#manual clutch focus lenses

[karingottschalk]

Mindy Tan, Photographer, aka FujiGirl, Tries Out Fujifilm X-H2 & Fujinon XF 18-120mm f/4.0 LM PZ WR For Documentary Photography

Mindy Tan, Photographer, aka FujiGirl, Tries Out Fujifilm X-H2 & Fujinon XF 18-120mm f/4.0 LM PZ WR For Documentary Photography

[freshfraise]

I’M YOURS

pairing: richarlison x reader

summary: Y/N is a journalist arriving at a team training to carry out an interview for her new article. The training seems to be unproductive for many reasons, the main reason being that the team contains her vehement Ex- boyfriend, Richarlison.

author’s note: jealous and protective richarlison!! suggest listening to “im yours” by isabel larosa whilst reading… enjoy! + apologies for any bad portuguese

I’m guided into the stadium by a stern security guard, harsh white lights reflecting my canary yellow team shirt. My heeled boots reverberate across the stadium alerting any individuals nearby of my appearance. Clutching my microphone, and my question prompts in my hand, I take a deep breath and brush off any debris off my dark jeans.

I knew he was here. Me and Richarlison “split” exactly six months ago today. Although the split was mutually agreed upon, we both knew that it wasn’t the end of our journey, leading to an embarrassing amount of one night stands and drunken rekindling in the first month. He missed me. I missed him. But we were both too proud to admit it. The past five months I made the decision to refrain from interacting with him which meant ignoring his amorous messages and frantic calls in the dead of night. I watched him from afar, viewing his Instagram on my specially curated spam account. Parties, Girls and chasing a new high seemed to be all of his worries.

The reason why I ended things was because I needed to focus on my career. At the time I was dating him, I was a local journalist from Brazil, dreaming of doing better things and now I’m about to interview one of the best football teams in the world. I made sure that these six months without him didn’t go to waste. And naturally, I was led back to him.

Finally, I arrived on the pitch, watching from the stands designed for other journalists like me. Looking around, I realised I was the only woman in this area, making me extremely conscious of my every move. The team wasn’t on the pitch yet, so I decided to make my way to the bathroom quickly. My nerves were rattling me but I couldn’t let that be known. Asking a guard for directions, I quickly make my way towards a bathroom.

I stare into a mirror, viewing my change. I couldn’t tell if I was better without him or with him. My dark curly hair laid past my shoulders, my lips painted a dark crimson red. I felt different and my appearance reflected that. Scanning over my questions and making sure I was camera ready, I repeated the aim of the trip. I was interviewing Brazilian player on the psychological and manual preparation going towards the Copa América.

Leaving the bathroom in a rush, I hear whispers of Portuguese. Alarm bells ring in my head, as I begin to realise I am not in the correct area.

“Quem é essa beleza?” (Who is this beauty?) I hear a player question, I turn my head around locking eyes with Neymar Jr. I smile awkwardly and begin to scan my areas to make my way back. I clearly wasn’t in the right area and needed to make my way back as the players were obviously out on the pitch.

Sitting down, I get a phone call from my manager, going over everything I need to get done. The camera crew sat next to me, adjusting lenses and positioning. Although I was the only woman, I was thankful I had familiar faces around. In comparison to usual, there were significantly less journalists, myself being one of five.

Training begins, and I see Neymar and Richarlison conversing. Neymar seemed to be raving on about something whilst Richarlison looks around, seemingly trying to understand what he is referencing. This is quickly disbanded as the coach tells them to run laps alongside their team. I make the executive decision to go film some montages and introductions with the players in the background.

I walk down the steps, arriving against the barricade. I was wary of how close I was to Richarlison but I attempted to not let that phase me. My lanyard dangling around my neck, I make a signal to the camera crew to begin.

“Olá, eu sou Y/N Y/L/N, and today I am here with the Brazilian national team as they train for the Copa América. Attempting to attain the title once again, I am here to learn how the players are coping with pressure, and the mental and physical aspects going towards the tiresome process.” I finish ending with a smile. The crew puts up a thumbs up as I drop my microphone from my face, looking behind me.

I lock eyes with Neymar once again but my attention is drawn towards Richarlison. He stares into me, his mouth slightly agape. His eyebrows slightly furrow, almost as if he doesn’t recognise me, his eyes differ as flickers of familiarity scan his brown irises.

I feel statute, as Neymar begins to talk to me yet I don’t even process it. Richarlison comes towards me in a couple strides, and my breath catches in my throat, before I realise I’m going back up the stairs towards the seats.

I feel Neymar 's eyes glued into my back watching me go, before I hear Richarlison say, “Esta é a garota de quem você estava falando? Você falou da minha garota assim na minha frente? Fique longe dela antes que eu cause problemas.” (This is the girl you were talking about? You talked about my girl like that in front of me? Stay away from her before I cause trouble.)

I already knew that this wasn’t going to end well, and as expected they were grabbing each other's shirt collars in their hands. On the verge of pulling punches. Richarlison was acting foolish, talking to his idol like that.

“Problemas, sim? Você é louco? Você esqueceu com quem está falando?” (Problems, yeah? Are you crazy? Have you forgotten who you’re talking to?) Neymar replies, tapping the temple on his forehead.

Flared noses and a string of curses in Portuguese, it was getting escalated to the point where other team members were coming to diffuse the situation. The journalists on my side began to take note of the situation, beginning to redirect their focus on to the fight, at least ten different cameras facing them now. This was going to look really bad in the press, two of Brazil’s key players in the midst of a fist fight, this is not the type of tension needed before a massive tournament.

I don’t even realise I’m making my way down there, but now I am already by the barricade attempting to calm the situation. Instinctually, I place my hand on his shoulder, and call out “Rich, por favor, venha comigo.” (Rich, please come with me.)

This is the first time I’ve talked to him in months and it showed. His grip began to loosen, his breathing began to calm and his attention focused on me. I felt so guilty even though I shouldn't have, this was Richarlison’s fault starting conflict with his teammates. He got off Neymar and practically stormed out of training. I followed him out quickly attempting to catch up but he was walking as fast as a bullet.

He stopped at the changing room, before kicking benches down. I jumped, not expecting his sudden angered movements. I stood still as if I was planted in the floor, like an old oak tree in arid soil. I’ve never seen him this angry. I don’t respond well to anger at all, and he knows this. He continues to throw things off shelves and the room turns into a mess. I call out his name, hoping for a response but there’s nothing. Just pure rage. He slowly begins to realise my state, as he locks eyes with me.

He comes towards me, and embraces me whole. He wraps his muscular arms around my head and holds my waist close. I smell him, and hold him close before pushing him away.

“What do you want from me?” I ask, tired of his contrasting emotions and actions. His breath catches in his throat.

“Your hair is different.” He comments, scanning my curls. A sly smirk is plastered on his face, his eyes dropping to my lips. Completely avoiding the question, I sigh and begin to make my way back to the pitch.

“Wait.” He grabs my hand back from leaving, pulling me inside efficiently. He cups my jaw, and kisses me on forehead lightly.

“Eu nunca parei de te amar. (I never stopped loving you.) I hate it when other guys touch you, or say your name. Love makes me stupid, stupid enough to hit my own idol. I want you all to myself. Eu sei que sou egoísta. (I know I’m selfish.) I regret agreeing to split, but I was scared that if I didn’t leave you a little bit, I would lose you completely. And I would never forgive myself. You are the only one for me. My Mãe and my Pai? They love you more than they love me.”

I chuckle, before a tear threatens to spill. I wipe it before it even escapes my eye.

“I don’t know if we’re good for each other.” I laugh and shake my head. “Mas, eu sou seu.”

[motorcityeurorepair]

Comprehensive Pre-Purchase Inspection Checklist for Audi Cars

When you see an Audi car, its fashionable outer look, advanced technological features, extreme comfort, and smooth-running qualities may attract you to buy it. But before buying, many questions may attack your mind about whether the air conditioner, headlights, or other in-car gadgets are working efficiently. A skilled technician can only inspect these issues and safeguard your money from getting wasted.

Audi pre-purchase inspection for driving with confidence

Revealing the past of the Audi car

Websites like AutoCheck or Carfax can unmask all the essential data about used cars, such as how many repairs or accidents it has gone through, how many miles they have covered, or whether they are modified. It is Facebook for the cars that gather their history and show it in their profiles. You must check the past life of the Audi you want to purchase.

To check whether the Audi has been stolen previously, you can match the Vehicle Identification Number with the paperwork using an online decoder tool. The Vehicle Identification Number for a car is as important as a fingerprint for a human being because it stores a lot of hidden information regarding the vehicle.

Ask the owner to share the previous servicing documents so that you can know what repairs and replacements have been done before to the Audi.

Outer inspection

Test the taillights, headlights, indicators, and rear brake lights to see whether they illuminate with perfect intensity. The glasses or lenses of the lights should be clear, not smoggy.

Focus on the outer paint of the Audi. Make sure that the car is painted the same throughout its body. Little deviation in color may indicate re-painting of the car due to accidents. Check for poor repairs, rusts, dents, damages, or scratches on the car's exterior.

Inspect for cracks, chips, stains, or defects in the windows, front-rear glasses, and side mirrors as well. Function all the windows and side mirrors to check flexibility while operating.

Check the wheel alignment to ensure a functional suspension system. Remember to check for the tear and wear of the tires and stepney.

Internal checking

Inspect all the electrical in-car components like radio, stereo, infotainment system, air conditioner, heater, etc. Don’t forget to observe the speedometer, fuel gauge, odometer, and all the warning lights are working correctly on the dashboard area.

Make sure the Audi’s trunk functions perfectly with a clean area inside. Check for any fluid leaks or cracks inside the trunk.

Check all the seats for tear and wear. Make sure for the flexibility in adjustment of the seats both electrically and manually. Inspect the bottom area of the gear stick for any damages.

Examining engine motor

For the engine inspection, you must take the help of a skilled technician. First, turn on the engine and hear for any abnormal ticking or knocking noises. Check for any oily stain under the car to find out the oil seepage if any.

Next go for the battery. Check the battery terminals for any clues of rusting. Ask the owner, how often the battery has been replaced which would help you to know about the battery’s age and longevity.

Look for the level, color, and thickness of engine oil, brake oil, gear oil, coolant, hydraulic power steering fluid, etc. If you notice any deviations, it would only be a result of the owner’s negligence.

Ask the technician to check the whole suspension system very carefully. Hear attentively for any noises from the components of the suspension system while the engine is on. Examining the brake, clutch, accelerator pedal, and gearbox is also very significant for the pre-purchase inspection checklist for the Audi.

The end

Even after this tough examination by the technician, you must take a test drive of the Audi immediately after testing. Pay attention to all the essential factors like braking, acceleration, steering flexibility, gear shifting, etc. If everything is okay, then go for purchasing your dream Audi, and remember to negotiate the price of the car for any repairs shortly. After purchasing the Audi take it to the workshop for cleaning and servicing by a qualified mechanic. Finally, the time has come, when a new member is coming to your home. Enjoy your luxury ride happily with your loved ones.

[ukcameraclub1]

Olympus M.Zuiko 300mm f/4 IS PRO Lens: A Compact Marvel for Telephoto Excellence

The Olympus 300MM F4 PRO stands as a testament to Olympus's commitment to innovation in the micro four-thirds format. This telephoto lens, with its stellar optics and compact design, has become a favorite among photographers seeking high-quality, long-reach capabilities without compromising on portability.

At the core of the M.Zuiko 300mm f/4 IS PRO is its impeccable optical performance. The lens features a sophisticated arrangement of 17 elements in 10 groups, including three Super ED (Extra-low Dispersion) lenses, effectively minimizing chromatic aberrations and ensuring exceptional image sharpness. This optical prowess makes it a go-to choice for wildlife photographers, sports enthusiasts, and anyone in need of a reliable telephoto option.

One of the standout features of UK Camera Club lens is its bright f/4 aperture, allowing photographers to achieve stunning background blur and maintain image clarity even in challenging lighting conditions. The wide aperture also makes it versatile for various photographic genres, including portrait and nature photography.

The inclusion of in-lens image stabilization is a game-changer, especially when shooting handheld at extended focal lengths. Olympus's Sync IS technology combines the lens's stabilization with compatible camera body stabilization, providing an impressive 6 stops of compensation. This is particularly beneficial for photographers on the move, capturing dynamic subjects without the burden of a tripod.

Designed with professional durability in mind, the Olympus Camera features a robust, weather-sealed construction. This ensures the lens can withstand the rigors of outdoor shooting, making it a reliable companion in diverse environments.

In terms of handling, the lens boasts a thoughtful design with customizable function buttons and a manual focus clutch for quick adjustments. The compact and lightweight form factor of the lens enhances its appeal, offering photographers a portable solution without compromising on image quality.

In conclusion, the Olympus 300MM F4 PRO lens stands as a remarkable achievement in the micro four-thirds realm, delivering exceptional telephoto performance in a compact package. Whether capturing wildlife in its natural habitat or freezing fast-paced sports action, this lens continues to impress with its optical prowess and versatility.

[sworldelectronicsca]

The Tokina AT-X 116 PRO DX-II is an update to the widely popular and award-winning AT-X 116 PRO DX, 11-16 F2.8 lens. The main update to this lens is in the Nikon mount, the AT-X 116 PRO DX-II has an internal silent focusing motor to allow the lens to AF on Nikon bodies that do not have an AF drive gear and motor. The AT-X 116 PRO DX-II for Canon uses the same AF motor and AF drive system as the previous model. This compact ultra-wide-angle zoom has a bright constant F2.8 aperture that makes viewing and auto focus possible in lower light situations but still maintaining a reasonable size and weight. Tokina’s exclusive One-touch Focus Clutch Mechanism allows the photographer to switch between AF and MF simply by snapping the focus ring forward for AF and back toward the lens mount for manual focusing. The Tokina 11-16mm is commonly used for Landscape/scenery, Low light, Video and more.

[michaeldiaszkirindage]

Olympus M.Zuiko 8-25mm F4.0 Pro Review

Olympus M.Zuiko 8-25mm F4.0 Pro Review

Olympus’ latest small zoom, the M.Zuiko 8-25mm F4.0 Pro ($1,099), follows in the footsteps of the 12-45mm F4.0 Pro in concept. It’s built with all the hallmarks shutterbugs want—weather protection, a manual focus clutch, and metal barrel construction—but it isn’t as heavy or as costly as F2.8 lenses. It’s as good a lens as the M.Zuiko 7-14mm F2.8 Pro, for a few hundred dollars less, and just as…

[cameracrate]

Paillard Bolex H16 Leader 16mm Cine Film Camera - Spare Parts / Repair S8-2936 Paillard Bolex H16 Leader 16mm Cine Film Camera - Spare Parts / Repair S8-2936 Sold for spare parts or repair - although it is in good cosmetic condition, the motor barely turns when wound (it's very slow) - this camera will require a full service and repair before being usable. Returns are not accepted on this item. Specs below: VERALL DIMENSIONS: 8 1/2" x 6" x 3" WEIGHT: Approximately 5 1/2 lbs (without lenses) OUTER CASE: Highly polished duraluminium body, covered in genuine Morocco leather. Metal parts are chrome-plated. FILM CAPACITY: 100ft (30m) and 50ft (15m) daylight loading spools of 16mm film. THREADING: Automatic threading and loop forming. The end of the film is simply placed in a channel leading to the feed sprocket. The release is pressed and the film is then automatically threaded throughout the entire mechanism. MOTOR: Constant speed, spring motor mechanism; governor controlled. Large winding handle folds downward and attaches to camera when not in use. Spring cannot be over-wound. 8:1 external drive shaft permits the attachment of an electric motor. TURRET: Rotating turret accommodates three interchangeable C mount lenses. The top position allows for critical focusing through a groundglass screen on later versions of this model. VIEWFINDER: accessory Tri Focal viewfinder gives an exact viewing field for lenses of 3 focal lengths. Later versions of this model had a built-in critical focus viewer with optional cupped eyepiece. VARIABLE SPEED: 8, 16, 24, 32 and 64 frames per second with the ability to change speeds while the camera is running. Bolex X-rayRELEASE BUTTON: provides for the making of continuous exposures by a finger-tip release on the front of the camera. A side release allows for locked, hands-free running or single frame exposures. SHUTTER: 190 degree disc shutter, operates at 118/1000 of an inch from emulsion side of film with an exposure rate of 1/30 second at 16 fps. FOOTAGE COUNTER: adds and subtracts accurately in forward or reverse motion and automatically returns to zero when film is reloaded into the camera. AUDIBLE FOOTAGE INDICATOR: A distinct click announces the passing of each 10 inches of film through the gate. This mechanism may be disengaged, if desired, by simply moving a lever. FRAME COUNTER: An accessory frame counter could be attached to the motor crank shaft. Two separate counters registered increments of single frames and 50 frames as the film progressed. SINGLE FRAME: Time lapse and animation is possible by using the side release button or an accessory cable release and adapter; I-T lever allows for timed or instantaneous single exposures. MANUAL REWIND: Clutch disengages spring motor and permits forward movement and backwind without running down the spring; allows for dissolves and superimposition. TRIPOD SOCKET: 3/8" thread Model: H16 Leader Country/Region of Manufacture: Switzerland Product Type: Movie Type: Non Reflex Film Format: 16mm Brand: Paillard Bolex http://nemb.it/p/NqDP7vt1p/tumblr

[karingottschalk]

DPReview TV: Fujifilm X-H2S vs Panasonic GH6 for video shooters – Commentary

DPReview TV: Fujifilm X-H2S vs Panasonic GH6 for video shooters – Commentary

[ashxpad]

Olympus Launches the M.Zuiko Digital ED 8-25mm f/4 Pro Lens

OM Digital Solutions has announced the Olympus M.Zuiko Digital ED 8-25mm f/4 Pro Lens for Micro Four Thirds (MFT). This 35mm equivalent 16-50mm lens promises to cover a wide range of shooting scenarios with its versatile wide-angle up to “normal” focal range.

OM Digital, which has noted that the Olympus name will still remain in place for the foreseeable future on its digital camera products, says that the new lens has excellent optical performance thanks to its 16-element in 10-group design. That arrangement includes several special optics including one dual super aspherical (DSA) lens, one extra-low dispersion (ED) lens, one super extra-low dispersion lens, two aspherical ED lenses, one super high refractive (HR) lens, an HR lens, and one high-definition (HD) lens.

The company says that this design delivers high levels of image reproduction from edge to edge across the entire zoom range, and the specific integration of the large DSA lens significantly reduces sagittal comatic aberration. OM Digital specifically says that wide open at f/4 the lens is suitable for night scenes and astrophotography.

The 8-25mm f/4 Pro lens also has close-shooting capability with a maximum magnification of 0.42x that OM Digital says rivals half-macro lenses. The close-focusing distance of nine inches across the entire zoom range also helps capture objects that are near the front element.

Despite its wide-angle, the lens is able to work with 72mm filters that the company says provides more versatility that is uncommon for lenses that are this wide. Additionally, the manual focus clutch design allows photographers to quickly switch between manual and autofocus, and the company has also included a lens function button on the side of the optic to allow for one-touch adjustments to a mapped setting.

The lens features an IPX1-equivalent splashproof, dustproof, and freezeproof design to 14-degrees Fahrenheit for what OM Digital says is the “ultimate reliability unique to the M.Zuiko Pro series.” The lens also features a fluorine coating on the front element to allow for easy cleaning in rainy, snowy, or dusty environments.

Below are a set of sample images provided by Olympus and photographed by Justin Kauffman. Each is linked to the full resolution file as well.

The Olympus M.Zuiko Digital ED 8-25mm f/4 Pro Lens is available to pre-order now for $1,100 and will begin shipping in July.

from PetaPixel https://ift.tt/3gm9CCm

[lancecarr]

Cine Gear: Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 MFT Lens

At Cine Gear 2019 we got to opportunity to check out the Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 ASPH Micro Four Thirds lens. With a f1.7 constant aperture throughout the entire range, one can bet this lens will become a favorite of GH5 and Blackmagic Pocket Cinema Camera 4K shooters.

Here are some quick highlights of this new lens: no focus breathing, step-less aperture, and a 9 blade aperture. The Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 ASPH., first mentioned last year, during Photokina, is now confirmed to be available after the 15th of July.

The Leica DG Vario-Summilux 10-25mm f/1.7 ASPH. lens is, as Panasonic’s marketing presented it, the world’s first standard zoom lens achieving full-range F1.7. More importantly, Panasonic put some key videography features built into the 10-25mm f/1.7.

One feature photographers will love is the adoption of a focus clutch mechanism that enables instant AF/MF switching and accurate manual focusing. Pulling back the ring reveals the classic distance markings in feet and meters, to better adjust focus. There is more, though, as Panasonic states that the lens “also excels in video recording performance with a mechanism that suppresses focus breathing, which was previously a fatal problem of all interchangeable lenses designed for still image photography.”

The lens is expected to retail for $1799 USD, which puts this lens into the slightly expensive category for MFT shooters. The lens is expected to ship after the 15th of July.

Panasonic 10-25mm Leica Features

LEICA DG VARIO-SUMMILUX – LEICA Camera strict quality standards optimized for photo/video has been developed into this ruggedized mirrorless Micro Four Thirds mount lens.

F1.7 FULL RANGE – F1.7 high-speed aperture brightness is available across the entire zoom range of 10-25mm

STEPLESS APERTURE – A stepless “de-clicked” aperture ring and micro-step drive aperture system provide smooth transitions when scene brightness changes rapidly.

REDUCED BRIGHTNESS SHIFTS – The optical design achieves exceptional barycentric stability to minimize image shifts during zooming.

CLUTCH FOCUS – A focus clutch mechanism enables instant AF/MF switching and accurate manual focusing plus an inner focus drive system provides near silent operation.

The post Cine Gear: Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 MFT Lens appeared first on ProVideo Coalition.

https://www.provideocoalition.com/cine-gear-panasonic-leica-dg-vario-summilux-10-25mm-f-1-7-mft-lens/

[anycontentposter]

Fujinon XF 16-80mm f/4 R OIS WR: The Ultimate All-Around Lens for Fuji?

Back in July, Fujifilm announced a versatile new zoom lens for its X-Series cameras: the XF 16-80mm f/4 R OIS WR. This new, compact, and highly versatile lens ought to be a great addition to many photographers, and we got the chance to shoot with a pre-production version for a few days.

The 16-80mm (full-frame equivalent of 24-122mm) is a perfect all-around lens, with a solid build quality and image quality to match. The lens features 6 stops of Image Stabilization, the most of any Fujinon lens, making it great for low-light use despite its f/4 aperture. It also has a minimum focusing distance of just 35cm, allowing photographers to get nice close when zoomed in to 80mm.

With its 9-blade rounded aperture, the bokeh balls are nice and smooth, and the overall bokeh is soft and pleasing without being too distracting.

The OIS is designed to automatically detect when the camera is being used on a tripod, and therefore there is no switch to turn the OIS on/off. In fact, there are no switches on this lens at all. The focus ring is focus by wire, and while some may prefer the push/pull clutch ring like some lenses have, the resistance is nice and manually focusing when shooting videos is a breeze.

Build quality is top notch, like most XF-series Fujinon lenses. The zoom ring has a nice amount of resistance to it, and despite being a little hefty, there is no zoom creep when the lens is pointed down, eliminating the need for a zoom lock. The lens is also weather sealed in 10 spots throughout the barrel, making it great for those who shoot in inclement conditions.

Image quality is on par with Fuji’s higher-end lenses, and images are quite sharp edge-to-edge. With some zoom lenses that pack in more than 4x optical zoom, the telephoto end of the zoom range can occasionally be a bit soft. On this lens, the sharpness from 40-80mm is top notch, and I found myself using the telephoto range of this lens more so than the wide end.

While 16mm is usable for wide angle photos, I would prefer the 10-24 or 8-16 for landscape photos.

Having used this lens for a few days, it’s clear that this is one of the best all-around lenses for X-Series cameras. It feels well balanced on a X-H1 and X-T3, and pretty good on the slightly smaller X-T30. Once you put it on an X-A5 or X-T100, it does get front heavy and can be a little awkward to use.

The 5x optical zoom makes it a perfect single lens solution for portraits and landscapes, along with detailed photos. Being able to go out to a park and photograph landscapes, flowers, and people without having to change lenses or bring a bag was extremely convenient. And while it may not be the go-to lens for full-time professional photographers, it’s not just for hobbyists either.

Autofocus on the 16-80mm is quick and accurate. Even with an f/4 aperture, you can blow out backgrounds when shooting at 80mm. Vignetting is minimal, and practically unnoticeable. There is a bit of distortion on the wide end, but it’s on par with other lenses. Once you get to about 24mm, it’s a non-issue.

The 16-80 is also a great option for videographers, with a versatile zoom range and fantastic OIS. As with many Fujinon lenses, you do get a bit of exposure/aperture flickering when zooming in and out. Autofocus is silent, and focus breathing is extremely minimal.

If you’re looking for a compact and versatile lens without an image quality trade-off, the 16-80 is worth looking at. It’s a great upgrade from Fuji’s kit lenses, and while it may not be as fast as the 16-55mm f/2.8, the price and versatility may be well-worth it for many photographers. The Fujinon XF 16-80mm f/4 R OIS WR will be priced at $800, and is slowly starting to ship to dealers now. You can pre-order the lens here.

For more photos, and larger res images, click here.

About the author: Ihor Balaban is a photographer and store manager of the camera store Pixel Connection in Avon, Ohio. To learn more about the store, head over to the Pixel Connection website. This post was also published here.

Read more about this at petapixel.com

https://bestcamaccessories.com/fujinon-xf-16-80mm-f-4-r-ois-wr-the-ultimate-all-around-lens-for-fuji/

[sworldelectronicsca]

The black M.Zuiko Digital 17mm f/1.8 from Olympus is a 34mm equivalent wide-angle prime for Micro Four Thirds mirrorless cameras. The wide field of view pairs with the bright f/1.8 maximum aperture to benefit working in difficult lighting conditions, and it also offers increased control over depth of field for working with selective focusing techniques. Additionally, a Movie & Still Compatible (MSC) autofocus system is employed to deliver quick and quiet focusing performance and a manual focus clutch can be used for more intuitive adjustment and control over focus. Fast f/1.8 maximum aperture helps to achieve shallow depth of field and selective focusing effects, and also benefits working in difficult lighting conditions. Movie & Still Compatible (MSC) autofocus system benefits both photo and video applications due to its smooth, quiet, and fast performance.

[chriscellman]

New Tokina atx-i 100mm f2.8 Macro FF Lens for Full-frame DSLR Cameras

Available with close focusing capabilities reaching life-sized (1:1) reproduction at 11.8 inches (30cm) from the sensor plane Provides comfortable 4.5 inches of working distance between the front of the lens and subject One-touch focus clutch mechanism makes switching from auto-focus to manual focus simple This story is related to the following: Vision Systems Search for suppliers of: Camera Lenses | Photographic Lenses from HVAC /fullstory/new-tokina-atx-i-100mm-f2-8-macro-ff-lens-for-full-frame-dslr-cameras-40031509 via http://www.rssmix.com/

[sailorrrvenus]

Tokina Unveils the 16-28mm f/2.8 for Full-Frame Canon and Nikon DSLRs

Kenko Tokina has announced the new Tokina opera 16-28mm f/2.8 FF lens for full-frame Canon and Nikon DSLRs.

A new member of Tokina’s premium “opera” lineup, the 16-28mm f/2.8 FF is a super-wide-angle lens designed for landscape, architecture, documentary, environmental, and night sky photographers.

Featuring a newly designed Silent Drive module that uses GMR magnetic autofocus sensors, the lens delivers autofocus that’s faster, smoother, and quieter than Tokina’s previous generation of lenses.

To make using this third-party lens more intuitive, Tokina has made the focus ring rotation direction on the lens for each mount match Canon and Nikon’s lenses.

The lens is available for Canon (left) and Nikon (right) cameras.

A One-Touch Focus Clutch Mechanism on the lens makes it easy to switch from autofocus to manual focus — the photographer only needs to pull the focus ring back toward the camera to engage manual focus control.

“This gives photographers an authentic tactile MF feel with hard stops on either side of the focus range like traditional manual lenses,” Tokina says.

Other specs and features of the lens include 15 elements (including 3 aspherical and 3 all-glass low-dispersion) in 13 groups, a 9-bladed aperture, a minimum focusing distance of 11 inches (28cm), a macro ratio of 1:5.26, and a large front element (for straight lines and minimal exposure vignetting).

Here are some sample photos captured with the lens:

Photo by Jacen Carpenter

Photo by Jacen Carpenter

Photo by Jacen Carpenter

Photo by Jacen Carpenter

The Tokina opera 16-28mm f/2.8 FF will be available for Canon EF and Nikon F on March 15 with a price tag of $699.

source https://petapixel.com/2019/02/22/tokina-unveils-the-16-28mm-f-2-8-for-full-frame-canon-and-nikon-dslrs/

[pauldeckerus]

Tokina Unveils the 16-28mm f/2.8 for Full-Frame Canon and Nikon DSLRs

Kenko Tokina has announced the new Tokina opera 16-28mm f/2.8 FF lens for full-frame Canon and Nikon DSLRs.

A new member of Tokina’s premium “opera” lineup, the 16-28mm f/2.8 FF is a super-wide-angle lens designed for landscape, architecture, documentary, environmental, and night sky photographers.

Featuring a newly designed Silent Drive module that uses GMR magnetic autofocus sensors, the lens delivers autofocus that’s faster, smoother, and quieter than Tokina’s previous generation of lenses.

To make using this third-party lens more intuitive, Tokina has made the focus ring rotation direction on the lens for each mount match Canon and Nikon’s lenses.

The lens is available for Canon (left) and Nikon (right) cameras.

A One-Touch Focus Clutch Mechanism on the lens makes it easy to switch from autofocus to manual focus — the photographer only needs to pull the focus ring back toward the camera to engage manual focus control.

“This gives photographers an authentic tactile MF feel with hard stops on either side of the focus range like traditional manual lenses,” Tokina says.

Other specs and features of the lens include 15 elements (including 3 aspherical and 3 all-glass low-dispersion) in 13 groups, a 9-bladed aperture, a minimum focusing distance of 11 inches (28cm), a macro ratio of 1:5.26, and a large front element (for straight lines and minimal exposure vignetting).

Here are some sample photos captured with the lens:

Photo by Jacen Carpenter

Photo by Jacen Carpenter

Photo by Jacen Carpenter

Photo by Jacen Carpenter

The Tokina opera 16-28mm f/2.8 FF will be available for Canon EF and Nikon F on March 15 with a price tag of $699.

from Photography News https://petapixel.com/2019/02/22/tokina-unveils-the-16-28mm-f-2-8-for-full-frame-canon-and-nikon-dslrs/

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