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Chad Merritt
Chad Merritt


When the MPPC adopted the 35 mm format, Bell & Howell produced cameras, projectors, and perforators for the medium of an "exceptionally high quality", further cementing it as the standard.[1]659 Edison and Eastman's form of business manipulation was ruled unlawful in 1914, but by this time the technology had become the established standard.[1]657 In 1917, the new Society of Motion Picture Engineers (SMPE) "acknowledged the de facto status of 35mm as the industry's dominant film gauge, adopting it as an engineering standard".[1]659


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Saturn 35mm can be used in DJI Ronin 4D because of its carbon fiber shell and ultra-small size design. It is the only full-frame zoom lens that can perfectly adapt to Ronin 4D. It can also be used in RED komodo and Canon Sony, single drone aerial photography or car photography system, etc.

Samyang Optics is renewing its Autofocus lens lineup to celebrate its 50th anniversary. Following the first renewal product, the AF 50mm F1.4 FE II, this time, the AF 35mm F1.4 FE II renewal product is now announced. The AF 35mm F1.4 FE II is the second edition of the AF 35mm F1.4 FE, and it is one of the lenses that has been loved by many people since Samyang released its first Autofocus lens in 2016. Lens standards are constantly changing and Samyang is launching this AF 35mm F1.4 FE II lens as the most universal lens of all time. Some may consider that the market is filled with similar focal lengths already, however, Samyang has taken additional steps to innovate. 1. Excellent image performance even at maximum F1.4 aperture with beautiful bokeh2. Fast, precise, and quiet AF performance3. Professional control & upgraded reliability

The 2 ASP(aspherical) and 2 HR(high refractive) elements in this new AF 35mm F1.4 FE II lens deliver stunning contrast and amazing resolution. Samyang's advanced coating technology maintains superb image clarity, even in challenging lighting conditions. The corner-to-corner sharpness is maintained even at maximum aperture, so optical performance is consistent at all exposure settings.

The F1.4 maximum aperture of this new AF 35mm F1.4 FE II lens makes it easier to capture clear images in low light, and amazing out-of-focus images. A 9-blade circular aperture design creates the stunning beautifully blurred background at a narrow depth of field. Its smooth bokeh and blurred background can make subjects stand out in images with deep dimensional impact.

The minimum focal distance is just 29cm (0.95ft), making the lens even more versatile. It is possible to produce impressive close-ups, even capturing small details, at very close to the subject. With a short minimum focal distance and large aperture of the AF 35mm F1.4 FE II, you can get close-ups by highlighting the subject with a smoothly expressed background!

Important features of the AF 35mm F1.4 FE II include: Customizable 1) Focus hold button & 2) Custom switch. Overall, this is a lens that meets professional requirements for control and reliability, for both stills and videos.

The AF 35mm F1.4 FE II has been developed and enhanced, taking into consideration not only the design but also the user's shooting environment. It has a stylish silver ring, matt finish, and weather-sealing (4 spots) which also protects the lens from light rain, snow, and dust.

35mm: A Musical Exhibition was produced by Tony-winning producer John Johnson in association with Very Intense Productions, and received an initial concert production at Galapagos Art Space in the spring of 2012. Thereafter it has been performed all over the United States in over two dozen productions, as well as around the world in Canada, England, Scotland, and soon Japan in a new translation. In 2014, it was acquired for licensing by Samuel French.

The 35mm f/2 AF works great with almost every film and digital Nikon camera made since 1977. If you have a coupling prong added to the diaphragm ring, it's perfect with every Nikon back to the original Nikon F of 1959.

The Nikon 35mm f/2 AF-D has some barrel distortion, about the same as Nikon's 35mm f/2 manual-focus lens and a hair better than the 35/1.8G FX. The 35mm f/2.8 AI has less distortion, and Nikon's zooms have a lot more.

It does not have close-range correction as the 28mm f/1.4 D AF and 35mm f/1.4 AI-s do. Therefore the 35mm f/2D AF is fuzzy in the corners at close distances at large apertures. This not a problem unless you are silly enough to shoot flat art in the dark hand-held.

I prefer this f/2 AF lens to the faster 35mm f/1.4 AI-s manual-focus lens because the two perform about as well at f/2. At f/1.4 the 35mm f/1.4 AI-s is not very good, so I would shoot it at f/2 anyway.

To switch between auto and manual focus, you have to move the switch on your camera. It only autofocuses on cameras with a built in autofocus motor, which are Nikon's better digital SLRs and most of their 35mm SLRs.

35mm is a very popular focal length with a wide range of applications ranging from landscape over astrophotography to environmental portraiture and many consider it the best choice when only using one prime lens. We decided to summarize our experience with all the native E-mount and a few legacy 35mm lenses for the Sony A7 series to give you a compact and independent resource for choosing the best 35mm lens for your needs.

You can spend anywhere from $150 to $1500 for a 35mm E-mount lens. You can also adapt a good legacy 35mm for a little over $50. As a rule of thumb more money gets you better optical quality, better build quality, better reliability and faster lenses. There are some rather embarrassing exceptions to this rule of thumb in the E-mount 35mm lineup though.

The lightest 35mm E-mount lens ist the Samyang 2.8/35 at 86g, while the heaviest lens, the Sigma 1.2/35, weighs 1090g. The three most important factors for the weight of a lens are speed, vignetting and the degree of optical correction. The Sigma 1.2/35 is not only 2.5 stops faster than the Samyang: its optical design is also a lot more complex which results in much higher sharpness and better correction of aberrations. The Sigma also has a lot less vignetting.

The 35mm AF lens Bastian has been waiting for so long to couple with his Sony FE 85mm 1.4 GM. Smoothest bokeh in a 35mm lens we have seen yet and together with the Sony FE 50mm 1.2 GM the best performing f/1.2 lens in terms of optical qualities you can put on your E-mount camera.If you are looking for something with these properties you will forget the weight when you see the resulting images.

Sigma updated its classic 35mm 1.4 Art lens with better optics leading to better sharpness and nicer bokeh while making it smaller and lighter.The only thing we could complain about: it is not as high resolving as the Sony FE 35mm 1.4 GM and also slightly heavier and bigger.

The Samyang 35mm 1.8 AF is a decent low cost alternative to the slightly overpriced Sony 35mm 1.8 lens. Ultimately you get what you pay for though, as longitudinal CA are a bit on the high side as is distortion and you get to deal with onion ring structures in out of focus highlights.

I am not a big fan of this lens. At maximum aperture the optical qualities are similar to those of the 7Artisans 35mm 1.4 or SLRmagic 35mm 1.2 Cine, yet it is much more expensive. It is a better performer stopped down though and compared to the aforementioned lenses you get electronic contacts providing Exif data. I would rather recommend getting a used Sigma 35mm 1.4 Art and a new 7Artisans 35mm 1.4 instead for the same money. That way you will have a versatile and useful general purpose 35mm 1.4 lens and a cheap funky one, not only an expensive funky one.

If you mainly use your 35mm lens for architecture or landscape shooting this is the one you are looking for. It offers very high contrast as well as resolution coupled with a good correction of almost all optical aberrations. It is in many ways the better Zeiss Loxia 35mm 2.0, but if you already have the Zeiss lens and you are thinking of upgrading: this only makes sense when you want to use the lens at wider apertures often.

If you go through the trouble of adding a 5m PCX filter this smokes many native lenses in several categories. It is one of the few true allround lenses that works well (if not very well) for almost every application you can think of for a 35mm lens. The only real disadvantage: it is not a native lens, which would make it even more enjoyable to use.

35mm is easily my favorite focal length but if I had to choose only one it would be the Laowa 35mm 0.95. The 35mm wide angle view coupled with a crazy f/0.95 maximum aperture allows for a visual impression no other lens can match.

Unlike most of the other f/0.95 lenses on the market this is not a mere special effect lens for shallow depth of field photography though, it is also very sharp and well corrected stopped down a bit. This is not only the widest f/0.95 lens or the fastest 35mm, it might also be the only f/0.95 lens that makes sense as an everyday 35mm being the same size as the Sony FE 35mm 1.4 GM while being more than a stop faster.

That being said I have more 35mm lenses than anyone needs, so I also use the Sigma 35mm 1.2 Art DG DN for weddings/reportage and the Voigtländer VM 35mm 1.7 + 5m PCX filter for landscape shooting or when I want to travel as light as possible.

I have reviewed a couple of AF 35mm lenses but usually they are annoying to focus manually and they lack nice sunstars and good flare resistance which I want for landscape images. So for know I stick with the 1.2/40 which is by far my most used lens but I still hope that one day there will be a Voigtlander 1.7/35 in E-mount which could be a bit more compact and be a bit sharper with nicer off-center bokeh.

Ich sehe die Stärken des Objektivs, wir hatten allerdings schon Schwierigkeiten uns bei den 35mm Objektiven auf die genannten zu beschränken und im Kreise des Teams hat bisher keiner das Objektiv genutzt, da wir alle mehr Wert auf Offenblenleistung und Gegenlichtresistenz legen. 041b061a72


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