The lens is reassuringly solidly built, weighing in at a reasonable 411g. It is splash and dust resistant and specifically claims to resist water to the IPX1 standard. This basically means that it will be resistant to condensation and to drops of water “falling vertically” on the lens. Maybe heavy rain should be avoided, but full marks for being specific about what splash resistance might actually mean.
Taking our tour of the lens from the front, there is a supplied petal lens hood that is necessar
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The lens is compact and light, weighing in at just 160g, which barely changes the bulk of the Canon R5 at all. There is a bayonet fit on the front that is clearly intended for the lens hood, but sadly the hood is not included with the lens. For the sake of a minimal increase in cost, it is a pity that there is no hood as all lenses may benefit from the protection one offers. Probably very few users will actually go on to purchase the dedicated hood. W
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Exhibits outstanding rendering performance and enables smooth and beautiful bokeh
NIKKOR Z 50mm f/1.2 S
TOKYO - Nikon Corporation (Nikon) is pleased to announce the release of the fast, standard prime lens NIKKOR Z 50mm f/1.2 S, that is compatible with full-frame (Nikon FX-format) mirrorless cameras for which the Nikon Z mount has been adopted.
The NIKKOR Z 50mm f/1.2 S is a fast, standard prime AF lens that has a maximum aperture of f/1.2, provides outstandingly beautiful and smooth bokeh, and is part of the S-Line*1. By attaining an ideal lens structure with perfect symmetry in front of, and behind, the aperture, the lens balances outstanding resolution and the beautiful bokeh of a shallow depth of field to realize a clear sense of perspective, while achieving the f/1.2 maximum aperture. Users can enjoy a more three-dimensional appearance in their photos and videos, with portrait phot
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Balances superior portability and outstanding rendering performance
NIKKOR Z 14-24mm f/2.8 S
TOKYO - Nikon Corporation (Nikon) is pleased to announce the release of the fast, ultrawide-angle zoom lens NIKKOR Z 14-24mm f/2.8 S that is compatible with full-frame (Nikon FX-format) mirrorless cameras for which the Nikon Z mount has been adopted.
The NIKKOR Z 14-24mm f/2.8 S is a fast, ultrawide-angle zoom lens that is part of the S-Line*1 of NIKKOR Z lenses. Throughout the entire zoom range, a constant fast maximum aperture of f/2.8 is maintained while delivering incredibly sharp and clear rendering performance from maximum aperture and throughout the entire frame. It is the world's shortest*2 and lightest*2 lens in its class, with a length of approximately 124.5 mm and a weight of approximately 650 g. The NIKKOR Z 14-24mm f/2.8 S is the perfect lens for a wide variety of lan
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The SIGMA Corporation is pleased to announce that SIGMA 14-24mm F2.8 DG DN | Art has won EISA Awards 2020-2021.
SIGMA 14-24mm F2.8 DG DN | Art Name of Award: EISA WIDEANGLE ZOOM LENS 2020-2021
Award citation:
This large aperture, wide angle zoom for full-frame mirrorless cameras provides excellent quality at a very competitive price. It’s available in both Sony E-mount, and L-mount for Leica, Panasonic and Sigma cameras. By optimizing the design for mirrorless, Sigma has made a lens that’s considerably smaller and lighter tha
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I've always been a fan of odd lenses and crazy rendering from some vintage lenses. I have even gone further than most and used vintage lenses on my Sony exclusively on actual customer sessions, and I have been pleased with the results. Today, I want to talk about how much difference modern lens technology really makes in actual real-world usage.
I suffer from gear acquisition syndrome as much as the next guy, and I'm the first to always want the hottest new lenses such as the Otus 100mm. Technology improves at a rapid pace in most industries, but espec
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Nikon has unveiled two new zoom lenses: the AF-S Nikkor 120-300mm f/2.8E FL ED SR VR super telephoto lens for Nikon's F mount DSLRs, and the Nikkor Z 70-200mm f/2.8 VR S lens for Nikon's Z series mirrorless cameras. The AF-S Nikkor 120-300mm f/2.8E VR is designed for sports and wildlife photographers, and the Nikkor Z 70-200mm f/2.8 VR S is designed as a "workhorse lens for capturing action and portraits," according to Nikon.
Here's what Nikon had to say about these two new lenses in a press announcement last night. Nikon also announced the new D780 full frame DSLR, which might pair well with the new Nikkor 120-300mm lens.
"AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR
The all-new AF-S NIKKOR 120-300mm f/2.8E FL ED SR
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Kenko Tokina announced last night that it will be releasing the Tokina atx-m 85mm f/1.8 FE lens for full-frame Sony E-mount mirrorless cameras, such as the A7R IV and A7 III cameras.
The new Tokina atx-m 85mm f/1.8 FE lens will go on sale on February 7, 2020 for $499. Below is a sample image shot by photographer Timothy Alsbrooks using the new Tokina 85mm f/1.8 FE lens.
We would like to announce that a new firmware update for SIGMA 100-400mm F5-6.3 DG OS HSM | Contemporary for CANON EF mount is now available.
For customers who own the SIGMA USB DOCK and applicable products listed below, please update the firmware via SIGMA Optimization Pro※.
※ Before updating the firmware using the SIGMA USB DOCK, please ensure to update SIGMA Optimization Pro to Ver. 1.5.0. or later for Windows / Ver. 1.5.1. or later for Macintosh.
[Applicable product]
・SIGMA 100-400mm F5-6.3 DG OS HSM | Contemporary for CANON EF mount
[Benefits of the update]
・It has optimized the operation of Mode 2 in Optical Stabilizer when used in combination with the SIGMA MOUNT CONVERTER MC-21 EF-L.
Tamron announces the launch of a close-focusing fixed focal lens on January 30, 2020.
January 15, 2020, Saitama, Japan - Tamron Co., Ltd. (President & CEO: Shiro Ajisaka; Headquarters: Saitama City), a leading manufacturer of optics for diverse applications, announces the launch of a fixed focal lens for Sony E-mount full-frame mirrorless cameras, the 20mm F/2.8 Di III OSD M1:2 (Model F050) on January 30, 2020.
Now, all three close-focusing fixed focal lenses including the 24mm F/2.8 Di III OSD M1:2 (Model F051) and the 35mm F/2.8 Di III OSD M1:2 (Model F053) will be on the market. Enjoy the world of fixed focal with this convenient and mobile lens, featuring the same 67mm filter diameter as Tamron’s line-ups for full-frame mirrorless cameras.
- Interchangeable lens for GFX Series of mirrorless digital cameras incorporating large format sensors
- Delivering superior image quality created by 100MP+ sensor
- Featuring a powerful image stabilization mechanism and a weather-resistant structure
Tokyo, January 23, 2020 ― FUJIFILM Corporation (President: Kenji Sukeno) is pleased to announce the launch of the standard zoom lens “FUJINON Lens GF45-100mmF4 R LM OIS WR (hereinafter “GF45-100mmF4 R LM OIS WR”)” in late February 2020. It will be a new addition to the lineup of interchangeable GF lenses for use with the GFX Series of mirrorless digital cameras, incorporating the large format sensor*, about 1.7 times bigger than a full-frame 35mm sensor.
The GF45-100mmF4 R LM OIS WR has the maximum aperture of F4 and covers most frequently-used focal lengths from 45mm to 100mm (equivalent to 36-79mm in the 35mm film format). Equipped with a powerful image stabilization mechanism and a weather-resistant structure, the lens caters to severe shooting conditions. The GF45-100mmF4 R LM OI
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This year marks the 40th anniversary of Tamron’s SP (Superior Performance) lens series. They elected to commemorate this special occasion by introducing what they have labeled “the ultimate Tamron lens” in the form of the new SP Tamron 35mm F/1.4 Di USD (Model F045) prime lens in Canon EF and Nikon F mounts.
The advance promotion and performance claims for this new Tamron 35mm F/1.4 lens have been prodigious, so we requested a sample to test by our own standards. We explore the question: just exactly how good is Tamron’s best lens ever?
“Go make the best lens possible.” It seems that those were the instructions given to Tamron’s design team. According to their top brass, “Tamron’s opt
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The Canon EF 70-200mm F4L IS II USM is a new updated version of the classic f/4 L-series telephoto zoom lens for Canon's full-frame and APS-C DSLR cameras.
This weather-sealed lens features a constant aperture of f/4 throughout the range, built-in 5-stop image stabilisation system with three different modes, and minimum focus distance of 1m and maximum magnification of 0.27x.
There's also an ultrasonic focus motor for quiet and fast AF operation, Super Spectra coating to help minimize ghosting and flare, a fluorine coating on the front and rear lens elements, and a dust- and moisture-sealed construction.
The optical formula is comprised of 20 elements in 15 groups with one fluorite element and two ultra-low dispersion glass elements, and it has an iris diaphragm with nine rounded aperture blades. It's also fully compatible with the optional Canon 1.4x and 2x teleconverters.
The Canon EF 70-200mm F4L IS II USM lens officially retails priced at £1299.99 / $1299.99 in the UK and U
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The history of the 70-200mm is far shorter than many may suspect. With the original Canon 70-200mm f/.28L, from Canon at least, being released in 1995, many people are shocked to hear that we’ve had seven different iterations of this lens in just 23 years. And that’s only counting the Canon versions – Sigma, Tamron, and Tokina have great iterations as well. So when
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If you’re looking for the best lens for food photography, you’ve come to the right place. As with a few other photography niches where it’s crucial to capture images as they look in real life (or better), an important factor to consider when shooting food is the focal length of the lens and your camera’s sensor size.
Before you purchase lenses (or any camera equipment at all, if you’re just starting out) for food photography, know that sensor size matters big time. Therefore, many professionals will tell you that investing in a full-frame camera will prove to be advantageous for virtually every photographic need.
But even if you already own a camera
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Choosing the right lens for any genre of photographer is a minefield and getting into food photography is no exception.
In this video I go through what I believe to be the best three options for a food photography lens. Although there really is no right or wrong answer to the question of a best lens in any genre, there are certainly some lenses that spring to mind when looking to perform a set task and perhaps some focal lengths that are supposed to be the correct text book focal length, but most photographers who really stand out tend to go against the grain on this (Platon springs to mind).
Personally, I am a big fan of primes, but if you were looking for a zoom lens, then something around the 24-70 or 24-105 range would be a great starting point. But for me, when shooting still life images using a prime is perfect. You don’t need the versatility as everything is hopefully staying put, but you can certainly benefit from the image quality improvements that primes give over zooms. There is also an improved aesthetic from almost all primes over equally pr
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The Nikkor Z 24-70mm f/2.8 S lens has the Nikon Z mount and is designed for use with Nikon’s new mirrorless cameras. It sits alongside the Nikkor Z 24-70mm f/4 S, which was introduced with the Z 7, and is designed to appeal to professional and dedicated enthusiast photographers who want to restrict depth of field more than is possible at f/4, or enjoy an extra stop of light.
Its 17-element, 15-group construction includes two ED (low-dispersion) elements and four aspherical elements. Along with it
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The Sigma 60-600mm F4.5-6.3 DG OS HSM Sports is the world’s first 10x optical zoom telephoto lens with a tele end of 600mm. Incorporating 25 elements in 19 groups, excellent and consistent image quality can be achieved throughout the entire zoom range. This lens’ intelligent OS featuring the latest algorithm delivers an image stabilization effect of 4 stops. Its optical design ensures maximum correction of magnification chromatic aberration encountered in hyper-telephoto shooting. This offers both high resolution and consistent edge-to-edge performance throughout the entire zoom range. In addition, when shooting at the focal length of 200mm, the Sigma 60-600mm F4.5-6.3 DG OS HSM Sports can also be used for telephoto macro photography, with a maximum magnification ratio of 1:3.3, thanks to its high rendering performance. Its multi-material build, which incorporates magnesium among other components, ensures durability and enhances portability, allowing for comfortable handling of the 10x zoom lens. The zooming mechanism has been engineered to make both smooth rotation an
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This is the Sony 500mm f/4 G SSM lens, a fast telephoto prime but for Sony A mount. The new FE 400mm f/2.8 GM OSS will set the bar for sports photos in the a7 and a9 lens line up
Today the Sony FE 400mm f/2.8 GM OSS lens has been announced. It fills a whole in the FE lens line up for the Sony a7 and a9 cameras.
It’s a hole that seemed to grow when the Sony a9 was announced – arguably the most capable camera for shooting the sort of action that such a fast telephoto lens like the 400mm f/2.8 is primarily designed for.
Currently the FE 70-200mm f/2.8 G OSS lens is the closest FE offering to the newly announced 400mm f/2.8 lens, but that has half the reach.
Existing a7 and a9 shooters currently need to use Sony A mount lenses via an adaptor to get the sort of speed and reach that the Sony FE 400mm f/2.8 lens offers.
Sony A mount telephoto lenses include the 500mm f/4 G SSM which retails at around £11,000. You also have the 300mm f/2.8 G SSM II at £7,500 and the 70-400mm f/4-5.6 G SSM II at £2,270.
When using telephoto and macro lenses, it is often desirable to get tighter framing on a subject that is being photographed. One of the main reasons is to magnify the subject and improve its detail in order to show it best to the viewer, but another reason could be related to improved framing and composition – by focusing tightly on the subject, it is often possible to remove the visual clutter surrounding the subject, which ultimately simplifies and enhances composition. Although photographers can often simply move closer to their subjects to get tighter framing, sometimes it is physically impossible to do that due to the nature of the subject (such as when photographing wildlife), or when action is taking place at a particular distance (such as when photographing sports activities). In such situations, a teleconverter can come into the rescue. While teleconverters can be incredibly useful, they also have a few rather serious disadvantages that can lead to increased blur and loss of sharpness. Let’s take a look at what a teleconverter is and go over its advantages and
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WHAT DO YOU get for your money? That’s the question everyone looking to buy a piece of tech asks themselves. It also happens to be the question this recurring feature will try to answer. Is it worth spending extra on high-end gear, or do you get what you need with cheaper models? Every month, we’ll look at some of the cheapest and most expensive products in a given category, testing each to see what their limits are and help you figure out when you can cheap it out, and when to plunk down some extra cash to get what you need.
HI/LOW: SLR LENSES
The legendary photographer Henri Cartier-Bresson described photography as being about what he called “the decisive moment,” capturing that image frozen in time that is the essence of the subject. Although much of what Cartier-Bresson was taking about was learning to see that perfect moment, the equipment you use also plays a part in capturing it.
Sony's previously announced 400mm F2.8 GM OSS received a full introduction today. The pro-grade lens will ship in September for $12,000, and aims to deliver superior autofocus and handling. The lens is a (relatively speaking) light 2.7kg / 6.4lb, and Sony claims it's well-balanced for monopod or even handheld shooting. The company also says that its FE 400mm takes advantage of two new linear motors with 5x faster tracking performance on
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ombining a super telephoto length, bright aperture, and lightweight design, this FE 400mm f/2.8 GM OSS Lens for Sony E-mount cameras is ideal for sports, wildlife, and nature photographers. The fast 2.8 aperture provides great depth of field control for isolating subjects as well as maximizing performance for low-light shooting situations. Three fluorite elements reduce chromatic aberration and one ED element further increases performance and image quality by reducing flare and ghosting while shooting in harsh conditions.
Weighing in at just 6.4 lb, this lens is incredibly portable for glass of its size. The weight of the lens is also redistributed to the back where it would sit over a monopod, making tracking subjects and panning easier. Complementing that is Sony’s XD Linear Motor autofocus system, which quickly and qui
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It was the curved shape of the lens that led to its name being borrowed, in the late 17th century, from the Latin name of the lentil plant, lens culinaris. In French, another word for lens is objectif—suggesting truth and impartiality.While objectif had been used since the 17th century to describe the optical glass of scientific instruments like telescopes and microscopes, one of its earliest uses as a name for photographic optics was in Jules Verne’s 1874 novel The Mysterious Island. A group of Americans str
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The new version of its popular 70-200mm F4L telezoom features numerous improvements over its predecessor, including five stops of stabilization. The updated IS is now quieter, and now features three modes, designed specifically for shooting still and moving subjects. Weighing 780g, the new 70-200mm F4L is 40g heavier than its predecessor.
Olympus Corporation (President: Hiroyuki Sasa) is pleased to announce that the M.Zuiko Digital ED 17mm F1.2 PRO (34mm focal length in 35mm equivalent) interchangeable lens (launched in January 2018) is the recipient of the Camera Grand Prix 2018 “Lens of the Year” award in Japan.
Olympus recently expanded its M.Zuiko F1.2 PRO prime lens lineup with the M.Zuiko Digital ED 17mm F1.2 PRO (34mm focal length in
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Just a week after we came across leaked images of the lens, Samyang has unveiled its latest Sony autofocus lens, the AF 24mm F2.8 FE.
Samyang calls the lens ‘tiny but wide’—and rightly so. This lens weighs just 93g and measures 37mm from front to back without the hood or rear lens cap. The FE designation means it works with full-frame Sony cameras, including but not limited to the A9 and A7 III.
The optical design of the lens is made up of 7 elements in 7 groups.
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Exactly one week after dropping its 24mm F2.8 AF lens for full-frame Sony cameras, Samyang is back at it again. Today, Samyang announced the release of a new 85mm F1.4 AF lens for Canon DSLRs.
The telephoto prime is yet another addition in Samyang's growing portfolio of autofocus lenses. This lens in particular uses an upgraded dual-motor system to deliver faster, more accurate autofocus performance, according to Samyang. The minimum focusing distance is 90cm/35.43in, roughly 5cm more than Canon's 85mm F1.4 IS USM lens,
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Nikon announced this morning that it is developing the AF-S NIKKOR 500mm f/5.6E PF ED VR, an FX-format (aka full frame) fixed focal length super-telephoto lens, which the company says will “strike the ideal combination of portability and performance.” Nikon did not release images of this upcoming lens; the photo above is of the AF-S Nikkor 500mm f/4E FL ED VR lens from 2015 for reference.
According to Nikon, the AF-S NIKKOR 500mm f/5.6E PF ED VR lens will be “significantly smaller and lighter than comparable camera lenses” due to the use of Phase Fresnel (PF) lens elements in the upcoming 500mm.
“Despite its long focal length, the lens’ compact body can be attained with fewer lens elemen
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It's been a pretty quiet year for Nikon so far, with no new camera announcements and just one lens launched. Now, though, the company has announced the development of a new AF-S 500mm f/5.6E PF ED VR telephoto prime lens.
While Nikon already has the fast AF-S 500mm f/4E FLED VR, the new lens, which will sit alongside that one, should
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Think of lenses with an ultra-fast f/1.2 maximum aperture and you'd expect a four-figure price tag. Not so the new Neewer 35mm f/1.2 APS-C prime lens for Fujifilm X and Sony E mounts, which costs just $119.99 (about £89 or AU$158).
Chinese brand Neewer is probably known more for its range of affordable accessories, but this is the company's second lens to date. With an alu
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Two upgrades to Canon’s 70-200mm lenses have been announced – with a new 70-200mm f/2.8L and a 70-200mm f/4L available .
The EF 70-200mm f/2.8L IS III USM replaces Canon’s flagship 70-200mm lens, and has been designed with high-performance and extra robustness in mind. It has pro
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Photographer Taylor Jackson got his hands on one of the first Nikon 105mm f/1.4 ED lenses to hit Canada, and given the amount of hype this “world’s first” lens has gotten, he was anxious to see if the lens could walk that talk.
The answer, in the end, is a distinct “sort of.”
Over the course of his hands-on test, Jackson pitted the 105mm f/1.4 against his workhorse, the Nikon 85mm f/1.4G, and his budget lens, the Tamron 85mm f/1.8 VC. You can see the side-by-side shots (straight out of camera JPEGs):
I've always been a fan of odd lenses and crazy rendering from some vintage lenses. I have even gone further than most and used 
This year marks the 40th anniversary of Tamron’s SP (Superior Performance) lens series. They elected to commemorate this special occasion by introducing what they have labeled “the ultimate Tamron lens” in the form of the new 
If you’re looking for the best lens for food photography, you’ve come to the right place. As with a few other 
The 
