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Contax Zeiss PC-Distagon 2.8/35 T* lens review
Key features Highly versatile 35mm focal length +/- 10mm shift (no tilt) 90° rotation left and right in 15° increments Shift movement operates without locking Floating element design to reduce aberrations at close range T* coatings reduce reflections, lens flare, and ghosting Made by Zeiss in Germany (Oberkochen) Stopped-down operation only The Contax Zeiss PC-Distagon 2.8/35 T* is a shift lens manufactured by Zeiss for Contax C/Y mount SLR cameras, designed in the late 1970s or early 1980s. At that time, the 35mm focal length was a popular choice for shift lenses. Canon stood out for its tilt/shift model, but Minolta, Nikon, and Olympus all had 35mm shift lenses in…
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Recomended Filters for Lens Protection
Filters for lens protection seem to divide opinions; however, I’m strongly in favour of them. Not only do they prevent fumbling with lens caps (keep those for storage), but they’re also a lot easier to clean than the front element. I also don’t like cleaning lenses and would rather accidentally scratch a filter than my lens. And if you think it’s unlikely, consider the number of secondhand lenses for sale on eBay with scratched front elements. Those few that aren’t sell for appreciably more. My filter of choice for my Canon lenses is the Canon ‘Protect’ or Protector filter. I also use Canon Polarisers, which can also be used to…
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Setting playback in the viewfinder of the Canon EOS R5
By following these steps, you will be able to set and view playback in the Canon EOS R5’s viewfinder. To set playback in the viewfinder of the Canon EOS R5, follow these steps: 1. Turn on the Camera: Ensure your Canon EOS R5 is powered on. 2. Switch to Playback Mode: You can switch to playback mode by pressing the playback button, which is represented by a blue triangle icon with a rectangle around it. This button is located on the lower right of the back of the camera. 3. Using the Viewfinder: The EOS R5 primarily uses the LCD screen for playback, but you can also use the electronic…
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Sony launches high-speed FE 50-150mm F2 GM lens
Sony is emerging as a leader in lens design with its latest release, the Sony FE 50-150mm F2 GM. The new lens is highly corrected with five ED elements, two being the ‘Super’ ED type, and two double-sided aspherical elements for mitigating fringing and distortion. It’s also relatively lightweight (1.34kg), is some 200mm in length and takes 95mm filters. According to Sony, the lens has a “floating focusing system [which] enables a minimum focusing distance of 0.4m.” This sentence is somewhat confusing but infers the lens has ‘floating elements,’ which is meant to mitigate aberrations at close distances, and not necessarily enable a 0.4m mfd. Of course, if aberrations are…
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Filter sizes for Fujinon GF lenses
When reviewing the Fujinon lenses, Fujifilm UK always send out samples with Fujinon Protector Filters, and I’ve been impressed with the way they handle flare and ghosting. Filters for lens protection seem to divide opinions; however, I’m strongly in favour of them. Not only do they prevent fumbling with lens caps (keep those for storage), but they’re also a lot easier to clean than the front element. The following is a work in progress, so the columns will be filled out in due course. Fujifilm doesn’t specify the pouches in their lens manuals or websites. Buy Fujifilm Fujinon Protect Filters [Affiliate links]: Amazon UK Amazon US As an Amazon…
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Filter sizes for Canon EF lenses
Canon filter sizes are difficult to find, at least in a list form. At one time, all manufacturers went to the trouble to do so with printed brochures but now, with the internet, not so much. With the move to EOS R cameras and the highly capable and versatile EF-RF adaptors, the older EF lenses remain hugely popular. Indeed, with focusing accuracy as good if not better than the older DSLRs, especially when focused off-centre, EF lenses have seen a new lease of life. Filters for lens protection seem to divide opinions, however, I’m strongly in favour of them. Not only do they prevent fumbling with lens caps (keep those…
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Filter sizes for Canon RF lenses
Manufacturers have favourite filter sizes. Canon, for example, often adopted 72mm and 77mm for L-series EF mount lenses but that has changed somewhat with the RF mount to 67mm, 77mm and 82mm being common sizes. Once a popular size on the original Canon FD breach-lock mount lenses from the 70s (not FDn), the 55mm filter thread size is also making a comeback. For Canon lenses, I recommend Canon ‘Protect’ or Protector filters as they’re extremely high quality. They’re also very reasonably priced, at least for the popular sizes. Sizes above 82mm are steep, though, so you could look for more competitive offerings such as the excellent Firecrest models for that…
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Leica Super-APO-Summicron-SL 21 mm F2 ASPH lens review
The Leica Super-APO-Summicron-SL 21 mm F2 ASPH is a high-speed wide-angle for Leica SL cameras. It was announced in October 2023. This lens has the Super-Apo moniker and has a complex design of 14 elements in total, arranged in 11 groups. Leica doesn’t say how many AD (anomalous partial dispersion) elements there are but claims that ‘most’ of the 14 elements are made from ‘special custom glass.’ That may include the three elements with aspherical surfaces, but it’s unclear. Like others in the SL range, the lens also adopts a ‘digital element,’ or what’s better known as a built-in profile, to correct vignetting, distortion and chromatic aberration. While it’s perhaps…
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Leica launches fifth New Classic lens, the Summilux-M 50 F1.4 from 1959
Leica is launching a new version of its classic Summilux-M 50 f/1.4 lens from 1959. As the fifth in the Classic Line series, following the Summaron-M 28 f/5.6, Thambar-M 90 f/2.2, Noctilux-M 50 f/1.2 ASPH, and the Summilux-M 35 f/1.4, the newly reissued M-mount model features vintage Leica styling, including a scalloped focusing ring and chrome-plated brass construction. To complete the vintage aesthetic, there’s even a circular, vented hood in black with chrome locking buttons. Optically, the lens is based on the second Summilux-M 50 f/1.4 (II) formula. The design promises highly attractive rendering wide-open, with soft blur transitions to out-of-focus highlights. It is also said to deliver higher sharpness…
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Leica SL3 review
The Leica SL3 is the third in the series of mirrorless models, which started with the magnificently minimalist 24 MP Leica SL. Kevin Carter takes a look. What is it? The SL3 is the latest in the series and adopts the same body style as the 47 MP Leica SL2 and the 5-axis IS from that model, which was missing from the original SL. The headline specs are the increase in sensor resolution to 60 MP and the inclusion of hybrid AF with Depth from Defocus (DFD) tech to aid focusing accuracy. Fortunately, the photographer doesn’t need to know how this works, as the camera handles that without any input…
