• Sony 18-105 F/4 is a good contender, but its limitations are softness at the zoom extremes, and 18 is not very wide. It also has a very poor close focus distance.

• Zeiss 16-70 F/4 is sharp, and this may be the best option. Unfortunately its max aperture is also F/4.

From my understanding, neither sigma, tamron, nor tokina make E mount fast standard zooms. Have I missed any obvious contenders?

PR

Thales Angenieux, in collaboration with Band Pro Film & Digital Inc., and Jebsen Industrial Technology Co. Ltd., announces at IBC 2016 a new range of zoom lenses – the Angénieux Type EZ Series – two fast and light weight zoom lenses integrating an innovative modular design (Interchangeable Rear Optics IRO technology™) to cover S35 mmm and larger image formats for cine and broadcast productions.

Designed for both Super 35mm digital motion picture cameras, and FF/VistaVision cameras, the new Angenieux Type EZ series has been created to fill the wide gap between still photography zooms, and the highly acclaimed OPTIMO / OPTIMO STYLE family of lenses used in the motion picture industry. For the first time, ENG-style productions will get the flexibility necessary for run-and-gun shooting, combined with high optical quality at an affordable price.

The Angenieux Type EZ Series features two new fast and light weight zooms, both lenses allow the rear lens group to be exchanged between S35mm (up to 30mm image diagonal), and FF/ VistaVision formats (up to 46mm image diagonal).

The Angenieux Type EZ-1 is a standard zoom lens with a zoom factor of 3x. When configured for S35mm cameras, the focal range and aperture are set to 30-90mm F1.9 / T2. By exchanging the rear lens group, the lens becomes a 45-135mm F2.8 / T3 covering an image circle up to 46mm diagonal.

The Angenieux Type EZ-2 is a wide zoom lens with a zoom factor of 2.7x. When configured for S35mm cameras, the focal range and aperture are set to 15-40mm F1.9 / T2. Byexchanging the rear lens group, the lens becomes a 22-60mm F2.8 / T3 covering an image circle up to 46mm diagonal.

Both lenses are built in a full metal casing, with internal thermal drift compensation, which allows focus to remain constant when the temperature changes. Focus / Zoom / T-stop can be controlled precisely due to the wide rotation angle of the 3 control rings, which are also equipped with cinema industry standard gear teeth. The lens size remains consistent across the zoom range due to the internal focusing & zooming mechanism. Users can easily configure these lenses to support different imaging formats (S35 or FF/VistaVision), and different lens mounts (PL, EF, or E) on their own, without returning their lenses to service centers.

Full frame EZ zooms will fit RED 8K VV, Red cameras recording at resolutions higher than 5.5K, ARRI Alexa Open Gate, ARRI Alexa 65 with VistaVision crop and also Full Frame DSLR cameras such as SONY a7S Mark II, Canon EOS 5D Mark IV, 5DS, 1DX Mark II…and more to come. Detachable ENG style zoom servo grips and other accessories are being developed by third party manufacturers .

The Type EZ series will address the requirements of independent videographers and cinematographers, who are seeking for cost efficient tools that enable cinematic expressions. The exceptionally fast T2 lens opening provides tremendous control of depth of field, only previously found in prime lenses. Thanks to the Angenieux innovative system, the ability to convert lens mounts, and the image circle size makes the Type EZ lens series a solid investment to all industry professionals.

“Being the worldwide leader in premium quality cinematography zoom lenses, it’s critically important for Angenieux to address the ever-growing, affordable digital motion picture camera market.”, noted Pierre ANDURAND, CEO of Thales Angenieux. “The challenge is to provide a cost efficient, professional quality lens that can be used on both current S35 cameras, and future cameras built around larger imaging sensors”.

“Type EZ lenses are one of the fastest zooms in the industry with an open aperture of F1.9 or T2. When converting the image circle between S35 & VistaVision, the field of view remains fairly identical, so there are no crop factors to worry about. The wide zoom can be used as a wide zoom regardless of the image circle size.” says Christophe REMONTET, Thales Angenieux Product Line Manager.

Deliveries are expected to start from the 1st quarter of 2017 through selected distribution partners.

Chk out the article here:

http://3dkraft.de/index.php?option=com_content&view=article&id=116:about-the-limit-slr-magic-hyperprime-cine-50mm-t095&catid=40:camerasandlenses&Itemid=2

Specs

• Aperture Range - F2.8 to F32
• One LD and Two XLD Glass Elements
• eBAND, BBAR, and Fluorine Coatings
• USD AF Motor, Full-Time Manual Focus
• VC Image Stabilization
• 1:1 Max. Magnification, 11.8" Min. Focus
• Rounded 9-Blade Diaphragm
• Moisture-Resistant Construction
• Nikon, Canon EF and Sony A mounts
• $649, available at https://www.amazon.com/Tamron-AFF017N700-90mm-2-8-USD/dp/B01C6CTT1K/

Available at:

• $2199 price
• http://www.amazon.com/gp/product/B00PF39PEY/
• http://www.adorama.com/CA1004002U.html

PR

Canon U.S.A., a leader in digital imaging solutions, today announced the highly anticipated Canon EF 100-400mm f/4.5-5.6L II USM lens, a second generation compact super-telephoto zoom lens featuring significant advancements in optical quality, image stabilization performance up-to-four steps, and rotating-zoom-ring design. This new L-series super- telephoto zoom lens features Canon L-series weather resistance and rugged magnesium housing to meet the needs of wildlife and sports photographers or photojournalists working out in the elements. Fully compatible with all EOS cameras, the EF 100-400mm f/4.5-5.6L II USM features a completely redesigned optical formula containing one Fluorite and one Super UD lens element ─ a combination unique to lenses in this focal range ─ to help deliver sharp images with high resolution and contrast. This combination of elements helps thoroughly suppress chromatic aberration throughout the entire zoom range.

"The Canon EF 100-400mm f/4.5-5.6L II USM is the logical evolution of the very popular EF 100-400mm f/4.5-5.6L IS USM introduced 16 years ago," said Yuichi Ishizuka, President and COO of Canon U.S.A., Inc., "This long awaited, next generation lens was developed to be a highly portable and adaptable telephoto zoom lens for today's modern professional and advanced amateur photographers."

For photographers who want to work as closely as possible to their subjects, the minimum focusing distance of the lens has been reduced to just 3.2 ft. (0.98m), resulting in maximum magnification of 0.31x. The original EF 100-400mm f/4.5-5.6L IS USM was well known for its push-pull zoom adjustment, but the EF 100-400mm f/4.5-5.6L II USM uses a rotation-type zoom ring similar to the one found on the EF 70-300mm f/4-5.6L IS USM lens that allows for more precise adjustments, easier handling, and consistently excellent weight balance during handheld photography. In addition, the lens features an improved zoom torque adjustment ring that allows for the easy setting of zoom tension based on personal shooting preferences. The Canon EF 100-400mm f/4.5-5.6L II USM also features an inner focusing system, a powerful yet quiet Ring USM, a high-speed CPU and optimized auto focus (AF) algorithms for fast and accurate autofocusing in various shooting situations.

The Canon EF 100-400mm f/4.5-5.6L II USM features three Image Stabilization (IS) modes ─ standard, panning, and during exposure only. Each IS mode is individually engineered to help provide outstanding results in a wide variety of shooting situations, and all serve to satisfy the personal preferences of photographers based on the type of IS they desire. The optical IS provides up to four shutter speed steps of correction, increased from 1.5 steps in the previous model*. In addition, the EF 100-400mm f/4.5-5.6L II USM features Canon's newly developed Air Sphere Coating (ASC) which helps to reduce backlit flaring and ghosting significantly, as well as a 9-bladed circular aperture Electro-Magnetic Diaphragm that helps to enhance beautiful, softly blurred backgrounds.

As with all L-series lenses, the Canon EF 100-400mm f/4.5-5.6L II USM is highly resistant to dust and water, with excellent durability in even harsh conditions, ideal for wildlife photographers even in rainforest environments, or sports photographers on the sideline grabbing action shots of the big game. Fluorine coating on the front and rear surfaces of the lens can repel dust particles and water droplets. It also makes smears and fingerprints easy to remove without the use of lens cleaning fluid. Included with the lens is the new ET-83D lens hood, that features a cleverly placed and convenient side window allowing the user to easily adjust specialty filters while the lens hood remains in place. In addition, the EF 100-400mm f/4.5-5.6L II USM is equipped with a newly designed detachable tripod mount which can be removed to reduce weight during handheld operation.

I use the Panasonic GH3 - has anyone used this lens with this camera and could comment on whether the micro jitters are still there or not?

Key specs:

• Nano Crystal Coat
• Phase Fresnel element
• 755g
• VR
• $2000 price

PR

Nikon has also introduced the AF-S NIKKOR 300mm f/4E PF ED VR, the world’s lightest 300mm full-frame fixed focal length AF lens, which is nearly 30% shorter and 1.5 lbs. lighter than its predecessor. Extremely easy to handle and built to suit the needs of serious photographers in the field, the new 300mm f/4 lens utilizes Phase Fresnel optical technology to help correct chromatic aberration and reduce the overall size and weight of the lens, making it easy to pack for any assignment. Capable of producing tack-sharp images and beautiful background blur at a distance, Nikon’s newest FX-format lens also features four and a half stops of VR image stabilization, a VR Sport mode, VR tripod detection as well as several of the latest NIKKOR optical technologies including electromagnetic aperture control, a Silent Wave Motor for quiet AF operation, ED glass for further controlling chromatic aberrations and Nano Crystal Coat for superior image quality.

OKS 15mm T2.0 + ND

OKS 20mm T1.9 + ND

Yashica 50mm f1.4 +ND

OKS 15mm T2.8

OKS 20mm T2.8

OKS 25mm T2.7

Yashica 28mm f2.8

Yashica 50mm f2.8

OKS 15mm T4

OKS 20mm T4

OKS 25mm T4

Yashica 28mm f4

Yashica 50mm f4

OKS 15mm T5.6

OKS 20mm T5.6

OKS 25mm T5.6

Yashica 28mm f5.6

Yashica 50mm f5.6

OKS 15mm T8

OKS 20mm T8

OKS 25mm T8

Yashica 28mm f8

Yashica 50mm f8

Lens Flare test. Added Yashica ML Zoom 35-105. Same as previous test all shoot in RAW, processed in DaVinci Resolve with ARRI LogC timeline and Alexa LogC to Video LUT. No any additional color correction.

OKS-15mm-T2.0

OKS-15mm-T2.8

OKS-15mm-T4

OKS-15mm-T5.6

OKS-15mm-T8

OKS-15mm-T11

OKS-15mm-T16

OKS-20mm-T1.9

OKS-20mm-T2.8

OKS-20mm-T4

OKS-20mm-T5.6

OKS-20mm-T8

OKS-20mm-T11

OKS-20mm-T16

OKS-25mm-T2.7

OKS-25mm-T4

OKS-25mm-T5.6

OKS-25mm-T8

OKS-25mm-T11

OKS-25mm-T16

Yashica-28mm-f2.8

Yashica-28mm-f4

Yashica-28mm-f5.6

Yashica-28mm-f8

Yashica-28mm-f11

Yashica-28mm-f16

Yashica-50mm-f1.7

Yashica-50mm-f2

Yashica-50mm-f2.8

Yashica-50mm-f4

Yashica-50mm-f5.6

Yashica-50mm-f8

Yashica-50mm-f11

Yashica-50mm-f16

Yashica-Zoom35-105mm-35mm-f3.5

Yashica-Zoom35-105mm-35mm-f5.6

Yashica-Zoom35-105mm-35mm-f8

Yashica-Zoom35-105mm-35mm-f11

Yashica-Zoom35-105mm-35mm-f16

Yashica-Zoom35-105mm-50mm-f3.5

Yashica-Zoom35-105mm-50mm-f5.6

Yashica-Zoom35-105mm-50mm-f8

Yashica-Zoom35-105mm-50mm-f11

Yashica-Zoom35-105mm-50mm-f16

The other day I was involved in a discussion about "85mm" lenses, and the differences between the characteristics of a certain FOV lens on "full frame", compared to how it looks on a crop sensor. A "native" lens can be designed to perform just like it´s other sized sibling, but when one is into vintage lenses / lenses that can be used on multiple systems it gets far more complicated! Lately I´ve been thinking a lot about lenses that work across different camera systems and the different qualities that are exhibited, depending on the size of the sensor. I´m not thinking so much about the obvious depth of field related changes as to how the overall feel of the image and subtle optical imperfections alter the image with the same lens used on different systems. I´d like to think of aps-c or s35 as base sensor / imager size over "full frame", at least for us who have video as the main area of camera usage, however, many lenses where designed for "full frame" and although the differences on s35 and aps-c can be rather small, I find the differences increase exponentially the smaller imager you put it on.

Hence I have come to search for vintage full frame lenses which will exhibit appealing qualities on a gh2 or a blackmagic design cinema camera. Now, what is appealing to me might not be appealing to you, but I will try to define my own criteria and I hope you can supply yours and add to this thread.

I have been building two main sets of vintage still lenses after ditching my canon fd´s (they were not getting the use to justify having them). For one, I have been buying c/y zeiss optics and I have been adding m42 mount lenses as I have come across them or found some interesting aspect which could fit in with the rest. The c/y´s will no doubt be a mainstay in my arsenale for years, however the ultimate reason why I pulled the trigger on the full set was the advent of the metabones speedbooster – I much prefer how they look on a slightly bigger sensor over a smaller one and I have high hopes for the speedbooster. The reasons for the preferred vicinity to "native sensor size" are:

1. less pronounced CA. I have become a bit allergic to aberrations of late.
2. nicer transition to OOF areas, wide open or stopped down.
3. More obvious contrast/microcontrast "sweet spot". (I think this is down to a slightly larger FOV)
4. Usability wide open, much in line with the criteria above. A lens which looks sharp in the center on full frame or aps-c might just look soft on a smaller sensor because there´s less contrast between edge and center.

With the m42´s it´s different. I like very much how they look on the gh2 AND f.i. the fs700 or BMD, so I find them extremely useful for video, across systems. So what is it I´ve been looking for?

1. Low(ish) contrast
2. Pleasing (sort of neutral) OOF and bokeh, also when stopped down.
3. good price / performance ratio.
4. great CA control
5. reasonable color match
6. good distortion control / flat focal field

I have mainly been searching through lens databases (on possible candidates), comparing sample images.

Now, this set consists today of the following lenses:

20mm flektogon f2.8 29mm meyer optik, pentacon f2.8 37mm Mir-1b f2.8 50mm Pancolar f1.8 58mm Helios f2 135mm meyer optik orestor f2.8 200mm meyer optik orestegor f4

I´m still looking to add a few but for the ones I have / I´ve had I can say the following:

20mm flektogon - I prefer the f4, as it´s tack sharp wide open. (f2.8 needs to be stopped down to 4-5.6) 29mm Meyer optik is sharper / has less blooming (coma) than the pentacon wide open.. maybe half a stop brighter as well - otherwise they are remarkably similar - both useful wide open. Bokeh can be both expressive and sort of neutral depending on where you place the focal field / subject and f-stop. 37mm Mir is a great "normal" lens on the gh2. Too slow? No. Just right. I want to add a macro ring to help out close focusing. Great value for money and beautiful OOF transitions thanks to the 10 blade aperture. 50mm pancolar - a bit too low in contrast to fit the others well. Not a fan of it´s bokeh. 58mm helios f2 - rock´n roll short tele on the gh2. Wonderful out of focus rendition and also nice transitions thanks to the round aperture. 135mm meyer optik - beautiful and tack sharp tele. Notoriously nice OOF / Bokeh rendition. Low in contrast and needs a push in post to match most of the other lenses. 200mm meyer ... - used it very sparingly so far. Not super sharp wide open. Not a preferred lens on gh2 sensor.

In general, I´ve had some issues with mechanics in cold conditions (needed to clean out and lubricate some helicoids) but they have been put to very good use already. I traded away a 35mm flektogon which I felt was a tad harsh in contrast in comparison to the others anyway (great lens tho). Another thing which is down to physics - the wider the lens, the more restless / harsher the bokeh is. The performance of a certain FOV does not quite match what you´d get on a larger sensor but this will only be a problem in case you are looking for really wide lenses in which case you are better off with native lenses anyway. The difference is mainly where you place the camera. (between different sensor sizes).

Note: I believe it´s difficult to switch lenses with acute focal fields between different sized imagers and not get very differing results.. For my m42 set I´d normally not use all for one production but choose a few depending on priority, like f.i. one or two wides, one or two tele´s to contain the slight differences in coatings, color e.t.c. However, they match remarkably well despite transgressing manufacturers and brands. I´d guess it´s because they are in the vicinity of one lineage of optics manufacturing.

Samples to follow.

Specs

• m43, X mount, E mount, EF-M Mount Lens, max APS-C Format
• Aperture Range - f/1.4 to f/22
• 8 elements in 7 groups, 3 Aspherical Elements, 1 ED Element
• Ultra Multi-Coating
• Internal Focus; Manual Focus Design
• Non-Rotating 58mm Filter Mount
• Rounded 9-Blade Diaphragm
• $499 - http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Daps&field-keywords=21mm+F1.4+Samyang+

This 21mm f/1.4 is a standard wide-angle lens offering an equivalent focal length of 31.5mm to 42mm, depending on mount choice. The bright f/1.4 maximum aperture is well suited to working in a wide variety of lighting conditions and also offers selective focus control to emphasize specific subjects in the frame. A manual focus design is employed here again, along with an internal focus system and non-rotating 58mm front filter mount to both maintain the overall length of the lens during use and prevent filters from rotating when focusing. One extra-low dispersion element and three aspherical elements are incorporated into the optical design to limit color fringing and various aberrations in order to achieve greater sharpness and clarity. The Ultra Multi-Coating has been applied to all elements in this lens, too, and a rounded nine-blade diaphragm contributes to smooth out-of-focus areas when using selective focus techniques.

I am looking for a decent zoom lens (Standard range, 24-70 for example) that covers a full frame sensor and has non electrical manual focus for use with a follow focus. I don't need auto focus but it wouldn't hurt either.

Is there such a thing?

Thanks!

5 NEW Samyang Lenses will be released on every Monday for the next five weeks.

My high school students love the Helios-44 look on the GH4 and want to use it on an upcoming shoot. I was hoping someone might be able to suggest some old (relatively cheap) primes that could make a potential 3-4 lens kit with the Helios.

Ideally, I'd love to get the SLR Magic 10, 25, and 50, but the camera and lens purchases are coming out of my pocket, so that's why we've got the Helios.

I searched the forums, but I couldn't find any topic about lenses to match the Helios look. In a dream world, I'd love something around 10-12mm, 25mm, and an 85.

Thanks in advance for any suggestions!

PR

Meyer-Optik Goerlitz announced today the availability of its new portrait lens, the Trimagon f2.6/95, in the United States and worldwide. Aimed at professional photographers, the Trimagon 95 uses a unique coating and design that delivers sharp images with minimal reflections to preserve skin tone. The triplet architecture 15-blade design adds Meyer Optik's trademark artistic bokeh to Trimagon 95 images. 'While the Trioplan 100 restored Meyer-Optik's long lens to the artistic photography market, the Trimagon 95 provides professionals a dynamic modern lens that delivers extraordinary portraits and natural-looking photographs,' said Dr. Stefan Immes, CEO, Meyer-Optik Goerlitz. 'The remarkable nature of the lens is its rendering of secondary light, specifically providing realistic reflections of the finest structures.'

A unique coating on the Trimagon f2.6/95 reduces unnecessary light flares and overexposed reflections. The Trimagon f2.6/95 features high-index glass from Schott or O'Hara, providing excellent sharpness. The new portrait lens is suitable for resolutions from 60 million pixels and even more.

As with all Meyer-Optik lenses, the Trimagon f2.6/95 is 100% handmade in Germany. All Trimagon f2.6/95 lenses feature the best components and manufacturing processes, and undergo a rigorous inspection process with strict tolerance limits. The end result is a superior high-end lens for discerning photographers.

'The bokeh is exquisite and gives images a distinctive look,' said professional photographer and author Alexander Henry. 'The sharpness is impressive and the lens significantly reduces the amount of post-production required.'

The technical specifications of the Meyer-Optik Trioplan f2.6/95 include:

• Light intensity and focal length: f2.6-22; 95mm
• Optical design: 3 elements in 3 assembly units
• Angle of view: 25°
• Filter diameter: 52mm

Specifications:

• Optical assembly as a classic triplet | 3 lenses/3 units
• Iris diaphragm with 15 uniquely calculated steel aperture blades with special anti-reflection coating

Compatible with:

• Canon
• Nikon
• Fuji X
• Sony-E
• MFT
• Leica M

The Trimagon f2.6/95 is available for purchase at USD$1,699. Orders are currently being taken on the Meyer-Optik website. The lens was initially released only in Germany.

I need your help. I want to build a lens set from affordable but superb vintage lenses for cinematography. These 3 brands would be adapted via an passive adapter onto my Samsung NX1.

Focal lengths I am generally interested in: 24 or 28mm, 35mm, 50mm, 85mm

I'll need some experts opinion on which brand to go for. I don't know wether to go for Contax Yashica, Canon FD or Minolta vintage lenses so hit me up with your knowledge and recommendation. It is much appreciated.

Details at http://blogs.zeiss.com/photo/en/?p=4313

Available for preorder at:

• http://www.adorama.com/ZI5514ZF2.html
• http://www.adorama.com/ZI5514ZE.html

https://www.youtube.com/user/mikeno62/videos

Specifications:

• Lens Mount Type : Sony E-mount lenses
• Aperture : f/3.5-5.6
• Filter Diameter : 40.5mm
• 8 groups, 9 elements (4 aspheric surfaces)
• Minimum Focus Distance : 9.8" (0.25m)
• Aperture Blade : 7 blades (Circular aperture)
• Dimensions (Max. Diameter x Length) : 2-5/8" x 1-13/16 (64.7 x 29.9mm)
• Focal Length (35mm equivalent) : 24mm-75mm (35mm equivalent)
• Lens Weight : 4.1 oz (116g)
• Maximum Magnification : 0.215x
• Steady Shot Mode:Active : Lens-based Image Stabilization (OSS)
• Price: $350

Available at:

• http://www.amazon.com/Sony-SELP1650-16-50mm-Power-Zoom/dp/B0096W1PG6
• http://store.sony.com/webapp/wcs/stores/servlet/ProductDisplay?storeId=10151&catalogId=10551&langId=-1&productId=8198552921666487151#features
• UK: http://www.wexphotographic.com/buy-sony-e16-50mm-f3-5-5-6-oss-lens/p1532763
• DE: http://www.sony.de/product/dal-travel/sel-p1650

• F1.8-F16
• 12 elements in 9 groups
• 0.23 m focus
• 7 blades
• Nano Crystal Coat
• 355 g
• $749.95 at http://www.amazon.com/Nikon-NIKKOR-Fixed-Focus-Cameras/dp/B013D1BBBY/

Samples

• http://www.nikon-image.com/products/lens/nikkor/af-s_nikkor_24mm_f18g_ed/sample.html
• http://www.nikon-asia.com/en_Asia/product/nikkor-lenses/fx-format/single-focal-length/wide-angle/af-s-nikkor-24mm-f-1-8g-ed#photo_video_gallery

PR

The AF-S NIKKOR 24mm f/1.8G ED is the latest addition to the exceptional system of NIKKOR f/1.8 primes, and provides enthusiast photographers with a fast wide-angle prime lens that’s both lightweight and affordable. This new lens lets photographers immerse viewers into landscapes, interiors and architecture with amazing clarity and minimal distortion, while a fast maximum aperture delivers superb bokeh and excellent low-light ability. Whether a photographer’s passion is capturing environmental portraits or the delicious details of a meal, this lens creates a dramatic separation between subject and background.

The new NIKKOR 24mm f/1.8 complements Nikon’s high-resolution DSLRs and provides amazing image quality thanks to Nikon lens technologies including Nikon’s exclusive Nano Crystal Coat. Additionally, this compact lens features ED and Aspherical lens elements for extreme sharpness while minimizing ghosting and flare.

Press release:

http://www.systemkamera-forum.de/blog/2012/06/schneider-kreuznach-micro-fourthirds-objektive/

• Has nano coating (ala latest Panasonic lenses)
• AF

Quite weird lens. Hope it'll be good performer.

This new ultra-wide-angle zoom lens is designed to accommodate a large 35mm full-frame image sensor.

When mounted on the PENTAX K-1 35mm full-frame digital SLR camera body, this zoom lens covers a focal-length range from 15mm ultra-wide-angle to 30mm wide-angle.* Thanks to its exaggerated perspective, typical of an ultra-wide-angle lens and high-resolution imaging power, it captures dynamic, sweeping views of subjects, especially beneficial for landscape photography. Treated with the PENTAX-developed HD Coating, it produces well-defined, fine-detailed images with ample light levels even at the edges of the image field, while effectively reducing chromatic aberration, distortion and keeping coma to a minimum. Its large F2.8 maximum aperture also comes in handy for photographing nightscapes and starry skies. The built-in SDM (Supersonic Direct-drive Motor) provides quiet, high-speed autofocus operation.

Main Features

Exceptional imaging power

When mounted on the PENTAX K-1 35mm full-frame digital SLR camera body, this zoom lens provides an ultra-wide-angle focal-length coverage from 15mm to 30mm. Its exaggerated perspective helps the photographer produce spectacular images in landscape photography. Since it provides a 30mm focal length at the telephoto end, it can also be used for snapshots.

• State-of-the-art optical design*

This zoom lens incorporates three ED (Extra-low Dispersion) glass optical elements and three aspherical optical elements in its 18-element, 13-group optics, to deliver high-resolution images rich in contrast even at the edges of the image field, while effectively minimizing chromatic aberration, distortion and coma.

Large-aperture zoom lens, with a maximum aperture of F2.8

As this zoom lens provides a maximum aperture of F2.8 over its entire zoom range, it is versatile enough to be used for many different subjects and scenes, ranging from sweeping landscapes to nightscapes and starry skies. Despite its ultra-wide-angle perspective, it can capture the subject with an excellent bokeh (defocus) effect on the background. Even in macro photography from its minimum focusing distance of 28 centimeters, it can capture subjects with a well-defined sense of depth.

Built-in SDM (Supersonic Direct-drive Motor)

The incorporation of a new-generation SDM (Supersonic Direct-drive Motor) ensures that this zoom lens provides quiet, high-speed autofocus operation, letting the photographer react swiftly to all types of subjects

Weather-resistant construction

Special seals applied throughout the lens body provide this zoom lens with dependable weather-resistant construction, effectively preventing the intrusion of water into the lens interior. By pairing it with a weather-resistant PENTAX digital SLR camera body, the photographer has a durable, dependable digital imaging system that performs superbly under demanding shooting conditions — even in the rain or mist, or at locations prone to water splashes or spray.

HD Coating to improve image description

The lens is treated with high-grade, multi-layer HD Coating. Compared with conventional multi-layer coatings, this PENTAX-original coating assures higher light transmittance and less reflection to deliver bright, high-contrast images free of flare and ghost images, even under demanding lighting conditions including backlight.

Other features

• Quick-Shift Focus System for instant switching from autofocus to manual-focus operation, by holding the shutter-release button halfway down and turning the focus ring after the subject is captured in focus by the camera’s AF system.
• Rounded diaphragm with nine blades to produce a smooth, beautiful bokeh (defocus) effect, while minimizing the streaking effect of point light sources.
• SP (Super Protect) Coating applied to the front surface of the lens to effectively repel water and grease.