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SLR Magic announces new MicroPrime CINE lenses for Sony E-Mount

11 Apr

Credit: SLR Magic

Lens maker SLR Magic is exhibiting a new lineup of cinema lenses at NAB 2018 this year. The new MicroPrime CINE lenses are designed for the Sony E-Mount, and there are five of them in all. The first four—a 25mm T1.5, 35mm T1.3, 50mm T1.2, and 75mm T1.5—will all be released in May, and a fifth 18mm T2.9 will be ready “by Q3 2018.”

According to SLR Magic, the MicroPrime lenses are designed with an image circle large enough to cover full-frame sensors, a similar weight distribution across the lineup for easy lens swapping when using a gimbal, and an internal focusing mechanism. The company also says the focus gears were designed with “a throw slightly longer than photographic lenses but still manageable when a motorized follow focus is not used.”

The image below shows a basic set of specs for all five of the MicroPrime CINE lenses, although there is one mistake in the table: the lineup features an 82mm filter thread across all five lenses, not 77mm as the image below shows.

Basic spec sheet for the 25mm T1.5, 35mm T1.3, 50mm T1.2, and 75mm T1.5 MicroPrime CINE lenses. Credit: SLR Magic

SLR Magic is exhibiting the first four MicroPrimes at NAB 2018 this week, but if you’re not in Vegas you can expect to see these lenses at authorized SLR Magic dealers starting in May for $ 800 each. The MicroPrime CINE 18mm T2.9 will join its siblings sometime in Q3 2018.

Press Release

The SLR Magic MicroPrime CINE lens series in E-mount

Hong Kong, China (April 9^th, 2018) – SLR Magic will present a new family of CINE lenses, MicroPrime series, to the public in the upcoming NAB Show 2018 in Las Vegas at the SLR Magic booth (Upper Central Hall, C-2663). The SLR Magic MicroPrime CINE 25mm T1.5, 35mm T1.3, 50mm T1.2, and 75mm T1.5 are the first lenses of the family.

The SLR Magic MicroPrime CINE lenses are designed to be compact and robust for use in a professional setting. The MicroPrime CINE lenses have a large image circle that covers up to full frame. Witness markings on the lenses are all calibrated for the accuracy professionals need in the field. Each lens is balanced, with a similar weight distribution so that recalibration is not required upon switching lenses when using a 3-axis gimbal. Lens gears are built-in with a throw slightly longer than photographic lenses but still manageable when a motorized follow focus is not used. Each lens features an internal focusing mechanism, and comes with a standard 85mm diameter suitable for matte box use. In the situation where a smaller setup is required, each lenses also comes with a 82mm filter thread for use with 82mm Fixed ND filters.

We place the highest priority on the development of our lenses, to fulfill the demands of professional cinematographers.

SLR Magic is exhibiting the first lenses of the MicroPrime cinema series at the 2018 NAB Show. The SLR Magic stand will be in upper central hall (C-2663) during the show, which is to be held in Las Vegas from the 9^thto the 12^thof April 2018.

The SLR Magic MicroPrime CINE 25mm T1.5, 35mm T1.3, 50mm T1.2, and 75mm T1.5 (MSRP: $ 800 US) will be available from authorized SLR Magic dealers starting in May 2018. The SLR Magic 18mm T2.9 will be ready by Q3 2018.

Articles: Digital Photography Review (dpreview.com)

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NiSi jumps into lens game, unveils five full-frame cinema prime lenses

07 Apr

Credit: NiSi

With NAB 2018 just a few days away, the video gear news is coming fast and furious. Atomos shared some exciting news for Panasonic EVA1 shooters, Apple revealed the new ProRes RAW format, Adobe’s video apps got some major updates, and now the more unexpected of them all: NiSi, the camera filter company, has released a set of cinema primes.

If this news had come out on April 1st, it would have been suspect. Alas, it’s April 6th, and the new NiSi F3 cinema lenses are very much real.

Designed to cover full-frame sensors, the NiSi F3 lenses will come with interchangeable PL, Canon EF, and Sony E mounts. There are five lenses in all—25mm T2.1, 35mm T2, 50mm T2, 75mm T2, and 100mm T2—and each is built within an identical housing for maximum convenience when fitting lens accessories. NiSi plans to add an 18mm lens to the lineup in mid-2018, but here’s a closer look at current lineup, followed by a detailed spec breakdown:

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Regarding the F3 lens line’s performance, NiSi promises that the lenses’ “apochromatic optical design […] results in excellent Axial aberration and Transverse aberration performance. It gives a natural and pure color with almost no purple/green fringing both within focus and in bokeh.”

The company also claims “the lenses contain a unique optical coating design which controls dispersion perfectly while retaining rich details.” This allegedly results in “stylized flare and contrast enhancement.”

Credit: NiSi

The lenses are currently live for pre-order on the NiSi website, where you’ll need to put in a deposit of $ 1,000 per lens. Shipping is expected to start on June 1st, and you can see the retail prices listed below:

NiSi F3 25mm T2.1 – $ 3,000
NiSi F3 35mm T2 – $ 2,500
NiSi F3 50mm T2 – $ 2,500
NiSi F3 75mm T2 – $ 2,500
NiSi F3 100mm T2 – $ 3,000
Full Set of Five Lenses – $ 12,000

Note that if you pre-order before April 30th, you can take advantage of a $ 500 discount on each individual lens, or the full set of five. That means that, for the next 24 days, it’s actually cheaper to buy all five lenses individually because of the $ 2,500 in total discounts you’d be getting.

To learn more about the Nisi F3 cinema prime lenses or pre-order a set for yourself, head over to the NiSi website.

Articles: Digital Photography Review (dpreview.com)

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Tamron interview: “Our strength is high quality lenses in a compact size”

28 Mar

L-R: Koji Satoh, Manager of the Product Planning Department of Tamron’s Imaging Products Business Unit, Minoru Ando, General Manager of Tamron’s Optical Design and Engineering Research and Development Unit, Kumiko Saito, General Manager of Tamron’s Marketing Communications Department, and Takashi Sawao, General Manager of Tamron’s Imaging Products Business Unit.

At last month’s CP+ show in Yokohama, Japan we sat down with senior executives from several major camera and lens manufacturers, including Tamron. Our conversation covered various topics, including the move to new native mirrorless designs, and the decline in DSLR lens sales.

The following interview was conducted through an interpreter, and has been edited for clarity and flow. Answers from the four interviewees have been combined.

Is the new 28-75mm a completely new design?

It is, yes.

How long has it been in development?

Typically a lens like this takes around one year to develop.

Tamron’s upcoming 28-75mm F2.8 is the first third-party zoom lens designed natively for full-frame mirrorless cameras.

What was your goal when designing this lens?

When we are planning new products, we’re always thinking about the voice of our customers, and customer benefit. The market is moving towards mirrorless, so we wanted to launch new FE lenses. Sony has the biggest market share of the mirrorless market.

With the Sony Alpha 7 series, the bodies are compact, but the lenses are relatively big

We’re also aiming for high quality, and good performance. And specifically for FE lenses, we wanted a small and lightweight option. With the Sony Alpha 7 series, the bodies are compact, but the lenses are relatively big. So when we were planning a fast lens for FE lens it was important to us that it would be compact, but still high quality.

This is the first third-party [zoom] lens for the Sony full-frame E-mount, and we’re expecting it to do well in the market.

Are you planning to create Sony E-mount versions of your existing SP primes and zooms, or will you make entirely new designs?

We’re not planning on making Sony E-mount versions of our existing lenses, no. Our concept is a little different to Sigma’s. We’re trying to customize lenses specifically for FE, otherwise they’d be too big. When it comes to autofocus, mirrorless has different requirements too. Mirrorless cameras are good for movies as well as stills, and existing AF motors aren’t very good for video. This lens [the new 28-75mm F2.8] has a stepping motor for autofocus, which is better for video.

The new 70-200mm F4 promises high quality, without the size and weight that we generally associate with faster F2.8 telezooms.

How important is the Sony customer base to you now?

Very important. Everybody is going to mirrorless. Canon and Nikon will launch full-frame mirrorless cameras, probably in the near future. When this happens, we can easily make Canon and Nikon versions of our [native] E-mount lenses. The same design could work for [multiple mirrorless mounts].

So with this new lens, you’re thinking ahead.

Yes, to the near future.

Optical performance of the new 28-75mm F2.8 will be equivalent to our SP lenses

This new lens is not in the ‘SP’ range. What does this signify?

Within Tamron, we have an internal definition of SP, where we usually utilize metal for the body material, and certain other features. Optical performance of the new 28-75mm F2.8 will be equivalent to our SP lenses, but for this model we prioritized smaller size and lower weight, so we used polycarbonate instead of metal.

Is this new lens weather-sealed?

Yes, it is. We describe it as ‘moisture-resistant construction’.

Despite not belonging to the ‘SP’ range of lenses, the new 28-75mm is moisture-resistant, featuring a rubber gasket around the lens mount to protect against dust and water incursion.

Is making this change to mirrorless lens designs an urgent priority for Tamron?

I can’t give you any detailed information about our future roadmap, but we’re watching the market closely. And Sony has the biggest share of the mirrorless market, so of course E-mount lenses are a priority.

How do you want the Tamron brand to be viewed by your customers?

We’re always thinking about our customers, and we’re not going to sacrifice performance and quality. We want to be recognized as a high-quality brand, and we stand by our customers, always. Each brand has a strategy, and our approach is a little different to [some competitors]. We try to very open with our customers.

Our strength is making compact, light and high quality lenses.

We’ve seen some manufacturers create entry-level cine lenses for videographers. Is that something that Tamron is interested in?

Maybe in the future, but at this point I can’t say whether we’ll enter that market.

Balancing performance and size is a Tamron strength

If you had a choice between making a lens that was very large, but very high quality, or one that was smaller and optically less impressive, which would you choose?

We try to pursue both small size, and high performance. Balancing performance and size is a Tamron strength. For this new zoom, if we had started at 24mm for example, the lens would be much bigger and heavier. By starting the zoom range at 28mm, it became much smaller and lighter, and easier to handle. We think that’s what our customers want.

Tamron’s ‘Tap-in Console’ allows the performance of some of its SP lenses to be tweaked and customized on an individual basis.

Increasingly when we visit factories, we’re seeing more and more automation. How much automation does Tamron use in your factories?

Automation is being gradually increased, but we don’t emphasize it. In some cases, manual processes are better for product quality. If automation would be good for the quality of the final product, we might utilize it. It all depends.

Are your lenses mostly assembled by hand, at present?

Some processes are automated, but others are manual so it’s difficult to say.

We’re always thinking about what we can provide in the market that’s innovative

Where do you think the biggest opportunities lie for Tamron in the future?

We’re always thinking about what we can provide in the market that’s innovative. Our strength is high quality lenses in a compact size. So going forward we want to be able to provide good products in each market segment.

The requirement for video must change how you develop lenses, beyond just the kind of AF motor you use?

Yes, it does. We have also developed other technologies to support video. At this point we’re not finished, but we’re always developing ways of manufacturing new lenses.

Optical designs need to change, and also autofocus technology

When we look at conventional DSLR lenses and mirrorless lenses, the technologies necessary to make them are a little bit different. The optical designs need to change, and also the autofocus technology. We’re always thinking about what kind of technologies would be good for mirrorless compared to DSLR, and what works for what focal length, and things like that.

You mentioned that the audience for mirrorless lenses will increase – will the audience for DSLR lenses decrease?

Yes, it already is. We’re watching the market and the data already shows us that the market is declining.

Editor’s note:

Perhaps the most interesting insight from our interview with Tamron this year was confirmation that the market for DSLR lenses is declining. It makes complete sense that Tamron (and Sigma) would be focusing on developing lenses for full-frame Sony E-mount cameras now, since by common agreement, Canon and Nikon will launch their own large-sensor mirrorless cameras pretty soon.

Tamron’s executives see their company’s mission as slightly different to Sigma’s

In the same way as one basic optical design can be adapted for multiple SLR mounts, Tamron’s new FE 28-75mm F2.8, which is optimized for the short flange-back distance of modern mirrorless systems, could be adapted for future mirrorless platforms as and when they emerge.

It is clear that Tamron’s executives see their company’s mission as slightly different to Sigma’s. Whereas Sigma is committed to a ‘no compromise’ approach in its Art-series which sometimes results in large, heavy products, Tamron sees its value in small, lightweight but still high-performing lenses. Maybe the primes will open up to F1.8 rather than F1.4, and the zooms might start at 28mm rather than 24mm, but clearly the company believes that some users will be happy with those compromises for the sake of smaller, lighter (and potentially cheaper) lenses.

Tamron sees its value in small, lightweight but still high-performing lenses

I think they’re right about that, and the new 28-75mm F2.8 looks like a good start. Obviously we don’t yet know how it will perform optically, but if it compares well to Sony’s own 24-70mm F2.8 GM at equivalent focal lengths, it might well become a benchmark standard zoom for mirrorless. That, in turn, would put Tamron in a very good position to get in on the ground floor of development for the wide range of full-frame mirrorless cameras we’re expecting from various manufacturers in the future.

Articles: Digital Photography Review (dpreview.com)

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Lensrentals: Cheap Veydra Mini Prime lenses are ‘optically excellent’

27 Mar

Roger Cicala over at Lensrentals went on another OLAF testing spree, and this time the victim of his optical bench tests were the extremely affordable Veydra Mini Prime cinema lenses made for E-Mount and Micro Four Thirds sensors. These lenses are so inexpensive that Cicala has assumed (for some time) that they were also probably also ineffective. But as Roger put it:

[Today] we learned for the umpteenth time that doing scientific testing is a great way to shoot down Roger’s assumptions.

It turns out these lenses aren’t bad at all… in fact, Roger calls them “optically excellent.” And when he put them to the test against Zeiss CP.2 primes that cost 3x (or more) as much money, the Veydra Mini Primes (and here, again, we’re going to use his wording) “the Veydras just kick some serious resolution butt in this comparison.”

Here’s just one of those comparisons (more in the full test at Lensrentals), between the Zeiss Compact Prime CP.2 85mm T2.1 (average of 10 samples) and the Veydra Mini Prime 85mm T2.2 (average of 9 samples):

Zeiss on the Left, Veydra on the Right

Of course, this is a comparison on a single parameter: absolute resolution. But it’s also a comparison between a lens that costs $ 3,990 (the Zeiss CP.2) and $ 1,000 (the Veydra Mini Prime). Still, as Roger points out several times:

[These tests] won’t tell you a thing about how [the lens] focus breathes, how it handles, or whether it has that ‘film’ look. I will simply tell you how well it resolves (because you can roll your artsy eyes all you want; sometimes you have to make things look sharp).

The other factor to keep in mind is the image circle, because the Veydra Mini Primes are… well… mini. They’re only made for Micro Four Thirds and Super 35 image size and won’t cover a full-frame sensor. Still, the results of his test left Roger (and by extension, us) impressed.

Check out the full test over on Lensrentals, and if you’ve used them, drop a line in the comments about their real world performance.

Articles: Digital Photography Review (dpreview.com)

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Watch: Unboxing $221,000 worth of Leica Summilux-C cinema lenses

23 Mar

Videographer Devin Graham of Devin Supertramp has published a new video in which he unboxes $ 221,000 worth of Leica Summilux-C lenses. “When deciding to purchase these lenses, it was a six month process,” said Graham, who also explained while retrieving a lens box, “These are like a holy experience to me.”

Graham chose the Summilux lenses over Leica’s Thalia lenses due to their ability to shoot at a lower key stop, he explains in the video. The Summilux lenses were used in several notable productions recently, including: Stranger Things, Beauty and the Beast (2017), and Justice League. Overall, the purchase and subsequent unboxing involves half a dozen lenses: 16mm, 21mm, 29mm, 40mm, 50mm, and 75mm.

And if the video above isn’t quite enough expensive lens unboxing for you, check out Graham’s video from January below, in which he unboxed $ 25K worth of Sigma Cine lenses:

Articles: Digital Photography Review (dpreview.com)

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Nikon D850 Filmmaker’s Kit includes Atomos Ninja Flame, three lenses and two microphones

20 Mar

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Nikon looks to be positioning its D850 as a serious video rig with today’s announcement of a D850 Filmmaker’s Kit. The kit includes the camera body, three AF-S Nikkor lenses (20mm F1.8G ED, 35mm F1.8G ED, 85mm F1.8G), an Atomos Ninja Flame external recorder, ME-1 shotgun and ME-W1 wireless mics and an extra EN-EL15A battery.

Purchased separately, these items cost nearly $ 6300, so the kit’s MSRP of $ 5499 is a nice discount. The Filmmaker’s Kit will be available for purchase in late March.

Press Release

For the U.S. market, Nikon Inc. is excited to announce the all-new Nikon D850 Filmmaker’s Kit, a custom bundle specifically designed for content creators and filmmakers looking to take full advantage of the D850’s extensive video capabilities and controls. The key component of the kit, the award winning Nikon D850 offers incredible features, including full-frame 4K UHD video capture at 24/30 fps, 8K and 4K time-lapse, focus peaking, zebra stripes, HDMI output and enhanced audio control.

The Nikon D850 Filmmaker’s Kit will include three prime NIKKOR lenses which are ideal for content creation, and exhibit the clarity and sharpness needed for 4K Ultra HD video; AF-S NIKKOR 20mm f/1.8G ED, AF-S NIKKOR 35mm f/1.8G ED, and the AF-S NIKKOR 85mm f/1.8G. The kit will also contain an external 4K Atomos Ninja Flame recorder/monitor (with power kit, docking station and coiled HDMI cable).

The Nikon D850 Filmmaker’s Kit will be available in the U.S. for the suggested retail price (SRP) of $ 5,499.95 and will go on sale at the end of March 2018.

The Nikon D850 Filmmaker Kit includes the following:

Nikon D850 DSLR (with supplied accessories)
AF-S NIKKOR 20mm f/1.8G ED lens
AF-S NIKKOR 85mm f/1.8G lens
AF-S NIKKOR 35mm f/1.8G ED lens
Extra EN-EL15A battery
ME-1 Stereo Microphone
ME-W1 Wireless Microphone
Atomos Ninja Flame External Recorder (with supplied accessories)
Custom foam inserts (can be used in hard case for transporting, hard case sold separately)

Articles: Digital Photography Review (dpreview.com)

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Wide-Angle Versus Telephoto Lenses for Landscape Photography

11 Mar

When you arrive at a beautiful scene, open your camera bag, and reach in to pick out a lens for landscape photography, which one do you usually choose and why?

A mid-range focal length lens, say between 35mm and 70mm, is usually the one that gets picked the most because it is closest to what we see with our eyes. When we choose that lens, we come home with photos that look like what we saw and they feel natural.

Chain fruit cholla at Organ Pipe National Monument, Arizona by Anne McKinnell

A wide-angle lens is often chosen when we simply want to take in a wider scene, and a telephoto lens is chosen when we want to get closer to something in the distance. While these uses are certainly valid, these lenses can also be used in the exact opposite way.

Let’s take a look at different ways that wide-angle and telephoto lenses can be used to emphasize different aspects of a scene for landscape photography.

Wide-angle of view versus distant details

This is the way most people use wide-angle and telephoto lenses, as follows.

When I arrived at the scene below, I wanted to capture as much of the lake as possible while eliminating a few distractions on the edges. I reached for my wide angle lens and made an image at 14mm.

Convict Lake, California - Wide-Angle Versus Telephoto Lenses for Landscape Photography

This image was shot using a 14mm wide-angle lens.

Then I noticed some interesting details in the distance on the left side of the frame above. I really liked how the colors of the plants seemed to come down the hill at an angle and were reflected in the lake making a triangle shape. To emphasize this detail, I reached for my telephoto lens and made this image at 65mm.

The same scene with a 65mm lens.

Wide-angle of view versus close-up details

I made this photo of some cacti and the setting sun right in my campground in southern Arizona. To get the foreground rocks, the cacti, and the background in the frame, I used my wide-angle lens at 15mm and set the aperture to f/22 to make the starburst.

Organ Pipe Cactus National Monument Arizona - Wide-Angle Versus Telephoto Lenses for Landscape Photography

Then I became drawn to the lines in the organ pipe cactus. To emphasize the lines in an abstract way I moved around the cactus, so I would be working with side light, and used my telephoto lens at 210mm to capture the details.

Organ Pipe Cactus National Monument Arizona details - Wide-Angle Versus Telephoto Lenses for Landscape Photography

Get close with a wide lens, go wide with a telephoto lens

As I mentioned in the introduction, lenses can be used in the exact opposite way from our usual mode of operation. Sometimes the best way to get close is to use a wide-angle lens. But you have to be really close!

To make this image of a chain fruit cholla, I was only a couple of feet away from it when I made this image at 33mm. Getting physically close to a subject in the foreground makes that subject look large in comparison to the background. The cholla would have looked even larger if I had gotten closer and used a wider angle like 10mm.

Chain fruit cholla at Organ Pipe National Monument, Arizona - Wide-Angle Versus Telephoto Lenses for Landscape Photography

33mm

At the same location, I wanted to make an image that captured the huge expanse of cacti and the surrounding mountains. With a wide-angle lens, things in the distance look tiny and you don’t get the feeling I was looking for. So I used my telephoto lens to capture more distant subjects at 122mm.

Organ Pipe Cactus National Monument Arizona - Wide-Angle Versus Telephoto Lenses for Landscape Photography

122mm

Make the background or foreground look large

The two photos below are shots of the exact same plant. I chose this organ pipe cactus with a mountain in the background to demonstrate depth compression and how it applies to your lens choice.

When I was quite a distance away from the subject, approximately 100 feet, I made the photo below using my telephoto lens at 129mm. I would have gone farther away from it, but other cacti prevented me from getting a clear view of my subject from a farther distance. Notice how large the mountain appears in this image.

Organ Pipe Cactus in Ajo, Arizona - Wide-Angle Versus Telephoto Lenses for Landscape Photography

129mm focal length.

Then I went right up to the cactus, only inches away, and made the photo below with my wide angle lens at 18mm. Now you can tell that there are actually two organ pipes that looked like one in the previous image. Notice how small the mountain appears in the image below.

18mm

Note that this difference is not a result of the lenses themselves, but rather it is due to the distance between the camera and the subject.

When you want to make something that is the background look larger, get farther away from it and use a longer lens. If you want something in the background to disappear, or at least be minimized, get closer to your subject and use a wider lens.

Depth of Field

The depth of field in your image, which is the amount of the scene that is sharp, is determined by the aperture you use. So if you want the background to be blurry you use a wide aperture like f/2.8 or f/5.6. But the aperture you choose does not have the same result with every lens.

I made the photo below with a wide-angle lens at 20mm and an aperture of f/5.6. The result is that most of the flowers are sharp and the background is just slightly blurred.

Black Eyed Susan, Victoria, BC - Wide-Angle Versus Telephoto Lenses for Landscape Photography

20mm at f/5.6

If you want the background to be extremely soft, it’s better to get farther away from your subject and use a longer lens. In the example below, I wanted to make the flowers stand out and minimize the appearance of a house in the background, so I moved farther away, used my telephoto lens at 250mm and an aperture of f/5.6.

Cherry blossoms - Wide-Angle Versus Telephoto Lenses for Landscape Photography

250mm and f/5.6

Conclusion

Here is a quick summary to help you remember what you just learned.

Use a wide-angle lens when you want to:

Get close to subjects in the foreground and make them seem more important than the background.
Make subjects in the background appear smaller.
Get everything in focus.
Photograph in tight areas like canyons.

Use a telephoto lens when you want to:

Get closer to subjects in the distance.
Make subjects in the background appear larger.
Get a shallow depth of field by blurring the background.
Make close-up images of details.

The post Wide-Angle Versus Telephoto Lenses for Landscape Photography by Anne McKinnell appeared first on Digital Photography School.

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Cosina announced three new Voigtlander lenses at CP+

11 Mar

Japanese optical manufacturer Cosina has announced three new lenses at the CP+ show in Yokohama. The trio consists of two lenses for full frame Sony E-Mount cameras, and a new Nokton 50mm F1.2 lens that will come with a Leica M fitting.

COLOR-SKOPAR 21mm F3.5 Aspherical | Sony E-mount

The COLOR-SKOPAR 21mm F3.5 Aspherical is designed for Sony E-mount cameras and measures only 39.9mm in length. Its 10-bladed iris promises attractive out-of-focus highlights, while the closest focus will be 20cm (~7.9 inches). The optical design uses nine elements in eight groups, and Cosina claims the lens has excellent contrast and resolving power even when used wide open.

The lens will be manual focus, and will feature electronic contact with the camera.

MACRO APO-LANTHAR 110mm F2.5 | Sony E-mount

The other E-mount lens is the MACRO APO – LANTHAR 110mm F2.5, which will offer close-up shooters 1:1 reproduction from a closest focus point of 35cm (~13.8 inches). Cosina says it aims to eliminate chromatic aberration, and that it will use a floating focus group to ensure maximum sharpness at all focusing distances.

The optical design packs 14 elements in 12 groups into a 99.7mm long housing, and the iris will contain 10 blades. Again, focus is manual, but electronic contacts allow the lens to communicate with the camera.

NOKTON 50mm F1.2 Aspherical | Leica M

The lens for Leica M-mount cameras is a new standard NOKTON 50mm F1.2 Aspherical VM that will feature two double aspherical lenses and a coupled rangefinder focusing system.

Cosina claims the lenses performs very well wide open, and that it will produce attractive blur in out-of-focus areas. The 12-bladed iris will contribute to the out-of-focus effect, and the closest focusing distance of 70cm (~27.5 inches) will ensure users can make the most of it. The 4.9cm-long lens will use eight elements in six groups and will accept filters in the 52mm fitting.

This lens joins the existing 50mm F1.1 and F1.5 versions in the Voigtlander Nokton series.

Cosina has not said yet when these lenses will be available or how much they will cost when they arrive; however, the company did have working reference samples on display at the show that visitors could try on their own cameras, so it’s reasonable to expect that we won’t have to wait too long.

For now, the Voigtlander website hasn’t been updated to include the new lenses.

Articles: Digital Photography Review (dpreview.com)

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New Novoflex adapters let you use full-frame lenses with the Hasselblad X1D

08 Mar

Owners of the mirrorless medium format Hasselblad X1D will soon be able to mount a series of full-frame lenses to their medium format body, in some cases with minimal vignetting, thanks to a new range of adapters launched by Novoflex. The company has produced a set of adapters that allow you to mount Nikon F, Canon FD, Leica R, and Leica M lenses, as well as one for Hasselblad’s own V range of legacy optics, to the newer, sleeker X1D.

Novoflex says that many older lenses have such wide covering circles that vignetting will be marginal on the 43.8×32.9mm sensor of the X1D, and of course, tilt and shift lenses will cover comfortably.

The Nikon model features a mechanical iris lever so modern G lenses can be used, while adapters for Contax/Yashica and Minolta MD/MC will be introduced next month. The adapters cost between €139 and €229 (approx. $ 160-285 USD), and can be viewed and bought from the Novoflex website.

For more info, check out the full press release below.

Press Release

NOVOFLEX announces lens adapters for Hasselblad X1D

NOVOFLEX announces lens adapters for Hasselblad X1D – Greater lens variety formedium format cameras

The mirrorless medium format camera Hasselblad X1D is one of the most advanced cameras in the HighEnd sector. The sensor size of 43.8 mm x 32.9 mm with a resolution of 50 megapixel is the best choice for both – professional photographers and prosumers. The only disadvantage is that Hasselblad offers only a small number of lenses.

Since the firmware update 1.17.2, however, the camera incorporates an electronic shutter, allowing the use of lenses from other manufactures. That is why NOVOFLEX is now announcing a series of lens adapters allowing 35mm and medium format lenses to be used on the Hasselblad X1D camera. The first adapters are available now for Leica R-, Leica M-, Nikon F- as well as Hasselblad V-type lenses. The adapter for Nikon lenses comes with a built-in mechanical aperture control to also allow the use with G-type Nikkor lenses. Fading in and out can be done infinitely. The introduction of adapters for Canon FD, Contax/Yashica, Minolta MD/MC and for the universal bellows of the NOVOFLEX BALPRO series is planned for early April, 2018.

Especially interesting are the lens adapters for 35mm-format mount for tilt-/shift lenses, as their image circle is always big enough, to fully illuminate the larger sensor format of the X1D. However, many 35mm-format lenses have an image circle which is bigger than the actual 35mm-format itself, this results into only marginal vignettings. In additon, many old or classic 35mm-format lenses are based on lens calculations of large or medium format lenses. Potential vignetting could be used creatively or cases later corrected through software.

None of the adapters will transfer information between camera and lens

NOVOFLEX adapters are available for almost any camera/lens combination. For more details please refer to the adapter finder on the NOVOFLEX home page www.novoflex.de.

Articles: Digital Photography Review (dpreview.com)

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Venus Optics unveils Laowa 9mm F2.8 Zero-D and 25mm F2.8 2.5-5x Ultra Macro lenses

26 Feb

Venus Optics, the company behind the Laowa line of lenses, has announced two new lenses through Japanese parent company Sightron. The first is the Laowa 9mm F2.8 Zero-D, a ‘zero distortion’ wide-angle prime for mirrorless APS-C cameras. The second is another strange full-frame macro lens: the Laowa 25mm F2.8 2.5-5x Ultra Macro.

Neither of these lenses have appeared on Venus Optics’ English language website just yet, but we expect them to pop up soon. In the meantime, here’s what we know about the new glass.

Laowa 9mm F2.8 Zero-D

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The long-rumored Venus Optics Laowa 9mm F2.8 Zero-D is an wide-angle prime designed for mirrorless APS-C cameras—specifically, the Sony E, Fuji X, and Canon EF-M mounts. With its 113° angle of view, Venus Optics claims this lens is the widest angle F2.8 lens currently available for APS-C cameras.

Inside, you’ll find 15 lens elements in 10 groups—including three low dispersion elements and two aspherical elements—that attempt to reduce distortion to ‘zero’ (or as close to it as Venus Optics could manage). You’ve also got a 7-blade aperture and a metal construction that promises “excellent robustness and luxury.”

The lens is scheduled to arrive in April, but price for this one is still TBD.

Laowa 25mm F2.8 2.5-5X Ultra Macro

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Slightly more defined—and lots more weird—is the Laowa 25mm F2.8 2.5-5x Ultra Macro lens for full-frame cameras. Specifically, you’ll find this one in the Canon EF, Nikon F, Pentax K, Sony FE mounts when it, too, ships in April.

At its closest, the lens offers 5x magnification, using an optical design of 8 elements in 6 groups—including an ultra low dispersion lens and multilayer coating on each element—to deliver a working distance of just 40mm at 5x.

Here’s a full review of the newly announce lens by YouTuber Photos by Richard (sample photos available on his website).

Like the 9mm F2.8 Zero-D, the 25mm F2.8 2.5-5x Ultra Macro also ‘adopts a metal enclosure,’ and is scheduled to ship in April. Venus Optics hasn’t announced pricing yet, but according to Photo Rumors, the lens will cost $ 400 in the US.

To learn more about either of these lenses, check out both Google Translated press releases below.

Press Release

LAOWA 9mm F2.8 Zero-D

SiteLong Japan Co., Ltd. announces the new product “LAOWA 9mm F2.8 Zero-D” of LAOWA (Venus Optics).

Product Overview

Product name LAOWA 9mm F2.8 Zero-D
Suggested retail price Open price
Expected market price TBD
Scheduled release date around early April 2018

Main Product Features

This product is the best lens for photographing landscape photographs, architectural photographs, interior photographs, star photographs and so on.
Use 3 special low dispersion lens (ED lens) and 2 glass aspheric lenses luxuriously. By adopting an optical design with extremely reduced distortion to zero, it is possible to capture landscape photographs and architectural photographs without the influence of distortion.
It is the widest angle lens (113 °) lens among the wide-angle lenses for APS-C cameras of the open F 2.8 which are on sale now.*
It adopts metal enclosure with excellent robustness and luxury. Effective flower type hood is attached.
This product is the brightest, the most compact and lightweight lens among the same class products. Because it is very convenient to carry, it is also ideal for daily snapshot.

*As of February 1, 2018 VenusOptics examined

Main Specifications

Focal length: 9mm
Maximum F value: F2.8
Viewing angle: 113 degrees (corresponding format: APS-C)
Lens construction: 10 groups of 15
Number of diaphragm blades: 7
Shortest shooting distance: 12 cm
Maximum magnification: 0.13 times
Filter diameter: ? 49 mm
Weight: ~ 215g* Variable depending on mount
Corresponding mount: FUJIFILM X, Canon EF-M, Sony E

*Product specifications are subject to change without notice due to improvements etc.

LAOWA 25mm F2.8 2.5-5X ULTRA MACRO

SiteLong Japan Co., Ltd. announces the new product “LAOWA 25 mm F 2.8 2.5-5 X ULTRA MACRO” of LAOWA (Venus Optics). LAOWA 25mm F2.8 2.5-5x ULTRA MACRO is a macro exclusive lens with a magnification of 2.5x to 5x.

Product Overview

Product name LAOWA 25mm F2.8 2.5-5x ULTRA MACRO
Suggested retail price Open price
Expected market price TBD
Scheduled release date around early April 2018

Main Product Features

It is a macro lens for full size of manual focus.
The shortest shooting distance is 173 to 223.5mm and shooting magnification 2.5 to 5 times is available.
It is possible to secure a working distance of 40mm (5 times) to 45mm (2.5 times) by optical design with a special configuration. It can correspond to various lighting to obtain better shooting result.
By adopting ultra low dispersion lens (UD lens), by appropriately suppressing chromatic aberration and color fringe, it is possible to capture images with high sharpness and high color reproducibility.
Each lens is coated with multilayer coating, minimizing ghost and flare. Therefore, under a strong light source, it is possible to take pictures with a very high contrast and neutral color.
Adopting a metal enclosure with excellent robustness.
It is compact, lightweight and excellent in portability.

Main specifications

Focal length: 25mm
Open F value: F2.8
Field of View: 10.3 degrees
Lens construction: 6 groups 8 pieces
Minimum aperture: F16
Maximum aperture: F2.8
Minimum photographing distance: 173 mm to 223.5mm
Working Distance: 40mm – 45mm
Shooting magnification: 2.5 times to 5 times
Number of diaphragm blade: 8
Weight: 400g
Corresponding mount: Canon EF, Nikon F, Pentax K, Sony FE

*Product specifications are subject to change without notice due to improvements etc.

Articles: Digital Photography Review (dpreview.com)

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