Egami spotted another patent filed by Canon. The patent refers to s 50 mm F1.4 , 50 mm F1.2 , 45mm F1.6 and 60 mm F1.8 lenses, and describes an apochromatic design that aims to reduce chromatic aberration.
Patent description (machine translated):
Patent Publication No. 2013-57802
2013.3.28 Release Date
2011.9.8 filing date
Example
Example
Focal length
Fno.
Angle of view
Focus
One
51.7
1.45
45.4
Floating rear focusing +
Two
51.7
1.45
45.4
Fed whole
Three
51.7
1.25
45.4
Floating rear focusing +
Four
51.7
1.25
45.4
Fed whole
Five
45.0
1.6
51.4
Fed whole
Six
60.0
1.85
39.7
Fed whole
In many large-diameter Gaussian secondary spectrum of axial chromatic aberration
This problem occurs when using glass and others with the same Abbe number, a lens that is different partial dispersion ratio
When used in a positive lens lanthanum flint glass small partial dispersion ratio
When used in a negative lens of flint glass titanium large partial dispersion ratio
Canon patent
Using a lens with a partial dispersion ratio appropriate correcting the axial chromatic aberration secondary spectrum
The concave lens surface adjacent to the aperture, coma aberration correction, the sagittal flare
Video above: Dr. Hubert Nasse, Staff Scientist at Carl Zeiss about a new dimension in photography.
Zeiss is going to release a new 55mm f/1.4lens by the end of 2013. They published an interesting post – titled From brand personality definition to prize-winning design – on their site about finding an aesthetic identity that moves their line-up further on from the well known qualities usually associated with the brand. The Zeiss 55mm f/1.4 will be the first of a new family of high-end lenses. A lens that will not only deliver the well known image and build quality but also introduce a new aesthetic dimension to Zeiss’ line-up. Quoting Martin Dominicus, Head of Marketing in the Carl Zeiss Camera Lens Division:
ZEISS lenses are known for their technical precision, excellent image performance and ergonomics. That will always be the case because we know photographers’ needs and user circumstances. But our new lenses should also fulfill the highest aesthetic expectations of our customers to become design objects in their own right […].
The main question Zeiss was facing is about how to mirror the consolidated brand identity in a form without compromising it.
Zeiss put [German design studio Phoenix Design] in contact with a pool of professional photographers, many of whom had worked with ZEISS for a long time. In a series of interviews with photo artists, as well as product and automotive photographers, the core factors of the ZEISS brand were analyzed and given certain attributes. Accordingly, it was concluded the brand’s image has three core elements. The technology is defined in the combination of terms “precise – progressive – high-performance”. From the user’s perspective, the elements “logical – uniform — reliable – user-oriented” are most important. Finally, the effect of the lenses is described as “integrative – pleasant – distinct.” This definition prescribed fairly clearly how the external design of the lenses should look: Form and labeling should be part of the brand’s uniqueness. At the same time, ZEISS lenses should also be recognizably ZEISS.
The new aesthetic philosophy Zeiss’ is embracing doesn’t neglect pragmatic aspects, as how to make reading the lens parameters easy even in poor lighting conditions. This is achieved by taking care of details in consideration of the aesthetic dimension:
The lenses’ new window scales serve the same purpose: Only the relevant scale range around the index line is visible to the photographer. The yellow scale numbers, which like the scales themselves were modeled after professional cinema lenses, are easy to recognize in poor lighting conditions and therefore represent an additional unique feature for camera lenses. The new typeface DIN 1451, which was introduced with the lenses, is highly legible. This typeface is known not only for its clear, classic, modern appearance; it has been in use since 1936 for German road and rail signage. It was cut into the lens using fine cutters and a fixed stroke width.
That’s what they mean:
Credit: Carl Zeiss
The high-end SLR lens that will come on the market at the end of 2013 reflects the new design language the best: the funnel-shaped form, a surface that is soft to the touch, the optimized focus ring and other details will contribute to even better manageability and an unmistakable look.
Keith over at Northlight Images got some new information about the eagerly awaited Canon EOS 7D Mark II, the successor of the highly popular Canon EOS 7D (price & specs).
First of all, it appears that Canon will stick with a relatively “low” megapixel figure (21MP), and the body of the EOS 7D Mark II should be similar to the body of the EOS 7D (though it feels more rugged). And it should feature WiFi and GPS!. The murmured specs:
21MP APS C
ISO 100-25600 (L: 50, H1 51200, H2 102400)
10fps
Video ‘stills burst’ mode 30/60 fps
Full HD video with manual control
Single CF card slot
19 AF Points all cross
On chip phase detect pixels for liveview and AF tracking
100% viewfinder
Viewfinder LCD higher resolution than 7D
3.2″ LCD
GPS, WiFi
Alloy body with better weather sealing over 7D
Take everything with a grain of salt. The specs are said to be of a test camera, in other words: a prototype Canon is testing. However, the shape and other physical aspects are said to be unlikely to change.
The Canon Professional Network (CPN) published an interview with photographer Jeff Ascough. The talk is about the new Canon EF 24-70mm f/2.8L II lens (price & specs). A lens that has outstanding optical performance and a rather hefty price tag.
Over the past few months Canon Ambassador Jeff Ascough has been photographing weddings in his distinctive documentary style, primarily with a Canon EOS 5D Mark III DSLR teamed with the EF24-70mm f/2.8L II USM zoom lens. He spoke to CPN about his experiences shooting with the latest incarnation of an already much-loved standard zoom lens; one that is smaller, lighter, more durable and optically more sophisticated than its predecessor.
CPN: The lens is more durable and is better weather-sealed than its EF24-70mm f/2.8L USM predecessor. What is your opinion on the build quality of the lens?
JA: “To be honest the old 24-70mm wasn’t the best made lens I’ve ever used. But this one seems a lot ‘tighter’ – that’s how I describe it – everything is more positive. It’s much more solid.
Ergonomically it’s much better – it’s a smaller lens and I’ve got quite small hands, so when you use it with a camera ergonomically it’s much nicer to use. The zoom ring is really nice because it’s not as wide as the other lens was in terms of the actual ‘throat’ of the lens – you haven’t got to move it so far to get it to zoom in and out. The focus is really nice as well – that’s just on the end of my scale with my fingers.”
This website or its third-party tools use cookies, which are necessary to its functioning and required to achieve the purposes illustrated in the cookie policy. If you want to know more or withdraw your consent to all or some of the cookies, please refer to the cookie policy. By closing this banner you agree to the use of cookies.
Shane Hurlbut Talks the Art & Technology of Cinematography, Shooting ‘Need for Speed’ on Canon C500 –> read it here
Canon EOS SL1 (price & specs) camera bolsters the argument of a converging DILC market –> read it here
3D a proven failure, 4K unlikely to succeed – HBO –> read it here
