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Posts Tagged ‘Lens’

TTArtisan launches 11mm F2.8 fisheye lens for Sony E-mount systems

03 Jan

Chinese lens company TTArtisan has announced the availability of its new 11mm F2.8 fisheye lens for Sony E-mount camera systems.

The lens’ optical formula consists of 11 elements in 7 groups. It’s constructed of aluminum and brass and features an aperture range of F2.8-F16 with clicked aperture points.

It has a minimum focusing distance of 17cm, a ten-blade aperture diaphragm and weighs in at 485g. It is currently available to order for $ 215.

Articles: Digital Photography Review (dpreview.com)

 
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COSYSPEED is crowdfunding to create first ‘Made in Africa’ camera lens pouches

01 Jan

German company COSYSPEED is looking to raise at least $ 11,000 by offering up the option of either plain or ‘African-style’ camera lens pouches to backers via the popular crowdfunding platform, Indiegogo. Burundi, located in central Africa, is the world’s poorest country. COSYSPEED has partnered with Burundikids, a non-profit organization dedicated to educating young women and girls, to produce a series of 3 microfiber-lined lens pouches plus a microfiber cloth.

The lens pouches come in three sizes designed to fit prime, standard zoom, and telephoto zoom lenses. The microfiber cloth is the most affordable option, starting at $ 4, followed by $ 9 for the prime pouch, $ 10 for the standard, and $ 11 for the telephoto zoom lens pouch. The entire bundle, containing all 4 items, can be purchased for $ 28. The measurements for each item are as follows:

  • S size Lens Pouch: (Ø) 80 mm / 3.2″ x (h) 100 mm / 4″ – Fits prime lenses
  • M size Lens Pouch: (Ø) 120 mm / 4.7″ x (h) 200 mm / 8″ – Fits standard zoom lenses up to 24-70/2.8
  • L size Lens Pouch: (Ø) 140 mm / 5.5″ x (h) 280 mm / 11″ – Fits tele zoom lenses up to 70-200/2.8
  • Microfibre Cleaning Cloth: 150 mm / 6″ x 150 mm 6″ – For lens cleaning

If the campaign is successful, COSYSPEED aims to set up a permanent production facility in Bujumbura, Burundi’s largest city, so they can continue to produce the first ‘Made in Africa’ photo accessories. It will house homeless young mothers, and their children, while providing them food and health care. The women will also have the opportunity to participate in an apprenticeship program that will make them dressmakers.

COSYSPEED will be crowdfunding on Indiegogo through January, 2020. Items are expected ship starting in May.


Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Articles: Digital Photography Review (dpreview.com)

 
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Your first interchangeable lens camera: a beginner’s guide

25 Dec

Just getting started with your first interchangeable lens camera? Don’t be intimidated – we’re here to help.

Articles: Digital Photography Review (dpreview.com)

 
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Sigma 24-70mm F2.8 DG DN Art lens delayed due to unexpectedly high preorder demand

18 Dec

Sigma has announced its 24-70mm F2.8 DG DN Art lens for Sony E-mount and Leica L-mount has been delayed due to unexpected demand for the product. In a statement on its Sigma Japan website, the company explains that it is working on producing the lens, but that it will take additional time for the model to be made available.

Sigma’s latest Digital Native lens was announced in early November with plans for it to arrive through authorized dealers in the US starting in mid-November. The lens is currently listed for preorder/backorder on Adorama and B&H Photo for $ 1,099, a price that’s considerably lower than competitors’ alternatives.

That low price likely contributed to the high preorder numbers. Sigma doesn’t provide an estimated shipping date for the backordered lenses, instead asking that customers ‘remain patient’ during the delay. Interested future buyers can enter their email address on B&H Photo’s website to receive an alert when the lens is back in stock.

Articles: Digital Photography Review (dpreview.com)

 
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Leica launches M10-P ‘Ghost Edition’ and new Summilux-M 90mm F1.5 ASPH lens

13 Dec

Leica has teamed up with New York-based horology company HODINKEE to launch the Leica M10-P ‘Ghost Edition’ camera styled after the vintage timepiece owned by Ben Clymer, founder and CEO of HODINKEE. The ‘Ghost Edition’ version of the M10-P includes a Summilux-M 35mm F1.4 ASPH lens with the same style.

The natural wear and tear on a wristwatch bezel results in a ‘ghosting’ aesthetic that inspired the M10-P ‘Ghost Edition’ design, according to Leica. This special edition camera doesn’t feature the company’s iconic red dot logo; its body and included lens sport a matte gray finish alongside silver and white accents. Gray cowhide leather and white enamel-filled engravings round out the ghosted aesthetic.

The Leica M10-P ‘Ghost Edition’ retains the same specs as the regular model. Leica is limiting this special edition to 250 camera sets globally with availability starting today. Each set features a serial number, a certificate of authenticity and a gray rope strap with black leather accents. The set is priced at $ 14,995 through HODINKEE.

Joining the special edition camera set is Leica’s new Summilux-M 90mm F1.5, an extremely fast telephoto prime lens designed for portrait photography. Leica describes this new lens, which has the longest focal length in the Summilux-M lineup, as offering ‘a breathtakingly shallow depth of field.’

The Summilux-M 90mm F1.5 lens features eight elements in six groups, including two aspherical elements made from specialized glass and a floating lens element. The company says that its lens design nearly eliminates the distortion and vignetting associated with fast lenses and that the lens hood helps cut down on reflections and unwanted light.

Leica customers familiar with the Noctilux-M 50mm F0.95 ASPH lens will find the new offering very similar in terms of design, build and depth of field, according to the company. The Summilux-M 90mm F1.5 ASPH lens is now available from Leica’s stores, boutiques and dealers for $ 12,995. The lens can be used with the Leica SL and SL2 cameras using the M-Adapter L.

Articles: Digital Photography Review (dpreview.com)

 
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TTArtisans releases its 21mm F1.5 prime lens for Leica M-mount camera systems

10 Dec

Third-party Chinese lens manufacturer TTArtisan has released it’s latest lens, a 21mm F1.5 prime for Leica M-mount camera systems.

The fully-manual lens is constructed of 13 elements in 11 groups, has an aperture range of F1.5-F16 and features a 10-blade aperture diaphragm. The lens has minimum focusing distance of 70cm (27.6in) and a clicked aperture ring.

We haven’t tested any of TTArtisan lenses here at DPReview, but Vincent Bihler has a great review of the TTArtisan 35mm F1.4 on 35mmc and if the image (and build) quality of the 35mm lens is anything to go by from his review, the 21mm F1.5 will likely offer plenty of bang for your buck.

The TTArtisan 21mm F1.5 Leica M-mount lens is available on Amazon* for $ 429.


*Full disclosure: DPReview is a wholly-owned subsidiary of Amazon. We maintain full editorial independence from our parent company.

Articles: Digital Photography Review (dpreview.com)

 
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Lensrentals teardown reveals the inside of the ‘Strong like Bull’ Canon RF 70-200mm F2.8 lens

10 Dec

Image credits: Images (and excerpts) shared with kind permission from Roger and the Lensental team.


Canon’s new RF 70-200mm lens is one of the most interesting lenses we’ve come across in recent memory—so much so we deemed it a ‘modern marvel’ in our sample gallery and crowned it the ‘Zoom Lens Winner of the Year’ award.

While we’ve shared our thoughts on the image quality and overall performance of the lens, we haven’t taken too deep a look into the construction of the lens. Thankfully, Roger and his team over at Lensrentalss have done a complete teardown of the Canon RF 70-200mm F2.8 lens to show off just what Canon has put into this compact lens that’s part of the ‘holy trinity’ in the photo world.

A look at the PCB in the rear of the lens.

To start off the teardown, Roger recounts a little anecdote wherein a Canon engineer tossed a box on his workbench and pulled out a mock-up version of the RF 70-200mm F2.8 lens. Roger admits he isn’t easily impressed, but when he laid eyes on the mockup, he said his jaw dropped and the only words to leave his mouth were ‘that’s going to sell you a lot of cameras.’ Now, a good while later, a full-functioning version of the lens was sitting on his workbench once again; and this time it wasn’t leaving without going through a little operation.

Before cracking open the lens, Roger first addresses the redesigned optics of the lens, pointing out the dual focus group design and the extending lens barrel, addressing the latter by saying:

Some of you HATE extending barrel lenses. That’s cool; don’t get one. Some of you like to call them dust pumps. That’s cool, too, although it’s incorrect. (We take care of over 20,000 lenses. The most common ‘dusters’ among current lenses all happen to be primes that don’t zoom at all.)

The breathable filter (which lets in air, but keeps out dirt and dust) around the lens barrel.

From there, it’s onto the teardown, which starts with the hinged tripod ring. He notes it’s not the most robust tripod ring he’s come across, but when attached to the camera, it’s ‘quite sturdy.’ With the tripod collar off, it was onto the front of the barrel, which came off with a few external screws. Upon looking over the front ring, Roger discovered a foam sealing between the filter barrel and front element, as well as a new breathable filter, that will allow air to pass through the front of the lens without allowing particles to get in.

The front lens element was then removed with ease, which lead to the ‘reasonably large IS unit,’ which stopped the team in their tracks and lead them to turning the lens over and tearing it down from the back.

A close-up of the ‘reasonably large’ IS unit.

The rear lens mount proved fairly standard as far as Canon’s RF lenses go. It was packed tight with the PCB and ribbon cables, as well as a few springs to add the tactile feedback to Canon’s programmable ‘Control Ring.’

Eventually, Roger hit a point where the ribbon cables looked too fragile to continue, but he and Aaron persisted and eventually removed the rear lens barrel after carefully threading each ribbon cable through the maze of pieces.

A close-up of the meticulously-placed ribbon cables and sensors.

It was at this point Roger paused to ‘salute Canon’s engineers,’ saying:

The flexes are all beautifully laid out and organized, going directly to their appointed place with no wandering about allowed. Notice how all the switches just take up one small flex; there’s not a lot of electron transfer needed to signal ‘on’ or ‘off’ compared to the amount of information that IS or focusing requires.

After composing himself, he and Aaron continued to the inner workings of the lens. Specifically, he draws attention to the elements Canon uses to secure the extending lens barrel. Roger says the Canon RF 70-200mm F2.8 ‘has about the most robust extending barrel mechanism I’ve ever seen […] There aren’t the usual three cams sliding about to move this barrel, there are three pairs of them, and each is very large and robust.’

A look at the components used to secure the extending lens barrel.

Roger and Aaron eventually strip the outer barrel of the lens and dig further into the most intricate components, including both focus assemblies and the image stabilization unit. Roger notes the focus assembly (motors and optics) will likely be replaced as a whole if any component breaks, so any issue on that front will likely prove to be an expensive fix. However, he does not that he ‘doubt it’s a part that will really ever need replacing’ as the lens ‘is SLB (Strong, Like Bull) engineering, and the area is well protected.’

The aperture diaphragm inside the Canon RF 70-200mm F2.8 lens.

In all, Roger concludes that a ‘LOT’ of engineering progress has been made in the RF 70-200mm F2.8 lens compared to the likes of the Canon EF 70-200mm F2.8 lens and the Sony 70-200mm F2.8 lens. He states clearly, ‘this lens was a new design from the ground up,’ adding:

There’s no ‘that’s the way we’ve always done it’ holdovers [compared to the iterative updates of past 70-200mm lenses]. That’s a lot more work for the designers, but the result is a beautifully engineered, fully modern lens. It’s clean, functional, and straightforward.

Roger further addresses the build quality of the lens, saying:

‘It’s obviously very robustly engineered from a mechanical standpoint. The internal composites are strong as hell. There are double cams, rods, and posts everywhere. There’s no play in any moving parts. We can’t imagine there will ever be play in the moving parts unless you run over it with a truck. You could describe it as ruggedized, but I’m going to stick with Strong, Like Bull, and suggest we refer to this as the RF-SLB 70-200mm f/2.8 from now on.

In the end, Roger summarizes the teardown with six simple (paraphrased) words: ‘This is how you do it.’

To view the full teardown in all its glory, head on over to the Lensrentalss blog.

Articles: Digital Photography Review (dpreview.com)

 
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Sigma’s new Classic Art Prime Cine and /i Technology PL lens kits to sell for $44K

07 Dec

Sigma has announced the pricing and availability for its upcoming Classic Art Prime Cine and /i Technology-compatible Cine Art Prime PL-mount lenses. These are variants of its Art Cine Prime with simpler coatings for a classic cinema aesthetic. The company plans to release the Classic Art Prime Cine line as a set of 10 lenses in January 2020 for $ 43,999; these lenses will only be available as part of the full set.

Unlike the Classic Art Prime Cine lenses, the /i Technology-compatible versions will be released for individual purchase in two different batches, the first going up for sale later this month and the second going up for sale in late January 2020. The lenses will be available from authorized dealers.

The /i Technology versions communicate shooting metadata to camera bodies that are compatible with Cooke’s communication protocol.

The following /i Technology-compatible lenses will be priced at $ 3,899 each with availability listed below:

  • 20mm T1.5 (late December 2019)
  • 24mm T1.5 (late December 2019)
  • 28mm T1.5 (late January 2020)
  • 35mm T1.5 (late December 2019)
  • 40mm T1.5 (late January 2020)
  • 50mm T1.5 (late December 2019)
  • 85mm T1.5 (late December 2019)

The remaining three new /i Technology-compatible lenses will be priced at $ 5,499 each:

  • 14mm T2 (late January 2020)
  • 105mm T1.5 (late January 2020)
  • 135mm T2 (late January 2020)

The movie Top Gun: Maverick scheduled to hit theaters early next year was shot using early versions of Sigma’s new FF High Speed Prime /i Technology-compatible lens, according to the company. As the name indicates, these lenses are compatible with the /i Technology communication protocol from Cooke Optics.

Articles: Digital Photography Review (dpreview.com)

 
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Have your say: Best zoom lens of 2019

04 Dec

Best zoom lens of 2019

As always, there were a lot of high-quality zoom lenses released this year. These include several ‘reference’ models, as new full-frame mirrorless systems from Canon, Nikon and Panasonic start to mature. We’ve gone through everything that came out in 2019, and selected what we think are the standout prime lenses from the past 12 months, but as always – if you think we missed something, let us know in the comments.

Voting runs through December 15th, and once the vote has closed we’ll run a second poll to find your choice for overall product of the year.

Canon

For Canon, 2019 was all about filling out its new EOS R full-frame mirrorless lineup. To that end, the company officially launched several new lenses, including the RF-mount ‘holy trinity’ of F2.8 zooms. From our initial shooting, these new lenses are truly impressive. Meanwhile, the RF 24-240mm is a versatile go-everywhere zoom for EOS R and RP shooters.

Do any of these new zooms deserve a place on our list of best lenses in 2019? Let us know by casting your vote.

  • Canon RF 15-35mm F2.8L IS USM
  • Canon RF 24-240mm F4-6.3 IS USM
  • Canon RF 24-70mm F2.8L IS USM
  • Canon RF 70-200mm F2.8L IS USM

Fujifilm

Between them, the Fujifilm GF 100-200mm F5.6 and XF 16-80mm F4 fill out the company’s medium format and APS-C lens lineups nicely, offering a versatile telephoto solution and handy walk-around travel zoom lens range, respectively.

Both are great lenses, but do either of them get your vote for best zoom lens of 2019? Cast your vote and let us know.

  • Fujifilm GF 100-200mm F5.6 R LM OIS WR
  • Fujifilm XF 16-80mm F4.0 R OIS WR

Nikon

Nikon is slowly expanding its Z-mount mirrorless lens lineup, and this year released two full-frame zoom lenses, the 14-30mm F4 and 24-70mm F2.8. Both are sharp, practical, weather-sealed options for Z6 and Z7 shooters, but are they among the best zoom lenses released in 2019?

  • Nikon Nikkor Z 14-30mm F4 S
  • Nikon Nikkor Z 24-70mm F2.8 S

Olympus

Olympus has mostly focused on new cameras in 2019, but the company did release one zoom lens, designed for mid-range and entry-level M43 cameras. The 12-200mm F4 covers a useful equivalent focal length range of 24-400mm, making it ideal for travel and everyday photography. Let us know if you think it has a place on our list of best 2019 zoom lenses.

  • Olympus M.Zuiko Digital ED 12-200mm F3.5-6.3

Panasonic

Of the several zoom lenses that Panasonic released in 2019, the majority are for its new S1-range of full-frame mirrorless cameras. But alongside its new S-range, Panasonic also released the 10-25mm F1.7 – a fast 20-50mm equivalent zoom for Micro Four Thirds. Cast your vote and let us know if any of them deserve a place in our list of best lenses released in 2019.

  • Panasonic Leica DG Vario-Summilux 10-25mm F1.7 ASPH
  • Panasonic Lumix S 24-105mm F4 Macro OIS
  • Panasonic Lumix S Pro 24-70mm F2.8
  • Panasonic Lumix S Pro 70-200mm F4 OIS

Sigma

Sigma’s range of ‘DN’ (Digital Native) lenses designed from scratch for mirrorless is growing, and this year saw the launch of two. We’ve only just got our hands on the 14-24mm and we’re still waiting for the 24-70mm, but we have high hopes for both. Are you among the lucky few that have used either? Either way, let us know what you think.

  • Sigma 14-24mm F2.8 DG DN Art
  • Sigma 24-70mm F2.8 DG DN Art

Sony

Sony finally answered a lot of its a6000-series fans’ prayers this year with some new zooms for APS-C. The 16-55mm F2.8 in particular is a pricey lens, but it’s a great companion for the a6600. Meanwhile, the 200-600mm F5.6-6.3 is designed for sports and wildlife enthusiasts using a7 and a9-series full-frame cameras. Do any of these zooms make your list for best lenses of 2019? Cast your vote now.

  • Sony E 16-55mm F2.8 G
  • Sony E 70-350mm F4.5-6.3 G OSS
  • Sony FE 200-600mm F5.6-6.3 G OSS

Tamron

Tamron released two zoom lenses this year for full-frame – the 17-28mm F2.8 Di III RXD for Sony E-mount and the 35-150mm F2.8-4 Di VC OSD for Canon and Nikon DSLRs. They’re designed for different users, and for different kinds of photography. The 17-35mm helps fill out Tamron’s native mirrorless lineup with a wide-angle option, while the 35-150mm is a lens intended specifically to appeal to portrait photographers.

What do you think of them? Cast your vote and let us know.

  • Tamron 17-28mm F2.8 Di III RXD
  • Tamron 35-150mm F2.8-4 Di VC OSD

Vote now!

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Canon RF 15-35mm F2.8L IS USM

Canon RF 24-70mm F2.8L IS USM

Canon RF 70-200mm F2.8L IS USM

Canon RF 24-240mm F4-6.3 IS USM

Fujifilm GF 100-200mm F5.6 R LM OIS WR

Fujifilm XF 16-80mm F4 R OIS WR

Nikon Nikkor Z 14-30mm F4 S

Nikon Nikkor Z 24-70mm F2.8 S

Olympus M.Zuiko Digital ED 12-200mm F3.5-6.3

Panasonic Leica DG Vario-Summilux 10-25mm F1.7 ASPH

Panasonic Lumix S 24-105mm F4 Macro OIS

Panasonic Lumix S Pro 24-70mm F2.8

Panasonic Lumix S Pro 70-200mm F4 OIS

Sigma 14-24mm F2.8 DG DN Art

Sigma 24-70mm F2.8 DG DN Art

Sony E 16-55mm F2.8 G

Sony E 70-350mm F4.5-6.3 G OSS

Sony FE 200-600mm F5.6-6.3 OSS

Tamron 17-28mm F2.8 Di III RXD

Tamron 35-150mm F2.8-4 Di VC OSD

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Poll Rules:

This poll is meant to be a bit of fun. It’s not sponsored, promoted or paid for in any way and DPReview doesn’t care how you vote. Our readers’ polls are run on the basis of trust. As such, we ask that you please only vote once, from a single account.

Articles: Digital Photography Review (dpreview.com)

 
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Have your say: Best prime lens of 2019

04 Dec

Best prime lens of 2019

2019 was a banner year for lenses, as Canon, Nikon and Panasonic grow their respective full-frame mirrorless systems and Sony continued to add optics to its E-mount lineup. In this poll, we’re giving you the change to vote for your favorite prime lenses of 2019 but as always, if you think we’ve missed something, let us know in the comments.

Voting runs through December 15th, and once the vote has closed we’ll run a second poll to find your choice for overall product of the year.

Canon

Canon is busy building out its nascent EOS R full-frame mirrorless system, but while most of the action has been in the zoom category this year, Canon also added a stellar prime lens in the form of the RF 85mm F1.2L IS USM. Also in consideration is a lens which became available just a little too late to be included in last year’s poll, the EF-M 32mm F1.4 STM – a fast, compact standard prime for the APS-C M-system.

  • Canon EF-M 32mm F1.4 STM
  • Canon RF 85mm F1.2L IS USM

Fujifilm

Fujifilm has been expending a lot of energy on new cameras this year, from the entry-level X-A7 to the flagship medium-format GFX100. But the company also released a handful of lenses, both primes and zooms.

Among them were two fixed focal-length options that we’ve really enjoyed in 2019 – the GF 50mm F3.5 and the tiny XF 16mm F2.8 – both really nice, compact walk-around lenses on Fujifilm’s medium-format and APS-C format cameras, respectively.

  • Fujifilm GF 50mm F3.5 R LM WR
  • Fujifilm XF 16mm F2.8 R WR

Leica

2019 saw Leica release the refreshed Q2 and mirrorless SL2, and to accompany the latter, Wetzlar unveiled two new lenses, a 35mm F2 and 50mm F2. We’ve never no much as even handled either, but both appear to be excellent performers, and we know that you’ll have opinions.

Do either (or both?) make it on to your list of the best primes of 2019? Let us know.

  • Leica APO-Summicron-SL 35mm F2 ASPH
  • Leica APO-Summicron-SL 50mm F2 ASPH

Nikon

This year for Nikon has been all about consolidating its Z-series lens lineup, following the launch of the Z6 and Z7 in 2018. Nikon released three Z-series primes this year, and two of them (the 85mm and 58mm ‘Noct’) have impressed us in our initial shooting. We just got hold of the Z 24mm F1.8 S and it looks like another excellent performer. Let us know what you think by casting a vote.

  • Nikon Nikkor Z 58mm F0.95 S Noct
  • Nikon Z 85mm F1.8 S
  • Nikon Z 24mm F1.8 S

Panasonic

Panasonic has been putting a lot of energy into its full-frame L-mount lineup this year, and the S Pro 50mm F1.4 is a fine ‘reference’ lens for that system. But the company also found time to update one of its most popular primes for Micro Four Thirds: The Leica DG Summilux 25mm F1.4 II ASPH. Did either of them make it into your lens collection?

  • Panasonic Leica DG Summilux 25mm F1.4 II ASPH
  • Panasonic Lumix S Pro 50mm F1.4

Sigma

Sigma released plenty of lenses this year, although several were L-mount versions of existing designs. The company’s two genuinely ‘new’ primes exist at opposite poles of the company’s lineup – the small and lightweight 45mm F2.8 at one end, and the large and heavy (and pricey) 35mm F1.2 ‘Art’ at the other.

Both are excellent in their own way – did either impress you in 2019? Cast your vote and let us know.

  • Sigma 35mm F1.2 DG DN Art
  • Sigma 45mm F2.8 DG DN Contemporary

Sony

Sony had a great year in terms of lenses, releasing three high-quality prime lenses for its full-frame a9 and a7-series cameras. The FE 35mm F1.8 is a perfect walk-around lens, whereas the 135mm F1.8 is aimed more specifically at portrait professionals. Meanwhile the FE 600mm F4 is a perfect tool for sports and wildlife shooters.

Have you been shooting with any of Sony’s new prime lenses this year? Cast your vote and let us know.

  • Sony FE 135mm F1.8 GM
  • Sony FE 35mm F1.8
  • Sony FE 600mm F4 GM OSS

Tamron

Tamron launched three prime lenses this year, including a new reference prime in the ‘SP’ (Special Performance) range. The SP 35mm F1.4 is a large, heavy but very sharp medium wideangle for Canon and Nikon DSLRs, whereas the 24mm and 35mm F2.8 Di III are lightweight, everyday options for mirrorless photographers.

Do any of the three deserve a place in our final list of best primes of 2019? Cast your vote and let us know.

  • Tamron SP 35mm F1.4 Di USD
  • Tamron 24mm F2.8 Di III OSD M1:2
  • Tamron 35mm F2.8 Di III OSD M1:2

Zeiss

We’ve never seen the Zeiss Otus in person, but if it’s anything like Zeiss’s previous Otus-series lenses, it’s likely to be a seriously impressive piece of glass. But is it one of the best prime lenses of the year? Let us know.

  • Zeiss Otus 100mm F1.4

Vote now!

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Canon EF-M 32mm F1.4 STM

Canon RF 85mm F1.2L USM

Fujifilm GF 50mm F3.5 R LM WR

Fujifilm XF 16mm F2.8 R WR

Leica APO-Summicron-SL 35mm F2 ASPH

Leica APO-Summicron-SL 50mm F2 ASPH

Nikon Nikkor Z 58mm F0.95 S Noct

Nikon Nikkor Z 24mm F1.8 S

Nikon Nikkor Z 85mm F1.8 S

Panasonic Leica DG Summilux 25mm F1.4 II ASPH

Panasonic Lumix S Pro 50mm F1.4

Sigma 35mm F1.2 DG DN Art

Sigma 45mm F2.8 DG DN Contemporary

Sony FE 135mm F1.8 GM

Sony FE 35mm F1.8

Sony FE 600mm F4 GM OSS

Tamron SP 35mm F1.4 Di USD

Tamron 24mm F2.8 Di III OSD M1:2

Tamron 35mm F2.8 Di III OSD M1:2

Zeiss Otus 100mm F1.4

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