Just after Fuji announced its first weather-sealed wide angle lens, the XF 16mm f/1.4 R WR last month, the company has announced yet another killer lens to its arsenal, the Fujinon 90mm f/2 R LM WR. With its 135mm equivalent field of view in 35mm and a wide aperture of f/2, the lens is aimed primarily at portrait photographers who love being able to keep their subjects isolated from the background without introducing any kind of distortion to subjects’ faces. Thanks to a pretty complex optical formula comprised of 11 elements (3 of which are of extra-low dispersion / ED type) in 8 groups, a sturdy weather-sealed construction and the new Quad Linear Motor for faster autofocus, the lens will, without a doubt, be a solid performer. And at its $950 MSRP price tag, it will be a great addition for photographers who are already in love with lenses like the XF 56mm f/1.2.
Without a doubt, Fuji’s X-T1 has been a huge success for the company and for a good reason – the camera is outstanding in many ways, as I have pointed out in my in-depth review of the camera. I have been a proud owner of the X-T1 for over a year and the camera continues to amaze me, especially after Fuji’s constant firmware refreshes, which make it better each time (and it is supposed to get even better with the upcoming 4.0 firmware). But at its current MSRP price of $1300, the X-T1 is not a cheap camera to own. Which is why Fuji decided to release a smaller brother of the X-T1, the Fuji X-T10. With the same superb 16 MP APS-C X-Trans sensor, 3″ tilting LCD, 8 fps continuous shooting, 2.36 Million dot OLED electronic viewfinder, advanced autofocus system, built-in flash and similarly beautiful design, the X-T10 offers quite a bit for its $800 price tag.
Panasonic has released the Lumix DMC-G7 mid-range mirrorless camera with 4K video and stills recording capability (up to 30 fps). In addition to the improved autofocus performance when compared to its predecessor, the G7 now comes with a higher-resolution OLED viewfinder with 2,360k dots, up to 8 fps shooting speed, built-in WiFi, UHS-II SDXC/SDHC memory card support and a fully articulated high resolution 3″ LCD screen with 1,040k dots. At $799.99 MSRP, the Panasonic Lumix DMC-G7 will be one of the most affordable 4K-capable cameras on the market when it is released in June of this year.
Olympus has announced another addition to its line of high-quality professional lenses. The Olympus M.Zuiko Digital ED 7-14mm f/2.8 Pro, which has a field of view equivalent to 14-28mm in 35mm format, sports a pretty complex optical formula, with 14 elements in 11 groups, 10 of which are comprised of special type of glass to reduce various optical aberrations. With its constant maximum aperture of f/2.8, the lens offers superb optical performance even at its widest aperture. In addition to having high-end optics, the lens is engineered to be both dustproof and splashproof. All this does not come cheap though – the Olympus 7-14mm f/2.8 Pro will retail for $1,299.99 when it starts shipping in June of this year.
Canon has announced an update to its 50mm f/1.8 lens, the Canon EF 50mm f/1.8 STM. Compared to its 50mm f/1.8 II predecessor, the new 50mm f/1.8 STM integrates a stepper motor for quieter autofocus operation, rounded 7-blade diaphragm, a minimum focus distance of 35cm and a metal mount. Best of all, these changes do not come with a significant price hike – the new 50mm f/1.8 STM is only $129, making it the most affordable Canon EF lens on the market. Due to the change in the mount, the 50mm f/1.8 STM gains 30 grams of weight. Performance-wise, it will be very similar to its predecessor.
Another big announcement from last week was Zeiss Batis 25mm f/2 and 85mm f/1.8 lenses for the Sony FE mount. Compared to Zeiss Loxia lenses, the new Batis line offers autofocus capability and has a similar focus-by-wire motor as in native Sony/Zeiss lenses. The exterior look of the lenses appears to be similar to the high-end Zeiss Otus lenses, but there is one major difference – the focus scale on the lens is OLED, the first-ever lens to feature it. While I am personally not as excited about the 25mm f/2 lens due to the fact that Sony has already announced the Sony FE 28mm f/2 lens (which you can convert to either a 16mm or a 21mm lens with a conversion lens), the 85mm f/1.8 is something that I cannot wait to try out. Sony has had a major hole in its lens line with the lack of a fast 85mm prime, so the new AF-capable Zeiss Batis 85mm f/1.8 will definitely satisfy many portrait photographers out there. With its $1,199 price tag and Zeiss quality, this will surely be a popular choice among Sony shooters (the 25mm f/2 will sell for $100 more). Let’s take a closer look at these lenses.
Having been out of town for a few weeks, I am just catching up with some major news, so I decided to post some announcements that I consider to be newsworthy. In this particular case, it is the announcement of the Pentax K-3 II, which I believe deserves a spotlight for the innovation it brings. Sporting in-body image stabilization, high-resolution sensor shift mode, star tracking, anti-aliasing filter simulator, built-in GPS and durable construction, the K-3 II brings some great innovative features which we have never seen on a DSLR before. Looking at this powerful APS-C camera, I am excited to see what Pentax will do with its upcoming full-frame camera. And I hope that both Nikon and Canon are taking notes from Pentax, because such innovation is much needed in the DSLR market to keep it healthy, now that the mirrorless market is steadily growing.
Today adobe rolled out the much anticipated update to its Lightroom photo management and editing software. Two new versions of Lightroom are immediately available for both standalone and Creative Cloud subscribers. Lightroom 6 will be offered as an update to Lightroom 5 for perpetual users (both regular and upgrade licenses are already available) and those who subscribe to the Creative Cloud will get a cloud-specific version called Lightroom CC (which in its core is the same as Lightroom 6). This update is a rather significant one, because it brings very important and much-needed performance improvements, new camera / lens support and a few new notable features. Let’s discuss those in more detail now.
Today is a big day for Fuji, because the company has just announced its first wide angle weather resistant prime lens, the Fujinon XF 16mm f/1.4 R WR. This is a pretty significant milestone for Fuji, because the lens is equivalent to a 24mm lens in terms of field of view on full-frame, which is a very popular focal length for many different types of photography such as landscapes, architecture and environmental portraiture. Being a fast f/1.4 lens, it is also a great candidate for low-light photography. On top of that, Fuji made this lens weather resistant to withstand both dust and moisture, so it will couple greatly with the Fuji X-T1 and future weather-sealed cameras.
Someone at Sony must be finally realizing cameras don’t make a system. As numerous and capable (crippled RAW format notwithstanding) the A7-series cameras are, the real pull of any system is the lens lineup. And so the Japanese manufacturer has announced four new FE lenses for full-frame mirrorless cameras. It is very much worth noting that just one of the lenses is a superzoom with a disappointingly slow aperture of f/6.3 at the long end – the other three are prime lenses of 28mm, 35mm and 90mm focal lengths. On top of that, Sony has also introduced two new lens converters, one for wider angle of view, the other – for fisheye effect. Let’s take a closer look at the new products.