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post by ableh

Red Rock Micro today announced an electronic viewfinder. And no, I will not bitch about it because I think it’s a product with high potential. Of course, it is still vaporware until it is released, as the microphone distance (and all product prototypes in my garage), but the concept and the spec sheet look promising. And admittedly, it is an indispensable part for each platform!

Its price is extremely aggressive. For a little over a Z-Finder, you get something that is much better and more flexible. By pressing the button add to cart NoBrains is a point of view of costs.

I am also very interested in the advanced help features they are hinting about. I guess it will zebras and other tools cons to help focusing. What ever it is, he will be welcome! I wonder how we will control these features because I could not find the buttons on the images (or an HDMI cable for that matter).

In the press release, it looks like a very solid product. My only concern is the scaling of the HDMI signal to match the 1, 2 point LCD. Most hammers do a crappy job, but I guess we do not know how good it is once it is released.

Now, please, give us a realistic ship date!

post by ableh

-Light Output with a powerful guide number of 61.
-Designed to work with all popular devices.
-Illumination covers a focal length of 24mm to 105mm. (Also covers 17mm when the built in wide panel is used).
-Advanced features such as flash and modeling of wireless TTL flash are included.

The Sigma Corporation is pleased to announce the new ELECTRONIC FLASH EF SUPER-610 DG.

The EF-610 DG SUPER features a powerful Guide Number of 61 and is designed to work with the latest systems TTL auto exposure from all popular digital SLR cameras and film. The auto zoom function automatically sets the optimum illumination angle in accordance with the lens focal length in a range from 24mm to 105mm. When the high-Wide Panel is used, the flash can cover an angle of 17mm. For bounce flash, the flash head can be tilted 90 degrees to 180 degrees left or right by 90 degrees. It can also be tilted down by 7 degrees allowing ease of use for close-up photography. Among the advanced features of this flash is a modeling flash function, multi pulse flash, TTL wireless flash, FP (high speed) flash mode, flash on second curtain sync and manual, which allows the photographer to adjust the flash output by up to eight stops. Auto Power-Off automatically shuts off the LCD screen to help save battery power. When the flash is fully charged, the light is “ready” a confirmation will be issued.

post by ableh

The Sigma Corporation is pleased to announce the new Sigma APO 120-300mm F2.8 EX DG OS HSM.
The successor of the APO 120-300mm F2.8 EX DG HSM, introduced on the market in July 2005, this new
lens offers the latest optical design technologies.

This large aperture optical zoom capabilities Sigma OS (Optical Stabilizer) and weatherproof
design throughout for use in harsh conditions. One and two SLD glass elements are used to FLD
maximum correction of chromatic aberrations.

The lens coating super multi-layer coating reduces flare and
persistence, and lens design incorporates an inner focusing and inner zooming system to ensure
sharp images throughout the zoom range. Improved optical performance provides an excellent
buoyancy correction of sagittal coma, and provides ultra-high resolution, comparable to a fixed focal length
objective. OS function offers the use of shutter speeds approximately 4 stops slower than otherwise
otherwise possible.

This system allows TV-hand photograph. The inclusion of HSM
(Hyper Sonic Motor) ensures quiet speed and high-AF, while allowing full time manual focus override.
The rounded 9 blades diaphragm creates an attractive blur away from areas of the image sharpness.
The addition of APO TELE CONVERTER option produces an ultra telephoto zoom with A

post by ableh

Last week, I listed my photography equipment. This week I thought I could write about the process of decision making I used to decide to buy one of the lenses.

The first time I had the privilege of holding and looking through a Canon 300mm f/2.8 I was hooked. It’s a double collegiate swimming. I watched the competition’s 10-meter diving when a press photographer sat down beside me and started taking pictures of the competition. One comment led to another and the next thing I knew I wanted the camera and lens and take photographs that divers. I do not know if any of the pictures I took were already printed in the newspaper, but from that moment I wanted a 300mm f/2.8.

Unfortunately, when I was a child in college and three in high school. There was no way I could afford such an expensive lens, so I opted for a 300mm f/4L Canon FD. I praise the f/2.8 model a couple of times, but the f/4L is a great goal and I was very happy with it.

This is the current model F/2.8L Canon 300mm IS USM. A superb piece of equipment.

Recently, I decided it was time to buy a new 300mm lens and my first thought was to buy the Canon EF 300mm f/2.8L IS USM. Emotion and pleasure potential of opening the box of f/2.8 L side, common sense tells me that I must also take into account the f/4L. As you know, common sense often gets in the way of fun, but now I had a difficult decision. I do not expect everyone to agree with my decision, nor that all should come to the same conclusion if they considered the same factors. However, it is the process I went through to decide which lens to buy. Your process may be different.

Why do I need a 300mm lens?

My first love of photography is nature photography and if you want to take pictures of birds and wildlife without scaring them away, a goal long term is essential. This was the easiest part of the process. I needed a 300mm lens – at least that’s what I said to my wife.

Price

By comparing the price of both lenses is easy. The f / 2.8 L, depending on where you look, around $ 4400 plus taxes and / or shipping. The f/4L USM is $ 1270. Since I do not work for a newspaper or magazine and not an employer to purchase the target for me, price is an important consideration. Through a series of circumstances (some call it luck) I had saved enough to buy the f2.8. However, I could choose to spend all my savings on photography f2.8 affected or purchase the f/4L and have money left over for other “toys.” The f/4L won on price.

Physical Size

If you will be involved in nature photography, you’ll eventually get out of town and the car. Remove lens and all your other gear through rugged terrain is not the same as laying around the margin of a football field. Mountains, lakes, marshes, woods are commonplace. The f/4L weighs 2.0 pounds and is 8.7 “long and 3.5 cm in diameter. The f/2.8 weighs 5.7 pounds and is 9.8″ long and 5 cm in diameter. The difference is 3.7 pounds significant when added to all other devices – a tripod, a camera, other objectives, etc. f/4L won it goes.

Max Aperture

The f/2.8 is much faster than f/4L but only by a stop. Can we stop to overcome the advantage of price and size of f / 4L?

I’m not a sports photographer so it is unlikely that I’ll never be fast action shooting at low light inside stadiums or fields, illuminated at night. However, the best moments of shooting for wildlife are early morning and late at night to shoot in low light is a strong possibility.

When I fell in love with the f/2.8, digital SLRs are not widely available (the EOS cameras had not been introduced) and photograph of the film was still king. My film of choice then was Kodachrome 64. There were things you could use to “push” the film, but for the most part, ASA 64 was the fastest, you can use and maintain excellent image quality. At this speed, a goal which was a stop faster was a big deal. Today, the lowest ISO on my Canon 7D is 100. I can easily increase the ISO two stops to 400 with little or no deterioration in IQ. Therefore, I can get shutter speeds with today f/4L I could with the help of Kodachrome 64 mm f / 2,8 which makes it even more difficult to justify the difference of over $ 3,000.

There is also the issue of my camera being with a cropped sensor compared to full-frame sensor from my old Canon F-1 but it’s the same with both lenses.

Ultimately, I bought the Canon EF 300mm f/4L IS USM. You can have different considerations and you can buy, or if you want to buy the f/2.8, but I’m very happy with the f/4L. Besides, I can always rent an f/2.8 so I really need to use one. I will look into the lens in a few weeks when I used it enough to really make if it is not.

Since I do not have a lens f2.8L for visual comparison, for this photo, I placed my 70-200mm f/2.8 L lens next to the 300 f/4L USM. As you can see, they are similar in size and 300 mm is actually 1.2 pounds lighter.

In photography, silver, or lack thereof, is often our primary consideration, but even if we can afford what we think about the purchase, using a disciplined approach, decision-making process before buying is always helpful.

Wish List

As promised, here is my wish list, in no particular order. Keep in mind that it is dynamic and may still have elements added.

- Second camera body – I want a 5D Mark II, but I may decide to get the T2i or 60D instead. Both have advantages – 5DMark II has a sensor size and a great camera. The T2i and 60D have the same sensor as my 7D. I could also buy two of the 60D and have money left over for the money it would take to buy the 5D Mark II.
-Filters – I’ve never been a big user of filters, because I do not pay top dollar for the glasses, then put another piece of glass on them. However, there are three that seem essential – a circular polarizing filter and two neutral density filters – an optical density 0.9 or 3-stop filter and an optical density of 1.8 or 6-stop filter .
- Canon EF 35mm f/1.4L USM Wide Angle Lens – Yes, I have a 24-105 zoom, but I like to have a primary objective which is equivalent to a 50mm lens with a full frame sensor.
- II Speedlite Flash Canon 580EX

I’m sure this list will grow, but these are items that I think most often.

Keep in mind that equipment does not take pictures. Anyone can take photos badly with the best equipment available. Only good photographers can take good pictures or large.

Photo credits (in order of appearance)
- “Canon EF 300mm f/2.8L IS USM” by corvo72corvo on Flickr Creative Commons.
- “Canon EF 300mm f/4L IS USM” by Steve Russell

just post by ableh

Jordi Brinkman, Product Manager for Nikon Europe, says: “The exciting new D7000 is the ideal next camera for D-SLR owners who want to further indulge their passion for photography with a camera that boasts more advanced features providing creative power. It has a new image sensor, EXPEED 2, AF system and metering sensor to ensure great performance in a highly durable body. In fact, it has everything you need in your next SLR but in a size you wouldn’t expect.”

Exceptional image quality
The D7000 includes a range of new features to ensure superior image quality including 16.2 effective megapixels with the newly developed Nikon DX format CMOS image sensor. The camera boasts a new image-processing engine, EXPEED 2, which delivers higher image quality, higher speed processing and multiple functions with more power. And the D7000’s increased ISO sensitivity (100-6400, extendable up to 25600) ensures exceptional detail with minimal noise when capturing fast moving subjects or in poor light situations, even without the flash.

Outstanding reliability
The D7000’s bright Glass Pentaprism Viewfinder with approximate 100% frame coverage and 0.94x magnification gives you the most precise view and focus of any scene, and it is always ready when you are with a shutter speed of 1/8000s, tested to 150,000 cycles. What is more, the camera is protected by magnesium alloy top and rear covers and has durable sealing against dust and moisture so it is prepared for even the most testing of situations.

When it comes to storage, the D7000 again provides you with maximum reliability. The twin SD memory card slots allow for added storage capacity and give you the freedom to manage your images and video in the way you want to either by saving more of them, keeping different formats separate or always having backup space when you need it.

Enhanced performance
The D7000’s newly developed AF system featuring 39 focus points, including 9 cross-type sensors in the centre, gives you the sharpest focus, no matter where your subject is in the frame. And with Nikon’s new 2,016 pixel RGB metering sensor to enhance the effectiveness of the Scene Recognition System, plus High Speed Continuous shooting capability at 6FPS, you can be sure to capture incredibly accurate, high-quality images every time.

Full-HD D-Movie with AF-F mode
The D7000 has direct access to a movie record button so you can capture footage in full HD (1080p) with greater ease. The AF-F gives continuous focus during movie recording, which is captured using MPEG4 AVC/H.264 compression, and has a stereo microphone jack for quality sound recording. This means superior image quality and operability when using the D-Movie function.

The D7000s built-in movie editing functions also give you the freedom to chose the start and end points of your footage and switch to selected frames for capturing still images without relying on a computer – letting you edit and share your films quickly and easily.read the original nikon d7000

post by ableh

The Canon TS-E 17mm f/4L (around $ 2,499) is a unique and never before has such an extreme tilt angle shift lens wild / was available on a digital SLR.

Kudos to Canon for the construction of such a lens is a revolutionary exotic “first”. In early 2010, Nikon has nothing comparable, most Nikon tilt / shift being the 24mm f/3.5.

Architecture and landscape photographers in particular should be the review of this lens.

A major overhaul is in DAP as compared to the review of the Canon 17-40 and 16-35 zooms.
Solves problems without any objective can

The 17/4L Canon is expensive, but if I buy a lens tilt / shift, it would probably be my first choice because it is unique. Although expensive, it is a great value, because no other lens offers its capabilities.

The displacement capacity and low distortion of 17/4L architecture means that shooters have a very powerful tool at their disposal to create professional quality images. Landscape shooters will also benefit, with the possibility of moving away distractions and control depth of field through angle.

The ultra-wide viewing angle lets you take pictures of small spaces in a way that has hitherto been impossible without a camera. Think inside buildings (kitchens, churches, etc.), the exterior architecture, etc.

The Canon 17mm f/4L is reviewed in depth in DAP.

A standard (not change) ultra fisheye could be used with the correct software perspective, but with a large quantity of the harvest and the loss of resolution.
offers tilt Canon’t change /

Canon lenses available tilt / shift a number of years, including the f/3.5 24mm, 45mm f/2.8L f/2.8 L and the 90mm. In 2009, Canon introduced the 24mm f/3.5L II and 17mm f/4L.
Build quality and ergonomics

Build quality is very high. The 17/4L is almost exactly the same size as the TS-E II 24/3.5L, that is to say that this goal is fairly large, in agreement with the tilt and shift functionality.

The 17/4L weighs with sunscreen and hats to 897g (2 pounds). By comparison, weighs 815g and II 24/3.5L original weighs 625g 24/3.5L. This extra weight is not relevant in light of its purpose-built features, kudos to Canon for making the lens big enough to do the job well done.

There is no sun visor. This is very close to a fisheye rectilinear reflect the functions of slope and displacement at 17mm.
Buttons and controls

I found the tilt and shift very easy to use. They are much improved over the (original) Canon TS-E 24/3.5L. The issues I found are a bit tight when rotating squeeze past the viewfinder on the Canon 5D Mark II.

The 17/4L offers an amazing 12mm of passage, traditionally the absolute maximum for longer focal lengths, it is surprising to see it available on a 17mm lens! One would have expected and readily accepted a reasonable limit of 10mm or even 8mmm the shift, but to offer 12mm is amazing.

The tilt mechanism can be rotated to any angle independent shift, allowing an unprecedented versatility, something simply not possible with a Nikon tilt shift lens /, although this offer has SuperRotators Hartblei possibility first. It is easier to use Canon’s movements due to the smaller lens and front / rear shift mechanism.

Examples
The comprehensive review has many examples of much larger sizes. Examples of features are below.

The benefit change

The shift function can eliminate the disorder, or be used to “glue” a picture for a better resolution.

Not shown is the use of tilt, which may distort the plane of sharpness of the depth of field much more.

Unshifted (zeroed)

Shifted up (“rise”)

Stitched image, approximately 30 megapixels

Conclusions

My full review of DAP covers much more, including vignetting, distortion, flare and examples.

The 17/4L is unique in being both an ultra wide angle and tilt of the lens / delay, so some photographers could legitimately consider a camera accessory for the lens.

Based on what I observed in actual field shots, and its unique capabilities, I never hesitated to give the 17 / 4L my highest recommendation.

You can get the B & H Photo 17/4L, thank you for using these links.

See also my list of recommended gear and Canon lenses, and the pages of speed.
Learn more about Canon lenses

For in-depth reviews of lenses that fit Canon cameras (Nikon and others), subscribe to Diglloyd Advanced Photography (DAP).

DAP is not only about the lenses, these cameras and technology and to better images, written to be affordable for beginners, but valuable for professionals. The new material is constantly added, so sign up now!
Learn more about the Zeiss ZE for Canon

You can read an overview and mini reviews here. For in-depth coverage on line Zeiss ZE, see the Guide Zeiss ZF/ZF.2/ZE.

The guide has many examples of a much higher resolution, with real-crop pixels for each objective, in most cases, several pages of examples per glass. The new material is added regularly said the guide, so sign up now!

just post by ableh

PowerShot G-series has represented a formidable presence at the top of the tree a compact camera. From the viewpoint of a photographer-sharp, there is little in the market that can match its alloys zoom range, flexibility of the lens, build quality and level of manual control. Somehow the Ricoh GX and the Nikon P series has never quite have the same effects but the Panasonic LX3 was enough to tempt some potential customers away, with a bright lens and convincing (for performance) compact low light.

The G11 seems determined to reclaim its position as the champion did not need from the market, though, combining what Canon describes as ‘high sensitivity’ CCD. In what was perhaps the first, the company has pushed the number of pixels compared with the previous model. In principle, there is no downside to having more pixels if you consider the whole picture (apart from the size of larger files that may slow down the camera and fill your memory card is faster and the additional complications have to apply noise reduction before demosaicing, which is not something that many people who are willing or able to do so). However, the photosites are often greater than the less dense pixel sensors will tend to receive more light, in the same exposure, making it easier to produce images that look clean at the pixel level. Almost as if to Canon compact to be practical all-boats.read original canon powershot G11

by.Richard Butler

lumix

Panasonic’s G1 was not only the first product of the Micro Four Thirds standard, it was also the world’s first interchangeable lens camera to turn its back on traditional optical viewfinder designs and take a more compact-camera-like live view approach. The outward appearance may have been pure DSLR but the G1 is likely to be remembered as the camera that foreshadowed the end of that breed’s preeminence.

The G1 included almost all the features of Panasonic’s considerably more expensive L10 mid-level DSLR in a smaller, lighter, cheaper format. It also offered levels of coherence and performance (particularly in terms of autofocus), that were distinctly at odds with its first-generation status and that more recent competitors have not always managed to live up to. However, perhaps because it had so few other obvious flaws or because its styling was so deceptively conventional, the G1 wasn’t embraced as the revolutionary product it was and instead was viewed warily because of what it didn’t offer: video.

just post read original SLR Cameras

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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