Today, SIGMA has officially added three new lenses to their already impressive lineup of full-frame primes and zooms: The A (as in ART) line of lenses now sports a new prime lens, the SIGMA 35mm F1.2 DG DN and a new zoom lens, the SIGMA 14-24mm F2.8 DG DN. Under their C (as in contemporary) line, SIGMA released the new 45mm F2.8 DG DN prime. UPDATE: There’s also a new line of cine primes under development, the so-called SIGMA Classic Art Primes will be officially announced at IBC 2019. Check out the last paragraph for more information! These three new lenses by SIGMA come in two flavors: Sony E-mount and L-mount for playing nicely with cameras of the freshly formed L-Mount Alliance (SIGMA, Panasonic and Leica). SIGMA 35mm F1.2 DG DN (ART) This lens is a top-end performer in terms of light sensitivity and that’s why it’s basically a huge piece of glass. As it seems, SIGMA has created a no-compromise lens here and in order to give you that fast F1.2 aperture in tandem with autofocus capabilities (!) plus high-end image quality the resulting lens is.. big. The lens comes with an aperture ring on the lens itself which can be set to automatic, or, more importantly for indie filmmakers, to manual mode. And to answer your question: Yes, the aperture ring can be de-clicked for smoothly adjusting the iris (11-blade rounded diaphragm) while filming. Same goes for the focus ring: In AF mode a large HSM (HyperSonicMotor) will quickly adjust focus for you while you can pull focus manually by switching to fly-by-wire mode. Within all these lenses names you’ll note DG (Digital) and DN (Digital Neo). DG is used by SIGMA to indicate that the lens is designed to perform best on cameras with full-frame sensors while DN branded lenses are optimized for mirrorless cameras (i.e. short flange focal lengths). Three SLD glass elements and three aspherical lenses including a double-sided aspherical lens are optimally arranged in a lens construction of 17 elements in 12 groups. By taking advantage of the specialized short flange focal length design, this 35mm lens not only is optimized for mirrorless cameras, it also takes advantage of the correction function inside the camera to correct distortion and peripheral illumination. In summary, the 35mm F1.2 can resolve over 50 million pixels. The AFL button on the lens itself which can be assigned with various functions is a nice addition to the feature set of the 35mm F1.2. Furthermore, the lens features a dust- and splash-proof structure, along with a water- and oil-repellent coating on the front element. It also comes with a locking hood. Swapping mounts between the Sony E-mount version and the L-mount version is possible but you have to send in you lens to an authorized SIGMA facility in order to do that. Specifications of the SIGMA 35mm F1.2 DG DN (ART) – calculated for L-mount: Lens Construction: 17 elements in 12 groups Angle of view (35mm): 63.4° Number of diaphragm blades: 11 (rounded diaphragm) Minimum aperture: F16 Minimum focusing distance: 30cm / 11.8″ Maximum magnification ratio: 1:5.1 Filter size: 82mm Dimensions (diameter × length): 87,8mm × 136,2mm / 3.5″ × 5.4″ Weight: 1,090g / 38.4oz SIGMA 14-24mm F2.8 DG DN (ART) This is the second lens of the newly developed DG DN series and it seems to be a beautiful lens for some starry nights astrophotography. Why? Well, because the super-wide 14-24mm range of this zoom is perfect for vast landscapes, the reasonable fast F2.8 aperture is a good match for the milky way above that vast landscape you’ve just framed up and the included rear filter holder will conveniently accommodate the filter needed for that perfect starry night shot. That’s why. This lens is also part of the A (ART) line and it also comes with the aforementioned DG and DN branding. One FLD glass and five SLD glass elements are arranged to suppress chromatic aberration and other nasty stuff. Three aspherical lenses, including a large-diameter aspherical lens at the front, are used to minimize coma flare. The multi-layer coating is combined with a newly developed NPC (Nano Porous Coating) in order for the lens to be less susceptible to strong incident light. Filter holder of the SIGMA 14-24 lens Just like the SIGMA 35mm F1.2, this new zoom lens offers an assignable AFL button on the side so you can customize this lens to match your workflow. Autofocus is handled by a stepper motor, which is also available for face/eye detection during video shooting, depending on your camera of choice. The housing also shares the same rugged design as the 35mm F1.2 ART lens. Specifications of the SIGMA 14-24mm F2.8 DG DN (ART) – calculated for L-mount: Lens Construction: 18 elements in 13 groups Angle of view (35mm): 114.2° – 84.1° Number of diaphragm blades: 11 (rounded diaphragm) Minimum aperture: F22 Minimum focusing distance: 28cm / 11.0″ Maximum magnification ratio: 1:7.3 Filter: rear filter holder Dimensions (diameter × length): 85mm × 131mm / 3.3″ × 5.2″ Weight: 795g / 28oz SIGMA 45mm F2.8 DG DN (Contemporary) To make this a threefold of new lenses, we need one more: The SIGMA 45mm F2.8 DG DN is not part of the ART family. It bears the C (Contemporary) logo on its side to indicate a versatile and performing, yet compact and lightweight lens. And just like the other two, it covers a full-frame sensor without any problems. Because this lens is intended for everyday use, it is a really lightweight piece of glass. It’s compact and won’t get into your way while shooting. It sports a dedicated iris ring (which can’t be de-clicked, though) and a stepper motor for handling AF operation. Minimum focus distance is just 24cm (9.4″) so this lens could become a very versatile lens, indeed! According to SIGMA the 45mm F2.8 renders smooth, classic looking, bokeh when used with a wide-open iris but it will produce tack sharp, more modern-looking imagery when stopped down a little. Again, versatility seems to be key with this lens. Specifications of the SIGMA 45mm F2.8 DG DN (Contemporary) – calculated for L-mount: Lens Construction: 8 elements in 7 groups Angle of view (35mm): 51.3° Number of diaphragm blades: 7 (rounded diaphragm) Minimum aperture: F22 Minimum focusing distance: 24cm / 9.4″ Maximum magnification ratio: 1:4 Filter size: 55mm Dimensions (diameter × length): 64mm × 46,2mm / 2.5″ × 1.8″ Weight: 215g / 7.5oz Silver version of the 45mm SIGMA Contemporary New SIGMA Classic Art Primes As a sneak peek, SIGMA also introduced a whole new line of cine primes today. The so-called Classic Art Primes come as an additional option along their already available Cinema Primes (see our extensive review here). This new line of primes bear the label Classic so you might guess where this is heading: SIGMA removed the coating of the front element in order to create a more silky/dreamy vintage look to these primes without compromising on performance. SIGMA 40mm Classic Art Prime on the new SIGMA pf camera. SIGMA will officially announce them at IBC later this year. It will be a whole set just like the existing Cinema Primes. And, as you already might have noticed, these new primes are a bit slower than the Cinema Primes. T1.5 becomes T2.5 (20mm – 85mm) and T2 becomes T3.2 (14mm & 135mm). If you think the SIGMA Cinema Primes are too sharp and produce a kind of clinical look, maybe this new set is worth a shot. We’ll keep a close eye on the further development, for sure. I think, just like with the ARRI Signature Primes, there’s a trend away from ultra sharp lenses towards lenses with a distinct character. Let’s wait and see how these new primes will perform (and handle flares etc). Links: Website What do you think of this new trio of full-frame lenses? Are you a SIGMA shooter already? What are your favorite lenses? Share your experiences in the comments below!

After last year’s exclusive sneak peak, Leitz/Leica recently finally unveiled their new LEITZ PRIME lenses and LEITZ ZOOMs. While the PRIMEs come in a full set of 11 lenses, the ZOOMs come as two lenses covering focal lengths from 25mm to 125mm. And all 13 lenses are color-matched! Just a brief history course before we get started about these new primes and zooms: Regarding the company names Leitz and Leica, there might be some confusion, but to clarify things, here it is in a nutshell: it’s basically the same company. It was founded as Ernst Leitz Wetzlar GmbH and –much later, in the 1980s– transformed into Leica (Leitz Camera). Leica and Leitz logos. Spot the difference! That’s why the logos of Leitz and Leica look so similar. In 2008, CW Sonderoptic was founded in order to develop and manufacture Leitz-branded cine lenses, though now the name is Ernst Leitz Wetzlar GmbH once again. Ok, back to our set of new prime lenses and two new zooms! Leitz has just introduced a new set of primes, simply called LEITZ PRIME. They cover full frame/vista vision sensors and are color-matched to each other, plus to the other new line of zoom lenses Leitz unveiled, consequently called LEITZ ZOOM. LEITZ PRIME Lenses Leitz/Leica have some reputation regarding cine glass: Summilux-C, Summicron-C, Thalia and M 0.8 primes are their take on high-end cinema lenses. And now, the new PRIMEs and ZOOMs. Here’s a list of features of the set of the 11 prime lenses: 11 lenses ranging from 18mm to 180mm T1.8 Choice of PL or LPL mount Support for Cooke/i and Arri LDS-2 data Color Matched with LEITZ ZOOM Breathing is minimal Distortion is exceptionally low Chromatic aberration is not visible LEITZ PRIME 135mm T1.8 with Macrolux +1 diopter attached. In order to decrease the minimum focus distance, you can deploy the newly designed Macrolux 114 adapters, which –just like the existing Macrolux 95 diopters– come in +0.5, +1 and +2 strengths. They are stackable and Leitz claims that they won’t present any chromatic aberration. LEITZ ZOOM Lenses In addition to the full set of prime lenses, Leitz has introduced two new cine zoom lenses, called LEITZ ZOOM. The first lens covers focal lengths from 25-75mm, the second one takes over at 55mm and ranges all the way up to 125mm. More features include: 25-55mm T2.8 and 55-125mm T2.8 Choice of PL or LPL mount Support for Cooke/i and Arri LDS-2 data Color Matched with LEITZ PRIME No light loss (no ramping) over entire zoom range Parfocal Breathing is minimal Distortion is exceptionally low Chromatic aberration is not visible LEITZ ZOOM 25-75 T2.8 and 55-125mm T2.8. The major benefit of using these primes in conjunction with the two new zoom lenses is the fact that they match perfectly in terms of color. So you end up with a set of 13 lenses, which you can mix’n’match to taste and will always match on your timeline. Neat! Pricing and Availability No word on availability, yet. Pricing is not confirmed, either, but don’t expect these lenses to be cheap. We’re talking high-end cine lenses here and these usually come at a price. Maybe these lenses are targeted more towards rental houses than to individual customers, but in the end, it’s nice to have some choice, isn’t it? Pick the lens that suits your taste/budget/project best and off you go! Links: Leitz What do think of these new additions to the Leitz/Leica lineup? Share your thoughts in the comments below!

Samyang recently announced their first venture into the Canon RF world. The Samyang MF 14mm F/2.8 RF and Samyang MF 85mm f/1.4 RF will be the first in line for native compatibility with the Canon EOS R Mirrorless cameras. The new mirrorless line from Canon brought a new mount – RF mount is much more compact due to not needing to account for a large mirrorbox found on DSLRs. The result is a much shorter flange distance than Canon EF. Canon themselves announced an EF to RF mount alongside the first Canon EOS R camera, but that won’t stop third party manufactures making more practical native-compatible lenses. The first offerings from Samyang are two manual focus, wide aperture primes – the MF 14mm f/2.8 RF and the MF 85mm f/1.4 RF. Looking at the design and specification of these lenses, they use the structure of existing Samyang lenses, just with the longer back end to account for the shorted flange distance. Samyang MF 14mm F2.8 RF Specification Aperture range : 2.8-22 Construction 14 elements in 10 groups Coating UMC Min Focus Distance 0.28m (0.92ft) Mag. Ratio x 0.08 Aperture Blades 6 Angle of View 115.7˚ Weight 800g Samyang MF 85mm F2.8 RF Specification Aperture range : 1.4-22 Construction 9 elements in 7 groups Coating UMC Min Focus Distance 1m (3.3ft) Mag. Ratio x 0.09 Aperture Blades 8 Angle of View 28.3˚ Weight 730g Both are naturally compatible with the full frame sensor format, and are weather sealed “from light rain and snow”, the rubber gasket on the rear also helps with lens-body stability. Expect many more from Samyang here, they have a wealth of manual focus primes that I’m sure will receive the same rehoused treatment to allow native compatibility for Canon RF Mount. Article will be updated with pricing, but current similar Samyang lenses in other mounts are both sub $300. In other Samyang news, the lens we saw back at Photokina 2018 that the Korean company bill “the world’s widest no-distortion full frame lens” has been officially announced. The XP 10mm f/3.5 covers up to 130° angle of view, is constructed from 18 elements in 11 groups, will be available in the Spring (Canon mount first, then Nikon) and cost around €1099. What do you think of the new lenses? Let us know in the comments below.

Once again, my colleague Johnnie met Mr. Kazuto Yamaki from SIGMA corporation, to talk about future trends and products for the Japanese lens – and also camera – manufacturer. During this interview, taking place on the CP+ 2019 exhibition floor, Kazuto Yamaki speaks about new L-Mount lenses, their new L-Mount adapter and briefly about the upcoming SIGMA L-Mount mirrorless camera. Many New Lenses for L-Mount As you might know from our previous article, SIGMA will release 11 new Art prime lenses for the L-Mount system – 14mm F1.8, 20mm F1.4, 24mm F1.4, 28mm F1.4, 35mm F1.4, 40mm F1.4, 50mm F1.4, 70mm F2.8 macro, 85mm F1.4, 105mm F1.4, and 135mm F1.8. Those lenses are not entirely new, but SIGMA engineers take the whole – already existing – SIGMA Art full-frame primes line-up and redesign them for L-Mount specifications. The lenses are already available for Canon EF mount, SIGMA SA mount and Sony E-Mount. Precisely, the mentioned E-Mount versions are now being redesigned for L-Mount, which is most likely the case due to the similar flange focal distance – 18mm for E-Mount and 20mm for L-Mount. As Kazuto Yamaki told us, SIGMA engineers are working hard to make sure these lenses will be available during the second half of this year. We also found out that SIGMA already works on additional lenses for L-Mount and some of them should become available this year, too. Unfortunately, we do not know anything more about those lenses yet. Possibly some zoom lenses, like the 24-70mm F2.8? In any case, this really shows SIGMA’s 100% commitment to provide a high-quality lens portfolio for the L-Mount ecosystem. It looks like there will be a handful of native lens choices for the new Panasonic S1 and Panasonic S1R cameras very soon. SIGMA L-Mount Camera and MC-21 Converter SIGMA does not only work on native L-mount lenses, they have also announced the MC-21 mount converter, which will allow mounting existing SIGMA lenses with Canon EF mount or SA mount onto L-Mount cameras. SIGMA has a similar product out there already, for EF/SA mount to E-Mount conversion – the popular SIGMA MC-11. The MC-21 adapter will support quick autofocus (but not continuous autofocus for filming), as well as correction functions of a camera, such as peripheral illumination, chromatic aberration of magnification, and distortion. Last but not least: Already at Photokina 2018, Kazuto Yamaki told us that SIGMA is working on their own L-Mount mirrorless camera. The camera will be based on SIGMA’s own Foveon full-frame sensor. Now at CP+ 2019, we were told that due to slight delays in development, the camera will not be released this year. The new release year for the camera is 2020. What do you think about the L-Mount system and the upcoming SIGMA L-Mount lens lineup? Are you planning to invest in the new system? Let us know in the comments underneath the article.

SIGMA announced 11 new prime L-Mount lenses for their popular Art series. The new lens lineup covers focal lengths from 14mm to 135mm with minimal apertures of f/1.4 or f/1.8. Additionally, SIGMA has announced the MC-21 mount converter, which will enable using SIGMA EF mount or SA mount lenses on L-Mount camera bodies. When SIGMA announced being part of the L-Mount alliance, the company also promised to supply enough lenses for said L-Mount. With their latest announcement, SIGMA seems to be fulfilling their promise. The company has just announced 11 new prime Art lenses for the L-Mount, along with the MC-21 converter (EF mount to L-Mount and SA mount to L-Mount). The lenses are, in fact, not entirely new – their EF mount and SA mount versions have been on the market for a while now. SIGMA will release their whole Art primes lineup with the L-Mount. SIGMA Art Prime L-Mount Lenses One of the biggest advantages of using native lenses on L-Mount cameras is the autofocus capability. The L-Mount series lenses are fully compatible with AF-C (continuous autofocus) mode. AF is also much faster when using native lenses. Another advantage is compatibility with in-camera image stabilization. The camera automatically detects the focal length of each lens and optimizes image stabilization performance. The lenses will be fully compatible with in-camera aberration correction (corrections for peripheral illumination, chromatic aberrations, and distortion), too. Making the lens mount native provides a much more rigid and stable feel to the lens, in comparison to using an adapter. Featuring a surface treatment to enhance strength, the brass bayonet mount offers a high-precision fit and high durability. The mount connection area incorporates rubber sealing for a dust- and splash-proof construction. Furthermore, SIGMA will offer a Mount Conversion Service. This service converts specifications of the mount of SIGMA lenses to that of a different camera body. Users can “tailor” their favorite lenses to the camera body, if they plan to get a new one in the future. This allows continued use of their favorite lenses for the long term, regardless of the camera system. The SIGMA Mount Conversion Service (chargeable) is different from a normal repair service, as it will not be available in stores. In order to apply for the service, users need to contact the nearest authorized SIGMA subsidiary or distributor. The SIGMA Art primes series consists of these 11 lenses. All of them will be available in an L-Mount version: SIGMA 14mm F1.8 DG HSM Art SIGMA 20mm F1.4 DG HSM Art SIGMA 24mm F1.4 DG HSM Art SIGMA 28mm F1.4 DG HSM Art SIGMA 35mm F1.4 DG HSM Art SIGMA 40mm F1.4 DG HSM Art SIGMA 50mm F1.4 DG HSM Art SIGMA 70mm F2.8 DG MACRO Art SIGMA 85mm F1.4 DG HSM Art SIGMA 105mm F1.4 DG HSM Art SIGMA 135mm F1.8 DG HSM Art All of the lenses will come with a case and a retractable lens hood (except for the two ultra-wide-angle lenses – 14mm and 20mm – where the lens hood is part of the lens itself). The 105mm lens will additionally come with a tripod socket and a protective cover (PT-21). There is no information yet about the exact release dates. Although the prices were not announced yet, I think we can roughly expect them to be similar to the existing lens prices for EF mount. Those retail now for prices ranging between $570 and $1,600 USD (link to the SIGMA EF mount Art lineup HERE). Of course, the new L-Mount versions might be a bit more expensive in the beginning. SIGMA Mount Converter MC-21 This converter will allow SIGMA SA mount and SIGMA’s Canon EF mount interchangeable lens owners to use their lenses on L-Mount camera bodies. The MC-21 increases the number of interchangeable lenses manufactured by SIGMA that can be used with the L-Mount system by 29 lenses. Even mounting APS-C size image circle DC lenses to a full-frame L-Mount camera body will be possible with the auto-crop function. MC-21 supported lenses with Canon EF mount or SIGMA SA mount. Source: SIGMA The MC-21 will allow fast and accurate autofocus in AF-S mode. AF-C (continuous autofocus) mode will not be available, however. Whether the mounted lens is compatible or not is instantly visible from the color and the on/off of the MC-21’s built-in LED. The LED also notifies the user when a lens firmware update is available. The MC-21 has the data for each lens to optimize autofocus and aperture control. Regarding new lenses to be released in the future, data for operating these via the MC-21 will be stored in the lens. It means no firmware updates of the MC-21 will be required in order to use those new lenses. In addition, the MC-21 supports correction functions of a camera, such as peripheral illumination, chromatic aberration of magnification, and distortion. The MC-21 converter is equipped with a socket for attaching to a tripod. To prevent a reduction in lens performance due to internal reflections, the inside surface of the barrel is covered with flocking. Information such as lens type, focal length, F number, and other tags are embedded as Exif data in each image file. What do you think of this new announcement? Do you plan to invest in the L-Mount system? Let us know in the comments underneath the article.

As announced in September 2018, SIGMA is expanding its portfolio of full-frame T1.5 cinema prime lenses. While both, the 40mm and 105mm lenses already came out during the end of last year, soon it is time for SIGMA’s 28mm T1.5 lens to become available. It will be shipping in mid-March 2019, at $3,499.00 for the regular version and $4,499.00 for the fully luminous (FL) version. SIGMA 28mm T1.5 FF Cinema Lens The SIGMA 28mm T1.5 FF Cine is a fast and sharp T1.5 wide-angle lens, compatible with full-frame camera sensors and optimized for ultra-high-resolution of 8K image acquisition. The lens features a 180° focus rotation and is available in EF, E and PL mount with a lens support foot and cap included. Lens Construction – SIGMA 28mm T1.5 FF Cine. Source: SIGMA An individual inspection of every single lens occurs with a A1 proprietary Modulation Transfer Function (MTF) measuring system, using 46-megapixel Foveon direct image sensors. Even previously undetectable high-frequency details are now within the scope of their quality control inspections. MTF Charts – SIGMA 28mm T1.5 FF Cine. Source: SIGMA This new lens is available in PL, EF or E-mount. Additionally, the Mount Conversion Service allows users to convert their SIGMA PL mount lenses to and from Canon EF and Sony E-mounts (paid service). Computer-based ray tracing has been used from the design stage onward to minimize flare and ghosting and enhance contrast in backlit conditions. Ghosting has also been checked at every prototype stage, with its causes identified, assessed and eliminated. Color balance is standardized across the line for easier color correction. Distortion and Vignetting – SIGMA 28mm T1.5 FF Cine. Source: SIGMA The new SIGMA Cine lenses feature a 100% metal, dust-proof and splash-proof construction, with each ring and mount sealed to prevent water and dust from entering. Luminous paint enhances the visibility of all the information on the lens body, while laser engraving enhances durability. SIGMA 28mm T1.5 FF Cine – Key Specs focal length: 28mm aperture: T1.5 to T16 number of diaphragm blades: 9 (rounded diaphragm) close focus (measured from the image plane): 0.30m (1′) image coverage: FF Φ43.3 front diameter: 95mm filter size: 82mm length (front to flange): 107.7mm (EF mount), 133.7mm (E-mount), 99.7mm (PL mount) weight (without lens support foot): 1300g/45.85oz (EF mount), 1360g/47.97oz (E-mount), 1210g/42.68oz (PL mount) horizontal angle of view for a full-frame camera aperture (aspect ratio 1:1.5, dimensions 36 mm × 24 mm / 1.42″ × 0.94″): 65.5° horizontal angle of view for a super 35 digital cinema camera aperture (aspect ratio 1:1.8, dimensions 24.6 mm x 13.8 mm / 0.97″ × 0.54″): 47.4° horizontal angle of view for an APS-C camera aperture (aspect ratio 1:1.5,dimensions 23.7 mm × 15.7 mm / 0.93″ × 0.62″): 45.9° SIGMA’s 28mm T1.5 FF will be available in mid-March 2019 for $3,499.00 for the regular version and $4,499.00 for the fully luminous (FL) version. The lens is available both with feet markings and metric markings. In addition, SIGMA is now offering a five-piece case that can hold the 14mm, 28mm, 40mm, 105mm and 135mm Cine lenses for safe transportation of the gear. This new case will be available for purchase in mid-March too, for $750.00. Have you worked with SIGMA cinema primes? What do you think of the optical quality? Let us know in the comments underneath the article.

SIGMA just announced the release of 5 new lenses, two of the them telephoto zooms, featuring newly developed lightweight magnesium build and different options for various mounts and sensor sizes. The lenses are from the famous Art series, as well as the Sports and Contemporary series.  Art Series Lenses SIGMA 28mm F1.4 DG HSM Further expanding the Art series on the wide end, the SIGMA 28mm F1.4 DG HSM features a rather complex construction with 17 elements in 12 groups, with two low dispersion elements cutting down on chromatic aberration and 9 blades in the aperture. It has a manual focusing override on the barrel and a focusing distance indicator. Minimum focusing distance: 28cm / 11in. Mounts: SIGMA, Nikon, Canon, Sony E-Mount Sensor coverage: Full frame Weight: TBD   SIGMA 40mm F1.4 DG HSM With 9 rounded aperture blades and 16 elements in 12 groups the 40mm F1.4 DG HSM is denoted as being specifically made for extremely high resolution scenarios, like photography above 50MP and video in 8k. It features the same low dispersion elements as the 28mm does. It as well has a manual focusing override on the barrel and a focusing distance indicator. Minimum focusing distance: 40cm / 15.7in. Mounts: SIGMA, Nikon, Canon, Sony E-Mount Sensor coverage: Full frame Weight: 1200g / 42.3oz.   Sports Series Lenses SIGMA 70-200mm F2.8 DG OS HSM The optically stabilised 70-200mm F2.8 DG OS HSM completes SIGMA’s lineup of fast standard zooms, as it joins the 14-24 F2.8 DG HSM Art and the 24-70mm F2.8 DG OS HSM Art, which were already released. It has 24 elements in 22 groups, with 11 rounded aperture blades, providing excellent out of focus rendition and bokeh. The lens comes with a non-detachable Arca Swiss compatible tripod socket, manual override switch and a focus limiter on its body. There is also a customisable button and a focusing distance indicator on its barrel. Minimum focusing distance: 120cm / 47.2in. Mounts: SIGMA, Nikon, Canon Sensor coverage: Full frame Weight: 1805g / 63.7oz.   SIGMA 60-600mm F4.5-6.3 DG OS HSM SIGMA seems hellbent on expanding the really long telephoto end of their lineup. The 60-600mm F4.5-6.3 DG OS HSM joins the 150-600mm F5-6.3 DG OS HSM Sports and the 150-600mm F5-6.3 DG OS HSM Contemporary, being the world’s first 10x superzoom to end at 600mm. It has a complex construction with 25 elements in 19 groups, non-detachable Arca Swiss compatible tripod socket, manual focusing override and a focus limiter. It is intended to be a more versatile extreme telephoto zoom, with the rather standard wide end making it possible not to switch lenses all the time. Minimum focusing distance: 60-260cm / 23.6-102.4in. Mounts: SIGMA, Nikon, Canon Sensor coverage: Full frame Weight: 2700g / 95.2oz.   Contemporary Series SIGMA 56mm F1.4 DC DN SIGMA’s 56mm F1.4 DC DN is the next to join the 16mm F1.4 DC DN Contemporary and the 30mm F1.4 DC DN Contemporary, being aimed mainly at Sony APS-C shooters. On APS-C sized sensors the lens works out to be a roughly 85mm portrait focal length, with 9 rounded aperture blades promising smooth, round bokeh. Minimum focusing distance: 50cm / 19.7in. Mounts: Micro Four Thirds, Sony E-Mount Sensor coverage: APS-C Weight: 280g/ 9.9oz.   All of the lenses above are compatible with the USB Dock and the MC-11 Adapter. We’ll keep you posted on pricing and availability once the lenses are launched.   Ramping up Production with a new Factory In other news, SIGMA just announced a new state of the art facility specialising in magnesium alloy processing, thus bringing this step of their production process in house. The new facility has already provided the magnesium alloy parts used in both zooms mentioned above. With the new L-Mount-Alliance announced at Photokina, the ability to ramp up their production with less dependency on other parts vendors could prove valuable to SIGMA. Are you excited about the new SIGMA lenses? Which one would you buy to expand your collection? Let us know in the comments!

SLR Magic has announced a new lens for Sony E mount. The 50mm f/1.1 Cine Version II is an update following the apparent success of their compact manual cinema/photo lenses. We reviewed the original SLR Magic 50mm f/1.1 some three years ago. It was an interesting release as the initial observations marked a few optical flaws with the lens. As a result, SLR magic halted production, tweaked the design and released the lens with improved performance. The new 50mm f/1.1 Cine Version II is said to be optically further improved. Edge to edge performance has been a focus (excuse the pun). Enhanced optics are said to be used as well as an additional lens element. The version II lens is constructed from 7 elements in 6 groups, with similar rounded 13-blade aperture diaphragm. Like version I, the 50mm f/1.1 Cine Version II is fully manual, with geared focus and aperture ring. “Our lenses from this range have been synonymous for beautiful imagery wide open, with gorgeous rendering and smooth roll off edge to edge, and is quickly becoming the lens of choice rather than an alternative for the Cine and Photo industry.” Specification for the SLR Magic 50mm f/1.1 Cine Version II Mount: E-mount Focus Type: Manual Focal Length: 50mm Maximum Aperture: f/1.1 Minimum Aperture: f/16 Minimum Focus Distance: 0.50m Diaphragm Blades: 13 Front filter thread: Φ52 Lens Coating: Multi Coated Lens Construction: 7 Elements / 6 Groups Dimensions: L 60.5mm x W 64.0mm Weight (oz./g): 450g It’s nice to see the price stay the same, the version I was predominantly available for $399 (although you can now get it at a discounted price). You can pre-order via the link below.