Tokina atx-m 11-18mm F2.8 X - Lens overview, Highlighted Features and Specifications

Tokina atx-m 11-18mm F2.8 X Lens

Tokina atx-m 11-18mm F2.8 X Lens

© Kenko Tokina Co., Ltd.

The Tokina atx-m 11-18mm F2.8 X lens is dedicated to Fujifilm APS-C size mirrorless cameras.

The Tokina atx-m 11-18mm F2.8 X is the first super wide angle zoom lens in Tokina's product line-up designed exclusively for mirrorless cameras. It features a fast f/2.8 aperture throughout the zoom range, and a 11-18mm (17-27mm in 35mm equivalent) zoom stored in a compact and lightweight body for hybrid users who shoot stills and video.

The Tokina atx-m 11-18mm F2.8 X performs impressive resolution from the wide to tele end of the zoom. This lens boasts high contrast and low distortion, and quick and precise AF response in still and video modes. It is fully compatible with Fujifilm camera functions.

With its compact design, versatile focal length and optical quality, the Tokina atx-m 11-18mm F2.8 X is the perfect gear for shooting landscape, group photos, environmental portraits, architecture, astrophotography, automobile photography, street snaps, documentary videos and vlogging.

Tokina atx-m 11-18mm F2.8 X Highlighted Features

- 11-18mm super wide angle zoom for dynamic video or landscape, architecture and astrophotography genres.

- Fast f/2.8 aperture throughout the zoom range for shallower depth-of-field, and 9 blades rounded diaphragm for soft bokeh background.

- Compact and lightweight design to carry while traveling, or attaching to gimbals.

- 2 aspherical and 2 super low-dispersion glass elements suppress chromatic aberrations.

- Superb resolution with rich color reproduction, low distortion and low light fall-off.

- Short minimum focusing distance to create unique wide-angle images with perspective effect.

- Full compatibility with Fujifilm cameras, including Image Stabilization, AF+MF, MF Assist mode, Eye Detection and optical corrections.

- Micro USB port (Type B) for firmware updates.

Tokina atx-m 11-18mm F2.8 X Main Specifications

Sensor Size: APS-C

Mount: Fujifilm X

Maximum Aperture: f/2.8

Minimum Aperture: f/22

Automatic Aperture

Angle of View: 104.3°-76.7°

Minimum Focusing Distance: 0.19m

Macro Ratio: 1 : 9.2

Focusing Mode: Automatic

Manual Focusing Ring 

Autofocus Switch: Camera Switch

Focusing Type: Internal Focus

Filter Size: 67mm

Multi-coating

Construction E/G: 13 Elements in 11 Groups

Aperture Blades: 9

Dimensions: 74.4x74.4 mm

Weight: 320g

Sales started on March, 2025 

TOKINA LENSES

tokinalens.com

Exposition Animaux Fantastiques @ Musée du Louvre-Lens

Animaux Fantastiques

Musée du Louvre-Lens

27 septembre 2023 - 15 janvier 2024

Jean Gargot 

Grande Goule, 1677 

DRAC Nouvelle-Aquitaine / CRMH site de Poitiers, 

en dépôt au Musée Sainte-Croix, Poitiers 

Dragons, griffons, sphinx, licornes, phénix… Présents depuis l’Antiquité, les animaux fantastiques peuplent les moindres recoins de notre monde contemporain, des films et dessins animés aux objets du quotidien. Tour à tour images de terreur ou d’admiration, expression de notre inconscient camouflé ou de nos angoisses, ces créatures souvent hybrides portent en elles une ambiguïté fondamentale. Qui sont-elles ? D’où viennent-elles ? Que signifient-elles ?

Elles partagent avec la faune réelle un pouvoir de fascination sur l’être humain. On leur confère une proximité avec la nature, une sauvagerie mêlée de sagesse. Ce ne sont pas pour autant des animaux comme les autres. Ils s’en distinguent par leur apparence. Gigantesque, démesuré, difforme, leur corps adopte les caractéristiques de plusieurs animaux : corps de cheval et ailes d’oiseaux, aigle à tête de lion…

Cette physionomie extraordinaire reflète des pouvoirs surnaturels. Les animaux fantastiques incarnent les forces élémentaires de la nature : eaux tempétueuses, rafales colériques, mais aussi ruisseaux tranquilles, terre nourricière. Ils représentent leur immensité, leur violence, leur beauté et leurs éclats. Certains possèdent un visage, des mains ou des jambes, qui les rattachent au monde des humains tout en évoquant distance et dangerosité.

Riche de près de 250 oeuvres – sculpture, peinture, objets d’art mais aussi cinéma et musique –, de l’Antiquité à nos jours, l’exposition propose un voyage à travers le temps et l’espace pour raconter l’histoire des plus célèbres de ces animaux à travers leurs légendes, leurs pouvoirs et leur habitat. Elle questionne nos rapports passionnés à ces êtres dont la présence irréelle semble plus que jamais nécessaire.

Le parcours explore, de façon thématique, les différentes facettes de nos rapports aux créatures fantastiques. L’exposition démarre par un retour aux origines de ces animaux imaginaires, qui émergent dès la Préhistoire et incarnent les terreurs sacrées des humains face au vertige de la nature. Dès l’Antiquité, ils sont au coeur de combats fondateurs qui représentent, sous différentes formes, la lutte de forces opposées, notamment celles du bien contre le mal. Outre leur apparence étrange et souvent hybride, les animaux fantastiques ont souvent pour caractéristique principale d’être magiques : ils protègent les peuples et souverains, et veillent sur la frontière entre le monde des vivants et celui des morts. Le dragon occupe une place à part dans cet écosystème : son apparence fluctue selon les siècles et les civilisations, avant d’être progressivement codifiée dans l’art européen puis dans les arts visuels de la culture populaire. Vivant aux marges du réel, les animaux fantastiques contribuent également à incarner une autre forme de société possible. Imprégnant aujourd’hui plus que jamais la pop culture et la fantasy, ces monstres de la nuit des temps nous interrogent quant à nos peurs et nos aspirations, et un besoin de ré-enchantement du monde.

Commissaire générale :

Hélène Bouillon, conservatrice en chef du patrimoine, directrice de la conservation, des expositions et des éditions du Louvre-Lens

Commissaires associées :

Jeanne-Thérèse Bontinck, cheffe de Projet Patrimoine, Ville d’art et d’histoire, Périgueux

Caroline Tureck, chargée de recherches et de documentation, Louvre-Lens

Assistées de Yaël Pignol, médiateur Patrimoine & Jardins - Référent scientifique, Cité des Electriciens, Bruay-la-Buissière

Scénographie : Mathis Boucher, architecte-scénographe, Louvre-Lens

MUSEE DU LOUVRE-LENS

99 rue Paul Bert, 62300 Lens

www.louvrelens.fr

The "Moon lens" ZEISS Biogon 5.6/60: A camera lens custom-made for the Moon

The "Moon lens" ZEISS Biogon 5.6/60: A camera lens custom-made for the Moon

The "Moon lens" ZEISS Biogon 5.6/60

Photo © and courtesy of ZEISS

Even though 50 years have passed since the first Moon landing on 20 July 1969, the images have lost none of their fascination. The main reason this event become so firmly entrenched in our collective memory is that it gave us the iconic images captured during the Apollo missions. These were not only the first photographs ever taken of the Moon’s surface – the image of the Earth as seen from the Moon also continues to inspire people of all generations to this day. And all these missions used cameras with lenses developed by ZEISS.

The first Moon landing was also the first global media event. According to media reports, audience ratings amounted to 50 per cent throughout the world, which means that more than 500 million people followed the event live on television. Many of them still know exactly where they were when the Moon landing took place. Newspapers and magazines published special issues that often featured the first color images these publications ever printed. Together with the first stills of the footage shot on the Moon, these photographs are highly coveted collectibles today, among connoisseurs and ordinary people alike.

The history of photography in space took off with the Mercury (1962) and Gemini (1964) program that preceded the Apollo missions. Increasingly, camera lenses were used in the Earth’s orbit. During these years, the ZEISS laboratories further refined their technology and designed camera lenses ready to meet the challenges posed by space.

In October 1968, ZEISS received the order for a camera lens to be used during the Moon landing, which was scheduled to take place a mere nine months later as part of the Apollo 11 mission. “The time for development was extremely brief,” says Dr. Vladan Blahnik who works in research and development at ZEISS. The optical data for the preceding model the ZEISS Biogon 4.5/38 still had to be calculated manually, an extremely time-consuming process. However, a mainframe computer helped to determine the mathematical parameters for the ZEISS Biogon 5.6/60, the camera lens designed for the Moon landing, in a mere couple of weeks. Dr. Erhard Glatzel (1925-2002), a leading mathematician from the optical design department at ZEISS, received the Apollo Achievement Award for this and the development of other special camera lenses for space photography.

The customized ZEISS Biogon 5.6/60 “Moon lens” had to meet a number of requirements. While it was supposed to work within an easy-to-use camera, it also had to precisely map the lunar surface around the landing site. “They decided on a camera fitted with a Reseau plate, which created a grid of cross-marks on the images. These made it possible to calculate the distances between individual objects on the Moon,” explains Blahnik. “The special symmetric design of the camera lens provided an excellent correction for distortions and all other image errors.” A straight line remains a straight line. The images have great definition and edge-to-edge contrast.

Apart from the ZEISS Biogon used on the surface of the Moon, ZEISS designed a number of other special camera lenses for space photography in the 1960s, among them lenses that could transmit UV-waves or extremely fast lenses such as the ZEISS Planar 0.7/50. The engineers at ZEISS continue to benefit from this research until the present day. Some examples are the development of fast lenses for professional movie cameras, lenses for aerial photography used in surveying the Earth’s surface and lithographic lenses employed in the production of microchips.

The camera lens was a small but significant contribution to the Apollo 11 lunar mission. And, incidentally, the cameras with the ZEISS lenses are still up there on the Moon, because on the return journey the astronauts wanted to save every gram in order to take back as many samples of Moon rocks as possible. Only the valuable exposed film made it back to Earth.

ZEISS

www.zeiss.com

Alpa & Hasselblad Cooperation: Hasselblad and Alpa Sharing Expertise

Hasselblad and ALPA Sharing Expertise

ALPA 12 FPS with ALPA Lens Module Hasselblad H shift
and Hasselblad HC 2.8/80 mm mounted

Image: ScanderbegSauer

 

ALPA 12 FPS with ALPA Lens Module Hasselblad H shift
and Hasselblad HC 2.8/80 mm mounted

Image : ALPA

Swedish camera maker Hasselblad and Swiss camera maker ALPA have formed a collaboration allowing an unprecedented exchange of expertise and technical information. With a shared philosophy of superior design and precision engineering the partnership grants ALPA access to Hasselblad’s technical documentation regarding their cameras and lenses. It allows ALPA to adapt its technical cameras to achieve optimal system compatibility and integration.

ALPA 12 TC with Hasselblad CFV type digital back attached

Image: ALPA

ALPA 12 FPS with ALPA Lens Module Hasselblad H fix and

Hasselblad HC 2.8/80 mm mounted

Image: ALPA

ALPA 12 FPS with Hasselblad H5D-50c attached

Image: ALPA

ALPA 12 FPS with Hasselblad CFV 50c digital back attached

Image: ScanderbegSauer

The partnership enables optimized integration of all ALPA technical cameras with both

- Hasselblad HC/HCD lenses as well as

- Hasselblad H System and CFV type digital backs

in their existing and future products.

For more info about Hasselblad cameras and lenses, visit www.hasselblad.com.

ALPA is maintaining and developing partnerships and cooperation with several partners in the photographic industry sharing the same spirit for serving the high-end photographic community.

ALPA will inform continuously on further new products shown at Photokina 2016 in Cologne on its stand B021 in hall 2.1. Photokina 2016 is taking place from 20 - 25 September in Cologne.

ALPA
www.alpa.ch

Mamiya Sekor AF 28mm f/4.5 D Lens

Main Specifications of the Mamiya Sekor AF 28mm f/4.5D Lens Compatible cameras: 645AF (requires upgrade to 645AFD), 645AFD, 645AFDII, ZD camera (requires firmware upgrade) Optical construction: 14 elements in 10 groups Angle of view: 102 degrees / 94 degrees with ZD back Aperture range: f/4.5 ~ 32 Min. focus distance: 1.15ft. (0.35m) Max. magnification: 0.15x Area covered: 372 x 276mm (at 150mm) Equivalent in 35mm: 17mm / 20mm with ZD back Filter diameter: Sheet filter on the mount Hood: Built-in Dimensions (LxD): 5.35 x 3.54in. (136 x 90mm) Weight: 1.9lbs. (886g)

Mamiya Sekor AF 75-150mm f/4.5 D Zoom Lens

Main Specifications

• Compatible cameras: 645AF (requires upgrade to 645AFD), 645AFD, 645AFDII, ZD camera (requires firmware upgrade)
• Optical construction: 11 elements in 10 groups
• Angle of view: 50 ~ 26 degrees
• Aperture range: f/4.5 ~ 32
• Min. focus distance: 3.3ft. (1m)
• Max. magnification: 0.09 ~ 0.16x
• Area covered: 545 x 409mm (at 75mm) - 293 x 220mm (at 150mm)
• Equivalent in 35mm: 47 ~ 93mm
• Filter diameter: 77mm
• Hood: Bayonet type
• Dimensions (LxD): 5.7 x 3.4in. (145 x 86mm)
• Weight: 2.5lbs. (1.14kg)

Nikon-Nikkor 50mm f/1.4 Manual Lens

Specifications Nikon-Nikkor 50mm f/1.4 Manual Lens

• Lens construction: 7 elements in 6 groups
• Closest focusing: 0.45m/1.5 ft.
• Picture angle: 46°
• Filter attachment size: 52mm
• Hood: HS-9, HR-1
• Dimensions: 63 x 40mm
• Weight: 250g

Nikon-Nikkor 50mm f/1.2 Manual Lens

Specifications Nikon-Nikkor 50mm f/1.2 Manual Lens

• Lens construction: 7 elements in 6 groups
• Closest focusing: 0.5m/1.7 ft.
• Picture angle: 46°
• Filter attachment size: 52mm
• Hood: HS-12, HR-2
• Dimensions: 68.5 x 47.5mm
• Weight: 360g

Nikon-Nikkor 35mm f/1.4 Manual Lens

Specifications Nikon-Nikkor 35mm f/1.4 Manual Lens

• Lens construction: 8 elements in 8 groups
• Closest focusing: 0.2m/0.7 ft.
• Picture angle: 74°
• Filter attachment size: 52mm
• Hood: HN-2
• Dimensions: 63

Nikon-Nikkor 28mm f/2.8 Manual Lens

Specifications Nikon-Nikkor 28mm f/2.8 Manual Lens

• Lens construction: 8 elements in 8 groups
• Closest focusing: 0.2m/0.7 ft.
• Picture angle: 74°
• Filter attachment size: 52mm
• Hood: HN-2
• Dimensions: 63

Nikon-Nikkor 20mm f/2.8 Manual Lens

Specifications Nikon-Nikkor 20mm f/2.8 Manual Lens

• Lens construction: 12 elements in 9 groups
• Closest focusing: 0.25m/0.85 ft.
• Picture angle: 94°
• Filter attachment size: 62mm
• Hood: HK-14
• Dimensions: 65 x 42.5mm
• Weight: 260g

Sigma lens 18-50mm F3.5-5.6 DC HSM for Nikon

The 18-50mm F3.5-5.6 DC HSM is a compact and lightweight standard zoom lens. The incorporation of a Hyper Sonic Motor (HSM) into the lens allow quiet, high-speed autofocusingwith all Nikon DSLR cameras. An aspherical lens element and multi-layer coatingare used to ensure excellent optical performance. High image quality is assured throughout theentire zoom range.

SPECIFICATIONS

• Focal Length: 18-50mm
• Minimum Aperture: F22
• Lens Construction: 8 Elements in 8 Groups
• Angle of View: 76.5°- 31.7°
• Number of Diaphragm Blades: 7
• Minimum Focusing Distance: 25 cm / 9.8”
• Maximum Magnification: 1:3.5
• Filter Size: 58 mm
• Lens Hood: Bayonet Type
• Dimensions: Diameter: 69.6 mm / 2.7” x Length: 60 mm / 2.4”
• Weight: 250 g / 8.8 ounces
• Mount (AF): Nikon

Firmware Update for Olympus Zuiko Lens ED 40-150mm F4.0-5.6

Olympus releases new firmware update for the Zuiko Lens ED 40-150mm F4.0-5.6. Firmware version 1.3 ensures compatibility when used with the Panasonic Lumix DMC-G1 digital camera.

Firmware Update for Olympus Zuiko Lens ED 35-100mm F2.0

Olympus releases new firmware update for the Zuiko Lens ED 35-100mm F2.0. Firmware version 1.2 ensures compatibility when used with the Panasonic Lumix DMC-G1 digital camera.

Firmware Update for Olympus Zuiko Lens 14-42mm F3.5-5.6

Olympus releases new firmware update for the Zuiko Lens 14-42mm F3.5-5.6. Firmware version 1.3 ensures compatibility when used with the Panasonic Lumix DMC-G1 digital camera.

Firmware Update for Olympus Zuiko Lens 35mm F3.5 Macro

Olympus releases new firmware update for the Zuiko Lens 35mm F3.5 Macro. Firmware version 1.2 ensures compatibility when used with the Panasonic Lumix DMC-G1 digital camera.

www.olympusamerica.com

Firmware Update for Olympus Zuiko Lens 25mm F2.8

Olympus releases new firmware update for the Zuiko Lens 25mm F2.8. Firmware version 1.2 ensures compatibility when used with the Panasonic Lumix DMC-G1 digital camera.

Carl Zeiss Tele-Tessar T* 4/85 ZM

Carl Zeiss Presents Compact 85 mm Tele Lens for Rangefinder Cameras

Carl Zeiss announce the compact tele lens Tele-Tessar T* 4/85 ZM and indicate that despite the compact design of this lens, its image quality is by no means inferior to that of other lenses in the ZM line. The Tele-Tessar T* 4/85 ZM is almost distortion-free and features excellent field curvature correction.

Its shortest possible distance setting of only 0.9 m can offer maximum diversity of use.

Its all-metal mount and sturdy design make it a multi-purpose lens for a wide variety of applications, even in tougher conditions.

Delivery of the Tele-Tessar T* 4/85 ZM is scheduled to begin by the end of the year. Its recommended retail price is at 769 euros (incl. 19% German VAT).

Sigma APO 200-500mm F2.8 /400-1000mm F5.6 EX DG ultra telephoto zoom lens

Gentec introduces new Sigma APO 200-500mm F2.8 / 400-1000mm F5.6 EX DG ultra telephoto zoom lens

Gentec International is pleased to announce Sigma’s new APO 200-500mm / 400-1000mm EX DG ultra telephoto lens offering a fast F2.8 aperture at the 500mm focal length and F5.6 at 1000mm.

This powerful lens covers widely used focal lengths from 200mm to 500mm and maintains the large F2.8 aperture throughout the entire zoom range, making the lens ideal for astrophotography, portraits, wildlife, and sports. The dedicated attachment doubles the focal length range and ensures autofocusing with an aperture of F5.6 all the way up to the 1000mm focal length.

A Special Low Dispersion (SLD) glass element and three Extraordinary Low Dispersion (ELD) glass elements provide excellent correction for all type of aberrations. Sigma’s super multilayer coating reduces flare and ghosting to ensure high image quality throughout the zoom range. The lens hood, designed exclusively for this lens, blocks out extraneous light. A 72mm filter can be inserted at the rear of the lens, and a circular polarizing filter can be used in situ thanks to the ingenious internal rotation mechanism. The dedicated lithium ion battery is used to power the zooming and autofocus operation; this battery is built into the lens barrel. For the convenience of the photographer, focusing distances and focal lengths can be viewed on the built-in LCD panel.

The suggested retail price of the APO 200-500mm F2.8 / 400-1000mm F5.6 EX DG lens is $19,999.95. The lens includes a 400-1000mm F5.6 Attachment, Battery Pack (BP-21), Battery Charger (BC-21), Dedicated Hard Case, and Carrying Strap.

SPECIFICATIONS:

• Focal Length: 200-500mm (400-1000mm with Attachment)
• Minimum Aperture: F22
• Lens Construction: 17 Elements in 13 Groups
• Angle of View: 12.3°- 5°
• Number of Diaphragm Blades: 9
• Minimum Focusing Distance: 200-500 cm / 78.7-196.9”
• Maximum Magnification: 1:7.7
• Filter Size: 72 mm (Rear)
• Dimensions Diameter: 236.5 mm / 9.3” x Length: 726 mm / 28.6”
• Weight: 15,700 g / 553.7 ounces
• Mounts (AF): Canon, Nikon, Sigma

Appearance and specifications are subject to change for improvement without notice.

About Gentec International

Gentec International is Canada's leading consumer accessory products company supplying a complete range of photo, video, digital, sport optics, home theatre, electronics, wireless and mobile audio products to the Canadian retail marketplace. Gentec offers prominent brand names such as Optex, Sigma,Velbon, Roots, SanDisk, Sunpak, Bushnell, Tasco, Zeiss, PlanetWireless, Energy, Sony, Electrohome, Prolink, Stinger, Peripheral, and Best Kits & Accessories.

Photos (c) Sigma Corporation - All rights reserved

Nikon PC-E Nikkor 24mm f/3.5D ED

Wide-angle NIKKOR lens with Perspective Control

Nikon’s high-performance PC (Perspective Control) lens, PC-E NIKKOR 24mm f/3.5D ED, is equipped with a tilt/shift mechanism to give photographers the flexibility to manipulate image perspective, distortion and focus. As both a special-purpose lens and high-performance wide-angle lens, the new PC-E NIKKOR 24mm f/3.5D ED lens represents a significant new addition to the legendary NIKKOR lens family.

The PC-E NIKKOR 24mm makes use of a special mount that enables up to ±11.5mm shift and ±8.5° tilt for perspective control. Shift and tilt are adjusted while referring to the scales provided with gradations at 1mm or 1° intervals. The lens optics can be rotated up to 90° right or left for perspective control adjustment and click-stops are provided every 30°.

The lens aperture can be preset using the aperture ring and the aperture stop-down button. For easy depth-of-field confirmation, it remains stopped down until the button is pressed again. Auto aperture control is also available for SLR models compatible with an electromagnetic diaphragm (Nikon D3 and D300).

In addition to the primary perspective control photographic applications such as architecture and interiors, this lens can also be used for any subject where a 24mm wide-angle lens is appropriate. With a closest focusing distance of only 0.21m and a maximum reproduction ratio of 1/2.7, it is an excellent choice for close-up photography.

Nikon’s original state-of-the-art optical features and technologies are incorporated into the PC-E NIKKOR 24mm for superior picture quality. Nikon’s exclusive Nano Crystal Coat dramatically reduces ghosting and flare caused by internal reflections and three ED glass elements minimize chromatic aberration for higher-resolution, higher-contrast images. Three aspherical lenses effectively correct spherical aberration and coma, while a rounded nine-blade diaphragm opening gives out-of-focus background elements a more natural appearance. The PC-E NIKKOR 24mm offers exceptional optical performance, even at maximum shift settings.

PC-E NIKKOR 24mm f/3.5D ED Features Highlights

• Wide shifting and tilting range (shift: ±11.5mm; tilt: ±8.5°)
• ±90° lens revolving capability for versatile tilt/shift effects
• Maximum reproduction ratio of 1/2.7 (at 0.21m)
• Three ED-(Extra-low Dispersion) glass elements provide superior sharpness and colour correction by effectively minimizing chromatic aberration
• Three aspherical lens elements minimize various types of lens aberration
• Nano Crystal Coat virtually eliminates internal lens element reflections, effectively reducing ghosting and flare
• High-performance Nikon Super Integrated Coating delivers superior colour reproduction while substantially reducing ghosting and flare
• Rounded nine-blade diaphragm for more natural appearance of out-of-focus image elements
• Lens aperture can be preset using an aperture ring and the aperture stop-down button
• Auto aperture control with electromagnetic diaphragm is possible with the Nikon D3 and D300