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TTArtisan releases new AF 56mm F1.8 lens for Fujifilm and Sony APS-C cameras

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TTArtisan releases new AF 56mm F1.8 lens for Fujifilm and Sony APS-C cameras


Image: TTArtisan

Today, TTArtisan has officially released its new AF 56mm F1.8 autofocus lens for X and E-mount cameras. The APS-C portrait lens is another budget offering from the China-based company.

The 56mm F1.8 lens has ten elements in nine groups and has nine aperture blades. The lens is built with a stepper motor, which TTArtisan claims delivers fast and quiet autofocus. It has a minimum focusing distance of 0.5m (19.6″) and a minimum aperture of F16.

TTArtisan says the lens has a full aluminum build, weighs between 233-245g (8.2-8.8oz), and includes ED (Extra-low Dispersion) glass. This should help reduce the amount of color fringing that may occur in an image.

This is only the company’s fourth autofocus lens, but it’s the second one it has announced in recent weeks, following the TTArtisans AF 35mm F1.8, released early this month for Sony E-mount cameras.

Pricing and availability

The TTArtisan AF 56mm F1.8 ships globally and is available immediately. It has a suggested retail price of $158.


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We want to see your best nature photos: DPReview Editors’ Challenge

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We want to see your best nature photos: DPReview Editors’ Challenge


June is packed with multiple days celebrating Mother Nature. Get out there and touch grass; we want to see your best nature photos.Image credit: Shaminder Dulai

June is packed with multiple days devoted to celebrating nature. We kick it off on June 5 with World Environment Day, continue on June 8 with World Oceans Day and June 22 brings us World Rainforest Day. So let’s get outside. We want to see your best nature images! Take part in the official DPReview Editor’s Challenges for your chance to have your work featured on our homepage, in articles and galleries. We may even reach out to interview you about your work!

You don’t need to take your pictures on the world recognition days. Anytime starting today is okay. Just be sure to submit your best work by June 13.

DPReview editors will review every photo you upload to an Editors’ Challenge. We’ll publish our favorites in a gallery and celebrate your work with our peers.

If you miss participating in this one, please look out for our next editors’ challenge.

How to submit your photos

Submissions are now open; you have until Thursday, June 13, 2024, to submit. User voting will begin thereafter and will help inform DPReview Editors’ Picks, but will not select them. They are one factor in our evaluation of submissions.

Enter your photos and read all the rules

Processing rules:

  • This is a photo contest, not a post-processing contest. Please, no composite, altered or fabricated images.
  • Light post-processing is allowed (white balance, toning, color, etc), but you must tell us in detail what edits were made.
Capture date rules:

  • Images must be captured after the announcement date of the challenge.
Additional rules:

  • Share what gear was used and your OOC shooting specs.
  • In the notes field, list all edits you made during post-processing.
  • Include a caption that tells us what bird, where and when the photo was taken (e.g., city and time).
  • Please ensure your account’s contact information is current; we can contact you if your photo is selected as an Editors’ Pick.
  • Our standard copyright and privacy terms and conditions policy applies.



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Halide announces Kino, a “Pro Video Camera” for iOS

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Halide announces Kino, a “Pro Video Camera” for iOS


Lux, the team behind the Apple Design Award-winning photography app Halide, has announced Kino, an app that it claims will bring pro-level video tools to iPhone users.

The developers state that Kino is intended to give users complete control in both automatic and manual shooting modes based on some clever built-in logic. The app includes a feature called AutoMotion, which automatically sets a 180º shutter angle in order to create cinematic motion blur. An ‘Auto’ label turns green when the settings are just right, letting you know you’re good to go. If the camera can’t achieve a 180º shutter, such as when shooting outdoors in bright light, you may need to add an ND filter to allow the shutter to lock onto the correct angle.

Another headline feature is Instant Grade, which takes advantage of Apple Log, available on the newest iPhone 15 Pro models. Apple’s camera app records Log footage in ProRes format, which creates large files and requires editing to finalize color; Instant Grade will allow users to apply color presets directly to Apple Log footage as it’s being captured and saves the recordings in the more efficient HEVC format, allowing for cinematic video straight out of camera. The app includes color presets from pro colorists, but users can import their own LUTs into the app as well.

Kino includes color presets created by professional colorists.

The app also includes advanced features, such as the ability to save files into either Apple’s Photos app or to a specific file location, composition guides, audio levels, USB-C storage compatibility, RGB waveform, manual focus with peaking, WB/AE lock, exposure compensation and a lockable user interface.

For beginners who may not be as familiar with a video-first workflow, the app will include free lessons on the basics of shooting video.

Kino is available beginning today at a promotional price of $9.99, though the company indicated that the price will increase to $19.99 “a few days after launch.”


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Sigma CEO talks market trends, the challenge of innovation and the future for APS-C

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Sigma CEO talks market trends, the challenge of innovation and the future for APS-C


Sigma CEO Kazuto Yamaki

Photo: Richard Butler

“All camera and lens manufacturers have to be innovative,” says Sigma CEO Kazuto Yamaki, but “technology competition among manufacturers may not always be beneficial to customers… Easier to use interfaces, compact and lightweight bodies for enhanced portability, or some other specifications might be more important.”

In the second part of a wide-ranging interview conducted at the CP+ show in Yokohama in late February, Yamaki talked about current state of the market, the need for innovation and the challenges of delivering that innovation.

State of the market

“Last year was not so bad,” he says, when asked about the state of the market: “It looks like the trend of the shrinking market has hit the bottom.” But he suggests this may not continue: “For the time being, many photographers are now switching from DSLR to mirrorless, which will sustain the market. However, after they switch to mirrorless cameras, I worry that the market could shrink in the coming years.”

“One reason for my concern is the increasing average price of cameras and lenses. I truly appreciate the passion of the customers who are still spending so much money on cameras and lenses. However, I’m afraid that not so many customers can afford such high-priced cameras and lenses, so we’re still trying hard to keep the retail price reasonable.”

“I’m afraid that not so many customers can afford such high-priced cameras and lenses”

“Especially these days, the younger generation takes huge amounts of photos with smartphones. While we can expect some of them to switch from a smartphone to a camera, many may find the price gap too wide, and challenging to make the switch.”

Yamaki also expresses concern about some of the tech trends he’s seeing: “Investing in the development of more advanced technology is crucial. However, it’s equally important to focus on our customers.”

“We’ve seen some cameras with very technically impressive specifications, but I worry that they’re not always capabilities that many photographers really need. Moving forward, I speculate that more user-friendly specifications might mean more to customers. Easier to use interfaces, a compact and lightweight body for enhanced portability, or some other specifications might be more important.”

The challenges of innovation

Sigma has launched some ambitious and unusual lenses in recent years, including the 14mm F1.4 DG DN. Yamaki describes astrophotography, for which it’s designed, as the most challenging subject.

Image: Sigma

He uses the recently announced 500mm F5.6 as an example of customer-focused innovation. “Canon and Nikon had similar lenses for DSLRs. They achieved it by using diffractive lens elements,” he explains: “Instead of using one powerful diffractive element, we used multiple special low-dispersion [SLD] glass. We used one SLD and three FLD elements. By using multiple special lenses, we could achieve a similar effect. That’s how we can make it so compact and lightweight.”

But this approach isn’t simple, he says: “It requires lots of very high manufacturing technology and skill, but because we have a very good factory and our optical designers trust the capability of our factory, we were able to go for this design.”

“In most cases, we are the first to use new types of glass, and once they see Sigma use that lens element, they start using it.”

“This trust is really, really important,” he explains: “Lens polishing is still a unique process that has a lower yield. Normally, in something like electronics, the yield ratio is something like 99.99996 percent, or something like that. But when it comes to lenses, for example, in our case, because our yield is so high, our yield ratio from the start of the process to the end is close to 90%. So if we plan to build 1,000 units of a specific lens, we have to start polishing 1,100 pieces, and during the process, about 10% of the lens elements will fail and have to be scrapped.”

A question of trust

“That’s the reason why other companies hesitate to use new glass elements. They are uncertain about the yield ratio. In most cases, we are the first to use a new type of element, and once they see Sigma use that lens element, they start using it. I’m very happy to play such a role. Sigma is kind of the guinea pig in the lens industry: they use Sigma as an experiment, and if we prove it, they use it.”

This commitment to pushing the use of new glass types reflects Yamaki’s wider vision of the company’s role. This can be seen in the ambitious lenses it’s recently introduced aimed at astrophotography, he says.

“First of all, I believe it’s one of Sigma’s missions to create niche products. If we only concentrate on standard products and release lower-priced versions, it’s not good: we would not be able to contribute to the development of the photography culture. As a lens manufacturer it’s our mission to develop such niche lenses that satisfy a specific target group.”

“Secondly, most lenses are so good, maybe much better than people’s expectations. But only astrophotographers are never satisfied: they’re so keen for quality! They’re looking at the shape of stars in the corners. Star images are the toughest, most challenging subject, or let’s say, the most nasty lens chart. You can see all kinds of aberrations in star images. That’s why we want to show what we can do with our capability. So lenses for astrophotography is my personal strong passion to show the capability of Sigma’s technology.”

The future of APS-C

Yamaki says the audience for its I-series of full-frame lenses, such as the 17mm F4 DG DN pictured, is similar to that for the DC DN range of APS-C primes. However, it doesn’t sound like there are plans for I-series-style versions of the DC lenses.

Image: Sigma

With all this talk of niches, we steered the conversation towards the DC DN primes. We wanted to know whether he sees the users of these lenses as distinct from those of the mid-priced i-Series full-frame primes, which feature metal bodies and aperture rings.

“I see they are very similar customers: those who value compactness and image quality. These customers often live in big cities and use public transportation a lot. So they cannot carry around big, heavy equipment in the car. They have to carry it around in their bags.”

Despite this, it doesn’t sound like there are any plans to refresh the DC DNs with more i-Series-like designs: “Those who want full-frame can use the I series lenses, while those who are happy with APS-C cameras can use the many lightweight DC DN lenses,” he says.

But, while we won’t expect APS-C primes with aperture rings for X-mount or the Nikon Z fc any time soon, Yamaki’s comments about his commitment to APS-C bode well, given the announcement that it’ll make lenses for both Nikon’s Z mount and Canon’s RF system:

“Our plan is to have a relatively complete range of lenses for APS-C sized sensors.”


This article was based on an interview conducted by Dale Baskin and Richard Butler at the CP+ show in Yokohama, Japan.



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