LENS FAMILY

New EF-M 32mm F/1.4 STM Expands Canon’s Robust Lineup of EF-M Lenses

Aimed at Entry and Enthusiast-Level Photographers

MELVILLE, N.Y., September 5, 2018 – Canon U.S.A. Inc., a leader in digital imaging solutions, today introduced a new EF-M wide angle fixed-focal-length lens, the EF-M 32mm f/1.4 STM. The EF-M lens is both compact and lightweight, serving as an ideal addition for any photographer shooting with an EOS-M series camera. Entry and enthusiast-level photographers who are passionately seeking to take their photography skills to the next-level will find this lens to be a great addition for portraiture, landscapes or
general travel photography.

“As Canon continues to expand the company’s EF-M lineup, it is very important that users are provided the tools they desire for a variety of shooting situations,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “The new EF-M 32mm f/1.4 STM lens delivers great image quality in a compact and lightweight form factor, allowing photographers to capture the images they envision when they pick up their camera.”

The EF-M 32mm f/1.4 STM lens is the second EF-M lens to feature a large-aperture, delivering stunning bokeh with a soft blurred background that helps photographers isolate their subjects. In addition, the 32mm focal length converts to approximately 51m in 35mm format, providing an angle-of-view close to the field-of-view of the human eye.

Additional noteworthy features of the EF-M 32mm f/1.4 STM lens include:

  • 14 elements in eight groups, including a glass molded aspherical lens
  • Super Spectra Coating technology and optimized lens element placement helps minimize ghosting and flaring
  • Lead gear-type STM stepping motor to help provide smooth and quiet focus operation when taking photos, and near-silence when shooting video
  • Wide focusing ring with full-time manual focus capabilities
  • Compact and lightweight design: maximum diameter of 60.9mm, total length of
    50.5mm and approximate weight of 235g
  • Maximum magnification of 0.25x and minimum focusing distance of 0.23m

Availability and Pricing

The EF-M 32mm f/1.4 STM will be available for purchase in late September 2018 for an estimated retail price of $ 479.99*. Included accessories for the new lens are Canon lens cap E-43, lens hood ES-60 and lens case LP-1014. For additional information about the new lens or to learn more about the complete lineup of Canon EF-M lenses, please visit usa.canon.com.

Canon EF-M 32mm F1.4 STM specifications

Principal specifications
Lens type Prime lens
Max Format size APS-C / DX
Focal length 32 mm
Image stabilization No
Lens mount Canon EF-M
Aperture
Maximum aperture F1.4
Minimum aperture F16
Aperture ring No
Number of diaphragm blades 7
Optics
Elements 14
Groups 8
Special elements / coatings Aspherical elements + Super Spectra Coating
Focus
Minimum focus 0.23 m (9.06″)
Maximum magnification 0.25×
Autofocus Yes
Motor type Stepper motor
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale No
Physical
Weight 235 g (0.52 lb)
Diameter 61 mm (2.4″)
Length 57 mm (2.24″)
Sealing No
Filter thread 43 mm

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.

Articles: Digital Photography Review (dpreview.com)

 
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Sigma 85mm F1.4 DG HSM Art for Sony E-mount sample gallery

10 Aug

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Earlier this year Sigma announced nine full-frame Art-series primes would be made available for Sony E-mount. We recently got our hands on the 85mm F1.4 Art and put it through its paces on both an a7R III and a7 III body.

So far, the lens seems to perform identically to other versions of the Sigma 85mm F1.4 Art available for DSLR mounts. And functionally it works just like a native Sony lens, supporting the full suite of Sony AF modes and features including Eye AF and Lock-on AF. Take a look at the results for yourself, in our gallery of real-world samples.

See our Sigma 85mm F1.4 Art for Sony E mount sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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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

Articles: Digital Photography Review (dpreview.com)

 
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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

Articles: Digital Photography Review (dpreview.com)

 
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Canon patent application teases full-frame 58mm F1.4 ‘soft-focus’ lens

28 Jun

An interesting new patent application from Canon details a series of potential lens designs with an adjustable soft-focus feature.

Japanese patent application number 2018-97240 lays out the groundwork and schematics for four different full-frame camera lens designs that feature a dual-focus system: a 58mm F1.4, a 35m F1.8, a 105mm F2 and a 70-200mm F4.

According to the patent application, the first focusing module would be used for the traditional purpose of focusing on the subject matter. The other module, however, isn’t for the sake of focusing, but to intentionally soften the image using spherical aberration.

The patent application details two specific challenges designing such a lens: trying to focus the lens, which is a challenge to do when spherical aberration is present in the image, and having variable soft-focus, so you can add as much or as little spherical aberration as you see fit for the scene—something not possible with past soft-focus lenses.

Below is the computer-translated text from the patent detailing how the soft-focus module would work:

A second arrangement state by which said 1st focus group and said 2nd focus group are arranged so that a second aberration amount which will be in a focusing state in the aforementioned predetermined object distance, and is different from said first aberration amount may be generated.

Regardless of whether or not one of these lens designs ever makes it to market, this isn’t the first time a soft-focus lens has been made. In 1935, Leitz created the Thambar 90mm F2.2, a classic Leica lens renowned for its dream-like aesthetic. In fact, Leica released a modernized M-mount version of the Thambar 90mm F2.2 late last year as well.

As with all patents and patent applications, this design may never leave the metaphorical paper. But it’s interesting nonetheless.

Articles: Digital Photography Review (dpreview.com)

 
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