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Posts Tagged ‘f/2.8’

Canon developing six new RF lenses, including ultra-compact 70-200 F2.8

17 Feb

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Canon has announced the development of six RF lenses which are expected to be released at various points in 2019.

The most captivating has to be the RF 70-200 F2.8L IS USM. The lens is almost impossibly small, yet manages to be as fast as Canon’s EF model. The 70-200 will be stabilized, though we won’t find out how many stops of shake reduction it provides for some time, as Canon has not yet published specs for any of the upcoming lenses.

Canon will be offering two versions of its RF 85mm F1.2L USM: a ‘regular’ model and a ‘DS’ variant. DS stands for Defocus Smoothing, which Canon says ‘offers a combination of beautifully smooth defocused bokeh.’ While we don’t know exactly what that means yet, it seems likely that the DS model includes an Apodization element, of the kind we’ve seen before in ‘APD’ and ‘STF’ lenses from other manufacturers.

The dual model approach echoes Fujifilm’s decision to market two versions of its XF 56mm F1.2 – a standard model and an ‘APD’ variant optimized for bokeh.

Meanwhile, there are two fast zooms on the way: the RF 15-35mm F2.8L IS USM and the RF 24-70 F2.8L IS USM.

Lastly, there’s a versatile (but slower) travel zoom lens in the works too – the RF 24-240mm F4-6.3 IS USM.

Press Release:

CANON ENSURES THE SUCCESSFUL FUTURE OF ITS RF MOUNT WITH THE DEVELOPMENT OF SIX NEW LENSES

New Lenses Under Development Cover a Range of Core Focal Lengths

MELVILLE, N.Y., February 13, 2019 – Continuing with the message of “optics at its core,” Canon U.S.A. Inc., a leader in digital imaging solutions, today announced that its parent company, Canon Inc, is developing six new RF-series lenses, further displaying the company’s commitment to the EOS R full-frame mirrorless camera system. Canon’s new RF mount allows for fast, light, and high-performing optics with a large opening diameter and short back focus distance. Each new lens in development will help fulfill the needs of amateur and advanced amateurs to professional photographers and videographers, covering critical focal lengths. In 2019, Canon’s already well-established optical lens heritage will celebrate a production milestone of 140 million EF and RF lenses and the celebration starts with the development announcement of these six lenses[i].

The six new RF lenses under development include:

  • RF 85mm F1.2 L USM
  • RF 85mm F1.2 L USM DS
  • RF 24-70mm F2.8 L IS USM
  • RF 15-35mm F2.8 L IS USM
  • RF 70-200mm F2.8 L IS USM
  • RF 24-240mm F4-6.3 IS USM

“Optics are the critical piece of the visual puzzle that bend light and capture an image as the artist envisioned,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “That is why it is so important for us to strengthen our family of RF lenses for the EOS R camera system. With this collection of new lenses, customers will have more of the tools they need, for the images they desire to create.”

All six RF lenses under development are built around Canon’s new RF mount, which features a large 54mm diameter and shorter back focus distance than on current EOS DSLR cameras. In addition, the RF mount enhances communication and power transmission between the lens and camera body, which has helped Canon to achieve the world’s fastest autofocus speed for a full-frame mirrorless camera system[ii].

The details of the new Canon RF lenses under development are as follows:

The RF 85mm F1.2 L USM is a large aperture mid-telephoto prime lens. It offers excellent performance for advanced and professional portrait photographers and is a widely popular focal length and aperture speed combination for users.

The RF 85mm F1.2 L USM DS, with Defocus Smoothing lens technology, is a uniquely designed lens that offers a combination of beautifully smooth defocused bokeh. Featuring a super-fast F1.2 aperture, the lens will help produce breathtaking portraits that will surely stand out from the crowd.

The RF 24-70mm F2.8 L IS USM is a high-performance, standard zoom lens for professionals and photo enthusiasts alike – ideal for shooting portraits, landscapes, documentaries or weddings.

The RF 15-35mm F2.8 L IS USM, offering a wide angle and fast aperture in a single package, is ideal for a variety of shooting applications including architecture, interiors or landscapes.

The RF 70-200mm F2.8 L IS USM is a must-have for any professional photographer, especially for those shooting weddings, sports or wildlife. This lens is a great all-around, high-speed, medium telephoto zoom lens and does well to round out any camera bag.

The RF 24-240mm F4-6.3 IS USM is the ideal lens for amateurs and advanced amateurs who love to travel, no matter the destination. The versatile, all-purpose lens offers a range of focal lengths for capturing extraordinary shots in a form factor that is both compact and lightweight.

Availability

All six of the new Canon RF lenses under development are expected to be available later in 2019*. To learn more about the lenses under development and to follow along for the official announcement, please visit usa.canon.com

[i] 140 million milestone figure is the accumulated production as at 19th December 2018. Figure includes RF lenses and Cinema lenses

[ii] As of 13 February 2019, among interchangeable lens digital mirrorless cameras incorporating a 35mm full frame equivalent image sensor with contrast detection AF and phase detection AF on the image plane. Calculated from the results of measured AF speed, based on CIPA guidelines (differs depending on shooting conditions and lens used). Measured using internal methods. Measurement conditions: EV12 (ambient temperature/ISO 100), Manual Mode, using the RF 24-105mm F4 L IS USM (at a focal length of 24mm) with the following settings: shutter released using the shutter button, 1-point AF (Center AF), One-Shot AF)

*Specifications, availability and prices are subject to change without notice. Actual prices are set by individual dealers and may vary.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon announces Z 24-70mm F2.8 S – a new standard zoom for mirrorless

17 Feb

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Nikon has taken the wraps off a new standard zoom lens for mirrorless – the Z 24-70mm F2.8 S.

The Z 24-70mm F2.8 S has been on Nikon’s Z-series roadmap since the mount was announced last August, and is being pitched by Nikon as a perfect fast standard lens for the Z6 and Z7, offering a faster maximum aperture and more robust build quality than the more compact Z 24-70mm F4 S.

Compared to the AF-S 24-70mm F2.8 for F-mount, the new lens is 25% smaller and 18% lighter, with a totally redesigned optical formula comprising 17 elements in 15 groups. Two of the elements are Extra Low Dispersion (ED) glass, and four are aspherical. As well as Nikon’s Nano Crystal coating, the 24-70mm introduces a new ‘Arneo’ coat, which is promised to further reduce flare and ghosting. Fluorine coating on the front and rear elements is designed to help make it easier to clean oil and moisture from the outer surfaces of the lens.

Initial sample images from photographer Ami Vitale

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An customizable ‘L-Fn’ button is joined by an OLED panel, which can display various information, including focus distance, aperture and focal length. Also new, a third customizable ‘control ring’ joins focus and zoom rings to provide direct control over various exposure parameters (if desired).

The new Z 24-70mm F2.8 S will ship later this spring, at an MSRP of $ 2299.

Press release:

NIKON UNVEILS THE NIKKOR Z 24-70MM F/2.8 S, A FAVORITE ZOOM LENS REBORN FOR THE Z SERIES

The NIKKOR Z 24-70mm f/2.8 S Implements the Latest Nikon Optical Technologies to Reinvent One of Nikon’s Most Coveted Zoom Lenses for the Full-Frame Mirrorless Z System

MELVILLE, NY (February 13, 2019 at 11:01 P.M. EST) – Today, Nikon Inc. announced the NIKKOR Z 24-70mm f/2.8 S: a much-anticipated, fast-aperture zoom lens that’s ideal for professional and advanced photographers who capture portraits, landscapes, weddings and events, as well as content creators who shoot video using Nikon’s revolutionary new Z Mount System. Designed to take full advantage of the wider, brighter and faster Z Mount, this new S-Line lens delivers stunning sharpness all the way to the corners of the frame, even when used at its maximum aperture.

The NIKKOR Z 24-70mm f/2.8 S is the first NIKKOR lens to use the all new Nikon-designed ARNEO coat, which is used in conjunction with Nikon’s Nano Crystal Coat to significantly minimize flare and ghosting. The lens also includes Nikon’s new Multi-Focus System to help ensure fast and accurate autofocus even when shooting close-up subjects. Additionally, the 24-70mm f/2.8 S is the first NIKKOR Z lens to feature a dedicated manual focus ring independent of the customizable control ring, a Function (L-Fn) button, and an Organic EL Lens Information Panel for quick reference of key settings such as focus distance, depth-of-field, aperture and focal length.

“The NIKKOR Z 24-70mm f/2.8 S is the lens that Z Series users have been waiting for, a lens that many photographers and videographers would never leave home without,” said Jay Vannatter, Executive Vice President, Nikon Inc. “Lightweight and tack sharp, the 24-70mm f/2.8 S is a great example of the outstanding performance and portability that is possible with our next-generation Z Mount System.”

NIKKOR Z 24-70mm f/2.8 S – Performance, Precision and Optical Superiority
The NIKKOR Z 24-70mm f/2.8 S builds on a century of Nikon optical heritage by harnessing the technical advantages of the Z Mount. This type of lens is known as a photographer favorite due to its versatility, useful zoom range, fast aperture and sharpness. Nikon was able to redesign this all-around zoom lens to achieve a new standard of performance, while making it both smaller and lighter—approximately 24.7% lighter and 18.4% shorter than the popular AF-S NIKKOR 24-70mm f/2.8E ED VR lens.

The NIKKOR Z 24-70mm f/2.8 S takes advantage of the latest optical technologies to ensure exceptional control of aberration, ghosting and flare. Featuring an optical construction of 17 elements in 15 groups—including two ED glass elements and four aspherical elements—the lens delivers sharp, virtually vignette-free performance from edge-to-edge across its entire zoom range, even at maximum aperture.

Additionally, the NIKKOR Z 24-70mm f/2.8 S is the first NIKKOR lens to feature Nikon’s all-new ARNEO coating: a multi-layer coating that is used in conjunction with Nano Crystal Coating for superior anti-reflective performance. While Nano Crystal Coat suppresses ghosting and flare coming from backlight at diagonal angles, the ARNEO coat compensates for light entering the lens from vertical angles. This expanded field enables the lens to capture exceptional contrast and sharpness even when the light source is visible inside the frame.

To help ensure fast, accurate and silent autofocus, the NIKKOR Z 24-70mm f/2.8 S combines a powerful stepping motor (STM) with Nikon’s new Multi-Focus System. This system uses two actuators to move two focus groups at once, enabling the lens to achieve critical focus rapidly from nearly any distance, including close-up shooting.

The 24-70mm f/2.8 S is the most customizable NIKKOR Z lens yet. The lens features an Organic EL Lens Information Panel that allows for quick confirmation of aperture and focal length or focus distance and depth-of-field without looking at the viewfinder. For enhanced versatility, the addition of a L-Fn button allows you to set over 20 custom functions when shooting stills. The lens is also the first to feature an independent focus ring in addition to the customizable control ring found on all S-Line lenses, giving professional photographers and videographers more comfortable and convenient control over their shooting experience.

Finally, the NIKKOR Z 24-70mm f/2.8 S was designed to excel at video in addition to stills capture, taking full advantage of the industry-leading video features found in the Nikon Z 6 and Z 7. Its design minimizes focus breathing, preventing the angle of view from changing when the focus is adjusted; the stepping motor and Multi-Focus System ensure fast, accurate and quiet focusing; full compatibility with the built-in 5-axis VR of the Nikon Z System ensures users can capture super-smooth video hand-held; and the customizable control ring, independent focus ring and Organic EL panel give filmmakers even more control over this exceptional lens on-set.

The NIKKOR Z 24-70mm f/2.8 S is destined to be an instant classic—a must-own lens for Nikon Z Series creators of all types.

Key Features:

  • An indispensable standard zoom lens for professionals, advanced photographers and video creators—ideal for environmental portraits, landscapes, weddings, events, studio and street photography.
  • Constant f/2.8 aperture throughout the zoom range delivers the subject separation, speed and gorgeous bokeh professionals demand.
  • Exceptional optical performance achieves edge-to-edge sharpness and minimal aberration in an incredibly lightweight and portable package, thanks to the revolutionary new Z mount.
  • All-new ARNEO coating works in conjunction with Nikon’s Nano Crystal Coat to minimize ghosting and flare when the light source is within the frame.
  • Fast, accurate and quiet autofocus throughout the zoom range, thanks to Nikon-designed Multi-Focus System and Stepping Motor.
  • Built-in Function (L-Fn) button, Organic EL Lens Information Panel and independent focus ring give creators more control over their shooting experience.
  • Fully compatible with in-camera 5-axis VR found in the Nikon Z 6 and Z 7, providing up to 5 stops1 of image stabilization without adding to the size or weight of the lens.
  • Optimized for video, with reduced focus breathing, a quiet stepping motor, customizable control ring, and the ability to take advantage of the in-camera 5-axis VR + eVR of the Nikon Z 6 and Z 7.
  • Designed with consideration to dust and drip resistance, and featuring a fluorine coat that effectively repels dust, water droplets, grease and dirt.

Price and Availability:

The NIKKOR Z 24-70mm f/2.8 S will be available in spring 2019 at a suggested retail price (SRP) of $ 2,299.952.

For more information about this lens, as well as the latest Nikon products including the full Nikon Z Mount System, please visit www.nikonusa.com.

1. Based on CIPA Standard. This value is achieved when FX-format compatible lenses are attached to a FX-format digital SLR camera and zoom lenses are set at the maximum telephoto position.
2. SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.

Nikon Nikkor Z 24-70mm F2.8 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 F2.8
Minimum aperture F22
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 17
Groups 15
Special elements / coatings Four ED and two aspherical elements + Arneo and Nano Crystal coatings
Focus
Minimum focus 0.38 m (14.96″)
Autofocus Yes
Motor type Stepper motor
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale No
Physical
Weight 805 g (1.77 lb)
Diameter 89 mm (3.5″)
Length 126 mm (4.96″)
Sealing Yes
Zoom method Rotary (extending)
Power zoom No
Filter thread 82 mm
Hood supplied Yes

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm XF 16mm F2.8 sample gallery

15 Feb

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Fujifilm’s XF 16mm F2.8 compact prime is one of the widest lens of its type in the company’s lineup (tied with the existing 16mm F1.4 WR). It comes with a 24mm-equivalent field of view, an aperture ring, weather sealing and impressively fast autofocus. But most importantly, how are the optics? Take a look through our sample gallery (shot with a pre-production sample) to get a glimpse of just how well this lens performs against the backdrop of a snowy Seattle winter.

Articles: Digital Photography Review (dpreview.com)

 
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Canon shows forthcoming RF lenses including radical 70-200mm F2.8 IS

15 Feb

Introduction

Alongside the EOS RP, Canon has announced the next six lenses it plans to introduce for its RF mount. Don’t be fooled by the timing: although they are being announced with the RP most of these lenses are not being targeted at entry-level or even mass-market customers.

Canon has already said it’s working on a full frame mirrorless camera aimed at professionals, and most of today’s development announcements make clear it intends to have appropriate lenses ready to suit it. All six lenses will be formally launched by the end of 2019, the company says.

Details are pretty scant right now (technically Canon is only announcing its intention to develop these lenses), but mockups of all six were on show at the pre-launch RP event.

RF 70-200mm F2.8L IS USM

To us the most exciting lens to be revealed is the RF 70-200mm F2.8L IS. Part of our excitement is that a 70-200mm F2.8 is one of the workhorses of any system. Pros and enthusiasts use these lenses for a whole range of shooting situations, from portraiture to sports, so it’s an essential ingredient for a system trying to appeal to high-end shooters.

Another piece of good news is that the lens uses Canon’s Nano USM lens motors. The company is a little cagey about exactly how these work, other than that they provide linear, rather than the rotational motion of the ring-type USM motors used in DSLR lenses. What we do know is that the fastest and smoothest focusing lens in the RF system so far (the 24-105mm F4L IS) is powered by Nano USM, which bodes well for the 70-200mm.

RF 70-200mm F2.8L IS compared to the EF 70-200mm

Oh, and the other interesting thing about the RF 70-200mm F2.8L IS? It’s TINY. Here we’ve shot it alongside the most recent EF 70-200mm F2.8L IS and you can see just how much smaller it’s going to be. Unless the ‘pro’ RF model ends up being huge, this is going to make an impressively compact combination.

Canon’s engineers wouldn’t be drawn on exactly how they’ve managed to make it so small, beyond pointing us back to the claimed benefits of the short and wide lens mount. There may well be something more complex going on: we’ll find out when it’s formally released but we were given the distinct impression that it’s not a diffractive optics (Fresnel) design.

RF 24-70mm F2.8 L IS USM

Another great pro workhorse is the 24-70mm F2.8 and Canon’s going to launch one of those, too. We’ve had no details about specifics but it’s a sensibly-sized lens, even if it isn’t as impressively small at its tele counterpart.

Canon has confirmed that it’s working on an in-body stabilization system

Like the 70-200mm the 24-70mm has built-in image stabilization and Canon has confirmed that it’s working on an in-body stabilization system for future camera models that will work in conjunction with this. So you’ll get stabilization on all RF bodies and even greater stabilization on others.

Like the 70-200mm, the 24-70mm will be driven by a Nano USM focus motor.

RF 15-35mm F2.8 L USM

The last in the cover-the-bases pro lineup is the 15-35mm F2.8. Canon says the RF lens mount allowed them to make it a 15-35mm, rather than starting at 16mm.

Again the lens is small and stabilized and, like the other two F2.8 zooms, will be driven by a fast, silent Nano USM motor.

We only wonder whether it needs more prominent markings to make it easier to distinguish from the 24-70, when they’re placed next to one another in a camera bag.

RF 85mm F1.2 L USM

While the trio of F2.8 lenses are all pretty compact, the same can’t be said of the 85mm F1.2. We thought the RF 50mm F1.2 was big (in part because we’ve only had the mid-range EOS R to mount it on, so far), but perhaps not unreasonably, the 85mm F1.2 is even bigger.

We’ve been impressed by the optical performance of the 50mm F1.2 so far. And, while we can’t be sure how much of that can be ascribed to the short, wide lens mount, Canon is clearly doing something right. A super-fast 85mm prime that can be confidently shot using off-center AF points is likely to be an exciting prospect as a portrait lens, even if you don’t always opt for for the hairbreadth depth-of-field that F1.2 can give you.

On the subject of focus, like the RF 50, the 85mm’s focus elements are too big and heavy for the use of a Nano USM motor, so it’s based around slightly less snappy ring-type USM drive.

RF 85mm F1.2 L USM DS

The ‘DS’ designation is new for Canon. Sadly it doesn’t mean we should expect avant garde engineering and styling. Instead, it stands for ‘Defocus Smoothing’ and promises improved bokeh, compared with the standard version.

If that makes you think of apodization elements (essentially an element that’s progressively darker towards the edge to prevent bright-edged bokeh), then the things we were told in our interview with senior engineers will only confirm that assumption.

The DS was the only lens not shown in mockup form as we’ve been told that not all the design decisions have been made yet. Despite this, a computer rendering of the lens has been issued: it says ‘Defocus Smoothing’ on the front, whereas the non-DS version does not.

RF 24-240mm F4-6.3 IS USM

The only lens not clearly aimed at a high-end audience is the RF 24-240mm F4-6.3 IS USM. It’s designed as a do-everything travel zoom, giving a 10x zoom capability.

We’ve mounted it here on the EOS RP and you can see it’s well matched (many of the other RF lenses have a wider diameter, and as a result lift the RP body off the ground if you haven’t attached the optional grip extension).

The two most obvious features are its comparatively small size and comparatively slow aperture range. We stress ‘comparatively’ when it comes to aperture, since you’d need a 15-150mm F2.5-4.0 on Canon APS-C to be equivalent, and few keen photographers would turn their noses up at such a lens. The other thing to notice is that it has only two rings, so we wonder whether the ‘focus’ ring will double as a custom ring when in AF mode.

Summary

The addition of these six lenses will extend the RF system to ten lenses by the end of 2019. With the three F2.8 zooms, 50 and 85mm F1.2s and the monstrous/rather cool 28-70mm F2, it means seven of the options have a distinctly high-end feel to them (and, we suspect, will have price tags to match).

This may leave EOS RP and many EOS R users a little short of choice (or push them towards adapting EF DSLR lenses), but makes very clear that Canon is gearing up for a pro-level RF camera sooner, rather than later.

Articles: Digital Photography Review (dpreview.com)

 
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Weather-resistant Fujifilm 16mm F2.8 lens to ship in March for $399

14 Feb

The Fujifilm XF 16mm F2.8 R WR is a compact and lightweight wide-angle prime for the company’s APS-C mirrorless bodies. The lens is equivalent to 24mm when mounted on an X-series camera, such as the new X-T30. It contains a total of 10 elements (two of which are aspherical) and nine rounded aperture blades.

The lens, which weighs just 155g/5.5oz, uses a stepping motor for ‘fast and quiet autofocus’ and can focus as close as 17cm/6.7in. The lens is weather-sealed at nine points around the barrel and can function at temperatures as low as -10°C/+14°F.

The XF 16mm F2.8 R WR will be available in black in March, with the silver version to follow in May. The suggested retail price for both is $ 399.

Take a look at our initial impressions of the new Fujifilm 16mm F2.8

Press Release

FUJINON XF 16mmF2.8 R WR Lens

Designed to deliver the high performance resolution from Fujifilm’s X-TRANS CMOS sensors through its precise optical design, the XF16mmF2.8 R WR adopts an internal focusing system and stepping motor to provide extremely fast and near-quiet auto-focusing. Although light and compact, the design incorporates metal components on the exterior of the lens, while interior is sealed around the barrel in nine different locations to ensure durability and weather-resistance to the surrounding environment. The XF16mmF2.8 R WR joins the collection of affordable, compact, and lightweight lenses within the FUJINON XF Lens System, making it the perfect companion to the XF23mmF2 R WR, XF35mmF2 R WR, and XF50mmF2 R WR lenses.

  • High Resolution Performance: Edge-to-edge sharpness from the center to the corners of the frame is achieved by the precise arrangement of 10 lens elements in 8 groups. This lens also includes two aspherical elements, which assist in suppressing the image degrading effects of chromatic aberration and field curvature imperfection.
  • Compact, Lightweight and Stylish design: Weighing in at 5.47oz (155g) and measuring just 1.79in (45.4mm) in length, this lens offers up the renowned image quality and refined style associated with the FUJINON XF family of lenses. With its metal exterior, precise click stops, and smooth dampening, this lens offers incredible image quality in a durable, aesthetically pleasing appearance.
  • Fast and Quiet Autofocus: The inner focusing AF system uses a stepping motor to move focusing elements into place through precise electrical pulses in order to achieve fast and near-silent autofocus performance.
  • Weather and Dust Resistant Durability: The lens is designed to operate in temperatures as low as 14° Fahrenheit and is sealed at nine points around the barrel, making it both weather and dust resistant.

FUJINON XF16mmF2.8 R WR Optional Accessories:

  • 49mm Front lens cap (FLCP-49)
  • 49mm Protect filter (PRF-49)

FUJINON XF16mmF2.8 R WR Specifications:

  • Lens construction: 10 elements, 8 groups (includes 2 aspherical elements)
  • Focal length (35mm format equivalent: f=16mm (24mm)
  • Angle of view: 83.2°
  • aperture: F2.8
  • aperture: F22
  • Aperture control
  • Number of blades: 9 (rounded diaphragm opening)
  • Stop size: 1/3EV (19 stops)
  • Focus range: 17cm and beyond
  • magnification: 0.13x
  • External dimensions: Diameter x Length: Approx: ?60.0mm x 45.4mm
  • Weight (excluding caps, hoods): Approx. 155g
  • Filter size: ?49mm10

Availability and Pricing

The FUJINON XF16mmF2.8 R WR lens is expected to be available in black in March 2019 or silver in May 2019, at a suggested retail price of USD $ 399.95 and CAD $ 499.99.

Fujifilm XF 16mm F2.8 R WR specifications

Principal specifications
Lens type Prime lens
Max Format size APS-C / DX
Focal length 16 mm
Image stabilization No
Lens mount Fujifilm X
Aperture
Maximum aperture F2.8
Minimum aperture F22
Aperture ring Yes
Number of diaphragm blades 9
Optics
Elements 10
Groups 8
Special elements / coatings 2 aspherical elements
Focus
Minimum focus 0.17 m (6.69″)
Maximum magnification 0.13×
Autofocus Yes
Motor type Stepper motor
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale No
Physical
Weight 155 g (0.34 lb)
Diameter 60 mm (2.36″)
Length 45 mm (1.77″)
Sealing Yes
Colour Black, silver
Filter thread 49 mm
Hood supplied Yes

Articles: Digital Photography Review (dpreview.com)

 
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Ricoh announces Pentax 35mm F2 and 11-18mm F2.8 K-mount lenses

31 Jan

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Ricoh has announced a pair of Pentax K-mount lenses: the HD PENTAX-FA 35mm F2 and HD PENTAX-DA* 11-18mm F2.8 ED DC AW.

The full-frame 35mm F2 is based on the smc PENTAX-FA 35mm F2 AL from the film era and features HD and SP coatings, with the former reducing reflections and the latter repelling water from the front element. The lens has six elements in five groups and a six-blade aperture. It’s remarkably compact, despite having both an aperture ring and distance scale, and weighs in at just 193 grams. The lens will be available in February for £399.

The PENTAX-DA* 11-18mm F2.8 ED DC AW was introduced way back in the Fall of 2017 and was supposed to ship the following summer. After a bit of a delay, this APS-C lens is finally read to ship next month. The weather-resistant 11-18mm F2.8, equivalent to 16.5-27mm when mounted on an APS-C body, has 16 elements, a nine-blade aperture and an HD coating. There’s also a clamp to lock focus at a desired point and the ‘ability to accommodate the addition of a dew heating strip to prevent condensation without affecting focus-ring operation.’ The lens will be priced at £1399.

Pentax-FA 35mm F2 official sample photos

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Pentax-DA* 11-18mm F2.8 official sample photos

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Press Releases:

HD PENTAX-FA 35mm F2

A single-focus, wide-angle lens for use with K-mount digital SLR cameras, featuring latest lens coatings to further upgrade image quality

London, 30 January 2019 ?RICOH COMPANY, LTD. and RICOH IMAGING EUROPE S.A.S. are pleased to announce the launch of the HD PENTAX-FA 35mmF2. Despite its compact dimensions, this high-performance wide-angle lens covers the full-frame image circle of PENTAX K-mount digital SLR cameras.

This new lens is based on the smc PENTAX-FA 35mmF2 AL — a very popular multi-purpose, wide-angle lens used on film-format SLR cameras and is introduced following a thorough review of lens coatings. The high-grade, multi-layer HD Coating applied to the optical elements produces high-contrast images with edge-to-edge sharpness, free of flare and ghost images. Whilst, the highly stain-repellent SP Coating applied to the front surface improves the lens’ usability outdoors. The redesigned exterior matches the design of latest PENTAX K-mount digital SLR models, while its compact, portable body makes it perfect for everyday use.

Price & Availability

HD PENTAX-FA35mmF2 ? RRP: £399.99
Available: February 2019

HD PENTAX-DA* 11-18mm F2.8 ED DC AW

An ultra-wide-angle, Star-series zoom lens for use with K-mount digital SLR cameras, with a large F2.8 aperture over the entire zoom range providing exceptional optical performance

LONDON, 30 January, 2019 ?RICOH COMPANY, LTD. and RICOH IMAGING EUROPE S.A.S. are pleased to announce the launch of the HD PENTAX-DA* 11-18mm F2.8 ED DC AW. This high-performance, ultra-wide-angle, Star-series lens features a large F2.8 maximum aperture over the entire zoom range to deliver exceptional optical performance.

The HD PENTAX-DA*11-18mm F2.8 ED DC AW ultra-wide-angle zoom lens is the latest model in the new-generation Star (*) series — a lens that provides exceptional image quality to be able to accommodate the super-high-performance digital cameras of the future. It delivers high-resolution, high-contrast images without blurring at the edges, and guarantees excellent imaging performance in high-grade digital photography. With the introduction of this lens, the high quality, high-performance Star series now provides a wide angle-of-view coverage —from ultra-wide angle to telephoto compact models featuring a large F2.8 maximum aperture, exclusively designed for use with PENTAX APS-C-format digital SLR cameras.

In addition to an outstanding dustproof, weather-resistant construction, the lens provides a Focus Clamp Mechanism to lock focus at the desired focal point. It also provides useful features to improve performance and dependability in challenging outdoor conditions. These include a space specifically designed for holding a heating device to prevent condensation, and a metallic frame structure, which more effectively transmits the heat of the device to the lens. These greatly improve the lens’ operability when shooting in outdoor situations including star-lit skies.

Price & Availability

HD PENTAX-DA* 11-18mm F2.8 ED DC AW Lens

RRP: £1,399.99
Available: February 2019

Articles: Digital Photography Review (dpreview.com)

 
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Venus Optics announces 9mm F2.8 lens with DL mount for DJI cameras, drones

08 Jan

Venus Optics has the Laowa 9mm F2.8 DL Zero-D, the widest lens available for DJI X7 cameras and Inspire 2 drones.

The lens, which is identical in design and specs to the Fuji X, Sony E and Canon EF-M mount versions, features a 113-degree field of view and ‘close-to-zero distortion.’ Venus Optics notes the widest DL lens currently available, the DJI 16mm f/2.8 ASPH ND, has a diagonal field of view of just 80-degrees, meaning X7 and Inspire 2 users are able to get much more in the frame than previously possible, as seen int he comparison video below.

The lens weighs only 210g (0.46 lbs) and measures 60mm (2.36 in) long. It’s constructed of 15 elements in 10 groups with two aspherical elements and three extra-low dispersion elements. The front filter thread has a diameter of 49mm and it uses a seven-blade aperture diaphragm.

Below is a collection of sample footage captured by Ling Chen and shared by Venus Optics that shows the lens onboard a DJI Inspire 2 drone, as well as a sample gallery of still images shot by Liu Su Pei and shared by Venus Optics.

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The Laowa 9mm F2.8 DL Zero-D retails for $ 499 USD, but Venus Optics notes pricing may vary from country to country. It’s available now from Venus Optic’s online shop and authorized Venus Optics resellers.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Sigma 70mm F2.8 Macro Art lens review

05 Jan

This week on DPReview TV, Chris and Jordan test Sigma’s latest macro lens, the 70mm F2.8 DG Macro Art. Find out why they like it in this uniquely Canadian presentation.

Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

  • Introduction
  • Focus by Wire
  • Close Focus Distance
  • Size vs Stabilization
  • Focal Length Advantages
  • Autofocus Performance
  • Lack of Stabilization vs Competition
  • Wrap-up

Sample gallery from this episode:

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Articles: Digital Photography Review (dpreview.com)

 
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Lensrentals tears down the Sony 400mm F2.8 G lens to its magnesium alloy skeleton

04 Jan
Photos kindly provided by Lensrentals

The week before Christmas, Roger Cicala and his team at Lensrentals tore apart Canon’s recently announced 400mm F2.8L IS III lens. While the Canon teardown was fantastic in its own right, it was only the first step of the process. As promised, Cicala and Aaron Closz have returned with a similar teardown of Sony’s 400mm F2.8 G lens to see just how well Sony did with its first attempt at a 400mm F2.8 super-telephoto lens.

Starting out with the basic optical formula, Roger noted that both Canon and Sony have opted to take a similar approach in how they arrange the individual elements inside the lens. That is, smaller elements have been placed at the rear of the lens.

Roger notes that Sony uses three flourite elements while Canon’s 400mm F2.8 uses only two. This little tidbit piqued his interest though. ‘That does beg the interesting question about where Sony sourced their fluorite elements. Sony doesn’t make fluorite glass, and Canon has long been the one lens company that grows and polishes large fluorite in-house,’ says Roger in the full teardown. ‘There are other manufacturers of fluorite lenses, but they have generally been limited to small lenses, such as in microscopes and telescope viewfinders.’

As he did with the Canon 400mm F2.8, Roger starts with the tripod ring before diving into the back of the lens. Throughout the deconstruction process, Roger notes how many ‘robust’ seals Sony has opted to use throughout the 400mm F2.8 lens, from the mount plate to the switch panel.

A large, robust rubber seal is seen behind the lens mount.

From there, it was a few hex bolts later before the rear barrel assembly could be removed. Roger says that while he’s ‘not a metallurgist […] the magnesium alloy looks and feels the same [as that used in the Canon 400mm F2.8.’

Inside the focusing mechanism Roger notes that Sony has decided to use nylon gears. ‘ If you’ve read much of my stuff you know I’m generally not a nylon gear fan,’ he says. ‘but these have almost no pressure on them so they shouldn’t wear out.’

One notable detail Roger points out is how well designed the flex/ribbon cables are throughout the lens. Nearly every cable wraps neatly around the magnesium alloy body of the lens and is secured by both double sided tape, as well as screws where needed.

Moving on, Roger and Aaron made it to the focusing module, which houses Sony’s linear motor and plenty of glass. He notes ‘As we would expect for what is now a 4th generation or so linear motor, designed to move that big beast of a lens, this is larger looks more robust than [linear motors] we’ve seen in the past.’

Roger and Aaron eventually wrap it up with their final thoughts, which you can read in their entirety on the full teardown blog post.

‘I’ll call this one a draw, and a draw is a win for Sony,’ says Roger in the conclusion. ‘Canon has been doing this for a long, long time; this is, I think they’re 8th generation of 400mm f/2.8 lens. It’s Sony’s first and to have made a product equal to the gold standard of engineering is an amazing feat.’

Articles: Digital Photography Review (dpreview.com)

 
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Gear of the Year 2018 – Dan’s choice: Tamron 28-75mm F2.8 Di III RXD

24 Dec

My past Gear of the Year choices – the Nikon D750, DJI Mavic Pro and Sony a9 – were based on the strong emotional connection I made with each, as a photographer and videographer during the given year. This year I’ve picked the Tamron 28-75mm F2.8, a lens I’ve recommended more than any other in 2018 and one Sony desperately needed for its system.

It’s the first third-party zoom for Sony E-mount to offer autofocus and it plays nice with all AF modes; even Eye-AF. It’s also the piece of gear in the DPReview cupboard I’m most excited to get out and shoot with once Seattle’s weather turns.

The Tamron 28-75mm F2.8 is a lens I’ve recommended more than any other in 2018

Last year’s pick, the a9, was an admission that I’ve finally come around to enjoying Sony’s cameras. But for me as a reviewer, a camera brand is only as good as its best budget lens options. In my opinion, Sony (in common with quite a few other brands) has done a poor job ensuring budding photographers on a tight budget have access to affordable, fast zooms.

ISO 200 | 1/60 sec | F8 | 28mm
Photo by Carey Rose

At $ 800, the 28-75mm F2.8 isn’t exactly cheap, but it does offer a-single-lens-solution to new E-mount customers and is a great companion to the a7 III – for about $ 2800 total, you’ve got a killer combo. It also makes Sony’s own 24-70mm F4, which costs about the same, seem irrelevant.

But the price is not the only thing Tamron got right: it nailed the size and weight, too. Sony’s F2.8 zooms tend to be large and heavy: the $ 2200 24-70mm F2.8, for instance, weighs 886g, compared to 550g in the Tamron. Size-wise, the Tamron is also much smaller, about the same size as a can of soda pop (until you zoom, that is).

It offers good center sharpness throughout its zoom range and for most photographers, that’s what counts

And just because it’s priced a lot lower than comparable native glass doesn’t mean it’s built with a ‘budget’ mindset. Sure, the body is made of polycarbonate, but it feels and handles like a high-quality piece of gear. It also well-suited to take on the elements: a fluorine coating on the front repels grime and a moisture-resistant construction, including gaskets around the barrel and at the mount, keeps water out.

It can also handle both stills and video capture as well as Sony’s modern full-frame cameras. A ‘Rapid eXtra-silent stepping Drive’ – the RXD at the end of its name – is virtually silent, ensuring accurate focus with no unwanted focus motor sounds in your videos.

It’s the most sensible zoom currently available for E-mount

Now some will argue Sony’s heavier, pricier lenses offer sharper results, nicer bokeh, etc., and honestly, this might be true. But who cares? The Tamron offers good central sharpness throughout its zoom range and for most photographers, that’s what counts. Those who want to spend 3x the cash on Sony’s version can go right ahead, while the rest of us use the Tamron.

ISO 1250 | 1/160 sec | F2.8 | 35mm
Photo by Carey Rose

The Tamron 28-75mm F2.8 my choice for 2018 Gear of the Year because it is a wonderful solution to a problem Sony has long had: the lack of a fast, affordable zoom full-frame zoom. For years, Tamron has concentrated on producing lenses that fill gaps in the market and this might be its most successful to date – there’s a reason it was back-ordered months after its launch.

Ultimately, it’s a lens for the many, not the few and in this writer’s opinion, the most sensible zoom currently available for E-mount.

Articles: Digital Photography Review (dpreview.com)

 
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