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Light reportedly has phones with ‘between 5 and 9 lenses’ due out later this year

03 Jul

In 2015, Light burst onto the photography scene with the introduction of the L16, a portable camera that promised ‘DSLR quality’ photos in a pint-sized package thanks to a unique design that featured 16 different lenses and sensors.

It wasn’t until 2017 that we were able to get a peek at the first full-res image samples. Since then, there hasn’t been a lot of positive feedback surrounding the functionality and image quality of the camera, but it seems they’re far from done working on its multi-camera setups.

According to a report from Geoffrey A. Fowler of The Washington Post, Light has shown off concepts and working prototypes of phones that include between five and nine lenses. ‘[Light] says its phone design is capable of capturing 64 megapixel shots, better low-light performance and sophisticated depth effects,’ says Fowler in the article.

We’re not exactly sure what Fowler means when he says ‘its phone design,’ as Light has never stated intentions of creating its own phone. What Light has said in the past is that it’s working with manufacturers to put its cameras and software into future devices.

In speaking to Wired in December 2017, Senior Vice President of Marketing and Product Design at Light, Bradley Lautenback, said ‘one manufacturer is already at work on a Light-enabled phone, and more are in the works.’

According to The Washington Post report, Light says ‘a smartphone featuring its multi-lens array will be announced later this year.’ There’s no word on what manufacturer it’ll be from, but considering Foxconn is an investor in Light, it wouldn’t be a surprise to see it from a company with ties to the Taiwanese manufacturer.

The list of smartphone manufacturers who are customers of Foxconn include: Apple, Blackberry, Huawei, Microsoft, Motorola, Xiaomi and others.

Articles: Digital Photography Review (dpreview.com)

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Alpa’s HXD adapter lets you mount Alpa lenses on Hasselblad’s 50MP X1D camera

02 Jul

Swiss camera and lens manufacturer Alpa has launched ALPA HXD, a new adapter for mounting Alpa lenses on Hasselblad X-mount cameras.

An interesting feature of the adapter is that in addition to mounting individual Alpa lenses onto Hasselblad X1D camera bodies, you can also mount an X1D directly onto the back of an entire Alpa camera module, effectively turning the X1D into a digital back for Alpa camera systems.

The adapter works with Alpa and Rodenstock SB17 and SB34 lenses with focal lengths between 32mm and 180mm. Longer focal length SB34 lenses can also be used if you stitch multiple photos together in post-production, but Alpa says to check the online compatibility guide.

Alpa notes ‘lenses for Hasselblad V, Pentax 67 and those with PL mount can be attached via the respective ALPA lens modules’ as well. Below is a gallery of images captured with various Alpa/Rodenstock lenses and camera modules attached to a Hasselblad X1D via the adapter:

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Shooting can be done in full manual mode, as expected, but Alpa specifically mentions the ability to use the Hasselblad X1D’s aperture priority mode for ‘comfortable and easy’ shooting. Alpa also emphasizes how the electronic viewfinder on the Hasselblad X1D makes it easy to focus with its focus peaking function.

The Alpa HXD is priced at CHF 759.00, which comes out to roughly USD $ 762 at the current exchange rate. You can find more information and order an adapter on Alpa’s website.

Articles: Digital Photography Review (dpreview.com)

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Sigma now shipping Art series prime lenses for Sony E-mount

19 Jun

Sigma has announced that its five of its Sony E-Mount Art-series primes, announced earlier this year, are now shipping. The 20mm F1.4 DG HSM, Sigma 24mm F1.4 DG HSM, Sigma 35mm F1.4 DG HSM, Sigma 50mm F1.4 DG HSM and 85mm F1.4 DG HSM are designed for Sony’s full-frame a7-series and a9 mirrorless interchangeable lens cameras. The E-Mount version of the 14mm F1.4 DG HSM (shown above, in prototype form) is expected later.

Optically the E-mount primes are unchanged compared to their DSLR-mount predecessors but are compatible with high-speed continuous autofocus and should offer faster data throughput compared to using a DSLR-mount version with an adapter. This should improve autofocus speed across the board, compared to using a DSLR-mount version with an adapter – something we hope to test for ourselves in the coming weeks.

Press release:

Sigma Ships Five Prime Art Lenses for Sony E-mount Cameras with Full-Frame Sensors

Ronkonkoma, NY – June 19, 2018 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, today announced availability of five of its interchangeable Art prime lenses for Sony E-mount camera systems – Sigma 20mm F1.4 DG HSM ($ 899 USD), Sigma 24mm F1.4 DG HSM ($ 849 USD), Sigma 35mm F1.4 DG HSM ($ 899 USD), Sigma 50mm F1.4 DG HSM ($ 949 USD) and Sigma 85mm F1.4 DG HSM ($ 1199 USD).

Offering the same high-performance optical design as other lenses in the Art line, the new Sony E-mount models feature a newly developed control algorithm that optimizes the autofocus drive and maximizes the data transmission speed. In addition, these lenses are compatible with Sony’s Continuous AF (AF-C) and high-speed autofocus, which are not addressed by Sigma Mount Converter MC-11. Like MC-11, the lenses are compatible with in-camera image stabilization and in-camera lens aberration correction, which includes corrections for peripheral illumination, chromatic aberrations and distortion.

Key Features and Benefits

Autofocus Tuned for Each Lens

Thanks to an autofocus drive control program tuned for each lens and high-speed data transmission, the lenses offer a high-speed autofocus at the same performance level as that of a lens designed exclusively for mirrorless cameras. In particular, in E-mount cameras offering Sony’s Fast Hybrid AF, AF-C mode delivers exceptional subject following performance. Autofocus remains
extremely precise even in those E-mount cameras offering only contrast AF.

Compatible with In-Camera Image Stabilization

The lenses are compatible with in-camera image stabilization. The Sony E-mount camera senses the focal length of the lens and automatically optimizes image stabilization performance.

Data Loaded for Compatibility with In-Camera Aberration Correction

The lenses are fully compatible with in-camera aberration correction, which includes corrections for peripheral illumination, chromatic aberrations and distortion. By matching corrections to the optical characteristics of the lens, this function takes image quality to an even higher level.

Native Mount for a More Rigid and Stable Feel

Making the mount native to the lens means a more rigid and stable feel to the lens. Featuring a special surface treatment to enhance strength, the brass bayonet mount offers a high-precision fit and exceptional durability. The mount connection area incorporates rubber sealing for dust- and splash-proof construction.

Available Mount Conversion Service*

This service converts the mount of Sigma lenses to that of a different camera body, allowing photographers to continue using their favorite lenses over the long term regardless of camera system.

*The Mount Conversion Service is different from a normal repair. In order to apply for the service, please contact your nearest authorized Sigma subsidiary or distributor: http://www.sigma-global.com/en/about/world-network/.

**This service is performed exclusively by Sigma.

Articles: Digital Photography Review (dpreview.com)

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Lemuro launches line of high-end iPhone accessory lenses

02 Jun

With a few exceptions, like Moment or Zeiss products, accessory lenses for smartphones tend to be rather cheap and more often than not, produce low quality images. For those photographers who don’t mind spending a bit more on high-quality accessory lenses, there is now a new alternative: German brand Lemuro has launched a Kickstarter campaign to fund mass production of its line of iPhone accessory lenses.

Currently four Lemuro lenses are on offer: a 60mm equivalent tele “portrait” lens, a 25mm 10X macro lens, a 18mm equivalent wide angle lens and an 8mm equivalent fisheye.

The lens bodies are crafted from aluminum and attach to a leather-clad protective case via a metal lens mount. Currently cases are available for the iPhones X, 7, 7 plus, 8 and 8 plus but Lemuro says Android cases are in the making and should be expected later in 2018.

Lemuro’s campaign is already fully funded, so, barring any unforeseen complications, production will go ahead. You can still pre-order on Kickstarter until June 22 and a pledge of of 75 Euros (approximately $ 88) will get you the starter kit with one case and lens. The pro kit with case and all four lenses will set you back 225 Euros (approximately $ 262). Delivery of the Kickstarter orders is scheduled for November 2018.

You can find more information and sample images on the Lemuro Kickstarter page.

Articles: Digital Photography Review (dpreview.com)

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Zeiss launches new lineup of lightweight and compact ‘Supreme Prime’ lenses

26 May

Zeiss has announced a new lineup of 13 ‘Supreme Prime’ lenses for large format cinematographers who want smaller and lighter glass that still produces top-quality results. The kind of lenses that’ll make your salivary glands work… and your wallet groan.

The Supreme Prime range will comprise focal lengths from 15mm to 200mm, and Zeiss says that most of those lenses will have a maximum aperture of T1.5. In fact, ten of the focal lengths will offer a maximum aperture of T1.5, while the 15mm and 150mm will be T1.8, and the 200mm will be a T2.1.

Despite their diminutive size, Zeiss stresses that the Supreme Primes are designed for high-end advertising work and movie production; consequently, they will be compatible with large format (full-frame) movie cameras such as the Sony Venice, ARRI Alexa LF, and the RED Monstro. Zeiss says the lenses will be versatile and able to create different looks because of their “gentle sharpness, the aesthetic focus fall-off, and elegant bokeh” which the company claims makes them suitable for a wide range of production styles.

Communication between the lenses and the camera will be performed via the Zeiss eXtended Data and Cooke’s /i metadata protocols. These record optical characteristics and lens settings to every frame recorded to assist post-production processes, especially when visual effects need to be added to the footage.

The 25mm, 29mm, 35mm, 50mm, and 85mm lenses will be released in August 2018 and the 100mm will be ready in December. All six can be purchased together as a set for $ 108,000, but you’ll have to wait until 2019 for the 15mm, 18mm, 21mm, 65mm, 135mm and 150mm focal lengths to finish drip-feeding into the range. The 200mm T2.1, meanwhile, will arrive in 2020.

To see the new Zeiss Supreme Prime lenses in action, check out the sample film below shot with these lenses on the Sony Venice, Phantom 4K, and RED Monstro VV. And if you want to learn more about the lenses, head over to the Zeiss website.

Press Release

New High-End Cinema Lens Family ZEISS Supreme Primes

With its 13 high-speed, full-frame, prime lenses for high-quality film productions, ZEISS is focusing on maximum quality, low weight, and significant versatility when it comes to creating superb visual imagery.

ZEISS has introduced a new family of high-speed lenses for high-end film production: The ZEISS Supreme Prime family consists of 13 lenses with fixed focal lengths between 15 and 200 millimeters, the majority with a maximum aperture of T1.5. “The lenses are designed for film productions of an extremely high quality,” says Christophe Casenave from ZEISS. “They are perfect for high-budget advertising or feature films, for example.” ZEISS Supreme Primes are designed to cover cinematic large format camera sensors and are compatible with all of the latest camera models, such as the Sony Venice, ARRI Alexa LF, and RED Monstro. According to Casenave, the versatility of the Supreme Prime lenses to create different visual looks is due to the gentle sharpness, the aesthetic focus fall-off and elegant bokeh. The lenses are extremely flexible and can be used equally well for science fiction thrillers as well as for dramas.

Compact and Lightweight

“Weighing an average of 1600 grams (3.5 pounds), ZEISS Supreme Primes are significantly lighter and smaller than comparable lenses on the market,” says Casenave. With these compact and lightweight lenses, ZEISS is responding to many camera operators’ desire for compact equipment that still meets the highest standards of quality. “ZEISS Supreme Primes are unbelievably rugged and reliable. Regardless of whether filming in the desert or in the Arctic, the lenses perform flawlessly. And in the event that something should ever break, our worldwide service network provides fast and professional help.”

ZEISS eXtended Data Metadata Technology

The ZEISS Supreme Primes are equipped with the ZEISS eXtended Data metadata technology. Introduced in 2017, ZEISS eXtended Data provides frame by frame data on lens vignetting and distortion in addition to the standard lens metadata provided using Cooke’s /i technology1 protocol. This greatly speeds up the entire film production’s workflow. When using visual effects for example, with only a few clicks, the lens properties can be removed so that computer-generated effects imagery can be accurately applied to the captured imagery. The lens properties can then be reapplied with the same click of a button and combined with the film material to create a realistic image. Previously, all of the data had to be measured manually so that it could be corrected in post-production. But ZEISS eXtended Data eliminates this time-consuming job.

Price and Availability

The first ZEISS Supreme Primes lenses with focal lengths of 25, 29, 35, 50, and 85 millimeters will be available starting on August 1, 2018. The ZEISS Supreme Prime 100 millimeter will be available in December 2018. The set of six lenses, consisting of the focal lengths mentioned above, is available from ZEISS Cinema lens dealers for 108,000 USD. The remaining focal lengths will be released successively until 2020.

Articles: Digital Photography Review (dpreview.com)

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Nisi shares more details on its full-frame cine lenses and launches Mist filter range

19 May

In a bid to clear up online speculation, surprise entrant to the full-frame cinema lens market Nisi has answered some questions about its relationship with brands marketing lenses very similar to its own recently-announced F3 series.

NiSi F3 Cinema Lenses

The company says that it owns the designs of its own lenses as it ‘took ownership’ of them from the ‘now dead’ Bokkeh Bokkelux project. Nisi also claims that it has made changes to the original optical and mechanical designs of the series to make the lenses more reliable, the assembly more accurate, and to reduce their overall weight. Nisi goes on to explain that it is a partner of cinema equipment company Kinefinity, and that it manufactures the brand’s Mavo Prime range of full-frame lenses.

The release doesn’t say it directly, but this is clearly a move that aims to end claims that Nisi is just copying existing lenses and marketing them under a different name.

Further details of the lenses have also been released, including that the five officially announced will be joined by 18mm and 135mm focal lengths in the second half of 2018. We should also expect a ‘new and innovative design for an optical accessory’ in the near future.

As the lenses will cover 46.5mm sensors, the F3 series will be compatible with ARRI Alexia LF, Red Monstro VV, Panavision DXL2, SONY Venice and Canon C700FF cameras (as well as ‘future’ models). Service centers are being established in Europe, USA and South Asia.

Allure Mist Filters

Nisi has also introduced a new series of filters to its cinema range. The Allure Mist filters will come in white and black versions and are designed to soften contrast in movie footage. The white version pulls back highlights and reduces the appearance of skin blemishes, while the black version diminishes the effect of flare and creates a misty atmosphere.

They will be available in 4×5.65in and 6.6×6.6in sizes and can be pre-ordered now

A comparison of the effects of the Allure Mist filters, with the Black Mist on the left and the White Mist on the right. Click to enlarge the view

And here’s a demo of the filters in ‘action’:

For more information visit the Nisi website.

Press Releases:

Five Fundamental Facts about the NiSI F3 Range of Full-Frame Prime Cine Lenses (and other news)

Since the announcement of the NiSi F3 range of full-frame lenses, NiSi’s headquarters have been inundated with questions and queries. In order to address some of these, we have compiled a list of answers around five key subjects. Read on for more, and to discover news in our announcement of the new NiSi Allure Mist Black/White Filters

1. Where does the name F3 come from?

The ‘F’ in F3 stands for ‘Full-Frame’. The lenses are all designed for full frame cameras and are extremely versatile, coming complete with PL, Canon EF and Sony E-Mounts. Mounts for other systems will need to be purchased separately, although NiSi will provide shims to ensure consistent filmmaking.

The number ‘3’ simply means ‘third generation’ and also refers to the range’s three key design characteristics, i.e. high resolution, low dispersion and retro flare.

2. What exactly is the relationship between the NiSi F3 range and Bokkelux?

Let’s be clear; the F3 prime lenses belong solely to NiSi since the company took ownership from Bokkelux. Since this time, NiSi are pleased to report that numerous improvements have been made and, being based on the original Bokkelux design, NiSi’s optical and mechanical design engineering experts have re-optimised some key elements to deliver the excellent new range.

These include:

Improved accuracy with assembly and improved supply chain for the optical elements
Improved physical attributes, i.e. the weight and calibre of the lenses have been improved with reliability and user assurance being of primary importance
Along with these significant improvements, NiSi has developed a new and innovative design for an optical accessory for F3 range. Once this is completed, we will release information, but you can be assured that it will meet the unique needs for many filmmakers.

3. OK, so what about the relationship between the NiSi F3, Kinefinity and Mavo Prime?

That’s simple, really. Kinefinity is partner of NiSi. Our specialist engineers have modified the industrial design for the Mavo Prime while retaining the same performance and quality. The new F3 range and Mavo Primes are manufactured exclusively by NiSi.

4. Will the NiSi F3 Primes come with both imperial and metric markings?

Absolutely. Markings will be in feet and metres.

5. What are the details for the F3 sales warranty policy and can we expect additions to the focal lengths this year?

NiSi is currently in the process of setting up special service centres, specifically for sales warranties. Bases will be in Europe, North America and in South Asia. We will make further announcements about the details of the certified sales warranty suppliers after the third quarter. You can expect to see 18mm and 135mm primes coming to light in the second half of this year.

F3 Lens Range Highlights – (a recap):

Covers Full-Frame Format
PL Mount/Canon EF Mount/Sony E-Mount
T2.0-T22 Click-less Aperture Range
Ultra Low Dispersion
High Resolution
Retro Cinema Style Housing
12-Blade Iris
Same physical attributes across the lens range
Geared Focus and Iris Control Rings
Pure Performance in Film

Launching in 25mm T2.1, 35mm T2.0, 50mm T2.0, 75mm T2.0 and 100mm CF T2.0 formats, the new range of premium lenses from NiSi debuted during NAB 2018, which took place between the 7th -12th April in Las Vegas.

Compatibility

The new F3 prime lenses cover full-frame format which is compatible with ARRI Alexia LF, Red Monstro VV, Panavision DXL2, SONY Venice and Canon C700FF, along with ‘future-proofing’ for other cameras that we will see arriving in the future. They cover 46.5mm format sensors, allowing filmmakers full creative control, opening up a wide range of cinematic possibilities.

Pure Performance in Film

The new F3 lenses offer filmmakers advanced resolution and perfect dispersion control, image contrast and flare; all optimised by their stylish, retro housing.

The entire F3 series of lenses share the same physical attributes, allowing for the simple and time-efficient fitting of lens accessories, along with the native ‘Sensed presence’ technology, which provides users with the ability to shoot with a beautiful bokeh. The native apochromatic optical design results in excellent ratio/axial dispersion performance, giving a pure and natural colour, with almost no purple/green fringing within focus and in bokeh.

NEW: NiSi Announces Allure Mist Black/White Filters

Allure Mist White – Highlights:

* Reduces highlights and lowers contrast* Softens wrinkles and blemishes

Allure Mist Black – Highlights:

* Reduces overall flare and contrast* Produces mist effect

To coincide with the exciting launch of F3 full-frame prime cine lenses, NiSi has also released Allure Mist White/Black and anamorphic filters; adding to their already burgeoning range of cinema filters.

Available in sizes 4×5.65”, 6.6×6.6”, the new filters will further assist filmmakers to capture their intended artistic expression with every shoot.

Preorders for individual filters available from May 7th 2018

Special kit launch

Along with individual lenses, NiSi has announced that all lenses will be available as a specially designed F3 kit, which will include a complete set of lenses, from 25-100mm, along with a NiSi 4×5.65 Allure Mist white 1/4 filter, a NiSi 4×5.65 Allure Mist Black 1/4 filter and a NiSi 4×5.65 Polarizer, all packaged in a tough NiSi hardshell case.

Articles: Digital Photography Review (dpreview.com)

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Report: Canon to release new 70-200mm F4L and F2.8L lenses next month

18 May

Canon Rumors is reporting some big news if you’re in the market for a new 70-200mm lens. According to the rumor site, it’s a near certainty that Canon will be debuting two new 70-200mm lenses in early June: the Canon EF 70-200mm F4L IS II, and the Canon EF 70-200mm F2.8L IS III.

Both of the current versions—the Mark I of the F4L and the Mark II of the F2.8L—are certainly due for an upgrade. The 70-200mm F2.8L IS II was released in 2010 and the F4L IS even farther back in 2006. Meanwhile, third-party manufacturers like Tamron and Tokina have released their own 70-200mm F2.8 and F4 lenses more recently, and Sigma confirmed to DPReview that it will release its much-anticipated 70-200mm F2.8 Art lens “not too far in the future.”

In other words, early June would be a great time for Canon to get the jump on Sigma and fight back against the Tamron 70-200mm G2 that people have been so positive about.

The good news is, this isn’t just a thin rumor. Canon Rumors says they can “100% confirm” that the 70-200mm F4L IS II is coming, and “95% confirm” that the 70-200mm F2.8L IS III will join it. Of course, as the rumor site points out, lens announcement and release dates can change at the last minute, but we’ll be keeping our fingers crossed for both these announcements in the coming month.

Articles: Digital Photography Review (dpreview.com)

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Venus Optics reveals four new Laowa lenses for Sony FE, Fuji GFX, and more

21 Apr

Venus Optics has unveiled several new lenses today, including a wide-angle lens for the Fuji GFX mirrorless medium format camera, and the “world’s widest zoom lens for Sony full-frame E-mount cameras.” There are four new lenses in all: the Laowa 10-18mm f/4.5-5.6 FE Zoom, Laowa 100mm f/2.8 2X Ultra Macro APO, the Laowa 17mm f/4 GFX Zero-D, and the Laowa 4mm f/2.8 Fisheye MFT.

All four will be on display at Venus Optics’ booth at the Beijing P&E Imaging fair. But in case you don’t happen to be in Beijing between May 3rd and the 6th, read on to find out what these lenses are all about.

Laowa 10-18mm F4.5-5.6 FE Zoom

The Laowa 10-18mm F4.5-5.6 FE Zoom is the aforementioned “world’s widest zoom lens for Sony full-frame E-mount cameras.” According to Venus Optics, the lens was primarily designed for travel photography, offering an angle of view between 102° and 130° in a package that weighs only 496g and is less than 100cm in length.

Inside the 10-18mm F4.5-5.6 you’ll find 14 elements in 10 groups, including two aspherical elements and one extra-low dispersion element. The lens’ aperture can be de-clicked using a switch on the lens barrel, and if you like using filters, you’ll be happy to know the lens features a rear filter slot built to handle 37mm filters.

This Laowa 10-18mm F4.5-5.6 FE Zoom will be available only in Sony FE mount.

Laowa 100mm F2.8 2X Ultra Macro APO

Next up, the Laowa 100mm F2.8 2:1 Ultra Macro APO is… well… it’s an ultra-macro lens that offers a maximum magnification of 2x with a minimum focusing distance of just 24.7cm. The lens can focus from 2:1 macro to infinity, and promises “crystal [clear] sharpness image in both macro and tele distances” thanks to an optical design consisting of 12 elements in 10 groups.

The Laowa 100mm F2.8 2X Ultra Macro APO is the only lens released today that isn’t limited to a single mount. When it ships, you’ll be able to get it in Canon EF, Nikon F, Pentax K, and Sony FE mounts.

Laowa 17mm F4 GFX Zero-D

Third party options for the mirrorless medium format Fujifilm GFX camera are still somewhat limited—at least compared to more popular mounts like Sony FE, not to mention Canon EF or Nikon F. So it was a nice surprise to see Venus Optics release the 17mm F4 GFX Zero-D.

The 14mm F4 GFX is another of Venus Optics Zero-D lenses, offering a full-frame equivalent focal length of 13mm and a field of view of 113° with “close-to-zero distortion.” The lens is made up of 21 elements in 14 groups, including two aspherical and three extra-low dispersion elements. Venus Optics claims this lens is “ideally suited for landscape, architecture and interior photography.”

Laowa 4mm F2.8 Fisheye MFT

Last but not least, we have the only Micro Four Thirds lens of the bunch: the Laowa 4mm F2.8 Fisheye MFT. This circular fisheye lens offers a 210° angle of view at a full-frame equivalent 8mm focal length. Made up of 7 elements in 6 groups, the ultra-portable lens weighs just 135g to keep your MFT kit light and agile.

Here are detailed specs for all four lenses:

All of the new lenses are expected to ship “in mid/late 2018” according to Venus Optics, although “exact ship date and pricing are to be confirmed.”

Press Release

Venus Optics announces 4 new & unique lenses in development, led by the Laowa 10-18mm f/4.5-5.6 FE, World’s widest zoom lens for Sony full frame E-mount cameras

All 4 lenses will make their debut in the coming Beijing P&E Imaging Fair.

Anhui China, Apr 20, 2018 – Venus Optics, the camera lenses manufacturer who had previously launched a number of unique Laowa camera lenses, is proud to announce 4 new and unique lenses.

Laowa 10-18mm f/4.5-5.6 FE Zoom
Laowa 100mm f/2.8 2X Ultra Macro APO
Laowa 17mm f/4 GFX Zero-D
Laowa 4mm f/2.8 Fisheye MFT

Laowa 10-18mm f/4.5-5.6 FE Zoom

This lens is currently the widest zoom lens available for Sony full frame E-mount cameras. Designed primarily for travel photography, Venus optics have managed to compress the size to smallest in its class, less than 10 inch (<100cm) and only 1.1 pounds (<500g). The 102° (18mm) to 130° (10mm) angle of view provides flexibility for photographers to compose landscape or architecture photos with ease. The lens houses with 14 elements in 10 groups with 2 aspherical elements & 1 extra-low dispersion element to deliver exceptional performance. It can focus as close as 15cm for some mini-macro shooting. A rear filter slot is included to fit with 37mm filter. Click/clickless aperture can be toggled by the switch on the lens barrel.

Laowa 100mm f/2.8 2X Ultra Macro APO

Followed by the success of the Laowa 60mm f/2.8 2:1 Macro, the 100mm f/2.8 2:1 Macro is the 2nd member of Laowa 2:1 macro line-up. This new 100mm lens can cover full frame sensor size and focus from 2:1 magnification to infinity. The wide magnification range allows macro photographers to capture subject at any sizes. This 100mm portrait lens also features an apochromatic (APO) characteristic that no chromatic aberration can be found. The 12 elements in 10 groups optics design delivers a crystal sharpness image in both macro and tele distances. Canon EF / Nikon AI / Pentax K / Sony FE mounts are available.

Laowa 17mm f/4 GFX Zero-D

This is currently the widest available native lens option for Fujifilm G-mount cameras. The new Laowa 17mm f/4 GFX has a field of view equivalent to 13mm in 35mm format (113°). Featuring a close-to-zero distortion and 86mm filter thread, this lens is ideally suited for landscape, architecture & interior photography. The 21 elements in 14 groups design with 2pcs of aspherical & 3pcs of Extra-low dispersion elements successfully help to control the distortion & chromatic aberrations to the minimal.

Laowa 4mm f/2.8 Fisheye MFT

Featuring a 210° angle of view, this lens delivers unique circular fisheye field of view on Micro four thirds cameras. The ultra-wide angle view allows photographers to create 360° panorama with ease. Despite the unique & ultra-wide perspective, the lens only weighs 0.3 pounds (135g).

Availability

All four lenses will be available for trial at Venus Optics’ booth (T225) in Beijing P&E Imaging fair during 3rd-6th May 2019. They are expected to be shipped in mid/late 2018. Exact shipping date and pricing are to be confirmed.

Articles: Digital Photography Review (dpreview.com)

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Video: A closer look at NiSi’s new F3 cinema prime lenses

12 Apr

One of the most surprising announcements from NAB this year came from filter maker NiSi, who decided to release a set of cinema prime lenses. No, that’s not a typo. And Cinema 5D’s Nino Leitner was at NAB to see the lenses in person and ask the NiSi rep some questions about the lineup.

The NiSi F3 Cinema Prime lenses cover focal lengths from 25 to 100mm—25mm T2.1, 35mm T2.0, 50mm T2.0, 75mm T2.0, and 100mm T2.0—and give video shooters yet another set of relatively affordable options in a market that is quickly becoming crowded. So the main question Leitner asked was: what makes these special?

The answer is two fold. First, Nisi boasts of the artistic properties of the lenses, which produce flaring with “a lot of character” while maintaining great center resolution. And second, the lenses feature an interchangeable mount; users can swap between Sony E, Canon EF, and PL mounts using a set of standard Allen keys that can be ordered alongside the lenses.

To learn more about these lenses, watch the full video above or check out our launch coverage here.

Articles: Digital Photography Review (dpreview.com)

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NAB 2018: This adapter lets you attach huge cinema lenses to your smartphone

12 Apr

A small Shenzhen-based company called Cinematics International Company Ltd. recently caught the eye of No Film School at NAB 2018, and in a second you’ll understand why. The company is showcasing a smartphone DOF lens adapter that enables full-size lenses to be used with an iPhone or Android handset.

Unfortunately, many key details about the adapter—including a product’s name—aren’t provided, but the company representative said Cinematics’ adapter supports just about any lens the user may want to attach to their phone. The product also features a pair of metal handles and what looks like a viewfinder.

When asked whether the handles on the adapter are sufficient enough to support such a large lens, Cinematics’ rep indicated the company has an additional hardware solution for that, one not shown in the video.

It isn’t clear whether Cinematics International Company Ltd. has any immediate plans to sell the adapter—although why would the company bring it to NAB if it didn’t?—but assuming it does, the product will probably appear first on the Cinematics’ eBay store.

Articles: Digital Photography Review (dpreview.com)

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