Here’s a fun little video directed by Joseph Gordon-Levitt on the topic of photographer’s rights. Sure, it’s a cartoon featuring the ghost of Ben Franklin calling an ignorant cop an anus… but considering the crazy stories you see about people getting arrested for something monotonous, it’s definitely something to be aware of. Spread the Word!

We recently stumbled upon an interesting article by Jesus Diaz on Gizmodo regarding Eastman Kodak Co.

“Kodak may be going under, but apparently they could have started their own nuclear war if they wanted, just six years ago.” writes Diaz.  The information was recently leaked by a former Kodak employee that down in the basement of the company’s Rochester, NY headquarters, there was a nuclear reactor loaded with 3.5 pounds of enriched uranium which is found in atomic warheads.

The main question is:  Why?  A last secret weapon for Kodak to use against Fuji?  No, Diaz writes, “Kodak’s purpose for the reactor wasn’t sinister: they used it to check materials for impurities as well as neutron radiography testing. The reactor, a Californium Neutron Flux multiplier (CFX) was acquired in 1974 and loaded with three and a half pounds of enriched uranium plates placed around a californium-252 core.”

Another perhaps more important question is:  How?  ”How did they get permission to own it, let alone install it in a basement in the middle of a densely populated city?”  asks Diaz.  ”Kodak officials now admit that they never made any public announcement about it.  In fact, nobody in the city—officials, police or firemen—or in the state of New York or anywhere else knew about it until it was recently leaked.”

“Its existence and whereabouts were purposely kept vague and only a few engineers and Federal employees really knew about the project” writes Diaz.  ”The reactor was installed in a closely guarded, two-foot-thick concrete walled underground bunker.”

“While 3.5 pounds of weapons-grade uranium is not enough to create a nuclear bomb, illegal arm merchants are seeking small amounts like this to put them for sale in the black market—which is why the United States has such a tight control on this material. The government doesn’t want Iran or al-Qaeda getting their hands all over the atomic candy for obvious reasons.” adds Diaz.

Richard Schleuning talks to Unique Photo’s Mike Zawadzki about the new 70-200 T2.9 CP2 lens, the first Cine zoom lens to cover full frame.

By Gary Krakow of thestreet.com

Prices On The Rise For Pre-WW2 Leica, Photos

If you have any really old film cameras in your home or, if you know of one – and it’s a model that looks just like this one – then it’s time to dust it off – and think about selling it..

The photo above shows an o-Series Leica prototype, built in 1925. One of 25 “betas” made and one of only 12 known to still exist today. This model turns out to be a real “oldie-but-goodie”.

Over the weekend, this nearly 90-old, o-Series camera was sold for 2.16 million Euros (or $2.79-million U.S.) at auction in Vienna.

According to AFP, another o-Series was sold last year for only 1.32 million Euros while yet another sample sold for only 800 thousand Euros just five years ago.

These prices don’t explain why Leica’s re-branded Panasonic-made point-and-shoot camera are marketed in the U.S. at double the price – for the same device.

And, it’s not just the cameras that are worth a fortune. A mid-19^th century daguerreotype just sold for 228 thousand Euros and a 1954 print featuring Pablo Picasso for 24 thousand Euros.

Dan Wagner, New York, 2012

About the Book:

It’s been said that we’re surrounded by images, and we are. When it comes to photography, the trick is to see the image and then capture it with a camera. I like to describe the process inside my head when I hunt down photos as “switching on.”

When I’m out and about without a camera, I avoid the anguish of not being able to record the perfect, serendipitous shot in front of me by “switching off,” and willfully trying not to see. However, once the shutterbug has bitten, “switching off” is futile. Photographer Walter De Mulder summed it up best: “Always seeing something, never seeing nothing, being photographer.”

As photographers we’re doomed to being forever on the prowl for that magic shot. We’re always seeing something. Because we’re also never seeing nothing, we can’t ignore what we see — or our desperate need to record it.

Our cameras hang by straps from our necks like nooses. Our salvation rests in never seeing nothing. That’s what it means to be a photographer. That’s why I had to shoot the photographs in this book.

To View Dan Wagner’s book please click here

Testimonial:

Every photographer wants their photos to be unique, and I’m no exception. So when I’m in search of something unique, where do I go to stock up on Kodak Tmax and chemicals? You guessed it, Unique Photo! Sheesh that was almost too easy. Seriously, buying everything I need, whether film or digital from Unique Photo has always been so easy. The prices are less than the competition, the items are packed perfectly, and the UPS driver delivers to my doorstep. That’s almost as good as a NY Giants win.  My fridge is currently stocked with a few hundred rolls of film and a case of beer, and my TV remote has fresh batteries, so I’m all set. f/8 and don’t be late — you can quote me on that.

Shooting a birthday party can be a real challenge. Professional Photographer Nigel Barker is here to share his tips for getting great birthday party photos.

Professional photographer Nigel Barker shares a few simple tips to help you capture special moments of your baby.

Fujifilm FinePix XP170 in Blue

The FinePix XP170 digital camera is ideally suited for all of your outdoor adventures because it features Four-Way Protection that is Waterproof to 33ft (10M), Shockproof to 6.5 ft (2M), Freezeproof to 14°F (-10°C) and Dustproof. With all this protection, you are certain to get your most daring shots, all with an extremely attractive camera body that is easy to use. The FinePix XP170 also delivers a bright LCD screen, fast auto focus speeds, comfortable grip, and advanced functionality for all weather conditions.

The new FinePix XP170 lets users capture higher quality pictures they would otherwise miss with a smartphone camera that cannot be exposed to the elements, wet weather and cold temperatures. And with the new Wireless Image Transfer feature, users can still share those great outdoor images quickly and easily.

“Sharing photos online has become the best and fastest way to show your family and friends your favorite images, and the versatile and durable FinePix XP170 lets users capture images in more places, and then offers easy sharing with its innovative Wireless Image Transfer function,” said David Troy, director of marketing, Digital Cameras, Electronic Imaging Division, FUJIFILM North America Corporation. “With its Four-Way Protection, the XP170 can become your go-to camera that you aren’t afraid to get wet, be dropped, or even frozen or covered in dirt and mud – it will still deliver fantastic photos and HD movies every time.”

The new durable FinePix XP170 features the powerful and performance-driven 14-MegaPixel CMOS sensor, faster start-up and shot-to-shot times, up to 10 frames per second (fps) continuous shooting, a2.7” anti-reflective, high-contrast LCD that has been brightened for clear viewing even in direct sunlight and underwater, and the high-precision, FUJINON 5x wide angle optical zoom lenses (28-140mm) with a reinforced hardened glass lens barrier and water repellent coating.

Fujifilm FinePix XP170 in Orange

Wireless Image Transfer
The FinePix XP170’s innovative Wireless Image Transfer function allows users to connect their smartphone or tablet to the XP170 and upload high-quality images to social networking sites like YouTube and Facebook in seconds.

The FinePix XP170 can be connected to any Android™ smartphone or tablet, or the iPhone™ or iPad™ – all users have to do is download the free application “FUJIFILM Photo Receiver” to their device, then follow the simple instructions to get connected. To start uploading, users press the XP170’s connect button to join to a device, then the images will be transferred to the Android™ smartphone / tablet or iPhone™ / iPad™ for uploading to social networking sites.

HD Capability 
The FinePix XP170 offers stunning movies in full 1080p HD – even underwater – with sound at 30fps with one-touch ease. Many consumers are happy to enjoy HD movies on their PC, but with the optional HD Player accessory kit, with wireless remote control (HDMI cable not included), families can gather around their home HDTV to enjoy amazingly detailed stills and high resolution movie playback.

Advanced Image Stabilization
The XP170 has a powerful CMOS-shift  Image Stabilization (CIS) system. CIS works as the photo is being taken as it combines a mechanically stabilized sensor with high ISO to combat camera/hand shake and subject movement for improved low light shooting. The result is an expanded range of shooting situations where the camera can be used without the need of a tripod or other support. With CIS working in the background, you can capture sharp, colorful scenes and portraits underwater or at night.

Tracking Auto Focus (AF)
Created specifically to capture an action shot, the AF function tracks fast moving subjects so they don’t escape from the frame in a blur. Subjects will be tracked automatically for as long as it is kept in the frame and the shutter is half-pressed. When users fully press the shutter button, the subject will be in the center of the photo in perfect focus.

In addition to these innovations, the XP170 is also loaded with the following features:

• 360° Motion Panorama Mode: Automatically creates a stunning panoramic (horizontal or vertical) picture.

• Scene Recognition Auto (SR AUTO): This mode intelligently identifies the scene type and necessary shooting conditions to optimize picture perfect potential.

• Face Detection and Automatic Red-eye Removal:To provide perfectly exposed and focused portrait shots, the XP170 uses Fujifilm’s latest Face Detection technology which is able to track up to 6 faces simultaneously. The system instantly corrects red-eye and then saves both the original and the corrected image file automatically.

• Li-ion Rechargeable Battery: The XP170 has an extended-life rechargeable Li-ion battery with charger for up to 300 shots per charge that allows users to shoot all of their images without worrying if the camera is going to last for the duration of their trip

Leica Camera is pleased to introduce the Leica X2, featuring the latest sensor technology in combination with the fast 35mm Leica Elmarit lens. Available in black and silver, the X2 which is made in Germany will be available in North America at the end of May 2012.

Leica X2

The Leica X2 offers the following:

• Newly developed APS-C CMOS Sensor with an effective resolution of 16.1 MP
• Leica Elmarit 1;2.8/24 mm ASPH (35 mm equivalent: 35 mm)
• Simple operation and manual adjustment possibilities
• High quality materials
• Connection for high resolution electronic viewfinder for new photographic perspectives
• Adobe Photoshop Lightroom, the comprehensive solution for modern digital
• photography
• Made in Germany

IMPORTANT FEATURES OF THE LEICA X2

New developed APS-C CMOS Sensor with an effective Resolution of 16.1 Mega-Pixel The CMOS image sensor of the Leica X2 in APS-C format is unusually large for such a compact camera. The result: extremely low image noise, high dynamic range, and accurate color differentiation. The combination of an exceedingly large sensor and high-performance lens sets new standards in image quality in the compact camera category. And this is where the Leica X2 shows its true greatness.

Classic Focal Length: Leica Elmarit 1:2.8/24 mm ASPH (35mm equivalent)

Countless iconic images in the history or photography were shot with a focal length of 35 mm – the classic lens for photojournalism. The Leica Elmarit 24 mm/f2.8 ASPH lens is equivalent to this famous focal length in 35 mm film format, with its superb optical performance opens up a broad vista of potential uses.

Precise Auto Focus

The Leica X2’S fast, new autofocus feature enables extremely precise and virtually silent focusing. Perfect for situations where spontaneous reactions are essential to capture the right moment. It adapts flexibly to the situation in hand, for example, with a choice AF focusing segments or face recognition. This allows the photographer to concentrate exclusively on their subject.

Design

The design of the Leica X2 also expresses Leica’s commitment to the essentials, thanks to its compact size and classic finish. Reminiscent of the traditional Leica M-Design, the X2 becomes an instant love affair – not just down to its captivating looks, but also the wonderful feel in your hands. Once held, even for a moment, it becomes difficult to put down. The camera’s robustly engineered, full-metal chassis is reassuringly solid, while its leather trim is comfortable to the touch and provides a perfect grip. The superior finish, using the most premium materials, makes the Leica X2 a true pleasure to hold, but its ultimate qualities are revealed when the photographer is shooting.

Most Simple Control

For simple snapshots or painstakingly arranged compositions – the Leica X2 is the ideal camera for anyone with a passion for photography in its purest form. That’s because it enables split-second changes between automatic and manual control. The robust dials on the top plate allow easy setting of the shutter speed and aperture. Moreover, changing the plane of focus, adjusting white balance, and other imaging parameters, allows photographers to  onsciously influence the look or mood of their images. In live view mode, the generously-sized, highcontrast 2.7“LCD screen offers photographers constant control and a clear and detailed view, even in bright conditions.

Differences between the Leica X2 and Leica X1

• Newly developed sensor which provides high image quality especially at low light and
• optimized auto focus speed.
• Connection for high resolution electronic viewfinder.
• New touch and feel of the operating elements, new leather trim and surfaces.
• New pop-up flash with latch trip.
• Adobe Photoshop Lightroom, latest version.

Leica Camera is pleased to introduce the LEICA APO-Summicron-M 50mm/f2 ASPH lens to our M-System. With this new lens, Leica engineers have pushed the boundaries of what is technically feasible to set a new benchmark in imaging. The new lens will be available from August 2012.

The LEICA APO-Summicron-M 50mm/f2 ASPH will offer photographers the following advantages:

• High speed standard lens delivering outstanding imaging performance
• Supremely soft rendering of blurred image areas (Bokeh)
• Integrated lens hood, extendable by rotating
• Product package includes milled brass lens front cap
• Exclusive presentation packaging box

The LEICA APO-Summicron-M 50 mm/f2 ASPH was designed like all Leica lenses with the aim of maximizing both contrast and detail even at full aperture. That aim is met in an incomparable manner. The latest milestone in the history of the M-system delivers previously unattained
performance levels in terms of all technical parameters. The MTF curves, which describe the sharpness of the image, remain all the way to the edges, even with the aperture open, over 50% contrast. This level of performance has never been achieved previously and
demonstrates the exceptional quality of the lens. This allows extremely sharp imaging in all scenarios, with optimal definition right into the corners, even for close-ups. This lens has an apochromatic correction feature which is a highly complex and sophisticated
method of color error correction. It minimizes color fringing at sharp edges, so ensuring that all details are naturally depicted. This is achieved, among other means, by skilfully integrating glasses with anomalous partial dispersion into the lens design. All these qualities allow
photographers to get the best possible image quality, especially for large prints. The Leica APO-Summicron-M 50 mm/f2 ASPH particularly in combination with high-resolution cameras such as the new Leica M Monochrom will offer photographers the opportunity to produce fine-art photography of a quality never before attained.

We are pleased to inform you that a new S2 firmware, version 1.0.3.3 will be available for the Leica S2 and Leica S2-P from May 14, 2012. The new S2 firmware will support the new Hasselblad lens adaptor, Leica S-Adapter H (catalog # 16030) and improve the flash synchronization with 1/125s focal plan shutter.

S Customers
The latest firmware update is available as a download for registered S customers in the Leica Owner’s Area as of May 14, 2012 at:

https://owners.leica-camera.com

All registered S-customers will receive an email about the new firmware. All new Leica S2 and S2-P cameras will now be supplied with the updated firmware.

If you have any questions regarding the new firmware, please contact either Kelsey Fain at kelsey.fain@leicacamerausa.com or Ben Ross at  en.ross@leicacamerausa.com .

Leica Camera is pleased to introduce the world’s first full frame black and white digital camera, the Leica M Monochrom. Featuring a black and white sensor, the camera produces images in a sharpness and brilliance never before attained and barely distinguishable from other M cameras with the model name discretely engraved on the hot shoe. The Leica M Monochrom will be available in North America from August 2012.

The Leica M Monochrom features the following:

• Newly developed monochrome CCD sensor with a native resolution of 18 million pixels
• 100% sharper imaging thanks to direct processing of raw data with no interpolation
• Extremely low, fine-grain image noise up to ISO 10,000
• Raw data histogram and parameter clipping warning
• Various tones programmable
• Top cover and bottom plate in black chrome finish
• New leatherette body covering
• All-cowhide carrying strap
• Nik Silver Efex Pro 2 software supplied in addition to Adobe Photoshop Lightroom
• Exclusive access to the Leica Monochrom Print Service in cooperation with Whitewall
• Original fiber barite print of a Magnum photo from the Leica M Monochrom campaign by
• J.A. Sobol supplie

THE KEY FEATURES IN DETAIL

Newly developed monochrome CCD sensor with a native resolution of 18 Million Pixel. With its full, native resolution of 18 megapixels, the Leica M Monochrom delivers 100 % sharper images than with color sensors. The fact that its sensor does not “see” color means real

brightness values are available for each individual pixel. That is to say, the sensor of the M Monochrom produces a “genuine” black-and-white image directly. In combination with the brilliant imaging performance of Leica lenses and the perfect matching of the sensor to the M

system, this creates pictures of outstanding sharpness and natural brilliance, with no need to sharpen the image in post-processing. The result is incomparable picture quality, such as would normally only be expected of a medium-format camera. The impressively low noise level of the

monochrome CCD sensor delivers an extremely fine-grained image, which is not perceived as disturbing even at the highest ISO settings. Raw data histogram and parameter clipping warning

The Leica M Monochrom impresses discerning users and fine-art photographers with a raw data histogram for exact control of tonal values. In contrast to standard histograms, it depicts the actual raw data, unprocessed and uncorrupted. Especially in combination with the

parameter clipping view, this enables exposures to be optimized with great precision in order to fully exploit the available dynamic range.

Tones

Whether sepia, cool or selenium – with the M Monochrom images can be adjusted to the characteristic tones of analog black-and-white photography at the press of a button.

Design

The classic, iconic Leica M camera design is embodied in the Leica M Monochrom. The mat black chrome-finish top cover imbues the camera with the look of a discrete, unassuming instrument. Only an engraving on the black accessory shoe reveals the product’s name.

The camera features an extremely soft, tactile leatherette body covering which is perfectly in keeping with the discrete overall look.

The camera comes with a real-leather carrying strap made of high-grade cowhide. Additionally there is a new handgrip available, featured with the same black chrome finish and the same leather trim as the camera.

Silver Efex Pro included

A full version of the world’s leading black-and-white image processing software, Silver Efex Pro 2, is supplied. Silver Efex Pro 2 incorporates a unique and powerful set of darkroom-inspired tools to produce top-quality black-and-white pictures. Silver Efex Pro 2 emulates over 20

different black and white film types to recreate the classic monochrome look of film. The emulation is based on detailed analysis of multiple rolls of each film type. This results in accurate reproductions of popular film from ISO 32 to ISO 3200.

Leica Monochrome prints

For passionate black-and-white photographers looking to retain the accustomed brilliance and quality of their images in print, Leica offers a unique service. In cooperation with the photo processing lab Whitewall, the Leica Monochrom Print Service enables M Monochrom

customers to obtain superb black-and-white prints of their work. This involves developing the digital images from the Leica M Monochrom on genuine fiber barite photographic paper. Thanks to use of the classic wet-chemistry silver process, the developed prints are

indistinguishable from hand-made prints of analog images. Customers looking to utilize this exclusive service can order prints directly from Whitewall after registering their M Monochrom. This service is initially only available to Leica M Monochrom customers.

Leica Camera is pleased to introduce the Leica S-Adapter H. This adapter will allow S2 customers to use the Hasselblad H-System lenses with the S2 or S2-P. The Leica S-Adapter H will be available in North America from late May.

S-Adapter H

The Leica S-Adapter H will allow the Hasselblad H-lenses the following functions:

• Autofocus and manual focusing with focus indication
• Automatic diaphragm
• Central shutter upto 1/750s

The Leica S-Adapter H will allow Hasselblad lenses to have an extended scope of application with the S-camera due to the integrated focal plane shutter of the camera body. This will allow the photographer to shoot with the Hasselblad lenses, as well as, with central shutter or without central shutter by using upto 1/4000s with the focal plane shutter of the camera.

The Leica S-Adapter H supports the following H-system lenses:

• HCD 4 / 28 mm
• HC 3.5 / 35 mm
• HC 3.5 / 50 mm II
• HC 2.8 / 80 mm
• HC 2.2 / 100 mm
• HC macro 4 / 120 mm II
• HC 3.2 / 150 mm
• HC 4 / 210 mm
• HC 4.5 / 300 mm
• HCD 4-5.6 / 35 – 90 mm
• HC 3.5-4.5 / 50 – 110 mm

The Leica S-Adapter H does not support the following components: HTS 1.5 Tilt/Shiftconverter, Converter H 1.7x, Extension tubes H13, H26 and H52 and H-System CF-Adapter. If you have any questions regarding the Leica S-Adapter H, please contact either Kelsey Fain or Ben Ross.

Olympus Tough TG-1

Olympus Imaging Corporation is proud to announce the OLYMPUS Tough TG-1 compact digital camera, on sale June 2012. The TG-1 boasts waterproof functionality, drop shockproof functionality, and resistance to low temperatures, as well as a high-speed lens (bright lens), high-speed GPS, and iHS technology enabling high-speed operation and excellent night shots.

Main Features

1. The TG-1 is equipped with a bright, high-speed f2.0 lens. Combined with iHS technology, this lens vastly improves shooting and image quality in low-light scenes.
2. Equipped with the strongest capabilities ever included on a Tough model: Waterproof functionality down to 12 m, shockproof functionality to 2m, cold resistant to -10℃, crushproof to 100 kgf
3. Equipped with iHS, which enables high-speed functionality from start-up to focusing
4. Equipped with A-GPS, enabling high-speed confirmation of your current location. Users can also append location information to images
5. Two types of completely waterproof conversion lenses (sold separately) can be attached to the TG-1: Fish-eye and tele-converter

Because the OLYMPUS Tough series concept is based on shooting in difficult situations that previous camera’s could not endure, such as under water and while climbing snow mountains, the Tough camera is equipped with three important functions: Waterproof/dustproof, Shockproof, and Freeze proof. As the OLYMPUS Tough flagship model, the Tough TG-1 is not only the series toughest model to date, but boasts excellent high-speed performance.

It is said that image quality hinges on the three components of the image sensor, image processor, and the lens. For the Tough TG-820/TG-620 announced on February 8, high-speed, high-sensitivity, and low noise were achieved by using a backlit CMOS sensor and the image processor, which is usually employed in SLR cameras. In addition, the Tough TG-1 is also equipped with a lens brighter than on any previous models, making it a digital camera that even photo enthusiasts can love.

This bright, f2.0 lens goes far beyond any previous tough camera, possessing a brightness that is far above and beyond the rest. A bright lens enables use of faster shutter speeds when shooting, and is called a “high-speed lens”. High-speed lenses allow shooting even of night scenes and in bad weather when there is insufficient light. The lens keeps the ISO speed to a lower value, reducing noise, and resulting in beautiful images.

In addition to improved image quality due to iHS, the combination of the backlit CMOS sensor and SLR image processor TruePic VI dramatically improves the camera’s operational speed in the following three areas: the time the camera is powered on until shots can be taken, time necessary for focusing, and continuous shooting function.

Location information can also be acquired at high-speeds with the GPS function. Because users can record location information in images, and record the route traveled to an SD card, this function is perfect for recording outdoor activities. The speed with which the internal GPS unit operates from the start of positioning until location information is acquired is an important feature. A-GPS uses GPS assist data via a PC application to drastically shorten the time it takes to acquire location information from satellites.

The 4x zoom lens boasts an super wide 25mm to 100mm equivalent angle of view at the telephoto end. Two additional separately-sold lenses are also available. With the fisheye lens users can shoot at extremely wide angles, and the tele-converter lens allows an angle of view up to an equivalent of 170mm. Both lenses are completely waterproof, satisfying the needs of this outdoor-system camera.

The OLYMPUS Tough, released in 2006, was the world’s first completely waterproof digital camera. While maintaining and improving its tough capabilities, we have done our best to respond to the demands of photo enthusiasts who love shooting outdoors. The TG-1 is the flagship Tough model, promising toughness that will survive the great outdoors, speed to match the reflexes of outdoor users, and the highest image quality in the harshest conditions. The TG-1 is the ultimate outdoor camera, letting users capture scenes and images that were impossible until now.

Main Features — Details

High-speed f2.0 Lens
The TG-1 is the first Tough camera to include a high-speed f2.0 lens, making high-quality images and a high-speed shutter possible even in places where the flash cannot be used, and when the flash cannot reach the subject.
Not only is the lens bright, but it boasts focal lengths from wide-angle 25mm (35mm film equivalent) to a mid-telephoto 100mm, which is excellent for nature photography. Super Macro Mode is perfect for shooting close-ups, with a minimum shooting distance of 1 cm away from the end of the lens.
The newly-designed lens consists of nine lenses in seven groups including four aspherical lenses. It includes technology cultivated on the high-end compact digital camera OLYMPUS XZ-1 to not only provide high image quality, but prevent all kinds of aberration. Coexisting with these features is the highest toughness qualities to date, such as waterproof functionality, shockproof functionality, cold resistance, and crushproof functionality.
This first Tough camera to include a high-speed f2.0 lens is the product of developers’ intense desire to create a better camera. Included in this was the desire to do away with camera shake and subject blur. Not only did they want to achieve an aperture value of f2.0 at the wide-angle end, but maintain brightness at the tele-photo end as well. However, to make a brighter lens, the lens position on the camera and the internal optical elements would have to be drastically changed. To this end, the lens and optical element layout was completely reworked, keeping the lens in the center of the camera. Because of these changes, however, advantages presented themselves, such as the possibility to attach converters and other accessories.
Additionally, but moving the shock-absorbing damper from the front to the side of the camera, the overall camera size has been reduced, while maintaining drop shock resistant functionality.
The combination of toughness and high image quality enable shooting in even the harshest conditions, making it possible to capture images like never before.

iHS Technology
iHS technology is a new technology, available for the first time on compact digital cameras this spring. iHS stands for “intelligence”, “high-speed”, and “high-sensitivity”.
With the combination of the 12 megapixel back-illuminated CMOS sensor and the TruePic VI image processor developed for the OLYMPUS PEN, high sensitivity, low noise, and a high-speed AF have been achieved. Even in backlit or nighttime scenes the camera can beautifully capture images, just as they are seen by the human eye. With HDR backlit correction, in a single shot, the camera captures three images at different exposures and automatically merges them into a single image. With Super Resolution technology, users can zoom up to 8x with minimal image degradation. With Intelligence technology, iAUTO can automatically detect thirty different types of scenes.

GPS and electronic compass
The TG-1 is equipped with a GPS function and electronic compass (e.compass) to record the location information of where images were shot. By simply turning the GPS function on, Landmarks will be displayed on the monitor when shooting. After shooting, Landmarks from approximately 700,000 choices and 195 countries will be automatically recorded. In the Active Gear screen, users can check the direction, latitude and longitude in the field. The e.compass can be turned on even when the camera is turned off. With the Photo Surfing function, users can find images based on map locations on the camera screen to call up related images.
Place name information inside Japan is provided by Shobunsha Inc., and outside of Japan is provided by NAVTEQ.

GPS Logger
The GPS Logger records positioning information to the SD card for a specific interval of time.
By loading the recorded positioning information onto a computer, and using Google Earth or another Web application, users can view the route traveled with their camera on a map. (On [ib], there is no function for loading GPS log to view on a map. Google, Google Earth, and Google Maps are trademarks or registered trademarks of Google Inc.)

A-GPS
A-GPS is part of a technology that allows users to check their current location. In cameras equipped with A-GPS, the technology uses GPS assist data via a PC application to drastically shorten the time it takes to acquire location information from satellites.
(To acquire GPS assist data, it is necessary to preinstall software on a PC and then connect the camera. GPS assist data is updated once a day.)

Super Sports Mode
In the new Super Sports Mode, users can shoot sequentially at 5 fps as the camera is set to high shutter speed priority. Whereas the previous Sports Mode could not keep up with intense indoor sports, this new mode can capture quick movements without any problems.

Low Light Mode
Low Light mode is perfect for capturing the mood of low-light scenes indoors or beautiful sunsets at the end of a day of camping, without losing the atmosphere by using the flash. Users can forget about subjects blurring or camera shake ruining the shot; Low Light mode covers all of these situations.

DUAL IS Image Stabilization
DUAL IS is image stabilization that employs digital SLR algorithms in a shift-type image stabilization mechanism that moves the CMOS sensor in the direction of camera shake to counteract the effect. By using this function in combination with high-sensitivity shooting, camera shake and subject blur is effectively reduced, providing double image stabilization.

3.0 Type Organic EL Monitor
The 3.0 organic EL monitor uses a special 610,000 dot pixel array to display image data equivalent to VGA (approximately 920,000 dots). The monitor also faithfully portrays deep blacks, and richly reproduces a wide array of colors for vivid display of images, as well as possessing a wide viewing angle and high-resolution for more enjoyable shooting.

Full High-Definition Movies (MOV/H.264)
Full High-definition size 1920 x 1080 movies, and an extremely good compression format for computers
With MOV and H.264 formats, longer movies can be shot more smoothly and beautifully. With a dedicated movie button, starting and stopping movies is easy with a single touch. The TG-1 is also equipped with Multi-Motion Movie IS image stabilization. Because this function corrects for the gradual camera shake that commonly occurs when shooting a movie while walking, users can more fully enjoy shooting beautiful, high-quality movies.

Magic Filter
Two new filters, Dramatic and Fragmented are added to the ever-popular Magic Filter. Including these two new filters, users can choose from up to twelve different filters, such as: Pop, Pinhole, Fisheye, Sketch, Wedding, Rock, Watercolor, Miniature, and Mirror. Pop, Pinhole, Sketch, Fisheye, Wedding, Rock, Watercolor, Miniature, Mirror, and Dramatic can also be used when shooting movies.

          Dramatic: This filter makes images look more dramatic by changing the contrast in a localized fashion
Fragmented: This filter rearranges parts of an image for a tiled effect

Beauty Make-up Mode
Make-up Mode has been added to Beauty mode, allowing users to enjoy adding makeup to subjects in recorded images.
This function offers a full range of nineteen different effects that will make women happy. Because effects are divided into four different themes such as Makeup, Eye Effects, they are easy to choose from.
The Makeup menu screen is packed with cosmetic choices such as Cheeks, Eye Shadow, and False Eyelashes, so that users can easily choose and apply effects. In the Eye Effect menu, users can not only change eye color, but make eyes appear bigger. In the Spa menu, users can make subjects faces appear smaller, and add effects such as to make faces look even more beautiful, such as Lift-up.

3D Photo
The TG-1 also supports 3D Photo, for turning everyday pictures into dynamic shots.
This function captures a 3D image, reproducing the look of the actual scene. Images can be enjoyed on TVs or computers that support 3D image display.
Users select the 3D Photo shooting mode, and simply slide the camera sideways while pressing the shutter button to capture a 3D image. Both the 3D Photo data (MPO format) and JPEG image data will be saved. There are two types of shooting methods: Auto (after one shot is taken, the second shot is automatically taken when the camera is moved horizontally to match a semitransparent layer) and Manual (after one shot is taken, the user takes the second shot after moving the camera horizontally to match a semitransparent layer). For playback, users first select either 3D playback or normal playback, and then images can be viewed on a TV or computer that supports 3D image display.

MPO Files (Multi Picture Format)
This is a file format that conforms to CIPA standards for treating multiple images as a single image file. With 3D Photo, the two images with a disparity between the left and right eyes are merged into a single image and recorded as a Multi Picture Format file.

Pet Mode (Scene Mode)
Dogs and cats are automatically detected. By selecting Pet-cat or Pet-dog modes, the camera will automatically detect cats or dogs and focus on their faces. Up to ten dog or cat faces can be detected.

Auto Shutter
Capture pets’ cute expressions. With Auto Shutter, the camera will automatically shoot when a pet faces the camera head-on. With this function, users won’t miss the whimsical antics of their pets. (Auto Shutter can detect only one pet.)

Eye-Fi Support
Eye-Fi cards are SDHC memory cards that contain an internal wireless LAN. Images can be wirelessly uploaded to picture services such as [ib on the net], online photo albums, and computers.

SNS Upload Function
This function satisfies the demand of users who want to upload still images to social networking sites, such as Facebook and Flickr.
By adding images users want to share to an upload list on the camera, they can easily be uploaded to the desired social networking service.
To upload images, users simply add recorded images to a list on the camera, and then transfer them to a computer. Images added to a list can be searched with a single touch, and then easily uploaded. (It is necessary to preinstall the included software (OLYMPUS Viewer2 on a computer.)

Other Features

• Underwater scene mode (Underwater Snap Underwater Wide 1, Underwater Wide 2, Underwater Macro)
• Inclusion of a pressure sensor allows display of atmospheric pressure and altitude (-12 m to 5,000 m)
• Multi Motion image stabilization support for movies – reduces slow, strong camera shake that occurs when breathing or walking
• The Macro LED allows lighting of subjects from 7 to 20 cm away with a single touch of a button
• Continuous shooting function: 5 fps (12Megapixels), 15 fps (3M), 60 fps (3M)
• Custom Modes 1 and 2 allow users to save shooting settings and call up those settings easily for shooting
• Face and Back Control detects subjects faces and adjusts the focus, and optimizes the exposure
• Scene Mode allows for shooting not only standard scenes, but also enables easy shooting of beautiful images even in difficult shooting conditions
• HDMI Output Control enables control of the camera, such as selecting and switching images with a TV remote control
• Face Detect AF lets the camera automatically detect faces
• iAUTO allows never-fail, beautiful shooting of thirty different automatically detectable scenes for still images and movies
• In-camera Panorama Merge allows users to easily shoot panoramic images by simply moving the camera as directed
• USB Battery Charge allows users to charge the camera battery while connected to a computer, and transferring or organizing image data
• Auto Tracking AF automatically tracks moving subjects and adjusts the focus
• Photo Surfing allows users to search for images by keyword, such as the date and subject (person, dog, cat)
• Double lock mechanism – slide style double lock
• Supported media: SD, SDHC, SDXC, Eye-Fi cards

*The company names and product names specified in this release are the trademarks or registered trademarks of each company.

1920 x 1080 HD Recording And 24p Frame Rate Enable Gripping Point-Of-View Shots for Theatrical Filmmaking

The cameras on the Avengers set

LAKE SUCCESS, N.Y., May 9, 2012 – Canon U.S.A., Inc., a leader in digital imaging solutions, is proud to announce that its EOS 5D Mark II and 7D Digital SLR cameras have been used on the set of Marvel’s latest movie, “Marvel’s The Avengers,” to capture thrilling point-of-view (POV) action shots that can be seamlessly intercut with footage from the film’s principal 35mm and digital cinematography cameras to heighten the film’s visual impact. “Marvel’s The Avengers” shows an epic confrontation between nightmarish super villains attacking the Earth and the super-heroic team of Iron Man, Captain America, The Incredible Hulk, Thor, Hawkeye, and Black Widow. Directed by Joss Whedon, the film is the latest and most extraordinary Marvel Studios Super Hero movie to date.

With intense action and visual effects captured by the Canon cameras, “Marvel’s The Avengers” required close-quarter action work with unrepeatable stunts. “The 5D Mark II and the 7D digital SLR cameras produce excellent, cinema-worthy images. They are great for shooting additional angles that give film editors more options for creating powerfully immersive and kaleidoscopic views of action scenes,” explained the film’s cinematographer, Seamus McGarvey.

Canon EOS 5D Mark II 21 MegaPixel FullFrame HD-1080p Video DSLR

On the set of “Marvel’s The Avengers,” McGarvey and his crew used five Canon 5D Mark II cameras and two 7D models. Using multiple cameras limited the need to re-shoot complex action scenes, and the affordability and compact size of the cameras enabled the crew to obtain ample coverage by strategically angling them from various vantage points throughout the set. “The cameras’ small size was a major advantage to us. We were able to place them in tight locations that were really close to the big stunts, which would be too risky to do with bigger cameras that would require an operator and two assistants,” McGarvey said. He was able to slide one of the Canon cameras into a sewer grating, while placing another under a pile of debris for a key shot of a car hurtling toward the lens, flipping through the air on fire.

The affordability and compact size of the cameras enabled the crew to obtain ample coverage by strategically angling them from various vantage points throughout the set

“We are thrilled that the EOS 5D Mark II and 7D Digital SLR cameras were called to action on the set of ‘Marvel’s The Avengers.’ We designed these cameras with versatility and flexibility in mind, and their ability to record beautiful 1920 x 1080 HD video, coupled with their compact size, make them an ideal fit for filmmakers looking to capture tight action shots,” stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies and Communications Group, Canon U.S.A.

Canon EOS 7D

Compact, lightweight, and compatible with Canon’s wide selection of EF Series lenses, the Canon 5D Mark II and EOS 7D digital SLR cameras are equipped with large Canon CMOS sensors and Canon DIGIC 4 image processors that enable them to record exceptional full 1920 x 1080 HD video at the user-selectable frame rate of 24p (23.976 fps), which is the standard for today’s high-end filmmaking. Additionally, the cameras’ low-light capabilities were of major importance on the set of “Marvel’s the Avengers,” as many of the film’s scenes were shot at night.

I can't let you do that Dave... Photo Credit: Tony Hurst

Throughout my ongoing pilgrimage to overcome an insurmountable boredom, I come across some strange stuff. One thing that seems to continuously catch my attention are unnecessary camera accessories…primarily lenses that look like bazookas or small satellites. Today I found one that falls into the latter category. For your ogling pleasure, I present to you the Nikon 6mm f/2.8 lens. This 220 degree fisheye can literally see behind itself and maybe into the future. Nikon’s all seeing eye was unveiled at the 1970 Photokina trade show in  Germany and was intended for scientific purposes…Whatever the true nature of this mammoth lens, it weighs in at around 12lbs and would probably cost you around $160,000. Mere pennies for such a versatile lens if you ask me…Click the “more” tab to see an ominous unboxing video.

SAN JOSE, Calif. — May 7, 2012 — Adobe Systems Incorporated (Nasdaq:ADBE) today announced the immediate availability of Adobe® Creative Suite® 6 software. The CS6 product line includes powerful new releases of Photoshop®, InDesign®, lllustrator®, Dreamweaver®, Adobe Premiere® Pro, After Effects®, Flash® Professional and other products as well as four suite versions – Creative Suite 6 Design & Web Premium; Creative Suite 6 Design Standard; Creative Suite 6 Production Premium; and Creative Suite 6 Master Collection.

Adobe Creative Cloud™, a radical new way of providing tools and services* for creatives worldwide is expected to be available on Friday, May 11.  A subscription-based offering, Adobe Creative Cloud is a hub for making, sharing and delivering creative work and it is centered around a powerful release of Adobe Creative Suite® 6 software, packed with innovation across its industry-defining design, Web, video and digital imaging tools. CS6 point product subscriptions will also be available May 11.

“We announced Creative Cloud and CS6 two weeks ago and these releases have caught the imagination of creatives everywhere,” said David Wadhwani, senior vice president, Digital Media Business, Adobe. “Today we’re shipping CS6 and look forward to the beginning of an exciting new era as we introduce Creative Cloud later this week.”

Jewelry is a visual delight. My favorites to photograph feature colored gems or fine gold. I love the sculptural nature of the mountings, the intrigue of carved stones and intricacies of spiral mounts. One of my favorite designers is Maria Scarpa. Her wire wound creations never fail to fascinate.

I chose a Sigma 105mm f/2.8 OS macro lens mounted on the new SD1.  The image I had in mind would be enlarged to several times the brooch’s two and a half inch diameter. I needed resolution that has previously been only available in medium format cameras in order to produce the huge three and a half foot by five foot transparency.

Color

While the photograph against the dark background works, it doesn’t compel. I studied the individual stones for color. I experimented with different colors for the background. This was easy. All it took was change the gel, take a spot reflected light reading pointing the meter from the pin back to the center of the glow on the cycwall. I adjusted the power on the pack until the reading was one stop brighter than the exposure set on the camera: f/11 at 1/125^th of a second. Remember when working inside with flash, the fast shutter eliminates the ambient shining from the modeling lights. Then I made a test using Sigma Photo Professional tethering software to compare the results.

Lighting

Having lots of space around the subject, allows room for lights. The 105mm kept the camera far enough in front of the jeweled pin to get place the lights. The pin is lit with a Dynalite head on a boom over a three foot square gel frame covered in Roscolux, a diffusion material from gel supplier Rosco. Another head shooting through a Chimera four foot square frame covered with full diffusion cloth provides the light on the gold and silver windings. Each panel is flagged to prevent extra light from striking the cycwall. The effect of these lights is shown in the opening photograph.

I selected a gel that matched the color of the center sapphire. I moved the gridded head with the pink gel back until almost the whole frame was filled with the color of the center stone. By the way, the pillow under the pin is there just in case it falls. Jewelry doesn’t bounce.

Finishing

I rotated the final version 90º counter clockwise then used Photoshop to remove the piano wire. When I showed the huge print to Marie at the American Craft Council show last week I told her about spending two and a half hours digitally removing each of the tiny fibers caught in the spiral. She laughed. The told me the secret to manually ridding the pin of trapped strands. “Get a cigarette lighter then quickly and carefully pass the flame over the back of the pin. The fibers and threads will burn away instantly.”

If only this "problem" was this cool.

If you haven’t noticed much discussion on our blog lately about the Canon 5D Mark III “Light Leak Problem” its because I have refused to write about it… Until now.  Why would I do such a thing? After all the 5D3 was one of the most highly anticipated digital cameras of all time, and in most cases I would certainly want to comment on a problem that was significant enough for Canon to officially address.  However, there is a point when the “enough is enough” clause has to be put into effect.  The plain truth about the 5D Mark III is that there never was a Light Leak issue for photographers.  If you want to group flaccid mathematicians in with photographers and artists, then by all means I suppose there was some kind of issue here.  Normally I try to stay positive and give everything a fair shake, but this was just too much.  Reading about this “issue” made me do a double take on some of the content I have been posting here on the Unique Photo Blog. Ultimately, it has made me want to change the philosophy and direction of our own content to be more educational and less techie/rumor based.  There are already a ton of great gear-porn resources out there and honestly I don’t think I have much to add to that already boring and saturated conversation.  Lamenting the release of cameras over the past two years has gotten old quickly.  So stay tuned over the next several weeks as I steer the ship in a slightly different direction.  Anyway, here is a satirical analysis on the Canon 5D Mark III “Light Leak” problem that I think many of you will enjoy.

Background

Canonrumors.com Forums. The Anxious, The Angry, and The Patient

If you’ve ever been on a photography web forum/message board before, you already know that they can be some of the most realistic psych-ward simulators out there on the internet.  For those that are upset, the phrases “anxiously awaiting…” “angrily awaiting a response…” or “patiently waiting…” seem to appear more frequently than any other coherent thoughts.  Anxious over a camera?  I’m sorry I just can’t…  Those who aren’t anxious, angry, or “patient” seem to be rather pleasant, but you’ll quickly realize something is wrong with them as well.  I think they have made it out of the psych-ward and are in recovery with self-motivational exercises.  The phrase “I am a happy _______ owner” is a sickeningly common find with total reaffirmation in forum signatures which list purchased camera gear as some kind of keyboard-cred.  Those who take the time in BB/HTML code to make the “L” portion of their lens listings red are like the guys in prison who get tears tattooed on their face, only a lot scarier.  At least the thug prisoner isn’t going to tell you how happy he is about his recently calibrated Sigma 50 f/1.4 after he makes you drop the soap in the shower.

Soon after the release of the 5D Mark III, many were already starting to shed tears about “soft” images.  Since then many of these people have disappeared.  Perhaps they have all switched to Nikon and are on some abysmally long D800 back-order list.  More likely, they stopped getting attention on forums and have found other things in their lives that are soft and need remedying.  Some are still losing sleep over the supposedly flawed RAW converters from Canon and Adobe.  I don’t know, but both the latest versions of DPP and Adobe Lightroom (4.1 RC) seem to be working just fine for me.  I don’t want to say that there isn’t an issue, but maybe I just haven’t tried to make a crappy looking HDR with a single file that was underexposed by 4+ stops in the first place.  I’m sure as time goes on, whatever minor kinks there are will be worked out with firmware updates and new RAW converters.  After all, Nikon has explosive D800/D7000 batteries being recalled.  Unless you’re new to this whole annoying and constantly evolving field of technology, it should be no surprise that there are minor problems with most new gadgets.  Remember the iPhone 4 antenna fiasco?  I’d say Apple is still doing quite well…  Remember the Space Shuttle, Challenger? Yeah.  That happened.

Disclaimer: As a general rule, Canonrumors.com is an excellent site run by a serious photographer.  Many of the articles/reviews there are real hands on reviews from a working photographer’s perspective.  I feel bad for the CR guy as he must get an unholy amount of trolling emails and just flat out  annoying questions.

OMG TEH DYNAMIK RANG3 OF DIS FOTO IS UNACCEPTABLE (25,600 ISO f/11 1/8000s PUSHED +4 STOPS IN LITER00m)

April 7, 2012

Canon Rumors makes a blog post titled “Canon 5D Mark III Light Leak?”  Oh shit! It is indeed the end of the world, but months earlier than the Mayans predicted.  As if the seemingly prepubescent online community of dpreviewers, FredMirandaites, etc… needed more cannon (bad pun intended) fodder to write novels on.

To be honest, as someone who recently just switched to a Canon setup, I was less than thrilled to see this headline.  However, after spending less than two minutes reading the content, I was more relieved than a dog on a fire hydrant.  Let’s take a quick peek.

A light leak? Really?
A light leak issue in the 5D Mark III has been reported over the last couple of days. It seems the top side LCD may be to blame. I can confirm this is happening on at least one of the 5D Mark III’s I own (the rest are out for rent), I will look into the issue with more bodies in the coming days.

Simple Test Procedure

1. Put your body cap on the camera body.
2. Put the viewfinder cover that came with the camera over the viewfinder.
3. Set the camera ISO to 800 and put the camera in “P” mode.
4. Turn on the backlight for the LCD panel and watch the exposure change

Other light sources cause the issue?
Yes, shining a flashlight on the top LCD causes the exposure to change, as does sunlight and bright overhead lights. All of which happen with the body cap on. [CR]

Wait a second. What the f**k? “Put your body cap on the camera body.”

What? No.  I don’t take photographs with my body cap on, so I am going to PASS on that.  A DIY pinhole “lens” is the only legitimate reason for photographing with a body cap on.  Maybe I was in a bad mood that day, but this floored me as being so ridiculously stupid that I thought it would just go away after a few days, but of course that would just make too much sense.  Perhaps most of the people concerned about this issue do shoot with their body caps on more than they do with lenses.

The highly anticipated L series body cap, the right tool for the job when you need to shoot with your body cap on.

April 8, 2012

The saga continues as Canonrumors.com posts “The ‘Light Leak’ Update”  The poor guy running CR has seemingly been driven to the point of insanity.  I know he is just doing his job by writing about what his viewers want to see,  but I hope he had a stiff drink or two on hand… or eight.   The picture he posted along with the post certainly makes it seem that way. A mess of camera bodies, lens hoods, flashlights, a pair of sunglasses,  and a set of keys are shown strewn across a desk.  (Dude don’t drink and drive) I think CR Guy may have just wanted to show off how many 24 1.4L II lenses he has in his rental department.

I tested with both the lens mounted with a cap on and with just the body cap on.

These tests were done in direct bright sunlight.

 [CR]

Yeah don’t you hate it when you are shooting in direct sunlight with your body cap on?  Especially when it is so bright out, you need to check your exposure settings on the nearly impossible to see LCD, instead of looking through the viewfinder.  I hate it when that happens.  CR Guy did something ridiculous by taking the lens caps off of the cameras and replacing them with lenses.  So let’s see what incredible conclusions were made from this leap of faith.

The final test I did with the 5D Mark III was take the lens cap off and meter off a relatively neutral wall. I turned on the backlight and nothing changed. I then pressed a 130 lumen flashlight up against the top LCD and the exposure didn’t change. I also ran the flashlight around the camera body and absolutely nothing changed.  [CR]

Shocking.  So this whole fiasco is over right?  Give me your angry, your anxious… Your “patient” huddled masses yearning to bitch and moan about the 5D Mark III.  At the end of the post CR Guy stated pretty flatly that this isn’t an issue, but added that he will be sorry and stand corrected if Canon does address the issue.  Please God let it be over, right?

April 13, 20012

Canon officially sinks to the level of the Equipment Measurbator and Online Expert by issuing a “Product Advisory” for the 5D Mark III.  According to Canon if the 6th digit in your 5D3′s serial number is either 1 or 2, your meter may get thrown off if you try illuminating the top LCD with the body/lens cap on.  Canon doesn’t phrase it this way, they only mention “In extremely dark conditions,” but this wouldn’t have happened in the first place without the infantile rage of the online “photography” community.  I guess the dimly lit wedding reception I shot last Saturday with a 5D3 and pair of 600EX RTs (one off camera) wasn’t dark enough.  I forgot to put my lens cap on or better yet, the body cap.  Then I would have the right to go online and SCREAM at Canon while “patiently/anxiously/angrily awaiting” a response.  I am getting sick writing this, but you deserve it.  So let’s see how Canon resolves this totally faux and fabricated non-issue.

Be careful what you wish for... (Original photo from fensterbme on flickr)

April 23, 2012

The saga seemingly comes to an end as Canon announces a “Light Leak” Resolution over this unneeded mess.  Now you can send your 5D3 back to Canon to be inspected and “fixed”.  You know the one you probably just got less than a month ago, the one that has absolutely nothing wrong with it.  God forbid you should try to figure out the semi-reconfigured button layout or brand spankin new AF system.  No forget about all of that, you should see if your camera meters inconsistently with the body cap on.  Then send it to Canon for who knows how long for them to inspect.  I bet the guys at the Canon service center are just taking the cameras out for extended joy rides for a couple weeks.  Err… At least that’s what I would do.  So let’s see what exactly Canon has done to remedy the biggest unicorn problem I can recall in recent years.

May 2, 2012

Almost a month from the initial report of a leaky 5D Mark III, we have a report of how Canon has fixed this oh so mysterious problem.  LensRentals.com just received their first shipment of repaired 5D Mark III camera bodies.  Oh the suspense! I can hardly wait.  Of course Roger from LensRentals.com was almost as curious as Curious George.  So he took the damn thing apart just to see what the Einsteins at Canon had done to patch up the camera. it looks like all the n00bs who were complaining got reverse pranked by Canon.  All Canon did was put a piece of black electrical tape over a portion of the top housing.  I really hope it was worth it. Let’s hope the complaints about tape being used are minimal.  If you own a car or have ever taken a voyage on an airplane, you’ve transported yourself in a vehicle that certainly has electronics held into place or together by pieces of tape.  Well I really am glad this is all over.  Those award winning body cap on images will now be that much easier to take because metering will be consistent.  Due to general lack of interest and disgust, I haven’t checked the CR forum lately, but I am sure the usual crew are “patiently and anxiously” awaiting the return of their 5D3s to see if AUTO ISO will work with the body cap on, in live view of course.  Alas, the saga has finally come to an end, I hope.

-MZ

Peter from Tenba demos two new bags, a backpack and shoulder bag, they have been specifically designed for the DSLR video shooter.

Sigma’s 18-200mm F3.5-6.3 II DC OS HSM honored as Best Entry Level DSLR Lens; 180mm F2.8 EX DG OS HSM lauded as Best Expert DSLR Lens

Sigma 18-200mm F 3.5-6.3 II OS HSM Lens

Ronkonkoma, NY, April 2012 – Sigma Corporation of America, a leading researcher, developer, manufacturer and service provider of some of the world’s most impressive lines of lenses, cameras and flashes, is pleased to announce that the Technical Image Press Association (TIPA) has honored Sigma’s 18-200mm F3.5-6.3 II DC OS HSM and APO MACRO 180mm F2.8 EX DG OS HSM lenses with its Best Entry Level DSLR Lens and Best Expert DSLR Lens awards, respectively.

Each year, TIPA’s European photography magazine and website editor members vote for the best photo and imaging products introduced in the past year in Europe. The judges consider innovation, the use of leading-edge technology, design and ergonomics, ease-of-use, and the price/performance ratio while making their decisions.

“We believe the Technical Image Press Association honed in on the 18-200mm’s versatility and the 180mm’s uniqueness. Aside from their overall image quality, these are the definitely the characteristics that we admire most about these two very special lenses” said Mark Amir-Hamzeh, president of Sigma Corporation of America. “It’s important that photographer’s have a strong multipurpose zoom like the 18-200mm in their bags because it’s compact enough for travel, and great for everything from landscape, wildlife, portrait and wide angle photography. The 180mm’s incredible 1:1 ratio, paired with stabilization and a fast maximum aperture, allows photographers to capture a subject’s intricate details.”

The 18-200mm F3.5-6.3 II DC OS HSM includes Sigma’s new “F” Low Dispersion (FLD) glass elements, which significantly improve lens performance and complement the lens’ additional Special Low Dispersion (SLD) glass elements and aspherical lenses to provide excellent correction of color aberration. The lens also features Sigma’s proprietary anti-shake Optical Stabilizer (OS) technology, and Hyper Sonic Motor (HSM) functionality to ensure quiet and high-speed autofocus. Designed for SLR cameras with APS-c sensors, the 18-200mm lens was honored for its 11.1x high zoom ratio and ability to shoot a broad range of photography, from wide angle to telephoto. The lens offers the 35mm equivalent of 27-300mm coverage.

The 180mm F2.8 EX DG OS HSM lens is celebrated for being the world’s first 180mm macro lens to offer a 1:1 magnification ratio and maximum aperture of F2.8. It also features Sigma’s own OS technology to offer the use of shutter speeds approximately four stops slower than would otherwise be possible for handheld, close-up photography.  TIPA praised the 180mm for its three special FLD (“F” Low Dispersion) glass elements and the Super Multi-Layer Coating, which reduces flare and ghosting, and creates sharp, contrasted images, even when wide open.

APO Macro 180mm F2.8 EX DG OS HSM

The Bible for Aspiring Portrait/Editorial Photographers

In an age when most photography information and education is so centered around what cameras can do and how they work specifically from model to model, it is refreshing to read a photography book that takes a vastly different approach and addresses the bigger issues and strategies that go into creating interesting images.  I spoke with celebrity photographer Michael Grecco after reading his e-book “Lighting and the Dramatic Portrait” on my iPad.  In this book Grecco stresses style, lighting, collaboration with others on set, etc…  which is way more important than blabbing about gear, which is boring. The discussion of cameras in this book is very minimal, which is why I enjoyed it so much.  Grecco consistently includes visual examples and some basic diagrams to back up his writing.  Many professionals don’t like to do this and consider it “sharing secrets”, but Grecco doesn’t look at it that way.  Instead he sees it as educating and sharing knowledge.  Keep reading after the break to get my full impressions on “Lighting and the Dramatic Portrait”

Here is a link to Michael’s website and a link to his book on iTunes.

Michael Grecco writes with a sense of seriousness and authority, without being overbearing or obnoxious.  It is clear that he knows what he is talking about, but at the same time there are enough little jokes and behind the scenes tidbits in there that make this book far more interesting than your typical “How to bounce your flash off the ceiling” type book.  Photographers of all experience levels will really enjoy “Lighting and the Dramatic Portrait”  and everyone will get something slightly different out of it.  I found the insight Grecco gives on composition, posing, communication, collaboration, and creative vision to be far more helpful to the average shooter than any of the details on specific equipment.  If you are looking for a nice brief primer on lighting terms, there is a plethora of information for you along with a glossary of lighting/studio terms and slang used on set.  Again Grecco just hits the right balance of being informative while maintaining a relatively easy read.  I was able to skim the technical/terms section on lighting and still get enough out of it to continue reading further into the book.

A portrait of Martin Scorsese by Michael Grecco

Even if you aren’t necessarily interested in becoming a professional celebrity or portrait photographer, “Lighting and the Dramatic Portrait”  is a great read, even for beginners.  In our conversation Michael made it clear that he wants the book to appeal to a wide range of photographers with varying skill levels.  Some of the lighting information may fly right over the head of novices, but the behind the scenes type stories Grecco shares make the book worth reading.  There are a multitude of small treasures in ”Lighting and the Dramatic Portrait”  One of my favorites was when Grecco detailed working with the actor/martial artist Jet Li.  Michael needed Jet Li to be airborne in the shot performing some sort of kick, so Grecco highly suggested Jet Li use a trampoline to preserve his energy as several attempts at jumping high in the air would make a normal person tired.  Jet Li’s people insisted that Jet Li did not need a trampoline.  Michael tried persuading them one more time, but in the end Grecco found out that “Jet Li definitely does not need a trampoline.”

Throughout the book Grecco recants his own growth as a photographer and while not an autobiography, ”Lighting and the Dramatic Portrait” reads almost as if we are learning lighting patterns and techniques as Grecco learned them himself throughout his life.  While some may not find this aspect of the book to be particularly interesting, I felt that I could relate to many of the urges Grecco felt as a young photographer seeking to grow his career as a photographer.  Grecco’s journey from photojournalist to professional celebrity photographer is interesting to follow, but again I want to emphasize that it doesn’t dominate the book, it merely adds to the narrative.  The most important theme I picked up on is that Michael Grecco is constantly evolving as a photographer/director and that it is one of the biggest reasons for his continued success.  This is seen both in his commercial and personal work.  Even though MIchael talks about giving up one style, genre, or field of work for another, he mentioned to me that “It is never a final transformation” and that sometimes he will still enjoys using a photojournalistic approach in his work from time to time.

Grecco learned that indeed Jet Li does not need a trampoline to get serious air

I was thrilled to see a portrait of Arnold Newman in this book.  Newman is one of my favorite photographers of all time and while speaking with Michael, he shared a story of giving a presentation of his slides (yes people used to use slide film in the past) to a group that Newman was a part of.  However Newman was unable to attend that meeting and Michael was disappointed.  So Grecco contacted Newman personally and asked if he present his work to Newman privately.  Arnold Newman obliged and Michael told me that Arnold Newman was “absolutely” a major inspiration to him.  This won’t be in the book, but the portrait of Arnold Newman is stunning and I thought it was a nice story to share about two incredible portrait photographers.

At the end of the day, ”Lighting and the Dramatic Portrait” is really a different approach to the educational photography book.  It is a great primer on technical basics, but more so a Bible for those looking to pursue a professional career in portrait photography.  Grecco laughed when I told him that I hated most books on photography because of their typically dry and overly technical nature.  While perhaps not the best way to start an interview on a photography book, it is indeed true that many photography books are repetitive and filled with mundane technical information.  I certainly didn’t hate ”Lighting and the Dramatic Portrait”  and I find myself referencing it quite often for specific information or more importantly to me, general inspiration for my own photography.

Rudy Winston from Canon USA talks to Unique Photo’s Mike Z. about some of their new products such as the C500 4K video camera and some new Cinema Lenses available in both EF and PL mounts.

VALHALLA, N.Y., May 1, 2012 – Today FUJIFILM North America Corporation announced that it will implement price increases for film and One-Time-Use cameras in the U.S., effective August 1st, 2012.

Prices for consumer and professional photographic film, including black and white, color negative, and color reversal films will increase by approximately 20%. Prices for consumer One-Time-Use cameras (OTUC) will increase by approximately 15%.

The price increases are a result of the continuing decline in demand for film products, the high costs of production, and the increased expenses associated with raw materials, including silver and petro-chemicals, and energy. Under such circumstances, and despite efforts to maintain production costs, Fujifilm is unable to absorb these costs entirely and must implement price increases at this time.

(The above text was taken from the Fujifilm USA website)

Yes, it’s true.  It had to happen at some point, right?  Luckily, with bad news comes good news.  The good news is that the price increase will not include INSTAX and INSTANT film and that Unique Photo has plenty of Fuji film right now so you can stock up!  Click here for our current selection of Fuji film.

Frank George demos and talks briefly about the Roland R-44 Audio Recorder at NAB 2012 in Las Vegas.

EN-EL15 battery packs for which the 9th digit of the lot # is "E" or "F" are subject to recall

The following advisory is taken from Nikon Inc. and involves certain models of the EN-EL15 battery.  Please be sure to read if you use Nikon’s digital SLR D800, D800E, D7000, 1 V1 advanced camera with interchangeable lens, or if you purchased a battery separately under Nikon model # 27011.

Nikon Inc. is asking your cooperation in connection with a voluntary recall of certain lot numbers of its Nikon Model EN-EL15 rechargeable lithium-ion battery pack. The battery pack can experience a short circuit causing it to overheat and possibly causing the outside casing to become deformed, posing a potential hazard to consumers. There have only been seven (7) confirmed reports of incidents of the problem worldwide, and while no injuries have taken place, Nikon Inc. has initiated this recall of the affected lot numbers as a reflection of its commitment to safety and product quality. We are asking that owners of the affected battery pack return them to Nikon Inc. for a free replacement.

The Nikon EN-EL15 battery pack is provided as a supplied accessory with the purchase of Nikon’s digital SLR D800, D800E, D7000 cameras and the Nikon 1 V1 advanced camera with interchangeable lens. It is also sold separately at retail under Nikon’s model number 27011. The EN-EL15 battery pack involved in this recall was first distributed by Nikon in March 2012 and is still being sold at retail.

This voluntary recall is limited only to those units of the Model EN-EL15 in lots E and F.

To determine whether a battery pack is in lots E and F and among those being recalled, first confirm that “EN-EL15” is written on the name plate on side of the battery pack, as shown on the photo below. Then on this same side of the battery pack, locate the lot number for your EN-EL15 battery pack. Lot numbers are alphanumeric characters printed in blank ink at the bottom of this name plate as shown in the photo below. Tilt the battery pack so that light shines directly on the area to see the lot number. If you have an EN-EL15 battery pack with the 9^th digit of the 14 digit lot number with either the letter E or F, you should immediately stop using it and remove the battery pack from the battery compartment. EN-EL15 battery packs with which the 9th digit is an A, B, C, D, G or any subsequent letter in the alphabet are not affected and not subject to this recall.

To return and receive your new EN-EL15 battery pack, click here or call toll free 1-800-645-6687.  Nikon will then send a UPS courier to the address provided, bringing a new EN-EL15 replacement battery at the same time. At this time, UPS will collect the recalled battery for safe return to Nikon. Your EN-EL15 battery pack will be replaced free of charge within approximately 7-10 days of our receipt of your request for a new EN-EL15 battery pack.

If the lot number of your EN-EL15 battery pack does not indicate as determined above to be in lot E or F, your EN-EL15 battery pack is not subject to this recall. No other Nikon battery packs are involved in this recall. Nikon’s digital SLR D800, D800E, D7000 cameras and Nikon 1 V1 advanced camera with interchangeable lens as well as any other Nikon cameras are also not subject to this recall.

Nikon is committed to safety and to providing to its customers only the highest quality products. We regret any inconvenience this matter may cause you and appreciate your continued support of Nikon and its products.

If you consider yourself a street photographer, you probably get looks. Depending on the area, many of those looks will be sour. Sure, you’re a stranger with an intrusive recording device, but who are they to use those judgmental eyes on you? It’s all fair game when you’re in public, right?… Of course there are those that are prone to venturing onto places where they are not legally welcome. They know very well where they shouldn’t be and when caught, act surprised that they’re not allowed to take photographs in a heavily guarded port authority container terminal. Taking pictures on private property is a good way to gain unwanted attention, but cameras are automatic attention magnets even in public spaces.

When I use different cameras in public I try to imagine how the non-photographer would perceive me: Camera Phone – He’s probably going to simultaneously post that on  facebook/twitter/tumblr/instagram/cat blog, Point and Shoot – He’s  most likely a tourist taking a picture of large building/tree/dog/cat, SLR – He’s definitely a pro, Twin lens or Hasselblad – He’s probably an artist/I could probably get the same effect with instagram, 4×5 – He’s definitely a terrorist or magician.

The ongoing problem is that photography is considered a suspicious activity. To some it’s even worse – a precursor of terroristic threat. When you are deemed suspicious, the authority gets involved and we all know they are not very keen on the rights we have…Nor are they very friendly to our folk, even when we are well within our rights to take pictures. That’s why it is INTEGRAL as a photographer to know your rights.

What you are allowed to take pictures of

- As a citizen, the first amendment allows you to take a picture of anything you want as long as you are in a public space. These public places include streets, sidewalks, parks, and any other shady place you probably shouldn’t be at night.

-If you happen to be on private property, you can assume that you are allowed to take photographs unless you are asked not to. In that case you have to oblige, or else you can answer to Johnny Law. However, you can take a picture of private property from a sidewalk or any other public place without getting their permission.

-There are exceptions in taking pictures of “sensitive government buildings” such as military bases or nuclear plants…basically any place where officials can deem a risk to national security.

-Unfortunately, national security can be subjective, but the following places are photographer friendly so long as you are in a public place: accident and fire scenes, bridges and other infrastructure, residential and commercial buildings, Superfund sites, industrial facilities, public utilities, and transportation facilities (e.g., airports).

-Anyone can be photographed in a public place without their consent unless they have secluded themselves and expect privacy restrooms, dressing rooms, medical facilities, and inside their homes. This means that celebrities, children, people performing criminal activities, and even law enforcement officers can be photographed in a public space…although we’ve seen the last of the bunch cause some trouble. ”Police officers may legitimately order citizens to cease activities that are truly interfering with legitimate law enforcement operations. Professional officers, however, realize that such operations are subject to public scrutiny, including by citizens photographing them.” Take that as you will.

What to expect if you’re expecting trouble

- “Security” is rarely a valid reason to stop someone from taking a photograph. If it’s in public, It’s not terrorism and nor is it infringing on a companies trade “secrets”.

- Just as you have the right to photograph anything from a public place, the man has the right to question you. However, you’re not required to tell them why your taking a picture of some building or anything for that matter. Unless they’re a police officer, you don’t have to give them your identity. -Persistent questioning and unwanted conduct is considered harassment.

- Private parties have limited rights to detain you against your will. That’s what we call kidnapping and is generally frowned upon.

- Cop or not, they cannot confiscate your camera, memory card or film without a warrant. Taking your property by threat of force or calling the law enforcement is considered theft and/or coercion.

What to do if you are stopped

- Go directly to jail, do not pass go, do not collect $200…ok not yet.

- Breath. Be respectful despite how unreasonable your goonish naysayer has become. The last thing you want to do is escalate the situation.

- If security is becoming abrasive and hostile, consider calling the police. Violence is not the answer.

- Should a security guard or private party try to detain you or your belongings: ask for the detainee’s name, employer, and the legal grounds which they claim for their actions.

- If it’s a police officer, the golden question is “Am I free to go” or something similar.  If the answer is a resounding, “No.” then you are being detained and you should ask what crime you are suspected of committing. NOTE: Under the first amendment – taking a photograph does not constitute reasonable suspicion of criminal activity.

Raising Hell

- If you don’t want to get the authority involved, you can always contact a supervisor and make a formal complaint. Give them a headache they won’t forget.

- Call a local newspaper, TV or radio station. They love to run stories about civil liberties being breached.

- Get the internet army on your side. Posting your story of injustice is good way to raise awareness quickly.  Hell hath no fury like an angry internets.

There is a great amount of literature that I’ve attempted to compile into this modest blog post. If you’ve ever been scrutinized for taking a picture in a public place, one thing you should always have on you is THIS piece of paper. The Photographer’s Right is basically everything I’ve stated above, but in a more concise manner and it’s nice and portable so you can better educate the angry rent-a-cop demanding you to hand over your memory card. In any case, being well read on your rights is your best defense against the ignorant tirade of people who think you are a threat. Remember:  Knowledge is power.

This is a video recently released by Profoto featuring Bambi Cantrell, who is using her Profoto D1 lights and Studio Kit.  Watch the video and see how it gets her the looks she’s envisioning both indoors and out.  Stunning!

Canon EOS 5D Mark III

Canon has released two product advisories for the 5D Mark III.  The first is a firmware update and the other is a solution regarding the LCD light issue for the camera which is that in extremely dark environments, if the LCD panel illuminates, the displayed exposure value may change.  Canon has concluded that under almost all shooting conditions, including dark environments, this phenomenon will not affect your captured images.  However, if you would like Canon to inspect your camera, they will provide this service free of charge upon request beginning in mid-May.  Keep reading for more details about these updates for your Canon EOS 5D Mark III.

The following is a firmware update release (Firmware Version 1.1.2) taken from the Canon USA website:

Thank you for using Canon products.

Canon has released a firmware update for the EOS-5D Mark III.

Affected Product
EOS 5D Mark III

Firmware
Firmware Version 1.1.2 incorporates the following improvements and fixes.

1. Supports a new accessory, GPS receiver GP-E2.
2. Fixes a phenomenon where a pink cast may develop over the image when the shutter is completely pressed with the camera’s power turned off (by the auto power off setting).
3. Fixes a phenomenon where the camera operation stops after one shot when shooting in High Dynamic Range (HDR) mode.
4. Fixes a phenomenon where the Shooting Date/Time in the EXIF data of the image shows a later time than the actual shooting time.
5. Fixes the time zone for the Samoa Islands.
6. Corrects errors in the Finnish menu screen.

Firmware Version 1.1.2 is for cameras with firmware up to version 1.0.7. If the camera’s firmware is already Version 1.1.2, it is not necessary to update the firmware.

 The new Firmware Version 1.1.2 can be downloaded by clicking here. 

NOTE: Once on the “Drivers & Software” tab please choose operating system and version. Then expand the Firmware section and click on the firmware file name to access the details page.  Choose “I Agree – Begin Download” button to start the download.

Support
This information is for residents of the United States and Puerto Rico only. If you do not reside in the USA or Puerto Rico, please contact the Canon Customer Support Center in your region.

Please register your EOS 5D Mark III. By registering, we will be able to notify you via email when future firmware updates become available for download. If you already registered, please ensure you are opted-in to receive the notification.

Thank you,
Customer Support Operations
Canon U.S.A., Inc

The following is the product advisory regarding the LCD light issue taken from the Canon USA website:

To Users of the Canon EOS 5D Mark III Digital SLR Camera

Thank you for using Canon products.

Concerning the EOS 5D Mark III digital SLR camera, when the LCD panel illuminates in extremely dark environments, the displayed exposure value may change. Canon has concluded the investigation of this phenomenon, and this announcement informs you of our findings as described below.

Phenomenon
In extremely dark environments, if the LCD panel illuminates, the displayed exposure value may change. However, based on the results of extensive testing this change in exposure value will not noticeably affect the captured image.

Affected Product
Canon EOS 5D Mark III Digital SLR Camera
*Products whose sixth digit in the serial number is 1 or 2 are affected. 
　　　For example,　“xxxxx1xxxxxx”　or “xxxxx2xxxxxx” ([x] represents any optional number.)

Support
Under almost all shooting conditions (including dark environments) this phenomenon will not affect your captured images. However, if you would like Canon to inspect your camera, we will provide this service free of charge upon request beginning in mid-May. Please contact Canon using the information below to request service.

This information is for residents of the United States and Puerto Rico only. If you do not reside in the USA or Puerto Rico, please contact the Canon Customer Support Center in your region.

Please register the EOS 5D Mark III. By registering, we will be able to notify you via email when service updates are available. If you already registered, please ensure you are opted-in to receive the notification.

Thank you,
Customer Support Operations
Canon U.S.A., Inc

Contact Information for Inquiries
Canon Customer Support Center
Phone: 1-800-OK-CANON
1-800-652-2666
TDD: 1-866-251-3752
Email: carecenter@cits.canon.com
For additional support options: www.usa.canon.com/support

Fujifilm X-Pro 1

The firmware update Ver.1.01 incorporates the following issues:

1.  Reduction of chattering noise from iris of lenses in shooting mode.

2.  Improvement of phenomenon that parallax compensation does not work under condition of manual focus with OVF bright frame mode.

3.  Improvement of phenomenon that OVF quality as low visibility due to too bright OVF under the condition of power save mode during pressing the shutter button halfway.

4.  Improvement of phenomenon that delete function does not work after viewing continues shooting mode images.

For all details and to download

Join Taryn and Cindy from Unique Photo as they use their own DIY backdrop in a High Fashion Photo Shoot. All images were captured using the Sigma 85mm 1.4 for Canon.

To see how the backdrop for this photo shoot was made, check out the video on our blog.

Frank George demos and talks briefly about the Roland R-26 Audio Recorder at NAB 2012 in Las Vegas

Mike Zawadzki had the chance to catch up with Paul Fishkin from Manfrotto at NAB 2012 who showed him the new Sympla rigs and some other new products:

Share life in perfect detail with the NX1000, NX20 and NX210 – the world’s first SMART compact system cameras with built-in Wi-Fi connectivity

BEIJING, China – April 19, 2012 – Samsung Electronics Co., Ltd, a global leader in digital media and digital convergence technologies is breaking new ground with its award-winning NX series with three new compact system cameras (CSC) that pioneer built-in Wi-Fi connectivity: the NX1000, NX210 and NX20. Now professional quality images can be easily captured, shared and stored straight from your camera – wherever you are in the world.

Introducing the NX1000, NX210 and NX20 
The innovative additions to Samsung’s NX range represent the future in CSC technology: SMART cameras with in-built Wi-Fi technology that allow users to connect to wireless networks without any additional cards or devices. Full Wi-Fi connectivity is complemented by an impressive range of features, continuing the heritage of innovation that the NX series has been consistently recognized for since the launch of the NX10 in 2010.

As standard, all three NX models feature a 20.3 Megapixel APS-C CMOS sensor, developed in-house by Samsung to give high quality images in rich color and detail. They are also fully compatible with the NX series’ unique i-Function system, enabling users to control parameters using the lens itself, adjusting the image without ever having to move off target. With Samsung’s range of nine lenses and professional standard accessories, the NX eco-system ensures that all imaging ambitions can be realised, whatever the user’s photographic speciality or interest.

Enhancing Samsung’s 2012 SMART CAMERA ecosystem, these latest additions to the NX range have been designed to satisfy the ambitions of users of all abilities, whether an experienced professional or someone just looking to trade-up from their point-and-shoot.

Enhancing Samsung’s 2012 SMART CAMERA ecosystem, these latest additions to the NX range have been designed to satisfy the ambitions of users of all abilities, whether an experienced professional or someone just looking to trade-up from their point-and-shoot.

The NX1000 is highly portable and its eye-catching compact design makes it as useable as it is attractive. Available in stunning White, classic Black or eye-catching Pink it houses a feature-rich range of specs, with technology such as Smart Auto 2.0 and the Smart Link Hot Key, making it simpler than ever to shoot and share great images instantly.

The NX210 follows the NX’s design heritage, with a premium metallic finish. Like its predecessor the NX200, the NX210 also offers a 3.0” AMOLED display for viewing images and Full HD movies in brilliant resolution. With easy access to Wi-Fi functions, the NX210 allows quick sharing with friends and family, whilst with Samsung Mobile Link users can show off their best images on phones and tablets, or on the big screen with TV Link connecting the NX210 wirelessly to internet-enabled TVs.

The NX20 is the perfect match for enthusiast amateur or professional photographers looking for a highly portable camera that gives the professional look and feel of a DSLR but at a fraction of the size and weight, with the addition of an ergonomic grip to fit comfortably into the hand. Delivering impressive speed with its 1/8000s Fast Shutter, breath-taking images are shown on its clear 3.0” clear AMOLED swivel display, increasing visibility by approximately 20%. The NX20 also incorporates a range of functions and manual controls in order to deliver pro-standard pictures every time, including SVGA EVF so users can frame images like a professional.

In-Built Wi-Fi for simple sharing and saving 
With Samsung’s latest SMART features, users can share pictures at the touch of a button, uploading to social networks including Facebook and Picasa, or emailing them to friends and family – all straight from their new NX camera. The cameras also offer further options for capturing and displaying images via other devices, including the ability to link to a Samsung smartphone and use as a remote viewfinder, and – with the Samsung Mobile Link function – to display images on devices such as tablets or internet-enabled TV.

Creative control at the touch of a button 
Pictures shared on the spur of the moment are no longer restricted to simply shooting and sending – with the creative features of the new NX cameras, Facebook pictures can be artistic without ever going near a computer. The ten Smart Filters and added Selective Color function, for example, mean that users can adjust the look and feel of shots as they take them. In addition, all three cameras also feature Panorama and 3D Panorama, allowing the whole story to be told in one complete picture. With the Smart Panel featured on all the new models, settings and features can be easily accessed and applied, making creative photography easier than ever.

Mr. Myoung Sup Han, Senior Vice President and Head of the Digital Imaging Business, Samsung Electronics, commented: “The three new additions to the NX range mark an evolution in Samsung’s SMART CAMERA offering, demonstrating our understanding that digital imaging is about sharing the best moments with family and friends, and not only about taking great pictures. Samsung is paving the way, introducing the world’s first SMART Compact-System-Cameras for professional standard images that are worth sharing.”

“With the inclusion of in-built Wi-Fi connectivity, our customers can now share pictures and videos straight from their NX camera. More importantly, however, the NX camera’s wireless connectivity does not mean sacrificing fantastic image quality – you can now have the best of both at your fingertips. This dedication to innovation will make Samsung a leader in the SMART CAMERA market.”

 

The Nikon WU-1a and the Canon CameraWindow app icon

 

Nikon has just announced the D3200 DSLR along with a device called the WU-1a, a wireless mobile adapter that was created for the D3200 to share images with smart devices.  This release will join Canon’s app, Canon CameraWindow, which was released earlier this year for the same general purpose.  Canon CameraWindow can be used with the PowerShot ELPH 530 HS/ IXUS 510 HS and PowerShot ELPH 320 HS/ IXUS 240 HS.  These innovations make it easy to wirelessly share files with others by email, blog, or social networking sites. Let’s take a closer look at the two and go over what they offer in comparison to one another.

The WU-1a plugged into the D3200

A fundamental difference between the two is that the Nikon WU-1a is used with a DSLR while Canon CameraWindow is used with point & shoots.  With both systems, you are able to transfer files straight from your camera to your smart device, such as smartphone or tablet. Then you can send them to friends and family or upload them to blogs and social networking sites.  In order to run, Nikon requires you to download a free app from Google Play called the Wireless Mobile Adapter Utility app.  Canon requires you to download a free Canon CameraWindow app from Apple.  Currently, the Canon sharing system is compatible with the iPhone 4 and 4s, the iPad and iPad 2, and the iPod Touch 4 with Android capabilities scheduled for next month.  The Nikon WU-1a will be compatible with smartphones running Android OS version 2.3 (Gingerbread) and tablets running Android OS version 3.x (Honeycomb) with additional support for iOS scheduled for release this fall.

A screen shot of Canon CameraWindow on the iPhone

Canon CameraWindow will support the transfer of both images and video with compatible file types being JPG and MOV.  The maximum number of images that can be sent at one time is 50.  The maximum length of video that can be sent at one time is 2 minutes.  Files can be sent via Ad-hoc (directly camera to device) or by infrastructure mode (using a Wi-Fi access point).  The Nikon WU-1a will support the transfer of images captured by the D3200 and images already saved to a memory card that is inserted into the D3200 via wireless connection.  While you cannot transfer videos with the WU-1a, there is an added feature that allows your smart device to be used as a remote control for shooting photos with the D3200 (again, this does not apply to video).  Your smart device will display a live view of what the camera is seeing through the lens as well as various shot settings. The setting information includes the camera’s battery indicator, whether or not an AC adapter is connected, number of exposures remaining, shutter speed, aperture setting, and focus points.  This innovation opens up unique picture taking possibilities.

A DX-format CMOS image sensor with an effective pixel count of 24.2-million pixels, the EXPEED 3 image-processing engine, the Guide Mode function, and support for smart device collaboration, making full-scale photography and sharing of photos more fun

A fast, wide-angle, 28-mm f/1.8 fixed focal length lens compatible with the Nikon FX format

Join us for another Unique® Photography Workshop at Rutgers University's High Point Solutions Stadium and shoot a Scarlet Knights football game!

Join us for the annual spring Scarlet-White football game!

For this game only, all attendees will be allowed on-field access for the full duration to watch and shoot the game!

When?  Saturday, April 28th, 2012.  Arrive at 1PM.

How much?  Special Price: $199

Parking will be included.
Food and drinks will also be provided.

*ONLY 20 SPOTS ARE AVAILABLE!*

For more information and to sign up, click HERE!

One of the Eggleston photographs that was recently recreated in a larger, digital format and sold at auction

By now, you might have already heard that photo icon William Eggleston is being sued by art collector Jonathan Sobel for recreating some of his own classic images in a larger, digital format because the originals were sold as “Limited Edition” prints.  In a nutshell, Sobel had purchased a bunch of these Limited Edition originals and is now concerned about their diminished financial worth as an effect of the new prints.  Sobel is seeking unspecified damages and requests that Eggleston be forced to cease production of additional varieties of his older prints.  This is a touchy subject for both photographers and collectors and is sure to have quite a momentous outcome.  So let’s talk about it!

I will first share with you a shortened version of an article found in The Wall Street Journal for those of you who have not yet heard about this news and will follow with my own analysis.

The Story

*(This is a shortened, summarized version of an article by Kelly Crow for the Wall Street Journal.  The full version of this article appeared April 5, 2012, on page A17 in some U.S. editions of The Wall Street Journal, with the headline: Collector Sues Over Copies):

Memphis photographer William Eggleston first earned fame in the mid-1960s by taking lyrical images of American suburbia in color, rather than classic black-and-white.

On April 4th, 2012, New York collector Jonathan Sobel filed a lawsuit in U.S. District Court against Mr. Eggleston, alleging that the artist’s recent decision to print and sell oversized versions of some of his famous images in a Christie’s auction has diluted the rarity—and therefore the resale value—of the originals.

The gem of Mr. Sobel’s collection (which includes 192 photographs by Eggleston) is arguably “Memphis (Tricycle).” The artist took the photo in 1970 and used a now-defunct dye-transfer process to print 20 copies, which were later numbered and sold as a limited edition. Two years ago Mr. Sobel said he paid another collector roughly $250,000 for one of these 17-inch-wide works, and he was pleased a year later when another from the same edition sold at Christie’s for $266,500, potentially boosting the value of his own.

Memphis (Tricycle)

But Mr. Sobel said he was “shocked” last month when Mr. Eggleston enlisted Christie’s New York to sell a new, 5-foot-wide digital-print version of the same tricycle, which the artist had priced to sell for up to $300,000. It wound up selling for $578,500, the highest price ever paid at auction for a single Eggleston photograph. The image was part of a group of 36 newly made, larger photos that Mr. Eggleston sold for $5.9 million at Christie’s.

Thanks to that sale, prices for Mr. Eggleston’s works have recalibrated across the board, only now the bigger prints—not the smaller originals—account for seven of the artist’s top 10 prices. Mr. Sobel owns at least nine vintage works that were resurrected by Mr. Eggleston in larger form at the Christie’s sale.

“I feel betrayed,” Mr. Sobel said. “How can you sell a limitless limited edition?”

John Cahill, Eggleston’s lawyer, said the photographer printed the new editions in unmistakably different sizes in part to distinguish them from his earlier editions; the artist also re-cropped the tricycle photograph and altered its colors slightly.

Another photograph that was chosen to be recreated and sold at the auction. "Greenwood, Mississippi," 1973

Fay Gold, an Atlanta art advisor who once handled sales of Mr. Eggleston’s work, said only time and art history will tell which of Mr. Eggleston’s tricycles, old or new, will come out on top. “People want the larger ones now, but over time I think the older ones will be seen as more important,” she said. “There’s nothing like owning vintage.”

*(End shortened summary of Wall Street Journal article originally written by Kelly Crow)

——————————————————————————————————————————————————–

My Analysis

Fay Gold says “There’s nothing like owning vintage.”  True, but let’s not forget that there is also nothing like owning an original William Eggleston photograph printed using the dye-transfer process!  This particular photographic process is now obsolete.  In the mid 90′s, Eastman Kodak ceased production of its dye-transfer materials.  It is my understanding that not only is the image quality produced by the dye-transfer process not replicable, dye-transfer prints are extraordinarily archival and will maintain their quality over many, many years.  Considering Eggleston is often called the “Father of Color Photography,” the coloring process he chose to create his images with is obviously very important.  The name William Eggleston and the dye-transfer process go hand-in-hand. Even if you were able to successfully replicate the image quality of a dye-transfer print, it still wouldn’t be a dye-transfer print.  An Eggleston photograph printed with the dye-transfer process is truly a piece of history!  Eggleston’s images have always been called mundane and it is just that, ironically, which makes the images so special.  Banal subjects suddenly become breathtaking in a William Eggleston print.  I believe that the dye-transfer process has strengthened this notion.  The care that it takes to create a photograph with this process and the very precise, rich colors just make these typically unnoticed scenes even more special.

To go back to what Fay Gold said, ”People want the larger ones now, but over time I think the older ones will be seen as more important.”  I completely agree that even if, currently, the new variations of the classic prints are selling for more than the originals, in the long run, the originals will prevail.  One could argue that any digital reproduction of a film photograph is less special than the one printed in the darkroom, but a photograph printed with this now obsolete process by the photographer known for using it versus a digital reproduction with altered color and cropping?  This is a no-brainer.  The original prints will come out on top.  So why are these new over-sized prints currently selling for up to $578,500 each?  Admittedly, I don’t know the first thing about being an art collector (you need money for that). I’m assuming that there must be an initial excitement about and hype surrounding more classic Eggleston works being available in general that would result in an unusually high selling price.  I do believe that these new works were marketed toward contemporary art collectors rather than photography traditionalists.  I’d like to think that someone willing to drop more than half a million dollars on an Eggleston photograph understands his place in history. So could it really be that the contemporary art collector simply doesn’t care about the process or the history and just wants something truly grand to hang on their wall?  Or, perhaps more far-fetched, maybe these buyers got a whiff of scandal when they heard about the new prints and jumped at the chance to buy a different kind of history that would become more valuable as the result of the controversy. Controversy has, as we all know, always held a huge place in the art world.

What I’ve been pondering is: why would Jonathan Sobel ask the courts to forbid Eggleston to make more new prints if he really worries that his originals are going to sell for less money than the new prints?  Maybe there’s something I’m not getting (like I said, I’m not an art collector), but unless Sobel was planning on selling his own collection in the near future he would still end up with the more financially valuable pieces.  Logic is telling me that the more copies there are of something, the less valuable they will be.  Sobel, of all people, knows this!  That’s why he’s concerned with his Limited Edition staying limited rather than limitless – if you make more, value will go down.  If this is so, then why are the additions to the Limited Edition selling for so much more?  Because they’re not part of the Limited Edition.  They’re a whole new beast.  New market, new process, new format, new size, new crop, new color, and new buyer.  This brings us right back to the beginning.  Eggleston should be allowed to produce new variations of old work because they are just that: new variations.  I think if Sobel really wants to speed up the solution to his problem, he should encourage the production of more over-sized digital variations so that they become more accessible and, as a result, lessen in value.  Everybody wins!  Eggleston and his family continue to make lots of money, more fans and collectors get to have their very own Eggleston photographs to cherish (or sell, or whatever it is you kids are doing these days), Sobel’s originals once again become the most valuable both financially and culturally, and the world is a happier, more beautiful place where there are more Egglestons to go around and more stunning photographs on display.

To me, the winner of this case is clear.  What do you think?  Do you know anything about the buyers of these new variations?  I would love to hear your thoughts!

SILVER & LIGHT from Ian Ruhter on Vimeo.

Every once in a while you find some gold among the ruble that is the internet. A friend of mine sent me this video that seems to tie in with my fascination of alternative processes on wheels. Besides it being about one man’s attempt to create the largest tintypes out of a makeshift ice cream truck camera (The time machine as he calls it), I thought the production of this this video alone was worth sharing. Coming from someone who’s done tintypes before, he really makes it look easy…and just as quickly he takes you into the frustration of working in such a traditional manner. Despite my bias towards the yore, I think any photographer can appreciate such hard work and dedication to their craft. Who knows, maybe it will inspire you to go back in time through photography…If anything you’ll gain a better appreciation of how easy we have it with digital cameras!

It was early morning after Christmas and there were only a few days left of 2011. I headed west on Manhattan Beach Blvd that lead straight to the ocean. The eastern sky was slowly brightening, but the western sky was still dark. The road continued uphill until the intersection and went downhill to the beach. I saw Manhattan Beach Pier from there. I drove to a parking lot where several surfers had already parked and I walked on the pier, still decorated with Christmas lights. I got to the café and aquarium at the end of the pier and waited for the sunrise. The sunrise was dragging, just like this morning and the sunlight took its time reaching the pier. When the sun finally showed its face, the pigeons flew all at once and it felt like the sounds of the waves intensified.

I went back to Manhattan Beach on the following afternoon. The day had been warm and calm and as usual surfers rode the waves in the afternoon ocean and many came to see the sun soaked horizon.

The next morning before the sun rose, I headed to Hermosa Beach. The concrete pier stretches out to the Pacific Ocean. It felt like I was walking on a long bridge toward the other side of the bay. It finally felt like a pier when I walked half way and saw some people fishing at the end of the pier. The anglers wore assorted hats and gloves and stared at the ocean in silence. When I spoke to one of them, he said, “I used to go to Redondo Beach down south, but there’s too many people fishing there these days, so I come here often.”

The mornings and evenings were chilly, but it was warm enough to be in a t-shirt during the winter and every winter, I feel grateful to live in southern California by the shore. On this day, I decided to use the day to walk through Manhattan Beach, Hermosa Beach and Redondo Beach, a.k.a. Beach City, along the Santa Monica shore.

I headed north from Hermosa Beach to the north of Manhattan Beach and parked the car in the parking lot between 26^th and 27^th Street. Walking away from the beach, I walked up 300 feet uphill into a beautiful lush park, Bruce’s Beach and looked down at the beach and the Pacific Ocean.

In the beginning of the 1900’s, Bruce’s Beach was one of few accessible beaches to African Americans at the time. A beach resort was built there. However during the 1920’s to 30’s, the property shut down due to racial friction. Part of the property was turned into a city park and after many name changes, it was finally named Bruce’s Beach in June of 2006. The park was named in honor of Charles and Willa Bruce, who created the beach resort for African Americans.

Walking down from the park to the beach, there were many people working out.

Newest Addition to the Canon Cinema EOS Product Line Combines the Convenient Form Factor of a Digital SLR Camera with Full HD and 4K Video Recording up to 4096 x 2160-Pixel Resolution

LAKE SUCCESS, N.Y., April 12, 2012 – Continually advancing the frontiers of digital high-resolution motion-image capture for film, television, and other industries, Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the EOS-1D C digital single-lens reflex (SLR) camera.* Delivering outstanding video performance, the compact, lightweight EOS-1D C provides video recording at 4K (4096 x 2160-pixel) or Full HD (1920 x 1080-pixel) resolution to support high-end motion picture, television production and other advanced imaging applications.

Equipped with an 18.1-megapixel full-frame 24mm x 36mm Canon CMOS sensor, the camera records 8-bit 4:2:2 Motion JPEG 4K video to the camera’s CF memory card at 24 frames-per-second (fps) or Full HD 1920 x 1080 video at selectable frame rates from 24p to 60p, making it possible for next-generation visual expression with even higher image-quality and resolution performance.

“The Canon EOS-1D C digital SLR camera was designed in response to the needs of filmmakers, television producers, and other high-level motion-imaging professionals,” stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “Not only does it combine 4K and Full HD video capture with a convenient design, its use of dual CF cards also offers an efficient workflow compatible with today’s post-production requirements.”

EOS-1D C Digital SLR

The Canon EOS-1D C digital SLR camera incorporates Canon Log Gamma to enable the recording of high-quality video with rich gradation expression, making possible the type of impressive image quality required in motion pictures by maximizing both highlight and shadow detail retention while also providing a high level of color-grading freedom. The EOS-1D C’s full-frame 24 x 36mm 18.1-megapixel Canon CMOS sensor makes possible a wide range of creative imaging expression, such as image-blur effects. Additional features include an expanded sensitivity range of up to ISO 25600 for exceptional motion-imaging results with reduced noise even in low-light settings. The camera’s ability to record 8-bit 4:2:2 4K and 8-bit 4:2:0 Full HD video to CF cards eliminates the need for an external recorder and enables workflows with increased mobility. If desired, however, captured video (excluding 4K video) can be output from the camera’s HDMI terminal to an external recorder using an uncompressed YCbCr 8-bit 4:2:2 signal.

EOS-1D C Digital SLR - Back View

4K video is captured by an approximately APS-H-sized portion of the full image sensor, while Full HD video can be captured in the user’s choice of two different imaging formats:

• 1. The standard Full HD setting captures the full 36mm width of the CMOS sensor to achieve the largest possible angle of view for any compatible lens.
• 2. An optional Super 35 crop setting enables cinematographers to match the industry-standard imaging format and angle of view achieved by traditional motion picture cameras. This enables video footage from the EOS-1D C camera to more closely match the look of footage from other cameras in multi-camera shooting environments.

Other useful video-related features on the EOS-1D C DSLR include a built-in headphone jack for real-time audio monitoring, and the ability to view the camera’s LCD even when the HDMI port is connected to an external monitor. The EOS-1D C camera uses the same LP-E4N battery pack as the EOS-1D X, and it can also be powered by an optional AC Adapter Kit.

The EOS-1D C camera ships with Canon software applications including EOS Utility, which enables various camera settings to be adjusted from a PC, and Picture Style Editor. These two personal computer applications enable users to view the camera’s live output on an external monitor1 and adjust the image in real-time to maximize shooting and post-production efficiencies. The software also ensures no loss of quality for 4K/Motion JPEG and full HD/60p video displayed on the external monitor, and it enables video shot with Canon Log Gamma to be output on the monitor with video gamma applied.

The Canon EOS-1D C camera can be used to capture still images with more than 60 interchangeable Canon EF and EF Cinema Lenses, all of which are designed to deliver exceptional image quality to maximize the potential for creative visual expression. The compact size and lightweight design of the camera make it easy to carry so it is highly mobile for convenient shooting inside automobiles and other confined spaces. Its compact size also enables peripheral equipment such as rails and cranes to be more compact, which can facilitate smoother handling and reduced costs on-set. The camera’s low-light capabilities can also help to minimize lighting costs and increase versatility for lighting. For added usability, record start/stop can be remotely controlled by EOS Utility Software via an optional Canon WFT-E6A Wireless File Transmitter.

EOS-1D C Digital SLR - with EF Cinema Prime Lens

Realizing the same exceptional still-image performance as the recently introduced Canon EOS-1D X digital SLR camera, the camera provides a sensitivity range of ISO 100-51200 for outstanding still-image results with reduced noise, even in dimly lit settings. Incorporating high-performance Canon Dual DIGIC 5+ image processors, the EOS-1D C delivers high-precision AF and AE performance while also enabling high-speed continuous shooting of up to approximately 12 fps. In the ultra-fast continuous shooting mode, the EOS-1D C provides a continuous shooting speed of up to approximately 14 fps (mirror remains raised during shooting; JPEG images only).

The Canon EOS-1D C digital SLR camera is scheduled to be available within 2012 at a suggested retail price of $15,000.

Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. With approximately $45.6 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks third overall in U.S. patents registered in 2011† and is one of Fortune Magazine’s World’s Most Admired Companies in 2012. Canon U.S.A. is committed to the highest levels of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.

EOS-1D C digital SLR - Top with EF Cinema Prime Lens

† Based on weekly patent counts issued by United States Patent and Trademark Office.

¹ Requires the use of a PC equipped with an SDI port.

All referenced product names, and other marks, are trademarks of their respective owners.

Availability, prices, and specifications of all products are subject to change without notice. Actual prices are set by individual dealers and may vary.

By:  Wayne Kliewer

Thanks to everyone at Unique Photo for getting me a Nikon D4 so fast. I picked up the new body on March 15 and have shot with it almost every day since. I have extensive experience with the Nikon D3S which is one very sweet camera. Almost all of my photography experience is nature oriented. Rarely photograph people or architecture and never shoot video. And that is the reason that I hesitated on the D4 purchase. On paper it looked like most of the big improvements in the D4 over the D3S were video related. Great for those shooting video, but… There were two reasons I was interested in the D4: the small bump in resolution with no loss in High ISO performance and claimed, improved focus speed. The D3S is a wonderful camera and it is unreasonable to expect a quantum leap in performance in all areas, especially still photography. D3S has great High ISO performance, fast frame rate, good metering; however, in my experience it had one negative. At times, it seemed slow to acquire and lock in focus. Sure, if the subject was larger and not moving fast, it was never an issue, but throw in a bird in flight, coming in fast, angling towards the camera and it was very hit or miss. Might miss the entire series, might lock in on the third image and keep focus or might lose focus. It did not seem to matter which focus mode was used. Yes, the D3S got it right most of the time, but it was frustrating when it did not, especially if sitting for hours waiting for that one shot.

So how does the Nikon D4 look after three weeks in the field? Have not shot video, have not done a very controlled ISO and noise test (having too much fun in the field), and have barely scratched the surface of the features of this camera but I can address the two aspects mentioned above: focus speed and ISO performance.

We can start with the bad news. The D4 does not beat or even match the D3S for High ISO noise levels. That is my opinion based on some simple comparisons. Still need to do a larger, more controlled test. Yes, the D4 is good at the higher ISO values but it looks like Nikon has turned up the noise reduction at the higher ISOs. Even though the camera has an extra 4 MP, at around 6400 ISO it does not seem to hold as much detail in the image. In my case this is not a big issue because under that little light, my subject will likely not have much pop, contrast, or color anyway. While it does not match the D3S, it is still very good up to around 6400 ISO. Maybe we are getting a little spoiled and are expecting big steps in this area with every new model. Not sure if that is reasonable or not. So maybe the way to look at it is that the D4 is better than the D3 for High ISO shooting and almost as good as the D3S.

While the bad news is really not all that bad, the good news appears to be truly great—focus speed and accuracy. It is near impossible in the field to determine what the real focus speed is. I just look at the results at the end of the day. For the three weeks, I have used only one lens on the D4—the Sigma 300-800mm f5.6. Why not the Nikon 500mm f4 or the even faster shorter lenses? Simple. The Sigma is a fairly fast focus lens, but not as fast as the Nikon 500mm or the 70-200mm f2.8 lens or a wide angle. Might as well see how fast the D4 is on my slowest focus lens. Is it fast? Oh yeah, and accurate, too.

Shot at 800mm with D4 and Sigma 300-800mm lens. Image very heavily cropped and some other minor edits. No noise reduction was done. High ISO of 1600.

On the D3S, the big Sigma lens will do birds in flight but is not quite as fast as the 500mm Nikon. On the D4, it looks like it has focus locked on the first or second image. I am assuming that my technique is the same with this lens and either camera. With the D3S, I had to discard a number of images because the camera had not locked in focus or focus was a little soft. This was true even for slow moving, large subjects like a Canada goose swimming on a pond. At 800mm, depth of field is shallow. So any focus error is magnified. The D3S took some great images at 800mm but it also missed the focus slightly at times—or my technique was bad. The D4 with the same lens, tripod, technique, etc. has yet to miss a reasonable shot. Accurate? Does not matter if it is small or large, bird or flower, it is on. Birds in flight have been good to very good. I am very impressed. Next I am switching to the Nikon 500mm lens. That lens should snap into focus on the D4. The focus speed is the main reason I got the D4 and it has not disappointed. Recently I photographed wild turkeys strutting their stuff. It was at sunrise and light was still low. At 800mm, f6.3-7.1 and ISO 3200, shutter speed was 1/30-1/60 second. Focus was still fast in the low light on dark subjects.

ISO 3200. Shot at 800mm from inside a car. Heavily cropped. No software or in-camera noise reduction beyond any default Nikon might have set.

Sometimes the little things can add up to a lot. 16 MP versus 12 MP? It looks a little smoother. It does allow deeper cropping of an image. That is a big thumbs up for me. The new Sony memory card versus a fast CF card? I have been using the new Sony card. Ripped off 30 fast RAW images with no sign of frame rate slowing down. Very likely never to hit the buffer limit again. However, I am not sure if that would have been any different with a very fast CF card. Not wild about carrying two types of cards and card readers, but the new cards supposedly have a big edge in future advancements. 3.2” versus 3” LCD screen? Would not have noticed if they had not listed that as an improvement. Better in bright light? Yes, but glare is still a problem. Big thumbs down from me for the change in selecting focus versus the D3S. The D4 uses the D7000 approach. Push a button on the front of the camera (not far below the lens release button), hold the button, and turn a thumb wheel to select single point or a variety of multi-focus point modes. The D3S has a nice, easy to locate and operate lever. Sure, it will be second nature in time but a single operation is faster and easier than doing two operations at the same time. It would have been great to have used the D3S battery and charger. Still cannot charge two batteries at the same time. It charges sequentially. Also I routinely shot 2800 images on the D3S battery before charging and the battery still had at least 20% charge even with that many images. Have yet to determine the number of images on the D4 before the battery reaches the 20% level but it appears to be quite a bit less than the D3S. Big improvements (which seem small on paper) include the buttons that light up. Sitting in a blind with low light and then you realize that you want to change a setting but the flashlight is in the car—flick the switch and the buttons have a very faint glow; easy to read but not glaring. There are so many really interesting features of the D4 that it will take a while to try them all.

Original. Untouched, uncropped image. See cropped image below.

Shot at 800mm with D4 and Sigma 300-800mm lens. Heavily cropped with some other minor edits. No noise reduction was done. High ISO of 1600.

Bottom line: The D4 is a great camera. So is the D3S, but the D4 seems to focus faster and the huge buffer is great for grabbing those action shots. If you absolutely, truly need super low noise and maintain detail at very high ISO levels, get the D3S or wait for a D4S. Throw in the video improvements people are raving about and the D4 really shines.

Join Scott and Cindy from Unique Photo as they give a quick lesson in creating better quality passport photos. For more help or information, please feel free to comment or email ScottK@uniquephoto.com.

Edited by Holly B.

There is now a new firmware update for the a65 and a77 bodies, version 1.05.  All of the benefits are listed below in full detail, but there is one aspect that is important to focus on.  This upgrade fixes the issue a few customers were having with a “processing” notice coming up before review was possible after every picture. This upgrade makes it so that the image is reviewed immediately after capture in any drive mode, or the camera will return back to shooting instantly if review is turned off.

Here is a link to Sony eSupport where you can find the update

Improvements over version 1.04:

• Provides support for the following automatic compensation compliant lenses:

                 o    SAL24F20Z, SAL85F14Z, SAL135F18Z, SAL70300G, SAL35F18, SAL50F18

• Improves Auto review response
• Improves the responses for the front/rear dials
• Improves response between power SW operation and power off
• Improves AF response with 500mm F4 G SSM (SAL500F40G) lens
• Improves AF accuracy for scenes which include overexposed areas

Benefits provided by previous updates and included in version 1.05:

• Provides support for the following automatic compensation compliant lenses:

              o   Vario-Sonnar T DT 16-80mm F3.5-4.5 ZA (SAL1680Z)

              o  DT 16-105mm F3.5-5.6 (SAL16105)

• Improves the responses for the front/rear dials when assigned for exposure compensation
• Improves picture quality for 24p movie recording (NTSC regions only)
• Improves overexposed images while in ADI flash control
• Improves usability

By: Owain Johnston-Barnes

Finally found: Zebbie Brandt and Jennifer Gray hold up a camera, at the Mad Hatters restaurant Tuesday evening, that was lost by Zebbie while visiting the Turks and Caicos and some how managed to show up on Bermudian shores to be found by Jennifer some nine months later. (Photo by Glenn Tucker)

When Tennessee resident Zebbie Brandt lost her digital camera while diving in the Turks and Caicos, she thought the camera was gone for good.

But nine months later, she received an excited e-mail from her friend telling her the camera had been discovered intact 870 miles north in Bermuda.

“It was just amazing,” Mrs Brandt said. “I was so excited when I got the message, my husband was already in bed. I flicked on the lights and said ‘You will not believe this.’

“How in the world did it get to Bermuda? What are the odds of ever finding the camera in the ocean?”

Mrs Brandt said she first lost the camera on March 13, 2010, while diving on the live-aboard dive vessel Aggressor II in the Turks and Caicos.

“It was the first time I decided to use it while diving,” she said. “I had already lost the weight, so I knew it was going to float.

“I was extremely disappointed. I had everyone looking across the surface of the water to see if they could spot it, but I knew it was pretty much gone.”

Eight months later in January, 2011, Jennifer Gray and Robert Chandler were walking along North Shore near Tynes Bay when they noticed a camera case covered in barnacles and algae, hidden in a mound of sea weed.

Ms Gray said she pried the case open and, much to her surprise, found the camera inside perfectly dry and undamaged.

Ms Gray said: “The most exciting thing for me was that it looked like it had been in the ocean for a long time, but when I pressed the button it turned on. It was amazing.”

She said in an effort to track the camera’s owner, she looked through the camera’s memory, finding more than 200 images of weddings, holidays and a dive trip, all marked with dates between May 2008 and May 2010.

Noticing that the camera had pictures of the crew of a dive boat with ‘Aggressor Fleet’ written on their uniforms, Ms Gray contacted the manager of the vessel’s fleet.

Staff at tour organiser Aggressor Fleet continued the search, placing several of the pictures in a monthly newsletter in an effort to find the camera’s owner.

One of Mrs Brandt’s friends made the connection, and told her the camera had been discovered.

Mrs Brandt said the news of the discovery shocked her, as did the amount of time and effort that was spent attempting to return the camera to her.

“Who would have taken the time to have gone through all my pictures and do everything possible to try to return the camera?” Mrs Brandt said. “[Ms Gray] went above and beyond what any other person would have done to try and find me.”

The pair spoke and Ms Gray sent the camera back to Mrs Brandt, who said so much time had passed she had forgotten most of the pictures.

“It’s like discovering an old photo album that you forgot about,” Mrs Brandt said. “Jennifer actually helped me identify some of the fish in the pictures.”

Check out the Unique Photo Camera and Video SuperStore on Google Maps!

You can now take a virtual tour of our facility at http://www.uniquephoto.com/store.

Explore the retail store as well as Unique University.

To navigate, click the white arrows on the ground to take a walk in whatever direction you choose.  The link drops you off just inside the front entrance.

Have fun!

Sean and Natasha from Unique Photo discuss Fujifilm’s new X-Pro1 interchangeable lens digital camera.

Edited by Holly B.

Fujifilm's X-Pro 1 with their three Fujinon Lenses (18mm f/2, 35mm f/1.4, & 60mm f/2.4)

While I was out in Las Vegas attending CES this year, I was introduced to Fujifilm’s newest addition to their X system. The Fujifilm X-Pro 1 is the culmination of the X system lineup. Fujifilm has created another groundbreaking camera that, pound per pound, is one of the best interchangeable lense cameras on the market.

I am a firm believer that if a camera fits right in your hands and is easy for you to operate, then the brand of camera is irrelevant. When the Fujifilm X100 arrived in the showroom , I was blown away by the image quality and ISO performance, but at the same time I was put off by the size of the camera and the layout of the buttons.  The good news is that the Fujifilm X-Pro 1 addresses these issues in my opinion and is a real winner.

It is no secret around Unique Photo that I am a tech nut. When Samsung came out with the Galaxy S II I was one of the first to jump on it from my iPhone 4. When Asus came out with their Transformer Tablet I was there and left my iPad in the dust. So rapidly exchanging electronics for newer models is not something something foreign to me. As you may have gathered, I have made such an upgrade with the Fujifilm X-Pro 1.

While my Photography has consisted of Landscape and Long Exposures and night, I noticed that I was getting bored. and that I wanted to change things up.  I had taken my camera bag into New York City with me while I was waiting to get some 4X5 Chrome slides developed so I could photograph the people and places around me. After about an hour of shooting, I had a small epiphany. I was shooting with the prestigious Canon 5D Mark II, the crown jewel of the Canon Empire. While this camera has been a great friend to me, and helped my produce some incredible images, everyone and their brother that was around the 9/11 Memorial grounds was shooting with one. This normally would not bother me, but for some reason, I was becoming frustrated at the fact that people had seen my camera, since it was something that everyone can identify, and reacted differently when I pointed it at them. It was at that moment that I had decided that I was done with my 5D Mark II.

So Now that my Fujifilm X-Pro 1 has landed and I have bored you with my story, it’s time to get down to my first test, a simple ISO test from L(100) to H2(25600). Before I go into detail about the images, I should explain my parameters. The Fujifilm X-Pro 1 was set up on a standard tripod, nothing fancy. All of the internal noise reduction and sharpening was turned off, and the film simulation was set to standard. The Fujifilm X-Pro 1 was equipped with the Fujinon Super EBC 35mm f/1.4 and was set to a fixed aperture of F/8 for each shot and was manually focused on “Trainspotting” by Irvine Welsh. White balance was set to Auto and the only light source in my living room was a simple tungsten light about 20 feet from the target bookshelf. Originals can be downloaded and viewed Here

The low ISO performance of this camera is spectacular. Shooting at ISO 200 gives you a clean spectacularly clean and sharp image. Though if you plan on shooting this camera in RAW, like myself, you can count out ISO 100. The expanded ISOs (both low and high) are only available when shooting in JPEG only. As you can see below, the detail is incredible.

I generally gravitated more towards 400 or 800 ISO during my brief time I’ve spent casually shooting indoors. The extreme detail and low noise at higher ISOs that the XPro1 captures coupled with the 35mm f/1.4 lens make for an amazing pair in low light. Pay attention to the detail in the lower left corner of the image, you can still clearly make out the “Polaroid” logo molded on the front of the One Step camera.  Also notice that a very high amount of detail is retained in the book at the top right of the image ” Trainspotting” by Irvine Welsh.

Now on to the higher ISOs of 1600 and 3200 ISO.  In my opinion the results are incredible. The amount of detail retained and the lack of smoothing at theses high ISOs completely blew me away. While the 5D Mark II was great at 1600 and usable at 3200, the XPro1 seems to be just as good, if not slightly better especially in terms of chroma noise. When you look closer at the left lower corner, you can still make out the “Polaroid” logo, but there is starting to be some noticeable smudging in the flat portions surrounding it.

At 6400 ISO you can start to see more noise in the shadows, and some detail smudging in the flat color areas. I would have to say that 6400 ISO would be the highest I would ever go to get a usable image, and only if I was making a small print out of it. Anything bigger than a 5X7 and would show considerably more noise. The overall sharpness is rather impressive though. Even at H1(12800ISO) you cans till differentiate the “Polaroid” imprint from the rest of the camera(though it is rather tough), as well as see the clear definition in the words on the books.

Finally at H2 (25600 ISO) The image is rather unusable and only good for viewing at smaller resolutions on a display. The blotched details and high level of color noise in the shadows is typically more than what can be fixed in post production. I do have to say that the overall sharpness for something like the words printed on the books is still impressive. Yes the noise is too much, but the lack of the anti-aliasing filter definitely shows that it is still able to display detail at this insanely high ISO setting.

Overall I believe that the X-Pro1 is an amazing camera. I have no regrets about getting rid of my 5D Mark II. Though there are some minor quirks with the camera, these are greatly over-shadowed with by the killer final images I have been able to make.  As I get even more acquainted with the X-Pro1, I will continue to share my thoughts on it. First stop is the New York Auto show next week! For those who missed the link in the beginning, here is my Flickr set that has the sample images from this review that you can download and look at in greater detail : http://www.flickr.com/photos/smrphotography87/sets/72157629742765057/

Have an opinion of your own about the Fujifilm X-Pro 1 or a question about the system? We would love to hear from you. leave us a comment or give us a call and I would be happy to speak with you directly.

I spent most of today thinking about what I could possibly write about the 5D Mark III or Nikon D800 that hasn’t already been said.  After all those two cameras have been the topic for conversation over the past few weeks.  Well I think there is plenty of information already out there including controlled tests and real world examples.  Really though, let’s just put the damn issue to rest and say that both cameras are great new tools for photographers.  The same thing could have been said about the D700 and the 5D2, but these two newest offerings are even more similar.  So what about the lenses?  After all I firmly believe that a photographer’s vision is most important, followed by lighting, then lenses, and last the camera.  So in my opinion the camera itself is the least important part of the image creation equation, but they seem to be talked about the most.  Even though I rate vision/creativity and lighting as more important than lenses, I also believe that the gap between the importance of lenses over cameras is significant.  I would rather have a 7 year old camera like the original 5D with a slew of great prime lenses than the new 5D Mark III with only one lens such as the kit 24-105L IS.  Of course everyone’s style is different and zoom lenses may work perfectly fine for the kind of photography that you want to do, but here is my reasoning for why I have switched to a set of prime/fixed lenses.

“Why bother?”

One of my favorite shots that I have taken over the past few years was taken with yep you guessed it, a prime lens. The Nikkor 24 f/1.4G to be exact.

I think this simple thought sums up the general consensus and thought pattern for most professional photographers these days.  With the improvement of zoom lenses, many don’t see the need for a fast fixed focal length lens.  Heck there are some zoom lenses like the Nikkor 14-24 f/2.8G that trump fixed lenses like Nikon’s 14mm f/2.8.  So again why bother?  I think it is important to touch a little bit more on what I mentioned before, vision being the most important “tool” in a photographer’s bag or errr, I guess in their head.  It is the least expensive piece of gear that you can buy because it is free, but it is perhaps the most difficult thing to improve as you can’t solve the problem by simply throwing money at it.  It is far too common that we as photographers get “stuck” creating the same kinds of images over and over again.  Sure if you’re really into a certain genre of photography, stick with it because it makes you feel fulfilled, but there is always room to put a little bit more of a twist on your images and to push your creative boundries.  Personally I began to get “stuck” standing in the same spot when using zoom lenses.  Again some people may be perfectly happy with this and by all means keep doing what you’re doing.  However for me, there is something a lot more intimate about being on the move using prime lenses.  The subjects I personally work with aren’t going to vanish in an instant if I happen to need to move closer or further away from them, but I do respect the argument that zoom lenses let you compose more quickly and “on the fly.”  Still for me, physically moving closer or further away from my subjects has always resulted in more interesting images.  Plus if you have ever seen me, it is obvious that I need the exercise.  All joking aside, most fixed lenses are much lighter than heavy 2.8 zoom lenses.  After switching to mainly using a 35 1.4L for most of my day to day shooting, I don’t see how anyone could conceivably use a 24-70 2.8 for the same thing.  Maybe I am a wimp, but I am also considering getting the even lighter EF 35 f/2.0 lens.

You don't want to be in the way when my zoom lens goes off. If I had macho arms like that, maybe I would reconsider my choice. credit: Steve from flickriver.com

Quality, Price, and Light Gathering Ability

As I mentioned before the overall sharpness of zoom lenses have improved by leaps and bounds over the years.  One could argue that the newest zoom lenses are just as sharp as prime lenses at equivalent apertures, but there are some caveats to this, the first being price.  When I talk about zooms in this post, I am generally speaking of the top of the line L series or “N” lenses.  If this isn’t your first rodeo you already know that these big zoom lenses aren’t “value buys” or to be blunt, cheap.  If you compare a “lowly” prime lens like the plastic Canon EF 50 f/1.8 II to a standard APS-C kit lens such as an 18-55 or 18-135, the little cheapskate 50 is going to be dunking on the kit zooms like Blake Griffin did to poor Pau Gasol last night.  So in reality it takes a whole lot of extra investment ($1,000 and up) into a f/2.8 zoom lens to match the quality of a $120 plastic lens and of course the zoom lens won’t give you the extra 1+ stop of light gathering ability that the 50 f/1.8 will.  Wow just typing that out makes me glad I didn’t get a 24-70 f/2.8L lens! The 50 1.8 II is of course an extreme example as there are better fixed lenses, but I think it proves the point I am trying to make here.  Most fixed lenses with the ability to shoot at at least f/2.0 are as sharp as most zoom lenses at f/2.8.

So there, you get a full stop advantage while maintaining the same sharpness and contrast as a zoom lens.  To me putting together a nice little set of moderately priced prime lenses is going to give you far more photographic flexibility than spending the same amount, if not more, on an expensive “professional” zoom lens.  It is also worth noting that prime lenses generally have much less distortion than zooms, especially when you get into shorter/wider focal lengths.  Some argue vignetting is an issue when shooting at wider apertures, but often I find the effect to be pleasing.  Who puts their subjects at the very edge of the frame anyway?  If vignetting really bothers you that much, it is easily corrected in Adobe Lightroom or other software.

Don't wet yourself yet, this white 50mm lens was a DIY job, but I think it represents the character/intent of my post pretty well credit: diyphotographystuff.info

So while I’ve briefly touched on the obvious light gathering advantage prime lenses have let’s take a closer look.  There are several reasons why people, including myself enjoy the faster apertures of fixed focal length lenses.  In baseball (which started today, sorry I can’t get it off my mind) you can never have enough pitching.  Well in my opinion, in photography, you can never have enough light!  Letting in more light is never a bad thing and allows you to use lower ISO settings or faster shutter speeds, depending on what kind of shot you are trying to take.  Cameras these days are pretty good at high ISOs and f/2.8 is sufficient for many photographers, but why not do what you can to achieve maximum image quality?  Additionally when shooting indoors, letting in more ambient light will mean using less flash, bounced or direct and of course result in more natural looking photos.  At the widest apertures such as f/1.2 or f/1.4 you can even forgo the use of flash at times to get a more photojournalistic look to your images.  I am not one of the purists who insists that real photography is only done with prime lenses and without flash, but I appreciate the aesthetic they are trying to achieve.  I am not really going to go too in-depth into BOKEH because I find the topic to be a little bit silly.  You can get really nice out of focus backgrounds at f/2.8 and even more narrow apertures with the right technique.  People often forget that focal length and distance to subject are major factors in getting shallow depth of field.  I would rather shoot a 135mm lens at f/2 or f/2.8 standing close to my subject than trying to shoot the same subject with a 50 f/1.2 wide open.  The resulting image won’t have the same nice compression that a longer focal length lens would give you anyway.  Additionally the longer focal length setup I described will look better in terms of Bokeh and overall image quality every time.  It is funny  and quite entertaining to say “Stopped down to f/2.8″ to someone who is used to using zooms only.  Of course you can get more shallow depth of field at the wider apertures and I don’t want to discredit the entire logic behind that, but personally it isn’t one of the top reasons why I would use a prime lens.  If anything it is sometimes annoying how shallow the depth of field is when trying to photograph groups of 2-3+ people.

Conclusion

This shot was taken at a wedding when the 50 1.8 Nikkor was one of the only lenses I owned and I didn't even know what a 24-70 2.8 lens was.

I firmly believe that the “need” for zoom lenses stems out of comfort and conditioning.  How many of us have mom or dad’s good ol’ film camera with a 24-70 2.8 lens?  No one of course, it was always the classic 50mm f/1.8 or f/1.4 lens.  In the showroom I am often met with a look of disgust or shock when suggesting a fixed lens for a customer.  They will ask “What do you mean it doesn’t zoom!?”  I am not judging the customer because they have been conditioned over the years by the big manufacturers to use zoom lenses that are slow and generally not as photographically useful as a fast/simple fixed 35 or 50mm lens.  Still at the end of the day I will always tell people to use what equipment they are most comfortable with.  There is certainly a learning curve to exclusively using prime lenses, especially when shooting them at wider apertures such as f/1.4 and f/2.  I will admit it was a little bit difficult at first, but really after practicing focusing/recomposing and other techniques, it has become second nature.  Really I couldn’t be happier carrying around a lighter kit.  For the past few summers I burdened myself by carrying around two full-size pro bodies with huge flashes and big 2.8 zoom lenses.  I am really looking forward for wedding season to get started this year as my gear will be a much lighter load on my body and I’ll be able to comfortably carry around almost all of my lenses at once.  I am sure I could write a convincing piece on why zoom lenses are the better option because just like anything else in photography, there are pros and cons to both philosophies.  I look forward to writing about this more as I gain more experience shooting the entire wedding season with my bag full (but not too full!) of prime lenses.

-MZ

LUMIX GF5 features a newly developed 12.1-megapixel Live MOS sensor and incorporates a variety of shooting options to enhance photography experience

SECAUCUS, NJ (April 5, 2012) – Panasonic today announced a new digital interchangeable lens system camera, the LUMIX DMC-GF5, which joins Panasonic’s award-winning LUMIX G Series of digital cameras, which are acclaimed for their high image quality with small and compact body and lenses. The LUMIX GF5 features a newly developed 12.1-megapixel Live MOS sensor and redesigned Venus Engine, helping to ensure true-to-life images through exceptional resolution, image rendering and color reproduction. Even in low-light situations and at a maximum 12800 high ISO sensitivity, the LUMIX GF5 produces stunning photos and videos. The noise reduction system includes a combination 3DNR (3D Noise Reduction) and MNR (Multi-process Noise Reduction) allowing for both bright areas and dark areas to be faithfully reproduced with minimal noise in high sensitivity image recording.

Sporting a sophisticated and stylish design, the LUMIX GF5 features a compact, lightweight body with built-in flash. A rubberized grip makes it easier for users to comfortably hold the camera in one hand. Complying with Micro Four Thirds standard, a wide range of interchangeable lenses is offered to expand photographic experience even more broadly at higher level of photo quality.

“Panasonic expects the LUMIX GF5 to please photo enthusiasts and budding photographers that are looking for the next step from the traditional point-and-shoot camera,” said Christopher Rice, Senior Product Manager, Imaging, Panasonic Consumer Marketing Company of North America. “The camera’s host of shooting options makes photography even more artistic, yet easy for users of any experience level. The powerful Venus Engine and sensor allows the camera to achieve exceptional photo quality in a range of shooting environments.”

The LUMIX GF5, like all cameras in the LUMIX G Series, adopts Contrast AF (Auto Focus), so focusing is controlled by the image sensor. Compared with the Phase difference system AF, Contrast AF boasts higher accuracy, especially when shooting with a bright lens with small F value. To further advance the Contrast AF, the GF5 incorporates full-area focusing, making it possible to set focus on any point in the field of view.

Featuring an ultra high-speed Light Speed AF, the LUMIX GF5 can focus in approximately 0.09*1 seconds making it possible to capture even fast moving subjects clearly. Combined with Touch AF control and high-speed burst shooting at four frames per second in full resolution, it has never been easier to capture fast-moving objects clearly. Additionally, Pinpoint AF allows for even more precise focus by further enlarging the focus area, assisting, for example, to set focus directly on the pupil of an eye.

The LUMIX GF5’s large, 3.0-inch 920,000-dot high-precision touch display and Graphic User Interface (GUI) provide users with ease of use and simple operation. The touch-control system immediately allows users to set focus on a subject just by touching the screen and users can even release the shutter to snap a photo directly from the touch screen. Once a user locks onto a subject by a touch, the camera will track the subject with the AF tracking function, even if the subject moves. Touch Zoom is also available when the LUMIX Power Zoom Lens H-PS14042 lens or H-PS45175 is mounted.

Creative Control Mode has been upgraded from the LUMIX DMC-GF3 by increasing filter options available on the LUMIX GF5 from six options to 14, adding Soft Focus*2, Dynamic Monochrome, Impressive Art, One Point Color, Cross Process, Low Key, Toy Effect and Star Filter*2, in addition to the conventional Expressive, Retro, High Key, Sepia, Hi Dynamic and Miniature Effect*3 modes. With the new GUI menu tab, switching filter effects is seamless. A preview of filter effects can be seen on the large LCD screen via Live View mode and the camera intuitively recommends filters depending on the scene that the camera detects in iA (Intelligent Auto) or iA Plus mode.

For beginner users of interchangeable lens system cameras, the GF5 features a new Scene Guide offering 23 sample pictures shot by professional photographers. Users can choose the photo closest to the situation that they are shooting and optimal parameters for shooting the scene will be set automatically*4. Additionally, procedures, technical advice and recommended interchangeable lens options for the scene can be shown to allow users to better understand and learn photography.

In addition to shooting still photography, the LUMIX GF5 can also record 1920×1080 60i* full-High Definition videos in AVCHD format which excels in both compression efficiency and compatibility with AV equipment for playback. In addition to practical full-time AF, the Touch AF in video recording also lets the user enjoy professional-like selective focusing which allows the focus to be changed while shooting video. The LUMIX GF5 features a dedicated video record button on the top of the body so users can instantly start recording videos while shooting photos without having to make setting adjustments. Along with full-HD video capabilities, the LUMIX GF5 also features high-quality sound, recorded with Dolby® Digital Stereo Creator. Videos can be recorded in MP4 format for playback on a PC or other portable electronic devices without having to convert the files.

Additional features of the LUMIX GF5 include:
iA mode to automatically activate a range of technologies to enhance photos without adjusting settings every time conditions change, including AF Tracking, Intelligent D-range Control, Intelligent Scene Selector, Face Recognition and Intelligent ISO Control.
iA Plus mode allows users to adjust defocusing area in the background, exposure compensation and white balance for more flexible control.
A dedicated sensor that automatically determines shooting angle, making it possible to tell whether a photo was taken horizontally or vertically no matter what lens was used.
The GUI interface allows users to choose an image and set it as wallpaper for the menu screen.

The LUMIX DMC-GF5 will be available in black, white and red later this year in the following kit options: Body with 14-42mm standard zoom lens will have a suggested retail price (SRP) of $599; body with 14-42mm power zoom lens will have an SRP of $749.

*1 Time for focusing on the subject is measured with LUMIX G X VARIO PZ 14-42mm/F3.5-5.6 ASPH./POWER O.I.S (H-PS14042) (bundled lens in DMC-GF5X) to move lens position to “2m” from “infinity” position. The zoom position is in wide end. Panasonic measurement method.
*2 For photo only
*3 Sound will not be recorded with [MINIATURE EFFECT] in Creative Control Mode and approximately 1/10 of the time period is recorded. (If you record for 10 minutes, the resulting motion picture recording will be approximately 1 minute long)
-Maximum time to record motion pictures continuously with [AVCHD] is 29 minutes 59 seconds in European PAL areas.
-Maximum time to record motion pictures continuously with [MP4] is 29 minutes 59 seconds or up to 4 GB.
-You can check the recordable time on the screen. (For [FHD] in [MP4] format, the file size is large and so the recordable time will drop below 29 minutes 59 seconds.)
*4 Video recording using scene guide is not possible in some scenes

They say variety is the spice of life…lets see how many terrible food puns I can bowl you over with before they take away my keyboard. I swear my yolks aren’t that bad.

Food is one of those magical things…in a sense it begrudgingly brings us together, whether it’s at Thanksgiving or your local Chipolte. Although eating is technically a necessity, some treat it as a passion. These enthusiasts refer to themselves as “foodies.” I may not be much of a picky eater, but the thing that drives me bonkers is seeing unappetizing pictures of food on a menu. Go ahead and google image search “egg foo yung”, half of the pictures look radioactive and are taken on paper plates. It only gets worse when you look at your favorite diner’s menu and see something that resembles an omelet, but mostly out of focus with additional jpeg artifacts. Call me crazy, but I’m pretty sure this is not a very good sales tactic. To be fair, smaller restaurants that aren’t Applebee’s or Houlahans might not have the funding to hire expensive professionals. Even the great DIY food techs online might be toting some great recipes, but the first impression for the viewer is usually the picture. An iphone Instagram can only get you so far.

So here’s my argument: Restaurants, food blogs, and even the casual food enthusiast should take more pride in their craft. They shouldn’t settle for crappy photographs, nor should they feel the need to hire some guy with a full rig. You can get some great shots at home with a little bit of planning, effort, and common sense.

Guy Fieri is enraged by the inappropriate use of magic wand tool.

Step 1:  Have Patience Young Padawon

Like many things worth attaining, you’re going to have to put in some sweat and tears before you get it right. Protip: Refrain from using your camera phone. You’ll have time to post your photos onto facebook after your all done, so have patience Chef Boyardee.

Before you even pick up a camera there is some prep work to be done. I’m as bad as it get’s when it comes to running and gunning, but trust me, you have to make some decisions that will make your life a little easier in the long run.

Step 2: Mental Preparation

A good start is to ask yourself the important question: What am I taking a picture of? Take into account the color, texture, and shape of your dish. Decide what you want to highlight and do your best to make it look clean. Keeping it clean can be a bit of a struggle when dealing with messy food, but presentation is everything. You’ll have to dig out those old design principles and put on your food stylist cap.

Step 3: Choose Your Plating

My suggestion would be something simple in terms of color i.e. not a color that would compete with the food. Neon colors aren’t your best friends and anything shiny in photography can be a pain. You’re not trying to emphasize the dinette set you bought from Ikea.  Funky shaped plates can be a great way to experiment, but again I think it should have some function to the form. In plating your object remember the surface is just as important as the dish. You don’t want it to look like it was taken on the set of Saw VII. I prefer my backgrounds to be less distracting. Implementing compliments of color and texture. There’s always beauty in simplicity!

Step 4: Location and Lighting

Next is choosing your location. Incandescent lights are usually too dim for photographic purposes and they tend to make your food look a little putrid. You’ll want to look for an area that has a nice open source of light. Large windows providing natural daylight can be very flattering for any dish, but you have to choose a time of day that works best. More angled light available later in the day can be good to define texture, but you don’t want to rely on a sunset with harsh shadows…this might make your food look a little too dramatic, then again it might be your aesthetic! A good fix for this is some fill light from a white card to reflect onto spots that are losing detail. With any shoot, lighting is always half the battle, but with a simple set up you won’t be tripping over light stands and power cables.

Step 5: Using the Camera

OK, it’s alright to pick up your camera now. Hopefully you’re using a DSLR camera as you’ll have an easier time adjusting exposure and aperture. Point and shoots have come a great way from being the slow, sputtering pixel mashing machines they once were, but they are still limiting. Being able to easily control everything from ISO, White balance, and focus will get you further than crossing your fingers for a happy mistake. If you’re not familiar with manual controls, some of the auto modes like A(aperture) and (S) shutter speed allow you adjust one or the other while it calculates what it understands to be a perfect exposure.

More tips!

Shoot Raw. This will allow you to fine tune your image much more effectively.

Set your white balance. Auto WB usually does a good job, but if you’re looking for accuracy you should set your own custom white balance in your camera with the help of a grey card or color checker.

Use a longer fixed lens. Depth of field is easier to attain so you can get that selective focus look should you want it. Having a wide lens won’t do you much good here. A macro lens can do wonders for sharp detail shots.

Use a tripod if your finding that shake from hand holding is becoming an issue.

Set a lower ISO. This means less noise and light sensitivity for when you want open up.

Create diffusion if the light is too harsh. Using a white sheet near a window acts as a softbox which is great even lighting.

When composing choose an angle above your dish, but not directly on top. Getting level with your dish wont help your food look dimensional.

Finally Shoot to crop. Give yourself enough room to work with so you can easily crop the image with that fancy rule of thirds composition. Get creative…shy away from being dead center.

Here’s an example of a shoot that resulted in a few extra pounds. I used a fixed 85mm lens open at f5.6 to create a focal plane in front, leaving the rest to blend into the non-busy space. A popular look for food is what I refer informally to the ‘Martha Stewart Look’…basically this includes an open source of light from a window and relatively shallow depth of field. These two were taken in front of the same window and it wasn’t necessarily a great day out, but overcast lighting can be amazingly soft. I tried one on a white dish and another on a checkered red dish to echo the red in the cupcakes. Honestly the hardest part was waiting for the cupcakes to bake and not going overboard with the decorations. Not much work was done in post, really just some sharpening and opening up the shadows. The more work I do in camera means less time staring blankly at a computer. I don’t consider these anywhere close to professional, but I think these are successful in making me want a cupcake. (Then again when is this not the case?) If the end result does not inspire some salivating, I think you’re ultimately doing something wrong.

I needed a shot of insulin and a larger pair of pants after this one

After writing this article I realize that it’s challenging to find a general set of rules that can be used for all food photography. First and foremost, everyone has their own aesthetic. What Great Housekeeping’s in-house team thinks is worthy of being published might not necessarily be your cup of tea. Another major factor is that there’s a lot to cover with food..there’s just too much on your plate. OK, OK, I’ll stop. Every dish has unlimited potential. I tried to establish a less complicated setup that I think anyone can do. With some planning and a little effort you too can compete with the big wigs. I think these tips should be a good kick start in the right direction, but perhaps a video would be more effective. Stay tuned to our blog for a video demonstration on more tips in food photography.

New Canon EOS 60Da DSLR Camera for Astronomy Enthusiasts Captures the True Colors of the Cosmos

LAKE SUCCESS, N.Y., April 3, 2012 – Canon U.S.A., Inc., a leader in digital imaging solutions, today introduced the EOS 60Da Digital SLR Camera, a long-awaited successor to the EOS 20Da that is optimized for astrophotography. This DSLR caters to astronomers and hobbyists who enjoy capturing the beauty of the night sky by offering a modified infrared filter and a low-noise sensor with heightened hydrogen-alpha sensitivity. These modifications allow the camera to capture magnificent photographs of “red hydrogen emission” nebulae and other cosmic phenomena.

“The EOS 60Da is a testament to the constant desire to meet the needs of every customer, including those in specialized fields,” said Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A., “This new camera enables an accurate depiction of a part of our solar system which is hard to achieve with conventional cameras but should be enjoyed and celebrated.”

The Canon EOS 60Da camera packs a powerful 18-megapixel CMOS sensor (APS-C) that produces sharp and high-contrast images of astronomical objects, a major enhancement over the EOS 20Da model’s 8.2-megapixel sensor. The improved infrared-blocking filter is a modification suited specifically toward astronomy enthusiasts to achieve a hydrogen-alpha light sensitivity that is approximately three times higher than that of a normal Canon DSLR camera. This produces a 20-percent higher transmittance of Hydrogen Alpha line, or Hα wavelength, allowing astronomers to capture crisp, clear images of reddish, diffuse nebulae.

Enhanced Features

Crisp images of the stars and planets can be viewed on the EOS 60Da’s improved 3.0-inch Clear View LCD screen with 1,040,000 dots for detailed focusing. The flip-out Vari-angle screen allows photographers to adjust the screen for easy viewing without straining even while the camera is mounted to a telescope via a third-party T-ring adapter. Optimized for stargazing with friends or in an educational setting, astronomy enthusiasts can connect the camera to a TV with the provided AVC-DC400ST Stereo AV Video Cable and display the night sky on a TV monitor using the camera’s Live View mode. Moreover, the EOS 60Da’s Live View mode is equipped with a Silent Shooting feature that eliminates shutter-induced vibration for maximum camera stability when the camera is mounted to a telescope or super-telephoto EF lens.

Enhanced noise reduction on the EOS 60Da sensor offers photographers the ability to experiment with the wide array of ISO settings and increased ISO speeds up to 6400 expandable to 12800. Other features include an intelligent nine-point autofocus system, full manual controls, and RAW, JPEG, and RAW+JPEG image recording capabilities.

Accessories

The EOS 60Da helps capture the wonders of the night sky with its use of Canon’s award-winning EF and EF-S lenses along with other EOS accessories. Additionally, the EOS 60Da is packaged with Canon’s RA-E3 Remote Controller Adapter, providing the ability to connect a Canon Timer Remote Control such as the TC-80N3 (optional accessory). The TC-80N3 is ideal for controlling time exposures longer than 30 seconds as well as capturing a series of consecutive time exposures that can be composited during post-processing for improved image quality. This is especially useful when the camera body is connected to a telescope or an EF super telephoto lens.

Canon has also included an AC adapter kit with the EOS 60Da, allowing the camera to be powered through an AC wall outlet or a battery-powered inverter, ideal for long exposure image or video capture at home or in the field.

Availability

As a specialized product, the EOS 60Da is only available to order from select authorized dealers. The estimated retail price is $1,499.00 and it is expected to be available this month.

By David Elrich

Without doubt, the 24.3-megapixel NEX-7 is one of the most lusted after cameras in years. It sold for $1,000 over list on eBay when it initially came out, but now has settled down to more realistic levels. That said, forget any thought of a discount. Read on to discover why this is clearly one of the best new digital cameras to hit the planet. Yeah, that’s a bit of hype but this is a good one.

Features and Design

The Sony alpha NEX-7 is one of more attractive digital cameras we’ve handled in quite awhile—especially when outfitted with matching black lenses. For our review, we had the all-black $999 f/1.8 24mm Zeiss prime lens and the kit f/3.5-5.6 18-55mm glass. They looked really sophisticated compared to the silver motif f/1.8 50mm prime ($349) and f/4.5-6.3 55-210mm telephoto ($349) in our backpack. Not that we’d toss those lenses in the recycle bin, but all-black really gives the package a very high-end aura.

At first glance, the NEX-7 looks like others in the NEX family (C3, 5N) but the backs are completely different as the NEX-7 has a viewfinder and two large dials on the top right that are part of the new Tri-Navi onscreen menu system. This GUI is much different than those from competing manufacturers and there’s definitely a bit of a learning curve. It’ll require a review of the manual, but once you get the hang of using the navigation key and the two dials, the alpha offers very sophisticated imaging adjustments.

The NEX-7 looks similar to other members of the family but has a textured faux-leather grip. The front is clean, other than a remote sensor, AF Assist lamp and alpha E-mount. There’s a good selection of glass now–not Canon/Nikon levels–but enough to handle most photographer’s needs. If you’d like, there’s an adapter so you can also attach Sony A-mount lenses. The camera has a mostly metal body, measuring 4.75 x 2.75 x 1.6 (WHD, in inches) and weighs 10.3 ounces (body only).

On the top deck is a hot shoe, built-in pop-up flash and the Control dials R/L. On the grip is the on/off switch, shutter button and Navigation key that links to the Control dials. Look at the back of the camera and things start to get interesting. On the top left is a .5-inch 2.359K-dot OLED Electronic Viewfinder (EVF) with nearby diopter adjustment. This is an extremely high-quality, bright display that’s very readable. A sensor turns it on when you hold the EVF up to your eye. Your other viewing/framing option is a tilting 3-inch LCD screen rated a fine 921K pixels. The range of motion isn’t that great but you can raise the camera over your head or shoot at waist level. Other buttons on the back are the pop-up flash, playback and AF/MF-AEL toggle. Now things get different as instead of the typical four-way controller with center set button for moving through adjustments, there’s Sony’s system which consists of two buttons—above and below the rotary dial with center OK button. Depending on your mode, options vary widely. It’s not Stephen Hawking-brainiac difficult–just a new way of doing things.

 Moving on to more prosaic items, you’ll also find a “red dot” video button on the top right which fits neatly in the faux-leather thumb rest. On the left side (facing the screen) is a compartment for mini HDMI, USB outputs and a mic jack. The bottom of the Made In Thailand camera has a metal tripod mount and battery/card compartment. The battery is rated 350 shots per CIPA, a good number. The NEX-7 accepts Memory Stick Pro Duo and SD cards—definitely use high-speed high-capacity media (Mark 2/Class 6+).

What’s In The Box

You’ll find the camera, battery/charger, kit lens if you go that route, strap and USB cable. The CD-ROM has Sony’s Picture Motion Browser (PMB ver. 5.2), Image Data Converter SR ver. 3.2 and Image Data Lightbox SR ver. 2.2 for handling and editing files.

Performance and Use

We used an early version of the NEX-7 last August and really liked it. The camera was supposed to arrive in the Fall but unfortunately the floods in Thailand ruined those plans. A few did make it to the States and we saw them going for $1,000 over list during the holidays. Part of the reason is the fact this camera has a 24.3-megapixel APS-C CMOS sensor, the same as Sony’s much larger SLT-A77 DSLR. Now if you want to go pixel-crazy, you can always buy the new $2,999 Nikon D800 with its 36.3MP Full Frame imager. Given the NEX-7 is only $1,199, that makes it a relative bargain! Whatever–the Sony has a lot of pixels and we couldn’t wait to use it after our first taste many months earlier.

The NEX is a Compact System Camera so it doesn’t have the traditional DSLR mirror-box assembly and inherent bulk. Rather than viewing your subject directly through the lens, you’re using Live View. We didn’t find this to be an issue but were initially quite thankful for the EVF as the LCD wiped out in direct sunlight in the Auto setting. Reading the manual and adjusting brightness to Sunny Weather took care of this issue.

As noted earlier, the NEX-7 has unique interface that takes time to master but familiarity doesn’t breed contempt. Simply put the more you use it, the easier it gets but Sony could make things simpler. Picture Effects are lots of fun. The NEX-7 has 11 of them. Now Olympus has a direct Art menu setting to change them on its PEN models. With the NEX you go to Brightness/Color, scroll as you look for Picture Effects, and then make your choice. Putting them under Scene or giving them their own setting on the mode dial would be much more consumer friendly. There are more quirks like this. The reason we’re focusing on these issues is simple—the NEX-7 would get a 9.5 rating rather than the 9 (Editor’s Choice) if Sony made a few changes. Blow away the smoke, however, this is a wonderful camera.

We used the camera to capture cityscapes and the first blooms of early spring in the Northeast. Sony provided four lenses plus the body but to be honest the f/1.8 24mm Zeiss and f/1.8 50mm prime lenses got the biggest workout. Although having nothing against zooms in any way shape or form, there’s something comforting about a single focal length (36/75mm 35mm equivalents respectively).

The NEX-7 was primarily set to JPEG Fine (RAW is available) and we started off in Auto then moved the dial through the various options, including shots taken with Picture Effects such as Posterization as well as HDR. Videos were shot at 1080/60p AVCHD. After taking stills and movies, everything was reviewed on a monitor with extreme blowups, a 50-inch HDTV via HDMI and prints made.

We’re pretty hard to impress when it comes to digital cameras; handling hundreds over the course of a dozen years will do that for you. Yet when we did our pixel peeping to 100% enlargements, we kept waiting for the images to fall apart but they didn’t. It’s still not the quality of a Full Frame DSLR but NEX-7 files had a richness and accuracy you’ll really appreciate. We took many shots of bright yellow forsythias, pink weeping cheery blossoms, flowering green/white Lily of the Valley as well as multi-colored beaded baskets. In all cases, the colors were spot on. The camera was set to the Standard color space and we were quite pleased with the results. The camera has more than enough tweaks if you prefer a different style. Beyond the flowers and plants, a church front with mosaic decorations was a beauty even taken on a cloudy day. We even caught a spur-of-the-moment shot of a white Norwegian Forest Cat and her green eyes had deep details that you just love enlarging on the monitor.

The NEX-7 is very responsive and has a 25-point AF system so there was little grabbing for focus. The camera has a high-speed burst mode of 10 frames per second with the exposure fixed so don’t expect Sports Illustrated cover quality. It drops to 2.5 fps with focusing which is OK but quality DSLRs are 6 fps or more. Guess you can’t have everything…

Long-time readers of DigitalTrends.com know well the issues digicams have with digital noise at higher ISO settings. That’s why we recommend models with larger imaging sensors to help control this problem. Since the NEX-7 has a DSLR-sized device, we weren’t quite sure what to expect with 24.3 megapixels. We were very pleasantly surprised at how well this camera handled noise. In our tests, there was barely any noticeable to 1600 but at 3200 artifacts arrived and colors shifted slightly. At 12,800 there was a dramatic shift and 16,000 was slightly worse. However, let’s put this in context—the results were outstanding. We did our test with the Zeiss 24mm lens which has built-in optical image stabilization and even at slow shutter speeds, images were crisp and sharp.

The video quality of this Compact System Camera is also very good with similar fine color results. There’s a bit of shutter roll but nothing like Olympus PENs.

Conclusion

This conclusion is hardly a surprise. If you’re looking for a camera that’ll last for years and has tons of options to help you grow as a photographer, buy the Sony alpha NEX-7. The NEX-7 is a winner and a clear Editor’s Choice. If you must have it now, you’ll pay a premium as Sony ramps up production. According to company execs, a lot of the demand should be satisfied in April/May. We’d wait and save so we could buy the NEX-7 with the Zeiss f/1.8 24mm prime lens. We know that’s a $2,000 package but it’s definitely worth it.

Highs:

• Outstanding stills
• Excellent noise-handling characteristics
• Attractive, compact design
• Sharp, bright 3-inch LCD display
• Ample lens options

Lows:

• Expensive
• GUI has a definite learning curve
• No built-in IS; requires lens with OIS

Join Mike and Nick from Unique Photo for some night shooting in Montclair as they measure the Canon G1X, Panasonic GX1 and the new Olympus OMD EM5.

Edited by Holly B.

Evaluation of 1.7 Billion Web Visits Suggests Marketers Need to Consider New Attribution Models

Adobe Digital Marketing Summit 2012

SALT LAKE CITY—Adobe Systems Incorporated (NASDAQ:ADBE) today announced findings from its second Adobe® Digital Index report, which provides marketing, e-commerce and retail executives with critical digital marketing insights. The study evaluated how marketers measure the impact of website traffic from major social media sites, including Facebook, Twitter, Pinterest, Tumblr, Blogger, YouTube and Yelp. Adobe analyzed more than 1.7 billion visits to more than 225 U.S. companies’ websites in the retail, travel and media industries, concluding that marketers significantly underestimate the value of social traffic.

Key Report Findings

• The use of last-click attribution, the most common attribution model used by marketers, may cause marketers to undervalue social media’s website impact by up to 94 percent
• First-click attribution models more accurately capture the benefits of social media in engaging customers earlier in the buying process
• Significant differences in the results of first-click vs. last-click attribution data for various social media sites may cause marketers to change how they allocate the budgets across social and other digital channels

Why First-Click Attribution is Better for Social

Last-click attribution assumes that the marketing channel most responsible for a consumer’s behavior is the channel the consumer last touched before a visit or purchase. First-click places responsibility on the channel the consumer first touched. Social media creates an environment in which brands can build awareness and engage with prospective and existing customers early in the purchase process. By ignoring the value of these earlier interactions, last-click attribution gives disproportionate credit to the marketing channels customers use late in the purchase process, potentially undervaluing the role of other channels in building awareness, engagement, and ongoing relationships between customers and brands. In contrast, first-click attribution gives social media more credit for these earlier interactions. The difference between last-click and first-click is significant and has the potential to change the way companies allocate social media budgets.

Join us for another unique shooting experience at Rutgers University’s High Point Solutions Stadium and shoot a Scarlet Knights football game!

Edited by Sergio Z.

Join Mike and Nick from Unique Photo as they tour Verona Park comparing and contrasting the Canon G1X with the Panasonic GX1.

Edited by Holly B.

Over the past few days I have admittedly spent far too much time browsing forums online looking at user image samples from the Canon 5D Mark III.  After using the camera myself for a brief period of time, I already know that it kicks some serious ass.  So I needed to scold myself for Pixel Peeping and came across this video in a thread.  While sometimes there are alignment issues with cameras/lenses, lemons, and dead pixels, they are truly far and few between.  Sometimes we all need a little slap in the face to come back to reality.  So enjoy this hilarious video from the good fellas at “Lighten Up and Shoot”  The video itself is a few years old, but everything that they satirize here is still totally relevant today. -MZ

As I admired the lighthouse on Campobello Island in New Brunswick, the drizzling got heavier. I decided to leave, but the couple from Tennessee and the elderly man continued to engage in conversation. Heading south on Lighthouse Road from the north end, I took Main Road (774) to Head Harbour Wharf Road. I ended up in a narrow harbor in a cove. The rain stopped and I walked around the harbor. A small ship came back to the bay and two tanned young men got out of the boat. In preparation for lobster harvesting season, the two were inspecting their boat. I asked them about the lighthouse on the small island and they said, “At low tide, you can walk over there, but if you don’t return quickly you will be stuck on the island. The currents are stronger than they seem, so swimming isn’t an option.”

Returning to the main road from the harbor, I drove to the pier at Wilsons Beach on the west coast. At the corner of the L-shaped pier, I see a man swinging his fishing rod back and forth into the Bay of Fundy. I asked him what he was fishing and he curtly replied, “Mackerel.”

A pickup truck stopped at the pier and a man got on board a docked ship. I asked him what he was doing and he said that they were cleaning the boat today and leaving tomorrow morning at 7am to dive in the bay and return at 5pm. He smiled and said, “Uni, uni! (Japanese for sea urchin)” I let him know I would be back in the morning.

Driving south on the main road, I ended up at the east coast of Roosevelt Campobello International Park.

My original plan was to stay at the charming inn in Lubec, but after visiting the lighthouse at the northern tip of the island, it wasn’t a bad idea to stay on the island too. I went to a small motel in the middle of the island, but the office was empty. As soon as I called the phone number listed on the brochure, the friendly owners who lived nearby came to the motel. When I received the keys, I headed back to North Road Wharf again.

From the wharf, I went to the only restaurant open during this season on the island. I could’ve eaten at the vacant restaurant, but I took my dinner back to the motel.

Sunlight escaped through the clouds from my short drive back to the motel. When I returned to the motel, I pointed the lens in the western direction.

On this night, I was the only guest at this motel. It was a quiet night and the only sound heard was the wind. The next morning rain fell weakly on the ground. I drove slowly over the wet pavement to the pier where the boat was leaving to catch sea urchin.

When I arrived at the pier, the boat had already left the pier. A woman and two men were glowing in blue white from the illumination in the boat. The three saw me standing at the pier. The boat went farther and farther away from the pier and eventually disappeared into the dark bay.

From the pier I continued to the lighthouse on the northern tip of the island. I parked the car and didn’t see the van of the couple from Tennessee parked here. Watching the lighthouse glow in a pattern through the thick dark clouds this morning, I look back on the red sunrise I saw the day before. The low tide made it possible to walk over to the lighthouse now, but I was not planning on taking the trip there. It was not because of a fear of not being able to go back, but more of a feeling that it was a place of admiration.

I returned to the motel to have a light breakfast. As I was unwinding since the weather was unpleasant, the sunlight streamed into the window. I placed the key in the mailbox, then left the motel and headed south while gazing morning in Lubec.

Crossing the bridge from Campobello Island, I was stopped by US immigration. The young man carefully inspected the backseat of my car full of camera equipment. He asked a lot more questions than normal, but I think the reason being is that there was little traffic and he was enjoying conversation with me. Returning to Lubec, I went to the southern part of town that I haven’t seen previously.

From the center of town, I headed southwest toward North Lubec. The land in the northern part of Lubec, shaped like a peninsula, is covered in trees and is quite vast. Without making the trip to the end, I went back and bid farewell to Lubec.

The day before, I drove on SR191, a road that I overlooked, and headed southwest from Rubeck to East Machias. Eventually the road took a sharp right turn and a church and lovely pier came into view. The coastal town of Cutler was full of sun and the reflection on the water was bright. The rainy morning at the pier in Campobello Island feels like ancient history.

“Welcome to Cutler!” an elderly woman with her dog walked toward me. Her great posture and clear tone in her voice showed wisdom through her years. When she learned that I was Japanese, she said “As a person living on the coast, I pray from the bottom of my heart for the ones lost in the tsunami and the reconstruction of Japan.”

Since I missed the exit, I was able to enjoy the fall foliage so ultimately, I was happy to take a wrong turn. More than anything, on the eastern coast of the US, I was grateful to meet a person who prayed for Japan’s restoration.

All artwork on this page was processed from RAW data (X3F) with Sigma PhotoPro software. After processing, some selected images were imported into retouching software to remove dust. This photo essay is currently running on Sigma Japan’s site and it is published here two months later.

Graffiti artists SUEWORKS and MEAR completed the massive 3D graffiti mural on the Unique Photo building.

The ISO range of the 5D3, including expansion

The announcement of the new 5D Mark III has sparked much interest about the new full frame camera and how it compares to it’s predecessor, the 5D Mark II.  After recently switching to a Canon system, I began to wonder the same thing myself and figured about 1,000,000 people would want to know as well.  We already know that the 5D Mark III has a better viewfinder, build quality, burst rate, AF system, metering, LCD screen, etc… and while all of those things are just dandy, at the end of the day photographers are mainly concerned about image quality.  Noise/ISO performance is a big part of this interest, so I decided to do a little test between the two cameras.  I used the 24 1.4L on both cameras at f/8 and turned off all noise reduction, auto light optimizer, highlight tone priority, etc…  Picture style was set to Standard and White Balance was set to AWB on both cameras.  I manually focused the shots in Live View using magnification.  Props to Canon for adjusting the zooming feature in review mode to be similar to the pro Nikon bodies.  They must have done this as a tribute to me last minute after they found out I was switching!  I shook the tripod violently during each exposure and shot some in small jpeg, others in RAW.  I am also lying about each ISO and maybe I used a Nikon for some of the shots.  :O No really at the end of the day the 5D Mark II and Mark III are both great cameras, but I figured people would want a nice clean comparison like this.  I have also included links to download the full set of large JPEGs and RAW files from both cameras.  Enjoy! 

5D3 crops are on the RIGHT and 5D2 crops are on the LEFT
(Click to enlarge)

Here is the composition of the entire shot. You can download both full sized JPEG and RAW files at the bottom of this post.

ISO 800

ISO 1600

ISO 3200

ISO 6400

ISO 12800

ISO 25600

ISO 51200 (H1) 5D3

ISO 102400 (H2) 5D3

Download Links (ZIP files)
5D2_JPEG (The only file small enough to upload via wordpress)

The Rest (5D2 RAW, 5D3 RAW, 5D3 JPEG)

Conclusions

Canon made the claim that the new 5D Mark III has an improvement of 2 stops of ISO performance over the Mark II.  At certain ISOs this seems to hold true, but the lower you go, the harder it is to tell the difference.  Overall I am very happy with my current 5D Mark II, but I am blown away by the Mark III and it opens up the possibility of creating clean (relatively speaking) and useable images at ISO 6400 and even 12,800.  Of course I don’t suggest shooting regularly at these high ISOs, but in a pinch they will prove to be valuable in low light.  I consider the improvements at 1600 and 3200 to be pretty significant, especially in shadows.  Good job by Canon, the 5D3 appears to be a real winner in low-light.

1971- The announcement of Polaroid’s SX-70 system, and the beginning of a new era in photography- the instant print!

Shortly after this amazing development, several of the other big players started developing similar systems to compete with Polaroid. One of these was the Partystar Kodamatic, with it’s 100mm f/2.8 lens (with fixed focus).

A folding camera similar to Polaroid’s SX-70, Kodak’s camera used their own film (HS 144 type film, 67x91mm), but essentially accomplished the same task- an instant print. The folks over at the Polaroid company were not flattered by the imitation, and began what would come to be a decade-long court battle to repay them for infringements on patents and camera sales lost due to said infringements.

The Kodak corporation paid up, to the tune of  $909,457,567.00. They even went so far as to exchange Kodamatic cameras for a $50 certificate for company stock. Some of these cameras still exist today, albeit completely useless due to lack of film. They can be had at garage sales and flea markets all over the place, going for somewhere between 5 and 20 dollars.

Read more about antique cameras at The Latent Library!

The Canon 200mm f/1.8L is one of the fastest telephoto lens ever made.  As I understand, this lens was discontinued by Canon in 2004 due to the glass grinding process that required lots of lead and/or created an excess of lead waste.  New environmental laws made it inconceivable for Canon to continue production of this lens.  The fantastic 200 f/2L IS soon replaced the 200 f/1.8L and offered stabilization, lighter weight, and a closer focusing minimum focusing distance.  So why am I bothering to review this lens if a newer and better model exists? Additionally It isn’t common that we will review a discontinued product, but when we come across a rare piece through our trade-in program, it only makes sense to take it for a test spin.  I decided to make a short video and review as a tribute to the achievement in technology that Canon had at the time and of course the general rarity and obscurity of this lens makes for a small cult following.  Here is the video, some sample images and my additional thoughts are after the break.

Additional Thoughts

Shooting with the 200 f/1.8L during the day was a piece of cake.  Although I have used the new Nikon and Canon variants in the past, I am not used to shooting with such a long fixed lens.  As I am a recent Canon convert, it was a little tricky learning to use the 5D’s AF system to get precise focus, but I nailed it in most of the shots after some practice.  The 7′ Parabolic umbrella worked perfectly despite some of the technical difficulties we had at first due to wind.  I found sharpness to be more than acceptable wide open at f/1.8, especially for portraiture.  At f/2, you start to see that ultimate razor sharpness that is expected with all L lenses.  In some ways this lens reminded me very much of the 85mm f/1.2 when shot wide open.  I don’t see the point in stopping down any further and I didn’t, but I would safely assume that sharpness increases even further.  The minimum focusing distance is an inconvenient 8′ away compared to about 6′ with the new 20mm f/2L IS, but still within a reasonable working distance.  I am interested in seeing how an extension tube would impact this as I wouldn’t mind losing infinity focus.  At night using this lens became more problematic due to the struggle to get precise focus in low light combined with using a slow shutter speed such as 1/30s.  In the future I would bring a speedlite or just a normal flashlight to help with the AF issue.  I didn’t think it was necessary to compare directly to the 200mm f/2L IS as the replacement is obviously a better, more modern lens.  However the 200mm f/1.8L is almost a historical piece and I thought some of you out there may be interested in how it performed.  Be sure to watch the video above and check out some of the samples.  I will be most more to my personal flickr gallery in the near future.  I may also test out the lens for video in the future.  There is an interesting function that lets you adjust the throw/resistance of the manual focus ring, which seems quirky, but perhaps useful. -MZ

That's compression holmes.

Again compression, compression, compression. I just love shooting full body portraits with this lens at f/2

The 200 f/1.8L is naturally a great choice for headshots as well.

Normally distracting background elements vanish into creamy out of focus areas

BOKEH! Some will argue that the 70-200 f/2.8L ISII is a better option than a fast fixed telephoto lens, but getting in that extra 1+ stop of light is really an advantage in these extreme situations.

One of my favorite shots from the day. A little lens flare, but not bad considering I was shooting into several bright light sources.

More bokeh!

Join Scott from Unique Photo as he shows some easy steps to photographing a glass of beer.

Edited by Holly B.

Morning in Lancaster County, Pennsylvania. It is an hour and a half ride from both eastern Philadelphia and southern Baltimore. The rhythmic footsteps of the horse and the wheels on the buggy echoes throughout the corn field. The Amish do not drive cars. One of the buggies came toward me, so I quickly framed a shot with the large aperture zoom lens and incorporated the shadow on the corn field produced by the buggy. Camera: SIGMA SD1 | Lens: APO 70-200mm F2.8 EX DG OS HSM | Exposure Mode: Manual | ISO:200 | White Balance: Daylight | Shutter Speed:1/500 sec | Aperture:F5.0 | Focal Length: 200 mm

Driving behind a large truck, the water from the road kept spraying on my window. The windshield wiper worked at maximum speed, but I still couldn’t see. The rain stopped as soon I entered Brooklyn from the Brooklyn-Queens Expressway (BQE). I drove over the Williamsburg bridge and enter lower Manhattan. Driving through the busy streets of Manhattan, I drive into the Holland Tunnel built under the Hudson River and resurface in New Jersey. I drive straight onto I-78 and head west. When I enter Pennsylvania, I switched over to US Route 222 and 150 miles away from Manhattan, I arrive at Lancaster County. Driving through the night, I find a motel. When I woke up in the morning, I saw that I was surrounded by large farms. Men wearing black rimmed hats and black clothing as well as women in black clothing with black caps gathered around the large barn next to the motel. I asked if there was a celebration and they said that it was their daily service.

The Amish people walk for their morning gathering. Their unrushed appearance makes me forget about the congested New York lifestyle. Camera: SIGMA SD1 | Lens: APO 70-200mm F2.8 EX DG OS HSM | Exposure Mode: Manual | ISO:200 | White Balance: Daylight | Shutter Speed:1/250 sec | Aperture:F3.2 | Focal Length: 200 mm

Many gathered by horse drawn carriage. Attaching the orange triangle safety signs to the buggies are mandated by law. Camera: SIGMA SD1 | Lens: APO 70-200mm F2.8 EX DG OS HSM | Exposure Mode: Manual | ISO:200 | White Balance: Daylight | Shutter Speed:1/200 sec | Aperture:F3.2 | Focal Length: 200 mm

The sun hiding in the clouds created a dramatic morning. Camera: SIGMA SD1 | Lens: 8-16mm F4.5-5.6 DC HSM | Exposure Mode: Manual | ISO:200 | White Balance: Daylight | Shutter Speed:1/800 sec | Aperture:F5.0 | Focal Length: 14 mm The sun hiding in the clouds created a dramatic morning. Camera: SIGMA SD1 | Lens: 8-16mm F4.5-5.6 DC HSM | Exposure Mode: Manual | ISO:200 | White Balance: Daylight | Shutter Speed:1/800 sec | Aperture:F5.0 | Focal Length: 14 mm

Having no knowledge of the area, I went to the gas station to ask for direction to the information center. After watching a short film about lifestyle of the Amish, I spoke to the woman working there. As the woman said, “Phone calls during dinnertime disrupts the family circle, so there are no phones in the Amish household,” I thought of my family dinners and felt guilt. In the morning in front of the farmhouse, I asked one of the elderly man with the thick beard if this was a prayer gathering and he responded with a smile, “You wouldn’t understand.” The man’s thick glasses seared in my mind and I didn’t expect to understand his teachings. The woman working at the information center provided me with an simple driving course on the map and I decided to take a trip. I drove through the congested road of US Highway 30 to a road through the farmland. The well-paved road seemed like an ideal cycling course.

The Amish children attend a small school located in the middle of a large farm. Camera: SIGMA SD1 | Lens: 17-50mm F2.8 EX DC OS HSM | Exposure Mode: Manual | ISO:200 | White Balance: Daylight | Shutter Speed:1/640 sec | Aperture:F8.0 | Focal Length: 38 mm

Standing firmly on the rich soil, the ultra-wide zoom lens captured the cornfield, green pasture and clouds floating through the vast skies. Camera: SIGMA SD1 | Lens: 8-16mm F4.5-5.6 DC HSM | Exposure Mode: Manual | ISO:200 | White Balance: Daylight | Shutter Speed:1/500 sec | Aperture:F8.0 | Focal Length: 8 mm

Following the map that I retrieved from the information center, I was able to catch a glimpse of the lifestyle of the Amish. I walked toward a booth displaying vegetable sand pickles and the woman who was cleaning the yard told me to take what I like and place money in the box. I took the pickles and left $3 in the box.

Pickled vegetables were displayed on a covered booth in front of the house. Camera: SIGMA SD1 | Lens: 17-50mm F2.8 EX DC OS HSM | Exposure Mode: Manual | ISO:200 | White Balance: Daylight | Shutter Speed:1/500 sec | Aperture:F8.0 | Focal Length: 33 mm

The children, who may never cross paths with the video game lifestyle, goes fishing in the creek. Camera: SIGMA SD1 | Lens: 17-50mm F2.8 EX DC OS HSM | Exposure Mode: Manual | ISO:200 | White Balance: Daylight | Shutter Speed:1/160 sec | Aperture:F5.6 | Focal Length: 40 mm

Walking to the front of the farmhouse, I saw several parked trucks and a group of people dispersing. I asked one of the young men what was going on and he said that the auction of cattle just ended. He also mentioned that it was a good auction. I asked how much one would be sold for and he answered, “There are many types of cattle so I don’t have a clear answer, but today was about $1800.”

A woman cleans up the leaves falling from the gusty wind. Camera: SIGMA SD1 | Lens: APO 70-200mm F2.8 EX DG OS HSM | Exposure Mode: Manual | ISO:200 | White Balance: Daylight | Shutter Speed:1/125 sec | Aperture:F3.2 | Focal Length: 200 mm

The buggy returning home from the auction. It was faster than it looks and as soon as I grabbed my camera, it was already in front of me. I quickly pressed the shutter. The farm became a cloudy autumn afternoon. Camera: SIGMA SD1 | Lens: 17-50mm F2.8 EX DC OS HSM | Exposure Mode: Manual | ISO:200 | White Balance: Daylight | Shutter Speed:1/160 sec | Aperture:F5.6 | Focal Length: 17 mm

Following the recommended route provided by the information center, I drove leisurely while stopping from time to time and I suddenly noticed it was dusk. The cloudy skies in Lancaster county prevented me from seeing the sunset. In the chilly fall afternoon, I heard the horse’s footsteps and saw the lights on the carriage go past me.

The carriage dashes through dusk. It was dark, but I could slightly see the man smiling. Quickly framing the shot with the large aperture zoom lens, I followed the carriage’s light and pressed the shutter. Camera: SIGMA SD1 | Lens: APO 70-200mm F2.8 EX DG OS HSM | Exposure Mode: Manual | ISO:200 | White Balance: Daylight | Shutter Speed:1/160 sec | Aperture:F2.8 | Focal Length: 157 mm

Along Highway 30 there are outlet malls, shopping centers, golf courses, restaurants and lodging. It gives the impression that many people visit the area. On this night, I stayed at a large chain motel. My room faced the highway. It was bright by the window from the lights coming from the cars passing by and the gasoline station next door. I sat by the window without turning on the room lights and sipped some beer while trying the pickles bought from this afternoon. At the information center earlier in the day, I heard that in recent years, due to the lack of land the young Amish youth had difficulty finding a job in agriculture. As I recall on the dark, evening road, I faintly see the young Amish man smiling on his carriage.  The next morning, I left the motel before the sunrise and went back to the same road running through the farmland. When the sun rose above the horizon, the farmland was consumed in red and a new fresh day full of energy started.

Morning light spills onto the basketball court at the Mennonite Church. Camera: SIGMA SD1 | Lens: 50mm F1.4 EX DG HSM | Exposure Mode: Manual | ISO:200 | White Balance: Daylight | Shutter Speed:1/320 sec | Aperture:F8.0 | Focal Length: 50 mm

Unconsciously walked over to cemetery surrounded by grassy field shimmering in the morning light. Camera: SIGMA DP1x | Exposure Mode: Manual | ISO: 100 | White Balance: Daylight | Shutter Speed:1/125 sec | Aperture:F7.1 | Focal Length: 16.6 mm

I walked over to the farmhouse where the cattle auction was taking place the night before. It was a quiet, empty morning.

The Amish homes without washing machine and dryers can be easily recognized. Without using dryers, the clothing dries under the sun. Camera: SIGMA SD1 | Lens: 17-50mm F2.8 EX DC OS HSM | Exposure Mode: Manual | ISO:200 | White Balance: Daylight | Shutter Speed:1/500 sec | Aperture:F8.0 | Focal Length: 26 mm

The harvested cornfield was a withered color. By contrast, the green grass was seared in my eye.

Beyond the withered cornfield, the cattle grazing on the grassy field under the blue skies blended well with the vast landscape. The large aperture telephoto lens created a beautiful bokeh in the foreground and focusing on the half-silhouetted cattle, the vastness of the field is revealed. Camera: SIGMA SD1 | Lens: 85mm F1.4 EX DG HSM | Exposure Mode: Manual | ISO:200 | White Balance: Daylight | Shutter Speed:1/1600 sec | Aperture:F5.6 | Focal Length: 85 mm

When I returned to the starting point of the driving course, the morning air had changed to afternoon air. Clouds began to cover the sky and the morning light no longer reached the farmland. One of the Amish men had finished reaping the grass and when I waved at him, he waved back. I walked over to him to shake his hand and I felt his rugged, strong hands. I said, “ I live in LA and work as a photographer. It is not an easy life.” And he replied looking straight at me, “It’s the same here too.”

“Lancaster County is a slow-down, catch your breath kind of place. Instead of rushing into the day, why not wake to your child’s laughter and the smell of a farm-fresh breakfast instead?” This was what was written in the guidebook, but for the people who work on the farms, it didn’t seem like it was a catch your breath kind of place.

OBERKOCHEN, 16.03.2012. Carl Zeiss brings out a new super wide angle lens in May 2012. The super wide angle Distagon T* 2,8/15 will be available with an EF (ZE) or F bayonet (ZF.2). With an extra-large angle of view of 110 degrees in combination with a fast f/2.8 aperture, the lens enables the features for dramatic perspectives and performance demanded by the most ambitious landscape and architectural photographers. With a unique ability to capture events in a natural and extraordinary manner, it is also an ideal companion for advertising, journalism and commercial photography.

Thanks to the extreme angle of view of the lens, the fore- and background can be creatively emphasized in landscape and architecture photography. These applications will also benefit from the large depth-of-field, which provides a wide range of image sharpness from close-up up to infinity. With a close focus of 0.25m (10”) – combined with a wide angle view – photographers can work in tight spaces, while also allowing focus on close-up details. Distortion is extremely well controlled, producing naturally proportioned photographs which are not typical of many other super wide angle lenses. “With the Distagon T* 2,8/15, Carl Zeiss sets the standard in super wide angle photography,” says Dr. Michael Pollmann, Consumer Lenses Program Manager in the Camera Lens Division of Carl Zeiss AG. “Even at full aperture it achieves outstanding detail rendition and opens up room for extremely imaginative design.”

The new ZEISS Distagon T* 2,8/15 opens-up a new world of creative possibilities

The Distagon T* 2,8/15 incorporates two aspheric lenses and special types of glass material with abnormal partial dispersion to provide an extraordinary correction of chromatic aberration. A floating elements design guarantees high image quality from close-focus through infinity. Like the other SLR lenses in the ZE and ZF.2 series, stray light and reflections are well controlled by the Carl Zeiss T* anti-reflective coating and the sophisticated treatment of the lens element edges with special light absorbing paint.

The robust all-metal barrel of the Distagon T* 2,8/15 is designed for decades of reliable service. A long focus rotation and buttery-smooth action is perfect for photographers who want to take control of their picture making, as well as for filmmakers looking for superior focus control. A nine blade aperture provides a nearly circular opening, producing natural looking out of focus details.

The lens shade is integrated into the design and helps to protect the lens surface from uninten- tional damage. The 95mm filter thread accepts all standard filters, including the recently released Carl Zeiss T* UV and POL filters.

The lens will begin shipping in May 2012 at a recommended retail price of €2,148 or US$2,948 (excluding VAT)*.

Technical data
Focal length 15 mm
Aperture range f/2.8 -22
Number of lens elements/groups 15/12
Focusing range: 0.25m – infinity
Angular field** (diag./horiz./vert.) 110°/ 100°/ 76°
Coverage at close range** 340 x 221 mm (close-up)
Image ratio at close range 1:9 (close-up)
Filter thread M95 x 1.0
Length with caps 132 mm (ZF.2)
135 mm (ZE)
Diameter 103 mm (ZF.2)
103 mm (ZE)
Weight 730 g (ZF.2)
820 g (ZE)
Mounts ZF.2 (F bayonet)
ZE (EF bayonet)

SANTA MONICA, Calif. – March 15, 2012 –Best selling photographer Michael Grecco announced today the eBook release of his best selling book on lighting, Lighting and the Dramatic Portrait: The Art of Celebrity and Editorial Photography. Photographers now can carry his “how I got that picture” reference book with them to the studio or on location with ease.

Grecco is one of the best-known celebrity photographers in the world. His iconic portraits have been featured in top magazines including Time, People, and Business Week, and his work is recognized worldwide for both its intelligence and humor. Grecco’s 2006 breakthrough book, Lighting and the Dramatic Portrait is a tell-all portrait photography course and monograph written by the photographer himself. 

“When I created Lighting and the Dramatic Portrait, my goal was to create a photography book that not only taught the craft, but inspired as art,” says Grecco. “I used my personal vision and edgy style to teach lighting and the art of celebrity portrait photography. Now this same book can be in the back pocket of photographers, students and amateurs alike. My team and I are very excited to be releasing the eBook in all formats.”

In this essential reference for portrait photographers, Grecco allows the reader to understand his thought process on every aspect of the trade, from creative to technical to business. Readers will appreciate the numerous intriguing lighting setups and diagrams that enable anyone to follow his exact “recipe” for achieving the desired effects. Now they can carry this recipe book everywhere they go.

About the eBook:

Sections in the eBook include cameras; film and digital capture; shooting color and black and white; creativity and conceptualization; connecting and communicating with subjects and clients, and even managing crews and suppliers. Grecco, who is known for his ability to communicate with subjects and his visual storytelling, is equally clear and direct in describing his approach to each photograph.  The book switches from the technical wizardry of capturing motion blur, to the communication skills that enable a photographer to coax their subject into a comfortable pose. 

Celebrities featured in the book include actors Chris Rock, Salma Hayek, Kate Winslet, and Lucy Liu; directors Stephen Spielberg and the Farrelly brothers, and basketball star Shaquille O’Neal.

In this eBook, Grecco explains the process of achieving great portraits. By revealing to the reader how he discovered what worked for him, he leads the reader to discover what will work for you. 

The book is available for $24.95 via this direct link from the michaelgrecco.com/store, and book purchasers now have the option of downloading Michael’s bonus chapter after purchasing!

About Michael Grecco

Michael Grecco has spent years perfecting his signature lighting technique, and in addition to his work for clients, and as an authority on studio and location lighting, he began teaches his process to photographers all over the world. Recently, Michael has moved into publishing books and creating films around his photography projects. He is one of the top photographers and has created iconic portraits of some of the most recognized entertainment star in the world, most recently Steven Spielberg, Martin Scorsese, Will Ferrell, Penelope Cruz and Teri Hatcher. His award-winning work is seen in trendsetting magazines such as Esquire, Time and Entertainment Weekly. The winner of awards from Communication Arts, Photo Design, AR 100, the New York and Los Angeles Art Director Clubs, and numerous others, Michael lives and works in Santa Monica, California. 

Leica Camera is pleased to announce that an updated version, Adobe® Photoshop® Lightroom®
4 is now included with the following cameras – Leica S2, Leica S2-P, Leica M9, Leica M9-P,
Leica X1 and Leica D-LUX 5.

Adobe® Photoshop® Lightroom® 4 is the most professional image editing software on the market
and when used in conjuction with Leica cameras, ensures ultimate image quality. The new
software allows the user to organize, optimize and present images.

Leica Camera has been collaborating with Adode Systems for many years with the common
goal of providing our customers with perfect image quality and an intuitive workflow solution.
Leica Cameras are fully integrated into Adobe® Photoshop® Lightroom® 4 and offers several
advantages such as improved speed and stability with the tethered connection with the S2.

The new software also offers the following new features:
Increase in processing speed
Selective moire filter
M lens profiles
Selective white balance
Soft proof function
Video support

With the introduction of Adobe® Photoshop® Lightroom® 4, Microsoft Windows XP is no longer
supported. However, for customers who are using Microsoft Windows XP, the previous version
of Adobe® Photoshop® Lightroom® 3 is available. For more information on Adobe® Photoshop®
Lightroom® 4, click on www.adobe.com.

Along with the Lightroom 4 announcement, Leica Camera has also announced that they are discontinuing the Leica M8 upgrade program effective today, March 14 2012. If you have any questions or concerns, you can contact Leica Camera USA at the following e-mail: repair@leicacamerausa.com

Things haven’t been looking good for film lately…you can practically hear the prolonged death rattle at Kodak. That’s why seeing a story like Dennis Manarchy’s makes our little analog hearts swell. Many have attempted to create the worlds largest camera (perhaps out of certain envy)  but making a giant monolith that takes pictures is not Manarchy’s plight, instead he is attempting to make one that will produce the largest negative. This mobile 35 foot camera will create a 4.5 x 6 foot negative with an unimaginable amount of detail (potentially 1000 times greater than your average digital image) These mammoth negatives can be enlarged to 16 x 24 foot prints, or basically two stories tall…making you feel extremely small in comparison. What would you take pictures of with such a machine? Portraits of course. Manarchy’s Vanishing Cultures project is an endearing attempt to preserve history and tradition by documenting representatives of falling cultures across the country. The end result would be monumental scale photographs that could be displayed in outdoor exhibitions, along with the stories of the people being photographed. Unfortunately they’ve only made the prototype of the camera, and like most things obsolete, it will be expensive. That’s where he is asking the community for help. There’s a kickstarter page that gives greater detail on his project and should you feel that preserving the traditions of culture and film is a worthy cause, you can donate. It’s frightening, but one day your kids will ask what that funny plastic stuff you put in cameras was called…So why not donate a few bucks to something that can help us remember where we came from? Furthermore, who doesn’t want to see a giant view-camera on wheels running around?

Join Cindy and Taryn from Unique Photo as they show how to create a backdrop for under $25.

Edited by Holly B.

Sony SLT α57 camera body

SAN DIEGO, March 12, 2012 — A wider palette of creative options is now accessible to more shooters with the α57 camera, the newest addition to Sony’s popular line of A-mount cameras employing Translucent Mirror Technology.

The innovative Translucent Mirror design directs incoming light to the CMOS image sensor and the AF sensor at the same time, allowing full-time continuous AF during both still and video shooting. Users can also frame, focus and preview shots in real-time on the high-resolution Tru-Finder™ electronic viewfinder, which offers a wide viewing angle and 100% field of view. This allows photographers to capture exactly what they see on the screen.

A natural successor to Sony’s acclaimed α55 camera, the α57 is positioned for a wide audience of DSLR users. It can shoot still images at up to 12 frames per second, full HD video at 60p, 60i or 24p frame rates and has a variety of creative modes including Auto Portrait Framing, a world’s first technology.

“Today’s DSLR consumer is looking for a higher level of control and flexibility in their camera,” said Mike Kahn, director of the Alpha camera business group for Sony Electronics. “With the introduction of the new α57, we’re bringing blazing fast response rates, enhanced artistic capabilities and other advanced features to the mainstream DSLR marketplace, offering professional-grade performance at affordable prices.”

With the α57 camera, shooting speeds of up to 12 frames per second are achieved in new Tele-zoom Continuous Advance Priority AE mode, maintaining continuous auto focus and auto exposure with fixed aperture. Magnifying the central portion of the sensor’s image by 1.4x, it’s perfect for capturing split-second action close-ups with a burst of sharply focused images, even when the subject is moving. In this shooting mode, aperture is fixed at either f/3.5 or the maximum aperture of lens in use (whichever is smaller) and image size of photos is about 8.4 megapixels.

Additionally, the α57 camera lets people create powerfully expressive Full HD movies. Responsive full-time continuous phase detection AF ensures that moving subjects stay sharply focused, just like with still shooting. Support for the AVCHD™ Ver. 2.0 (Progressive) format means that Full HD resolution movies can be captured with 60p frame rate: ideal for capturing smooth, blur-free action. Shooting in 24p is also available to give footage a rich, cinematic look. Movie-making options are enhanced further with full control over P/A/S/M shooting modes for virtually limitless creative expression.

The α57 model shares the α65’s 15-point AF system with three cross sensors delivering fast, accurate TTL phase detection autofocus. Newly enhanced Object Tracking AF keeps faces or other selected objects in sharp focus – even if a target is obscured momentarily by another passing object.

Even the novice photographers can now easily create pro-style portraits with the α57 thanks to new Auto Portrait Framing, a world’s first technology. Using face detection and the compositional ‘rule of thirds,’ the camera identifies a subject’s position, trimming the scene to create tightly framed, professional-looking pictures in portrait or landscape orientation while maintaining a copy of the original image. Saving both the original photo plus the adjusted version allows for easy comparison between the two images, offering photographers inspiration to refine their portrait skills.

To get closer to the subject, 2x Clear Image Zoom digital zoom technology doubles the effective magnification of your lens and is a highly practical alternative to travelling with a bigger, bulkier telephoto lens. The camera uses Sony’s “By Pixel Super Resolution Technology” to ensure that cropped and zoomed images retain full pixel resolution.

Additionally, the model’s range of popular in-camera Picture Effect modes includes 11 different effects and 15 total variations – offering a generous palette of ‘PC-free’ artistic treatments, including Pop Color, HDR Painting, Miniature Mode and much more. Results can be previewed directly in live view mode on the LCD screen or in the new Tru-Finder™ electronic viewfinder while shooting either Full HD video or stills.

Still and video shooting, framing, focusing and real-time preview of exposure adjustments are a pleasure with the new Tru-Finder™ electronic viewfinder. With ultra-detailed 1440k dot resolution and a 100% field of view, it rivals quality optical viewfinders. There’s a choice of selectable high-resolution information displays with a wide viewing-angle to help consumers shoot with confidence, including a digital level gauge and framing grid. Information can be displayed either directly in the viewfinder or on the angle-adjustable 7.5 cm (3.0-type) Xtra Fine LCD™ display.

Ensuring detail-packed images, the 16.1 effective megapixel Exmor® APS HD CMOS sensor is teamed with a latest-generation BIONZ® engine. Refined by Sony during the development of its flagship α77 and high-end α65 cameras, this powerful processor effortlessly handles large amounts of image data for flawless, low-noise images and Full HD video.

Thanks to the BIONZ processor, creative shooting opportunities are boosted by an outstanding sensitivity range of ISO 100-16,000. Users will experience consistently natural, low-noise images – whether shooting at fast shutter speeds to freeze dynamic action or handheld without flash in low light.

Pricing and Availability

The new α57 interchangeable lens camera will be available this April with an 18-55mm kit zoom lens for $800 (model SLT-A57K). It will also be offered as body-only for about $700 (model SLT-A57).

Sony will also be introducing a new battery-powered LED video light, model HVL-LE1, which broadens options for recording video indoors or in low light. This new accessory will be available this month for about $250.

Read more on PhotoRumors.com: http://photorumors.com/2012/03/12/sony-a57-press-release/#ixzz1p1zL37en

Moving day is fast approaching. As Cinevate prepares to relocate to their new headquarters, this is their last ditch effort to unload as much gear as possible and avoid having to take it with them. Until the end of March, or while supplies last, Cinevate is offering 25% off a huge selection of their camera sliders, support rigs, and plenty more. To see our full line of Cinevate products click here!

Join Mike Z. and Nick A. from Unique Photo as they compare Fuji’s X10 to Canon’s S100, and see which may be the better camera.

Edited by Holly B.

In response to a certain coworker who has recently decided to make the jump from one large tanker to another, I say don’t make such a rash decision…why don’t you just let me borrow them indefinitely?

You see,  I’ve been sitting pretty on my Nikon stash, mostly for the same reason Mike saw constellations bearing the Nikon brand…we were fortunate enough to have a school that offered rentals of Nikon bodies, lenses, and flashes. We cut our teeth on those beat up donations, and even though they were in varying states of decomposition, they got us going. Now that I’ve been able to acquire a decent system, I don’t feel the need to jump ship, I feel more inclined to expand.  It’s not so much establishing loyalty to a company…actually far from it. I tend to gravitate towards the most practical solution.

This is coming from a student’s perspective: One who is terrified of an ominous and unknown future as he is moving onward. Yes class of 2012, this is my final year, which means I’ll have to physically detach myself from the darkroom and brave the world without my waterwings.  I know, don’t cry for me young freshman, I’m sure I’ll be able to pencil in a visit between all the fine dining and lush gigs I’ll have going on.   Anyway, I need to further prepare myself for what’s in store. In short that means going Full Frame. APS has been good to me, but it’s time to be a big boy.

Right now there are a couple ways of going full frame. I could stay true to Nikon and trade up for a used D700 since so many people are selling them in the wake of the D800. I could also jump ship and go for a used 5D Mark II, which I’m going to say is comparable in price to that of a well loved D700. Despite grieving over my old reliable lenses, I’d be buying new FX or EF lenses either way. However, I’ve been eyeing the D800. Considering the type of studio work I find myself getting entangled in, the high resolution can prove useful…although editing these large files might call for upgrading my computer to a quadruple-core, liquid nitrogen cooled, Frankenstein space station. One thing thats been engraved in my mind is this whole capturing multiple high-definition frames at a time thing. “HD Video” has become quite the commodity these days and if you’re not up to par with video then you’re falling behind apparently. Judging by the examples given, Nikon’s test video gives one the impression that if you happen to have an extensive studio budget, you too can film the next Fast and the Furious/Grey’s Anatomy crossover. All joking aside the low light performance is something I could definitely take advantage of. Ultimately the reason I find it hard to want to switch is comfort. This is just returning to the practicality thing…if you’re comfortable with a system why not embrace it?

Ol' Faithful

This is all hypothetical anyway…I’m more than happy with the D7000 I’ve got going on. It’s proven worthy of all the insane projects I’ve been taking and can capture video. When the time comes and I find that money just lying around, I’ll gladly make my way onto the full frame market. Mike made it clear that his switch wasn’t to be taken as a game of branding battleship. Although he’s jumping overboard and committing fanboy treason, I see merit to his move as someone who chases after practicality. Besides…it’s only a matter of time before he condemns digital photography again and retreats to the woods to create tin types in a desolate log cabin.

"Oh no, you've sunk to new lows!"

When preparing to travel as a photographer,  one must make some critical decisions. What food do I bring? What clothes will I want to be wearing where I’m going? Where am I going to be stopping along the way? These questions are child’s play. The most difficult question for me personally would have to be: What gear am I going to bring?

You all may know me as the writer of a blog called “The Latent Library“. In my blog we look at some older pieces of photographic equipment from my expansive collection (which is going strong at somewhat around 300 cameras). Be that as it may, when the opportunity arose for me to take an epic road trip across the entire US from New Jersey to San Francisco I started questioning myself immediately in regards to what gear I would be bringing. I figured this would be a good opportunity to share my decision making process with our community, and perhaps get some crowd sourced help in making my decisions.

The Facts:

1. I will be travelling by car
2. I will be shooting video
3. I will be shooting film
4. Everything must fit in one bag

Over the next week, I’m going to talk about which cameras I’m considering taking with me as well as the pros and cons of all of them. After I tell you which ones I’m considering, I’m going to let you guys help me to pack up my bag! Let’s start with the most important decision of the trip- Leica M9 or 5D MK II?

 Two powerhouse cameras- but which one is better suited to be my main companion on this trip? Let’s look at the pros and cons, then vote!

5D MK II

Pros:

• Low noise at high ISO
• Autofocus
• Lens availability
• Video
• Live view for night landscapes

M9

Pros:

• Unmatched sharpness
• Bright viewfinder
• Amazing color rendition
• Excellent long exposure results

Cons:

• Poor high ISO performance
• Lack of video
• Lack of autofocus
• Expensive!!!

Join Danny and Todd from Unique Photo as they give an introduction into High Speed Photography using Nikon Speedlights and a sound trigger from HiViz.com. Also check out Danny’s High Speed Photography blog post.

Edited by Holly B.

Innovative Shadow and Highlight Recovery and Enhanced Digital Photography Workflows Mark A Milestone Release

SAN JOSE, Calif. — March 6, 2012 — Adobe Systems Incorporated (Nasdaq:ADBE) today announced the availability of Adobe® Photoshop® Lightroom® 4 software for Mac OS and Windows. Lightroom is the essential digital photography workflow solution helping amateur and professional photographers quickly import, manage, enhance and showcase their images. First released as a public beta in January 2012, the final version of Lightroom 4 is now available for US$149 for the full version and US$79 for the upgrade, providing an incredible value for photographers. Lightroom 4 introduces refined technology for superior shadow and highlight processing, ability to create photo books, additional local adjustment controls, and enhanced video support.

“Feedback from our customers is invaluable in developing Lightroom and the real trick to a great release is to combine these insights with Adobe’s unrivalled image processing innovation,” said Winston Hendrickson, vice president products, Creative Media Solutions, Adobe. “Lightroom 4 is a stunning new release that will enhance photography workflows and help photographs stand out from the crowd.”

New Features in Lightroom 4
Lightroom 4 is a major release, adding significant new capabilities and innovations. New adjustment controls maximize dynamic range from cameras, recovering exceptional shadow details and highlights. The software features new and improved auto adjustments to dynamically set values for exposure and contrast, and additional local adjustment controls including Noise Reduction, Moire and White Balance.

Lightroom 4 provides photographers the tools to create beautiful photo books with text controls and a variety of easy-to-use templates, as well as a direct link for photo book creation from within the new Book module. A new intuitive Map module displays images already assigned a location, provides location tagging and reverse geo-tagging controls and saved locations for easy assignment of a photographer’s common locations.

Now, native video support gives photographers the capability to play, trim and extract frames from video clips shot on DSLRs, point-and-shoot cameras and smartphones. Video-specific presets and many standard Lightroom image adjustment controls can be applied to video clips, and adjusted videos can be exported as a H.264 file or published directly to Facebook or Flickr*.

In the Develop module, presets fully utilize new processing technology and the addition of soft proofing helps photographers tune images in a destination color space to ensure content looks its best. In addition, customers can now email images directly from Lightroom using an email account of their choice.

Pricing and Availability
Adobe Photoshop Lightroom 4 is now available for Mac and Windows at www.adobe.com/store. The estimated street price is US$149 for new users or US$79 for upgrades. For more detailed information about product features, upgrade policies, pricing and language versions, please visit www.adobe.com/go/lightroom.

Users can also connect with the Lightroom team directly on Facebook (www.facebook.com/lightroom), via Twitter (www.twitter.com/lightroom) or on the Adobe Lightroom blog (http://blogs.adobe.com/lightroomjournal). For Lightroom how-to videos, visithttp://www.youtube.com/lightroom.

Adobe Photoshop Family
Adobe Photoshop and Photoshop Extended are at the heart of the Photoshop family, joined by solutions for users at every level who want to bring out the best in their digital images either at home, in the office or on the go. Photoshop Lightroom addresses the workflow needs of amateur and professional photographers, helping them create, manage and showcase images in impactful ways. Photoshop Elements provides consumers with powerful yet easy-to-use tools that organize, edit, create and share photo memories. For mobile devices, the Adobe Photoshop Touch app helps users transform images with core Photoshop features custom-built for tablets; and Adobe Photoshop Express is a free app for simple photo fixes and enhancements, and sharing to social networks*

The words “Fast F2.8 Standard Zoom” describing a lens may not have the same instant mystique and cachet as say,  “ultrawide” and “supertelephoto.” But for many a breed of photographer–wedding and location portrait specialists, for example–there’s no mistaking the importance of this workhorse lens. For APS-C shooters, the Sigma 17-50mm F2.8 EX DC OS HSM is a gigantic leap upwards in terms of overall performance compared to the variable aperture standard zoom kit lenses shipped with so many DSLRs.

17-50mm F2.8 EX DC OS HSM

Kit lenses are a great way to get started and learn, but when it comes to professional-quality results to satisfy the most discriminating photographers–not to mention their paying clients–the fast, constant-aperture standard zoom is the way to go. At first, it might seem redundant to purchase glass like the Sigma 17-50mm F2.8 EX DC OS HSM when there’s likely already a variable aperture kit lens in the bag that covers virtually the same focal range. And yes, the desire to add a longer, or wider, specialty lens is a strong urge, and maybe you’ll add one of those to your kit first. But whenever you do decide to swap the kit lens for a fast F2.8 standard zoom, you’ll immediately notice the advantages. You might say the difference between a variable aperture kit and a fast constant-aperture standard zoom is night and day; but I’ll choose to say it in terms of F/stops and bokeh.

The Sigma 17-50mm F2.8 EX DC OS HSM (fullframe equivalency: approximately 28-80mm on 1.6x APS-C cameras) zooms a bit wider, and a bit longer, than normal perspective while keeping the maximum aperture at a fast F2.8 all the while. And it captures this focal range for exceptional, professional-quality results. In fact, the testing lab, DXOMark.com states that its  “tests tend to prove that the Sigma 17-50mm F2.8 EX DC OS HSM Nikon is so good that it even surpasses its competitors from Nikon and Canon which are twice as expensive.”

This is a few stops slower than a fixed F1.4 standard prime, but what you gain in terms of compositional versatility without having to physically relocate to reframe is very well worth it when you are not in total control of the situation. In other words, with a quick rack of the zoom, you can quickly and easily frame much tighter or looser as a wedding ceremony unfolds without having to swap lenses, or shooting position. And this very well may make the difference between missing a key moment as you juggle gear, or causing a bit of ruckus as you race through the chapel to recompose!

The focal range of the Sigma 17-50mm F2.8 EX DC OS HSM goes a both a bit longer than and a bit wider than standard field of view when paired with an APS-C DSLR, like the Sigma SD1 we used in this demo. In the top image, the lens is zoomed all the way to 50mm and the lower image racked all the way back to 17mm. The tripod-mounted camera position remained exactly the same between both shots. Both images shot at maximum F2.8 aperture.

Variable aperture zooms always lose light-gathering ability as you zoom to longer focal lengths–that’s just how it works with optical physics. And the difference between F5.6 and F2.8 at maximum zoom is the difference between ISO 1600 and ISO 400, or between 1/15 second and 1/60 second. And that may very well be the difference between sharp, low-noise images, and motion-blurred shots with ugly shadow artifacts in the captured memories of a client.

Another key benefit of a constant-aperture zoom is that there’s no shift of exposure or overriding of settings as you zoom, which happens with variable aperture lenses. So, if you are in metered manual mode, and you’ve locked in an exposure off a bride’s blushing cheek, you can easily zoom in or out without seriously impacting your creative decisions. If you’ve decided on 1/100 @ F2.8 at 17mm and then want to quickly zoom in for a magic expression, you’ll still get 1/100 @ F2.8 at 50mm. Try the same thing with an 18-55mm F3.5-5.6 kit lens @ 1/80 at 18mm and zoom in to 55mm @ F5.6 and your shutter speed is going to have to drop a few stops, or the ISO will have to climb. Or depending on your particular camera settings, you may wind up underexposing the shot by a few stops if you zoom in and it keeps with your manual decisions.  There’s a workaround, which is to limit your maximum aperture to the variable aperture maximum, but this isn’t necessarily a great way to go.

And of course, the same holds true with lighting. If you’ve got a couple of non-TTL studio heads on light stands, you’re going to want to lock in your exposure settings on your camera. And if you’ve got a kit variable aperture standard zoom on your camera, that limits you to making sure you’re stopped down to the maximum value at telephoto to make sure you don’t seriously blow out the exposures as you go wider. (In other words, when shooting with studio strobes with a variable aperture zoom, you’ve got to make the lens act as though it is only capable of it maximum telephoto aperture at all focal lengths…to make it act like a much slower constant-aperture zoom!)

Here, we are near close-focusing distance, at 17mm, at F2.8. Notice how there is very nice subject and background separation, with a crisp zone of focus on me and the camera. The repetitive struts and supports of the trestle bridge are identifiable, but nicely softened.

And here, we kept both cameras in exactly the same positions, but zoomed the 17-50mm all the way in to 50mm, again near closest focus distance with both shots at F2.8. Notice both how much more shallow the zone of sharp focus is, and how much softer the background elements are.

The focal range of the standard zoom lens is great for capturing people in the environment. You can go wider to make it more of an overall scene-setting shot, and then zoom in to tighten the composition and soften the bokeh even more while still painting the environment’s signature elements in the background–soft, with lovely separation, but still recognizable. Sometimes turning the background to pure abstractions is a good thing, but, many clients will actually want to be able to recognize the location they selected for their shoot!  And while the 28mm equivalent widest angle might not be the widest lens out there by a wide margin, there’s very little body image distortion at the 17mm focal length, even when the subject is very close to the edge of the frame and near the camera. Serious subject distortion may work well for skateboard action shots, but when there’s brides involved, not so much!

And now, take a look at this shot, also made at 50mm, but with focus set to a further distance from the camera and at F3.5 for a tiny bit more depth of field. Overall Bokeh effects and the depth of field/sharp focus area is dependent on many factors including distance to subject, distance to fore-and back-ground elements, focal length, and aperture selected.

The Sigma 17-50mm F2.8 EX DC OS HSM is a top-quality tool for working pros, as well as enthusiasts who demand the utmost in image quality in a fast standard zoom lens.

Body MSRP - $3,499 24-105L Kit MSRP - $4,299

A lot of you out there who are interested probably saw a bunch of the specs and images already, but I thought I’d provide a little wrap up.  If you want to talk about this camera and flash being “highly anticipated,” you’d be making the understatement of the year.  Some out there are already questioning Canon’s choice to not increase the resolution of the camera, but there is some logic behind this.  As someone who is in the process of switching to a Canon system, I am very pleased by the specs on the 5D Mark III.  It looks like the camera I wanted Nikon to make while I was still a Nikon shooter.  I’m not going to roll out another copied/pasted spec sheet for you or just throw up a bunch of camera porn, but rather provide some insight on what I think some of the most important features are and why.  If you are looking for a raw spec/data sheet, here is a link to Canon’s official press release on the 5D Mark III, Speedlite 600 EX-RT, and ST-E3 Transmitter.  So now the question has to be asked, “When is the 5D Mark IV coming out?”

5D Mark III and 600 EX-RT Announcement – What’s hot!

1. New 22.3 Megapixel CMOS Sensor

While some people out there are already whining about Canon’s “meager” increase of one megapixel from the 5D Mark II, I’m here to tell you that one megapixel makes a HUGE difference.  No I’m only joking.  The big deal here is actually the high ISO image quality that is going to result from the new sensor.  It features 8-channel readout and when combined with the processing power of the DIGIC 5+ processor, the 5D Mark III gains TWO STOPS of SNR (Signal to Noise ratio) improvement from the 5D Mark II.  This is of course going to be hard/impossible to see at some of the lower ISOs, but according to Canon, ISO 25,600 on the 5D Mark III is going to look like ISO 6400 did on the 5D Mark II.  That in itself is a huge achievement.  By amalgamating the 1D and 1Ds lines with a 18 MP full frame sensor and barely increasing the resolution from the 5D Mark II to 5D Mark III, Canon is signaling the megapixel war is over and in my opinion its about time.  While I don’t expect the 5D Mark III to be quite as impressive as the 1DX at high ISOs, the two stop improvement will be more than enough for most photographers.

Front view, no lens

As you can see the ISO range has been expanded by two full stops. Apparently the ISO performance has also improved by two full stops.

New 22.3 MP CMOS sensor

2. New 61-Point AF System and 63 Zone Dual Layer Metering

It was no industry secret that the AF system in the 5D Mark II was getting to be a little long in the tooth.  While most 5D shooters were able to compensate for this by changing their techniques, it was time for an upgrade and Canon delivered big time by using the same or similar advanced 61-point system that is found in the 1DX flagship.  41 of the 61 AD points are crosstype AF sensors and 21 of the middle of central points are crosstypes.  The center point itself is still the most sensitive and will be able to lock focus all the way in very dim -2EV lighting when using a f/2.8 lens.  The metering system inside the 5D Mark III is a dual layer 63 zone system (similar to the 7D) that will provide for much accurate metering when compared to the 5D Mark III.  The transparent LCD overlay in the 100% viewfinder will make changing focus points while composing a breeze.  The faster frame rate of 6 fps isn’t that exciting to me as I don’t shoot action/sports, but it is a nice bump from the 5D Mark II’s 3.9 fps rate.

AF System Layout

Top view, no lens

3.  Overall Construction and Design

As you can see from the images, the 5D Mark III takes on many of the same designs that Canon has used in the 7D and 60D including rounder corners and a relocation of the ON/OFF switch.  Canon has also strengthened the build quality from the 5D Mark II.  The new 5D Mark III features a full magnesium alloy chassis with total weather sealing.  Every single little gap/button on the camera is reinforced to reject dust and moisture.  Additionally Canon doesn’t include silly-pop up flashes on their high-end cameras.  If you want a decent small flash check out the 270 EX II.  Otherwise be happy that your camera is totally weather sealed, unlike the Nikon D700/800 which leave a major sealing weak spot on the top of the camera where the pop-up flash opens.  Although I never saw someone drop and break a 5D Mark II, there certainly was a plastic feel to the body, but those days are gone.  I would say the build is probably closer to the 7D than the 1D series, but the 7D is one tough camera.  The new 3.2″ TFT LCD is packed with over 1 million pixels and continues Canon’s excellence in LCD quality.  Again this is a great example of Canon being sensitive to their customer’s demands and complaints.

Tough customer, a fully magnesium alloy shell

Rear view

4.  Improved Video Functionality

When Canon released the 5D Mark II, HD video capability was included in the camera as an interesting afterthought.  No one at Canon expected the 5D to revolutionize the video and film making industries.  Like the 1DX, the 5D Mark III can now record clips up to 29 minutes and 59 seconds, instead of being limited to 12 minutes like the 5D Mark II.  Just like the Nikon D800, there is an additional headphone jack that allows you to monitor audio while recording.  64 steps of manual audio level adjustments will allow for extremely precise audio level monitoring and fine tuning.  Of course Canon also brags about improved overall video quality with less of a rolling shutter effect, less moire, and less artifacting. Additionally the 5D Mark III offers two types of compression modes for video; ALL-I which is the preferred compression format for editing, and IPB compression for more efficient (smaller) file size.  There is finally 720/60p shooting which was missing from the 5D Mark II.  I don’t see anything about true uncompressed stream through HDMI and quite frankly I am surprised.  Perhaps Canon wants to save some features for the C300 system.  I for one don’t care about this kind of feature, but I saw at least a couple folks whining about it on planet5, so I thought I’d mention it.

Side view, no lens

5. A Few Other Features

I am not too crazy about the added SD card slot.  I am sure there are plenty of 60D/Rebel shooter out there who will be upgrading, but I am sure there are just as many 5D I/II shooters grumbling about having to buy a different type of card.  Really SD cards aren’t too expensive these days, so I am not going to complain about it.  I just wish that it was dual CF.  Canon has also added in-camera HDR and a few new multiple exposure settings.  HDR will also be available in the Canon’s new version of DPP.  It will be interesting to see how the 5D III and the new software process HDR images compared to say Photoshop or NIK HDR Efex.  Again I don’t do a lot of HDR because I don’t care for the look, but I know a lot of people out there will be interested in this.  Hey if it can do a decent job making a natural looking image with increased dynamic range, I’ll be more than happy to give it a fair shake.  “Comparative Playback” is one of the less exciting, but more practical features on the camera.  The 5D Mark III’s big gorgeous screen can be used in Comparitive Playback mode to view two images at once!  Sound boring?  Well you can also view crops of two images at once to check sharpness/focus.  Sounds like something that should have been on DSLRs 10 years ago, but kudos to Canon for including it.  There is a new wireless file transmitter and GPS tagger, which are offered as expensive accessories, but those are things I really don’t care about and I don’t say that in a condescending way.  I am sure there are some of you out there who will make great use of these products, they just don’t interest me.  You can read more about them on Canon’s website.

Canon's example showing off their in-camera HDR mode

6. Speedlite 600 EX-RT and ST-E3 Transmitter

This new flagship flash and radio transmitter fall under the “Its about time” category.  The new Canon 600EX Speedlite has built in radio functionality, meaning it can be triggered by another 600 EX-RT or the ST-E3 transmitter via radio signal/frequency.  What does that mean?  No more dangling walkie-talkies off of your flash to fire them via radio.  What about you lazy n00bs out there who need TTL off-camera flash?  Well the good news is you won’t have to be dropping several hundred dollars on not so reliable TTL radio transmitters because the 600 EX-RT/ST-E3 can also do eTTL.  The original 1D and 1Ds are the only cameras that won’t be compatible with wireless TTL.  If you are using the 1DX or 5D Mark III you will also have the option of using HSS (high speed sync).  This is all very cool stuff and I commend Canon for finally being the first to have the stones to do it.  The ST-E3 transmitter (600 EX-RT can be used as a radio master as well) range is about 100 ft and you can trigger up to 15 cameras (yes both units can be used as camera remotes too!) or flashes in 5 separate groups.  Many of the ST-E3′s functions can be changed in the flash menu on either the 5D Mark III or 1DX.  The 600 EX-RT will still support the old IR flash system that was found in the 7D, 60D, etc… but the ST-E3 does not, it is purely a radio transmitter for new cameras/flashes.  Beyond the cool factor of radio transmission here, let’s not forget that the 600 EX-RT is also Canon’s latest and greatest on-camera flashgun.  The back has been redesigned and the button are back-lit.  *Collective cheer from wedding photogs who shoot receptions in dark halls*  The zoom range has been expanded to cover focal lengths from 20-200mm and there are now dedicated smart gel filters (like Nikon has done for a few years now) that will communicate with the flash to help improve exposure and WB accuracy.

600 EX-RT

600 EX-RT rear

ST-E3 Transmitter

Can a “Crop Body” be the ultimate lens accessory for full-frame shooters?

The world is going full-frame crazy with new and exciting entries from Nikon and Canon hitting the market. After “going full-frame,” however, it’s always hard to decide where to spend the rest of that photography budget and build a nice kit.

Joseph Ducreux would simply urge today’s photographer to disregard bodies… and acquire glass.

Sure!  Lenses can last a lifetime and even the best digital body will only last a few years before it’s time to upgrade or set it on fire.

Ultimately, lenses provide the heart and soul of an image, while the camera body is kind of best when it goes unnoticed. Getting the best lenses within your budget is always a good approach.

So, we all make tough choices. Primes or zooms? Do you want that wide maximum aperture or more coverage in focal length? Should you buy one glorious  “L” or top of the line Nikkor lens or multiple lenses at the same price for more variety? As I started assembling my kit for the full frame Canon 5D Mark II, it hit me… I’d get a whole lot more from my lenses if I had a crop body, too. (And I was pretty sure the 5D wouldn’t be mad at me) BAM!

So I headed to Unique and snagged a Canon 60D– which has an APS-C sized sensor with1.6x crop factor. Now each lens in my kit has a dual use. BAM!

A quick example:

The EF 24mm f/1.4L is a fast and wickedly sharp wide-angle on a full-frame  body, while providing a nice wide-normal (38mm) when used on a crop body. To get an f/1.4 lens in that same 35mm-50mm range for full-frame  would cost anywhere from $500-$1400. Ouch!

Canon 60D with EF 24mm f/1.4L (38mm FOV equivalent) Wide-Normal

Canon 5D Mark II with EF 24mm f/1.4L Wide Angle

A great use of budget:

Let’s look at a real practical example. Let’s say you are a “prime lens” fanatic and you have a nice little “trinity” of fast lenses, the EF 24mm f/1.4, the EF 50mm f/1.2, and the EF 135mm f/2.  You even got fancy and bought a 1.4x extender for your 135L. You spent roughly $4,000 on glass. Then you spent $1,000.00 on a 60D. Here’s the math:

 But look at the choices you now have in terms of equivalent 35mm field of view and maximum aperture – with only 3 lenses in your bag:

 You would need to spend $15,200.00 on lenses alone to have the same focal length/aperture choices for a full-frame body on its own. That’s a 24L, 25L, 50L, 85L, 135L, 1.4x Extender, 200/2.8L and 300/2.8L! What are you going to carry all these lenses in? Are you going to hit the gym now?

Having an APC-C body really does give you a lot of choice and flexibility as to how you will use your lenses. And even the entry-level bodies in the $400-700 range are featuring sensors and image quality that was only a dream just a few years back. The choice can make a lot of sense!

Canon 5D Mark II with EF 70-300mm f/4-5.6L IS @ 105mm – Short Telephoto

Canon 60D with EF 70-300mm f/4-5.6L IS @ 300mm (480mm FOV equivalent) Long “Birding” Telephoto

But What About Low Light?

One of the reasons we love full-frame camera bodies is the excellent low-light capability – low noise at high ISOs. In reality, with advances in sensor technology, the best APS-C bodies are only a stop or two behind their big brothers in terms of noise. I believe that by using a dual-body setup, I’ve been able to save for faster glass and shoot at lower ISOs. To put this into perspective  – the EXIF data from my last 20,000 photos show an ISO over 1600 on the 60D only for 149 frames. Less than 1%.  Not enough to worry about in most cases.

Canon 5D Mark II with EF 24-105mm f/4 L IS @ 24mm – Wide Zoom

Canon 60D with EF 24-105mm f/4 L IS @ 100mm (160mm FOV equivalent) Telephoto Zoom

Final Thoughts

An APS-C body really is an excellent “accessory” for full-frame shooters that provides you with a wider range of creative choices with the lenses that you have and allows you to focus your budget on Glass is where it’s at. The lenses you choose can be with you for a lifetime – why not do something to get the most out of them?

Summary: Adding an APS-C Crop Body to a Full-Frame kit

PROS:

• Adds new use to your current lenses
• Allows you to consolidate your “glass” budget
• May allow you to purchase faster glass
• Gives you ability to use the two-body-kung-fu-style shooting technique
• You’ll end up using the APS-C body when compact size is important

CONS:

• Loss of full-frame benefits with APS-C body, i.e. low-noise with high ISO
• Too many choices may stifle creativity
• If you’re happy with your rig, it may not be helpful or necessary

Bart can be found at:

Twitter: @TheLeicaBoss

E-mail: bart@leica-boss.com

Online: www.leica-boss.com

New Cameras Feature Ultra-thin Body and Lens Designs, Rugged Capabilities

SAN DIEGO, Feb. 27, 2012 – With the ability to deliver impressive, high-resolution images while underwater, outside or inside, during both day and night, Sony’s slim new line of Cyber-shots represent the ultimate in versatility for the compact camera space. Four new models announced today include the DSC-WX150, DSC-W690, DSC-TX66 and DSC-TX20 models.

The DSC-WX150 and DSC-W690 models are the world’s thinnest 10x optical zoom cameras – slimmer than any other 10x compact cameras currently offered in market (measured at slimmest part excluding lens).  This exceptionally thin design is largely attributed to the new “Advanced Aspherical” lens element, which allows the lens unit to be drastically smaller than those in previous 10x zoom Cyber-shots while still producing very highly detailed, accurate images.

The new TX66 camera features an ultra-slim, front-sliding design and measures about 12.2 mm (excluding lens cover), which is about the thickness of a standard AA size battery.  The similarly thin TX20 camera is Sony’s most “rugged” compact camera offering — waterproof (up to 5m or 16ft), dustproof, shockproof (up to 1.5m or 5 ft) and freeze proof (up to 14^oF).

Each of the new WX150 ,TX66 and TX20 cameras features a high-resolution “Exmor R” CMOS sensor and advanced BIONZ® image processor, enhancing low-light performance, Auto Focus speeds, image stabilization and opening up various multi-shot capabilities including 10 fps burst mode, “Background Defocus” mode, 3D still image shooting and more.  These models also have “Dual Record” functionality for capturing high-resolution still images while shooting video, and “Clear Image Zoom” digital zoom technology, which boosts optical zoom to 2x virtual capability (i.e. 5x optical zoom to 10x virtual zoom) at full camera resolution.

Each of the new models can shoot full HD video (at various resolutions) and offer “Picture Effect” options for creative photography.

DSC-WX150

Product Specs, Pricing and Availability

The four new Cyber-shot cameras will be available at Sony retail stores as well as other authorized retailers throughout the Sony dealer network.  Availability and detailed specs are below:

• The DSC-WX150 camera will be available in silver, black, red and blue this May for approximately $250. Features include:

o    Effective 18.2 MP “Exmor R” CMOS sensor

o    Lightning-fast AF speed of approximately 0.13 second in daylight, 0.20 seconds in low-light (speeds may vary based on shooting conditions)

o    3.0-inch 460k dot LCD screen

o    10x wide-angle optical zoom lens (25-250mm in 35mm format) with 20x digital “Clear Image Zoom” at full resolution; includes newly developed “AA” lens element

o    “Extra High Sensitivity” technology enhances low-light shooting capabilities

o    Captures 13 MP equivalent still images while shooting video via “Dual-Record”

o    Full HD Movie Shooting capability (1920×1080/60i)

o    Enhanced Optical SteadyShot reduces hand shake during still and video shooting

• The DSC-W690 camera will be available in silver, black, red and blue this May for approximately $180. Features include:

o    Effective 16.1 MP CCD sensor

o    3.0-inch 230k dot LCD touch screen

o    10x wide-angle optical zoom lens (25-250mm in 35mm format) including newly developed “AA” lens element

o    720p HD Movie Shooting capability

o    Enhanced Optical SteadyShot reduces hand shake during video shooting

DSC-W690

• The DSC-TX66 camera will be available in silver, gold, red, white, purple and pink this March for about $350

o    Effective 18.2 MP “Exmor R” CMOS sensor

o    Ultra-thin design measuring at 12.2 mm thick (excluding lens cover)

o    Lightning-fast AF speed of approximately 0.13 second in daylight, 0.25 seconds in low-light (speeds may vary based on shooting conditions)

o    5x wide-angle optical zoom lens (26-130mm in 35mm format) with 10x digital “Clear Image Zoom” at full resolution

o    “Extra High Sensitivity” technology enhances low-light shooting capabilities

o    3.3-inch  Xtra Fine™ OLED touch-screen

o    Captures 13 MP equivalent still images while shooting video via “Dual-Record”

o    Full HD Movie Shooting capability (1920×1080/60i)

o    Enhanced Optical SteadyShot reduces hand shake during still and video shooting

DSC-TX66

• The DSC-TX20 camera will be available in orange, green, black, blue and pink this May for about $330.  Features include:

o    16.2 MP “Exmor R” CMOS sensor

o    4x wide-angle optical zoom lens (25-100mm in 35mm format) with 8x digital “Clear Image” Zoom at full resolution

o    Waterproof (up to 5m,16 feet), dustproof, shockproof (up to 1.5m or 5ft) and freeze-proof (up to 14^oF)

o    “3.0-inch Xtra Fine LCD touch-screen with 921k dot resolution

o    Captures 12 MP equivalent still images while shooting video via “Dual Record”

o    Optical SteadyShot Active Mode reduces hand shake during video shooting

DSC-TX20

New Cyber-shot ‘H Series’ Feature Newly Designed, Ultra-thin Zoom lenses, Wi-Fi Capabilities

SAN DIEGO, Feb. 27, 2012 Sony’s new “H-Series” high-zoom Cyber-shot cameras make it easy to capture crisp, beautiful photos and HD videos from a variety of distances. Ideal for travel photography or simply capturing everyday content, the five new models include the DSC-HX200V, DSC-HX30V, DSC-HX20V, DSC-HX10V and DSC-H90 cameras.

The HX30V and HX20V models will each feature a new, ultra-thin 20x optical lens, which enhances zoom capabilities while still maintaining a small, compact body. Additionally, the HX30V will feature Wi-Fi capabilities, allowing for seamless transfer of photos to compatible smartphones, tablets or televisions and sharing via popular social networking services.

Consumers want versatility in a compact camera, By focusing on slim, stylish designs while adding advanced image sensors, strong zoom capabilities and new opportunities to share content socially, we continue to push the boundaries of the category.

The new 20x zoom Advanced Aspherical lens element in the HX30V and HX20V models produces outstanding results with a design drastically smaller than comparable 20x lenses in previous models. The thinly-designed lens, which requires highly sophisticated glass molding to create, allows the camera chasses to remain as compact as possible. In addition to its strong zoom capabilities, the new “AA” lens can focus at a minimum distance of approximately 1 cm for stunning, clear macro shots.

The new DSC-HX30V model features Wi-Fi capabilities, allowing it to link directly and transfer content to a variety of compatible devices including smartphones, tablets and televisions. Using the new PlayMemories Mobile application from Sony, images can then be shared easily from the host device on Facebook, YouTube and other popular sharing sites. The Play Memories app is currently available for free download on both the iTunes app store and Android Market.

DSC-HX200V

High-Zoom, High-Resolution

The new HX200V, HX30V, HX20V and HX10V cameras all have a new Sony 18.2 MP Exmor R point and shoot style.  The new sensor teams with an advanced BIONZ processor to deliver blazing fast AutoFocus speeds of approximately 0.13 seconds in daylight and 0.21 seconds in low-light shooting situations (in case of fastest model, measured at 3 EV). Additionally, the new cameras feature “Clear Image Zoom” technology, which boosts optical zoom to 2x virtual capabilities (i.e. 20x optical to 40x “Clear Image Zoom”

The high-end HX200V features a 30x optical zoom (60x “Clear Image Zoom” “Clear Image Zoom” optical zoom (32x “Clear Image Zoom” Optical Steady Shot shake during shooting even with the zoom extended – as well as some creative photographic settings.

The entry-level H90 zoom camera has a 16.1 MP CCD sensor, 16x optical zoom lens, 720p HD video capabilities, enhanced image stabilization for both stills and movie shooting (Optical Steady Shot Active Mode) and a variety of other useful features.

Product Specs, Pricing and Availability

The new assortment of high-zoom H Series at Sony stores as well as other authorized retailers. Detailed specifications are below:

• The DSC-HX200V camera will be available in black this March for approximately $480. Features include:
• 18.2 MP Exmor R
• 30x optical zoom lens (27-810mm in 35mm format) with 60x digital “Clear Image Zoom” ion
• Extra High Sensitivity
• Lightning-fast AF speed of approximately 0.13 second in daylight, 0.24 seconds in low-light at 3 EV (speeds may vary based on shooting conditions)
• 3.0-inch, 921k dot resolution tilting LCD screen
• Captures13MP equivalent still images while shooting video via Dual-Record
• Full HD Movie Shooting capability (1920×1080/60p) and Optical SteadyShot Active Mode (3 way shake cancelling)
• Photo Creativity interface and 9 Picture Effect and video
• Embedded GPS functionality with newly added GPS Log Recording function

• The DSC-HX30V camera will be available in black this May for approximately $420. Features include:

• 18.2 MP Exmor R
• 20x optical zoom lens (25-500mm in 35mm format) with 40x digital “Clear Image Zoom”
• Wi-Fi enabled for sharing content directly with compatible smartphone, PC, tablet or other devices
• Extra High Sensitivity capabilities
• Lightning-fast AF speed of approximately 0.13 second in daylight, 0.21 seconds in low-light at 3 EV (speeds may vary based on shooting conditions)
• 3.0-inch, 921k dot LCD screen
• Captures13MP equivalent still images while shooting video via Dual-Record
• Full HD Movie Shooting capability (1920×1080/60p) and Optical SteadyShot Active Mode (3 way shake cancelling)
• Photo Creativity interface and 9 Picture Effect unique, custom-styled photos and video
• Embedded GPS functionality with newly added GPS Log Recording function
• Manufactured with SoRPlas durable plastic containing 99% recycled materials

DSC-HX30V

• The DSC-HX20V camera will be available in black this May for approximately $400. Features include:

• 18.2 MP Exmor R
• 20x optical zoom lens (25-500mm in 35mm format) with 40x digital “Clear Image Zoom”
• Extra High Sensitivity technology enhances low-light shooting capabilities
• Lightning-fast AF speed of approximately 0.13 second in daylight, 0.21 seconds in low-light at 3 EV (speeds may vary based on shooting conditions)
• 3.0-inch, 921k dot LCD screen
• Captures13MP equivalent still images while shooting video via Dual-Record
• Full HD Movie Shooting capability (1920×1080/60p) and Optical SteadyShot Active Mode (3 way shake cancelling)
• Photo Creativity interface and 9 Picture Effect unique, custom-styled photos and video
• Embedded GPS functionality with newly added GPS Log Recording function
• Manufactured with SoRPlas durable plastic containing 99% recycled materials

DSC-HX20V

• The DSC-HX10V camera will be available in white, silver, black and red this March for approximately $330. Features include:

• 18.2 MP Exmor R
• 16x optical zoom lens (24-384mm in 35mm format) with 40x digital “Clear Image Zoom”
• Extra High Sensitivity technology enhances low-light shooting capabilities
• Lightning-fast AF speed of approximately 0.13 second in daylight, 0.22 seconds in low-light at 3 EV (speeds may vary based on shooting conditions)
• 3.0-inch, 921k dot LCD screen
• Captures13 MP equivalent still images while shooting video via Dual-Record
• Full HD Movie Shooting capability (1920×1080/60i) and Optical SteadyShot Active Mode (2 way shake cancelling)
• Photo Creativity interface and 9 Picture Effect unique, custom-styled photos and video
• Embedded GPS functionality with newly added GPS Log Recording function

DSC-HX10V

• The DSC-H90 camera will be available in silver, black and red this March for approximately $250. Features include:

• 16.1 MP CCD sensor
• 16x optical zoom lens (24-384mm in 35mm format)
• 3.0-inch, 460k dot LCD screen
• 720p HD Movie Shooting capability (1280×720/30p), Optical SteadyShot Active Mode
• Improved iAuto mode that can recognize up to 33 scenes
• 4 Picture Effect and video

DSC-H90

By: Shawn Low

They say imitation is the sincerest form of flattery, but when it comes to protective filters for lenses, it may not be such a good thing. A photographer thought he scored a good deal but was not amused when he found out his newly bought 77mm Nikon NC filter was far from authentic. The difference was quite apparent when he compared it with an original filter sold by an authorized Nikon dealer. Some giveaways that your filter is a counterfeit include a Nikon logo and inscriptions that are less vibrant; duller colors on the packaging; and, the most obvious–an instruction manual that looks like it was printed on a cheap printer. The original filter was slightly thinner than the counterfeit, and if one looks closely, even the label on the filter rim has slight discrepancies in terms of font color and spacing. Make sure you’re not getting scammed by these counterfeit Nikon filters!

Photo Credit: 1KindPhotography

Canon's answer (for now) to the rise of mirrorless cameras

We’ve never been big on unboxing videos here because well… To be honest they’re pretty lame, so when I was asked to do an unboxing video of the brand new Canon G1X, I had to put my own little spin on it.  Here’s some background info on the G1X.  I originally predicted this camera months before it was ever announced.

I don’t think Canon would make a retro designed camera, but a slightly larger sized G series camera with a much bigger sensor would be nice.  This is the only way I could see Canon using a micro 4/3rds sized sensor.   (9/20/11)

It was hard for me to imagine Canon releasing a new mirrorless system quite yet, but it was also clear that mirrorless cameras were starting to impact their sales of “G” series cameras.  So a large sensor compact made a lot of sense.  Well now it is here and it does in fact boast a beefy 1.5″ inch sensor, which is slightly bigger than the micro 4/3rds format.  The body itself retains much of the design from the “G” series, including an optical tunnel viewfinder, but with a slightly more boxy shape overall.  The 4x zoom (f/2.8-5.6) lens is of course much bigger so that it can cover the larger sensor.  The fully articulating screen on the back is gorgeous and shows true rich colors with good contrast at a variety of viewing angles.  Next week we’re going to do a live shootout with the G1X and the Panasonic GX1.  Not only are their names similar, but I feel like they are both targeted towards the same customer.  For now please enjoy our first (and hopefully not last) fun-filled unboxing video! -MZ

I am joining team Canon! They gave me an insane signing bonus.

A lot of my friends out there will probably think that this is some kind of early April Fool’s blog post, but I assure you it is not.  For the past several years I have been a Nikon shooter.  I have owned a D300, D700, and even a mighty D3, along with much of the fast glass and expensive/exploding flashes.  So I do have quite a bit of experience with the gear and I should add it treated me really well.  Despite the occasional overheating of an SB-900, I really had  no complaints about any Nikon equipment.  Additionally I think it is important for me to preface this post by saying I don’t think Canon is better than Nikon.  In many respects they are very similar systems and of course a good photographer can make strong images with any brand of gear.  I am not trying to start that silly conversation.  Obviously I saved the silliness for the photoshopped picture of me on the right.  ;)

So why am I switching?  Let’s go over the few small details that pushed me over the edge.

1. The Sports Factor

Nikon's 51 point focusing system is great, but I hardly take advantage of it anymore

When I first started out on my digital photographic journey, I wanted to be a professional sports photographer.  My first DSLR was a D300.  At the time the 40D was Canon’s most reasonable option for me (There was no 7D), and the better focusing system and ISO performance of the D300 were more appealing to me over the 40D.  Additionally I was attending a school that rented out Nikon gear exclusively, so the stars kind of aligned themselves.  As I continued to upgrade my gear, I eventually ended up with a nice used D3.  Now that I have abandoned my hopes of being a pro sports photographer, the burst rate, intense AF system, and large buffer are features that I don’t make use of often, if ever.  So I can trade/sell my D3 for a decent amount more than it will cost me to buy a used 5D Mark II.

While I will still be teaching some of the NBA Experience classes here with the Nets, my days of aspiring to be a pro sports photogtapher are over (photo by Soobum Im, US Presswire)

2. Prime Time

Before I ever considered switching systems, I made a decision to switch from a kit of 2.8 zooms lenses to an all primes set.  In the near future I will be detailing this why, but there are many reasons.  The most important to me is that I seem to pay more attention to my composition when shooting with prime/fixed focal length lenses.  Also once you’ve shot with fast primes, your 2.8 zooms don’t seem that fast anymore.  For events, even one stop from f/2.8 to f/2 allows for a lot more of the ambient light in the background to burn in.  So if I wanted primes, why didn’t I just pick up a full set of the newish 1.4G AF-S lenses?  Well of course price is an issue here.  I can get the Canon primes I want (and FYI, I am picking up the 85mm f/1.8 over the 85mm f/1.2L) for less money than the new Nikons.  Also call me crazy, but as sharp as they may be, the new Nikon 1.4G AF-S primes seem to focus a tad slower than the Canon primes.  It may be slight, but I notice it, so it matters to me.

3. Pixel Binning and the D800

If you’ve followed this blog or even just read a post here or there, you know that I’m not a megapixel hawk.  While there is certainly some merit to increasing resolution, I simply don’t need it for the work I do.  Still, eventually I am going to want to upgrade my camera and Nikon’s new D800 sits a little uneasy with me.  Again I am not bashing it and by all means it seems to be a fantastic camera, but there is one small flaw… Or you could also say no small RAW.  For a while Canon has implemented a sRAW feature that allows you to shoot RAW files at reduced resolutions.  I decided a long time ago that 10/12 megapixels was plenty for a wedding/event.  A lot of pros I know shoot their 5D Mark II cameras at 10 megapixels in sRAW  mode (this is called pixel binning.)  I never saw the need for it on my Nikon cameras as they (D300/700/3) were all 12 megapixels.  It is good that I never saw a need for it because Nikon doesn’t offer it as an option on any of their cameras, even the new 36 megapixel monster D800.  So while storage is cheap these days and I also happen to own a speedy 27″ iMac, I can see shooting 1,500-2,000 images at a wedding and being bogged down by unruly 36 megapixel files.  I imagine that I’d have to get some new memory cards as well.  No matter the new specs on the soon to be announced 5D Mark III, I am confident it will have sRAW capabilities, so to me that alone makes it a more attractive future camera for me.  Additionally the sRAW (pixel binned/down-sampled) files out of the 5D Mark II seem to be great.  I know there are pixel peepers out there who will scream “sRAW IS NOT REAL RAW!!! ”  I understand this, but I have seen the proof in the pudding and the pudding is good.  Yum.

4. HDSLR

Being a purist I used to bash HDSLR video.  I thought it was a silly distraction that was simply being put out there to get more people to buy cameras, but boy was I wrong!  Working on our youtube videos here has exposed me to the wonderful world of HDSLR video and has inspired me to pursue it in my professional career separate from Unique Photo.  I’m sure you won’t find me on the set of a feature film, but being able to shoot a wedding/event video will open up more job opportunities for me in the future.  Sure Nikon has finally caught up to Canon in HDSLR technology.  For video, the D800 seems awesome and has many features that the 5D Mark II doesn’t.  These include a separate headphone jack and HD HDMI output, among other things.  I’m not going to argue that, but again price becomes a question here.  For me it makes sense to pick up a nice used 5D Mark II for a fraction of the price of the new D800.  I also imagine that Canon isn’t going to let Nikon pass them by in this regard and I fully expect the new 5D Mark III to have the same, if not better, video features than the D800.

Ok you probably won't see me running around with this kind of setup, but DSLR video does intrigue me quite a bit.

5. The Bottom Line

At the end of the day I could have hung on to my Nikon system and reshuffled my lenses to keep me happy, but I wanted to be able to save some money for other things I want, including a new camera at some point.  Both systems are great and I could be happy with either one, but the few nuisances I pointed out in this post are what made me jump ship.  Sure it will be a slight pain to trade/sell some of my Nikon gear, but it clearly isn’t junk and I’ve kept it in good working order, so it really won’t be a big deal.  I look forward to continue teaching Nikon classes here and reviewing Nikon products, but Canon is now going to be my go-to system for my personal work.  As I learn more about Canon cameras it will also open up opportunities for me to teach Canon workshops here at Unique and of course to provide more accurate/genuine hands-on reviews.  I hope this post doesn’t start any asinine arguments about what system is better, but rather just shows why someone would consider switching systems at all.

-MZ

“This current project I’ve been working on involves interior shots…I’ve been walking around a lot and when I see a store front that catches my attention, I try to capture the nuances of a space.  I was intrigued by the inside of this establishment  and felt all the elements were working well together in terms of color, line, and form. It was taken with my Hasselblad 500cm on Fuji 400H medium format film. “

See more of Steve’s work and  hear about his upcoming show on his blog here.

The game changing C300 and new Canon PL mount lenses

It wouldn’t have been a true photography trade show without the giant presence of Canon, so I had to stop by and chat with Steven Inglima who heads the “Exporlers of Light” program that Canon runs.  Canon “Explorers of Light” are the best, brightest, and most creative minds in the photo industry who have been hand picked by Canon to teach workshops, give lectures, and of course play with all of the goods.  As I learned from Steven, their direct input goes into shaping a lot of the new products Canon releases.  Steven also talks about the new Canon C300 cinema camera which is going to take the industry by storm.  The 5D Mark II may have been the face that launched 1,000 ships, but the C300 is the amalgamation of the influence the 5D had on the market.  It performs incredible in low-light and the traditional bayer pattern found on most camera sensors has been ditched for a higher performance array.  I was also somewhat stunned to hear how Steven believes that the new Pixma Pro-1 printer has the potential to exceed the quality of black and white silver gelatin prints.  You may not believe it yourself right away (especially if you come from the traditional/analog background in photography), but he makes a good case for why it is possible.

Linday Adler's "Red Face" taken with the Sigma SD1

Linsay Adler is one of the first speakers I remember meeting here at Unique when I started 2+ years ago. Since then we have crossed paths quite a bit at workshops, tradeshows, etc… She is a great fashion photographer and is one of the rising stars in the photo industry. So even though I already spoke with Christine Moossmann from SIgma, I wanted to get Lindsay’s input on some of the Sigma gear she uses as a Sigma Pro and working professional photographer. From what I gathered the Sigma 85mm f/1.4 is her favorite lens and based on all the reviews I’ve read, it is indeed a great portrait lens. Lindsay also points out that the Foveon sensor in the SD1 is able to capture red tones that typically go out of gamut on regular DSLRs. From my experiences shooting sports (red uniforms), landscapes, live shows, etc… I can tell you that highly saturated red tones are often out of gamut or rendered incorrectly. I am hoping to get a SD1 Merrill from Sigma to test out as well. So without further rambling from me, here is my brief interview with Lindsay. -MZ

The new Edge 80

Last week we had quite the crowd at our Unique University classroom to witness the official launch of the Lensbaby Edge 80.  Lensbaby photographer Corey Hilz gave an excellent presentation on the entire Lensbaby system and he also had a live shoot to demonstrate the capabilities of the new Edge 80.  Prior to this I had posted both an extensive written review along with a fun video review that also detailed the Edge 8.  Well just to wrap up our coverage on this innovative new product, I stopped by the Lensbaby booth at WPPI to chat with Craig Strong, the inventor and Godfather of Lensbaby.  Just for fun we filmed the video using a Composer Pro with the Sweet 35 Optic inside. -MZ

photocredit: thedigitalstory.com

For years FJ Westcott (more commonly known as just “Westcott”) has created a variety of interesting lights and lighting accessories for both photographers and videographers.  They are perhaps best known for their Apollo Softboxes which raise to fame when the Strobist movement started several years ago.  The rise of the DSLR video movement also started a few years ago and created the demand for a whole new segment of continuous lighting.  Westcott has answered the call in both regards.  While walking around at WPPI, it was hard NOT to see one or more of the Westcott girls marching around with sunglasses on, holding a light above their heads.  All Star Wars and Lightsaber jokes aside (I am sure there will be many of them), the new Icelight seems pretty darn useful.  Here is Amber McCoy from Westcott explaining the Icelight and new Apollo Softboxes! -MZ

The highly anticipated D800

It was hard to get a free moment at the Nikon booth here at WPPI due to all the interest in the new D4 and D800 cameras.  When the crowds died down a little bit yesterday, I was fortunate to get a chance to speak with Steve Heiner, a Senior Technical Manager for Nikon.  We talked a little bit about the new metering system in the D4/D800 and how major improvements have been made on an already incredible system.  As Steve mentions, Nikon’s Matrix metering has long been regarded as one of the best in the business.  Even though the D3/D700 are great cameras (I’ve owned both in the past so I can personally vouch for them), Nikon was really lagging behind in the HD SLR market, but finally we now have two incredible movie making machines.  Here is Steve talking about the D800/D4′s upgraded metering system and some of the new features on both cameras that you may not know about. -MZ

The Leica CL is a fantastic little camera which was the product of a short collaboration between Leica and Minolta. Produced in Japan between ‘73 and ‘76, there were 65,000 produced. This little beauty is the 50 Jahre model, which signifies Leica’s 50th anniversary. It’s diminutive size makes it one of the smallest (and most economical) ways to get into Leica’s M-system. This camera sold so well that the bigwigs at Leica felt the need to kill it, fearing that sales would affect the value of their more dear “M” cameras. For more information about old cameras click here! 

Sigma has re-released their ambitious flagship SD1 with a much more attractive price-tag of $2,299

For a long time Sigma has been dedicated to making high quality lenses.  Some of them are your typical 70-200, 24-70, and 50 1.4 variants, but Sigma makes some very interesting lenses that other manufacturers don’t offer.  Perhaps the most interesting is the 120-300 f/2.8 OS.  If you know the basics of lenses, you are probably thinking this lens is huge and expensive.  In some ways you would be right, but to be honest it isn’t much bigger than a standard 300mm f/2.8 and it certainly isn’t as expensive as the new Canon and Nikon 300mm f/2.8 lenses.  As someone who has shot a variety of sports/action in the past, I see a need for this type of lens. It also makes for a great tight portrait/head-shot lens.  As we say in Jersey, “That’s compression holmes”.  Christine also talks about the “new” Sigma SD1 Merrill.  It is nice to see a company caring about their loyal customers and offering a lens voucher/credit for customers who bought the SD1 at the original price.  Admittedly I don’t know a whole lot about the SD1 so I am going to catch up with either Dave Metz or Kevin Ames later today to get the full scoop on what the SD1 Merrill  has to offer. -MZ

My personal favorite inkjet paper

I will never forget the “great” smell of the black and white wet darkroom.  While I am sure some of you out there are glad that you don’t have to be around those harmful chemicals anymore, I actually became quite fond of the chemical funk and I met most of my current friends in the trenches of developer, stop bath, and fixer.  From time to time I still try to get into the darkroom because even if we can’t agree on liking the smell of chemicals, we can agree on missing the luxurious quality of a gelatin silver print.  The good news is that Ilford has taken the step into the digital age and brought their expertise in fine art papers with them.  Personally I love their Smooth Pearl and Gold Fibre Silk papers.  Here is Joshua Fischer from Ilford explaining some of that transition and why Ilford inkjet papers can simulate that special silver gelatin print look.  Trust me, the look AND smell of Gold Fibre Silk brings back a lot of good memories. If you are here at WPPI, be sure to stop by their booth and check out some of the great paper stocks Ilford has to offer.  -MZ

Yesterday I got the chance to catch up with Tony Corbell from NIK Software.  If you are out here at WPPI, you need to stop by our booth (737) as we will have a representative from NIK Software demonstrating their great products.  Like many others out there, I was a giant skeptic of the NIK products before I got to try them for myself.  In theory you can do almost all of your editing in Photoshop/Lightroom, so why buy NIK (or any other) plug-ins?  The answer is pretty simple.  NIK Software has been designed by photographers for photographers.  Instead of having to go through time consuming steps in Photoshop, NIK has a bevy of filters that are specifically designed for portrait, landscape, wedding, lifestyle and event photographers.  In my opinion, NIK’s Control Point system is the most appealing feature.  Using Control Points is much easier and takes far less time than layer masking in Photoshop.  Here is Tony explaining a little bit more about what NIK is doing out here at WPPI.  I plan on doing a full review of Color Efex 4 when we get back to New Jersey. -MZ

Last week I mentioned that I was more excited about the new 24-70 f/2.8 VC lens from Tamron than any of the new Canon or Nikon products.  Again I think it is important for everyone to have more options, especially those who are up and coming photographers who understand the importance of having a constant f/2.8 aperture.  I am happy to see that this is a full frame lens and that it has Tamron’s excellent (dare I say best in class?) Vibration Compensation.  To me this means Tamron is targeting a higher-end customer.  Many people are excited about the potential of the VC for stills, but with the rise in DSLR HD video over the past several years, I know videographers shooting on a full frame DSLR will be seriously interested in this lens.  The price has not been announced, but I was told it would be significantly less than the $1,699 figure I came up with.  I was also told to watch out for another new fast-aperture zoom with VC from Tamron this year.  My guess is a long needed refresh of their 70-200 f/2.8 variant.  Tamron wasn’t letting anyone attach the new lens to a body, but here is Rob Moody from Tamron talking about the new 24-70 f/2.8 VC.

The New Tamron SP 24-70mm f/2.8 VC lens

I suppose everyone has a story about their first love…it all started at The Museum of Modern Art. Now, I had never been to a museum before, let alone one by myself. Shamefully enough it wasn’t even a visit for my own benefit , it was part of an assignment. After a few hours of schlepping around, staring blankly at work that wasn’t saying much to me, I was hit in the face with what I would like to describe as catharsis. Right then and there my heart skipped a beat.

It was the first time an image literally stopped me in my tracks and I had a hard time putting my finger on why I liked it so much. Perhaps it was bleak depiction of how a man would portray himself; that worn out shell of man behind the wheel of a now vintage car… or maybe I liked it because looked like it had been ripped out from a Hitchcock film. I didn’t have the means to explain my admiration at the time, but It just looked so real to me. Much of Lee Friedlander’s work functions as a mirror, be it himself or his surroundings. As a beginner to photography I took inspiration from these visually striking photographs because they taken with a 35mm. His style of capturing detached moments with a grittiness and curiosity still grabs my attention. Sure, his examples of visual exploration have been beaten to death…anyone can take a picture of their own shadow or reflection from a storefront window, but how often are do you find a culmination of wit, drama, and anxiety-ridden alienation through a lens? Friedlander continues to shoot despite the limitations of old age.  Staying true to his fascination with reflections, (and the above image I’ve become permanently enamored with) his recent ventures document the view from the driver’s seat. Although I find his older work more captivating, it’s amazing to see a master still providing the raw honesty I’ve come to know and love. For a better retrospective of his works click here.

There about as many ways to trigger strobe lights and flashes as there are ways to skin a cat, but the Pocket Wizard brand has been a keystone in the professional photographer’s kit for a long time.  While perhaps not the most exciting thing going on in Vegas, the annoucement from Pocket Wizard is big news for photographers out there.  The new features are pretty great and as so rarely happens, the price on an updated product is actually LESS than it’s predacessor.  Enough from me, here is Dave Schmidt from Pocket Wizard explaining the new Plus IIIs. -MZ (Pictures of the Plus III after the break)

The Plus III shown on the Nikon D3x

New LCD interface and more intuitive controls meet a sleeker design with more defined curves

The Profoto booth was one of my first stops.  I have always admired their products and actually used D1 kits while still in school.  Would have been nice to have the air remotes.  It can be quite the challenge to change power on a light after placing it in a hard to reach place (e.g. on a boom for a hair light).  Here is John Williamson from Profoto explaining the system in more detail. -MZ

The Profoto Air Remote

If only the view from my desk looked like this every day!

Hey everyone we just touched down in Las Vegas yesterday.  After schlepping through Newark Airport at around 5AM, we caught our flight out here to Las Vegas for the annual WPPI (Wedding and Portrait Photographers International) show.  The sounds of shutters chirping surround you along with the barking of show specials and product demos.  I was out here last year for WPPI, but stayed mainly behind the sales booth, assisting customers from all over the globe.  This year I am going to be going around interviewing reps from various manufacturers to find a little bit about their latest products and what they have to offer at their booths.  I will be posting videos every day so stay tuned and if you are out here at WPPI, be sure to have a little fun too. -MZ

Hmm how does this thing work?

After getting a Kodak Instamatic camera as a gift on his eighth birthday, photographer Dan Wagner has never looked back. At the age of fifteen, he took first and second place in a New York City photography contest for high school students. After studying photography in college, he assisted top photographers in New York and Los Angeles for several years before opening his own studio.

Dan’s editorial photography has been featured in leading magazines and newspapers. Over the years, he has shot major advertising campaigns for Fortune 500 clients. He has also taught photography classes at New York City’s Fashion Institute of Technology.

For this book, Dan Wagner has captured timeless images of people and places to create an unforgettable portrait of modern life. The 102 pictures in this book were taken between 2010 and 2012 in New York City, on Long Island, and on Maryland’s Eastern Shore with vintage Rolleiflex cameras and black and white Kodak film. Dan developed and processed the film himself and printed each picture on archival stock.

Many of the shots taken in this book were with film and chemicals purchased from Unique Photo. When asked about our products Dan stated, ”I like using Kodak Tmax film for it’s great tonality, sharpness, thick base that resists curling, exposure latitude, and ease of scanning. When I want a little more grain and grittiness, I use TriX film. I prefer the 120 film size for sharpness and resolution. I process with Kodak Tmax developer at 1-4 dilution, Kodafix, Perma-Wash, and Photo Flo. I mix the Photo Flo with distilled water to avoid any spotting. Unique Photo has always been great with pricing and super fast shipping.”

To view Dan Wagner’s book please click here.

This is one my favorite images that I took while out in Las Vegas for the annual WPPI show.  There is a little back story to the origin of this images so I thought I would share it before heading back to Las Vegas for the 2012 WPPI show on Sunday. Here is a link to my flickr page where you can view a higher resolution copy of the image.  (Click more to read)Last year I was very excited to head to Red Rock because I had never been out west before.  I brought my large format 4×5 view camera, highly anticipating the chance to capture perfect sunrise light in the desert on large format film, which as we know, produces higher quality images than any DSLR.  Unfortunately I had forgotten the lensboard for my 4×5 camera.  Even worse I didn’t realize this until I was desperately digging through my camera bag in the freezing cold dessert at 4:30 AM.  Luckily I had brought along a Leica M9 and 28mm Elmarit f/2.8  that I was currently in the process of reviewing for our blog.  I was fairly unfamiliar with the M9 and based on what I had read it wasn’t an ideal camera for long exposures or night photography for a few reasons.

First being that focusing a rangefinder style camera in the dark is nearly impossible.  So I gave up on that right away and made an amateur attempt at hyper-focal distance focusing.  Thankfully all Leica lenses have a distance and depth of field scale, so I was able to make a pretty good guess.  Next was the Noise Reduction process on the M9.  Every exposure longer than a second requires a waiting period equivalent to the exposure time in order to apply the NR. This can become problematic with long exposures, especially when it is cold out due to battery life issues.  Additionally it required me to stand around doing nothing while the light was constantly changing as the sun began to crawl up the horizon.  I saw the glow in the distance and knew I was running out of time. I set the lens to f/4 and figured that if I guessed right on the focusing distance, I would be able to achieve acceptable depth of field due to the shorter focal length of the 28mm lens, but in retrospect I should have stopped down to f/5. 6. As far as exposure time, it was hard to tell as the sun was beginning to make it’s daily climb in the distance.  I did encounter one lucky break here.  The Leica M9 has an old school threaded socket on the shutter button, so I was able to use my cable release that I had originally planned to use with my 4×5 camera.  I guessed a few minutes would be a decent time for me last long exposure night shot and that regardless of how it came out, I would soon be worry free in the warm glow of morning sunlight.  The lackluster LCD screen on the M9 wasn’t giving much confidence in the long exposures I was making.  Every shot looked over-exposed with a harsh green tint, including this photo.  I was able to make some really wonderful shots in the golden hour of morning light.  I forgot about the night shots I thought I had just failed to make because of how wonderful the morning light was.  Beyond making photographs, the whole experience was very surreal.  It was hard for me to believe that I was surrounded by such silent yet stunning beauty only minutes away from the debauchery and trouble I was getting into in Las Vegas, a few hours before.

When I returned to New Jersey I uploaded all of the photos I took with the M9 in preparation for my review.  I was pleased with the rest of the images I made with the camera, but I was planning on discarding the long-exposures I made.  For the hell of it, I decided to work on this one because I liked the composition and wanted to try pulling at least something out of one of the shots.  After correcting the white balance I messed with the slider exposure and noticed the sky became an entrancing purple shade with a slight hint of orange at the bottom.  In order to balance the sky with the foreground, I used a couple gradients in Lightroom.  I really couldn’t be happier with this image and I hope you enjoy it as much as I do.

-MZ

This “Technical Guide” details the principal techniques used to create two of the more technically advanced photographs in the D800/D800E catalog. Enjoy this opportunity to admire the skills of professional photographers who have mastered the D800/D800E.

D800

Download the D800/D800E Technical Guide

A rule that every photographer should keep in mind, and one of the lessons taught at Unique University. Enjoy!

Mike Z. from Unique Photo gives his personal insight (good and bad) on the Olympus E-P3 Mirrorless Interchangeable- Lens Camera.

Erwin Blumenfeld, Red Cross for Vogue New York, 1945

On this episode of Masterpiece Theatre…I mean Masters of Photography we’ll take a look at a titan of fashion photography, as well as one of the great innovators in darkroom processes. Erwin Blumenfeld, like many, had been exposed to photography at an early age, but first became noticed for his Dada-style collage work, some of which was used as anti-propaganda against Hitler in the 1930′s. In an attempt to support himself, he opened up a quickly doomed luxury hand bag store. The story goes that before bankruptcy forced him to close it’s doors for good, Blumenfeld happened to discover a false wall hiding a complete photography studio (it’s a secret to everyone). This may be a bit of fun folklore, but its charming to think that he literally pried opened a door for an expansive career in portraiture. After making a move to Paris, publishing work in the likes of Haper’s Bazaar and Vogue, being interned in a concentration camp, and finally escaping to New York, Blumenfeld became quite famous. The striking images he produced were not only remarkable for their beauty, but also visually mesmerizing due to experimental techniques such as solarization and utilizing mirrors in the darkroom…You can thank him for the origins of many quirky, often abused, photoshop filters. Although he wasn’t much of a handbag salesman, Blumenfeld did make a name for himself as being one of the highest paid photographers in the world at the time. His work remains as impressive as it was in the 40′s and continues to influence fashion magazines and photographers to this day.

To view more of his work visit here.

Here is the video that accompanies the Lensbaby Edge 80 review that we posted earlier today.  It helps put some of the shots I took in context and explains a little bit more about the Edge 80. -MZ

The Edge 80 is truly a new innovative product from Lensbaby

For a long time Lensbaby has created interesting products for photo enthusiasts and portrait/wedding photographers.   Even though their products have been used by professionals, some have written them off as “toys”.  Despite this unfair labeling, what if Lensbaby made something that clearly wasn’t a toy?  Well now they have and the Lensbaby Edge 80 is the newest product in the Lensbaby line and it is truly a first for them, an optic with true flat field focus.  It can be used for “fun” and “creative” shots, but it is clearly the most “serious” product Lensbaby has made to date.  I was fortunate enough to have Lensbaby lend me an Edge 80 long before its release today.  (In the past I have reviewed most of the Lensbaby lineup including the Sweet 35.) I tested the Edge 80 in a variety of situations that I explain in this review and in a video that we will be posting later today.  I have also added my additional thoughts on the optic itself and some image samples.  (Note: Generally I don’t do much or ANY editing to image samples, but I added some coloring and B/W effects to some of my examples.  I felt it was in the “spirit” of Lensbaby products to do so.)  Additionally you can be one of the first people to get a hands on experience with the Edge 80 by coming to our special launch event on Thursday the 16th! Enjoy.

One of the first shots I took with the Edge 80. Right away I realized that it didn't work like any other previous Lensbaby Optics. Notice how the brick wall far in the background can remain in focus. One eye is in focus, the other is not. I am not saying this is an "ideal" shot, but it certainly shows the characteristics of the Edge 80.

Introduction

There is a misconception out there that all Lensbaby products are a inexpensive way to simulate the effects of tilt-shift/perspective control lenses.  While the visual result of selective focus can end up looking similar, the science behind the way Lensbaby products work (until now) is much different.  While you can spend a lot of time reading about the Scheimpflug  principle, film planes, and lens planes, I am going to do my best to explain how the Edge 80 works in Layman’s terms.  All previous Lensbaby lenses and optics work based on moving a selective “sweet spot” around the frame, meaning a small portion would be in focus, while the rest of the frame would be blurred.  The Lensbaby Edge 80 revolutionizes the Lensbaby product line by offering a lens that has a flat field of focus.  In simple terms this means that instead of simply moving a “sweet spot” of focus around, you are now able to control a slice of focus that cuts through the entire image.  The size, scope, and angle of this slice of focus will depend on what direction you tilt your Lensbaby and how far it is tilted.  This is how a true tilt-shift lens works.  Again the Edge 80 is not  a real replacement for a tilt-shift lens, but $299 sounds a lot more attractive than $1,999 for something that produces a unique special effect.  Those who shoot architecture and do serious product photography will still want to get a real tilt-shift lens, but you already know who you are and I don’t think I need to digress any further into that.

A perfect example of how focus "slices" through the scene. Be sure to observe how the menu in the background appears to be in focus as well as the store sign in the foreground. The kebabs from this place weren't bad either

Notice how focus extends into the distance and seems to defy the typical "rules" of depth of field. For this close-up setup I used some spare old presidential figurines that they used to give out at gas stations. Look how JFK and Taft stay in focus. Preisdent Monroe is knocked out of focus even though he is standing right next to JFK. Just another (albeit silly) example of how the "slice" of focus works with the Edge 80.

Construction/Handling

The Edge 80 optic sits well in the Composer Pro, which is the highest quality and most finely tuned lens that Lensbaby has made so far.  Just like the Sweet 35, the Edge 80 optic itself is well built and features a built-in aperture ring.  Unlike the Sweet 35, the aperture ring on the Edge 80 does not retract into the housing of the Composer when focusing at far distances/infinity.  I suppose some will only see this as a small benefit, but I found it to be a tremendous improvement.   As you probably guessed, there is no electronic communication between the Edge 80 and your camera, so less light passes through the lens/camera to the viewfinder as you stop down.  Therefore, focusing wide open provides for the brightest possible scenario for composition and focusing.  This is important because precision focus is vital with a tilt-shift lens.  The aperture ring itself is a wide piece of plastic that turns with a slight amount of resistance, stopping with a mild click at each f-stop.  The need to pull the front element forward for macro focusing was my one gripe with the Lensbaby Edge 80. This really isn’t a big deal, but there is a certain learning curve to using a lens this way.  When you want to focus at closer distances, the front element has to physically be pulled forward.  To regain infinity focus and the ability to focus further away, the front portion of the lens must be pushed back into place.  There are a couple small icons on the lens that show that this has to be done.  Before I discovered this, I was quite disappointed with the close focusing capability of the lens, but afterwards I was quite content.

The Edge 80 resting in the Composer Pro. The large aperture ring is easy to grab and turn and has a noticeable, but slight click at each full stop from f/2.8 to f/22

Optics

As you probably guessed, the Edge 80 has a focal length of 80mm.  The twelve blade round aperture ranges from f/2.8 wide open and stops down to f/22.  While the Edge 80 certainly isn’t a macro lens, it focuses close enough for tight portraits.    This is a nice portrait length on a full-frame camera, but rather tight/narrow on an APS/crop-sensor camera.  Some previous Lensbaby optics showed quite a heavy amount of vignetting on full frame cameras and it was pretty obvious that they designed the products to be used on crop sensor cameras.  Quite the opposite is true with the Edge 80.  The focal length and coverage of this lens have me convinced that it was actually designed and intended to be used on full frame sensors.  It still works quite well on crop sensors, but you just need to adjust your working distance as the angle of view will be narrow.  The 12 blade rounded aperture provides for nice “bokeh” or out of focus areas.  Unlike some (not all) of the previous Lensbaby optics, the Edge 80 has 5 multicoated glass elements.  When extended into “Macro” focusing mode, the minimum focusing distance is about 17″, which is pretty darn good for a short-telephoto lens.  Most high-end 85mm lenses require you to be almost twice as far away from your subject.

The Edge 80 has a maximum aperture of f/2.8, a 12 blade rounded aperture, and 5 multicoated GLASS elements in 4 groups. The front of the lens sports a 46mm thread for additional accessories and/or filters.

This shot was lit with Dynalite strobes. The lens was stopped down to around f/11 or f/16. Even stopped down this far, the Edge 80 allows for great subject seperation and selective focus because of the adjustable flat field of focus. We shall call him "Little Thor"

By simply moving my "slice" of focus, I have revealed Little Thor to simply be Nathan, one of my co-workers here at Unique

Sharpness

Like all tilt-shift lenses, the sharpness of the Lensbaby Edge 80 relies almost exclusively on paying close attention to where you focus and how much tilt you use.  What aperture you shoot at will also impact both the “sharpness” of this lens and the size of the slice of focus.  As I mentioned, the optical elements of the Edge 80 are made out of high quality multicoated glass, meaning this isn’t your typical Lensbaby from a few years ago.  Lensbaby has come a long way with the Sweet 35 and now the Edge 80.  Like any other lens in the world it isn’t at its sharpest when shot wide open, but it is acceptable.  A lot of this has to do with the flat field focus.  If you miss your point of focus by just a smidgen when shooting wide open and apply a strong degree of tilt to the lens.  The narrow plane of focus will not “slice” through the points that you intended it to.  With extreme tilts there seems to be a slight loss in contrast at times, but its nothing than can’t be compensated for by boosting contrast and/or “blacks” in post production.

This shot was taken wide open on the 5D Mark II. While you can certainly increase sharpness by stopping down, I would consider the level of sharpness to be more than acceptable in this shot at f/2.8.

Another portrait I made of "Little Thor" I have included a 100% crop bellow for comparison. This was shot at around f/8 (Next time I should write this down as aperture value is not saved in EXIF data because there is no communication between the lens and camera)

No I am not trying to show off Nathan's pearly whites or his whiskers, but rather the high level of sharpness that can be achieved when the Edge 80 is stopped down a little bit!

Focusing

Focus is fully manual as there is no AF motor or electronic communication with your DSLR.  As I mentioned before the Edge 80 should be focused wide open and stopped down to the appropriate aperture only after focusing.  I suppose in the brightest of lighting conditions you can cheat a little bit to speed up your shooting, but don’t expect perfect results.  The Edge 80 is intended to be used deliberately, not on the fly, but your working speed will increase as you get used to how the optic behaves.  Precision of focus will depend on what Lensbaby you decide to use.  I would highly recommend not using the Scout or Muse.  The Muse itself is a nice invention because it allows for quick focusing and is relatively inexpensive, but its lack of precision makes it a poor match with the Edge 80.  The scout is OK if you just want to use the Edge 80 as a straight portraiture lens, but it takes away all the fun of being able to emulate a tilt-shift lens.  If you plan to use the Edge 80 out on the streets at all, I highly recommend the Composer Pro because of its flexibility in tilt and focusing.  If you plan on working exclusively in the studio, the Control Freak is a nice option as it allows you to lock focus and fine tune the tilt of the lens.  Overall there certainly is a learning curve if you haven’t used a manual focus lens before.  Additionally you will have to learn HOW the lens works when you tilt in different directions.

Focusing is relatively easy especially shooting wide open. We were just having some fun here and put together this little sequence to test manual focusing as Taylor moved around and ended with his best Tim Tebow impersonation.

Conclusion

I suppose the elitists out there who are busy using their 18-way panheads, quadruple XXXX carbon fiber tripods, and $2,000 tilt-shift lenses will still consider the Edge 80 to be a toy.  However the Lensbaby Edge 80 is a truly a new optic that should attract many more photographers than previous Lensbaby products have.  It can be used as a “toy” to simply create a miniature effect, but you will notice that the out of focus areas will be rendered more like out of focus areas than a typical Lensbaby or any kind of in-camera “miniature effect” setting.  Additionally those looking to emulate the effects of a real tilt-shift lens will be pleased.  As you’ve seen in examples here, slices of focus can cut through your scenes at various angles.  This can be used for subject isolation, abstraction, or even for product photography as depth of field can be extended in a variety of angles and directions.  If you already have a Lensbaby Composer, Composer Pro, or Control Freak, the Edge 80 is a no-brainer.  For those who don’t already own part of the Lensbaby system, it is a bigger investment to make, but I think it is well worth it if you have any kind of interest in experimenting with selective focus or tilt-shift photography.  For me the Edge 80 is very attractive because it can be used effectively for a variety of subjects including portraiture, abstractions, products, and still-life.  Something I haven’t mentioned yet is the viability of the Edge 80 to be used as a creative tool for videographers.  Everything I have mentioned about the Edge 80 also applies to video work.  Here is a short clip I did with the Edge 80 to demonstrate how it looks when used for video recording.

Sometimes I don’t fully enjoy a product that I have been given to test and I have even been scolded from time to time for being a little bit too harsh/honest, but I truly did enjoy using the Lensbaby Edge 80.  I have included a few more additional sample images below.  If I haven’t convinced you yet, you can check out our exclusive hands-on/demo on Thursday the 16th here at Unique Photo.  If you can’t make that… Well then you are simply SOL!  No I’m only joking, we will be adding the Edge 80 to our Rental program very soon so you can try it before you buy it!

-MZ

More Sample Images

Nick's first day on the job as cameraman.

A view from a parking deck. Again notice how the focus slices through the scene diagonally.

It is still possible to emulate the "regular" Lensbaby look, depending on how much you tilt and what aperture you shoot at.

Another "Presidential" shot showing off how the Edge 80 works

Tilting the lens to an extreme can create interesting seperation/defocus that you can't achieve with a regular lens, even when shot wide open.

Again, tilting the lens can allow you to knock objects out of focus that appear to be on the same plane. Click to enlarge and see how I kept only one of Taylor's eyes in focus in this shot.

Fujifilm X10 Firmware Update:

The firmware update Ver.1.03 incorporates the following issues:

• 1.New function for “RAW” button can be applied by customer’s preference
  By holding down RAW button for approx. 2 second or more, RAW button can be applied into new function similar to “Fn” button setting.
• 2.Each value set on ISO sensitivity and Dynamic range can be maintained even if aperture setting mode (P / A / S / M) is changed.
• 3.Face detection function is upgraded to keep tracking face by means of face-tracking AF function. As this function is activated even in movie recording mode, AF on detected face in the movie becomes more effective.
• 4.Blooming (White disk) phenomena, which can be observed in EXR AUTO mode, is reduced.
• 5.Compatibility on Mac OS 10.7
  When the camera is connected to Mac PC on Mac OS 10.7, the camera is effectively recognized. Additionally, compatibility on RAW FILE CONVERTER EX with Mac OS 10.7 has been confirmed.
• 6.AF confirmation sound was controlled on “SHUTTER VOLUME” in the SET-UP menu. By this update, this sound is controlled on “OPERATION VOL.” in the SET-UP menu, just similar to another functions.
• 7.The image area with high brightness might be recorded as “black-out” area, just in case of dedicated shooting condition, This unpleasant phenomenon is improved.
• 8.When the flash is used under macro shooting condition, light-reflected area was shown in greenish. This unpleasant phenomenon is improved.

The firmware (Ver.1.00-Ver.1.01 to Ver.1.02) update incorporates the following issues.

• 1.Just in the following camera procedure, aperture value was incorrectly displayed as “F2.2″ even if actual value was set to “F2.0″. This phenomenon is improved.
  • (1)Mode dial is set to [A] or [M]
  • (2)Aperture is set to F2.0 (open aperture).
  • (3)Zoom lens position is moved from wide edge to telephoto edge, and finally to wide edge, again.
• 2.In the TRACKING mode, the AF hunting occurs, which you can see coming in focus and out of focus continuously in the LCD monitor. This occurs in the two cases below. (1)Turn on the camera to select “TRACKING” in AF mode(shooting menu) and change to shooting mode by half-pressing the shutter button.
  • (If changing to shooting mode by pressing “DISP/BACK” button, this cannot occur.)
  • (2)Turn off and on the camera while “TRACKING” mode.
    (If turning on and off after changing to EXR mode, this cannot occur.)

Video by Outward Bound Collective

ROCHESTER, N.Y., February 09 — Eastman Kodak Company (the “Company”) (OTB: EKDKQ.PK) announced today that, as a result of its ongoing strategic review process and commitment to drive sustainable profitability through its most valuable business lines, it plans to phase out its dedicated capture devices business – comprising digital cameras, pocket video cameras and digital picture frames – in the first half of 2012. Kodak will instead expand its current brand licensing program, and seek licensees in these categories. Following this decision, Kodak’s Consumer Business will include online and retail-based photo printing, as well as desktop inkjet printing.

Kodak has contacted its retail partners, and is working closely with them to ensure an orderly transition. Kodak will continue to honor all related product warranties, and provide technical support and service for its cameras, pocket video cameras and digital picture frames.

“For some time, Kodak’s strategy has been to improve margins in the capture device business by narrowing our participation in terms of product portfolio, geographies and retail outlets. Today’s announcement is the logical extension of that process, given our analysis of the industry trends,” said Pradeep Jotwani, President, Consumer Businesses, and Kodak Chief Marketing Officer.

Upon completion of the phase out, Kodak expects to achieve annual operating savings of more than $100 million. Kodak expects to incur a charge related to separation benefits of approximately $30 million resulting from the exit of the business.

In addition to its Consumer Businesses segment, Kodak has a Commercial Businesses segment that includes the Digital and Functional Printing, Enterprise Services and Solutions, and Graphics, Entertainment and Commercial Films units. Kodak’s digital businesses now comprise approximately three-fourths of total revenues.

Kodak continues to have a strong position in the personal imaging market.  While photos are increasingly taken on multi-function mobile devices, Kodak technology makes it easy for consumers to produce a broad range of photo products, anywhere, anytime – from prints to photobooks, photo greeting cards and personalized calendars. These items can be made on Kodak products, with Kodak quality at retail, at home, and ordered for delivery to home.

Kodak’s continuing consumer products and services will include:

• Retail-based photo kiosks and digital dry lab systems, a market in which Kodak is the clear worldwide leader. Kodak pioneered the retail-based kiosk market, and the company now has more than 100,000 kiosks and order stations for dry lab systems around the world, with some 30,000 of those units connected to the most popular photo-sharing sites.
• Consumer inkjet printers, where Kodak has outpaced overall market growth for several years. Kodak consumer inkjet printers provide consumers with high-quality output and the lowest total ink replacement cost. Consumers can send documents and photos to Kodak printers from anywhere, using any web-connected device.
• Kodak apps for Facebook, which make it easy for consumers to obtain photo products using photos from their Facebook albums.
• Kodak Gallery (www.kodakgallery.com), a leading online digital photo products service. Kodak Gallery enables consumers to share their photos, and offers product and creation tools that enable people to do more with their photos.
• The Kodak camera accessories and batteries businesses. These products are universally compatible with all camera brands, and extend into other consumer product segments such as charging units for smartphones.
• The traditional film capture and photographic paper business, which continues to provide high-quality and innovative products and solutions to consumers, photographers, retailers, photofinishers and professional labs.

Sigma officially launches three new digital cameras, the Sigma SD1 Merill, the DP1 Merill, and the DP2 Merrill.  Each of these cameras wears the name “Merrill” in honor and recognition of the passion, drive and vision of Richard “Dick” Merrill, a founding father of the Foveon sensor that is at the heart of Sigma’s Digital cameras.

Prior to being a member of Foveon’s team at its founding  with Carver Mead and Dick Lyon among others in 1997, Merrill worked on semiconductor research and design at IBM’s T.J. Watson Research Center, as well as National Semiconductor. Foveon colleagues talk warmly about Merrill as a prolific inventor, explorer, and problem-solver who owned an oscilloscope at the age of ten.  His genius for tackling challenges in design and function is evidenced in the many patents awarded Merrill, and it is here, fueled by Merrill’s passion and brilliance, where so much of the story of Foveon and Sigma Digital Imaging truly unfolds.

Dick Merrill of Foveon, photographed by Dick Lyon, made with the Sigma SD14 DSLR.

Foveon’s first full-color digital imaging system, introduced in 1999, involved three image sensors aligned to the three exit planes for red, blue, and green light from a prism. This first device was capable of producing high-quality color images that recorded all primary colors at each pixel, but the prism manufacturing and assembly process was very complex. Guided by that singular focus–the creation of images in one shot that are comprised of three complete color image planes–was to be Foveon’s driving force throughout its evolution.

As it turned out, Dick Merrill had already explored the possibilities of employing stacked silicon layers for capturing direct RGB information at each pixel location, and had proven that it was theoretically possible to employ this natural characteristic of silicon to absorb red, green and blue wavelengths at different depths to record red, green, and blue data at each pixel location with a three-layer imaging sensor.  Working alongside Foveon’s chief scientist, Dick Lyon, the first 85×85 array of stacked pixels was designed and tested. These first small-array tests proved that this new sensor design was possible, but there was still a significant amount of research, development, refinement in all steps of the process that needed to be perfected to successfully move from the realm of “theoretically possible” and into the digital camera market.

Dick Merrill was up for the challenge. Merrill’s objective was to create a structure that satisfied several criteria simultaneously:

• Ability to detect photo-generated electrons at different depths in silicon
• Professional grade color reproduction
• Manufacturable in a standard CMOS semiconductor factory
• Use of semiconductor process methods compatible with the costs and yields necessary for the demands of the competitive high technology market

Epitaxial silicon growth to build the three-layer sensors was a possible method that would accomplish Merrill’s objectives. It hadn’t been done before, but it was within the realm of possibility, although it presented serious design and engineering challenges.

Meanwhile, the imaging team at Foveon worked on the tasks to convert the information from the three silicon layers into a color image that would pass muster. When the original 2048 x 2048 x 3 layer prototype arrived from National Semiconductor, it was hooked up to a test camera running the latest firmware and software revisions for “First Light” testing. The stacked sensor worked, and was capturing and recording RAW data.

Some tweaks were made to the prism imager pipeline, and Dick Merrill, Dick Lyon, and the Foveon team had done it. The stacked sensor and the new programming was capturing and recording direct color data at every pixel location in the array. For the team, it was a good day–it worked as they’d designed it.

Then it was necessary to test the device in the real-world, to see how it would perform outside of the lab. Dick would often load up his truck for weekend test shoots. He’d pack it full of a serious amount of computer equipment with the latest software revs, and makeshift field cameras testing rigs with the latest sensor revisions alongside power inverters to make great test images in real-world situations outside of the lab.

He’d chase dawn and twilight magic light to see how the sensor would respond in the exact conditions that professional photographers would likely look for themselves.  He’d build and experiment, and he really took ownership of the technology. His pictures proved the Foveon sensors worked. And by worked, that meant really worked–not just in a lab, but out there in the world. He kept everyone motivated by truly leading by example.

One of the early subjects captured by that original 2048x2048x3 Foveon sensor prototype was the CEO Sigma Corporation, Mr. Michihiro Yamaki. Mr. Yamaki had met with Carver Mead of Foveon at Photokina 2000. Mr. Yamaki’s curiosity was piqued at the demonstration and explanation of the different imaging technology Foveon was developing.

This meeting sealed the partnership between the two companies. Sigma and Foveon worked together on developing the Sigma cameras that would house the Foveon sensors. Relatively shortly thereafter, the first Digital SLR camera equipped with a 2268 x 1512 x 3 Foveon sensor inside, the Sigma SD9, was announced on February 11, 2002.

Since 2002, Sigma and Foveon have worked together to continually refine the imaging technology and in 2008, Sigma Corporation acquired Foveon. Sadly, 2008 also marks the year when Dick Merrill passed away.

Shri Ramaswami, General Manager of Foveon, recalls Dick Merrill as a man of vision and passion:

“Dick had an excellent grasp of semiconductor technology, combined that with a newly ignited passion for imaging and built an entirely new, breakthrough imaging system. He took a personal stake in making  Foveon X3 image sensor technology a reality, seeing an opportunity to make something truly unique and special. He possessed a rare combination of passion and genius that drove him to move from theory, to prototype, to product.”

And so, it is with great pride as a company that we honor the vision, drive and passion of one of the founders of Foveon, Dick Merrill, with the release of the new Merrill series of cameras, The Sigma SD1 Merrill, the Sigma DP1 Merrill, and the Sigma DP2 Merrill.

The Olympus E-M5 Unites an Intuitive Built-In Electronic Viewfinder with the World’sFirst*15-Axis Image Stabilization and World’s Fastest*2 Autofocusing System inside aPowerfully Portable and Rugged Dustproof and Splashproof Body

CENTER VALLEY, Pa., February 7, 2012, 9:00pm – Today Olympus builds upon the 40-year legacy of the OM SLR film camera series and marks the beginning of the new digital imaging era with the launch of the Olympus E-M5, the first of the new Olympus OM-D (OM Digital) Series of Micro Four Thirds™ products. Designed to meet the needs of advanced photographers, the Olympus E-M5 is packed with a built-in electronic viewfinder, superior image technology, blazing fast speed and total creative control in a classic, rugged body ready for sand, sun, sleet or snow.

Evoking the classic design of the original OM Series introduced 40 years ago, and transforming it for the modern age, the Olympus OM-D Series is a new and entirely unique Micro Four Thirds camera system. It combines outstanding features found in the Olympus E-System DSLR line with those of the compact Olympus PEN® Series to meet the requirements of discerning photographers who demand more performance and portability from their interchangeable-lens cameras. The compact and ready-for-action Olympus E-M5 boasts breakthrough innovations inside, including:

• A built-in 120-fps (frames-per-second) refresh rate, high-resolution electronic viewfinder (EVF) with outstanding image quality, eye detect and intuitive functionality that enables real-time viewing of shooting conditions
• A 16.1-megapixel Live MOS Sensor and TruePic™ VI image-processing engine for superior image quality and high sensitivity
• The world’s first*1 5-axis image stabilizer to compensate for multi-directional camera shake during both still photography and HD moviemaking
• The world’s fastest*2 autofocusing system (FAST AF) plus new 3D AF tracking for improved performance following moving subjects at up to 9 frames-per-second
• A lightweight magnesium alloy body that is enhanced with the same dustproof and splashproof durability of the Olympus E-5 DSLR
• A tilting 3.0-inch touch screen OLED and new Movie Effects: One Shot Echo, for a semi-transparent frame at your whim and Multi Echo, for a multi-motion trail effect.

Olympus E-M5

Intuitively Designed Electronic Viewfinder

The OLYMPUS E-M5 is the first Olympus interchangeable-lens camera to incorporate a 120-fps refresh rate, High-Definition electronic viewfinder with an eye sensor to seamlessly switch the display between the tilting, 3.0-inch touch screen OLED and the electronic viewfinder for ease-of-use, features a 100-percent field of view, maximum 1.15x magnification and an eye point of 18mm for fatigue-free viewing. Camera setting information, such as shutter speed, is displayed at the bottom of the viewfinder so photographers can concentrate on framing shots and take full advantage of an EVF’s ability to display the effects of various exposure adjustments and Art Filter effects – all without having to take the eye away from the viewfinder.

Olympus E-M5

Superior Image Quality
The Olympus E-M5 uses a new 16.1 megapixel High-Speed Live MOS Sensor offering improved performance and exceptional clarity and speed in all aspects of image capture. Olympus’ TruePic VI image-processing engine dramatically improves image quality in low-light environments. The camera’s sensor allows for a maximum ISO of 25,600, and the dynamic range has been expanded for more faithful color reproduction.

Olympus E-M5

Unprecedented 5-axis image stabilization
The Olympus E-M5 is distinguished by the world’s first 5-axis image-stabilization mechanism capable of reducing the effects of camera motion and image blur from five directions on stills and video, even including motion blur caused by the photographer walking or running. Previous IS mechanisms compensated for camera shake by addressing only two kinds of movement along the vertical and horizontal axis. However, camera shake can actually be caused by five different kinds of movement: horizontal shift, vertical shift, rotary motion, as well as the yaw and pitch. While some technology has attempted to correct for camera blur by building the Image Stabilization mechanism into the lens, the Olympus E-M5 IS mechanism is incorporated into the camera body itself so that all lenses mounted on the body can take advantage of this sophisticated technology, whether shooting stills or HD video.

Blazing Speed
Focus and shoot faster with record-breaking autofocus speed and imaging processing. The Olympus E-M5 employs the FAST (Frequency Acceleration Sensor Technology) AF system, introduced in the PEN E-P3, but with even greater speed. The 16MP Live MOS chip drives image data off the sensor at a blazing 240 frames-per-second, a 2X speed increase in Continuous Autofocus, with reduced image blackout enabling photographers to track fast action, Maximum frame rates have also increased more than 2X with a max frame rate of 9-fps in Single AF. A new 3D tracking AF system can follow the subject through the X-, Y- and Z-axes to dramatically improve focus on moving subjects. Paired with the M.ZUIKO DIGITAL ED 12-50-mm f3.5-6.3 electronic zoom lens for optimum focusing speed, fast camera start-up times and operational speeds enable the photographer to keep up with the most challenging shooting situations, while dual control dials and dedicated function buttons help them adjust settings on-the-fly.

Creative Freedom
The Olympus E-M5 features a 3.0-inch tilting OLED touch-screen to enable photographers to get up high or down low for any shot. The touch screen interface offers intuitive focus and release of the shutter and review and enlargement of images in playback with the touch of a finger. The new Live Bulb feature updates the Live View image on the OLED screen at pre-set intervals during long exposures and enables the user to preview continually unfolding action such as fireworks or waterfalls and adjust the exposure time accordingly while capturing the image at the desired moment. An innovative new interface, EVF Creative Control, produces a tone curve overlay on the viewfinder screen to enable separate adjustment of highlight and shadow brightness, white balance, magnification and aspect ratio can also be manipulated via the EVF

A new “Key Line” Art Filter joins ten other available filters on the Olympus E-M5 and enhances the edge lines of the image to make it look more like an illustration. New “Cross Process II” and “Dramatic Tone II” Art Filters provide variations on the popular existing filters, and the two new Echo effect for movies leaves a momentary residual image of a subject’s movements when activated during movie recording. Users who like to perform their movie post-editing on a PC will particularly appreciate the Full HD 1080i movie recording function, which adopts the MOV format (MPEG-4 AVC/H.264).

Powerful Portability and Rugged Durability
The striking, iconic design of the Olympus E-M5 is more than just looks; its magnesium alloy body is rugged enough to stand up to severe environmental conditions like heavy rain and blowing sand. The Olympus E-M5 employs internal seals extensively and, when the new M.ZUIKO DIGITAL ED 12-50 mm f3.5-6.3 EZ lens is attached, this combination delivers an integrated dustproof and splashproof camera system. The electronic viewfinder section of the body is also made of magnesium alloy to ensure durability, and the FL-LM2 Electronic Flash that ships with the camera features the same dustproof and splashproof construction.

Olympus E-M5

New Lenses and Accessories for Every Shooting Challenge
The HLD-6 Power Battery Grip, in the same dust- and splashproof construction as the Olympus E-M5 body, is an adaptable, two-part grip that can be used either as a landscape grip for easier handling or as a portrait grip with an additional shutter release. The portrait grip accommodates an extra lithium-ion battery to supplement the one in the E-M5, thus extending battery life. The FL-600R electronic flash (GN 50 at ISO 200 or GN 36 at ISO 100) offers improved recharge time and enhanced flexibility and operability for movie recording, and with a wireless control option. Equipped with a built-in LED, the FL-600R can be used to light movies and as a brighter AF auxiliary light. The MMF-3 Four Thirds mount adapter is designed for mounting a Four Thirds Standard-compliant lens on a Micro Four Thirds Standard-compliant camera body. The MMF-3, which also features dust- and splashproof construction, is ideally suited for use with Olympus’ similarly constructed High Grade and Super High Grade lenses.

The Olympus E-M5 is compatible with all Micro Four Thirds-compliant lenses, including two new lenses that Olympus will introduce later this year: the M.ZUIKO DIGITAL ED 75mm f1.8 and the M.ZUIKO DIGITAL ED 60mm f2.8 macro. The 75mm lens is a high-quality metal design with fast aperture settings for portraits and indoor sports shooting, while the dustproof and splashproof 60mm lens features 1:1 macro and a closest shooting distance of just 7.5 inches.

*1 As of February 2012. Among interchangeable-lens cameras.
*2 As of November 2011. Among interchangeable-lens digital cameras on the market, and using Olympus’ in-house test conditions. In C-AF Tracking mode, maximum frame rate is 4.2fps.

U.S. Pricing and Availability
The Olympus E-M5 will be available in April and ships in the following configurations: 
Estimated Street Price:
$999.99 (Body only, available in Black and Silver)
$1,299.99 (Black or Silver body with black M.ZUIKO Digital ED 12-50 mm f3.5-6.3 EZ lens)
$1,099.99 (Black body with black M.ZUIKO DIGITAL 14-42 mm f3.5-5.6 II R lens)
For a complete list of specifications, visit the Olympus website:http://olympusamerica.com/cpg_section/product.asp?product=1583

To find out more about the OM-D E-M5, visit the OM-D site at: www.olympusomd.com

ABOUT OLYMPUS IMAGING AMERICA INC.
Olympus Imaging America Inc. is a precision technology leader, designing and delivering award-winning products for consumer and professional markets.

SO CLOSE TO THE ACTION, YOU CAN ALMOST TOUCH IT

 iHS Technology, High-Resolution Touch LCD, and 24x Zoom Extends the Power and Performance of the Olympus Long Zoom Line

CENTER VALLEY, Pa., February 7, 2012 – The Olympus SZ-31MR iHS camera packs incredible power and performance into a single, compact and lightweight body thanks to new enhancements to the popular Long Zoom line. Like its predecessor, the SZ-31MR iHS incorporates revolutionary Multi-Recording functionality that simultaneously captures 1080p HD Video and 16-Megapixel still images without missing a frame. But the innovative Olympus SZ-31MR iHS goes further by combining an outstanding 24x Wide-Angle Optical Zoom Lens (25-600 mm zoom equivalent in 35-mm format) with a new touch panel LCD and powerful new iHS (Intelligent, High-Sensitivity and High-Speed) technologies that capture excellent images and videos in the most challenging backlit and low light conditions.

New iHS technology achieves consistently sharp and vivid images in any situation. iHS draws on the camera’s 16-megapixel backlit CMOS sensor and two separate TruePic V image processors, originally developed for DSLR cameras, to dramatically improve low-light performance, speed up camera response time, enhance scene and subject recognition and double zoom magnification without sacrificing image quality. Combined with High-Speed Sequential Shooting (10 frames-per-second) and high-speed autofocus, iHS reduces picture noise and enhances resolution and color gradation despite fast-moving subjects, night scenes and other tricky shots.

Olympus SZ-31MR iHS

Thanks to the ingenious Multi-Recording feature that enables users to combine various photo and video recording modes simultaneously, you’ll never have to choose between capturing 1080p Full HD Videos or still images again. A simple tap on the LCD screen captures a photo while you’re recording video – all without interrupting your movie making.

The Olympus SZ-31MR iHS brings you close to your subjects with its lens, and while you can’t physically touch them from afar, the camera‘s touch-sensitive, 3.0-inch 920,000-dot LCD display helps you effortlessly capture and display images, change camera focus, shutter speed and zoom, or navigate the Live Guide controls by simply touching the screen. Whether you’re trying to capture your child’s first time at bat from a distant bleacher seat or zooming in on a delicate wildlife subject unaware of your presence, the action will feel so close, you can almost touch it.

Olympus SZ-31MR iHS

Multi Motion Movie IS (Image Stabilization for video) and Dual Image Stabilization (for still images) all but eliminate blur, even when you’re moving and shooting at the same time. Hand-Held Starlight Mode enables you to shoot blur-free, beautiful night scenes while holding the camera in your hands and without a tripod.

Twelve Magic Art Filters power your creativity by adding a whole range of special effects to both your images and videos directly in the camera. The Olympus SZ-31MR iHS offers three new Magic Art Filters. Reflection takes the image and duplicates it across a horizontal or vertical plane of symmetry creating powerful illusions, Fragmented turns an image into a photo composed of multiple tiles, similar to puzzle pieces, and Dramatic partially changes the contrast of the image for a vividly surreal look.

When you’re back from your adventures, enjoy Full HD Video and HDMI control in broadcast-quality 1080p when played back on an HDTV. The Olympus SZ-31MR iHS also makes photo slideshows even more entertaining by incorporating music and transition effects.

Olympus SZ-31MR iHS

U.S. Pricing and Availability
The Olympus SZ-31MR iHS will be available in late April and ships with a Strap, USB Cable, USB-to-AC Adapter (F-2AC), Lithium-Ion Battery (LI-50B), Quick Start Guide, A/V Cable, Instruction Manual on CD-ROM, a software CD-ROM including [ib] (Windows) and OLYMPUS Viewer 2 (Win/Mac), and a Warranty Card.

Estimated Street Price: $399.99 (Available in Silver and Black)

For a complete list of specifications, visit the Olympus website:http://olympusamerica.com/cpg_section/product.asp?product=1593

ABOUT OLYMPUS IMAGING AMERICA INC.

Olympus Imaging America Inc. is a precision technology leader, designing and delivering award-winning products for consumer and professional markets.

iHS Technology Brings Intelligence, High-Sensitivity and High-Speed Performance to Active Families and Adrenaline Junkies Alike So They Can Focus on Fun

CENTER VALLEY, Pa., February 7, 2012 – The Olympus digital camera line-up for spring features a next-generation Olympus TOUGH compact that sets a new benchmark for Waterproof, Shockproof, Freezeproof, Crushproof and Dustproof performance. Combining proven durability with superb image quality courtesy of the new iHS (Intelligent, High-Sensitivity and High-Speed) family of technologies, the Olympus Tough TG-820 iHS has both brains and brawn. iHS harnesses the power of a new 12-megapixel BSI (Back-Side Illuminated) CMOS sensor and the TruePic VI image processor (originally developed for DSLR cameras) to dramatically improve low-light performance, speed up camera response time, enhance scene and subject recognition and double zoom magnification without losing image quality.

Whether you’re using it at a neighbor’s pool party or snorkeling near a tropical reef, out-and-about at your local park or hiking Yellowstone, the Olympus Tough TG-820 iHS is the perfect travel companion for active families and adventurers looking for a camera that delivers outstanding image quality with a worry-free guarantee. Advanced iHS technology ensures that even people with an action-packed lifestyle can capture brilliant photos and 1080p Full HD Videos, no matter how fast their subject is moving or how poor the lighting is.

TG-820 iHS

iHS powers a number of new Olympus features that take all the work out of capturing difficult shots. A blazing quick autofocus and HDR Backlight Adjustment takes a collage of separate photos and blends them into one perfectly exposed image regardless of difficult lighting. Multi-Motion Movie IS (Image Stabilization) records virtually blur-free videos even when you’re moving. The versatile lens on the Olympus Tough TG-820 iHS pulls out wide or zooms in twice as close with its 10x Super-Resolution Zoom that digitally extends the range of the optical zoom with nearly no loss of image quality. Capture beautiful images and videos effortlessly; Enhanced iAuto enables the camera to automatically detect 34 different scenes (portrait, landscape, macro, etc.)

While the new imaging technology delivers optimal results with fast-moving subjects, night scenes and other tricky shots, the Olympus Tough TG-820 iHS is also Waterproof to 33 feet, Shockproof to 6.6 feet, Freezeproof to 14 °F and even Crushproof to a weight of 220 pounds*1. Focus on fun, without worrying about damaging your camera’s high-grade components like the OLYMPUS 5x Wide-Angle Zoom Lens (28 mm-140 mm*2). The 3.0-inch, 1,030,000-dot HyperCrystal III LCD offers super high-resolution with scratch-resistant, anti-reflective coatings for added protection and better visibility in bright and low light.

When you’re back from your adventures, the camera’s HDMI Control makes playback a breeze. Simply connect the camera to an HDTV with an optional HDMI cable and use your HDTV’s remote to control playback functions and navigate the camera’s menus from the comfort of your couch.

*1 Waterproof according to IEC standard publication 529 IPX8. Shockproof figures equivalent to MIL Standard (Olympus test conditions). Freezeproof according to Olympus test conditions.
*2 35 mm camera equivalent.

TG-820 iHS

U.S. Pricing and Availability
The Olympus Tough TG-820 iHS will be available in March and ships with a Wrist Strap, USB Cable, A/V Cable, USB-to-AC Adapter (F-2AC), Lithium-Ion Battery (LI-50B), Quick Start Guide, Instruction Manual on CD-ROM, a software CD-ROM featuring [ib] (Windows) and OLYMPUS Viewer 2 (Win/Mac), and a Warranty Card.
Estimated Street Price: $299.99 (Available in Silver, Black, and Blue)
For a complete list of specifications, visit the Olympus website:http://olympusamerica.com/cpg_section/product.asp?product=1592

ABOUT OLYMPUS IMAGING AMERICA INC.
Olympus Imaging America Inc. is a precision technology leader, designing and delivering award-winning products for consumer and professional markets.

Despite the hype leading up to both Nikon and Canon releases, the new Tamron 24-70 f/2.8 VC is the more interesting product to me

Today is the day many fanboys have been waiting for.  When I checked my e-mail this morning, I could feel the collective nerdgasm from the online photography community.  Nikon finally launched the highly anticipated D800, a 36 megapixel monster.  We talked about this a long time ago as the specs were leaked in October and my feelings about the camera remain the same.  Canon also made a big splash today by revealing their new professional mid-range zoom, the 24-70 f/2.8L II.  So despite the mega-load of hype surrounding both of these products, I personally believe Tamron released a much more innovative product yesterday.  Yes you read that right, Tamron is the winner!  Their brand spanking new 24-70 f/2.8 VC lens is more exciting to me than the Nikon D800 or the Canon 24-70 f/2.8L II.  Here’s why.

The internet is always buzzing with rumors of new big time products.  Just like anything out there such as cars, guitars, and smart phones, people want to know what the latest and greatest product is going to be.  However many who worry about these things will never take full advantage of the features these new products offer.  Many who spend hours bemoaning these products will actually never buy them. Despite this logic, the demand is still out there, so I will be sure to review the Nikon D800 and the new Canon 24-70 f/2.8L II when we get our hands on them, but I am honestly more excited about the new Tamron 24-70 f/2.8 VC lens.

Tamron's brand new 24-70 f/2.8 VC lens

Tamron’s announcement was quiet and no one was really anticipating this new lens.  As far as I know there is no “Tamron Rumors” website, but perhaps those out there drooling over the newest Nikon and Canon gear should give this Tamron lens a second look.  A lot of our customers are in the beginner to intermediate stage so if the price is right (it hasn’t been announced yet) the new Tamron 24-70 f/2.8 VC will be a real winner.  A lot of the same armchair general photographers who are screaming about megapixels, will tell you to only buy lenses made by camera manufacturers.  If that’s what you feel comfortable with, I am not going to argue with you!  Canon, Nikon, Sony, Olympus, Panasonic, Leica, and Pentax do make fantastic lenses for their specific cameras. However something tells me the $2,299 price tag of the new Canon 24-70 f/2.8L II is going to be a hard sell for the newbie/aspiring photographer who just spent what they perceive to be “a lot” of money on their new 60D, 5D, D700, etc…  Again I don’t know the price of the new Tamron, but I can promise you it will not be $2,299.  So what about performance? If the Tamron lenses I reviewed most recently (70-300 VC and 18-200 NEX mount) are any indication of the quality you will get out of the new 24-70 f/2.8 VC, then the money will be well spent.  Tamron’s VC (Vibration Compensation) works exceptionally well and they are the first to implement this mechanism into a full-frame mid-range f/2.8 zoom lens.  In the past I have probably noted that I don’t think it is a necessary feature for a fast lens in this focal length range, but it certainly won’t hurt.  In fact it could open up a whole new door for event photographers looking to drag longer exposures while mixing in rear curtain flash.  Sigma already makes a high-end 24-70 f/2.8 variant (sans stabilization), so it will be interesting to compare the two. Stay tuned.

-MZ

Nikon FT1 F-mount Adapter for Nikon 1 Cameras

In the midst of the feverish whirlwind  emitting from the Nikon storm (see: D800), there’s some additional, yet subtle information pertaining to the much smaller Nikon 1 series camera and it’s recent F-Mount Adapter. Now that The FT1 Adapter has become widely available in the West, you can use most of your old Nikkor F-Mount lenses on that tiny Nikon 1 V1 or J1. Before you go ahead and  attempt some questionably unnecessary lens combination, there are a few caveats to take into account. To properly calibrate your lens with the Nikon 1 system, you will have to update the camera’s firmware located on Nikon’s support page. While using this adapter you are going to notice the angle of view being cropped by 2.7x, or in other words the lenses you’ve become accustomed to on your DSLR will appear much longer. Other factors to be aware of are possible autofocus imprecisions while on auto modes (depending on the lens you may only be able to us AF-S or Manual focus only), the appearance of lines on images taken with a non-CPU lens stopped down at minimum aperture, and irregularly shaped bokehs using a lens wide open at f/1.4 or f/1.2. Despite it’s few quirks, the FT1 adapter allows the addition of “more than 60″ lenses to your Nikon 1 arsenal, permitting you broadened creativity and bragging rights. With that said, you can go back to fawning over the D800…

Olympus is expected to announce the replacement of the SZ-30MR and TG-810 compact cameras. The new models are rumored to be the SZ-31MR and TG-820. Below are the current models of these compact cameras:

SZ-30MR

TG-810

Highlighted Features include Wi-Fi, Powerful Optical Zoom and Ruggedness

LAKE SUCCESS, N.Y., February 7, 2012 – Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the addition of four PowerShot digital cameras: the ELPH 530 HS, ELPH 320 HS, SX260 HS, and D20. Photographers no longer have to sacrifice image quality for the ability to instantly share images and videos with the use of the PowerShot ELPH 530 HS and ELPH 320 HS Wi-Fi enabled cameras. The PowerShot SX260 HS camera puts Canon’s amazing optical reach into a pocket sized camera, with a 20x optical zoom (25mm to 500mm) letting you pull subjects in close. Designed for the adventurous photographer looking to take spectacular photos, the rugged PowerShot D20 camera is ideally suited for the backpacker, snowboarder or tropical-traveler.

“Canon wants to help people capture the best images possible with the ability to quickly and easily share them with the world. With new PowerShot features such as Wi-Fi connectivity, people can quickly upload and share images on social networks,” said Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “Whether it’s a powerful zoom, Wi-Fi or waterproof features, our new PowerShot lineup empowers people to be creative with their photography. There are good enough images and there are great images, we always aim to help people capture the best images.”

Canon PowerShot ELPH 530 HS Digital Camera

The Wi-Fi functionality built into the two ELPH models allow for a variety of connection options to help photographers share, upload, or back-up images. Users can connect directly to a wireless network from their camera to upload photos and videos to the Canon iMAGE GATEWAYⁱ, an online service that lets registered users store images to an online album, and then post their content to social networks such as Facebook, YouTube and Twitter.

In March, the Canon CameraWindow application is expected to be available on the Apple App Store for the iPad, iPhone and iPod Touchⁱⁱ to further enhance the connectivity options. With this App, users can transfer and save images and videos from the camera to compatible iOS devices, which can then be directly uploaded to Facebook and YouTube or emailed. Photos and videos can also be shared on-the-spot with friends and family by transmitting to another current Wi-Fi-enabled Canon camera as well. A similar app is expected to be available in May for Android devices.

The flagship of the ELPH line, the .78 inches thick ELPH 530 HS camera has the classic style of the original ELPH design while also being Wi-Fi enabled and packing an amazing 12x optical zoom lens to capture great shots from a distance. Canon’s HS SYSTEM has been included where the 10-megapixel high-sensitivity CMOS sensor will work in tandem with the camera’s DIGIC 5 image processor to help produce high-quality images in low-light conditions. The ELPH 530 HS will also shoot 1080p Full HD video helping capture footage in crystal clear clarity. This new model sports a 3.2-inch LCD touch screen for simple and intuitive operation and menu navigation, Smart AUTO scene selection with 58 scenes, Face ID for optimal images of up to 12 registered subjects and the Intelligent Image Stabilization (IS) function. The camera will be available in black or white for an estimated retail price of $349.99 and is expected to ship in April.

Canon PowerShot ELPH 530 HS Digital Camera

Canon PowerShot ELPH 530 HS Digital Camera

The Canon PowerShot ELPH 320 HS camera makes the perfect on-the-go camera for the young and active photographer, with Wi-Fi connectivity for easy uploading of memorable moments. The HS SYSTEM has also been included on this model with the 16.1 megapixel high-sensitivity CMOS and DIGIC 5 image processor working together to produce high-quality, low-light images. For those users who value high-quality video, the camera has 1080p Full HD capabilities as well. A 5x-Optical Zoom 24mm wide-angle lens will help expand the shooting capabilities of the camera and a 3.2-inch LCD touch screen for simple and intuitive operation and menu navigation. This camera will also feature Smart AUTO scene selection with 58 scenes and Face ID in addition to Intelligent IS. The camera will be available in four eye-catching colors (black, silver, blue and red) for an estimated retail price of $279.99 and is expected to ship in March.

Canon PowerShot ELPH 320 HS Digital Camera

Canon’s PowerShot SX260 HS camera delivers a powerful 20x Optical Zoom and 25mm Wide-Angle lens with Optical Image Stabilization delivers stunning images from up close or at a distance and measuring just 1.29-inches thick. The camera’s impressive zoom is accompanied by Canon’s HS SYSTEM for improved low-light shooting with a 12.1-megapixel high-sensitivity CMOS sensor and DIGIC 5 image processor. Combining this incredible zoom and high-image quality will allow photographers of all levels to capture great photos or 1080p Full HD video up close and at a distance, all in one portable, powerful digital camera. The Smart AUTO scene selection with 58 scenes and Face ID has also been included in this incredibly diverse yet compact device. The camera also includes Intelligent IS and GPS photo tagging with location and elevation information to help plot exactly where your travels have taken you. Adding to the feature-set is High-Speed Burst HQ allowing for approximately 10 high-resolution shots to be captured at a continuous rate at 10.3 frames per second. The camera will be available in three colors – black, green and red – and is expected to be available in March for an estimated retail price of $349.99.

Canon PowerShot SX260 HS Digital Camera

Waterproofⁱⁱⁱ, shock-proof,^iv and freeze-proof^v the PowerShot D20 is built with the active photographer in mind. Outfitted with an easy-to-access button, the camera enables users to switch from normal photo mode to snow or underwater mode, even with gloves on. To help make the underwater photos as great as those captured on dry land, the camera has a built-in underwater macro mode producing amazing pictures up close while diving or snorkeling. When recording video, the camera includes wind reduction technology to help capture clear audio even in breezy conditions. It touts an impressive array of features including the HS SYSTEM incorporating a 12.1-megapixel high-sensitivity CMOS sensor and DIGIC 4 image processor, 1080p Full HD video and a 5x optical zoom lens. Also included is a 3.0-inch LCD screen, GPS-capabilities allowing users to track their locations and tag each photo with latitude, longitude, and elevation information and Intelligent IS.^vi The PowerShot D20 camera is expected to ship in May 2012 for an estimated retail price of $349.99.

Canon PowerShot D20 Digital Camera

Canon PowerShot D20 Digital Camera

For more information about the new Canon PowerShot cameras go to:www.usa.canon.com/powershot

Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. With more than $45 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks fourth overall in patent holdings in the U.S. in 2010†, and is one of Fortune Magazine’s World’s Most Admired Companies in 2011. Canon U.S.A. is committed to the highest levels of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.

† Based on weekly patent counts issued by United States Patent and Trademark Office.

All referenced product names, and other marks, are trademarks of their respective owners.

Availability, prices, and specifications of all products are subject to change without notice. Actual prices are set by individual dealers and may vary.

ⁱ Canon iMAGE GATEWAY Online Photo Album available starting February 14, 2012. One-time registration will be required.

ⁱⁱ Compatible with iOS 4.3 or later versions.

ⁱⁱⁱ Down to 33 feet

^iv Up to 5 feet

^v As low as 14 degrees Fahrenheit

^vi GPS functions will not operate while the camera is under water.

LAKE SUCCESS, N.Y., February 7, 2011 – Canon U.S.A., Inc., a leader in digital imaging solutions, today announced six PowerShot A-series digital cameras with improved operability that produce outstanding images and feature a high-quality, stylish re-design in a variety of fashionable colors. Canon’s PowerShot A-series models have been instrumental for entry-level users in learning the joys of photography and these new models continue this tradition with features such as 16-megapixel sensor, 720p HD video capture and a 28mm wide-angle lens to capture images of large groups at a family function or of a child on the playground.

PowerShot A-series models are known not only for producing high-image quality but also being easy to use as well. For the first time in a PowerShot A-series model, the A4000 IS, A3400 IS and A2400 IS models will feature Intelligent IS so the camera automatically selects the most effective image stabilization mode ensuring users always capture the best results. In addition, all of the models announced today will have the Smart AUTO feature with 32 shooting modes that selects the appropriate camera setting based on the users shooting environment. Additionally, for the first time in a PowerShot camera, each model will have a Help button to provide an explanation of various shooting modes to help the user along the way.

“The new additions to Canon’s new PowerShot A-series lineup will provide entry-level users with many options to unlock their creativity and capture high-quality images at a budget-friendly price,” said Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A.

PowerShot A4000 IS

The Canon PowerShot A4000 IS and PowerShot A3400 IS cameras will each have a Genuine Canon Lens with Optical Image Stabilization allowing users to capture up-close details and wide landscapes. For the PowerShot A4000 IS camera, there will be an impressive 8x-Optical Zoom lens, the longest to date for a PowerShot A-series model, and the PowerShot A3400 IS camera will have a 5x-Optical Zoom. In addition, both cameras will have a 3-inch LCD screen; however, the PowerShot A3400 camera’s screen will be Touch Panel, another first for a PowerShot A-series model, with Touch Focus and Touch Shutter shooting modes for enhanced camera operation. The PowerShot A4000 IS camera is scheduled to be available in February in black, silver, blue, red and pink for an estimated retail price of $199.99. The PowerShot A3400 IS camera is scheduled to be available in March in black, silver, red and gold for an estimated retail price of $179.99.

PowerShot A3400 IS

The PowerShot A2400 IS and PowerShot A2300 cameras both feature a 5x-Optical Zoom and a 2.7-inch LCD screen. The PowerShot A2400 IS camera will also have Optical Image Stabilization and is scheduled to be available in March in black, silver, blue and pink for an estimated retail price of $159.99. The PowerShot A2300 camera is scheduled to be available in March for an estimated retail price of $149.99 in black, silver, red and blue.

PowerShot A2400 IS

PowerShot A2300

For the more traditional camera user, the PowerShot A1300 camera comes equipped with an optical viewfinder adding to the versatility of this model. Additionally, both the PowerShot A1300 and PowerShot A810 cameras feature a 5x-Optical Zoom lens, 2.7-inch LCD screen and use AA batteries allowing for easy replacement whether at home or on a family vacation. The PowerShot A1300 camera is scheduled to be available in April for an estimated retail price of $119.99, in black and silver. The PowerShot A810 camera is scheduled to be available in April for an estimated retail price of $109.99, in black, silver and red.

PowerShot A1300

PowerShot A810

Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. With more than $45 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks fourth overall in patent holdings in the U.S. in 2010†, and is one of Fortune Magazine’s World’s Most Admired Companies in 2011. Canon U.S.A. is committed to the highest levels of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.

† Based on weekly patent counts issued by United States Patent and Trademark Office.

Specifications subject to change without notice.

All referenced product names, and other marks, are trademarks of their respective owners.

Availability, prices, and specifications of all products are subject to change without notice. Actual prices are set by individual dealers and may vary.

LAKE SUCCESS, N.Y., February 7, 2012 – Canon U.S.A., Inc., a leader in digital imaging solutions, today announced two new versions of its coveted Wide Angle Lenses and a new version of its popular 24-70mm Standard Zoom Lens for professionals and photo enthusiasts. The new EF 24-70mm f/2.8L II USM, EF 24mm f/2.8 IS USM and EF 28mm f/2.8 IS USM lenses use a rear focusing system, high-speed CPU, and a powerful ring-type Ultra Sonic Motor (USM) with optimized AF algorithms for faster auto focusing and sharp images. With large apertures these new lenses deliver beautiful, soft backgrounds for superior image quality.

“Our heritage is our optics with over 70 years of expertise, we look to continually further our promise to our users and deliver the ultimate image quality,” said Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “These new lenses are powerful tools for photographic and video enthusiasts to pair with Canon cameras to help enable and enhance their creative vision.”

Canon continues the tradition of ensuring the Company’s highest quality optical performance in its L-series lenses with the launch of the EF 24-70mm f/2.8L II USM zoom lens. This new version of one of Canon’s most popular lenses utilizes one Super UD lens element and two UD lens elements to help achieve outstanding image quality throughout the full zoom range. The result is significantly reduced chromatic aberration in the outer area at wide-angle, high resolution and contrast in images and crisp clear edges around the subject. The lens coatings have been optimized to ensure exceptional color balance while minimizing ghosting, and reduced spherical aberration. With a circular nine-blade diaphragm, the lens delivers soft backgrounds and incredible bokeh.

Canon EF 24-70mm f/2.8L II USM Lens

In demand by architectural, corporate, adventure and professional photographers of nearly every discipline, the EF 24-70mm f/2.8L II USM lens combines amazing image quality with enhanced durability. Highly resistant to dust and water, the new lens has enhanced durability and weather sealing. The lens also features a zoom lock lever to secure the zoom position for safe transport, and fluorine coatings on the front and rear glass surfaces to reduce smears and fingerprints, making it an ideal lens regardless of the conditions.

The EF 24-70mm f/2.8L II USM lens is expected to be available in April for an approximate retail price of $2,299.00.

Canon Standard Prime Lenses with Optical Image Stabilizer:

Empowering landscape and wide-angle photographers with improved optical performance, Canon has upgraded both its EF 24mm and EF 28mm lenses with Image Stabilization technology and Ultrasonic Motor-powered auto focus. Both lenses feature Canon’s Optical Image Stabilizer technology providing up to four shutter speed stops of correction. With the Optical Image Stabilizer turned on, photographers can capture sharp wide-angle images in low-light settings reducing the need for a flash or a tripod. New aspherical lens elements improve the peripheral image quality and a seven-blade circular diaphragm delivers beautiful, soft backgrounds. The silent and smooth operation of each lens makes them ideal choices for shooting video as well. The EF 24mm f/2.8 IS USM and EF 28mm f/2.8 IS USM lenses each have a minimum focusing distances of 0.20m and 0.23m, respectively.

The EF 24mm f/2.8 IS USM lens is expected to be available in June for an approximate retail price of $849.99, while the EF 28mm f/2.8 IS USM lens is expected to be available in June for an approximate retail price of $799.99.

EF 28mm f/2.8 IS USM

EF 24mm f/2.8 IS USM

Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. With more than $45 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks fourth overall in patent holdings in the U.S. in 2010†, and is one of Fortune Magazine’s World’s Most Admired Companies in 2011. Canon U.S.A. is committed to the highest levels of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.

* This device has not been authorized as required by the rules of the Federal Communications Commission. This device is not, and may not be offered for sale or lease, or sold or leased, until authorization is obtained.

† Based on weekly patent counts issued by United States Patent and Trademark Office.

All referenced product names, and other marks, are trademarks of their respective owners.

Availability, prices, and specifications of all products are subject to change without notice. Actual prices are set by individual dealers and may vary.

LAKE SUCCESS, N.Y., February 7, 2012 – Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the addition of three PIXMA Office printers to the lineup: the MX512 Wireless¹ All-In-One (AIO), MX432 Wireless¹ AIO and the MX372 AIO. These new print, copy, scan and fax models help continue this tradition and are designed to provide users with the confidence that the final output will match the original concept.

Available for both new wireless models is the Canon Easy-PhotoPrint mobile app², for use with compatible Apple and Android smart phones and tablets, allowing documents to be scanned on the printer and sent directly to a compatible device. Users can print PDFs of documents that were created with the app directly from compatible devices, whereas in the past only photos could be printed.

With 802.11n Wi-Fi capability, the PIXMA MX512 and MX432 Wireless Office AIO Printer models are capable of a high-speed network transfer rate. Setting up a wireless network can be easily accomplished with the press of one button when using Wi-Fi Protected Setup (WPS). Canon U.S.A. offers its award-winning service and support online for all of its consumers looking to set up any of its wireless products at www.usa.canon.com/wirelesshelp. Here, customers have access to video tutorials and manuals to assist in setting up a wireless printer.

MX432

“With many people making the decision to work from home, it is more important than ever to have a printer you can rely on to produce high-quality prints no matter the project,” said Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies and Communications Group, Canon U.S.A. “Canon has recognized this trend and will continue to make products designed to satisfy the needs and wants of the end user.”

When making the decision on which printer to purchase, an important factor that users look for is overall ease-of-use. Taking this into account, Canon has developed the FastFront system and an exposed user interface included on all three new printers. Located on the front of the printer, the FastFront system allows users to open the front panel of the printer to easily access both the ink and paper for easy replacement. Each printer utilizes the two-cartridge ChromaLife 100 ink system³ - one black cartridge and one color cartridge- providing high-quality prints on plain paper, while still delivering high-quality photo prints. With the exposed user interface, the user can scan or copy important documents without having to worry about the document blocking the control panel and buttons required to perform the task.

MX372

Full HD Movie Print⁴ software has been included on all three models, allowing users to produce clear images of frames from videos captured on compatible HD Canon EOS and PowerShot Digital cameras. With Easy-PhotoPrint EX software, consumers can unlock their creativity with a variety of fun filter effects such as Fish-Eye, Miniature, Toy Camera, Soft Focus and Blur Background. An added bonus included with these new printers is exclusive printable content through CREATIVE PARK PREMIUM⁵ website. The content on this site includes projects users can print to enjoy with their family, such as Eric Carle greeting cards and photo frames as well as calendars to keep track of important business meetings and appointments.

The affordable and easy-to-use Canon PIXMA MX512 Wireless, MX432 Wireless and MX372 Office AIO printers deliver high-quality output whether on plain or photo paper at a maximum color resolution of 4800 x 1200 dpi⁶. For the first time in a Canon printer at the $149.99⁷ price point, the PIXMA MX512 Office AIO printer will feature a Dual Function Panel for easy navigation through menus, an Ethernet port for increased connectivity and Auto Duplex printing to help conserve paper usage. This new model also features a 2.5-inch TFT screen for easy viewing of menus and images while producing output at approximately 9.7 ipm for black-and-white documents and approximately 5.5 ipm for color⁸.

MX512

The PIXMA MX432 Wireless Office AIO printer delivers output at approximately 9.7 ipm for black-and-white documents and approximately 5.5 ipm for color⁸. The PIXMA MX372 Office AIO printer provides output at approximately 8.7 ipm for black-and-white documents and approximately 5.0 ipm for color⁹. All three printers can produce a 4″ x 6″ borderless photo⁹ in approximately 46 seconds¹⁰.

The PIXMA MX432 Wireless and MX372 Office AIO printers will have an estimated selling price of $99.99⁷ and $79.99⁷, respectively.

Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. With more than $45 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks fourth overall in patent holdings in the U.S. in 2010†, and is one of Fortune Magazine’s World’s Most Admired Companies in 2011. Canon U.S.A. is committed to the highest levels of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.

Specifications subject to change without notice.

All referenced product names, and other marks, are trademarks of their respective owners.

† Based on weekly patent counts issued by United States Patent and Trademark Office.

¹ Wireless printing requires a working network with wireless 802.11b/g or 802.11n capability. Wireless performance may vary based on terrain and distance between the printer and wireless network clients.

² Requires Canon Easy-PhotoPrint for iPhone app, available for free on the App Store, or Canon Easy-PhotoPrint for Android app, available for free in the Android Market. Compatible with iPhone 3G, 3Gs, 4, and 4S; iPod touch mobile digital devices; and Android devices running Android OS 1.6 or later.

³Canon cannot guarantee the longevity of prints; results may vary depending on printed image, drying time, display/storage conditions and environmental factors. Seewww.usa.canon.com/chromalife100 for additional details.

⁴Full HD Movie Print allows printing from HD or Full HD “MOV” movie files created by Canon EOS Digital SLR or PowerShot digital cameras. From PC, or Mac with Intel® processor. Print quality is determined by video resolution. Function does not upscale video resolution. Requires Canon ZoomBrowser EX 6.5 or later, or Canon ImageBrowser 6.5 or later.

⁵To access CREATIVE PARK PREMIUM from a qualifying printer, all of the software and the full set of Genuine Canon Inks that came with the printer must be properly installed.

⁶Resolution may vary based on printer driver setting. Color ink droplets can be placed with a horizontal pitch of 1/4800 inch at minimum.

⁷Availability and prices, of all products are subject to change without notice. Actual prices are set by individual dealers and may vary.

⁸ISO/IEC 24734 define the default print speed measurement methods. Print speeds are the averages of ESAT in Office Category Test for the default simplex mode, ISO/IEC 24734, excluding time to print the first set. See www.usa.canon.com/ipm for additional details.

⁹Supported paper types for borderless printing are as follows: Photo Paper Pro Platinum, Photo Paper Plus Glossy II, Photo Paper Plus Semi-gloss, Photo Paper Glossy and Matte Photo Paper.

¹⁰Photo print speeds are based on the standard mode driver setting using photo test pattern(s) and select Canon Photo Paper. Print speed is measured as soon as the first page begins to feed into the printer and will vary depending on system configuration, interface, software, document complexity, print mode, types of paper used and page coverage. Seewww.usa.canon.com/printspeed for additional information.

Edit by Andrew S.

The New Nikon D800 Offers Unrivaled Resolution and Features Designed for a Variety of Demanding Professional Photographic and Multimedia Disciplines, Videographers and Filmmakers

MELVILLE, N.Y. (Feb 6, 2012) – Today, imaging leader Nikon Inc. announced the highly anticipated D800 HD-SLR, engineered to provide extreme resolution, astounding image quality and valuable video features optimized for professional still and multimedia photographers and videographers. A camera with an unmatched balance of accuracy, functionality and image quality, the Nikon D800 realizes innovations such as a high resolution 36.3-megapixel FX-format CMOS sensor, a 91,000-pixel RGB Matrix Metering System, Advanced Scene Recognition System and many other intuitive features designed to create the preeminent device for the most demanding photo and video applications.

Whether shooting high fashion, weddings or multimedia content, Nikon’s highest resolution sensor to date, a groundbreaking new 36.3-megapixel (7360 x 4912 resolution) FX-format CMOS sensor, affords flexibility and astonishing image quality to satisfy a myriad of client requests. The Nikon D800 incorporates the latest 91,000-pixel 3D Color Matrix Metering III and the Advanced Scene Recognition System, coupled with an improved 51-point AF system for images with amazing sharpness, color and clarity. With its compact, lightweight D-SLR form factor and extensive video feature set, the D800 allows photographers to transition to multimedia to create an immersive story. Professional videographers will appreciate practical features that go beyond NIKKOR lens compatibility and Full HD 1080p video, such as full manual control, uncompressed HDMI output, and incredible low-light video capability. With this innovative combination of features, the D800 celebrates resourcefulness and a dedication to the flawless execution of an epic creative vision. All of this is driven by Nikon’s latest EXPEED 3™ image processing engine, providing the necessary processing power to fuel amazing images with faithful color, a wide dynamic range and extreme resolution.

D800

“Whatever the project, visionaries need a tool that is going to help them stay on-time and on-task. The Nikon D800 re-imagines what is possible from this level of D-SLR, to address the needs of an emerging and ever changing market; this is the camera that is going to bridge the gap for the most demanding imaging professionals, and provide never before seen levels of SLR image and video quality,” said Bo Kajiwara, director of marketing, Nikon Inc. “The D800 is the right tool for today’s creative image makers, affording photographers, filmmakers and videographers a versatile option for capturing the ultimate in still image quality or full HD content, with maximum control.”

Extreme Image Quality
The new Nikon developed 36.3-megapixel FX-format (35.9 x 24mm) CMOS sensor realizes Nikon’s highest resolution yet, and is ideal for demanding applications such as weddings, studio portraiture and landscape, where there is no compromise to exceptional high fidelity and dynamic range. Nikon’s first priority is amazing image quality above all else, and resolution of this magnitude affords photographers the ability to portray even the smallest details, such as a strand of hair, with stunning sharpness or crop liberally with confidence. Photographers also shoot with the assurance of NIKKOR lens compatibility, because only a manufacturer with decades of optical excellence can provide the glass to resolve this kind of extreme resolution.For shooting with minimal noise in a variety of lighting conditions, the D800 features a wide native ISO range of 100-6400, expandable to 50 (Lo-1)-25,600 (Hi-2). Nikon engineers have created innovative ways to manipulate light transmission to the sensor’s photodiodes, giving users the ability to shoot with confidence in challenging lighting conditions. Internal sensor design, an enhanced optical low pass filter (OLPF) and 14 bit A/D conversion with a high signal to noise ratio all contribute to a sensor capable of excellent low light ability despite the extreme resolution. Every aspect of this new FX-format sensor is engineered to deliver amazing low noise images through the ISO range and help create astounding tonal gradation and true colors, whether shooting JPEG or RAW. Images are further routed through a 16-bit image processing pipeline, for maximum performance. To further enhance versatility, users are also able to shoot in additional modes and aspect ratios such as 5:4 to easily frame for printed portraits or a 1.2X crop for a slight telephoto edge. For even more versatility, photographers can also take advantage of Nikon DX-format lenses for more lens options and enhanced focal range (1.5X), while still retaining sharpness and details at a high 15.4-megapixel (4800×3200) resolution.

Contributing to the camera’s rapid performance and amazing image quality is Nikon’s new EXPEED 3 image processing engine that helps professionals create images and HD video with amazing resolution, color and dynamic range. From image processing to transfer, the new engine is capable of processing massive amounts of data, exacting optimal color, rich tonality and minimized noise throughout the frame. Despite the immense data, the new EXPEED 3 also contributes to energy efficiency, affording the ability to shoot longer.The D800 also features the Advanced Scene Recognition System with the 91,000-pixel 3D Color Matrix Meter III to provide unrivaled metering in even the most challenging of lighting conditions. At the system’s core is a newly designed RGB sensor that meticulously analyzes each scene, recognizes factors such as color and brightness with unprecedented precision and then compares all the data using Nikon’s exclusive 30,000 image database. Additionally, this new sensor now has the ability to detect human faces with startling accuracy, even when shooting through the optical viewfinder. This unique feature is coupled with detailed scene analysis for more accurate autofocus (AF), Auto exposure (AE), i-TTL flash control and even enhanced subject tracking. The Color Matrix Meter also emphasizes priority on exposure of the detected faces, allowing for correct exposure even when the subject is backlit. Even in the most difficult exposures the D800 excels, such as maintaining brightness on a bride’s face while retaining the dynamic range to accentuate the intricate details of a wedding dress beside a black tuxedo.

Advanced new automatic systems make it even easier to capture amazing images. The camera features a new enhanced auto white balance system that more accurately recognizes both natural and artificial light sources, and also gives the user the option to retain the warmth of ambient lighting. Users can expand dynamic range with in-camera High Dynamic Range (HDR) image capture, and enjoy the benefits of Nikon’s Active D-lighting for balanced exposure. Another new feature is direct access to Nikon’s Picture Control presets via a dedicated button on the back of the body to tweak photo and video parameters on the fly, such as sharpness, hue and saturation.

True Cinematic Experience
The Nikon D800 has a compact and lightweight form factor that’s preferable for a production environment, yet is packed with practical and functional features. The D800 is ideal whether the user is a filmmaker on location or in the studio or a documentarian in the field who requires portability and the NIKKOR lens versatility and depth of field that only a HD-SLR can offer. Filmmakers have the choice of various resolutions and frame rates, including Full HD 1080 at 30/24p and HD 720 at 60/30p. By utilizing the B-Frame data compression method, users can record H.264/MPEG-4 AVC format video with unmatched integrity for up to 29:59 minutes per clip (normal quality). This format produces higher quality video data without increasing file size for a more efficient workflow. The optimized CMOS sensor reads image data at astoundingly fast rates, which results in less instances of rolling shutter distortion. The sensor also enables incredible low-light video capability with minimal noise, letting filmmakers capture footage where previously impossible or expensive and complex lighting would otherwise be necessary. Users are also able to have full manual control of exposure, and can also adjust the camera’s power aperture setting in live view for an accurate representation of the depth of field in a scene. Whether shooting for depth of field in FX-format mode, or looking for the extra 1.5X telephoto benefits of DX mode, the high resolution sensor of the D800 allows videographers to retain full 1080p HD resolution no matter which mode they choose to best suit the scene. Users are also able to easily compose and check critical HD focus through the 921,000-dot, 3.2-inch LCD monitor with reinforced glass, automatic monitor brightness control, and wide viewing angle.

For professional and broadcast applications that call for outboard digital recorders or external monitors, users can stream an uncompressed full HD signal directly out of the camera via the HDMI port (8 bit, 4:2:2). This output signal can be ported into a display or digital recording device or routed through a monitor and then to the recording device, eliminating the need for multiple connections. This image can also be simultaneously viewed on both the camera’s LCD and an external monitor, while eliminating on-screen camera status data for streaming purposes. The D800 also includes features concentrated on audio quality, such as a dedicated headphone jack for accurate monitoring of audio levels while recording. Audio output levels can be adjusted with 30 steps for precise audio adjustment and monitoring. The D800 offers high-fidelity audio recording control with audio levels that can be set and monitored on the camera’s LCD screen. A microphone connected via the stereo mic jack can also be adjusted with up to 20 steps of sensitivity for accurate sound reproduction. What’s more, recording can be set to be activated through the shutter button, opening a world of remote applications through the 10-pin accessory terminal.

Wield Speed and Performance with Astonishing Accuracy
Whether shooting the runway or fast moving wildlife, the enhanced 51-point AF system of the D800 delivers blazing fast AF with tack-sharp results. Nikon has enhanced the Multi-Cam 3500-FX AF sensor module and algorithms to significantly improve low light acquisition, for precise focus to an impressive -2 exposure value (EV). The focus system utilizes 15 cross-type AF sensors for enhanced accuracy, and the system also places an emphasis on the human face, working in conjunction with the Advanced Scene Recognition System to provide accurate face detection even through the optical viewfinder. The camera also utilizes nine cross-type sensors that are fully functional when using compatible NIKKOR lenses and teleconverters with an aperture value up to f/8, which is a great advantage to those who need extreme telephoto focal lengths (single cross type sensor active with TC20E III). For maximum versatility in all shooting situations, whether photographing portraits or static subjects, users are also able to select multiple AF modes, including normal, wide area, face tracking and subject tracking to best suit the scene.

All of the information out there can be a bit confusing to digest, so we decided to provide some visual examples instead.

Last week we talked about how different sized sensors impact your images and the lenses required for different sized sensors.  While it was a good primer, I wanted to show why sensor size matters and what some of the visual differences are between using different sized sensors.  After all if there was no difference in performance, why would I waste my time writing about it?  So I put together a few sample scenarios that show the differences.  Of course, at the end of the day your camera gear is only a small part of the equation that goes into making high quality images.  So my goal isn’t to bash or give unending praise to any camera, just to show the visual differences between different sensor formats.  

Background Info

As I explained last week, different sized sensors require different focal length lenses in order to achieve equivalent angles of view.  Again it would be so much easier to explain all of this if camera manufacturers marketed and labeled lenses based on angle of view, but that isn’t the case so it is my job to explain this.  I gathered up an Olympus E-PL1, Nikon D300s, and Nikon D700.  The E-PL1 has a micro 4/3rds sensor, the D300s has a “1.5x crop” APS-C sensor, and the D700 has a large full frame sensor inside.  So while al of these cameras use different sized sensors, they all share the same 12MP resolution.  This made cropping and comparing easier as no resizing was required.  In order to maintain a similar angle of view I used the following lenses; Leica 25mm DG f/1.4 on the E-PL1, Nikon 35mm f/1.8G DX on the D300s, and a Nikon 50mm f/1.8D on the D700.  For decades the 50mm lens (on 35mm film or full frame DSLRs) has been regarded as a “normal angle of view” so my lens choices for the “non full frame” cameras reflect that line of thought.  Here are the results from the test.  Please note this is not highly scientific, but the results reflect the obvious differences between the different sized sensors.

Situation 1

I took Nick outside around 4PM when the sun is direct, but setting in the sky.  I used a low ISO setting of 200 on every camera and an aperture of f/2.0 across all lenses.  I did my best to frame the shots the exact same way as to best show the differences between each format.  100% crops of each image are shown immediately after.

Commentary on Situation 1

As you can see there is clearly less depth of field on the larger sensor.  This is evident when shooting at a wide aperture, but I imagine it would be come even more apparent when stopped down a little bit more.  There is also some light noise at ISO 200 on the E-PL1, something you don’t see as much on the D300s crop, and is barely there on the D700.  So right away I can conclude that larger sensors have a better signal to noise ratios, which is a nerdy way of saying that larger sensors perform better at high ISOs.  So let’s take a look at another situation where a higher ISO is required.

Situation 2

Nick was being a good sport about being put through this boring test, so we decided to go inside and try one more test.  Our showroom lights are daylight balanced fluorescent tubes that are fairly bright, but obviously dim compared to direct sunlight.  So I set all of the cameras to 1600 ISO.  I left the aperture of the lenses at f/2. Just like last time, I included some 100% crops from each image to compare.

Commentary on Situation 2

Again we can reinforce the aspect of depth of field being more shallow on the larger sensor camera.  While the depth of field produced by the E-PL1 at f/2 could certainly be considered “shallow” it simply cannot replicate the results of the full frame D700.  However “shallow” depth of field here really isn’t the issue.  The shallowness of the depth of field from the E-PL1 is probably plenty for most shooters.  To me the real difference is in the ISO performance of the full frame camera vs the other two smaller sensors.  While the noise is visible at ISO 1600 on the D700, it is very noticeable on the D300s, and totally in your face on the E-PL1.

Conclusions

There is a common misconception out there that using a larger sensor camera instantly allows for more shallow depth of field.  There is some truth to this line of thought, but it needs to be explained a little bit better.  It isn’t the actual size of the sensor that equates to more shallow depth of field, but rather the lenses that are required to achieve an equivalent angle of view.  The 2x crop factor of the Olympus E-PL1 forces you to use a wide-angle lens such as the Leica 25mm f/1.4 DG lens to achieve a “normal” angle of view.  Sure the sensor is only using the center portion of the lens, so you won’t get all of the whacky edge distortion that a wide-angle lens would exhibit on a full frame sensor.  However you also lose the compression of a longer focal length lens.  Compression and depth of field are directly tied to the focal length of your optics.  You can see slight effects of this in Nick’s face.  It is rendered in a much more flattering way at 50mm.  This is why portrait photographers use longer lenses! So while the difference in space compression is apparent at 25mm, 35mm, and 50mm, it would become even more obvious when trying to compare lenses that have a more narrow angle of view.  Perhaps that is something I will try in the future.  Of course you can compensate for this by using a longer lens on a micro four thirds camera, but in order to frame your subject the same way, you will need to dramatically increase your working distance, which isn’t always possible.  One could make the case that there is a benefit for landscape photographers with the smaller format cameras and I wouldn’t argue against that.  However there is also a lack in dynamic range with the micro 4/3rds sensor.  Newer APS and full frame cameras have about 2 stops advantage in that regard, but I personally believe that can be compensated for by better processing in future m4/3rd cameras.  So that is more of a function in technology needing to improve, not an absolute law like compression, depth of field, and ISO performance are.  It is very obvious that the larger sensor cameras perform better at high ISO settings.  For professionals, this is the key right here.  Being able to create cleaner images at higher ISOs opens the door to many new creative possibilities.  That is why we have seen the massive migration of professional photographers switching to full frame cameras.  Again at the end of the day you can take an amazing shot with any camera.  At least 90% of photography is your mind’s eye and how you decide to compose an image.  All of this techno jargon can be examined way too closely at the cost of losing your creativity.  At the same time it is important to know the bullet points on the technical differences between different format cameras.  I hope this little test and series of consecutive posts was helpful.  If you have a question, please leave a comment here and I will be happy to answer it to the best of my ability.

-MZ

Edited by Andrew S.

Edited by Andrew S.

It’s Friday and that usually means it’s time for employee photo of the week. Instead I’d like to extend an invitation to those interested in a collective show the staff of Unique have conjured up. I’m especially excited about this show since all the work was shot on film…some of us cheated and printed digitally, but I digress, there’s going to be a wide variety of great work. The opening reception is this Saturday (02/04/12) at 6:30 PM and there will be what I understand to be some refreshments. It’s not like you have anything better to do the day before The Super Bowl, so why not come celebrate a dying medium with the blue shirts at Unique?

See you there!

-NA

With Super-Zoom Capabilities and Compact Design, New COOLPIX Cameras are User-Friendly and Feature Technologies to Inspire Creativity 

MELVILLE, NY (Jan. 31, 2012) – Today, Nikon Inc. introduced four new digital cameras to the COOLPIX S-series lineup to give consumers new ways to go super-zoom or super chic. These new cameras deliver on Nikon’s rich optical heritage and benefit from new technologies poised to create an amazing camera experience for any user, such as GPS and enhanced resolution.

The Spring 2012 line of Nikon COOLPIX cameras help capture memories with advanced features including extraordinary low-light capabilities, powerful optics and HD video recording with full stereo sound. Added features such as the built-in GPS of the COOLPIX S9300 and Easy Panorama mode of the COOLPIX S6300 bolster the S-series lineup, in addition to the easy-to-use, slim and stylish COOLPIX S4300 and S3300. These cameras also include Nikon core technologies for amazing photos, including Nikon’s Smart Portrait System for flattering portraits and HD video capability across the line.

“The new COOLPIX S-series cameras are super slim and easy to carry around for all of those  special ‘can’t miss’ moments that matter in a person’s life,” said Bo Kajiwara, director of marketing, Nikon Inc. “These cameras complement a personal style while providing amazing image and video quality easily.”

S9300

The Ultra-Zoom That Fits in a Carry-on

DENVER--(BUSINESS WIRE)--When is a camera more than a photographer's tool? The answer is when it's an object designed by Marc Newson, one of the most acclaimed and influential contemporary designers.

PENTAX RICOH IMAGING AMERICAS CORPORATION Introduces PENTAX K-01 Designed by Marc Newson

PENTAX RICOH IMAGING AMERICAS CORPORATION introduces the Marc Newson designed PENTAX K-01* interchangeable lens camera (ILC). The new PENTAX K-01 is another bold effort from the manufacturer that is known for pushing camera size, color, durability, and now, design, to the limit. Widely known for designing a wide range of objects from furniture and household products to bicycles, cars, aircraft and yachts, Marc Newson has had collected works displayed in The Museum of Modern Art (MoMA) in New York City and many other major museums.

*pronounced ‘kay- zero-one’

The contemporary, timeless K-01 houses a full array of advanced functions and user-friendly features in a camera body with remarkable form and function. The elimination of an optical viewfinder and quick-return mirror gave Newson more freedom in designing the camera body, and the K-01 showcases Newson originality in every detail. Available in black, white and Newson’s signature yellow colors, the K-01 features the designer’s autograph logo stamp on the bottom of each camera.

The famed designer’s touch also is evident in a new smc PENTAX-DA 40mm F2.8 XS interchangeable lens. As the world’s thinnest interchangeable lens,* the new 40mm combines with the PENTAX K-01 camera body to deliver a unique ILC system that is perfect for photographers who are as keen on design as they are on performance. Together, the K-01 and 40mm lens system mark the intersection where high technology and high design meet.

Key features of the PENTAX K-01 include:

Durable machined aluminum frame under a stylish black, white, or yellow exterior.
PENTAX mirrorless body design is compatible with 25+ million PENTAX K-mount lenses spanning decades.
Large 16 megapixel APS-C sized CMOS image sensor with low noise image capture and multiple aspect ratios.
Bright, high-resolution 3-inch LCD with 920,000 dots.
Full HD 1080p video capture at 30 FPS with h.264 compression (60 FPS at 720p) features outstanding video capture flexibility.
Sensor-shift PENTAX Shake and Dust Reduction system is compatible with every mounted PENTAX lens.
Fast 6 FPS burst mode is ideal for fast-action photography.
Flexible ISO range of 100-25600 ensures gorgeous noise-free imaging in any lighting condition.
Focus peaking mode provides fast and accurate manual focusing for critical focus applications.

* The world's thinnest interchangeable lens for lens-interchangeable cameras, as of February 1, 2012 (based on PENTAX's research).

The K-01 will be available in yellow, black and white in March 2012 for $749.95USD (body only) and $899.95USD (lens kit including new DA 40mm XS) in Marc Newson designed packaging and with the Marc Newson designed strap. The smc PENTAX-DA 40mm F2.8 XS unifocal interchangeable standard lens will ship at the same time for $249.95 USD.

he 42x COOLPIX P510 is the Ultimate Ultra-Long Zoom Camera, While the Fast Aperture Lens of the COOLPIX P310 Makes it the Advanced Photographer’s Compact Companion

MELVILLE, NY (Jan. 31, 2012) – Today, Nikon Inc. introduced two new COOLPIX cameras into the P-series, providing photographers with amazing optics from compact offerings for their next adventure-packed outing. Breaking the zoom barrier, the new COOLPIX P510 brings the action close with an impressive 42x optical Zoom-NIKKOR ED glass lens, from a wide 24mm to an amazing 1,000mm* focal range. When the adventure begins once the sun sets, the new COOLPIX P310 tackles demanding low-light conditions with a 16.1-megapixel Backside Illuminated (BSI) CMOS sensor and a fast f/1.8 maximum aperture, NIKKOR glass lens. From the expansive Serengeti horizon, thunderous waterfalls of the Amazon to the jazz-infused nightlife setting of New Orleans, Nikon’s new COOLPIX P-series cameras enable photographers to capture any adventure with astounding clarity.

“With the new COOLPIX P-series cameras, Nikon is raising the bar for performance and image quality to better accommodate the needs of advanced photographers looking for a compact companion,” said Bo Kajiwara, director of marketing, Nikon Inc. “Both the COOLPIX P510 and P310 combine Nikon’s legendary NIKKOR lenses and advanced features to challenge photographers creatively in environments that call for portability and easy access.”

Nikon Coolpix P510

COOLPIX Technology
At the core of these powerful new COOLPIX cameras are Nikon’s world-class NIKKOR lenses, delivering accurate detail, brilliant color and amazing clarity. Further enhancing color and sharpness, Nikon’s EXPEED C2™ high performance digital image processing engine is implemented and custom-optimized for each COOLPIX model to ensure high-quality pictures and movies.

The New COOLPIX P510: Setting a Higher Zoom Standard
Shattering the conventional zoom barrier, the new COOLPIX P510 features a staggering 42x Wide-Angle NIKKOR glass zoom lens. The astounding zoom range of 24mm to 1,000mm with advanced optical Vibration Reduction (VR) image stabilization ensures that the photographer captures their intended subject with exceptional image quality. With this kind of extreme focal length, the need for superior image stabilization becomes essential for photos and HD video. Photographers are given increased stability with the additional zoom control located on the side of the lens barrel.

To further enhance image quality and help combat challenging low-light conditions, the COOLPIX P510 includes an advanced 16.1-megapixel BSI CMOS sensor. Utilizing the high-speed continuous shooting performance (capture five images at full resolution in approximately one second) of the CMOS sensor and fast autofocus (AF), the COOLPIX P510 makes it possible to capture even the most spontaneous moments.

This full-featured compact camera also comes complete with built-in GPS capabilities, allowing photographers to track their adventures and geotag photos. The COOLPIX P510 also includes Full HD (1080p) movie recording with stereo sound and the ability to utilize the expansive zoom range during recording with AF for dynamic videos. A 3-inch high resolution (921,000-dot) vari-angle monitor makes it easy to compose images and movies from difficult angles. Additionally, The COOLPIX P510 features a variety of advanced functions for the sophisticated user seeking smooth handling with intuitively placed controls such as the mode dial that enables easy setting of frequently used functions on the fly.

The New COOLPIX P310: Low Light, No Problem
The new COOLPIX P310 achieves superior image quality in low-light settings thanks to the powerful combination of a 16.1-megapixel BSI CMOS sensor, wide ISO range up to 3200 (Hi1 6400 equivalent) and a fast, wide-angle maximum aperture f/1.8 lens. The COOLPIX P310 further fights blur by incorporating advanced optical VR image stabilization and makes shooting in low-light a breeze with several scene modes including Advanced Night Portrait mode, Night Landscape mode and Backlight/High Dynamic Range (HDR) mode. The Advanced Night Portrait mode combines consecutive images of the background while the subject is captured using the flash, while the Night Landscape mode combines a series of consecutive shots taken at a fast shutter speed into a single image with reduced noise. The Backlight HDR mode merges images of the same scene at different exposures to achieve a single image with a broad range of tonal detail.

Designed to be the serious photographer’s compact companion, the COOLPIX P310 comes equipped with several features found in D-SLR cameras including manual exposure control (P/S/A/M) and a new Zoom Memory function that enables the selection of popular prime focal lengths during shooting. Through an easily accessible top-mounted control wheel, users are able to adjust shutter speed, aperture and other settings in order to achieve their preferred look. For more creativity, the COOLPIX P310 also includes special effects and filter effects that can be added to photos in-camera for a quick artistic touch. To facilitate easy composing, viewing and playback, the COOLPIX P310 features a 3-inch high resolution (921,000-dot) LCD screen.

Understanding the demand for a capable multimedia camera, the COOLPIX P310 also sports incredible video capabilities. With the ability to capture Full HD (1080p) video at 30 frames-per-second (fps) with AF, stereo sound and the use of the optical zoom while recording, the COOLPIX P310 also lets users edit movies in-camera for a seamless moviemaking experience.

Pricing and Availability
The COOLPIX P510 will be available in February 2012 for a suggested retail price (SRP) of $429.95* and will be offered in black and red. The COOLPIX P310 will also be available in February 2012 for $329.95* SRP and will be offered in black only. For more information about these and other COOLPIX cameras, please visit www.nikonusa.com.

*Suggested retail price listed is only an estimate. Actual prices are set by dealers and are subject to change at any time.

About Nikon
Nikon, At the Heart of the Image™. Nikon Inc. is the world leader in digital imaging, precision optics and photo imaging technology and is globally recognized for setting new standards in product design and performance for its award-winning consumer and professional photographic equipment. Nikon Inc. distributes consumer and professional digital SLR cameras, NIKKOR optics, Speedlights and system accessories; Nikon COOLPIX® compact digital cameras; 35mm film SLR cameras; Nikon software products and Nikon sports and recreational optics as well as the new Nikon 1 advanced camera with interchangeable lens system. In 2011, production of NIKKOR lenses surpassed 65 million, creating a new milestone in Nikon’s heritage of superior optics.  For more information, dial (800) NIKON-US or visit http://www.nikonusa.com, which links all levels of photographers to the Web’s most comprehensive photo learning and sharing communities. Connect with Nikon and other photographers on Facebook athttp://www.facebook.com/nikon and get the latest news and information from Twitter by following @Nikon_USA.

Easily Capture Special Moments with Spectacular Photo Quality and Have Fun While Doing It

MELVILLE, N.Y. (Jan. 31, 2012) – Today, Nikon Inc. introduced a new line of COOLPIX digital cameras that combine affordability and convenience with performance and versatility to create a lineup of cameras that are ideal for the modern, fast-paced and connected family.  Perfect for any type of family adventure from the sidelines to the backyard, the COOLPIX L810, L26 and S30 each offer a simple, convenient and fun way to capture great photos and HD movies with ease.

Expanding on Nikon’s outstanding long zoom reputation, the COOLPIX L810’s extremely powerful zoom (26x) offers a chance to capture every detail without giving up the convenience of a compact point-and-shoot camera.  The COOLPIX S30 is a new type of camera from Nikon, providing worry-proof construction with a simple to use interface and an affordable price point so any family can enjoy photography with a camera that instills confidence. The COOLPIX L26 is ideal for casual photographers and streamlines photo-taking with intelligent Nikon technologies like automatic Scene Modes and easy-to-understand controls.  All three cameras are AA battery compatible for the ultimate on-the-go convenience.

“Today’s family spends time together in more places than the dining room table; they are on adventures and vacations together, constantly in motion and creating memories,” said Bo Kajiwara, director of marketing, Nikon Inc.  “Nikon’s latest COOLPIX cameras combine Nikon’s renowned image quality, advanced performance and superior technology to offer simple and affordable cameras for every member of your family.”

COOLPIX L810: Zoom That Goes the Distance

Whether at the game or in nature, users need a camera that can go the distance to get in close to the action. The COOLPIX L810 sports a powerful 26x (22.5mm-585mm) zoom that makes it possible to capture every detail with extraordinary precision.  This latest affordable ultra zoom continues in a long line of superb Nikon compact long zoom cameras and features a super wide 22.5mm wide angle lens with VR image stabilization technology to help eliminate blur in photos and movies, regardless of focal length.  Nineteen Scene Modes optimize camera settings automatically for picture-perfect results, while the Smart Portrait System helps make every portrait flattering and pictures priceless. Additionally, the COOLPIX L810 features a Sports Continuous Shooting mode to capture fast moving subjects. If still images aren’t enough to tell the whole story, begin recording 720p HD movies with stereo sound through a simple one-touch control button and play them back on a 3-inch, 921,000-dot high resolution LCD display.

COOLPIX S30: No Muss, No Fuss – Ready for Action

A wonderful addition to any family, the COOLPIX S30 makes it easy and fun to preserve memories from the priceless to possibly messy, including a baby’s first steps, first swim or first plate of spaghetti.  Boasting a shockproof* (up to 2.6 feet) and waterproof *(up to 9.8 feet) exterior, the COOLPIX S30 affords a chance to capture all of their favorite moments without hesitation or worry.  A 10.1-megapixel image sensor produces high quality images and HD video that can be easily shared, printed and framed for family and friends.  A 3x wide angle zoom lens, HD video capabilities and extremely easy-to-use modes like the Smart Portrait System make the COOLPIX S30 simple, durable and affordable.

COOLPIX L26: The Simple Way to Great Photos and Movies
Let the camera do the thinking while marveling at the great images taken with the COOLPIX L26. Simply point, shoot and let the camera do the rest with easy-to-use and intelligent automatic Scene Modes, helping bring out the user’s inner photographer. Featuring a 5x (26mm-130mm) optical Zoom-NIKKOR lens for close to intermediate distance shots, the COOLPIX L26 is fun and easy to use whether snapping photos on a field trip or capturing 720p HD video of a birthday party. A wide and bright 3-inch LCD screen, vibration reduction and Smart Portrait technology make this the ideal camera for the beginner or casual photographer who might not use a camera often, but knows they want amazing image quality when they do.

Price and Availability
The COOLPIX L810 will be available in February 2012 for a suggested retail price (SRP) price of $279.95** in a choice of colors including Black, Red and Blue. The COOLPIX S30 will be available in February 2012 for an SRP of $119.95** in a choice of colors including White, Blue and Pink. The COOLPIX L26 will be available in February 2012 for an SRP of $119.95** in a choice of colors including Red, Black and Silver. For more information about these and other COOLPIX cameras, please visitwww.nikonusa.com.

*More information at www.nikonusa.com/S30info
**Suggested retail price listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.

Press Contacts: MWW Group
Geoff Coalter | gcoalter@mww.com | 201-507-9500
Robin Theis | rtheis@mww.com | 201-507-9500

About Nikon
Nikon, At the Heart of the Image™. Nikon Inc. is the world leader in digital imaging, precision optics and photo imaging technology and is globally recognized for setting new standards in product design and performance for its award-winning consumer and professional photographic equipment. Nikon Inc. distributes consumer and professional digital SLR cameras, NIKKOR optics, Speedlights and system accessories; Nikon COOLPIX® compact digital cameras; 35mm film SLR cameras; Nikon software products and Nikon sports and recreational optics as well as the new Nikon 1 advanced camera with interchangeable lens system. In 2011, production of NIKKOR lenses surpassed 65 million, creating a new milestone in Nikon’s heritage of superior optics.  For more information, dial (800) NIKON-US or visit http://www.nikonusa.com, which links all levels of photographers to the Web’s most comprehensive photo learning and sharing communities. Connect with Nikon and other photographers on Facebook athttp://www.facebook.com/nikon and get the latest news and information from Twitter by following @Nikon_USA.

Well, I guess they can’t all be beautiful, can they? This is the second version of the very popular Kodak 35. The first version had a simple flip-up viewfinder mounted on top, and in an effort to keep up with the competition Kodak hastily developed a rangefinder system and mounted it on the existing camera. The Argus C3 was the primary competitor of this camera and it sold considerably better due to being priced much lower. There are many different examples of this camera; the main difference being different film transport knobs. There was even a military model!

Digital Still Camera
DMC-TS20(FT20)

A Casual Stylish Rugged Design
16.1-Megapixel LUMIX DMC-TS20(FT20)
Featuring HD Video Recording and iA (Intelligent Auto) Mode

Panasonic is pleased to introduce a new addition of LUMIX DMC-TS20(FT20) to its rugged design TS/FT series specially geared for active outdoor use. The new 16.1-megapixel DMC-TS20(FT20) further strengthens its toughness to be waterproof to 5m in addition to the freezeproof to -10 degrees C, shockproof to 1.5m and dustproof reliability.

Featuring the flat and slim profile adopting the folded optics, the new lens system in the DMC-TS20(FT20) features 25mm ultra wide angle of view and 4x optical zoom (35mm equivalent: 25-100mm). The 4x optical zoom increases its power to 8x equivalent with the Intelligent Zoom function with minimum deterioration of image quality thanks to the Intelligent Resolution technology.

With the DMC-TS20(FT20), HD (High Definition) video recording in 720p MP4 is available. 4x optical zoom can be used in video recording. A variety of special mode including Miniature Effect, Panorama Shot add fun to shooting experience with DMC-TS20(FT20). It is also possible to look images nicer even after shooting with new Auto Retouch function.

Also, iA (Intelligent Auto) mode lets users leave everything to the camera to take beautiful photos and videos. Once you enter the iA mode, these multi-capable functions happen automatically, so that you can shoot without the bother of adjusting settings every time conditions change. Users can enjoy their communication with the LUMIX Image Uploader, which realizes instant image sharing via Facebook or YouTube with any PC on the spot.

Featuring a casual, stylish look with a guaranteed rugged design, the DMC-TS20(FT20) broaden your shooting opportunity both for daily scenes in town and for outdoor leisure.

1. Credible Toughness in a Slim, Stylish Profile
with 25mm Ultra Wide Angle 4x Optical Zoom Lens in Folded Optics

The DMC-TS20(FT20) is waterproof to a depth of 5m and dustproof equivalent to the “IPX8″ and “IP6X” standard. Thanks to rubber padding and reinforced glass and carbon resins inside the camera, the DMC-TS20(FT20) features an airtight body protected against water immersion, dust and sand. The DMC-TS20(FT20) is drop proof from a height up to 1.5m in accordance with the “MIL-STD 810F Method516.5-Shock” test standard. The lens unit is protected by a supplementary damper to absorb the force from shock impact. All components including the lens unit are reexamined to endure the temperature as low as -10 degrees C to make the DMC-TS20(FT20) freezeproof.

The 16.1-megapixel DMC-TS20(FT20) features a newly developed 25mm ultra wide angle 4x optical zoom lens. The folded optics of the shaft guide method is adopted to secure the toughness of the lens unit. Comprising 11 elements and a prism unit in 10 groups, including an ED lens and 5 aspherical lenses with 9 aspherical surfaces, this advanced lens unit renders high resolution image corner to corner even adopting the folded optics. 25mm ultra wide angle of view enables shooting dynamic landscapes or group portrait without letting them protrude out of a frame. The 4x optical zoom increases its power to 8x equivalent with the Intelligent Zoom function taking advantage of the Intelligent Resolution technology with minimum deterioration of picture quality even using digital zoom.

2. 720p HD Video Recording in MP4

The new DMC-TS20(FT20) records dynamic HD video in 1280 x 720p at a smooth 30p (NTSC) / 25p (PAL) in MP4 format which has high compatibility with PCs or smartphones for editing or sharing the videos. The recorded videos can be directly uploaded to YouTube. The DMC-TS20(FT20) incorporates dedicated video button to switch photo / video recording quickly. Optical zoom is also available in video recording as well as Active Mode that minimizes hand shake even the video is recorded while walking.

• Motion pictures in [MP4] can be recorded continuously for up to 29 minutes 59 seconds. Also, motion picture recorded continuously in [MP4] is up to 4 GB.
• Use a card with SD Speed Class with “Class 4″ or higher when recording videos.
* SD Speed Class is the speed standard regarding continuous writing.

3. iA (Intelligent Auto) Mode and Various Special Effects for More Fun and Ease in Photography

Panasonic incorporated the iA (Intelligent Auto) mode in pursuit of the ultimate ease of operation and the reduction of misshots. All of these useful, convenient shooting-assist functions – MEGA O.I.S., AF Tracking, Intelligent ISO Control, Face Recognition, Intelligent Scene Selector and Intelligent Exposure – are automatically activated by just activating an iA mode.

DMC-TS20(FT20) comes equipped not only with strong basic performance but also with a variety of shooting options to enhance ease and fun. The Miniature Effect mode in which the peripherals are defocused while saturation and contrast is emphasized to look the picture like a diorama. The video recorded in this mode is played back in 10x fast-forwarding making it more comical to watch*. Panorama Shot makes it is possible to shoot a horizontal / vertical panoramic image with consequent shots taken by overlaying the previous picture.

* Sound will not be recorded with [MINIATURE EFFECT] and approximately 1/10 of the time period is recorded. (If you record for 10 minutes, the resulting motion picture recording will be approximately 1 minute long.)

4. Other Options for Upgrading Photographic Enjoyment

- 2.7-inch Intelligent LCD with High Angle mode
- Auto Retouch (Auto Retouch is a function that adjusts contrast and brightness to give different impression to the photo with just a press of a button to look it nicer.)
- LUMIX Image Uploader

Digital Still Camera
DMC-TS4(FT4)

Rugged Design Profile with Advanced GPS for Powerful Outdoor Use
LUMIX DMC-TS4(FT4)
Featuring High Picture Quality in Both Photo and Full-HD Video Recording