Atlas Lens Co. New Orion 25mm T/2.0 Anamorphic Lens and LF Extender

 Cinematography, Gear  Comments Off on Atlas Lens Co. New Orion 25mm T/2.0 Anamorphic Lens and LF Extender
Apr 242019
 

Wide-angle anamorphic lenses, and especially 2X ones, are not easy to manufacture and usually comes at a high price. During NAB 2019 we had a chance to talk with Dan Kanes from Atlas Lens Co. about two new exciting products: an Orion 25mm T/2.0 anamorphic lens and an LF Extender.

Atlas Lens Co. Orion 25mm T/2.0

If you are not familiar with Atlas Lens Co., the young American company is specialized in anamorphic lenses. In 2017, they released a 2X anamorphic lens set called Orion. There are six lenses in total; they are all T/2.0 aperture and range from 32mm up to 100mm. However, a wide-angle anamorphic prime was missing, and it looks like the set will soon expand to seven lenses with a new 25mm T/2.0 anamorphic prime.

This new Orion 25mm T/2.0 anamorphic lens is a unique lens. Indeed, the lens features very low distortion, which is familiar with wide-angle anamorphic lenses. The front of the lens is 134mm wide, and the lens mount is interchangeable from PL-Mount to EF-Mount. While it is still a prototype – Atlas Lens Co. built it two weeks before the show – the build quality looks fantastic, like every other Orion lens.

There are not a lot of info around this new lens, we don’t know when it will be available, but expect the price to be around $8000 to $10.000.

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Gnarbox 2.0 – Backup Your Footage, No Computer Needed

 Cinematography, Gear  Comments Off on Gnarbox 2.0 – Backup Your Footage, No Computer Needed
Apr 242019
 

Hot off the heels of a successful Kickstarter campaign last year, the backup storage device dubbed the Gnarbox 2.0 is ready and shipping soon. For photographers and shooters in the field, the Gnarbox promises to be a safe and reliable alternative to putting a pile of media in your pocket to offload later at night at the hotel.

The Gnarbox 2.0 will come in three flavors based primarily around their internal storage capacity. 256, 512, 1TB versions will all be available – and each one features an SD card slot for offloading cards, as well as a USB C port and a removable battery. Obviously, for users not shooting with SD cards, you’ll need to attach the applicable reader to the device to offload footage. We checked out the device at NAB 2019 and there is a lot to like here. For users shooting raw images or HD footage then 1TB is plenty for a full day of shooting. Once you get into high resolution footage from RED and other 4K+  resolution raw-capable cameras, then this may not be the right device for you.

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Foton 25-300mm T2.8 Cine Zoom – Not Ready for Primetime

 Cinematography, Gear  Comments Off on Foton 25-300mm T2.8 Cine Zoom – Not Ready for Primetime
Apr 242019
 

A new lens company called Foton, owned by China-based parent company DZO, has a new spherical T2.8 25-300mm S35 12x zoom on display at NAB. We tried the very, very large lens on the show floor and had some thoughts…  

Lens manufacturing is tricky and this lens is admittedly not yet in production, but we noticed a few flaws during the show. For one, the lens was displayed on a large format RED Monstro, so the S35 lens would crop at anything over 5K as displayed in the booth.  The build quality is also a little suspect. We tried to set the lens to T2.8 and the lens ring stopped just short of the point marked at T2.8 on the lens body.

I also had trouble finding focus in the booth for just a quick test because the min focus distance is 6.5 ft (or 2 meters) and the booth wasn’t quite large enough for focusing on too many different objects. The lens also appeared a little soft in my opinion. While the price point is more affordable to other zooms of this scale there are a few things that need to be worked out before this zoom is ready for primetime in my opinion.

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The Cameras That Shot the Winning Photos of World Press Photo 2019

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Apr 222019
 

World Press Photo just announced the winning photos for the 2019 edition of it’s world’s most prestigious photojournalism contest. Camera metadata shared alongside the top photos is again providing us with an inside look at what gear the world’s top photojournalists are using at the moment.

The Spanish photography site Photolari gathered all the data and published a breakdown of the brands, systems, cameras, and sensor formats used this year.

While Nikon surprisingly took the crown from Canon in 2018 with 52% representation among winning photos compared to Canon’s 30%, Nikon’s time at the top didn’t last long. This year, Canon struck back and was behind 46.4% of the winning photos compared to Nikon’s 36.8%.

While Sony has made huge strides in the camera market over the past year — it became #1 in full-frame cameras in the US last year — its use by the photojournalists in World Press Photo hasn’t changed. Only a single finalist photographer was confirmed to have used a Sony camera (the a7R II) for their work.

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Tokina Unveils the FiRIN 100mm f/2.8 1:1 Macro Lens for Sony Mirrorless

 Gear  Comments Off on Tokina Unveils the FiRIN 100mm f/2.8 1:1 Macro Lens for Sony Mirrorless
Apr 222019
 

Tokina has unveiled the new FiRIN 100mm f/2.8, a 1:1 macro lens designed for Sony E-mount mirrorless cameras.

The lens, which is “great for portraits and landscapes too,” features a minimum focusing distance of 11.8 inches (30cm), and captures a life-sized 1:1 reproduction with subjects at that distance from the sensor plane. Subjects at the minimum focusing distance sit 4.5 inches from the front of the lens.

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Is This the End of the Canon EOS 7D Series of Cameras?

 Gear  Comments Off on Is This the End of the Canon EOS 7D Series of Cameras?
Apr 222019
 

Canon’s flagship APS-C DSLR, the 7D Mark II, is long overdue for an overhaul, and all of the speculation for 2019 was that its successor, the 7D Mark III, would soon be announced. Rumors now suggest that it will be merged with the 80D, with an EOS R in the pipeline to take its place.

A few years ago, choosing between the 6D Mark II, the 7D Mark II, and the 80D was a tough choice, all offering broadly similar specifications, and all offering a reasonable price point. The 6D gave you full-frame; the 7D gave you more autofocus points, a faster burst speed, and dual card slots; and the 80D offered a flip-out touch screen, better dynamic range, and a lower price.

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Canon May Build LED Lights Into DSLR Pop-Up Flashes, Patent Suggests

 Cinematography, Gear  Comments Off on Canon May Build LED Lights Into DSLR Pop-Up Flashes, Patent Suggests
Apr 152019
 

Canon is apparently looking into building continuous LED lights into the pop-up flashes on DSLR cameras, something that could come in handy for certain situations when shooting photo or video.

Canon News first reported on the development after it was spotted in a patent (2019-056787) filed by Canon over in Japan. The patent describes a solution for dealing with the heat that’s generated the continuous LED light source in order to prevent it from deteriorating. Here’s an excerpt:

[W]hen using LED which carries out a continuous light as a light source of a lighting system, the measure against the heat which occurs from LED serves as problem. If the measure against heat is not performed sufficiently, LED deteriorates for a short time and there is a possibility that it may become impossible for light volume to be deteriorated or to switch on the light. If it is a lighting system removable to a camera […], in order to radiate heat in the heat which occurs from LED, it is possible to provide a radiation substrate with a large area, but in the type which has a pop-up function, it is difficult to provide a radiation substrate with a large area near the LED.

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