Samyang Optics has today announced their new Xeen CF 16mm T2.6 and 35mm T1.5 cine prime lenses. They’re available in Canon EF, Sony E and PL mounts. The two new lenses add to the 24mm T1.5, 50mm T1.5 and 85mm T1.5 completing Samyang’s lineup of five Xeen CF models.
Yesterday, we kicked off our 2019 gift guide with cameras. Today it’s time for the lenses. We had a think about some of our new favourites we’ve tried this year, some of the very cool new ones that have been released as well as a couple of classics that just always remain popular and useful.
Samyang, also known as Rokinon in some parts of the world, has announced a new full frame 45mm f/1.8 compact autofocus lens for Sony E mount. Samyang says that it’s been designed specifically for Sony mirrorless cameras and isn’t just a rehash of another lens with a new mount. It is their third compact lens and seventh autofocus lens designed for Sony mirrorless.
While the brands battle it out over who has the largest mount and whose lenses can have the widest apertures, Canon’s DSLRs have proven they have no problem with wide aperture f/1.2 lenses. And Samyang has been adding to that f/1.2 collective again, expanding their “XPERT” line of lenses with another new announcement.
Starting off the XP series with a 24mm f/1.4 and 85mm f/1.2 lenses, they later added a 50mm f/1.2. But this left a rather obvious hole. Now Samyang is filling that hole with the announcement of the Samyang XP 35mm f/1.2 lens for Canon EF.
Despite appearances, the new Samyang XP 10mm f/3.5 is not a fisheye. It’s a rectilinear lens, which Samyang says offers “zero distortion”. It’s a manual focus lens designed for full frame DSLRs. Samyang claims that it’s the widest lens out for full frame DSLRs, too, just edging out the Irix 11mm f/4.
It seems like every lens manufacturer’s pushing hard on the Sony FE mount these days. Sigma have 9 of their lenses coming out in a native FE mount. Zeiss look set to announce a new Batis 40mm f/2.0 soon, and now Samyang. There’s not really anything known about the lens other than what we can see in the pictures. But we do have pictures, thanks to Nokishita.
I recently shot a wedding with just one lens, a Rokinon 35mm t/1.5 on a Sony A7sII body. This was completely unplanned and wasn’t done to prove any point. I also carried multiple lenses and bodies in my bag that cover all the focal lengths I normally use: 24-70mm f/2.8, 55mm f/1.8, 85mm f/1.8, 70-200 f/2.8. Between these lenses, I’m covered for all the distances and lighting conditions I encounter while shooting weddings. I just didn’t have to use any of them on this occasion.
Following on from the 135mm T2.2 Xeen, 50mm f/1.4AF and 35mm f/1.2 APS-C, Samyang have announced their third new lens in as many weeks. This time it’s actually a pair of lenses. The 28mm f/1.8 ED AS UMC for photography, and the 20mm T1.9 ED AS UMC cine lens.
Internally, both lenses have the same makup of 13 elements in 12 groups with 2 aspherical elements. Their differences are primarily on the exterior. This affects both their appearance as well as their weight, glightly.
I have played with photography a little bit since I was a boy, first with an old Olympus 35mm film point-and-shoot, then with a GameBoy camera and later a pretty terrible mobile phone. At age 18 I got my first DSLR and instantly fell in love with out-of-focus backgrounds, and now almost 10 years later I still have a passion for bokeh.
Most new lenses aim to have bokeh that is very smooth. Some people really like this, and in most lens comparisons and reviews, the smoother bokeh is considered the winner. And while I do like the smoother bokeh from some lenses, sometimes I find it can be a bit boring to me. An example of this is the Sigma Art 35mm f1.4, a lens that is very highly regarded, and I have absolutely nothing against it, it’s just not to my taste.