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Posts Tagged ‘Lens’

Sigma announces pricing and availability of its 70-200mm F2.8 DG OS HSM Sport lens

11 Dec

More than two months after first showing it off at Photokina 2018, Sigma has announced its 70-200mm F2.8 DG OS HSM Sport lens will be available by the end of December 2018.

The lens, which rounds out the signature F2.8 trio alongside Sigma’s 14-24mm F2.8 and 24-70mm F2.8, will be available in Canon EF, Nikon F and Sigma SA mounts. It’s constructed of 22 elements including one Special Low Dispersion (SLD) element and nine F Low Dispersion (FLD) elements alongside an 11-blade aperture diaphragm and 1.2m (1.31yds) minimum focusing distance.

Following suit with most of Sigma’s other lenses in its Global Vision lineup, the 70-200mm F2.8 DG OS HSM Sport lens comes in at a discount compared to its Canon and Nikon counterparts. Sigma has set the retail price at $ 1,499 USD, a full $ 600 cheaper than Canon’s 70-200mm F2.8L IS III USM lens and exactly a thousand dollars cheaper than Nikon’s 70-200mm f/2.8E FL ED VR lens.

The 70-200mm F2.8 DG OS HSM Sport lens is available for pre-order on B&H (Canon EF, Nikon F, Sigma SA).

Articles: Digital Photography Review (dpreview.com)

 
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iPhone XS: How does the variable bokeh effect compare to a real lens?

04 Dec

One of the key new features of Apple’s latest iPhones is the ability to adjust the ‘bokeh effect’ on portrait images, after they’ve been taken. But, as well as letting you adjust the intensity of the effect, the function has been enhanced to more accurately represent the bokeh characteristics of a real lens, rather than just trying to blur the background.

Every time you shoot an image using the 56mm-equivalent F2.4 portrait camera on the iPhone XS you have the choice of editing the bokeh effect. This brings up a scale marked in F-numbers. This may sound like Apple just borrowing an interface from the real-world (a process called skeuomorphism), but it goes beyond this: the company says it’s modeled the bokeh characteristics to mimic the behavior of a Zeiss lens.

We thought we’d put this to the test: how convincingly does the iPhone XS resemble a real-world lens? Is the F-number scale anything more than a pastiche? To find out, we shot the XS alongside the Nikkor 58mm F1.4, mounted on a full frame camera.

iPhone XS vs Nikon 58mm at F1.4

iPhone XS image processed as ‘F1.4’ Nikkor 58mm at F1.4

Scaling the Nikon image down to the same width, you can see the bokeh is around the right size:

Then, when you look at the bokeh off-center, you’ll see it develops an elongated ‘cat-eye’ effect.

iPhone XS vs Nikon 58mm at F8

iPhone XS image processed as ‘F8’ Nikkor 58mm at F8

Just as with the real lens, the cat-eye effect diminishes as you ‘stop down.’ And Apple has given its bokeh a smooth, fairly gaussian look, rather than the slightly bright-edged bokeh that Nikon has produced, being constrained by the limitations of things such as glass and physics.

Unlike the ‘real’ camera, the iPhone’s sharpness doesn’t always drop-off smoothly: for instance it’s blurred both shoulders and the subject’s scarf, despite the nearer being in a similar plane to the face.

However, while this doesn’t always looks natural, the phone is intentionally ensuring that the subject’s face remains entirely in focus, which is usually a good thing. And, unlike the $ 1600 Nikkor lens, it doesn’t become a little soft and dreamy when set to ‘F1.4.’

Equally, because the iPhone isn’t actually changing its aperture, you don’t find yourself with less light if you want more depth of field (the iPhone portrait camera’s actual depth of field is F15 equivalent, so there’s plenty that’s in focus in the underlying ‘native’ image), so you don’t have to worry so much about camera shake or subject movement.

The end result isn’t going to convince anyone if they look too closely (the processing has cut-off some of the fine hairs, for instance), but for social media use, it’s hard to deny that the effect is impressive. And we have to assume this technology will only get smarter and more powerful in future generations.

Articles: Digital Photography Review (dpreview.com)

 
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Zhong Yi Optics launches Mitakon Speedmaster 65mm F1.4 lens for Fujifilm GFX

02 Dec

Zhong Yi Optics has launched the Mitakon Speedmaster 65mm F1.4 for Fujifilm GFX cameras. This announcement makes Zhong Yi Optics the first third-party manufacturer to develop a lens for Fujifilm’s G mount and gives them the claim — for the time being — of having the fastest standard lens designed specifically for GFX medium format mirrorless camera systems.

The lens provides a 46-degree angle of view, roughly equivalent to a 50mm lens on a 35mm full-frame camera. It’s constructed of eleven elements in seven groups and has a minimum focusing distance of 70cm.

The Mitakon Speedmaster 65mm F1.4 features an aperture range of F1.4 through F16 via its nine-blade aperture diaphragm. The front filter thread measures in at 72mm and the whole lens weighs 1,050g.

Below is a collection of sample images provided by Zhong Yi Optics:

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The Mitakon Speedmaster 65mm F1.4 is currently available to purchase online for $ 799.

Articles: Digital Photography Review (dpreview.com)

 
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Samyang announces 35mm F1.2 ‘XPert’ lens for EF mount cameras, due out in January

29 Nov
Product photo provided by Samyang

Third-party lens manufacturer Samyang has discreetly announced its new XP 35mm F1.2 manual focus lens for Canon EF mount cameras.

The XP 35mm F1.2 lens joins Samyang’s XP 14mm F2.4, XP 50mm F1.2 and XP 85mm F1.2 lenses to round out its ‘XPert’ lens lineup.

Samyang claims it’s built with 50 megapixel photos and 8K video in mind. It’s constructed of 12 elements in 10 groups and includes one extra-low dispersion, two aspherical and three high refractive elements.

The lens offers an aperture range of F1.2 to F16 and features a nine-blade aperture diaphragm. The front filter thread measures in at 86mm and the minimum focusing distance is 0.34m/1.115ft. The lens weighs 1,106g/2.2lbs.

The Samyang XP 35mm F1.2 lens for Canon EF mount lens is set to ship in January 2019 with a suggested retail price of $ 999 USD.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon France says the Z-mount can theoretically support an F0.65 autofocus lens

24 Nov

In an interview with French photography blog Mizuwari, Nicolas Gillet, director of marketing and communication for Nikon France, revealed a number of interesting tidbits regarding Nikon’s new Z-mount and the new opportunities it affords Nikon’s optical engineers.

According to Gillet in the transcribed interview, Nikon optical engineers have calculated that the Nikon Z-mount is theoretically capable of supporting autofocus lenses with apertures as large as F0.65.

This comes as a stark contrast to the physical F1.4 limitation of the Nikon F-mount and the F1.2 limitation of Canon’s EF-mount.

Gillet also explains the Noct-Nikkor 56mm F0.95 is a testament to what glass Nikon could, in theory, create for its new full-frame mirrorless mount, but makes no mention of future lenses not already on Nikon’s lens roadmap it unveiled alongside the Nikon Z7 and Z6 launch event.

The interview is available in full on Mizuwari (translated).

Articles: Digital Photography Review (dpreview.com)

 
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1959 Canon 45-200mm F2.8 (C35) ‘rarest’ prototype lens appears in eBay auction

22 Nov

An eBay listing is offering what the seller calls the ‘rarest prototype lens on Earth,’ a Canon 45-200mm F2.8 (C35) prototype lens. According to the listing, the lens was produced in Japan in 1959 and only “four or five” units were given to professionals for testing. Canon ultimately decided not to launch the lens commercially, possibly due to its heavy weight (approx. 3kg / 6.6lbs) and expensive price.

The seller goes on to claim that there are only two or ‘maybe three’ people in possession of these lenses globally. This particular unit, which is offered via auction with a starting price of $ 29,999 USD, is described as being in ‘Excellent+++’ condition for its age.

‘The lens was recently serviced, optics are cleaned,’ the campaign reads, ‘and [the] rear optic has minor sign on the coating in the corner, as it was properly cleaned from fungus and is missing [a] little coating.’ The product is said to be mechanically ‘perfect.’

The campaign references a 1959 Canon press release for the lens, but doesn’t provide a copy of it. Canon’s Lens Museum website doesn’t include any listing for this prototype, leaving only the seller’s claims. The seller has a 100% rating on more than 380 sales, but that doesn’t necessarily mean this listing is accurate.

The seller told DPReview the lens was acquired from ‘a very old studio’ that was torn down and sold off ‘a lot of stuff in auction.’ According to the seller, ‘some old movies were shot with the lens.’ DPReview is waiting to hear back with confirmation of what movies they were.

The auction includes the original metal lens storage box, front cap, filter, hood, focus knob and lens sliding attachment.

Articles: Digital Photography Review (dpreview.com)

 
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Leica announces the D-Lux 7, a 17MP camera with 4K video and a 24-75mm equiv. F1.7-2.8 lens

20 Nov

Leica has announced the D-Lux 7, the latest iteration of its compact camera that’s effectively a Panasonic Lumix DC-LX100 II wrapped up in a prettier frame just in time for the holiday season.

The D-Lux 7 uses a 17 megapixel Four Thirds MOS sensor, a decent bump up from the 10.1 megapixel sensor used inside its predecessor, the D-Lux 6. The D-Lux 7 captures up to 7 fps in burst, features a maximum sensitivity of ISO 25,600 and features a 4K photo capture mode and ‘post focus’ mode, the latter of which enables focus adjustments in post-production with compatible programs. On the video front, the D-Lux 7 captures 4K30p footage at 100Mb/s in the MP4 format.

The optically stabilized lens has also changed from a 24-90mm equivalent F1.4-2.3 lens inside the five-year-old D-Lux 6 to a new 24-75mm equivalent F1.7-2.8 Vario-Summilux lens. In addition to the physical aperture ring, the top of the lens features a dedicated physical switch for swapping between shooting ratios, including: 3:2, 16:9, 1:1 and 4:3. On the side of the lens is a matching switch for selecting the different focusing modes.

The electronic viewfinder has a 2.76M dot display and the rear screen uses a 3″ 1.24M dot LCD touchscreen display. The camera relies on Leica’s 1025 mAh BP-DC15 lithium-ion batteries and can be charged through an outlet, computer or a USB battery pack via the onboard Micro USB port.

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Built-in Bluetooth and Wi-Fi work together to provide iOS and Android connectivity using Leica’s FOTOS app. In addition to sharing images on-the-go, the FOTOS app also enables remote control of the D-Lux 7 and live view display. Leica also includes a CF D Flash Unit with the camera.

The Leica D-Lux 7 retails for $ 1,195 and is available for pre-order on Adorama and B&H. Leica has a video introduction for the D-Lux 7, but it can only be played on Vimeo.

Articles: Digital Photography Review (dpreview.com)

 
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Nine Ways to Boost Your Kit Lens Creativity

19 Nov

The first lens many photographers will own is the kit lens. This lens typically covers a focal range of 18-55mm and has a variable maximum aperture. So before you move onto other lenses, how can you get the most out of this particular lens? Well, there is an awful lot that can be achieved with this lens when you put your mind to it. There are limitations of course, but there is even more room to experiment with your kit lens creativity! So let’s look at some of the ways you can do just that.

Kinetic Light Painting - Nine Ways to Boost Your Kit Lens Creativity

This photo used the kit lenses ability to zoom to do some kinetic light painting.

1 – Kinetic Light Painting

Light painting is an exciting form of photography and one that you can experiment with using a humble kit lens. What the kit lens is well suited for is a niche form of light painting, called kinetic light painting. This form of light painting involves moving the camera, as opposed to moving the light source. Light painting uses a long exposure, and as with all long exposure shots, it’s a good idea to use a tripod. So what types of kinetic light painting will work well?

  • Camera rotation – This is a type of light painting that involves moving the camera around while it is attached to a tripod. Use a wide focal length, and experiment with light sources that are above the camera. Tall structures like skyscrapers often work well for this technique.
  • Zoom – The 18-55mm focal range is ideal for zoom light painting work, good for kit lens creativity. In fact, perhaps the only better lens would be a superzoom 18-300mm. This time you’ll change the focal length of the lens during the photo, causing light to be painted across the scene.
Panning - Nine Ways to Boost Your Kit Lens Creativity

Panning is a great technique to practice, and it’s fun.

2 – Panning

While it’s true you can use more or less any lens for panning, you don’t need an upgrade from your kit lens to make this type of photo either. In fact, a focal length of around 55mm is often ideal for this particular technique. You simply require a shutter speed of around 1/20th second. There are some excellent guides on this subject, and the technique is simple and fun to master.

  1. Find an area where you’re moving subject will move across the area you intend to photograph. You’ll want your moving object to run parallel to you, relative to where you’re positioned.
  2. Use a shutter speed of around 1/20th. You can increase or decrease this if you wish. At slower shutter speeds the chance of camera shake increases, so you will need to be very steady when tracking the motion of the object you’re panning. It’s possible to use a faster shutter speed for panning, but then you’ll need a fast moving object to pan with.
  3. As the object you’re panning approaches, begin to follow the motion with your camera. When you’re confident you’re following the motion steadily, press your shutter gently as you continue to move with the object.
Zoom Burst - Nine Ways to Boost Your Kit Lens Creativity

Using your lens for long exposure photos can be creative.

3 – Zoom Burst

You’ll notice zoom is a kinetic light painting technique. It can also be used during the day, to create a dynamic feel to your photo. The shutter speed needed is similar to that of panning, so around 1/20th. You can also use a tripod for extra stabilization of your photo. It’s best to zoom into your subject when practicing this technique, which can work very nicely for portrait photos. Once again the kit lens is well suited to this since it allows a zoom range from 18mm to 55mm.

4 – Glass Ball Refraction Photography

Refraction photography is a niche that can use any kind of camera. You can certainly use a kit lens to get this type of photograph. The technique revolves around using a crystal ball, though other objects such as wine glasses filled with water will work. When you consider that a glass ball works like an external lens optic, in a sense, you’re getting your creativity from another lens. However, you still need a kit lens to take the photo! As these photos work best with a blurred background look to photograph at 55mm, and with the largest aperture you can.

Refraction - Nine Ways to Boost Your Kit Lens Creativity

In this photo, a wine glass was used to show refraction.

5 – Low-Key Light Portrait

You don’t need low light to create low-key portraits, and with that in mind, the kit lens can be a very useful lens. Using your lens at around 50mm will work nicely for your portrait, and you can use your camera body to expose at -2 or -3 exposure value. You’ll need to set your aperture and shutter speed to the appropriate settings to get this exposure value, depending on the environment you’re in. To make a low-key photo you’ll need a large difference in light from model to the background. This can be achieved through finding a place where a shard of sunlight comes through a gap in the roofing, perhaps at a market. You now need your model to be lit up by the sun, while the background will be underexposed, and therefore dark.

Low-Key Portraits - Nine Ways to Boost Your Kit Lens Creativity

You can use any lens for low-key portraits, including the kit lens.

6 – Long Exposure Photography

Your kit lens will not restrict your ability to take long exposure photos. The limiting factor here will be a lack of a tripod, and perhaps a lack of the correct filter. That means you can take amazing long exposure photos with a kit lens, so long as you have the correct additional equipment.

  • Car light trails – Find the right location above a road with plenty of traffic, and you can take photos of light trails produced by cars. Close down the aperture, and you’ll also create a starburst effect with any street lights nearby. You’ll need exposure times of 5 seconds or more for this type of photo.
  • Moving water – Moving water can look attractive in your photo, and a kit lens can certainly capture this. Exposure times of around 1 second or more will give moving water a silky look when photographed.
  • Light painting – The merits of the kit lens for kinetic light painting has already been discussed. It’s no surprise you can also up your kit lens creativity with light painting of any type.
Long Exposures - Nine Ways to Boost Your Kit Lens Creativity

Fireworks can be recorded using a kit lens, and it’s great for capturing the whole scene at wide focal lengths.

7 – Attaching a Filter

A great way to increase your kit lens creativity is to add a filter, and that’s not the digital kind. There are a good variety of filters you can add to your kit lens that will give you extra options as a photographer. These can be graduated sunset filters, that add warms tones to the sky. Alternatively, a strong ND filter will allow you to take long exposure photos during the day, using your kit lens and a tripod. This article will give you an idea of some of the available filters you can use. You’ll need to use the correct sized filter, with 52mm or 58mm being typical for a kit lens.

Adding Filters - Nine Ways to Boost Your Kit Lens Creativity

Filters can be attached to your kit lens. This photo was taken with an infra-red filter attached to a kit lens.

8 – Get Wide

At 18mm your kit lens is wide enough to capture a good amount of the scene in a landscape photo. This means as you travel with this lens you can take some photos of amazing viewpoints. Combine this with a technique such as long exposure or kinetic light painting and you will get your kit lens creativity! Note that if you’re using a crop sensor APS-C camera 18mm is effectively 28.8mm on a full-frame camera.

9 – Portrait Work

At the other end of the scale with your kit lens is 55mm. Once again when using an APS-C camera this will effectively be 88mm if this was used on a full-frame camera. These focal lengths are ideal for portrait photography though. Any compression of the face won’t be too extreme at the effective focal length of 88mm. So focal lengths from around 30mm through to 55mm will give you some good compression ratios to work with for portrait photography.

Get Wide - Nine Ways to Boost Your Kit Lens Creativity

Whether your portraits are street photos, posed, or travel, the kit lens is going to give you nice results.

How Will You Get Your Kit Lens Creativity?

The drive for more creativity is always there with photography. There is a lot you can do using your kit lens if you choose to. The list above gives you some examples of how you might go about doing that. Have you tried any of these techniques with the kit lens? Are there any other ways you’ve taken interesting photos with this particular lens? Please share your thoughts, and photos in the comments section.

The post Nine Ways to Boost Your Kit Lens Creativity appeared first on Digital Photography School.


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Video: DIY Hasselblad XPan camera combines Hasselblad 500cm and anamorphic lens

10 Nov

Cinematographer Casey Cavanaugh of GxAce has published a video detailing the creation of his own Hasselblad XPan, a DIY camera he calls the GX-Pan. “I always wanted an XPan, the anamorphic dream,” Cavanaugh narrates in his video. “But it has always been out of my reach, so I built my own.”

The DIY GX-Pan features a custom machined adapter design to mount an anamorphic lens onto a Hasselblad 500cm camera. “What makes this better than an XPan, in my opinion, is that it gives a true anamorphic widescreen image,” Cavanaugh explains. Viewers are given both technical details and brief looks at the creation process.

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X-Pans are too damn expensive. So I built my own. Link to the video is up in the bio. #hasselbladxpan #xpan #anamorphiclens • • • • • • #anamorphic #anamorphiles #hasselblad #hasselblad500cm #fujiframez #fujixt3 #500cm #mediumformat #mediumformatfilm #cinematic #cinematography #cinebible #photocinematica #filmisnotdead @japancamerahunter @emulsivefilm @petapixel @phoblographer @35mmcblog @camerafilmphoto #panoramic #fujitx2 @hawkanamorphic @hasselblad @hasselbladfeatures @hasselbladculture

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Cavanaugh’s work can be found on his personal website, Flickr, and Instagram.

Articles: Digital Photography Review (dpreview.com)

 
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7Artisans shows off new 35mm F/5.6 FE lens designed specifically for drone photography

09 Nov

Chinese lens manufacturer 7Artisans has introduced a new 35mm F5.6 FE lens designed specifically for drone photography.

The unusual-looking lens features an FE mount for full-frame Sony cameras and weighs just 49 grams. Its optical construction is specifically designed to reduce perspective distortion and minimize any vignetting around the edge of the image frame.

7Artisans also notes that the lens can be locked to infinity focus by using three screws to lock the lens into place. The below image is the only sample image 7Artisans has supplied.

7Artisan lenses can be purchased through B&H, but the 35mm F5.6 FE lens isn’t yet posted on B&H and 7Artisans doesn’t mention pricing or availability on its website (translated). We have contacted 7Artisans regarding these details and will update accordingly when and if we hear back.

Articles: Digital Photography Review (dpreview.com)

 
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