This new ultra-wide-angle zoom lens is designed to accommodate a large 35mm full-frame image sensor.

When mounted on the PENTAX K-1 35mm full-frame digital SLR camera body, this zoom lens covers a focal-length range from 15mm ultra-wide-angle to 30mm wide-angle.* Thanks to its exaggerated perspective, typical of an ultra-wide-angle lens and high-resolution imaging power, it captures dynamic, sweeping views of subjects, especially beneficial for landscape photography. Treated with the PENTAX-developed HD Coating, it produces well-defined, fine-detailed images with ample light levels even at the edges of the image field, while effectively reducing chromatic aberration, distortion and keeping coma to a minimum. Its large F2.8 maximum aperture also comes in handy for photographing nightscapes and starry skies. The built-in SDM (Supersonic Direct-drive Motor) provides quiet, high-speed autofocus operation.

Main Features

Exceptional imaging power

When mounted on the PENTAX K-1 35mm full-frame digital SLR camera body, this zoom lens provides an ultra-wide-angle focal-length coverage from 15mm to 30mm. Its exaggerated perspective helps the photographer produce spectacular images in landscape photography. Since it provides a 30mm focal length at the telephoto end, it can also be used for snapshots.

• State-of-the-art optical design*

This zoom lens incorporates three ED (Extra-low Dispersion) glass optical elements and three aspherical optical elements in its 18-element, 13-group optics, to deliver high-resolution images rich in contrast even at the edges of the image field, while effectively minimizing chromatic aberration, distortion and coma.

Large-aperture zoom lens, with a maximum aperture of F2.8

As this zoom lens provides a maximum aperture of F2.8 over its entire zoom range, it is versatile enough to be used for many different subjects and scenes, ranging from sweeping landscapes to nightscapes and starry skies. Despite its ultra-wide-angle perspective, it can capture the subject with an excellent bokeh (defocus) effect on the background. Even in macro photography from its minimum focusing distance of 28 centimeters, it can capture subjects with a well-defined sense of depth.

Built-in SDM (Supersonic Direct-drive Motor)

The incorporation of a new-generation SDM (Supersonic Direct-drive Motor) ensures that this zoom lens provides quiet, high-speed autofocus operation, letting the photographer react swiftly to all types of subjects

Weather-resistant construction

Special seals applied throughout the lens body provide this zoom lens with dependable weather-resistant construction, effectively preventing the intrusion of water into the lens interior. By pairing it with a weather-resistant PENTAX digital SLR camera body, the photographer has a durable, dependable digital imaging system that performs superbly under demanding shooting conditions — even in the rain or mist, or at locations prone to water splashes or spray.

HD Coating to improve image description

The lens is treated with high-grade, multi-layer HD Coating. Compared with conventional multi-layer coatings, this PENTAX-original coating assures higher light transmittance and less reflection to deliver bright, high-contrast images free of flare and ghost images, even under demanding lighting conditions including backlight.

Other features

• Quick-Shift Focus System for instant switching from autofocus to manual-focus operation, by holding the shutter-release button halfway down and turning the focus ring after the subject is captured in focus by the camera’s AF system.
• Rounded diaphragm with nine blades to produce a smooth, beautiful bokeh (defocus) effect, while minimizing the streaking effect of point light sources.
• SP (Super Protect) Coating applied to the front surface of the lens to effectively repel water and grease.

RICOH IMAGING is pleased to announce the launch of the HD PENTAX-D FA 24-70mmF2.8ED SDM WR. This new standard zoom lens is designed to accommodate the image circle of large 35mm full-frame image sensors.

When mounted on a 35mm-format full-frame DSLR (currently under development), this large-aperture standard zoom lens covers a focal-length range from 24mm ultra-wide-angle to 70mm standard,* and provides a maximum aperture of F2.8 over the entire zoom range.

By incorporating three ED (Extra-low Dispersion) optical elements and four aspherical optical elements, it ensures sufficient light levels even at the edges of the image field and minimizes various aberrations to deliver fine-detailed, high contrast and high resolution images. The built-in SDM (Supersonic Direct-drive Motor) also provides a quiet, high-speed autofocus operation.

Main Features

1. Exceptional imaging power: Consisting of 17 elements in 12 groups, this new lens features three ED (Extra-low Dispersion) optical elements, one anomalous-dispersion-glass aspherical optical element and three aspherical optical elements to compliment super-high-resolution image sensors. By delivering sufficient light even at the edges and minimizing aberrations, this zoom lens provides a high MTF (Modulation Transfer Function) for finely-detailed high contrast, high resolution images. When mounted on a current PENTAX K-series camera body, it uses only the central area of the image circle to deliver high-resolution images with uniform detail.
2. Large-aperture standard zoom lens: When mounted on a 35mm-format full-frame DSLR, this lens offers a zoom ratio of approximately 2.9 times from ultra-wide-angles to standard zoom ranges (24mm to 70mm in focal length). It provides a maximum aperture of F2.8 over the entire zoom range to deliver brilliant images. It not only covers the most common focal-length range, but also provides ultra-wide-angle coverage to produce distinctive visual results, such as exaggerated perspectives or extra-wide depths of field; this makes it very useful with subjects such as sweeping landscapes and shallow indoor scenes. When mounted on a current K-series DSLR, it provides focal lengths from 37mm to 107mm in the 35mm format to cover wide-angle to medium-telephoto ranges. Its large maximum aperture not only creates an excellent bokeh effect on the background for beautiful portraits, but also allows the photographer to handhold the camera for poorly lit subjects, such as sunsets or indoor scenes.
3. Built-in SDM (Supersonic Direct-drive Motor): Thanks to the incorporation of a new-generation SDM (Supersonic Direct-drive Motor), this zoom lens ensures quiet, high-speed autofocus operation, allowing the photographer to react swiftly to all types of photographic opportunities.
4. Weather-resistant construction: This lens features a dependable weather-resistant construction with special seals to effectively prevent water reaching the inside of the lens. Pairing it with a weather-resistant PENTAX DSLR, provides a durable, dependable digital imaging system that performs superbly in demanding shooting conditions or locations, where the weather or indeed water, would normally cause problems.
5. HD Coating to improve image description: The lens is treated with high-grade, multi-layer HD Coating.* Compared with conventional multi-layer coatings, this PENTAX-original coating assures higher light transmittance and less reflection to deliver bright, high-contrast images free of flare and ghost images, even in demanding lighting situations.

Key specs:

• 17 elements in 12 groups
• 3 aspherical lens elements, 3 ED glass lens elements
• Weather-resistant design with 14 sealing points
• 0.06 seconds autofocus speed and nearly silent operation
• Nano-GI coating
• 9 blade aperture
• Minimum focusing distance - 12 inches
• 1/3 EV steps
• 655g
• 77mm filters
• $1200 price
• Preorder - http://www.bhphotovideo.com/c/product/1110879-REG/fujifilm_xf_16_55mm_f_2_8_r.html

this was shot with spizz t6
iscomorphot S8 1.5X
50mm Nikon F1.8 pancake lens
has a lot of CA with this setup.

The iscomorphot is this one: http://www.macrolenses.de/ml_detail_sl.php?ObjektiveNr=258

• APS-C image circle
• Lens mounts - Sony E / M43 / Fuji X
• F1.2 -F16 aperture
• 9 diaphragm blades
• 9 elements in 7 groups
• 0.45m minimum focus distance
• 310 g
• 49 mm filters
• USD 399 retail
• Available on deals at http://www.personal-view.com/deals/lenses/mitakon#mitakon-425mm-f12-lens

The new Zhongyi Mitakon 42.5mm f/1.2 Lens features an incredibly fast aperture of f/1.2, making it ideally suited for low-light conditions shooting, greater control over selective focus and shallow depth of field imagery. Designed for the use with an APS-C-sized camera sensor, the lens gives a 35mm-equivalent focal length of nearly 64mm. Above features provide an excellent portrait shooting solution for mirrorless cameras users. The lens also houses with 7 elements in 9 groups of optical lenses to provide great deal of image clarity and color renderness.

http://www.zyoptics.net/uncategorized/zhongyi-optics-announces-pricing-availability-of-two-new-lenses-for-mirrorless-cameras/

• APS-C Image circle
• Lens mounts - Sony E / M43 / Fuji X
• F1.7-F22.0 aperture
• 12 diaphragm blades
• 9 elements in 8 groups
• Minimum focus distance - 0.15 m
• 246 g
• Filters - 49 mm
• Best price on deals - http://www.personal-view.com/deals/lenses/mitakon#mitakon-24mm-f17-lens

The new Zhongyi Mitakon 24mm f/1.7 Lens is a fast prime wide-angle lens that provides a 35mm-equivalent focal length of 35mm, making it ideally suited for everyday shooting applications. The fast f/1.7 maximum aperture benefits working in low-light conditions and also avails greater control over the focus position for shallow depth of field and selective focus techniques. The 0.15m ultra close minimum focus distance benefit users in image composition. The lens incorporates 9 elements in 8 groups with ED lenses in order to minimize chromatic aberrations for greater clarity and color accuracy. The compact size (55mm x 61.5mm) and light-weight (246g) of the lens also make it perfect for mirrorless camera users.

http://www.zyoptics.net/uncategorized/zhongyi-optics-announces-pricing-availability-of-two-new-lenses-for-mirrorless-cameras/

I just received Canon TV C-Mount Lens 8-48mm f1.0 which looks like Rainbow model:

http://www.pentaxforums.com/forums/pentax-q/210138-adapting-rainbow-h6x8-ii-8-48mm-f1-0-cctv.html

But the guides of modifying show difference between Rainbow and Canon at the thread construction inside.

Please anyone who has CANON 8-48mm f1.0 for help about the right modifying!!!

Big thanks in advance!

• 16 elements in 14 groups
• Min distance - 0.49m at 180mm and 0.77m at 35mm
• F22-F40 Min aperture
• 62mm filter thread
• 75mm diameter
• 400g
• 7 aperture blades
• Flower-shaped lens hood and lens caps are included
• $205 at http://www.amazon.com/magnification-18-200mm-F3-5-6-3-dedicated-B018N/dp/B013HXY21E/

PR

The new 18-200mm F/3.5-6.3 Di II VC (Model B018) is the successor to AF 18-200mm F/3.5-6.3 XR Di II LD Aspherical [IF] MACRO (Model A14), which has been one of Tamron’s best-selling lenses since its introduction 10 years ago. The new 18-200mm VC uses the most modern optical and mechanical design to achieve compactness and high performance. Incorporating image stabilization, the 18-200mm VC delivers superior image quality and is the lightest zoom in its class. Tamron made full use of its long experience and expertise as a pioneering force in high-power zoom lenses to create an optimal all-in-one™ lens that opens up new photographic possibilities to all DSLR camera users.

No need to change lenses—shoot in a wide variety of settings, from true wideangle to telephoto, with a single lens

A zoom range of 18 to 200mm (35mm equivalent: 28-310mm) means there is no need to change lenses even when switching from wideangle shots in tight places to long telephoto shots of distant objects. Ideal for everything from large groups photos, family pictures, portraits, scenery, animals and school events—even for close-up shots (less than 0.5m / 19.7 in.) of food.

Greater portability at a weight of just 400g - the lightest lens in its class

Covers the focal length range of 18 to 200mm and features Tamron’s VC (Vibration Compensation), but weighs a mere 400g. Tamron designed the 18-200mm VC to be as user-friendly as possible by emphasizing portability and convenience. Users will appreciate the incredible balance and comfortable feel of this lens—even when used with the newest APS-C DSLR cameras.

Features VC and AF, providing valuable support for DSLR camera novices

Camera vibration is magnified in telephoto shots and when a slow shutter speed is used because of dim lighting. Even beginners can take great photos at long distances, at night, and indoors—and avoid camera shake—thanks to Tamron's acclaimed VC mechanism. By incorporating a newly designed autofocus drive module with optimal DC motor-gear train integration, the 18-200mm VC also focuses much more quickly and quietly than models with conventional DC motors.

Delivers enhanced imaging performance in a lightweight package

Featuring 16 elements in 14 groups, the 18-200mm VC uses an LD (Low Dispersion) lens element to minimize chromatic aberrations. Although light and compact with VC, Tamron's new offering also delivers amazing overall optical performance for an all-purpose lens. A circular, seven-blade aperture diaphragm maintains an almost perfectly round shape even at two stops down from its maximum aperture, providing desirable and beautiful bokeh with point light sources blurring into naturally rounded shapes.

Works great as an easy-to-use lens for day-to-day use

For added dependability and longer life, Tamron's new lens features moisture-resistant construction that helps prevent damage caused by accidental exposure to wetness. The lens also comes with a Zoom Lock feature to prevent unwanted barrel extension when users carry their lens and camera body combinations with the lens pointed toward the ground.

Specs

• Weather-resistant design with 8 sealing points for weather- and dust-resistance and operation as low as 14°F
• Internal focusing system with 0.08 seconds autofocus speed and nearly silent operation
• 9 elements in 6 groups, including 2 ED glass lens elements to reduce lateral and axial chromatic aberration
• Nano-GI coating reduces ghosting and flare
• 9 blade aperture creates smooth and circular bokeh
• 1/3 EV steps
• Minimum working distance of approximately 13 inches.

The new FUJINON XF35mmF2 R WR will be added to the premium X-Series mirrorless camera lens line-up in November 2015. The XF35mmF2 R WR (53mm in 35mm format equivalent) offers a focal length with the angle of view similar to that of the human eye, and a maximum aperture of F2.0.

The FUJINON XF35mmF2 R WR gives users a superior prime lens that delivers sharp images with rich bokeh. The XF35mmF2 R WR has 9 lens elements in 6 groups (including two aspherical elements) and achieves the perfect balance of high image quality, compact size and autofocus speed as fast as 0.08 seconds. The exterior of the lens is weather and dust-resistant and can work in temperatures down to 14°F. The lens uses eight seals on the barrel to protect it from rain, dust and splashes of water when shooting outdoors. The XF35mmF2 R WR also uses an internal focus system that is combined with a stepping motor to produce quiet, accurate and fast autofocus - a must for all photographers that need to capture a spontaneous moment.

Lots of abberations, soft wide open, no normal focusing, no normal diaphragm.

2400 EUR only.

https://www.kickstarter.com/projects/1745517054/50-mm-f-075-the-fastest-photographic-lens-in-the-w

Samples (some with tele converter)

Let me recap. We shot the short on an fs700 coupled to an Odyssey 7q+. Wonderful, powerful couple, even if I'm not the biggest fan of Sony colors. I decided to stick between 2000 iso and 6400 iso for night shots, as we didn't have the budget for a lot of lighting equipment. 6400 iso noise is a bit bad, but workable. At most I could augment and mold natural light. We decided pretty early on that Anamorphic lenses would add a cinematic twist but also contribute to a sense of realism / immersion we were after in the production. Now, these new and very expensive anamorphics are sharp enough / corrected enough to be shot wide open and the mechanics are obviously top notch, making them as functional as any high quality spherical lens. Another things is; the short was shot almost entirely hand-held and when it comes to anamorphics, that can really skew things up badly if an adapter is only slightly off axis f.i.. I was a bit worried during the first day of shooting, as we didn't have a working live-grade setup for correcting the footage, however, I did not need to. These are perfectly corrected to not skew things up in a bad way, no matter how you shoot.

We ended up with the Cookes as the Arri/Zeiss ones had been booked by someone else, but they did not dissapoint one bit. After checking some tests online I chose the 40 and 75 as the former looked to have less CA / have better correction than the wider 32, while the 75 had some CA but allowed for different framing (The Arri Zeiss ones seem to be pretty identical, but the Cookes have some differences in-between them) and differences in distance emphasis, depending on location space. The lenses are massive, over 2 kg's, and I had to put together pieces from 2 different rigs to make it work, all in all we ended up with setup weighing in at around 10 kg's. After that, however, we hardly had to think any differently, though at the end of the shoot my eyes seemed to want to squeeze reality into 2x.

The bottom line, having lenses of this quality in the production allowed us to use anamorphics in the first place, to get a clear anamorphic look without the potential caveats of working with them, never taking time from the shoot. For a more extreme look, well, you may have that option with a bigger budget but then again, it's always possible to push things in the grade. (in doing both I retain control)

The lenses can be used at 2.3T (with sufficient sharpness), though I prefered to stay at 2.8 for most night exteriors. I'll add some sample frames here shortly, and update when I get into pregrade. If there are any surprises, I'll let you know.

I've recently started to get interested in C mount (CCTV) lens, for they are fast, wide, and cheap. So I wondered, is there any CCTV lens that I could use as a Fisheye (and get the same effect as the Panasonic 8mm f3.5, but faster) ? Here's a few lens I've found looking on the internet :

• Rainbow 3.5mm 1.6

• Tamron 4-12mm 1.2

• Pentax 6mm 1.2 (+ wide conversion lens x0.45)

Wanted effect :

The GH2 exact m4/3 sensor crop is x1.86.

So I would like to get the same widness as the Panasonic 8mm or any 8mm Fisheye (Samyang, Peleng, Rokinon...) :

Panasonic 8mm : 8 x 1.86 = 14.88mm equivalent (no need for ETC mode)

Rainbow 3.5mm : 3.5 x 1.86 = 6.51 -> 6.51 x 2 = 13mm equivalent

Pentax 6mm : 6 x 1.86 = 11.16 -> 11.6 x 2 = 23.2mm equivalent -> 23.2 x 0.45 = 10.44mm equivalent

x 1.86 : GH2 Sensor Crop

x 2 : ETC tele conversion mode crop (to cover vignetting)

x 0.45 : Wide convversion lens

Does that mean we could use any CCTV c mount lens instead of the Panasonic lens to get the wide fisheye effect ?

A few videos :

Lenses :

• http://www.ebay.fr/itm/Varifocal-Manual-Iris-CCTV-Lens-4-10mm-C-Mount-2-Mega-Pixel-VF-MI-4-10-C-2MP-/121077583241?pt=UK_CCTV&hash=item1c30c94d89

• http://tinyurl.com/qx3utvp

• http://www.ebay.com/itm/DV3-4X3-8SA-1-LENS-1-2-3-8-13MM-VARIFOCAL-MANUAL-IRIS-/150585299071?

C mount lens (1/2") work well on the GH2, but I heard that the CS mount lens (1/3") would still have really heavy vignetting because even with the ETC mode it would not cover entirely the GH2 sensor. Is that true ?

Interesting CS mount lens, but 1/3 inch : http://www.ebay.fr/itm/TAMRON-Manual-Iris-CCTV-Lens-3-0-8mm-1-1-0-ASPHERICAL-C-Mount-3-Mega-Pixel-/261248954560?pt=UK_CCTV&hash=item3cd3a6b0c0

I would use the fisheye to film Skateboarding.

Thank you.

But the question is for the viewer what affect does it have using the same focal length all the time with no variety, of course i would have close ups, wide shots etc mixing it up but is there a problem with using the same prime? I wonder what the affect it has on the viewer? boring? etc I do recognise extreme lens would make a big difference i.e. using a 12mm for close ups, but I'm talking about a 25mm on 4/3 which technically is a normal lens.

Well, now we're in post, and there are a few problems. The GX7's footage is, well, pretty vibrant: it's smooth, with vivid color, and very sharp focus. And not only is it difficult to grade Vlog to match it (Balazar's LUTs are a big help), I'm finding that my cine-lens footage is just a lot softer than the stuff shot with auto-focus lenses.

Is this kind of the rule with lenses-- that the auto-focus lenses made by Panasonic are just sharper than Rokinon or SLR primes?

(Also, a side question: if I use sharpening on my 4K footage, which is better: sharpen the 4K and then reduce to 1080p, or reduce to 1080p and then sharpen?)

How does this lense perform at 1.5? Is it soft?

Special in combination with metabone canon EF to MFT XL adapter? Or straight mft on the gh4.

Also how does these lenses get along with gears and follow focus systems?

Since I live in Germany, can anyone one provide dealers to get rokinon cine lenses?

Feedback would be much appreciated?

The second post are my initial thanks.

The third post are my first ideas, posts from me copied from the topic where this idea was born. This is the link to it: http://www.personal-view.com/talks/discussion/4466/most-wanted-anamorphic-lens/p1

Following posts are the development in progress and you can do your posts to say your thoughts, be welcome.

Upon a quick test of this Kodak-branded Sakar lens, we were surprised by how well it seems to perform at f0.95.
The build quality seems to be on par with the optical performance. Being an all-manual lens, we found both the focusing and aperture rings to run quite smoothly. The barrel of the lens seems to be made of metal, at least thats what the finish felt like.

Via http://www.thephoblographer.com/2013/10/25/surprise-surprise-sakar-bringing-fast-kodak-branded-glass-micro-four-thirds/

I'm going to buy a set of cine primes from samyang.

Anyone think nikon or canon mount is definite way to go? I have metabones nikon adaptors to m43, but canon seems like I can connect to blackmagic etc cameras in future...