According to DicaHub, Samyang will be announcing the following lenses on April 28, 2014.
- Samyang 35mm f/1.4 AE for various mounts.
- 7.5mm T3.8 Fisheye Cinema Lens for Micro 4/3
- 12mm Cinema Lens for mirrorless systems.
According to DicaHub, Samyang will be announcing the following lenses on April 28, 2014.
Samyang is once again teasing a lens announcement via their Facebook page. “Samyang Optics invites you to join the journey to the next level of creativity on April 28th 2014. We hope you to enjoy our proud new products”
It looks like it’ll be more than one lens, perhaps this is when Samyang will announce their first autofocus lenses? Or perhaps a zoom lens or two?
Sigma Releases Optimization Pro v1.2.0 Update
We are pleased to announce the availability of the new “SIGMA Optimization Pro Ver1.2.0 for Windows” and “SIGMA Optimization Pro Ver1.2.0 for Macintosh”, the dedicated software for the SIGMA USB DOCK which allows customers to update the lens firmware of new product lines, as well as to customize settings such as AF and focusing position.
This download service is for SIGMA USB DOCK Users who are using our interchangeable lenses from 3 product lines (Contemporary, Art, Sports). As a SIGMA USB DOCK user, please be sure to update to SIGMA Optimization Pro Ver1.2.0, before carrying out any lens firmware updates.
Benefits of the SIGMA Optimization Pro software update:
SIGMA Optimization Pro Ver1.2.0 for Windows & Macintosh
* This customization of Full-time MF function is only available for the SIGMA 50mm F1.4 DG HSM A014.
* The Full-time MF function will be available after the SIGMA USB DOCK firmware is updated to Ver1.01 or above.
* The function limits will vary from on the camera you use.
Download: SIGMA Optimization Pro Ver1.2.0
SIGMA USB DOCK Firmware Update
Thank you for purchasing and using our products.
We are pleased to inform you the SIGMA USB DOCK Firmware Update is now available.
This firmware update allows you to use the SIGMA USB DOCK with the SIGMA 50mm F1.4 DG HSM A014. If you have the products mentioned below, please start up SIGMA Optimization Pro and then operate lens firmware update.
Benefits of this firmware update
* Please update SIGMA Optimization Pro to Ver1.2.0 in addition to updating the SIGMA USB DOCK Firmware to Ver1.01 before using it with SIGMA 50mm F1.4 DG HSM.
In order to update the USB Dock firmware, please connect the device to your computer using the USB cable and then open Sigma Optimization Pro.
We’re told that Zeiss will announce the next in the Otus line, an 85mm f/1.4 for Photokina this September. We’re also told that it’s possible an Otus 35mm f/1.4 could also be announced, although that isn’t confirmed. If the 35 isn’t announced at Photokina, expect it some time in 2015.
What comes after those two lenses is unknown. Although we have heard that a pair of tilt-shift lenses are in the works, as well as an Otus zoom lens.
DXOMark has completed their review of the Sigma 50 f/1.4 DG HSM Art series lens and put it in direct competition with the Zeiss 55 f/1.4 Otus lens. The Sigma holds up very well. However, as expected, the Zeiss does look to be a better lens optically, as it should be at 4 times the price.
When compared to the Otus
“At f2 the Sigma is almost on a par with the Zeiss, only it can’t quite match the Zeiss in the corners – though the difference in real world terms is trivial. The new Sigma can boast of slightly better control of vignetting and, arguably, chromatic aberration at maximum aperture, though there’s some fringing evident in the extreme corners. The Zeiss has remarkable transmission but, at close to $4,000, nothing short of exceptional performance is expected.”
“As part of the company’s new Global Vision Sigma’s reimagining of their premium lenses is reaping dividends. The 50mm f1.4 DG HSM A is every bit as good as the earlier 35mm f1.4 model, in fact it’s slightly better in outright sharpness and uniformity. If there’s a downside it’s that lenses built with few compromises are generally large and heavy, but at least Sigma isn’t making you pay through your wallet. At $949, the new lens isn’t much more expensive than the firm’s high-speed 35mm, and is similarly competitive when compared to rival offerings from the big-brands.”
A high-performance, high-power zoom lens that delivers focal lengths extending from an unprecedented 16mm at the wide-angle end up to a long-range telephoto 300mm! Incorporates PZD (Piezo Drive) and Tamron’s exclusive VC (Vibration Compensation) system to further enhance the real-world performance of this next-generation “all-round lens”, which makes taking photographs more convenient and enjoyable.
April 10, 2014, Saitama, Japan – Tamron Co., Ltd. (President & CEO: Morio Ono), a leading manufacturer of precision optics, has announced the release of an advanced new all-in-one zoom lens exclusively for digital SLR cameras with APS-C size image sensors that provides an amazing 18.8x zoom ratio.
Since the launch in 1992 of the 28-200mm (Model 71D) high-power zoom lens – which featured a revolutionary compact, lightweight design – Tamron has been continually expanding its portfolio of world-class optics to benefit consumers.
Tamron previously launched an 18-270mm (Model B008) all-in-one zoom lens exclusively for digital SLR cameras with APS-C size image sensors that features a 15x zoom ratio, superior image quality, swift, quiet AF, and Tamron’s acclaimed VC (Vibration Compensation) mechanism, in an ultra-compact package. This ground-breaking lens has been winning plaudits throughout the world.
Responding to consumers’ demand for expanded focal lengths both at the wide-angle end of the zoom range and the telephoto end, Tamron has now developed a completely new all-in-one zoom lens design that provides an impressive focal length range extending from 16mm true wide-angle to 300mm super-telephoto.
The Canon and Nikon mount models will be first simultaneously launched in the Japanese market on April 24, 2014, with overseas launches to follow in mid-May. The launch date of the Sony mount model will be announced at a later date.
SLRGear has completed their review of the highly anticipated Sigma 50mm f/1.4 Art series lens. We’re very happy to read that the lens just may live up to the hype created by Sigma themselves.
“The Sigma 50mm f/1.4 Art is the most exciting lens we’re likely to review this year. All competing lenses from Canon and Nikon fell short when compared to the resolving power of the 50mm Art. We haven’t (yet) tested the very best from Zeiss, but we are confident Sigma will trounce it in one key area: price. This difference is likely to be a yawning chasm. Our expectation for pricing on this lens is for something at least a bit less than Canon’s 50mm f/1.2 L, which goes for $1,700; despite a variety of rumors and no official price for the Sigma yet, we’re expecting it’ll be less than that.”
Pricing for the lens is expected to be announced on or around April 11, 2014.
ZEISS is launching the Compact Zoom CZ.2 15-30/T2.9 at this year’s NAB Show in Las Vegas from April 7-10, 2014. The third member of the Compact Zoom family broadens the cine zoom line-up in the wide-angle range. From August 2014, the lens will be available for € 17,900 or US$ 23,900 (excl. VAT)*. The new zoom lens fills the wide-angle gap and complements the already available CZ.2 28-80/T2.9 and CZ.2 70-200/T2.9 lenses. It does not only offer extreme angles of view but also fulfills all the requirements for motion picture zooms: It stands out for its optical brilliance, as well as its distortion-free images.
The ZEISS Compact Zoom CZ.2 family of lenses sets new standards only experienced with fixed focal lengths from ZEISS. Equipped with this set of three zoom lenses, cinematographers can master an enormous range of shooting situations without having to resort to frequent time-consuming lens switches. For sophisticated filmmakers, the ZEISS cine zooms open up new creative possibilities. When working with a zoom lens, you can move a lot more quickly because you don’t have to change lenses and can make different shots from the same perspective.
The ZEISS Compact Zoom lenses are the only cine-style zooms in the world with full-frame coverage. All three zooms were calculated for the full-frame format of 36×24 mm. As a result, they are also compatible with image sensors larger than Super 35 (ex: image diagonal 31.5 mm) and therefore already ready to accommodate future developments in the field of growing sensor sizes. When the lenses are used on Super 35 cameras, users benefit from the positive “sweet-spot effect”: the image circle used by the sensor comes from the inner circle of the lens. As a result, the lens only uses that part of the illumination that has the highest quality in terms of sharpness, light and contrast. In line with the reliable and strict quality requirements that ZEISS lenses are subject to, all three representatives of the Compact Zoom family enable 4K capture.
The cine zooms from ZEISS are masters of flexibility whenever the goal is to achieve high-quality results with little lens changes. The optical balancing between ZEISS cine zooms on the one hand and ZEISS high-end cine lenses on the other fulfills filmmakers’ highest demands, whether they are making big-screen, TV, documentary, music video productions or feature films. All three zooms have a consistent aperture of T2.9, also making them suitable for situations with less available light. And thanks to the established ZEISS color matching, the lenses can be used in combination with the existing lens families ARRI/ZEISS Master Prime, ARRI/ZEISS Ultra Prime and ZEISS Compact Prime, with no additional color grading needed.
Over many years, ZEISS has been continuing to develop the bokeh – that special look of an out-of-focus area in an image. After all, bokeh is one of the most important characteristics of a lens. With special optical design and circular f-stop forms, ZEISS zooms here achieve a particularly harmonious result and depict out-of-focus highlights as circular without any bothersome artifacts. In addition, the Carl Zeiss T* coating – based on several layers in the nano field – ensures a visible reduction of stray light and reflections. The result: brilliant images with a three-dimensional effect.
A special protection against dust and spray water for rough use on the set underscores the high professional standard of these cine lenses.
The cine zooms from ZEISS deliver the well-known quality and performance for which ZEISS lenses have been known for decades. For cinematographers on smaller budgets in particular, it is critical to make safe investments in their equipment. On this point, the Compact Zoom CZ.2 lenses stand out strongly: due to the interchangeable mount system (IMS), with currently five different mounts (PL, EF, F, MFT und E), the lenses can be fitted without problems onto different camera mounts. As a result, the zooms can always be used on the latest camera models, and always in an optimal system mix.
All three lenses – the new Compact Zoom CZ.2 15-30/T2.9, the CZ.2 28-80/T2.9 and the CZ.2 70-200/T2.9 – will also be available as a complete set (without transport case) for € 44,999 € or US$ 59,900 (excl. VAT)*.
Tamron has filed a patent for a 10mm f/2.8 fisheye lens
Patent Publication No. 2014-52503
Bryan at The-Digital-Picture has completed his review of the Sigma 105mm f/2.8 EX DG OS HSM macro lens.
At it’s current price of $669 after an instant rebate, this macro lens comes highly recommended when compared to the Canon 100mm f/2.8L IS macro, which is currently retailing for $1033. Bryan does say the Canon is the better lens, but is it $400 better?
“I’ve had the Sigma 105 OS macro lens in my kit for over two years and have used it with some frequency. Some of the product images you have been seeing in the recent reviews have been captured with this lens and I have used it for many other needs. While this lens has a little room for improvement (especially with the IS system), the image quality it has reliably delivered has been excellent. I’m comfortable using the Sigma 105mm f/2.8 EX DG OS HSM Macro Lens for important macro projects that come my way.”