From Samyang Optics:
A global optics brand, Samyang Optics, has announced the release of 2 new lenses: XEEN 14mm T3.1 and 35mm T1.5. These two lenses, along with the existing 24mm T1.5, 50mm T1.5 and 85mm T1.5 lenses, create a perfect balanced five-lens-set for filming video and cinema with the outstanding image quality from resolving power for 4K+ production.
XEEN is a specialized brand in professional video-cine lens launched by Samyang Optics in 2015. The XEEN lenses are designed with Samyang Optics' know-how and have outstanding optical performance for 4K+ with the X-Coating Technology, ensuring maximum image quality to create a cinematic look.
The 24mm x 36mm negative size allows XEEN to not only work with full frame cameras, but also with Super 35, APS-C and APS-H cameras. The lenses are available in five different mounts - PL, EF, F, E, and MFT and two different focus scales - metric and imperial units. Also, the aluminum metal housing is known for its reliability in various shooting conditions.
Most of XEEN lenses come in a bright T1.5 aperture. The lenses deliver high quality footage with clear contrast and impressive colors, even under less-than-optimal lighting conditions. The large aperture also creates a pleasing bokeh effect for a cinematic look.
“Thanks to the rise of multi-channel networks, the demands for video creation is internationally surging and the expectation of video quality is also increasing,” stated by a XEEN official. He continuously said, “to satisfy the international needs, we have completed the first perfection of XEEN lenses with five lenses which deliver a high-quality cinematic image.” As an answer to the future product plan, he carefully disclosed that two more XEEN lenses will be announced in the second half of the year.
Created to deliver infinite possibilities, XEEN 14mm and 35mm lenses will be globally available in early March. The recommended retail price of each lens is USD $2,495.00. B&H
carries Samyang/Rokinon XEEN lenses
It's Friday, so let's have a little fun this morning. I captured a single exposure of this plastic, Christmas-themed jar last night.
The question is – can you figure out what technique and / or tools I used for lighting the jar? Note:
The only editing I did in Photoshop was add the watermark and apply a small Brightness/Contrast adjustment.
Submit your answer in the comments. I'll let you know if you're right. [Sean] The Reveal
Site visitor Nancy just emailed us the correct answer (she said she forgot her Disqus password so was unable to comment).
"Possibly cross-polarized (polarizing filter on lighting, polarizing filter on lens, set at right angles to each other to eliminate the facing-forward reflections).
Clue - rainbow stress marks on the plastic."
Indeed, she is right. I first opened up a blank / white document in Photoshop giving me a large blank white background via the laptop's WLED screen. The clear plastic jar was placed on a black laminate board on top of my laptop's keyboard (I used a couple of books to raise the height a bit).
As the WLED is a polarized light source (no filter required for it), I was able to use a polarizing filter on the 24-105 f/4L to block all light coming directly from the screen. However, the light passing through the plastic gets diffused (and changes directions, rendering it unpolarized), so the light passing through it is visible.
Here's a picture using the same exact exposure settings with the CPOL turned so as not to block the light coming from the screen (you can see my framing actually caught the left edge of the screen):
Once the polarizer was rotated to block the laptop's WLED light, the shot atop this post was the result. Here was the simple setup:
Thanks to everyone who participated! I enjoyed reading the responses and I think there were some great ideas presented.
From Canon Australia:
Friday, 5 February 2016 Dear Professional Photographer,
For the past 13 years, Canon Australia has been the major sponsor of the AIPP (Australian Institute of Professional Photography) awards. Through this sponsorship, we have worked with the AIPP and in consultation with photographers to shape a program that benefits entrants and promotes the industry.
Importantly, we have been determined to see as much of our sponsorship dollars as possible used to support the entrants and winners directly. Over recent years, though, this has been an increasing challenge as a result of the investment decisions and changing priorities of the AIPP administration.
These differences of opinion between us have limited our ability to provide the help that ‘professional’ photographers were telling us they needed through the Major Sponsorship.
The result of extensive discussion and proposals is that Canon will no longer be the Major Sponsor of the AIPP APPAs in 2016. Still determined to maximise the potential of the APPAs for professional photographers, we have requested a category sponsorship to allow us a more flexible structure to contribute. We await confirmation from the AIPP. Staying true to our aim
This decision does not detract from our mission, but empowers us to do more to support the profession of photography and, specifically, the photographers that comprise it. To that end, we are preparing to announce ‘pro community’ events and enablement grants to help professional photographers, directly.
We want you to be the first to know and will be contacting you closer to the time with more details. In the meantime, please send us any questions and suggestions through to the following address: email@example.com
Thank you for your support and I look forward to being in touch.