The Company’s First Set of PL-Mount Cinema Prime Lenses Merge the Art and Science of Cinematography
MELVILLE, NY, April 3, 2019 – Covering the core range of focal lengths that cinema professionals desire, Canon U.S.A.
Inc., a leader in digital imaging solutions, is excited to announce the company’s first set of seven cinema prime PL-Mount lenses, aptly named Sumire Prime.
Pronounced “Soo-mee-ray,” the word is of Japanese origin and is associated with a floral gentleness and beauty.
Sumire Prime Lenses offer a unique artistically pleasing look with gentle and beautiful skin tones and smooth bokeh, designed for use with large-sensor cinema cameras, including 35mm full-frame cameras such as the EOS C700FF Cinema Camera.
In addition to bright T-stops and Canon’s renowned warm-color imagery, a unique optical design introduces a nuanced look as the lens aperture approaches its maximum setting - subtly modifying the textural renderings of the human face closeup.
It also smooths the transition to the fall-off portions of the scene resulting in a pleasing bokeh.
This combination adds emotional expressiveness and provides creative flexibility to create a memorable scene.
“Sumire in Japan is the name of a flower, and like the petals of a flower, our lenses are most beautiful when fully opened.
This is the inspiration behind the Sumire look,” said Kazuto Ogawa, president and COO, Canon U.S.A., Inc.
“The feedback from cinematographers is crucial and their voices have been heard loud and clear – they asked Canon to introduce a set of PL-mount cinema prime lenses.
We went a step further and our new Sumire Prime Lenses produce the beautifully cinematic and unique images professionals desire.
We can’t wait to see how the lenses will contribute to the art of filmmaking.”
The new set of seven Canon Sumire Prime Cinema Lenses include the following:
CN-E14mm T3.1 FP X
CN-E20mm T1.5 FP X
CN-E24mm T1.5 FP X
CN-E35mm T1.5 FP X
CN-E50mm T1.3 FP X
CN-E85mm T1.3 FP X
CN-E135mm T2.2 FP X
All Sumire Prime lenses feature an 11-bladed iris and bright T-stops that allow users to capture images that feature a more natural circular-like bokeh from both maximum to minimum aperture.
The use of an odd number of iris blades also helps to diffuse light rays and produce what is generally considered a more sought after, artistically pleasing and cinematic look with warmer colors.
The lenses also achieve uniform color balance throughout the lineup, helping to reduce the need for post grading, even when a production is frequently changing lenses.
The highly durable Sumire Prime lenses feature the same outstanding operability and reduced focus breathing as Canon’s well-established EF-Mount Cinema Prime Lenses.
Manual operation provides users with the resistance they desire to make precise changes in focus.
A 300-degree focus rotation angle and gear position is consistent across the entire Sumire Prime series of lenses - eliminating the need to adjust gear positions when changing lenses.
“The new Sumire Prime lenses are the perfect blend of science and art,” says cinematographer Matt Porwoll, who shot the first U.S.
footage with the lenses.
“The bokeh comes alive in ways that weren’t occurring with other lenses I’ve used.
Lens flares have a dynamic feel to them, rather than behaving in a formulaic manner.
I wish I had these on my last project!”
The Sumire Prime Lenses are compatible with the complete lineup of Canon Cinema EOS full-frame and Super 35mm 4K cameras, including the EOS C700 FF, EOS C300 Mark II and EOS C200.
In addition to Canon cameras, the new lenses are also compatible with the latest full-frame and Super 35mm PL-mount cameras from leading manufacturers.
Additionally, the mount on the Sumire Prime Lenses is interchangeable and can be converted from PL-Mount to EF-Mount at a Canon Factory Service & Repair center.
A Canon representative will be able to perform the service or even revert back to original PL-mount upon request at an additional cost*.
The Canon CN-E24mm T1.5 FP X, CN-E35mm T1.5 FP X, CN-E50mm T1.3 FP X and CN-E85mm T1.3 FP X lenses are scheduled to be available in Summer 2019.
The Canon CN-E14mm T3.1 FP X lens is scheduled to be available in Fall 2019.
The Canon CN-E20mm T1.5 FP X and CN-E135mm T2.2 FP X lenses are scheduled to be available in Winter 2019/Spring 2020.
My wife, Alexis, rarely asks me to take a photo for her.
She is generally satisfied with documenting everyday life with her smartphone, so when she asks me to photograph a particular subject, I usually take notice and fulfill the request as soon as possible.
But I admit to dragging my feet a bit when my wife noticed one of her aloe plants blooming and said, "You should take a picture of that."
Personally speaking, I didn't find the aloe plant's bloom to be very intriguing, which is probably why I didn't immediately rush to photograph it.
It doesn't feature colorful petals or otherwise interesting elements that typically make blooms ideal photographic subjects.
To my eye, the aloe bloom's shape reminds me of a tall, thin pine tree, a not-very-compelling subject, especially considering the background context provided by my back yard (again, not very photogenic).
However, when my wife sent me a reminder the following morning, "You should take a pic of that aloe bloom!," her use of an exclamation point was a clear sign that she was very serious about the suggestion.
So, I dropped what I was doing to satisfy her request.
To photograph the bloom, I moved the aloe plant's pot from the back porch to a spot in the yard where sunlight would be hitting the bloom but not the background, allowing me to use the difference in luminosity to make the subject stand out.
With the Canon EF 100mm f/2.8 USM Macro mounted to my Canon EOS 5D Mark III, I also used a wide f/2.8 aperture and a distant background to further accentuate the subject/background separation.
Other than moving the plant (which was actually quite cumbersome and somewhat heavy), the image was relatively simple to capture.
I proudly sent her the result of my efforts, having precisely fulfilled her request.
Her reaction, "Where's the rest of the plant?," left me a bit perplexed.
First, she hadn't asked for a photo of the plant with the bloom. She had twice asked for a picture of the bloom.
Plus, from my perspective, the plant doesn't change very much day-to-day.
If she wants to see the plant, she can just open back door and walk the 10 paces to its home on the porch.
The bloom was what made the plant different from its typical appearance, that is what she asked me to photograph and that is indeed what I documented.
But that's not what she – in this case, the client – wanted. And if I had been more inquisitive from the get-go, I would have had more context and could have discerned exactly what she desired in the image.
As it turns out, this particular aloe plant used to be her grandmother's who passed away a couple of years ago.
And in all the years her grandmother owned the plant, the family had never known it to bloom.
So while the bloom was indeed special, the plant itself garnered feelings of great sentiment, giving the bloom much more important context.
After realizing exactly what my wife wanted, I dragged the plant into my studio for a formal portrait session involving three studio lights, two shoe-mount flashes and my favorite mottled gray collapsible background.
So why not photograph the plant outside? Because the increased camera-to-subject distance would require an increased subject-to-background distance to achieve a similar background blur, and the background distance, in this case, wasn't variable.
I was already using nearly the full width of my backyard when I photographed the isolated bloom; photographing the whole plant would have left the backyard – including my neighbor's house and fence – too recognizable.
The resulting studio image can be seen below.
She was much happier with my second attempt at capturing "the bloom."
Of course, the initial failure to capture what my wife really wanted did not have devastating consequences as I was able to rectify the situation with another (more complex) photo shoot the following day.
However, the lesson learned from this ordeal is quite clear, and it will surely pay more tangible dividends down the line.
Don't take seemingly simple requests at face value; always dig deeper to ascertain the precise needs of your client, potentially avoiding the wasted time, effort, frustration – and dissatisfaction – resulting from not fulfilling those needs the first time around.
Photographer Tim Grey gives us some HDR photography tips & tricks and discusses how to use Adobe Lightroom to combine multiple images into a single, more detailed high-dynamic-range photo. Tim also demonstrates the use of Auto Align and de-ghost features to best process your HDR images in post.
Want to create an HDR panoramic image? If so, Adobe released a Lightroom CC update a few months ago that made the process significantly easier.
Roger Cicala over at Lensrentals has spent years perfecting his lens MTF testing procedures and has begun sharing the results of his work with us.
The-Digital-Picture.com's Camera Lens MTF Measurements Comparison Tool has been refreshed with the latest results, currently including Canon and Zeiss prime lenses with many more results coming soon.
Note that only wide-open aperture results will be shared.
Zoom lenses will have results for multiple focal lengths.
As I said before, there were some comparisons that I wanted to see and with an EOS R now in the kit, it is time to make some of them happen.
With the EOS R test chart results from another of my favorite lenses, the EF 24-70 f/2.8L II, now loaded on the site, here is the next one:
I think you'll be impressed with the RF lens' wide open performance in this comparison.
The 28-70mm f/2 RF lens mounted to an EOS R was my primary combination for photographing a large-arena concert on Saturday night (with media access).
The large size and relatively heavy weight of the lens were not issues for the 5-hour event, especially with a BlackRapid Sport Breathe Camera Strap taking the weight during breaks.
Having the f/2 aperture available in a solid focal length range made a huge difference in capturing fast-moving performers in low light.
And, the image quality of the results is excellent.
I should also mention that I love the EOS R's Touch & Drag AF feature.
I find it much faster than using a joystick and going back and forth between the R and my secondary camera made this difference especially obvious.