Viltrox 35mm f/1.8: B&H Photo / Amazon
Viltrox released a firmware update for the Viltrox 35mm f/1.8 which you can download here. The update doesn’t have any details and just says initial version so maybe most lenses have shipped with this update installed, but check to make sure.
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Sony and many other companies will be attending the CP+ 2022 hybrid event this year in Yokohama Japan. Below you can see statements from relevant companies about what they intend to present. It’s interesting to note that Sony decided to go with a similar size booth to Fujifilm and Nikon while Canon has a significantly larger booth than anyone else.
Sony
Sony didn’t include a statement.
Atomos
At the ATOMOS booth, connect the monitor recorder NINJA V / V + to the camera and connect it to the camera. From 8K30p RAW and 4K60p RAW shooting to color grading You can actually touch and experience the series of flows. In addition, using the new live switcher AtomX CAST, which enables easy multicam distribution, You can also see how it is actually delivered to YouTube. At the booth, we will invite a large number of instructors for 4 days, and a wide range of customers from beginners to professionals can enjoy it. We will hold a seminar. Those who are interested in external recorders, those who are currently using ATOMOS, those who are about to start shooting, are looking forward to your visit.
Cosina
Voigtlander and ZEISS ZM & DSLR lenses will be exhibited at the Cosina booth. We will touch and try products and exhibit new products that will be released in the future. We also receive advice and consultation regarding product purchases.
Tamron
Welcome to the CP + 2022 Tamron booth! This year’s CP + 2022 will be held at the same time as the venue event and online. At the venue, new products “28-75mm F / 2.8 G2 (Model A063)” “18-300mm F / 3.5-6.3”fa(Model B061) “” 35-150mm F / 2-2.8 (Model A058) “on sale You can try our lenses from all models. In addition, online introduction of lenses by popular photographers and new product development by our development team We will deliver the charm of our products such as interviews. At the venue event, online or both! Enjoy the CP + 2022 Tamron booth to your heart’s content. We look forward to your visit.
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DPRTV posted a video about Medium Format vs Full Frame vs APS-C, but it seems they conflated a lot of medium format secret sauce arguments into a pretty good equivalent FOV/DOF comparison. Arguing about the look of medium format is much like arguing about the Leica look, you either see it or you don’t, but for those that see it, there is a whole world of micro-contrast arguments to be made, which I’m not going to go into at this time.
For those that do not see the difference equivalency is often discussed and they aren’t necessarily wrong. You can get an equivalent FOV and DOF across Medium Format, Full Frame, and APS-C right up until you can’t because the aperture gets too wide. At the moment the Fujinon GF80mm f/1.7 is Fujifilm’s fastest lens for GFX, but TTArtisan makes the excellent TTArtisan 90mm f/1.25 or there is the Mitakon 85mm f/1.2 for G-mount. When taking third-party glass into consideration there is no easy way to match the FOV and DOF that the GFX can produce with a Full Frame or APS-C camera. It’s also possible to adapt f/0.95 glass that can almost fully cover the GFX sensor if you want a photo with a really extreme looking depth of field.
According to DPRTV depth of field comes down to focal length, aperture, and distance from a subject which is accurate. So they decided to compare the GF110mm f/2, Sigma 85mm f/1.4, and XF56mm f/1.2 for their telephoto comparison and GF30mm f/3.5, Sony 24mm f/1.4, and XF16mm f/1.4 or their wide comparison to make the lenses as close to equivalent as possible. When adjusted for equivalency the image DOF is very comparable across the sensors, but APS-C struggles to match the GFX since the GFX has to be stopped down some to be compared accurately with APS-C while Full Frame can keep up.
If you’re going to stick to first-party autofocus lenses on the market at this time Full Frame can match the depth of field of the GFX, but if you use manual focus third-party glass GFX cannot be matched. Below you can see a test photo I took of my dog with my Mitakon 85mm f/1.2 and the only lens I have ever used that comes close to its thin depth of field is the Leica Noctilux 50mm f/0.95, which is substantially more expensive and a different FOV. If things ever get better and safer around where I live I will try to shoot some models with the TTArtisan 90mm f/1.25 and Mitakon 85mm f/1.2, but until then I am stuck trying to get my GSD to sit still long enough to focus on his eyes.
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Sony a7RIVa: B&H Photo / Amazon / Momentum / Adorama
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via FujiAddict
It’s interesting to me that the new Leica M11 very closely matches the performance of the Sony a7RIV, because Leica has always been full of pride that their cameras are built primarily in Germany using European technology, but it looks to me like Leica may have convinced Sony to share a tweaked 60MP sensor with them.
Photons to Photos published its PDR results, which you can see and manipulate here, and the sensors are pretty close to identical with the Leica tuned to perform a little better at base ISO while remaining competitive all the way up to 51,200 ISO. This could be due to the camera exhibiting better thermal characteristics or because Leica doesn’t need the sensor to read out beyond when you are taking a photo. I’d be curious to see how the PDR results might change while using Live View or sensor-based metering, but so far these modes haven’t been tested. It sure would be interesting if the Leica fell slightly behind the Sony a7RIV while using the sensor for these kinds of tasks.
| Camera Model | Maximum PDR | Low Light ISO | Low Light EV |
|---|---|---|---|
| Leica M10-P | 10.48 | 3700 | 10.21 |
| Leica M10-R | 10.71 | 4083 | 10.35 |
| Leica M11 | 11.82 | 4931 | 10.62 |
| Sony a7RIV | 11.62 | 4744 | 10.57 |
If Leica is using a Sony sensor it makes me want the Leica M11 that much more, because to me Leica’s biggest shortcoming since the Leica M9 has been getting access to competitive high-resolution sensors. Don’t get me wrong the Leica M9 is still digital Kodachrome in my estimation, but not having a useful ISO above 1,250 is pretty difficult to work with. The real question remains will Leica M glass be able to resolve 60MP of detail or will it start to falter? Only time will tell.
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Asobinet found a patent for a Tamron 100mm f/2.8 Di III 1: 1 Macro mirrorless lens that should come to E-Mount
Overview
Example 1
via asobinet
Tokina SZ Super Tele 500mm f/8:
B&H Photo / Amazon
Tokina SZ SUPER TELE 500mm F8 Reflex MF worldwide sales date announcement
Jan 21, 2022
Kenko Tokina Co., Ltd. is pleased to announce the sales release of the Tokina SZ SUPER TELE 500mm F8 Reflex MF lens. With the debut of the SZX SUPER TELE 400mm F8 Reflex MF, the SZ series offering a range of exciting products with specific features and valuable advantages.
Sales will commence on February 18, 2022.
Tokina SZ SUPER TELE 500mm F8 Reflex MF is a 500mm super tele lens that adopts catadioptric type optical design with a constant F8 aperture. The lens offers a compact alternative to standard tele photo lenses as more and more photographers are looking for easy-to-carry gear. Keeping in mind active travel photographers that seek outdoor landscape, wild nature or birds, the 500mm F8 Reflex MF is designed as a compact and lightweight mirror lens – a type of lens to be rediscovered in this new era of also compact but high-tech mirrorless cameras. The Tokina SZ SUPER TELE 500mm F8 Reflex MF adopts a T-mount standard (pitch 0.75mm, thread 42mm) that allows the lens to be attached to any camera by using mount adapters.
Highlighted Features
Extremely compact and lightweight super tele lens.
via FujiAddict