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01-25-2020, 03:18 PM   #31
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As shown, the likes of this policy goes way back. I think it is to great potential benefit for all concerned. If Pentax scouts an especially well-performing lens designed by a 3rd party, and a deal can be reached for a rebadged version for advantages to both sides, as well as customers, why not?

And also pointed out, sometimes it is a Pentax design manufactured by a 3rd party that can also share the design for their own brand.

Usually, the Pentax branded version includes upgrades such as coatings, and perhaps WR also, to be had at a higher price than the 3rd party brand itself. And usually worth the extra money for the upgrades if the cost is not all that much more. I recall seeing test reviews in Pop Photo of both the Tokina and Pentax versions of the 12-24mm f/4 where the Pentax version was the winner due to better flare performance, and better resulting contrast over the Tokina.

Similar with the 100mm f/2.8 but the Tokina was much better built over the original Pentax DFA version, now corrected in the current DFA 100mm f/2.8 WR version.

01-25-2020, 04:29 PM   #32
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In principle, I don’t have any problem with sharing optics with other manufacturers, and I fully understand why Ricoh took the decisions with the latest round of lenses to suit the K-1/ii. Previous decisions were in the Hoya era, so they’re of historical interest only, in this discussion.

What exercises my mind is what Ricoh’s strategy for the Pentax brand is, at present. Over the time since the K-1 release, it seems to have changed from challenging the (then) big two in the market, to making Pentax a premium product line.

The more third-party adaptions that appear, the less this latter assertion makes sense, unless it is a delayed aspiration.

It’s not what you’d call a bold step forward, but I don’t think Ricoh is renowned for that sort of thinking. Still, Pentax is surviving, and those of us with a considerable investment in Pentax can be thankful for that.

But I still wonder...
01-25-2020, 05:40 PM   #33
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QuoteOriginally posted by pres589 Quote
Not sure about the 50-135 although I think that was another example of "the coatings aren't up to the challenge" situations.
Sadly, I think the SDM motors might have been a shared asset...


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01-25-2020, 06:09 PM   #34
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Oh wait, what? 50-135mm T2.9 MK II ? Tokina Cinema USA

This seems like the same optical design as the DA 50-135, doesn't cover full frame (Super 35 and APS-C are listed as image circles covered), and has the same number of elements and groups as the DA 50-135. I wonder how much net profit Tokina will make with this thing.

01-25-2020, 08:55 PM   #35
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QuoteOriginally posted by pres589 Quote
Oh wait, what? 50-135mm T2.9 MK II ? Tokina Cinema USA

This seems like the same optical design as the DA 50-135, doesn't cover full frame (Super 35 and APS-C are listed as image circles covered), and has the same number of elements and groups as the DA 50-135. I wonder how much net profit Tokina will make with this thing.
Wow...That is pretty amazing, particularly the price.


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01-25-2020, 09:24 PM   #36
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QuoteOriginally posted by pres589 Quote
Oh wait, what? 50-135mm T2.9 MK II ? Tokina Cinema USA

This seems like the same optical design as the DA 50-135, doesn't cover full frame (Super 35 and APS-C are listed as image circles covered), and has the same number of elements and groups as the DA 50-135. I wonder how much net profit Tokina will make with this thing.
And the Conikonists will never realize they are shooting with a little old Pentax designed lens! The irony will escape them I am sure.
01-26-2020, 05:13 AM - 1 Like   #37
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QuoteOriginally posted by stevebrot Quote
Wow...That is pretty amazing, particularly the price.





Steve
It is odd what you can charge for declicking the aperture and having only manual focus!



01-26-2020, 08:02 AM   #38
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QuoteOriginally posted by clackers Quote
It is odd what you can charge for declicking the aperture and having only manual focus!
Don't forget using a lot of metal in the build and making it look like nearly every other cine lens on the market.

It really seems like Tokina got a lot more good out of the tech sharing arrangement in the Hoya years than Pentax did, by an extreme margin.
05-23-2021, 02:36 AM   #39
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QuoteOriginally posted by stevebrot Quote
I don't know about Sigma, but I know of sharing for:
  • Pentax-K 28/2.0 (Zeiss Distagon 28/2.0 "Hollywood"...collaboration)
  • Pentax-M 200/4 (XR Rikenon twin)
  • Pentax-M 28/3.5 (XR Rikenon twin)
  • Pentax-FA 100/3.5 Macro (Cosina, Vivitar, Promaster, etc. Likely made by Cosina)
  • Pentax-FA 28-105/4-5.6 [IF] (Tamron twin)*
  • Pentax-FA 28-200/3.8-5.6 AL [IF] (Tamron twin)*
  • Pentax-DA 12-24/4 (Tokina twin)
  • Pentax-DA* 16-50/2.8 (Tokina twin)
  • Pentax-DA* 50-135/2.8 (Tokina twin)
  • Pentax-DA 35/2.8 Macro Limited (rebadged as Tokina)
  • Pentax-DA 10-17/3.5-4.5 Fisheye (Tokina shared optics)
  • Pentax-DA 18-250/3.5-6.3 (Tamron-based)
  • Pentax-DA 18-270/3.5-6.3 (Tamron-based)
  • Pentax-D FA 100/2.8 Macro (rebadged as Tokina)
  • Pentax-D FA* 50/1.4 (rebadged as Tokina)
Great list!
It would be interesting to also know the patent numbers and owners.
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