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Posts Tagged ‘Lens’

K&F Concept Nikon Z lens adapters start shipping on January 22nd

19 Jan

If you own a Nikon Z camera and still have a bunch of older lenses from other brands sitting around, K&F Concept’s new line of Nikon Z lens adapters, which will start shipping on January 22, could be worth a look. They could give your old lenses a new lease on life.

In total ten different Z-mount adapters will be available:

  • KF-FDZ for Canon FD mount
  • KF-EFZ for Canon EF mount
  • KF-PKZ for Pentax K mount
  • KF-NGZ for Nikon F mount (G-type)
  • KF-NFZ for Nikon F mount
  • KF-CYZ for Yashica-Contax mount
  • KF-OMZ for Olympus OM mount
  • KF-AAZ for Sony/Minolta A mount
  • KF-SRZ for Minolta MD mount
  • KF-42Z for M42 mount
  • KF-LMZ for Leica M

The adapters are made of brass and aluminum and manually operated. They’re also pretty affordable, with prices ranging from $ 30 to just over $ 60. You can find an overview of all adapters with more detail on the K&F website.

Articles: Digital Photography Review (dpreview.com)

 
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Lens sample gallery: Tamron 17-35mm F2.8-4 Di OSD

18 Jan

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The Tamron 17-35mm F2.8-4 Di OSD is a compact and light-weight lens for full-frame Canon and Nikon DSLRs. This wide angle zoom features a nearly-silent AF motor and coatings to repel water and grime. We took it on a grand tour of Seattle’s best tourists destinations and found it makes a pleasant, albeit wide, walking around lens.

See our Tamron 17-35mm F2.8-4 Di OSD lens gallery

Articles: Digital Photography Review (dpreview.com)

 
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Sigma updates lens compatibility notice for Canon EOS R after further testing

17 Jan

Sigma has made a number of amendments to its lens compatibility notice for Sigma lenses when used on Canon’s EOS R mirrorless camera.

After further testing, Sigma has concluded both autofocus and optical image stabilization (for applicable lenses) work ‘without any issues’ on the following lenses when used with Canon EOS R mirrorless cameras via the EF-EOS R mount adapter or Control Ring EF-EOS R mount adapter:

DG Lens
– SIGMA 12-24mm F4 DG HSM | Art
– SIGMA 14-24mm F2.8 DG HSM | Art
– SIGMA 24-35mm F2 DG HSM | Art
– SIGMA 24-70mm F2.8 DG OS HSM | Art
– SIGMA 24-105mm F4 DG OS HSM | Art
– SIGMA 60-600mm F4.5-6.3 DG OS HSM | Sports
– SIGMA 70-200mm F2.8 DG OS HSM | Sports
– SIGMA 100-400mm F5-6.3 DG OS HSM | Contemporary
– SIGMA 120-300mm F2.8 DG OS HSM | Sports
– SIGMA 150-600mm F5-6.3 DG OS HSM | Contemporary
– SIGMA 150-600mm F5-6.3 DG OS HSM | Sports
– SIGMA APO 200-500mm F2.8/400-1000mm5.6 EX DG
– SIGMA APO 300-800mm F5.6 EX DG HSM
– SIGMA 8mm F3.5 EX DG CIRCULAR FISHEYE
– SIGMA 14mm F1.8 DG HSM | Art
– SIGMA 15mm F2.8 EX DG DIAGONAL FISHEYE
– SIGMA 20mm F1.4 DG HSM | Art
– SIGMA 24mm F1.4 DG HSM | Art
– SIGMA 28mm F1.4 DG HSM | Art
– SIGMA 35mm F1.4 DG HSM | Art
– SIGMA 40mm F1.4 DG HSM | Art
– SIGMA 50mm F1.4 DG HSM | Art
– SIGMA 85mm F1.4 DG HSM | Art
– SIGMA 105mm F1.4 DG HSM | Art
– SIGMA 135mm F1.8 DG HSM | Art
– SIGMA 500mm F4 DG OS HSM | Sports
– SIGMA 70mm F2.8 DG MACRO | Art
– SIGMA MACRO 105mm F2.8 EX DG OS HSM ?
– SIGMA APO MACRO 150mm F2.8 EX DG OS HSM ?
– SIGMA APO MACRO 180mm F2.8 EX DG OS HSM ?

DC Lens
– SIGMA 8-16mm F4.5-5.6 DC HSM ?
– SIGMA 10-20mm F3.5 EX DC HSM ?
– SIGMA 17-50mm F2.8 EX DC OS HSM ?
– SIGMA 17-70mm F2.8-4 DC MACRO OS HSM | Contemporary ?
– SIGMA 18-35mm F1.8 DC HSM | Art ?
– SIGMA 18-200mm F3.5-6.3 DC MACRO OS HSM | Contemporary ?
– SIGMA 18-250mm F3.5-6.3 DC MACRO OS HSM ?
– SIGMA 18-300mm F3.5-6.3 DC MACRO OS HSM | Contemporary ?
– SIGMA 50-100mm F1.8 DC HSM | Art ?
– SIGMA 4.5mm F2.8 EX DC CIRCULAR FISHEYE HSM ?
– SIGMA 10mm F2.8 EX DC FISHEYE HSM ?
– SIGMA 30mm F1.4 DC HSM | Art ?

*Camera’s “Scene Intelligent Auto mode” cannot be used.

Sigma notes when Digital Lens Optimizer, located within the EOS R settings menu, is switched to ‘OFF’ but peripheral illumination correction, chromatic aberration correction and distortion correction are turned on, those corrections will be made for each lens, specific to their optical characteristics. ‘This is applicable to DG and DC lenses from Contemporary, Art and Sports line listed below which were released after March, 2018, or those of which firmware has been updated to Ver.2.0 or later,’ says Sigma in the press release.

Sigma also clarifies that any DC lenses where the image circle is made to match APS-C sensors is used, the EOS R won’t automatically switch to its built-in 1.6x crop shooting mode, meaning it will have to be set manually. A future firmware update, expected to be ‘announced at a later date,’ will make this switch automatic and add support for the EOS R’s Scene Intelligent Auto mode.

Testing also confirmed three lenses had the potential to show ‘some phenomena’ that required special handling. The Sigma 60-600mm F4.5-6.3 DG OS HSM, 24-70mm F2.8 DG OS HSM and 100-400mm F5-6.3 DG OS HSM all experienced a problem wherein on particular occasions the camera battery needed to be taken out and put back in place if the lens was removed while the optical stabilization is running.

Likewise, the 24-70mm F2.8 DG OS HSM and 100-400mm F5-6.3 DG OS HSM experienced an issue where autofocus would stop working from infinity to closer focus distance while shooting video.

Upcoming firmware updates to address these issues for these three lenses are expected ‘at a later date.’

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm announces 100-200mm F5.6 lens for GFX system

17 Jan

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Fujifilm has announced its new GF 100-200mm F5.6 R LM OIS WR tele-zoom lens, for medium format. When attached to a GFX body, the lens covers an equivalent focal length range of 79-158mm (the GF 1.4x teleconverter is supported if you need extra reach). The lens is stabilized, with Fujifilm claiming 5 stops of shake reduction. Optical construction comprises 20 elements in 13 groups, including one aspherical and two super ED elements.

The 100-200 uses a linear motor for ‘silent and high-speed autofocus’ which locks in place when the camera is powered down. The minimum focus distance is 0.6m at wide-angle and 1.6m at telephoto, with a max magnification of 0.2x. The lens is weather-sealed and weighs just over a kilogram (2.3 pounds).

The GF 100-200mm F5.6 will be available in late February for $ 2000.

Press release:

FUJIFILM INTRODUCES NEW TELEPHOTO ZOOM LENS FOR THE GFX MEDIUM FORMAT MIRRORLESS SYSTEM

The FUJINON GF100-200mm F5.6 R LM OIS WR lens is a welcome addition for outdoor photographers

Valhalla, New York, January 17, 2019 – FUJIFILM North America Corporation today announced that it will release the FUJINON GF100-200mmF5.6 R LM OIS WR lens for the GFX Medium Format mirrorless digital camera system on February 14th, 2019. Designed with outdoor enthusiasts in mind, the camera has a durable, lightweight design paired with Fujifilm’s excellent image quality and five stop image stabilization features.

“Outdoor photographers need to consider a plethora of challenges including lighting, environment and timing – all while battling the natural elements,” said Yuji Igarashi, General Manager, Electronic Imaging Division & Optical Devices Division, FUJIFILM North America Corporation. “As the first GF telephoto zoom lens that has a 35mm equivalent focal range of 79-158mm in a compact, weather-resistant design, this lens will meet the needs of outdoor and landscape photographers.”

Ideal to shoot landscape, travel and nature photography, the new telephoto zoom lens is resilient with its ability to operate in extreme temperatures (down to 14 °F) and sealed lens to resist dust and moisture –all without sacrificing image quality.

Key features of the FUJINON GF100-200mmF5.6 R LM OIS WR lens:

Ultra-High Image Quality: The lens is made up of 20 elements in 13 groups including two super Extra Low Dispersion Glass lenses and one aspherical lens to reduce chromatic and field curvature aberrations.

Powerful Image Stabilization: Equipped with an excellent five stop image stabilization (CIPA guidelines), the lens allows photographers to make the most of the GFX’s high image resolution performance even without the use of a tripod.

Silent and High-Speed Autofocus: The linear motor which drives the focus is accurate, quiet and fast. The lens also includes an enhanced mechanism for fixing the linear motor position when turning the power off or using playback mode to avoid any additional vibration.

Robust Durable Design, Appropriate for Tough Shooting Environments: The lens is sealed across 10 areas for dust and weather resistance allowing photographers to shoot with stability in tough environments.

GF1.4X TC WR Compatible: The 1.4x teleconverter (GF1.4X TC WR) extends the telephoto shooting range to 140-280mm (equivalent to 111-221mm in 35mm format) while maintaining superior image quality.

The GF100-200mmF5.6 R LM OIS WR lens complements the FUJIFILM GFX 50S and FUJIFILM GFX 50R as well as the full lineup of GF lenses for the Fujifilm GFX mirrorless digital camera system. GF lenses are known for top image quality using the finest optical design and production technologies to achieve high-resolution and rich tonal reproduction, making them popular among professional photographers and photo enthusiasts.

The GF100-200mmF5.6 R LM OIS WR lens will be available in late February 2019 in the U.S. and Canada for USD $ 1,999.95 and CAD $ 2,599.99.

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

Principal specifications
Lens type Zoom lens
Max Format size Medium Format (44x33mm)
Focal length 100–200 mm
Image stabilization Yes
CIPA Image stabilization rating 5 stop(s)
Lens mount Fujifilm G
Aperture
Maximum aperture F5.6
Minimum aperture F32
Aperture ring Yes
Number of diaphragm blades 9
Optics
Elements 20
Groups 13
Special elements / coatings 1 aspherical + 2 super ED elements
Focus
Minimum focus 0.60 m (23.62)
Maximum magnification 0.2×
Autofocus Yes
Motor type Linear Motor
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale No
Focus distance limiter Yes
Physical
Weight 1050 g (2.31 lb)
Diameter 90 mm (3.52)
Length 183 mm (7.2)
Materials Magnesium alloy
Sealing Yes
Colour Black
Zoom method Rotary (extending)
Power zoom No
Zoom lock No
Filter thread 67 mm
Hood supplied Yes
Tripod collar Yes

Articles: Digital Photography Review (dpreview.com)

 
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Moment Smartphone Lens Review for Photography and Videography

16 Jan

The post Moment Smartphone Lens Review for Photography and Videography appeared first on Digital Photography School. It was authored by Suzi Pratt.

It’s no secret that smartphone cameras are getting increasingly better with every new release. But did you know that you can enhance your smartphone photography even further with lenses? There are several smartphone lens manufacturers out there, but one of the most popular and premium choices out there comes from Moment. This Seattle-based company offers four lenses that can take your smartphone photography to the next level. I’ve long been curious about these lenses and was delighted to finally have a chance to try them out.

best moment lens for smartphone review

Specs

Currently, Moment has four smartphone lenses on hand: the Superfish (fisheye), Wide, Macro, and Tele Portrait. Each lens ranges in price from US$ 89.99 to US$ 99.99. The lenses are attached via a custom Moment smartphone Photo Case, so you’ll need one of them too. Presently, there are Photo Cases for Google Pixel, Samsung Galaxy, and iPhone. Each case varies in design and price depending on your smartphone brand, but they’re in the US$ 30 or less range. This test and all resulting images were done with a Samsung Galaxy S8.

Build quality

Physically, each lens varies in presentation, which helps tell them apart at a quick glance. All lenses are made of metal and glass and have some nice heft to them. They also come with rubber lens caps that protect the front element. While there are no end caps to protect the back elements, at least they are small and relatively easy to keep clean and protected if using the included velvet lens drawstring bags.

best moment lens for smartphone review

Attaching the lens to your Smartphone

Lenses attach to your phone via the bayonet-style mount on Moment’s custom phone cases. You simply match up the lens mount to the phone case and twist the lens to lock it into place. It’s relatively easy to do with no added tools required. However, the lens mount is so small that it can take some trial and error to get it mounted. Once locked in place, these lenses are solidly attached to your phone case and it would take significant force for them to accidentally fall off.

Wide lens

Moment’s wide lens is equivalent to 18mm, which is significantly wider than my Samsung Galaxy S8’s 26mm (35mm equivalent) focal length. It’s a rather large lens with a curved, fisheye-like lens. However, there are zero fisheye effects in the resulting images. In fact, there’s no distortion, vignetting, or blurring around the edges.

best moment lens for smartphone review

Superfish lens

This 170-degree Superfish lens offers the widest field of view out of all Moment lenses. It’s rather compact with a flat front-facing lens. However, the resulting image generally takes on a fisheye appearance.

Macro lens

Moment’s macro lens is arguably the best-designed lens of the bunch. It’s also the flattest and most compact lens. Offering 10x magnification, the Moment macro lens comes with a plastic diffuser hood. This hood is very important for helping you determine how close the lens needs to be to a subject (hint: it’s VERY close), but the hood can also be removed. Design-wise, I love how detailed this lens is, particularly on the front element of the lens.

best moment lens for smartphone review

Telephoto lens

While I didn’t get to test the Moment telephoto lens, here’s a brief overview. This 60mm equivalent lens offers roughly double the focal length of most smartphones. Best of all, this lens gives you a telephoto effect without having to use your smartphone camera’s digital zoom, which often degrades the quality of your images.

If you can only buy one lens…

These lenses aren’t cheap, so it makes sense to invest in one or two initially, and then build up your collection from there. Personally, I found the Macro lens to be the most fun. It offers a unique perspective on just about anything and can be great entertainment for all ages. I’d pick the Superfish lens as my next favorite as it also offers a fun and different way to capture your surroundings.

Moment lens accessories

Straight out of the box, each Moment lens comes with a velvet drawstring bag. It’s a thin lens case that is better than having no protection at all, but it doesn’t offer the best padding. As a result, I highly recommend investing in the Moment Lens Pouch. This pocket-sized zippered pouch is nicely padded and has enough room to store two Moment lenses. If you need a bigger carrying case, the Moment Travel Case is a larger version of the Lens Pouch with room for 4 Moment lenses and extra accessories.

best moment lens for smartphone review

Bottom line

If you’re on the hunt for premium lenses to extend the capability of your smartphone camera, Moment offers the very best. Not only do their lenses look and feel professional, but the resulting images are noticeably sharper. Sure, there are much cheaper smartphone lenses out there, but they often compromise on physical quality. You won’t find any compromises if you go with Moment. The only catch is that you have to use one of the high-end smartphones that Moment makes a phone case for.

Moment lens sample photo gallery

Moment Lens Sample Images_003

Moment Lens Superfish Lens

Moment Lens Sample Images_003

Moment Lens Superfish Lens

Moment Lens Sample Images_003

Moment Lens Wide Angle Lens

Moment Lens Sample Images_003

Moment Lens Wide Angle Lens

Moment Lens Sample Images_003

Camera phone – before the next Macro lens shot.

Moment Lens Sample Images_003

Moment Lens Macro Lens – Seashell

Moment Lens Sample Images_003

Moment Lens Macro Lens – Coffee Beans

Moment Lens Sample Images_003

Moment Lens Macro Lens – Back of my hand.

Video

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The post Moment Smartphone Lens Review for Photography and Videography appeared first on Digital Photography School. It was authored by Suzi Pratt.


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Sigma 28mm F1.4 Art lens now available for pre-order on Canon, Nikon, Sigma and Sony mounts

12 Jan

Sigma has officially opened up pre-orders for the 28mm F1.4 DG HSM Art lens it first showed off at Photokina in September 2018.

The lens, which Sigma said would be available in Canon EF, Nikon F, Sigma SA and Sony E mounts, is listed as pre-order for $ 1,399 USD at both Adorama and B&H.

As a refresher, the 28mm F1.4 DG HSM Art lens has a 17-element optical design including two F Low Dispersion (FLD), three Special Low Dispersion (SLD) elements and three aspherical elements. It has a minimum focusing distance of 28cm / 11.02in, a nine-blade aperture diaphragm, maximum magnification of 0.19x and a 77mm filter thread — the same as Sigma’s 24mm F1.4 DG HSM Art lens.


Update (January 11th, 2019): It appears the Sony E-mount version of the Sigma 28mm F1.4 DG HSM Art lens is now available for pre-order as well at both Adorama and B&H. The article has been updated accordingly to reflect this change.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon updates its lens roadmap with 3 lenses confirmed for 2020, 7 listed for 2021 release

09 Jan

Nikon has released an updated lens roadmap for its Nikon Z system that includes a number of amendments from the original roadmap shared in August 2018.

The new roadmap now makes clear the 20mm F1.8 S, 50mm F1.2 S and 14-24mm F2.8 S will ship some time in 2020. The 24mm F1.8 is expected to ship in 2019, a bump up from the original 2020 release timeframe.

Nikon also dropped a ‘TBA’ lens from its 2021 timeframe, dropping to seven lenses from eight.

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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