Articles: Digital Photography Review (dpreview.com) 2 April 2018

Meyer Optik unveils Nocturnus III 50mm F0.95 with new mechanics and Leica M mount

German lens manufacturer Meyer Optik Gorlitz has redesigned its super-fast 50mm F0.95 lens both inside and out, and has added a Leica M mount option to the existing Fuji X and Sony E Mount fittings. The Nocturnus lll has a new mechanical construction, according to the company, that makes manual focusing and adjusting the aperture almost silent. This new version is somewhat lighter than the Mark ll model, and there is also a slight design change to the outer barrel of the lens that now sees a cut-away in the metal to show the aperture value in use. $(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_4157050046","galleryId":"4157050046","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) }); The manual focus lens features a 15-bladed iris that closes down from F0.95 to F11, and the stepless aperture construction and 'nearly silent' focus control make it suitable for use in video. Inside you'll find 10 lens elements in 7 groups, which gives the Nocturnus III a close-focus distance of 0.50m and total weight of 790g. The new version of the lens is due to ship in August this year, and will cost $3,000 in either black or silver. Pre-orders made before the middle of April, however, can be made at a discount of up to 60%. For more information, visit the Meyer Optik Gorlitz website. Press Release Meyer-Optik-Görlitz launches new Nocturnus III 50 F0.95 with mounts for Sony-E, Fuji-X and Leica M The third edition of the Meyer-Optik-Görlitz Nocturnus 50mm F0.95, which is known for its exceptional light intensity comes in a new design and features now mounts for Sony-E, Fuji and Leica M. The lens is currently available through a pre-sale campaign on the manufacture’s website. Meyer-Optik has just announced the launch of the Nocturnus 50 F0.95. The super-fast manual-focus lens is optimized for use with full-frame sensors, but also works with APS-C cameras. The third edition comes in a new design and now features mounts for Sony-E, Fuji-X and Leica M. Within the next 14 days, the lens in offered in a pre-order sale, where it is available for less than 60% of its future MSRP. Like its predecessor, the new Nocturnus comes with a focal length of 50mm and an aperture range from F0.95 to F11. Thus, the lens features a lot of versatility both when shooting in available light conditions and in terms of depth-of-field. Its 15 aperture blades with anti-reflective coating, make the new Nocturnus III 50 F0.95 a unique tool to create a pleasant bokeh with circular highlights whilst creating great sharpness in the focused areas. The Nocturnus has a minimum focus distance of 50cm and weighs 790 grams. The new mechanical design of the Nocturnus III makes the Nocturnus also an interesting option for videography: Manual focus control and the stepless aperture ring operate almost silently. Technical Specifications: Focal length. 50 mm Aperture: f0.95-11 Angle of view: 23° Minimum focusing distance: 50 cm Filter diameter: 67mm Optical design: 10 elements in 7 groups Aperture blades: 15, steel, special anti-reflex coating Weight: 790 g Color: Black or Silver

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Quick look: Canon's new compressed Raw format

Canon's new entry-level EOS M50 is also the first Canon camera to come with the new Digic 8 processor, allowing it to capture smaller C-Raw files in the new CR3 format. The EOS M50 may be aimed at beginning photographers, but its all-new Digic 8 processor makes it Canon's first camera to use the CR3 Raw file format. Older Canon's that used the CR2 file format could capture either uncompressed Raw files or 'medium' or 'small' equivalents, which saved you disk space at the expense of reducing resolution. However, if you enable the compact 'C-Raw' option on the M50, the files will be 30-40% smaller than their uncompressed equivalents without any reduction in resolution. But are there any other image quality penalties to pay? Let's take a look. Click here to download the original Raw files for all of the below comparisons. Base ISO Uncompressed Raw Compressed Raw Click through for full sizeISO 100 | 1/40 sec | F5.6 | Canon EF 50mm F1.4 The above images were shot and processed using our standard studio testing procedure. Do you see any differences? We couldn't find any - but we decided to see if boosting the ISO value and using our low-light scene would turn anything else up, particularly in terms of shadow noise. High ISO Uncompressed Raw Compressed Raw Click through for full sizeISO 12800 | 1/40 sec | F5.6 | Canon EF 50mm F1.4 Now that we've switched to our low light setup and boosted the ISO by seven stops, the images still appear all but identical, even in terms of noise levels. So far, it looks like it's best for you to go ahead and switch into C-Raw and save yourself some disk space. But when we put the EOS M50 through our standard exposure latitude test, we did find some evidence of what sort of processing is happening in Canon's C-Raw files. Pushed shadows Uncompressed Raw Compressed Raw Image pushed four stops in Adobe Camera Raw Our exposure latitude test involves exposing our studio scene with increasingly lower exposures, and then pushing them back to the correct brightness in Adobe Camera Raw. With many older sensors, you would see an abundance of noise being added by the camera, but today's sensors output files that are much more tolerant to this sort of manipulation. Basically, after pushing the files, we look into the shadow regions to assess the exposure latitude (essentially the dynamic range) of the Raw files. And it's after underexposing the EOS M50 by four stops and then re-brightening, we start to see some clearer differences between the regular Raw files and their C-Raw equivalents. The resulting pattern can be more difficult to remove or reduce than normal noise patterns, and is reminiscent of artifacts left behind from noise reduction algorithms that we've seen in the past. At this time, we're optimistic that users of Canon's new Raw format can shoot in C-Raw without a noticeable impact on image quality. But after all, this is a four-stop push. Depending on your shooting, this may indicate a slight dynamic range disadvantage to using C-Raw, but it's likely to remain an edge case for most users. And so we've decided to finish off with a more informal test in a more common situation. We wanted to see if processing out the two different Raw files would turn up different results for the gradient in a blue sky. Blue skies and takeaways Uncompressed Raw Compressed Raw Click through for full sizeISO 100 | 1/640 sec | F8 | Canon EF-M 15-45mm F3.5-5.6 Smooth gradients can often trip up compression algorithms, particularly in many cameras' JPEG engines, so we wanted to see if there was any noticeable difference when the EOS M50 compresses its Raw files. As with our un-pushed studio images, it's again impossible to tell which is the normal Raw file, and which is the C-Raw file. So what does this all mean? Of course, we still have plenty of tests to run on the EOS M50, but at this time we're optimistic that users of Canon's new Raw format can safely shoot in C-Raw and save themselves valuable memory card and disk space without noticeable impact on image quality. Note that all of the above images of our studio scene were processed in an identical manner to images in our studio scene widget, meaning there was no sharpening nor noise reduction added. Adjustments for the blue sky scene were limited to highlights, shadows, whites and blacks in Adobe Camera Raw, and sharpening and noise reduction were left to default levels. Click here to download the original Raw files for all of the below comparisons, and to see how the EOS M50's uncompressed Raw files compare to its peers, check it out in our studio test scene.

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