L-Mount Partnership Between Leica Sigma and Panasonic to Present United Front in Mirrorless Segment9/27/2018
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L-Mount Partnership Between Leica, Sigma, and Panasonic to Present United Front in Mirrorless Segment https://ift.tt/2N6HLW8 Three big names in the optics industry have partnered up in a corporate alliance centered on the famed Leica L-Mount. In a bid to bring products compatible with the Leica L-Mount to market, Leica, Panasonic, and Sigma are going to work together to launch new L-mount compatible full-frame and APS-C mirrorless cameras, lenses, and accessories in a bid to dominate the mirrorless segment with a robust and deep ecosystem. Dr. Andreas Kaufmann, Leica’s chairman, offered a glowing appraisal of the alliance’s future, saying, “For photographers, the ability to choose from a wide range of lenses for their system of preference is extremely important…Especially in the strongly growing market for mirrorless system cameras, users seek increasingly greater product diversity to fulfill a wide range of different photographic needs. We have therefore decided to work together with prominent partners in the photographic segment as an immediate response to these needs.” As PetaPixel points out, the L-Mount was previously exclusive to Leica cameras but in the future will expand compatibility to makes in the partnership. This isn’t the first time companies in the optics industry have partnered together to streamline and standardize across a product line. Indeed, the history between Leica and Panasonic in particular is quite long with the former often repurposing the latter’s models and slapping their branding as well as a higher price tag on it. The Leica L-Mount is used with full-frame and APS-C sensors. A press statement describing the new alliance and outlining its contours reads in part: “The ‘L-Mount Alliance’ is a previously unparalleled form of collaboration that will particularly benefit the customers of all three partners…As a joint effort of all three partners, this alliance will increase the importance of the L-Mount technology to the world of photography even further.” Panasonic’s recently announced S1 and S1R will be the first cameras in the L-Mount alliance from that company and Sigma will be bringing the full-frame Foveon camera out as part of their leg of the collab. The post L-Mount Partnership Between Leica, Sigma, and Panasonic to Present United Front in Mirrorless Segment appeared first on Light Stalking. Photography News via Light Stalking https://ift.tt/2kwTW5i September 27, 2018 at 05:45PM
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Zeiss Introduces the ZX1 Full-Frame Camera with Lightroom Baked-In to the Unit https://ift.tt/2OgZ3EJ German optical equipment manufacturer Zeiss premiered the company’s first-ever, new full-frame compact camera, the ZX1, with a unique feature that sets the device apart from its competition somewhat: A full version of Adobe Photoshop Lightroom CC built into it, the ZX1 comes with a fixed 35mm f/2 lens and a 37.4-megapixel full-frame sensor with an ISO range of 80-51200 developed in-house by Zeiss themselves according to a report from PetaPixel. The lens, a Zeiss Distagon 35mm f/2 T* autofocus lens, is all new as well and was developed in conjunction with the sensor for perfect complementarity containing 8 elements in five groups with a minimum focus distance of 11.8 inches or 30cm. Of course, the feature that has everyone talking is the accompanying Adobe Lightroom product that gives photographers the ability to edit RAW right then and there in a style reminiscent or perhaps popularized by smartphone photography. This is all accomplished through a 4.3-inch multi-touch display with a pixel density of 338ppi. It offers a really clear picture of what you have going on but might not be acceptable to people who really go deep in their editing but, still, Zeiss deserves points for trying new stuff. The ZX1 rocks a 512 gigabytes hard drive that can store approximately 6,800 RAW images. It also has 4K video recording at 30fps with 3fps continuous shooting, as well as microphone and headphone inputs. For those of us that would like to export our work to a desktop or laptop, the ZX1 also comes equipped with WiFi network connections, Bluetooth, and USB-C. The software will update itself through a similar mechanism. This should relieve some people who are worried that the software will become outdated over time. If you’d like to check out Zeiss’ presentation you can click on over to YouTube and watch it there. The Zeiss ZX1 is slated for a street date sometime in early 2019 with the camera’s price and exact specs to be revealed as we get closer to the launch date. The post Zeiss Introduces the ZX1 Full-Frame Camera with Lightroom Baked-In to the Unit appeared first on Light Stalking. Photography News via Light Stalking https://ift.tt/2kwTW5i September 27, 2018 at 05:21PM
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Medium-Format 100MP GFX 100 Camera from Fujifilm in Development https://ift.tt/2xTGQTl Part of their Photokina 2018 extravaganza show, Fujifilm unveiled the latest member of its GFX line of cameras, a medium-format 100MP monster that should have Fuji fans with tongues wagging. Joining the recently announce GFX 50R and GFX 50S, the 100 MP GFX is a “world first” 100MP mirrorless camera using a 100MP sensor with PD pixel, IBIS, and 4K by mirrorless camera according to the press release around Fuji’s latest behemoth. Housed in a magnesium alloy body with a first ever vertically integrated grip in the GFX series, the GFX 100 comes with an image sensor with the size of 43.8mmx32.9mm for excellent 4K video recording. Fuji’s big piece of marketing about the 100MP GFX is it is the world’s first mirrorless digital camera with an image sensor that has “phase detection pixels across the entire sensor” giving the camera greater tracking ability with autofocus on moving subjects as well as the first medium-format digital camera to have an in-body image stabilisation feature for sharp, crisp images taken in handheld mode. This is probably going to be a huge deal for videographers out there that are already deep in the Fuji ecosystem. Here’s what Fuji had to say about the GFX 100 in a press release: “The camera is equipped with a 102MP “FUJIFILM G Format (“G Format”) image sensor, specifically developed for this model. It delivers the highest image quality in the history of Fujifilm when combined with the fourth-generation “X-Processor 4” image processing engine that delivers superb color reproduction Fujifilm is famous for, and FUJINON GF lenses that offers ultra-high resolving power. Phase detection AF coverage on the entire sensor (approx. 100% coverage) enables fast and highly accurate autofocus regardless of your subject’s position within the frame, providing a level of performance that defies the current standards of medium format digital cameras.” The post Medium-Format 100MP GFX 100 Camera from Fujifilm in Development appeared first on Light Stalking. Photography News via Light Stalking https://ift.tt/2kwTW5i September 27, 2018 at 04:56PM
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Kodak Ektachrome film products now shipping globally to distributors and dealers https://ift.tt/2OUvwOl Following the limited shipments it initiated in August, Kodak Alaris is now shipping its new Ektachrome film products to global stock house dealers and distributors, the company announced on Tuesday. It's currently shipping the Ektachrome Film E100 product, which will initially be available in the 135/36x camera format. Starting on October 1, Eastman Kodak Company will also offer the Ektachrome 7294 Color Reversal Film in Super 8 format. Additional Ektachrome film products in 16mm format will be available later this year. According to Kodak, both the Ektachrome 7294 Color Reversal Film and E100 feature "extremely fine grain," as well as a neutral tone scale and "clean, vibrant colors." Prices weren't provided. Ektachrome was officially discontinued in 2012, but a resurgence in analog photography has prompted the company to bring back some of its film products. Kodak Alaris had announced plans to resurrect Ektachrome during CES 2017. Soon after, the company also revealed plans to bring back the Kodak T-Max P3200 high-speed black and white film, that having also been discontinued in 2012. Via: Kodak Photography News via Dpreview https://ift.tt/i0r8o5 September 27, 2018 at 04:00PM
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iPhone XS Max teardown reveals new sensor with more focus pixels https://ift.tt/2xJtxps
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iPhone XS Max teardown reveals new sensor with more focus pixelsWhen Apple announced the new iPhone models XS and XS Max the company told us that the camera's wide-angle module featured a larger sensor with 1.4 µm pixels compared to 1.22 µm on last year's iPhone X. Now a teardown performed by TechInsights has confirmed the new sensor, but has also revealed some additional detail about the wide-angle camera. The sensor is a stacked model provided by Sony and measures 7.01 mm x 5.79 mm (40.6 mm2). This is 7.8 mm2 more than the wide-angle camera sensor on the iPhones X and 8 Plus. TechInsights engineers noticed an increased density of Focus Pixels In addition, the TechInsights engineers noticed an increased density of Focus Pixels. This means more regions of the sensor are available as autofocus points and should, at least in theory, improve autofocus performance in most light conditions and shooting situations. Focus Pixels is an Apple term for masked PDAF pixels which were first introduced in 2014 with the iPhone 6. TechInsight's teardown is still in progress, so we hope the team can provide some more information and also have a closer look at the camera's 2x tele-module, which on paper looks unchanged from last year, over the coming days. View Comments (0) The GFX 50R is a 50MP rangefinder-style mirrorless camera. It borrows heavily from the existing 50S model but in a smaller body and at a lower price. How does it differ? The Everyday Sling might just be the perfect pack for not carrying too much gear, combining comfort with Peak Design's signature modern style. When the Fujifilm X-T2 arrived, it was more than just a modest upgrade to the already impressive X-T1. While the new X-T3 hasn't changed the overall design of the camera, this model is way more than an upgrade; rather, it's a quantum leap. The Movie Maker is a compact, motorized slider designed for phones, action cams and small mirrorless cameras. We think it's a fun little kit and a good value proposition for the cost, provided you can work around a few of its weak points. Nikon's Z7 is the first camera to use the all-new Z-mount, the company's first new full-frame mount since 1959. We've put together our first impressions based on quality shooting time with a pre-production camera - check out what we've found. The instant camera market is heating up, and with four formats and 15+ cameras to choose from, we felt it was high time to examine them all and pick our favorite. Whether you're hitting the beach in the Northern Hemisphere or the ski slopes in the Southern, a rugged compact camera makes a great companion. In this buying guide we've taken a look at seven current models and chosen our favorites. What's the best camera for a parent? The best cameras for shooting kids and family must have fast autofocus, good low-light image quality and great video. In this buying guide we've rounded-up several great cameras for parents, and recommended the best. What's the best camera for shooting landscapes? High resolution, weather-sealed bodies and wide dynamic range are all important. In this buying guide we've rounded-up several great cameras for shooting landscapes, and recommended the best. What’s the best camera costing over $2000? The best high-end camera costing more than $2000 should have plenty of resolution, exceptional build quality, good 4K video capture and top-notch autofocus for advanced and professional users. In this buying guide we’ve rounded up all the current interchangeable lens cameras costing over $2000 and recommended the best. Photography News via Dpreview https://ift.tt/i0r8o5 September 27, 2018 at 03:46PM
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Zeiss Unveils the ZX1, Its First-Ever Full-Frame Camera https://ift.tt/2R2WRiF Zeiss has announced the ZX1, a new full-frame compact camera with a fixed 35mm f/2 lens. It’s the first-ever full-frame camera by Zeiss. Inside the camera is a 37.4-megapixel full-frame sensor with an ISO range of 80-51200 that was developed in-house by Zeiss. On the front of the camera is a new Zeiss Distagon 35mm f/2 T* autofocus lens that was developed to perfectly compliment the new sensor. It contains 8 elements in 5 groups. The minimum focus distance is 11.8 inches (30cm). “The interplay between the lens and sensor ensures first-class picture quality with that typical ZEISS look,” Zeiss says. One unusual feature of the ZX1 is that it has Adobe Photoshop Lightroom CC is fully integrated into the camera, allowing photographers to process RAW photos directly. The features and functions of the ZX1 are used through the 4.3-inch multi-touch display with a pixel density of 338ppi. Above the touchscreen is a 0.7-inch electronic viewfinder. The ZX1 features Wi-Fi network connectivity (in addition to Bluetooth and USB-C data transfer), allowing photographers to upload photos directly to the Web without having to first transfer images to other devices or programs. The camera will also utilize over-the-air updates to keep its software up to date without having a computer connection. Storage-wise, the ZX1 features a whopping 512 gigabytes of built-in space — enough for 6,800 RAW (DNG) photos or over 50,000 JPGs shot with the camera. Other specs and features include a 3,190mAh battery capacity, 3fps continuous shooting, 4K video recording at 30fps, and microphone and headphone jacks. On the outside, the ZX1 features a smooth, curving design that Zeiss says is designed to provide economic and easy handling. The camera measures 5.59×3.66×1.81 inches (142x93x46mm) with 0.79in (20mm) extra due to the lens. “The slightly bent screen separates the live view from the control elements, making camera operation comfortable and straightforward,” the company states. The Zeiss ZX1 will be available in early 2019. Exact pricing, specs, and availability will be announced later on. Photography News via PetaPixel https://petapixel.com September 27, 2018 at 03:11PM
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Capture One Fujifilm editions to support GFX and X series cameras for free https://ift.tt/2NKCtER Phase One’s Capture One image editing and archiving software package will finally support Raw files created by Fujifilm cameras, including the GFX bodies, via a free bundled deal with the cameras. In an arrangement similar to that enjoyed by Sony users, owners of Fujifilm GFX and X cameras will be able to use a scaled-back version made especially for them to process the Raw files from the GFX 50, as well as files from cameras going back as far as the Fujifilm Finepix S2 Pro. Fujifilm camera owners will be able to use a free version of the software, but can buy the full program but with its additional features at a discounted rate. The Full version with full camera support costs a little bit more again, for those who need support for a wider range of camera brands. The Free version that will come with the cameras is called Capture One Express Fujifilm. If you want more advanced features such as the ability to work in layers, to tether your camera to your computer, and faster image processing, a second tier of the Fujiiflm version allows photographers the full range of controls. The full Pro edition does the same but will also work for brands other than Fujifilm as well. The Capture One Pro Fujifilm costs €159 a year on a subscription basis, while the full version costs €180 annually. For more information, including a list of all compatible cameras, please see the Capture One website. Photography News via Dpreview https://ift.tt/i0r8o5 September 27, 2018 at 02:49PM
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4 Easy Tips To Help You Start Selling Photo Prints https://ift.tt/2ImUVh4 Despite society’s indulgent consumption of all things digital — from music to movies to books to photos — it has become easy and, perhaps fashionable in some circles, to dismiss the printed image. But make no mistake, the printed image is far from dead. Yes, people still want to hang beautiful photo prints in their homes and, obviously, they look to photographers to provide what they want. There’s actually a lot that goes into successfully selling prints, but there are a few key principles that you can embrace to increase your chances of making a sale. These four tips will help you find success when selling your photos as prints. Find Your AudienceOf course, you need to know who you’re selling to and what they want. What market you cater to is totally up to you — locals or tourists, coffee shops or fashion boutiques, dentist offices or apartment complexes. The point is to provide a product that your desired audience will identify with. If you live in a seaside community, for example, you might want the bulk of your work to revolve around the local landscape and the interesting people who inhabit and work in the area (fishermen, shipbuilders, fishmongers, etc.). There’s no reason you couldn’t also market your work to those outside your locale. You may have a potentially thriving audience spread out among various places, but you will definitely have to put in a bit more work to discover and reach that market. The Internet can be your best friend in this aspect. Not only can you use the web to find things like art shows where you can display your work, there are also websites dedicated to helping you sell your photography. Or you can create your very own website. Perhaps the best part about using the Internet to sell prints is that it provides an easy way for your audience to come to you. No matter what the content of your photography entails, all you have to do is put it out there and the people who are interested will respond accordingly. Learn Your Market ValueIt’s important to know your value as a photographer. Admittedly, that’s tricky to quantify, but one way to do it is by taking into account your expenses. Capturing and editing images, printing and framing, advertising and various other business-related expenses all factor into how you price your work. The key is to find balance. Of course, you place a high value on your new creations, but that doesn’t mean others will, especially when you’re first starting out. So don’t set yourself up for disappointment by charging exorbitant prices. On the other hand, you don’t want to relegate yourself to bargain basement status by setting prices so low that no one really values your work. Offer A Top Quality ProductExpectations will differ depending on the final land spot of your prints — an art gallery might expect a more elaborate presentation in terms of paper quality and framing than would a coffee shop. But regardless of who you’re catering to, you should always make it a point to offer a high-quality product. From subject selection to technical fundamentals to editing technique, every photo you make available for purchase should represent your expertise as an image maker. Before putting a photo out there to the public, ask yourself if you’d spend your own money on it? If you wouldn’t, neither should anyone else. Sell YourselfA driving factor in determining whether your photos sell is the connection a potential buyer has with any given photo. But that connection is really more about you — buyers like to hear the stories behind the images they see. They feel they get to know you through your work and that, in turn, compels them toward a purchase. Photographers aren’t always good at sales-related stuff, but it doesn’t get much easier than this. Get to know your audience and let them get to know you. Final ThoughtsSelling prints can be equal parts gratifying and challenging. There’s a lot of minutiae to navigate and you’ll figure it all out in time. But for now, use the concepts discussed above to get yourself on the right track to selling success. The post 4 Easy Tips To Help You Start Selling Photo Prints appeared first on Light Stalking. Photography News via Light Stalking https://ift.tt/2kwTW5i September 27, 2018 at 10:01AM
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Are you frustrated by the inconvenience of a tripod and you prefer shooting handheld? Do you want to take sharp images, but without having to lug around such a large piece of equipment? Fortunately, it is possible to get stunning images, even images in low light, without using a tripod. In fact, tripods often limit your flexibility. I rarely use a tripod, myself. While I do appreciate the added stability a tripod provides, I find myself struggling to compose images. I prefer the ability to quickly flow from composition to composition. I also like to shoot from angles that tripods struggle to cover. Hence, I have a lot of experience in photographing handheld. In this article, I discuss various ways you can shoot without a tripod while still getting sharp images. I will show you how, with very little work, you can take your handheld photography to the next level. 1. Stabilize Your Body Against an ObjectI’ll start with the least technical tip for shooting handheld, that is to become a human tripod! By this, I mean that you should seek to stabilize your body and arms against an object. I find that the ground is an excellent choice (after all, it’s reliably present). So, when shooting handheld, I often get down on the ground. I’ll lie on my stomach and press my elbows firmly against the soil. Then I can feel fairly confident when taking my image that things will remain sharp. If you don’t want to get down on your stomach, that’s okay. You can also try out several other positions. For instance, you can crouch down and put your elbows on your knees. Or you can tuck your elbows into your body. You can also find some other object to stabilize yourself against. I sometimes use large rocks or fallen trees when shooting flowers. It pays to be creative. 2. Use Your Camera or Lens’s Built-In Image StabilizationDoes your camera or lens possess image stabilization technology? If so, switch it on! You see, image stabilization technology is built in by clever camera manufacturers. It reduces (or eliminates) camera shake using image stabilization. Image stabilization technology generally works in one of two ways. If it’s built into the camera, the sensor physically moves to counteract any camera shake that the camera has experienced. If it’s built into the lens, an optical element inside the lens is what moves. Regardless, here’s the key takeaway: Image stabilization technology help to minimize or eliminate camera shake. The downside of image stabilization technology is that it’s expensive. Only some cameras and some lenses possess it, and they tend to be on the pricier side of things. For those of us who dislike shooting with a tripod, however, image stabilization is a worthwhile investment. 3. Shoot with Shorter LensesAn oft-cited rule in photography circles is this: you can handhold your lens at a shutter speed that is the reciprocal of the focal length (that is, 1/focal length). This may sound complex, but it’s really not. To find an acceptably fast shutter speed, take the focal length and make it into a fraction with a one on top. For instance, if you’re shooting with a 100mm lens, you can handhold at a shutter speed of 1/100th of a second or faster. When you’re shooting with a 400mm lens, you can handhold at a shutter speed of 1/400th of a second or faster. Finally, if you’re shooting with a 25mm lens, you can handhold at a shutter speed of 1/25th of a second. Do you see the pattern? The longer the lens, the faster your shutter speed must be. Conversely, you can use a longer shutter speed when using a short lens. This is for a couple of reasons. First, long lenses tend to be bigger and heavier, causing more camera shake. Second, longer lenses magnify camera shake, resulting in blurrier pictures. Therefore, if you don’t have a tripod to cut down on camera shake, you should use a lens that is more forgiving of the rule (based on the 1/focal length rule). So if you’re shooting handheld, use shorter focal lengths for more success. 4. Shoot in Burst ModeAnother tip for photographing without a tripod is to shoot in burst mode (high-speed drive mode). To activate burst mode, you simply have to set the camera to high-speed drive mode and hold down the shutter button. If you have a camera with this capability, you’ll hear the rapid-fire sound of images being taken. This mode helps with handheld photography for two reasons. First, when you jab the shutter button with your finger, it generates camera shake. When you use burst mode, however, you only press the shutter button at the beginning of your image sequence. This means that later photographs are taken with very little camera shake because the shutter button is not actually pressed just before the image is captured. Second, when you shoot in burst mode, the mirror doesn’t cause extra vibrations. You see, many cameras (DSLRs) have mirrors in front of the sensor. When the shutter button is pressed, the mirror flips up, briefly exposing the sensor to light (to capture the image). When the mirror flips up, this causes small vibrations throughout the camera, another form of camera shake. Yet when you activate burst mode, the mirror only flips up only at the beginning of the burst. The later shots aren’t affected by the vibrations caused by the mirror and as a consequence, they are sharper. NOTE: This last point doesn’t apply to mirrorless cameras as they do not have a mirror, hence the name! 5. Use the self-timerMy final tip for photographing without a tripod is to use your camera’s self-timer. The self-timer allows you to press the shutter button, and then it waits a specified number of seconds before the image is taken. This useful for the same reason cited above in favor of burst mode. It prevents the camera shake generated when you press the shutter button. So, next time you’re out in the field and you’re struggling to get sharp images without a tripod, try using the self-timer to reduce your camera shake. ConclusionMany photographers think that tripods are a necessity, but this isn’t necessarily the case. There are methods that you can use to shoot without a tripod while still capturing stellar images.
If you follow these tips, your tripod will become far less important, and you’ll take fantastic handheld images. Have any more tips for photographing without a tripod? Please share them in the comments below. The post 5 Tips for Photographing Handheld Without a Tripod appeared first on Digital Photography School. Photography via Digital Photography School https://ift.tt/29wB9CX September 27, 2018 at 09:01AM
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Together with the 4 new lenses showed earlier in Beijing P&E, a total of 12 new Laowa lenses will make their Europe debut in Venus Optics’ booth in Photokina (Hall 2.1, D-040) Venus Optics, the camera lenses manufacturer who had previously launched a number of unique Laowa camera lenses, is proud to unveil 8 new and unique lenses in Photokina. Laowa OOOM 25-100mm t/2.9 Cine Lightweight Zoom
Laowa OOOM 25-100 t/2.9 Cine Lightweight Zoom Laowa OOOM Cine lightweight zoom is the first professional cinema style zoom lens offered by Venus Optics. The lens features a wide 25-100mm zoom range, making it a one-size-fits-all lens for different types of productions. Unlike some cine lens in the market which were re-engineered from a photo zoom lens, Laowa OOOM Cine lens is designed for digital cinematography in the first place. It is truly parfocal, meaning the focus will never shift when you zoom in or zoom back out. It is designed to have nearly zero focus breathing throughout the whole zoom range. The aperture remains fixed at t/2.9 at all focal lengths. It is built with the true cinema level mechanics. It comes with a stepless, t-stop independent aperture ring with an industry standard 0.8 mod /32 pitch gears. The 270° rotation flow provides room or precise focus pulls and the iris is clickless, enabling smooth iris pulls. The lens weighs only 2.16 pounds, which is fairly light for a cinema zoom that holds focus and aperture throughout the focal length range. Laowa 17mm f/1.8 MFT Laowa 17mm f/1.8 is a new compact, standard prime designed for Micro Four Thirds cameras and it gives a 35mm-equivalent field of view. The lens houses 9 elements in 7 groups and have a 5-blade aperture for the best sunstar rendering. The lens is extremely compact and lightweight, weighs only 160g (0.36lbs) and is 5cm (2”) long. A 46cm filter thread is included and the 15cm minimal focus distance make it a perfect lens for videography. Laowa 12mm f/1.8 MFT Laowa 12mm f/1.8 is a new compact, wide-angle prime for Micro Four Thirds cameras and it gives a 24mm-equivalent field of view. The ultra-fast f/1.8 aperture allows photographers to take astro photos with ease. The lens houses 13 elements in 10 groups and a 5-blade aperture. The lens can focus as close as 14cm (5.5”) and takes 46mm screw-in filters which gives extra convenience to videographers. It weighs only 165g (0.4 lbs) and its 5cm long (2”). Laowa 9mm f/2.8 Zero-D (DJI DL) Following the successful launch of the super compact and lightweight 7.5mm f/2 MFT lens for DJI Inspire drones (X5 gimbals) during 2017, Venus Optics is proud to introduce another ultra-wide option, Laowa 9mm f/2.8 Zero-D DL, to use on DJI Inspire 2 (X7 gimbals). Featuring an effective 118° angle of view, the Laowa 9mm f/2.8 Zero-D DJI DL is currently the widest available option for DJI Inspire 2 drones with Zenmuse X7 gimbals. The bigger image circle can cover the size of Super35 sensors and the native DL mount allows an easy lens switching. The lens weighs only 215g and it is super tiny and compact. It comes with a 49mm filter thread and features a close-to-zero optical distortion. Laowa 9mm f/2.8 Zero-D MFT Laowa 9mm f/2.8 Zero-D (Micro Four Thirds mount) is the 4th variant added to the existing Fuji X, Sony E and EOS-M mounts. The 9mm lens provides a 18mm equivalent angle of view on the Micro Four Thirds sensor. It also has a better vignetting control over the other variants of the same lens. The close-to-zero distortion will remain unchanged. Laowa 7.5mm t/2.1 Cine / Laowa 9mm t/2.9 Zero-D Cine The new Laowa 7.5mm and 9mm Cine lenses are the cine-mod version of the existing photo version of Venus Optics best-selling models. Both lenses were re-housed with a step-less aperture rings and focus rings with standard 0.8 mod gears which give videographers extra convenience to use with follow-focus systems. Both of the lenses are the widest available in the market in its class and only weigh 180g (0.4lbs) & 250g (0.55lbs) respectively. Closest focusing distance is both 12cm (0.4 feet). The wide perspective and lightweight makes them the perfect companion for gimbal shooting. MFT mount is available for 7.5mm t/2.1 Cine and Sony E mount is available for 9mm t/2.9 Cine. Laowa 12mm t/2.9 Zero-D Cine (PL) The new Laowa 12mm t/2.9 Zero-D Cine in PL mount is the cine-mod version of the existing 12mm f/2.8 Zero-D lens. The lens was rehoused with a step-less, t-stop aperture rings and focus rings with standard 0.8 mod gears for iris and focus pulls. It successfully covers the 35mm Vista Vision sensor size and offers an ultra-wide 122° angle of view, making it one of the world’s widest and fastest available option for shooting with large sensors. Despite the ultra-wide field of view, it is perfectly rectilinear and features a close-to-zero distortion rate. The focus flow is extended to 270° for cinematographers to also take advantage of the 0.6 feet (18cm) closest focusing distance. The super lightweight (650g, 1.4lbs) is also an added benefit for cinematographers. Laowa 10-18mm f/4.5-5.6 FE Zoom This lens is currently the widest zoom lens available for Sony full frame E-mount cameras. Designed primarily for travel photography, Venus optics have managed to compress the size to smallest in its class, less than 4 inch (<10cm) and only 1.1 pounds (<500g). The 102? (18mm) to 130? (10mm) angle of view provides flexibility for photographers to compose landscape or architecture photos with ease. The lens houses with 14 elements in 10 groups with 2 aspherical elements & 1 extra-low dispersion element to deliver exceptional performance. It can focus as close as 15cm for some mini-macro shooting. A rear filter slot is included to fit with 37mm filter. A dedicated filter holder is being developed to fit 100mm-wide filters. Click/clickless aperture can be toggled by the switch on the lens barrel. A 5-blade aperture design ensures a pleasing and clean sunstar rendering. Multiple samples will be available for free rental during Photokina period. Laowa 100mm f/2.8 2X Ultra Macro APO Followed by the success of the Laowa 60mm f/2.8 2:1 Macro, the 100mm f/2.8 2:1 Macro is the 2nd member of Laowa 2:1 macro line-up. This new 100mm lens can cover full frame sensor size and focus from 2:1 magnification to infinity. The wide magnification range allows macro photographers to capture subject at any sizes. This 100mm portrait lens also features an apochromatic (APO) characteristic that no chromatic aberration can be found. The 12 elements in 10 groups optics design delivers a crystal sharpness image in both macro and tele distances. Automatic aperture control feature is available for Canon EF version and Aperture coupling is available for Nikon F mount version. Laowa 17mm f/4 GFX Zero-D This is currently the widest available native lens option for Fujifilm G-mount cameras. The new Laowa 17mm f/4 GFX has a field of view equivalent to 13mm in 35mm format (113?). Featuring a close-to-zero distortion and 86mm filter thread, this lens is ideally suited for landscape, architecture & interior photography. The 21 elements in 14 groups design with 2pcs of aspherical & 3pcs of Extra-low dispersion elements successfully help to control the distortion & chromatic aberrations to the minimal. Laowa 4mm f/2.8 Fisheye MFT Featuring a 210? angle of view, this lens delivers unique circular fisheye field of view on Micro four thirds cameras. The ultra-wide angle view allows photographers to create 360? panorama with ease. Despite the unique & ultra-wide perspective, the lens only weighs 0.3 pounds (135g). Free Rental Programme Availability About Us For more information about Anhui ChangGeng Optical Technology Company Limited and our products information, visit http://www.venuslens.net/ Photography via Canon Rumors https://ift.tt/2v4dYqS September 27, 2018 at 08:33AM |
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