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Posts Tagged ‘Lens’

Irix announces its long-awaited 45mm F1.4 still lens for Canon EF, Nikon F and Pentax K mounts

09 Mar

Irix has announced the details of its new 45mm F1.4 manual lens for full-frame camera systems.

The lens was originally teased as a prototype way back in 2017 at The Photography Show. Last year, a cine version of the lens was released, but the still photography version remained to be seen, until today.

The 45mm F1.4 lens is based around Irix’s Dragonfly design technology, which uses an aluminum-magnesium alloy and composite elements to create a lightweight, but sturdy design that’s weather-resistant thanks to multiple gaskets throughout the lens. The focus ring has a 140-degree throw, a focus-lock feature and offers laser-engraved markings with luminescent paint for easier viewing in low-light environments.

No launch date or pricing information is available at this time. When the 45mmm F1.4 lens does launch, it will be available for Canon EF, Nikon F and Pentax K camera systems. We have contacted Irix to request more information and will update this article accordingly if and when we receive a response.

Articles: Digital Photography Review (dpreview.com)

 
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Tokina reveals updated 2020 lens roadmap with new lenses for DSLR, mirrorless cameras

07 Mar

Tokina, which is celebrating its 70th anniversary and had planned to reveal this information at CP+, has announced its latest 2020 lens development roadmap, showing a number of new lenses it plans to release in 2020 for DSLR and mirrorless cameras.

The announcement, seen above, is split into four different sections, based on the lens mounts the forthcoming lenses are destined for. First up is the atx-i lineup for Canon EF- and Nikon F-mount camera systems. In addition to the previously-announced 11–16mm F2.8 CF and 100mm F2.8 CF Macro lenses, Tokina also teases an upcoming 11–20mm F2.8 CF lens due out in Summer 2020 for Canon and Nikon APS-C DSLR camera.

Moving onto Tokina’s atx-m series, the updated roadmap shows off three new APS-C lenses for Sony E-mount and Fujifilm X-mount camera systems: a 23mm F1.4, 33mm F1.4 and 56mm F1.4. The E-mount version of these lenses (denoted by an ‘E’ after the lens name) are set for a Summer 2020 release, while the X-mount versions (denoted by an ‘X’ after the lens name) aren’t due out until Autumn 2020.

Tokina also highlights three atx-m series lenses for full-frame Sony E-mount cameras. In addition to the 85mm F1.8 FE, which is currently available for $ 499 (Adorama, B&H), Tokina also highlights a 35mm F1.8 FE and 50mm F1.8 FE lens, both of which are due out in Autumn 2020.

It’s unconfirmed at this time, but it’s worth noting these lenses do bear a striking resemblance in looks and specs to a number of Viltrox lenses that have already been announced (and delayed).

Articles: Digital Photography Review (dpreview.com)

 
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Video: Olympus shows off incredible photos from its 150-400mm F4.5 lens, hint at further lens developments

06 Mar

CP+ might’ve been cancelled due to COVID-19 concerns, but Olympus has improvised and shared its presentation on YouTube instead. The 44-minute video covers a variety of topics, but two specific moments stand out.

The first is a demonstration Olympus shared showing just how much zoom you can get out of the Olympus 150–400mm F4.5 lens. One demonstration, seen in the above screenshot from the video, shows a photograph captured with the sun setting over Mount Fuji, captured a ridiculous 67km (42 miles) away, at Olympus’ Ishikawa facility. To capture the shot, Olympus used the 1.25x converter inside the lens as well as the MC-20 2x converter to achieve a 2000mm (35mm equivalent) focal length.

A screenshot from the presentation contextualizing just how far away the photograph and timelapse images were captured from.

The next demonstration with the lens was a hand-held shot of the moon, seen in the below screenshot from the video, captured with the exact same camera setup.

In addition to both images, Olympus also shows a short timelapse video of the sunset over Mount Fuji (the section on the 150–400mm F4.5 lens starts at roughly 36:00).

The above captions in the image are auto-translated via YouTube.

Olympus representatives also note later on in the video that more lenses are in development. However, no further information was given.

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic updates its L-mount lens roadmap with two new primes, drops the 100mm F2.8 Macro

28 Feb

Panasonic has published (translated) an updated roadmap for its Lumix S L-mount lenses. The updated roadmap adds two new prime lenses and is notably missing the 100mm F2.8 Macro lens compared to the previous lens roadmap, released back in August 2019.

Based on the information shown in the above roadmap graphic, Panasonic will be releasing three prime lenses and three zoom lenses in 2020:

  • 24mm F1.8
  • 50mm F1.8
  • 85mm F1.8
  • Wide-angle zoom lens
  • Standard zoom lens
  • Telephoto zoom lens

No details are given for the focal lengths of the zoom lenses, but based on the infographic, it seems nearly every focal length from around 24mm through 280mm will be covered.

Although no specifics were mentioned in our recent interview with Yosuke Yamane, Director of Panasonic’s Imaging Business Division, he did talk about the importance of working alongside Sigma and Leica to expand and improve the lens options for the L-mount alliance, going so far as to saying the trio is ‘discussing changes to the communication protocol between the cameras and lenses.’

Articles: Digital Photography Review (dpreview.com)

 
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Canon shows off EOS R5, RF 100-500mm lens under glass at WPPI

27 Feb

Canon EOS R5 at WPPI

The upcoming Canon EOS R5 was on display at the company’s booth at the 2020 WPPI Expo in Las Vegas, so we stopped by (and nudged our way past other attendees as politely as possible) to get a closer look. The representatives present at the booth couldn’t provide any details beyond the development announcement; “what’s been published is all we know,” was the common refrain. In case you missed it, here’s what we know:

  • Newly designed CMOS sensor (we’re guessing ~40MP)
  • In-camera image stabilization
  • 20 fps continuous shooting (silent shutter)
  • 12 fps continuous shooting (mechanical shutter)
  • 8K video capture
  • Twin card slots

Still, we took some photos to get a better idea of what Canon’s done ergonomically to its upcoming full-frame mirrorless model.

We can see right away that the grip is deeply sculpted, with an almost-certainly customizable function button near the lens mount. Just behind the ‘EOS R5 DEVELOPMENT ANNOUNCEMENT’ label there’s another port door that’s hard to see, but may conceal a socket for a remote release or wireless transmitter.

Card slots

Here down the side of the camera we can see the card slot door. Again, all we know is that there are dual slots behind there; but the advertised provision of 8K capture means that they’ll need to be speedy, even with a good compression algorithm. Dual-type slots on the EOS 5D Mark IV could be a hint here; perhaps we’ll see one SD slot and one CFExpress slot. Or maybe just dual UHS-II SD card slots. Time will tell.

Top panel

On the top right of the camera, we can see what looks to be an identical control layout to the existing EOS R. The same status panel, and the same Mode + Dial combo for changing your exposure modes. Do you prefer this way of working, or do you long for an old-fashioned mode dial like Canon put on the lower-end RP? Let us know in the comments.

On/Off switch

On the opposite side of the camera is the on/off switch, similar in size to those on the EOS R and RP, but there’s a bit more of a protrusion near the back, perhaps for easier operation with your thumb. That also looks to be a polycarbonate panel surrounding the flash hot shoe, which is likely a ‘window’ for the camera’s wireless connectivity antennas.

Rear plate controls

Apologies for quality of this image, but the camera was nearly up against the back of the display, and there was no visibility from back there – so we have to make do with this top-down angle.

First of all, in the place of the EOS R’s touchbar is a traditional AF joystick and better-placed AF-ON button. Just underneath that is a dedicated ‘magnify’ button for checking focus, along with ‘INFO’ and a ‘Q’ button for pulling up the on-screen quick menu.

Underneath this is a thumb-dial surrounding a ‘SET’ button; this is a familiar setup from many of the company’s DSLRs, and is making its first RF-mount appearance here. No surprise, the screen looks to have the same swivel-out and rotate design as the R and RP, but next to the ‘Menu’ button on the top left is a dedicated ‘RATE’ button, which is accompanied by a microphone. It could be that the R5 lets you attach audio clips to your images using this control.

Rounding out controls on the back of the camera are the traditional ‘Star’ and ‘Focus Selection’ buttons on the top right.

Ports

Again, given the nature of the display, this is the best view of the ports I can get you – but everything is legible, at least. So we know that there will be microphone and headphone ports, a remote port, and a USB (likely type-C) port and HDMI output. You can also get a clearer view of the port cover on the bottom-front of the camera.

It looks like there may be enough distance from the screen hinge to the mic and headphone ports that they won’t get in the way of each other, so fingers crossed on that.

Let’s take a look at the RF 100-500mm lens, also under development.

Canon RF 100-500mm F4.5-7.1L

In amongst the EOS R5 announcement was the teasing of ‘nine RF lenses’ coming later this year, including the RF 100-500mm F4.5-7.1L IS USM on the right side of this image. For comparison, it’s sitting next to an existing EF 100-400mm F4.5-5.6L IS II; the 100-500mm is a little chunkier, but of course, you’d need a teleconverter on the 100-400mm lens to get the same reach and that would add bulk of its own.

Canon RF 100-500mm controls

Here we can see the ‘smooth / tight’ ring the new RF 100-500mm shares with the EF 100-400mm. This basically sets the resistance of the zoom mechanism, depending on your preferences, or if you just want to eliminate zoom creep when you’re not actively shooting. We can also see the AF/MF switch and a focus limiter option.

Canon RF 100-500mm controls

Way down there, we can see the rest of the switches on the RF 100-500mm F4.5-7.1L, which include a stabilizer on/off switch and a ‘stabilizer mode’ option, giving users an option to bias the stabilizer depending on whether you want absolute stability or if you’re doing panning.

Canon EOS R5 at WPPI

And there you have it – Canon’s upcoming high-end, full-frame mirrorless camera, under glass. We’re hoping to learn more soon, but in the meantime what are you most excited for about this camera? Would you consider getting one yourself? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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Sirui announces 50mm F1.8 anamorphic lens for mirrorless cameras set for April release

26 Feb

Budget-conscious filmmakers looking for an anamorphic lens will finally be able to stop cropping the top and bottom of their movie frames next month when the Sirui 50mm F1.8 1.33x anamorphic lens will begin shipping through distributors outside of the initial Kickstarter and Indiegogo campaigns. The company has already shipped to many of its backers, but the Coronavirus has created delays that have set the general release back to April.

The lens, which enables 2.4:1 aspect ratio shooting, is available in mounts for Sony-E, Fujifilm X and Micro Four Thirds, and will retail for around $ 700 / £660. Designed to cover APS-C sized sensors the lens offers a field of view that equates to a 37.5mm lens, according to Sirui, as the optics increase the horizontal angle of coverage by 33%.

The compact lens is only 106.6mm (4.2in) long and has a maximum diameter of 69.2mm (2.72in), while weighing 560g (1.23lbs). It has a 10-bladed iris with openings covering F1.8-16 and the closest focus distance is 0.85m (33.5in).

For more information see the Sirui website

Articles: Digital Photography Review (dpreview.com)

 
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Laowa 65mm f2.8 2X Ultra-Macro APO Lens Review

26 Feb

The post Laowa 65mm f2.8 2X Ultra-Macro APO Lens Review appeared first on Digital Photography School. It was authored by Matt Murray.

Laowa-65mm-f2.8-2X-Ultra-Macro-APO-lens-review

When I was offered the chance to review the Laowa 65mm f2.8 2X Ultra-Macro APO lens, I must admit I wondered what all the fuss was about. From a quick look, it appeared roughly the same size and price as the Fujifilm 60mm f2.4 R macro lens – but it is a manual focus lens.

Then I realized I had misread the specs – this is not a 1:2 macro like the Fujifilm XF 60mm f2.4 R lens, where objects appear half their size on the sensor. Nor is it a true 1:1 macro like the Fujifilm XF 80mm f2.8 R LM OIS WR lens, where objects appear their actual size. The Laowa Ultra Macro lens boasts 2:1 magnification. That’s right! It can take photos where objects appear up to twice their actual size.

Laowa-65mm-f2.8-2X-Ultra-Macro-APO-lens-review

The Laowa 65mm f/2.8 2x Ultra Macro APO lens mounted on my Fujifilm X-T2.

In this gear review, I put the Laowa 65mm f2.8 2x Ultra Macro APO lens through its paces on my Fujifilm X-T2. If you’re not a Fujifilm shooter, keep reading anyway, Laowa has released lenses for many full-frame and APS-C mount systems.

Background

Venus Optics has made Laowa lenses in China since 2013. Most of the lenses they’ve created so far have been for full-frame cameras. Their line-up boasts an impressive range of lenses, including fisheye (fancy a 4mm f2.8 lens?), probe, ultra-wide, and ultra-macro lenses for a variety of camera systems.

Laowa-65mm-f2.8-2X-Ultra-Macro-APO-lens-review

These flowers are tiny, measuring less than 10mm (3/8 inch) across. I found the bokeh of the lens to be very pleasant. Fujifilm X-T2 with Laowa 65mm f2.8 2X Ultra-Macro APO lens.

 

The Laowa 65mm f2.8 2X macro APO is the first macro lens that Venus Optics has launched for non full-frame cameras. While this review is for the Fujifilm X-Series mount lens, it’s also available for two other mirrorless camera systems: the Sony E-mount and Canon M-mount.

Laowa specs

Let’s take a look at the specs for this lens, the Laowa 65mm f2.8 2x Ultra Macro APO.

  • The focal length is 65mm, which is approximately 97.5mm in a full-frame equivalent when you take into account the 1.5 crop factor of APS-C cameras.
Image: A light blue soldier crab on the beach. It’s a wonder I managed to get a shot like this, thes...

A light blue soldier crab on the beach. It’s a wonder I managed to get a shot like this, these little guys move so fast, and they don’t like people! I had to prefocus before the crab came into view. Adults measure 25mm (1 inch). Fujifilm X-T2 with Laowa 65mm f2.8 2X Ultra-Macro APO lens.

  • 2x Ultra Macro refers to the magnification of this lens – it’s possible to take images where objects appear twice as large on the sensor as real life.
  • Typically, a macro lens is considered a true macro when it achieves 1:1 magnification. So with double that magnification, it seems the Laowa offering is worthy of the title “ultra macro.”
  • APO stands for apochromatic optical design. The lens has 14 elements in 10 groups, including three extra-low dispersion glasses to minimize chromatic aberrations across the frame.
  • Apertures range from f/2.8 to f/22, which you control via the aperture ring on the lens. It focusses from 17cm (2X life-size) to infinity.
Image: Close up of the peeling paintwork on a boat. Even when shooting at f/16, you won’t be able to...

Close up of the peeling paintwork on a boat. Even when shooting at f/16, you won’t be able to achieve a wide depth of field at such a short working distance with macro lenses. Fujifilm X-T2 with Laowa 65mm f2.8 2X Ultra-Macro APO lens.

 

The Laowa is slightly bigger in size and weight to Fujifilm’s 60mm macro lens, but is still very compact. It measures 57mm in diameter, 100 mm long, and weighs 335g. It takes 52mm filters.

What’s in the box

The lens comes attractively packaged in a sturdy box. Rather oddly, the lens seems to have two different names. On the website, it’s the Laowa 65mm f2.8 2X Ultra-Macro APO lens. On the packaging and on the lens itself, it’s the CF 65mm F2.8 CA-Dreamer Macro 2X.

Laowa-65mm-f2.8-2X-Ultra-Macro-APO-lens-review

The lens is attractively packaged and is all metal, apart from the plastic lens cap.

Removing the sleeve from the box, there’s an illustration of the lens on the lid. Inside the box, there’s plenty of foam to protect the lens, which comes wrapped up in a plastic bag with a drawstring.

Build quality

The build quality of the lens – especially at this price point – is excellent. Unlike many other lenses at this price point that are plastic, this lens is an all-metal construction. Even the lens hood is metal, with only the lens cap being plastic.

Using the lens

The Laowa 65mm f2.8 2X macro APO is a manual focus lens – there’s no communication between the lens and the camera body. You achieve focus by rotating the lens until the subject comes into focus.

Given that the lens has quite a wide range of magnification (from infinity to 2x life-size), sometimes it feels like you are twisting the barrel quite a lot to get your subject in focus at different distances.

Laowa-65mm-f2.8-2X-Ultra-Macro-APO-lens-review

Select your aperture on the lens and twist the barrel to achieve focus.

If you’re new to manual lenses, don’t be put off. A lot of macro photography work is done using manual focus, anyway.

At first, I did find it difficult to determine exactly what was in focus and what wasn’t, but this is more due to my eyesight more than anything else. As soon as I turned on focus peaking on my X-T2, things became much easier. I did find that at very close distances, focus peaking didn’t seem to work at all.

When using the lens, remember to check the barrel to see which aperture you’re using. As there’s no communication between the lens and the camera body, this won’t show up in your viewfinder display.

You may also want to keep notes on which apertures were used for your images, as these won’t record in the metadata either.

The lens has a nice click as you change aperture across the range. My only issue is that the settings for f/16 and f/22 do look a little alike at first glance due to the design of the indicators.

Depth of field at even the narrowest aperture of f/22 is very shallow when shooting up close. You may want to consider focus stacking to get a sharp image across the frame.

There are some stunning sample images on Laowa’s website, but I’d guess they achieved them with both focus stacking and possibly even extension tubes.

Image: Boats on the beach. I’m really happy with the sharpness, colors, and contrast of the images t...

Boats on the beach. I’m really happy with the sharpness, colors, and contrast of the images taken with this lens. Fujifilm X-T2 with Laowa 65mm f2.8 2X Ultra-Macro APO lens.

Image quality

I’m really impressed with the image quality of photos taken with this lens. As well as being sharp, they display good color and contrast.

I took the lens down to my local beach and took a lot of images of boats, items on the beach, as well as very fast-moving soldier crabs. I took the images of the boats handheld but shot the close-up images using a tripod and remote release. These two items are essential when working at such close distances, where shutter speeds may be slower than 1/60 second, and where any tiny movement may blur the shot or change focus.

Laowa-65mm-f2.8-2X-Ultra-Macro-APO-lens-review

Boat close-up shot. Fujifilm X-T2 with Laowa 65mm f2.8 2X Ultra-Macro APO lens.

Laowa-65mm-f2.8-2X-Ultra-Macro-APO-lens-review

Rope detail. For this second shot, I moved my tripod to the minimum focus distance to get this shot. Fujifilm X-T2 with Laowa 65mm f2.8 2X Ultra-Macro APO lens.

Value for money

The lens sells for around $ 399 USD. This is very good value considering the image quality, and build quality, and the fact that you’re unable to achieve this magnification with any other lens available at present.

Conclusion

The Laowa 65mm f2.8 2X Ultra-Macro APO lens boasts some impressive specifications. The most impressive, of course, is its ability to produce images of objects that are up to twice their actual size.

Image quality is very good, I’m happy with the results the lens gave me on my Fujifilm X-T2. Photos were sharp and displayed good color and contrast.

The lens is light and compact, has an excellent build quality, and is competitively priced.

Although I’m not a specialist macro photographer, I really enjoyed using the lens. If you enjoy shooting macro images, I’d recommend giving it a go. It’s certainly a great lens for flora and fauna enthusiasts, keen to get up close to the action.

Image: I took the lens down to my local beach to see what I could photograph up close. Pine cone on...

I took the lens down to my local beach to see what I could photograph up close. Pine cone on the beach. I was impressed with the results from this lens. Fujifilm X-T2 with Laowa 65mm f2.8 2X Ultra-Macro APO lens.

You may also like:

  • Review: Laowa 17mm f1.8 Lens with Micro-Four-Thirds Mount
  • Review of the Venus Laowa 15mm F/4 Wide Angle Lens for Landscape Photographers

 

The post Laowa 65mm f2.8 2X Ultra-Macro APO Lens Review appeared first on Digital Photography School. It was authored by Matt Murray.


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Cosina announces upcoming Voigtlander Nokton 35mm F1.2 III lens for M-mount

20 Feb

Alongside the 60mm F0.95 it released, Cosina Japan has also announced the Voigtlander Nokton 35mm F1.2 Aspherical III VM lens for Leica M-mount camera systems.

Like the 60mm F0.95 lens, the Voigtlander Nokton 35mm F1.2 VM lens doesn’t yet have pricing or availability information available for regions outside of Japan, where it’s expected to be released in March 2020 for ¥135,000.

The lens is constructed of nine elements in seven groups, features an aperture range of F1.2 through F22 and has a 12-blade aperture diaphragm. The minimum focusing distance is 50cm (20in) and the front filter thread is 52mm.

Compared to its second-generation predecessor, the Voigtlander Nokton 35mm F1.2 Aspherical III VM has been reduced in size, coming in at 20-percent shorter and 30-percent lighter at 50.5mm (2in) and 332g (11.7oz), respectively. The lens will work with all M-mount Leica cameras and most Vessa cameras (not the Bessa L or R).

You can find out more information on Cosina’s website.

Articles: Digital Photography Review (dpreview.com)

 
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Cosina announces new Voigtlander Nokton 60mm F0.95 lens for Micro Four Thirds cameras

19 Feb

Cosina Japan has lifted the veil on its latest lens for Micro Four Thirds camera systems, the Voigtlander Nokton 60mm F0.95.

The manual focus lens, which is set for an April 2020 release in the Japan market for ¥145,000, is constructed of 11 elements in 8 groups, features an aperture range of F.095 through F16 and features a ten-blade aperture diaphragm. The minimum focusing distance is 34cm (13.4in) and it features a 77mm front filter thread.

Below are a few low-res sample images provided by Cosina:

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Cosina has also added a new aperture switching mechanism that will de-click the aperture ring for times when you don’t want the tactile and auditory feedback. The lens measures in at 82.5mm (3.25in) diameter and 87.7mm (3.45in) long, and weighs in at 860g (1.9lbs).

No pricing or availability information has been given for regions outside of Japan.

Articles: Digital Photography Review (dpreview.com)

 
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Vazen announces new 28mm T2.2 1.8x anamorphic lens for Micro Four Thirds mount

17 Feb

Chinese cinema lens manufacturer Vazen has announced its latest anamorphic lens for Micro Four Thirds (MFT) cameras and teased another one that’s due out ‘in a few months.’

Vazen’s new 28mm T2.2 1.8x anamorphic lens for MFT camera systems is the second lens in its MFT anamorphic lineup, following up on its 40mm T2, an impressive anamorphic lens we had a little fun with on DPRTV. The new 28mm T2.2 features a lightweight design that Vazen claims makes it the ‘World’s Lightest 1.8x Anamorphic Lens for Panasonic GH5, Z-Cam E2 & Blackmagic Pocket 4k.’

It weighs just 720g (1.59lbs) and measures 80mm (3.15in) diameter and 107mm (4.2in) long. Its T-stop range is T2.2 through T16, it features a 72-degree angle of view and it has a minimum focusing distance of 82cm (2.7ft). Below is a sample video of footage captured with the lens on a ZcamE2(Vazen also shared this slightly NSFW music video captured with the lens):

In addition to the new 28mm T2.2 lens, Vazen also confirmed it’s adding a third lens to this lineup, a 65mm anamorphic lens. No details are given on the specs, but Vazen does not the 65mm lens ‘is expected to have the strongest anamorphic “character.”’

The Vazen 28mm T2.2 1.8x anamorphic lens for MFT camera systems is currently available to purchase through Vazen’s website for $ 3,250. If you purchase both the 28mm T2.2 and the 40mm T2 as a kit, Vazen drops the price for the pair by $ 400.

Articles: Digital Photography Review (dpreview.com)

 
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