That sounds even more impossible. Are you sure you are not mixing up something here. For example, old FT lenses can be adapted to L mount since they have have a much bigger flange distance than L. I have zero need for any 35mm camera . so can anyone tell me if there is any reliable adapter for this sigma L lens to mft cameras and if there is , can someone confirm what I will lose in this configuration . Auto Focus ? exif data ?? Given you say the farthest focus you were able to achieve was 9 inches set to infinity, that seems to suggest the 20mm is probably right (meaning MFT lens has to recess into body for proper focus). If it was 19mm, then it should focus past infinity and adding shims or adjusting the focus to closer should achieve infinity focus. Sorry to say this and please excuse -“rubbish”. Even photography goes through “fashions” and the big current fashion thing is now FF sensors where we might remember that once upon a time nothing could beat more megapixels.

This Lens Mount Adapter, is made with high standard precision. Its all metal design and polished surface is designed to guarantee smooth mounting and long lasting experiences. It allows Pentax K/PK Lenses to fit on a Sony Alpha NEX E-Mount system camera body. Their original adapters EF-E/FE were not very good, they have always proclaimed that they were compatible with a huge range of lenses - even lenses that few (including Commlite and even Metabones could not afford to buy and test), most likely they will not work well with more rare lenses but so few own them that the sad story will never be told. I did a test of 20+ EF mount lenses with the Sigma MC-21 and Fotodiox Fusion adapters and all was not that rosy although both adapters did support all my Sigma EF mount lenses for S-AF and the Fusion adapter did support a wider range of Canon EF mount lenses. But neither came anywhere close to supporting the range of my own lenses that Metabones supported EF-M4/3. Nor is the Fusion adapter nearly as complete in actual compatibility S-AF as Commlite claims in its list. Ultra-fast focusing speed, AF auto focus, providing fast and accurate detection of the focus direction and target;

The 5DSR files are horrid, horrid, horrid when you try to raise the shadows EVEN a little they have a strong ugly colour cast. The M5 files are much, much better in the shadows than the 5DS R. The Leica is about the same as the M5 in the shadows but brutally clips the highlights so you have to be careful to expose.

In the wake of the sale of Olympus' Imaging Division, Panasonic has been strangely quiet on the topic. What are their intentions for MFT as a platform, and will they develop it going forward? To understand what might happen, we need to understand Panasonic's approach to date. In particular, it is worth remembering that they have a long history with Four Thirds, releasing their first DSLR (DMC-L1) in 2006, which shared components with Olympus' models. Barely two years later, the MFT standard was released, and Panasonic was first to market. It's possible that video wasn't uppermost in Panasonic's mind upon release of the G1, as it suffered from slow autofocus and poor battery life. However, barely six months, later the flagship GH-1 was launched, touting strong video capabilities. Panasonic's intent was clear, and it has developed this with each iteration. It's worth speculating who was driving the partnership between Panasonic and Olympus. MFT offered significant advantages for video, and Panasonic has had a clear and consistent development path. Addition of the TTArtisan Tilt 50mm f/1.4 L and the Panasonic Lumix S 18mm f/1.8, the widest prime lens from Panasonic.Presumably you found M4/3 was a step up from your Canon EF dslr kit even though the 5D was a FF sensor camera body. Another alternative would be to find an 0.71 focal reducer with AF support and put a 50 mm lens on it. This will bring you to 35 mm effective FL and buy you one stop greater speed (e.g. f/1.4 for an f/2 or f/1.0 for an f/1.4 lens). With a focal reducer of good quality, such a combo might conceivably do better optically when stopped down to f/2 than a 35 mm f/2 lens shot wide open. For those with a Panasonic LUMIX S1H, S1, and S5 camera, you can switch over to 4K Super 35 or 3.5K 4:3 anamorphic modes to use the Sirui lenses without crop. Both lenses have an image circle that covers the Super 35 mode, and once de-squeezed, the image offers close to a 2.35:1 ratio. In 3.5K 4:3 mode, you will still get a 16:9 image. MTF Services have released new RF-mount-converted versions of the popular Sirui 1.33x anamorphic lenses. Users of the RED Komodo and Canon C70 can now enjoy using the Sirui 35mm f1.8 and 50mm f1.8 anamorphic lenses to shoot stunning 2.4:1 cinemascope images. But, if you need a 35mm prime to fit to mFT body, there are plenty of options, also with AF. Oly FT-version 35mm macro (needs an adapter),

The RED Komodo sensor is fully covered by the image circle of both the Sirui 35mm and 50mm lenses converted by MTF Services. This means that full 6K resolution of the sensor can be used to create anamorphic images. Look closely at the photo's of the adaptor already shown in these thread's, the adaptor sits within the Sony mount with the front face at the correct Distance from the sensor to get infinity. manual focus only. This may be possible for the l mount which has a larger diameter. No, there is no adapters for L.mount lenses to fir mFT-cameras... At least now, as far as I know. Panasonic could and should have some interest there, but nothing so far.Also note that Sigma does offer a service to convert other-mount versions of their own lenses to L-Mount - presumably taking a lens that cannot be adapted to L - C-AF capable - and making the converted lens now C-AF in the process. The lenses can be used to cover a slightly larger area if the user is willing to accept some vignetting (this requires the user to shoot in Full-frame 5.9K mode and then crop the image in post production to the equivalent of around 1.35x crop) The SL version: it refers to the lenses dedicated to full frame. These lenses work perfectly on an APS-C camera (using the classic crop factor of x1.5), I chose it over the MC-21 for its supposed lower demand for supported lenses. It seems instantly that this is the main and defining difference between this two adapters. I hope so. M42 screw to M adaptor allow me to bring a wide range of screw mount lenses between the 50s-70s Image sample of adapted lenses on L-mount cameras

But..... how many m43 lenses are there, that allow an MC-20 to be attached? Three from Oly? The 40-150pro, the 300pro, and the new 100-400. With the newer Canon EOS R5 the lens image circles do not fully cover the full-frame sensor, but can still be used if the user is prepared to accept the vignette effect and crop the image in post-production (this requires the user to shoot in full-frame mode and then crop the image in post production to the equivalent of around 1.35x crop). Yes. The flange distance of E mount is only 18 mm, less than MFT and therefore impossible to adapt. Essentially it would be the cost of an Olympus MC-20, plus the cost to modify it on the camera side for L-mount.These are some existing adapters for an L-mount camera. There is also the electronic Sigma MC-21 adapter for Canon EF to L, but it's quite pricey. As is the electronic Leica M to L adapter. Available from today, the bespoke converted lenses are based on the Micro 4/3 versions of the Sirui 50mm f1.8 and 35mm f1.8. Each lens retains its compact dimensions, allowing for easy handheld or gimbal operation. The conversion needs to be performed by MTF Services and requires precise mechanical modification of the lens to allow fitting of the new mount. The lenses are available pre-converted via authorised MTF Services dealers. Why not a 35 mm lens for some DSLR mount? Plenty of those around and you’ll likely pay less even if you opt for something optically excellent. The Sirui anamorphic lenses are well known for creating a sought-after anamorphic look. The lenses have a 1.33x wider horizontal field-of-view, versus the vertical one. When the pictures are de-squeezed in post-production they turn from standard 16:9 or 17:9 ratio images into cinemascope letterbox ones. The result emulates the look often seen on big motion pictures, with horizontal blue streak highlights and bokeh with elongated defocused areas. The Lumix S series has some fantastic lenses, and two great are the Panasonic Lumix S 18mm f/1.8 L and the Panasonic 70-300mm telephoto zoom lens. The 18mm prime lens is great for low-light photography and creating artistic depth-of-field effects (not so much pronounced though with a wide-angle lens). It has a wide-angle field-of-view, which is perfect for landscapes and architecture photography. The 70-300mm zoom lens is a great choice for capturing distant subjects providing excellent image quality and sharpness. Both of these lenses are excellent options for photographers who use the Lumix S series cameras.