As camera technology continues to progress, lenses also continue to evolve. With improved sensor technology and greater resolution cameras, a lens's main progression is to keep up with the amount of data and image quality that can be resolved by an image sensor and processor. These recently released lenses are a direct response to the new breed of cameras and offer an ever-expanding selection of focal lengths and lens constructions that help make the most of any camera system currently available.
The majority of Canon’s lenses featured are compatible with their proprietary EF lens mount, which is supported across all of their EOS DSLR cameras. The two widest stabilized prime lenses here are the EF 24mm f/2.8 IS USM and the EF 28mm f/2.8 IS USM, both of which offer a standard wide angle focal length and bright maximum aperture. The built-in optical image stabilization and ultrasonic autofocusing motor also improve performance with these lenses by reducing the effects of camera shake up to four equivalent stops and offering smooth, quick autofocusing. These lenses are able to focus as close as about 9”, which allows you to exploit their wide angle and create dramatic viewpoints with expansive backgrounds.
Next in line in regard to focal length is the EF 40mm f/2.8 STM Pancake lens. This lens features a slightly wider than normal focal length and wide aperture that's ideal for everyday, inconspicuous use. An aspherical lens element and coatings help to improve overall image quality and reduce flare and distortion. Where this lens sets its self apart from others is through the integration of the STM stepping motor. This recently introduced technology pairs extremely well with HD video recording as it provides ultra smooth, quiet autofocusing with compatible cameras. The other lens Canon currently offers featuring STM technology is the EF-S 18-135mm f/3.5-5.6 IS STM. This lens, which is also available in a kit with the EOS Rebel T4i, is a standard wide-to-telephoto zoom lens with built-in optical image stabilization. The T4i is currently the only DSLR that supports STM functionality and Movie Servo AF for enhanced continuous autofocusing, and when paired with this 18-135mm lens, provides you with more than adequate coverage for a variety of shooting situations.
Another mid-range telephoto lens available is the recently introduced EF 24-70mm f/2.8L II USM lens, which gives a wide-to-portrait-length angle of view and bright continuous aperture throughout the zoom range. Canon’s L-series glass is known for being of the highest quality in clarity and fidelity, and this lens demonstrates this by incorporating one Super UD and two UD lens elements to reduce chromatic aberrations and color shifts around subject matter. Additionally, two types of aspherical lenses and optimized lens coatings also help to reduce other distortions, flare and ghosting that can affect image quality. This lens also features improved weather and dust sealing to ensure consistent, clean results when used in rigorous conditions.
Moving to the other end of the focal-length spectrum, Canon also features an array of super telephoto lenses, including the EF 400mm f/2.8L IS II USM, the EF 500mm f/4L IS II USM and the EF 600mm f/4L IS II USM. Each of these lenses integrates an ultrasonic motor to significantly aid in smoother focusing at long lengths, and includes tripod mounts for greater ease of use. Additionally, these lenses incorporate optical image stabilization, which is especially helpful when working with such long lenses. The IS system in these lenses is more sophisticated than that in the smaller lenses, and features three separate modes, depending on the amount of movement you anticipate. All of these super telephoto lenses are dust and weather sealed for outdoor use and feature optical constructions to ensure sharpness across the image plane.
The final lens featured here from Canon is the EF-M 18-55mm f/3.5-5.6 IS STM. This lens is unique in that it is the first zoom lens available for Canon's first mirrorless camera, the EOS-M. The focal length of this lens is equivalent to that of a 28-90mm lens in 35mm format, and it features optical image stabilization to help at the longer end of the zoom range. This lens also features the STM stepping motor for quieter, smoother autofocus and Movie Servo AF support.
Fujifilm’s XF series lenses are compatible with their X mount, which is featured on their X series cameras. These lenses fit nicely in line with Fujifilm’s retro aesthetic, especially because of their respect for and interest in prime lenses, manual aperture control and manual-focusing capabilities. The widest lens currently offered is the XF 14mm f/2.8R. This lens is equivalent to a 21mm lens in 35mm format and features optical construction that helps to minimize distortion across the entire image plane. A built-in focus and depth of field scale also allow you to use this lens to its potential for making dramatic images with an expanded viewpoint.
Slightly narrower, yet a stop faster, is the XF 18mm f/2.0R, which is equivalent to a 27mm lens in 35mm format. This lens features a pancake-like design for an overall compact build without neglecting the inclusion of a manual aperture ring, focus ring and depth-of-field scale. The inclusion of aspheric elements and construction that helps place the elements as close to the image sensor as possible renders clear images with minimal vignetting and distortion.
The fastest lens available from Fujifilm is the XF 35mm f/1.4R, which has a normal angle of view and 53mm equivalent focal length. This compact, bright and fast lens is ideal for everyday use and features aspheric lens elements to help reduce spherical aberration. The longest prime lens available for Fujifilm’s X series is the XF 60mm f/2.4 R Macro lens. This lens simulates a 90mm lens in 35mm format and allows you to focus as closely as 10.5” with a maximum magnification of 1:2. Its long focal length and wide maximum aperture also help significantly with selective focus applications and other portraiture techniques.
The sole zoom lens currently available for the X series is the XF 18-55mm f/2.8-4R LM OIS, which is equivalent to 27-83mm in 35mm format. This broad range of focal lengths and compact size make this lens ideal for traveling or other situations in which using only one lens is preferable. This lens is also the only one to feature optical image stabilization for reducing the effects of camera shake that become more noticeable, the longer your focal length.
Nikon has recently released a number of new lenses that add to their expansive lineup, for almost any situation you can conjure. Their breadth in lens designs is constantly evolving, getting faster and improving the overall construction to match that of their cameras. Two new prime lenses have been released, the wider of the two being the AF-S NIKKOR 28mm f/1.8G. This lens features a Nano Crystal Coat to help reduce lens flare and ghosting while two aspherical lens elements help to minimize distortions. This lens also incorporates a Silent Wave Motor (SWM) for quiet and smooth AF operation. In addition to autofocus mode, there is an autofocus mode with manual focus override for fine-tuning critical focus or selective-focus applications.
The other prime lens from Nikon is the AF-S NIKKOR 85mm f/1.8G, which, like the 28mm, features SWM technology and a dual-focusing system. This lens is an ideal portrait-length lens, due to the wide maximum aperture that can be used to isolate subject matter and help to blur distracting backgrounds.
In addition to prime lenses, there are also two new zoom lenses available. The AF-S NIKKOR 24-85mm f/3.5-4.5G ED VR lens provides an adequate range of focal lengths and incorporates a Silent Wave Motor for quiet focusing throughout the zoom range. This lens also utilizes VR (Vibration Reduction) to help reduce the appearance of camera shake and improve low-light shooting ability. A Super Integrated Coating, extra-low dispersion element and three aspherical lenses also help to maintain overall image quality.
The final Nikon lens we'll mention is the AF-S NIKKOR DX 18-300mm f/3.5-5.6G ED VR, which is designed for use with APS-C-sized sensors. This zoom range is equivalent to a 27-450mm zoom in 35mm format, providing you with an extremely versatile lens for multiple shooting situations. It also features a 1:3.2 magnification ratio for near-macro focusing, and built-in VR helps to lessen the effects of camera shake.
Tamron has recently added two lenses to their collection of zoom lenses, both of which provide a useful array of focal lengths and a bright, constant f/2.8 maximum aperture throughout the zoom range. The SP 24-70mm f/2.8 Di VC USD is available for both Canon EF and Nikon F mounts, and the SP 24-70mm f/2.8 Di USD is available for the Sony Alpha mount (the Sony mount does not include Vibration Compensation since Sony DSLRs feature in-camera image stabilization). This lens integrates a USD (Ultrasonic Silent Drive) motor for fast, quiet autofocus that is ideal for HD video applications. Concerning optical performance, there are three low dispersion elements and two extra refractive index elements for a reduction in a variety of distortion types common with zoom lenses. Additionally, the fast f/2.8 aperture renders this lens highly versatile for almost any shooting condition and enables more control over focus positioning. This lens is also Tamron’s first lens to feature moisture-resistant construction, offering greater assurance when working in less than ideal conditions.
The other Tamron lens available is, fittingly, a 70-200mm f/2.8. The SP 70-200 f/2.8 Di VC USD is available for Canon EF, Nikon F and other mounts, and the SP 70-200mm f/2.8 Di USD is available for the Sony Alpha mount. Like the previous 24-70mm lens, the 70-200mm is compatible with both full-frame and APS-C-sized sensors and features a USM AF system for smooth, efficient auto focusing. This lens also incorporates both aspherical and extra-low dispersion elements to minimize the appearance of distortion and aberrations throughout the zoom range. For even more stabilized shooting situations, this lens incorporates a built-in tripod mount for maintaining a proper balance point when working on a tripod or monopod, and allows for better panning and subject tracking.
Sigma is well known for producing an all-encompassing line of lenses for a wide array of mounts and formats. Their broad reach is further backed up by their lens quality and the technology to help produce images with the highest clarity and sharpness. Their DN (Digital Neo) line of lenses is designed specifically for use with mirrorless cameras, and currently includes two lenses.
The 19mm f/2.8 EX DN is the wider of the two and is available in either the Sony E mount or the Micro Four Thirds mount. It features a linear AF motor for quiet and smooth autofocusing, ideal for HD video work as well as still imagery. Its construction incorporates three aspherical lenses for correcting distortions and aberrations, and the multi-layer coating reduces reflections and flare.
A bit longer is the 30mm f/2.8 EX DN lens, also available in Sony E and Micro Four Thirds mounts, which features the same linear AF motor, aspherical lens design and multi-coated elements for smooth, clear, sharp imagery. Both of these lenses are impressively lightweight and compact, allowing them to pair well with the compact camera systems for which they are designed.
Moving up in size, Sigma has also introduced a pair of zoom lenses designed especially for use with APS-C-sized sensors. The 18-250mm f/3.5-6.3 DC Macro OS HSM, which provides a 35mm equivalent focal length of approximately 27-375mm, is available with a Canon EF, Nikon F, Pentax K, Sigma SA or Sony Alpha mount and features a brass bayonet mount for increased durability at the lens-to-camera contact point. A minimum focus distance of 13.8” and maximum magnification ratio of 1:2.9 enable this lens to excel at close-up work, which is further benefitted by the integration of the OS (Optical Stabilization) system for reducing the appearance of camera shake. In addition to three aspherical lens elements and one Special Low Dispersion (SLD) element, a Super Multi-Layer Coating is also applied to reduce flare and ghosting.
The other zoom lens from Sigma is the APO 50-150mm f/2.8 EX DC OS HSM, which provides an approximate equivalent focal length of 75-225mm. This lens features a bright f/2.8 maximum aperture that remains constant throughout the zoom range, enabling low-light photography at long telephoto lengths. The lens features optical image stabilization and a Hyper Sonic Motor, which help to produce sharp, well-defined imagery that is further complemented by the inclusion of six SLD glass elements and a Super Multi-Layer Coating. A minimum focus distance of 31.5” and a maximum magnification ratio of 1:6.3 also make this lens a viable option for close-up and still life work.
The final lens from Sigma that we'll mention here, the APO Macro 180mm f/2.8 EX DG OS HSM, is a macro lens designed for use with full-frame image sensors, but can be paired with APS-C sensors equally well. This lens is able to focus as closely as 18.5” at a maximum magnification ratio of 1:1 for close-up life size imagery. This close-range capability and long focal length is countered well due to the inclusion of the OS optical stabilization system for correcting the effects of camera shake up to about 4 equivalent stops. The wide f/2.8 maximum aperture also significantly enhances the functionality of this lens, allowing it to isolate subject matter and work well in low-light conditions. Its construction is composed of three FLD (F low dispersion) elements and a floating inner focusing system to counter the effects of chromatic and color aberrations. The HSM (Hyper Sonic Motor) provides quickened autofocus speeds that are both accurate and smooth throughout the focusing range. This lens is available in Canon EF, Nikon F, Sigma SA and Sony Alpha mounts.
Olympus’s recent Micro Four Thirds lenses continue to add depth to this system’s lineup and further extend its reach to emulate that of full-frame lenses. The M.ZUIKO Digital ED 60mm f/2.8 Macro lens is the only macro lens currently available from Olympus for the Micro Four Thirds system. This lens is equivalent to a 120mm lens in 35mm, giving it a normal telephoto length ideal for close-up images as close as 7.4” away. Its macro designation allows a 1:1 magnification ratio for life-size imagery, and a fast f/2.8 aperture permits greater control over the focus plane. Extra-low dispersion, high refractive index and extra high refractive index elements also contribute to reducing distortions and aberrations for sharp photos across the image plane.
A slightly longer M.ZUIKO Digital ED 75mm f/1.8 lens is also available, providing you with a 150mm equivalent focal length and impressively fast maximum aperture for low-light shooting. Three extra-low dispersion elements and Olympus ZERO (ZUIKO extra-low reflection optical coating) help to reduce reflections and aberrations, as well as improve the overall look and feel of imagery.
Olympus has also released a zoom lens for the Micro Four Thirds mount, the M.ZUIKO MSC ED M. 12-50mm f/3.5-6.3, which is available in silver or black. This 4.2x zoom lens is equivalent to a 24-100mm lens in 35mm format and employs the MSC (Movie and Still Compatible) AF system for smooth, fast and quiet focusing due to its linear motor drive. It also features dust- and splash-proof construction for shooting in less than ideal conditions.
Panasonic has released a trio of Micro Four Thirds lenses, including one prime and two zooms. The Lumix G Leica DG Summilux 25mm f/1.4 ASPH is equivalent to a normal 50mm lens in 35mm format and features an ultra bright f/1.4 maximum aperture. UHR (Ultra High Refractive) glass and a Lumix Nano Surface Coating help this lens achieve high image quality while also offering aberration and reflection reduction.
The Lumix G X Vario 12-35mm f/2.8 ASPH is one of the first mirrorless zoom lenses to feature a constant aperture throughout the zoom range, allowing you to control your plane of focus and gain low-light shooting benefits when photographing from near or far. This lens is equivalent to a 24-70mm lens in 35mm format and it features POWER O.I.S. coupled with a quiet AF system for clear videos and still imagery. Ultra-low-dispersion elements and four aspherical elements are integrated to reduce the effects of chromatic aberration while a Nano Surface Coating helps to counter the effects of lens flare and ghosting.
For super telephoto lengths, there is also a Lumix G X Vario PZ 45-175mm f/4.0-5.6 ASPH lens available for an equivalent focal length range of 90-350mm. This length of lens is significantly benefitted by the POWER O.I.S. system for controlling the appearance of camera shake across the zoom range. Also benefitting the clarity of imagery is a Multi-Actuator Floating Inner Focus System that controls three lens groups separately to maintain a constant lens length and reduce the effects of lens breathing when changing focus or focal length. ED glass and the Nano Surface Coating contribute to image quality as well and help to cut down on reflections, distortions and aberrations.
Similar in focal length is the Lumix G Vario 45-150mm f/4.0-5.6 ASPH lens, which gives a 90-300mm equivalent focal length. This lens features the MEGA O.I.S. system, which improves clarity when working at longer lengths or in darker conditions. One UHR element and two aspherical lens elements also improve clarity while effectively reducing the appearance of chromatic and spherical aberrations throughout the zoom range.
Pentax lens offerings include a pair of mid-range primes, a wide-to-telephoto zoom and a super telephoto, all of which are compatible with Pentax’s KAF mount found on their DSLRs and past film cameras alike. The smc Pentax DA 50mm f/1.8 is a portrait-length lens when used in conjunction with an APS-C-sized sensor, giving an equivalent focal length of 76.5mm. This lens’s fast f/1.8 maximum aperture permits the use of selective focus and shallow depth of field techniques to help highlight your subject matter while also giving you more leeway to photograph in darker conditions. An SP (Super Protect) coating is applied to the surface elements and helps to repel dust, water and oils from contaminating the surface of your lens and affecting the overall picture quality.
Slightly wider in scope, but still longer than normal when used with an APS-C-sized sensor is the smc Pentax-DA 40mm f/2.8 XS lens. This lens, which has an equivalent focal length of 61mm, is specifically designed for use with the K-01 mirrorless camera, due to its Marc Newsom-designed minimal aesthetic and pancake-style profile; it measures less than a half-inch thick and weighs only 1.8 oz. Beside its impressive looks, this lens also features a bright maximum aperture of f/2.8, 16” minimum focus distance and the Super Protect coating.
For even longer reach, the smc Pentax DA 18-270 f/3.5-6.3 ED SDM lens gives an impressive 27.5-414mm equivalent focal length that is benefitted by an SDM AF system for smooth and quiet focusing along the entire zoom range. A minimum focus distance of 1.6’ throughout the zoom range also gives this lens greater functionality in regard to working with close-up subject matter.
The last of Pentax’s recent introductions is the super telephoto HD Pentax DA 560mm f/5.6ED AW, which provides a tremendous 859mm equivalent focal length. This lens’s huge length is benefitted by 29 special weather seals for use in outdoor settings, and is also painted white to help reflect sunlight and subsequent heat haze from affecting the image quality. A quick-shift focus system provides instant switching between AF and MF modes and a built-in removable filter holder accepts 40.5mm filters and gives way to quick switching of filters in the middle of the lens barrel.
Rokinon’s lenses cover a wide array of focal lengths, but primarily are focused in the wide range of the spectrum. Their 24mm f/1.4 Aspherical Wide Angle is able to cover up to full-frame-sized sensors and is available in Canon EF, Nikon F, Four Thirds, Pentax K, Samsung NX and Sony Alpha mounts. This lens’s wide maximum aperture makes it ideal for selective focus applications and, depending on which type of camera you pair it with, can effectively be used as a wide angle to normal-length lens. Its aspheric element design helps to eliminate spherical aberrations and distortions while improving the overall image clarity.
Even wider is the 8mm f/2.8 UMC Fisheye, which is available in either silver or black and for the Fujifilm X, Samsung NX or Sony E mount. This fisheye lens gives an equivalent focal length of 12mm and produces a full-frame, non-circular 180º angle of view. It features a built-in petal style lens hood and multi-coated elements for reducing lens flare and ghosting. A minimum focus distance of 1’, paired with the f/2.8 maximum aperture, allow this lens to depict scenes with increased visual depth and a long focus range.
Similar in length is the 7.5mm f/3.5 UMC Fisheye CS lens, which is available for the Micro Four Thirds mount. This lens also provides a broad 180-degree angle of view for expansive views, and an aspherical lens design to help reduce distortions. It is capable of focusing down to 4” for close-up work or for placing your subject in front of a vast, extended background. A built-in lens hood and multi-coated elements help to reduce flare and increase contrast and fidelity.
Samyang’s recently introduced 8mm f/3.5 HD Fisheye lens is one of the widest lenses available and produces an angle of view between 167º and 180º, depending on your sensor size and camera. The lens is available for Canon EF, Nikon F and Sony Alpha mounts and it's compatible with both full-frame and APS-C-sized sensors. However, if this lens is used with a full-frame sensor, a circular image will be produced. The lens features a removable petal type lens hood for extending the visual area, and to reduce the chance of vignetting. It has a minimum focus distance of 1’, which when coupled with the f/3.5 maximum aperture, enables dramatic viewpoints and expansive background scenes. The HD optics and multi-layer coating help to improve image quality and sharpness while also reducing the effects of flare and ghosting.
Sony’s lens offerings are split between their two proprietary mounts, both the Sony Alpha and E-mount, to suit their range of camera types. For the Alpha mount, which is used on Sony Alpha DSLRs, they have recently released a 300mm f/2.8 Super Telephoto. This lens covers full-frame sensors and is part of Sony’s G series, which is composed of exceptional glass for the highest image quality. The SSM (Super Sonic Wave Motor) autofocus system produces fast and accurate focusing that is ideally paired to subject tracking and panning. In addition to an intelligent AF system, there are also two separate DMF (Direct Manual Focus) modes for more precise, critical focusing. The Nano AR coating featured on the outer lens elements significantly aids in reducing lens flare and ghosting while producing a high level of image clarity and sharpness. This coating is further supplemented by three extra-low dispersion elements and an internal focusing system that helps to maintain consistency at all focus points from shot to shot. Complementing the optical performance of this lens is a design that is lightweight, strong and weatherproof, making it a highly reliable choice for outdoor shooting.
For Sony’s NEX cameras, which accept E-mount lenses, there are five new options to add to their versatile lineup of lenses. Beginning with the 24mm f/1.8 Wide-Angle Prime (equivalent to 36mm in 35mm format), this lens features Carl Zeiss glass and a Sonnar optical design for the utmost sharpness across the entire image plane. A large f/1.8 aperture enhances shallow depth of field shooting and low-light situations while a smooth, quiet AF system benefits moving subjects and HD video work. This lens also features a 1:4 magnification ratio and minimum focus distance of 6.2”, making it ideal for close-up work. Additionally, Direct Manual Focus is supported for fine-tuning your focus position without having to switch out of autofocus mode.
Another recent fixed focal length lens available is the 35mm f/1.8 Prime. This lens is equivalent to a 52.5mm lens in 35mm format, rendering a fairly normal angle of view that simulates a person’s natural perspective. Its fast f/1.8 aperture makes it highly suitable for low-light shooting and selective focus applications, and the minimum focus distance of 11.9” works well for close-up subject matter. Built-in Optical SteadyShot image stabilization also helps to render clear imagery, which is paired well with a smooth, silent-focusing motor that is ideal for HD video use.
A wide angle zoom lens is also available: the 10-18mm f/4.0 Wide-Angle Zoom. This lens is equivalent to a 15-27mm lens in 35mm format and features a constant f/4.0 maximum aperture throughout the zoom range. For maintaining crisp imagery, Optical SteadyShot Image Stabilization helps to reduce the effects of camera shake up to four equivalent stops. An internal focusing system and a three aspherical lens-element design counter chromatic and spherical aberrations and help to produce distortion-free imagery.
Next in line is the compact 16-50mm f/3.5-5.6 Retractable Zoom lens. This lens is equivalent to a 24-75mm lens in 35mm format, and despite this capable zoom range, this lens is able to retract so it is just 1.2” thick. Like the 10-18mm lens, the 16-50mm also features integrated optical image stabilization and a design made up of aspherical and extra-low dispersion elements.
The final lens in the Sony lineup is the 18-200mm f/3.5-6.3 Zoom lens. The wide-ranging zoom has a 35mm equivalent focal length of 27-300mm, which makes it suitable for most shooting situations. Optical SteadyShot helps to calm the camera shake that is inherent to a lens with this much magnification, but also helps to compensate for low-light situations or other times when it is slightly darker than would normally be optimal for handholding with a lens this long.
Tokina’s new releases include both an SLR wide angle zoom lens and a unique mirror lens for the Micro Four Thirds mount. The AT-X 116 Pro DX-II 11-16mm f/2.8 is available for either the Canon EF or Nikon F lens mount and is compatible with APS-C-sized sensors only. This lens is an update to its predecessor, the AT-X 116 Pro-DX, and improves upon it with the addition of an internal silent focusing motor for use with cameras lacking a built-in AF motor. Additionally, an improved coating has been applied to the lens elements for greater optical performance. This new lens still features the same wide, constant f/2.8 maximum aperture and one-touch Focus Clutch Mechanism for instant switching between AF and MF modes. Two super low dispersion elements and two aspheric elements work together to help significantly reduce the appearance of distortion and aberrations while also contributing to overall image sharpness and clarity. This lens is equivalent to approximately 16.5-24mm in 35mm format.
Tokina’s other new lens is the Reflex 300mm f/6.3 MF Macro lens, which is designed for mirrorless cameras with the Micro Four Thirds lens mount. This lens is equivalent to a 600mm lens in the 35mm format, yet it still maintains a compact form factor due to its mirror design. The f/6.3 aperture is a fixed aperture and the lens requires manual focusing for use. Mirror lenses are effective tools for photographing distant subjects without the burden or cost of large, heavy telephoto lenses.
Cine Lenses from Rokinon
With the ever-increasing popularity of HD video recording with DSLR cameras, more lenses are starting to be manufactured to specifically meet the demands of videographers. Cine lenses differ from traditional photo lenses in that they feature a longer focus throw, meaning there is a greater amount of rotation between minimum focus and infinity; the aperture ring usually has de-clicked stops so there is no noise or internal vibration when modifying the aperture value; and they are manual focus only to allow for more precise, personalized control over the focus, when compared to autofocus systems. These lenses also make use of T-stops, as opposed to f-stops, as the markings for aperture values. This difference is related to consistency of transmission values and takes into account the amount of light the lens construction consumes before demarcating the aperture value on the lens barrel. One other difference between cine and photo lenses is related to practicality in how the lens appears: a cine lens will be more clearly marked to allow for someone to pull focus from the side of the camera while keeping an eye on the focus distance indicators written on the lens.
The widest cine lens available from Rokinon is an 8mm T/3.5 Fisheye, which is compatible with APS-C-sized sensors and available in Canon EF or Nikon F mounts. This fisheye lens is equivalent to a 12mm lens in 35mm format, features a 180º angle of view, and has a built-in petal-type lens hood to help reduce reflections.
Similar in design but slightly narrower in angle of view is the 14mm T/3.1 ultra-wide lens. This lens is compatible with both full-frame and APS-C-sized sensors, offering a wide 114º angle of view with a full-frame sensor and approximately 93.9º with APS-C. It also features a built-in petal-type lens hood and features aspherical elements to reduce reflections and aberrations. The 14mm is available in Canon EF, Nikon F and Sony Alpha mounts.
A standard wide angle 24mm T/1.5 is the next in line and is available for Canon EF, Nikon F and Sony Alpha mounts. This lens features a significantly wider maximum aperture and is ideal for shallow depth of field and low-light shooting. It also features a detachable lens hood, as opposed to the built-in hood of the wider variants.
In the middle of Rokinon's lineup is the 35mm T/1.5. Again, this lens is available in Canon EF, Nikon F and Sony Alpha mounts and features similar optical construction to the other Rokinon cine lenses. Its focal length is an ideal medium-wide angle for use with full-frame sensors, and works well as a normal 52mm lens when used in conjunction with APS-C-sized sensors.
The longest cine lens available from Rokinon is the 85mm T/1.5. This portrait-length lens is also available in Canon EF, Nikon F and Sony Alpha mounts. The combination of a longer focal length and wide maximum aperture enable even greater control over selective-focus applications and highlighting subjects while minimizing distracting backgrounds. This lens is ideal for close-up work with subjects as well as shooting from distances that would render subjects too small if working with a wide-angle lens. An improved multi-coating and aspheric-element design improve the overall optical quality while limiting distortion, and an eight-blade iris provides smooth out-of-focus quality.
These recent introductions of lenses are made in direct response to current trends in the camera market, with a large emphasis being placed on faster lenses, when possible, and more attention being given to video applications. Depending on your camera system, it will likely dictate the lenses you are using; however, lens manufacturers are producing more lenses to ensure expansive and efficient lineups to cover most shooting conditions.