Techart has stepped out of the lab again with another lens adapter. Previously, the company introduced its Sony E – Nikon Z Autofocus Adapter (TZE-01) to adapt Sony E lenses to Nikon Z full-frame mirrorless cameras. Now, its Canon EF – Nikon Z Autofocus Adapter (TZC-01) can adapt Canon EF lenses to the Nikon Z series, including the Z7 and Z6.
With the Coronavirus now directly or indirectly affecting people in over one hundred countries, the cancellation of a trade show such as NAB is minor news. None the less, with the cancellation of NAB, I wanted to pose the question ‘Are trade shows still relevant?’ Many people are probably wondering why it took NAB so … Continued
For $39,000 USD, you can now purchase a 4.9mm F3.5 Hyper Fisheye lens for Sony’s full-frame E mount. This wild lens offers a 270-degree field of view, meaning that it can photograph the area behind the focal plane. For the curious photographers and videographers without nearly $40,000 burning a hole in their pocket, the lens can be rented from Lensrentals for around $1,250 a week.
The 4.9mm F3.5 Hyper Fisheye lens has unique origins. Back in 2015, Roger Cicala and the Lensrentals team announced the launch of C-4 Precision Optics as an April Fools’ Day prank of sorts. There were various lenses discussed in the article, including a 66.6mm F0.666 Micro Four Thirds lens, a 150mm F1.0 full-frame prime lens and a full-frame 4.9mm F3.5 270-degree fisheye lens.
The lattermost lens was nicknamed ‘The Light Bender’ by Cicala and the C-4 Precision Optics team. Unlike most April Fools’ Day pranks, however, this one is no longer a laughing matter. Of the lens, Cicala wrote on the Lensrentals blog, “That means this lens not only shows everything from one side to the other (for the mathematically challenged among you, that would be 180 degrees), it actually shows stuff that’s behind you.”
In February 2019, Cicala and the Lensrentals team including Aaron Closz, Brian Caldwell and Wilfried Bittner, assembled a prototype version of the fisheye lens. You can see a video of this process below.
The lens is now out of prototype stage and available for preorder and rental. This specialty manual lens for Sony E mount delivers a 270-degree field of view and weighs a hefty 12.97 kilograms (28.6 pounds). Optically, it includes five extra-low dispersion lens elements. To help put into perspective what a 270-degree field of view looks like, you can see a sample image via Lensrentals below.
Sample image captured using the C-4 Precision Optics 4.9mm F3.5 Hyper Fisheye lens. Image credit: Lensrentals.
Comparing the 4.9mm F3.5 Hyper Fisheye lens to other fisheye lenses, Cicala says it most closely resembles Nikon’s legendary Nikkor 6mm F2.8 fisheye, which is very rare and can sell for upwards of six figures (USD). The Nikon lens captures images with a 220-degree field of view.
Physically, the lens is very different from most other lenses. It includes built-in extendable tripod legs and you mount the camera to the lens inside the tripod array. The lens has been designed with immersive video applications and specialty applications in mind. Accordingly, it cannot be set up and used as simply as other more traditional fisheye lenses.
The C-4 Precision Optics 4.9mm F3.5 Hyper Fisheye lens shown with an attached Sony mirrorless camera. As you can see, the camera mount to the lens inside of the built-in extendable tripod legs. Image credit: LensAuthority.
For those interested in learning more about the lens, we recommend heading to Lensrentals to read a full recap of the prototype assembly process, which includes dozens of detailed images. It’s very neat to see a hand-built lens come to life.
If you dream of tuneable, repeatable vintage looks for Large Format/Full Frame, look into ARRI Rental’s DNA LF Primes. It’s one thing putting an LPL mount onto an ancient optic. It is an altogether different experience having access to more than 22 sets of 9 DNA LF lenses that match, can be tuned, restored to normal, and retuned again to the same or different specifications. You can do this at ARRI Rental facilities in Munich, Berlin, London, Burbank and New York.
There will be new Sony product announcements on April 20 at 9:00am PST / 12:00 EST Sony ‘s Press Conference for NAB now Rescheduled to Monday April 20th 9:00 am PST / 12:00 EST Sony Electronics – 03/12/2020 Sony continues…
DxOMark have published their results after testing the sensor inside Sony’s (relatively) new a9 Mark II, and despite sporting the exact same chip as its predecessor, the Sony a9, the Mark II somehow managed to get a higher score.
When we say that the Sony a9 Mark II has the same sensor as the Sony a9, we mean the exact same sensor. Both cameras use the same 24.2 MP Exmor RS “stacked” CMOS chip with DRAM built in to achieve a maximum 20fps when using the electronic shutter. So why did the Sony a9 Mark II manage to beat the first a9 in every category DxOMark tests?
As DxO explains in their testing conclusion, it all comes down to image processing and how the ISO sensitivity is handled.
Sony says that the a9 II has the same sensor as the original a9, but as we’ve seen the new model adopts a different approach to processing, using a change in sensitivity behavior [between ISO 400 and ISO 800] both to improve color discrimination and to widen dynamic range at higher ISOs. It’s the first time we’ve seen this and it marks a shift in strategy for Sony.
This change in sensitivity behavior mirrors what you see in other full-frame mirrorless cameras like the Panasonic S1, and gives the Sony a9 II an edge over its predecessor, albeit a slight one, across all three categories DxOMark scores: color-depth, dynamic range, and low-light ISO.
To read the full review, and find out how the Sony a9 II compares against the Nikon D5 and Canon 1D X Mark II that most sports photographers currently use—spoiler: very favorably—head over to DxOMark.
What changes did Stanley Kubrick make to The Shining that made Stephen King angry? And why were those changes necessary to the story?
Stanley Kubrick’s The Shining is one of the most influential horror movies, and movies in general, ever released. It’s been heralded, homages, copied, and satirized on The Simpsons, which is the world’s highest honor.
It seems like everyone loves talking about The Shining…everyone but Stephen King…you know, the guy who wrote the original book on which the movie is based.
The feud between King and Kubrick is legendary, but what’s less known is the reason for it. Sure, changes were made from book to movie, that ALWAYS happens across every adaptation, but why were these ones so egregious?
Let’s head to the Overlook Hotel, pop open the door to room 237, and find out.
As the Coronavirus (COVID-19) continues to impact the entertainment industry and the filmmaking community, we will keep you updated.
The entertainment industry is feeling the effects of the worldwide COVID-19 outbreak. Major events like NAB 2020, SXSW, and Tribeca have been canceled or postponed, international box office receipts have taken a huge hit as theaters close, and even America’s Dad, Tom Hanks, has contracted the virus. We have also learned that Disneyland will be closed, schools may soon be closing, and major sports are being postponed.
Photographer Ashley Boring has teamed up with lighting company Westcott to create a helpful educational video that explains the difference between rear- and front-curtain flash sync, and shows you how to use this knowledge to create some interesting portraits.
The traditional focal plane shutter uses two “curtains” to control your exposure when you take a picture: a leading or “front” curtain, and a trailing or “rear” curtain. As Boring explains right at the top of the video, the difference between rear- and front-curtain sync is all about the timing of your flash.
Front Curtain Sync – The flash triggers at the beginning of the shutter duration, as the front curtain is opening.
Rear Curtain Sync – The flash triggers at the end of the shutter duration, as your rear curtain is about to close.
You can use this to create interesting, but different, light trail effects in your images by using a longer shutter speed. If your subject is moving, front curtain sync will capture them where they start out, with the light trails tracing their movement after the fact:
While rear curtain sync will capture your subject where they end up, with the light trails tracing the movement that got them there.
You can also get more dynamic about it by zooming in or out, or panning the camera while the photo is being taken. The flash will freeze your subject inside or next to their own light trails either at the beginning (front-curtain sync) or end (rear-curtain sync) of your exposure.
Since this is a branded video, it obviously features Westcott’s new FJ400 strobe pretty prominently, but the knowledge and tips Boring shares are applicable to just about any modern-day monolight or strobe you might be using. The one exception is the “delay” feature, which allows you to set exactly when during the shutter duration you want the flash to fire.
In the case of the image below, Boring set the flash to fire at 0.5 seconds during the 1 second exposure, giving her a combination of the front- and rear-curtain sync effects:
Check out the full video at the top to hear Boring explain all of this in her own words, and to watch her use the technique to create some colorful light trails that give her portraits a cool high-fashion editorial look.
Image credits: All photos by Ashley Boring and used with permission.