At CES 2019 in Las Vegas, Nikon announced that Z series of lenses is going wide: NIKKOR Z 14-30mm f/4 S is the latest addition to the Z family. It’s not only the first ultra-wide lens for the Z system but also the world’s first ultra-wide full-frame lens that lets you attach filters on the front.
During an Alabama-Arkansas game this Saturday, ESPN removed some camera operators from their positions in Razorback Stadium because of a bad weather. As a result, only wide-angle view was broadcasted, which made the players look like ants. And expectedly, the Internet had no mercy when it comes to cheeky tweets.
Many were hoping for more announcements from Sony today, but as rumoured, it’s just the lens. So while there’s no new high-end APS-C or a Sony A7SIII yet, at least the lens is now official as Sony announces the new 24mm f/1.4 GM lens for full frame Sony E Mount. Manny Ortiz has had the chance to have a play with one and gives us the rundown in this hands-on review.
Tamron has introduced a new and improved version of their 15-30mm f/2.8 lens. The SP 15-30mm F/2.8 Di VC USD G2 promises a lot of improvements over its predecessor. Some of them include better overall image quality, as well as faster and more accurate AR and improved VC (vibration compensation). So, let’s jump in and see more details of the latest Tamron’s lens and what it has to offer.
I’ve been a big fan of Irix lenses since I first had the chance to check out their then-new Irix 15mm f/2.4 in person at The Photography Show in 2016. Later in the year, they let me have a bit of a play with the Irix 11mm f/4 at Photokina later in the year. They’re both very impressive lenses.
The only potential issue with them, though, is that until recently, if you wanted lens profiles for these lenses in Adobe Camera Raw and Lightroom, you needed to download them yourself and install them manually. Now, though, Adobe have officially added lens profiles to support these lenses to CC.
Leica has just announced a new addition to their SL zoom lens family: Super-Vario-Elmar-SL 16-35 f/3.5–4.5 ASPH. It’s made for Leica’s full frame mirrorless SL system, and it’s made to let you take “a wider view of the world.” With the new 16-35mm, Leica aims for architecture and landscape photographers, but this lens can also be useful for group portraits, weddings, reportage, documentary or travel photography.
Offering a 135° field of view, Lomography’s new Naiad 3.8/15 Art Lens builds on the Neptune Convertible Art Lens system. The 15mm lens was hinted at as far back as May last year when the system was initially announced. Neptune is designed as an expandable system, so now the new lens is finally here.
Most of you have probably heard of the name Laowa by now. They were a rather unknown brand up until recently when they made name for themselves in the landscape photography world with the Laowa 12mm f/2.8 wide angle lens that was well received. Laowa (Venus Optics) is a Chinese brand known for their innovative lenses. Laowa is showing support to the Sony E-mount with releasing their 15mm f/2 that was specifically designed for the E-mount making it possible to make it smaller and lighter than the lenses they make for DSLR mounts. 2 years ago I met the Laowa guys at Photokina and I already briefly tested the prototype of the 15mm there. I was impressed with the sharpness across the frame and was eager to try out the final version. Now that I have this lens for a while I feel confident to write a decent review about it. I used this lens in my own country the Netherlands and took it to Dubai, Norway and Iceland. I have seen a bunch of reviews online but they were mainly technical without a lot of real world examples. In this review I’ll discuss how this lens performs in ‘real world usage’. Most people who are reading my articles know that I am a landscape photographer so you can expect a lot of landscape photography use with this lens.
Normally, in portrait photography, using wide-angle lenses is not a common choice for most photographers. Each focal length has its own characteristics, wider lenses are known by their unflattering distortion, seen mainly at the edge of a photograph. Landscape and architectural photographers are more used to it because their need of getting more information inside the frame, but even these scenarios it is not an easy trick, it does present challenges inherent of wide-angle lenses.