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17mm SLR Magic topic
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  • vicharrisvicharris

    Thought it was $599.

  • FlaaandeeersFlaaandeeers

    @johnnymossville $499.-

  • johnnymossvillejohnnymossville

    anyone have an idea what this lens will cost?

  • vicharrisvicharris

    @gameb I don't have one

  • gamebgameb

    @vicharris would also be nice to see the Olympus 17/1.8 in comparison.

    Hopefully @slrmagic makes a special offer when launched ;))

  • vicharrisvicharris

    I'll have a comparison up soon with this head to head with the Voightlander 17.5mm for low light performance. So far so good :)

  • Vitaliy_KiselevVitaliy_Kiselev

    image

    SLR Magic expands its micro four thirds lineup with new wide angle lens

    Hong Kong, China (December 13, 2013) - SLR Magic expands the micro four thirds lens lineup with the new SLR Magic 17mm T1.6 wide angle lens. With this latest addition, the portfolio of lenses for the micro four thirds system is now comprised of seven focal lengths.

    The field of view of this new lens corresponds to a 34mm lens in 35mm format and this fast wide angle of view opens up many new creative composition opportunities, particularly in the fields of interior, architectural and landscape cinematography and photography. Additionally, a fast max aperture of T1.6 makes the SLR Magic 17mm T1.6 ideal for available-light photography.

    We place our highest priority in the development on our lenses to fulfill the demands of professional cinematographers and photographers. The design and build of the SLR Magic 17mm T1.6 is solid and reliable.

    The SLR Magic 17mm T1.6 will be available from authorized SLR Magic dealers starting end of December 2013

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  • jfilmmakerjfilmmaker

    @slrmagic It looks like a very cool lens. It would be great to have it completely sharp wide open, but I know that's a hard thing to pull off.

    It would have been of better evaluative benefit to seem some static composed frames with good framing and composition of background and foreground objects (moving cars, streets, lots of vertical lines) so we could get a better sense of how things look in the lens, but overall, it still does look like a very cool lens.

    Thanks!

  • sebfargessebfarges

    thanks @act :) I've just put another film from the OMD in the lens section, using a sharp C-mount lens.

  • actact

    I think, Seb Farges' 1st experience on OMD with such tasty details was worst individual topic...

    @SebFarges I think OMD is great add-on to GH2, you can decide what camera you can use for specific shots or daytime with same lenses. I found EM5 takes better colors and skin-tone at daylight. Curve lets manipulate with contrast settings, but if I don't want make grading at post, default Natural is very good, but sharpness -2 (all modes). Be sure turn off "Keep warm tone" at color settings and set manual lens' value at IS settings. But I think OMD has better dynamic range and more filmic image by Natural default settings (with sharpness -2) than GH2 Standard (All -2). Your video style always great and rich of fast moves, but it not regular dslr video style, dslr-videographers regular to slower moving to avoid rolling shutter, so I have not seen moving vignette issue at my movies.

    I very happy with Voightlander 17.5mm 0.95, it sharp since 0.95, sharper than 25mm 0.95. At wide angle all Vari-ND or Fader filters get vignette, I use LWC (mark 1) 77mm with step up ring, Nicna Fader (little sharper but not happy with both, because of average sharpness and bad color). I'll try go back to constant filters like Hoya NDX400 ND. I'd like hear your opinion to better filters if you find something quality products with reasonable price.

    Thank you for your great input to MFT systems, and I hope you will share us your future tests with Olympus cameras. We know, hacked Lumix GH2 is the king of MFT, but OMD is MFT's black prince.

  • stoneystoney

    f1.8 is nice on m43. Oly has nailed it down on their primes. Recent m43 bodies have improved high ISO performance, too.

    I just want decent sharpness at f1.8 and crazy sharpness at f4. Yes decent CA control is a-must.

  • vicharrisvicharris

    Yep, never used the 17.5 Voight wide open.

  • sebfargessebfarges

    @griplimited @Renovatio @RRRR Thanks I do appreciate :)

  • RRRRRRRR

    @sebfarges

    You are getting very good at concocting excerpts of every day life into small videos. Always a pleasure to watch. Really nice editing this time around as well.

    @slrmagic I own the 17.5mm voigtländer and I rarely use it wide open. Even at night I tend to stop down to f2 and push the iso a little "too high" rather than shoot wide open. I also use f1.4 more than 0.95. But there might be situation where it can be used to the advantage of the result, obviously. I´ve found over time that lens speed is not really that important for me. A lens has to look good wide open or stopped down. I´d consider swapping the 17.5mm voigt for a similar (slower) lens which has perfectly circular bokeh when stopped down.

  • _OZ_OZ

    @slrmagic
    Thanks for clarifying! Look forward to trying it out. More control over depth of field is better than saving 200 dollars, but I don't know what the actual difference in price would be.

    In any case, f1.4 is already pretty fast.

    As an owner of the 25mm, I have to say that I use it wide open A LOT! However, it is mostly for light and not depth of field. To that end, if what you say about the sensors is true, then it depends on the reality of my sensor. The extra light is definitely worth paying for in my case because I use it a lot at live music events with dark lighting.

  • RenovatioRenovatio

    @slrmagic Something make me think the 17mm f.095 it's a question of time, anyway ;)

  • slrmagicslrmagic

    @_OZ I did notice that too. It was due to two reasons and @sebfarges can correct me if I am wrong

    Reason 1) Seb was using the 5 axis stabilisation from the OMD and that caused some wierd vignetting especially with variable ND filters. The ND even caused color cast and I confirmed that with @sebfarges so it has nothing to do with the lens itself. All lenses will have slight vignetting but we do not consider this lens to have strong vignetting.

    Reason 2) When we say there is no vignetting it is a test done without ND filters. ND filters does add vignetting to many lenses towards the corners since it darkens the entire image thus make light falloff more pronounced than normal. When contrast is "pushed" towards the center either by ND, by slight underexposure, or from PP vignetting would show up slightly.

  • _OZ_OZ

    Andrew, I noticed a lot of vignetting in Seb's video. What are the vignetting characteristics? Do they also go away by 1.8 substantially, or do you need to stop down further?

    Then again, he was using a variable ND I believe, so it's possible that the vignetting was caused by the added filter?

    I love Seb's video work, but I'd love to see something a bit more test-like done with the lens with some labeling of aperture settings, etc.

    In any case, excited to see the lens up close.

    O

  • slrmagicslrmagic

    For this lens we decided not to make a 0.95 lens.

    DxO tested some sensors seem to be unable to absorb all the light for lenses that are faster than f/2 http://www.dxomark.com/index.php/Publications/DxOMark-Insights/F-stop-blues

    It would mean you get shallower DOF but you do not get all the light due to limitation by the sensor. Someone pointed out it is pointless to only have shallower DOF if you do not get more light. http://www.dpreview.com/forums/post/51980430

    What does everyone really feel about this? Do you shoot 0.95 for more light or for shallower DOF? It does cost more to manufacture a fast lens and would be interesting for a discussion if T1.6 was a good choice for this lens. Not exactly slow like a T4. Not extremely fast like a T0.95. T1.6 would be a good balance where you get as much light as the lens can accept by the image sensor for the best value to price ratio. Or maximum DOF is what everyone wanted? Another reason for us to choose T1.6 over T0.95 for this 17mm lens with price on the side is advantages in size/weight, IQ at extreme corners during close focus from field curvature, and lower distortion. We had quite a battle if we should make this a T1.6 instead of a T0.95 in the beginning of the project (We had so many requests to make a 17mm f/1.4 lens by email over the past 2 years!).

  • slrmagicslrmagic

    @Renovatio it depends if you need to rack focus.

    The 17mm lens sharpens significantly when stopped down to 1.8. We recommended shooting with it at 1.8 but it seems @sebfarges managed to show 1.6 is entirely usable. Just like the 12mm T1.6 the max aperture is there if you need it.

  • vicharrisvicharris

    @slrmagic Long ways away but let's catch up again if you are. Same reasons as last time?

  • slrmagicslrmagic

    @vicharris I might be in LA in April

  • vicharrisvicharris

    @slrmagic Andrew, you can plan on sending one my way of course! :)

  • RenovatioRenovatio

    @slrmagic Thanks. So: about the price, your lens it's there, in the middle. There's the 20mm 1.7, than your SLR Magic 1.6 (against PanaLeica 25mm 1.4 just a little bit more expensive now, maybe the same in the next feature: really really hard to choose), and than CV 17,5mm f0.95, more expensive. No game for the Olympus 17mm 1.8 right now! All IMHO

  • slrmagicslrmagic

    @Renovatio The SLR Magic 17mm T1.6 CINE lens will be in the same series as the SLR Magic 35mm T1.4 CINE II lens. Introductory pre-order pricing when the lens is available should cost around $499 USD or $449 EUR.

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