Dave Etchells of Imaging Resources, one of our favourite digital imaging websites until it recently shut down, has released another excellent interview on PetaPixel, this time with the CEO of Sigma, Kazuto Yamaki.
Sigma I Series. Image courtesy of Sigma Corporation of America.
We’ve been hoping that Sigma would add more X-mount lenses to its new and growing collection of lenses for Fujifilm X-mount cameras, and it appears that this will be happening in due course:
“Fujifilm X Mount Lenses Are Becoming a Bigger Part of Sigma’s Business
DE: Since we spoke last July, you’ve also introduced a Fujifilm X Mount version of your 18-50mm f/2.8 DC DN Contemporary. It seems that you’ve been gradually expanding your offerings for X Mount for a little while now. Are you seeing a lot of demand for X Mount from customers? Is Fujifilm becoming a larger part of the market for you?
KY: Oh yes, there is surprisingly high demand. We are very surprised and we’re very happy that our products are being accepted by Fuji users.
DE: Yeah. I think Fuji is very strong these days, at least that’s my impression.
KY: Oh yes, they are one of the major players in mirrorless cameras.
DE: I think they appeal a lot to the enthusiasts. It’s interesting, I’d felt from the very beginning that their film simulations were really a key feature but it didn’t catch on a lot at first. Now, though, I think the market has really come around to that being something significant. – Probably because film is starting to come back too. But yeah, I’m not surprised that there’s demand. So far you have a limited number of lenses on X-mount, but we’ll see more transitioning.
KY: Yeah, yup.”
Sigma announced the release of its first X-mount lenses, the 16mm F1.4 DC DN | Contemporary, 30mm F1.4 DC DN | Contemporary, 56mm F1.4 DC DN | Contemporary, on February 21, 2022 then followed it up with the 18-50mm F2.8 DC DN | Contemporary in December 2022.
We’d love to see Sigma release all of its Contemporary I Series lenses in Fujifilm X-Mount given how small they are even though they were originally designed for so-called “full-frame” aka 35mm sensor cameras.
We’d also like to see Sigma release Fujifilm X-mount versions of its two videography essentials, the 18-35MM F1.8 DC HSM | A and the 50-100MM F1.8 DC HSM | A, both of which were originally designed for APS-C DSLR cameras.
Links
B&H Affiliate Link – Click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
Irix, a high-class lens producer for the movie and photo industry enriches its Cine line by adding the Fujifilm X mount lenses.
March 15th, 2023
Irix film optics are known, among other things, for a large selection of available mounts. Today, this already rich selection is expanded by one more system – Fujifilm X.
Lens choices for the Irix Cine set were dictated by the desire to create conditions for filmmakers to focus their efforts on the implementation of the material, not on the search for optics that will meet the requirements of all of the tasks. All the lenses are in the Irix Cine standard, which allows for the same effect throughout the range. They have unique bokeh but also they preserve colors and details to simplify work in post-production and give a unique character to the created material.
All the lenses have a unified design of the aperture and focusing rings and similar weight and size. Quick lens replacement without a rebalancing of the Steadicam or gimbal will allow You to quickly adapt to the current requirements of the filmed scene. When in need to add filters, most lenses come with 86mm filter thread and 95mm front diameter. They are also characterized by the ability to work in all weather conditions, the lenses have special sealings to protect them from dust, sand, or water.
The full lineup of Irix Cine lenses:
11mm T4.3 lens
15mm T2.6 lens
21mm T.1.5 lens
30mm T1.5 lens
45mm T1.5 lens
150mm T3.0 Macro 1:1 lens
150mm T3.0 Tele lens
Available mounts: Fuji X, Canon EF, Canon RF, L-mount, MFT, Nikon Z, PL-mount, Sony E
More information about the Irix products can be found on the official webpage irixlens.com All the Fuji X lenses will be available in the next few days with a recommended retail price of 1195 Euro inc. VAT for each focal length.
Video
“If you’re a filmmaker using Fujifilm cameras, then this new mount is something you’ll definitely want to know about.
The Irix Cine Fujifilm mount is a new addition to the existing line of Irix Cine lenses.
With this new mount, all Irix Cine lenses can now fit seamlessly onto Fujifilm cameras.
With this new mount, you can enjoy the exceptional quality of Irix lenses on your favorite camera, opening up new creative possibilities for your work.
So if you’re looking for high-quality, durable, and precise lenses for your Fujifilm camera, then check out the Irix Cine Fujifilm today.”
Images
Irix has released its affordable but top-class cinema prime lenses in Fujifilm X-Mount versions in focal lengths from 11mm through to 150mm. Image courtesy of Irix.
IRIX 11mm T4.3 Cine Lens, Canon EF-mount, feet. Image courtesy of B&H Photo.
IRIX 15mm T2.6 Cine Lens, Canon EF-mount, feet. Image courtesy of B&H Photo.
Irix 21mm T1.5 cinema prime lens. Image courtesy of B&H.
Irix 30mm T1.5 cinema prime lens. Image courtesy of B&H.
IRIX 45mm T1.5 Cine Lens, Canon EF-mount, feet. Image courtesy of B&H Photo.
Irix 150mm T3.0 cinema prime lens. Image courtesy of Irix.
Commentary
The folks at Irix promised they would be releasing Fujifilm X-Mount versions of their 8K-ready cinema prime lenses that are designed for cameras with 35mm sensors or smaller and now here they are.
That is, so-called “full frame” as well as Super 35 and Micro Four Thirds sensor cameras.
Irix’ cinema lenses have feature sets that few if any other affordable or “budget” cinema lens makers can match.
Few if any other cinema lens makers currently offer as wide a range of size and colour matching focal lengths that are suitable for all three sensor sizes.
I like drawing readers’ attention to them and their matching accessories such as the company’s magnetic filter system even though I have yet to have the experience of seeing or trying them out.
There are now two options for Fujifilm X-Mount camera users – invest in native mount Irix lenses or in Arri PL-Mount versions and then adapt them to your prime video camera system or to all the camera mounts you currently use or are likely to use in future.
All current generation Irix cinema lenses are manual and don’t communicate electronically with cameras via contacts at rear of the lenses.
Electronic communication between camera and lens in the style of, say, Cooke’s Cooke /i lens data technology or similar systems by other lens makers sometimes referred to as “smart lenses” due to their ability to transmit metadata is something Irix might want to consider for future research and development.
Meanwhile Fujifilm may wish to seriously consider creating its own X-Mount “smart” cinema lens range given the many complaints we’ve been reading over the years about the less-than-stellar manual focus performance of current X-Mount Fujinon prime and zoom lenses.
Fujifilm has a sterling reputation as a cinema zoom lens maker through its Fujinon Cinema division and it makes so much sense for the company to further develop the relationship forged between camera and lens divisions with the Fujinon XF 18-120mm f/4.0 LM PZ WR zoom lens.
Imagine, for example, a range of matched Fujinon XF smart cinema prime lenses with excellent manual focusing and great autofocusing capabilities.
If you haven’t yet considered Irix cinema lenses and have the ability to touch and try them out somewhere near you then I strongly recommend you do so.
I’m hoping that more videographers and cinematographers will do so soon and share their experiences with them online.
Keep an eye on Irix: the company may well be releasing more focal lengths soon, in the current gap between 45mm and 150mm, and what an amazing range of focal lengths that will provide.
Links
B&H Affiliate Link – click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
Irix announces a new version of its cine lens: 150mm T3.0
13.12.2022
Irix Cine 150mm T3.0 Macro 1:1 lens was released to the market in 2019 and since then, it has gained many positive customer comments and reviews. This dedicated macro lens features, among other things, a focusing ring, calibrated primarily for working close to the subject. In this range, the focusing ring is very precise. The lens can focus on further planes, but due to its specificity, the range of the ring movement is quite small there. Many of the users who were very satisfied with the image quality of this lens contacted Irix with questions about the possibility of creating a version that would allow for more comfortable work at greater distances from the filmed object. Since the Irix brand always values user feedback highly, we decided to develop a second version of the 150mm T3.0 lens with the TELE designation.
Irix Cine 150mm T3.0 TELE
The optical and mechanical construction of the lens is similar to its older brother, but there are some differences, important from the user’s point of view:
The focus range has been modified and starts from 0.67m – it allowed for much greater precision in the movement of the focus ring in the range from 2 meters to infinity. The range of the ring’s movement has remained unchanged at 270 degrees.
The aperture range of the lens has also been changed – its maximum value in the TELE version is 22 now.
The combination of a focal length of 150mm with an 11-element rounded diaphragm provides spectacular bokeh and beautiful background painting. Thanks to the bright aperture value, you can easily achieve spectacular isolation of the subject from the background. The optical construction of the lens ensures excellent image sharpness, but with soft tones and a characteristic, subtle glow – this is what the unique, cinematic Irix look looks like.
Quality
The lens is 8K ready, built on 12 optical elements construction, internal focusing, and equipped with an 11 blades aperture. All to offer the highest possible image quality, bokeh, performance, and as low as possible focus breathing.
Compatibility.
The lens is compatible with typical sizes and systems used in cinematography: matte box 95mm diameter, front 86mm filter thread, and 0.8 gears pitch.
For stability when filming, the lens can be additionally fixed to the cage with a lens foot (included in a kit) with a standard ¼” mount thread. All Irix lenses have gears on the same height for higher comfort of use, they also have similar weights and dimensions.
Functionalities
The lens is equipped with many Irix solutions and ideas. The front of the lens is equipped with Magnetic Mount System for easy installation of additional accessories and Irix MMS filters or an optional lens hood.
Adaptive Ring for follow focus system lets enjoy the full functionality of follow focus systems and also makes the lens more friendly when follow focus is not used.
Ready for action
The lens is equipped with weather sealing (5 rubber rings, PL mount 4 rings) and is lightweight. The lens is made of magnesium alloy and has durable metal construction but its weight is only 1105g (Canon EF version). It makes the lens well-balanced in use with mid-size camcorders and SLR/mirrorless cameras.
Available mounts
The Irix Cine 150mm T3.0 TELE lens is available in the seven most popular industry mounts: Canon EF, Canon RF, Sony E, Nikon Z, Olympus MFT/Panasonic MFT, and Arri PL-mount.
Pricing
The prices are set at 1195 euros (1295 euros for the PL Mount version) and 1195 USD (1295 for the PL Mount version). Lenses can be ordered at Irix’s official store or from your local dealer. More information about the lens can be found on Irix’s official webpage.
Specifications, Irix 150mm T3.0 cinema prime lens. Image courtesy of Irix.
Images
Irix 150mm T3.0 cinema prime lens. Image courtesy of Irix.
Irix 150mm T3.0 cinema prime lens. Image courtesy of Irix.
Irix 150mm T3.0 cinema prime lens. Image courtesy of Irix.
Irix 150mm T3.0 cinema prime lens. Image courtesy of Irix.
Irix 150mm T3.0 cinema prime lens. Image courtesy of Irix.
Irix 150mm T3.0 cinema prime lens. Image courtesy of Irix.
Irix 150mm T3.0 cinema prime lens. Image courtesy of Irix.
Irix 150mm T3.0 cinema prime lens. Image courtesy of Irix.
Irix 150mm T3.0 cinema prime lens. Image courtesy of Irix.
Irix 150mm T3.0 cinema prime lens. Image courtesy of Irix.
As of December 2022, Irix cinema lenses are available in seven lens mounts: Canon RF, Canon EF, Sony E, Nikon Z, Leica L, Olympus/Panasonic MFT, and Arri PL-mount. Image courtesy of Irix.
Irix 150mm T3.0 cinema prime lens. Image courtesy of Irix.
Irix 150mm T3.0 cinema prime lens. Image courtesy of Irix.
Commentary
We’re looking forward to Irix adding support for Fujifilm X-Mount cameras by adding Fujifilm X Mount to its current range of seven, yes seven, lens mounts.
Now that Fujifilm has begin delivering on its longstanding promise to support professional video production to its cameras, it’s only reasonable and right that matched sets of Fujifilm X-Mount cinema zoom and prime lenses start to be released by independent lens makers such as Irix.
Despite Fujifilm’s legendary Fujinon Cinema lens division, Fujifilm itself has yet to release more cinema zooms than its reportedly excellent MKX zooms and the recently released Fujifilm XF 18-120mm f/4.0 LM PZ WR.
Focus-by-wire prime and zoom lenses designed primarily for stills photography and autofocus and without manual clutch focus mechanisms continue to be challenging for fast and accurate focus pulling.
Will Fujifilm’s Fujinon Cinema Lens division create a matched set of X-mount cinema prime lenses?
Will Irix release X-mount versions of its ever-growing collection of cinema zoom lenses?
Let’s see what turns up in 2023.
Meanwhile there’s always the possibility of investing in Arri PL-mount or Canon EF-mount Irix cinema primes then adapting them to your Fujifilm X-mount cameras as well as others that you use.
Links
B&H Affiliate Link – click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
“Joey continues his journey testing cine lenses with this set of SLR Magic MicroPrime lenses. He tests these micro four thirds-native lenses on his Panasonic GH5 and compares them to other affordable cine-style lenses like ones made by Rokinon. He also brings in fellow cinematographers Alissa Rooney and Kenny McMillan to chat about how they use cine lenses and what qualities they look for in video image and operation. …
SLR Magic MicroPrime CINE 10mm T2.1 MFT cinema lans for Micro Four Thirds cameras. Image courtesy of SLR Magic.
SLR Magic MicroPrime CINE 12mm T2.8 MFT cinema lens for Micro Four Thirds cameras. Image courtesy of SLR Magic.
SLR Magic MicroPrime CINE 17mm T1.5 MFT cinema lens for Micro Four Thirds cameras. Image courtesy of SLR Magic.
SLR Magic MicroPrime CINE 18mm T2.8 MFT cinema lens for Micro Four Thirds cameras. Image courtesy of SLR Magic.
SLR Magic MicroPrime CINE 21mm T1.6 MFT cinema lens for Micro Four Thirds cameras. Image courtesy of SLR Magic.
SLR Magic MicroPrime CINE 25mm T1.5 MFT cinema lens for Micro Four Thirds cameras. Image courtesy of SLR Magic.
SLR Magic MicroPrime CINE 35mm T1.5 MFT cinema lens for Micro Four Thirds cameras. Image courtesy of SLR Magic.
SLR Magic MicroPrime CINE 50mm T1.4 MFT cinema lens for Micro Four Thirds cameras. Image courtesy of SLR Magic.
Commentary
We caught a first in-real-life glimpse of SLR Magic’s lenses and especially the company’s then nascent MicroPrime cinema lenses way back in the pre-COVID19 era at SMPTE METexpo 2019 in July of that year.
It feels like that was forever ago and this is now and different and in some ways better.
Better includes SLR Magic updating its Micro Four Thirds MicroPrime cinema lenses into a collection of eight – 10mm, 12mm, 17mm, 18mm, 21mm, 25mm, 35mm, 50mm – all with matching image circles of θ32 and filter diameters of 82mm.
Now you have the choice of lenses equivalent (in 35mm sensor terms) to 20mm, 24mm, 34mm, 36mm, 42mm, 50mm, 70mm and 100mm.
JVC GY-LS300 4K camcorder with Veydra Mini Prime Micro Four Thirds geared cinema lenses. Image courtesy of Veydra.
Veydra was once the great white hope of M43 cinema lens users but dropped the ball on wider focal lengths and then was subjected to a warehouse break-in where the company lost almost all its stock, and never recovered from it.
After Veydra ceased trading, Meike took up the M43 Mini Prime cinema lens baton and now we have SLR Magic in the mix.
As we’ve not had the pleasure of trying any of the three brands’ lenses, we can’t make any recommendations but we have found Joey Fameli’s video useful and will be watching other video reviews of SLR Magic’s lenses as well as those of Meike’s similar lenses.
SLR Magic MicroPrime CINE Fujifilm X Mount lenses
SLR Magic MicroPrime CINE 12mm T2.8 cinema lens for Fujifilm X-Mount & Sony E-Mount cameras. Image courtesy of SLR Magic.
SLR Magic MicroPrime CINE 15mm T3.5 cinema lens for Fujifilm X-Mount & Sony E-Mount cameras. Image courtesy of SLR Magic.
SLR Magic MicroPrime CINE 18mm T2.8 cinema lens for Fujifilm X-Mount & Sony E-Mount cameras. Image courtesy of SLR Magic.
SLR Magic MicroPrime CINE 21mm T1.6 cinema lens for Fujifilm X-Mount & Sony E-Mount cameras. Image courtesy of SLR Magic.
SLR Magic MicroPrime CINE 35mm T1.3 cinema lens for Fujifilm X-Mount & Sony E-Mount cameras. Image courtesy of SLR Magic.
SLR Magic MicroPrime CINE 50mm T1.2 cinema lens for Fujifilm X-Mount & Sony E-Mount cameras. Image courtesy of SLR Magic.
SLR Magic MicroPrime CINE 75mm T1.5 cinema lens for Fujifilm X-Mount & Sony E-Mount cameras. Image courtesy of SLR Magic.
“Better” includes SLR Magic updating its MicroPrime cinema lenses for Fujifilm X-Mount and Sony E-Mount into a collection of seven – 12mm, 15mm, 18mm, 21mm, 35mm, 50mm, 75mm – all with matching image circles of θ44 and filter diameters of 82mm.
Now you have the choice of lenses equivalent (in 35mm sensor terms) to 18mm, 22.5mm, 27mm, 31.5mm, 52.5mm, 75mm and 112.5mm.
2022, the year for affordable top-quality cinematic M43 and Super 35?
Right now we’re in-between the release of the Panasonic Lumix GH6 and the Fujifilm X Summit Omiya 2022 on 31st May 2022.
Fujifilm’s X-H2S and X-H2 promise to be the company’s best yet for Super 35 cinematic moviemaking while Panasonic’s GH6 looks amazing for M43 documentary productions.
Both cameras are within the realms of affordability for self-funded independent documentary moviemakers compared to 35mm or so-called “full frame” cameras and so are these SLR Magic cinema primes.
With the choice of 8 focal lengths for M43 and 7 focal lengths for Super 35, the hard task is going to be choosing which ones will make for a versatile matched set.
If, that is, you can’t afford them all and have to choose.
We’re happy that SLR Magic is offering some of our favourite M43 focal lengths – 10mm, 17mm, 18mm, 21mm, 35mm and 50mm – and we’re very happy about the idea of the 42mm-equivalent ‘perfect normal’ MicroPrime Cine 21mm T1.6 MFT.
Likewise we’d choose some of our favourite Super 35 focal lengths from SLR Magic’s MicroPrime Cine X-Mount lenses – 12mm or 15mm, 18mm, 21mm, 50mm and 75mm – and are pleased at the idea of a 75mm-equivalent 50mm T1.2 cinema lens.
Time to look for more hands-on reviews of all these lenses by experienced cinematographers.
One last thing, SLR Magic anamorphic adapters
SLR Magic 1.33x 65 Anamorphic Adapter with Gear. Image courtesy of SLR Magic.
Some years ago SLR Magic became known for its somewhat affordable 1.33x and 2x Anamorphot-Cine prime lenses but if new to anamorphic then one can dip one’s toe in the water by attaching an SLR Magic 1.33x 65 Anamorphic Adapter with Gear to MicroPrime Cine lenses via their 82mm diameter filter threads.
Links
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Just as we’re waiting for May 31st’s announcements by Fujifilm of its flagship hybrid mirrorless video/stills X-H2S and X-H2 cameras than Venus Optics launches its Indiegogo campaign to fund production of its first three Nanomorph anamorphic lenses in Fujifilm X, Micro Four Thirds, Leica L, Nikon Z, DJI DL, Sony E and Canon R, as well as Canon EF and Arri PL mount versions.
We don’t have to keep wondering which anamorphic cinema lenses to consider for creating cinematically beautiful 2.4:1 aspect ratio documentary and narrative movies with the Fujifilm X-H2S and X-H2 anymore.
All the information one needs right now is in Venus Optics’ Indiegogo campaign page so I recommend going there for its treasure trove of samples and information.
This is 2.4:1 cinematic aspect ratio.
“Hello Indiegogo. We are Venus Optics. Three years ago, you helped us to bring the revolutionary 24mm f/14 2x Macro Probe lens to live. This time, we are super excited to bring another breakthrough in the Anamorphic world. Introducing, the World’s Tiniest yet Professional Anamorphic lenses – Laowa Nanomorph 27mm T2.8, 35mm T2.4, and 50mm T2.4 1.5x lenses.”
Venus Optics Laowa Nanomorph 27mm T2.8, 35mm T2.4 and 50mm T2.4 anamorphic cinema prime lenses in a wide range of mounts, with 65mm and 80mm versions to come later. Image courtesy of Venus Optics Laowa.
Venus Optics Laowa Nanomorph 27mm T2.8, 35mm T2.4 and 50mm T2.4 anamorphic cinema prime lenses in a wide range of mounts, with 65mm and 80mm versions to come later. Image courtesy of Venus Optics Laowa.
Laowa Nanomorph anamorphic lenses. Image courtesy of Laowa.
Laowa Nanomorph anamorphic lenses. Image courtesy of Laowa.
Laowa Nanomorph anamorphic lenses. Image courtesy of Laowa.
Laowa Nanomorph anamorphic lens, 35mm T2.4, smaller than other brand anamorphic lenses. Image courtesy of Laowa.
Laowa Nanomorph anamorphic lenses. Image courtesy of Laowa.
Laowa Nanomorph anamorphic lenses. Image courtesy of Laowa.
Laowa Nanomorph anamorphic lenses. Image courtesy of Laowa.
Laowa Nanomorph anamorphic lenses. Image courtesy of Laowa.
Laowa Nanomorph anamorphic lenses. Image courtesy of Laowa.
Laowa Nanomorph anamorphic lenses. Image courtesy of Laowa.
Laowa Nanomorph anamorphic lenses. Image courtesy of Laowa.
Laowa Nanomorph anamorphic lenses. Image courtesy of Laowa.
Laowa Nanomorph anamorphic lenses in various mounts. Image courtesy of Laowa.
Laowa Nanomorph anamorphic lenses. Image courtesy of Laowa.
Laowa Nanomorph anamorphic lenses. Image courtesy of Laowa.
Laowa Nanomorph anamorphic lenses. Image courtesy of Laowa.
Laowa Nanomorph anamorphic lenses. Image courtesy of Laowa.
Laowa Nanomorph anamorphic lenses. Image courtesy of Laowa.
Laowa Nanomorph anamorphic lenses. Image courtesy of Laowa.
Laowa Nanomorph anamorphic lenses. Image courtesy of Laowa.
Laowa Nanomorph anamorphic lenses. Image courtesy of Laowa.
Laowa Nanomorph anamorphic lenses. Image courtesy of Laowa.
Laowa Nanomorph anamorphic lenses. Image courtesy of Laowa.
Commentary
So far these lenses look amazing and absolutely suited to their intended purpose and to independent self-funded moviemakers.
I’m very ill at the moment so haven’t been able to study the information, images and videos about the Nanomorphs yet.
But one thought comes to mind… although the choice of blue and amber flares is excellent, wouldn’t it be terrific if Venus Optics creates a third version with neutral-coloured flares as well?
Imagine three different looks at the cost of just USD 1000 per lens, very affordable for cinema lenses and even more so for anamorphic cinema lenses.
Links
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Sigma announced the latest addition to its I-Series prime lens collection the other day, the Sigma 20mm f/2.0 DF DN Contemporary lens in Leica L-Mount and Sony E-Mount, and adding Fujifilm X-Mount would surely be a no-brainer.
Sigma I Series 20mm F2.0 DG DN | Contemporary mirrorless prime lens. Image courtesy of Sigma.
Sigma LH656-03 lens hood for Sigma 20mm f/2.0 DG DN Contemporary compact prime lens. Image courtesy of B&H.
Sigma 20mm f/2.0 DG DN Contemporary compact prime lens with Sigma LH656-03 lens hood. Image courtesy of B&H.
On paper, or rather in pixels, Sigma’s I Series Contemporary lenses are a perfect fit for Fujifilm X-Series cameras, with compact all-metal construction, reportedly excellent optical design and manufacturing, metal lens hoods, aperture rings and on-lens switching between manual and autofocus.
Fuji Rumors has reported that Sigma’s first lenses for Fujifilm X-Mount cameras will be the company’s f/1.4 DC DN Contemporary lens trio comprising the 16mm f/1.4 DC DN, the 30mm f/1.4 DC DN and the Sigma 56mm f/1.4 DC DN.
Those lenses have been available for Canon EF-M mount, Micro Four Thirds mount, Sony E mount and Leica L mount for some years now and there are no signs that Sigma will be adding to the collection any time soon.
Many Fujifilm users have been hoping that Sigma will release a Fujifilm X-Mount version of the Sigma 18-50mm f/2.8 DC DN Contemporary compact zoom lens and even more of us have been asking for the legendary Sigma 18-35mm f/1.8 DC HSM Art and Sigma 50-100mm f/1.8 DC HSM Art zooms to be released for X mount, preferably with aperture rings.
Given plenty of established Fujifilm X-Series users already have 16mm and 56mm lenses, Sigma may be gambling on newer Fujifilm camera owners adding the affordable f/1.4 DC DN Contemporary prime trio to their current kit zoom lenses.
Sigma might be wise to follow up the trio with X-mount I-Series and f/1.8 zooms and wiser again to consider adding focal lengths currently missing from the I-Series, such as 14mm, 28mm, 50mm and 70mm.
Although the I Series collection is ostensibly for 35mm “full frame” cameras, I doubt Fujifilm users will shed a tear for the image circle that’s unused by APS-C/Super 35 cameras.
The same goes for the Sigma 18-50mm f/2.8 DC DN zoom whereas the rightly legendary 18-35mm f/1.8 and 50-100mm f/1.8 DC HSM Art zoom lenses are designed specifically for APS-C and Super 35.
I’d jump at the chance to use the latter two wide aperture zooms on Fujifilm cameras for documentary cinematography and stills photography without smart or speed booster adapters.
Sigma 18-35mm f/1.8 DC HSM Art EF-mount fast zoom lens can be adapted for a range of Super 35/APS-C cameras or for cameras with larger sensors that can be set to Super 35/APS-C. Image courtesy of Sigma Photo.
Sigma 50-100mm f/1.8 DC HSM | Art APS-C zoom lens. Image courtesy of Sigma Global.
Irix introduces the all new full-frame 30mm T1.5 cine lens.
Irix, the manufacturer of high-class optics for photo and film industry, expands its Cine line by introducing the new 30mm T1.5 lens. This new model is joining the line of full-frame cinematographic lens designed for shooting with Ultra HD 8K cinema cameras. The Irix 30mm T1.5 is based on a completely new optical design which includes 3 Extra-low Dispersion glass elements, 2 High Reflective elements and one Aspherical lens. Total 13 elements in 11 groups deliver crisp details, vibrant colors and an ultra-low – 0,95% distortion. An image circle of 43,3mm (diagonally), is completely covering every sensor size from Full Frame 35 down to 1/3” sensors. The circular, 11-blade iris construction, provides a pleasant background blur and a smooth adjustment in range from T1.5 to T16. With practically no focus breathing (below 1,5 degree in full range from 0,3m to infinity) , the Irix Cine 30mm T1.5 is the perfect lens for filming scenes with a natural character.
New 30mm fits right in between wide end with 11/15mm lenses and the narrow 45mm and 150mm of current Irix lin[e]up. Thanks to this, it becomes a very universal lens, that can be used for multiple types of production: Documentary/report – it involves mainly interviews and b[-]roll. Both can be easily shot with just 30mm lens. Commercials – mainly shots of product or location, depending on company it’s produced for, again using just one lens, a very satisfying production can be made. Music videos – they either involve staged scenes or the band/singer. This can be also produced using just one lens. This focal length can easily be used as an entry prime lens for any filmmaker, for someone who already owns other lenses, this will be a go to lens, when trying to stay lightweight.
Irix Cinematic Design
The 30mm T1.5 is another lens in the Irix Cine line which stands for a perfect combination of advanced technology and modern design. Planned in accordance with the standards of the professional film industry, combines traditional lens solutions and modern innovation. Irix Cine 30mm lens has a front filter thread size of 86mm and geared Mod 0.8 M rings, which ensure compatibility with most accessories available on the market. Irix is a young brand, but thanks to the fifth lens in its lineup, it’s closing the set covering most of the common focal lengths. All of our lenses are carefully tested, to meet the highest standards. And we don’t play around with them – we make sure, that all of our lenses are compatible! The focus and aperture rings of all the lenses are aligned at the same distance and have the same rotation angle. With the exception of the Irix 150mm T3.0 Macro 1:1, where a longer 270 degrees focus throw is necessary, the rest of the Irix Cine range lenses have ring rotations of 180 degrees for the focus ring and 75 degrees for the aperture ring.
Magnetic Mount System
All the Irix Cine lenses are equipped with Magnetic Mount System – which allows you to connect accessories such as magnetic filters from the Irix Edge line up or a lens hood (not included in the kit). This unique and pioneering solution ensures quick and safe mounting of the accessory to the front of the lens without the need for additional elements. This feature allows you to swap and combine the filters or accessories quickly and easily during recording and save your valuable time.
Rain or shine? READY for ANY weather conditions
With Irix lenses You can take your next adventure in a desert or jungle if your camera can handle those environments. We guarantees that you can keep on working with whatever weather throws at you. The lenses are resistant to rain, sand, and dust. Engraved markings on the lens have been filled with UV-reactive paint, thanks to which filming in difficult lighting conditions becomes much easier.
Compact but durable
Cine lenses designed by Irix are one of the most compact and lightest film lenses covering the full frame format. The housing of the new 30mm T1.5 is made of a lightweight but resistant aluminum-magnesium alloy. It’s the same construction that we’ve used in our Blackstone line of stills lenses and our cine line. Thanks to the low weight (every Irix Cine lens weighs about 1.1 kilograms / 2,4lbs), they can be used on smaller cameras on handheld rigs or stabilizers as well as with the professional equipment. All the Irix Cine lenses are equipped with a lens support foot – to provide bigger stabilization and comfort while working with follow focus systems. Depending on your needs, this support foot can be attached to the lower or upper part of the lens.
New and improved lens cover
We have listened to requests from our customers and decided to redesign our lens cover. The previous cap didn’t allow for leaving the lens standing on it. The new and improved one has a flat top and slides on the lens. Thanks to this, you can now leave the lens upside down on a table and not worry about it wobbling!
Key features of the Irix Cine 30mm T1.5 lens:
Ultra HD 8K resolution ready and full-frame sensor coverage.
Perfect for crop sensors providing 45mm.
Compact and lightweight construction.
Very low lens breathing.
Weather-sealed construction.
The magnetic accessory mounting system.
Adapter ring for easy use of follow focus.
The possibility of mounting an additional support foot in two places.
Front filter thread 86 x 1.0 mm.
Standardized 95mm front diameter for optional accessories.
Available mounts
The Irix Cine 30mm T1.5 lens will be available in the seven most popular industry mounts: Canon EF, Canon RF, Sony E, Nikon Z, Olympus MFT/ Panasonic MFT and Arri PL-mount
Price and availability
New Irix Cine 30mm T1.5 lenes will be available withing next few weeks. Starting from today it’s possible to preorder the lenses at selected dealers and Irix online Store. The prices are set at 1195 Euro (1295 Euro for PL Mount version) and 1195 USD (1295 for PL Mount version).
Technical Data:
Irix Cine 30mm T1.5 cinema prime lens. Image courtesy of Irix.
Irix Cine 30mm T1.5 cinema prime lens with magnetic lens hood. Image courtesy of Irix.
Irix Cine 30mm T1.5 cinema prime lens. Image courtesy of irix.
Optical design, Irix Cine 30mm T1.5 cinema prime lens. Image courtesy of Irix.
Weather sealing, Irix Cine 30mm T1.5 cinema prime lens. Image courtesy of Irix.
Irix Edge Magnetic Mount filters can be stacked on top of each other. Image courtesy of Irix.
Irix Edge Neutral Density filters mount on Irix cinema lenses magnetically. Image courtesy of Irix.
IRIX 11mm T4.3 Cine Lens, Canon EF-mount, feet. Image courtesy of B&H Photo.
IRIX 15mm T2.6 Cine Lens, Canon EF-mount, feet. Image courtesy of B&H Photo.
IRIX 45mm T1.5 Cine Lens, Canon EF-mount, feet. Image courtesy of B&H Photo.
IRIX 150mm T3.0 Cine Lens, Canon EF-mount, feet. Image courtesy of B&H Photo.
IRIX 11mm T4.3 Cine Lens, M43 mount, attached to Panasonic Lumix DC-GH5; lens is equivalent to 22mm in 35mm sensor format. Image courtesy of B&H Photo.
MTF Services Ltd Arri PL mount to Micro Four Thirds mount adapter. Image courtesy of B&H Photo.
Metabones Arri PL-mount to Fujifilm X-mount T Cine adapter. Image courtesy of Metabones.
Metabones PL to M43 Mount T Cine adapter. Image courtesy of Metabones.
Sigma Classic Art Primes for the look of vintage lenses. Available for rental from rental houses worldwide. Image courtesy of Sigma USA.
Sigma 18-35mm T2.0 and 50-100mm T2.0 high-speed cinema zoom lenses with case, available in Arri PL, Canon EF and Sony E mounts. Image courtesy of Sigma USA.
Commentary
European lens maker Irix has been been pulling out all stops to produce affordable 8k-ready matched cinema primes and recently added 30mm, making five lenses in the set at time of writing.
More focal lengths, no doubt, are on their way. and I would love to see new ones in sizes in-between 15mm and 30mm, and longer than 45mm.
Irix first came to my attention with its affordably-priced but reportedly very high quality manual-focus prime lenses for stills photography in a range of “full frame” DSLR camera lens mounts and in some less than common focal lengths.
Those lenses looked interesting but I had given up on DSLRs well before then and was concentrating on autofocus-capable OEM-made lenses for mirrorless Micro Four Thirds and Fujifilm X Series cameras.
Irix 45mm f/1.4 GFX lens with Fujifilm GFX mount, equivalent to 36mm in 35mm format, on Fujifilm GFX50S. Image courtesy of Irix.
Irix broke out of the DSLR thing with its Irix 45mm f/1.4 GFX manual focus lens in January 2021 and piqued my interest even though I have yet to take on Fujifilm’s GFX large format sensor system.
After watching some reviews of Irix cinema lenses by working cinematographers it became clear that these lenses were meeting the demands of professional work and were well worth considering.
Irix has yet to produce Fujifilm X-mount versions of its stills or cinema lenses so, for now, best to consider which native lens mount may suit your needs then adapt it to fit your cameras.
The cameras we use, however, change all the time and few of us remain loyal just to one brand and one lens mount.
MTF Services Ltd. – Lens Adaptors – “The World’s Finest Lens Adaptors. Designed and Manufactured in the UK by MTF Services.”
Sigma USA – Cine – Besides its renowned and affordable stills photography primes and zooms, Sigma makes Classic Art cinema prime lenses for rental and cinema prime and zoom lenses for purchase and that cost more than those by Irix.
“Undoubtedly, the affordable SIRUI 50mm and 35mm F1.8 1.33x Anamorphic lenses changed the anamorphic game forever, enabling us to easily get or dive into cinematics. To extend focal length alternatives, SIRUI comes back with the 24mm F2.8 1.33x Anamorphic lens….
This new lens offers you five options of M4/3, Sony E, Fuji X, Nikon Z and Canon EF-M mounts, covering a wide range of mirrorless camera[s] on the market. The built-in lens mount design makes the lens to work efficiently with your camera….
Indiegogo campaign lives now: Super Early Bird $749 (25% OFF from retail price $999).”
Sirui 24mm f/2.8 1.33x Anamorphic prime lens. Image courtesy of Sirui.
Commentary
Until I saw an Instagram post announcing the coming Sirui 24mm f/2.8 1.33x Anamorphic prime lens late last year, I wouldn’t have associated the word lens with the brand name Sirui and especially the phrase Fujifilm X-mount, but here we are and here is the lens in question, now available at Indiegogo for an Early Bird discount of 25%.
Even without this one-quarter discount, the Sirui 24mm f/2.8 1.33x Anamorphic is remarkably affordable and presents a great way into anamorphic cinematography alongside the Sirui 50mm f/1.8 1.33x Anamorphic lens.
Will the company soon be offering an X-mount version of the Sirui 35mm f/1.8 1.33x Anamorphic to complete the core, starter set of three?
Fujifilm radically lifted its Super 35 cinematography game with the Fujifilm X-H1, X-T3 and then X-T4 and I am hoping the company will present even more pro-quality moviemaking innovations with its coming X-H2.
Sirui 35mm and 50mm f/1.8 1.33x anamorphic prime lenses
Sirui 35mm f/1.8 1.33x Anamorphic prime lens, Micro Four Thirds mount. Image courtesy of B&H.
Sirui 50mm f/1.8 1.33x Anamorphic prime lens. Image courtesy of B&H.
Sirui 50mm f/1.8 1.33x Anamorphic prime lens in Fujifilm X mount for Fujifilm XF lenses. Image courtesy of B&H.
Meyer-Optik Görlitz, one of the longest-established camera lens brands, has announced a version of its “legendary portrait lens” for Fujifilm X-mount cameras along with versions for Leica L-mount, Sony E-mount and Micro Four Thirds mount cameras.
Meyer-Optik Görlitz Primoplan 75mm f/1.9 II lens for Fujifilm X-mount cameras. Image courtesy of Meyer-Optik Görlitz.
“MEYER’S LEGENDARY PORTRAIT LENS IS BACK.
The Primoplan 75 f1.9 II is known for its fine progression from focus to blur, exceptional base sharpness and unique, dreamy, creamy bokeh, which lets the light magically flow together. The 75mm focal length creates a natural viewing angle and does not compress as much as longer focal lengths. Its 14 aperture blades enable the camera to create impressive blur patterns even when stopped down.”
When used on Fujifilm X series cameras with their APS-C sensors, the lens’ 35mm sensor equivalent focal length is 112.5mm while the equivalent focal length of the M43-mount version is 150mm.
Gaps in Fujifilm’s Fujinon XF lens roadmap
Fujifilm Lens Roadmap 2020. Image courtesy of Fujifilm
With Fujifilm’s XF lens roadmap still showing quite a few gaps, despite the welcome appearance sometime early 2021 of a Fujinon XF 18mm f/1.4 R WR, an XF 27mm f/2.8 II and an XF 70-300mm f/3.5-5.6 OIS, I have been looking further afield for possible alternatives to my favourite portrait focal length of 105mm in 35mm equivalent.
Nikon’s 105mm Nikkor and Micro-Nikkor prime lenses first turned me on to portrait photography during my art school days and I have missed them ever since.
I have used wider and longer lenses for some forms of portraiture, mostly wider, and have never really taken to the facial flattening effect of other portrait focal lengths such as 135mm in 35mm equivalent, although if I were a fashion and beauty photographer then I can certainly understand its popularity in those genres.
Like many of us relying on Fujifilm X-mount cameras, I have been hoping for a wide to reasonably wide aperture 70mm lens to appear on Fujifilm’s XF lens roadmap but we may be waiting for some years still.
On the off-chance that Fujifilm might just surprise us later in 2021 with, say, a stabilized native wide-aperture 70mm lens, I don’t want to spend a heap on an interim manual focus lens so Meyer-Optik Görlitz’s Primoplan 75mm f/1.9 II caught my eye when flicking through Fuji Rumors this morning.
Although 75mm is a little long for my taste, approaching 80mm to the point where one may as well consider the highly-regarded Fujinon XF 80mm f/2.8 R LM OIS WR Macro lens, the Primoplan 75mm f/1.9 II offers something that most of Fujifilm’s XF lenses do not – extreme quirkiness in defocused parts of the image coupled with high resolution where the lens’ focus is directed.
The “bubble bokeh” for which some photographers and cinematographers choose Meyer-Optik Görlitz lenses is not a trait I have desired in the past, but now that sample images from the Primoplan 75mm f/1.9 II have begin appearing online, I will be paying more attention to them to determine if it can justify considering one.
There are other manual focus prime lens alternatives, however, many of them more affordable than Meyer-Optik Görlitz’s solutions, and it is worth taking them seriously.
Check out brands like 7Artisans, KamLan, KIPON Iberit, Meike, Mitakon Zhongyi, Rokinon/Samyang/Xeen et cetera, Sigma,SLR Magic, TTArtisan, Venus Optics Laowa, Voigtlaender, and, for the well-heeled, Leica itself and its reportedly superb and accordingly expensive Leica APO-Summicron-M 75mm f/2.0 Aspheric and the even faster and pricier Leica Noctilux-M 75mm f/1.25 Aspheric.
Also, searching for the elusive “Hollywood 28” or its modern-day alternative
Zeiss Contax T* 28mm f/2.0 ‘Hollywood 28’ prime lens with Contax/Yashica lens mount, based on the famous Zeiss cinema lens designed by Dr Erhard Glatzel, one of the 20th century’s greatest lens designers. The lens with its 9 elements in 8 groups is loved for its aesthetically pleasing imperfections. Clones based on its optics were also made for Nikon, Pentax and the Rollei SL35 system. In Super 35/APS-C format this lens is equivalent to 40mm. Zeiss makes two versions of this lens, the Zeiss T* Distagon 28mm f/2.0 ZF and Zeiss T* Distagon 28mm f/2.0 ZE.
7Artisans Photoelectric 28mm f/1.4 Lens for Leica M mount.
While I am on this quirky and classic manual focusing lens search, Fujifilm’s XF lens roadmap above reminded me about Fuji Rumors’ reports that the Fujinon XF 27mm f/2.8 pancake lens will soon be updated with an aperture ring and possibly bundled with the Fujifilm X-E4 rangefinder-style camera sometime in 2021.
Will the new XF 27mm also be a pancake lens or, in line with the coming updated XF 18mm lens, will it grow from near pancake-size into a fully-fledged professional-quality stills and video production prime?
If not, then time to look for a 40mm-equivalent 28mm lens to go along with the 28mm-equivalent XF 18mm f/1.4 R WR.
Both are included in my list of documentary stills and video production essential focal lengths along with 21mm (14mm in APS-C/Super 35), 35mm (23mm in APS-C/Super 35), 75mm (50mm in APS-C/Super 35) and of course 105mm (70mm in APS-C/Super 35) but of all these the 28mm and 40mm equivalent lenses are the most neglected of all focal lengths amongst camera and lens makers.
Foolishly, I hope that by stating this time and again in articles like this might just persuade manufacturers to rethink their prime lens strategies but I am not holding my breath.
Wikipedia – Meyer Optik Görlitz – “Meyer Optik Görlitz (or Goerlitz; German), originally Hugo Meyer & Co., was founded in 1896 by optician Hugo Meyer (May 21, 1863 – March 1, 1905) and businessman Heinrich Schätze.”
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.
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.
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.
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
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.
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.
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 Cinema Mini Prime 12mm T2.2 lens on Blackmagic Design’s Blackmagic Pocket Cinema Camera 4K aka BMPCC4K with Micro Four Thirds mount. Image courtesy of Meike.
Meike Cinema Prime 12mm T2.2 mounted on Panasonic DC-GH5 Micro Four Thirds camera. Image courtesy of Meike.
Meike Cinema Mini Prime lenses with Fujifilm X-mount in 25mm, 35mm, 50mm and 65mm focal lengths. Image courtesy of meike_global instagram account.
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.
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