Sony Electronics Announces the World’s Lightest Constant F4 Wide-Angle Power Zoom Lens, the Compact FE PZ 16-35mm F4 G™
Latest Addition to Sony’s E-mount Lens Line-Up Offers Evolved Image Quality and Operability for Full-Frame, Content Creation
SAN DIEGO, CA – March 22, 2022 – Sony Electronics Inc. today introduced the FE PZ 16-35mm F4 G (model SELP1635G) – a wide-angle power zoom with evolved image quality, high performance AF (autofocus), and superior operability designed to meet the needs of today’s creators.
Developed with Sony’s vast expertise in lens design, the FE PZ 16-35mm F4 G delivers outstanding performance and control in the world’s lightest[i] full-frame wide-angle power-zoom lens with a constant F4 aperture. The compact hybrid lens offers refined image quality, reliable G lens rendering, and industry-leading AF performance in a remarkably compact form factor that will appeal to both photo and video content creators. The FE PZ 16-35mm F4 G is ideal for everything from video production and vlogging to street and landscape photography, offering a variety of outstanding hybrid features such as incredible resolution, beautiful bokeh, and fast and precise AF. In addition, Sony’s newest lens offers advanced video features including an innovative power zoom function and refined capabilities such as an independent aperture control ring for even more creative control.
“The needs of our community are our top priority. As the content creation landscape continues to evolve and the worlds of still imaging and video continue to merge, we are constantly developing new products to meet this growing demand for hybrid content creators,” said Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. “With an advanced feature set and unmatched portability and flexibility, The FE PZ 16-35MM F4 G is perfectly designed to meet these evolving needs and ensure that today’s creators can realize their full vision.”
Evolved Image Quality for Photos and Videos
The FE PZ 16-35MM F4 G offers an extraordinary blend of breathtaking resolution and beautiful bokeh in a lightweight, compact lens. The optical path includes two AA (advanced aspherical) elements and a conventional aspherical element for an accurate image across the frame and 16-35mm zoom range. One Super ED (extra-low dispersion), and one ED glass element control chromatic aberration, while one ED aspherical element controls both chromatic and spherical aberration.
The use of AA elements in an advanced optical design also ensures excellent close-up performance throughout the zoom range – minimum focusing distance is 11 inches (0.28 meters) at 16mm and 9.5 inches (0.24 meters) at 35mm, with a maximum magnification of 0.23x. Additionally, an optimized coating effectively suppresses flare and ghosting for clear, well-defined images.
A circular aperture and carefully designed control of spherical aberration work together to deliver smooth, deep full-frame bokeh that adds visual impact.
The FE PZ 16-35mm F4 G utilizes two XD (Extreme Dynamic) Linear motors to control autofocus. The fast response and smooth, quiet operation of this system gives users new creative freedom. With Sony’s flagship Alpha 1 body it is possible to maintain accurate focus while shooting stills continuously at up to 30fps (frames per second)[i] and up to 120fps in movie mode.
Focus is especially critical when shooting slow motion 4K up to 120fps or 8K movies[ii]. The FE PZ 16-35mm F4 G works with Alpha cameras[iii] to reliably focus, and smoothly and silently track even fast-moving subjects. High-thrust XD Linear Motors, optimized optics, and responsive control add up to extraordinarily precise AF performance while keeping the lens compact with internal focus.
Advanced Features for Video Including a New Power Zoom Function
Based on feedback from leading creators, Sony specifically designed the FE PZ 16-35MM F4 G to deliver the refined imagery and control for today’s video needs. It features the latest lens technology to reduce focus breathing as well as focus and axial shift when zooming to ensure the highest quality video is easily captured. Focus, zoom, and aperture operation are also extremely quiet, greatly reducing noise and vibration that can interfere with movie recording.
For the first time in a Sony Alpha lens the FE PZ 16-35mm F4 G uses four XD linear motors for the power zoom function in addition to the two XD linear motors used for focus. With this newly designed electronic power zoom system, the FE PZ 16-35mm F4 G provides advanced control with the response and immediacy of non-powered manual zoom. It features both a zoom ring and a zoom lever with variable zoom speed that makes it easy to execute super-slow, fast or constant-speed change in focal length. Power zoom also minimizes camera shake or movement that can occur when operating a traditional zoom ring, and when used with compatible cameras, users can customize the zoom ring direction to suit shooting conditions. Zoom can also be controlled with the zoom lever on compatible cameras. Remote operation is also possible when using the Imaging Edge™ Mobile app[iv].
As an added benefit, users can operate buttons and controls on compatible cameras or accessories for convenient zoom control, including the GP-VPT2BT Bluetooth Grip and Remote Commander RMT-P1BT to remotely control zoom while the camera is mounted on a gimbal[v].
Furthermore, Linear Response MF ensures high repeatability as the focus ring responds directly and repeatably to subtle control when focusing manually. An aperture ring makes manual aperture/iris control fast, direct, and easy. The aperture ring includes a switch that can select aperture click stops that are ideal for photography or de-click operation for smooth iris control which is ideal for video.
Superior Mobility, Control and Reliability
World-class design and technology come together to deliver a compact, lightweight lens that also includes focus, zoom and aperture/iris rings and power zoom for unprecedented mobility and handling.
Using internal focus and internal zoom, the overall length of the lens remains constant during use for ideal balance and handling. Consistent balance makes this lens an ideal choice for gimbal-mounted movie shooting or use with a matte box. The focus ring can be easily controlled while shooting movies, and the adjacent focus and zoom rings are different sizes so they can be easily operated by feel while viewing the monitor.
More convenient features on the FE PZ 16-35mm F4 G include the Iris Lock Switch that can be engaged to prevent the aperture ring from being accidentally moved between the auto and F4 - F22 settings and the customizable focus hold button for convenient control.
As the world’s lightest[i] F4 wide-angle power-zoom lens, the FE PZ 16-35MM F4 G weighs just 12 ounces (353 grams), 30% less than the Vario-Tessar T* FE 16–35 mm F4 ZA OSS and is just 3.17 inches x 3.47 inches (80.5mm x 88.1mm) in size with a filter diameter of f72mm. The lens also has a dust and moisture resistant design[vi], as well as a fluorine front element coating to keep it clean and reliable for outdoor use.
Pricing and Availability
The new FE PZ 16-35mm F4 G will be available in June 2022 for approximately $1,200.00 USD and $1,500.00 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.
A product video on the new FE PZ 16-35MM F4 G:
[i] Hi+” continuous shooting mode. Effective at 1/125 sec. or higher shutter speed. In AF-C mode at shutter speeds of 1/250 sec. or higher the maximum continuous frame rate will depend on the shooting mode.
[ii] 4K: 3,840 x 2,160 pixels. 8K: 7,680 x 4,320 pixels.
[iii] Compatibility info at: https://www.sony.net/dics/breathing/
Available in movie mode only. Angle of view and image quality may change slightly when this function is used. Compensation may not be able to cover all situations.
[v] Zoom operation depends on the body used. Refer to the help guide for details.
[vi] Not guaranteed to be 100% dust and moisture proof.
Image quality, vignetting, flare, and distortion test results are now available on the Rokinon (Samyang) AF 14mm F2.8 Lens for Canon RF, Sony FE page.
Many of the uses for a 14mm lens require sharp corner image quality. However, I could see the blurry image periphery this lens delivered even in the viewfinder.
Upon looking at the image quality results from this lens, my first thought was that I just wasted hours testing a severely misaligned lens. Yes, the viewfinder did provide a clue. However, all four corners appeared similar, making me second guess the first thought.
So, I reached out to a friend, Roger Cicala at Lensrentals. "Is the Rokinon AF 14mm f/2.8 RF for Canon RF extremely soft in the periphery at the wider apertures? The one I just received delivers some of the worst corner performance I’ve seen."
"Well, I can do a long version, but "yep". Also a lot of field curvature, so you may get some improvement in edge performance by focusing off-axis."
More to come.
The Rokinon (Samyang) AF 14mm F2.8 Lens for Canon RF, Sony FE is available to order from B&H | Adorama | Amazon USA
I was in Lone Pine, CA and the Alabama Hills facing the prospect of a clear sky at sunset. While blue is one of my favorite colors, some clouds in the sky with a fiery glow are an even better end-of-the-day option.
The sun setting in a clear sky casts a beautiful warm light, ideal for landscape imagery. However, the Sierra Nevada Mountain range, including 14,505' Mount Whitney, the highest mountain in the contiguous USA, blocks the warm color temperature of the late-day sunlight long before it reaches most of this valley and its formations.
There is one reliable way to get a colorful sky during a clear sunset. The Belt of Venus will rise opposite the sun with the earth's shadow following it, and reflecting the Belt of Venus in a body of water doubles the available color.
Mono Lake is over 2,600' higher than Lone Pine, CA, home of the Alabama Hills. This location has a less-obstructed west view and lacks the close tall mountains to the east. That combination provides early visibility of the Belt of Venus, where it appears strong in color
Photographing the tufa tower limestone formations at Mono Lake Tufa State Natural Reserve had long been on my to-do list, so the second round of adventures for this day began.
Upon arriving at the lake, the car thermometer said it was cold out — upper 40s or low 50s? However, it was too hot in the sun to dress warmly.
I opted to go light, grabbing a tripod, two cameras and lenses in Lowepro toploader cases, and no extra clothes. The plan was to scout for the optimal sunset shot, return to the car for everything else, and then capture the selected sunset scene.
After finding a location that worked for the reflection plan roughly a mile into the adventure, I no longer had the energy to make the rather difficult two-mile round trip to retrieve the warm clothes (and flashlight).
The pair of Canon EOS R5 bodies mounted to Canon RF 24-70mm F2.8 L IS and Canon RF 100-500mm F4.5-7.1 L IS Lenses were perfect for the opportunities presented, and the Really Right Stuff TVC-24L Mk2 Carbon Fiber Tripod and BH-40 Ball Head held them solidly.
The expected temperature drop was a concern, but I was still very warm. The neutral density filters were still in the SUV, but the smooth water left nothing moving to blur.
Eventually, the sun went low in the sky, the tufas had warm light on them, and many photos were captured. However, the real show began when the Belt of Venus and the earth's shadow moved into view. The Belt of Venus and its reflection nicely framed the tufa formations and their dark blue earth shadow background. This show was over in minutes, but working fast with two cameras provided many image variations within this timeframe.
The show would have been over fast regardless of the sky progression because the temperature plummeted into the 20s as soon as the sun set, and shivering made tripod use mandatory. As the dirt road was closer than the car (and the flashlight was in the car), I opted for a direct path to the road, expecting that the opportunity for getting lost would be reduced and hoping that firmer footing would be gained. It didn't take long for this decision to be deemed questionable, and the "Would anyone ever find me if I went down in the massive, over-my-head sagebrush that I was climbing over?" question entered my mind.
Fortunately, the story has a happy ending, and the Belt of Venus provided the desired sunset color on this evening. Keep this sky color option in mind for your next clear day sunset — or sunrise — shoot.
A larger version of this image is available here.
This tripod, especially with the high-quality ball head included, is an excellent value.
Order the K&F Concept EP324C Multifunction Carbon Fiber Tripod from Amazon USA | B&H | Adorama
Take a few minutes to read ProGrade Digital's latest article:
Download Refresh Pro ($9.99, free 6mo trial).
Learn more at B&H. Preorders go live on Friday, 3/11, at 8am ET (don't forget to use the links in this post to place that order).
This tripod (and lots of other gear) and I just returned from 9 days of photographing landscapes in eastern California. Though very expensive, the Ascend-14 is an outstanding performer – despite its small size and light weight.
B&H has used Canon RF 100-500mm L and RF 100-400mm IS USM Lenses in stock.
Canon EOS R6 Review
Canon RF 100-400mm F5.6-8 IS USM Lens Review
Canon RF 100-500mm F4.5-7.1 L IS USM Lens Review
Canon EF 300mm f/2.8L IS II USM Lens Review
Sony Alpha 1 Review
Sony Alpha 7 IV Review
Just posted: Sigma 20mm F2 DG DN Contemporary Lens Review.
This is another great member of the Sigma I series.
Recently, I shared another weasel image from Rocky Mountain National Park. Today, I share what it was looking for. More specifically, the weasel was looking for this ground squirrel's young to take back to its own young.
Wildlife encounters often provide the opportunity to capture multiple images. While capturing multiple images of the same pose is a good idea, ensuring that minimally one is sharp, with ideal focus and lack of motion blur, there is little value in having more than one image of the same pose and subject framing in the keepers folder. However, photographing a different pose (or scene framing) has great merit. Different is good, and better is ... even better. Therefore, constantly look for ways to improve upon your images already on the card.
While ground squirrels are not too difficult to photograph, they are not always posed on a rock with a distant green background as nicely as this one. After aligning the subject against a distant background while maintaining a favorable body position (angled slightly toward the camera) and capturing the insurance (or memory) shots, improving upon what was already captured became the goal.
The ground squirrel was sounding an urgent alarm to the rest of the family, and its mouth briefly opened very wide with each warning chirp. Simply timing the shot for the toothy chirp added that extra something I was looking for, evoking emotion, at least in context with the weasel story.
A larger version of this image is available here.
The Really Right Stuff Ascend-14 Long Travel Carbon Fiber Tripod with Integrated Ball Head (this is the model you want) is in stock at B&H.
Though very expensive, this tripod is an outstanding performer despite its small size and light weight. Full review coming soon.
From Kenko Tokina Co., Ltd.:
Tokina SZ 8mm F2.8 X FISH-EYE and SZ 8mm F2.8 E FISH-EYE worldwide sales date announcement
Kenko Tokina Co., Ltd. is proud to announce the sales release of the Tokina SZ 8mm F2.8 FISH-EYE lens for Fuji X and Sony E (APS-C) camera mounts. SZ series offering a range of exciting products with specific features and valuable advantages.
Sales will commence on March 15, 2022.
The Tokina SZ 8mm F2.8 FISH-EYE is a compact and lightweight fast, ultra-wide prime, manual focus, full-frame fisheye lens designed exclusively for APS-C sensor mirrorless cameras. The line-up includes models for Fuji X and Sony E APS-C size camera mounts. Emphasized perspective and unique distortion makes this lens attractive for both still photographers and videographers.
Thanks to a compact, lightweight design and manual focus the Tokina SZ 8mm F2.8 FISH-EYE MF can be appealing to young active content creators from the price perspective. The suggested genres are landscape, nightscape, interior, architecture, street snap and pet photography. An ultra wide angle of view, unique perspective effect and a compact design allows this lens to be used for creating viral images for Social Networks such as Instagram as well as Vlogging.
It is great to see imaging sensor technology moving forward. Jump to 5:44 to see and read about the 2-layer transistor pixel stacked CMOS imaging sensor under development:
Sony Electronics’ is the No. 1 Mirrorless Camera Brand and No. 1 Mirrorless Lens Brand for 2021 in North America
2021 Marks the 8th Consecutive Year that Sony Holds the #1 Share in Full-Frame Mirrorless
SAN DIEGO, CA – February 16, 2022 – Sony Electronics Inc. – a worldwide leader in digital imaging– continues to lead the industry in bringing mirrorless technology to the world. Following a year of innovative product introductions such as the Alpha 1, Sony Electronics announced today that it was the number one mirrorless camera brand[i] and full-frame mirrorless camera brand in 2021[ii]. This past year also marks the 8th consecutive year Sony has held the #1 position in full-frame mirrorless cameras[i]. And lastly, Sony has announced it was the number one mirrorless lens brand in 2021[iii] as well.
The success of the lineup of full-frame cameras, including the Alpha 7S, Alpha 7R and Alpha 9 series, has been paramount to Sony’s strong sales numbers. These have been complemented by the popularity of the Alpha 7 III, which continued to be the No. 1 selling full-frame interchangeable lens camera line for the 4th year in a row[iv]. For lenses, Sony’s full lineup of 65 different E-mount models highlighted by their flagship G Master™ series continues to drive industry growth.
Additionally, newer innovations such as the new Alpha 7 IV have started to set early sales records. For the week of December 19-25, 2021, the Alpha 7 IV had the highest single-week sales of any mirrorless interchangeable lens camera line in the last four years[v].
“We are always listening to our customers’ feedback, advancing our innovation and creating the best possible tools for all types of content creators,” said Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. “Finding new ways to empower our community is our top priority and we are honored that so many continue to choose Sony to tell their stories and bring their creative visions to life.”
A variety of additional stories and exciting new content shot with Sony products can be found at www.alphauniverse.com, Sony’s community site to educate, inspire and showcase work from fans and customers of the Sony Alpha brand.
[i] Source: The NPD Group/Retail Tracking Service, U.S., Detachable Lens Camera, Mirrorless Detachable Lens, Based on Dollars, Annual 2021.
Source: The NPD Group/Retail Tracking Service, Canada, Detachable Lens Camera, Mirrorless Detachable Lens, Based on Dollars, Annual 2021.
[ii]Source: The NPD Group/Retail Tracking Service, U.S., Detachable Lens Camera, Sensor Size: Full Frame, Mirrorless Detachable Lens, Annual 2021.
Source: The NPD Group/Retail Tracking Service, Canada, Detachable Lens Camera, Sensor Size: Full Frame, Mirrorless Detachable Lens, Based on Dollars, Annual 2021.
[iii] Source: Sony Internal Research, U.S., Lenses Filters Adapters and Caps, Imaging Accessory Type: Prime Lens and Zoom Lens, Lens Mount Type: Canon EF-M, Canon RF, Sony E-Mount, Fujifilm G, Fujifilm X, Hasselblad, Leica, L-Mount, Nikon 1, Nikon Z, Leica M, Jan 2021-Dec. 2021.
[iv] Source: The NPD Group/Retail Tracking Service, U.S., Detachable Lens Camera, Sensor Size: Full Frame, Camera Family, Based on Units, Annual 2021, Annual 2020, Annual 2019, Annual 2018.
[v] Source: The NPD Group/Weekly Retail Tracking Service, U.S., Detachable Lens Camera, Digital Lens Type: Mirrorless Detachable Lens, Camera Family, Based on Dollars, Jan 2018-Dec 2021.
I shared a pair of weasel images (Curious Weasel, Weasel Carrying Ground Squirrel) captured while hanging out with (mostly waiting for) a pair of weasels in Rocky Mountain National Park. One of my favorite aspects of these images is the strong background blur that makes the subject boldly stand out.
While many of you following this site might find this advice basic, the basics are important, especially for those starting out, so let's talk about some background blur basics today.
1. Get Closer to the Subject
Moving closer requires a shorter focus distance. The shorter focus distance takes the background out of focus, increasing the blur.
2. Position Against a More Distant Background
Positioning the camera and lens so that the background is farther from the plane of sharp focus increases the blur. Orienting the shooting position to avoid the closer background trees, rocks, buildings, etc., makes a more significant blur happen.
3. Use a Longer Focal Length Lens
A longer focal length increases the magnification of the background details, which increases the blur.
4. Use a Wider Aperture
A wider aperture creates a shallower depth of field. That effect increases the background (and foreground) blur.
5. Use a Camera with a Larger Imaging Sensor
A full-frame camera takes in a wider angle of view than an APS-C model using the same focal length lens. A wider angle of view requires a 1.5x (Sony) or 1.6x (Canon) longer focal length or a position considerably closer for the subject to remain the equivalent size in the frame. Both of those options are already on this list.
Today, the interchangeable lens most adept at blurring the background is the Sigma APO 200-500mm f/2.8 EX DG Lens set to 500mm f/2.8. However, a reality check after looking at that behemoth's price and specs (B&H | Adorama | Amazon) leads us to consider the second most background blurring capable lens. The next best choice is one of the 600mm f/4 options.
While not small or inexpensive, the 600mm f/4 lenses reward the owner (or renter) for their expense and carrying effort by creating differentiation in their photos. A 600mm f/4 lens on a full-frame camera, such as the outstanding Sony FE 600mm f/4 GM OSS Lens and Sony Alpha 1 Camera combination used for this example can melt the background into a pleasant color blur. That blur can make a subject pop from even a busy, distracting environment.
Keeping small subjects such as the weasels relatively large in the frame makes the getting close blur aspect happen by default. Of course, keeping these hyper little creatures in the frame at this distance is quite challenging. Fortunately, I guessed right at this time, being in the ideal position when the weasel paused to look around.
A larger version of this image is available here.
Here are some comparisons to get you started:
A late May snowstorm left a dusting of snow at lower elevations in Rocky Mountain National Park. The ponderosa pines filtered the snow, leaving an interesting pattern of white among the trunks, which called for a photo. I always look for excuses to include these red-colored trunks in the frame, and the snow opportunity seemed a good one.
Thick clouds provided even lighting, but the bright white sky seemed to detract from this composition. Thus, keeping the sky out of the frame was a goal, and achieving that goal meant selecting a long enough focal length to exclude the white.
The three tree trunks positioned 1/3 into the frame worked well for the foreground, and the camera position was adjusted to optimize juxtaposition of the remaining trunks in the frame. A fully leveled camera kept the trunks as straight in the frame as possible.
With the desired composition established and locked down on a Really Right Stuff TVC-24L Mk2 Carbon Fiber Tripod and BH-40 Ball Head, the remaining issue was achieving the desired depth of field. For this image, I wanted everything in the frame to be sharp. Unfortunately, at 35mm, that was not happening at the still-sharp apertures (I seldom use an EOS R5 aperture narrower than f/11).
Fortunately, the Canon EOS R5's focus bracketing feature made capturing the motionless scene in sharp focus easy. Focused on the closest foreground in the frame with Focus Bracketing enabled, the camera automatically captured the set of photos necessary to cumulatively have the entire depth of the scene in sharp focus.
Selecting the stack of images and then the Depth Compositing Tools menu option in Canon Digital Photo Professional (DPP) created the all-in-focus 16-bit TIFF file that was further edited in Photoshop. Primarily, spot sharpening some of the merged image seams in the image finalized the stacking task.
A larger version of this image is available here.
All Sony A-Mount DSLR lenses are denoted "This product is no longer available at the Sony Store" at Sony Japan.
Western Digital Comments on Production Status of its Joint Venture Flash Memory Manufacturing Facilities
San Jose, Calif. - February 09, 2022
Western Digital Corp. (Nasdaq: WDC) today announced that contamination of certain material used in its manufacturing processes has occurred and is affecting production operations at both its Yokkaichi and Kitakami joint venture, flash fabrication facilities.
Western Digital's current assessment of the impact is a reduction of its flash availability of at least 6.5 exabytes. The company is working closely with its joint venture partner, Kioxia, to implement necessary measures that will restore the facilities to normal operational status as quickly as possible.
About Western Digital
Western Digital creates environments for data to thrive. As a leader in data infrastructure, the company is driving the innovation needed to help customers capture, preserve, access and
transform an ever-increasing diversity of data.
Everywhere data lives, from advanced data centers to mobile sensors to personal devices, our industry-leading solutions deliver the possibilities of data.
Our data-centric solutions are comprised of the Western Digital®, G-Technology™, SanDisk®, and WD® brands.
Ordering any needed WD, Western Digital, G-Technology, and SanDisk flash products immediately from B&H seems like a logical plan. Also logical would be for the supply of alternative options to be impacted.
From Delkin Devices:
Delkin Launches 8K-Ready BLACK CFexpress™ Type A Memory Cards
A different form factor than CFexpress™ Type B (physically smaller) yet still capable of utilizing the same PCI Express technology, Delkin’s BLACK CFexpress™ Type A memory cards boast recording speeds reaching up to 790 MB/s for flawless cinema-quality video capture, including UHD 8K @ 30fps (400 Mbps) in the Sony a1. They also support RAW continuous-burst shooting without delay, never missing those precious split-second moments!
“Smaller and even more powerful than SD cards, CFexpress™ Type A memory cards are establishing a new standard for future storage solutions” says Jenn Sherry, Delkin's Retail Sales & Marketing Manager, “With mirrorless cameras slowly moving more into the cinema realm, offering modes that are extremely data-heavy, it has become even more essential to provide a memory card that can meet these demands. The market is small at the moment, but we are optimistic about the potential growth of CFexpress™ Type A and its future adoption in the next-generation of cameras.”
Delkin BLACK CFexpress™ Type A memory cards are also capable of offloading data at speeds reaching up to 880 MB/s, ensuring the quickest, most efficient data transfer from card to computer for immediate file access and sooner post-production start time. Each BLACK CFexpress™ Type A memory card has undergone extensive testing to ensure full functionality and performance in today’s high-end cinematic hosts, including the Sony® a1, a7S III, a7 IV, FX3 & FX6.
In addition to their “Lifetime Warranty” policy, Delkin continues to offer a unique built-in insurance policy for their BLACK memory cards, known as the “48-Hour Replacement Guarantee”. Delkin will replace any non-working BLACK card within 48 hours or less (not including weekends - in the US and UK), prior to receiving the non-working card. Cards can also be replaced over-the-counter at any authorized Delkin BLACK reseller. Additional information on Delkin BLACK CFexpress™ Type A memory cards can be found here: www.delkindevices.com/cfexpress-type-a.
If BLACK wasn't enough, Delkin is also offering an alternative option under their POWER line. Delkin POWER CFexpress™ Type A memory cards provide the same pro-level performance as BLACK, but do not include the added benefits of serialization or the company's 48-Hour Replacement Guarantee. These cards have also undergone the same testing as the BLACK cards, so users can rest assured and feel confident that what they are using will work as expected in their camera.