Samyang has just announced the new and improved version of its well-known 85mm f/1.4 AF lens. While the previous one exists in Nikon F, Canon EF and RF, and slightly modified in Sony FE, the new Mk II version of the lens is only available for Sony FE. It’s smaller and lighter than its predecessor, the AF has been improved, and there are some other tweaks that might make you love this lens more than its older brother.
TTArtisan has today announced their newest lens, a very compact full-frame 50mm f/2 manual focus lens. It’s initially being launched in Nikon Z, Sony E, Fuji X and Micro Four Thirds mounts, with Canon RF, Canon EOS-M and Leica L mounts to follow. The compact lens measures only 34-38mm from the mount to the end of the lens and weights only 191-212g, making it a nice inconspicuous lens for things like street photography.
The new lens has a fairly bright maximum aperture of f/2 and a 10-blade diaphragm for smooth bokeh. 6 elements in 5 groups with two high refraction index elements help to control spherical aberrations and can focus on subjects as close as 50cm. It’s also a super-low-budget lens at a mere $79!
Well, that didn’t take long. First rumoured over a year ago and with news yesterday that announcements were imminent, Canon has now today officially unveiled the new Canon RF 15-30mm f/4.5-6.3 IS STM and Canon RF 24mm f/1.8 Macro IS STM lenses. Both of the new lenses are full-frame lenses designed for the Canon RF system.
The Canon RF 15-30mm f/4.5-6.3 IS STM is a fairly compact lens with ultra-wide-angle versatility. While possessing a fairly slow variable aperture, it’s ideal for things like landscapes, architecture and similar subjects. The Canon RF 24mm f/1.8 Macro IS STM is also pretty compact, allowing you to get close to your subjects while providing environmental context and a deeper depth of field than with telephoto macro lenses.
It looks like Canon is about to announce a couple of new lenses according to a couple of reports from Asobinet and Photo Rumors. Both of the lenses are RF mount lenses and it appears as though they’ll be full-frame lenses, given that they’re specifically named “RF” and not “RF-S”. One is an ultra-wide-angle 15-30mm f/4.5-6.3 IS STM zoom while the other is the fast 24mm f/1.8 Macro IS STM.
It’s been over a year since either of these lenses were first rumoured but now it seems like the announcement may be imminent. Tomorrow, in fact, according to a post on Photo Rumors. Other than the names, though, there’s no other information on these lenses at all. Not even leaked photos.
For years, one of the staple zoom lenses of serious enthusiasts and professional photographers has been something in the 12-24mm (ish) range. Typically, they have a maximum aperture of f/2.8 and are usually autofocus. They’re also usually pretty expensive. Laowa has presented photographers with a new option, though, as they launch their new 12-24mm f/5.6 full-frame lens.
Sure, it’s not got the fast f/2.8 constant maximum aperture and it’s not an autofocus lens, so it’s not going to be for everybody, but Laowa’s new lens comes in at under half the price of much of the faster autofocus options and will be ideally suited to a number of genres, even if not fast action events like weddings.
This one slipped by us the other day when Meike announced their new low-budget 50mm f/0.95 APS-C lens for mirrorless cameras, but the company has also announced the new Meike FF Prime 16mm T2.5 Cine lens, too. This full-frame lens offers a maximum aperture of T2.5 that goes all the way down to T22, covers a full-frame sensor with a 96° horizontal field of view, and comes in a variety of mounts.
The new lens brings Meike’s Cine lens line up to seven lenses in total (six that actually exist so far), including the 24mm, 35mm, 50mm 85mm and 105mm T2.1 and the yet-to-be-released 135mm T2.4 lenses, rounding out the range quite nicely with the new ultrawide. There’s still no word yet on when we’ll see the 135mm T2.4.
Earlier this month, Sigma announced its new 16-28mm f/2.8 DG DN Contemporary lens. One of the features is that it features internal zoom and focus mechanisms, so it doesn’t change length when zooming or focusing.
If you’ve been wondering how it works and what it looks like on the inside, Sigma has a video for you. It shows a cross-section of the lens, all of its elements, and its internal zoom mechanism.
Well, we can see now why the A6400’s back in production, huh? Sony has just announced three new APS-C E-Mount lenses to go with it. First up, there’s the Sony E PZ 10-20mm f/4 G which Sony claims is “the world’s smallest and lightest, ultra-wide angle, constant f/4 APS-C power zoom lens” – of course, such claims from Sony usually come with a caveat or two.
As well as the zoom there are also two new prime lenses, the Sony E 15mm f/1.4 G and the ultra-wide Sony E 11mm f/1.8. This brings Sony’s E-Mount lens lineup count to a total of 70 different lenses for stills, video and hybrid shooters.
Sigma has today announced the 16-28mm f/2.8 DG DN Contemporary lens for full-frame mirrorless cameras. It doesn’t come as much of a surprise, as it was rumoured a week ago that that was exactly what they would be announcing and the short Sigma Stage briefing shows that it was all they were planning to announce today. Well, now it’s official and it’s being released this month.
They say that the new 16-28mm f/2.8 DG DN lens is a “perfect companion” to its 28-70mm f/2.8 DG DN Contemporary lens. There’s no 70-200mm to complete the trio yet, but there are rumours that it’ll be coming towards the end of the year. For now, though, let’s look at the 16-28mm f/2.8 DG DN.
The lens shown off on the Laowa stand last July at a photography show in Shanghai, China is now official. Venus Optics has today announced the Laowa 24mm T14 2x Periprobe lens, which takes the original 24mm f/14 and T14 probe lenses and extends them with more versatility, thanks to a new 90° periscope like tip on the end that lets you shoot at right angles to the plane of the camera sensor.
The lens is also modular, allowing you to swap out the 90° module for a direct view module, allowing you to use it in the same way as the previous probe lens. But the newest iteration allows you to shoot shots and get angles with camera movements that have previously been impossible. The tip also features a 1/4-20″ threaded socket on the end for attaching accessories such as extra lighting.