Fujifilm’s 23mm f1.4 will render an equivalent of 35mm on Fujifilm’s APS-C X series cameras. As one of the classic focal lengths, this has been a lens that photographers have been asking for for a while. The lens features a minimum focusing distance of around 11 inches, 11 lens elements in 8 groups, an all metal build, a snap-back style focusing ring that lets you toggle between autofocus and manual focus, and overall just some seriously beautiful image quality. And there is very little to complain about with this lens.
Justifying the purchase of $899 to yourself though, will be one of the toughest things to do.
Now this is something that we didn’t see coming. While roaming the floors of the Photo Plus Expo 2013, we came across the Sakar/Vivitar/Polaroid booth–those are the people that bought the rights to put the Kodak brand on new photographic items. Perusing through the neatly lined-up items at their stand, three tiny lenses hidden in a corner caught our glimpse. Upon closer inspection, not only did we notice a Kodak branding, but also some intriguing specifications. We were looking at a 25mm f0.95 lens, a 50mm f1.1 lens as well as an 8mm f3 fisheye lens, all three for the Micro Four Thirds mount. We were quite surprised, to say the least.
Upon popular request, SLR Magic has decided to redesign the exterior of their HyperPrime CINE 12mm T1.6 lens for Micro Four Thirds, adding fixed gears around the focus and aperture rings (the previous CINE version of the lens had optional gears.) This way, the lens can be easily used with a follow-focus system in videography applications. For still photography, the added gears provide extra grip when operating the focus and aperture rings. Existing users of the HyperPrime 12mm f1.6 (non-CINE version) can have their lens upgraded to the current version with gears for US-$ 250.
Our review of the original SLR Magic HyperPrime 12mm f1.6 for Micro Four Thirds can be found here.
There are some lenses that we dream of, and then there are lenses that we seriously wish that we were truly worth of. In a world dominated by autofocus lenses, some manual focus glass takes a step back to the modern convenience of phase and contrast detection. But there are still lenses that are not only worth their weight in gold, but worth attaching to your camera and gluing on forever.
These lenses range from the affordable to the pricey–and many tend to drool just a bit too much on their pillows at night when these lenses come to mind.
Here’s our round up of five manual focus lenses that will be the apple of your eye.
Just recently we showed you some sample footage taken with one of the first prototypes of SLR Magic’s upcoming 1.33x anamorphic adapter. Well, it seems that Letus, a company that mainly produces videography accessories, is aiming at the exact same market niche right now. According to No Film School, the company is about to introduce their own 1.33x anamorphic adapter, and we might be seeing it very soon. Clinton Harn mentions some of the (preliminary) tech specs on his blog.
It’s been a while since we last heard about SLR Magic’s anamorphic adapter for Micro Four Thirds, and now some video footage taken with a prototype version has emerged. The introspective short film takes place on the busy streets of Hong Kong’s most crowded neighborhood, Mong Kok. The footage was taken with a Panasonic GH2 camera at ISO 1600, and an SLR Magic 35mm T1.4 lens attached to the 1.33x ratio anamorphic adapter prototype. So far, the optics of the adapter are uncoated, thus the flare is extremely crazy in the sample footage. SLR Magic is still working on the coating.
As far as we can judge from the video, the image quality looks very promising. This is a pretty exciting development, and we can’t wait to see footage taken with the final production version of the adapter. The video is after the break.