Full list of contenders: (will be amended according to contributions)

• Leica Panasonic DG Summilux 25mm f/1.4
• Olympus 25mm f/1.8
• SLR Magic f/0.95
• Voigtlander Nokton 25 f/0.95

(This original post revised, thanks Vitaliy)

I've found this incredible C-mount lens on Ebay for 150€. It's a LINOS MeVis-C 35mm 1.6 C-mount lens made by Qioptiq.

It's an industrial lens, usualy sold for 1090$ , http://pstechnik.de/en/optics-c-mount.php .

The 35mm is designed for 1'' sensor. It has been used in some of the shots of Slumdog Millionaire. I'm looking for a solution to use it with my anamorphic lens my baby Hypergonar. I did some fast test and it's very promising !!!!!

http://flickr.com/photos/43243778@N04/9845131316/

• Olympus OM-D E-M5
• LINOS MeVis-C C-mount 35mm 1.6 lens made by Qioptiq (rear limed to fit in the C-mount adapter) always oppened @ 1.6
• Hoya ND Filter ND400
• 1080P30, 1/50
• Art4 "tonalitée lumineuse" art filter
• No CC

I am looking to get a zoom range to cover everything as well, parfocal and good iq. so far it looks like some studs might be the minolta 35-70 f3.5 and its brother the 70-210 f4 (although if there are any longer range zooms that don't have the focus and zoom features on the same ring please let me know)

So if I get an MD lens turbo/speedbooster I could then get a m42 to MD adapter and use all my lenses on the lens turbo correct?

Also please feel free to critique my collection and let me know if I have any major gaps you think I should cover. I do have the Panny 20mm 1.7 to fill the wide end, and I will only keep one of the two 135mm's

http://www.lensrentals.com/blog/2013/09/there-is-no-free-lunch-episode-763-lens-adapters

The coarse focus is done on the Cinelux via a thumb screw at the front but the fine focus is done on the imaging lens attached to the rear so there are two focus controls to worry about.

I am interested in a modification, but first I have some questions

1 have you taken one apart? - if so please post pictures

2 the focus range is 3m - INF, via a small knob - how many full turns to go from near to far?

3 is the focus low torque or high (stiff), could it take a pinion gear for gearing or servo/stepper?

Specifications:

• 300mm focal length
• 9 elements in 9 groups, 1 ED element
• F6.3 fixed aperture
• Mounts - Canon EF-M, Fujifilm X, m43, Sony E mount
• Weight - 318g
• Diameter - 65mm
• Length - 74mm
• Price - from $279

Available at:

• http://www.ebay.com/sch/i.html?_sacat=0&_from=R40&_nkw=300mm+rokinon&_rokwmt=1

Specs:

• 35mm
• T1.5, 11-blade aperture
• For full frame cameras
• Minimum focus distance - 45cm
• Focus ring rotation - 300 degrees
• Outer diameter - 115mm
• Length - 101.5mm
• Weight - 2.87 lbs

The Canon CN-E35mm T1.5 L F Cinema prime lens is expected to be available in December 2013 for an estimated retail price of $5,200.

Canon U.S.A., Inc., a leader in digital imaging solutions, has announced today the new CN-E35mm T1.5 L F single-focal-length Cinema prime lens designed for large-format single-sensor digital cinematography cameras employing Super 35mm or full-frame 35mm imagers. Delivering outstanding optical performance in contemporary 4K / 2K / HD motion imaging, the new Canon CN-E35mm T1.5 L F prime lens is the sixth member of Canon's line of compact, precision-matched EF-mount Cinema prime lenses, which also includes 14mm, 24mm, 50mm, 85mm and 135mm EF-mount models.

Collectively, Canon's Cinema prime lens family delivers a wide range of the most important choices in focal lengths to address a myriad of creative digital cinematography choices. All six Canon Cinema prime lenses provide a full-frame 36mm x 24mm image circle for full compatibility with the Canon EOS-1D C, EOS C500, EOS C300 Digital Cinema cameras, the EOS 5D Mark III and EOS-1D X DSLR cameras, the EOS C100 Digital Video Camera and EF-mount cameras made by other manufacturers. The lenses also feature consistent color balance, minimal focus breathing, water-resistant rubber gaskets, and an 11-blade aperture diaphragm to help achieve creative depth-of-field manipulation and pleasing "bokeh" effects. The six Canon Cinema prime lenses are also designed to facilitate production with uniform stepless gear-positioning rings for iris and focus, with an identical 300§ smooth rotation angle on the focus ring. These control rings - switchable from feet to metric labeling - maintain just the right amount of resistance with consistent operating torque. Lens barrels are engraved with easy-to-read scale markings, and consistent 114mm front lens diameters can accommodate screw-on filters and other accessories.

"As with all Canon Cinema prime lenses, the new Canon CN-E35mm T1.5 L F lens has been crafted to meet the creative requirements of the most discerning cinematographers, directors and producers," said Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. "Filmmakers indicated a need for this lens in our lineup and with its launch, we now offer six cinema prime lenses covering some of the most important focal lengths."

So, I've fallen in love with this Magic SLR 12mm lens. The clickless aperture, low light, build, and "film like" qualities have been awesome.

I've been waiting for Adorama to get the Magic SLR 25mm lens in, but it's always backordered at 799. I also see that Voigtlander has a 25mm lens and can be bought USED for around 849.

Does anyone have the Magic SLR and one of these other lenses? Does Voigtlander have a clickless aperture?

It seems like in terms of quality, it's really negligible.

I had my heart set on the Magic SLR, but I can get the Voigtlander today used for a decent price. And I don't have to worry about step up adapters etc to use filters.

http://www.ebay.com.au/itm/Camera-Len-Ring-Repair-Part-for-Panasonic-Lumix-GF3-G2-GF2-GH2-G3-/221123435105?ssPageName=ADME:B:SS:AU:3160

I've just had for few days the prototype of the upcoming SLR Magic 17mm T1.6 lens in micro 4/3 mount.

This lens reminds me the one from Voigtlander the 17mm f0.95 I test once .

Despite it's a T1.6, the SLR is a very fast lens, and I had to use strong ND filter on it to be able to use it at it's fastest speed at 1/50 shutter speed. This lens is a prototype so I can't show it, but this model looks quite like the 25mm T0.95 from SLR. It has also a no click aperture ring. Most of the shot of the movie are taken at T1.6, and you can see the very good sharpness of the lens, even at its fastest aperture.

SLR Magic told me that : "this is a SLR Magic CINE designation lens and not a HyperPrime lens so it is made for the budget indie filmmaker. It is in the same series as our 35mm T1.4 CINE II lens. Price of the production 17mm T1.6 lens is TBA (to be announced). The SLR Magic CINE 17mm T1.6 will have the same mechanical build as our 35mm T1.4 CINE II lens that repeatable focus. The 35mm T1.4 CINE II lens will be compatible with our upcoming 1.33x Anamorphic adapter but the 17mm T1.6 will not be on the compatible list. Field curvature effects causing softness at extreme when focusing at close focus distance were put into consideration during lens design and edge sharpness should be quite sharp even when wide open. Light falloff during wide open aperture is well controlled."

I have use the OMD E-M5 from Olympus. I've bought recently this camera because I was really impressed by the movie of Andrew Reid, where we can see the proficient internal 5 axis stabilization system. It was quite hard for me to use this new camera. Two main problems have appeared :

1. I found that the contrast in classic image mode are very strong, the black are too black to my opinion (I've used the Natural mode). Then I decided to change the mode and I've used the Art filter 3 (ton neutre et lumineux, I suppose in english it's "neutral and bright tone") to have less strong blacks. But this mode gives green rendering (and the ND add it too), so I try to color corrected it. That's why you have two mode in this movie, the Art filter 3 is in the countryside and seaside shots. I did light color correction in quite all the clips.

2. The second problem is the using of ND filter on OMD with the stabilization. At the begining of my shooting I was using a variable ND filter from Cokin. The problem is that there is slight vigneting when you are closing it. And this vigneting is moving because of the stabilization. You can see this issue in some of the shot, the traveling with the girl with the yellow bag, for example.Then I decided to use another ND filter, not a variable, the Hoya NDX400. With a constant ND filter, the problem of the "moving vigneting" disappear. But it's less easy to use. Especially with the OMD that has less efficient dynamic range than the GH3.

Anyway despite this problems I have discover with my first use of the OMD camera, I'm really impressed by its internal stabilization sytem, for example it allowed me to do these shot from the car in the small roads of north Ireland, with a third part lens such as this SLR Magic 17mm T1.6. I'm really happy using this lens, it is a good experience and it's useful to have a fast 17mm, especially when you think that 25mm is not enough wide, and 12mm too wide.

• Olympus OMD E-M5
• SLR Magic 17mm T1.6 (prototype)
• 1080P 30
• "Natural" and "Art 3 bright and neutral" modes
• Variable Cokin ND filter
• NDX400 ND filter from Hoya
• edited on Adobe Premiere CS6
• CC on Premiere

Music (mash up) : * Midlake "The Courage Of The Other" * King Crimson "In The Court Of The Crimson King""

Looks exactly like the Allstar Cine 80-200... Is Tilta reselling the Allstar?

http://www.ebay.in/sch/manphoto/m.html?_nkw=&_armrs=1&_from=&_ipg=&_trksid=p3686

Thanks

Via: http://blogs.zeiss.com/photo/en/?p=3307

Specifications:

• Focal length - 300mm
• Maximum aperture - f4
• Lens construction - 15 elements in 11 groups
• Angle of view - 8 degrees @ 15 feet
• Closest focusing distance - 4.9 feet
• Filter size - 77mm
• Dimensions - 3.7 inches in diameter and 8.7 inches long
• Weight: 2.6 pounds

Available

• http://www.amazon.com/Canon-300mm-Telephoto-Lens-Cameras/dp/B00009R6WW/

Reviews

• http://photo.net/equipment/canon/300-4

Specifications:

• Focal length: 90mm
• Maximum aperture: F/2.8
• Minimum aperture: F/32
• No. of diaphragm blades: 9
• Angle of view (diagonal): 27°02′ (for FF), 17°37′ (APS-C)
• Lens construction: 14 elements in 11 groups
• Minimum focus distance: 0.3m (11.8 in)
• Maximum magnification ratio: 1: 1
• Working distance: 139mm (5.5 in)
• Filter size: Ø 58mm
• Length: 114.5mm (4.5 in)
• Entire length: 122.9mm (4.8 in)
• Diameter: Ø 76.4mm
• Weight: 550g (19.4 oz)
• Standard accessory: Lens hood
• Compatible mounts: Canon, Nikon, Sony

Previews and reviews:

• http://www.focus-numerique.com/tamron-presente-90-mm-macro-2-8-vc-usd-24x36-news-3591.html
• http://www.ephotozine.com/article/tamron-sp-90mm-f-2-8-di-macro-1-1-vc-usd-lens-for-sony--canon-and-nikon-20082

Available at:

• http://www.amazon.com/Tamron-AFF004C700-90MM-2-8-MACRO/dp/B00A35WYJC/

I was wondering if any wide conversion lens could fit on the 14-140mm panasonic lens, like the "Wide Conversion Lens DMW-GWC1" works on the Panasonic 14mm f2.5 ? The thread is 62mm, so would some converters like this work ? http://www.ebay.fr/itm/Impact-DVP-WA65-62-62mm-Wide-Angle-Converter-Lens-/110823536775?pt=Camera_Lenses&hash=item19cd98f887 or http://www.amazon.fr/Olympus-WCON-Convertisseur-grand-angle/dp/B0000511RI

Thanks for answering.

Also, my budget for a good wide is around 200$. if anyone can suggest me a better vintage/new/used lens i would be thankful.

Thanks!

However, I've been reading that prime lenses destroy zooms in terms of image quality. Is this true with the Panasonic 12-35/30-100 vs the Panasonic 25mm and the Olympus 45mm?