Meyer Optik Görlitz has released the Trioplan 50mm F2.8 II, its third lens of the year, following the Lydith 30mm F3.5 II and Trioplan 100mm F2.8 II. Like both of the previous lenses, the 50mm F2.8 II isn’t just an incremental update—it’s entirely new, designed from the ground up.
The lens has a slightly faster maximum aperture of F2.8 compared to its predecessor, which maxed out at F2.9. The lens also features the signature ‘soap bubble bokeh,’ has a 52mm front filter thread and a minimum focusing distance of 40cm (15.75”).
Below are a number of sample photos captured with the Trioplan 50mm F2.8 II, provided by Meyer Optik Görlitz:
The Trioplan 50mm F2.8 II is available in the following mounts: Canon EF, Nikon F, Fuji X, Sony E, Pentax K, M42, Micro Four Thirds, Leica M and Leica L. It’s currently available to purchase on the Meyer Optik Görlitz website for €876.34 (approximately $ 1,020), not including shipping.
OPC Optics, the new owners of the Meyer Optik Görlitz brand, says it has two more classic lens designs on the horizon: a Primoplan 75mm F1.9 II and a Primoplan 58mm F1.9. OPC Optics says the lenses are nearing completion and ‘will be released shortly.’
Sony’s a7C is a really compact full-frame camera – especially when paired with the new FE 28-60mm F3.5-5.6 kit lens. We’ve been doing plenty of shooting with the combo and have updated our gallery to show you just what you can expect.
Researchers with the University of Massachusetts at Lowell and MIT have developed a new type of fisheye lens that is flat and crafted from a single piece of glass. The lens is round, according to the researchers, and it is capable of capturing sharp 180-degree panoramas. This is the first flat fisheye lens made from a single piece of glass, which measures 1mm thick.
Ordinary spherical fisheye lenses are made from multiple pieces of glass designed to bend the light in such a way that it produces circular wide-angle images. The newly developed flat lens instead captures wide-angle panoramas by utilizing ‘tiny structures’ that scatter light in place of the curved glass elements in more costly spherical fisheye lenses.
The version of the lense introduced by the researchers is made for infrared photography, but the team says that it could be modified for use as a regular visible spectrum lens, as well. The flat design is ultimately more compact and less expensive to produce than spherical multi-element lenses.
The researchers envision a variety of uses for their lens design beyond interchangeable lenses. The thin, flat nature of the design would make it possible to implement the fisheye into smartphones, for example, eliminating the need to use a third-party lens add-on. Similar implementation could be used with laptops, VR headsets and even devices like medical imaging equipment.
MIT associate professor Juejun Hu, one of the researchers on the project, explained:
This design comes as somewhat of a surprise, because some have thought it would be impossible to make a metalens with an ultra-wide-field view. The fact that this can actually realize fisheye images is completely outside expectation. This isn’t just light-bending — it’s mind-bending.
Metalens refers to a flat lens that has tiny structures for focusing light. While wide-angle metalenses aren’t new, the researchers note that a single piece of glass without any extra optics have been limited to 60-degrees. The newly published study details how the team got around these restrictions to develop an ultra-wide-angle lens capable of capturing 180-degree panoramas without extra components.
This 180-degree fisheye metalens features a single piece of transparent glass made from calcium fluoride with a lead telluride film on one side. A pattern of ‘optical structures’ called meta-atoms was carved into the film using lithographic techniques, the result of which were many ‘nanoscale geometries’ used to bend the light in specific, precise ways.
The carved structures can introduce phase delays into the scattering of the light — depending on their shape — to imitate the natural phase delays produced by the curved glass elements in spherical fisheye lenses. The light passes from the carved structures on the back of the lens through an optical aperture on the front of the lens.
Study co-author Mikhail Shalaginov said:
When light comes in through this aperture, it will refract at the first surface of the glass, and then will get angularly dispersed. The light will then hit different parts of the backside, from different and yet continuous angles. As long as you design the back side properly, you can be sure to achieve high-quality imaging across the entire panoramic view.
The study was partially funded by DARPA through its EXTREME program, which tasks experts with developing optical tools ‘to enable new functionality and/or vastly improve size, weight, and power characteristics of traditional optical systems.’ The agency goes on to explain that EXTREME will ‘explore this optical design space and aims to understand the trade-offs, and harness the possibilities, afforded’ by Engineered Optical Materials (EnMats).
Optics manufacturer Samyang has released a new lens simulator web app that allows you to see how certain lenses will affect the look of a scene based on sensor size and lens settings.
The web app creates a simulated scene using a cutout portrait of a woman as well as three backgrounds. By changing the sensor size, focal length, aperture and distance, the scene will adjust to show a simulated representation of what the image would like like when the shutter is pressed.
The web app is somewhat rudimentary, but its simulated representations do a good job of showing photography newcomers how crop factors, focal lengths, apertures and the subject’s distance from the lens can impact the look of an image. Samyang also includes an option to select on of its lenses to use as a preset of sorts to see what a given Samyang (also sold under the Rokinon/Bowen brands) lens will produce.
Both Canon and Nikon have lens simulators of their own, so this isn’t exactly an original idea, but it’s yet another option you can try out.
The post KUVRD Launches Lens Hood That Fits 99% of Lenses appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Lens hoods cause photographers a lot of frustration.
On the one hand, they’re necessary. They reduce unwanted flare while protecting the front element from damage.
On the other hand, they’re big, unwieldy pieces of plastic that take up space in your camera bag. And you generally need a different lens hood for every one of your lenses.
Which is why KUVRD, the company behind a universal lens cap, has just launched a new Kickstarter campaign:
For the Universal Lens Hood.
As KUVRD explains on its Kickstarter page, the Universal Lens Hood is carefully designed to fit 99% of lenses, by way of a clever stretch-and-fold system that allows you to expand the hood around your lens, then resize the hood depending on the lens you’re using.
The Universal Lens Hood also offers other innovative features, such as compactness (it can be folded up into a small ring that fits in your pocket) and filter compatibility (you can nestle any circular filter inside the lens hood, regardless of size).
Plus, the Universal Lens Hood promises to eliminate reflections from surfaces. If you’re shooting the skyline through a hotel window, for example, simply press the front of the hood up against the glass and watch as the reflections disappear.
And did I mention that it only costs $ 30 USD?
Now, there are a few drawbacks to the Universal Lens Hood worth highlighting:
First, it actually comes in two sizes, one designed for lenses with a 54mm to 76mm filter size, and the other designed for lenses with a 72mm to 112mm filter size. This isn’t a huge deal, but it does seem to undermine the idea of a single universal lens hood; if you have lenses of different sizes, you’ll need two of the hoods, not one.
Second, I do wonder about adjusting focus rings and zoom rings under the Universal Lens Hood. While KUVRD claims that it’s easy to fold the lens hood back and gain access to these controls, this seems inconvenient at best, especially if you’re trying to zoom and focus manually in a single shoot (and could potentially cost you images while you’re fiddling around).
While the Universal Lens Hood is technically still in the funding stage, it has already shot far beyond its $ 5000 USD Kickstarter goal, which means that orders will be shipped (likely in December). So if you’re looking for a lens hood that is ultra-compact, fits all your lenses, and includes some additional useful features, then the Universal Lens Hood is worth a look.
You can become a Kickstarter backer here, where you can grab a single copy of the Universal Lens Hood for $ 30 USD or two copies of the Universal Lens Hood for $ 50 USD.
Now over to you:
What do you think of the Universal Lens Hood? Is it something you’d be interested in? Do you get frustrated with your current lens hoods? Share your thoughts in the comments!
The post KUVRD Launches Lens Hood That Fits 99% of Lenses appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Venus Optics has announced the release of its latest lens, the Laowa 14mm F4 FF RL ‘Zero-D’ lens for full-frame mirrorless camera systems.
The compact ultra-wide-angle lens is constructed of 13 elements in 9 groups, including two aspherical elements and three extra-low dispersion elements. The lens features a 114º angle of view on a full-frame sensor while maintaining near-zero distortion as the ‘Zero-D’ moniker alludes to.
The lens features an aperture range of F4-F22, uses a five-blade aperture diaphragm, has a minimum focusing distance of 27cm (10.6″) and uses a 52mm front filter thread. It measures in at 58mm in diameter, 59mm long and weighs just 228g (8oz).
Below is a gallery of sample images provided by Venus Optics:
The Loawa 14mm F4 ‘Zero-D’ lens is available in Leica M, Leica L, Sony FE, Nikon Z, and Canon RF mounts on Venus Optics’ website. All versions retail for $ 549, with the exception of the Leica M mount, which retails for $ 649. Shipping will start in late September for all but the Leica M and Canon RF mount versions, which will see the first shipments go out in late October.
Venus Optics has announced the release of its latest lens, the Laowa 14mm F4 FF RL ‘Zero-D’ lens for full-frame mirrorless camera systems.
The compact ultra-wide-angle lens is constructed of 13 elements in 9 groups, including two aspherical elements and three extra-low dispersion elements. The lens features a 114º angle of view on a full-frame sensor while maintaining near-zero distortion as the ‘Zero-D’ moniker alludes to.
The lens features an aperture range of F4-F22, uses a five-blade aperture diaphragm, has a minimum focusing distance of 27cm (10.6″) and uses a 52mm front filter thread. It measures in at 58mm in diameter, 59mm long and weighs just 228g (8oz).
Below is a gallery of sample images provided by Venus Optics:
The Loawa 14mm F4 ‘Zero-D’ lens is available in Leica M, Leica L, Sony FE, Nikon Z, and Canon RF mounts on Venus Optics’ website. All versions retail for $ 549, with the exception of the Leica M mount, which retails for $ 649. Shipping will start in late September for all but the Leica M and Canon RF mount versions, which will see the first shipments go out in late October.
ZY Optics has announced the release of its latest lens, the Mitakon Speedmaster 17mm F0.95 for Micro Four Thirds (MFT) camera systems.
The 17mm manual focus lens is constructed of 12 elements in 9 groups and offers a 34mm full-frame equivalent focal length when attached to a MFT camera (63º angle of view). It features an aperture range of F0.95-F16, uses a nine-blade aperture diaphragm, has a 58mm front filter thread and has a minimum focusing distance of 30cm (11.8”). The aperture ring is stepless for quiet adjustment during video shooting.
Below are a selection of sample photos provided by ZY Optics:
Photography accessory manufacturer KUVRD has announced a crowdfunding campaign for its latest product, the Universal Lens Hood. As its name suggests, the new product is a collapsible silicone lens hood that KUVRD says will fit 99% of lenses.
The Universal Lens Hood is the result of more than seven iterations, with the final version being put through ‘rigorous field testing in varying temperatures’ to ensure it’s ready to take on the elements. The product, which comes in two sizes — Small (54mm) and Medium (72mm) — is made of a ‘hyper-elastic silicone polymer,’ not unlike the material used to make the company’s stretchable lens caps released back in 2017.
The Universal Lens Hood can be expanded forward and collapsed backwards to precisely fit your needs without getting in the way and the lint-resistant coating should ensure you’re not left with dirt and fuzzies stuck all over it as tends to happen with silicone products.
An illustration showing what size filter will fit inside the Small and Medium Universal Lens Hoods.
Beyond near-universal lens compatibility, the hoods also serve as a way to hold nearly any size of circular filter on the market by squeezing them between the inner-walls of the hood. This can further save space in your bag by reducing the need for step down rings and ensures you can by a single, large VND, ND, CPL or UV filter for use with even your smallest lenses.
Although it might be a stretch (see what I did there) the Universal Lens Hoods can also be used as a placemats of sorts to keep your gear safe and off rough terrain when you need to switch out a lens or replace the batteries.
The Universal Lens Hood has already far surpassed its humble $ 5,000 funding goal with nearly $ 180,000 in pledges as of publishing this article. You can purchase the Small and Medium Universal Lens Hoods in packs of one, two, three and four for $ 30, $ 50, $ 75 and $ 100, respectively. To find out more and to secure your pledge, head on over to the Kickstarter campaign.
Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.
The post Tamron 28-200mm f/2.8-5.6 Di III RXD Lens for Sony Review appeared first on Digital Photography School. It was authored by Suzi Pratt.
The Tamron 28-200mm f/2.8-5.6 is a lens that Tamron touts as “the lightest and most compact f/2.8 tele zoom for Sony mirrorless.”
It debuted in the summer of 2020, and has a solid build quality and a reasonable price point, similar to the rest of Tamron’s recent lens offerings.
But how does the image quality stack up? Let’s find out.
Recent Tamron lenses
Tamron has been on a roll with its Sony E-mount lens releases lately.
The recently released 70-180mm f/2.8 completed Tamron’s holy trinity of fast zooms (the others being the Tamron 17-28mm f/2.8 and the Tamron 28-75mm f/2.8). All three of these lenses have been massively popular due to their solid builds, compact sizes, and affordable prices relative to their Sony G Master equivalents. Additionally, Tamron has released a handful of other fast prime lenses, including the Tamron 35mm f/2.8.
Tamron 28-200mm specs
The Tamron 28-200mm is a full-frame autofocus lens for Sony E-mount cameras. While it can be used with Sony APS-C cameras, it is best used with a full-frame camera. All sample images in this post were taken with the Sony a7R III.
Focal Length: 28 to 200mm
Maximum Aperture: f/2.8 to f/5.6
Minimum Aperture: f/16 to f/32
Angle of View: 75° 23′ to 12° 21′
Minimum Focus Distance: 7.5″ (19.05 cm)
Optical Design: 18 Elements in 14 Groups
Diaphragm Blades: 7, Rounded
Image Stabilization: No
Filter Size: 67 mm (Front)
Dimensions (ø x L): 2.91 x 4.6″ (74 x 116.8 mm)
Weight: 1.27 lb (575.5 g)
Pros
Small and lightweight
Variable aperture lenses are often looked down upon by photographers, because you can’t retain a fast f-stop when you zoom in. This means shooting at 200mm on the 28-200mm will force you to shoot at f/5.6, making it much more difficult to shoot in low lighting. However, variable aperture lenses are generally much smaller and weigh less compared to zoom lenses with constant apertures.
Indeed, the Tamron 28-200mm is incredibly small and light given its focal range. This makes it a great lens for travel or landscape photographers who work with ample light and don’t mind sacrificing a fast aperture at all focal lengths.
Simple and easy to use
Like many recent Tamron lenses, the 28-200mm is very straightforward, with a single physical switch to lock the lens and keep it from sliding out when not in use.
Other than that, it’s an intuitive plug and play lens that works exceptionally well with Sony E-mount cameras. All autofocus features, including face detection and eye autofocus (for both people and animals), were fast and accurate; the lens performs well on Sony cameras.
Moisture resistant
The build quality is solid without adding lots of weight. The Tamron 28-200mm is moisture-resistant for use in wet conditions, and also has a fluorine coating on the front lens element to prevent dust and dirt build-up.
Speaking of the front lens element, the filter size is 67mm, exactly the same as the three lenses in the Tamron holy trinity. This makes it easy to interchange filters such as polarizers and ND filters among these lenses if you buy into the full Tamron lens system.
Sony a7R III | Tamron 28-200mm | 1/160 sec | f/11 | ISO 200
Five- or six-year extended warranty
This is a bonus that comes with all Tamron lenses. If you register the Tamron 28-200mm lens within two months of purchasing it, you get an extended six-year warranty if you are in the USA, or a five-year warranty if you are in Europe.
Compared to Sony’s one-year warranty, this is a pretty big advantage when going with a Tamron lens.
Great image quality
So with all of the great points about this lens, how is the image quality?
It’s surprisingly good for a variable-aperture lens. Bokeh or lens blur is soft and pleasing, especially at longer focal lengths. Image sharpness is phenomenal, although admittedly not as crisp as a prime lens. And chromatic aberration, or color fringing, which often plagues all-in-one zoom lenses, is not a problem on this lens.
Similarly, 4K video shot with this lens also boasts great image quality, which leads us to the next section of the article.
Sony a7R III | Tamron 28-200mm | 1/100 sec | f/4.5 | ISO 1600
Cons
No image stabilization
Unfortunately, none of Tamron’s recent Sony E-mount lenses come with image stabilization. This feature is likely withheld to keep lenses smaller and more affordable, but it means that the Tamron 28-200mm is not an optimal lens for video or shooting handheld in low light. If you use the lens with a camera that has in-body image stabilization (IBIS), this can help make up for the lack of lens-based image stabilization. But in my experience, it’s always best to have a camera with IBIS and a lens with image stabilization.
On the plus side, this lens is lightweight enough that you could use it on a gimbal for video work, as long as you can balance it out when shooting at longer focal lengths.
Variable aperture
While the Tamron 28-200mm does give you a fast f/2.8 aperture when shooting on the wide end, the more you zoom in, the slower the aperture gets.
This may not be a big deal-breaker if you tend to shoot in scenarios with tons of natural or artificial lighting. However, if you shoot a lot in low light, the variable aperture might bother you.
Comparison to the Sony 24-240mm
The most direct competitor to the Tamron 28-200mm is the long-standing Sony 24-240mm f/3.5-6.3 lens. This Sony lens is very close in size to the Tamron, although it is slightly heavier, coming in at 780 g (1.72 lb) compared to 575 g (1.27 lb).
However, the Sony 24-240mm does offer slightly more range than the Tamron, plus it has OSS, or optical image stabilization. The OSS comes in handy if you shoot video, or like to have extra support when shooting handheld. The Sony lens does cost more, at $ 1,085 USD, but it has been out for so long that used versions of the lens can be had for prices similar to that of the Tamron.
If you value the extra range and OSS, the Sony may be the better all-in-one lens for you. However, it is quite a bit heavier than the Tamron and also has a significantly shorter warranty.
Sample image gallery
Sony a7R III | Tamron 28-200mm | 1/60 sec | f/6.3 | ISO 1250
Sony a7R III | Tamron 28-200mm | 1/125 sec | f/5.6 | ISO 2500
Sony a7R III | Tamron 28-200mm | 1/160 sec | f/4.5 | ISO 2500
Sony a7R III | Tamron 28-200mm | 1/80 sec | f/4.5 | ISO 2000
Sony a7R III | Tamron 28-200mm | 1/250 sec | f/4.5 | ISO 2000
Sony a7R III | Tamron 28-200mm | 1/125 sec | f/7.1 | ISO 1000
Sony a7R III | Tamron 28-200mm | 1/320 sec | f/5.6 | ISO 1250
The post Tamron 28-200mm f/2.8-5.6 Di III RXD Lens for Sony Review appeared first on Digital Photography School. It was authored by Suzi Pratt.
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