Meike Cinema Prime Lenses for Micro Four Thirds & Super 35 Fill the Chasm Left by the Demise of Veydra Mini Primes

The sudden closure of Ryan Avery’s Veydra cinema prime lens design and manufacturing enterprise several years ago created a huge gap in the affordable ciné lens market and many self-funded independent moviemakers were dismayed if not devastated by the ending of the line. 

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Meike Cinema Prime Set in 12mm, 16mm, 25mm, 35mm and 50mm T2.2 lenses with Micro Four Thirds mounts. Meike Cinema Primes in 65mm and 85mm focal lengths are coming later this year, 2020. Image courtesy of Duclos Lenses.

Luckily, HongKong Meike Digital Technology Co., Ltd has ramped up its lens division to the point where the company appears to be rivalling if not outstripping Mr Avery’s noble efforts.

Veydra, thwarted

Duclos Lenses came up with a Fujifilm X-Mount option for Veydra’s Mini Primes that can cover the APS-C format. Image courtesy of Veydra LLC.

I had been planning on obtaining my own set of Veydra Mini Prime lenses for native use in documentary production on Panasonic and Blackmagic Design cameras, spurred on by Duclos Lens’ creation of its interchangeable mount to enable using a subset of the Veydra lenses on Fujifilm X-mount Super 35mm/APS-C cameras.

Two things dampened my enthusiasm, however.

First was the sheer cost of a complete set of Veydra lenses in M43 mount along with the Duclos X-mount kits needed when adapting them for Fujifilm X-mount cameras.

Compare the cost of the Meike primes with the now discontinued Veydra primes by looking at the Duclos Lens product pages for proof of the radical price differences between lens lines.

Compare the Meike lenses’ USD400.00 average price and reported superior quality to the Veydra lenses’ USD1200.00 average price and the conclusion is clear – consider investing in a set of Meike cinema primes.

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Meike 4 Lens Cinema Prime Set 12mm, 16mm, 25mm, 35mm T2.2 for Micro4/3 MFT at Revar Cine website. Image courtesy of Revar Cine.

The current price of the four-lens set for Micro Four Thirds as above at Ryan Avery’s Revar Cine website is USD1595.00, about one Meike lens above the cost of just one Veydra lens.

At time of writing, seven focal lengths are available as Meike Cinema Primes in M43 mount :

  • 12mm = 24mm in the 35mm sensor format
  • 16mm = 32mm
  • 25mm = 50mm
  • 35mm = 70mm
  • 50mm = 100mm
  • 65mm = 130mm
  • 85mm = 170mm

A subset of the Meike Cinema Primes is available for Super 35/APS-C cameras in Sony E-mount and Fujifilm X-mount:

  • 25mm = 37.5mm in the APS-C/Super35 sensor format
  • 35mm = 52.5mm
  • 50mm = 75mm
  • 65mm = 97.5mm
  • 85mm = 127.5mm
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Meike 65mm and 85mm T2.2 Cinema Primes, listed by Meike as coming later in 2020. Image courtesy of Meike.

Whether for  M43 or Super 35 cameras, the Meike Cinema Primes provide a well-spaced and feature-matched set of focal lengths that should meet most cinematographers’ daily needs.

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The Voigtlaender Nokton f/0.95 Micro Four Thirds lens set, minus the matching and more recently released Voigtlaender Nokton 60mm f/0.95 M43 lens. Left to right: 10.5mm, 17.5mm, 25mm and 42.5mm focal lengths. Duclos Lenses offers ciné-modded versions of these stills lenses, making them more suitable for video production. Meike needs to offer a wider lens than its current 12mm.

I would very much like to see Meike release a super wide angle in the 10mm to 10.5mm range, and an 18mm moderate wide angle lens with coverage enough for M43 and Super 35.

I have written before about the need for a professional-quality 18mm lens for stills photography with Fujifilm X-mount cameras, as an alternative to Fujifilm’s quirky and semi-pancake Fujinon XF 18mm f/2.0 R.

Meike’s current cinema prime lens offering for Super 35 goes no wider than 25mm and a complete lens set needs, nay, demands, a medium wide and an ultra wide lens in the equivalent of 28mm and 21mm.

That is, an 18mm and a 14mm.

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Veydra 50mm and 25mm Mini Prime Cinema manual focus lenses with imperial or metric markings, made by Veydra LLC.

Ryan Avery had been pursuing an 8.5mm ultra wide-angle Veydra M43 lens design but eventually ruled it out due to cost and size considerations.

And then disaster struck with a break-in at the company’s lens storage facility, followed by a court case with Mr Avery’s Veydra business partner.

Matthew Duclos of Duclos Lenses recently shared all he knows about Veydra’s demise at his personal blog.

Meike Cinema Lenses with Ryan Avery

Meanwhile, Ryan Avery is retailing Meike Cinema Primes at his Revar Cine website.

“Meike Cinema Prime lenses are designed specifically for mirrorless cameras. Available for MFT, Sony E, and Fuji X Mount cameras from Micro4/3 to APS-C size sensors. Compact, lightweight and perfect for a true cinematography experience on most mirrorless cameras.”

Meike Cinema Primes on Fujifilm and Panasonic hybrid and Blackmagic Design cinema cameras

Meike’s cinema lens lineup for Micro Four Thirds, Sony E-mount and Fujifilm X-mount are welcome indeed given their affordability and the absence of OEM cinema prime lenses by brands such as Fujifilm, Olympus, Panasonic and Sony.

After the end of Veydra, I was contemplating the direction to take with video-capable prime lenses for Super 35/APS-C and Super 16/M43.

I grew up relying on prime lenses for filmmaking and still feel most comfortable with cinema primes for video production over the reportedly excellent zoom lenses in several lens mounts made by Fujifilm in its Fujinon MK pairing for X-mount, E-mount and M43.

With Olympus’ recent announcement that it had sold its camera and lens division, and the possible outcome of its excellent M.Zuiko Pro zoom and prime lenses going the way of Veydra, I have been wondering if my beloved Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro should plan on welcoming some M.Zuiko Pro siblings if there was a sudden sell-off of the lineup.

But the M.Zuiko Pro lineup does not answer the need for X-mount cinema lenses whereas Meike appears to be on the right track not only with its current Meike Cinema Prime offerings and possible additional focal lengths but also its coming so-called “full frame” aka 35mm sensor format cinema prime lenses.

More power to Meike’s arm, though I do hope the company will see fit to loaning cinema primes to a range of well-qualified stills photography and video production reviewers so we can get the full measure of these exciting new lenses.

Now to find out if there is a way of converting their M43 mounts to Fujifilm X-mounts when needed.

Links

Viltrox To Release More X-Mount Lenses After Its Viltrox PFU RBMH 85MM F1.8 STM Telephoto Prime

Chinese lens, lights and accessories maker Viltrox appears to have successfully reverse-engineered Fujifilm’s lens-to-camera communications protocol and recently released its first X-Mount autofocus prime lens for Fujifilm X cameras, the Viltrox PFU RBMH 85MM F1.8 STM telephoto. 

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Viltrox PFU RBMH 85MM F1.8 STM prime lens for Fujifilm X-Mount cameras.
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Leica worked out the best prime lens focal length line-up for documentary photography and photojournalism in 35mm years ago and it remains the benchmark and role model for other lens makers to this very day. The only focal length missing from this lens collection is 40mm, which Leica made for the Leica CL rangefinder camera which was later taken over by Minolta as the Minolta CLE with 40mm standard lens as well as a 28mm and 90mm lens. Too many contemporary lens makers leave out 28mm and 75mm lenses and their equivalents for other sensor formats. Why? Both these focal lengths are the most essential for documentary photography and photojournalism.

According to reports from Fuji Rumors, the next three Viltrox X-mount cabs off the rank, as it were, will be 23mm f/1.4, 33mm f/1.4 and 56mm f/1.4 autofocus prime lenses and I am hoping for more after that.

I am also hoping that Viltrox will come up with other focal lengths useful in documentary cinematography and photography, such as those equivalent to 21mm, 28mm, 75mm and 105mm in the 35mm sensor format.

Fujifilm does not appear to be in any hurry to update its ageing and quirky Fujinon XF 18mm f/2.0 prime lens, equivalent to the documentary-essential 28mm focal length, and there is no sign on the Fujifilm X-mount lens roadmap of the documentary and portrait-essential focal length of 70mm, that is, 105mm in the 35mm sensor format.

Early reviews of the Viltrox PFU RBMH 85MM F1.8 STM prime lens note that it may not be as sharp or have as much micro-contrast and resolution as Fujifilm’s own X-mount lenses, but given Viltrox’s much lower prices and the fact that many cinematographers do not need nor want maximum sharpness in their lenses, a matched set of Viltrox prime lenses may be very attractive for some.

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You either love it or hate it. Canon EF 24-105mm f/4.0 L USM zoom lens, prone to the all-too-common aperture control ribbon cable failure that can apparently cost a fortune to have fixed in Australia. Otherwise a remarkably popular lens with videographers using it natively and adapted on a wide range of cameras and sensor sizes.

Why else would Canon’s also optically-quirky and poorly-manufactured Canon EF 24-105mm f/4L IS USM kit zoom lens have proven to be popular amongst cinematographers whether adapted or not, despite better-designed and better-made alternatives such as Sigma’s 24-105mm f/4 DG OS HSM Art lens for Canon EF or two other Canon alternatives such as the Canon EF 24-105mm f/3.5-5.6 IS STM lens and the Canon EF 24-105mm f/4L IS II USM kit zoom?

I happily used the 24-105mm f/4L IS USM kit zoom that came with my Canon EOS 5D Mark II for some applications in cinematography and photography until it fell apart just after its warranty expired, and hope to be using this lens again soon, when it is finally repaired, this time mated to my Fujifilm cameras via an EF-to-X adapter.

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  • Viltrox EF-FX2 0.71x Lens Mount Adapter for Canon EF-Mount Lens to FUJIFILM X-Mount CameraB&H
  • Viltrox EF-M2 II Canon EF Lens to Micro Four Thirds Camera Mount AdapterB&H
  • Viltrox PFU RBMH 85mm f/1.8 STM Lens for FUJIFILM X B&H

Gobe is an Australian Lens Adapter and Filter Company That Plants Five Trees for Every Purchase Made

Cinematographer/director Paul Leeming of Leeming LUT Pro dropped by yesterday and very kindly gave us two vintage M42-mount manual-focus prime lenses, a Panagor MC 28mm f/2.8 and a Pentacon 50mm f/1.8. 

Both lenses are in excellent condition and are a reminder of how useful such lenses are for shooting video with recent and current generations of hybrid cameras equipped with focus peaking. 

This morning I googled adapters for these lenses and an Australian camera accessories company came up in the search results – Gobe Corp Pty Ltd, headquartered in Byron Bay. 

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Gobe M42 to Fujifilm X-mount lens adapter.

I don’t know anything about Gobe’s products other than what is published in their website so cannot make any recommendations right now, but am pleased to note that they state that they plant five trees for every purchase made of their their products.

I will now be looking for hands-on reviews of Gobe products, especially of their fixed and variable neutral density filters, UV filters and lens adapters.

Links

  • Camera-wiki.org – Panagor– “[Jaca Corporation] are most famous for their Elicar and Panagor brand lenses, made by a variety of Japanese lens manufacturers which included Komine and Kino Precision.”
  • Gobe – website
  • Leeming LUT Pro – “Leeming LUT Pro™ is the world’s first unified, corrective Look Up Table ( LUT ) system for supported cameras, designed to maximise dynamic range, fix skin tones, remove unwanted colour casts and provide an accurate Rec709 starting point for further creative colour grading. Multi-camera shoots are now much easier, because you are starting with a common, colour-matched baseline, meaning much less time trying to match cameras in post before starting your creative grading.
  • WikipediaPentacon – “The name Pentacon is derived from the brand Contax of Zeiss Ikon Kamerawerke in Dresden and Pentagon, as a Pentaprism for Single-Lens Reflex (SLR) cameras was for the first time developed in Dresden. The cross section of this prism has a pentagonal shape. Pentacon is best known for producing the SLR cameras of the Praktica-series as well as the medium formatcamera Pentacon Six, the Pentacon Super and various cameras of the Exa series.”

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Veydra LLC, Maker of Affordable Manual Focus Mini Prime Cinema Lenses, Is Dead. What Now for Lenses in Their Class?

Veydra LLC, maker of the Veydra Mini Prime manual-focus cinema lenses for Micro Four Thirds, Sony E-Mount and Fujifilm X-Mount cameras, is no more. 

Veydra’s Ryan Avery recently announced the company’s demise on its Facebook page, bringing to an abrupt end the story of this doughty little lens maker, throwing into confusion affordable native geared cinema prime lens choices for independent moviemakers. 

With its mission statement being “Veydra lenses are designed to be premium quality cinema lenses at the absolute minimum retail price”, Veydra gave thousands the opportunity of using cinema lenses instead of the more common stills-oriented  non-cinema zoom and prime lenses we have come to rely upon despite their shortcomings for video use. 

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Veydra 50mm and 25mm Mini Prime Cinema manual focus lenses with imperial or metric markings, made by Veydra LLC.

Veydra LLC has gone out of business due to the conclusion of ongoing litigation between the founders of the company.

I offer special thanks to everyone involved in the success of Veydra; first and foremost all Veydra Kickstarter backers and customers. Specific thanks to those who made it possible from the start; Phil Holland, Illya Friedman, Matthew Duclos, Joshua Brown, Alex Jacobs, and all the supporters too numerous to mention here.

It’s been a wonderful journey and I thank you all for your support and kindness.

—Ryan Avery
Co-Founder

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Veydra Mini Prime colour-matched, geared manual-focus cinema prime lenses, from left, 12mm T2.2, 16mm T2.2, 19mm T2.2, 25mm T2.2, 35mm T2.2, 50mm T2.2 and 85mm T2.2 for Micro Four Thirds and APS-C sensor cameras.

Social media rumours have it that there was some conflict at Veydra about one partner licensing his lens designs out to another company, Meike, but another factor leading to Veydra’s end may have been the theft of US$200,000 worth of lenses from the company’s warehouse in 2017, after which the company seemed to drop off the radar.

There are cinema prime lens alternatives, however, with SLR Magic releasing an intriguing set of lenses for Super 16 and Super 35  digital cameras in M43, E-Mount and X-Mount.

Another option is Fujifilm’s impressive MKX cinema zoom lenses available in two focal length ranges and now in the same there mounts.

Should Fujifilm continue delivering on its promise to radically improve video functionality on its XF APS-C/Super 35 cameras,  SLR Magic’s seven lens collection appears attractive with the lenses’ 18mm, 22.5mm, 27mm, 37.5mm, 52.5mm and 112.5mm equivalence in the 35mm sensor format.

So far Meike has only released three cinema prime lenses and not in all three mounts, in 12mm, 16mm and 25mm focal lengths, so time will tell whether the company is fully committed to supplying a full set of primes in three mounts.

A prime lens alternative? SLR Magic MicroPrime Cinema Lenses for Micro Four Thirds, Fujifilm X-Mount and Sony E-Mount.

A cinema zoom alternative? Fujifilm Cinema Zoom Lenses for Micro Four Thirds, Fujifilm X-Mount and Sony E-Mount.

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Meyer Optic USA: Bring back the Fabulous Wonder Bokeh Lens: P 58 f1.9 – Updates: Sad news

https://www.kickstarter.com/projects/meyeroptik/bring-back-the-fabulous-wonder-bokeh-lens-primopla/posts/2256824

“A few weeks ago, our founder, CEO and main investor Stefan Immes had a serious traffic accident, which he barely survived. Although we have been able to talk to him and although, for a very short time of the day he has become the astute, humorous and positive entrepreneur we know, it is now clear that due to the severity of the injuries he will not be able to continue running the company in the foreseeable future.

For a company of 15 employees only, this entails a large number of changes. Currently, we are in the process of reorganization and are trying to establish a working system as no successor regulation can yet be found for the Net SE Group. For this reason, we are currently undergoing a restructuring process with an as yet unknown outcome for the individual divisions….”

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Meyer Optik Görlitz Primoplan P58 58mm f/1.9 Art prime lens for Canon EF mount, M42 mount, Nikon F mount and Pentax K mount.

Other Meyer Optik Görlitz lenses as of August 2018

Commentary

Sad news indeed about Meyer Optik Görlitz CEO Stefan Immes and I hope that the company can successfully reorganize and get back into full production of its innovative and revived art lenses.

I wish to see more, not fewer, makers of these characterful lens types in the world and would hate to see the end of the Meyer Optik Görlitz initiative especially given their aims as stated in their latest Kickstarter campaign:

We restored the Meyer-Optik brand to build lenses that are distinguished in their uniqueness. Today, our lenses are made for those who want more than standard shots for their everyday photography. These lenses are special hand-made optics designed for the artistic photographer who craves a special unique look.

Although I appreciate the precision of most contemporary lens designs, I have had practical firsthand experience of antique and revived historical lenses aka “fine art” or “art” lenses and know there is a place for them in almost every photographer’s and moviemaker’s gear kit.

I wish the Meyer Optik Görlitz company the very best in their reorganization, and look forward to them reviving and updating many more famous and historical lenses in future.

Meanwhile I am glad to know that other companies such as Lomography are also on the classic lens revival trail and look forward to one day being able to try out a cross section of such lenses.

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novoflex_nikon_f_to_fujifilm_g_adapter_01_1024px_80pc
Novoflex Nikon F to Fujifilm G lens adapter on Fujifilm GFX 50S camera.

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  • Lensbaby lensesB&H
  • Lomography lensesB&H
  • Metabones Nikon F Lens to Fujifilm X-Mount Camera T AdapterB&H
  • Metabones Nikon F Lens to Micro Four Thirds Camera T Adapter IIB&H
  • Metabones Nikon F Lens to Sony E-Mount Camera T Adapter IIB&H
  • Metabones Speed Booster lens adapters for Nikon lenses to various camerasB&H
  • Meyer Optik Görlitz LensesB&H
  • Novoflex Nikon F Lens to Fujifilm G-Mount Camera AdapterB&H
  • Novoflex Adapter for Nikon Mount to Fujifilm X Mount Digital CamerasB&H
  • Novoflex Nikon to Micro Four Thirds Lens AdapterB&H
  • Novoflex Adapter for Nikon F Lens to Sony E-Mount CameraB&H

Fuji X Forum: Complete Overview over the available and upcoming Fuji X-Mount lenses – Commentary

https://www.fuji-x-forum.com/topic/998-complete-overview-over-the-available-and-upcoming-fuji-x-mount-lenses/?page=1

“Posted September 1, 2015 (edited)
Fujinon (Native Lenses) (29 in total)

Fujinon lens designation translation: R: aperture ring – – LM: linear motor – – OIS: optical image stabilization – – WR: weather resistant – – APD: apodization filter – – – – Super EBC: electron beam coating, also called electron beam physical vapor deposition…”

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Fujifilm Fujinon XF 8-16mm f/2.8 R LM WR wideangle zoom lens on Fujifilm X-H1 with VPB-XH1 Vertical Power Booster Grip. I use  the Complete Overview over the available and upcoming Fuji X-Mount lenses at Fuji X Forum for information about Fujifilm’s Fujinon and third party lenses for Fujifilm cameras.

Commentary

Three of the most useful free Web-based online tools that I often use here at ‘Untitled’ are Camera Size’s Compact Camera Meter, Points in Focus’ Depth of Field (DoF), Angle of View, and Equivalent Lens Calculator, and the Complete Overview over the available and upcoming Fuji X-Mount lenses at Fuji X Forum, compiled and updated by quincy.

Quincy’s Fujifilm X-Mount OEM and third-party brand lenses lists are kept up to date and are drawn upon by Patrick at Fuji Rumors for articles, and I go there when I need to research current and coming X-Mount lenses for my articles.

I have been struck by how the number of third-party X-Mount lenses keeps increasing, with most of them being manual focus lenses often designed and manufactured by Chinese companies, but so far my biggest ongoing disappointment with the Fujifilm X-Mount system remains unassuaged by Fujifilm itself as well as by third-parties making native or adapted X-Mount lenses.

Other than Fujifilm’s Fujinon XF 18mm f/2.0 R semi-pancake prime lens, nobody but nobody is making a prime lens that is equivalent to 28mm in the 35mm sensor format.

This searing blindspot is not just a Fujifilm X-Mount APS-C problem; it applies to the Micro Four Thirds sensor format as well wherein Olympus does not make a 14mm lens at all and Panasonic’s Lumix G 14mm f/2.5 II pancake lens appears to have gone missing in action from many retailers.

The 35mm sensor format’s 28mm focal length and its APS-C and M43 equivalents of 18mm and 14mm respectively has been a staple of the documentary, photojournalism and street photography genres for years now including those when I relied on them on Canon, Leica and Nikon rangefinders and SLRs, but it seems that contemporary lens makers just do not give a damn.

Yes, one may wish to slap a 14mm, 18mm or 28mm inclusive zoom lens on to one’s camera as I do with my Panasonic Lumix DMC-GX8 and the excellent Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro or the usually underestimated Panasonic Lumix G Vario 12-32mm f3.5-5.6 Aspheric Mega OIS collapsible zoom lens, but using those focal lengths on a zoom and as a prime lens are two very different things.

Especially if the said prime lens allows easy setting of hyperfocal distance via manual focus or manual clutch focus mechanisms like those in some Fujinon prime lenses and Olympus’ excellent M.Zuiko Pro primes and zooms.

Today I found myself back at Fuji X Forum’s Complete Overview over the available and upcoming Fuji X-Mount lenses to see if any Chinese third party lens makers have added a 28mm equivalent to their current or future ranks lately but sadly it remains no go.

There are some close but no cigar choices for non-Fujifilm cameras, such as Panasonic’s Leica DG Summilux 15mm f/1.7 Aspheric prime lens, but for now I will stick with my two M43 zoom lenses rather than fork out for yet another no-cigar substitute.

What I am really after is a decent 18mm prime lens for my Fujifilm X-Pro2 for use as my number one documentary lens.

Given the premium price Fujifilm charges for its elderly Fujinon XF 18mm f/2.0 R, no way am I going to throw good cash down that particular black hole.

Getting back to close but no cigar, independent cinema lens company Veydra lists a 19mm Mini Prime cinema lens amongst its options, and it is available with a Duclos-designed Fujifilm X-Mount that can be DIY-attached onto an M43 version of the lens.

Sigma released a 19mm f/2.8 Art lens in the M43 and Sony E mounts some years ago, but the company has never shown signs of coming out with a Fujifilm X-Mount version.

The Sigma lens is affordable but the Veydra costs over twice the price of Fujifilm’s 18mm.

Veydra’s is an excellent geared cinema lens but its greater size and wide front diameter compared to the Fujifilm and the Sigma makes it a poor choice on my X-Pro2 given I rely on the camera’s excellent optical viewfinder for documentary photography and oftentimes video too.

This ongoing dilemma would not be one if Fujifilm simply went along with their customers’ longstanding request for an updated 18mm lens but I often find myself wondering if the company even cares for its documentary, street photography and photojournalist customers.

Two X-Pro2 cameras equipped with an 18mm lens on one and a 50mm lens on the other is, in my experience, the closest one can get to a perfect two-camera, two-lens documentary photography and photojournalism set-up.

Why provide half of the equation, Fujifilm, when you could so easily give us both even if each lens might be Fujicron-style f/2.0 compacts instead of the maximum versatility of f/1.4 manual clutch focussing alternatives?

The problem of Fujifilm’s ageing, substandard Fujinon XF 18mm f/2.0 R lens

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leica_q_(typ_116)_01_1024px_80pc
Leica Q (Typ 116) digital camera with fixed Leica Summilux 28mm f/1.7 Aspheric lens. This or the Fujifilm X100F with wide-angle convertor lens may be another solution to the lack of a decent 18mm lens for Fujifilm cameras.

Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Fujifilm 18mm f/2.0 XF R LensB&H – The least impressive Fujinon X-Mount lens in Fujifilm’s collection and one that badly needs to be replaced with a new Fujicron-style lens or better yet a wide aperture manual clutch focussing alternative for professional photography and video work.
  • Fujifilm M Mount Adapter for X-Mount CameraB&H
  • Leica CL Mirrorless Digital Camera with 18mm Lens (Black)B&H – This APS-C rangefinder-style camera with interchangeable 28mm equivalent lens is another possible solution to the ongoing problem of Fujifilm’s substandard Fujinon XF 18mm f/2.0 R lens.
  • Leica Q (Typ 116) Digital CameraB&H
  • Olympus M.Zuiko Digital ED 12-40mm f/2.8 PRO LensB&H
  • Panasonic Leica DG Summilux 15mm f/1.7 ASPH. LensB&H
  • Sigma 19mm f/2.8 DN Lens for Micro Four Thirds CamerasB&H – Sigma, please make a Fujifilm X-Mount version of this lens.
  • Sigma 19mm f/2.8 DN Lens for Sony E-mount CamerasB&H – Sigma, please make a Fujifilm X-Mount version of this lens.
  • Veydra 19mm T2.6 Mini Prime Lens (MFT, Meters)B&H
  • ZEISS Distagon T* 18mm f/4 ZM Lens (Silver)B&H

Kickstarter: Kamlan 28mm F/1.4 Standard Prime Lens for Mirrorless Cameras

https://www.kickstarter.com/projects/kamlan/kamlan-28mm-f-14-standard-mirrorless-prime-lens?ref=478061&token=28710d49

“Recreate what your eyes see. Kamlan 28mm F/1.4 Prime Lens delivers superior optical quality along with super low chromatic aberration…

… Normal lenses are valued because they provide a natural angle of view that is similar to what the human eye sees. The images they produce are very relatable and engaging because they feel like scenes people have seen. The focal length is extremely versatile for a wide range of applications – from landscapes to portraits to street photography. In recent years, many people have thought of the 50mm focal length (on full frame) as“normal”, but in times past a normal lens was actually closer to 40mm. The Kamlan 28mm f/1.4 offers a great “normal” focal length and a large maximum aperture at a bargain price…. “

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Machang Optics’ KamLan 28mm f/1.4 APS-C Standard Prime lens available in Canon EOS-M mount, Fujifilm X-mount, M43-mount and Sony E-mount.

Commentary

A new Chinese maker of affordable premium-quality manual-focus lenses has entered the scene with Shenzhen-based Machang Optical Co.’s KamLan brand launching a Kickstarter campaign for its Kamlan 28mm F/1.4 Standard Prime for mirrorless cameras in the APS-C and Micro Four Thirds sensor formats in Canon’s EOS-M mount, Fujifilm’s X-mount, M43-mount and Sony’s E-mount.

Until independent makers of affordable optics such as 7 Artisans, Cosina’s Voigtlaender brand, DZ Optics’ Kerlee brand, HandeVision’s Ibelux brand, Irix, Kowa’s Prominar range, LomographyMeyer Optik Görlitz, RokinonSigma, SLR MagicVenus Optics’s Laowa brand, VeydraYongnuo, Zhong Yi Optic’s Mitakon brand and Zonlai started becoming better known outside their home countries, with some releasing dedicated premium APS-C manual-focussing lenses, the APS-C format had received little to no lens maker love compared to the 35mm sensor format aka “full frame” or “full format”.

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The benchmark for perfect normal. Minolta Rokkor-M 40mm f/2.0 M-mount lens for the famous, much-coveted Minolta CLE 35mm analog rangefinder camera, successor to the Leica CL. Image by SuperB Japan Camera.

I am interested in Kamlan’s 28mm f/1.4 APS-C offering due to its equivalence to 40mm in the 35mm sensor format, often described as the “perfect normal” or “perfect standard” focal length.

The desire for non-35mm-sensor-format “perfect normal” lenses has most often been met with slower pancake-style lenses such as Fujifilm’s Fujinon XF 27mm f/2.8 in APS-C and Panasonic’s Lumix G 20mm f/1.7 II Aspheric in M43.

Fujifilm Fujinon XF 27mm f/2.8 and Panasonic Lumix G 20mm f/1.7 II pancake lenses, equivalent to 40mm

Both lenses appear to be intended for compact camera users relying on autofocus as they lack manual focus rings and their size makes them unsuited for attaching the step-up rings and 77mm or 82mm fixed or variable neutral density filters required for professional video production.

Until the KamLan 28mm f/1.4 APS-C Standard prime, small size seems to have been a common theme with 40mm equivalent lenses starting off with the legendary though short-lived Leica Summicron-C 40mm f/2.0 released for the Leica CL compact 35mm analog camera.

Minolta later released its own version, the  Minolta M-Rokkor 40mm f/2.0, to go with the Minolta CLE camera which carried on and evolved well beyond the Leica CL’s achievements.

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Matched sets of manual focus lenses are a boon for documentary photography and video. Illustrated: the first four lenses from the Leica M 0.8 cinema lens set by Leica Camera sister company CW Sonderoptic, in the 21mm, 24mm, 28mm, 35mm and 50mm focal lengths, all with 77mm filter diameters.

Machang Optics’ KamLan APS-C lens range appears to be taking a very different approach, one more suited for precise manual focussing and thus video production, with a range of current and coming wide aperture manual-focus prime lenses including the 15mm f/1.8, 21mm f/1.8, 28mm f/1.4, 32mm f/1.3 and 50mm f/1.1 Mark 2.

If they prove to be well-matched in terms of colour and optical correction the KamLan lenses may well make for a good set of video lenses for Fujifilm camera users.

APS-C new product roadmap 2018 for KamLan brand manual prime lenses.

In their 35mm sensor equivalents, these lenses will be 22.5mm, 31.5mm, 42mm, 48mm and 75mm, a fine set of focal lengths suitable for feature and high-end documentary cinematography.

When Fujifilm made it clear they were about to take video seriously, I wondered if they would be upgrading their current offerings for video capability and adding new focal lengths to fill in the focal length gaps.

If that does not happen, then Machang Optics’ KamLan APS-C lens range may provide a great alternative.

Will the folks at Machang Optical Co. be issuing a boxed set, as it were, of these five lenses in future?

Will Machang Optical Co. be offering a ciné version of all these lenses, with clickless aperture ring, geared for use with follow-focus devices and with 77mm or preferably 82mm step-up rings attached for use with fixed or variable neutral density filters?

Will they come out with a 10.5mm lens so that Micro Four Thirds users can have a six-lens set that includes a 21mm equivalent, an essential super-wide establishing-shot focal length, and so APS-C users can have a 15.75mm equivalent lens?

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The ever-popular Voigtlaender Nokton 40mm f/1.2 Aspherical lens for Sony E-Mount cameras.

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  • Canon EF 40mm f/2.8 STM LensB&H
  • Fujifilm XF 27mm f/2.8 LensB&H
  • Handevision IberitB&H
  • Kowa Prominar MFT lensesB&H
  • Lomography lensesB&H
  • Meyer-Optik GorlitzB&H
  • Mitakon Zhongyi lensesB&H
  • Panasonic Lumix G 20mm f/1.7 II ASPH. LensB&H
  • Rokinon lensesB&H
  • SLR Magic lensesB&H
  • Veydra 19mm T2.2 Mini Prime LensB&H – APS-C cinema prime with 38mm equivalence, currently available in feet or meters scales for Sony E-Mount, apparently also produced in Fujifilm X-Mount according to a hint at the Veydra website.
  • Veydra Mini Prime 6 Lens Master Lens Kit with 6 Lens Case (MFT Mount, Feet)B&H – includes 16mm and 32mm focal lengths, either side of the 20mm ideal of 40mm equivalence.
  • Veydra Mini Prime 6 Lens Master Lens Kit with 6 Lens Case (MFT Mount, Meters)B&H – see above.
  • Voigtlander Nokton 40mm f/1.2 Aspherical Lens for Leica M-Mount B&H
  • Voigtlander Nokton 40mm f/1.2 Aspherical Lens for Sony E-MountB&H
  • Voigtlander Nokton Classic 40mm f/1.4 MC Lens for Leica M-MountB&H
  • Voigtlander Nokton Classic 40mm f/1.4 SC Lens for Leica M-MountB&H
  • Voigtlander Ultron 40mm f/2 SL IIS Aspherical Lens for Nikon F-MountB&H
  • Yongnuo YN 40mm f/2.8N Lens for Nikon FB&H

Venus Optics: Laowa 9mm f/2.8 Zero-D [Fuji X, Sony E, Canon EF-M mounts]

http://www.venuslens.net/product/9mm/

“This exciting prime provides ultra wide-angle coverage up to 113° angle of view which is the widest in its class. The tiny size & light weight match perfectly with mirrorless cameras and are suitable to use with gimbals. 2 aspherical elements plus 3 extra-low dispersion elements successfully correct the chromatic aberration, realize a close-to-zero distortion & deliver a corner to corner sharpness….”

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Laowa 9mm f/2.8 Zero-D lens with Fujifilm X-Mount on Fujifilm X-H1 camera.

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Venus Optics: Laowa 25mm f/2.8 2.5-5X Ultra Macro [Canon EF, Nikon F, Pentax K and Sony FE mounts with adapters for Fujifilm X-Mount and Micro Four Thirds]

http://www.venuslens.net/product/laowa-25mm-f-2-8-2-5-5x-ultra-macro-2/

“The most compact and versatile high magnification macro lens.

This lens is optimized for macro shooting between 2.5X – 5X life size. The lens is specially designed with an extended working distance (45mm at 2.5x & 40mm at 2x)and smaller lens barrel. This allow a sufficient lighting on the object for easier shooting in the field. The lens is much more compact and lighter than other comparative products. This lens also provides a relatively greater depth of field compared to other extreme macro lens in the market. The Laowa 25mm f/2.8 2.5-5X is developed for both professional and leisure macro photography, to be used on the field or in indoor set-up…..”

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Laowa 25mm f/2.8 2.5-5X Ultra Macro lens with Tripod Collar for Canon EF, Nikon F, Pentax K and Sony FE mounts with Fujifilm X-Mount and Micro Four Thirds adapters available.

Laowa 25mm f/2.8 2.5-5X Ultra Macro, Animated Product Shot

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Laowa 25mm f/2.8 2.5-5X Ultra Macro lens animation.

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Clicking on and purchasing through these affiliate links helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • LaowaB&H