2022 looks set to be a good year for fans of mirror lenses. Last month, Japan’s Kenko Tokina announced the Kenko Mirror Lens 400mm f/8 N II, a refresh of its relatively recent 2020-model 400mm f/8 optic. Now, it’s following up with a 500mm f/8 prime that will give you even more telephoto reach for not much more heft.

Like last month’s reveal, the Tokina SZ Super Tele 500mm f/8 Reflex MF is a Japanese-made mirror lens. Set to ship in February, it’s likely to be very affordable (pricing info has yet to be revealed) and offer a lot of reach in a very small package. The lens will be available for a wide range of camera mounts, but its portability will come at the expense of some image quality as well as rather divisive donut-shaped bokeh. It also has a fixed-aperture, manual focus design.

Unlike last month’s 400mm, this isn’t a refresh of a recent lens. It’s been a while since Kenko Tokina has offered a 500mm mirror optic, although the company did sell several different 500mm f/6.3 and f/8 mirror options back in the analog era. 

The eagle-eyed amongst you will have picked up on the fact that the new lens only bears the Tokina badge, whereas last month’s 400mm prime is instead being sold only under the Kenko name. The 500mm is also referred to as a reflex lens, whereas the 400mm is called a mirror lens, making for extremely inconsistent branding between two products that would both seem aimed at the same customer base.

What is a mirror lens?

For those who aren’t already familiar with mirror lenses, you’ll also hear them referred to as reflex or catadioptric lenses. In essence, they’re more akin to a telescope than a more typical telephoto lens.

Their compact size is achieved by folding the optical path back on itself repeatedly within the lens. The first fold is caused by a mirror towards the rear of the lens which redirects the light back forwards and focuses it on a second mirror that sits behind the center of the front lens element. This, in turn, redirects incoming light back through a hole in the center of the first mirror and onwards toward the camera’s image sensor.

Image quality tends to be better in some respects but worse in others

This design allows for a much shorter, lighter lens than would otherwise be possible with a more traditional lens design. It also makes for a much more affordable optic, since creating mirrored glass elements is a much less complex process than molding and polishing refractive elements for a traditional lens.

Mirror lenses also tend to show much lower levels of chromatic and off-axis optical aberrations than refractive lenses. That’s due to the light being reflected off each mirrored surface rather than passing through them. This reduces opportunities for different wavelengths of light to be refracted differently.

The technique does, however, bring with it some disadvantages as well. First, mirror lenses are almost always focused manually. (One of the only exceptions is the Sony/Minolta AF Reflex 500mm f/8 lens.) They also tend to have lower levels of sharpness and contrast, compared to refractive optics, although post-processing can certainly help level the field a bit.

Doughnut-shaped bokeh can prove fun or frustrating

Perhaps the image quality concern that stands out the most with mirror lenses is their doughnut-shaped bokeh. Caused by the mirror behind the front lens element, the effect can give a business even to backgrounds with moderately high contrast. It’s particularly noticeable where you have strong specular highlights, which are rendered as bright, crisp doughnuts.

With the right subject, it can be an eye-catching and attractive trait. With the wrong one, though, it can be very distracting, drawing your attention away from your intended subject and onto the background.

A fixed aperture also means no DOF control and more limited exposure control

One other important difference to note from a traditional refractive lens is that mirror lenses don’t offer adjustable apertures. What you see on the label is what you get in terms of aperture, and so there’s no control available over depth-of-field. Also, exposure control must be performed solely using the shutter speed and ISO sensitivity.

Who’s it for?

The primary target customer for the Tokina SZ 500mm f/8 will be photographers who’re looking to bring smaller, more distant subjects right up close, and who need to prioritize portability and cost over image quality.

That likely makes it of particular interest to enthusiastic amateurs wanting to shoot subjects like wildlife and sports. If your subjects will be varying in distance significantly, though, the lack of autofocus is quickly going to prove tiresome. You’ll thus want to consider the behavior of your particular subjects. There’s also some potential for light macro work or occasional portrait use.

Higher-end users who want the crispest-possible results and can afford the added cost and heft will want to look at a refractive lens instead. They still might want to pick up a lens like this for the artistic potential of its doughnut bokeh, though.

There’s really no name-brand competition for this lens

As for the competition, these days there’s not a lot of it. Mirror lenses used to be relatively easy to find even amongst the lens stock of first-party manufacturers, but that’s no longer the case. You will, however, find other 500mm f/8 mirror lenses available from brands Bower and Opteka. (Both also have 500mm f/6.3 units as well, which Tokina thus far lacks.)

Like the Bower and Opteka models, the Tokina 500mm uses a standard T-mount design, which allows it to be converted for use with a wide range of camera mounts. Interestingly, the size and weight of the Bower and Opteka lenses are close enough to be indistinguishable from that of the Tokina, which is 3.5-inches long, 2.9-inches wide, and weighs just 10.9 ounces (without an adapter attached). Both rivals are priced around the $100 mark without a T-mount adapter, suggesting the ballpark we should be expecting Tokina to hit. (Or given its greater brand recognition, perhaps aim a little above.)

Similarly far-reaching refractive lenses are far bigger and more expensive

It’s trickier to draw parallels against traditional refractive lenses because Tokina’s specs don’t include the size and weight of the required T-mount adapters, which vary significantly between mounts. (And unfortunately, the specs for the Kenko 400mm f/8 are only provided with a Canon EF-mount adapter attached, likewise stymieing direct comparisons.)

With that said, though, even remembering that you need to account for the weight of the adapter, it’s clear that mirror lenses are far cheaper, lighter, and smaller, than traditional lenses. By way of example, Nikon’s AF-S 500mm f/5.6E PF ED VR lens for DSLRs costs $3,600 and weighs close to five times as much. It’s also quite a bit larger.

Optical formula

Tokina doesn’t state the optical compositions of the individual elements in the lens, but the company does say that it has included elements with multi-coatings. The lens has a 72mm filter thread upfront and accepts 30.5mm filters at the rear, just like its Opteka rival. The Bower, meanwhile, only has the rear filter support.

The 500mm f/8 mirror lens can focus at a minimum distance of 5.6 feet (1.7m). At this distance, it yields a maximum magnification of 1:2.86 or 0.35x.

A lens hood is included in the product bundle, but sadly it’s a screw-in type. We far prefer bayonet hoods as they’re quicker and easier to mount and can usually be stored neatly on the barrel in reverse. They also typically play better with filters and lens caps.

Price and availability

The Tokina SZ Super Tele 500mm f/8 Reflex MF goes on sale on February 18, 2022. Pricing for the new lens had not yet been disclosed at press time. The lens is available standalone as a T-mount optic for folks who already have the necessary adapter(s) for their gear. If not, six different bundles are available that include both the lens and the requisite adapter for Canon EF, Fujifilm X, Micro Four Thirds, Nikon F or Z, and Sony E-mounts.

Interestingly, Tokina’s site makes no mention of the Canon EF-M or Pentax K-mounts, even though the company sells T-mount adapters for both. Of course, T-mount adapters are available for far more mounts than just these. Tokina itself also offers Nikon 1 and Four-Thirds adapters, and third parties offer even more. So the range of mounts with which this lens can be used is extremely broad indeed.

Watch this space for more info on pricing as we hear it! More details can be found on the Tokina website.

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Modern cameras are amazing. Top-of-the-line models like the Canon EOS R3, Nikon Z9, and Sony A1 can detect subjects automatically and help us shoot tack-sharp photos at jaw-dropping frame rates, as well as video at resolutions of 6K and beyond.

Yet all that power comes at the expense of a lot of heat. At the same time, modern interchangeable-lens cameras tend to be fairly compact, leaving little space for much-needed cooling. And as manufacturers continue to pack in ever more processor power with each generation, the need for better thermal management grows—which is why Canon is exploring the possibility of a liquid-cooled camera.

The era of fan-cooled cameras has already arrived

Related: Amazon patents photography against a white seamless background

Camera heat is enough of an issue that we’ve seen active cooling fans in video-oriented cameras from Canon and Panasonic, as well as in an external accessory for the Fujifilm X-H2S. And now a patent application from Canon points at an even more radical solution: Magnetic fluid-based cooling.

Canon’s system revolves around the use of ferrofluids, which are essentially liquids that react to the presence of a magnetic field. (You may have seen them used to great visual effect in YouTube videos like this one.) And while Canon is certainly not the first to experiment with the technique, the company is the first we’re aware of to propose its use in a digital camera.

A Canon liquid-cooled camera

In Canon’s just-published US patent application, the company describes several different potential designs for a ferrofluid cooling system in a camera, but they break down into two main subtypes, active and passive.

Both work in the same basic way, however, using the magnetic field from one or more magnets in concert with the force of gravity to cause ferrofluid to flow through their conduits. As they do so, they pick up heat from a chosen component(s) and then vent this on the cooling side of the loop as warm exhaust air.

It’s reminiscent of a liquid cooling system in a gaming computer, except with a more complex thermal carrier fluid—but also one which can be fully sealed within a closed conduit with no need for a physical pumping mechanism.

Two possible systems: One active & one passive

One of the systems proposed by Canon in its patent application has a more integrated design and is intended only to cool the image sensor alone. It appears to use a passive heat sink inside the handgrip to vent excess heat from the camera. This system requires just a single magnet, and for bonus points, it’s one that is already within the camera, located on the rear of the shutter mechanism.

The other system aims to cool the entire image sensor assembly complete with a sensor-shift mechanism as a single unit, with the two halves of its system connected only by thin conduits. This latter design is an active type, including a fan that would draw air in from an air intake inside the handgrip, and then vent the warmed exhaust from the base of the camera.

In this system, there are two magnets required. One is affixed to the sensor shift mechanism, while the second is located within the handgrip and rotates around its vertical axis. (Canon does note that these positions in the patent aren’t set in stone, however.)

It’s obvious Canon’s considering the real world here

Both of these designs are described in ways that suggest that Canon isn’t just going into this as a thought exercise and/or a way to bolster its patent arsenal, but is actually considering how to integrate this liquid-cooled tech into a real-world product.

For one thing, Canon engineers thought to use an existing component to provide the necessary electromagnetic field in its passive design. And it also notes that the fan in the active design could be powered using the Peltier effect. This would generate the requisite current from the temperature gradient in the cooling system itself, allowing the fan to continue running for as long as is needed after the camera is switched off. In the process, it would resolve concerns about temperature spiking when the battery runs out.

The tech is maturing, but it still has some way to go

Of course, even if Canon is considering real-world usage as noted previously, there’s still no guarantee that this will be commercialized any time soon.

The diagrams in Canon’s patent application suggest that the system would still take up a significant amount of space inside the camera body, especially if active cooling is required. So, there’s likely still much work to be done to miniaturize the technology, not to mention in designing and tooling up to manufacture actual cameras that incorporate it.

But if Canon is successful both in having its patent applications approved and in commercializing the tech, liquid-cooled cameras could be the way of the future. And for the video market, in particular, that could be a big deal!

The post Will Canon’s next camera be liquid-cooled? appeared first on Popular Photography.

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Japanese lensmaker Tamron is doing quite the job of ferreting out new niches for itself in the full-frame Sony E-mount lens market. A few weeks back we told you about a uniquely long-zooming 50-400mm lens the company has in development, and now it’s revealed another lens that should also be arriving this fall, the Tamron 20-40mm f/2.8 Di III VXD.

Much like the 50-400mm before it, the new Tamron 20-40mm f/2.8 has no direct rivals on the market currently. The nearest equivalent in terms of focal length and aperture is Sony’s FE 16-35mm f/2.8 G Master, but that’s a much bigger, heavier lens and it’s also rather more wide-angle across the board. Next-nearest would have to be Sigma’s 28-70mm F2.8 DG DN Contemporary, but again, that’s noticeably bulkier and nowhere near as wide.

Who’s the Tamron 20-40mm f/2.8 for?

As you could probably guess from its focal length range, the Tamron 20-40mm f/2.8 is intended to be a versatile, do-it-all optic. At the wide end, it should be perfect for landscapes, architecture, street photography, and more, yet, it can still yield a “normal” focal length at the other end of the range. And while it offers no telephoto capability out of the box, Tamron notes that by switching to an APS-C crop it effectively becomes a 30-60mm zoom, giving you just a little more reach if needed.

As capable as the 20-40mm f/2.8 is for stills, Tamron says the new lens was built with video in mind. Describing its optic as a standard zoom for vloggers, the company notes that the lens’ lightweight design and compact dimensions make it well-suited to gimbal use. And of course, its focal length range is conducive to selfie-shooting, even on crop sensor bodies. While the f/2.8 maximum aperture should give you a good degree of background blur.

Build quality

So just how small and light is this lens? We don’t yet have a diameter, but the lens barrel is just 3.4 inches in length. That’s a full 1.4 inches shorter than the 16-35mm G Master, and a handy 0.6 inches less than the Sigma 28-70mm. And the difference in weight versus those lenses is even more obvious. The Tamron will weigh just 12.9 ounces, which is 28% less than the Sigma and a whopping 46% lighter than the Sony.

That size and weight are achieved despite a moisture-resistant construction. Tamron also notes that it has improved the texture and scratch-resistance of the coatings used on the lens barrel. Dedicated controls include a customizable focus ring and a zoom ring with a throw of 65 degrees. Tamron’s Lens Utility software can be used to modify the focus ring functionality and to apply firmware updates. Up front, you’ll find a set of 67mm filter threads.

Focus

Tamron has selected its VXD linear autofocus drive technology for the new lens. (Not familiar with that acronym? It’s a contraction of “Voice-coil eXtreme-torque Drive”.) It’s said to be both accurate and quiet in operation. Tamron is also promising “excellent” autofocus tracking performance as well as compatibility with Sony’s Hybrid AF and Eye AF algorithms.

The 20-40mm f/2.8 can focus to a minimum distance of 6.7 inches at wide-angle or 11.4 inches at telephoto. For the most macro-like results, you’ll want to shoot wide and get close to your subject. But once you do so, you should be able to achieve a ratio of 1:3.8 (0.26x).

Optical design

Tamron has yet to disclose anything about this new lens’ optical formula, so all we know for right now is that it has an f/2.8 maximum aperture and a fluorine coating to help repel dust and smudges from the front lens element.

Pricing & availability

Since this is only a development announcement, we don’t have a precise release date or price for the Tamron 20-40mm f/2.8. We shouldn’t have to wait too much longer to learn these details, however. Pandemic and supply-chain issues allowing, Tamron expects its first shipments to be delivered this fall.

The post New gear: Tamron 20-40mm f/2.8 in development for Sony full-frame mirrorless appeared first on Popular Photography.

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Like most Japanese companies, Nikon’s financial year runs from April 1st to March 31st, rather than being aligned with the calendar year. The company closed out the first quarter of its latest financial year at the end of June and has now officially published a Q1 financial report. The key takeaway? Nikon is having a strong 2022 so far.

These latest numbers also give us a great opportunity for some insight into how Nikon—and to some extent, the larger camera market—is performing in the current climate. Let’s take a look.

Overall profits were flat, but most divisions did better than last year

For the company as a whole, Nikon’s Q1 2022 operating profit fell to 15.3 billion yen on revenues of 145.6 billion yen. That’s a 23.1% decrease in first-quarter profits, year on year, despite revenue actually climbing by 10.1% in the same period.

That’s not the whole story, though, as the 2021 figure was skewed by profits made from sales of unused land and the discontinuation of Nikon’s pension plans for employees in the US market. After these are both accounted for, the company says that overall profits are flat versus last year. It also notes that operating profit actually rose versus last year for all segments other than the precision equipment division, which was held back by falling sales of lithography systems needed for flat-panel display manufacturing.

Revenues & profits are up after some belt-tightening

Related: The Nikon Z9 is the best-selling ‘pro flagship’ model of 2022, so far

Starting with Nikon’s imaging division specifically, operating profits climbed by 4.4 billion yen alongside an 11.2 billion yen rise in revenues to 61.2 billion yen. That’s an impressive 47.8% rise in Q1 profits on the back of a 22.4% increase in revenues. In answering questions from investors, however, the company did caution that it sees several shorter-term reasons for these improvements and that it isn’t currently expecting to see the increase sustained for the year as a whole.

Nikon identified four main reasons for its increased Q1 profitability: It attributed about half of the gain to improved sales of higher-end models, like the Nikon Z9, reduced ad spending, and improvements to its product selection. Another quarter is said to have been down to the company tightening its belt and paring back expenditures. The remaining quarter was attributed to the weaker yen, something the company obviously has no control over. 

Camera sales are slowly trending back up

If the yen remains low, Nikon suggests it could beat its forecast for Q2, which currently remains unchanged. However, the company foresees both greater competition in the second half of the year, leading to increased ad spending. It also expects increased spending on R&D and new product launches later in the year. These, it believes, will negate any ongoing gains from other areas in the second half of the year, and so it has decided not to update its forecasts for the remaining quarters either.

The good news is that Nikon does say that it has seen a slight trend towards recovery in terms of unit sales, and that’s despite the ongoing supply chain issues which continue to affect many manufacturers. The company singles out its flagship Nikon Z9, in particular, as having been a strong performer in the first quarter. Improved sales of mid to high-end bodies and lenses to the prosumer and professional markets also contributed to the imaging division’s improved revenues and profits.

Some market share insight too, but with little granularity

The report gives a little insight into market share as well, indicating that for the previous financial year, Nikon took 13.7% of the interchangeable-lens camera market, shipping a total of some 700,000 units between both mirrorless and DSLR types. These were accompanied by 1.27 million lens sales or around 13.5% of that market. Finally, Nikon still shipped around 190,000 compact cameras, netting it an even 7.0% of that dying market.

Its forecast remains to ship the same number of camera units this year along with almost as many lenses while slashing its remaining compact camera sales almost in half. However, while overall shipments are expected to remain flat or decline, both revenue and profit for the year as a whole are expected to be up, with Nikon predicting the Imaging division should net 215 billion yen in revenues and 27 billion in operating profit. That’s an increase of 20.7% in revenue and 42.1% in operating profit for the entire year.

The good news: Overall profitability should continue to improve

As for the company as a whole, Nikon is now predicting revenue of 625 billion yen and operating profit of 55 billion yen. If it achieves that target, it will have raised its revenues by almost 16% and its operating profit by a little over 10% year-on-year. Even if that bump all came in the first quarter, a profitable imaging division has to be seen as good news overall!

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For such expensive devices, Samsung’s eye-catching Galaxy Z Fold phones have long lagged the field when it comes to their camera setup. That’s perhaps understandable, as the folding screen tech is both expensive and bulky, leaving less room and cost for decent cameras. It’s sad news for photographers, though, as it’s meant you have to choose between a huge screen or great cameras. But that’s about to change, to some degree, with the launch of the new flagship Samsung Galaxy Z Fold4.

The Samsung Galaxy Z Flip 4 was also simultaneously-announced, but given its camera specification is much lower, we’ll just focus on the Fold4 in this article.

How does the Z Fold4 fit into Samsung’s lineup?

Related: The era of the ‘always-on’ smartphone camera is here

Let’s start off with the not-so-great news: The just-launched Samsung Galaxy Z Fold4 still isn’t the equal of other flagships, with Samsung’s own Galaxy S22 Ultra among the phones that can still beat it in terms of specs, for far less money. But while it’s still not a top-tier setup, the Fold4 should still best everything else in Samsung’s current smartphone lineup.

What’s new since the Fold3?

The Fold4’s camera setup has been mostly rethought since the Fold3 and is effectively now on parity with the non-folding Galaxy S22 and S22 Plus. The main camera sensor has been upgraded from 12 to 50 megapixels, and its size increased such that Samsung says it can now gather 23% more light than before.

The previous 12-megapixel, 2x zoom telephoto camera has also been replaced by a 10-megapixel, 3x zoom camera. (Coupled with 10x digital zoom, this now allows a maximum of 30x zoom, up from 20x in the previous model.) Finally, there’s a 12-megapixel ultra-wide camera that carries over from the Fold3.

All three main cameras retain the same apertures as before, with the main camera being the brightest at f/1.8, the ultra-wide in the middle at f/2.2, and the telephoto being an f/2.4 optic. The wide-angle and main cameras also retain the same pixel pitches and fields of view, with a 123˚ FOV and 1.12μm pixels for the ultra-wide and an 83-degree FOV with 1.8μm pixels for the main camera. The telephoto camera retains a 1.0μm pixel pitch, and Samsung has yet to publicly state an FOV range for the uprated zoom lens.

Loads of other tweaks, some of which will make imaging better too

Of course, even for the unchanged ultra-wide camera, there will likely be changes to Samsung’s image processing algorithms, and perhaps image quality improvements to be found. The company is also noting some UI improvements. Among software changes, Samsung is calling attention to both its “nightography” and portrait modes, which it says offer better low-light image quality. Samsung has also added video digital image stabilization and added support for recording videos at up to 8K resolution.

Of course, there are many other changes throughout, including a current-gen Qualcomm Snapdragon 8+ Gen 1 processor upgrade, which should make for a snappier performance across the board. There’s also an improved hinge, more durable displays, and a stronger frame. Samsung has further made numerous upgrades to the operating system itself, including a new taskbar that aims to make better use of the generous screen real-estate.

Where the S22 Ultra still bests the Fold4

So how does the S22 Ultra still better the Z Fold4? The biggest differences are that the S22 Ultra’s main camera has double the sensor resolution 108 megapixels vs. 50 megapixels), and the Fold4 lacks its 10-megapixel, 10x periscope zoom camera altogether. The newer phone replaces that with a non-zooming 10-megapixel selfie camera for use when folded, and there’s also a secondary four-megapixel selfie camera hidden under the screen when the phone is used unfolded. (This latter is now said to be harder to see through the screen itself.)

On the one hand, it’s not a great look that the company’s flagship folding phone *still* lags noticeably behind its flagship traditional smartphone. But at the same time, this is already a pretty bulky, hefty, and extremely expensive phone. Had Samsung shoehorned in the full camera setup from the S22 Ultra, it likely would’ve broken the psychologically important $2,000 barrier not just for its 1TB phone, but likely for the 512GB variant too, while making the phone even chunkier in the process.

This compromise means you’ll still get a pretty decent camera experience alongside the folding form factor. If you’re focused mostly on photography, though, the S22 Ultra will remain a much better option. And that fact is likely why Samsung isn’t doing that much to call attention to its new camera setup. As of right now, the company has uploaded eight promo videos for the Fold4 to its YouTube channel, but none even mentions the camera, instead focusing on changes to the screen, hinge design, and Android 12L operating system.

Price & availability

Available in the US market from August 26, the Samsung Galaxy Z Fold4 is priced to start from $1,799.99 for the base 256GB model. The 512GB model is ordinarily $1,919.99 but is currently discounted to the same price as the 256GB model for preorders, while you’ll pay $2,159.99 for the top-of-the-line one terabyte model.

Color options will include Graygreen, Phantom Black, Beige, or Burgundy. Burgundy models are available only in the lower two capacities, and these as well as the 1TB model will all be available only directly from Samsung.

The post Samsung’s new folding smartphone flagship gets a much-needed camera upgrade appeared first on Popular Photography.

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You can start your week with some good news if you’re in the market for a wide-angle lens and shoot a full-frame E-mount or L-mount camera. Sigma has just announced two new Art-series, wide-angle primes, the Sigma 20mm f/1.4 DG DN and Sigma 24mm f/1.4 DG DN, both of which ship later this month.

Of the pair, the Sigma 20mm is the more specialized optic, while the Sigma 24mm is the more compact option and likely to have broader appeal. Both are designed specifically for mirrorless cameras and follow in the footsteps of earlier lenses which were available in either SLR or mirrorless variants.

Related: Sigma 35mm f/2 DG DN prime lens review – A solid performer

Who are they for?

Both lenses are aimed at astrophotographers in particular, as they are designed to render point light sources sharply and with high detail. With that said, either lens could also be used for more general subjects, and the 24mm, in particular, is also aimed at both photographers and videographers shooting subjects as diverse as landscapes, architectural, street and wedding photography.

Build quality

The 20mm f/1.4’s predecessor is the 20mm f/1.4 DG HSM Art which first arrived in late 2015. The 24mm f/1.4, meanwhile, follows on from the 24mm f/1.4 DG HSM Art, first introduced earlier the same year. Both lenses are far smaller and lighter than their immediate predecessors, just as you’d expect given that these are now mirrorless-specific lenses rather than repurposed SLR designs.

When compared to the SLR-friendly 20mm f/1.4, its mirrorless equivalent is a full 1.6 inches shorter and weighs almost 40% less than before. The 24mm f/1.4 hasn’t lost quite as much heft, but it’s still 31% lighter, 0.7 inches shorter, and has shed 0.4 inches in diameter when compared to its SLR-oriented forebear.

Both lenses are veritably packed with controls. Each has both manual focus and aperture rings, as well as a focus mode switch, customizable focus hold button, and a switch that can disable the optional click detent for the aperture dial, allowing smooth and stepless aperture control during video recording. In addition to these, Sigma has debuted a new Manual Focus Lock switch on both lenses, allowing you to override the focus ring and prevent accidental changes of focusing distance between shots.

The pair are also both dust and water-resistant thanks to comprehensive sealing, not just at their brass lens mounts but also for all controls and seams throughout. Both also include rear filter holders, locking petal-type lens hoods and, for the L-mount variants only, compatibility with Sigma’s optional UD-11 USB Dock accessory. Up front, you’ll find 82mm filter threads on the 20mm f/1.4, and 72mm threads on the 24mm f/1.4. In addition, the 20mm optic includes a lens heater retainer to help astrophotographers avoid condensation issues.

Focus

The two new lenses also share swift, silent stepper motor-driven autofocus systems and use an inner-focusing design. They’re also both compatible with high-speed autofocusing and full-time manual focus override, regardless of the lens mount.

Sony E-mount variants are also compatible with autofocus assist, while L-mount versions alone allow a choice of either linear or non-linear focus ring control.

Optical design

Both lenses feature complex optical formulae with a bevy of different exotic elements and coating types in play. The combination of all these technologies, says Sigma, should deliver sufficient image quality to satisfy pros. Of particular importance to astrophotographers, both lenses are said to render point light sources crisply, thereby avoiding issues with sagittal coma flare. The duo also aim to minimize distortion.

The 20mm f/1.4 features 17 elements in 15 groups, including two SLD and three aspheric lens elements. The 24mm f/1.4, meanwhile, has the same number of elements with one fewer group but boasts two FLD, one SLD, and four aspheric elements, including a double-sided aspheric front element. The two lenses also share 11-bladed, rounded aperture diaphragms, and are capable of stopping down to f/16.

Both lenses use hydrophobic and oleophobic coatings on the front lens elements to help prevent smudges, water droplets, and dust from adhering to them, as well as Sigma’s Super Multi-Layer coatings, to help combat flare and ghosting. In addition, the 24mm adds Sigma’s silica-based Nano Porous Coating for better results with backlit subjects.

Pricing & availability

Both new lenses will be available in the US market in both Leica L-mount and Sony E-mount variants from late August 2022. The Sigma 24mm f/1.4 DG DN Art will be the more affordable of the pair, priced at $799. The 20mm f/1.4 DG DN Art, meanwhile, will cost $899.

Sample images

Sigma has provided the following sample images showing the new 20mm and 24mm lenses in use.

The post New gear: Sigma 20mm & 24mm f/1.4 primes for full-frame mirrorless appeared first on Popular Photography.

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You’ve heard of the Swiss Army Knife, but how about the Canadian Photography Screwdriver? Toronto-based photographer, YouTuber, and entrepreneur Peter McKinnon has effectively created the latter, albeit sold under a rather more pedestrian name. Designed to house the various drivers and hex keys a photographer might need, the PM Camera Tool is now out of the design stage and into what’s being billed as a limited (and paid) public “field test.”

An eye-catching design that keeps your tools front & center

Presently, the site through which it the PM Camera Tool was briefly available has been taken offline, replaced instead by a form through which you can be notified once stock is available.

As you can see in Google’s cache of the product page, however, the Camera Tool is solidly-built from anodized aluminum and hardened stainless steel. On each side of the Camera Tool, you’ll find two screwdrivers, one with a fixed bit and the other interchangeable. The device also includes a slot inside of which an SD card can be securely stored.

Each of the interchangeable drivers has storage for two standard hex bits, while the other drivers have a choice of either cross-head or flat-head types. The unique feature is that when you flip them out for use—a handy rocker switch makes this fingernail-free—your chosen screwdriver isn’t offset to one or the other side, as is often the case on multi-tools.

The man behind the gadget

So who is Peter McKinnon? He uploaded his first YouTube video in September 2015, but it wasn’t until the start of 2017 that a big content creation push saw his channel really start to take off. Nine months later he had well over a million subscribers and he’s now fast approaching the six million mark.

The channel has since gone on to win both Shorty and Streamy awards, and his photos have been used on limited-edition coins issued by the Royal Canadian Mint. And through his websites, he also sells Lightroom presets, effects packs, and even occasional hardware.

Quite pricey, but that’s perhaps understandable

The PM Camera Tool certainly looks stylish and handy. But compared to its rivals, it is a tad pricey, listing for $95 in the “field test” phase. There are, after all, many competing products out there from the likes of Victorinox, Leatherman, SOG, Gerber, and many others. And more than a few of these are far less expensive, similarly sized and warrantied, and offer similar or better tool selections.

My top pick among rivals currently would be the SOG PowerPint, which is about a third less expensive with optional hex bits, and yet which comes with 18 tools built-in. That said, less elegant and feature-packed options can be had for under $20.

The post This $95 photographer’s multi-tool wants to be your new best friend appeared first on Popular Photography.

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If you want a really far-reaching telephoto zoom for your full-frame Sony E-mount camera right now, either Sigma or Sony’s 100-400mm lenses are probably your best bets (unless you’re a part-time bodybuilder). That could be changing, though, if rival lensmaker Tamron plays its cards right.

The company revealed this week that it’s developing a lens that will not only compete with both of these optics but actually better their reach. With the Tamron 50-400mm f/4.5-6.3 Di III VC VXD, it plans to differentiate its offering by giving photographers significantly more reach at the *other* end of the zoom range.

Related: Best Sony cameras for any photographer

Who’s it for?

As a 2.5-pound lens, this clearly still won’t be everyone’s cup of tea. If you’re a sports shooter, wildlife photographer, or birder, though, this could be a great choice that will help you cut down on the weight and size of your camera bag without sacrificing on versatility or leaving useful focal lengths uncovered.

Build quality

Impressively, given that it has a significantly greater zoom range, Tamron says that the new 50-400mm f/4.5-6.3 will be just 7.2 inches in length, which is actually 0.5-0.9 inches shorter than either Sony or Sigma’s 100-400mm lenses. And it’s almost the same weight as the lighter of the pair, too. Tamron’s predicted weight of 2.54 pounds is just 0.6 ounces lighter than that of the Sigma, and 8.5 ounces lighter than the Sony.

As well as a zoom ring with a short 75-degree throw at the front, and a focus ring further back, Tamron’s press image also shows a three-position custom switch and a vibration compensation switch. The latter provides two different operating modes, or it can be switched off altogether.

Unseen on the other side of the lens barrel is a zoom lock switch, and there’s likely a focus limiter button as well, as Tamron references the function being available in software. Up front, a set of 67mm threads stand ready to accept the same filters as used by most of the company’s other lenses, potentially helping to save you some cash.

Tamron describes the lens as “moisture resistant,” implying that there is likely some degree of weather-sealing, although we don’t yet have any specifics. Nor do we yet know anything else about the construction or materials, but the company does note that it has paid close attention to the lens’ ergonomics and exterior texture. We’re also told that the new exterior finish has better scratch resistance.

There’s also a connector on the lens for use with Tamron’s Lens Utility software. No tripod mount is included, but an optional Arca Swiss mount will be available.

Focus

The Tamron 50-400mm f/4.5-6.3 Di III VC VXD’s name hints at Tamron’s chosen autofocus technology. Employing what the company refers to as a VXD linear motor — that’s short for Voice-coil eXtreme-torque Drive — it’s said to be both very quiet and swift-focusing. Compatibility with tech like Sony’s Eye AF and fast hybrid AF functions are touted, suggesting that Tamron has also done its due diligence in this important area of the design.

Focusing is possible to a minimum distance of 9.8 inches at the lens’ 50mm wide-angle position, which yields a maximum magnification of 0.5x (1:2), or as Tamron calls it, “half macro”. This should make the lens more versatile for macros than its Sony rival, which has a maximum magnification of 0.35x (1:2.9).

The Sigma will remain the best choice if you want some macros of smaller or more skittish subjects, however, thanks to its 0.71x (1:1.4) maximum magnification which is also achieved from a more reasonable 3.6-foot minimum focusing distance.

Optical design

So how has Tamron achieved all of this? Sadly, it has yet to disclose anything of the optical formula beyond the use of a dust-and-moisture resistant fluorine coating, and so we can only speculate for now.

The company does promise “unfaltering high image quality across the entire zoom range”, though. That likely implies the use of a complex optical formula with some exotic elements, given that this lens is also so compact and lightweight, relatively speaking.

Pricing & availability

Since this is only a development announcement at this time, Tamron has yet to offer a precise release date for its new lens, and nor has it disclosed a target price. Given the lens’ unique nature and likely optic complexity, you’ll probably want to temper your expectations about its affordability.

Thankfully, you don’t have too much longer to wait. Pandemic and supply-chain issues allowing, the first shipments are expected to arrive this fall.

The post Tamron’s far-reaching 50-400mm f/4.5-6.3 full-frame zoom is coming this fall appeared first on Popular Photography.

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Apparently, it’s wide-angle, crop-sensor mirrorless lens week and we didn’t get the memo. Having just finished telling you about Meike’s new 10mm f/2 lens for APS-C mirrorless cameras, we now have another crop-sensor 10mm prime to share with you. Yet, although it’s aimed at the exact same mounts (plus one extra), this time around the diminutive Laowa CF 10mm f/4 Cookie lens from Venus Optics is targeting a very different target customer.

Where Meike’s lens is big and bright, the Laowa—as alluded to in its quirky “Cookie” branding—is an exceptionally compact prime that trades off a brighter maximum aperture for much greater portability. Emphasis decidedly on the word *much*, as according to Laowa, this is the world’s widest rectilinear pancake lens.

Who’s the Laowa 10mm f/4 Cookie for?

Related: Meike’s new 10mm f/2 is a fast, wide-angle prime for crop-sensor cameras

The Laowa Cookie lens is aimed at photographers who want to shoot with an APS-C crop on Canon RF-, Fujifilm X-, Leica/Panasonic/Sigma L-, Nikon Z-, or Sony E-mount mirrorless bodies. These should yield roughly a 15mm equivalent focal length, after accounting for sensor crop factor.

With its wide field of view, trim dimensions, and a design said to yield “high image quality with minimal distortion,” the lens will be of particular interest to street photographers. It should also make a nice choice for landscapes, cityscapes, and architecture, as well as for some light macro work.

Build quality

The Laowa 10mm f/4 Cookie is quite an attention-grabber thanks to its compact proportions. Less than an inch deep from the front face of the lens mount, it’s just 2.4 inches across and weighs only 4.5 ounces. While lensmaker Venus Optics doesn’t state the material used for the lens barrel, the mount looks to be all-metal. There are no electrical or mechanical contacts to be found on the mount, indicating that you’ll need to control both aperture and focus entirely manually.

Focus

The mechanical focusing ring sits in front of the lens barrel and allows a working range from 3.9 inches to infinity. At the minimum focusing distance, the lens will yield a maximum magnification of 0.15x (1:6.7), enough to bring smaller subjects up close for background separation while retaining a sense of the overall scene.  Further back, you’ll find a mechanical aperture ring that can access a range from f/4 to f/22.

Optical design

Aiming to suppress distortion, aberrations, flare, and ghosting, the Laowa CF 10mm f/4 lens has quite a complex optical formula with 12 elements in eight groups, four of them crafted from extra-low dispersion glass. A five-sided aperture likely won’t yield the roundest bokeh balls when stopped down, but realistically, for such a wide-angle optic, you won’t get much background separation anyway, unless you’re shooting macro subjects.

The company’s sample images do suggest that you can expect fairly nice 10-pointed sunstars, though. And courtesy of 37mm threads up front, you’ll also be able to unleash your creativity with some filters.

Pricing & availability

Available immediately in the US market and with shipments also expected by the end of the month in Canada, the Laowa 10mm f/4 pancake is offered in silver or black versions for all available mounts.

Pricing is set at $299 in the US market or $444 in Canada, making the latter about 15% more expensive at current exchange rates.

Laowa 10mm f/4 Cookie sample images

The post The Laowa 10mm f/4 ‘Cookie’ lens looks mighty tasty appeared first on Popular Photography.

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Hong Kong’s homegrown lens brand Meike has been on an absolute tear this year, releasing new lenses at a truly astounding rate. Last month alone, the company launched five new lense—including an incredibly affordable 85mm f/1.8—and in the first half of the year, it has already announced a total of nine lenses and two mount adapters. Yet the brand shows no signs of letting up any time soon, as just two weeks to the day after its last PopPhoto mention, the company is already back with another new launch.

This time around, the new Meike 10mm f/2 lens is a fully-manual prime intended for use with crop-sensor mirrorless cameras in one of five different mounts. And as is typical with Meike’s announcements, information about the new optic is rather sparse. That’s a bit of a pity, as it’s actually quite an interesting lens. And it only has one rival which, as we’ll see, is actually quite distinct itself.

Available on five mounts, but one has an existing rival

Related: Best mirrorless cameras of 2022

There are a fair few 10mm f/2.8 lenses on the market, and Panasonic’s Leica 9mm f/1.7 for Micro Four Thirds also comes fairly close. But to date, this is only the second 10mm f/2 we’re aware of after Venus Optics’ well-reviewed Laowa 10mm f/2 Zero-D. This latest Meike attacks it head-on at a similar price point, and importantly it’s shipping not just for Micro Four Thirds but also for Canon RF-, Fujifilm X-, Nikon Z-, and Sony E-mounts.

The new Meike is much heftier than Laowa’s lens

So what do we know, beyond the focal length, maximum aperture, and mount? Meike’s product listing reveals only a rather hefty weight of 1.2 pounds (550g), more than quadruple the weight of the Laowa. Clearly, if portability is your primary goal and you’re a Micro Four Thirds shooter, you’re going to want to stick with that lens. But with 15 elements in 12 groups, Meike’s optical formula is certainly more complex than the 11-element, seven-group Laowa.

Other than that, the only information Meike has to offer is a one-foot minimum focusing distance and information on viewing angles. Some more information can be gleaned from between the lines, however.  For one thing, from the provided viewing angles we can infer 35mm-equivalent focal lengths of about 16mm for APS-C bodies and 21mm for Micro Four Thirds. That, in turn, suggests that the actual focal length is just a little above 10mm.

10-pointed sunstars and big, chunky filters

And from the focal length and minimum focusing distance, we can also calculate the maximum magnification as around 0.04x, as compared to 0.15x for the Laowa which can focus to just 4.7 inches. The sample images contain two shots with 10-bladed starbursts, indicating that the aperture diaphragm must contain either five or ten blades. (Five would be a match for the tiny Laowa, but given this lens’ greater heft and price, plus its more complex optical formula, we’re hopeful for the latter.)

Beyond that, we can see the minimum aperture is f/22 and that the lens features multi-coatings and a metal mount plus 77mm filter threads up front. (Again, that’s far larger than the 46mm threads of the tiny Laowa.) But that, sadly, is all we can glean for the time being.

Price & availability

The new Meike 10mm f/2.0 prime is available immediately for Canon RF-, Fujifilm X-, Nikon Z-, and Sony E-mount cameras, as well as Micro Four Thirds. Pricing is set at $449 regardless of the mount. That’s approximately 13% higher than the Laowa, which currently lists for $399.

Meike 10mm f/2.0 sample images

Meike has provided the following sample images showing the new lens in use.

The post Meike’s new 10mm f/2 is a fast, wide-angle prime for crop-sensor cameras appeared first on Popular Photography.

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