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2019 camera and lens manufacturers’ New Year’s resolutions

31 Dec

New Year’s resolutions

There’s plenty in this world that we’re not sure about (Peas in guacamole? The resurgence of 90’s fashion trends? Pineapple on pizza??) but one thing we’re certain of: a few companies, many of which are headquartered in Japan, will produce new cameras, lenses and photographic accessories in 2019. And just like every year, some will be great, some will be OK, and one or two will be crushingly dull.

Thanks to some early product development announcements we already know a little of what the next year holds in store, but much remains a mystery. We can only guess what the next 12 months will bring – guess, hope, and play backseat camera engineer.

In the spirit of New Years’ resolutions, we got together as a team and talked about what we’d like the major manufacturers to do next year. Things we want to see fixed, directions we’d like to see taken (plus some we’d like to see reversed…) and products we’d like to be released. So without further ado, here are our collected New Years’ resolutions, on behalf of the manufacturers, courtesy of DPReview. Call it wishful thinking.

Feel free to play along at home via the comments.

Canon

Oh, Canon – where should we start? You’re one of the biggest camera manufacturers in the industry, but you’re still among the most conservative. This year you’ve teased us with a range of superb new RF lenses, but we’re really hoping that 2019 brings a slightly higher-end camera to shoot them with. But even as you build out the RF lineup, we hope you don’t neglect EF-M. An M50 successor with un-cropped 4K would be lovely – pretty please?

Canon – in 2019 we wish you would…

Add IBIS to the RF lineup and update your sensors (or buy Sony’s).
Make the RF mount an open standard.
Reclaim your ILC video crown – no more cropped 4K!
Dump the MFn bar…
Make the 5D Mark V a true digital EOS 3.
Think different – embrace computational photography.

Fujifilm

Fujifilm, you’re the darling of camera reviewers everywhere. You’re one of the few brands that, from time to time, still makes products which are better than they need to be in order to be competitive. The X-T2 was a great camera, and you didn’t need to replace it, but you went and did it anyway! The X-T3 was one of our favorite cameras of 2018. It almost made up for the ‘4K capable’ X-A5… But we’re still hoping for more in 2019.

Fujifilm – in 2019 we wish you would…

Make a full-frame X100 / monochrome X100 / 28mm-equiv X100. (We really like the X100).
Continue improving your face and eye-detection autofocus. The X-T3 was a great start.
Make a proper X70 successor. The XF10 doesn’t count.
Refresh your F1.4 primes.
Don’t try to palm us off with 15fps ‘4K video’ ever again. For shame.

Leica

Let’s be honest, Leica – this is pointless. It doesn’t matter what we want, or what we say, or what anyone wants or says, you’re Leica! You’ll just continue to do whatever you want, and there’s every chance that in a few weeks’ time we’ll find ourselves reviewing a limited edition ping-pong-bat-rubber-clad Melania Trump signature-edition M10. And that’s why we love you.

Leica – in 2019 we wish you would…

Stop with the special editions already – this isn’t the 90s.
Make a Q2 – maybe even with a 35mm lens…
Say goodbye to 1950s technology and make an M-mount camera with an EVF.
Give your customers their moneys’ worth and turn camera repairs around in days, not months. It’s not impossible – everyone else can do it.

Nikon

Nikon, you’re getting there. You launched the Z-mount with a bang in 2018, but despite its high-end pricing you must have known that the flagship Z7 wouldn’t be quite enough to tempt professionals and enthusiasts away from their D850 and D5 bodies. Don’t let the haters get you down, though. Keep up the pace and turn the Z mount into the professional system that we know it can be. We’re rooting for you.

Nikon – in 2019 we wish you would…

Keep developing that Z-series lens roadmap.
Bring 3D AF Tracking to the Z-series – in fact, bring all of your industry-leading AF area modes to the Z-series.
Make an FTZ adapter with a built-in AF motor. Carey’s got a 105mm F2 DC he really wants to shoot with.
Make the Z mount an open standard.

Olympus

Olympus – we feel for you. You were among the first manufacturers to create a modern mirrorless camera, and now, a decade on, you’re the only brand that doesn’t (or isn’t preparing to) offer its customers a full-frame sensor. We know that it’s been a tough few years for you guys over in the camera division but we’ve got a few ideas for how you can disrupt things in 2019 and beyond.

Olympus – in 2019 we wish you would…

Start making small cameras again. Maybe an updated PEN-F?
Update the OM-D E-M5 II.
Simplify your cameras’ menu systems, please!
Add PDAF to your lower-end PEN and OM-D cameras.
Add a large sensor to the TOUGH range. You already make the best rugged cameras, why not go one step further?

Panasonic

As you prepare to enter the full-frame market in a few months, we can only imagine that things are pretty hectic in your Osaka headquarters right now. Hopefully you’re not working the engineers too hard, and they get a little downtime to read DPReview, because we’ve got some suggestions that we think might really help Panasonic out in 2019.

Panasonic – in 2019 we wish you would…

Ditch field-sequential EVFs, for good.
Either fix DFD for video, or use PDAF instead.
Now that you’re in the L mount alliance, how about making a full-frame 4K video camera?

Ricoh / Pentax

Pentax, we need to be careful what we say here…

We admire your loyal customer base, and we respect the way that many of them react to anything short of uncritically gushing praise for their favorite camera maker with… let’s say… passion. But we’re also terrified of them. For the record, we like a lot of your products! And we want you to succeed just as much as your customers do. Here are some suggestions.

Ricoh – in 2019 we wish you would

Make a true successor to the K-1.
Reissue the K-01 – just kidding! Give your fans a proper mirrorless camera – maybe the L-mount alliance has room for another member?
Make a full-frame GR to compete with the Leica Q and Sony RX1R II.

Sigma

Sigma, we hardly recognize you. Over the past decade you’ve gone from being a respected but midrange third-party lens maker (and a quietly prolific OEM manufacturer) to becoming a force to be reckoned with in the high-end optics market. You’re making some of the finest lenses available, while still undercutting the ‘big’ brands, often by a considerable margin. How do you do that?

We love what you’ve become, but sometimes love is about being honest. Here are some ideas for 2019 and beyond.

Sigma – in 2019 we wish you would…

Calm down a bit with the ‘biggest, heaviest and fastest’ primes thing and create a range of compact F2 lenses.
Try again with the 24-70mm F2.8 Art.
Follow Tamron’s example and develop some native Sony FE lenses.
Reverse-engineer the Canon RF and Nikon Z mounts and show them how it’s done.
Create a range of full-frame Merrill compacts.

Sony

Oh, Sony, we can’t keep up! At your current rate of product announcements, you’ll have released at least one new RX100-series compact, a GM lens or two and an a7 IV by the time we’ve finished writing this sentence. That’s fine, but in 2019 we’d like to see you taking a bit of a break, making some time to reflect, and maybe reprioritizing a little.

Sony – in 2019 we wish you would…

Create a Cyber-shot RX1R III (with a real battery, not that joke-shop one from last time).
Throw your a6000-series customers a bone and make some new APS-C lenses.
Make your video and stills AF experience consistent.
Speaking of 35mm, make an FE 35mm F1.8. Your non-pro and pro customers will thank you.
Focus on user experience, as well as technology. We get it, you’re smart!

Tamron

Tamron, you dark horse. You’ve been quietly adding some really impressive lenses to your lineup over the past year, including the first ever zoom lens designed natively for a full-frame mirrorless system. Not as prolific as Sigma, or as niche as the likes of Laowa or Zeiss, you’re a good, solid, photographer-friendly company that we think deserves to succeed in 2019. And here’s how we think you should do that.

Tamron – in 2019 we wish you would…

Continue developing full-frame E-mount lenses.
Reverse-engineer the Canon RF and Nikon Z mounts as soon as possible.
Resist the temptation to create large, heavy F1.4 glass – F1.8 is fine!

Articles: Digital Photography Review (dpreview.com)

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Canon patent details schematics for a possible RF 90mm F2.8L IS Macro lens

28 Dec

A recently published patent from Canon details a set of optical formulas for what appears to be an RF 90mm F2.8L IS Macro lens.

Japanese Patent Application Number 2018-205435, first detailed by Northlight Images, is fairly standard as far as patents go, but there is one interesting element worth noting.

The image stabilization elements inside the lens — labelled L12 — are located within the first optical group towards the front of the lens. More often the image stabilization component is towards the center of the lens, but that doesn’t appear to be the case here.

This could be for a number of reasons, but the patent text specifically mentions that in order to get the most accurate image stabilization, larger optical components and accompanying motors are needed. As such, the larger front area of the lens makes more sense than the middle of the lens where the optics are more confined, especially with the aperture mechanism located there (represented by ‘SP’ in the illustrations).

It’s also worth noting that the focusing component of the lens is towards the rear of the lens. The patent text says this too is due to the larger focusing motor(s) needed, but it could also have an added benefit of creating a more balanced lens with the heavy image stabilization component towards the front of the lens. As Canon showed the world with its RF 35mm F1.8 IS STM lens, the RF mount makes it possible to put larger elements and more electronics towards the rear of the lens due to the larger mount size.

Articles: Digital Photography Review (dpreview.com)

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Nikon AF-S NIKKOR 500mm F4 D II ED lens with rare grey color appears on eBay

20 Dec

A new eBay listing details a rare grey Nikon AF-S NIKKOR 500mm F4 D II ED lens in ‘very good’ condition with included case and accessories. According to the auction listing, the lens is fully functional with only ‘minimal to moderate’ signs of use on the barrel. ‘The glass is clean,’ according to the seller midwestphotoexchange, an authorized Nikon seller with a 99.8% positive rating with more than a thousand transactions. ‘The aperture blades are oil and corrosion free, and their action and control are snappy.’

The lens features the Nikon F mount and is compatible with all of the company’s SLR and DSLR models, though the seller warns it won’t meter on camera bodies made before 1977. The telephoto lens was manufactured in Japan at an unknown date and notably features a grey body overlaid with a prominent, bright red Nikon logo.

The lens is offered with a CT-502 hard case, HK-28 lens hood, both the front cover and rear cap, lens and case straps, and an extra drop-in filter holder. The seller, who will ship the item from Columbus, Ohio, is offering the lens bundle on eBay with the Buy it Now price of $ 3,995 USD, though the listing also allows interested buyers to make an offer on the item.

Articles: Digital Photography Review (dpreview.com)

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Fujifilm releases firmware updates for its X-T3, X-H1 cameras and 80mm F2.8 macro lens

18 Dec

As it promised it would back in November, Fujifilm has published the firmware updates for its X-T3 and X-H1 cameras, as well as a little firmware update for the Fujinon XF 80mm F2.8 R LM OIS WR Macro lynx.

Fujifilm X-T3

Firmware version 2.0 for the X-T3 addresses a number of issues and features present in firmware version 1.02. Most notably, it’s now possible to record 4K HDR video in Hybrid Log Gamma (HLG) when shooting in 10-bit H.265 (HEVC) mode and simultaneously output Film Simulation while capturing F-Log footage under certain conditions. It can also now shoot video files larger than 4GB without splitting the file up, so long as the SD card being used is 64GB or bigger. Other small additions include the ability to display the color temperature on the EVF and LCD displays in Kelvin and compatibility with ALL-Intra and maximum bitrate 400Mbps in 8-bit, H.264 mode.

The update is available on Fujifilm’s X-T3 firmware download page.

Fujifilm X-H1

Firmware version 2.0 for the X-H1 also addresses the file size limitation issue as well as the color temperature display, but focuses on one feature in particular — image stabilization. With firmware version 2.0, the X-H1 will now work better when used with optically stabilized lenses. Fujifilm says in the update notes that ‘[Firmware version 2.00] has a new image stabilization algorithm to allow the in-body image stabilization to work in all 5 axis and to achieve more than five-stops (up to the equivalent of 5.5 stops) image stabilization by cooperative control according to the types of frequency and blur amount.’

The update is available on Fujifilm’s X-H1 firmware download page.

Fujinon XF 80mm F2.8 R LM OIS WR Macro

In addition to the two major firmware releases, Fujifilm also threw in a small update for its 80mm F2.8 macro lens. Firmware version 1.11 adds improved compatibility between the in-body stabilization of the X-H1 and the optical stabilization inside the Fujinon XF 80mm F2.8 R LM OIS WR Macro lens when used in conjunction with firmware version 2.00 for the X-H1.

The update is available on Fujifilm’s XF 80mm F2.8 R LM OIS WR Macro firmware download page.

Articles: Digital Photography Review (dpreview.com)

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Gear Review – Fikaz Sony E-Mount Lens Adapters

17 Dec

The post Gear Review – Fikaz Sony E-Mount Lens Adapters appeared first on Digital Photography School. It was authored by Adam Welch.

Not too many years ago, in a sad and dark time, there weren’t many ways for us adventurous types to branch out in ways we used our photography gear. Namely, our camera lenses weren’t easily usable across platforms. It was possible, but adapters and converters weren’t plentiful or easy to find.

1 - Gear Review - Fikaz Sony E-Mount Lens Adapters

Today, mirrorless, full-frame, and crop-sensor cameras are essentially pairable with many lenses. Adapters for these lenses are relatively easy to find too. So much so, that there is an over-saturation of the lens conversion market making most lens mount adapters affordable for any budget.

Unfortunately, not all lens adapters are created equal. So when Fikaz, a company I had never heard of, approached me to test out some of their new Sony E-Mount (NEX) adapters, I was open-minded but still cautious of yet another lens adapter-maker.

Luckily, all of my reservations about the Fikaz Sony E-Mount lens adapters were unfounded. As it turns out, the two adapters I received were pleasantly high-quality pieces of kit. Let me explain to you what I thought about these nifty little adapters from one of the newest kids on the lens converter block.

As I said, the lens adapter world is a hot commodity right now and being able to use your lenses (especially manual vintage lenses) is currently in vogue. The two adapters I evaluated were the Nikon F (G) to Sony E-Mount and M42 to Sony E-Mount. Both adapters were high quality in both aesthetics and their build.

Nikon F (G) Adapter

Until their recent leap into the full-frame mirrorless realm, and since the late 1950s, all of Nikon’s lens mounts have been variations of the “F” mount. So technically, virtually all Nikon lenses should be compatible with a Nikon F-mount adapter.

The caveat is that later “G” series lenses (read as modern) don’t sport a physical aperture ring on the lens itself. This missing aperture ring means that while the lens is physically shootable with most F-mount lens adapters, there is nowhere for the photographer to change the aperture. A dedicated G-mount adapter comes in handy because the shooter can use the aperture ring on the adapter to physically control the amount of light entering the camera via the lens.

2 - Gear Review - Fikaz Sony E-Mount Lens Adapters

The Nikon F (G) adapter is solidly built and feels extremely substantial in the hand. The aperture controller ring is a nicely contrasting silver against the black frame of the adapter.

3 - Gear Review - Fikaz Sony E-Mount Lens Adapters

4 - Gear Review - Fikaz Sony E-Mount Lens Adapters

The Nikon F (G) adapter was tested using my relatively ancient Nikkor 70-300mm F/4-5.6 lens. Both the lens and camera sides of the adapter fit extremely snug…but not too snug…to the lens bayonet and the camera mount. Absolutely no play or movement was observed.

5 - Gear Review - Fikaz Sony E-Mount Lens Adapters

A well placed and crisply-springy release slider is also present on the adapter which is, again, in the visually pleasing contrasting silver tone. Fikaz has also included a highly visible red bead for easy mating of both the lens and camera with the adapter.

6 - Gear Review - Fikaz Sony E-Mount Lens Adapters

From what I would approximate, the aperture ring, or rather more accurately, the “aperture approximator” ring works in full stop increments with six stops of adjustment. Basing my lens at 70mm and F/4, the apertures provided from the adapter should be approximately F/4, F/5.6, F/8, and so on. The adapter has a visual representation to aid you in selecting aperture size.

7 - Gear Review - Fikaz Sony E-Mount Lens Adapters

8 - Gear Review - Fikaz Sony E-Mount Lens Adapters

Aperture control using the Fikaz Nikon F (G) to Sony E-mount adapter

9 - Gear Review - Fikaz Sony E-Mount Lens Adapters

Aperture control using the Fikaz Nikon F (G) to Sony E-mount adapter

M42 Adapter

I had intended to test the Fikaz M42 to Sony E-mount adapter using a fan-favorite lens, the Helios 44-2. Unfortunately, I realized far too late that my Helios was not in my bag. Seeing as I’m currently 3,000 miles from my test lens, this portion of the review shows my impressions of the build and appearance of the M42 adapter only. Which I must say, is extremely impressive for its price tag.

10 - Gear Review - Fikaz Sony E-Mount Lens Adapters

The M42 adapter from Fikaz is incredibly Spartan in its appearance. The majority of the converter is mostly flat black with accenting bare aluminum areas which cut an understated yet classical form. Like the Nikon adapter, the markings are well executed and quite clean. The threads on the M42 side are very uniform and smooth with no burrs or metal shavings present.

11 - Gear Review - Fikaz Sony E-Mount Lens Adapters

This same level of craftsmanship also holds through for the Sony bayonet end of the adapter which shows no flaws in the cutting or finish of the mount. The perimeter of the M42 adapter sports deep cut serrations offering a superb grip even with gloved hands.

12 - Gear Review - Fikaz Sony E-Mount Lens Adapters

Final Thoughts on the Fikaz Sony E-mount Adapters for Nikon F(G) and M42

In the grand scope of things, both the construction quality and thoughtfulness of design displayed with Fikaz’s first entries into the world of mirrorless adapters impressed me. Hopefully, both the build and looks of the adapters hint at great things to come too.

The Nikon F (G) adapter worked extremely well to allow a large measure of aperture control with newer Nikon lenses and mated perfectly to my 70-300mm test lens. However, I wasn’t able to test the M42 mount with a lens, the build and precision left little doubt that it would also perform well.

That said, there are some things to keep in mind about the M42 (and any other non-AF adapters). Essentially, all that is needed is a mount conversion. There is no real need for the relatively large size of the adapter which can affect infinity focus. While the M42 adapter has an excellent build, it may be beneficial to search for a slimmer “ring” adapter if you are worried about focusing issues.

On that note, the Fikaz adapters both feature black paint on their interior but no flocking to eliminate possible reflections. This shouldn’t be a problem, but maybe a concern for those seeking complete security for lengthy exposures.

Currently, the Fikaz Sony E-mount adapters are available for the following lens mounts: Nikon F (G), M42, Pentax K, and Fuji X mount. I have been informed that Canon EF mount will be available in the future. At the time this review, these adapters have a selling price of around US$ 24, making them a bargain. There are plenty of choices for lens adapters and converters today. Some are high quality and others, well, not so much.

I feel as if Fikaz can now join the ranks of some of the better budget adapters currently on the market. A bonus for those who are looking at a cost-effective way to use their lenses across a wide range of camera systems.

The post Gear Review – Fikaz Sony E-Mount Lens Adapters appeared first on Digital Photography School. It was authored by Adam Welch.

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Tenba launches new Ridged Lens Capsule line, two new Gear Pouches

16 Dec

Tenba has announced the arrival of Ridged Lens Capsules, a collection of five individual lens cases designed to keep lenses safe and sound in storage and travel, as well as a pair of Gear Pouches, both of which feature a clear window on the front to identify what gear is stored inside.

Ridged Lens Capsules are available in five sizes, from compact pancake lenses, all the way up to a 200-400mm zoom. The Lens Capsules feature moulded tops and bottoms and include a dedicated secure loop strap that makes it easy to attach them to MOLLE webbing on backpacks or directly onto various belt systems. Each of the Lens Capsules feature an included microfiber cloth that’s hidden inside a pocket on the lid.

Tenba uses YKK zippers, a padded interior, a soft lining and include a dedicated handle on the top for easy removal and transport. There’s even an included microfiber cloth in a secure pocket on the lid of each Lens Capsule.

The various sizes of Ridged Lens Capsules are as follows:

• 9x9cm (3.5×3.5in) — £18 ($ 20.95 USD)
• 13x9cm (5×3.5in) — £20 ($ 22.95 USD)
• 15x11cm (6×4.5in) — £31 ($ 35.95 USD)
• 23x12cm (9×4.8in) — £32.50 ($ 37.95 USD)
• 30x13cm (12x5in) — £38.50 ($ 44.95 USD)

The two new gear pouches are small bags designed to hold anything from small lenses to cables and audio equipment. Both pouches feature a clear TPU window to make it easy to see what’s packed inside.

The two Gear Pouches, which come in 19.05cm (7.5in) and 29.21cm (11.5in) sizes, are blue and sold in a set for £20 ($ 24.95 USD).

You can find the new products and more at Tenba’s online shop.

Articles: Digital Photography Review (dpreview.com)

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Kipon adds Nikon Z and Canon R mounts to medium format lens adapter range

14 Dec

Chinese optics manufacturer Kipon has added the Nikon Z and Canon R mounts to its range of medium format to full frame camera adapters. The company claims the adapters ‘virtually eliminate any crop factor’ by way of optics within the adapter that compensate for the difference in imaging areas of the full frame and medium format systems, and says the diagonal angle of view is maintained.

The eight Baveyes focal reducers use a five-element design and work with a number of popular medium format brands, namely Pentax, Mamiya and Hasselblad.

These adapters already exist for Sony full frame, Leica M and Leica SL cameras.
The new adapters will cost $ 695 and can be ordered from this week.
For more information see the Kipon website.

Press information

KIPON start to deliver 8 models new Baveyes/focal reducer for new Nikon Z mount & Canon R mount cameras

KIPON start to deliver 8 models new 0.7x Baveyes/focal reducer for new Nikon Z mount & Canon R mount cameras, increased Baveyes lineup for using medium format lenses on full frame cameras from 24 to 32 models.

Baveyes Pentax645-Nikon Z 0.7x
Baveyes Pentax67-Nikon Z 0.7x
Baveyes MAMIYA645-Nikon Z 0.7x
Baveyes Hasselblad V-Nikon Z 0.7x
Baveyes Hasselblad V-EOS R 0.7
Baveyes MAMIYA645-EOS R 0.7x
Baveyes Pentax67-EOS R 0.7x
Baveyes Pentax645-EOS R 0.7x

KIPON Baveyes introduces a line-up of the world’s first lens adapters that bring the famous medium format optics to Sony E, Leica SL and Leica M, Nikon Z, Canon R 35mm full frame cameras, virtually eliminating any crop factor image loss and maintaining diagonal angle of view.

The transformation results in a 0.7x factor to the original lens focal length with a gain of one stop in lens speed. Foremost in the advanced adapters, is the custom designed five element multicoated formula by German optics research institution, with the ability to use full frame SLR lenses on crop sensor camera bodies and mirrorless cameras.

Many medium format lenses are legendary for contrast, flare resistance, color saturation, bokeh and are in a class of their own compared to even the best 35mm format glass. And the Sony, Leica, Nikon, Canon image sensors, in the heart of their robust camera bodies, give new life to these medium format legendary lenses.

The retailer price for these optic focal reducer is 695USD,can order from Amazon Japan and Tmall China and Ebay factory shop from this week.

Articles: Digital Photography Review (dpreview.com)

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10 of the Best Wide Angle Lens for Landscape Photography

13 Dec

There’s a reason that wide-angles are the go-to lens of choice for most landscape photographers. With their ability to get the bigger picture –wide-angles are perfect for capturing sweeping landscapes, adding depth and dimension to an image, and drawing the viewer into the scene. Wide-angles certainly offer a number of benefits for landscape photographers –compositions that include plenty of interesting Continue Reading

The post 10 of the Best Wide Angle Lens for Landscape Photography appeared first on Photodoto.

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Lensrentals tears down Canon’s 50mm F1.2 RF lens to reveal new optics, tech and surprises

13 Dec

Photo kindly provided by Lensrentals

For the latest edition of LensRentals gets down and dirty with camera equipment, Lensrentals founder Roger Cicala tore down Canon’s new 50mm F1.2L RF lens to reveal what tech and construction is lurking inside.

‘Usually, I start tear down posts with a joke about “those of you who are following along by disassembling your own lens at home”,’ reads one of the introductory paragraphs of Cicala’s teardown blog post. ‘Well, no joke today; this is not a home disassembly project. I’m not really sure it’s even a Lensrentals disassembly project. But we got out tools out and boldly went where we probably shouldn’t have gone.’

The unusual screw arrangement is seen tucked inside the front barrel assembly of the Canon 50mm F1.2L RF lens — photo kindly provided by Lensrentals

Right off the bat, Cicala came across something he had never seen in a lens before — a unique screw arrangement on the front part of the lens barrel. Figuring the unique arrangement ‘was some kind of binary code for “Do Not Enter”,’ Cicala instead flipped the lens over and started to disassemble it from the rear.

With each new layer peeled back, new surprises awaited Cicala. There was wiring, rather than simple ribbon cables (which Canon has almost always preferred), a denser PCB, and a little extra electrical shielding.

Cicala noted the denser PCB and wiring (visible bottom-right) inside the Canon 50mm F1.2L RF lens — photo kindly provided by Lensrentals

The teardown also confirmed Canon is using the same USM motor for the 50mm F1.2L RF as it is for its much, much larger 400mm F2.8L IS III lens, which Cicala teases as Lensrentals’ next teardown. Near the USM motor, Cicala noticed an interesting tensioning spring, but it remains unknown what purpose it serves.

Photo provided kindly by Lensrentals

Eventually, Cicala turned the lens back over and removed the front lens barrel. After a little work, what he ended up with was the stripped down optical core of Canon’s 50mm F1.2L RF lens. ‘Like a shaved cat, it’s always kind of shocking how small the core of the thing is,’ says Cicala.

The stripped-down optical core of the Canon 50mm F1.2L RF lens — photo kindly provided by Lensrentals

Other details revealed in the teardown include a piece of electrical discharge tape that seemingly leads to nowhere, additional sealing felt and a collection of springs that serve an unknown purpose.

Photo kindly provided by Lensrentals

All in all, Cicala was impressed with the lens, going so far as to say that this lens, and this lens alone, makes him lust for Canon’s EOS R system. Cicala concludes his assessment saying ‘One thing that is very clear […] Canon has invested very heavily into developing the lenses of the R system. This level of engineering didn’t all happen in the last year, they’ve been working on this for quite a while.’

To read and see the entire teardown, head over to the Lensrental blog and set aside a good ten minutes or so.

Articles: Digital Photography Review (dpreview.com)

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Going Back to Basics – My Week With a Canon EF 50mm f/1.8 II Lens

12 Dec

The post Going Back to Basics – My Week With a Canon EF 50mm f/1.8 II Lens appeared first on Digital Photography School. It was authored by Megan Kennedy.

The demise of my first Canon EF 50mm f/1.8 II lens was an unfortunate one.

First, I dropped it – which is OK.

It happens. Still recoverable, I know.

Until, clumsily, I stood on it too.

And, just to be sure it was finished, what was left of the lens then rolled down a small hill. When I caught up, I scooped it up in my hands, all scratches and broken glass. It was my first, and I was gutted.

Nevertheless, after what seemed like an appropriate period of mourning, I did what any photographer would. I bought something newer, and shinier.

I decided to graduate to a Canon EF 24-105mm f/4L IS USM. From there it was all systems go, zooming in and out of those hard to reach spots and enjoying the freedom that a versatile medium-range workhorse affords. And despite the occasional bashing here and there, its been my go-to lens ever since.

Recently, however, I acquired another Canon EF 50mm f/1.8 II. Just like my old one, but much less crunched. So I decided to see what going back to a prime lens would be like. Especially after relying so heavily on the reach of the Canon EF 24-105mm f/4L IS USM. Here’s a quick rundown on my week with the Canon EF 50mm f/1.8 II and why a break from your old favorite can be surprisingly beneficial.

Suddenly lighter

The first difference I noticed after clicking the Canon EF 50mm f/1.8 II into place was the weight, or should I say, the lack thereof? The bulk of the Canon EF 24-105mm f/4L IS USM was enormous compared to the little ‘plastic fantastic’ (as the Canon EF 50mm f/1.8 II has come to be known). Photographing with the Canon EF 50mm f/1.8 II, I had a lot less neck pain, which meant I could stay out shooting for longer without needing some painkillers.

Ditching the weight of the Canon EF 24-105mm f/4L IS USM had another benefit too. Without swinging around a heavy lens, I was able to move a lot more freely. I could crouch, jump up and down, do some parkour…

Okay, I’m not that athletic.

However, being able to move allowed me to line up shots with more ease.

A lighter lens meant I could easily sneak my camera under this umbrella for a photograph

Slowing it down

The technical differences between Canon EF 24-105mm f/4L IS USM, and the Canon EF 50mm f/1.8 II took some getting used to – zoom being one of the most pronounced. Instead of getting closer to a subject in-camera, I needed to reassess what I wanted to achieve. This meant strategically positioning my body to get the shot. Sure, I walk around seeking out subjects to photograph all the time. But, with the Canon EF 50mm f/1.8 II, I needed to be just a little more active to get the image I was after.

Sticking with the Canon EF 50mm f/1.8 II got me thinking about the physical and mental elements that come together to create a successful shot. It made me slow down and appreciate the machinations of photography and the tactility of the image-making process.

Lots of light

One of the biggest differences between the Canon EF 24-105mm f/4L IS USM and the Canon EF 50mm f/1.8 II is written in the name of the lenses themselves. It’s aperture. While the Canon EF 24-105mm f/4L IS USM can manage a valiant F/4, it doesn’t quite cut the mustard compared to the Canon EF 50mm f/1.8 II, opening up to an aperture of f/1.8.

What does this all mean? Basically, the Canon EF 50mm f/1.8 II can allow a lot more light to pass through to the camera’s sensor. That’s a big deal in low lighting conditions. For example, shooting at night with the Canon EF 24-105mm f/4L IS USM may require a much slower shutter speed or higher ISO value to achieve the same exposure the Canon EF 50mm f/1.8 II can at a faster shutter speed and a lower ISO. This means that the Canon EF 50mm f/1.8 II can produce much better image quality in low light.

Photographing in darker environments can be challenging. But the Canon EF 50mm f/1.8 II allowed me to experiment at different times of the day without having to worry about available light. Of course, its a consideration when calculating exposure, but I was a lot less concerned about clogging up my images with insane amounts of noise than I would be with the Canon EF 24-105mm f/4L IS USM in the same conditions.

The f/1.8 aperture of the Canon EF 50mm f/1.8 II allowed me to take this shot with a lot less noise and a faster shutter speed

Extension tubes

Another benefit of the ample aperture of the Canon EF 50mm f/1.8 II is its versatility when coupled with a set of extension tubes. Extension tubes physically move your lens away from the focal plane. This makes the minimum focusing distance (the shortest distance at which a lens can focus) smaller, meaning you can get closer to your subject while still maintaining focus. It’s a way to shoot macro photography without an expensive dedicated lens.

However, extension tubes do have their drawbacks. One of them being diminishing the available light in a scene. With the addition of each extension tube, less light is able to reach the camera sensor. This drop in light can be difficult to contend with if you don’t have a tripod and a perfectly still subject. A fast lens like the Canon EF 50mm f/1.8 II is ideal in this situation. Even on a terribly overcast day, I was able to get some nice, sharp shots at a decent shutter speed. It meant that I could hand-hold my camera to take macro shots that may have required a tripod with the Canon EF 24-105mm f/4L IS USM.

Bokeh

One aspect of the Canon EF 50mm f/1.8 II lens that I was eager to experiment with was its capacity for bokeh. A Japanese word meaning ‘blur’or ‘blurry’, bokeh refers to the quality of the out of focus parts of an image. The term is often used to describe how unfocused bright points in a scene are rendered as disks of light in a photograph.

While all lenses are capable of bokeh effects, zoom lenses tend to smooth a background over rather than shape it. Prime lenses, on the other hand, deliver a more defined disk-like bokeh result. In addition, bokeh requires the lowest possible aperture value to take full effect. This makes the maximum f/1.8 aperture of the Canon EF 50mm f/1.8 II ideal for some sweet bokeh magic.

Seeking out opportunities for bokeh made me re-evaluate my surroundings. I had to quickly develop an eye for points of light that I could use to disperse into globes of color. But with the ease that a small camera lens affords, the little ‘nifty fifty’ produced some really fascinating results with little effort on my part.

Testing bokeh out on a rainy night in the city

Conclusion

There are plenty of other comparisons to explore between the Canon EF 50mm f/1.8 II and the Canon EF 24-105mm f/4L IS USM. I know, a week isn’t a very long time to truly get accustomed to a new piece of equipment, but challenging myself to a week of prime-lens-only photography was a lot less difficult than I thought it would be.

In fact, it was pretty fun!

Up until now, I’ve been a one-camera-one-lens kinda gal.

But playing around with the Canon EF 50mm f/1.8 II made me think twice about my equipment repertoire. And with the weight and maneuverability of a small mammal, captivating bokeh and such a tight performance in low light conditions, I think I might just add it to the camera bag too. Just in case.

Without stepping on it this time.

Do you use the nifty fifty? What are your thoughts?

The post Going Back to Basics – My Week With a Canon EF 50mm f/1.8 II Lens appeared first on Digital Photography School. It was authored by Megan Kennedy.

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