Specs

• 7 elements in 5 groups
• 9 aperture blades
• FF lens
• manual focus
• 55mm filters
• 0.25m min focus distance
• F2-F22 aperture
• 68mm x 95mm
• 470g
• Sony E mount
• $230

Specs

• 12 elements in 10 groups
• 9 aperture blades
• 3.9” (0.1m) minimum focus distance
• 19.2mm (35mm Equivalent)
• Aperture Range: f/2.8 to f/22
• HD Anti-Reflection Coating
• Manual Focus
• Available mounts : Sony E, m43, Fujifilm X, Canon M
• $199
  • Canon M - https://www.bhphotovideo.com/c/product/1383698-REG/opteka_optm1228c_12mm_f2_8_high_definition.html
  • m43 - https://www.bhphotovideo.com/c/product/1383702-REG/opteka_optm1228m43_12mm_f2_8_high_definition.html
  • Fujifilm - https://www.bhphotovideo.com/c/product/1383699-REG/opteka_optm1228f_12mm_f2_8_high_definition.html
  • Sony E - https://www.bhphotovideo.com/c/product/1383701-REG/opteka_optm1228s_12mm_f2_8_high_definition.html

Specs

• 11 lenses in 9 groups
• 0,3m min focus distance
• 67mm filter
• 9 diaphragm blades
• 69x115mm size
• 645g weight
• for Sony E mount

MTF

Specs

• 14 elements in 10 groups (including an ED glass element)
• 7-bladed iris diaphragm.
• 58mm filter
• Stepper motor, good for video
• $349.95 for non VR model
• $399.95 for VR model
• https://www.amazon.com/Nikon-NIKKOR-70-300mm-4-5-6-3G-Cameras/dp/B01KJ8UMKK/

Nikon updates its portfolio of DX NIKKOR lenses with two lightweight super-telephoto zooms: the AF-P DX NIKKOR 70–300mm f/4.5–6.3G ED VR and the AF-P DX NIKKOR 70–300mm f/4.5–6.3G ED.

Fast, quiet, and precise, these lenses are a great way to explore the creative advantages of telephoto photography. Whether you’re shooting distant subjects, travel photos, or amateur wildlife images, the versatile 70-300mm focal range magnifies the action. An extra-low dispersion (ED) glass element in each lens delivers images with vivid colour, crisp detail, and perfectly rendered contrast. Both lenses feature Nikon’s new, superbly quiet AF-P Stepping Motor, which makes them ideal for shooting video as well as stills. The AF-P DX NIKKOR 70–300mm ED VR features Nikon’s Vibration Reduction technology for clear, blur-free images even when shooting at the far end of the telephoto range. And both lenses boast a serious size advantage: their compact build makes them comfortable to carry and ensures balanced handling when used together with Nikon’s smaller entry-level D-SLRs*.

Zara Livingston, Junior Product Manager for D-SLRs, Lenses and Accessories at Nikon UK, says: “The new 70-300mm AF-P NIKKOR lenses are great additions to the NIKKOR lens line-up and ideal for photographers looking to extend their reach. The streamlined design makes carrying them easy, and these are the first telephoto lenses to feature Nikon’s AF-P focus motor.”

Stepping Motor

Nikon’s Stepping Motor ensures smooth, fast autofocus. When zooming in to capture a photo, subjects come into focus quickly and easily. When shooting video footage, the motor allows you to smoothly shift focus from subject to subject with practically no drive noise, ensuring your movie isn’t ruined by the sound of the lens focusing.

Simplified control, lightweight build

Both of these super-telephoto lenses offer first-time users a more intuitive way to shoot. Users can switch between Auto Focus and Manual Focus using the camera menu. With no switches on the lens barrel itself, there’s no chance of accidentally changing settings when the time comes to take the shot. These lenses let you pack light, too. The AF-P DX NIKKOR 70–300mm f/4.5–6.3G ED weighs in at just 400 g, while the AF-P DX NIKKOR 70–300mm f/4.5–6.3G ED VR weighs 415 g.

We have received 4 email requests from members of this forum on the possibility of designing an Anamorphic lens. We had this thought for the past year and did a lot of research. There is one common request which is to have horizontal flares. The others requests did not have any common grounds. We came up with an idea for a 25mm f/3.2 1.35x or 35mm f/3.2 1.35x Anamorphic lens for micro four thirds. Shooting at 16:9 would give a 2.40:1 anamorphic output. Just before we decided to go ahead with the project we had a second thought. 2 Years ago we asked openly on dpreview.com forum for what photographers wanted and the general consensus was our SLR Magic HyperPrime 12mm T1.6 lens.

http://forums.dpreview.com/forums/read.asp?forum=1041&message=36104678

It did not fulfill the needs and wants of everyone but we made what most people agreed on by means of a discussion. It ended up being a popular lens that we still are having problems meeting demand and we think it had a big part to do with asking photographers. If we did not ask around we probably made a 12mm f/2.8 lens. As it turned out quite well last time we want to make our next lens an open discussion again.

Here are some of the possible options we received and please feel free to throw in extra ideas. I hope people experienced with shooting in Anamorphic can also throw in ideas.

Anamorphic Adapter (1.33x, 1.5x, 1.75x, 2x) Dedicated mFT Anamorphic adapter for reasonable size Anamorphic adapter compatible with FF lenses 50mm f/2.8 Anamorphic lens (FF, APS-C, or mFT) Expected MSRP (Sad fact but it as direct correlation to IQ)

Kind rgds., SLR Magic Team

P.S. We will be at Photokina 2012 and would like to welcome any cinematographers with Anamorphic lens ideas to drop by our booth for idea exchange! We will be in Hall 3.1 B059

When uploading a 4k video to youtube and vimeo, the heavy compression will hurt the shadow areas with macroblock and mud, so an image with more light is welcome to preserve the image quality. So when shooting a person face it is good idea to use a fill light or to use a reflector sheet if the face is in the shadow when shooting outdoor, or even a strong 1000 watts bounce halogen light pointed to the ceiling or to the wall when shooting indoor. This will help to avoid macroblock and mud in the skin after the web compression. A balance between quality and message needs to be found.

4k video is more pleasant with steady camera. The camera movements disturbs the perceiving of image resolution and detail. So using lens and sensor stabilization is welcome. Also using a tripod and camera stabilizers are good idea. A higher shutter speed is welcome when doing camera movements like pan and tilt to avoid blur in resolution. So a balance between action and resoluiton needs to be found.

Sitting very close to the screen to enjoy the great 4k video resolution is much better when the image is more steady. If the image have movements it is more pleasant to watch the content in a distance equivalent to 1.5x the screen diagonal and at this distance there is no significant difference between 4k and 1080p video. Camera movements watched very close can make the audience to feel distracted, dizzy or sick, so a 1080p video is enough if you use camera movements in your shooting aesthetics because audience will feel more confortable sitting away from the screen. So 4k video is more pleasant with steady images.

The M43 sensor and S35 sensor are small and magnify all lenses imperfections in 4k video. So a good solution is to use lens aperture in f4, f5.6 and f8 to get the best resolution and to avoid lenses imperfections (softness and diffraction) and get a good 4k image. These fstops increase MTF results and allows to use a full frame lens in small sensors for 4k video. Also the focal reducers get a good result with these fstops. This will result in less shallow dof, but for 4k I think less shallow dof is good because you get more perfection in the image resolution and more things will be in focus. So a balance between shallow dof and quality needs to be found.

Maybe the 4k video is asking us to develop a new video/cinema aesthetics with steady images, more light and less shallow dof to allow people to sit close to the screen and enjoy the image detail. But we cannot change the video/cinema language just due to image detail experience, so we need to find a balance between screen distance and detail experience versus lens, light and movements.

See this test to perceive the results with different fstops with and without focal reducer:

Available for preorder at https://www.amazon.com/Nikon-PC-NIKKOR-19mm-4E/dp/B01M3RVGVX/

Seamlessly Control Perspective with the New Super-Wide PC NIKKOR Lens

Also new from Nikon is the latest perspective control lens (designated PC) in the NIKKOR lens lineup, the PC NIKKOR 19mm f/4E ED, a tilt-shift offering that will help photographers master perspective and depth-of-field. For storytellers who yearn to capture optically-challenging subjects like cityscapes and architecture, interiors or unique landscapes, this lens offers 97° of coverage - the widest focal length of any PC lens in the NIKKOR family. Tilt the lens to sharpen focus throughout a scene or create a miniature effect, or shift2 to adjust perspective in-camera, create panoramas or eliminate converging lines. For the first time with a NIKKOR PC lens, the direction of tilt operation can be made parallel or perpendicular to shift, offering users nearly unprecedented ability to control perspective, focus and depth-of-field, without having to lock and unlock to make adjustments.

Sporting a super-wide 19mm focal length, the lens provides a unique perspective ideal for shooting horizontal or vertical panoramas, or even filmmaking. With this ultra-wide angle in mind, the latest FX-format NIKKOR offering was crafted with three ED and two aspherical elements that help combat distortion and glare, while virtually eliminating chromatic aberration and coma, even at the widest aperture settings. The lens also features core NIKKOR technologies such as Nano Crystal Coat to combat ghosting and flare, an electromagnetic diaphragm for fast auto-exposure control, as well as a Fluorine coat that helps resist dirt, water spots and smudges. Ready for a variety of challenging ultra-wide applications, the PC NIKKOR 19mm f/4E ED is a powerful tool for discerning photographers looking for full creative and perspective control. It joins three other Gold Ring Series PC lenses in Nikon’s line-up; the PC-E NIKKOR 24mm F3.5D ED, PC-E Micro NIKKOR 45mm f/2.8D ED and the PC-E Micro NIKKOR 85mm f/2.8D.

Price and Availability

Both the AF-S NIKKOR 70-200mm f/2.8E FL ED VR and PC NIKKOR 19mm f/4E ED will be available starting in November 2016 for suggested retail prices (SRP) of $2,799.95* and $3,399.95*, respectively. For more information on these new Nikon products and pricing for optional accessories, please visit www.nikonusa.com.

• 16 elements in 12 groups
• F4-F22 aperture range
• 7 aperture blades, circular aperture
• 0.45-0.95m minimal focusing distance (from wide to tele)
• 72mm filters
• hood included
• 425g
• available for $598 at https://www.amazon.com/Sony-SELP18105G-PZ-18-105mm-OSS/dp/B00ENZRQH8/

http://www.digitbox.fr/test-du-sony-18-105-mm-f4-g-oss-e-pz/

Specs

• 18 elements in 15 groups, 6 aspherical elements, 3 ED (Extra-low Dispersion)
• 7 blade circular aperture design
• Not parfocal zoom. but in AF mode it can emulate it (how good is uncertain)
• High resolution suited to professional 4K movie production
• Smooth Motion Optics (SMO) design and construction to minimize unwanted focus and image shifts whilst focusing or zooming
• Three separate focus, iris and zoom rings for professional operation
• Optical image stabilization
• Dust and moisture resistance
• $3,500 US price, and somehow 4000 EUR in EU
• Available in November

• Sony E, MFT, Fuji X, Nikon 1 and Canon EF-M mounts

http://www.mkgrip.com/english.php?m=product&a=product_view&tid=246&id=132

Specifications

• 16 elements in 11 groups
• Fluorine coating, and usage of LD, XLD, aspherical, and hybrid aspherical elements
• APS-C lens
• Minimum focus distance is 0.24 m
• 4 stops optical stabilizer
• Mounts - Canon EF-S, Nikon F
• 440g weight
• 84mm x 85mm size
• 77mm filter
• $499 at https://www.bhphotovideo.com/c/product/1317274-REG/tamron_afb023n_700_10_24mm_f_3_5_4_5_di_ii.html

GH2 and Tokina ATX Pro II with Iscorama 54

I've just sold my 25mm 1.4 because it was too long for the crane, but now I need a new lens for my b cam and crane.

I'd like to get my coverage sorted and not buy anything for a good while.

Here's some considerations:

For my crane a wide lens like the mft 12mm rokinon will still equate to the coverage I get on my sigma. This could work, but won't be any wider than 24 unless I got it for the speedbooster and then I wouldn't be able to use my sigma.

Later I'd like to get something longer than the sigma for close ups.

The lens for the crane needs to be usable for the crane and as a b cam to compliment the sigma for interviews

More info soon.

7Artisans resell lenses made by Chinese optical factories.

Specs

• 14 lenses in 11 groups
• Shortest shooting distance - 0.3 m
• Maximum magnification - 1:4.6
• Filter diameter - 72 mm
• Diameter × length - 84.8 mm × 124.8 mm
• Weight - 1174 g
• Canon EF or Nikon F mount
• $1999, 1999 EUR price, preorder at https://www.adorama.com/zi3514mzf.html

Tech specs PDF - https://www.zeiss.com/content/dam/media/Download/milvus_1.4_35_technische_daten.pdf

photo from the ground pointed up and people in circle around me

got myself the a7rII and a6500

My needs is lightness, quality and look, I do not like that look digital lenses.

• At first I thought the Nokton 25mm 0.95 seems a superb lens, but I think it would have to last much saving, keep in mind that no cinema live, my investment is to make my short films that also costing my pocket and projects future.

• The PanaLeica 25mm 1.4 lens seems interesting, but almost all the references I find are still photo and price does not seem so high. Does anyone have references to the?

• The other option was the SLR Magic 35mm T1.4, but I read of problems for autofocus.

• While I have read that the Samyang is not recommended.

• I think SLR Magic comes with a 35mm and a 25mm both t0.95, but I think his price will be close to Nokton.

Thanks in advance!

Very cheap at http://www.adorama.com/CACSER1880MM.html

Canon U.S.A., Inc., a leader in digital imaging solutions, is proud to announce today the new COMPACT-SERVO 18-80mm Zoom Lens (model name CN-E18-80mm T4.4L IS KAS S), a compact and lightweight 4K-ready lens constructed for optimal mobility. A bridge between traditional Canon EF photography lenses and CN-E cinema lenses, the COMPACT-SERVO 18-80mm can be ideal for filmmakers and documentary shooters who want the control and quality of cinema optics with the lightweight, compact design and features of photography lenses. The first in a new class of Canon lenses, the COMPACT-SERVO 18-80mm Zoom Lens is a cinema-style lens that includes a newly developed servo drive unit as a standard feature. Additionally, the lens incorporates Image Stabilization* and Autofocus* functionality, two extremely useful features not commonly found in cinema lenses, but which are ubiquitous in photography lenses. The lens also provides high image quality that supports 4K image productions and was designed to be able to be utilized in a variety of shooting styles including, hand-held, shoulder mounted, and tripod mounted.

Covering the commonly used focal length range of 18mm to 80mm, this new Zoom Lens combines the functionality of Canon EF lenses with the precision and cinematic look of Canon Cinema lenses. The new COMPACT-SERVO 18-80mm Zoom Lens is 4K-ready and features auto focus and optical image stabilization with compatible camera models only, resulting in high-resolution imagery, with the ability to assist filmmakers in capturing the shot they envisioned. Compatible with EF- mount Super 35mm large-format cameras, the lens maintains brightness across the entire focal range at T4.4 (equal to F4.0). For added convenience, videographers can control many of the features of the lens in a variety of ways through the EF-mount communication, including Dual Pixel CMOS AF, push auto iris, record start and stop and remote lens control via the camera with an optional remote control, compensation for chromatic aberration (when paired with the EOS C300 Mark II Cinema Camera), metadata acquisition, and selection of T-number display. The COMPACT-SERVO 18-80mm Zoom Lens features a nine-blade iris aperture diaphragm to help give footage a truly artistic and beautiful look and feel, providing the much desired “bokeh” effect in the out-of-focus areas. For improved operability, focus breathing has been greatly reduced due to the three group inner focusing system.

Dateline Las Vegas - April 24, 2017 Atlas Lens Co. - Orion Series 2x Anamorphic Prime Lenses are Launched.

ANAMORPHIC FOR ALL OF US

At the heart of Atlas Lens Co. Orion Series is a true Front Anamorphic Group. Orion Series lenses deliver the striking beauty of painterly waterfall bokeh, disproportionate breathing, and signature, but controlled flare. These optical characteristics are now available as part of your cinematic storytelling toolkit with a mechanical functionality that that won't leave you feeling confounded by compromise.

Forrest Schultz and I developed these lenses because as cinematographers, we wanted to add anamorphic primes to our shooting repertoire. It became our mission to deliver lenses that we would be proud and excited to shoot with, but that would be accessible to a wide range of content creators as well. Orion Series Anamorphic Lenses are built to be a universal filmmaking tool - each focal length has a consistent 110mm outer diameter front, consistent Focus and Iris Gear placement, and high precision optomechanical tolerances that deliver great results every time. The Orion Series primes can be changed quickly between EF and PL mount in minutes with a simple T6 driver in a clean environment. As far as we know these are the world’s first EF mountable Anamorphic Primes.

We are currently showing our first 65mm T2 prototypes, and will be delivering single lenses and 3 lens sets in the First Quarter of 2018 to deposit holders. The first three lenses in the set will be the 40mm, 65mm, and 100mm T2 primes - with more to follow before the end of 2018.

Please visit our site for more information:

http://www.atlaslensco.com

Specifications:

• Lens Type : E-mount 35mm F1.8
• Aperture : f/1.8
• Aperture (Min.) : f/22
• Filter Diameter : 49 mm
• Minimum Focus Distance : 11.88" (0.3 m)
• Aperture Blade : 7 blades (Circular aperture)
• Dimensions (Max. Diameter x Length) : 2-9/16 x 1-3/16" (64.7 x 29.9 mm)
• Focal Length (35mm equivalent) : 52.5 mm
• Lens Construction : 6-8
• Lens Weight : 5.5oz (155g)
• Lens-based Image Stabilization (OSS)
• Price: $450

Available at:

• http://www.amazon.com/Sony-SEL35F18-35mm-Prime-Fixed/dp/B0096W1P5W
• http://store.sony.com/webapp/wcs/stores/servlet/ProductDisplay?catalogId=10551&storeId=10151&langId=-1&productId=8198552921666486665#features
• UK : http://www.wexphotographic.com/buy-sony-e35mm-f1-8-oss-lens/p1532762
• DE : http://www.sony.de/product/dal-landscape/sel-35f18

Samples:

• http://www.ephotozine.com/article/sony-nex-e-35mm-f-1-8-oss-lens-sample-photos-20130

Hong Kong, China (April 24, 2017) - SLR Magic extends it’s full frame lens lineup with the SLR Magic CINE 25mm F1.4 wide angle lens. This product will be officially introduced during the upcoming 2017 NAB Show in the Las Vegas Convention Center. There will be a demo at the SLR Magic booth (Central Hall, C2663) during the NAB Show from 24 – 27th April 2017.

The field of view of the SLR Magic CINE 25mm F1.4 opens up many new creative composition opportunities, particularly in the fields of interior, architectural and landscape cinematography and photography.

The compact size of the SLR Magic CINE 25mm F1.4 wide angle lens also makes it a good choice of lens to be used with gimbals.

We place our highest priority in the development on our lenses to fulfill the demands of professional cinematographers and photographers. The design and build of the SLR Magic CINE 25mm F1.4 is solid and reliable.

Preorder links

• https://www.amazon.com/Panasonic-Mirrorless-Optical-100-300mm-H-FSA100300/dp/B01N0U4BY2/
• https://www.bhphotovideo.com/c/product/1304871-REG/panasonic_h_fsa100300_lumix_g_vario_100_300mm.html

PR

LUMIX G VARIO 100-300mm / F4.0-5.6 II / POWER O.I.S. (H-FSA100300)
Lens is a successor to the H-FS100300

• Achieves handheld telephoto shooting with POWER O.I.S. and 5-axis Dual I.S.2.
• Max.240-fps sensor drive for high-speed, high-performance AF.
• Rugged, splash/dust-proof design for heavy field use.
• Supports high-quality video recording(as described above).
• The lens system comprises 17 elements in 12 groups including 1 ED (Extra-Low Dispersion) lens.
• Multi coating to minimize ghosts and flaring.

The FSA100300 will be available in black for $649.99 in February.

Are there any other options out there that meet these criteria or come close? Huge thanks for any tips.

Tokina has a cinema line of zooms that come in MFT, but they are made for S35mm sensors. And JVC's LS300 can do their digital zoom in, but you need that specific camera. Panasonic's FZ2500 now has useable zoom motion w/ great range, but the lens is not constant aperture, nor is it fast enough, plus it's a 1 inch sensor. And yes there are plenty of broadcast zoom lenses, as well as C-mount zooms that can work with the right adapter & extender.

Something in the lines of 10-100mm, or 12-120mm with at least T2.1, has to be parfocal, but macro optional.
Kind of like the vintage 16mm zooms from Angenieux / Zeiss / Cooke.

I've been using the Olympus 12-40mm with gears for both zoom and focus, but it's not quite parfocal; was even dreaming of a full Duclos mod like their 11-16mm!

Specs

• Versatile 18-55mm zoom range
• 61.8mm length
• 4-stop Image Stabilizer
• STM autofocus
• Excellent image quality
• 215g

The new EF-S 18-55mm f/4-5.6 IS STM kit lens is an ideal lens to get started with and complements an all-rounder DSLR with the capability to shoot a wide range of pictures, from landscape to portraits. The smallest in its class, the lens is packed with a 4-stop Image Stabilizer for steady low-light or full zoom shots, 7 blade circular aperture for pleasing background blur in portraits. For video scenes Servo AF with near-silent STM is perfect for focusing without distracting noise.

New ZEISS CP.3 XD Cine Lens Family: "Hollywood Technology for Everyone"

The ten compact prime lenses provide metadata and enable the correction of distortion and shading. For the first time, even low-budget productions can employ visual effects.

No matter if it is Star Wars, Harry Potter or Avatar: these days, just about every film features special effects. For many small film productions, having visual effects in their movie would be a dream come true. Unfortunately, making the image fit the look of the footage has required expensive tools – until now. At the NAB Show in Las Vegas, ZEISS presented new metadata technology that makes this possible: the company has equipped its new ZEISS CP.3 XD compact lens family with ZEISS eXtended Data.

ZEISS eXtended Data supports and enhances /i-Technology

What exactly is this? "ZEISS eXtended Data is the first metadata technology which stores the lens distortion and shading – for every single frame," explains Christophe Casenave, Product Manager at ZEISS. "Moreover, all /i-Technology metadata are recorded, including the focus distance, aperture value and depth of field, which is supported by most cameras." This makes the technology ideal for working with visual effects: by using the metadata, it just takes a few clicks to modify the image generated on the computer to fit the lens characteristics, and to then splice it together with the footage to create a realistic image. Distortion and shading can be corrected or even amplified in post-production.

"It used to be that only big blockbusters could take this approach," says Casenave. "Cine lenses that provide metadata are relatively expensive and, up until now, distortion and shading had to be manually measured – a time-consuming and expensive process." However, since ZEISS has incorporated the technology into its compact CP.3 XD cine lens family, low-budget productions can now take the same approach to creating their own special effects. "With ZEISS eXtended Data, we are offering Hollywood technology for everyone, providing small film teams with new creative opportunities."

An end-to-end solution: cooperation with Ambient and Pomfort

With the ZEISS CP.3 XD, ZEISS not only offers the lenses with metadata, but has also given thought to storage and processing. It has teamed up with partners in the industry: the company Ambient has developed the MasterLockit Plus system together with ZEISS. It records all metadata along with a time code in case the technology is not supported by the camera. "This way truly everyone can work with ZEISS eXtended Data, no matter what equipment they use," says Casenave.

Thanks to the cooperation with the software developer Pomfort, distortion and shading can be modified on the set in real-time using the Pomfort tool LiveGrade Pro. The film crew already gets a sense of what the final look will be during the shoot. The film clips and lens data can be consolidated and organized with Silverstack, Pomfort's file manager.

ZEISS plans to further expand the new metadata technology in the future. "Our customers will then be able to upgrade to the new version, making the CP.3 XD a long-term investment," says Casenave.

Compact and light-weight

In addition to the metadata, filmmakers have even more reasons to get excited about the new lens family: the ten prime lenses between 15 and 135 millimeters cover full-frame. As is typical for ZEISS, the image has a clean, crisp look, and ZEISS says the image quality is excellent. "These lenses deliver outstanding results, even in light situations with a large dynamic range, i.e. highlights and shadows within the same scene," says Casenave. The maximum speed of the seven focal lengths between 25 and 135 millimeters is T2.1, the 15, 18 and 21 millimeter lenses have a speed of T2.9. With a front diameter of 95 millimeters, the lenses are light-weight and compact. They are particularly well-suited for hand-held filming or shooting with gimbals, Steadicam or drones. ZEISS has also improved focusing: the manual focus is now noticeably smoother. According to ZEISS, it is comparable with the ZEISS Master Primes and can also be operated with a small motor. The focus rotation angle is 300°. The lenses are equipped with an interchangeable mount so that they can be used on almost any camera. In addition to the ZEISS CP.3 XD, there is also a version available without metadata: the ZEISS CP.3.

Price and availability

Initially, a limited number of ZEISS CP.3 XD and CP.3 lenses will be available at dealers.

ZEISS CP.3 XD

• 15mm/T2.9 XD 6,400 Euro / 7,490 USD September
• 18mm/T2.9 XD 5,800 Euro / 6,690 USD September
• 21mm/T2.9 XD 5,000 Euro / 5,790 USD September
• 25mm/T2.1 XD 5,000 Euro / 5,790 USD September
• 28mm/T2.1 XD 5,000 Euro / 5,790 USD October
• 35mm/T2.1 XD 5,000 Euro / 5,790 USD September
• 50mm/T2.1 XD 5,000 Euro / 5,790 USD September
• 85mm/T2.1 XD 5,000 Euro / 5,790 USD September
• 100mm/T2.1 XD 5,800 Euro / 6,690 USD September
• 135mm/T2.1 XD 6,400 Euro / 7,490 USD September

ZEISS CP.3

• 15mm/T2.9 4,900 Euro / 6,090 USD September
• 18mm/T2.9 4,300 Euro / 5,290 USD July
• 21mm/T2.9 3,500 Euro / 4,390 USD June
• 25mm/T2,1 3,500 Euro / 4,390 USD June
• 28mm/T2.1 3,500 Euro / 4,390 USD October
• 35mm/T2.1 3,500 Euro / 4,390 USD June
• 50mm/T2.1 3,500 Euro / 4,390 USD June
• 85mm/T2.1 3.500 Euro / 4.390 USD June
• 100mm/T2.1 4,300 Euro / 5,290 USD September
• 135mm/T2.1 4,900 Euro / 6,090 USD September

Specs:

• 16 elements in 11 groups
• Four aspherical, one Super UD, one ED elements
• F4-F22 diaphragm
• 9 blades
• Ultrasonic motor
• 0.28m minimum focusing distance
• Weather sealed
• 1180g
• $3000
• http://www.amazon.com/Canon-EF-11-24mm-USM-Lens/dp/B00T3ERXKE/

PR

Canon U.S.A., a leader in digital imaging solutions, is proud to introduce the superb new Canon EF 11-24mm f/4L USM ultra wide-angle zoom lens designed to deliver high quality, minimally distorted images throughout the entire zoom range. Featuring the widest angle of view (126º05’ diagonal) ever achieved for a rectilinear full-frame Digital SLR lens*, and a minimum focusing distance of 11 inches (at 24mm), this new lens is ideal for professionals who want the ultimate in creative image expression with sharp, crisp detail whether shooting entire buildings from a close position, entire stadium shots from a high-vantage point, large group photos at a scenic wedding or even astrophotography. Cinematographers will be equally as impressed with the lens’ ability to retain straight lines.

Fully compatible with all EOS cameras, but particularly effective with full-frame cameras such as the new Canon EOS 5DS and EOS 5DS R Digital SLR cameras also announced today, this new L-series lens features newly developed optics comprised of 16 elements in 11 groups with a three group zoom system and rear focus. The new optical design utilizes four aspherical lens elements to help minimize distortion from the center of the image to the periphery, across the entire zoom range. This new optical array provides straight lines with minimal curve throughout the zoom range, ideal for architectural, event, and forensic photography. The lens also features one Super UD element and one UD lens element to help significantly reduce chromatic aberration and deliver sharp images with high resolution. Canon’s advanced lens coating technologies are also liberally employed to help minimize ghosting and flare, while simultaneously enhancing accurate color balance and maximum light transmission efficiency.

“Canon is very proud of its optical heritage. The creation of this new lens continues our tradition of providing photographers with unique image-making solutions that are not only thoughtfully designed but precisely engineered and manufactured,” said Yuichi Ishizuka, president and COO of Canon U.S.A., Inc. “The new Canon EF 11-24mm f/4L USM ultra wide-angle zoom lens features newly developed optics and an unprecedented combination of Canon optical technologies. We are very eager to see the beautiful images that photographers will create using this new lens with Canon EOS DSLR and Cinema EOS cameras.”

The new Canon EF 11-24mm f/4L USM lens’ impressive 11mm starting focal length and 9-blade circular aperture help deliver beautiful, high-quality, detailed images. The new lens accurately reproduces straight lines in the subject with minimal distortion, ideal for architectural and landscape photographers looking to create images with tremendous depth and strong perspective.

Wide-angle lenses are especially prone to flare and ghosting. To help reduce these effects, the new Canon EF 11-24mm f/4L USM lens features Canon’s proprietary Sub-Wavelength Structure Coating (SWC) and Air Sphere Coating (ASC). SWC is applied to the rear surface of the first and second aspheric lens elements, while ASC is used on the front of the fourth element. The SWC coatings are particularly effective for combatting flare and ghosting caused by light rays entering the lens at a large angle of incidence, while the ASC coating helps mitigate the same problems for light rays entering the center of the lens. The new lens also employs Canon’s Super Spectra Coating (SSC) to enhance light transmission while at the same time optimizing color reproduction accuracy.

The Canon EF 11-24mm f/4L USM lens features a meticulously designed inner focusing system and zoom ring, as well as a built-in petal type lens hood with light-shielding grooves. Along with a high-speed CPU and optimized AF algorithms, this lens enables fast and accurate autofocusing, while its full-time manual focus feature allows manual focus adjustment even in AF mode. As with all L-series lenses, this durable new lens is highly resistant to dust and water -- ideal for outdoor photography even when conditions are harsh. In addition, a fluorine coating on the front and rear surfaces of the lens helps reduce smears and fingerprints and makes the lens easier to clean.

Pricing and Availability
The Canon EF 11-24mm f/4L USM ultra wide-angle zoom lens joins the robust line up of Canon f/4L USM zoom lenses including 16-35mm, 17-40mm, 24-70mm, 24-105mm, 70-200mm, and 200-400mm + 1.4X Extender models. It is scheduled to be available in late February 2015 for an estimated retail price of $2,999.00.

Global optics brand, Samyang Optics (http://www.samyanglensglobal.com) announce a new VDSLR 16mm T2.6 lens, designed specifically for video shooting with uncoupled gear rings with T numbers. This launch adds one more VDSLR cine lens to the existing 12 lenses for DSLR cameras.

Since 2012, Samyang Optics has released its VDSLR lenses based on the needs of professional videographers. Satisfied with the image quality of Samyang manual focus photo lenses, videographers required the brand to customize the lenses with uncoupled gear rings and T numbers for follow focus system and maintain the image quality. As a result of this new launch there is now a total of 19 video lenses: 13 for DSLR cameras and 6 for mirrorless cameras.

Inheriting the renowned image quality of Samyang’s wide-angle lenses, the new VDSLR 16mm T2.6 completes the VDSLR cine lens line-up. This angle of view is commonly used by directors of photography around the globe for its versatile usage for wide-angle, emotional scenes in film and videos. Along with the existing 14mm, 20mm and 24mm, this new 16mm lens will realize the delicate changes in the scenes.

The full range of Samyang VDSLR Cine Lenses for full frame sensors range from the 8mm fisheye through to a 135mm telephoto lens, for DSLR Cameras with APS-C sensor sizes lenses range from 8mm to a 50mm lens.

As a ‘Total Imaging Solution’ optics brand, Samyang Optics now offers 51 lenses: 2 premium XP photo lenses, 2 autofocus lenses, 19 manual focus photo lenses, 19 cine lenses and 9 professional video-cine lenses specifically under the XEEN brand.

Suggested retail price £529.00 inc VAT

Availability: June 2017