Samyang Europe announces the upcoming Autumn release of the full-frame Samyang 12mm 1:2.8 ED AS NCS Fish-eye lens. The new model is yet another product of the Korean manufacturer and its widest 35mm film format lens. The lens will be officially introduced during Photokina fairs in Cologne on September 16th 2014.
Samyang 12mm 1:2.8 ED AS NCS Fish-eye is a bright, super wide-angle fish-eye lens designed especially for full-frame cameras. It offers the image area in 24 x 36mm format and the diagonal angle of view of 180 degrees. In terms of the optics, it is one of the most advanced “fish-eye” lenses. The product’s sophisticated optics consists of 12 lens elements arranged in 8 groups. This includes three elements made of low dispersion ED glass and two aspherical lens elements to ensure perfect image depth and minimized chromatic aberration. Samyang 12mm 1:2.8 ED AS NCS Fish-eye is the third lens of the brand (along with 10mm f/2.8 and 12mm f/2.0) with highly effective nanocrystal anti-reflection NCS coating applied together with standard UMC coatings. Owing to this solution and the fast aperture ratio (f/2.8) the lens can be used as a perfect tool in diverse lighting conditions, as it provides great focus, high contrast and natural colour reproduction even with the fully opened aperture. The premiere of Samyang 12mm 1:2.8 ED AS NCS Fish-eye is like a dream coming true for professional photographers and filmmakers who seem to have an increasing demand for this type of lenses since the release of 8mm and 7.5mm models, which are considered to be the best “fish-eye” lenses on the market.
You will have an opportunity to take a look at the pre-production copy of the new lens on the Samyang stand (hall 2.1, A-025) during the upcoming Photokina 2014 fairs in Cologne. The visitors will be also able to test two other recently introduced lenses: Samyang 50mm 1:4 AS UMC and Samyang V-DSLR 50mm T1.5 AS UMC.
The market release date for the new lens and its retail price will be announced at a later date.
With the Otus 1.4/85 ZEISS is expanding its high-end lens family. The Otus 1.4/55, an SLR standard lens, already set new global standards in what is means to achieve perfection. The expectations for the 85-mm focal length are just as high. This new member of the Otus family is an outstanding and fast all-around lens that accepts no compromises. ZEISS will present this new world-class lens for the first time to the public at photokina in Cologne from September 16 to 21.
The Otus 1.4/85 offers peerless image quality, even with an open aperture. As a short telephoto lens with an 85-millimeter focal length, this new member of the Otus family shows its strengths especially when people are center stage. Thanks to the longer focal length of this lens, photographers can keep a decent distance from the subject. At the same time, the lens is highly versatile: it excels in general studio work, as well as for fashion, advertising, product and architectural photography. Even photographers who are looking for a powerful companion for nature photography will find it in the Otus 1.4/85 – the edges of the picture can be used for compositional purposes at all f-stops. Photographers who had a chance to test exclusively this new flagship from Germany’s leading optics specialist were enthusiastic. Using the Otus 1.4/85 in combination with a full-frame SLR lets a photographer master all shooting situations and achieve effects that until now have only been known from the medium-format range: unusually high contrast, unusually high depth of field, impressive three-dimensional effects and sensational quality.
Is there little ambient light? That is no problem for the Otus 1.4/85. When the light fades, ZEISS’s newest high-end lens ‘sees’ just as well as the owl species from which this lens family gets its name. There is no trace of correction deficits, which are typical in such situations.
Just like its older ‘brother’, the Otus 1.4/55, the new Otus has been designed to meet professional photographers’ most rigorous demands. Internal focusing, the dial window, and the dials‘ clearly recognizable yellow labeling, familiar from professional cine lenses like ARRI/ZEISS Master Prime, are just a few of the characteristics of the Otus 1.4/85. The smooth manual focus operation with the large angle of rotation of 261 degrees combined with the easy-to-grip focus ring enables the finest variations in focusing. The freedom to focus — one of the most important creative elements in photography — has literally been put into the hands of the photographer as an artistic tool. Both the extra-fine haptics and the precision of the focusing mechanism can only be achieved with the metal design of the Otus range. The robust all-metal barrel is also well equipped to deal with the rough daily work of a professional photographer, ensuring a long product life. And for all photographers who in addition to the actual optics also rely on screw-on filters in their work, matching T* UV and POL filters with a diameter of 86 millimeters will be available from ZEISS for the Otus 1.4/85.
Optically, the Otus 1.4/85 stands out for its high image quality, even with an open aperture — as is true for the entire Otus range. Specifically, that means a neutral bokeh in the background, highly detailed images without any bothersome optical artifacts, consistently high resolution power across the entire image field, no color fringing or distortion, and an extremely high image contrast all the way into the edges. The imaging performance remains entirely consistent for all shooting distances. High apertures can be used even for close-ups right down to a working distance of 0.65 meters. This freedom offers the photographer new opportunities to compose his or her subjects, without having to waste time thinking about a possible loss of quality This is one of the reasons why the photographers who tested the new Otus 1.4/85 lens exclusively beforehand returned it only reluctantly.
“After we launched the Otus 1.4/55, our customers immediately understood the enormous benefits they can get from such a lens. Photographers are in the position to take full advantage of their high-end full-frame cameras and shoot pictures with a quality and look that they were previously only used to getting from expensive medium-format systems. With the Otus 1.4/85 we are now bringing out the second lens with this promise,” explains Christophe Casenave, Product Manager with ZEISS Camera Lenses.
A view inside reveals how such optical quality was achieved. It is an optical-technical feat as you would expect only from ZEISS: The Otus 1.4/85 consists of eleven lens elements in nine groups. One of the lens elements has an aspheric optical surface and six are made of special glass. The optical design is based on the Planar. Because the Otus 1.4/85 is an apochromatic lens, chromatic diagonal aberrations (longitudinal chromatic aberrations) are corrected with the help of lens elements made of special glass with anomalous partial dispersion. As a result, there is practically no perceptible color fringing on contrast-rich edges both in front of and behind the focal plane. Bright-dark transitions in the image, and in particular highlights, are rendered free of color artifacts. Also, the variable air spaces between certain lens groups (“floating elements design”) create a consistently high imaging performance across the entire focusing range from 0.8 m to infinity.
“Otus lenses show a consistently high quality across the entire focusing range. That is something that scientific test institutes do not acknowledge because the test photos are made from just one distance. But professional photographers appreciate this feature in a lens, because it gives them more flexibility in their work,” continues Casenave. And it is precisely these photographers who can now use this outstanding lens as a tool to give full rein to their creativity and make excellent images.
D4, Otus 1.4/85, f/1.6, 1/200 sec, ISO 800
Portrait of mountain runner Rickey Gates. © David Clifford
More application photos in high resolution can be found in our Otus 1.4/85 Flickr album.
The ZEISS Otus 1.4/85 comes with lens hood, user manual, test certificate and lens caps.
The Otus 1.4/85 will be available worldwide with the F-mount (ZF.2) or EF-mount (ZE) from mid-September. The expected recommended retail price is €3,360.50* or US$ 4,490* (excl. VAT).
Read more at Zeiss
Sigma to announce a 150-600mm f/5-6.3 DG OS HSM Sport lens for Photokina. We’re still waiting for the press release to show up on Sigma’s official web site.
- Construction: 24 elements, 16 groups (20 elements, 13 groups)
- Filter diameter: 105 mm
- Minimum focusing distance: 260 cm
- Dimensions: 121 x 290.2 mm
- Aperture blades: 9, rounded
- Maximum magnification: 1:5
- Weight: 2860 g / 100.88 oz.
- Available mounts (at launch): Canon, Nikon, Sigma (Canon, Nikon, Sony)
Source: [SR/SAR] via [NL]
The long rumored Zeiss Otus 85 f/1.4 will definitely be announced for Photokina. We and others hear this will be the only lens announced for Canon DSLRs.
Your move Sigma…
Source: [PR] Image source: [DCI]
Sigma has released Firmware v 1.02 for the 18-35mm f/1.8 DC HSM
Autofocus is supported at any aperture value when used with the Canon Digital Cinema Camera EOS C100.
Please Note: Before upgrading the firmware of 18-35mm F1.8 DC HSM A013, please first update your SIGMA Optimization Pro to Ver1.2.0.
Sigma 18-35mm f/1.8 DC HSM Art Firmware v1.02 | Sigma 18-35 f/1.8 DC HSM Art at B&H Photo
We’re told the new Samyang lens will actually be a 50mm f/1.4. (thanks!)
Samyang has started with the teasers for an announcement on August 26, 2014. It is expected that they will announce a 50mm f/2 lens for their VDSLR line.
It doesn’t look like we’ll see their first autofocus lens this time around.
Sigma will be announcing a few lenses for Photokina in the coming weeks.
The first will be the expected Sigma 24mm f/1.4 Art, which will be priced around $1100. The second will be a 14-24 f/4 DG OS that will be priced around $1200. The 14-24 will have an 82mm filter thread, which will be a very welcomed feature for landscape photographers.
There’s also a mention that Sigma could make a development announcement for a 24-70 f/2 that we spoke about a year or so ago.
Dustin Abbott, a friend of Canon Rumors has completed his review of the Zeiss 135mm f/2 APO Sonnar T* in the ZE mount for Canon. The review is pretty glowing for the Zeiss, as one would expect. Dustin directly compared it to the classic Canon EF 135 f/2L and came away with the conclusion that the Zeiss is optically better, though for twice the price it should be. However, the missing AF in the Zeiss is a big deal when comparing the two.
Says Dustin: “Will it be replacing my 135L? Probably not. Until I shot with the Zeiss I thought the performance of the 135L was fantastic, and I will still enjoying shooting with it. I knew that the Zeiss would be better before I did the review, although I was surprised by just how noticeably better it was in head to head comparison. But for many of the applications that I use the 135L in, I need the AF. But I’m also not a full time professional photographer, and frankly, there are a few higher priorities for that kind of money in my kit at the moment. I’ll keep using my trusty Canon, but I will cherish the images that I took with the Zeiss. And one day, there WILL be a Zeiss lens in my kit. They are just too good.”
Read the full review | Zeiss 135mm f/2 APO Sonnar T* at B&H Photo
Is Sigma getting ready to enter the world of professional cinema lenses? It seems like a logical next step for the manufacturer, as they have become quite aggressive in the higher end DSLR space. While Sigma didn’t flat out say they were entering the market, they also didn’t deny it.
Sigma’s CEO Kazuto Yamaki left the following hint recently in an interview with Resource Magazine:
“How could one of the greatest innovators of lens technology in the world not be producing lenses for high-end digital video and motion picture cameras? With such high standards, cinematographers seem like a natural market for Sigma. When I asked Kazuto about this, he simply smiled and said the two words that make every tech writer crave more: “No comment.” It looks like Sigma may still has a few more tricks up their sleeve…”
Source: [RM] via [SR]
If you’re like me, you have lots of Canon glass and a Sony A7 of some kind. I use the Sony A7R and the Sony A7S, both of which are great products with a few drawbacks like lens selection. I sometimes use Canon glass on the cameras, but I found the Metabones Adaptor III autofocused quite unreliably, although using it with the lens in manual focus has always worked just fine, especially for the tilt shift lenses.
Metabones has announced an updated version of the Canon to Sony smart adaptor. It is available for preorder and will begin shipping around July 17, 2014.
Features & Specifications
- True electronic integration of aperture diaphragm; lets camera automatically choose aperture in Program or Shutter Priority exposure modes, or set it manually on the camera body in Aperture Priority or Manual modes.The adapter is powered by the camera body, so no external power source is required.
- Two distinct operational modes are supported by the Smart Adapter IV: Green mode and Advanced mode. Green mode limits certain features and disables others in order to conserve the camera’s battery power.
- Wide-Open button enables aperture to remain open for clear manual focusing.
- Auto-Magnify/AF Assist enlarges the image in the viewfinder for easier manual focusing. This feature requires the AF/MF switch of the Canon EF mount lens to be set to the MF position and also requires a Canon EF mount lens that supports distance information. Auto-Magnify/AF Assist is disabled in Green mode.
- High performance 32-bit processor and efficient switched-mode power supply.
- Compatible with Sony E-mount full frame cameras such as the Sony A7, A7R and A7S. The Mark IV adapter supports auto “APS-C Size Capture” with EF-S lenses as well.
- Supports distance and zoom display on VG and FS series camcorders and auto magnify on lenses that support distance information
- Compatible with select fully manual lenses which have no electrical contacts.
- Both camera-side and lens-side of the adapter are made of brass, precision-machined and plated with chromium.
- Precise fit and solid connection – lens has no play, gap or wiggling when mounted on adapter and no adjustments are required to fit your lens.
- Designed to reach infinity focus while maintaining the correct registration distance required to maintain optical quality of CRC lenses or lenses with floating elements.
- Metabones uses matte-black treatment to keep internal reflection to a minimum in order to maintain the maximum optical quality possible with the lens.
- Satin surface finish matches lens and camera mounts.
- A third party zoom lens may need to be registered with the Smart Adapter first in order to detect its maximum aperture. Autofocus is disabled for most third-party lenses.
- Only Canon-branded lenses introduced in or after 2006 are officially supported. Autofocus may be disabled for older Canon lenses and most third-party lenses, including most Sigma, Tamron and Tokina lenses and all Contax N lenses modified by Conurus.
- The adapter’s tripod foot is detachable and compatible with Arca Swiss-style Quick-release heads.
Read more at Brian Smith Pictures | Metabones Smart Adaptor IV at B&H Photo