Canon’s newly announced EF 40mm f/2.8 Pancake Lens has a focal length that places it squarely in that bland category known as “Normal.” Even used with an APS-C size sensor, it lands on the outskirts of “Normal,” with a view equivalent to 64mm in full-frame format.
Further expanding the functionality of the X-Pro 1 camera, Fujifilm has unveiled that it will release a highly-anticipated M-mount Adapter for the camera that allows a much wider array of lenses to be used with the camera body.
Not just a portrait lens, the new M.Zuiko Digital ED 75mm f/1.8 (150mm 35mm equivalent) Micro Four Thirds lens is designed and optimized for the dynamic and ever-changing lighting conditions inherent in shooting studio portraits, stage productions and indoor sporting events.
The Tamron SP 24-70mm f/2.8 Di VC USD lens for Canon EF mount is a well-performing wide angle to short telephoto zoom lens with a fast maximum aperture. This lens’ focal length of 24-70mm on a full-frame sensor is suitable for most general shooting situations, and with the built-in VC vibration compensation system, it is ideal for low-light shooting.
Designed and built for a wide variety of situations, the new Panasonic Lumix G X Vario 12-35mm F2.8 ASPH / POWER O.I.S. Lens offers a very popular zoom range of 12-35mm on Micro Four Thirds cameras (24-70mm in 35mm equivalent format).
Two new lenses from Sony have hit the market: The A-mount SAL18135 18-135mm and the E-mount SEL-18200LE 18-200mm zoom lenses, the former with a maximum aperture of f/3.5-5.6, the latter with a maximum of f/3.5-6.3.
For users of Finepix X100 digital cameras, Fujifilm has announced a new wide-angle conversion lens designed specifically for the camera, in both black and silver finishes.
Leica has always been at the forefront of the camera industry in regard to design and performance. Its unequaled combination of German design and precision with regard to imaging quality illustrates how it continuously pushes boundaries in a refined and respectable manner.
Further aligning itself with the needs of independent filmmakers, Zeiss announced at NAB two interchangeable-mount additions to its Compact Prime CP.2 family of cine primes. Joining one end of the lineup is a super-wide Distagon 15/T2.9, and complementing the other end is a Sonnar 135/T2.1 telephoto.
Mother’s Day is coming, and there’s not much time left to get your mom that perfect gift. You could always pick up some flowers or candy, but you’ve probably given her countless bouquets and sweets over the years, so that wouldn’t be much of a surprise, would it?
Filling a void in Nikon’s current autofocus FX-format lens lineup, the AF-S NIKKOR 28mm f/1.8G is a general wide-angle lens with a fast maximum aperture. This fixed prime lens is ideal for almost any situation, providing a 75° angle of view (on full-frame sensors) that isn’t too wide or too narrow for most applications.
Upgrading its previous DC series telephoto lens this week, Sigma is releasing the APO 50-150mm f/2.8 EX DC OS HSM telephoto lens in Canon’s EF mount, with Nikon and Sigma mount versions to follow in early May.
The recently announced Pentax SMC DA 645 25mm f/4 AL (IF) SDM AW lens is a highly attractive optic that fills the previous void for a wide-angle lens that can be used with the Pentax 645D camera system.
Pancake lenses, those small fixed focal length lenses that barely protrude from your camera’s lens mount, are becoming increasingly common of late, and for several reasons.
Zeiss’s new Distagon T* 2.8/15 combines two aspherical lenses and five special glass elements to correct extraordinarily for chromatic aberration and distortion. Since distortion is inherent to lenses of this focal length, this reduction provides a noticeable difference from past designs and sets a new standard for super-wide lenses.
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Canon’s newly announced EF 40mm f/2.8 Pancake Lens has a focal length that places it squarely in that bland category known as “Normal.” Even used with an APS-C size sensor, it lands on the outskirts of “Normal,” with a view equivalent to 64mm in full-frame format. 
Further expanding the functionality of the X-Pro 1 camera, Fujifilm has unveiled that it will release a highly-anticipated M-mount Adapter for the camera that allows a much wider array of lenses to be used with the camera body. 
Not just a portrait lens, the new M.Zuiko Digital ED 75mm f/1.8 (150mm 35mm equivalent) Micro Four Thirds lens is designed and optimized for the dynamic and ever-changing lighting conditions inherent in shooting studio portraits, stage productions and indoor sporting events.
The Tamron SP 24-70mm f/2.8 Di VC USD lens for Canon EF mount is a well-performing wide angle to short telephoto zoom lens with a fast maximum aperture. This lens’ focal length of 24-70mm on a full-frame sensor is suitable for most general shooting situations, and with the built-in VC vibration compensation system, it is ideal for low-light shooting. 
Designed and built for a wide variety of situations, the new Panasonic Lumix G X Vario 12-35mm F2.8 ASPH / POWER O.I.S. Lens offers a very popular zoom range of 12-35mm on Micro Four Thirds cameras (24-70mm in 35mm equivalent format). 
Two new lenses from Sony have hit the market: The A-mount SAL18135 18-135mm and the E-mount SEL-18200LE 18-200mm zoom lenses, the former with a maximum aperture of f/3.5-5.6, the latter with a maximum of f/3.5-6.3.
For users of Finepix X100 digital cameras, Fujifilm has announced a new wide-angle conversion lens designed specifically for the camera, in both black and silver finishes. 
Leica has always been at the forefront of the camera industry in regard to design and performance. Its unequaled combination of German design and precision with regard to imaging quality illustrates how it continuously pushes boundaries in a refined and respectable manner.
Further aligning itself with the needs of independent filmmakers, Zeiss announced at NAB two interchangeable-mount additions to its Compact Prime CP.2 family of cine primes. Joining one end of the lineup is a super-wide Distagon 15/T2.9, and complementing the other end is a Sonnar 135/T2.1 telephoto.
Mother’s Day is coming, and there’s not much time left to get your mom that perfect gift. You could always pick up some flowers or candy, but you’ve probably given her countless bouquets and sweets over the years, so that wouldn’t be much of a surprise, would it? 
Filling a void in Nikon’s current autofocus FX-format lens lineup, the AF-S NIKKOR 28mm f/1.8G is a general wide-angle lens with a fast maximum aperture. This fixed prime lens is ideal for almost any situation, providing a 75° angle of view (on full-frame sensors) that isn’t too wide or too narrow for most applications.
Upgrading its previous DC series telephoto lens this week, Sigma is releasing the APO 50-150mm f/2.8 EX DC OS HSM telephoto lens in Canon’s EF mount, with Nikon and Sigma mount versions to follow in early May. 645-System-Lens.jpg)
The recently announced Pentax SMC DA 645 25mm f/4 AL (IF) SDM AW lens is a highly attractive optic that fills the previous void for a wide-angle lens that can be used with the Pentax 645D camera system. 
Pancake lenses, those small fixed focal length lenses that barely protrude from your camera’s lens mount, are becoming increasingly common of late, and for several reasons. 
Zeiss’s new 
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