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Posts Tagged ‘Lens’

Oldest existing Nikon I camera goes up for auction with original lens and case

25 Oct

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The oldest known Nikon camera in existence has gone up for auction at WestLicht. This particular Nikon I, serial number 60924, was made in April 1948 and is notable as being the third camera produced by Nikon. WestLicht describes the camera’s condition as ‘B+,’ and says it includes the original Nikkor-H 2/5cm no.70811 with a matching Nikon cap in ‘fantastic original condition.’

The Nikon I still has its original shutter, according to WestLicht, as well as engravings that indicate the serial number, ‘Nippon Kogaku Tokyo’ and ‘Made in Occupied Japan.’ In addition to the camera itself, the auction includes the original double-strap carrying case; WestLicht describes the case as ‘extremely rare.’ 

The auction’s starting price is €90,000, with WestLicht estimating the camera will sell for between €160,000 to €180,000 (about $ 174,000 to $ 195,750). 

Articles: Digital Photography Review (dpreview.com)

 
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Leica re-launches the miniature Summaron 2.8cm F5.6 lens for the M system

20 Oct

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A modern version of the 1955 L-mount Summaron 2.8cm F5.6 lens is to be introduced by German camera manufacturer Leica. The new lens will be fitted for the current M series and will be named the Summaron-M 28mm F5.6. The company appears to have kept the optical design the same as was used in the original model – and indeed makes a feature of the vignetting – but has changed the mount and added 6-bit coding so the lens can communicate EXIF data to modern camera bodies. Internal mechanics remain as they were when the lens was first introduced, but the aperture ring and focusing knob have been redesigned to match the placement and feel of the current M series optics.

With such a small maximum aperture the lens itself is especially compact and lightweight – measuring 51mm across and extending 18mm. This makes it ideal for street and documentary work on occasions when the photographer wants to remain unnoticed. It seems though that at this stage the lens will only be available in silver chrome, like the original, with no black paint alternative for those with black cameras.

Leica says the focus throw is particularly long which should make focusing accurate, and the small aperture will deliver quite an extensive depth of field even when used wide open. The closest focus will be one meter and the smallest aperture will be F22.

The original Summaron 2.8cm F5.6 was produced between 1955 and 1963, and was made in relatively small numbers – so prices have remained high for these older models. It was introduced as a replacement for the even flatter Hektor 2.8cm F6.3 and bought with it that faster aperture.

There is no date for delivery yet for the new lens, but the company is asking users to pre-order due to ‘expected strong demand’. The price will be £1900.

For more information visit the Leica website.

Press release

The Return of a Classic:
The Ultra-Compact LEICA SUMMARON-M 28 mm f/5.6 wide-angle lens for Unobtrusive Reportage Photography with a Vintage Look

October 19, 2016 – With the Leica Summaron-M 28 mm f/5.6, Leica Camera expands the lens portfolio of the Leica M rangefinder system with the modern reincarnation of a classic Leica lens. First introduced as a screw mount lens in 1955, the predecessor of this new lens is still one of the most compact wide-angle lenses in the Leica M-System and is famed for its characteristic visual signature. The new Summaron-M 28 mm f/5.6 takes its lead from the classically compact construction of its ancestor and brings the unique, analog look of its pictures into the age of digital photography.

The optical design and mechanical construction of the Summaron-M 28 mm f/5.6 are identical to those of its predecessor, which was manufactured at the Leitz factory in Wetzlar until 1963. The perfect fusion of the latest optical developments, such as the highest quality finishing and manufacturing techniques, with this classic optical design make this new edition of the Summaron-M 28 mm f/5.6 much more than a reconstruction of an existing lens. While only slightly modernizing the shape and design of the lens, the new version of the Summaron-M 28 mm f/5.6 is reduced to the essentials but loses none of the character of its legendary ancestor. Its exceptionally short length of less than two centimeters makes it incredibly unobtrusive, and together with the inherent unassuming nature of a Leica M it is an ideal lens for street photography. The combination of a clearly laid out depth of field scale and long focus throw allow for very precise and easy zone focusing.

The optical design of 6 elements in 4 groups, arranged symmetrically around the iris of the new Leica Summaron-M 28 mm f/5.6, is identical to that of its ancestor. The historic optical design of the original lens has remained completely unchanged. When shot at wide-open aperture, the new Leica Summaron-M 28 mm f/5.6 renders subjects with rich contrast across nearly the entire image field. The combination of a large depth of field, natural contrast rendition, excellent resolution of details and a slight visible vignetting create a unique visual signature, and lend pictures a special classic look reminiscent of earlier days of analog photography.

The outward appearance of the new Leica Summaron-M 28 mm f/5.6 has been harmonized with the contemporary look and mechanics of the current portfolio of Leica M-Lenses. This is exemplified in the Leica M bayonet mount with 6-bit coding, the shape of the focusing lock button, the diameter of the aperture ring and the style of the knurling on the barrel and rings. The style and construction of the lens hood reflects the original, and recalls memories of the beginnings of rangefinder photography. It is machined from solid brass and finished in an elaborate manufacturing process.

As is the case for all other Leica lenses, the Leica Summaron-M 28 mm f/5.6 was designed and developed by the precision engineers and optical specialists in Wetzlar. As a product made to stand the test of time with enduring value, the lens is made in Germany from only the finest materials, and assembled entirely by hand. The combination of cutting-edge technologies and painstaking manufacturing processes guarantees consistently excellent quality and long-lasting reliability.

Customers wishing to purchase a Leica Summaron-M 28 mm f/5.6 lens must place a pre-order with a Leica Store, Boutique or Dealer. Deliveries will follow according to the sequence in which the orders are received. Due to the strong demand, long delivery times must be taken into account, especially in the first few months.

 

Articles: Digital Photography Review (dpreview.com)

 
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Nikon announces ultra-wide PC Nikkor 19mm F4E ED tilt-shift lens

19 Oct

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Nikon has announced a new PC Nikkor 19mm F4E ED tilt-shift lens (which the company calls ‘Perspective Control.’) This ultra-wide lens offers 97° of coverage and can shift ±12mm and tilt ±7.5°. Unlike the company’s existing PC-E designs, the mechanism for tilt can be rotated independently from the mechanism for shift, allowing the tilt to be set either parallel or perpendicular to the shift.  The lens has three ED and two aspherical elements as well as Nano Crystal Coating.

The lens will be available next month with an MSRP of $ 3399.95.

Press release:

MASTER YOUR PERSPECTIVE WITH OPTICAL EXCELLENCE: NIKON ADDS TWO PRO-GRADE FX-FORMAT LENSES TO CELEBRATED NIKKOR LENS LINEUP

Extraordinary Next-Generation AF-S NIKKOR 70-200mm f/2.8E FL ED VR Sets a New Standard for Pro Telephoto Workhorse Lenses, While New PC NIKKOR 19mm f/4E ED is Nikon’s Widest Ever Tilt-Shift NIKKOR Offering 

MELVILLE, NY (October 19, 2016 at 12:01 A.M. EDT) – Today, Nikon Inc. has announced two exciting FX-format additions to the storied NIKKOR lens lineup, designed to achieve amazing optical performance for the most demanding professional and enthusiast photographers. An evolution of one of Nikon’s most versatile and popular pro-zoom lenses, the newly redesigned AF-S NIKKOR 70-200mm f/2.8E FL ED VR sports an updated optical formula capable of amazing image quality, while optimized for high-speed shooting. Also introduced today is Nikon’s widest perspective control lens to date, the PC NIKKOR 19mm f/4E ED tilt-shift lens, which helps photographers effortlessly control perspective when capturing architecture, interiors, fine art, product photography and landscapes.

“Nikon continues to raise the bar of optical excellence, and our newest FX-format NIKKOR offerings provide experienced photographers with powerful tools to help ensure brilliantly sharp images, whether capturing a high-speed photo finish or creatively framing an architectural marvel,” said Kosuke Kawaura, Director of Marketing and Planning, Nikon Inc. “While the new AF-S NIKKOR 70-200mm f/2.8E FL ED VR builds upon the success of its predecessors to offer a true all-around NIKKOR optic, the PC NIKKOR 19mm f/4E ED will provide fantastic perspective control for a variety of challenging wide-angle applications.”

The Ultimate Workhorse Lens for Seasoned Photographers

Long considered an essential lens in the bag of professional photographers, this updated AF-S NIKKOR 70-200mm f/2.8E FL ED VR sets a new benchmark for fast telephoto zoom lenses, taking image quality and handling to the next level. An indispensable and powerful tool for nearly any photographic scenario, the NIKKOR 70-200mm remains the professional’s choice with a wide f/2.8 constant aperture that is ideal for capturing sports, weddings, stunning portraits and more, even in low-light.

The next generation design of the lens helps ensure the very best in image quality, speed and low-light performance, while offering balance and handling that is nothing short of superb. Nikon’s new 70-200mm provides up to four stops1 of Vibration Reduction (VR) image stabilization, an improvement from its predecessor that helps users to eliminate blur and camera shake even when shooting handheld or in challenging light. During burst shooting, the lens takes advantage of an electromagnetic diaphragm for consistent auto-exposure control. Additionally, a Silent Wave Motor (SWM) enables ultra-fast and quiet AF operation with seamless manual focus override. Discerning photographers will also appreciate assignable function buttons on the lens barrel that offer customization, perfect for engaging pre-set autofocus or other focusing options.

A new optical formula consisting of six ED elements, one Fluorite element, a high refractive element and Nano Crystal Coat helps make for a lighter and more versatile lens, while reducing chromatic aberration and helping to all but eliminate distortion, ghosting and flare. Ready for even the most rugged of assignments, the magnesium alloy lens barrel features superior weather-sealing that achieves anti-dust and waterdrop-resistance, while Fluorine coating on both the front and rear glass facilitates easy cleaning. Whether shooting with a camera like the Nikon D5, D810, D750 or D500, capturing sports or weddings, the AF-S NIKKOR 70-200mm f/2.8E FL ED VR is a fantastic lens choice for experienced photographers. 

Seamlessly Control Perspective with the New Super-Wide PC NIKKOR Lens

Also new from Nikon is the latest perspective control lens (designated PC) in the NIKKOR lens lineup, the PC NIKKOR 19mm f/4E ED, a tilt-shift offering that will help photographers master perspective and depth-of-field. For storytellers who yearn to capture optically-challenging subjects like cityscapes and architecture, interiors or unique landscapes, this lens offers 97° of coverage – the widest focal length of any PC lens in the NIKKOR family. Tilt the lens to sharpen focus throughout a scene or create a miniature effect, or shift2 to adjust perspective in-camera, create panoramas or eliminate converging lines. For the first time with a NIKKOR PC lens, the direction of tilt operation can be made parallel or perpendicular to shift, offering users nearly unprecedented ability to control perspective, focus and depth-of-field, without having to lock and unlock to make adjustments. 

Sporting a super-wide 19mm focal length, the lens provides a unique perspective ideal for shooting horizontal or vertical panoramas, or even filmmaking. With this ultra-wide angle in mind, the latest FX-format NIKKOR offering was crafted with three ED and two aspherical elements that help combat distortion and glare, while virtually eliminating chromatic aberration and coma, even at the widest aperture settings. The lens also features core NIKKOR technologies such as Nano Crystal Coat to combat ghosting and flare, an electromagnetic diaphragm for fast auto-exposure control, as well as a Fluorine coat that helps resist dirt, water spots and smudges. Ready for a variety of challenging ultra-wide applications, the PC NIKKOR 19mm f/4E ED is a powerful tool for discerning photographers looking for full creative and perspective control. It joins three other Gold Ring Series PC lenses in Nikon’s line-up; the PC-E NIKKOR 24mm F3.5D ED, PC-E Micro NIKKOR 45mm f/2.8D ED and the PC-E Micro NIKKOR 85mm f/2.8D.

Price and Availability

Both the AF-S NIKKOR 70-200mm f/2.8E FL ED VR and PC NIKKOR 19mm f/4E ED will be available starting in November 2016 for suggested retail prices (SRP) of $ 2,799.95* and $ 3,399.95*, respectively. For more information on these new Nikon products and pricing for optional accessories, please visit www.nikonusa.com.

1 Based on CIPA Standard. This value is achieved when FX-format compatible lenses are attached to a FX-format digital SLR camera and zoom lenses are set at the maximum telephoto position.  

2 Depending on combination of shift and rotation, operation may be restricted by mechanical interference between the lens and camera when used with certain Nikon cameras.

  • Models that can be used without any limitation: D5, D4 series, D3 series, D810 Series, D500
  • Models that can be used with some limitations: Df, D800 series, D750, D610, D600, D300 series, D7200, D7100, D5500, D5300, D5200, D5100, D5000, D3400, D3300, D3200, D3100
  • Models that are not compatible with PC NIKKOR 19mm f/4E ED: D2 series, D1 series, D200, D100, D90, D80, D70 series, D3000, D60, D50, D40 series, film cameras, Nikon 1 series with FT-1

*SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.

Nikon PC Nikkor 19mm F4E ED specifications

Principal specifications
Lens type Prime lens
Max Format size 35mm FF
Focal length 19 mm
Image stabilization No
Lens mount Nikon F (FX)
Aperture
Maximum aperture F4
Minimum aperture F32
Number of diaphragm blades 9
Optics
Elements 17
Groups 13
Special elements / coatings 3 ED + 2 aspherical elements + fluorine & Nano Crystal coatings
Focus
Minimum focus 0.25 m (9.84)
Maximum magnification 0.18×
Autofocus No
Full time manual Yes
Focus method Internal
Distance scale Yes
DoF scale Yes
Physical
Weight 885 g (1.95 lb)
Diameter 89 mm (3.5)
Length 124 mm (4.88)
Sealing Yes
Other
Notes Can rotate 90 degrees in either direction, tilt up/down 7.5 degrees, shift left/right 12mm.

Articles: Digital Photography Review (dpreview.com)

 
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Sigma 30mm F1.4 DC DN Contemporary Micro Four Thirds Lens Review

12 Oct

The Sigma 30mm F1.4 DN DC Contemporary was announced February 2016, and sits atop Sigma’s line of DN mirrorless lenses, with a two-stop advantage over their previous 30mm F2.8 offering.

As a Micro Four Thirds lens, it is one of only several current autofocus F1.4 prime lenses available, with its closest competitor being the Panasonic Leica Summilux DG 25mm F1.4. While the Panasonic offers a field-of-view equivalent to a ‘classic’ 50mm lens, the Sigma ends up around 60mm. While that makes its focal length possibly a bit long for street shooting, it helps a little when it comes to portraiture and close-up work.

Let’s see how the basic specifications between the Panasonic Leica 25 and Sigma 30 compare:

  Panasonic Leica Summilux DG 25mm F1.4 Sigma 30mm F1.4 DC DN | C
Price $ 598 $ 339
Image Stabilization No No
Max Aperture F1.4 F1.4
Minimum Aperture F16 F16
Aperture Ring No No
Diaphragm Blades 7 9
Minimum Focus 0.30 m (11.81?) 0.30 m (11.81?)
Maximum Magnification 0.11x 0.14x
Motor Type Micromotor Stepper motor
Full Time Manual Yes No
Weight 200 g (0.34 lb) 265 g (0.58 lb)
Dimensions (DxL) 63 mm (2.48?)  X 55 mm (2.15?) 65 mm (2.56?) X 73 mm (2.87?)
Sealing None None
Filter Thread 46mm 52mm

Regardless of where it sits in terms of focal length and usability, the Sigma enters the opposite of a crowded marketplace as an autofocus F1.4 Micro Four Thirds prime. It also gets the advantage of being the cheapest autofocus F1.4 Micro Four Thirds prime available, even undercutting the price of some F1.8 options as well. 

Thankfully, the Sigma doesn’t feel entirely cheap. The barrel is well made with a satin black finish and ridges for grip when mounting or removing the lens. Sadly, the plastic hood feels a little inexpensive, and doesn’t feel like it clicks in to position with much confidence. Build quality of the lens itself is on par with the Pana-Leica, with both having smooth, sturdy focus rings with rubberized ridged grips.

The extra bit of diameter and length on the Sigma make it a bit bulky and unbalanced when mounted to some of slimmer Micro Four Thirds cameras, like the Olympus PEN series, or the E-M5 II. When mounted to a larger SLR shaped body, like the GH4, the Sigma fits nicely.

We’re assuming the extra size, relative to the Panasonic stems from it needing to be large enough to cover an APS-C sized sensor, in its E-mount incarnation.

Does the discounted price mean the Sigma comes with discount performance? Can it shake off past stigmas about third party lenses and go toe-to-toe with a lens touting one of the most revered names in the business? Let’s take a closer look at the numbers.

Articles: Digital Photography Review (dpreview.com)

 
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Olloclip launches three lens kits for the iPhone 7 and iPhone 7 Plus

12 Oct

Olloclip has announced the launch of three lens kits for the iPhone 7 and iPhone 7 Plus: the Active Lens Set, Core Lens Set, and Macro Lens Set. All three sets, of which there are eight lenses total, are joined by the new Connect interchangeable lens system, which makes quick work of swapping between the various iPhone 7 Connect lenses. The Connect system sits flush with the iPhone’s two cameras, and can be used alongside screen protectors up to 0.5mm in width.

According to olloclip, the new iPhone 7 lenses are designed to offer ‘similar perspectives’ to what you get with DSLR lenses; they offer coated glass optics and ‘edge-to-edge clarity.’ 

Core Lens Set ($ 99.99):

  • ‘Near 180-degree spherical effect’ Fisheye lens
  • ‘Advanced 4-element’ Super-Wide lens with greater than 120-degree field-of-view
  • Macro 15x lens

Active Lens Set ($ 119.99):

  • Telephoto 2x optical zoom lens
  • Ultra-Wide 155-degree FOV lens

Macro Pro Lens Set ($ 79.99):

  • Macro 7x lens
  • Macro 14x lens
  • Macro 21x lens

Speaking about the lenses, company founder Patrick O’Neill said, “olloclip is committed to continually enhancing the mobile photography experience. That means giving full respect to mobility with no oversized, heavy lenses and paying strict attention to delivering beautiful photography with the simplest, quickest and most versatile user experience possible.”

All three lens kits are available to pre-order now from Olloclip’s website and are expected to ship in early November. 

Articles: Digital Photography Review (dpreview.com)

 
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Sigma 30mm F1.4 DC DN Contemporary Micro Four Thirds Lens Review

11 Oct

The Sigma 30mm F1.4 DN DC Contemporary was announced February 2016, and sits atop Sigma’s line of DN mirrorless lenses, with a two-stop advantage over their previous 30mm F2.8 offering.

As a Micro Four Thirds lens, it is one of only several current autofocus F1.4 prime lenses available, with its closest competitor being the Panasonic Leica Summilux DG 25mm F1.4. While the Panasonic offers a field-of-view equivalent to a ‘classic’ 50mm lens, the Sigma ends up around 60mm. While that makes its focal length possibly a bit long for street shooting, it helps a little when it comes to portraiture and close-up work.

Let’s see how the basic specifications between the Panasonic Leica 25 and Sigma 30 compare:

  Panasonic Leica Summilux DG 25mm F1.4 Sigma 30mm F1.4 DC DN | C
Price $ 598 $ 339
Image Stabilization No No
Max Aperture F1.4 F1.4
Minimum Aperture F16 F16
Aperture Ring No No
Diaphragm Blades 7 9
Minimum Focus 0.30 m (11.81?) 0.30 m (11.81?)
Maximum Magnification 0.11x 0.14x
Motor Type Micromotor Stepper motor
Full Time Manual Yes No
Weight 200 g (0.34 lb) 265 g (0.58 lb)
Dimensions (DxL) 63 mm (2.48?)  X 55 mm (2.15?) 65 mm (2.56?) X 73 mm (2.87?)
Sealing None None
Filter Thread 46mm 52mm

Regardless of where it sits in terms of focal length and usability, the Sigma enters the opposite of a crowded marketplace as an autofocus F1.4 Micro Four Thirds prime. It also gets the advantage of being the cheapest autofocus F1.4 Micro Four Thirds prime available, even undercutting the price of some F1.8 options as well. 

Thankfully, the Sigma doesn’t feel entirely cheap. The barrel is well made with a satin black finish and ridges for grip when mounting or removing the lens. Sadly, the plastic hood feels a little inexpensive, and doesn’t feel like it clicks in to position with much confidence. Build quality of the lens itself is on par with the Pana-Leica, with both having smooth, sturdy focus rings with rubberized ridged grips.

The extra bit of diameter and length on the Sigma make it a bit bulky and unbalanced when mounted to some of slimmer Micro Four Thirds cameras, like the Olympus PEN series, or the E-M5 II. When mounted to a larger SLR shaped body, like the GH4, the Sigma fits nicely.

We’re assuming the extra size, relative to the Panasonic stems from it needing to be large enough to cover an APS-C sized sensor, in its E-mount incarnation.

Does the discounted price mean the Sigma comes with discount performance? Can it shake off past stigmas about third party lenses and go toe-to-toe with a lens touting one of the most revered names in the business? Let’s take a closer look at the numbers.

Articles: Digital Photography Review (dpreview.com)

 
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ExoLens offers Zeiss-branded accessory lenses for iPhone 7, adds ‘Prime’ lens line

06 Oct

ExoLens has announced that it will sell its Zeiss-branded accessory lenses for iPhone 7, and has also introduced a second product line. Calling its existing lineup of lenses with Zeiss optics the ‘Pro’ line, it emphasizes their high quality construction while adding the ‘Prime’ line for ‘artistic expression and non-technical social sharing.’ ExoLens does not mention support for the iPhone 7 Plus and its dual camera modules.

Three Pro lenses are offered: the Wide, Telephoto and Macro-Zooms first introduced in January. Each will come with an ExoLens Edge machined aluminum mount, as well as a key ring loop. Launching for iPhone 7, 6/6 Plus and 6s/6s Plus in December, the wide-angle and telephoto kits will also sell for $ 199.99 and $ 249.99, respectively.

Following the launch of these two kits, ExoLens will release the Pro Macro-Zoom Lens in January for $ 199.99 bundled with the lens mount bracket. This kit will include the Zeiss Vario-Proxar 40-80 T macro-zoom lens for taking photos of items that measure between 3cm and 12cm. 

The Pro macro lens kit will be joined by Telephoto 2x, Wide-Angle 0.6x, and Super Wide-Angle/Macro combo lenses in the PRIME range, all of which launch in the first quarter of 2017; prices for the Prime kits haven’t been released yet.

Press release:

ExoLens® Introduces PRO and PRIME Ranges of Professional Accessory Lenses for the iPhone 7

The new lines offer photographers a range of exceptional mobile lenses that are made for a wide variety of usage scenarios, from professional landscape and portrait imagery to selfies used by social sharers.

Itasca, IL – October 5, 2016 – ExoLens®, accessory brand dedicated to elevating the mobile photography category, announces the launch of the ExoLens PRO and PRIME ranges. Each line is designed for a specific consumer, which allows everyone from the novice to the professional to join the mobile photography movement. Leading the collection, is the ExoLens® PRO line for the iPhone 7, which feature Optics by market leading brand, ZEISS, to offer truly professional-grade mobile lenses to photographers, artists and journalists to seriously step up your mobile photography game.

“We are very excited to launch the high-performance ranges of PRO and PRIME iPhone lenses,” says John Fellowes, Chief Executive Officer of Fellowes Brands, which acquired ExoLens in 2014. “The new product lines signify an expanded brand strategy for ExoLens, which will now reach mobile photographers of all levels.”

First to market will be the ExoLens PRO Wide-Angle and Telephoto Kits for iPhone 7. These kits will bring the aspherical lens technology previously reserved for high-end DSLR lenses, straight to your iPhone as a compact mobile accessory lens. With more than 170 years of experience engineering professional optics, ZEISS has gained unrivaled trust among professional photographers and cinematographers in the industry. The series of high-performance lenses is a new breed of mobile photography optics that will allow the massive community of iPhone photographers and videographers to tell a deeper story with gold-standard gear. All PRO Kits come with the new machined aluminum ExoLens Edge mount, which features an integrated cold shoe accessory mount (compatible with accessories such as external video light) and key ring loop.

The ExoLens PRO Wide-Angle Kit with Optics by ZEISS features a ZEISS Mutar™ 0.6x Asph T* Wide-Angle lens, which provides virtually no distortion and exceptional edge-to-edge contrast, resulting in an image quality that is unmatched by any other iPhone accessory lens. This Kit helps professionals capture expansive scenery and immerse viewers with frame filling detail, while expanding the frame of the iPhone to see the world in a beautiful new perspective. The ExoLens PRO Wide-Angle Kit with Optics by ZEISS will be available for iPhone 6/6s, iPhone 6 Plus/6s Plus, and iPhone 7 in December for $ 199.99.

The ExoLens PRO Telephoto Kit with Optics by ZEISS features a ZEISS Mutar™ 2.0x Asph T* Telephoto lens. The Kit offers photographers a narrow depth of field to add a beautiful bokeh to the background while focusing attention on the subject. The focal length of the telephoto allows the contours of the face to appear more natural and closer to real life, and is ideal for street photography, portraits or capturing events. The Telephoto Kit will be available for iPhone 6/6s, iPhone 6 Plus/6s Plus, and iPhone 7 in December for $ 249.99.

ExoLens PRO Macro-Zoom Kit with Optics by ZEISS features the ZEISS Vario-Proxar 40-80 T* macro-zoom lens. The ZEISS Vario-Proxar 40-80 T* macro-zoom lens has a variable focal length of 40 to 80 millimeters. “In combination with the optics of the smartphone camera, turning the ring does not result in an increase or reduction of the field of view,” Product Developer Vladan Blahnik from ZEISS explains. “Instead, the ring functions much like a manual focus with which different planes can be set. If photographers want to shoot objects that are three to five centimeters away, they turn the ring to the right as far as it will go, and to the left for objects that are five to eight centimeters away.” This allows users to capture objects measuring three to twelve centimeters filling the complete field of view and capture astonishing details beyond what is visible to the human eye to put you impossibly close to the subject. The PRO Macro-Zoom Kit will be available for iPhone 6/6s, iPhone 6 Plus/6s Plus, and iPhone 7 in January for $ 199.99.

The ExoLens PRIME product line allows for artistic expression and non-technical social sharing to step up your iPhone photography and videography game. They are intended for the photographer looking to create unique, artistic and candid snapshots. The lenses offered for PRIME Kits are the Wide Angle 0.6X, the Telephoto 2X and the Super Wide-Angle/Macro Combo.. The PRIME product line will be available starting Q1 2017.

Articles: Digital Photography Review (dpreview.com)

 
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Fast and light: Nikkor 24mm F1.8G ED lens review

05 Oct

The AF-S Nikkor 24mm F1.8G ED was first announced back in August 2015. It joins Nikon’s growing family of modern full frame primes alongside the 20mm F1.8G, 28mm F1.8G, 35mm F1.8G, 85mm F1.8G and the 50mm F1.8G. It’s priced at just under $ 750 making it a well matched option to be paired with cameras like the Nikon D610 and the Nikon D750. The Nikkor can also be used on DX format cameras with an equivalent focal length of 36mm.

This fast wide-angle prime will most likely appeal to architecture, landscape and portrait or wedding photographers. Additionally, the F1.8 max aperture may come in handy for those looking to utilize the lens for astrophotography work as well.

At 24mm the lens is Nikon’s second widest prime option to date, coming in just behind the Nikkor 20mm lens. It’s worth noting that there are a few other options at 24mm that potential buyers should definitely be aware of. One of those options is the slightly faster Sigma 24mm F1.4 DG HSM Art that comes in at just under $ 850.

The Sigma 24mm can be seen mounted on a Nikon D810 on the left and the Nikkor 24mm can be seen mounted on a D810 on the right.

Although the Sigma is a bit pricier, it is a sensible alternate option for folks looking for a lens at this focal length. By comparison the Nikkor 24mm F1.4G ED is is priced at just under $ 2000 which makes the Sigma version that much more attractive to potential buyers. We will be taking a closer look at the Nikkor 24mm F1.8G and the Sigma 24mm F1.4 as an alternative lens option in this review.

APS-C

If you’re an APS-C shooter the 36mm equivalent focal length with an equivalent aperture of F2.7 will be a nice addition to your lens kit, being flexible enough to allow environmental and photojournalistic portraits while still being wide enough to accommodate for some landscape and architectural photography as well. It is worth noting however that if you’re looking to purchase this lens for an APS-C camera, then other options, such as Sigma’s 18-35mm F1.8 lens, might be a better alternative for the money. For this reason, we’re not going to consider this lens for use on APS-C in this review.

Nikkor 24mm F1.8G ED Headline Features

  • 24mm Focal Length
  • F1.8 Maximum Aperture
  • ‘Silent wave’ focus motor with full-time manual override
  • F-mount FX format lens, works on both DX and FX format Nikon SLRs
  • Accepts standard screw-type 72mm Filters

Lens Specifications

  AF-S Nikkor 24mm F1.8G ED Sigma 24mm F1.4 DG HSM A (Nikon Mount)
Price (MSRP) $ 745 $ 849
Announced 2015 2015
Lens Type Wide Angle Prime Wide Angle Prime
Lens Mount Nikon F Nikon F
Max Format Size 35mm FF 35mm FF
Focal Length 24mm 24mm
Image Stabilization No No
Max Aperture F1.8 F1.4
Minimum Aperture  F16 F16
Aperture Ring  No No 
Diaphragm Blades 7 (rounded)  9 (rounded)
Elements 12  15
Groups  9 11
Special Elements/Coatings  2 extra-LD glass elements and 2 aspherical elements, Nano Crystal Coat and Super Integrated Coating 2 aspherical elements, 3 FLD and 4 SLD glass elements coupled with Multi Layer Coatings
Minimum Focus 23cm (9.1″) 25cm (9.9″)
Maximum Magnification 0.2x  0.19x
Autofocus Yes  Yes
Motor Type Silent Wave Motor autofocus mechanism HSM (Hyper Sonic Motor)
Full Time Manual  Yes Yes
Focus Method  Internal Internal
Distance Scale Yes Yes
DoF Scale Yes Yes 
Weight  355g (12.5 oz) 665g (23.1 oz)
Dimensions (DxL) Approx. 78 x 83mm (3.1 x 3.3″) 85 x 90mm (3.4 x 3.6″)
Materials Metal Mount/Plastic and composite material Metal Mount/Thermally Stable Composite (TSC) material
Sealing  None  None
Color Black Black
Filter Thread 72mm 77mm
Hood Supplied  Yes Yes
Hood Product Code HB-76 Bayonet Hood  
Tripod Collar No No

The Nikkor 24mm has a metal lens mount and a mostly plastic/composite material body. It feels surprisingly light for being such a fast prime lens; especially when compared to the Sigma 24mm lens which weighs nearly twice the amount and is slightly larger in size (this is broadly to be expected with the Sigma’s 2/3 stop extra light gathering ability). The build quality of the Sigma lens definitely feels more robust with the majority of its components constructed of metal and a composite material that can be found on most of Sigma’s Art series lenses.

It’s worth mentioning that both the Nikkor and the Sigma 24mm lenses lack comprehensive weather sealing, but the Nikkor does offer some protection with rubber gasket around the lens mount, so that’s definitely something to keep in mind if you plan to use these lenses in adverse weather conditions.

With these specifications in mind, how do these lenses stack up against one another in terms of performance? In this review we will be looking at the performance of the Nikkor 24mm and how it compares to the heavier and faster Sigma 24mm. 

Articles: Digital Photography Review (dpreview.com)

 
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5 Tips for Using a Kit Lens for Travel Photography

03 Oct

There are many good reasons not to use a kit lens for travel photography. If a kit lens is the only lens you own and you have a photography trip planned, you may be thinking about buying a better quality mid-range zoom or even a prime lens to replace or accompany it.

Kit lens in travel photography

But before you do so, I want to tell you a story.

Why a kit lens isn’t so bad after all

10 years ago I bought my first digital SLR, a Canon EOS Digital Rebel XT. I had switched systems from Pentax so I didn’t have any lenses to use with it. The camera came with an 18-55mm kit lens, and undecided about what other lenses I needed, I took it with me on an extended trip to South America.

I soon realized that the quality of the lens was not as good as it could be (I nearly used the word horrible). It wasn’t sharp and there was lots of chromatic aberration and purple fringing in my photos. Canon have since discontinued that early kit lens and replaced it with another, better one.

But that lens and camera combination gave me a tremendous amount of freedom. It was light enough enough to carry with me everywhere. I never had to change lenses, which helped keep the sensor reasonably free of dust. I had a wide-angle lens at 18mm, a short telephoto at 55mm, and all the focal lengths in-between.

It was during this trip that I had time to think about my future and what I wanted to do with it. I decided that I wanted to write about photography for a living.

Five months later I sold my first feature to Practical Photography magazine, illustrated with photos taken in South America with the Digital Rebel XT and that same kit lens. Yes, the lens may have been horrible, and I’d never want to go back to that camera and lens combination, but the photos I took with it were good enough to be published in a major photography magazine.

Kit lens in travel photography

What lessons can we learn from this? Here are some of the key lessons.

1. Your equipment matters, but not in the way you think

The key thing is that the equipment you chose to take with you is light enough for you to take just about everywhere, so that you don’t miss any photo opportunities that present themselves. That’s one of the reasons that mirrorless cameras and high end compacts have become popular with travellers.

Relating this back to lenses, one of the benefits of prime lenses is that they tend to be smaller and lighter than better quality mid-range zooms.

Kit lens in travel photography

2. Location and timing are more important than gear

Travel photography is about getting yourself to interesting places, when the light is beautiful, so that you can take photos that evoke the mood and atmosphere. If you don’t do this, it doesn’t really matter what camera and lens you have. Your photos won’t be as interesting as those from people who do take the trouble to do these things.

Kit lens in travel photography

The photo above was taken during a 4-day jeep trip in south-west Bolivia. It’s a remote location at 4200 meters above sea level in the Andes that I never would have seen without going on that trip. It doesn’t matter what camera and lens you have, you’ll never take photos like this if you don’t make the effort to get to places like this one.

3. You need to interact with the locals

You get more out of the journey on a personal level when you talk to local people. The ability to confidently communicate gives you the chance to learn about their lives and the way of life of people from a different place or country.

It also opens up the number of photographic opportunities that come your way. Perhaps the people you talk to would like to have their photos taken, if you ask. Or you can ask people what local sights they can recommend for you to visit with your camera. You will learn about local temples, markets, festivals and other interesting cultural events or places that make good subjects.

Kit lens in travel photography

I came across this scene in Punta Arenas, Chile (above) and was struck by the contrast between the expensive looking racing car and the houses. These two guys were happy for me to take a photo. The confidence to talk to people in this type of situation, and ask for permission to take a photo, is just as important as your gear.

4. Money is always a factor

Travel can be expensive, and it may be wiser spending money on experiences than gear. You don’t want to be in the situation of having spent so much on lenses that you don’t have enough money left to do all the things you would like on your journey.

Kit lens in travel photography

5. Kit lenses are not perfect

I think it’s wise to acknowledge at this point that there are many reasons why you might want to buy a better lens than your kit lens. You might need a prime lens with a wide aperture for shooting in low light or experimenting with shallow depth-of-field. Or you may need a shorter focal length or a longer one. A weatherproof lens so you can shoot with confidence in the rain might also be handy.

These are all valid reasons for buying a better lens. Most photographers who start out with a kit lens end up buying better ones eventually. My photos were published in spite of me using a kit lens, not because of it.

But if a kit lens is all you have, there is no need to worry. You will have plenty of opportunities to buy better lenses in the future. For now, just get out there and seize the moment. Enjoy your trip, have a wonderful experience and make as many beautiful images as you can.

Kit lens in travel photography


Mastering Lenses

If you want to know more about buying and using lenses then please check out my ebook Mastering Lenses: A Photographer’s Guide to Creating Beautiful Photos With Any Lens.

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The post 5 Tips for Using a Kit Lens for Travel Photography by Andrew S. Gibson appeared first on Digital Photography School.


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Kúla Bebe is a 3D lens attachment for your smartphone

24 Sep

Icelandic company Kúla is showing a pre-production version of its Bebe smartphone lens attachment at its Photokina booth. The Kúla Bebe allows for the capture of stereoscopic 3D images with any smartphone camera. It attaches to the device via a plastic clip and uses high-quality mirrors the capture the right and left eye view of your 3D image at the same time. Output images can be viewed on an included paper 3D stereoviewer that works with most smartphones or through the also included anaglyph glasses. 

Kúla’s free app and the Kúlacode desktop application can convert the captured image to any 3D format for viewing on other devices. Kúla Bebe is the smaller sibling of the already available Kúla Deeper DSLR version of the device. The Bebe can currently be preordered for $ 79 on the Kula website and delivery is expected in spring 2017.

Articles: Digital Photography Review (dpreview.com)

 
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