ARRI has officially announced its EF Mount (LBUS) which allows users of the ALEXA Mini, Amira, and ALEXA Mini LF to take advantage of Canon EF mount lenses. KEY FEATURES Use EF mount lenses with ALEXA Mini LF, ALEXA Mini, and AMIRA Wider light baffle covers large-format and Super 35 sensors Extra LBUS connector frees … Continued
Anamorphic lenses are an asset in any filmmaker’s toolbox. As a creator, you’re faced with tough choices when it comes to your masterpiece. However, when asking yourself ‘How do I make this story look great on the screen?’ that’s where an anamorphic lens is pretty badass. The anamorphic lens is a filmmaker favourite, mainly because […]
MEIKE has announced its new 8mm T2.9 mini-prime manual focus cinema lens. This is an ultra-wide-angle lens that covers APS-C sized sensors, however, it only comes in M4/3 mount. The lens weighs in at 545g (19.22 oz) and it has a front filter diameter of 77mm. The optical design consists of 17 Elements in 12 … Continued
The Irix Cine lenses are now available in Canon RF, Nikon Z, and L-mount. These new mount options expand the Irix Cine lenses’ ability to be used on mirrorless cameras without the need for adapters. The Irix Cine lenses are also available in Sony E, Canon EF, ARRI PL, and MFT mounts. The Irix Cine lens range currently consists … Continued
One of our long-time readers, Ben Fogarty, got a chance to extensively test out the new Canon CINE-SERVO 25-250mm T2.95 Cinema Zoom which hasn’t started shipping yet. Ben wanted to try the lens out on a variety of cameras, including the Sony FX9, Canon C300 Mark III, and Canon C500 Mark II. He was also … Continued
DC Watch has published an interesting new interview with the Canon team behind the lenses, including Kengo Iezuka, the head of lens product planning.
“Excuse me for this my boyhood story,” Iezuka says. “At that time, I wanted to take a picture of a wild bird, a little egret, but I couldn’t buy a super-telephoto lens because it was too expensive. I tried to make a telephoto lens with a close-up lens with a focal length of 400 mm, but it didn’t look good, and I wondered why it didn’t look so good.
“I knew that many people gave up what they wanted to shoot and what they wanted to shoot because they couldn’t buy a super-telephoto lens or couldn’t carry it because it was big and heavy.”
Super-telephoto lenses are known for being extremely large, heavy, and expensive, and Iezuka wanted to address all three of those characteristics to open the door of super-telephoto photography to a much wider range of photographers.
“I wanted to create specs that can only be achieved with the EOS R system and enjoyment through new user experiences,” Iezuka tells DC Watch. “Among them, I wondered if I could break through the three barriers of ‘heavy, big, and expensive’ for super-telephoto lenses. Canon’s dual-pixel CMOS AF is strong against AF even in the dark, so a super-telephoto lens with a large F-number may be possible.”
Looking back through the history of Canon lenses, Canon’s first SLR system, the R mount, had super-telephoto lenses that caught Iezuka’s eye.
“[T]he R mount also had a ‘slender’ super-telephoto lens like the 600mm / 800mm f/11,” Iezuka says. “The optical system is as simple as a telescope, the focusing is bellows, and the weight is as light as 2 kg.”
While those vintage R lenses were expensive — the 800mm f/11 had a launch price of ¥134,900, or $7,331 in today’s money when adjusted for inflation — their design helped inspire the design of the new RF 600mm f/11 and RF 800mm f/11.
The new RF lenses are compact, lightweight, and (relatively) affordable. They use an extending design that allows them to be as small as possible when not in use, measuring just 7.85 inches (20cm) and 11.09 inches (28cm) long, respectively. With a fixed f/11 and lacking aperture blades, the lenses weigh 2.05 lbs (930g) and 2.77 lbs (1260g), respectively. And they have price tags of $699 and $899, respectively.
“With [these lenses], I thought we may be able to make the super-telephoto lens familiar by incorporating a DO lens and a collapsible mechanism to shorten the total length, making it easy to put in a camera bag or backpack, and reducing the cost,” Iezuka tells DC Watch.
“With the EOS R system, I think I was finally able to get closer to the dream super-telephoto world,” he continues. “I would like you to enjoy shooting things that you couldn’t shoot before and the expressions you wanted to shoot with this 600mm / 800mm f/11 lens.”
Head on over to DC Watch if you’d like to read the full interview (which is in Japanese, but you can find a Google translated version here).
Sigma has officially announced the 105mm F2.8 DG DN MACRO|Art for Sony E-mount & Panasonic/Leica/Sigma L-Mount cameras. The new 105mm lens is the first Art line macro lens designed specifically for mirrorless cameras. It has a minimum focusing distance of 11.6″, and a 5.5″ working distance. Sigma claims that it prioritizes optical performance above all … Continued
All four lines of LEITZ Full Frame / Large Format / Leica Format cine lenses are delivering now. The M 0.8 series was introduced in 2016. THALIA came next, in 2017. September 2018 saw a new set of unnamed and untouchable Leica Format prime lenses inside a locked glass case at IBC. The name came in February 2019: LEITZ PRIME. Shortly after, LEITZ ZOOM lenses were announced. Here are the zooms.