Canon and Sony News for Feb 2017 (Page 4)

From Nikon:

Changes from Version 1.2.4 to 1.2.5 Fixed the following issues that affected Nikon Transfer 2 under macOS Sierra:

• Image data copied using Nikon Transfer 2 under macOS Sierra version 10.12.2 could sometimes be corrupted.
• Nikon Transfer 2 would quit unexpectedly when users attempted to transfer photos or movies.
• Users could not select slots in the Source panel when transferring pictures from cameras with two memory card slots.
• Pictures taken using the Smart Photo Selector available with cameras in the Nikon 1 series would be transferred as individual images rather than as a group.

Download: Nikon ViewNX-i 1.2.5 (for Mac OS)

Earlier this year, we reported that XUME Adapters had been quietly acquired by Manfrotto. A spokesman for XUME told us at the time:

"XUME is a Manfrotto product as of September 2016. They haven't done a lot of press yet but will be doing an official re-launch soon."

From Manfrotto:

Providing precision and ease to capture every shot

Upper Saddle River, N.J. (February 7, 2017) – Manfrotto, a leading global innovator and manufacturer of premium photo, video and lighting support products and accessories, has launched a new, groundbreaking Manfrotto Lens Filter Suite, a combination of Manfrotto’s successful high-quality lens filters and innovative Manfrotto XUME magnetic adapters. The new Manfrotto Lens Filter Suite enables professional and amateur photographers and videographers to avoid the hassle and frustration of changing filters while subjects wander or light slips away. With the Manfrotto Filter Suite, photographers instantly and precisely connect the filter to their lens so that they never miss the perfect shot. The Manfrotto Lens Filter Suite is comprised of a Manfrotto Lens Filter, a Manfrotto XUME Lens Adapter and Filter Holder plus an optional Cap (available only for 77mm diameter). It is the perfect choice for long exposures, wedding photography, macro, architectural photography, fine art photography – any style requiring the use of filters.

Manfrotto’s camera lens filters are built to the highest quality standards. They feature flawless multi-coating which minimizes reflection and maximizes light transmission, consistently delivering the effects photographers wish to achieve. Each filter is provided with a practical, reusable storage case, ensuring the highest level of protection off-camera. Depending on the model, Manfrotto filters feature reliable water-repellent, oil-repellent and anti-static characteristics.

• UV filters block out UV light, preventing it from entering the lens, reducing blurring, haziness and blue casting.
• Circular Polarizer filters enhance color, contrast and saturation as well as removing undesirable reflections from non-metallic surfaces.
• Neutral Density filters help control exposure times by reducing the amount of light hitting the camera sensor without altering the color of the scene.
• Protect filters provide maximum protection against scratches, oil and moisture, without affecting overall image quality.

Manfrotto XUME Adapters are the revolutionary magnetic solution which securely locks filters onto lenses, quickly and easily. Photography gear stays safe in-use with the filter magnetically secured to the lens. Manfrotto XUME accessories are safe for the lens’ focus mechanism, media cards, drives or other electronics.

Unique to the market, Manfrotto’s XUME Adapters:

• Install in an instant.
• Are secure; no moving parts and completely safe to use.
• Have very low profile rings and are completely unobtrusive.

Manfrotto XUME Filter Holders and Manfrotto XUME Lens Adapters are now available nationwide in eight sizes: 49mm, 52mm, 58mm, 62mm; 67mm, 72mm, 77mm and 82mm. The Manfrotto XUME CAP is available only for the 77mm size. Manfrotto Filters range in price from $19.99 to $134.99 and Manfrotto Xume Adapters range in price from $10.99 to $34.99.

B&H carries the following products:

• Manfrotto XUME Filter Holders
• Manfrotto XUME Cap

Sigma Corporation of America recently clarified its Gray Market Service Policy which went into effect January 1, 2017. In it, Sigma USA warns that not only will it refuse to repair gray market items for free under warranty, but that it will charge a $250.00 service fee on top of the parts and labor costs for repairing gray market goods. See below for Sigma USA's new official Gray Market Service Policy (we bolded part of the last sentence for emphasis).

From Sigma:

Gray Market
As of January 1, 2017, any product that is not imported by the Sigma Corporation of America or purchased from an unauthorized Sigma USA Dealer will not be serviced under warranty regardless of the service required. The Sigma Corporation of America Service department will service these products for a minimum $250 charge in addition to the required parts and labor charges at the owner's expense.

From Sony Europe:

New Full-frame 85mm F1.8 Mid-telephoto prime lens and Compact Radio-Controlled Flash also announced

Sony today introduced two new lenses for their popular line of E-mount interchangeable lens cameras.

Sony’s new lenses include one of their flagship G Master Series – an FE 100mm F2.8[i] STF GM OSS mid- telephoto prime lens (model SEL100F28GM) built to deliver breath taking bokeh with a unique STF (Smooth Trans Focus) design, and a new compact, lightweight FE 85mm F1.8 mid-telephoto prime lens (model SEL85F18) that is a welcome addition to the bag of any hobbyist or enthusiast photographer looking to create amazing portraits.

Sony also introduced a new powerful, compact flash (model HVL-F45RM) with radio-controlled wireless communication that is ideal for professional shooting with Sony’s line-up of a7 full-frame cameras.

FE 100mm F2.8 STF GM OSS Telephoto Prime Lens

A specially designed mid-telephoto, full-frame prime lens, the new 100mm STF is built to produce truly unique, magnificent and beautiful bokeh while maintaining the exceptional standard of resolution that is showcased throughout Sony’s entire line-up of flagship G Master series lenses, making it a powerful photographic tool for any portrait, fashion, nature or wedding photographer.

These impressive defocus capabilities are made possible by the lens’ advanced optical structure, as it features a newly designed 11-bladed aperture and a unique optical apodization lens element. Similar to a neutral density filter that increases in density towards the edges, the apodization element creates beautiful transitions of in-focus to out-of-focus areas within an image, making for exceptionally soft, smooth bokeh that adds depth and dimensionality. This allows the subjects to stand out against beautifully defocused elements in both the foreground and background, producing an image that is naturally pleasing to the eye. The design of the lens also ensures that vignetting is kept to an absolute minimum, ensuring optimum image quality.

Additionally, the new 100mm lens supports both contrast AF and focal-plane phase detection AF[ii], and has a high-precision, quiet direct drive SSM (Super Sonic Motor) system that ensures exceptionally fast and accurate AF performance. The SEL100F28GM also offers up to 0.25x close-up capabilities with a built-in macro switching ring, built-in Optical SteadyShot image stabilisation, a customisable focus hold button, AF/MF switch, aperture ring and is also dust and moisture resistant.[iii]

FE 85mm F1.8 Telephoto Prime Lens

The new SEL85F18 mid-telephoto prime lens offers an extremely versatile, lightweight and compact telephoto prime lens solution for a variety of Sony camera owners ranging from working professionals to emerging enthusiasts that have stepped up to an APS-C or full-frame camera for the first time. With its wide F1.8 aperture, it can produce impressive, exceptionally sharp portraits with soft background defocus that take advantage of its 85mm focal length and wide F1.8 maximum aperture.

The new prime lens features a 9-bladed circular aperture mechanism that ensures smooth, natural looking bokeh, and a double linear motor system to allow for fast, precise and quiet focusing. It also has a focus hold button that can be customised and assigned together with functions in the camera body like the popular Eye-AF feature. There is a smooth, responsive focus ring and AF/MF switch and the lens is also dust and moisture resistant.iii

New Compact Radio-controlled Flash

Sony’s new HVL-F45RM flash enhances the radio-controlled lighting system capabilities of their growing system, offering a compact professional shooting solution when combined with the currently available wireless remote controller FA-WRC1M and receiver FA-WRR1.

The new flash, which is designed to complement the compact bodies of Sony’s E-mount camera line-up including full-frame a7 models, produces a maximum lighting output as expansive as GN45[iv]. This ensures sufficient illumination even when shooting with bounce lighting or high-speed-sync (HSS) flash. The radio capabilities of the HVL-F45RM allow it to be used as a transmitter or a receiver at up to 30m (approx. 98 feet[v]), making it an ideal fit for creative lighting with multiple flashes. Additionally, unlike optical flash systems, radio-control flashes do not require a direct line-of-sight between components to function properly, while also minimising any impact that bright sunlight has on signal transmission and control.

The HVL-F45RM flash has an impressive battery life of up to 210 bursts, and can tilt up to 150o vertically, a complete 360o horizontally and up to 8o downward to maximise versatility. Usability has been maximised with a new large, bright and highly visible LCD display, an LED light, dust and moisture resistant design3 and a revamped menu system that mimics those of Sony’s newest camera systems.

Pricing and Availability

The new lenses and flashwill start shipping in March 2017. The SEL100F28GM will be priced at approximately €2,000, the SEL85F18 will be priced at approximately €650 and the HVL-F45RM will be priced at approximately €480.

B&H will carry the Sony FE 100mm F2.8 STF G Master, FE 85mm F1.8 & HVL-F45RM Flash.

From Canon USA:

MELVILLE, N.Y., February 7, 2017 – On February 5th, top sports photographers from across the country gathered in Houston to cover the Big Game between the teams from New England and Atlanta. With an estimated 75 percent* of the photographers in the Houston stadium using Canon EOS DSLR cameras and EF lenses, Canon’s iconic white lenses filled the sidelines from the opening kickoff to the final whistle. In addition to the EOS DSLR cameras and EF lenses on the sidelines, Canon’s line of HD broadcast lenses were also used extensively to help deliver the game to more than 110 million television viewers.

“It’s an honor to see yet another major sporting event where the country’s most talented and acclaimed sports photographers captured exciting moments with Canon equipment. These images will be seen by millions of people around the world and will forever be etched in sports history. We understand there are many equipment options for professional photographers and Canon is honored to serve these professionals and provide assurances that both our products and support live up to the requirements and expectations of our devoted customers,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc.

A full complement of friendly and knowledgeable staff from the Canon Professional Services (CPS) team, a fixture at major sporting events throughout the year, were on site at the stadium for most of the week leading up to game day providing comprehensive equipment maintenance, extensive equipment loans and expert technical support to the major photo agencies and individual professional (or media) photographers covering the game.

For veteran sports photographer and Canon Explorer of Light Damian Strohmeyer, this was his 30th time covering the big game as a professional, and he was well stocked with Canon cameras and lenses. "Leading up to the game, I always make sure to meet with the Canon Professional Services team to run through my settings and firmware, and ensure that my gear is as ready for the big game as the players are," Strohmeyer said. "During the game, there's so much action that you can't be worried about how your equipment will perform. Depending on where the play is, I need to stay prepared for anything that may happen, with no time to switch lenses. For this reason, I used three EOS-1D X Mark II cameras, equipped with EF 400mm f/2.8L IS II USM, EF 70-200mm f/2.8L IS II USM, and EF 24-70mm f/2.8L II USM lenses. After the game, I switched to an EF 16-35mm f/4L IS USM wide angle lens for post-game reaction shots. Everything performed fabulously, and my images came out looking great!"

Canon Professional Services will be proudly attending to professional photographers at over 30 events this year including major sporting, auto racing, Hollywood, and political events throughout the year.

* Based on Canon U.S.A., Inc., survey and data, as of February 6, 2017.

From the B&H YouTube Channel:

Think you know your Nikon camera? You might reconsider after spending an afternoon with Nikon Technical Sales Representative, Alex Podstawski. Join Alex as he shares some of his favorite tips and tricks for making digital images better.

If you own any of Nikon’s DSLRs, than this seminar is made just for you! During this informative seminar, you'll discover things about your Nikon DSLR that will help you take your picture creation to a whole new level.

B&H carries Nikon cameras and lenses.

Is an electronic viewfinder (EVF) better than an optical viewfinder (OVF)? Or even an acceptable alternative? Though some DSLR (Digital Single Lens Reflex) cameras have EVFs, a major consideration when selecting between an MILC (Mirrorless Interchangeable Lens Camera) and a conventional DSLR is that the MILC will not have an optical viewfinder (OVF). As more MILCs become available and advanced, and as this camera type gains in popularity, these questions are becoming more important ones for this site's audience to answer.

Since writing the original post, EVF technology has improved significantly, and this content has been updated accordingly.

With no mirror or optical viewfinder, MILCs utilize data coming off of the imaging sensor to display the TTL (Through the Lens) view on an LCD. That LCD panel can be on the back of the camera or in a viewfinder, where it is typically referred to as an EVF (Electronic Viewfinder). This is not a new technology, but one that has been utilized by many non-MILC digital cameras, practically since digital cameras existed.

Relevant to this site's audience is the replacement of the traditional DSLR OVF with an EVF. Safe to say is that all high-grade cameras produced today have an LCD that can be used for mirror-up, live view of an image that is about to be captured. Therefore, the benefits of an EVF (Electronic Viewfinder) relate to being able to see an LCD with the camera placed at one's eye. Making the difference less black and white is that LCD viewfinders/shades/loupes, such as those by Hoodman, are available for use on the rear LCD, effectively giving all digital cameras an "EVF".

To get started with the comparisons, let's look at:

The Advantages of All Live View LCD Displays Over Optical Viewfinders

A big advantage of an electronic viewfinder is the WYSIWYG (What You See is What You Get) image preview (including with no viewfinder alignment issues). Able to be included in the LCD image preview is the actual exposure brightness, optionally including a histogram, focus peaking, and over/underexposure warnings. Also able to be included in the preview are the net results of other camera settings applied, including white balance, contrast, and saturation. This preview is usually able to show a 100% view of the composition vs. a slightly cropped view shown by many OVFs.

When shooting in a very dark environment, it becomes very difficult to compose an image using an optical viewfinder. By using an amplified signal from the sensor, an LCD viewfinder can present a much brighter image that greatly facilitates composition. A "dark environment" can include the use of a strong neutral density filter under even bright daylight conditions.

Under the extreme opposite lighting conditions, the LCD can offer protection to your eyes. At the extreme end of the brightness category, the sun poses a serious risk to eyesight. Eye damage can easily occur if looking at the sun through an OVF, especially with a telephoto focal length in use. An LCD's maximum brightness is not dangerous to the eye, even with the sun in the center of the frame. There is little risk to your eyes when viewing the sun in an LCD, but note that your camera may not fare as well.

An LCD does not need a viewfinder shutter or cover to prevent unwanted light from affecting the metering or exposure.

A mirror assembly is required for OVFs, but not for LCDs. Removing the mirror assembly has some advantages, including the cost of the assembly being eliminated (though the EVF systems also have a cost that must be factored back in). The mirror assembly has moving parts and moving parts may eventually require replacement (though the life of a DSLR mirror assembly is usually a very significant number of actuations).

The lack of mirror movement creates some additional benefits. First, a mirror rapidly flipping up and down makes noise, and a camera operating without a mirror is considerably quieter. Mirror movement causing vibration during the exposure is no longer a concern. Also, the mirror lockup function becomes obsolete. Without the rapid mirror movement, airflow in the mirror box is reduced, which may in turn reduce instances of dust adhering to the sensor. Take the lens off of an electronic first curtain shutter MILC (a common design) and the imaging sensor is right there, easily accessible for cleaning (note that some mirrorless cameras now close the shutter when powered off).

The lack of a mirror forces another primary differentiator between non-OVF vs. OVF cameras, and that is, without a mirror, the imaging sensor must be used for all pre-shot calculations, including auto focus and auto exposure. While there were initially some disadvantages to the mirrorless design in these regards, primarily related to AF speed, the latest mirrorless cameras focus extremely fast, and technology continues to move forward in this regard. One sensor-based AF advantage is that AF area coverage and AF point count are dramatically increased. Another is that, with focusing taking place precisely on the imaging sensor, AFMA (Auto Focus Microadjustment) is rarely needed and lens focus calibration becomes a non-issue.

With the LCD previewing the image about to be captured, precise focusing can be monitored, including focus peaking indication. Also, an enlarged view of a portion of the frame can be selected to verify focusing or to aid in precise manual focusing.

With the tremendously detailed information the sensor makes available, completely game-changing technologies, including subject, face (even a registered face), eye, and smile detection, can be implemented.

While intelligent optical viewfinders have shown great advances in recent years, complete with transparent LCD overlays, they don't come close to the capabilities of LCDs in terms of the information that can be shown. A high-resolution LCD panel with a huge palette of colors available provides designers great flexibility in creating a camera's graphical user interface and also in the customization capability of that interface.

Though a bigger advantage for true EVF cameras, LCD displays can provide an immediate display of a captured image precisely where the photographer is looking at time the image is captured (such as directly through the viewfinder). However, I must note that this review interrupts the capture of a subsequent image, and I now turn off the EVF image review feature on the mirrorless cameras I'm using. Still, the press of a button shows the image review, without the need to move the camera or look elsewhere.

While some manufacturers (including Canon and Nikon) contend that image stabilization technology works best in the lens vs. in-camera (and there is validity to this claim), inarguable is that the effects of in-camera image stabilization will not be seen in an optical viewfinder, leaving the view shaky. EVFs resolve that issue.

Again, camera-back LCDs and EVFs (which also use an LCD) share the benefits just described.

Differences Between Rear LCDs and Viewfinders (Both EVFs and OVFs)

As mentioned, when it gets dark, LCD live view displays and EVFs are much easier to compose with than OVFs. However, in bright daylight, even the best rear LCDs become very difficult to see and I find it especially challenging to compose using the rear LCD under direct sunlight. In contrast, viewfinders make it easy to critically view the composition under even the brightest conditions, giving them a huge advantage over a rear LCD under bright daylight conditions.

I wear eyeglasses a good percentage of the time (and that percentage is increasing). If you do not need corrective optics now, you will – it is only a matter of time. I have reading/computer glasses and another set with a distance prescription for seeing longer distances. When out and about with a camera, I seldom have both sets of glasses with me and I often wear none. This means that the image on the camera's rear LCD, within arm's length, appears slightly fuzzy to me. Yes, bifocals and trifocals are options that would help with this issue, but ... I have not appreciated the limited views that these provide. Dioptric adjustments provided by viewfinders resolve this issue, permitting a clear view of what I'm about to photograph and review of what I already photographed if it is an EVF.

Another key viewfinder advantage is that it provides additional stability for holding the camera steady. While it can also lead to AEB, the camera pressed against an eyebrow adds a significant third point of stability in addition to two hands. Also, this position allows both elbows to be tucked into the ribs, further increasing stability.

A camera's primary LCD tends to collect fingerprints and other smudges at a rapid pace, and these can interfere with visibility of the display, especially in bright light. A viewfinder, to the contrary, tends to stay clean. However, a viewfinder, with its inset glass, is harder to clean than a primary LCD that, especially if properly coated, easily wipes clean with a microfiber cloth.

Advantages of Electronic Viewfinders over Rear LCDs with a Loupe

As mentioned, an accessory viewfinder/shade/loupe can turn a camera's rear LCD into the equivalent of an EVF. A downside is that LCD loupes are not nearly as well integrated into the camera design as EVFs are and built-in EVFs are considerably more compact and less intrusive. External loupes also get in the way of touch screen functionality.

Advantages of Eliminating the OVF

A primary attraction of MILCs is their smaller size and lighter weight. Eliminating the mirror box and OVF immediately reduces the footprint of a camera, permitting these design advantages. With the mirror box out of the way, improved lens mounts and lens designs are made possible.

Advantages of Optical Viewfinders

With resolution not limited by dots of pixels (that can appear to flicker as they change colors when framing is adjusted with lower-end EVFs) and refresh rates not limited by an electronic display, advantages of an OVF include higher resolution and speed-of-light responsiveness. In addition to seemingly unlimited resolution and instant refresh rates, OVF dynamic range is limited only by our eyesight. An LCD has a limited dynamic range, and may show blocked shadows and blown highlights, though improvements are reducing this EVF downside. Though the dynamic range of the image captured via an OVF system will similarly be limited by the imaging sensor (and seeing the final result may be advantageous), seeing the full brightness range of the scene is different.

The EVF properties just discussed can leave the photographer feeling somewhat disconnected from the moment, akin to watching a movie of an event vs. seeing it in-person as an OVF provides the sense of.

While an LCD can make low light composition easier, a photographer's eye must constantly adjust between the bright display and dark ambient light levels. Generally speaking, the brightness seen through an OVF is similar to what is seen without the camera in use.

While removing the mirror assembly brings some advantages, the mirror provides a level of protection to the imaging sensor. Take the lens off of an OVF camera and it is the mirror that becomes exposed instead of the imaging sensor or shutter curtain in some models.

While not directly related to the viewfinder type, MILCs are very commonly given EVFs with reduced camera size and weight being two of the common design targets. Especially with the smaller MILCs, using large lenses and full-sized flashes can lead to a tail-wagging-the-dog scenario where the provided grip is inadequate or only marginally adequate to maintain control of the overall setup. OVF cameras are typically larger, making larger lenses and flashes easier to control.

While on the size topic, if considering an MILC for size and weight reduction purposes, make sure that the MILC lenses you need do not make up for some of the camera footprint and weight difference. While most of these cameras indeed have a smaller footprint than their DSLR equivalents, the size of the lenses needs to be considered, and these are not necessarily smaller. The smaller camera does not change optical properties, and the image circle size required by the same-size sensor remains the same.

Though mirrorless cameras often utilize a short back-focus lens design and some lenses are indeed smaller, some of the smaller lenses also have narrower maximum apertures. MILCs may need an adapter to use the manufacturer's standard lenses (the Canon EOS M series for example). While an adaptor can tremendously extend the number of lenses a camera is compatible with, it is an extra part to buy, carry and use. And, it makes the camera (or each lens) effectively larger and heavier in use, with, for example, the EF to EOS-M adaptor adding a modest 1" (26mm) and 3.77 oz. (107g) respectively.

With the imaging sensor required to be powered up for an EVF to function and because an EVF's full-color LCD requires its own share of power, EVFs require more battery capacity for an equivalent number of photos to be captured. However, battery size, and with it, capacity is sometimes sacrificed in MILCs. As a result, cameras with EVFs often have considerably lower battery life ratings. A faster battery exhaustion rate greatly increases the chance that the battery will become fully drained just when the perfect image presents itself (one of Bryan's Laws of Photography).

Roughly figure an EVF system to require at least twice as many batteries as an OVF system. If you often carry a spare battery with your OVF camera, you should probably carry 3 or 4 with an EVF camera. Additional batteries add to the system cost, carrying extra batteries adds to the system weight, and maintaining the charge of additional batteries requires maintenance and logistics – and probably at least a second charger, as you can potentially drain batteries faster than you can charge them.

Do you ever look through your viewfinder with the camera powered off? Perhaps when setting up a tripod and composing a scene? Complete blackness is what you will see if doing so with an EVF camera.

Complete blackness is not what you seen when photographing in the dark with an EVF and the bright viewfinder can negatively affect night vision.

An OVF provides a continuous speed-of-light refresh rate. Until not long ago, I would not opt for a mirrorless camera to photograph action. However, EVFs have made great strides in recent years. While EVFs may never equal OVF systems in this regard, the best EVFs have surpassed the good enough level.

Advances in on-sensor AF capabilities have launched recently-produced mirrorless camera AF performance far beyond that of the traditional phase detection systems found in OVF cameras.

Initially, most OVF systems had a significantly shorter viewfinder blackout time during the image capture, and if following action, this is a critical factor. The difference was significant enough that one may find EVF cameras practically unusable for tracking/framing a moving subject even with image review turned off. I could keep a straight-on-approaching/leaving subject in the frame for a period of time with an early EVF, but if they moved to the side, my framing quickly fell apart. Starting with the Sony a9, featuring "Blackout-Free Continuous Shooting", this downside has been addressed. There is one less bullet point in the OVF advantages list vs. the latest EVF technology.

Summary

So, back to the questions: Is an electronic viewfinder (EVF) better than an optical viewfinder (OVF), and is an EVF an acceptable alternative to an OVF?

Originally, the answer to both of those questions is yes or no. As the mirrorless camera viewfinders have improved, my answer has drifted toward the yes side of the equation. My kit is not completely mirrorless, and I'd dread having to go back to an OVF.

From Tamron:

Compact, high-performance lens boasts the largest focal length range in its class

February 6, 2017, Commack, NY – Tamron, a leading manufacturer of optics for diverse applications, announces the launch of 10-24mm F/3.5-4.5 Di II VC HLD (Model B023), a new ultra-wideangle zoom lens for APS-C DSLR cameras. The lens is expected to be available in the U.S. this Spring at $499.

Model B023 is a wideangle zoom lens that covers an exceptionally large range—the largest focal length range in its class1 (35mm equivalent is 16mm to 37mm). The lens is ideal for street photography, landscapes, group photos and casual everyday scenes. In 2008, Tamron launched the SP AF 10-24mm F/3.5-4.5 Di II LD Aspherical [IF] (Model B001) that provided an unprecedented focal length range in its class. Building on that lens’s popularity, the successor Model B023 has improved optical performance and new features. It embodies Tamron’s most advanced technologies, including the VC (Vibration Compensation) system, Moisture-Resistant Construction and Fluorine Coating, and the first implementation of Tamron’s new HLD (High/Low torque modulated Drive). Additionally, the Model B023 has a refreshing new design derived from the design of the new product lineup in the SP series.

PRODUCT HIGHLIGHTS

1. Inheriting the broadest focal length range in its class of ultra-wideangle zoom lenses
The new Model B023 achieves a broad focal length range of 10-24mm, the largest range among ultra-wideangle zoom lenses for APS-C DSLR cameras. This is the 35mm equivalent of covering a very wideangle of view, from 16mm ultra-wideangle to 37mm semi-wideangle. A photographer can enjoy diverse wideangle expressions with just this one lens, from dynamic landscapes far beyond the normal human field of vision to simple, casual snapshots.

2. Improved optical performance across the entire zoom range
The optical design of the new Model B023 consists of 16 lens elements in 11 groups. Special lens elements are utilized in an optimum configuration of one LD (Low Dispersion) lens element, one XLD glass element, one molded glass aspherical element, and one hybrid aspherical lens. While curbing an increase in the size of the optical system, the new lens very effectively compensates for a wide variety of aberrations in the entire zoom range, including transverse chromatic aberration, comatic aberration and distortions that tend to become more prominent with a wideangle lens.

Tamron’s highly regarded BBAR (Broad-Band Anti-Reflection) Coating and the optical design paying close attention to internal reflections in the lens barrel also curb the effects of harmful light rays that tend to occur with a wideangle lens, achieving excellent resistance against ghosting and flare seen in backlighting situations.

3. 4-Stop Vibration Compensation that is especially useful in low light conditions
In response to the requests of many customers who have asked the company to equip a wideangle lens with image stabilization, we have now installed Tamron’s acclaimed VC (Vibration Compensation) on the new Model B023. Optimizing the actuator and the control algorithm has made it possible to incorporate the VC, while maintaining the compact design of the previous Model B001. The VC especially enhances the photographer’s freedom in handheld shooting at dusk or in a dimly lit room, and under other relatively low light conditions, as the mechanism proves particularly effective in the shooting conditions with slower shutter speeds.

4. Equipped for the first time with the new HLD with outstanding driving power and stability
Tamron’s new HLD (High/Low torque modulated Drive) has been developed for use as the AF drive system for Model B023. With its outstanding driving power and stability, the HLD is capable of smoothly controlling the AF mechanism of the new Model B023 that is actually equipped with large focusing lens elements. When shooting in AF mode, the Full-time Manual Focus override allows you to instantly make fine focusing adjustments manually, without having to switch between modes.

5. Compressed into a compact body with structural ingenuity
While enhancing image quality, adding new functions and substantially improving the basic performance, Model B023’s space-saving design has ensured an optimum configuration for components such as the VC and AF unit, thus successfully reducing overall length compared to the previous Model B001. The lightweight and compact body with outstanding ease of use will prove to be very well-balanced when attached to an APS-C DSLR camera.

6. An even more user-friendly lens with Fluorine Coating and Moisture-Resistant Construction
The front surface of the foremost lens element is coated with a protective fluorine compound that is water- and oil-repellant. The lens surface is easier to wipe clean and is less vulnerable to the damaging effects of dirt, dust, moisture and fingerprints, allowing for much easier maintenance. For greater protection when shooting outdoors, leak-proof seals throughout the lens barrel help protect your equipment.

7. Electromagnetic diaphragm system now used also for Nikon-mount lenses
An electromagnetic diaphragm system, which has been a standard feature for Canon-mount lenses, is now employed in Nikon-mount lenses2. More precise diaphragm and aperture control is possible because the diaphragm blades are driven and controlled by a motor through electronic pulse signals.

8. Compatible with TAMRON TAP-in ConsoleTM, an optional accessory product
The optional TAP-in Console provides a USB connection to your personal computer, enabling you to easily update your lens’s firmware as well as customize features including fine adjustments to the AF and VC.

9. External design placing importance on functionality and ease of use
While inheriting the design that makes use of a lot of organic curves and the delicately polished form down to fine details that characterize the SP lens series, the new Model B023 comes with a highly sophisticated design that also places much importance on the lens’s functionality and ease of use, featuring an overall form that faithfully encompasses the internal structures within, a slim Luminous Gold brand ring, the switch shape and the distance-scale window design.

B&H has the Tamron 10-24mm F/3.5-4.5 Di II VC HLD available for preorder.

From Tamron:

All-new optical design delivers a dramatically faster autofocus speed and image stabilization performance of 5 stops

February 6, 2017, Commack, NY – Tamron, a leading manufacturer of optics for diverse applications, announces the launch of SP 70-200mm F/2.8 Di VC USD G2 (Model A025), a new telephoto zoom lens product for full-frame and APS-C DSLR cameras. Model A025 was developed by substantially enhancing the features of its predecessor. These include a thorough review of the optical, mechanical and electronic designs to increase autofocus speed and precision, reinforce VC (Vibration Compensation) functions and to shorten the MOD. New features include eBAND Coating, Moisture-Proof and Dust-Resistant Construction, Fluorine Coating and compatibility with teleconverters. The lens design features a metal-based barrel for improved handling and ease-of-use. The result of this dramatic evolution is Model A025, a high-speed telephoto lens that widens the scope of expression for photography in a broad range of genres, such as portraits, landscapes, sports and photojournalism. The lens is expected to be available in the U.S. in March at $1299.

PRODUCT HIGHLIGHTS

1. Outstanding resolution and contrast reproduction performance, beautiful bokeh and full compatibility with Tamron teleconverters
Based on the current model (A009), the optical design has been revised and improved. Both the resolution and contrast reproduction performance far exceed the present levels. Bokeh has been enhanced and expanded to deliver outstanding background effects across the entire zoom range. Use of a circular diaphragm with nine blades further improves bokeh. The optical design of the new A025 consists of 23 elements in 17 groups. Optimum deployment of XLD (eXtra Low Dispersion) and LD (Low Dispersion) glass elements thoroughly eliminate chromatic aberrations, which tend to become particularly prominent in high-speed telephoto lenses, across the entire zoom range, while ensuring uniform, high-level image quality even on the periphery of the image plane.

The new lens is also fully compatible with the TELECONVERTER 1.4x (Model TC-X14) and TELECONVERTER 2.0x (Model TC-X20)[1], which increase the focal length of the lens to 1.4 times and 2 times the original, respectively. Both teleconverters are carefully designed and constructed to provide outstanding high quality.

2. Improved VC system provides highest Vibration Compensation ability in its class[3] (5 stops using CIPA standard compliant) and offers three situation-specific VC modes
Utilizing Tamron's original VC (Vibration Compensation) system, which uses a moving coil mechanism, further reinforcement of the drive system power and control performance has now achieved the highest VC level in its class, with an image stabilization performance of 5 stops according to the CIPA standard (using VC Mode 3).

Also, the VC system of Model A025 offers three VC modes, including one mode exclusively for panning. Photographers can freely choose between the different VC modes according to their shooting conditions. Even when telephoto shooting in low light, which tends to be severely affected by camera shake, photographers can now enjoy jitter-free handheld shooting with much greater flexibility.

• VC MODE 1 is the standard mode that strikes a great balance between the stability of the viewfinder image and the stabilization effects.
• VC MODE 2 is exclusively used for panning.
• VC MODE 3 prioritizes the stabilization of the captured images and forgoes the stabilization of the viewfinder image.

With the optional accessory TAMRON TAP-in Console, you can customize the configuration of VC MODE 1. Choose the viewfinder view of either standard or image priority.

3. Demonstratively improved autofocus speed and responsiveness
Model A025 is equipped with a USD (Ultrasonic Silent Drive) ring-type ultrasonic motor, whose outstanding responsiveness and control ensures accurate high-speed focusing. Incorporating two advanced, high-performance microcomputers and optimizing the algorithm has improved both the focusing speed and accuracy compared with SP 70-200mm (Model A009). Additionally, thanks to the Full-time Manual Focus override mechanism, photographers shooting with AF can instantaneously make fine focusing adjustments using MF without wasting time by switching the AF-MF mode back and forth. 4. Focuses closer (shorter Minimum Object Distance, or MOD) for greater versatility Improvements made to the focus cam and zoom cam inside the lens barrel have reduced the MOD from 50.7 inches in the older Model A009 to 37.4 inches for Model A025, which has a maximum magnification ratio of 1:6.1. The shorter MOD, coupled with the excellent optical performance of the SP 70-200mm (Model A025), allows photographers to further broaden their range of expression.

5. Optimized and exclusively designed eBAND Coating
The new A025 features Tamron's original eBAND (Extended Bandwidth & Angular-Dependency) Coating, a technology that combines a nano-structured layer with an extremely low refractive index with the conventional multiple-layer coatings. Optimized and exclusively designed for this new zoom, the eBAND Coating provides superior anti-reflection performance, effectively reducing any flare and ghosting. Even when taking backlit portraits, the new lens delivers flawless, crystal clear images.

6. Moisture-Proof and Dust-Resistant Construction
Ideal for use in outdoor photography, the new 70-200mm telephoto zoom has moisture-resistant construction because special sealants that are dust-resistant and moisture-resistant are used at every joint and seam. The sealant material helps to prevent the intrusion of any dirt, dust or water droplets, compared to conventional Moisture-Resistant Construction.

7. Fluorine Coating for greater protection
The front surface of the lens element is coated with a protective fluorine compound that is water- and oil-repellant. The lens surface is easier to wipe clean and less vulnerable to the damaging effects of dirt, dust, moisture and fingerprints.

8. Electromagnetic diaphragm system now used also for Nikon-mount lenses
An electromagnetic diaphragm system, which has been a standard feature for Canon-mount lenses, is now available for Nikon-mount lenses[4]. More precise diaphragm and aperture control is possible because the diaphragm blades are driven and controlled by the motor through electronic pulse signals.

9. Lightweight and easy-to-hold tripod mount is compatible with Arca-Swiss style quick release plates
A new textured grip and Arca-Swiss style tripod interface enhances both speed and utility. Because the tripod mount is made of lightweight magnesium, it is much easier to carry.

10. Compatible with TAMRON TAP-in Console, an optional accessory product
The optional TAP-in Console provides a USB connection to a personal computer, enabling users to easily update the lens firmware as well as customize features, including fine adjustments to the AF and VC.

11. Based on the rigorous quality standards worthy of the SP series, this new lens is manufactured with a thorough attention to details
For the SP series products in particular, Tamron has established rigorous design and quality standards. These standards apply to the optical design, mechanical design and the cosmetic appearance, as well as to such wide-ranging areas as the product's robustness and improvements in the various individual functions. Tamron thoroughly reviews all of the design and manufacturing processes in order to offer products to customers with even-higher levels of precision and quality.

For the SP 70-200mm G2 (Model A025), the optical design was refreshed, mechanical parts were improved and a new exterior design was adopted. To maximize the optical performance intrinsic to this product, Tamron improved the accuracy of the component parts and increased the precision of the overall zooming mechanism.

B&H has the Tamron SP 70-200mm F/2.8 Di VC USD G2 available for preorder.

Image quality results from the Sony a7R II along with specifications and measurements have been added to the Sony FE 24-70mm f/2.8 GM Lens Review page.

If not Sony's most-acclaimed FE lens, the 24-70mm f/2.8 G Master Lens is very close to having that designation. That strong reputation, along with the usefulness of the 24-70mm focal length range combined with the wide f/2.8 aperture, placed this lens at the top of our Sony to-test list.

Note that in the longer half of the focal lengths, this lens copy is delivering considerably sharper results on the right side than on the left (the sharper right side results show in the charts).

Of particular interest to this site's audience will be the comparison between the Canon EF 24-70mm f/2.8L II and Sony FE 24-70mm f/2.8 GM Lenses. Always use caution when making comparisons between lenses tested on different camera brands, but I think there is value in this comparison.

The comparison between the Nikon 24-70mm f/2.8G AF-S Lens and the Sony FE 24-70mm f/2.8 GM Lens is also an interesting one.

B&H has the Sony FE 24-70mm f/2.8 GM Lens in stock. This lens is also included in the Sony Trade-in Savings Event. Trade in a camera or lens (even something of very low value) and get an additional $330.00 off of this lens in addition to the trade-in value.

From Phase One:

New Camera Support

• Fujifilm X100F Support
• Olympus E-PL6 Support
• Fujifilm X-A3 Support
• Panasonic LX9/LX10/LX15
• Panasonic G8/G80/G81/G85
• Canon M5 Support
• Nikon 1 J5 Support

New Lenses Support

• Sony DT 18–250mm F3.5–6.3
• Sony 70-400mm F4-5.6 G SSM
• Panasonic LUMIX G Leica DG Summilux 15mm f/1.7 ASPH
• Panasonic LUMIX G LEICA DG VARIO-ELMAR 100-400mm F4.0-6.3 ASPH
• Panasonic LUMIX G VARIO 7-14mm F4 ASPH
• Tamron SP 24-70mm F/2.8 Di VC USD (EF Canon)

Bug fixes: Mac

• Changing Lens Correction Shift makes Levels, Histogram and Curve go blank
• OpenCL Errors with Iris Graphics 540 – 2016 Macbook Pro
• Using Find and Replace Batch Rename renders existing Local Adjustments inoperable
• Fixed – Error Code 19 during batch processing (“could not load raw data”)

Bug fixes: Win

• Changing Lens Correction Shift makes Levels, Histogram and Curve go blank
• Skin Tone white balance picker not working

B&H carries Phase One Capture One 10.

February 6th, 2017, Seoul, South Korea – A global optics brand Samyang Optics announces a new XEEN 20mm T1.9 lens for professional video-cine. This lens brings the range of XEEN cinema lenses to eight and compliments the existing lenses: 14mm, 16mm, 24mm, 35mm, 50mm, 85mm and 135mm. The new XEEN 20mm offers outstanding image quality from resolving power for 4K+ production for filming video and cinema.

XEEN is a specialized brand of professional video-cine lenses launched by Samyang Optics in 2015. The XEEN series are designed for the ultra-high definition video environment and feature outstanding optical performance for 4K and above. The lenses also feature X-Coating Technology and 11 aperture blades that help create beautiful and round bokeh to introduce emotional and natural expression.

The 24mm x 36mm negative size allows XEEN lenses to not only work with full frame cameras, but also Super 35, APS-C, APS-H and APS-P cameras. XEEN lenses are available in five different mounts - PL, EF, F, E, and MFT and two different focus scales - metric and imperial units. All focus and iris gear rings are identically positioned among eight lenses to speed up the lens changes.

Inheriting the renowned image quality of Samyang’s wide angle series, the XEEN 20mm T1.9 enhances the XEEN line up and brings the total range to eight lenses. With the expansion of XEEN Lenses and the existing Samyang manual focus lenses, plus the recent autofocus lineup and premium XP lenses, Samyang Optics pursues ‘Total Imaging Solution’ optics brand.

Created to deliver infinite possibilities, the XEEN 20mm T1.9 will be launched globally in March 2017. The recommended retail price of each lens is EUR 2,200.

B&H carries the Rokinon-branded XEEN Cine Lenses.

Product images in comparison format have been added to the following lens pages:

Nikon 16-80mm f/2.8-4E AF-S DX VR Lens
Nikon 24mm f/1.8G AF-S Lens
Nikon 24-70mm f/2.8E AF-S VR Lens
Nikon 55-200mm f/4-5.6G AF-S DX VR II Lens (sans hood)
Nikon 200-500mm f/5.6E AF-S VR Lens (big lens format)
Nikon 300mm f/4E AF-S PF VR Lens