New Lens
Panasonic introduces micro 4/3rds 3D lens!
Press Release:
Panasonic is pleased to announce the development of the world's first twin digital interchangeable lens. The revolutionary new accessory will make high quality 3D shooting possible with an interchangeable lens system camera for the very first time. As 3D content becomes increasingly popular across a variety of platforms, Panasonic plans to release this new lens for sale before the end of the year to deliver the joy and excitement of 3D shooting to interchangeable lens system camera users.
Having already taken the lead in 3D technology, Panasonic has had great success with the launch of their 3D-capable VIERA televisions and 3D Blu-rayTM Disc Players. The 3D market is predicted to steadily grow over the coming years, as explained by industry analysts, Screen Digest: “As consumers slowly replace the main TV set in their house, and as the price of 3D TVs continue to fall, Screen Digest expects that 3D TVs will be in around a quarter of households in major developed markets by the end of 2014. “
The introduction of the 3D lens aims to respond to demands of consumers who want to enjoy 3D shooting for themselves whilst also expanding Panasonic’s range of 3D products. The lens will allow users to capture images in 3D which can then be viewed back using 3D-capable VIERA televisions in the comfort of their own home.
Lens Review: Nikkor 16-35mm F/4 ED VR (from DP Review)
The Nikon AF-S Nikkor 16-35mm 1:4G ED VR, announced in February 2010, has the distinction of being the world's first ultra-wideangle lens to feature optical image stabilization. It's designed primarily for use on full-frame DSLRs, as a less-expensive alternative to the likes of the 17-35mm 1:2.8D or the 14-24mm 1:2.8G, but is also fully compatible with DX bodies on which it offers a 24-50mm equivalent range. It can be seen as an answer to Canon's EF 17-40mm F4 L USM, which has long been popular as a (relatively) inexpensive, compact, lightweight yet high quality wide zoom; indeed we suspect many Nikon fans will be hoping it's the first in a series of F4 premium zooms. However a quick glance at the spec sheet shows that the addition of optical stabilization has resulted in a lens that's distinctly larger than the Canon, at the best part of five inches in length and a pound and a half in weight.
The addition of stabilization also means a more complex optical formula than is usual for a relatively slow wide zoom. The 16-35mm makes use of 17 elements on 12 groups including a liberal sprinkling of exotic elements to address aberrations, of which three are aspherical and two made from Extra-low Dispersion (ED) glass. Nano Crystal coating is also employed to combat flare. The stabilization system meets Nikon's 'VR II' specification, promising sharp images hand-held at shutter speeds up to four stops slower than would usually be possible. Focusing uses a ring-type AF-S motor for speed and silence, and full-time override of the focus distance is available.
These goodies are rounded off with top-level build quality similar to that used in Nikon's latest flagship AF-S 70-200mm F2.8G VR II, including a magnesium alloy barrel and protection against dust and water. A nine-bladed circular aperture is also employed for the attractive rendition of background blur. All of this adds up to one of the most attractively-specified wideangle zooms available; the question is, does the reality live up to the specs?
New Lens: Sigma 17-50mm F/2.8 released
RONKONKOMA, N.Y., July 14, 2010 – Sigma Corporation, a leading researcher, developer, manufacturer and service provider of some of the world's most impressive lines of lenses, cameras and flashes, is pleased to announce the release of its new 17-50mm F2.8 EX DC OS HSM lens.
This large-aperture, standard-zoom lens, which was first introduced in February at Photo Marketing Association International, is designed for small chip, APS-C digital cameras and incorporates Sigma’s Optical Stabilization (OS) functionality and new, FLD glass. The 17-50mm F2.8 EX DC OS HSM is an ultra compact lens with an overall length of just 3.6 inches.
The 17-50mm F2.8 EX DC OS HSM covers a focal length from a 17mm wide angle, has a minimum focusing distance of 11 inches throughout the entire zoom range and a maximum magnification ratio of 1:5. The lens is currently available in Canon mounts at all authorized Sigma dealers for the MSRP of $980, and it will be available in Nikon, Sigma, Sony and Pentax mounts in the coming weeks.
Lens Review: Olympus M. Zuiko Digital ED 14-150mm f/ 4-5.6 (from DP Review)
by Andy Westlake, June 2010, DP Review
The M Zuiko Digital 14-150mm F4-5.6 is Olympus's fourth lens for its Pen series cameras, and the first to venture into the telephoto region. Its 10.7x zoom ratio places it firmly in 'superzoom' territory, covering a very useful 28-300mm equivalent range, and making it ideal for general purpose 'walkaround' or travel use. (Indeed Olympus says that with it on your camera 'you will never miss a photo opportunity', perhaps begging the question as to why the company still makes other lenses.)
Like all superzooms the 14-150mm uses a complex optical formula, with 15 elements in 11 groups including 3 aspheric elements (one of which is made from ED glass) to correct aberrations. But unlike others, it's a fairly lightweight lens, tipping the scales at less than 10 ounces. It's relatively small too - Olympus boasts that the volume has been reduced by 35% compared to its analogous DSLR lens - maintaining the Pen series' emphasis on portability. The autofocus system has been designed to meet the demands of movie shooting, and employs just two lens elements for focusing which promises fast, silent AF. There's a circular aperture diaphragm to give smoothly blurred backgrounds but, in what's becoming something of a trend for the Pen line, the lens hood is an optional extra.
One feature missing, though, is built-in optical stabilization, simply because Olympus uses in-body stabilization for its Pen cameras. This means that Panasonic G-series owners won't get any form of stabilization at all with this lens, which is an important consideration for a relatively slow long zoom. This is the key distinction relative to the most obvious alternative, Panasonic's own Lumix G Vario HD 14-140mm F4-5.8 OIS; however the additional complexity of the stabilized lens results in a rather higher price. Let's see how the Olympus performs.
New Lens: Panasonic Lumix 8mm fisheye f/3.5 (from DP Review)
Press Release: The World’s Smallest and Lightest* Digital Interchangeable Fisheye Lens
Panasonic is pleased to announce a new interchangeable lens LUMIX G FISHEYE 8mm / F3.5 (35 mm camera equivalent: 16 mm) for the New-Generation System Cameras LUMIX G Micro System. The new LUMIX G FISHEYE 8mm / F3.5 offers a diagonal angle of view of 180-degree, bringing a distinctive perspective and unique deformation effect. It gives not only photos but also movies an extraordinary view to add an impressive scene to the story even for TV contents, films and web movies.
Comprising ten lenses in nine groups, the new lens system features an outstanding compactness, taking advantage of the Micro Four Thirds system standard to achieve dramatic downsizing to the world’s smallest and lightest size*. The adoption of an ED lens achieves a stable descriptive performance from close-up to infinity minimising chromatic aberration and distortion. The closest focusing distance is as short as 0.1m, however, the LUMIX G FISHEYE 8mm / F3.5 incorporates inner focus system which enables a long working distance and users do not have to come closer to the subject even for the close-up shots.
The new LUMIX G FISHEYE 8mm / F3.5 lens allows use of the high-speed and accurate contrast Auto Focus system when mounted on the LUMIX G Micro System cameras, for more comfortable and enjoyable shooting. Seven blades give the aperture a rounded shape that produces an attractively smooth effect in out-of-focus areas when shooting at larger aperture settings. Also, a sheet filter such as a gelatin filter can be inserted in the rear of the unit for free filter expression.
The inclusion of stepping motor makes the focusing action smooth and silent for use in both photo and movie recording. The lens also features a highly reliable metal mount, and uses multi-coated lens elements that minimise ghosts and flare to further enhance its optical performance. The optimally designed lens hood enables use even under strong sunlight.
New Lens: Summilux-M 35mm f1.4 ASPH
Very cool new design, but a tad pricey. If you are using a $7000 M9 then you might not balk at a $5000 lens, but then again, you just might. Here's the press release:
Solms, Germany (May 16, 2010) - Leica Camera AG presents the LEICA SUMMILUX-M 35 mm f/1.4 ASPH, a revised version of the Leica M rangefinder system’s popular wide-angle lens. The LEICA SUMMILUX-M 35 mm f/1.4 ASPH. sets a whole new standard in the fast wide-angle lens portfolio, utilizing the latest developments in the fields of optics and precision engineering. Regardless of the situation, from selective focus in the close-up range, high-contrast available light applications or landscape shots with immense depth of field, the lens delivers incomparable results.
The LEICA SUMMILUX-M 35 mm f/1.4 ASPH. differentiates itself from its predecessor by offering a floating element: the lenses behind the aperture blades are constructed as a floating group that changes its position relative to the front lens group during focusing. This ensures outstanding imaging performance at closer focusing distances.
Additionally, the new LEICA SUMMILUX-M 35 mm f/1.4 ASPH. features a full-metal, rectangular, screw-mount lens hood that significantly contributes to the compact dimensions of the lens. The optical design has been optimized for use on the digital Leica M models and reveals the full extent of the lens’ superior performance, especially when mounted on the LEICA M9. The LEICA SUMMILUX-M 35 mm f/1.4 ASPH. also delivers excellent results on analogue M models and is predestined to become an indispensible component of every M system.
Lens Review: Canon EF 70-200mm f/2.8 L IS II USM
The EF 70-200mm F2.8 L IS II USM was announced in January 2010 as a replacement for Canon's fast image-stabilized telephoto zoom, the EF 70-200mm F2.8 L IS USM, which dates from 2001. With the rapid increase in SLR sensor pixel counts placing lenses' optical qualities under ever finer scrutiny, the company clearly felt it was time for an update for this professional workhorse, and has revamped the design accordingly. In the process, it claims to have improved almost every aspect of the lens, including the optics, autofocus, image stabilization, and the mechanical design.
The optical formula is suitably complex - 23 elements in 19 groups - and includes no fewer than five ultra-low dispersion (UD) glass elements, plus one made from fluorite, to minimize chromatic aberration. The minimum focus distance has been decreased giving improved maximum magnification, the IS system updated to give a claimed 4 stops of stabilization, and the autofocus system revised to meet the demands of Canon's latest fast, high-resolution DSLRs such as the EOS-1D Mark IV. The lens is also, as is usual for Canon's L series optics, fully sealed against dust and water.
Of course all this comes at a considerable price - as usual with a new release, the 'II' lens commands a hefty premium over the previous version of the lens, which also makes it around four times as expensive as its (non-image stabilized) third party rivals from the likes of Sigma and Tamron. Indeed with an introductory price well over the $2000 mark, many potential upgraders will surely be wondering whether the improvements can possibly be worth the money. Over the next few pages we'll do our best to find out.
New Lens: Nikon's AF-S NIKKOR 200-400mm f/4G ED VR II
I don't know how useful this lens is to the casual photographer, and it's awfully expensive, but it is a nice piece of glass. My old favorite lens when I shot with Nikons (waaay back in the day before Canon introduced the EOS-1) was the 500 f/4 so this somewhat the same a little shorter optically, but with the conversion ratios on most DSLRs, it's the same. Here's the press release from Nikon:
Amsterdam, The Netherlands, April 27th 2010 – Nikon Europe today announces a new super telephoto zoom lens – the AF-S NIKKOR 200-400mm f/4G ED VR II. This lens replaces the highly acclaimed AF-S Zoom NIKKOR 200-400mm f/4G IF-ED VR and features the new generation of Vibration Reduction technology (VR II), Nano Crystal Coat and a new A/M mode, making it an ideal, versatile choice for sports and wildlife photographers. This type of super telephoto zoom lens remains unique on the market and reflects Nikon's continued dedication to innovation and quality in the industry.
The evolution of this lens reflects Nikon's commitment to developing a range of products tailored to photographers' needs, and it strengthens the line-up of high-performance NIKKOR lenses.
New Lens: Sigma's new 8-16mm F4.5-5.6 DC HSM lens
Here's a Press release from Sigma about their new 8-16mm lens:
Ronkonkoma, NY, April 23, 2010 - Sigma Corporation of America, a leading researcher, developer, manufacturer and service provider of some of the world's most impressive lines of lenses, cameras and flashes, has announced that its new, 8-16mm F4.5-5.6 DC HSM lens, which incorporates the company's new "F" Low Dispersion (FLD) lens glass, is now available. 
This rectilinear lens, which was first introduced at PMA 2010 in February, is the widest angle zoom lens on the market today. The 8-16mm F4.5-5.6 DC HSM is designed specifically for APS-C size image sensors and has an equivalent angle of view of a 12-24mm lens when used on digital cameras of that sensor size. The lens is currently available in Canon mount at all authorized Sigma dealers for the MSRP of $1,100, and it will be available in Sigma, Nikon, Sony and Pentax mounts in the coming weeks.
"As the manufacturer of the first ultra wide angle lens, there are a number of reasons why we are incredibly excited about the arrival of this lens. The fact that it produces a wide-angle view of nearly 121.2 degrees, depending on what camera you are shooting with, is definitely at the top of that list," said Mark Amir-Hamzeh, general manager of Sigma Corporation of America. "Another feature that we are extremely proud of is this lens' use of our company's new FLD glass, which boasts performance equal to fluorite glass, but without the added weight."
Lens Review: Olympus M. Zuiko Digital ED9-18mm f/4-5.6 (From DP Review)
The M. Zuiko Digital ED 9-18mm F4-5.6 is Olympus's third lens for the Micro Four Thirds system to reach the market, covering the wideangle end of the spectrum. It was first announced at the same time as the E-P2 in November 2009 (alongside a forthcoming 14-150mm superzoom), with more details appearing coincident with the E-PL1's launch in February 2010. Its headline feature is undoubtedly its miniscule size - it adopts the same collapsing design as Olympus's Micro Four Thirds 14-42mm kit zoom to realize dimensions of just 2.2" x 1.9" (57 x 50 mm) when retracted, and an extremely light weight of 5.5 ounces (155g). This makes it the smallest wideangle zoom lens on the market by some considerable margin.
The lens's optical formula is clearly strongly related to that of its Four Thirds cousin, the Zuiko Digital 9-14mm F4-5.6, which we reviewed (and liked) in February 2009. If anything, though, it's even more exotic - the 12 element, 8 group design now utilizes two dual-surface aspheric elements to form the front cell, and Extraordinary Dispersion (ED) and High Refractive (HR) glass elements are employed to combat chromatic aberration. The focusing is internal, and takes a leaf out of Panasonic's book by using a single element for maximum speed; it's also designed to provide silent operation for movie recording.
While the Micro Four Thirds format may still be relatively young, the 9-18mm F4-5.6 will by no means be the only choice for wideangle enthusiasts who use the system. Most obviously it's up against the Panasonic Lumix G 7-14mm F4, which is considerably wider, but larger and more expensive. However the aforementioned Four Thirds 9-18mm can also be used on the Micro system via an adapter, which is likely to make it most attractive to photographers who also use Olympus or Panasonic DSLRs. In this review we'll take a look at how these three lenses compare.
