#ciné prime lenses

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Irix: Irix Matte Box IQ, The new filmmaking accessory – Commentary

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Armando Ferreira aka @mondobytes Demonstrates His Ultimate Cinema Camera Rig Build for Panasonic Lumix S5II & Other Mirrorless Hybrid Cameras

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What Is The "Hollywood 28" Vintage Prime Lens & Why Is It Still So Highly Sought After?

What Is The “Hollywood 28” Vintage Prime Lens & Why Is It Still So Highly Sought After?

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Philip Bloom: Can you TRUST the FUJI X-T4 video AUTOFOCUS? – Commentary

Philip Bloom:

This isn’t a review of the excellent Fujifilm X-T4 but a detailed look at whether the improved autofocus abilities over the X-T3 get close to the superb AF of the Sony and Canon mirrorless cameras.

Fujifilm X-T4 with Fujifilm VG-XT4 Vertical Battery grip and Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom lens. The battery grip is…

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Meike Hints at "Full Frame" aka 35mm and Super 35 Cinema Lenses Coming Soon

Meike Hints at “Full Frame” aka 35mm and Super 35 Cinema Lenses Coming Soon

While researching for my previous article on the ever-growing Meike Cinema Primes collection of manual ciné lenses for Micro Four Thirds, Sony E and Fujifilm X mount cameras, some images of other possible upcoming new lenses caught my eye. 

Meike 35mm T2.1 Super 35 cinema prime lens mounted on Blackmagic Design’s Blackmagic Pocket Cinema Camera 6K aka BMPCC 6K. Sign of things to come? Image…

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alikgriffin.com: A Complete List Of Fujifilm Lenses | X-Mount

alikgriffin.com: A Complete List Of Fujifilm Lenses | X-Mount

https://alikgriffin.com/a-complete-list-of-fujifilm-x-mount-lenses/ “To make our lives easier I’ve compiled a Fujifilm lens list of all the available lenses for the Fuji X-mount system on a single page along with the best UV filters to use with them. I’ll keep this Fuji lens guide updated and post any Fuji lens rumors I find as well. These Fujifilm lenses are compatible with all Fujifilm X-Mount…

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Veydra LLC, maker of the Veydra Mini Prime manual-focus cinema lenses for Micro Four Thirds, Sony E-Mount and Fujifilm X-Mount cameras, is no more. 

Veydra’s Ryan Avery recently announced the company’s demise on its Facebook page, bringing to an abrupt end the story of this doughty little lens maker, throwing into confusion affordable native geared cinema prime lens choices for independent moviemakers. 

With its mission statement being “Veydra lenses are designed to be premium quality cinema lenses at the absolute minimum retail price”, Veydra gave thousands the opportunity of using cinema lenses instead of the more common stills-oriented  non-cinema zoom and prime lenses we have come to rely upon despite their shortcomings for video use. 

Veydra 50mm and 25mm Mini Prime Cinema manual focus lenses with imperial or metric markings, made by Veydra LLC.

Veydra LLC has gone out of business due to the conclusion of ongoing litigation between the founders of the company.

I offer special thanks to everyone involved in the success of Veydra; first and foremost all Veydra Kickstarter backers and customers. Specific thanks to those who made it possible from the start; Phil Holland, Illya Friedman, Matthew Duclos, Joshua Brown, Alex Jacobs, and all the supporters too numerous to mention here.

It’s been a wonderful journey and I thank you all for your support and kindness.

—Ryan Avery Co-Founder

Social media rumours have it that there was some conflict at Veydra about one partner licensing his lens designs out to another company, Meike, but another factor leading to Veydra’s end may have been the theft of US$200,000 worth of lenses from the company’s warehouse in 2017, after which the company seemed to drop off the radar.

There are cinema prime lens alternatives, however, with SLR Magic releasing an intriguing set of lenses for Super 16 and Super 35  digital cameras in M43, E-Mount and X-Mount.

Another option is Fujifilm’s impressive MKX cinema zoom lenses available in two focal length ranges and now in the same there mounts.

Should Fujifilm continue delivering on its promise to radically improve video functionality on its XF APS-C Super 35 cameras,  SLR Magic’s seven lens collection appears attractive with the lenses’ 18mm, 22.5mm, 27mm, 37.5mm, 52.5mm and 112.5mm equivalence in the 35mm sensor format.

So far Meike has only released three cinema prime lenses and not in all three mounts, in 12mm, 16mm and 25mm focal lengths, so time will tell whether the company is fully committed to supplying a full set of primes in three mounts.

A prime lens alternative? SLR Magic MicroPrime Cinema Lenses for Micro Four Thirds, Fujifilm X-Mount and Sony E-Mount.

SLR Magic MicroPrime Cinema 12mm T2.8 Fujifilm X-Mount.

SLR Magic MicroPrime Cinema 15mm T3.5 Fujifilm X-Mount.

SLR Magic MicroPrime Cinema 18mm T2.8 Fujifilm X-Mount.

SLR Magic MicroPrime Cinema 25mm T1.5 Fujifilm X-Mount.

SLR Magic MicroPrime Cinema 35mm T1.3 Fujifilm X-Mount.

SLR Magic MicroPrime Cinema 50mm T1.2 Fujifilm X-Mount.

SLR Magic MicroPrime Cinema 75mm T1.5 Fujifilm X-Mount.

Andrew Chan of SLR Magic with one of the company’s MicroPrime cinema lenses for X-mount and M43-mount cameras variously made by Blackmagic Design, Fujifilm, Olympus, Panasonic and others. SLR Magic also makes an excellent 1.3 to 10 stop variable neutral density filter solution perfectly suited to the MicroPrimes with their 82mm filter diameter as well as adapted to smaller filter diameter lenses via step-up rings.

A cinema zoom alternative? Fujifilm Cinema Zoom Lenses for Micro Four Thirds, Fujifilm X-Mount and Sony E-Mount.

Fujifilm X-T3 with Fujinon MKX18-55mm T2.9 cinema zoom lens, rigged for moviemaking.

Fujifilm X-T3 with Fujifilm VG-XT3 Vertical Battery Grip and Fujinon MKX 18-55mm T2.9 cinema zoom lens.

Fujifilm XH1 with Fujinon MKX 50-135mm T2.9 cinema zoom lens

Fujifilm XH1 with Fujinon MKX 18-55mm T2.9 cinema zoom lens

Fujifilm Fujinon MKX 50-135mm T2.9 cinema zoom lens.

Fujifilm Fujinon MKX 18-55mm T2.9 cinema zoom lens.

Fujifilm XH1 with Fujinon MKX 18-55mm T2.9 cinema zoom lens

Fujifilm XH1 with Fujinon MKX 50-135mm T2.9 cinema zoom lens

Links

4/3 Rumors – Veydra LLC has gone out of business

Duclos Lenses – Veydra Primes

dvinfo.net – New Glass: Veydra Cine Primes for Micro 4/3

Facebook – @veydraoptics

Lens Rentals – Veydra Cine Mini Prime MTF Optical Bench Tests

Meike – Cine Lens

PetaPixel – Over $200,000 in Cinema Lenses Were Stolen from Veydra Optics on Sunday

Veydra – website

Help support ‘Untitled’

Clicking on the links and purchasing through them for our affiliate accounts at Adorama, Alien Skin, B&H Photo Video, Skylum, SmallRig or Think Tank Photo helps us continue our work for ‘Unititled’.

Veydra LLC, Maker of Affordable Manual Focus Mini Prime Cinema Lenses, Is Dead. What Now for Lenses in Their Class? Veydra LLC, maker of the Veydra Mini Prime manual-focus cinema lenses for Micro Four Thirds, Sony E-Mount and Fujifilm X-Mount cameras, is no more. 

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News Shooter: Blackmagic Design Pocket Cinema Camera 6K Review (lite)

News Shooter: Blackmagic Design Pocket Cinema Camera 6K Review (lite)

https://www.newsshooter.com/2019/08/22/blackmagic-design-pocket-cinema-camera-6k-review-lite/

“This is a ‘lite’ review of the Blackmagic Design Pocket Cinema Camera (BMPCC) 6K. I say lite because there is no way anyone can do a proper, in-depth review of a camera in a few days or even a few weeks. To properly review a camera you need to spend a lot more time with the camera than I have so far….”

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https://meikeglobal.com/products/meike-35mm-t2-1-super-35-frame-cine-lens

Meike 35mm T2.1 Super35 Cinema Prime with EF or PL mount, on Blackmagic Pocket Cinema Camera 6K. Image courtesy of Meike.

Panasonic’s recent announcement of the amazing Lumix DC-S5 had me wondering where Meike and other makers of manual focus cinema prime lenses might be in their offerings for Super 35 hybrid and cinema cameras.

I was pleased to see that Meike, currently offering an attractive range of cinema primes for Micro Four Thirds cameras, has just announced the first of its range of cinema primes for Super 35 cameras.

Meike’s 35mm T2.1 Super 35 prime is a good choice of first cab off the rank given its equivalence to 52.5mm in the 35mm sensor format, with 50mm and equivalent focal length lenses often being first choice when investing in new lens systems.

I look forward to seeing more examples of stills and video shot with this lens, given I currently don’t have a cinema lens at this focal length and that Meike is offering a decent prerelease discount right now.

I would choose the EF-mount version and then adapt it for L-mount, Micro Four Thirds mount and Fujifilm X-mount hybrid cameras.

Meike states that its coming “Super35-Prime Cine Lens Series with industry-standard 0.8mm pitch gears on the focus and aperture ring” includes “18mmT2.1, 25mmT2.1, 35mmT2.1, 50mmT2.1, 75mmT2.1, 105mmT2.1” focal lengths.

I would love it if Meike added 14mm, 21mm and 40mm lenses as they are three of my favourite Super 35 video and stills focal lengths.

Meike 35mm T2.1 Super 35 Cinema Lens

Images courtesy of Meike.

Meike 35mm T2.1 Super35 Cinema Prime with EF or PL mount.

Meike 35mm T2.1 Super35 Cinema Prime with EF or PL mount.

Meike 35mm T2.1 Super35 Cinema Prime with EF or PL mount.

Meike 35mm T2.1 Super35 Cinema Prime with EF or PL mount.

Links

B&H – Meike cinema lenses – at time of writing, the Meike 35mm T2.1 Super 35 Cinema Lens has yet appear in B&H’s listings.

Meike – Meike 35mm T2.1 Super 35 Cinema Lens

Meike 35mm T2.1 Super 35 Cinema Lens Panasonic's recent announcement of the amazing Lumix DC-S5 had me wondering where Meike and other makers of manual focus cinema prime lenses might be in their offerings for Super 35 hybrid and cinema cameras.

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The sudden closure of Ryan Avery’s Veydra cinema prime lens design and manufacturing enterprise several years ago created a huge gap in the affordable ciné lens market and many self-funded independent moviemakers were dismayed if not devastated by the ending of the line. 

Meike Cinema Prime Set in 12mm, 16mm, 25mm, 35mm and 50mm T2.2 lenses with Micro Four Thirds mounts. Meike Cinema Primes in 65mm and 85mm focal lengths are coming later this year, 2020. Image courtesy of Duclos Lenses.

Luckily, HongKong Meike Digital Technology Co., Ltd has ramped up its lens division to the point where the company appears to be rivalling if not outstripping Mr Avery’s noble efforts.

Veydra, thwarted

Duclos Lenses came up with a Fujifilm X-Mount option for Veydra’s Mini Primes that can cover the APS-C format. Image courtesy of Veydra LLC.

I had been planning on obtaining my own set of Veydra Mini Prime lenses for native use in documentary production on Panasonic and Blackmagic Design cameras, spurred on by Duclos Lens’ creation of its interchangeable mount to enable using a subset of the Veydra lenses on Fujifilm X-mount Super 35mm/APS-C cameras.

Two things dampened my enthusiasm, however.

First was the sheer cost of a complete set of Veydra lenses in M43 mount along with the Duclos X-mount kits needed when adapting them for Fujifilm X-mount cameras.

Compare the cost of the Meike primes with the now discontinued Veydra primes by looking at the Duclos Lens product pages for proof of the radical price differences between lens lines.

Compare the Meike lenses’ USD400.00 average price and reported superior quality to the Veydra lenses’ USD1200.00 average price and the conclusion is clear – consider investing in a set of Meike cinema primes.

Meike 4 Lens Cinema Prime Set 12mm, 16mm, 25mm, 35mm T2.2 for Micro4/3 MFT at Revar Cine website. Image courtesy of Revar Cine.

The current price of the four-lens set for Micro Four Thirds as above at Ryan Avery’s Revar Cine website is USD1595.00, about one Meike lens above the cost of just one Veydra lens.

At time of writing, seven focal lengths are available as Meike Cinema Primes in M43 mount :

12mm = 24mm in the 35mm sensor format

16mm = 32mm

25mm = 50mm

35mm = 70mm

50mm = 100mm

65mm = 130mm

85mm = 170mm

A subset of the Meike Cinema Primes is available for Super 35/APS-C cameras in Sony E-mount and Fujifilm X-mount:

25mm = 37.5mm in the APS-C/Super35 sensor format

35mm = 52.5mm

50mm = 75mm

65mm = 97.5mm

85mm = 127.5mm

Meike 65mm and 85mm T2.2 Cinema Primes, listed by Meike as coming later in 2020. Image courtesy of Meike.

Whether for  M43 or Super 35 cameras, the Meike Cinema Primes provide a well-spaced and feature-matched set of focal lengths that should meet most cinematographers’ daily needs.

The Voigtlaender Nokton f/0.95 Micro Four Thirds lens set, minus the matching and more recently released Voigtlaender Nokton 60mm f/0.95 M43 lens. Left to right: 10.5mm, 17.5mm, 25mm and 42.5mm focal lengths. Duclos Lenses offers ciné-modded versions of these stills lenses, making them more suitable for video production. Meike needs to offer a wider lens than its current 12mm.

I would very much like to see Meike release a super wide angle in the 10mm to 10.5mm range, and an 18mm moderate wide angle lens with coverage enough for M43 and Super 35.

I have written before about the need for a professional-quality 18mm lens for stills photography with Fujifilm X-mount cameras, as an alternative to Fujifilm’s quirky and semi-pancake Fujinon XF 18mm f/2.0 R.

Meike’s current cinema prime lens offering for Super 35 goes no wider than 25mm and a complete lens set needs, nay, demands, a medium wide and an ultra wide lens in the equivalent of 28mm and 21mm.

That is, an 18mm and a 14mm.

Veydra 50mm and 25mm Mini Prime Cinema manual focus lenses with imperial or metric markings, made by Veydra LLC.

Ryan Avery had been pursuing an 8.5mm ultra wide-angle Veydra M43 lens design but eventually ruled it out due to cost and size considerations.

And then disaster struck with a break-in at the company’s lens storage facility, followed by a court case with Mr Avery’s Veydra business partner.

Matthew Duclos of Duclos Lenses recently shared all he knows about Veydra’s demise at his personal blog.

Meike Cinema Lenses with Ryan Avery

Meanwhile, Ryan Avery is retailing Meike Cinema Primes at his Revar Cine website.

“Meike Cinema Prime lenses are designed specifically for mirrorless cameras. Available for MFT, Sony E, and Fuji X Mount cameras from Micro4/3 to APS-C size sensors. Compact, lightweight and perfect for a true cinematography experience on most mirrorless cameras.”

Meike Cinema Primes on Fujifilm and Panasonic hybrid and Blackmagic Design cinema cameras

Meike Cinema Prime 12mm T2.2 lens on Blackmagic Design’s Blackmagic Pocket Cinema Camera 4K aka BMPCC4K with Micro Four Thirds mount. Image courtesy of Meike.

Meike Cinema Prime 12mm T2.2 mounted on Panasonic DC-GH5 Micro Four Thirds camera. Image courtesy of Meike.

Meike Cinema Prime lenses with Fujifilm X-mount in 25mm, 35mm, 50mm and 65mm focal lengths. Image courtesy of meike_global instagram account.

Meike’s cinema lens lineup for Micro Four Thirds, Sony E-mount and Fujifilm X-mount are welcome indeed given their affordability and the absence of OEM cinema prime lenses by brands such as Fujifilm, Olympus, Panasonic and Sony.

After the end of Veydra, I was contemplating the direction to take with video-capable prime lenses for Super 35/APS-C and Super 16/M43.

I grew up relying on prime lenses for filmmaking and still feel most comfortable with cinema primes for video production over the reportedly excellent zoom lenses in several lens mounts made by Fujifilm in its Fujinon MK pairing for X-mount, E-mount and M43.

With Olympus’ recent announcement that it had sold its camera and lens division, and the possible outcome of its excellent M.Zuiko Pro zoom and prime lenses going the way of Veydra, I have been wondering if my beloved Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro should plan on welcoming some M.Zuiko Pro siblings if there was a sudden sell-off of the lineup.

But the M.Zuiko Pro lineup does not answer the need for X-mount cinema lenses whereas Meike appears to be on the right track not only with its current Meike Cinema Prime offerings and possible additional focal lengths but also its coming so-called “full frame” aka 35mm sensor format cinema prime lenses.

More power to Meike’s arm, though I do hope the company will see fit to loaning cinema primes to a range of well-qualified stills photography and video production reviewers so we can get the full measure of these exciting new lenses.

Links

AliExpress – Meike

Amazon.com – Meike

Duclos Lens – Meike

Duclos Lens – Veydra

Duclos Lens – Voigtlander

Facebook – Meike Global

B&H – Meike

Hot Rod cameras – Meike

Instagram – meike_global

Lensrentals – Veydra Cine Mini Prime MTF Optical Bench Tests

Meike Global – Cinema Lenses

Meike Global – Meike Cine lens series (12mm+16mm+25mm+35mm+50mm) – video

Meike Global – Meike Cine Lenses with Veydra Co Founder Ryan Avery – video

Meike Online Store

News Shooter – Meike prime lenses for Micro4/3, Sony E, Fuji X mirrorless mount cameras

Olympus Cameras and Lenses – M. Zuiko Pro

Olympus Global – Regarding Olympus Imaging Business Transfer – press release

Olympus Global – Signing of Memorandum of Understanding for Divestiture of Imaging Business – press release, PDF

Revar Cine – Meike Mirrorless Cinema Prime Lenses

The Cine Lens – RIP VEYDRA: 2014-2019 – excellent and insightful blog post by Matthew Duclos of Duclos Lens.

Veydra

Voosestore.com – Meike 16mm VS Veydra 16mm – great MFT Cinema prime lenses for the Blackmagic Pocket 4K – video

YouTube – Meike Global

Meike Cinema Prime Lenses for Micro Four Thirds & Super 35 Fill the Chasm Left by the Demise of Veydra Mini Primes The sudden closure of Ryan Avery's Veydra cinema prime lens design and manufacturing enterprise several years ago 

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https://www.fuji-x-forum.com/topic/998-complete-overview-over-the-available-and-upcoming-fuji-x-mount-lenses/?page=1

“Posted September 1, 2015 (edited) Fujinon (Native Lenses) (29 in total)

Fujinon lens designation translation: R: aperture ring – – LM: linear motor – – OIS: optical image stabilization – – WR: weather resistant – – APD: apodization filter – – – – Super EBC: electron beam coating, also called electron beam physical vapor deposition…”

Fujifilm Fujinon XF 8-16mm f/2.8 R LM WR wideangle zoom lens on Fujifilm X-H1 with VPB-XH1 Vertical Power Booster Grip. I use  the Complete Overview over the available and upcoming Fuji X-Mount lenses at Fuji X Forum for information about Fujifilm’s Fujinon and third party lenses for Fujifilm cameras.

Commentary

Three of the most useful free Web-based online tools that I often use here at ‘Untitled’ are Camera Size’s Compact Camera Meter, Points in Focus’ Depth of Field (DoF), Angle of View, and Equivalent Lens Calculator, and the Complete Overview over the available and upcoming Fuji X-Mount lenses at Fuji X Forum, compiled and updated by quincy.

Quincy’s Fujifilm X-Mount OEM and third-party brand lenses lists are kept up to date and are drawn upon by Patrick at Fuji Rumors for articles, and I go there when I need to research current and coming X-Mount lenses for my articles.

I have been struck by how the number of third-party X-Mount lenses keeps increasing, with most of them being manual focus lenses often designed and manufactured by Chinese companies, but so far my biggest ongoing disappointment with the Fujifilm X-Mount system remains unassuaged by Fujifilm itself as well as by third-parties making native or adapted X-Mount lenses.

Other than Fujifilm’s Fujinon XF 18mm f/2.0 R semi-pancake prime lens, nobody but nobody is making a prime lens that is equivalent to 28mm in the 35mm sensor format.

This searing blindspot is not just a Fujifilm X-Mount APS-C problem; it applies to the Micro Four Thirds sensor format as well wherein Olympus does not make a 14mm lens at all and Panasonic’s Lumix G 14mm f/2.5 II pancake lens appears to have gone missing in action from many retailers.

The 35mm sensor format’s 28mm focal length and its APS-C and M43 equivalents of 18mm and 14mm respectively has been a staple of the documentary, photojournalism and street photography genres for years now including those when I relied on them on Canon, Leica and Nikon rangefinders and SLRs, but it seems that contemporary lens makers just do not give a damn.

Yes, one may wish to slap a 14mm, 18mm or 28mm inclusive zoom lens on to one’s camera as I do with my Panasonic Lumix DMC-GX8 and the excellent Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro or the usually underestimated Panasonic Lumix G Vario 12-32mm f3.5-5.6 Aspheric Mega OIS collapsible zoom lens, but using those focal lengths on a zoom and as a prime lens are two very different things.

Especially if the said prime lens allows easy setting of hyperfocal distance via manual focus or manual clutch focus mechanisms like those in some Fujinon prime lenses and Olympus’ excellent M.Zuiko Pro primes and zooms.

Today I found myself back at Fuji X Forum’s Complete Overview over the available and upcoming Fuji X-Mount lenses to see if any Chinese third party lens makers have added a 28mm equivalent to their current or future ranks lately but sadly it remains no go.

There are some close but no cigar choices for non-Fujifilm cameras, such as Panasonic’s Leica DG Summilux 15mm f/1.7 Aspheric prime lens, but for now I will stick with my two M43 zoom lenses rather than fork out for yet another no-cigar substitute.

What I am really after is a decent 18mm prime lens for my Fujifilm X-Pro2 for use as my number one documentary lens.

Given the premium price Fujifilm charges for its elderly Fujinon XF 18mm f/2.0 R, no way am I going to throw good cash down that particular black hole.

Getting back to close but no cigar, independent cinema lens company Veydra lists a 19mm Mini Prime cinema lens amongst its options, and it is available with a Duclos-designed Fujifilm X-Mount that can be DIY-attached onto an M43 version of the lens.

Sigma released a 19mm f/2.8 Art lens in the M43 and Sony E mounts some years ago, but the company has never shown signs of coming out with a Fujifilm X-Mount version.

The Sigma lens is affordable but the Veydra costs over twice the price of Fujifilm’s 18mm.

Veydra’s is an excellent geared cinema lens but its greater size and wide front diameter compared to the Fujifilm and the Sigma makes it a poor choice on my X-Pro2 given I rely on the camera’s excellent optical viewfinder for documentary photography and oftentimes video too.

This ongoing dilemma would not be one if Fujifilm simply went along with their customers’ longstanding request for an updated 18mm lens but I often find myself wondering if the company even cares for its documentary, street photography and photojournalist customers.

Two X-Pro2 cameras equipped with an 18mm lens on one and a 50mm lens on the other is, in my experience, the closest one can get to a perfect two-camera, two-lens documentary photography and photojournalism set-up.

Why provide half of the equation, Fujifilm, when you could so easily give us both even if each lens might be Fujicron-style f/2.0 compacts instead of the maximum versatility of f/1.4 manual clutch focussing alternatives?

The problem of Fujifilm’s ageing, substandard Fujinon XF 18mm f/2.0 R lens

Fujinon XF 18mm f/2.0 R prime lens, regrettably much too slow to focus manually or via autofocus and its aperture ring too flakey and quirky for fast-paced professional work in stills and video, though some folks seem to like it for the quirkiness that made it frustrating for me.

Leica Elmarit-M 28mm f/2.8 Aspheric prime lens for Leica M-System cameras, for me the archetypal 28mm documentary and photojournalism lens. I want something similar for my X-Pro2.

Duclos Lenses came up with a Fujifilm X-Mount option for Veydra’s Mini Primes that can cover the APS-C format.

Veydra Mini Prime 19mm cinema lens available in Sony E-Mount, Micro Four Thirds mount and Fujifilm X-Mount.

Panasonic Lumix G Vario 12-32mm f/3.5-5.6 Aspheric Mega OIS collapsible standard zoom lens

Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro zoom lens, one of the most versatile top-quality professional zoom lenses made.

Panasonic Lumix G 14mm f/2.5 II Aspheric pancake prime lens, which appears to be missing in action from most if not all retailers now.

Panasonic Leica DG Summilux 15mm f/1.7 Aspheric prime lens. Narrower than a 28mm-equivalent 14mm lens in Micro Four Thirds format, but at least it is generally available whereas Panasonic’s 14mm pancake lens seems to have vanished.

Sigma 19mm f/2.8 DN for Sony E-Mount APS-C and Micro Four Thirds. Sigma, please release this in a Fujifilm X-Mount version.

Zeiss Distagon T* 18mm f/4.0 ZM Leica-M-Mount lens. A solution for the well-heeled in combo with an M-Mount to X-Mount adapter?

Fujifilm M Mount Adapter. Will this work with the Zeiss Distagon T* 18mm f/4.0 ZM lens?

Links

ChrisBickford.com – Things I learned from David Alan Harvey

Fuji Rumors

Street Hunters – 28mm – The Perfect lens for Street Photography?

Help support ‘Untitled’

Leica Q (Typ 116) digital camera with fixed Leica Summilux 28mm f/1.7 Aspheric lens. This or the Fujifilm X100F with wide-angle convertor lens may be another solution to the lack of a decent 18mm lens for Fujifilm cameras.

Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

Fujifilm 18mm f/2.0 XF R Lens – B&H – The least impressive Fujinon X-Mount lens in Fujifilm’s collection and one that badly needs to be replaced with a new Fujicron-style lens or better yet a wide aperture manual clutch focussing alternative for professional photography and video work.

Fujifilm M Mount Adapter for X-Mount Camera – B&H

Leica CL Mirrorless Digital Camera with 18mm Lens (Black) – B&H – This APS-C rangefinder-style camera with interchangeable 28mm equivalent lens is another possible solution to the ongoing problem of Fujifilm’s substandard Fujinon XF 18mm f/2.0 R lens.

Leica Q (Typ 116) Digital Camera – B&H

Olympus M.Zuiko Digital ED 12-40mm f/2.8 PRO Lens – B&H

Panasonic Leica DG Summilux 15mm f/1.7 ASPH. Lens – B&H

Sigma 19mm f/2.8 DN Lens for Micro Four Thirds Cameras – B&H – Sigma, please make a Fujifilm X-Mount version of this lens.

Sigma 19mm f/2.8 DN Lens for Sony E-mount Cameras – B&H – Sigma, please make a Fujifilm X-Mount version of this lens.

Veydra 19mm T2.6 Mini Prime Lens (MFT, Meters) – B&H

ZEISS Distagon T* 18mm f/4 ZM Lens (Silver) – B&H

Fuji X Forum: Complete Overview over the available and upcoming Fuji X-Mount lenses – Commentary "Posted September 1, 2015 (edited) Fujinon (Native Lenses) (29 in total) Fujinon lens designation translation: R: aperture ring - - LM: linear motor - - OIS: optical image stabilization - - WR: weather resistant - - APD: apodization filter - - - - Super EBC: electron beam coating, also called electron beam physical vapor deposition..."

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Lensrentals: Veydra Cine Mini Prime MTF Optical Bench Tests

Lensrentals: Veydra Cine Mini Prime MTF Optical Bench Tests

https://www.lensrentals.com/blog/2018/03/veydra-cine-mini-prime-mtf-optical-bench-tests/ “I have my preconceived notions, just like anyone else. A long while back the video techs told me we were stocking Veydra Primes in multiple focal lengths for m4/3 mounts. I just rolled my eyes and passed on by. Another boutique lens that would have poor resolution, ridiculous copy-to-copy variation, and a…

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I have been waiting for someone to announce a complete set of affordable, matched cinema prime  lenses for Fujifilm X-Mount Super 35/APS-C hybrid mirrorless cameras for a long time, at least since Fujifilm announced its then coming affordable MK-series of matched parfocal cinema zoom lenses, and finally, here they are, an initial set of six X-mount cinema prime lenses by Hong Kong-based optics specialists SLR Magic ranging from 12mm through to 75mm with a (hopefully) possible 15mm also coming. 

SLR Magic MicroPrime Cinema 12mm T2.8 Fujifilm X-Mount.

SLR Magic MicroPrime Cinema 18mm T2.8 Fujifilm X-Mount.

SLR Magic MicroPrime Cinema 25mm T1.5 Fujifilm X-Mount.

SLR Magic MicroPrime Cinema 35mm T1.3 Fujifilm X-Mount.

SLR Magic MicroPrime Cinema 50mm T1.2 Fujifilm X-Mount.

SLR Magic MicroPrime Cinema 75mm T1.5 Fujifilm X-Mount.

Duclos Lenses came up with a Fujifilm X-Mount option for Veydra’s Mini Primes that can cover the Super 35/APS-C format.

I had thought that US company Veydra might be the first one to achieve this breakthrough but when they dropped plans for a very necessary wide-angle lens to complete its offerings, the writing was on the wall.

Now Veydra has been dropped altogether from B&H Photo Video, and the Veydra website appears to be semi-functional at best so it looks like the feisty little US west coast newcomer may be no more.

Before its apparent demise, Veydra had only released, from memory, five focal lengths suitable for adapting to Fujifilm’s APS-C/Super 35 X-mount cameras and that was courtesy of an optional X-Mount Kit for self-installation by purchasers.

The Veydras’ other built-in limitation was their Mini Primes’ adherence to a common 77mm filter diameter on all lenses rather than 82mm, the latter all the better to avoid vignetting in wider focal lengths.

Luckily the new SLR Magic MicroPrimes come with no such limitation, all coming with 82mm filter diameters suitable for use with the company’s own SLR Magic 82mm Self-Locking Variable Neutral Density 0.4 to 1.8 Filter (1.3 to 6 Stops) or other 82mm diameter variable NDs like those made by Aurora-Aperture, Simmod Lens and a host of other filter manufacturers, as well as fixed value neutral density filters by SLR Magic and a great many others.

Not just for video production?

Fujinon XF 18mm f/2.0 R prime lens, regrettably much too slow to focus manually or via autofocus and its aperture ring too flakey and quirky for fast-paced professional work in stills and video, though some folks seem to like it for the quirkiness that made it frustrating for me.

There is no reason why cinema lenses cannot do sterling service for stills photography so long as their gearing does not get in the way.

Several of the SLR Magic Cinema MicroPrimes may well do a great job filling the gaps in Fujifilm’s current Fujinon XF prime lens offerings, and the 18mm MicroPrime may provide a great pro-quality alternative to the quirky Fujinon XF 18mm f/2.0 R lens so long as you use it with an electronic viewfinder given the former’s 82mm filter diameter which would intrude too much into the X-Pro2’s Advanced Multi Viewfinder.

12mm in APS-C = 18mm in 35mm sensor format

18mm in APS-C = 27mm in 35mm sensor format

25mm in APS-C = 37.5mm in 35mm sensor format

35mm in APS-C = 52.5mm in 35mm sensor format

50mm in APS-C = 75mm in 35mm sensor format

75mm in APS-C = 112.5mm in 35mm sensor format

Nikon Micro-Nikkor 105mm f/2.8 manual focus, manual exposure macro lens.

Fujifilm does not currently offer a 12mm nor a 75mm prime lens, and I badly feel the lack of a professional quality 18mm when shooting immersive documentary photographs in crowds where there is simply no room to step backwards with less wide lenses.

The SLR Magic 12mm may be suitable for architectural and scenic photography, provided its optical qualities test well, and the 75mm is close to my preferred full-face frontal focal length of 105mm in the 35mm sensor format.

It is currently unclear as to whether SLR Magic intends to release a 15mm X-mount MicroPrime, but that focal length would also have its uses for video and stills photography.

15mm in APS-C = 22.5mm in 35mm sensor format

Fujinon XF 14mm f/2.8 R prime lens with manual clutch focus.

One of my favourite focal lengths for truly immersive, highly emotive documentary photography is 21mm in the 35mm sensor format, and the 15mm MicroPrime comes close.

SLR Magic makes fixed and variable NDs as well as IR-cutting enhancer filters

SLR Magic self-locking 82mm Variable Neutral Density VND Filter.

SLR Magic 86mm Solid Neutral Density 1.2 Enhancer Filter, 4-stop, to go with SLR Magic 82mm Variable Neutral Density Filter. The VND gives you 1.3 to 6 stops of density and adding the Enhancer to the front of it adds an extra 4 stops of density, totalling 10 stops. The Enhancer also adds extra ultraviolet and infra-red filtration.

SLR Magic 82mm Fixed Neutral Density Filter, 0.3, 1-stop.

Fujifilm’s X-mount MKX 18-55mm and 50-135mm T2.9 cinema zoom lenses

Fujifilm Fujinon MKX 18-55mm T2.9 cinema zoom lens.

Fujifilm Fujinon MKX 50-135mm T2.9 cinema zoom lens.

Links

B&H Explora – Choose from Even More SLR Magic MicroPrime CINE Lenses

Duclos Lenses – Veydra Lenses, Inventory Status Update

Duclos Lenses – Veydra Primes

Filmaker.cn – SLR Magic发布富士X卡口MicroPrime系列镜头

News Shooter – SLR Magic announces MicroPrime in X-Mount

Simmod Lens

Veydra

Help support��‘Untitled’

Clicking on the links below and purchasing through them or our affiliate accounts at B&H Photo Video, SmallRig or Think Tank Photo helps us continue our work for ‘Untitled’.

Digital Cinema Lenses, Fujifilm X-Mount – B&H

Aurora-Aperture 82mm Power XND Mark II Variable ND 0.3 to 2.1 Filter (1 to 7-Stop) – B&H

Aurora-Aperture 82mm Power XND Mark II Variable ND 1.5 to 3.3 Filter (5 to 11-Stop) – B&H

SLR Magic 82mm Image Enhancer Pro Filter – B&H

SLR Magic 82mm Self-Locking Variable Neutral Density 0.4 to 1.8 Filter (1.3 to 6 Stops) – B&H

SLR Magic 86mm Solid Neutral Density 1.2 Image Enhancer Filter (4-Stop) – B&H

SLR Magic MicroPrime Cine 12mm T2.8 Lens (Fuji X Mount) – B&H

SLR Magic MicroPrime Cine 18mm T2.8 Lens (Fuji X Mount) – B&H

SLR Magic MicroPrime Cine 25mm T1.5 Lens (Fuji X Mount) – B&H

SLR Magic MicroPrime Cine 35mm T1.3 Lens (Fuji X Mount) – B&H

SLR Magic MicroPrime Cine 50mm T1.2 Lens (Fuji X Mount) – B&H

SLR Magic MicroPrime Cine 75mm T1.5 Lens (Fuji X Mount) – B&H

At Last! SLR Magic Releases Full Set of Affordable Cinema MicroPrimes for Fujifilm X-Mount Super 35/APS-C Cameras I have been waiting for someone to announce a complete set of affordable, matched cinema prime  lenses for Fujifilm X-Mount Super 35/APS-C hybrid mirrorless cameras for a long time, at least since Fujifilm announced its then coming affordable MK-series of matched parfocal cinema zoom lenses, and finally, here they are, an initial set of six X-mount cinema prime lenses by Hong Kong-based optics specialists SLR Magic ranging from 12mm through to 75mm with a (hopefully) possible 15mm also coming.  948 more words

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James Miller's DELUTS Releases DELUTS Blackmagic Pocket Cinema Camera 4K Creative Looks

James Miller’s DELUTS Releases DELUTS Blackmagic Pocket Cinema Camera 4K Creative Looks

https://sellfy.com/p/gg0m/

“DELUTS BMPCC4K Creative Looks, Base transforms for use with Blackmagic ‘Film’ profile for use with BRAW and ProRes.

75 Luts designed for the Blackmagic Pocket Cinema Camera 4K (This set is also compatable with Blackmagic Ursa Mini 4.6k & Blackmagic Ursa Mini 4.6k Pro using ‘Film’ profile)

• 4 Base Tranforms when working with the Blackmagic Film profile. • 9 Monotone…

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With almost every new camera coming with a kit zoom lens and the popular image of newspaper photographers stalking the streets with three DSLRs and the usual wide, standard and telephoto zoom lens trio, prime lenses have taken a back seat and most lens makers seem to have forgotten some of the most useful, most classic prime lenses upon which documentary photographers and moviemakers once depended upon to earn their living. 

I am referring to the 28mm and 40mm focal lengths with the former documentary photographer’s go-to wide angle lens and the latter a favourite focal length of many of the great Hollywood feature film cinematographers and directors. 

While I remain hopeful that other camera and lens makers will soon release professional-quality 28mm and 40mm lenses for 35mm sensor cameras and their equivalents in other sensor formats, Sigma Corporation has led the way in creating the Sigma 28mm f/1.4 DG HSM | Art and Sigma 28mm f/1.4 DG HSM | Art prime lenses for 35mm sensor cameras.

Sigma 28mm f/1.4 DG HSM | Art prime lens for 35mm sensor cameras.

Sigma 40mm f/1.4 DG HSM | Art prime lens for 35mm sensor cameras.

In the Micro Four Thirds sensor format, their equivalents would be 14mm and 20mm, and in the APS-C sensor format they would be 18mm and 27mm.

While all of those focal lengths are catered for with pancake or near-pancake lenses in APS-C by Fujifilm and in M43 by Panasonic, none are suitable for the rigours of professional-level documentary photography and photojournalism, or feature film and documentary moviemaking.

The 28mm focal length, superb for documenting people in places without optical distortions detracting from the story

Photograph made by Karin Gottschalk with Fujinon XF 18-55mm f/2.8-4.0 OIS kit zoom lens at 18mm setting, equivalent to 28mm in 35mm sensor format.

Prime lenses in 24mm equivalent focal lengths such as 16mm in APS-C and 12mm in M43 appear to be touted these days as the “replacement” for 28mm and its equivalents, but 24mm super wide angles lenses have inherent optical distortions and volume deformations that must be corrected in software in-camera and on-computer.

I rarely use 24mm, preferring instead 21mm for establishing shots and tiny-figure-in-landscape images as well as architecture, but when I am not carrying the wider lens and only have a zoom lens with 24mm at its widest find I must apply DxO ViewPoint after processing the raw file.

The other big difference between 28mm and 24mm?

Photographs made with the 28mm draw attention to the contents of the image itself whereas photographs made with the 24mm often draw attention to the lens that was applied.

I know which one I prefer for immersive documentary photography that respects the subject and enhances the story.

The most famous 40mm lenses were introduced with the Leica CL and Minolta CLE

Minolta Rokkor-M 40mm f/2.0 lens for Minolta CLE 35mm analog rangefinder camera, successor to the Leica CL.

Minolta CLE with 40mm f/2.0 perfect normal prime lens, photograph courtesy of Japan Camera Hunter

The 40mm focal length is often characterized as “perfect normal” as opposed to the “standard normal” of the 50mm focal length that was introduced as standard with the first Leica cameras in the early 20th century.

Stop press: Zeiss announces Zeiss Batis 40mm f/2.0 prime lens for Sony E-Mount cameras

As I was writing this article news arrived of Zeiss’ announcement at photokina 2018 of its new Zeiss Batis 40mm f/2.0 prime lens, characterized as “the versatile lens”.

Some 35mm DSLR and rangefinder camera and lens makers still produce 40mm lenses, including Canon and Voigtlaender while 40mm is also available in some high end cinema prime lens brands.

Leica and Minolta’s 40mm lenses were discontinued at the same time as the cameras for which they were designed.

Links

DxO – DxO ViewPoint

Sigma Corporation

Sigma Global – 28mm F1.4 DG HSM

Sigma Global – 40mm F1.4 DG HSM

Sigma Photo – 28mm F1.4 DG HSM | Art

Sigma Photo – 40mm F1.4 DG HSM | Art

Sigma USA

Wikipedia – Normal lens

Zeiss – The Most Versatile Lens in the ZEISS Batis Family, The ZEISS Batis 2/40 CF bridges the gap in the ZEISS Batis family lineup

Zeiss – Zeiss Batis 2/40 CF

Help support ‘Untitled’

Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled’.

Sigma lenses – B&H

Sigma Fills the Gap with 28mm f/1.4 and 40mm f/1.4 Art Prime Lenses, Two of the Most Currently Neglected Focal Lengths With almost every new camera coming with a kit zoom lens and the popular image of newspaper photographers stalking the streets with three DSLRs and the usual wide, standard and telephoto zoom lens trio, prime lenses have taken a back seat and most lens makers seem to have forgotten some of the most useful, most classic prime lenses upon which documentary photographers and moviemakers once depended upon to earn their living. 

[karingottschalk]

Blackmagic Design: Blackmagic Pocket Cinema Camera 4K ‘Balloons’ [Extreme outdoors lighting test, by Andreas Neumann]

Blackmagic Design: Blackmagic Pocket Cinema Camera 4K ‘Balloons’ [Extreme outdoors lighting test, by Andreas Neumann]

“Andreas Neumann talks about using the new Blackmagic Pocket Cinema Camera 4K for the first time. ‘Balloons’ is Andreas’ extreme lighting test as he constantly shoots directly into the sun, wide open. ‘Balloons’ documents the camera’s performance from 5am in the morning into the height of the midday sun.

“I shot this test at…