Sigma is a third-party company known for lenses that tend to be a bit more budget-friendly than larger names. But, that’s not exactly the case with the I series: a set of metal prime lenses designed to be more high-end than budget. The Sigma 24mm f2 DG DN Contemporary is one of those lenses.Continue reading…
The Fujifilm GF 30mm f3.5 R WR is an excellent wide-angle prime lens for photographers shooting with Fujifilm Medium Format cameras.
Photographers shooting with Fujifilm Medium Format cameras are getting a new wide-angle prime option today. The Fujifilm GF 30mm f3.5 R WR is the eighth prime to join the company’s G mount lens lineup. It covers a 30mm focal length, which is roughly equivalent to 24mm in 35mm Full Frame. It’s also got a reasonably bright maximum aperture of f3.5 (which equates to approximate f2.8 in 35mm Full Frame). The GF 30mm f3.5 is also weather-sealed like the rest of the lenses in Fujifilm’s Medium Format G Mount. It’s relatively lightweight and feels very well balanced when paired with one of the GFX camera bodies (we tested it with the GFX 100). We recently got to spend some time with a pre-production prototype of the Fujifilm GF 30mm f3.5 R WR ahead of today’s announcement. Head on after the jump for our first impressions.Continue reading…
Just because you’re used to shooting landscapes and architecture with your 24mm lens doesn’t mean you can’t use it for shooting at home!
So, you’re stuck at home and you have limited options when it comes to taking photos. If you’re thinking about joining the myriad of photographers who decided to do self portraits in the meantime, you might want to pay special attention to your 24mm lens. We’ve been recommending the 24mm lens for portrait photography, so we see no reason why you can’t whip it out for creative self portraits as well!Continue reading…
Wondering how you can get great results using a 24mm lens? We have just the photography cheat sheet as your guide.
When it comes to wide-angle lenses, the 24mm is considered a classic focal length by many photographers. It’s a favorite for its versatility, so we’re not surprised if you somehow ended up here while researching this lens. In our cheat sheet, we bring some tips on how to make the most out of this lens, whatever you’re shooting.Continue reading…
The new ZEISS Ventum 21mm f2.8 lens is a lightweight, industrial lens designed for long-range shots using drones.
If you dabble in drone photography for all kinds industrial purposes, you might benefit from the latest offering by ZEISS. Given the many industrial applications of drone cameras today, the company has responded with the Zeiss Ventum 21mm f2.8, a new lightweight industrial lens especially made for use with drones. This wide-angle E-mount lens for full-format cameras promises outstanding optical quality in a compact and rugged aluminum package.
The newly released Micro Four Thirds version of the Laowa 9mm Zero-D lens is geared to be an ideal lens for both photo and video work.
If you’re still looking for a distortion-free wide angle lens for both photo and video work with your Micro Four Thirds camera, Venus Optics comes forward with a solution. The lens manufacturer has just announced the M43 variant of the Laowa 9mm f2.8 Zero-D lens, which they are marketing as a perfect lens for video work. As with the Laowa 7.5mm f2 MFT, another wide-angle lens made available for the M43 system, this new lens sports an ultra-compact body and boasts of exceptional image quality. It also promises a more natural perspective for shooting videos using the Panasonic GH5 and Blackmagic Pocket Camera. Weighing only 210g (0.46 lbs) and measuring only 60mm (2.3 in) long, it’s designed to be compressed to be as minimal as possible in its class. If you’re frequently shooting with gimbals, you might find the lightweight design and 100° angle of view especially handy.
The Viltrox PFU RBMH 20mm f1.8 ASPH is an affordable ultra-wide angle lens for Sony E Mount.
Up until now, Viltrox was known primarily for their camera accessories and lens adapters, so our interests were piqued when we were first introduced to the Viltrox PFU RBMH 20mm f1.8 ASPH lens during PhotoPlus last year. After spending some brief time with the fully manual ultra-wide angle lens on the convention floor, we came away intrigued and were eager to get a review sample in for testing. With their 20mm f1.8, Viltrox is offering Sony mirrorless shooters a value proposition in the form of an affordable ultra-wide housed within a metal body that is both well built and produces excellent images. Read on to find out how well the freshman lens maker fared.
The Sony 24mm f1.4 G Master combines affordability with versatility in a lightweight, compact package
Announced back in September of this year, the Sony 24mm f1.4 G Master is the latest entry joining Sony’s premium G Master lens lineup. At press time, it also happens to be the lightest and most compact G Master lens as well, barely tipping the scales at a mere 15.7 oz (445 g). Exceptionally sharp from corner to corner even when shooting wide open thanks to a pair of extreme aspherical glass elements, the Sony 24mm f1.4 G Master is also capable of producing some truly dreamy bokeh courtesy of its circular aperture design that incorporates 11 blades. This combination makes this lens one of the most versatile, wide angle, native lenses available for Sony E mount, with lots to love for landscape shooters, astrophotographers, street shooters, and environmental portraitists alike. Since we only got to spend a few hours with the 24mm G Master in San Francisco back when it was first unveiled during a behind closed doors media briefing, we were excited to finally get our review unit in so that we can put the lens through more exhaustive testing on our own terms.
Check out this mint Rolleiflex if your camera collection has some room for a beautiful, wide angle TLR camera.
Rolleiflex TLR cameras are always on top of every photographer and camera collector’s must-have list. Whether you’re looking to add one more to your growing collection or yet to have your first elegant Rolleiflex, you might want to check out our latest ebay find: a wide angle Rolleiflex in mint condition. It doesn’t come for cheap, however, at a whopping $5,200.
Lomography adds the wide-eyed Naiad 15mm to the Nepture Convertible Art Lens System
Wide-angle lovers and lomographers who already have the Neptune Convertible Art Lens System have something new to add to their arsenal of unique lenses. Lomography has recently unveiled the Naiad 15mm Front Lens, a new wide angle lens attachment promising to add versatility to the Neptune Convertible Art Lens System.
Lomography’s new Lomo’Instant Square Wide-Angle Glass Lens Attachment promises to let you get more out in every snap
Heads up, lomographers and instant photography fans! Lomography has recently launched a new wide angle lens attachment for those wanting for a wider capture with their Lomo’Instant Square. With this new accessory, you now have the option to shoot both tighter crops and wider scenes with just one instant camera.
All images from ALPA. Used with permission.
Medium format snappers, architectural photographers, and landscape photographers, here’s something that will tickle your fancy. Swiss camera maker ALPA has recently introduced its latest camera package for film photographers: the ALPA 12 SWA equipped with ALPA Apo-Helvetar 5.6 43mm lens. You’d have to be fast, though, as it’s super limited edition with only five kits up for grabs.
We know that within the next few days both America and Canada will be celebrating their Independence days. Much of the festivities are celebrated with the lighting of fireworks. They’re big, they’re beautiful and they’re very colorful. But for many, they can be incredibly difficult to shoot. Part of this inherent difficulty comes with the fact that fireworks are so far away and are best experienced through a slow shutter speed. If you’ve got a tripod, then you don’t need to worry about this all that much–same applies to those of you with cameras that have insane image stabilization like the Olympus OMD EM1 Mk II. But if you’re handholding your camera and lens, then you’ll need to find a way to stabilize your camera.
In most situations, shooter with a wide angle lens could be easier. Why? The reciprocal rule of shutter speeds states that in order to get an image that is devoid of camera shake, you’ll need to shoot at the reciprocal or your lens’ field of view. So at 15mm wide angle lens on a full frame camera will make sense at 1/15th of a second. But on an APS-C cropped sensor camera, a 35mm f1.4 lens will make the most sense being shot at 1/50th. Slow shutter speeds really work at times like this.
Of course, this means that you’ll need to get closer to the action or at least do some extra time scouting and figuring out which location could be best for you. But beyond that, you’re going to have to find probably two more. Why? Because otherwise you’re shooting the same vista and angle over and over again. That gets boring unless you plan on seriously culling down your photos.
Happy shooting this coming weekend and Happy Independance Day to all our readers in these areas!
The 24mm lens: it’s a classic focal length that for a very long time has been close to the hearts of many photographers. When I say many photographers, I’m really not kidding. There are great reasons why it’s the wide angle of a 24-70mm lens and there are great 24mm lenses on the market that are fairly compact and high quality. So if you’re getting into using a lens like this or considering it, check out these tips.
One of the world’s rarest and most exotic Nikon 6mm f2.8 fisheye lenses is now on sale on eBay for an eye-popping $96,187.50. The lens is the stuff of legend in the 35mm film camera days. Originally released in 1970, the lens boasts a field of view of 220-degrees, allowing it to literally see behind itself.
Supposedly the lens was originally developed for special scientific and industrial use according to the seller’s description. This “special wider-than-180-degreee picture coverage [was] required for surveillance work, photographing the interiors of pipes, boilers, conduits, cylinder bores, and other constricted areas.”
Despite the lens’ relatively short barrel length, it’s made up of 12 elements in 9 groups. On the front end there’s a front dome-shaped end piece of glass that’s actually five built-in filters.
Weighing in at a hefty 5.2 kilograms (11-pounds) and measuring 236mm (9.2-inches) in diameter, this is a lens that will be a pain to move around and it’ll almost always need a tripod. The seller also notes that the Nikon 6mm f2.8 is a more of a status lens than something you’ll ever take out. However, photographers who need to shoot tight interiors or want a completely unique look to their landscape images can’t ask (quite literally) for a wider lens.
While many of you won’t be able to buy this incredibly expensive lens, you can check out more images of it after the break.
Besides the great X-Trans CMOS sensor, there’s another good reason to go for Fujifilm’s X-system: the lenses. Not only has Fujifilm created a respectable amount of lenses covering all focal lengths from wide-angle to telephoto in a rather short amount of time, they also created some of the best optics currently available for any mirrorless system, including the 14mm f2.8, the 23mm f1.4, the 35mm f1.4 and the recent 56mm f1.2.
Soon, users of the system could be in for some more treats. According to Fuji Rumors, the company could soon introduce a super-fast 16mm f1.4 wide-angle lens for its X-system, translating to a 24mm-equivalent. Fujifilm’s lens roadmap indicates that in 2014 a “high speed wide angle lens” would be introduced, and this could just be it.
In addition to the 16mm f1.4, Fuju Rumors’ sources also claim that the X-system might see the addition of a 140-400mm super telephoto lens, for those who need that extra bit of reach. On the system’s APS-C sized sensors, this lens would translate to a 210-600mm, which should be sufficient for both sports and wildlife photography. Thanks to built-in optical image stabilization, it should be possible to achieve shake-free images with the lens even at its longest setting.
Finally, there will be an 18-135mm superzoom lens, an aperture range of f3.5-4.8. According to Fuji Rumors, this lens will also be weather sealed, which should go nicely with the new X-T1 camera. As for release dates, those of the 16mm and 140-400mm lenses are unknown so far, but the 18-135mm should be introduced some time in June. We’ll keep you posted when these lenses become official.
One-and-a-half years ago, when we visited photokina 2012 in Cologne, Germany, we came across a couple of prototype Micro Four Thirds lenses at the Scnhneider-Kreuznach booth. At the time, the lenses were still under development, and upon inquiry later that year Schneider quoted us a late 2013 release date. Unfortunately, it appears they had some issues with the lenses, as they were then postponed again for an unspecified 2014 release.
Now 43rumors has got word that the lenses might indeed arrive in their final form for photokina 2014, two years after they were first showcased. As a reminder, Schneider-Kreuznach has been working on a 14mm f2 Super-Angulon, a 30mm f1.4 Xenon and a 60mm f2.4 Makro-Symmar lens. The main reason for the delay, according to the 43rumors report, was that Schneider has only limited production capabilities and wanted to focus on their cine lenses first.
When their Micro Four Thirds lenses arrive, they’ll all feature autofocus just like the lenses from Panasonic, Olympus and Sigma, and unlike the Voigtländer offerings. However, with Schneider having a long history as a manufacturer of high-quality lenses for professional demands, we can assume their Micro Four Thirds lenses to be of superior optical and build quality. Whether or not there were some changes to the original designs, as 43rumors suggests, will be seen when (if) they arrive at photokina.
We’ll be covering the show in Cologne this year (again), and should the lenses truly be exhibited in their final production form, we’ll make sure to get some hands-on time with them.
Rumor had it that Samyang, also known as Rokinon in the US, would have something to announce today. Many speculated that the lens manufacturer would finally introduce autofocus lenses, but the truth couldn’t be further from that. Today’s main announcement is a new 12mm f2 ultra wide-angle lens for mirrorless cameras, plus some updates on older lenses. For details, head past the break.
Don’t we all love lens patents! The designs may never see the light of day, but they get us excited and show us what our camera brands of choice are currently working at. And maybe, just maybe, some of the ideas will actually make it to production. Which we hope will happen to at least one of these incredible lens design patents that Olympus just filed.
The patent descriptions that were posted over at Egami show four patents for two super-fast wide-angle lenses for Micro Four Thirds: a 12mm f1 and a 14mm f1. Currently, the widest super-fast lens for Micro Four Thirds is the Voigtländer Nokton 17.5mm f0.95 (which we totally dig,) but that’s an all-manual lens. According to Egami, the Olympus patents are for autofocus lenses.
Should these lenses ever be made, they’d be the fastest production wide-angle lenses with autofocus. Currently, the fastest AF lens for Micro Four Thirds is the Panasonic/Leica Nocticron 42.5mm f1.2, and one of the fastest AF lenses ever made was Canon’s 50mm f1L, which has been discontinued in favor of the 50mm f1.2L–however, these are both normal lenses, and not wide-angles.
Egami also mentions that the lenses will have issues with distortion and chromatic aberration, which does not surprise us at all considering the focal length and speed. These will be dealt with in-camera, as already happens with most other Micro Four Thirds lenses. As always with patents, there’s no way of telling whether the products they depict will ever be made. But as we here at The Phoblographer are huge fans of fast prime lenses, we sure hope they will.
In addition to the smallest Micro Four Thirds camera, the GM1, Panasonic today also announced a new Leica-branded lens, the 15mm f1.7 DG Summilux. While still under development, a first rendering is already available, and it has us scratching our heads a bit. On the one had, it deviates from previous Micro Four Thirds lenses in that it apparently shows a manual aperture ring. Is Panasonic trying to compete with Fuji’s X-system? On the other hand, the focal length is a bit weird, to say the least. It’s pretty close to the already exisiting 14mm f2.5 lens in terms of focal length, and in terms of speed it’s exactly the same as the 20mm f1.7.
What from our point of view would’ve made much more sense is a 17.5mm f1.4 lens, which would not only be deserving of the ‘Summilux’ branding (which traditionally stands for f1.4 lenses only), but which would also fit nicely inbetween the 14mm f2.5, 20mm f1.7 and 25mm f1.4 lenses already available. So where exactly is Panasonic trying to position this lens? I guess we’ll have to wait and see.
Wide-angle photography is one of the master disciplines of photography. It’s not something you just do, it’s something that needs a lot of thought, as proper composition is crucial in wide-angle photography. And just like mastering the artistical aspect of it, the construction of a great wide-angle lens is anything but a routine job for a lens designer. In order to honor some of the greatest achievements in the history of wide-angle lens design, here’s The Phoblographer’s list of the top five most extreme wide-angle lenses ever built.