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post by ableh

The graphics are in nanometers. Visible light is approximately 390-650 nm (the human eye can see very faintly in the range 700-800nm). Graphics used with permission of the coast of the optical system.

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For the shooting of visible light, the range 400-650nm is relevant here.

just post by ableh

Sinar has announced that the “p-reflex” system that allows homeowners to use their DSLR body like the back digital enterprise system to the camera via an adapter. Currently compatible with Canon and Nikon, the system provides access to a range of medium format lenses and camera accessories such as bellows, filters, etc. An included adapter quick release “also allows users to easily change the orientation of the body camera from landscape to portrait and vice versa. The P-SLR system comes in different combinations of mounting a bellows adapter and quick release, and a number of optional accessories. It will be available next month a retail price of 1980 Swiss francs (~ € 1,440).

read the original digital back

post by ableh

Sony NEX-3 NEX-5

Since Panasonic and Olympus have created their Micro Four Thirds System mirrorless, all the talk about what was the other players on the market will do. Micro Four Thirds has continuously strengthened its market share, apparently without response from the three companies that represent over 80% of sales of digital SLRs (Canon, Nikon and Sony) in that “the risks Micro becomes the generic term for these systems mirrorless (“When the X to a micro camera?” has become a fairly common thread title on our forums),.

The wait is now over that, following the screening models at PMA, and a torrent of teasers and leaks, Sony has finally officially announced its NEX system last month. The details are exactly what you expect – capable of HD video APS-C sensors in small bodies. What could take you by surprise is how the bodies are small – NEX-5, especially for its small size. In fact, the cameras are too small to be included in the body of the units of image stabilization, which is found in Sony DSLR, and instead use lenses made from “Optical SteadyShot. These cameras will come under the NEX Alpha brand but do not use the Alpha lens mount, instead of using the new fully electronic system of E-Mont.

Sony has made it clear he aims for compact camera users who want to update (a market he estimates at about 10 million potential buyers), rather than trying to offer a second camera the current digital SLR users. And models NEX have more in common with compact cameras as digital SLR – including buttons and a few interface resolutely unconventional.

Through this interface, it offers not only standard option with Sony to show a small description of each option selected, it also has a complete user guide built into the camera. relevant sections of this guide are available in each shooting mode to provide guidance and advice on everything from how to hold the camera in order to reach an out-of-focus background.

The company told us he felt that his competitors had just miniaturized, rather than revolution, it is not surprising that NEXs longer just reflex of the company with the mirrors removed. Instead you get an entirely new system of metallic glasses with body kit (something we never expected to see again in a product the public), and an accessory port instead of the conventional flash shoe .

As with Samsung and Panasonic, Sony Electronics is substantive (rather than cameras) for the incentive away from the optically DSLR design a more complex around the electronic display of meaning. Sony’s situation is somewhat different in that it has purchased the Minolta respected and know-how, but despite numerous new models, it has been able to make a big impression on the market in digital SLR few selected areas. Therefore, it is understandable that this might combine his knowledge DSLR with its expertise in electronics to establish a compelling competitive advantage.

just post read the original sony NEX-3

just post by ableh

Pentax K-x, firmware V1.01

X Pentax sitting in the slot previously occupied by the company K200D – one of the best entry-level DSLRs are determined in the market on time – despite the current position has been elevated by the arrival of a new generation of simplified models underneath. Pentax line-up which means K2000/Km designed to attract the attention of compact camera users to DSLR ownership with the interface that is easy to use and small scale, and that is that the camera is immediately reminded KX (they share the same body).

Despite the compact size and uses AA batteries, there is more than one indication of 7-K about the new model specification. This 11-point gain system-K 7′s AF and PRIME II imaging engine, along with its ability to correct chromatic aberration and distortion when using a lens Pentax DA and DFA. It also has an orientation sensor.

read the original Pentax K-x

canon 1d

Just post

The Canon EOS 1D Mark IV is the fifth generation of Canon‘s speed-orientated range of professional DSLRs. It retains the two-grip form factor of the original, 4MP EOS-1D launched in September 2001 (itself building on the integrated grip of the film-era EOS-1N RS, also the first to offer 10fps shooting, albeit without AF between shots). And it’s this consistency of design, which extends to the AF pattern and much of the control layout, that helps to explain the name – the Mark IV really is the current point in an evolutionary process, rather than a wholly separate model.

However, more than previous 1D series cameras, the 1D Mark IV has a lot to prove. Whereas, in the past, Canon‘s flagship models have been a fairly safe bet, autofocus problems with the 1D Mark III have cast a shadow over the range. Those problems, which appear to have come from a combination of manufacturing error, increased complexity of AF customization and the AF sensor occasionally being overwhelmed in bright conditions, have become notorious.

read text original canon eos 1D

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canon 550d

just post

The Canon EOS 550D is a difficult product to categorize. Ostensibly designed to appeal to first-time DSLR buyers and enthusiasts, it offers a lot more technology, and at a higher price, than we might expect for a camera aimed squarely at this sector. Although it might seem logical for the 550D to replace the EOS 500D, the older camera is set to continue in Canon’s lineup, which leaves the 550D pinched between its entry-level (represented by the still-current EOS 1000D and the 500D) and nominally enthusiast (the EOS 50D) peers. Confusingly however, apart from build quality (which is all but identical to the EOS 500D), the 550D has more in common with the prosumer EOS 7D, and – perhaps even more confusingly – it out-specifies the EOS 50D in many areas.

Central to the impressive specification of the EOS 550D is a high-spec movie mode which offers full HD capture at up to 30 fps, manual control over exposure, and the option to use an external stereo microphone. The new camera also inherits the EOS 7D’s sophisticated metering system (which brings it a lot closer to similarly positioned Nikon SLRs).

read the original text canon eos 550d

Canon-EF-180mm-f-3.5-L-USM-Macro-Lens

Canon EF 180mm f/3.5 L USM Macro Lens is Canon’s longest macro lens. This lens offers a 1:1 macro work the longest distance of any Canon lens and produces a beautiful seamless backgrounds out of focus. Another difference the Canon EF 180mm L USM Macro Lens f/3.5 having is that when this lens is the Canon’s longest and heaviest black. This is the lens L, so addictingly build excellent quality come together with this weight.

just post:read the original Canon EF 180mm f/3.5 L USM Macro Lens

by.ableh photography

Canon TS-E 24mm 1:3.5 L II

clearly shows the light on an important announcement, but one of the most interesting developments is technically possible must be slipped under the radar of many enthusiastic photographers. Canon introduces two new controls perspective lens for its TS-E (‘Tilt and Shift to) the range of EOS’, in the form of TS-E 24mm F3.5 L II and TS-E 17mm F4L. But while both quite naturally took center stage as a wide-angle perspective control optic ever made for SLR system, good design features significant improvements over the existing main.

What is revolutionary about the two lenses is that both enables, for the first time (at least for wideangle focal length specifically designed for DSLRs), the independent rotation of the tilt and shift axes relative to the camera and each other. (Design ‘Hartblei Super Rotator’ achieve the same movement, but uses a long optical longer focus initially designed for medium format cameras) Prev. Tilt axis defined as the standard on 90 º to the axis of shear, and the lens can be modified to set them both in the same axis if the user desired. This restriction has now been removed, making the movement of the lens, and therefore a creative choice, more flexibility. Rotating mechanism of the slope and shift + / -90 °, enabling a shift in any direction, and in addition independent mechanism rotating tilted + / -90 °, allowing the slope in any direction relative to the shift. This function allows photographers to maximize depth of field in their images without stopping down as far as they otherwise would be needed – important when it wants to squeeze every last pixel of detail from the latest 20 + Mp DSLRs while avoiding adverse effects of diffraction.

Canon has also gone to town in optical design, including the use of high precision aspherical element for maintaining the distortion is minimized, and multiple UD element to reduce chromatic aberration. In the case of TSE 24mm F3.5 L II, this means the formula is much more complex than its predecessor – 16 elements in 11 groups, compared with 11 elements in 9 groups of older design. According to Canon’s image circle is also much bigger – compared with 67.2mm 58.6mm – which in principle allows a greater range of movement without vignetting. The lens also uses the company’s new ‘Sub Wavelength structure Coating’, designed to reduce flare and ghosting dramatically in the lens containing a large radius curves – especially wideangles. Also included is the time-mode aperture diaphragm of the circle, which is designed to give a rendition of interest to the out-of-focus images.

Prices for all these improvements are, however, beautiful heart. Version ‘H’ command $ 1,000 premium over the lens to the introduction of an older, which means the cost is almost the same as the EOS 5D Mark II body. There would be more than a few owners of the original lens was wondering if it’s worth the upgrade, and whether a new optical motion and offers flexibility enough reason to get out of credit card. Let’s see what we can find.

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Nikon AF-S Nikkor 35mm 1:1.8G DX

The AF-S Nikkor 35mm F1.8G DX is Nikon’s latest lens, announced in February for PMA 2009. Its introduction came as something of a surprise to many observers, not because it’s an updated 35mm lens with a built-in autofocus motor, but because the ‘DX’ designation indicates that it’s designed for use on DX format bodies, and isn’t fully compatible with Nikon’s growing FX format camera range. According to Nikon, this has allowed the company to design a lens that is smaller, lighter and cheaper than it would have been had it offered full coverage of the FX image circle. In effect, the lens is primarily targeted as an inexpensive, large aperture option for users of the entry-level (D40 / D40X /D60) series of DSLRs.

The 35mm focal length is roughly equivalent to 50mm on an FX camera, and the lens therefore fits into the ‘standard’ category, with an angle of view offering none of the ‘perspective distortion’ associated with wideangle or telephoto lenses. The fast F1.8 maximum aperture admits more than four times as much light as the AF-S 18-55mm F3.5-5.6G VR DX kit lens, which is useful for shooting in low light while keeping shutter speeds reasonably high. The ‘Silent Wave Motor’ allows autofocus on all of Nikon’s DSLR bodies, with the added bonus of allowing the user to tweak focus manually in AF mode if desired.

The 35mm F1.8G features an optical design of 8 elements in 6 groups, including an aspherical element for the correction of aberrations usually associated with large aperture prime lenses. However unlike the typical 50mm standard prime for the full frame (FX) format, this lens’s focal length is rather shorter than the flange distance from the lens mount to the imager. This necessitates the use of a so-called ‘retrofocal’ design, which is more usually associated with wideangle lenses; unfortunately this often results in increased aberrations relative to traditional near-symmetric 50mm designs. So how does the 35mm F1.8 DX measure up?

Headline features

* 35mm focal length; fast F1.8 maximum aperture
* Silent Wave Motor allows autofocusing on all Nikon DSLRs
* Full-time manual focus override
* For DX format cameras