If you’re looking for the best lens for Blackmagic Pocket 4K camera, you’ve come to the right place. In this article, we’ll take a look at some of the best lenses available on the market today that are specifically designed for use with the Blackmagic Pocket 4K.
We’ll start by taking a look at some of the available prime lenses, and then we’ll move on to some of the best zoom lens for the Blackmagic Pocket 4K. By the end of this article, you should have a good idea of which lens is going to be the best fit for your needs.
Types of Lens
There are four main types of lenses available for the Blackmagic Pocket 4K: prime, zoom, wide angle, and fisheye.
- Prime lenses are fixed focal length lenses, meaning that they cannot zoom in or out. Prime lenses are typically lighter and smaller than zoom lenses, and they often have a wider maximum aperture, which allows for better low-light performance and shallow depth of field.
- Zoom lenses are versatile because they can be used for a variety of different subjects and situations. Zoom lenses offer more flexibility than prime lenses, but they are usually heavier and larger.
- Wide-angle lenses have a shorter focal length than standard lenses, which makes them ideal for capturing expansive landscapes or large groups of people. Wide-angle lenses can also be used for close-up shots, but they will distort the image more than a standard lens.
- Fisheye lenses have an ultra-wide field of view and can create a unique, distorted look. Fisheye lenses are fun to use, but they are not as versatile as other types of lenses.
Sigma has been in the optical industry for over 50 years. It was best known for making less expensive optics during the film era when camera manufacturers made their alternatives. However, this has begun to change in recent years.
Other firms have relocated production to cheaper locations like China and Thailand, but Sigma has stubbornly refused to leave its Aizu, Japan, facility. As a result, it can no longer compete on price alone, so it’s turned its attention toward higher-value offerings.
The company has come up with some great ideas for design in the last few years. The original (and now replaced) 30mm F1.4 EX DC HSM was one of our favorite lenses for SLRs that use APS-C sensors because it produced very sharp results when shooting at wide apertures.
We have been impressed by the excellent optical quality of the recent 35mm F1.4 DG HSM lens, which is also a reasonable price. This follows the manufacturer’s trend of creating high-quality products at a lower cost, like the 18-35mm F1.8 DC HSM lens which is the first constant F1.8 SLR zoom lens on the market.
Sigma chose an F1.8 maximum aperture because it provides the same depth of field control as an F2.8 zoom on full-frame cameras. Additionally, when used with an APS-C sensor, the system produces an image that is just over twice as bright onto a sensor that is slightly smaller than half the area without increasing total light usage.
The lens uses Sigma’s new USB dock, which helps you adjust how the lens focuses. You can do more than just make AF micro adjustment corrections on SLRs. This should help you get better focus accuracy and make the most of the large aperture.
Sony’s F1.4-size autofocus lens is also available in a smaller, lighter body with the same great image quality and builds quality as the 35mm F1.4 lens. This lens also has some of the great features that we liked on the 35mm F1.4, such as an improved AF switch and a big base of the barrel for greater handling control.
This lens has a limited focal range, but it should still be good enough for wedding and event photography. For current APS-C photographers, this lens is not quite as good as a 24-70mm F2.8 on a full-frame camera, but it is pretty close.
Overall, the Sigma 18-35mm F1.8 is a really good lens. We like how Sigma is always trying to create new and better lenses. But can a fixed focal length zoom produce good results? You should try it out and share your experience.
Sigma has been doing a great job making unique lens options for cameras. The 50-100mm f/1.8 DC HSM Art for Nikon F, Canon EF, and Sigma SA APS-C cameras is a great example. This lens has a fast aperture and a short to medium telephoto range, which is equivalent to 75-150mm. This lens is designed to replace three prime lenses with focal lengths of 35mm, 85mm, and 135mm. This lens is a fast lens that will still give you great results.
When I got this lens, I thought it was too good to be true. A zoom lens with a fixed f/1.8 aperture? It sounded like a fantasy. But I decided to test it out and see how it worked. I used it on my a7R II with an electronic adapter that would let me use the lens in full-frame format. This way, I could find out if the lens worked well with my camera and see how it performed in different situations.
The adapter and lens worked together very well. This allowed for quick and precise autofocusing. The focusing mechanism made more noise than other adapters and lenses, but it was still okay. This zoom lens lacks the refinement of a native Canon zoom lens, but it still works well.
When it comes to lens design, photography and physics have always competed. You can only make a lens so small before you start to lose performance. Sigma took the easier option, which resulted in a rather large lens (3.3 lbs., 6.7″ long). This lens is heavier than several other lenses that have the same category. This means you’ll have to explain why you need a zoom in this particular area.
A more typical 70-200mm f/2.8 lens would be about the same size and weight as this lens, but it would offer a longer distance. Although it’s not ideal to lose a stop of light, it can come in handy if you’re looking for a telephoto zoom lens with a longer reach. Most full-frame cameras are compatible with 70-200mm lenses, which is a plus if you decide to upgrade in the future.
This Sigma lens design is interesting because it puts performance first. The company included all of the features that are available, such as a high refractive index element and a low dispersion glass element.
The f/1.8 aperture will also be very useful because it throws backgrounds out of focus and makes the center frame very sharp. There is some vignetting at f/1.8, which is to be expected because of the design. But it’s worth noting. Flare is well controlled and there don’t appear to be any significant benefits or drawbacks to either the 50mm or 100mm ends.
Fast-focusing and sharp performance
The lens is sharp, and this appears to be a major component of Sigma’s new Global Vision strategy. The lens can be updated using the USB Dock for firmware updates and focusing adjustments.
I didn’t need to use it with the α7R II’s on-sensor focusing, but I’m confident in its value. When stopping down, you may notice that resolution improves as well as vignetting. This scope does not produce much distortion, which is normal for a lens with its focal length. Usually, normal to medium telephoto lenses are good at reducing distortion.
The lens doesn’t have image stabilization. This isn’t a big problem because many prime lenses don’t have it, but some people would have liked it. The tripod foot is tiny compared to other lenses. Although you might be able to get your lens working, it will be more difficult to do so and it will not work as well as if it was on a tripod. The tripod collar has stopped every 90 degrees, which is a great feature because you can lock in the correct position by using them.
This lens is well-built. It has a good balance, and the focus and zoom rings are relatively smooth. The lens is a little large for its limited range, but it does an adequate job. However, this lens does not come with any protection from the elements, which I believe to be a serious deficiency. On a wet day, users should exercise caution when using it.
I was happy with the 50-100mm lens. I was surprised at how sharp it was and how well it controlled aberrations. However, many photographers find it difficult to see where they would use a single huge zoom lens when they could just use two or three compact prime lenses.
I think that two great prime lenses would be a better solution because they are lighter. This lens is a good companion to the company’s 18-35mm f/1.8 lens because it meets all of its basic needs.
Tokina released the third version of its popular AT-X 116 Pro DX and DX II lenses. Tokina is one of the finest companies in the market, building camera lenses for quite a while. Tokina company launched several powerful camera lenses in the last couple of years, and Tokina 11-16mm f/2.8 is one of them.
This lens is composed of thirteen pieces organized into eleven groups and features a nine-blade diaphragm. Two Super-Low Dispersion glass components and two aspherical glass components are present. The lens also includes multi-layer anti-reflective coatings that repel water. Additionally, the GMR sensor and integrated quiet focusing motor support enhanced AF performance.
When you focus or zoom, the Tokina 11-16mm f/2.8 AT-X Pro FX lens’ fixed focal length remains constant. Since it has internal focus, focusing or zooming has no effect on the length of the lens.
A handy Onetouch focus Clutch mechanism and a somewhat detailed distance scale are further features of this Tokina model. Particularly for lenses with these focal lengths, it facilitates the speedy establishment of hyperfocal distances.
The lens features a 1:11.6 macro ratio, a 0.3m minimum focusing distance, and a 104°–82° angle of view. Also included is a 77mm filter size. The FE lens is 92 x 84mm in size, whereas the lens is 84 x 89mm in size. Finally, a lens hood with a flocking coating is included to lessen flare and ghosting.
The new model weighs 555g as opposed to the old model’s 550g. The lens’s layout has also changed. Similar to the In-X 116 PRO DX II, the zoom ring is at the back and the focus ring is in front. The lens now has a different design. The rubberized grips, for example, have been given a more textured finish.
The new silver shine has replaced the golden sheen that was close to the distance scale. Utilizing the One-Touch Focus Clutch mechanism couldn’t be easier. To operate MF, all you need to do is hear the focus clutch click. Manual focusing is also very smooth and has a wide range of rotations.
The lens produces neutral-colored images with high picture quality. At 11mm f/2.8, the image’s corners are hazy, but the center is sharp. The softness disappears and the center-to-edge sharpness noticeably increases at f/8.
The overall quality of the scene improves significantly as you zoom in at f/2.8. At a distance of 16 meters, there is no loss of clarity from the center to the edge. There is not much variance in sharpness across the frame at f/8.
The lens’s quick autofocus function operates in dim light. The focus, however, is rather noisy. If you take the video in a quiet environment, it will include all noise. I’ve also discovered that you can hear the ring revolving when you zoom in when recording a video. In this situation, setting the frame prior to beginning the recording is preferable. Most importantly, the zoom lens’s focus breathing isn’t too bad at either end.
Flare and ghosting are effectively controlled by the lens. By f/5.6, there is little distortion and the vignetting is gone. With appealing bokeh and fuzzy backgrounds, bokeh and blurs are well represented. On the other side, lateral chromatic aberration is severe!
A moderate wide-angle lens for photographers, vloggers, and serious amateurs is the Tokina 11-16mm f/2.8. This lens produces sharp images with excellent color fidelity and very little flare or distortion.
People can use it to take pictures in low light settings because of the f/2.8 constant aperture. It is easy to switch between modes because of the clutch mechanism. The only problem with this lens is that it is really loud when you make videos. This is a minor inconvenience.
The Sigma 10–20mm f/3.5 EX DC HSM lens is the first ultra-wide zoom lens with a constant aperture of f/3.5, and it has some disadvantages. There isn’t much competition right now because there aren’t any other lenses available at this price range that offer the same focal length and distance as the Tokina.
A new 100mm f/2.8 Macro Lens from Rokinon has recently been released, and it boasts great image quality. This lens has a manual focus, therefore you must make the appropriate modifications. But it’s beneficial because the lens competes favorably with others of a comparable price.
This lens is compatible with Canon EF, Nikon F, Samsung NX, Sony E, and A-mount cameras. For APS-C sensors, 150mm is the corresponding focal length. This means that you may obtain the same results with a lens that is 150mm long even if your camera has a sensor that is smaller than the entire frame.
Focusing distances for Micro Four Thirds cameras are closer to 200mm. By doing so, you may use the same focal length on all sensors for macro, medium-telephoto, and portrait shooting. A macro lens, the Rokinon 100mm f/2.8 lens enables you to snap close-up images of objects. As a result, the size of the thing in the image will match the size of the object in reality. This is excellent for photographing little animals, plants, insects, and toys.
When you utilize this specification with a long 100mm focal length, you can shoot some stunning up-close and detailed photographs without intimidating or alarming your subjects. Light may be readily changed in color. Additionally, you don’t need to be too far from the light to achieve it. If you get near the light, it will continue to be in focus.
This lens has a rounded 9-bladed diaphragm which gives smooth and natural bokeh. You can choose the aperture to get either a shallow or deep depth of field. This lens has been created to help reduce chromatic aberration and distortion.
This lens also has an Ultra Multi-Coating that helps to reduce ghosting and keep rich contrast and color fidelity. It is also easy to use polarizers or variable neutral density filters because it has a 67mm front filter mount that does not rotate.
Since this lens is manual, you must manually set the focus and aperture. It won’t surprise you if you’re familiar with Rokinon lenses. Becoming proficient in macro photography, in particular, and photography in general needs a lot of practice and effort. For the finest outcomes, a tripod is highly advised.
I used a full-frame camera to test the version using the Canon EF mount. The wide aperture range made it easy for me to switch between bright and dark areas. Looking through the viewfinder, you can see how the aperture ring is affected.
Both using the aperture ring and selecting an f-stop on your camera are simple processes. So if you are unfamiliar with it, don’t be afraid. The focus and aperture rings are both easy to use and smoothly functioning.
Using this lens is an enjoyable and practical experience. Its lack of several automated functions sets it apart from other lenses. When shooting anything up close, you can hold the camera in your hand. It is preferable to utilize a tripod while capturing images of moving objects rather than attempting to do it manually.
If your subject is small and you are near to it, this lens is challenging to use. Camera shaking prevention features are absent from this lens. Avoid moving the camera too much when using this lens. Photographers of macro subjects will love this new lens. The high standards established by previous outstanding macro lenses have been met by the Rokinon 100mm f/2.8 Macro Lens.
The Panasonic Lumix G Vario 100-300mm f/4-5.6 II POWER O.I.S. Lens is a long-range telephoto zoom lens that is perfect for wildlife, nature, and sports photography. This telephoto lens has one extra-low dispersion element that reduces color fringing and makes the image clearer and more colorful throughout the zoom range.
This lens is also quiet, fast, and accurate with a linear autofocus motor. It also has a POWER Optical Image Stabilizer that is perfect for use with certain Lumix cameras’ Dual I.S. function. This lens is also splash and dustproof so you can use it in any environment you need to.
The Olympus 25mm F1.2 Telephoto Zoom lens has a focal length range of 200-600mm. This lens also includes one extra-low dispersion element to improve the clarity and color fidelity of your photos. The linear autofocus motor provides quick and accurate focusing for both stills and video applications thanks to its linear AF performance that is smooth, precise, and near-silent.
It is simpler to capture images without shaking the camera thanks to the POWER Optical Image Stabilizer’s reduction of camera shake. The Dual I.S. feature also contributes to the camera’s increased stability. The smooth seven-blade diaphragm adds to a smoother-appearing backdrop in photographs, and the camera’s build makes it resistant to inclement weather.
A wide-angle lens for Micro Four Thirds cameras is the Olympus M.Zuiko Digital ED 12mm f/2 lens. This lens has a brilliant f/2 maximum aperture, making it suitable for star photography or low-light photography.
It is simple to use because of its superior optical design and intuitive handling. The lens’s construction contributes to its greater focus and less distortion. This portrait lens is small, brilliant, and equipped with image stabilization.
The focusing technology is compatible with both still and moving images, thus it may be used for both. For simple control over focus position and depth of field, there is also a manual focus clutch and Snapshot Focus mode. This lens is designed for mirror-equipped Micro Four Thirds cameras.
This means that it has a 24mm equivalent focal length, making it ideal for photographing landscapes and buildings. Due to its brilliant f/2 maximum aperture, this lens is effective for capturing images in low light.
Additionally, the lens incorporates elements that aid in reducing spherical aberration and distortion, which enhances sharpness and resolution. The MSC focusing system is quick and effective for taking both still images and moving pictures.
While recording or taking pictures, you may easily change the focus thanks to the manual focus clutch. With hyperfocal focusing and depth of field scaling, the Snapshot Focus mode is helpful. And the seven-blade diaphragm creates a lovely backdrop effect for your pictures or movies.
FAQS (Frequently Asked Questions)
What is the best wide angle lens for Blackmagic Pocket 4k?
The Sigma 18-35mm F1.8 Lens is a great option for Blackmagic Pocket 4k cameras. It’s a wide-angle lens that will allow you to capture more of the scene in front of you, which can be helpful when filming landscapes or large groups of people.
Can I use any lens with my Blackmagic Pocket 4k?
No, you will need to choose a lens that is compatible with your Blackmagic Pocket 4k camera. Otherwise, you will not be able to attach it to your camera.
What are the benefits of using a prime lens with my Blackmagic Pocket 4k?
A prime lens is a lens that has a fixed focal length, as opposed to a zoom lens, which has a variable focal length. Prime lenses are typically faster, sharper, and more lightweight than zoom lenses. Additionally, prime lenses can be less expensive than zoom lenses.
What is the best prime lens for Blackmagic Pocket 4k?
The Tokina 11-16mm f/2.8 Lens is a great option as the best prime lens for Blackmagic pocket 4k. It has almost every feature that a powerful prime lens should have.
Do I need to get a special lens for my Blackmagic Pocket 4k?
No, you don’t need to get a special lens for your Blackmagic Pocket 4k camera. However, we do recommend choosing a lens that is compatible with your camera, as this will ensure that you’re able to use it with your Blackmagic Pocket 4k.
Can I use an adapter to attach my lenses to my Blackmagic Pocket 4k?
Yes, you can use an adapter to attach your lenses to your Blackmagic Pocket 4k camera.
What is the best telephoto lens for Blackmagic Pocket 4k?
The Sigma 50-100mm F1.8 Lens is currently the best telephoto lens for the Blackmagic pocket 4k camera. If you are looking for a telephoto lens then go for it.
I’m not sure which lens to choose for my Blackmagic Pocket 4k. What should I do?
If you’re not sure which lens to choose for your Blackmagic Pocket 4k camera, then we recommend taking some time to experiment with different lenses and see which one you like best. You can choose from the above-mentioned lens too.
The Best Lens For Blackmagic Pocket 4k is the one that best meets your needs and budget. There are many great lenses available, so do your research and choose the one that’s right for you.
If you’re looking for a wide-angle lens that can be used for a variety of applications, the Sigma 18-35mm F1.8 is a great option. It’s a well-built lens with excellent image quality and fast autofocus.
If you need a fast prime lens for low-light shooting or action photography, the Tokina 11-16mm f/2.8 is a great choice. It’s extremely sharp and has fast autofocus, making it a great option for Blackmagic Pocket 4k shooters.
Do you have any experience with these lenses? Let us know in the comments below!