ZY Optics releases the Zhongyi Mitakon 20mm f/2 4.5X Super Macro Lens for high magnification shots
Shenyang China, Dec 19, 2016 – Zhongyi Optics (ZY Optics) has released a new compact Super Macro Lens for full frame cameras, the Zhongyi Mitakon 20mm f/2 4.5x Super Macro Lens and it features a high reproduction ratio up to 4.5:1.
Zhongyi Mitakon 20mm f/2 4.5X Super Macro Lens is very compact in its class which allows photographers to capture extremely fine details or patterns with ease. The lens is capable of creating unbelievable macro images ranging from 4x to 4.5x magnification. Users no longer need to DIY or use any extension tubes to reach high magnification shooting. It incorporates a 6pcs of elements in 4 groups structure which delivers impressive resolution from corners to corners. Weighing merely 0.5 lbs (230g) and 6cm long, it is a perfect companion for wildlife and outdoor shooting. The wide angle of view and close focusing distance allows you to compose creative images with more information included into the frame. Greater magnification (up to 13:1) can also be achieved by stacking extension tubes or bellows. The high magnification is also extremely useful for scientific purposes.
The enclosure of the lens is made of metal to strengthen its durability. Canon EF, Nikon F, Sony FE, Sony Alpha, Pentax K, Sony E, Micro Four Thirds, Fuji X mounts are available.
Pricing & Availability
Zhongyi Mitakon 20mm f/2 4.5X Super Macro Lens is now available to ship and purchase at ZY Optics authorized resellers and at our official website (http://www.zyoptics.net/). The Recommended Retail price is USD 199.
Firmware update 2.2 for Leica SL with improved support for Leica Image Shuttle software and Leica Summilux-SL 50mm f/1.4 ASPH. lens – available today
Leica Camera has released Firmware Update 2.2 for the Leica SL mirrorless system camera, improving support for the Mac versions of Leica Image Shuttle 3.5 and Tethered Plug-in 1.1.0., as well as supporting the new Microsoft Windows version of Leica Image Shuttle 3.5.
Registered Leica SL owners can download the new software and firmware updates from the Leica Owners’ Area (https://owners.leica-camera.com) or take their camera to their local Leica Store or Leica Customer Care in the UK for a complimentary installation.
Leica Image Shuttle 3.5 improves workflow efficiency for tethered shooting with the Leica SL and allows the camera to be controlled from a computer via a USB 3.0 cable connection. All relevant exposure parameters such as shutter speed, aperture, ISO value and autofocus can be set and controlled from the computer, and exposures can be displayed directly on a large monitor screen for assessment.
The Leica Tethered Plug-in 1.1.0 (for Mac) – also available as a download from the Leica Owners’ Area – establishes a direct connection between the Leica SL and Adobe Photoshop Lightroom 6 / CC for Mac via USB cable. The camera’s shutter release can be activated from the plug-in and the images captured can be displayed directly in Adobe Photoshop Lightroom 6 / CC (for Mac), making the workflow even faster and more reliable. The corresponding firmware update is required for the use of Leica Image Shuttle and the Leica Tethered Plug-in.
Firmware update 2.2 also removes the shutter speed limitation when shooting with 6-bit coded Leica M-Lenses, while further optimising the performance of the Leica SL system.
Available from today, the Leica Summilux-SL 50mm f/1.4 ASPH. is the first prime lens for the Leica SL-System and sets a new standard in its class. Its large maximum aperture makes this high-performance lens ideal for photography in challenging lighting conditions, and enables the use of shallow depth of focus as a creative tool. Furthermore, the fast, precise and reliable autofocusing ensures that photographers can concentrate fully on composition and creativity. The lens’ combination of resolving power and soft bokeh in unsharp areas clearly isolates subjects from their background, particularly when shooting at maximum aperture.
Fotodiox Pro, creator and distributor of several lines of specialty solutions for videography, cinematography and photography, has announced their new Nikon to Sony FUSION Lens Adapter. Available now on Fotodioxpro.com, the Nikon to Sony FUSION Adapter allows photographers to mount Nikon lenses onto Sony cameras and maintain electronic communication between the two, delivering decades of legendary Nikon imaging expertise to the hands of full frame or APS-C Sony E-Mount camera users.
London, UK, 19th October 2016: Nikon takes compositional flexibility to a new level with the first FX-format perspective control (PC) lens to employ two PC rotation mechanisms. Ideal for architectural, fine art, and landscape photography, the PC NIKKOR 19mm f/4E ED is made for photographers who have a keen sense of space.
Thanks to its picture angle and unique tilt, shift, and double-layer rotation capabilities, this manual focus lens enables photographers to shoot from the perfect starting point. Both tilt and shift can be engaged individually, and in combination, essentially replicating the movements of a large-format view camera. Photographers can exercise extensive control over the lens’ focal plane, and easily shift to create images unaffected by convergence. Or tilt to create landscapes that are sharp from the foreground to the background, without the need to close the aperture as you would with standard lenses. The 19 mm angle of view is ideal for large structures and spaces, and the unique optical construction ensures the distortion common in wide-angle lenses is minimised, even at the edges of the frame.
Simon Iddon, Head of Product Management, Nikon UK, says: “This FX-format lens is a long-awaited addition to Nikon’s line-up of NIKKOR lenses with perspective control. Having been developed in response to the demands of professionals who work with PC lenses, it offers a powerful combination of picture angle and uncompromised edge to edge image quality”.
Summary of key features
19 mm ultra-wide angle of view
The 19 mm angle of view means photographers can capture the true proportions of a scene, or take in more of the structure and less of the foreground.
High precision: legendary NIKKOR quality
Two aspherical lens elements greatly reduce coma and other types of aberration. Three extra-low-dispersion glass elements minimise axial chromatic aberration. Nikon’s Nano Crystal Coat virtually eliminates ghosting and flare throughout the frame, even in backlit situations.
Double-layer PC rotation: shoot from the perfect starting point
Both tilt and shift can be engaged individually, or in combination. Tilt can be rotated independently up to 90° in either direction, and the whole lens can also be rotated up to 90°.
The sturdy shift mechanism allows for smooth operation. The lens is compact and weighs approximately 885 g. And it boasts Nikon’s fluorine coating, which actively repels water, dust and dirt without compromising image quality.
Focal length: 9 mm
Maximum aperture: f/4
Minimum aperture: f/32
Lens construction: 17 elements in 13 groups (including 3 ED glass, 2 aspherical lens elements, and lens elements with Nano Crystal Coat or fluorine coat)
Angle of view: 97° (73° with a DX-format camera)
Minimum focus distance: 0.25 m / 0.9 ft. from focal plane
Maximum reproduction ratio: 0.18x
No. of diaphragm blades: 9 (rounded diaphragm opening)
Perspective control: Horizontal and vertical tilt and shift. Shift of ±12 mm, tilt of ±7.5°
Rotation: 90° left and right with stops every 30°
Filter attachment size: No filter attachment possible
Diameter x length (extension from lens mount): Approx. 89 mm maximum diameter × 124 mm (distance from camera lens mount flange, based upon CIPA guidelines)
Weight: Approx. 885 g (based upon CIPA guidelines)
Supplied accessories: LF-4 rear lens cap, Slip-on front lens cap LC-K101, lens case CL-1120
Nikon reserves the right to change the appearance, specifications, and performance of this product at any time and without prior notice.
London, UK, 19th October 2016: Nikon makes the FX-format telephoto zoom of choice for professional photographers faster, lighter, and more agile than ever. Engineered to excel, the new AF-S NIKKOR 70–200mm f/2.8E FL ED VR will keep photographers working with Nikon’s fast-shooting DSLRs one step ahead.
Whether shooting sports, action, news, or reportage, the latest incarnation of this renowned lens boasts a range of enhancements that make a real difference in the field. Improved AF tracking and exposure control, as well as VR SPORT mode, combine to deliver exceptional burst shooting. Compared to its predecessor, edge-to-edge performance is improved, and light fall off has been reduced. The closest focus distance is now an impressive 1.1 m, and the maximum reproduction ratio has increased from 0.11x to 0.21x. Configurable buttons on the barrel make operation smoother, and the zoom and focus ring positions are reversed for more balanced handling. Thanks to a new magnesium alloy lens barrel, and HRI and fluorite elements, this lens has never been so light, yet the build is as tough as ever.
Simon Iddon, Head of Product Management, Nikon UK, says: “The new NIKKOR 70–200mm f/2.8E offers an astounding jump in image quality and a faster, smoother shooting experience all round. SPORT VR, and ergonomics inherited from Nikon’s recent 400 mm, 500 mm, and 600 mm telephoto lenses will make a unmistakable difference to photographers shooting fast, unpredictable action with a professional DSLR like the D5.”
Summary of key features
Improved Vibration Reduction (VR) and lens-to-camera precision
The latest generation of Nikon’s VR enables shooting at shutter speeds up to 4 stops slower than without VR¹, and activates the instant the shutter is pressed halfway. SPORT VR mode delivers a more stable viewfinder image when shooting exceptionally fast action. Improved AF tracking enables photographers to respond swiftly and precisely to autofocus changes. An electromagnetic aperture mechanism enables exceptionally stable AE control—even during a high-speed burst.
Exceptional integrity: optical precision to the edge of the frame
A brand new optical construction ensures superior edge-to-edge performance. The new optical design includes six ED glass elements, a fluorite lens element, and a High Refractive Index (HRI) element. Nano Crystal Coat reduces ghosting and flare for greater image clarity, whilst colour fringing, chromatic aberration and distortion are controlled throughout the zoom range.
¹ In Normal mode based on CIPA standard.
Focal length: 70 – 200 mm
Maximum aperture: f/2.8, automatic electro-magnetic aperture control
Minimum aperture: f/22, automatic electro-magnetic aperture control
Vibration reduction: 4.0 stops (in NORMAL mode, based on CIPA standards). Modes available: VR OFF, NORMAL, SPORT. Can be used in combination with tripods (automatic detection)
Lens construction: 22 elements in 18 groups (including 6 ED glass, 1 fluorite lens and 1 HRI lens elements and lens elements with Nano Crystal coat or fluorine coat )
Angle of view: 34°20′ – 12°20′ (22°50′ – 8°00′ with a DX-format camera)
Minimum focus distance: 1.1 m / 3.6 ft. from focal plane. Focus limit switch available (5 m – ∞ or 1.1 m – ∞): Maximum reproduction ratio 0.21x
No. of diaphragm blades: 9 (rounded diaphragm opening)
Filter attachment size: 77 mm
Diameter x length (extension from lens mount): pprox. 88.5 mm maximum diameter × 202.5 mm (distance from camera lens mount flange, based upon CIPA guidelines)
Weight: Approx. 1430 g (based upon CIPA guidelines)
Supplied accessories: LC-77 77mm snap-on front lens cap, LF-4 rear lens cap, HB-78 Bayonet Hood, CL-M2 semi-soft lens case
Nikon reserves the right to change the appearance, specifications, and performance of this product at any time and without prior notice.
Leica Camera has expanded the portfolio of its M rangefinder system with the modern renaissance of a classic Leica lens: the Leica Summaron-M 28mm f/5.6.
First introduced as a screw mount lens in 1955, the predecessor of the Summaron-M 28mm f/5.6 is still one of the most compact wide-angle lenses within the Leica M-System, and is famous for its characteristic signature. The new lens takes its lead from the classically compact construction of its ancestor and brings the unique, analogue look it lends to pictures into the age of digital photography.
The optical design and mechanical construction of the Summaron-M 28mm f/5.6 are identical to those of its predecessor, which was manufactured at the Leitz factory in Wetzlar until 1963. Combining the latest optical developments, highest quality finishing and outstanding optical design, the new edition of this very special lens is much more than a simple reconstruction of an existing model.
With minimal contemporary design elements, the new version of the Summaron-M 28mm f/5.6 has been reduced to the essentials, but loses none of the character of its legendary ancestor. Its exceptionally short length of less than two centimetres makes it particularly unobtrusive and, together with the incomparable discretion of the Leica M camera, an ideal lens for street photography. The combination of a clearly laid-out depth of field scale and long focus throw allows extremely precise pre-focusing.
The optical design of six elements in four groups arranged symmetrically around the iris of the new lens is identical to that of its precursor. Indeed, the historic optical design of the original lens has remained completely unchanged. For example, wide open, the new Leica Summaron-M 28mm f/5.6 renders subjects with rich contrast across almost the entire image field.
The combination of extreme depth of field, natural contrast rendition, excellent resolution of detail and visible vignetting create a unique visual signature, and lend pictures a special look reminiscent of the earlier days of analogue photography.
The exterior of the new Leica Summaron-M 28mm f/5.6 reflects the contemporary look of the current Leica M lens portfolio, including the Leica M bayonet mount with 6-bit coding, the shape of the focusing lock button, the diameter of the aperture ring and the style of the knurling on the barrel and rings. The design and construction of the lens hood also mirrors the original and evokes memories of the beginnings of rangefinder photography. The hood is machined from solid brass and finished in a meticulous manufacturing process, and is included with the lens.
As with all other Leica lenses, the Leica Summaron-M 28mm f/5.6 was designed and developed by Leica’s precision engineers and optical specialists in Wetzlar. As a particularly reliable product with enduring value, it is made in Germany from only the finest materials and assembled in an intricate process entirely by hand. The combination of cutting-edge technology and exceptionally thorough manufacturing procedures guarantees consistently excellent quality and durability.
Pricing and availability
The Leica Summaron-M 28mm f/5.6 has a suggested retail price of £1,900 including VAT.
Due to strong expected demand, the lens must be pre-ordered. Orders will be fulfilled in sequence according to order date.
LEICA SUMMARON-M 28mm f/5.6
Angle of view (diagonal, horizontal, vertical):
Number of lenses/groups:
Position of entrance pupil
2.4 mm (behind the bayonet flange in the direction of impinging light )
Smallest object field/
Largest reproduction ratio:
1m to infinity
Metric distance scale
801 x 1201 mm /
Smallest aperture value:
Preselection with click stops
Leica M quick-change bayonet with 6-bit bar coding for Leica M digital cameras
Inner thread for E34 screw-mount filters, non-rotating
Leica celebrates 50th anniversary of the legendary Noctilux lens
Fifty years ago, the first Leica Noctilux lens was unveiled at the 1966 Photokina exhibition in Germany, astonishing visitors and industry media with its revolutionary optical performance.
In the 1960s, photography enjoyed enormous popularity around the world and demand for high-performance lenses rose dramatically, particularly among professional and fine art photographers. As the use of flash was not yet widespread, or even frowned-upon, the extraordinary specifications of the Noctilux lens attracted unrivalled attention. This extraordinary lens offered a gigantic maximum aperture, and exceptional optical performance, even when used wide open. The signature characteristic of the Noctilux was its unique contrast rendition. Brilliant, sharp pictures without flare could be achieved with the lens wide open – even in candlelight, subtle colour nuances, the finest textures and minute details were distinguishable.
Leica Noctilux 50mm f/1.2 (1966)
The most outstanding feature of the 1966 Noctilux model was its two aspherical elements – the first time such elements had been included in a serial production lens manufactured by Leitz. One of these two asphericals was made from special glass with a high refractive index. The task of the aspherical elements was to reduce chromatic aberration at maximum aperture and increase quality in the image field. The Noctilux 50mm f/1.2 was designed by Prof. Dr. Helmut Marx and comprised six elements in four groups, with the asphericals as the first and last elements.
At that time, the production of asphericals was a particularly complex and costly process. Even the most innovative new machinery was no alternative to the highly experienced optical engineers, who finished each element individually, polishing it entirely by hand. At the same time, new testing methods were also being developed to ensure the quality of future lenses.
Leica Noctilux-M 50mm f/1.0 (1975)
At Leitz, enormous effort was made to achieve the ultimate aperture of f/1.0. At the same time, Leitz turned to the use of only spherical lens elements in an attempt avoid the almost prohibitive costs of producing asphericals. Both challenges were successfully mastered at Leitz Canada by lens designer Dr. Walter Mandler, resulting in the launch of the Noctilux-M 50mm f/1.0 in 1975. The glass employed in the construction of this lens had an exceptionally high refractive index, contributing significantly to its impressive performance and the extremely natural look of images captured with the lens. Whereas photographers using other manufacturers’ large aperture lenses were forced to stop down to produce acceptable results, the Noctilux could be used wide open – not only in theoretical, but also in practical terms.
Even wide open, the Noctilux-M 50mm f/1.0 impressed photographers with its consistent resolution, almost three-dimensional rendition of details, and the clear and finely nuanced colours it delivered – often in situations where other lenses would be incapable of gathering enough light to expose the film correctly. In effect, a truly outstanding masterpiece of optical engineering.
Leica Noctilux-M 50mm f/0.95 ASPH. (2008)
More than 30 years after the introduction of the Noctilux-M 50mm f/1.0, which had become a firm favourite among photographers thanks to its unrivalled aesthetic qualities, Leica presented a new-generation Noctilux at Photokina 2008, with a previously unheard-of maximum aperture of f/0.95.
Furthermore, the lens had been considerably improved in other aspects of optical performance. To achieve this, Leica employed its many years of experience gathered in the design and construction of the two previous lenses, and took advantage of the benefits of the latest research and technologies. Although the production of asphericals remains an extremely elaborate process, today it is much more efficient and practical than the days of the first-generation Noctilux in 1966.
The optical design of the Noctilux-M 50mm f/0.95 ASPH. comprises more than eight elements in a symmetrically arranged, Double-Gauss design with its two halves located back-to-back with the aperture between them. The two aspherical elements ensure the outstanding imaging performance of the lens. Three of the other elements are made from glass with an extremely high refractive index, and a further five from glass with anomalous partial dispersion. To ensure that the Noctilux also delivers outstanding results at closer focusing distances, the construction also features a floating element that shifts the position of the last group in relation to the rest of the system, depending on the focusing distance.
The original properties of the Noctilux are also applicable to the new lens: the maximum aperture is a usable aperture – it is not necessary to stop down to achieve better performance. The extremely shallow depth of field when shooting wide open is a feature of the Noctilux lens that can be deliberately used as a creative tool.
Peter Karbe, head of the optical development department at Leica, commented, “Even today, after 50 years, the Leica Noctilux still stands for extreme lens speed. The ‘Light Giant’ masters situations in which images can be captured only with great difficulty – or not at all – by other lenses, and achieves it with exceptional imaging performance. The combination of incomparable colour rendition, rich contrast, and shallow depth of field made possible by its outstanding speed, enables photographers to create images with a uniquely fascinating aesthetic.”
You'd think photography was all about recording things in sharp focus, but that's only part of the story. A very satisfying technique for creating great photographs is to balance what's in focus with areas that are very much out of focus. We're talking DOF or Depth of Field.