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Posts Tagged ‘Lens’

Canon PowerShot SX70 offers 65X zoom lens, 4K video and CR3 Raw support

21 Sep

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Canon has introduced its latest superzoom camera, the PowerShot SX70 HS. Its equivalent focal range of 21-1365mm hasn’t changed, but the sensor, image processor, viewfinder and video capabilities have been greatly improved.

The SX70 has a 20.3MP BSI-CMOS sensor paired with Canon’s latest Digic 8 processor. The lens remains at 65X (almost half that of Nikon’s new P1000,) with a maximum aperture range of F3.4-6.5. The new image processor has improved the effectiveness of the camera’s image stabilization system according to Canon, which can now reduce shake by up to five stops. The Digic 8 also brings along support for Canon’s CR3 Raw format, which has smaller file sizes than the previous CR2 format.

While the design of the camera isn’t radically different from that of the SX60, there are three notable changes. First, the electronic viewfinder is now OLED with 2.36 million dots, compared to LCD with 922k dots. There’s also an eye sensor that wasn’t present on the SX60. Second, there’s now a zoom switch on the lens barrel. The final change is a ‘deprovement’: the hot shoe on the SX60 is gone on the SX70.

The SX70 HS can shoot bursts at 10 fps with focus locked or 5.7 fps with continuous AF. UHD 4K video can be captured at 30p with a bit rate of 120Mbps. The SX70 continues to offer a microphone socket. The camera’s wireless connectivity includes Wi-Fi and Bluetooth.

The PowerShot SX70 HS will ship at the end of November for $ 549.99.

Press Release

Zooming With Features: Canon Introduces Latest High-Power Zoom Digital Camera, The PowerShot SX70 HS

Latest Edition Provides 65x Optical Zoom, High-Resolution Electronic Viewfinder and 4K Video

MELVILLE, N.Y., September 20, 2018 – It’s a common saying that good things come in small packages and today, Canon U.S.A., Inc., a leader in digital imaging solutions, demonstrates this with the introduction of the new PowerShot SX70 HS compact digital camera. Featuring a 65x Optical Zoom Lens (equivalent to 211-1365mm1), 20.3 Megapixel2 CMOS imaging sensor and 4K video capabilities, the PowerShot SX70 HS camera is an ideal fit for anyone who wants powerful optical performance in a compact package. With a minimum focusing distance of 0cm3 and a zoom up to 2730mm1 (with ZoomPlus), the PowerShot SX70 HS allows users to create beautiful close-ups and stunning wide shots without changing lenses.

“In this day and age, cameras are becoming smaller while the desired list of features continues to grow,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “Canon continues to be committed to incorporating the latest features in our compact cameras and the new PowerShot SX70 HS is our very latest version, providing the dynamic combination of a compact body, powerful zoom and robust features that photo and video enthusiasts alike will love.”

The PowerShot SX70 HS features a 0.39-inch, approximately 2.36-million dot, high-definition OLED Electronic Viewfinder (EVF) for clear, crisp representation of what the lens is seeing. This camera also features 4K video shooting and frame grabbing,4 and is the first Canon point-and-shoot camera compatible with the latest RAW format (.CR3). With the addition of a new eye sensor, the camera automatically switches to the EVF display simply by bringing the camera up to the eye. Additionally, the inclusion of built-in Wi-Fi®5 and Bluetooth®6 technology offers quick and easy sharing, making the switch from smartphone photography to the PowerShot SX70 HS camera simple and fun.

The DIGIC 8 processor enables the PowerShot SX70 HS camera to achieve five stops of IS with dual-sensing image stabilization (IS). Even during handheld shooting, IS allows users to take pictures with minimal worry about camera shake. The camera also features high-speed continuous shooting at up to 10 fps. A Zoom Framing Assist button on the side of the lens barrel enables quick adjustments of the view angle, which is especially useful during telephoto shooting. With a large grip for comfortable, stable shooting and an EOS-like user interface, the PowerShot SX70 HS will make it easy for artistic vision to come to life in the hands of photographers at any level.

Availability and Pricing

The PowerShot SX70 HS will be available for purchase in November 2018 for an estimated retail price of $ 549.997.

1 In 35mm format.

2 Image processing may cause a decrease in the number of pixels.

3 From the end of the lens, wide-angle only.

4 Frame grabbed images on the camera cannot be trimmed. Other than 4K movies, frame grabbing of Full HD or HD movies is not possible.

5 Compatible with iOS® versions 8.4/9.3/10.2, Android™ smartphone and tablet versions 4.1/4.2/4.3/4.4/5.0/5.1/6.0/7.0/7.1. Data charges may apply with the download of the free Canon Camera Connect app. This app helps enable you to upload images to social media services. Please note that image files may contain personally identifiable information that may implicate privacy laws. Canon disclaims and has no responsibility for your use of such images. Canon does not obtain, collect or use such images or any information included in such images through this app.

6 Compatible with select smartphone and tablet devices (Android™ version 5.0 or later and the following iOS® devices: iPhone 4s or later, iPad 3rd gen. or later, iPod Touch 5th gen. or later) equipped with Bluetooth® version 4.0 or later and the Camera Connect App Ver. 2.0.30. This application is not guaranteed to operate on all listed devices, even if minimum requirements are met.

7Availability, prices and specifications subject to change without notice. Actual prices are set be individual dealers and may vary.

Canon PowerShot SX70 HS specifications

Price
MSRP $ 549
Body type
Body type SLR-like (bridge)
Body material Metal, composite
Sensor
Max resolution 5184 x 3888
Image ratio w:h 1:1, 4:3, 3:2, 16:9
Effective pixels 20 megapixels
Sensor photo detectors 21 megapixels
Sensor size 1/2.3" (6.17 x 4.55 mm)
Sensor type BSI-CMOS
Processor Digic 8
Color space sRGB
Color filter array Primary color filter
Image
ISO Auto, 100-3200
White balance presets 6
Custom white balance Yes
Image stabilization Optical
CIPA image stabilization rating 5 stop(s)
Uncompressed format RAW
JPEG quality levels Fine, normal
File format
  • JPEG (Exif v2.31)
  • Raw (Canon CR3)
Optics & Focus
Focal length (equiv.) 21–1365 mm
Optical zoom 65×
Maximum aperture F3.4–6.5
Autofocus
  • Contrast Detect (sensor)
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Digital zoom Yes (4x)
Manual focus Yes
Normal focus range 5 cm (1.97″)
Macro focus range 0 cm (0″)
Number of focus points 9
Screen / viewfinder
Articulated LCD Fully articulated
Screen size 3″
Screen dots 922,000
Touch screen No
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder resolution 2,360,000
Photography features
Minimum shutter speed 15 sec
Maximum shutter speed 1/2000 sec
Exposure modes
  • Program
  • Shutter priority
  • Aperture priority
  • Manual
Built-in flash Yes
Flash range 5.00 m (at Auto ISO)
External flash No
Flash modes Auto, on, slow sync, off
Continuous drive 10.0 fps
Self-timer Yes (2 or 10 secs, custom)
Metering modes
  • Multi
  • Center-weighted
  • Spot
Exposure compensation ±3
Videography features
Format MPEG-4, H.264
Modes
  • 3840 x 2160 @ 30p / 120 Mbps, MOV, H.264, AAC
  • 1920 x 1080 @ 60p / 60 Mbps, MOV, H.264, AAC
  • 1920 x 1080 @ 30p / 30 Mbps, MOV, H.264, AAC
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC (UHS-I supported)
Connectivity
USB USB 2.0 (480 Mbit/sec)
HDMI Yes (micro HDMI)
Microphone port Yes
Headphone port No
Wireless Built-In
Wireless notes 802.11b/g/n + Bluetooth
Remote control Yes (via smartphone)
Physical
Environmentally sealed No
Battery Built-in
Battery description LP-E12 lithium-ion battery & charger
Battery Life (CIPA) 325
Weight (inc. batteries) 608 g (1.34 lb / 21.45 oz)
Dimensions 127 x 91 x 117 mm (5 x 3.58 x 4.61″)
Other features
Orientation sensor Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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First lens adapters for Nikon Z already appearing

20 Sep

British photographic engineer MTF Services is claiming to have created the world’s first third-party lens adapters for the new Nikon Z system, with a collection of four units designed to allow cinema lenses to be mounted on the mirrorless full frame bodies. The adapters are made with stainless steel and HE30 aluminum, and feature a toe support with steel helicoil 1/4″ threads.

The lenses the adapters are aimed at are PL, Panavision, B4 and Arri bayonet, so they are intended to appeal to filmmakers and broadcasters. The adapters come pre-shimmed, and spare shims will be included.

The PL to Nikon Z version is available to order on the company’s site for £350 + VAT (approx $ 460), and the other models are expected to follow soon. For more information see the MTF Services Lens Adapter website.

Articles: Digital Photography Review (dpreview.com)

 
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Think Tank Photo launches dual-access, water-resistant Lens Case Duo lineup

18 Sep

Think Tank photo has launched a new line of protective lens cases it calls Lens Case Duo. The six cases in the lineup feature a soft, padded liner and two zippered access points: one from the top of the case and one from the side.

Each of these cases can be used on their own or together as a modular system. The two methods of accessing the lens inside make it easy to pair with either a belt system or stuffed inside a backpack — whatever your setup requires. The larger cases, designed for massive primes and telephoto lenses, include a shoulder strap in the event you prefer to carry it as a sling of sorts.

Currently, the Lens Case Duo comes in six different sizes: 5, 10, 15, 20, 30 and 40. The smallest of the cases (5) is meant to hold a small prime or kit lens. On the other end of the spectrum, the biggest case (40) can hold telephoto zoom lenses, such as Canon and Nikon 70-200mm F2.8. You can find a full list of suggested carrying capacities on Think Tank Photo’s announcment page. Each of the bags come in black and green colorways, feature a water-repellent coating, and have two small neoprene pouches on the front.

These bags bear a striking resemblance to Think Tank Photo’s waist belt lens pouch line-up, so it’s nothing new, really. The only notable difference we see is the ability to access the pouch from the side in addition to the top. Also, these don’t feature a built-in rain pouch like Think Tank Photo’s belt system pouches do.

The Lens Case Duo 5, 10, 15, 20, 30 and 40 are available for $ 21, $ 22, $ 27, $ 29 and $ 33, respectively.

Articles: Digital Photography Review (dpreview.com)

 
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ExperimentalOptics launches Kickstarter for 35mm F2.7 pancake lens

11 Sep

ExperimentalOptics has launched a Kickstarter campaign to crowdfund the production of what it claims is the ‘smallest fastest pancake lens in the world.’

The 35mm F2.7 lens is measures just 7mm thick — the same height as exactly 4 quarters stacked on top of one another — and weighs 40 grams/1.4 ounces. Although most of the testing for the lens was done on full-frame mirrorless cameras — Sony from the looks of it — ExperimentalOptics says the lens really shines on APS and smaller cameras. On APS-C and APS-H cameras, the lens is equivalent to roughly 50mm, while Micro Four Thirds gives it an equivalent focal length of 70mm.

The lens, which is milled from a solid piece of metal has no moving parts and features a native M39 mount. It can be used with almost any camera though when paired with an optional helicoid adapter.

‘This is not a cheap, low quality, low speed toy lens,’ says ExperimentalOptics on the campaign page. ‘It is a high quality, fast lens, [that gives] you the utmost creative possibilities of speed, selective focus and bokeh – and all in an unobtrusive and uncompromisingly compact body that never gets in the way of your creative expression.’

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To find out more information and to secure your pledge, head on over to the Kickstarter campaign. A pledge of € 1,199 (approximately $ 1,390) will get you the 35mm F2.7 lens, a handmade lens pouch, a manual and free worldwide shipping. It’s set to ship in ‘late 2018.’

If you want to see more sample photos from the lenses, ExperimentalOptics has shared a gallery of sample images on its Flickr page.

Articles: Digital Photography Review (dpreview.com)

 
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dPS Writer’s Favorite Lens: Why I Love My 35mm F1.4

10 Sep

I’ve used a multitude of different lenses over the years, but never one that I have loved using so much as my 35mm f1.4.

This lens fits with my style of photography. I like things fairly natural and unmanipulated. I love isolating my subject and enjoy being able to photograph in low light without a flash. Also, I prefer getting close to what I am photographing.

Buddha Face - dPS Writer’s Favorite Lens: Why I Love My 35mm F1.4

My 35mm lens gives me a slightly wider field of view than our typical visual attention. Our visual attention is around 55 °, not including peripheral vision, and the angle of view of a 35mm on a full frame camera body is 63 °.

At wide aperture settings, this lens charms me. In most lighting conditions I can achieve super sharp focus and beautiful bokeh in my backgrounds. I am not left shaking in my boots wondering if my shutter speed is too slow.

This is not a review. This is an article about why I love my 35mm f1.4 lens and how I make the most of it in everyday use.

Why I Bought a 35mm f1.4 Lens

Nikkormat FTN with 50mm lens - dPS Writer’s Favorite Lens: Why I Love My 35mm F1.4

My original Nikkomat FTN and 50mm f1.4 lens

My first camera, purchased second hand in 1983, was a Nikkormat FTN with a 50mm f1.4 lens. After using this lens for 28 years it was no longer consistently producing sharp photos. I think it was just worn out.

At the time I had the popular 24-70mm and 70-200mm f2.8 zooms but was not happy with either of them. They were big, heavy third party lenses that also did not always produce sharp images. For a number of reasons, I was gravitating back to using prime lenses. I’ve always had a collection of older primes and love them.

I became so familiar with my old 50mm. I loved the wide aperture but preferred a wider angle of view. After checking online for example photos produced by the 35mm f1.4 lens, I convinced myself it was worth the money. At US$ 1696 it is not cheap. But I figured that if I use it for 10 years it works out to less than 50 cents per day.

Versatility in Most Situations

Lotus Flowers - dPS Writer’s Favorite Lens: Why I Love My 35mm F1.4

Capturing a diverse range of images with a single lens is a common reason people often prefer zooms. But I find I can use my 35mm lens to photograph just about anything. It just suits my style. I am not a sports or bird photographer so much.

For travel, street, environmental portraits, and even more standard portraits, I am happy to use my 35mm. At times I’ll need a telephoto to get in closer so I switch to my 105mm or a longer lens.

During the photography workshops I teach, this is often the only lens I take with me now. I can use it to demonstrate and make examples of anything that I am teaching. For the subjects I like to photograph I most often use this lens.

The great photographer Robert Capa said, “If your pictures aren’t good enough, you aren’t close enough.”

I find the 35mm lens is the perfect focal length to get close enough.

Street and Travel Photography

Poi Sang Long Festival - dPS Writer’s Favorite Lens: Why I Love My 35mm F1.4

Whether you’re shooting wide, medium or close-up street compositions, the 35mm f1.4 can capture them all well.

Taking in the feeling of a market or parade with a wide photo is essential to have in a series of images. Often using a 24mm or wider lens can squeeze too much into one frame. Choosing a location far enough back from the scene to include a good amount of it works best with a 35mm.

Medium range compositions, where you photograph some of the environment and one main subject, are perfect for a 35mm lens. You can get in close and still easily show enough of the surroundings to keep your subject in context with your photo story.

I do like controlling how much or how little of the background is in focus in a medium range composition. I don’t always choose the widest aperture setting as too much detail from the story could be lost. Having the widest aperture of f1.4 gives me more flexibility in how far back I can get from my subject and still control the bokeh.

Macro photos are not possible with this lens, but I can get pretty close. The lens can focus down to about 30cm (1 foot). For including some detail in a photo series, this is often good enough. If I need a macro image I swap lenses for my 105mm or 55mm micro.

Malu young Thai girl - dPS Writer’s Favorite Lens: Why I Love My 35mm F1.4

Environmental Portraits

Portraiture which includes some of the surroundings, telling more of the story, is my favorite genre of photography. I love using my 35mm f1.4 lens for creating environmental portraits. Being able to get in close enough to my subject and still see sufficient background is vital.

Connecting with my subjects is also important to me. Often I will be chatting with them while I am photographing. Other times I will be silent, only communicating with a smile and some gesturing.

Photographing with my 35mm I can create more intimate portraits than when I am further back with my 105mm.

Silver Temple Artist - dPS Writer’s Favorite Lens: Why I Love My 35mm F1.4

I’ve photographed this guy working on his pressed metal art many times. He’s at the Silver Temple in Chiang Mai that we visit during one of our photography workshops. I know he is comfortable being photographed.

When he’s busy we don’t talk much, if at all. I can be close enough to him to exclude a lot of the clutter in the background and show just what he is working on. Then I can come in closer and capture a little more detail.

Silver Temple Artist close up - dPS Writer’s Favorite Lens: Why I Love My 35mm F1.4

Regular Portraits

Photographers often prefer a longer lens than a 35mm for making regular portraits. I do use my 105mm much of the time for photographing people in posed positions. However, I like to create a variety of styles during a portrait session and I find my 35mm lens provides pleasing alternatives.

With wider lenses, you start to see some distortion, which is not all that great for portraits. At 35mm there is no real noticeable distortion, but even still, I usually will not place my subject at the edge of the frame.

Working with a model and using a 35mm lens it is important to build a rapport with them first. You do not want them feeling uncomfortable with you being so close. Showing them a sample of the photos you are taking will often help them relax and build their confidence in what you are doing. This is especially so if the model is concerned that being so close to the camera may be distorting their features.

This young woman was very confident and experienced in being photographed. Still, she was a little wary of me being so close. I had started the session photographing with my 105mm lens. Once I changed to the 35mm I made sure to show her some of the pictures I was taking with it and she loved them.

Thai Dancer - dPS Writer’s Favorite Lens: Why I Love My 35mm F1.4

Architecture and Landscape Photography

It’s not at all uncommon to use a 35mm lens for landscapes or photographing buildings. There’s no huge advantage of having such a wide aperture for these subjects as I will typically want more rather than less in focus. At times I will focus on an element in the foreground and intentionally blur out most of the landscape in the background.

Lack of distortion makes the 35mm a good choice for architectural photography. Having a similar field of view to what we see naturally also helps structural photos look more natural.

Chedi Luang, Chiang Mai, Thailand - dPS Writer’s Favorite Lens: Why I Love My 35mm F1.4

Loving a Lens

I’ve gotten a huge amount of use out of my 35mm f1.4 lens. The experience of using it frequently and really enjoying it has helped me to get to know it well. Being so familiar with a lens means you can make more creative photos with it.

35mm f1.4 Lens well loved - dPS Writer’s Favorite Lens: Why I Love My 35mm F1.4

My 35mm f1.4 looking well loved.

I love this lens and I have a feeling for it. I know, often by instinct, how much my background will be blurred. With the 35mm, I can be close enough to my subject to comfortably communicate with them. Also, I am able to include or exclude as much or little background detail as I want.

Lens love is different than lens lust. You can lust after a new lens every day of the week. To build a loving relationship with a lens you must be committed to taking it out frequently and enjoying spending time with it.

Here’s a video with more about why I love my 35mm f1.4 lens. Do you have a favorite lens? Which one, and why?

The post dPS Writer’s Favorite Lens: Why I Love My 35mm F1.4 appeared first on Digital Photography School.


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New 32mm F1.4 STM joins Canon’s EF-M lens collection

07 Sep

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Despite the launch of four RF and two EF-mount lenses, Canon is out to show that it’s still committed to the EF-M system. Today the company announced the EF-M 32mm F1.4 STM, which will cost $ 479.99 when it is available later this month, and offers an equivalent focal length of just over 50mm when attached to an M-series mirrorless body.

Press Release:

CANON INTRODUCES NEW LENS FEATURING THE LARGEST AND FASTEST APERTURE IN THE EF-M LENS FAMILY

New EF-M 32mm F/1.4 STM Expands Canon’s Robust Lineup of EF-M Lenses

Aimed at Entry and Enthusiast-Level Photographers

MELVILLE, N.Y., September 5, 2018 – Canon U.S.A. Inc., a leader in digital imaging solutions, today introduced a new EF-M wide angle fixed-focal-length lens, the EF-M 32mm f/1.4 STM. The EF-M lens is both compact and lightweight, serving as an ideal addition for any photographer shooting with an EOS-M series camera. Entry and enthusiast-level photographers who are passionately seeking to take their photography skills to the next-level will find this lens to be a great addition for portraiture, landscapes or
general travel photography.

“As Canon continues to expand the company’s EF-M lineup, it is very important that users are provided the tools they desire for a variety of shooting situations,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “The new EF-M 32mm f/1.4 STM lens delivers great image quality in a compact and lightweight form factor, allowing photographers to capture the images they envision when they pick up their camera.”

The EF-M 32mm f/1.4 STM lens is the second EF-M lens to feature a large-aperture, delivering stunning bokeh with a soft blurred background that helps photographers isolate their subjects. In addition, the 32mm focal length converts to approximately 51m in 35mm format, providing an angle-of-view close to the field-of-view of the human eye.

Additional noteworthy features of the EF-M 32mm f/1.4 STM lens include:

  • 14 elements in eight groups, including a glass molded aspherical lens
  • Super Spectra Coating technology and optimized lens element placement helps minimize ghosting and flaring
  • Lead gear-type STM stepping motor to help provide smooth and quiet focus operation when taking photos, and near-silence when shooting video
  • Wide focusing ring with full-time manual focus capabilities
  • Compact and lightweight design: maximum diameter of 60.9mm, total length of
    50.5mm and approximate weight of 235g
  • Maximum magnification of 0.25x and minimum focusing distance of 0.23m

Availability and Pricing

The EF-M 32mm f/1.4 STM will be available for purchase in late September 2018 for an estimated retail price of $ 479.99*. Included accessories for the new lens are Canon lens cap E-43, lens hood ES-60 and lens case LP-1014. For additional information about the new lens or to learn more about the complete lineup of Canon EF-M lenses, please visit usa.canon.com.

Canon EF-M 32mm F1.4 STM specifications

Principal specifications
Lens type Prime lens
Max Format size APS-C / DX
Focal length 32 mm
Image stabilization No
Lens mount Canon EF-M
Aperture
Maximum aperture F1.4
Minimum aperture F16
Aperture ring No
Number of diaphragm blades 7
Optics
Elements 14
Groups 8
Special elements / coatings Aspherical elements + Super Spectra Coating
Focus
Minimum focus 0.23 m (9.06″)
Maximum magnification 0.25×
Autofocus Yes
Motor type Stepper motor
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale No
Physical
Weight 235 g (0.52 lb)
Diameter 61 mm (2.4″)
Length 57 mm (2.24″)
Sealing No
Filter thread 43 mm

Articles: Digital Photography Review (dpreview.com)

 
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Tamron introduces 2nd-generation 15-30mm F2.8 full-frame lens for Canon and Nikon

31 Aug

Tamron has updated its SP 15-30mm F2.8 Di VC USD lens with new elements and coatings, a more powerful autofocus CPU and an enhanced Vibration Correction system.

The use of XGM (eXpanded glass-molded aspherical) and low-dispersion elements reduce distortion and lateral chromatic aberrations, according to Tamron, while an AX (Anti-reflection eXpand) coating handles ghosting and flare. The lens is weather-sealed and has a fluorine coating to keep water and oil off of the front element. The 15-30 F2.8 has nine rounded aperture blades.

A Dual Multi-Processing Unit and new algorithms have boosting AF speed and precision, and the VC system now corrects for up to 4.5 stops of shake. The 15-30 has a minimum focus distance of 28cm (11″), a magnification of 0.2x and support for rear gel filters on the Canon model. It supports Tamron’s TAP-in Console for making fine adjustments to autofocus and Vibration Correction.

The Nikon FX-mount lens will ship first on September 21st, with the Canon EF-mount version coming about three weeks later. The Tamron SP 15-30mm F2.8 G2 will be priced at $ 1299.

Press Release

Tamron Announces A New Advanced, Super High-Quality, Fast, Ultra-Wideangle Zoom Lens

SP 15-30mm F/2.8 Di VC USD G2 (Model A041)

August 31, 2018, Commack, New York— Tamron announces the launch of a new high-speed ultra-wide-angle zoom lens, the SP 15-30mm F/2.8 Di VC USD G2 (Model A041), for full-frame DSLR cameras. The new model will be available in Nikon mount on September 21st and in Canon mount October 12th at a suggested retail price of $ 1299.

With a well-established reputation for ultra-high-quality wideangle zoom lenses with its Model A012, Tamron carries on the tradition of high optical performance with the new SP 15-30mm F/2.8 Di VC USD G2 (Model A041). By incorporating an XGM (eXpanded Glass Molded Aspherical) lens element, as well as multiple LD (Low Dispersion) lens elements, the distortion and lateral chromatic aberrations so common in wideangle shooting have been greatly minimized. Furthermore, a newly developed AX (Anti-reflection eXpand) Coating has been applied to reduce ghosting and flare more thoroughly than ever before. The optical performance in this high-speed F/2.8 ultra-wideangle zoom lens is outstanding. In addition, the built-in Dual MPU (Micro-Processing Unit) enables vastly improved AF speed and precision and image stabilization. This is a next-generation super high-quality, high-speed ultra-wideangle zoom lens with first-rate optics and a wide range of features that serve to revitalize the user’s shooting experience. With the release of this model, three of Tamron’s high-speed F/2.8 zoom lens with VC (Vibration Compensation) are now G2 (Generation 2).

PRODUCT HIGHLIGHTS

1. Super high-quality high-speed ultra-wideangle zoom lens
The Model A041 is an F/2.8 ultra-wideangle lens with a focal length starting at 15mm that offers high resolution even in the peripheral area of the image. By incorporating an XGM (eXpanded Glass Molded Aspherical) lens element and multiple LD (Low Dispersion) lens elements to curtail distortion and lateral chromatic aberrations, Tamron has achieved a degree of resolution throughout the range that is just as good as a fixed focal length lens.

2. Newly developed AX Coating
The AX (Anti-reflection eXpand) Coating, especially effective for wideangle lenses that tend to let in harmful light from peripheral areas, was developed to control rays that affect image quality. It is a revolutionary new proprietary coating developed in-house by Tamron using specialized deposition technology. The new coating keeps the reflection factor for peripheral areas at the same high level as that for the center area, not only overcoming standard curvature issues, but even overcoming the problems of conventionally produced convex surface with large curvatures for which uniform deposition has always proved difficult to achieve. Furthermore, the Model A041, along with eBand (Extended Bandwidth & Angular-Dependency) Coating utilizing nanotechnology, and BBAR (Broad-Band Anti-Reflection) Coating, makes effective use of three different types of coatings, thereby enabling unsurpassed curtailment of ghosting and flare and consequently enabling superlative, exceptionally clear image quality edge to edge.

3. High-speed, high-precision AF
Superb AF speed and precision is delivered by equipping the lens with a Dual MPU (Micro-Processing Unit) system and employing an enhanced AF control algorithm to improve performance. The AF drive uses proprietary Tamron technology, USD (Ultrasonic Silent Drive), enabling high torque, high response, and silent operation. And because it comes with a Full-time Manual Focus override system, manual focus adjustments can be made on the fly.

4. VC promises sharp images for all varieties of shooting
Tamron released the first high-speed F/2.8 ultra-wideangle zoom lens in the world equipped with a VC (Vibration Compensation) mechanism, the original Model A012. The new Model A041 has been further improved with a newly developed VC mechanism that surpasses former versions and reaches 4.5 stops , according to CIPA standards. This makes it possible to shoot sharp photos over a wide range of photographic scenes, including indoor and outdoor shots as well as handheld shots at stopped-down aperture settings for landscape photography.

5. Rear filter holder
The Model A041 made for use on Canon (EF-mount) cameras comes with a filter holder as a standard feature that lets you insert gelatin and other sheet filters into the rear side of the lens. This makes photography using filters much easier and simpler by overcoming the problem of the curvature of the front lens elements that made shooting with filters so difficult in the past.

6. Vastly improved highly durable Fluorine Coating
Abrasion resistance capability has been vastly improved on the new Model A041. The front surface of the lens element is coated with a Fluorine Coating based on a newly developed fluorine compound with high water- and oil-repellent properties. The lens surface is easier to wipe clean and is less vulnerable to the damaging effects of dirt, dust, moisture, and fingerprints, and enabling your important lenses to be continually protected on a long-term basis.

7. The new design provides greater operability and design consistency
With the new SP design applied, Model A041 shares the same feel of high quality and operability as the other two models in this series, SP 24-70mm F/2.8 Di VC USD G2 (Model A032) and SP 70-200mm F/2.8 Di VC USD G2 (Model A025). Tamron has merged beautiful craftsmanship with intuitive design in this new high-speed ultra-wideangle zoom lens. Even details like the shape of the switch box, distance-scale window, and the precision and stability of the metallic mount reveal a commitment to functionality, as well as design. The result is a next-generation lens that’s easy to use yet loaded with cutting-edge technology.

8. Compatible with TAMRON TAP-in ConsoleTM, an optional accessory
The new Model A041 is compatible with the TAMRON TAP-in Console, an optional accessory product that provides a USB connection to a personal computer for easy updating of the lens’s firmware as well as customization of features including fine adjustments to the focus position of AF and VC control.

9. Moisture-Resistant Construction
Seals are located at the lens mount area and other critical locations to prevent infiltration of moisture and/or rain to provide Moisture-Resistant Construction. This feature affords an additional layer of protection when shooting outdoors under adverse weather conditions.

10. Manufacturing innovation with thorough attention to details based on the rigorous quality standards worthy of the SP series
Tamron has enhanced the SP series lenses to fulfill high-level photographic requirements and provide the pleasure of ownership. While introducing a new exterior design, Tamron reviewed the SP series standards. The new SP series has been developed by setting rigorous standards for design, manufacturing and quality that apply to the optical design and mechanical design as well as such wide-ranging areas as the product’s robustness and improvements in a variety of individual functions. This has helped to achieve a more consistently superb optical performance, making it a lens that fulfills the demand for higher image quality that is compatible with the latest high-pixel cameras. To maximize the optical performance of the SP series, Tamron will continue to enhance the accuracy of the component parts of each lens element unit and improve the mechanical precision of the entire lens, thereby achieving a high overall performance.

Tamron SP 15-30mm F2.8 Di VC USD G2 specifications

Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 15–30 mm
Image stabilization Yes
CIPA Image stabilization rating 4.5 stop(s)
Lens mount Canon EF, Nikon F (FX)
Aperture
Maximum aperture F2.8
Minimum aperture F22
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 18
Groups 13
Special elements / coatings 2 eXpanded glass molded aspherical + 1 molded glass aspherical + 3 aspherical elements, Anti-reflection eXpand + BBAR + fluorine coatings
Focus
Minimum focus 0.28 m (11.02″)
Maximum magnification 0.2×
Autofocus Yes
Motor type Ring-type ultrasonic
Full time manual Yes
Focus method Internal
Distance scale Yes
DoF scale No
Physical
Weight 1110 g (2.45 lb)
Diameter 98 mm (3.86″)
Length 145 mm (5.71″)
Sealing Yes
Colour Black
Zoom method Rotary (extending)
Power zoom No
Zoom lock No
Filter notes Canon version accepts rear gel filters
Hood supplied Yes
Tripod collar No

Articles: Digital Photography Review (dpreview.com)

 
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Review of the Olympus 300mm F4 PRO Lens

29 Aug

Review of the Olympus 300mm F4 PRO Lens

About six months ago, I made a heart-wrenching, painful, and difficult decision: I switched from Canon to Olympus.

Now, I’m not some crazy, brand-loyal photographer. I think the Canon versus Nikon argument is ridiculous. But I had invested thousands of dollars, tens of thousands really, in my Canon gear.

However, my photographic priorities have been changing. I’ve established something of a niche in Alaska wilderness photography and the size and weight of my Canon kit was becoming a hindrance.

bird in a tree - Review of the Olympus 300mm F4 PRO Lens

I’ve been extremely impressed by the sharpness and clean bokeh of this lens. Swainson’s Thrush, Alaska. Lumix G9 with Olympus 300mm F4 PRO.

Size and weight were a factor

Access to many of the places I work on assignment or lead photo workshops and tours is via small plane or on foot. In other words, the weight of my gear is a major consideration.

More and more often, I was forced to pass over my beloved Canon 500mm f4L, because it was just too darn heavy and bulky. Rather, I’d pack something more compact, even if it wasn’t as good. Leaving that big lens behind was painful, but necessary, and I constantly wished for something comparable that wasn’t so darn big.

As a result of leaving the big glass behind, my wildlife work suffered. So I started experimenting with a variety of alternative lenses for the Canon system: Tamron’s and Sigma’s 150-600mm lenses, and Canon’s 100-400mm and the 70-200mm f/2.8 with a 2x teleconverter.

All were decent, but none matched the quality and dreamy bokeh of the 500mm f4.

Review of the Olympus 300mm F4 PRO Lens - spruce grouse

Spruce Grouse, Denali National Park, Alaska. Lumix GX85 and Olympus 300mm F4 PRO.

Some smaller options

Unrelated to this search, I purchased a little Lumix GX85 as a backup camera for wilderness trips. Surprised by the quality of the micro 4/3rds system, I rented a couple of long lenses for it. First the Lumix/Leica 100-400, (which I’ve previously reviewed here on DPS), and then the Olympus 300mm f4 PRO.

While the Lumix/Leica 100-400mm combo gave me a staggering reach (200-800mm equivalent on the 4/3rds system), the sharpness at the long end was imperfect, and the bokeh was lacking. It’s a great lens, but just doesn’t quite compare to the 500mm f/4.

The Olympus 300mm F4 on the other hand… that one took me completely by surprise.

Review of the Olympus 300mm F4 PRO Lens

A tough, all-metal housing and full weather sealing mean the durability of the Olympus 300mm F4 PRO easily compares to the best lenses by Canon and Nikon.

Six months after first renting the Olympus, I sold all of my Canon gear and purchased a Lumix G9 body, a variety of Lumix/Leica lenses and the Olympus 300mm f4 PRO lens.

Here is what I think of it.

Price – Olympus 300mm F4 PRO

Review of the Olympus 300mm F4 PRO Lens - moose in a field

Bull moose. Denali National Park, Alaska. Made with the Olympus 300mm F4 PRO on a Lumix GX85 body.

A new Canon 600mm F4L currently sells for $ 11,500. The Olympus 300mm F4 PRO is about $ 2,500.

Yeah, no contest there. You could buy the Olympus and still have enough left over for a trip to Alaska to photograph brown bears AND a trip to Africa to see lions and elephants (travel is always money well spent).

Size and Weight

Review of the Olympus 300mm F4 PRO Lens

At 9 inches long (with the hood retracted) and 3.25lbs, the Olympus 300mm F4 PRO is a third the weight and half the length of the Canon 600mm F4L.

Thanks to the smaller sensor of the 4/3rds system, you can fit equivalent or greater magnification into a lens while retaining the same maximum aperture in a MUCH smaller package. Canon’s 600mm F4 lens weighs in at a whopping 8.6lbs (3.9kg) while the Olympus with the same equivalent magnification and maximum aperture is a comparably dainty 3.25 (1.47kg).

Physically, it is also much more compact. At about 9 inches (22.9 cm) long it is roughly half the length of the Canon lens. When it comes to size, the Olympus is a clear winner for a wilderness photographer like myself.

But how is the quality?

Sharpness

Review of the Olympus 300mm F4 PRO Lens - bird in the grass

I made this image of a Smith’s Longspur in Alaska’s Arctic National Wildlife Refuge with a Canon 5D Mark III and 500mm F4L. It’s sharp and crisp, as you would expect.

When I first considered replacing my Canon gear with Olympus I took both systems out in the field for a week-long photo workshop I was leading. On the trip, I was able to shoot both under similar conditions. Later, when I examined the images at 100%, I felt the sharpness was more or less equivalent even when they were shot wide open at F4.

Review of the Olympus 300mm F4 PRO Lens - fox in the grass

Just as sharp as the Canon 500mm. Fox. Umnak Island, Aleutian Islands, Alaska. Lumix G9 and Olympus 300mm F4 PRO.

With a sigh of relief, I moved on to . . .

Bokeh

Review of the Olympus 300mm F4 PRO Lens - brown wren

Few lenses can compare to the dreamy bokeh of the Canon 500mm F4 L. (Canyon Wren, Joshua Tree National Park, CA.)

The bokeh of a lens is one of the most important aspects of image quality. In wildlife photography, the ability to separate your subject from the background is a huge asset, meaning you need a shallow depth of field. The big Canon can achieve this with aplomb. Its bokeh is smooth and creamy and creates a perfect background for your subject. This, I knew, would be the greatest challenge for the Olympus 300mm F4 PRO.

And it is the one place the Olympus fell short… but only just (and I mean by the narrowest of margins). Since a 4/3rds sensor crops rather than physically magnifies an image, the depth of field is the same as you would achieve with 300mm f4 on the full-frame Canon camera if you cropped the image by 50%.

Which is to say, it still has a great, shallow depth of field, but the bokeh retains more form than it does with the 500mm or 600mm.

Review of the Olympus 300mm F4 PRO Lens - black raven close up

Though not quite the amazing bokeh of the Canon 500mm, the Olympus 300mm f4 PRO attains something VERY close and just look at that sharpness! (Common Raven. Juneau, Alaska. Lumix G9 and Olympus 300mm F4 PRO.)

When it comes to bokeh, the Canon had the edge, but not by much.

Performance

Autofocus

The Canon 500mm F4 has lightning-fast autofocus. That is not up for debate and is one of the reasons that so many pro wildlife and sports photographers select that lens.

So how does the Olympus compare?

Review of the Olympus 300mm F4 PRO Lens - crane in flight

This image made with the Canon 500mm F4L was easy to grab with the lightning fast autofocus system.

This was a harder comparison to make because autofocus ability is a combination of camera body and lens and how the two communicate. When I use the Olympus, my choice of a camera body is the Lumix G9. At first, I expected that this mixing of manufacturers would hinder the performance, but I’ve been relieved to find that is not the case. Lumix bodies are fully compatible with all features of Olympus lenses with no apparent loss in performance.

I’ve found the autofocus of the Lumix/Olympus combination to be precise and extremely fast, attaining focus as quickly as the Canon.

Review of the Olympus 300mm F4 PRO Lens - birds in flight and snowy mountain

Birds in flight, particularly against a background like this are hard for any autofocus system to handle. But the Olympus 300mm F4 PRO was able to make it happen and fast.

Another nifty feature of the Olympus 300mm F4 PRO is you can switch between auto and manual focus simply by giving a little tug on the focus ring. It snaps down, and suddenly you are in manual focus, click it back, and autofocus returns. There is no fumbling around for switches.

Stabilization and Handhold-ability

Review of the Olympus 300mm F4 PRO Lens - waterfall in Alaska

Waterfall, Umnak Island, Alaska. Made at 1/15th of second handheld (!!!) with the Olympus 300mm F4 PRO on a Lumix G9 body.

Canon’s image stabilization is extremely good, but they’ve stubbornly refused to integrate stabilization into their camera bodies. Lumix, however, has stabilization built into the body which communicates with simultaneous stabilization in the lens!

Here, the Lumix/Olympus combo is a clear winner. I’ve found I can hand hold the Olympus 300mm f4 PRO on the Lumix G9 as low as 1/15th of a second and still get acceptably sharp images. The small, easily handled size certainly helps with this, but I would NEVER be able to hand hold the Canon 500mm at 1/15th.

The overall performance winner? The Olympus 300mm f4 PRO.

Conclusion

Review of the Olympus 300mm F4 PRO Lens - bald eagle

Bald Eagle, Unalaska Island, Alaska. Lumix G9 body with the Olympus 300mm F4 PRO.

I’ll be honest here, from time to time I miss the big Canon 500mm f4L. But not for reasons of image quality or field performance. Rather, I miss the snob appeal of that big glass. It’s the stupidest of stupid reasons, but it’s a real one.

As a pro photographer, the big lens was a badge of honor. Fortunately, I’ve (mostly) outgrown the need to be seen as a pro when I’m in the field shooting. Now, I try to concentrate on making images good enough that they speak for themselves, and leave the lens size contests to others.

Review of the Olympus 300mm F4 PRO Lens - caribou

Caribou in Alaska’s Northwest Arctic. Lumix G9, Olympus 300mm F4 PRO.

When I put aside the size and snob appeal, I’m not at all sorry to have moved away from Canon. Now, my big lens is small enough that I carry it everywhere (even on my evening dog-walks). It’s light and unobtrusive and I can even carry it backpacking. The quality is so close to that of the bigger glass, that the differences are almost unimportant.

So yeah, I like the Olympus 300mm f4 PRO. A lot.

The post Review of the Olympus 300mm F4 PRO Lens appeared first on Digital Photography School.


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Hydra app update brings zoom lens support and improved selfies

28 Aug

The Hydra app from Belgian company Creaceed is one of the more interesting iOS camera apps we have seen in the recent past. Applying multi-frame methods merging up to 60 exposures, Hydra offers a range of clever-looking capture modes, including an HDR mode that combines up to 20 exposures, a Hi-Res mode that can produce up to 32MP images and a Zoom mode that, by making use of the Hi-Res mode technology, allows for digital zoom with better detail than the standard method.

Now the app has received a major update, with version 1.5 finally supporting the optical zoom lens in iPhone dual-camera models. This means that the combination of optical zoom and the app’s advanced digital zoom you can now achieve even better zoom results up to a 8x magnification.

In addition HDR and low light modes are now available on the front camera, allowing for better selfie images in low light and high-contrast scenes.

Hydra 1.5 requires iOS 10.0 and can be downloaded from the App Store for $ 4.99. More information is available on the Hydra website.

Articles: Digital Photography Review (dpreview.com)

 
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Samyang announces 85mm F1.8 lens for APS-C mirrorless cameras

27 Aug

Samyang has announced an upcoming 85mm F1.8 prime lens for a collection of APS-C format mirrorless camera systems.

The lens, which will also be sold under the Rokinon brand name, is available in Sony E-, Fuji X- and Canon M-mounts, as well as Micro Four Third (MFT) systems. Taking into account the crop factors, the 85mm F1.8 lens will be equivalent to roughly 128mm on Sony E- and Fuji X-mounts, 136mm on Canon M-mounts and 170mm on MFT systems.

The lens is constructed of nine optical elements in seven groups, which includes an Ultra Multi Coating (UMC) to reduce ghosting and chromatic aberration. It relies on manual focusing with a minimum focusing distance of 0.65m/2.13 feet and features a nine-blade aperture diaphragm. The front filter mount is 62mm and the lens comes with a reversible lens hood.

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The Samyang/Rokinon 85mm F1.8 lens is set for a September 2018 release date at an expected MSRP of $ 399.

Articles: Digital Photography Review (dpreview.com)

 
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