The Laowa Ranger lineup of full-frame cinema zoom lenses was first announced in June 2023. There are two zooms in the series: a 28-75mm and a 75-180mm, with a constant T2.9 maximum aperture. While these lenses are relatively lightweight at only 1.4kg/3.08 lbs per lens, Laowa took things one step further by releasing a new version: the Ranger Lite.

Laowa Ranger Lite – features

The main difference between the Laowa Ranger and the newer Ranger Lite zooms is that the latest are composed of magnesium instead of aluminum alloy. This means that the 28-75mm T2.9 will now weigh 1.3kg/2.8 lbs, and the 75-180mm T2.9 will come down to 1.2kg/2.7 lbs.

While this doesn’t sound like a lot, 100 grams on the scale can make a difference when it comes to balancing a gimbal, for example. The new Ranger Lite will also come in Space Gray instead of black for the “regular” Ranger.

Other than that, the lens design and specifications are alike for both the Laowa Ranger and Ranger Lite, including:

• An image circle diameter of 43.2mm which covers full-frame image sensors. The lenses are parfocal and feature a quick back-focus adjustment mechanism.
• The lenses have a user-interchangeable PL/Canon EF mount, but you can get an additional Sony E / Canon RF / Nikon Z / L mount if needed.

• The focus throw is 270°, and all focus/zoom/aperture rings have built-in M0.8 pitch gears. All the rings’ positions are identical between the 28-75mm and 75-180mm.
• The lens design of the 28-75mm consists of 22 elements in 18 groups. The 75-180mm lens design is simpler, with 14 elements in 14 groups.
• The front filter thread is 77mm, and the outside diameter is 80mm.

Pricing and availability

The Laowa Ranger Lite zoom lenses are available now for $3499 each, but you can also get them as a bundle for $6799.

For more information, please visit Laowa’s website here.

What do you think about these new Laowa Ranger Lite lenses? Have you already tried the regular Laowa Ranger? Do you think the 10% lighter design is worth the upgrade? Don’t hesitate to let us know in the comments below!

Last year, SIRUI released the lightest, most compact full-frame anamorphic lens ever made, the SIRUI Saturn 35mm T2.9 1.6x. Today, the Chinese manufacturer plans to expand the Saturn line with two additional lightweight, high-ratio, full-frame compatible lenses – the 50mm T/2.9 x1.6 and the 75mm T/2.9 x1.6. This will complete an extremely light and compact anamorphic trio, perfect for various projects and use cases. All three lenses feature an identical external layout and similar weight, so switching between the trio will be a breeze whether working on a gimbal or a rig. They should all produce similar visual rendering, except for the field of view.

Lens design

Both designs will consist of 17 elements in 12 groups. Both will focus down to 90cm and use 10 aperture blades (in line with the Saturn 35mm T2.9). The slightly larger lens elements on the 75mm make it a tad heavier at 480g, compared to 470g on the 50mm, and 390g on the older, wider Saturn 35mm T/2.9 x1.6. SIRUI mentions that high-precision glass molding aspherical elements have been used to reduce overall lens weight, but doesn’t specify how many are in each lens. Both lenses sport a carbon-fiber front barrel to reduce weight and maintain structural integrity. As mentioned, both lenses boast a high-ratio 1.6x squeeze factor. On a 3:2 sensor, 1.6x ratio will work out to a 2.4:1 aspect ratio, while on a 16:9 sensor, it will result in 2.8:1.

Who is it for

The new Saturn Duo is a rather unique offering. It opens up the world of anamorphic creativity to “low-end” users, and by “low-end” I’m only referring to gear cost since creativity comes in all shapes and (budget) sizes. This set will find its place among hybrid shooters and other independent filmmakers – those who work with their own Sony, LUMIX, Canon, FUJIFILM, or Nikon camera, those who appreciate smooth gimbal shots and the ability to pack everything up in a backpack. Another interesting and relatively recent user group includes those with the DJI DL-Mount, whether using the RONIN 4D or the Inspire 3 drone. Both allow for remote focusing and easy switching within the Saturn trio.

Alternatives

The first alternative that comes to mind is SIRUI’s own Venus series. Similar in most nominal specs (save for the weight and size), the Venus series is broader, including two additional tele primes, a 100mm T/2.9 and a 150mm T/2.9. As mentioned above, Venus lenses differ in one key feature – they are roughly double the weight of respective Saturn lenses. Your personal workflow will determine how much of a problem it might be, but for candid, handheld, or gimbal-based workflow, the Saturn lenses will probably be the better choice.

Other than SIRUI’s own options, it’s hard to find an anamorphic set in the same price range. Another path may lead you to the world of anamorphic adapters. These come in all shapes and sizes. They dictate a specific workflow and will vary in terms of coverage and quality, depending on the host lens-camera combo. You also shouldn’t expect visual continuity and comparable rendering across your lens lineup, but it will be interesting, and sometimes that’s all we need. SIRUI has its own moderate x1.25 squeeze factor front anamorphic adapter. Though not as extreme as others, it will take a 4:3 open gate recording and will stretch it to 16:9. MOMENT recently released a nice x1.33 anamorphic adapter. At 880g, it’s by no means compact but is well-made. SLR-Magic offers the Anamorphot-50 x2.0, a high ratio x2.0 adapter. While extreme in squeeze ratio, this adapter is limited to 70-100mm lenses on full-frame sensors.

Price and availability

The SIRUI Saturn 50 T/2.9 x1.6 and 75mm T/2.9 x1.6 will be launched via an IndieGoGo campaign soon. Super Early Bird Price will be $974 per lens and the retail price will be $1299, just like the existing Saturn 35mm T/2.9 x1.6. While SIRUI has an excellent reputation and the crowdfunding campaign seems to be more of a method for preordering, we must emphasize that backing a campaign is different than purchasing an actual inventory item. You can read further information here.

Are you excited about this future addition to the SIRUI Saturn line? To what use would you put these kinds of lenses? Let us know in the comments.

Rumors about the new SIGMA 70-200mm F/2.8 DG DN OS Sports lens have been circulating for quite some time now, and today SIGMA put an end to the speculation. The new lens is a part of SIGMA’s Sports series. As part of SIGMA’s Global Vision, lenses are divided into three segments: Art for most high-end, fast aperture prime lenses (and some zooms), Contemporary for basic zoom lenses, and slower, more compact primes, and Sport for high-end tele lenses aimed at sports and wildlife.

Design and ergonomics

As a professional-level telephoto zoom, the Sigma 70-200mm f/2.8 DG DN OS includes various features, control points, buttons, switches, and rings. All are encased in a hardened weather-sealed chasse. These include an aperture ring (as well as zoom and focus rings, of course) a click/de-click switch for smooth aperture transition in video, a custom three-position switch, an OS mode switch, a focus range limiter, an AF/MF switch, and three AFL (autofocus lock) buttons around the front of the lens. Specific cameras may use them as custom buttons. All of this fits into a 1285g lens (tripod leg detached).

The new lens incorporates several new technologies and features, some of which have already been incorporated into other SIGMA lenses. The autofocus motor is a High Response Linear Actuator (HLA). This motor may be found in SIGMA’s 60-600mm super tele, but the 70-200 autofocus works with two units in conjunction to achieve fast autofocusing.

The Optical Stabilization (OS) unit uses the latest algorithms. This should result in 7.5 stops at the wide end and 5.5 stops at the telephoto end, regardless of the internal stabilizers. These are SIGMA’s numbers at this point, so we’ll have to take a deeper look once the lens is out in the field.

Optical design

The Sigma 70-200mm f/2.8 DG DN OS Sports boasts a rather complex optical formula, but that’s in line with most 70-200mm zooms. The formula is made of 20 elements in 15 groups, including 6 FLD elements (yellow), 2 SLD elements (blue), and 3 aspherical elements (red lining).

Such a complex design is essential for maintaining a high level of optical performance across the aperture and zoom range. The new lens should also align with its two zoom sisters in terms of color and rendering. Cinematographers out there will be delighted to see the minimized focus breathing on this lens:

Who is it for?

The 70-200mm focal range is considered a classic among stills photographers. Every system features at least one such lens, while most established systems offer two or more, differing in aperture or other features. 70-200mm lenses cover most mainstream tele needs, from portraits to indoor sports, and from wildlife to journalism. With the new 70-200mm F/2.8 DG DN OS, SIGMA catches up with the rest of the industry, offering a modern, mirrorless, full-frame lens, shaving off about 30% of the older model’s weight, improving most, if not all, mechanical and optical aspects of this classic.

Alternatives

In recent years the industry has seen an impressive evolution in the 70-200mm department. Canon took the most radical approach with their RF 70-200mm f/2.8 L IS USM lens. Letting go of the traditional internal zoom design, Canon managed to produce the smallest 70-200 f/2.8 on the market, without any significant optical compromise. Anyway, as the new SIGMA is only available in e-Mount and L-Mount, we’ll take a look at alternatives under this scope.

L-mount alternatives

Panasonic’s offerings are quite limited. The company offers the rather massive Panasonic Lumix S PRO 70-200mm f/2.8 O.I.S. lens. While excellent in terms of optics and solidly built, this one has a rather traditional design resulting in over 1.5kg in weight. It also costs about $500 more. The LUMIX does support a nice clutch mechanism for linear, repeatable manual focus and will sync stabilization with LUMIX cameras.

E-mount alternatives

Sony offers the excellent FE 70-200mm f/2.8 GM OSS II. This is the pinnacle of Sony’s GM series, with every conceivable feature and perk. Though the SIGMA isn’t far behind in that regard the FE 70-200mm weighs almost 300g less (1045g including the tripod leg). Such a product won’t come cheap and the Sony will set you back about $2800, almost twice the price of the new SIGMA. If this is too pricey, there’s the Tamron 70-180mm f/2.8 Di III VC VXD G2. As the featherweight champion in this ring, it does compromise the tele edge for a lens much lighter and more affordable than all other contenders ($1300) There are also f/4 options available for both Sony and LUMIX.

Price and availability

The Sigma 70-200mm f/2.8 DG DN OS Sports is available for pre-order for $1497 or €1321.

So will the new lens complete your fast-aperture zoom set? Do you find it helpful for your type of work? Let us know in the comments.

As you already know, there is an seemingly infinite number of different lenses available on the market today. If you follow us, you’ll know we constantly cover new releases because brands improve their products and offer new alternatives for us every year. Even though some manufacturers discontinue older lines of lenses and mount systems come and go, we can still use them, thanks to active and passive adapters. This means that we can put to work virtually every lens on the market in one way or another. Because of this vast catalogue, we usually stick to the lenses we know, the lenses we own, or, if we are renting, the most popular and tested lenses.

But imagine we want to go beyond and we want to test rare or unknown brands. Sometimes, we don’t have information or the possibility to test all the equipment before using it. Have you ever wondered how a specific lens looks and reacts to light before a shooting? 

A vast flare library for reference and study

CINEFLARE is the answer to that as it is the world’s most extensive interactive flare library, aiming to help professionals compare cine lenses, their character, and how they react to light. Its creator, Markus Förderer, ASC, has created a visual database by filming a bright point light source in front of a black background to show each lens’s characteristics, flare pattern, ability to hold contrast, distortion, and chromatic aberration. 

CINEFLARE was created as a solution and a reference library for professionals looking for a particular aesthetic. Now, they can compare lenses side by side for a specific flare or character reminiscent of a particular era, or they can look for the most neutral lens for VFX plate filming. Cinematographers, directors, VFX supervisors, and game designers, among other professionals, will now have a reference before deciding which lenses to use. Those without access to rental houses will also benefit from this library.

For me, lens flare is like the fingerprint or like the DNA of a lens.

Markus Förderer, ASC

Shot with motion control under the same controlled conditions, the CINEFLARES library covers hundreds of cinema lenses. It is also a vast learning tool for those wanting to learn about lens history and those without the opportunity to test the massive number of available cinema lenses. 

Markus Förderer started this idea ten years ago while preparing Hell, an apocalyptic film where the sun played a crucial role. Fascinated by lens flares, he continued testing lenses and capturing material from almost all vintage and modern cinema lenses, which led to the creation of CINEFLARES. 

An essential first stop for cinematographers when comparing lenses. The ease of which it allows us to examine flare characteristics between lenses with a simple mouse click is extraordinary.

Erik Messerschmidt, ASC

Price and availability

Thanks to the collaboration of Markus’ wife and a team of programmers, CINEFLARES has launched to the public with free access to the limited beta library at Cineflares.com. The CINEFLARES beta version has been already tested by top cinematographers like Erik Messerschmidt, ASC, Seamus McGarvey, ASC and BSC, and the Emmy award-winning producer and director Michelle MacLaren. All of them have given very positive feedback about the library.

I’ve had the privilege of using CINEFLARES, it is a unique resource for me to discover and compare the vast choices of cinema lenses, explore their distinctive visual character and communicate with my cinematographer to choose the right lens to craft the look of our projects.

Michelle MacLaren

For now, the platform offers a minimalistic interface on purpose, waiting for user feedback to keep improving the library. A larger version with full access to their complete database and extended functionality will also be available with a paid PRO version in the future. For now, they are collecting feedback from users. Stay tuned!

What do you think about this library and lens flares in general? Is it an essential feature for you when selecting a lens for your project? Let us know in the comments!

The Atlas Mercury 1.5x full-frame anamorphic lens series first debuted ahead of IBC 2022 with three focal lengths: 36mm, 42mm, and 72mm T2.2. On last year’s show floor, Atlas’ designer Forrest Schultz gave us an extensive overview of this family of lenses. You can watch our interview here.

Then, at NAB 2023, the company showcased a prototype of the 54mm T2.2 1.5x, which will be available to pre-order in the upcoming days, next to a 95mm and a 138mm.

Atlas Mercury Series Group II – overview

In a nutshell, the Mercury series packs warm, vintage anamorphic tones into lens bodies that are extremely tiny and lightweight compared to those of the company’s iconic Orion 2x anamorphic set.

Unlike Orion, Mercury lenses are designed to natively cover full-frame and large-format sensors without the need for an expander, and they have a less extreme 1.5x squeeze that plays a significant role in their compact design.

This second group of lenses (54/95/138mm) is claimed to have the same “hallmark character and matching color tones” as the initial trio. This should translate to golden flares, carefully calibrated barrel distortion, and close-to-zero chromatic aberration.

The Mercury lenses are only available in ARRI PL mount and have unified mechanical specifications, including a front 95mm diameter and a modern cinematic housing with standardized gears.

Price and availability

Group II of the Atlas Mercury Series will be available for pre-order starting from November 14th, 2023. According to the company, the complete range of lenses should start shipping in Q3 2024.

For reference, the Group I lenses (36/42/72mm) currently retail for $7,995 each, while the 3-lens set costs $23,985.

For more information, please visit Atlas’ website here.

Have you ever shot on Atlas anamorphic lenses? What do you think of this second group of Mercury focal lengths? Let us know your thoughts in the comment section below!

SIRUI is relatively new to lens manufacturing and already provided the industry with some innovative optics. These include some anamorphic sets, cine-macro lenses, and more, but until now they all shared a common trait – Manual operation.

The Sniper series changes that with a Trio of classic focal length lenses boasting an extremely fast f/1.2 aperture. The trio will mount to Sony E-Mount, FUJIFILM X-Mount, and Nikon Z-Mount, and will cover the APS-C / Super35 format. The Sniper set was first shown as part of CineD IBC coverage – make sure to check out our exclusive interview here.

SIRUI Sniper – the importance of the set

Cine optics are known to come in sets. This enables visual and mechanical continuity across all focal lengths. It also means quick and easy switching between different lenses on specific rigs, mechanical steady shots, or gimbals. This practice is not that common among stills or hybrid systems. Though we all know Canon’s L series or SIGMA’s ART series – those share few practical similarities. One actual set is LUMIX’s f/1.8 primes, consisting of five lenses – 18mm, 24mm, 35mm, 50mm, and 85mm, all similar in size, weight, and rendering. Like Panasonic, SIRUI also exploits its learned cine knowledge and experience to produce this unique f/1.2 Sniper set.

Similarities and diferences

As mentioned above, all Sniper lenses share the basic build. However, they do differ in weight, with the 23mm being the lightest at 380g and the 56mm being the heaviest at 422g. Weights also slightly change between mounts, but we’re splitting hairs here.

All lenses use the common and compact 58mm front filter thread. Additionally, they all use 11 aperture blades to render relatively round bokeh at any aperture. Focus throw (rotation angle) is a massive 360° on all three lenses. This is excellent for precise focusing but may be a little slow for mainstream manual focus. Lastly, all three lenses include a USB-C port for future updates and are available in white, black or silver with a touch of carbon fiber.

The fastest set available for respective systems

Well, that’s a manipulative statement since no other true sets are available for the E, X, or Z mount systems… But although some lenses do provide equal or even faster apertures (like the monstrous FUJIFILM XF 50mm f/1.0 R WR), SIRUI does provide a unique option, especially for hybrid shooters who value continuity, and does so while significantly cutting the price.

Price and availability

SIRUI’s campaign for the Sniper lenses will launch on IndieGoGo on November 20th. Each lens will retail for $349, but you can sign up here to get access to the Super Early Bird Price of $299. Moreover, the 3-piece set will cost $999 (Super Early Bird Price: $849).

For more information, and full lens/camera comparability, please visit SIRUI’s campaign here.

What do you think of SIRUI’s first autofocus lenses? Do you think their AF system can compete with proprietary mechanisms? Let us know your thoughts in the comment section below!

The original Sony a9 introduced the stacked CMOS sensor to the world. Though not common per se, stacked sensors carved their own niche among high-end speed-oriented cameras such as the Canon EOS R3, FUJIFILM X-H2s, and Sony’s own flagship – the Sony a1. Being a speed pioneer, the a9 series needed something new, and that turned out to be the world’s first full-frame global shutter sensor. This kind of sensor sets the stage for some awe-inspiring features, so let’s dive in.

The a9 III – a new standard for capture speed?

As the third iteration of Sony’s speed-oriented camera, the new a9 provides a record-breaking spec sheet:

• Blackout-free 120(!) fps with automatic focus and exposure
• 1/80,000 sec maximum shutter speed (1/16,000 during continuous shooting)
• Flash sync at every shutter speed
• 8-stop 5-axis Synchronized image stabilisation
• Improved ergonomics

Such impressive abilities come from the brand new 24.6mp full-frame stacked sensor, but this one is different than any other full-framer preceding it. It’s a global shutter.

Full-frame global shutter – first ever on a full-frame sensor

At the core of the Sony a9 III is the world’s first FF global shutter. “Global Shutter” means that all 24.6 million pixels capture light at the same time, completely eliminating any rolling shutter effect. For us motion creators, it also means no flickering whatsoever, which makes it a very capable extreme action camera or a crash cam.

With a new Exmor processing chip, the camera is capable of 120 14-bit RAW frames per second in stills mode. Though Sony emphasized the a9 III’s stills capabilities, it’s also an extremely capable video machine boasting some unique features and abilities:

• Zero rolling shutter effect at every speed and resolution
• Crop-free 4K 120p
• Oversampled 4K 60p
• Internal 4:2:2 10-bit all-I
• 16-bit RAW output
• S-Cinetone and S-Log3 color spaces

Improved ergonomics and indications

The Sony a9 III improves various ergonomic aspects by rearranging its button layout, improving the grip and overall user experience. The LCD gets an impressive upgrade. The new 2095K dots panel will support a wide color gamut (DCI-P3) and is now fully articulated. The EVF gets the industry’s high-end standard of 9.44 million-dot resolution, but most importantly, we can still get the highest quality at 120fps. The frame rate can be boosted up to 240fps, but that will lower the quality a bit. As a professional camera, the a9 gets an impressive array of ports, including ethernet, full-size HDMI-A, USB-C, PC-Sync, Mic, and headphone jack. all are encased within a rugged and sealed magnesium alloy chassis.

The world’s lightest full-frame 300mm f/2.8 – the FE 300mm f/2.8 GM OSS

The new FE 300mm f/2.8 GM OSS will tip the weights at 1470g, making it as light as a 70-200 f/2.8. Sony also emphasizes the exceptional balance of the lens that will make hand-held shooting a breeze. As is the case with most professional telephoto primes, the FE 300mm f/2.8 GM OSS boasts a plethora of control points for both focusing and image stabilization. A new function ring will let you switch between full-frame capture and APS-C capture for that extra reach. There’s no information about any other functions it might have at this point, but it’s a nice hardware improvement. Other functions could be added later through firmware updates.

The FE 300mm f/2.8 GM OSS is also compatible with Sony’s teleconverters, so it can function as either a 420 f/4 or a 600 f/5.6 with the 1.4x and 2.0x respectively.

The a1 and a7S III firmware update

The focus breathing correction feature, initially introduced with the a7 IV, will also be added to both cameras. It will allow automatic breathing correction for select FE lenses. The firmware update will also include C2PA format support to enable proof of authenticity. Final details about the countries and regions for this specific function are not yet finalized.

Price and availability

The Sony a9 III will hit the market in the spring of 2024 with a price tag of $5999. The FE 300mm f/2.8 GM OSS will also be available in the spring of 2024 with a price tag of $5999. For more information, take a look at the Sony website.

The Canon RF “trinity” of lenses consists of the 15-35mm, 24-70mm, and 70-200mm, all with a constant f/2.8 maximum aperture, and they are all “L IS USM” lenses. This trio of lenses has been complete for nearly three years now. I have personally upgraded from the EF versions to the RF versions, and while this is a costly upgrade, the RF versions are definitely worth it from a build and optical quality perspective.

Canon is now developing a second “trinity” of lenses with an extended range, and that consists of the 15-35mm f/2.8 L IS USM, the 100-300mm f/2.8 L IS USM, and the newly announced RF 24-105mm f/2.8 L IS USM Z.

Canon RF24-105mm f/2.8 L IS USM Z – features

The Canon RF24-105mm f/2.8 L IS USM Z is part of Canon’s “photography” lineup of lenses and is not a Cinema EOS or Cine-Servo lens, which are usually much bulkier and way more expensive. Even if this new lens becomes available with an optional lens support bracket and zoom rocker, it is not a cinema lens.

This new 24-105mm f/2.8 L IS USM Z weighs 2.9lb/1.34kg, which is well contained if you compare it to the RF 70-200mm f/2.8 L IS USM that weighs 2.67lb/1.2kg or the legendary EF 70-200mm f/2.8 L IS III that is 3.17lb/1.44kg.

The RF24-105mm f/2.8 L IS USM Z has a length of 7.8in/19.9cm, similar to the EF 70-200mm f/2.8 L IS USM. Since this is a relatively long lens, an optional LH-E1 support bracket will be available to relieve some pressure off the camera’s lens mount.

One of the main concerns professional users had with the Canon RF “trinity” of lenses is that the lenses extend and retract when you zoom in or out. The RF24-105mm f/2.8 L IS USM Z is longer than its counterparts, but all the zoom and focus movements are internal, which means the lens barrel doesn’t move as you zoom or focus.

On the lens, you’ll find a zoom ring, a manual focus ring, a user-assignable control ring, and a dedicated aperture ring. This is the first time an RF lens has a true iris ring, and there is an iris ring switch to lock it into place when you are in Auto settings. However, this iris ring currently does not work in Stills mode, but it should work with other camera models launched in 2024. Also, you’ll find two user-assignable function buttons on the lens, but both can only be assigned to the same function.

As its name suggests, this lens has built-in image stabilization of up to 5.5 stops, and up to 8 stops if combined with IBIS or Digital IS on your camera. There is a dedicated IS mode switch on the lens with three different positions.

Inside, you’ll find a “floating” optical system and two nano USM focus motors for fast, silent, and accurate autofocus performance. The lens is dust and weather-resistant with gaskets all around the lens and electronic contacts to ensure it’ll resist harsh shooting conditions.

Lens design

The lens design comprises a whopping 23 elements in 18 groups, including three aspherical and four UD elements. In terms of coatings, you’ll find an Air Sphere coating, SSC multi-coating, and a fluorine coating on the front element to reduce fingerprints and repel dust/oil/water droplets.

The minimum focusing distance is 11.7in/45cm at all focal lengths. The aperture diaphragm consists of 11 blades. Lastly, the front filter diameter is 82mm.

Power zoom adapter

As mentioned previously, an optional PZA – Power Zoom Adapter – will be available, designed specifically for the Canon RF24-105mm f/2.8 L IS USM Z. Please note that it can control the zoom ring only, and not the aperture ring. This adapter attaches directly to the side of the lens via three screws that don’t require any tools.

On the inside, the PZA has an electronic connector and a wheel that makes the zoom ring move.

On the side, you’ll find a zoom rocker, and below it, a Manual/Servo zoom switch. The adapter is powered via the lens body contacts and requires no battery or external power.

However, on cameras such as the Canon EOS R5 C, you’ll need external power to access the maximum zoom speed. For cameras such as the EOS C70, the camera can provide enough power to the zoom motor giving you access to the full zoom speed of the PZA. The zoom speed goes from 3 to 90 seconds in normal mode and 1.5 to 90 seconds in high-speed mode.

Two versions will be available: one with a USB-C on the side and another with a 20-pin port instead of USB-C. You can use that port on the side of the adapter to increase the speed of the motor when using it with the EOS R5 C, but also to control the zoom motor externally if you go with the 20-pin version.

Canon EOS Cinema firmware updates

Last but not least, Canon will release multiple new firmware updates for the Canon EOS R5 C, EOS C70, EOS C300 Mark III, and EOS Mark II that all add:

• Support for CN-R primes and Flex Zoom.
• Support for the upcoming RF 24-105mm f/2.8 L IS USM Z and PZA compatibility.
• Improves vectorscope by adding six targets: yellow, green, cyan, blue, magenta, and red. This can be useful when using color charts, for example.
• Proxy file name option: you can now rename proxy files with “_Proxy” at the end of the file name instead of “_P” as Adobe recommends.

The EOS C70, EOS C300 Mark III, and C500 Mark II will also benefit from new digital teleconverter options (1.5x/2x/2.5x/3x), a feature already available on the R5 C. Furthermore, it’ll add support for the RC-IP1000 remote camera controller.

Another firmware update for the Canon XF605 camcorder will also be released. This firmware will add support for SRT protocol, file recording in XF-AVC Full HD 25Mb/s, proxy file recording in MP4 at 16Mb/s in XF-AVC Full HD 25 format, chunk recording and continuous playback of multiple clips, proxy files renaming, and support for the RC-IP1000 remote camera controller.

Canon Multi-Camera Control App

Canon also showed us an upcoming App for filmmakers called Multi-Camera. This iOS App will allow you to control up to four cameras from your iPhone, including the EOS C500 Mark II, EOS C300 Mark III, EOS C70, and XF605. The App connects to your camera over WiFi and can adjust multiple camera settings from your smartphone, see what you’re recording, start/stop recording, adjust the focus, zoom and iris, ND Filters, ISO, Shutter, White Balance, and Custom Picture profile.

Pricing and availability

The Canon RF 24-105mm f/2.8 L IS USM Z will be available in March 2024 for $2999. The PZA module will also be available in March 2024 and retail for $999 for the USB-C model, and $1299 for the 20-pin version. All firmware updates and the Canon Multi-Camera Control App should be available in early December 2023, free of charge.

For more information, please visit Canon’s website here.

What do you think about all these Canon announcements? Are you interested in getting the RF 24-105mm f/2.8 L IS USM Z? Do you often need a PZA module for the kind of content you shoot? Don’t hesitate to let us know in the comments below!

A little over a year after the release of the Canon EOS R7 and R10, the first mirrorless hybrid APS-C cameras in the EOS R lineup, the company continues to expand its lineup of lenses with affordable and versatile options: the RF-S 10-18mm f/4.5-6.3 IS STM and RF 200-800mm f/6.3-9 IS.

Canon RF-S10-18mm f/4.5-6.3 IS STM – features

The Canon RF-S10-18mm f/4.5-6.3 IS STM is a wide-angle zoom lens compatible with all APS-C Canon EOS R-series cameras, including the EOS R100, EOS R50, EOS R10, and EOS R7. This compact lens weighs only 150g/5.3oz, and thanks to its collapsible design, it stays compact in the closed position. However, the lens will extend at every focal length when you zoom in or out.

On the lens, you’ll find a zoom ring and a user-assignable control ring. For the first time on a Canon RF lens, the control ring has no click-stops. As you can see, the lens has no AF/MF switch on the lens barrel to change your autofocus settings. Indeed, you’ll have to change your AF/MF settings in the camera’s menu.

Inside, the Canon RF-S10-18mm f/4.5-6.3 IS STM features an STM (Stepping Motor) autofocus drive system. According to Canon, it should provide smooth video autofocus performances. Also, if your Canon camera is compatible, you can benefit from digital focus breathing correction, which compensates for unwanted lens breathing.

Furthermore, this wide-angle zoom lens has built-in Image Stabilization up to four stops optically and up to six stops if you coordinate it with your camera’s digital IS.

Lens design

The lens design of the Canon RF-S10-18mm f/4.5-6.3 IS STM consists of 12 elements in 10 groups, including two UD-glass and one aspherical element, to reduce chromatic aberrations and lens flares. The aperture diaphragm consists of seven blades. The minimum focus distance is 14cm/5.5in in Autofocus and 8.6cm/3.4in in Manual focus mode. The front filter diameter is 49mm.

Canon RF200-800mm f/6.3-9 IS USM – features

The Canon RF200-800mm f/6.3-9 IS USM is a compact super-telephoto zoom lens that weighs 4.5 lbs/2.05kg for a length of 12.4 in/31.4cm at 200mm when the lens is retracted. Indeed, as you zoom in, the lens barrel extends.

This super-telephoto zoom lens covers full-frame image sensors, it is dust and weather-resistant, and it has a built-in image stabilizer up to 5.5 stops. The lens comes with a rotatable tripod mount, and if 800mm is a bit short for you, it is compatible with Canon’s RF 1.4x and 2x tele extenders.

On the lens, you’ll find a zoom ring, a focus ring, and a user-assignable control ring. Furthermore, it has two user-assignable function buttons, one AF/Control/MF switch, and a switch to turn the image stabilization On and Off.

Lens design

The lens design of the Canon RF200-800mm f/6.3-9 IS USM consists of 17 elements in 11 groups, including three UD lenses. The aperture diaphragm consists of nine blades. The minimum focus distance is 0.8 m/2.62 ft at 200mm. Lastly, the front filter diameter is 95mm.

Pricing and availability

The Canon RF-S 10-18mm f/4.5-6.3 IS STM will be available in December for $329. An optional lens hood (codename: EW-53B) will be available as an option. The Canon RF 200-800mm f/6.3-9 IS will also be available next month for $1899.

For more information, please visit Canon’s website here.

What do you think about these two new Canon RF lenses? Do you often use super-telephoto zoom lenses? Don’t hesitate to let us know in the comments below!

In recent years, many new brands have introduced their lenses as an alternative to the big players’ catalogs, giving photographers and filmmakers more options to expand their arsenal. Manufacturers like Sirui, Zhongyi, or Viltrox offer more affordable alternatives for those on a budget or willing to try different visual paths. Now it’s Thypoch’s turn, targeting their lenses to photographers who use M-Mount cameras.

Thypoch’s website and social media posts show an artistic flavor that seems to target their lenses to a specific kind of photographer. Although their trailer videos talk more about philosophical and ethereal concepts than about their lenses, they mention some characteristics of the Simera, and the images look promising. Let’s dive a bit more into these.

Vintage character with modern features

The Thypoch Simera are manual focus lenses with a vintage feel that matches the rangefinder cameras’ aesthetics. They are available in two colors (classic black and silver), and the exterior is aluminum alloy. Each lens features an anodized square lens hood with a threaded interior to preserve sharpness in direct light.

The Simera 28mm and 35mm lenses feature an aperture of f1.4 and a 14-blade diaphragm. We can click and de-click the aperture for a more precise adjustment. In a full-frame environment at f1.4, these lenses produce images with a shallow depth of field and bokeh. The fast aperture will also benefit shooting at night and in low-light conditions.

The lenses also feature three high refractive index (HRI) lens elements and one aspherical lens designed to correct field curvature and spherical aberrations. Their minimal focus distance is 0.45m, and from 0.7m, the focus rings present a tactile resistance that alerts the photographer to switch from rangefinder focus to the EVF for better focus accuracy.

Target, price, and availability

Relatively affordable and compact, the Thypoch Simera lenses aim at street photographers and shooters with a compact setup in general. Their look, manual focus, and specs make them perfect for shooters looking for control, a specific aesthetic, and a different photographic experience in general.

Both Thypoch Simera lenses are priced at $699; you can find your dealer here. Besides that, you can follow them on their Instagram account to stay informed of their updates.

What do you think about these lenses? Do you use manual lenses like these for street photography? Let us know your thoughts below!