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Posts Tagged ‘Lenses’

Tamron adds Nikon Z7 compatibility to three of its F-mount lenses

26 Nov

Tamron has issued another batch of firmware updates for three of its Nikon F-mount lenses, making them compatible with the Nikon Z7 and FTZ adapter.

Tamron notes the firmware for the three following lenses will make ‘general operations’ possible when using them on the Nikon Z7 when using Nikon’s FTZ adapter:

• SP 24-70mm F/2.8 Di VC USD G2 (Model A032) for Nikon
• SP 15-30mm F/2.8 Di VC USD G2 (Model A041) for Nikon
• 18-400mm F/3.5-6.3 Di II VC HLD (Model B028) for Nikon

The lens(es) firmware can be updated with the optional TAP-in Console sold by Tamron or sent into Tamron to be updated by calling 1-800-827-8880 and selecting option one.

Future lens compatibility updates will be posted on the Tamron support page.

Notice of Firmware Update for Tamron Lens Compatibility with Nikon Z7 and FTZ Adapter

November 22, 2018, Saitama, Japan – Tamron Co., Ltd. announced that new firmware versions are now available for three Tamron models (listed below). The new firmware versions make the three models compatible with Nikon Z7 and FTZ adapter for general operations.

Applicable models:

• SP 24-70mm F/2.8 Di VC USD G2 (Model A032) for Nikon
• SP 15-30mm F/2.8 Di VC USD G2 (Model A041) for Nikon
• 18-400mm F/3.5-6.3 Di II VC HLD (Model B028) for Nikon

The lens firmware can be updated with the separately sold TAP-in Console. Customers may also contact Tamron USA’s service department at 1-800-827-8880, option 1 for information on sending in the lens for the update.

Lens Update Service Information As Tamron confirms the compatibility with Nikon Z7 and FTZ adapter for other lenses, information will be posted sequentially on the headquarters’ support website: https://www.tamron.jp/en/support/release_note.html as well as on the lens pages and support page on Tamron USA’s website www.tamron-usa.com.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview Buying Guide: Best lenses for Canon, Nikon and Sony

24 Nov

New this year, we’ve added lens recommendations to our range of buying guides. Take a look through this guide for our advice on the best lenses to pair with Canon, Nikon and Sony cameras.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview recommends: Best digital cameras and lenses

24 Nov

We test and try a lot of digital cameras and lenses here at DPReview, and with holiday season finally here, we’ve been updating our range of buying guides. Click through for our recommendations.

Articles: Digital Photography Review (dpreview.com)

 
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Tamron firmware updates brings Nikon Z6/Z7 compatibility to select lenses

20 Nov

Lens maker Tamron has released new firmware that makes three of its lenses compatible with Nikon’s new mirrorless full-frame models Z6 and Z7 and the FTZ adapter that allows for the use of Nikon F-mount lenses on the new mirrorless Z-mount. The firmware is available for the following lenses:

  • SP 70-200mm F/2.8 Di VC USD G2 (Model A025) for Nikon
  • SP 150-600mm F/5-6.3 Di VC USD G2 (Model A022) for Nikon
  • 17-35mm F/2.8-4 Di OSD (Model A037) for Nikon

The new firmware can be installed using Tamron’s optional TAP-in Console. Alternatively lenses can be sent in to Tamron for the technical service to apply the update. In the US you can call Tamron USA’s service department at 1-800-827-8880 for more information. In other regions you should contact your local distributor.

An an up-do-date list of available firmware versions can be found on the Tamron support website. If your Tamron lens has not been updated for Nikon Z compatibility yet, keep an eye on this page as new updates will be posted as they become available.

Articles: Digital Photography Review (dpreview.com)

 
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4 of the Best Lenses for Creative Dog Photography

14 Nov

It’s now estimated that of the 12 million households in the UK, 44% have pets. This equates to approximately 51 million pets owned. Of those, 9 million are dogs and 8 million are cats. With dogs and cats recognized as legitimate members of our families, just like our children, it’s no wonder we want to share them with the world. Pictorially speaking.

4 of the Best Lenses for Creative Dog Photography 1

Cavachon, Dorset © Andrew Sproule

Adult dog owners post a picture or talk about their dog on social media on average six times per week. They also watch dog videos or check out dog pictures about three times a week — and, one in ten has a social media account exclusively for their beloved woofer. It’s a similar picture (pardon the pun) in many countries around the world.

The perpetual advancements in smartphone camera technology allow us to be able to snap and share good quality pics of our very special soul mates, anytime and virtually anywhere.

Despite the ever-ready benefit of having a camera at hand (or should that be ‘in hand’), the demand for superior quality, longer lasting, tangible keepsakes such as albums or wall art has never been higher.

As a working dog photographer, I am inundated with questions pertaining to all aspects of pet photography as you can imagine. And I love to help where I can. The questions that I’m asked most often relate to lenses:

‘What is the Best Lens for Pet Photography?’

Now, this is a somewhat loaded question. However, the answer really depends on you. What you’re trying to achieve, your style, your budget, whether you’re a hobbyist or professional, a generalist or targeting one type of pet etc. If your chosen system is Nikon, Sony or another, that’s absolutely fine. Rather than focus on the brand, this article outlines how particular lenses can be used to create different effects in certain situations.

90% of my work is focused on dogs, predominantly in outdoor on-location situations. I use two Canon full-frame camera bodies, which has inevitably influenced my choice of lenses.

I would love to be able to provide you with a catchall solution to this question. Nevertheless, it’s only right that I concentrate on providing you with details about what works for me. I trust that you’re able to take away information that you find helpful and constructive, and that you can use in your own unique situations.

4 of the Best Lenses for Creative Dog Photography 2

Springer Spaniel Sussex © Andrew Sproule

So, here’s an overview of what I tend to use on most of my dog photography sessions. As a heads-up, I’ve avoided the technicalities of each lens and instead focused on how these lenses can be used creatively.

Clients hire me based on my style and my approach to dog photography. That works for me because I’ve always liked to get up close and personal. I often get at or below the dog’s level to afford me a dog’s eye view of the world.

Now, I have a certain style, but when it comes to a commissioned shoot, my focus and my duty are to offer my clients a gallery of images jam-packed with diversity. One sure-fire way to achieve this is through the use of several different lenses. In this post, I’m going to concentrate on the four that I tend to use the most.

Zoom Lens: 70-200mm f2.8

I like to ease myself into most photo sessions to ensure the client’s dog is relaxed right from the offset. I tend to stand back a bit (or lay down in most cases!) and start with the 70-200mm f2.8. This zoom lens (although quite heavy for its size – over 3lbs) is a real workhorse. It has a very handy focal range, outstanding autofocus, and excellent image quality. Because I always work hand-held (often in varying light conditions), its 3-stop image stabilization (IS) is a godsend.

However, if I need a bit more focal length I will pair the 70-200mm with a 1.4x extender. There is the inevitable small drop in image quality, which can be more noticeable in older versions of the extender. However, if it’s this versus no shot at all, then it’s a no-brainer.

The 70-200mm f2.8 is an extremely versatile lens that allows you to capture a variety of shots from playtime, scenic, group, portrait and so much more. It’s a lens that is always with me on my photo shoots.

4 of the Best Lenses for Creative Dog Photography 3

Labradoodle, Kent © Andrew Sproule

Prime Lens: 85mm f1.2

For situations that call for stunning background blur, I reach for my 85mm f1.2 (non-IS). I absolutely love this prime lens for its light gathering properties and superb image quality. Again, for its size, it’s heavy. That is to be expected though as there’s an awful lot of glass in there. In fact, there’s so much heavy glass that it affects the autofocus speed.

Therefore, I use this lens primarily when I know I’m going to have subjects that can remain fairly still, even if it’s just for a few seconds. I hardly ever shoot at f1.2 either. The plane of focus is so narrow that you can often see a difference in sharpness between a dog’s eyes. A dog that is facing me! It’s that narrow. I find f2-f4 is the sweet range.

Zoom Lens: 24-70mm f2.8

If I were only allowed to use one lens on a dog photography session it would be the 24-70mm f2.8. This lens, which offers my most-used range of focal lengths, is often described as ‘the best performing Canon full-frame compatible general purpose zoom lens available.’ And breathe!

And, I have to agree.

The 24-70mm is super sharp, super fast and super accurate, so I can forgive Canon for this lens’s lack of image stabilization. They (Canon) sacrificed IS to ensure this lens would retain ultimate image quality and I can live with that.

The amount of flexibility and control the 24-70mm lens affords me means that, on average, over 65% of the images I present at my clients’ viewing appointments have been taken with this lens.

4 of the Best Lenses for Creative Dog Photography 4

Pug, London © Andrew Sproule

Wide-Angle Zoom Lens: 16-35mm f4

Finally, the lens I most like using is the 16-35mm f4. It’s an extremely sharp ultra-wide angle zoom that’s full-frame compatible. It is incredibly fast and quiet, extremely accurate and the image quality is excellent. This is the lens that allows me to truly have some fun with my subjects. If I’m working with a dog that’s unfazed by having a lens unusually close to them, then I can truly come away with some magical and whimsical portraits.

As you’ve read, it’s horses-for-courses. In my case, it has taken quite a few years to get to this point. The crucial take-out is that you need to discover for yourself what works for you. The best advice I was given was to get out there and shoot. The more dogs I photographed the more I was able to hone in on what lenses worked for me.

So, don’t be afraid to invest in pro-quality lenses, especially if you’re a working professional. You owe it to your clients to be using pro-level gear. And, these lenses really hold their value. They can be resold or part-exchanged if they don’t quite work out for you. If it’s a toss-up between several lenses, consider hiring first. It’s an effective way to help you narrow down the many choices available.

Good luck out there!

What lenses do you use for dog photography? Share with us your experiences in the comments below.

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Olloclip introduces new ‘Pro’ and ‘Intro’ series lenses for Android and iOS devices

09 Nov

Smartphone photography accessory manufacturer Olloclip has expanded its lineup of lenses for Android and iOS smartphones with an all new “Pro Series” and “Intro Series” that round out the company’s Connect X line.

The Olloclip Pro Series consists of a Super-Wide lens and a telephoto lens, both of which come in two varieties to work with the maximum number of smartphones possible.

According to Olloclip, the new Super-Wide lens features less distortion than any wide angle lenses the company has offered to date. Olloclip says the Super-Wide lens doubles the field of view of your smartphone’s camera and features a multi-element lens that has coatings to help “deliver premium image quality.”

The Pro Series telephoto lens, on the other hand, offers 2x optical zoom. It too features a multi-element lens with coatings for improved image quality. Olloclip has made 2x telephoto lenses in the past, but says this Pro Series version “gathers more light for a brighter photograph.”

Both lenses in the Pro series are available for all of Olloclips current lens attachments for $ 119.95 or on their own for $ 99.99.

In addition to the new Pro Series, Olloclip also unveiled the more budget-friendly Intro Series, a two-in-one setup that offers both a macro and wide angle lens in one. In its standard form, the lens works as a wide angle lens, but when you unscrew the front part of the lens, it reveals an integrated macro lens underneath.

The Intro Lens is available with Olloclip’s current lineup of lens attachments for $ 39.95 or on its own for $ 19.99.

You can find out more information and purchase the new lenses from Olloclip’s online shop.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview picks the best lenses for Canon, Nikon and Sony

09 Nov

We’ve published the first three of our new Lens Buying Guides, covering Canon and Nikon DSLRs, as well as Sony mirrorless cameras. We’ve started with these three as they’re the most sought-after, and we hope to expand it to other systems soon.

In each guide we’ve chosen the best standard zoom, prime, macro, telephoto, wide-angle and travel zoom lenses – there’s a quick primer on these lens types at the bottom of this page if you’re not familiar with them. The winner is what we consider the best overall value and, in most cases, we’ve provided ‘bargain’ and ‘money is no object’ options as well.

Don’t agree with our picks? Please leave comments in the guides and we’ll take your suggestions into account.


Best lenses for Canon DSLRs

Best lenses for Nikon DSLRs

Best lenses for Sony mirrorless cameras


Lens primer:

Standard zooms are just what they sound like – versatile, general-purpose lenses that start with a fairly wide angle of view and allow you to zoom in to a focal length traditionally used for portraits.

Prime lenses are just a single focal length; removing the complexity of a zoom often allows for these lenses to be smaller, lighter and sharper, while letting more light through and being more useful in dimly lit situations.

Macro lenses allow you to focus very close to small subjects, which is very handy for photographing flowers or bugs.

Telephoto lenses start out being fairly zoomed-in, and allow you to zoom in further so you can fill your frame with more distant subjects.

Wide-angle lenses are often useful for taking photos of interiors, landscapes and architecture.

Lastly, travel zooms are like your kit zoom lens but taken to the extreme. You still start out with a fairly wide field of view, but you can zoom in almost as much as many telephoto lenses. This is convenient, but these lenses tend to let less light through them, so aren’t as useful in dimly lit situations, and they may not always give you the sharpest results.

Articles: Digital Photography Review (dpreview.com)

 
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5 Reasons to Use Prime Lenses For Better Photos

08 Nov

The difference between prime lenses and zoom lenses can often be a source of confusion for photographers who are picking up a camera for the first time.

I remember when I first started with photography, wondering why someone would choose a lens with a fixed focal length over one with a whole range of focal lengths built into one.

Surely that would mean creating more work for yourself?!

Fast forward a few years, and I’d stepped into the world of wedding photography with my chunky DSLR and equally chunky 24-70mm zoom lens. Shooting an entire wedding with just that one lens was a piece of cake – I could go from wide-angle shots of the church to a tight, flattering portrait shot with just a twist of the zoom ring.

I’d found the perfect tool for the job… but I had to admit – it wasn’t enjoyable.

Then I started reading more about prime lenses and their various advantages. The only compromise was that I’d have walk closer to my subject, rather than just zooming in with my lens. I looked down and remembered I had two good legs, so I decided to take up the challenge!

I’m not going to tell you that prime lenses are better than zoom lenses, as they aren’t. Neither one is better than the other – it just depends on your needs.

What I’d like to do with this article is to explain why I believe that using prime lenses has helped me to produce better photos. I hope that it gives you some perspective on why you may want to choose a prime lens over a zoom lens too.

1. Composition

5 Reasons to Use Prime Lenses For Better Photos 1

I’m not saying I couldn’t have composed this photo with a zoom lens, but using a lens with a fixed focal length helped me pre-visualise the shot before I took it, making the whole process much faster.

Some might think that being able to change your composition with a zoom lens without even moving your feet would be an advantage.

However, I found it confusing to have an entire range of focal lengths literally at my fingers, and wouldn’t know where to stand before I lifted the lens to my eye. After all, a quick swivel of the barrel would ‘correct’ any distance issues, so standing in just the right spot seemed less critical.

Prepare to spit out your coffee at your screen with my next statement: Zooms can make you a bit lazy with your compositions.

However, using a prime lens encourages you to envisage the composition by the constraints of your focal length. You get set in place to take the shot even before holding the camera to your eye.

The more you get used to using just one focal length, the quicker you’ll be able to visualize your final shot by looking at the scene (with your eyes, sans camera!). In my opinion, zoom lenses with their myriad focal length options don’t encourage you to develop this skill as much.

2. Light

5 Reasons to Use Prime Lenses For Better Photos 2

In the last light of the day, capturing this image without a fast prime lens (shot at f/1.4) could have proven difficult.

Prime lenses, in general, have wider maximum apertures than zooms. More light is let in when the shutter opens, meaning you’ll be able to get the exposure you need in a low light situation without having to increase your ISO or lower your shutter speed.

Being able to shoot with a lower ISO means clearer images. And being able to use a faster shutter speed will help to improve the sharpness of your shot.

If you’ve ever wondered why those indoor shots of your kids taken with your kit lens (I’m guessing it’s a f/3.5-5.6 zoom, or similar) are slightly blurry, there’s a good chance it’s because your lens isn’t letting in enough light. Your camera is slowing down the shutter speed a bit too much to compensate.

By investing in a f/1.8 prime lens, for example, you give your camera more of a fighting chance. You allow it to take advantage of higher shutter speeds to produce sharper images.

3. Depth of Field

5 Reasons to Use Prime Lenses For Better Photos 3

By shooting wide open (f/1.4), brings the viewer’s attention to the bride’s face, despite its unusual positioning in the frame.

Now, depth of field is the main reason most photographers love using prime lenses. Prime lenses have a wider maximum aperture than zooms, enabling you to take advantage of a shallower depth of field.

Depth of Field refers to the range of focus in your image. Shooting at a wide aperture of f/1.4 provides more out-of-focus blurring effect (‘bokeh’) than there would be if you were to shoot at f/2.8. Assuming that all other variables remain constant.

The ability to blur the area both in front and behind your subject using a wide aperture helps to separate your subject from other elements in the photo. The subject stands out more.

You can still produce nice bokeh with a telephoto zoom lens by shooting at the maximum aperture at a longer focal length. In turn, altering perspective and creating a different look to the image.

While shooting with a wide aperture won’t make you a better photographer, it does allow a higher degree of creative control over your image. Being able to fine tune what is and isn’t in focus in your picture using a wider aperture is just one other great way to take your photography to the next level.

4. Size/Weight

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You may require more than one prime lens to allow you to shoot subjects at various distances. The size/weight of each lens is usually much less than a zoom.

Size and weight of your lens is a subjective one. I think that in general, every photographer would prefer to have a lighter lens on their camera, given a choice!

When I switched from using a heavy 24-70mm zoom to a lightweight 35mm prime lens, it was as if I’d bought a whole new camera. The shooting experience just felt so much better.

Now I’m not suggesting that just by having a smaller, lighter camera in your hands, that you’ll be able to produce better photos. However, the shooting experience will undoubtedly be more pleasurable. Having fun with your photography is an excellent catalyst for taking more pictures, which will eventually mean you’ll improve. You see what I’m getting at here?!

One thing to note: a prime lens doesn’t necessarily mean it’ll be small and light. Indeed, many fast (i.e., wide aperture) prime lenses are rather large and heavy. Similarly, there are plenty of small, lightweight zooms.

For the most part, you’ll be able to find a small, lightweight prime lens that offers all the advantages listed in this article. I guarantee it’ll feel better on the end of your camera than a zoom.

5. Image Quality

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Ok, hold your horses for a second. I don’t want to wage a prime versus zoom war here! The difference in sharpness and general image quality between these two types of modern-day lenses is, for the most part, indiscernible.

However, the above statement is only valid for expensive, ‘pro-grade’ zoom lenses – usually the ones with a fixed aperture, i.e., a zoom lens which doesn’t automatically change its aperture when you twist the zoom ring. Or only ones that contain a large amount of high-quality glass.

Fixed aperture zooms are bigger, heavier, more expensive, and usually on par in image quality with even the best prime lenses.

Instead, I’m referring to the difference in image quality between a cheap prime lens and a cheap zoom lens. For around $ 100, you’ll be able to get a much sharper image from a cheap prime lens than you would an equivalent zoom.

All the major camera brands offer a cheap prime lens that ticks the above boxes. It’ll be able to knock the socks off the zoom lens that came with your camera.

Final Comment

I used zoom lenses for the first few months in my career as a wedding photographer, then switched to primes. I’ve never looked back.

I currently shoot with a 35mm lens for 99% of the wedding day. When I can’t get close enough to the action, I use an 85mm lens. Having only two focal lengths to think about is incredibly liberating. Through consistently limiting my focal length options, I’m able to ‘see’ in 35mm or 85mm terms, whether the camera is to my eye or not.

I appreciate zoom lenses have their place and are an excellent choice for many photographers. That said, I encourage you to have a play around with a prime lens to see how it can improve your photography too.

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Sigma releases official pricing for trio of Photokina lenses

03 Nov

Sigma has announced the prices for three of the lenses it announced at the Photokina trade show in September. The 40mm F1.4 DG Art lens for full frame cameras will cost $ 1400 while the 56mm F1.4 DC DN for crop-sensor mirrorless cameras will cost $ 479. The Sony E-mount version of its 105mm F1.4 Art will sell for around $ 1600. All three will be available this month.

The 56mm F1.4 completes a trio of small, comparatively affordable fast primes for Micro Four Thirds and Sony’s E-mount. The 16mm, 30mm and 56mm F1.4s act as a wide, normal and portrait telephoto on APS-C and as a 32, 60 and 112mm equiv on Micro Four Thirds.

FOR IMMEDIATE RELEASE

Sigma Ships Three New Global Vision Lenses

Sigma 105mm F1.4 Art in Sony E-Mount, Sigma 56mm F1.4 Contemporary and Sigma 40mm F1.4 Art are available this November

Ronkonkoma, NY – November 2, 2018 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, today announced pricing and availability of two brand new lenses announced at Photokina – Sigma 56mm F1.4 DC DN Contemporary ($ 479 USD) and Sigma 40mm F1.4 DG HSM Art ($ 1399 USD). In addition, Sigma is now shipping the Sony E-mount version of its “Bokeh Master” – Sigma 105 F1.4 DG HSM Art ($ 1599 USD).

Key Features and Benefits

Sigma 56mm F1.4 DC DN Contemporary

This brand new Sigma 56mm F1.4 DC DN Contemporary lens completes the Sigma large-aperture series of portable wide-angle, standard and telephoto prime lenses in Micro Four Thirds and Sony E mounts, including Sigma 16mm F1.4 DC DN Contemporary and 30mm F1.4 DC DN Contemporary. Featuring compact design, light weight and outstanding image quality offered in Sigma’s Contemporary line, this latest lens stuns with a beautiful bokeh effect and the amount of brightness expected from F1.4 lenses even in the mid-telephoto range for cropped sensor cameras. In addition, this lens is characterized by smooth and quiet autofocus ideal for video shooting. Compatible with the Sony E mount Fast Hybrid AF, it also achieves precise AF tracking. By using the face recognition or eye AF functions of the camera, focus will continuously be on the face or the eye even if the subject moves during the shoot.

Sigma 40mm F1.4 DG HSM Art

The brand new 40mm F1.4 DG HSM Art is Sigma’s first lens developed originally to live up to the sought-after angle of view and performance standard for a benchmark cine lens. This lens effectively arranges three FLD (“F” Low Dispersion) glass elements and three SLD (Special Low Dispersion) glass elements to correct axial chromatic aberration and magnification chromatic aberration. Designed for exceptional sharpness at maximum aperture, this lens excels at available light photography. With less than 1% distortion and near non-existent sagittal coma flare, this lens demonstrates consistent optical results featuring both 8K-compatible resolution and a beautiful bokeh. It is available for Sigma, Nikon, Canon and Sony E mount camera systems.

Sigma 105mm F1.4 DG HSM Art in Sony E-Mount

A proven “Bokeh Master,” the Sigma 105mm F1.4 DG HSM Art is the ninth lens in the Sigma F1.4 line-up designed for full-frame cameras. To combine outstanding wide-aperture, mid-telephoto performance with F1.4 brightness at maximum aperture, this lens incorporates 17 optical elements in 12 groups, including three FLD glass elements, two SLD glass elements and one aspherical lens element. This optical setup minimizes axial chromatic aberration to deliver ultra-high resolution along with ample peripheral light volume, which minimizes vignetting. As a result, the area in focus is extremely sharp, while the out-of-focus area features a beautiful bokeh effect with highly natural colors, making this a desired lens for portrait photography. The optical design also minimizes sagittal coma flare, making it an excellent choice for capturing starry skies.

Articles: Digital Photography Review (dpreview.com)

 
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Meyer Optik Görlitz’s parent company is insolvent, backers won’t get lenses or money returned

18 Oct

In August Net SE, the company behind Meyer Optik Görlitz, Emil Busch, C.P. Goerz, Ihagee, Oprema Jena, and A. Schacht products, was removed from the German stock exchange and subsequently filed for insolvency.

Now, the fears of Kickstarter backers of the Meyer Optik Görlitz products who have not received their lenses yet have turned into a reality: The reward will not arrive and you won’t get your money back either. Net SE is completely dead. This was first reported by German photo publication Photoscala after an official notice was published, asking to direct claims to a law firm.

Insolvency proceedings have been opened which means all hopes for backers to receive rewards or their money back have evaporated. Net SE’s lack of assets means nothing can be expected from the company and Kickstarter and other crowdfunding platforms reject all responsibility in such cases.

This isn’t the first crowdfunding project ending up in a mess but given we are dealing with several campaigns here the number of affected photographers is likely higher than usual. It’s a reminder that backing a crowdfunding project isn’t the same thing as pre-ordering and there’s always some risk of losing your money.

Articles: Digital Photography Review (dpreview.com)

 
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