“The RF 85mm F1.2 L USM is a large aperture mid-telephoto prime lens. It offers excellent performance for advanced and professional portrait photographers and is a widely popular focal length and aperture speed combination for users.”

Specs

• 4 aspherical, 1 Super ED, 3 ED glass elements
• Constant F4 max aperture maintains exposure and Depth of field
• 7-blade circular aperture contributes to beautiful bokeh
• Direct Drive Supersonic Wave motor for fast, quiet, precise focus
• $1698
• https://www.amazon.com/dp/B072J4B6WS/

Specs

• Fully manual lens
• 12 diaphragm blades
• 0.11x magnification ratio
• Min focus distance is 0.5m.
• Available for Sony FE, Canon EF-M, Nikon 1, Fujifilm X and m43 mounts
• Available in March

RICOH COMPANY, LTD. and RICOH IMAGING EUROPE S.A.S. are pleased to announce the launch of the HD PENTAX-FA 35mm F2. Despite its compact dimensions, this high-performance wide-angle lens covers the full-frame image circle of PENTAX K-mount digital SLR cameras.

This new lens is based on the smc PENTAX-FA 35mm F2 AL — a very popular multi-purpose, wide-angle lens used on film-format SLR cameras and is introduced following a thorough review of lens coatings. The high-grade, multi-layer HD Coating applied to the optical elements produces high-contrast images with edge-to-edge sharpness, free of flare and ghost images. Whilst, the highly stain-repellent SP Coating applied to the front surface improves the lens’ usability outdoors. The redesigned exterior matches the design of latest PENTAX K-mount digital SLR models, while its compact, portable body makes it perfect for everyday use.

HD Coating to enhance imaging power

After a thorough review of the lens coatings applied to the popular smc PENTAX-FA35mm F2 AL, PENTAX applied the latest HD Coating* to this lens.

Compared to conventional multi-layer coatings, this high-performance, multi-layer coating reduces average reflectance and improves light transmittance to deliver extra-clear, high-contrast images free of flare and ghost images, even in demanding lighting conditions such as backlighting.

SP Coating to repel stains

Applied to the lens’s front surface, the SP (Super Protect) Coating is highly repellent to water and grease, making it easy to wipe off any stains. This frees the photographer from worries in outdoor photography.

New exterior design to match latest digital SLR models

While retaining the overall size of the original smc PENTAX-FA35mm F2 AL, this lens features a totally new exterior design, similar to that of the latest DA- and D FA-series lenses. This new appearance makes this single-focus lens a perfect partner for latest K-series digital SLR models.

Since this lens retains the aperture ring, it also accommodates many of the functions provided by film-format SLR cameras and older K-mount digital SLR models, making it possible to enjoy photography using a greater range of cameras.

Easy-to-use standard lens

When mounted on a PENTAX digital SLR camera body, this lens provides a moderately wide 35mm angle of view with a full-frame model, or a standard 53.5mm angle of view with an APS-C-format model. Since it provides a natural perspective similar to that of the naked eye, it can be used as a multi-purpose standard lens in a wide range of applications, including snapshooting, scenic photography and portraiture. It also features a minimum focusing distance of 0.3 meters.

Compact, portable design

Weighing approximately 193 grams and measuring a mere 44.5 millimeters in length, this lens has been designed to be extremely compact and highly portable for carefree photography at any location and on every occasion.

Hybrid aspherical optical elements

The lens incorporates hybrid aspherical optical elements to effectively compensate for various aberrations. Thanks to these elements, it delivers extra-clear, high-contrast images from the minimum focusing distance to infinity, and edge-to-edge sharpness even at open aperture.

HD PENTAX-FA 35mm F2 - Price & Availability

HD PENTAX-FA35mmF2 ‐ RRP: £399.99

Available: February 2019

Mount is not an issue, with a bit of surgery the required small mount can be added.

I can stack speed boosters to get to 35xmm if needed.

It's insane, but that is a version of fun.

It has 8 new future lenses:

• M.Zuiko Pro Telephoto Zoom Lens (possibly 50-225mm)
• M.Zuiko Pro Telephoto Zoom Lens (possibly 70-250mm)
• M.Zuiko Pro Wide Zoom Lens (possibly 8-25mm)
• M.Zuiko Pro Standard Zoom Lens (possibly 12-40mm)
• M.Zuiko Pro Bright Prime Lenses
• M.Zuiko High Magnification Zoom Lens (possibly 14-210mm)
• M.Zuiko Super Telephoto Zoom Lens (possibly 100-400mm)

We would like to announce that we have clarified compatibility for general operations (*1) of the following Tamron Di & Di II lenses with the latest version of lens firmware when used with the Nikon Z6 and Nikon mount adapter FTZ.

1. Compatible models for general operations

• SP 15-30mm F/2.8 Di VC USD G2 (Model A041) for Nikon
• SP 24-70mm F/2.8 Di VC USD G2 (Model A032) for Nikon
• 18-400mm F/3.5-6.3 Di II VC HLD (Model B028) for Nikon
• 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 lens firmware can be updated with the separately sold TAP-in Console.

If you do not have a TAP-in Console, please contact your nearest Tamron distributors.

2. Lens Update Service Information

https://www.tamron.jp/en/support/release_note.html\

3. How to Update

https://www.tamron.jp/en/support/update.html

4. For other models, once we confirm the compatibility with Nikon Z7 and FTZ adapter, we will announce the models sequentially at our support website.

We are sorry to keep you waiting, and also ask for your understanding of the situation.

• m43, E mount, EF-M Mount, X mount, max APS-C Format
• Aperture Range - f/1.2 to f/16
• 9 elements in 7 groups, two aspherical elements
• Ultra Multi-Coating
• Non-Rotating 62mm Filter Mount
• Rounded 9-Blade Diaphragm

The longer of the two lenses, the 50mm f/1.2 is a fast, bright lens offering a long perspective, ranging from a 75mm to 100mm equivalent focal length, depending on mount choice, that is well suited to portraiture. The combination of the longer-than-normal focal length and f/1.2 maximum aperture offers extensive control over focus placement for shallow-depth-of-field applications, and the manual focus design enables precise control over focus as close as 1.6' away. A pair of aspherical elements helps to control chromatic and comatic aberrations and an Ultra Multi-Coating has been applied to all elements to reduce flare and ghosting for increased contrast and clarity. A rounded nine-blade diaphragm further contributes to smooth bokeh quality and the front 62mm filter ring does not rotate during operation, for easier use of circular polarizers or other filters that require specific positioning.

• $549 at http://www.bhphotovideo.com/c/product/1185695-REG/rokinon_rn50m_mf_50mm_f_1_2_aps_c_w_a.html

Venus Optics, the camera lenses manufacturer who had previously launched a number of unique Laowa camera lenses, is proud to introduce the widest lens currently available for the DJI X7 cameras on Inspire 2 drones, Laowa 9mm f/2.8 Zero-D DL.

The new DL mount has the same specifications and optical performance as the existing Fuji X, Sony E and Canon EF-M mounts launched in 2018. All of them feature an ultra-wide 113° angle, cover Super35-sized sensor and have a close-to-zero distortion. The Laowa 9mm is significantly wider than the currently widest DL lens (i.e. 80°) in the market, allowing aerial cinematographers to capture more in limited distances. The ultra-fast f/2.8 lens also provide more flexibility to do night time aerial videography.

The lens is carefully designed to reduce the optical distortion to a close-to-zero level. It allows straight lines to be perfectly retained and saves videographers tremendous time in post-processing. Venus Optics is reputable in producing distortion-free lenses for multiple systems including the widest f/2 lens for full frame E-mount cameras (i.e. Laowa 15mm f/2 FE Zero-D).

The size and weight of the lens have also been compressed to the minimal in its class. It weighs only 210g (0.46 lbs) and 60mm (2.36 in) long. This compact and lightweight lens comprises of 15 elements in 10 groups with 2 pcs of aspherical elements and 3 pcs of Extra- low dispersion elements. This optical design successfully minimizes the distortion and chromatic aberrations to its lowest but at the same time, delivers a superb optical performance. A 49mm filter thread is also included for cinematographers to use with ND filters.

Pricing & Availability

The retail selling price of the Laowa 9mm f/2.8 Zero-D DL mount in US is USD 499/pc (ex- VAT). Pricing may vary in different countries.

The lens is now available to order from Venus Optics authorized resellers and official website (http://www.venuslens.net/) . The lens is now available to ship immediately.

Available for preorder at: https://www.bhphotovideo.com/c/product/1278222-REG/zeiss_2149_289_21_100mm_t2_9_3_9_lightweight_zoom.html

Specs:

• Focal length - 21-100mm
• Aperture range - 2.9 – 22, 11 blades
• Lens - 22 elements in 18 groups
• Close focus is 0,8m/ 2’8”
• Focus ring rotation angle (inf-MOD) - 294°
• Zoom rotation angle - 100°
• Aperture rotation angle - 48°
• Front diameter is 114mm/ 4.49”
• Length is 226mm/ 8.9”
• Weight - 2.0kg/ 4.4 lbs
• Sensor coverage - ANSI Super 35mm

• 14 lenses in 12 groups
• F22 minimum aperture
• 10 diaphragm blades
• Min focus distance is 35 cm.
• 78.4 × 99.7 mm
• 58 mm filters
• Start shipping in August 2018
• ¥148,000 (aka $1350/£1050)
• US price will be $1099
  • https://www.adorama.com/vt11025e.html

http://www.cosina.co.jp/seihin/voigtlander/english/e-e-mount/e-110.html

http://www.cosina.co.jp/gallery/oomura-110mm/index.html

• 11 elements in 8 groups
• 180 – 124 FOV
• 0.15m min focus distance
• F22 min aperture
• 94 x 64 mm
• 541g
• Product page - http://www.mkgrip.com/goods/show-257.html

Already did or will do soon:

• 15mm 3.5
• 20mm 2.8 - pictured above (render)
• 35mm 2
• 45mm 2.8
• 50mm 1.2
• 55mm 1.2
• 58mm 1.2 Noct
• 85mm 1.8
• 85mm 2
• 105mm 1.8
• 135mm 2

https://zerooptik.com

http://www.sigmaphoto.com/news/sigma-announces-new-lenses-cpplus-2013

All three DN lenses incorporate telecentric optical designs and a linear, auto focusing motor that ensures accurate and quiet focusing for video recording. They also boast metal exteriors and a simply shaped focus ring, with varying textures to distinguish each part of the lens. In addition, DN users can choose between a black or silver finish to match their favorite equipment.

60mm F2.8 DN

Featuring the natural perspective of mid-range telephoto lenses, together with a shallow depth of field, this lens allows the photographer to capture a single part of a subject with great bokeh effects. It has an angle of view equivalent to 120mm on the Micro Four Thirds system and 90mm on the E-mount system (35mm equivalent focal length). The minimum focusing distance is 19.7 inches; the maximum magnification is 1:7.2. This lens also contains Special Low Dispersion (SLD) glass, which helps minimize axial and transverse chromatic aberration.

Available for $209 at https://www.amazon.com/Sigma-60mm-F2-8-Black-Micro/dp/B00CMRTVFE/

Sigma 19mm F2.8 DN

This high-performance, wide-angle telephoto lens has an angle of view equivalent to 38mm on the Micro Four Thirds system and 28.5mm on the E-mount system (35mm equivalent focal length). As a wide-angle lens with excellent mobility, it is ideal for studio photography, architecture and starry skies. Its minimum focusing distance is 7.9 inches and its maximum magnification is 1:7.4.

Available for $199 at https://www.amazon.com/Sigma-19mm-F2-8-Black-Micro/dp/B00BPZCYK8/

Sigma 30mm F2.8 DN

This high-performance, standard telephoto lens has an angle of view equivalent to 60mm on the Micro Four Thirds system and 45mm on the E-mount system (35mm equivalent focal length). This lens, which is perfect for casual and formal portraiture, documentary photography, travelogues and everyday shooting, includes a double-sided aspherical lens that enhances its optical performance. Its minimum focusing distance of 11.8 inches and its maximum magnification is 1:8.1.

Available for $169 at https://www.amazon.com/Sigma-30mm-F2-8-Black-Micro/dp/B00BQXL6OY/

• Length - 49mm
• Filters - 49mm
• Min focusing distance - 45 cm
• 12 blades aperture
• Clickless aperture
• Lens hood
• 195g
• Around 150 euros

https://sonyalpha.blog/2018/11/29/zonlai-50mm-f1-4/

Available at:

• http://www.ebay.com/sch/i.html?_nkw=10mm+Samyang&_sacat=0

Samyang Optics company is thrilled to invite all participants of Photokina fairs held in Cologne to visit our stand no. A025 located in the hall 2.1. We will introduce a prototypical version of the Samyang 10mm 1:2.8 ED AS UMC CS lens.

Samyang 10mm 1:2.8 ED AS UMC CS is a prototype of the ultra wide-angle prime lens designed for use with cameras fitted with APS-C/DX sensors. Its extremely short focus length and rectilinear imaging system ensure extra wide angle of view amounting to 110 degrees (~107 degree for Canon version). As a result the lens is a comprehensive tool for architecture and landscape shooting. New Samyang 10mm 1:2.8 ED AS UMC CS is similar to the 35mm system lens with 15mm or 16mm focal length in the case of Canon APS-C cameras.

All details concerning the optical construction of the lens and available mounts will be published at a later date. The lens will be introduced for sale either at the end of 2012 or in the first days of 2013.

Specs:

• 14-140mm lens
• Power O.I.S. stabilization
• F3.5 on wide - F5.6 on tele
• Minimum aperture - F22
• Diaphragm blades - 7
• 14 elements in 12 groups, 2 aspherical + 2 ED lenses
• Minumum focus distance - 0.30 m
• Weight - 265 g
• Diamater - 67 mm
• Length - 75 mm
• Comes with hood
• 58 mm filter threads
• $699 price

Available at:

• http://www.amazon.com/Panasonic-Lumix-Vario-14-140mm-3-5-5-6/dp/B00CFCTH14
• http://www.wexphotographic.com/buy-panasonic-14-140mm-f3-5-5-6-g-vario-asph-power-ois-micro-four-thirds-lens/p1538073

Samples:

• http://www.ephotozine.com/article/panasonic-lumix-g-vario-14-140mm-hd-lens-sample-photos-21790

Video:

Check near the end

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 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 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.

The online forums are brimming with opinions on what constitutes a good lens. And many of those commenters would have us believe that lens reviews, which consider factors like extraordinary resolution and an absence of aberrations and vignetting to be the hallmarks of good design, as entirely misguided. In sum, they prefer vintage lenses with character to optically flawless modern lenses, particularly mirrorless lenses which rely on in-body optical correction. Which is not to say that lens reviews are infallible: most don’t have the resources to measure sample variance, and the majority fail to mention factors critical to filmmakers, such as focus breathing, focus shift, and actual light transmission (T stops).

Yet, if one prefers lenses with character, exactly which imperfections are considered desirable? Mediocre resolution? Heavy vignetting? Starbursts? Cats-eye bokeh with onion rings? Loads of chromatic aberration? Barrel and pincushion distortion? Coma and astigmatism? Swirly bokeh? Ghosting and purple/green flares? Low contrast?

As far as in-body optical correction is concerned, I defy anyone in a blind test to determine which lens – the Olympus 45mm f/1.2 PRO or the Leica Nocticron – utilizes it on the GH5.

I don’t believe in magic: the characteristics of a lens are measurable and are able to be described. If that were not the case, lens reviews would be utterly meaningless. Even something as seemingly intangible as music can be evaluated: how closely does the performance adhere to the dynamics and phrasing dictated by the composer; is it legato or staccato; is there note-to-note tension; or is the music pushed and pulled beyond all recognition? A music critic working for the New York Times could write that a Mahler symphony conducted by Michael Tilson Thomas was dope, but unfortunately, that wouldn’t be very useful to readers.

For me, a great lens would be fast (f/2 or faster), have high resolution and contrast, good resistance to flare, warm color rendition, little vignetting or chromatic aberration and soft round bokeh with no onion rings. Not that I can’t appreciate some of the qualities of lenses like the Helios, but I’m not sure I’d want to sit through an entire feature film with swirly bokeh.

When looking at footage from vintage lenses, what are the characteristics that stand out and make them more desirable than modern lenses?

Over at cinematography.com, a forum member posted a link to a comparison by Shane Hurlbut of Cooke vs. Leica (the link is dead now I guess), and another forum member commented:

"I’ve watched it a few times and found it extremely interesting. When I first heard about the new Leicas, they seemed like a real lens for the future. Spec-wise as good as it gets. But then as I started to track down and watch productions shot on them I found myself noticing (repeatedly) this strange flatness to the images that somehow felt ‘off’ to me.

I couldn’t begin to pin down what it was about the look of the shows that felt off to me, but after seeing Shane’s comparison it became clear to me. The Leicas are just too perfect. In a still image you’d never notice it, but in motion it’s there – this almost imperceptible flatness to the image, that seems to rob them of some sense of depth.

I still can’t put it clearly into words, but something about the way the Leicas render moving pictures really puts me off. I don’t understand why I love the look from Master Primes (which are also kinda ‘perfect’) and yet the Leicas throw me, but there it is".

I realize Cooke lenses are supposed to be otherworldly, but what’s needed is a vocabulary that describes precisely what it is about certain lenses that rock one’s world, not ambiguous statements to the effect that ‘that lens is too clinical looking’ or ‘this lens is more organic looking’. Some readers will disagree (‘I just tell my client that idea sucks!’), but I believe it is incumbent upon visual artists to be able to explain, articulate and express the aspects of their craft: especially so in a collaborative medium like filmmaking.

Can anyone imagine the chief optical engineer at Leica or Cooke telling one of their underlings to add a touch more mojo to one of their designs?

FWIW, if, as one forum member noted, Hurlbut was indeed comparing a 75mm lens to a 100mm, and if indeed he dismissed it as inconsequential, and viewers were none the wiser, then that is fucked up big time as well.

Few would dispute the artistry of Christopher Doyle, who swears by Zeiss, Cooke and Angénieux lenses, but were I to shoot something with any of those lenses, no doubt my YouTube channel would be inundated with comments saying my images look soulless, sterile and clinical. Because most of the magic is in set design, camera movement, focus pulling, focal length, costume design, lighting, haze machines and grading as much as anything else that makes an image look cinematic.

It’s also about time that certain forum members shut the fuck up and admitted that brand loyalty is all they care about. A Canon fanboy over at EOSHD refused to acknowledge that the EOS R has more in-body sharpening than any other FF mirrorless camera even though PDN’s rigorous lab tests prove it. Blackmagic Design ambassador John Brawley refused to recognize that the thinner filter stack of the BMPCC4K is ruinous the performance of native fast wide angle lenses even though Brian Caldwell said it was so. And I believe Tony Northrup demonstrated beyond a shadow of a doubt that Canon’s supposed superior color science is nothing but rubbish.

Available at:

http://www.amazon.com/Sigma-884306-17-70-2-8-4-Macro/dp/B00AXZZ034/

Anyone using GH1/2 with SIGMA 17-70mm F2.8-4.5 DC Macro? Any impressions about this lens? What I mean generally is if there are any issues like vignettes, tilts, blurs, unable to infinity focus, etc. when used on GH1. I watched very nice results with this lens on t2i, so is it needless on GH1 even manually controlled?

http://www.7artisans.com/h-col-216.html

PR

The latest member of the ZEISS Loxia family is called ZEISS Loxia 2.8/21. It is a super wide angle, developed for compact full-frame cameras with E-mount and with a new optical design based on the ZEISS Distagon. The ZEISS Loxia 2.8/21 supplements the ZEISS Loxia 2/35 and ZEISS Loxia 2/50 lenses, which were presented last year at photokina. Especially practical for cinematographers, the ZEISS Loxia 2.8/21 has the mechanical aperture setting and the de-activation of the aperture click stop, both found on all ZEISS Loxia lenses.

“Since the Sony α7 series came out, the market has been waiting for a powerful super wide-angle lens for compact full-frame cameras. For many photographers such a lens was the missing tool in their gear. ZEISS is now meeting that demand with the ZEISS Loxia 2.8/21,” said Christophe Casenave, Product Manager at ZEISS Camera Lenses.

As the latest member in the compact, light-weight family of ZEISS Loxia lenses, the ZEISS Loxia 2.8/21 offers trusted features that combine traditional photography and modern technology. The electronic interface transmits lens data (EXIF) as well as the focus movements and – if desired by the photographer – activates the magnifying function of the camera. For the sophisticated photographer who does not want to leave all the work to the camera, there are many opportunities to compose thanks to the lens’s precise manual focusing with end stop and the mechanical setting of the aperture (aperture priority mode for the working aperture). As a result, photographers can take advantage of all the possibilities offered by modern compact system cameras with an electronic viewfinder.

Optimal for different types of use

With an angular field exceeding 91 degrees (diagonal) on a full-frame camera, the ZEISS Loxia 2.8/21 is well suited for nature, landscape and architectural photography. In landscape photography in particular, an exact infinity setting is a critical factor. Here, the precise manual focusing of the ZEISS Loxia 2.8/21 supports the user enormously. Furthermore, the lens enables creative, naturally proportioned images with a low minimum object distance of just 0.25 meters (9.84”). The ZEISS Loxia 2.8/21 is extremely compact and light, making it the perfect choice for travel and street photography.

ZEISS Loxia lenses for video

Ambitious videographers will also discover once again that the ZEISS Loxia 2.8/21 is a tool that offers optimum creative potential. The mechanical deactivation of the aperture click stop for infinite aperture settings (de-click), which already came with the ZEISS Loxia 2/35 and ZEISS Loxia 2/50, is also found in the new ZEISS Loxia super wide angle. The smooth focus operation with a rotation angle of 90 degrees of the ZEISS Loxia 2.8/21 allows for the finest variations when focusing video cameras with E-mount, such as the Sony PXW-FS7 or PXW-FS5. “In addition, the identical external diameter of the ZEISS Loxia lenses across all focal lengths simplifies the changing of lenses during shoots, so accessories like a follow focus don’t need to be readjusted,” added Casenave

Newest optical design with robust construction

The ZEISS Loxia 2.8/21 has been specially developed for digital sensors. The newly calculated lenses consist of 11 lens elements in nine groups. The underlying optical design is a ZEISS Distagon. High resolution along the entire image field, low distortion and color fringing, and an appealing bokeh – especially at the maximum aperture of f/2.8 – round out the exceptional features of this lens. “It’s a small jewel offering outstanding optical performance,” said Casenave, summarizing the optical qualities of the ZEISS Loxia 2.8/21. Other qualities include its impressive mechanical quality and robust barrel. Made entirely of metal, the barrel protects the lens and can withstand the rugged everyday situations that professional photographers face, thereby ensuring a long product life. Like the other ZEISS Loxia lenses, the filter diameter is 52 mm. Finally, a special weather protection on the lens mount protects the lens from spray getting between the camera and lens.

Price and availability

The ZEISS Loxia 2.8/21 will be available worldwide starting December 2015. The lens shade is included with delivery. The recommended retail price is USD 1,499 (excl. VAT) or EUR 1,259.66 (excl. VAT).*

Specs

• 16 Elements in 12 Groups, 1 aspherical + 2 ED element
• Min focus distance - 0.45m
• Linear Motor AF Motors
• Min aperture - F22–36
• 7 diaphragm blades
• 55mm filters
• 67mm x 88mm
• 325 g
• Available at $598 at
  • https://www.bhphotovideo.com/c/product/1383463-REG/sony_sel18135_e_18_135mm_f_3_5_5_6_oss.html
  • https://www.adorama.com/iso18135e.html
  • https://www.amazon.com/Sony-Mirrorless-Digital-Camera-SEL18135/dp/B078T2184C/
  • a6300 kit - https://www.bhphotovideo.com/c/product/1383464-REG/sony_ilce_6300_s_alpha_a6300_mirrorless_digital.html

New Compact, Lightweight E 18-135mm F3.5-5.6 OSS Features Outstanding Sharpness and Fast, Precise, Quiet AF for a wide variety of still and video applications

Sony, a worldwide leader in digital imaging and the world’s largest image sensor manufacturer, today announced its 46th E-mount lens. This new APS-C lens features a versatile 18-135mm focal length, aperture range of F3.5-F5.6 And Optical SteadyShot™ stabilisation.

The new lens (model SEL18135) features a compact, lightweight design measuring only 67.2mm x 88mm and weighing in at a mere 325g, as well as a high magnification 7.5x optical zoom that covers the wide-ranging focal length of 18-135mm on APS-C or 27-202.5mm in 35mm equivalent focal length. The lens is an ideal fit for Sony’s popular APS-C sensor cameras including α6500, α6300 and α6000, and is an extremely useful tool for a wide range of shooting situations ranging from daily life to portraiture, landscape, nature and travel photography.

The E 18-135mm F3.5-5.6 OSS produces outstanding corner-to-corner sharpness throughout the entire zoom range thanks to its advanced design featuring one aspherical lens and two Extra-low Dispersion glass elements that minimise aberrations. This lens also allows photographers to produce close-up images with pleasing ‘bokeh’ or background defocus as a result of its maximum magnification ratio of 0.29x and minimum focus distance of 0.45m. It also offers built-in optical image stabilisation to support handheld shooting.

Additionally, the 18-135mm F3.5-5.6 Zoom lens offers fast, precise, quiet AF performance thanks to a linear motor, making it a perfect complement to the high speed shooting and impressive video capabilities of many of Sony’s mirrorless cameras.

Pricing and Availability

The SEL18135 will be available from February 2018, priced at approximately £570.

Specs

• F22 min aperture.
• 9 elements in 8 groups
• 0.2m min focus distance
• 52mm filters
• 62.8×39.9mm
• 230g
• product page - http://www.cosina.co.jp/seihin/voigtlander/e-mount/e-21mm/index.html

http://www.cosina.co.jp/seihin/voigtlander/e-mount/e-21mm/index.html

Available at:

• http://www.adorama.com/ZIT1228E.html
• http://www.adorama.com/ZIT3218E.html

Operating conditions of the Nikon "Z7" and SIGMA's interchangeable lenses for Nikon mount

We would like to share results of our further investigations regarding the operating conditions of the Nikon "Z7" and SIGMA's interchangeable lenses for Nikon mount.

When SIGMA's interchangeable lenses in the current product lineup, listed below, are used in combination with the Nikon "Z7" and their "Mount Adapter FTZ", both AF and AE operate without any issues.

Furthermore, lenses which incorporate Optical Stabilizer (OS) will work to maximum effect when both the lens's OS and the in-camera stabilization are switched on simultaneously.

DG Lens

• 12-24mm F4 DG HSM | Art
• 14-24mm F2.8 DG HSM | Art
• 24-70mm F2.8 DG OS HSM | Art
• 24-105mm F4 DG OS HSM | Art
• 60-600mm F4.5-6.3 DG OS HSM | Sports
• APO 70-200mm F2.8 EX DG OS HSM
• APO 70-300mm F4-5.6 DG MACRO
• 70-300mm F4-5.6 DG MACRO
• 100-400mm F5-6.3 DG OS HSM | Contemporary
• 120-300mm F2.8 DG OS HSM | Sports
• 150-600mm F5-6.3 DG OS HSM | Contemporary
• 150-600mm F5-6.3 DG OS HSM | Sports
• APO 200-500mm F2.8 / 400-1000mm F5.6 EX DG
• APO 300-800mm F5.6 EX DG HSM
• 14mm F1.8 DG HSM | Art
• 20mm F1.4 DG HSM | Art
• 24mm F1.4 DG HSM | Art
• 35mm F1.4 DG HSM | Art
• 105mm F1.4 DG HSM | Art
• 135mm F1.8 DG HSM | Art
• 500mm F4 DG OS HSM | Sports
• MACRO 105mm F2.8 EX DG OS HSM
• APO MACRO 150mm F2.8 EX DG OS HSM
• APO MACRO 180mm F2.8 EX DG OS HSM

DC Lens

• 8-16mm F4.5-5.6 DC HSM
• 10-20mm F3.5 EX DC HSM
• 17-50mm F2.8 EX DC OS HSM
• 17-70mm F2.8-4 DC MACRO OS HSM | Contemporary
• 18-35mm F1.8 DC HSM | Art
• 18-200mm F3.5-6.3 DC MACRO OS HSM | Contemporary
• 18-250mm F3.5-6.3 DC MACRO OS HSM
• 18-300mm F3.5-6.3 DC MACRO OS HSM | Contemporary
• 50-100mm F1.8 DC HSM | Art
• 4.5mm F2.8 EX DC CIRCULAR FISHEYE HSM
• 10mm F2.8 EX DC FISHEYE HSM
• 30mm F1.4 DC HSM | Art

Phenomena particular to 4 lenses were confirmed after our announcement of September 28th

After careful investigation, we confirmed some phenomena particular to 4 products listed below.

Regarding a firmware update for the SIGMA 24-35mm F2 DG HSM | Art, 50mm F1.4 DG HSM | Art and 85mm F1.4 DG HSM | Art, we are going to announce them at a later date.

24-35mm F2 DG HSM | Art
[Phenomenon]
It may occasionally stop recording while shooting video.
[Future Course of Action]
It is planned to be resolved by a firmware update.

50mm F1.4 DG HSM | Art
[Phenomenon]
When starting to shoot with the subject completely out of focus, the response to the AF operation is intermittent. It is necessary to release several times or to turn the focus ring once to release.
[Future Course of Action]
It is planned to be resolved by a firmware update.

85mm F1.4 DG HSM | Art
[Phenomenon]
It may occasionally show overexposure when narrowing down the aperture from F5.6 while shooting.
[Future Course of Action]
It is planned to be resolved by a firmware update.

APO 800mm F5.6 EX DG HSM
[Phenomenon]
Please focus using MF, since it is difficult to achieve sufficient focusing accuracy.
[Future Course of Action]
There is no plan for a firmware update.

When the lenses listed below are used, due to product specifications, the in-camera stabilization cannot be turned off. In addition, the Auto Power Off function cannot be used. Please manually turn the power [OFF] after shooting.

Current lineup:

• 17-50mm F2.8 EX DC OS HSM
• 17-70mm 2.8-4 DC MACRO OS HSM | Contemporary
• 18-200mm F3.5-6.3 DC MACRO OS HSM | Contemporary
• 18-250mm F3.5-6.3 DC MACRO OS HSM
• 24-105mm F4 DG OS HSM | Art

Discontinued models:

• 17-70mm 2.8-4 DC MACRO OS HSM
• 18-50mm F2.8-4.5 DC OS HSM
• 18-250mm F3.5-6.3 DC OS HSM
• 18-200mm F3.5-6.3 DC OS HSM
• 50-200mm F4-5.6 DC OS HSM

• 70-300mm F4-5.6 DG OS

• Other precautions

• Please use manual focus while shooting with lenses which do not incorporate an AF driving motor.\

• Tele Converters cannot be used together.\
• Depending on shooting conditions, sufficient focusing speed and accuracy may not be achieved. As required, please use manual focus while shooting.\
• Despite being listed above, some lenses shipped out from SIGMA before November, 2013 may require a firmware update. (Please refer to "Various lenses shipped from SIGMA before November, 2013" below.)\
• Discontinued products have different operating conditions depending on each product and their shipping period. For details, please contact your nearest authorized SIGMA subsidiary / distributor.

Various lenses shipped from SIGMA before November, 2013

We have previously confirmed that some phenomena such as AF not working correctly with some lenses released or shipped from SIGMA before November, 2013, when they are used on Nikon's digital SLR cameras incorporating the latest firmware. Under this circumstance, we will update the lens firmware free of charge. If the products do not operate on a Z7, even when they are listed above, the lens firmware update may improve the situation.

For customers who have these applicable products, please contact your nearest authorized SIGMA subsidiary / distributor for further details.

https://www.imaging-resource.com/news/2012/10/29/dissected-panasonics-lumix-g-14mm-and-20mm-prime-lenses

But anyone attempted to clear fungus between elements for it?

They seem glued.

Specs

• Uses 21 elements in 14 groups, and 5 extra-low dispersion elements and 1 super extra low dispersion elements
• Rounded 9 blade aperture
• 1/3 EV (15 steps)
• Water-repellent fluorine coating
• Weather-sealed with 13 water and dust resistant seals at 12 points
• Available in February 2016 for USD $1,899.95

Available at http://www.amazon.com/Fujinon-XF100-400mm-F4-5-5-6-LM-OIS/dp/B019Y5UBT6

PR

FUJIFILM today announced new additions to the award-winning X-Series line of premium fixed and mirrorless cameras, and ultra-high quality lenses, including: the FUJIFILM X-Pro2, FUJIFILM X-E2S, FUJIFILM X70 and FUJINON XF100-400mmF4.5-5.6 R LM OIS WR. Fujifilm also introduced the new rugged and waterproof FinePix XP90, perfect for capturing amazing images everywhere, from underwater to mountain tops.

FUJINON XF100-400mmF4.5-5.6 R LM OIS WR

The new FUJINON XF100-400mmF4.5-5.6 R LM OIS WR is a weather-sealed, superior telephoto lens that gives photographers exceptionally sharp images with a 152mm-609mm equivalent in 35mm format. The high-performance XF100-400mmF4.5-5.6 R LM OIS WR has an optical construction of 21 elements in 14 groups, and includes five ED lenses and one Super ED lens to help reduce chromatic aberration that often occurs in telephoto lenses. As a result, it delivers the highest image quality in its class.

The XF100-400mmF4.5-5.6 R LM OIS WR has been designed for handheld shooting with a 5.0-stop image stabilization system and twin linear motors for speedy autofocus that makes it perfect for shooting fast-moving subjects. The lens is also water and dust resistant and can operate in temperatures as low as 14°F, making it suitable for use in a wide range of outdoor shooting conditions. A fluorine coating has also been applied to the front lens element to repel water and dirt, further improving the toughness and functionality of the lens.

FUJINON XF100-400mmF4.5-5.6 R LM OIS WR key features:

• Uses 21 elements in 14 groups, and 5 extra-low dispersion elements and 1 super extra low dispersion elements
• Rounded 9 blade aperture
• 1/3 EV (15 steps)
• Water-repellent fluorine coating
• Weather-sealed with 13 water and dust resistant seals at 12 points
• Included lens hoods features a sliding window for accessing a polarizing filter and locking mechanism
• Compatible the XF1.4X TC WR teleconverter (140-560mm F6.3-8 or 213-853mm in 35mm equivalent)
• Compatible with optional lens plate (MLP-75XF) and optional ARCA SWISS tripods
• The FUJINON XF100-400mm F4.5-5.6 R LM OIS WR will be available in February 2016 for USD $1,899.95

EU PR

FUJIFILM Corporation is proud to announce that a new FUJINON XF100-400mmF4.5-5.6 R LM OIS WR will be added to the X-Series mirrorless camera line-up in February 2016. With its introduction, the premium mirrorless X-Series range now expands to offer a super telephoto lens.

The FUJINON XF 100-400mm F4.5-5.6 R LM OIS WR is a super telephoto zoom lens that covers a 35mm focal length equivalent of 152-609mm. The high performance optical construction of 21 elements in 14 groups includes five ED lenses and one Super ED lens to help reduce chromatic aberration that often occurs in telephoto lenses. As a result, it delivers the highest image quality in its class. The lens has been designed for handheld shooting with a 5.0-stop* image stabilization system and weighs less than 1.4kg. The linear motor realizes fast autofocusing and makes it perfect for shooting fast-moving subjects including aircraft and motorsports. The lens is also both water and dust resistant and can operate in temperatures as low as -10°C, so it is suitable for use in a wide range of outdoor shooting conditions. A fluorine coating has also been applied to the front lens element to repel water and dirt, further improving the toughness of the lens.

Reduced chromatic aberration to help deliver high resolution images

• The optical construction of 21 elements in 14 groups, which includes five ED lenses and a Super ED lens, delivers results comparable to a fluorite lens, and by reducing axial chromatic aberration it produces images full of detail.
• The maximum magnification is 0.19x, enabling users to shoot telephoto macro images.

Class-leading 5.0-stop image stabilization

A 5.0-stop image stabilization system – the most powerful in any super telephoto zoom lens – produces blur-free results even at the maximum telephoto setting of 609mm (35mm equivalent). Also, if panning is detected, the lens automatically switches camera shake correction to the vertical plane only.

Fast and quiet AF thanks to twin linear motors

Twin linear motors are used to deliver fast focusing on moving subjects. The motors are so quiet that the lens is ideal for shooting live music performances and theatre productions.

Even faster AF shooting is possible with the focus limiter function, which limits the close focusing point to 5m.

Compact and lightweight design

The FUJINON XF100-400mmF4.5-5.6 R LM OIS WR has a weight of less than 1.4kg which reduces the strain of shooting handheld substantially. When mounted to the FUJIFILM X-T1 body, the combined weight is below 2kg. It enhances user mobility. In addition, the weight distribution of the lens when attached to a body makes it feel lighter than it really is.

Water/dust resistance, -10°C low-temperature operation and fluorine coating

• The lens features 13 water and dust resistant seals at 12 points, allowing you to shoot with confidence in tough outdoor environments.
• The fluorine coating applied to the front lens element is water repellent and it is less susceptible to smudges and can easily be cleaned.

Lens hood with a polarising filter window and lock mechanism

• The lens hood features a sliding window so a polarising filter can still be accessed even when the hood is in place.
• The hood also features a locking mechanism to keep it securely attached to the lens.

Compatible with the 1.4x Tele converter

The lens offers compatibility with the XF1.4X TC WR tele converter. When attached, it becomes a 140-560mm F6.3-8 or 213-853mm (35mm equivalent). Phase detection AF shooting remains possible, even at F8.

Accessories

A lens plate (MLP-75XF) compatible with ARCA SWISS tripods is available as an optional extra. This plate is also compatible with the XF50-140mm F2.8 R LM OIS WR.