Adorama has the Lensbaby Special Edition Spark 50mm f/2 Selective Focus Lens available for $59.95 with free shipping. Regularly $129.95.
From Adorama: The lens includes three regular apertures and nine specially shaped creative apertures. Shapes cut into the apertures will appear anywhere bright points of light are out of focus in an image (i.e., decorative lights at night or the sun shining through leaves). Apertures drop into the front of the lens and are held in place by shielded magnets. A tool is included to swap out the disks.
Note from Sean: I purchased this lens a couple of weeks ago when B&H featured it as a Daily Deal. It's a bit of a challenge to work with but it can certainly help you create fun and creative images.
This is one of the most amazing zoom lenses made and its usefulness for a wide variety of subjects and situations makes it one of the most important lenses in my kit.
From MAC Group USA:
NORTH WHITE PLAINS, NY – AUGUST 11, 2015 – Elinchrom, Phottix and Sekonic have come to be regarded as leaders in their respective areas of expertise. Together they plan on defining an exciting, new future for the lighting category.
The Elinchrom, Phottix and Sekonic design engineers are hard at work on the most revolutionary lighting control system ever.
The key to this epoch-making event is a common “operating system” shared among the three partners incorporating their respective controllers, transmitters and receivers via a shared signal.
Phottix flash systems are currently capable of TTL and manual control with Canon, Nikon and Sony DSLR systems as well as their own Mitros+ hot shoe TTL flash and their portable, TTL monobloc Indra systems. Elinchrom is known for their high performance, portable power systems, exemplified by the ELB 400 and is also renowned for their light-shaping tools. Sekonic is known for their accuracy and reliability of meters for lighting measurement and control. The integration of select existing technologies as well as the joint development of new ones from this global alliance will create a creative lighting toolkit allowing photographers to dramatically expand their repertoire.
This industry-redefining partnership will result in new products and processes that will enable photographers to enjoy the portable power and simplicity of Elinchrom, the surety of precise metering with Sekonic and unfailing TTL triggering and power control with Phottix for unmatched lighting control.
Current new products in the works include:
Many more exciting collaborative projects are in the works and on the drawing board between these three powerhouses.
Jan Lederman, President of MAC Group US and MAC Group Europe, which will lead the way in marketing this new alliance said: “As children, we were always told to play nice in the sandbox. Now that we are grown, we want to redefine the sandbox. The goal of this revolutionary alliance is to give photographers around the world access to the very best products and technology no matter what their needs, style of shooting or experience level. With these three companies working together, we are creating an all-new future for what’s possible in the photographic lighting category.”
Steve Peer, CEO of Phottix added, “Ours has always been a culture of seeing an opportunity and pursuing it with relentless focus. Together with our new partners at Elinchrom and Sekonic, we will set an all new standard for lighting and control.”
Chris Whittle, President of Elinchrom commented “With so many technological firsts, we at Elinchrom are extremely ambitious for all photographers. We live light, and this new alliance will accelerate a raft of inclusive lighting solutions for Elinchrom mount users Worldwide.”
Harry Harada, Director of Sekonic said, “Our partners’ lighting tools working in concert with Sekonic lighting technology will make photography more enjoyable and controllable. Sekonic is now open to this enhanced partnership.”
From the B&H YouTube Channel:
In this video, Mia McCormick introduces DJI's latest application of 3-axis gimbal technology, originally developed for multi-rotor UAVs. The Ronin-M is a scaled-down version of the original Ronin, weigh about 5lbs unladen, optimal for DSLRs, mirrorless cameras, and even compact cinema camera like the C100.
For a limited time, students and teachers who have never signed up for Creative Cloud can get the full Adobe Creative Cloud Suite for only $199.00 for the first year – which works out to rougly $16.58 per month, which is the same as getting two free months of service on top of the promotional rate of 60% off ($19.99/mo, $359.88/yr) – when the full one-year membership is paid up front.
This is a great deal as the normal Creative Cloud subscription for students and teachers is regularly $29.99 per month ($49.99/mo for regular customers).
Here are the fine print details from Adobe:
For a limited time between July 31, 2015 and October 30, 2015, eligible students 13 and older and teachers in North America can purchase an annual membership to Adobe Creative Cloud for a reduced price of $199.00 for the first year. After the first year we will renew your contract automatically for another year at the then-current standard annual price [for students and teachers] (currently at $359.88), unless you cancel. This pricing is available for first time membership only and limited to eligible education customers who purchase directly from the Adobe Store or by calling Adobe Sales. This pricing is not available to OEM, commercial or volume licensing customers. This pricing is limited to one (1) purchase of one (1) Creative Cloud annual membership per customer. Offer may not be assigned, exchanged, sold, transferred, or combined with any other discount or offer, or redeemed for cash or other goods and services. This pricing is subject to change without notice. Void where prohibited, taxed or restricted by law.
Roughly 600 charts have been added to the Lens MTF Comparison Tool since I announced the previous update. Additions include new lenses, stopped-down aperture charts and results for the new Tokina 24-70mm f/2.8 AT-X Pro FX Lens (note: only one copy tested at this point).
The following review pages have new charts available:
Canon EF 11-24mm f/4L USM Lens
Canon EF 16-35mm f/2.8L II USM Lens
Canon EF 16-35mm f/4 L IS USM Lens
Canon EF 24-70mm f/2.8L II USM Lens
Canon EF 24mm f/1.4L II USM Lens
Canon EF 35mm f/1.4L USM Lens
Canon EF 40mm f/2.8 STM Lens
Nikon 14-24mm f/2.8G AF-S Lens
Sigma 120-300mm f/2.8 DG OS HSM Sports Lens
Sigma 24mm f/1.4 DG HSM Art Lens
Sigma 35mm f/1.4 DG HSM Art Lens
Zeiss 21mm f/2.8 Distagon T* ZE Lens
Zeiss 25mm f/2.0 Distagon T* ZE Lens
Zeiss 35mm f/2.0 Distagon T* ZE Lens
Zeiss Otus 55mm f/1.4 Distagon T* Lens
Zeiss Otus 85mm f/1.4 Distagon T* Lens
Many hours of lens comparison fun are held in MTF Tool. Check it out – share with your friends.
From the B&H YouTube Channel:
NY Times Food Photographer and Director Andrew Scrivani leads a talk about the use and power of social media for photographers and videographers. Andrew discusses both the practical matters of gaining and maintaining a following and the artistic outlet that platforms like Instagram, Twitter, Facebook, Pinterest and others can be for creatives.
New York, NY – August 10, 2015 – Powered by Rokinon, XEEN is an all-new, professional grade cine lens system. It offers the professional optical quality, features, specifications, and performance that are expected of a superior cine lens system with a significantly lower price tag.
The initial three XEEN lenses consist of a 24mm, 50mm, and 85mm. All three feature a constant aperture of T/1.5 and Full Frame coverage. They will be available in mounts for Canon EF, Nikon F, Sony E, Micro Four Thirds and yes, even PL. Additional focal lengths are already scheduled to be introduced throughout 2015 and 2016.
Features common to XEEN lenses appreciated by professionals include:
Engineered and optimized for high use professional cine and video applications, they are all backed by a Three Year Limited Warranty, the longest in the industry.
All three focal lengths are immediately available for purchase from the following authorized XEEN by Rokinon dealers.
XEEN by Rokinon lens mechanics and optics are manufactured and precision assembled in Korea utilizing cutting edge techniques. Offering a MSRP of $2,995 each, they are extraordinary affordable when compared to other true cine lenses in their class.
by Sean Setters
When you need to sell some of your photography equipment to fund upgrades (or in dire cases, pay bills), it's important that you get top dollar when parting with your gear. While selling your used equipment to B&H or Adorama is extremely convenient, an eBay auction can help you get the highest price for your photography gear (even considering eBay and PayPal fees).
As eBay is such a popular choice for those wanting to sell used DSLRs and lenses, it's important to make your auction look as attractive as possible in the search results page to maximize page views and generate auction watchers. The best way to do that is to create an outstanding leading image that stands out from the pack.
Can a great leading image really help? Check out this eBay search for used "L" lenses and take a good look at the leading images. Chances are you'll find several examples of lenses sitting on a hardwood floor, carpet or dining room table with terrible (and many times insufficient) lighting. Even though these sellers own high-quality Canon lenses (assuming a 3rd party isn't handling the sale), most take little care in crafting a compelling leading image for their auction. And, typically speaking, eBay buyers don't want to see a stock image when purchasing used lenses – they want to see the actual items they're buying. All of these factors make creating a high-quality leading image an important and valuable part of the listing process.
I realize that not everyone has all the lighting equipment that I have. Therefore, my goal was to create a high-quality eBay leading image for a lens auction – on white – using only one flash (with a modifier) and minimal processing.
For the purposes of this post, I picked the Sigma 35mm f/1.4 DG HSM to photograph for the hypothetical auction. To begin with, I set up a small foldable table in my studio. Next, I placed a white sheet of glass (Hobby Lobby, $8.00) and a white, bi-fold piece of foam craft board (Hobby Lobby, but I don't remember the price). The craft board served as both a background and a reflector.
Next, the lighting – a radio triggered Canon Speedlite 580EX diffused by a Lumiquest Softbox LTP and affixed to the flash with a Honl Speed Strap. Why the Lumiquest LTp? Because its size seemed just about perfect for this particular setup. Plus, it's designed to be stored in a bag's laptop (or similar) compartment so it's pretty easy to always have on hand. To better even out the lighting in the softbox, I taped a thin sheet of tissue paper to the inside/front of the softbox soon after receiving it several years ago. The DIY diffusion panel has stayed intact remarkably well.
I placed the flash/softbox on a light stand positioned at roughly a 45-degree angle opposite the center of the bi-fold craft board.
It's a good idea to include all of the important elements of your auction in the leading image. In this particular hypothetical sale, I'm selling the lens, UV filter, hood and lens cap. Even if I were including the box with the sale, I wouldn't necessarily include it in the leading image. Don't get me wrong, a retail box can help boost the value of your auction, but I don't think it draws enough clicks on its own to bother with cluttering up the image that gets displayed in search results (keeping in mind that including the box would make the actual lens a smaller part of the overall composition). Also, be sure to thoroughly clean your items before photographing them. A rocket blower can help tremendously for getting rid of pesky dust.
As for the camera and lens, I'm using a tripod-mounted EOS 5D Mark III and an EF 100mm f/2.8 Macro USM. A macro lens certainly isn't required for this type of image, but it is very sharp and has a long focus throw (I like using manual focus for product imagery).
Below you can see my setup.
Here's the leading image straight out of the camera:
The final post-processed image appears at the top of this post, but here it is again for reference purposes:
Rokinon has recently been hinting about upcoming lens announcements on social media, and now we know why – the Rokinon Xeen 24mm, 50mm and 85mm T1.5 cinema primes are now available for preorder.
Unfortunately, we don't have an official press release regarding the announcement of these lenses, but we'll post the press release should it become available in the near future.
Image quality results from the EOS 5Ds R have been added to the Canon EF 200-400mm f/4L IS USM Extender 1.4x Lens Review.
The 200-400 L is another great choice for the 5Ds and 5Ds R.
SIGMA 24-35mm F2 DG HSM | Art F/NIKON is scheduled to start shipping towards the end of this month.
Note: Nikon mounts do not have an aperture ring.
From DIRE Studio:
Kuuvik Capture 2 is the ultimate professional tethering app for the Mac. From the smooth two-way communication through the world’s first split live view, to focus peaking and adjustable sharpening – each and every feature of the app serves the photographer’s aim to capture beautiful shots. The complicated work of tethered shooting becomes easier than you ever dared to imagine.
Do you carry the TC-80N3 documenation with you all time? You will not need it any more! From simple mirror lock-up and release automation, through 15-shot exposure bracketing and 30-shot focus brackets, the app covers everything. You can freely combine brackets with the intervalometer and mirror lock-up features while the Bracketing Monitor oversees your settings and warns you about potential problems.
In addition to the previously noted features we implemented quick culling of large photo sessions by employing a positive mindset: focus on only the best photos, star them, and Kuuvik Capture will purge the rest in the blink of an eye. You will be amazed how fast you can cull your photo sessions.
Kuuvik Capture's vast feature set employs modern GPU-based solutions, and uses dramatically less CPU power than any other similar app in the industry – so you can enjoy tethering in the field much longer with increased battery life.
And one more thing:
We not only support Canon’s new 5DS and 5DSR cameras, but Kuuvik Capture was specifically designed for them. Downloading and display of the ultra-high resolution 50 megapixel images takes less than 2s. Fast, isn’t it?
For more info visit kuuvikcapture.com.
TOKYO, Japan, August 7, 2015 — Canon, as an Official Partner of the IAAF World Championships Beijing 2015, will provide support for the event through a range of activities.
Canon is an Official Partner of the International Association of Athletics Federations (IAAF) World Athletics Series, sponsoring a total of 15 IAAF World Athletics Series events from 2013 to 2016. The IAAF World Championships Beijing 2015, which begins on August 22, is a global competition that will bring together more than 2,000 athletes from over 200 countries and territories. The previous Championships, held in Moscow in 2013, was broadcast in 192 countries and regions, attracting strong interest from a wide international television audience.
At the IAAF World Championships Beijing 2015, Canon will display the Company's logo on signage within the venue, provide support through its products, technologies and services, and carry out a range of related activities, including those listed below.
On-site camera service center for photographers covering the competition
At numerous sporting competitions both in Japan and overseas, Canon provides behind-the-scenes support to members of the press covering these events, including technical support, advice and repair services, as well as loans of the latest Canon EOS camera and lens equipment. To further improve media support at the IAAF World Championships Beijing 2015, expert Canon staff at the on-site camera service center will assist the many sports photographers from various countries and regions across the world. Additionally, all accredited photographers covering the event will wear bibs displaying the Canon logo.
Canon IAAF World Championships Beijing 2015 special website
Canon will incorporate within the Company's homepage a dedicated IAAF World Championships Beijing 2015 website that provides a range of tournament-related information, including competition schedules and major attractions. Additionally, the site will include a link to the Canon Photo of the Day, which, featured on the IAAF official website during the competition, will present one image per day carefully selected from among the many captured daily during the event. Visitors will be able to enjoy breathtaking images of the athletes in action, captured by top sports photographers supported by the outstanding imaging performance of Canon cameras and lenses.
Canon will continue contributing to the advancement of sports through the use of Canon products and technologies.
From the ExpoImaging YouTube Channel:
Jeff Rojas demonstrates how to easily create a dramatic, hard-lit portrait with 2 flashes and a few Rogue 3-in-1 Flash Grids. Flash photography lighting video tutorial, techniques and tips.
B&H carries the ExpoImaging Rogue 3-in-1 Flash Grids. For a slightly less versatile (but less expensive) option, you might consider getting the Opteka OSG18 1/8" or the OSG14 1/4" Universal Honeycome Grids and a Honl Speed Strap.
Update: After creating this post and getting it ready to publish to the site, I decided to try and recreate the results with the gear I had at home (I don't own the 3-in-1 grid, but I do have the Opteka grids linked above). Here was the shot I came up with:
Trying to replicate images you find intriguing is a good way to gain experience. Ultimately, you learn a lot from the process and the lessons learned can help you work more efficiently when executing your own creative ideas.
By the way, this is your first glimpse at my new studio space. You'll likely be seeing more of it in the future.
Two Distinctive Designs Offer Nod to Lowepro Brand’s Outdoor Heritage
SALT LAKE CITY and PETALUMA, Calif., Aug. 5, 2015 - Lowepro, the leading maker of photography carrying solutions, today expanded its trusted offerings for outdoor photographers with the launch of Whistler, a four-season and alpine-inspired backpack series, and the next generation of its best-selling and active-adventure backpack, Photo Sport II.
“Both of these inventive, technical designs evoke memories of founder Greg Lowe and the origins of the company that he built,” said Tim Grimmer, vice president of brand and product at Lowepro. “From the adventurer who works in extremes, to the athlete who likes to go fast and light, we’ve created these bags to help outdoor photographers take and protect their gear to the ends of the earth.”
Born on the side of a mountain, the Whistler series was designed and tested by professional photographers, including Whistler shooter Paul Morrison, in the extreme conditions of the Coast Mountains of British Columbia, Canada.
“I’ve worked with Lowepro bags since I began shooting skiing over 35 years ago, and it was a Lowepro bag that helped my camera gear survive a large avalanche in 1997,” said Paul Morrison, professional photographer and Loweprofessional. “Cameras mean different things to different photographers, but I think most agree that there is an attachment to cameras that can run quite deep. Bags are the protective connections between our gear and us. That was the thinking that brought about Whistler.”
Whistler is a versatile, four-season technical backpack that comes in two sizes - 350 AW and 450 AW. Ideal for wilderness photographers and adventurers who carry an equal measure of camera, video and functional outdoor equipment, the bag’s hinged and zippered back panel offers partial or full access to photography gear, and its rigid internal structure can support attachment of skis, poles, tripods, ice axes and more. Featuring Lowepro’s ActivZone System harness and MaxFit divider system, the bag is comfortable to wear and flexible to pack. Whistler’s extra-protective build keeps gear safe from the elements, including a waterproof fabric and base, detachable All Weather AW Cover and removable camera gear insert.
Addressing the demands of two passions in one pack, the updated Photo Sport II series offers camera and personal gear portability when engaged in aerobic sports or activities. The Photo Sport BP 200 AW II and 300 AW II both include a new UltraCinch design, featuring side access and a custom pull-tab to tighten and stabilize the bag’s photo gear space in one swift action. Lightweight, weather-resistant materials and a built-in All Weather AW Cover keep photographers moving when the weather changes. An ActivZone harness system, padded waistbelt and adjustable shoulder straps offer padding in all the right spots, while the bag’s dedicated compartment for a 2-liter water reservoir (not included) helps photographers stay hydrated while running, hiking, biking, climbing, boarding or trekking.
The Whistler BP 350 AW ($349.95) and 450 AW ($389.95) and the Photo Sport BP 200 AW II ($169.95) and 300 AW II ($199.95) are now available for purchase at authorized retail locations.
August 6, 2015, Saitama City, Japan - Tamron Co., Ltd. (President & CEO: Morio Ono), a leading manufacturer of precision optics, today announces the introduction of a new high-performance lens that zooms from 18 to 200mm for APS-C DSLR cameras.
The new 18-200mm F/3.5-6.3 Di II VC (Model B018) is the successor to AF 18-200mm F/3.5-6.3 XR Di II LD Aspherical [IF] MACRO (Model A14), which has been one of Tamron's best-selling lenses since its introduction 10 years ago. The new 18-200mm VC uses the most modern optical and mechanical design to achieve compactness and high performance. Incorporating image stabilization, the 18-200mm VC delivers superior image quality and is the lightest zoom in its class. Tamron made full use of its long experience and expertise as a pioneering force in high-power zoom lenses to create an optimal all-in-one lens that opens up new photographic possibilities to all DSLR camera users.
|Angle of View (diagonal)||75°33'~ 7°59'|
|Optical Construction||16 elements in 14 groups|
|Minimum Object Distance||0.49m/19.3 in. (at 180mm)~0.77m/30.3 in. (at 35mm)|
[at f=18, 200mm: 0.5m /19.7 in.]
|Maximum Magnification Ratio||1:4 (at f=200mm: MOD 0.5m)|
|Length||for Canon 96.6mm (3.8 in.)|
for Nikon 94.1mm (3.7 in.)
|Weight||400g (14.1 oz.)|
|Aperture Blades||7 (circular diaphragm)|
|Standard Accessories||Flower-shaped lens hood, Lens caps|
|Compatible Mounts||Canon, Nikon, SonyCanon, Nikon, Sony|
Let me first say that photographers (myself included) tend to overlook safety too frequently when attempting to capture the perfect shots. Lightning is extremely dangerous and strong caution is advised when attempting to photograph it. That said: Summer is the season for lightning.
A couple of days ago, my wife came in from walking the dog at nearly midnight and said that I had to go out and see the lightning in the distance. A quick check of the weather radar showed that a strong thunderstorm was going to graze us and even though my body said "No! It's time for bed!", my brain knew that this was a great opportunity and that the potential photos, if realized, would last far longer than my tiredness.
I quickly assessed the focal length needs and mounted a Canon EF 24-70mm f/2.8L II USM Lens on a Canon EOS 5Ds R. Lightning strikes tend to be random in location and, with the extreme resolution of the 5Ds R, I could afford to shoot with a wider focal length and crop into the frame for the shorter and more-distant lightning bolts. Lightning bolts also vary greatly in brightness and the f/2.8 lens gave me plenty of latitude for exposure settings.
I grabbed a tripod, remote release and a tiny flashlight. I went out the door and spent the next hour capturing lightning strikes.
Note that rain protection for both you and the gear is a very good idea as rain typically accompanies thunderstorms. In this case, my shirt became the gear protection and I simply got wet.
When it is very dark out, lightning photography is not too difficult. Frame the scene in the direction of the storm (consider incorporating some foreground) with a level camera. Turn off image stabilization (if available) and switch to manual focus. Establishing accurate manual focus in the dark can be challenging, but a street light, a light on a distant tower or even a star (if visible) can work.
Attach the remote switch (needs to be able to lock the shutter open) to the camera and set the camera's mode to "B" (Bulb). The shutter speed will be established by the duration of the remote release press. With the dark sky contributing very little light to the exposure, the image brightness will be determined by the lightning and its illumination of the clouds in combination with the selected ISO and aperture settings. Lightning bolts are very bright, but because of the varying distance and intensity of the light output, some trial and error may be necessary to dial in the most-optimal settings. I'll throw out a starter setting of f/4 and ISO 400.
You may decide that turning off the camera's long exposure noise reduction is advisable as dark frame capture is time consuming.
Once the camera is setup, open the shutter using the remote release and wait for lightning to strike. After a strike, release the shutter and immediately open it again.
Bryan's Law of Lightning Photography: The best lightning bolts are guaranteed to occur in the brief period of time that the shutter is closed between exposures.
You may find that you want to start a new photo after a period of inactivity to reduce long exposure noise in the images. Leaving the shutter open for multiple strikes is an option, though a risk is that parts of the image, generally clouds near an area of recurring lightning activity, become overexposed. You may find it more optimal to combine specific images later during post processing.
I captured more lightning strikes in this 1 hour storm than I have in any storm I previously photographed. The results were definitely worth an hour of lost sleep. This image, my favorite of the take, is a single exposure practically straight out of the camera (slight cropping and Picture Style change).
While the nighttime lightning photography technique is relatively easy, daytime lightning photography is much more challenging. Daylight lightning photography procedures are not dissimilar from normal daylight photography, but the problem is that relatively short exposures are required to achieve proper image brightness and short exposures are hard to time with a lightning strike. To catch a bolt of lightning in daylight requires FAST reflexes (or better, a lightning trigger) and a camera with a short shutter lag.
Give lightning photography a try – the results will be ... "striking."
In this video, Nikon's mechanical design team recounts the challenges they overcame while developing the newly released AF-S NIKKOR 24-70mm f/2.8E ED VR.
One part that proved especially facinating to me was that Nikon was able to reduce the external diameter of the VR lens by 10mm by reducing the size of one [likely internal] component by .1 mm. [Sean]
While it is painful to get up early enough to photograph the sunrise in early summer (4:20 AM in this case), early summer is the right time of the year to photograph the Portland Lighthouse and the distant Ram Island Lighthouse from this angle with the sun in the frame.
With the middle daughter accompanying me, I arrived at Fort Williams in Cape Elizabeth, ME just before sunrise. I selected one specific composition to concentrate on during the prime shooting minutes, timed the rotating lighthouse light, bracketed exposures and, when capturing the foreground rocks being hit with the first light rays of the day, adjusted focus to a closer distance.
This image is composed primarily of three source images run through a complicated manual HDR process with manual focus-stacking. After the big effort made to capture this image (a long drive in addition to the early alarm), I was anxious to see how this photo turned out. It was the first-processed from my recent photo trip to Maine. I'm happy with the result – it was definitely worth my effort.
I'm also very happy with the 5Ds R and 16-35 f/4L IS combination. I can say that they "rock".
MELVILLE, NY – Today, Nikon Inc. announced three exciting new NIKKOR lenses for professional and enthusiast photographers. The new AF-S NIKKOR 24-70mm f/2.8E ED VR is the evolution of one of Nikon’s most popular pro lenses, improving upon its versatility and image quality. Nikon has also announced two additional new lens options, including the lightweight AF-S NIKKOR 200-500mm f/5.6E ED VR, a super-telephoto zoom that gives FX and DX-format photographers incredible reach in a compact size. The AF-S NIKKOR 24mm f/1.8G ED is the latest addition to Nikon’s popular line of f/1.8 fixed focal length lenses and is ideal for those seeking a sharp, fast-aperture prime lens.
“These three very different lenses are representative of the diverse range of Nikon photographers, but they all provide the most vibrant, sharp images and HD video possible; with color and clarity that only genuine NIKKOR optics can deliver,” said Masahiro Horie, Director of Marketing and Planning, Nikon Inc.
AF-S NIKKOR 24-70mm f/2.8E ED VR
Look into the bag of nearly any Nikon-wielding pro and you will find Nikon’s iconic 24-70mm f/2.8, and with good reason; this lens’ versatility and image quality has made it an essential workhorse lens for every type of shooter. The new AF-S NIKKOR 24-70mm f/2.8E ED VR improves upon its respected predecessor in nearly every aspect, adding the best Nikon lens technologies to create an essential optic. An exciting evolution to come to this lens is the much-anticipated addition of Nikon’s Vibration Reduction (VR) image stabilization technology. With up to four stops of image stabilization*, the new 24-70mm f/2.8 VR is ready to tackle the challenging light of a wedding ceremony or on-the-spot news, while Tripod Mode helps to banish blur for landscape shooters. VR is also a huge benefit to filmmakers shooting handheld or on a rig who already appreciate the lens’ depth-of-field control and precise sharpness.
The new NIKKOR 24-70mm f/2.8 utilizes Nikon’s Electromagnetic Aperture control, which allows for consistent exposures during high speed bursts of shooting. This lens also improves upon image quality with new optical construction to provide clarity and consistently sharp images, and is ideal for capturing portraits, landscapes and weddings. For nearly any assignment in any kind of light, the combination of a fast f/2.8 constant maximum aperture and useful zoom range make this lens the choice of many professionals. A first for NIKKOR lenses, a new Aspherical Extra-Low Dispersion (ASP/ED) element is paired with traditional aspherical, ED and High-Refractive Index (HRI) elements for a thrilling new level of optical precision. Photos and videos take on a beautiful balance of sharpness and subtle blur effects, virtually free of flare, ghosting, coma and chromatic aberration throughout the frame. Nikon’s exclusive Nano Crystal Coat is also employed to further reduce instances of ghosting and flare.
The new lens construction enhances durability and image quality, while retaining the overall balance and handling that made this a favorite of photographers in the first place. The lens is sealed and gasketed against the elements, and now features a fluorine coating on the front and rear element to make it easier to remove dirt, moisture and smudges from the lens surface. The optical formula consists of 20 elements in 16 groups, while a 9-blade diaphragm helps to create a pleasing, natural out of focus area with beautiful bokeh. Additionally, the AF-S NIKKOR 24-70mm f/2.8E ED VR features a new filter diameter of 82mm and will accept the new Nikon CPL2 Circular Polarizer and 82mm NC (Neutral Color) filters.
AF-S NIKKOR 200-500mm f/5.6E ED VR
The new Nikon AF-S NIKKOR 200-500mm f/5.6E ED VR is an exhilarating new lens option, giving enthusiast FX and DX-format photographers the ability to go further with amazing zoom power and tack-sharp clarity. This compact super-telephoto zoom is ideal for bringing distant subjects closer, including birds, sports, wildlife and motorsports. This lens opens the doors for a fresh new perspective; with a maximum reach of 500mm on FX-format Nikon cameras and a staggering 750mm equivalent reach on DX-format cameras. With a maximum aperture of f/5.6, photographers have the ability to fill much of the frame with their subject and create a pleasing background blur, even in challenging light. This lens also features Nikon’s Electromagnetic Aperture for consistent exposures, as well as VR with 4.5 stops of image stabilization. Additionally, the VR features Sport Mode, which is well-suited for capturing vibrant, sharp images of distant subjects at high frame rates or when panning with fast-moving action. The lens also lets users focus as close as 7.2 ft. throughout the entire focal range, for when a decisive play comes closer than expected, or capturing intricate details of nature.
Whether spending all day at an air race or in the field, the new NIKKOR 200-500mm f/5.6 is surprisingly lightweight at only 5 lbs 1.2 oz. (2300 grams) including the tripod collar, making this lens easy to use handheld for extended periods. Photographers looking for even more reach can increase the zoom power using an optional compatible Nikon 1.4x, 1.7x or 2x E series Teleconverters** to capture even the most distant subjects.
The new AF-S NIKKOR 200-500mm f/5.6E ED VR’s optical formula features three ED elements to enhance sharpness and minimize chromatic aberration. A 9-blade aperture provides a desirable, smooth bokeh, while Nikon’s Silent Wave Motor technology helps to quickly and quietly achieve critical focus. The filter diameter of the new 200-500mm lens is 95mm, and Nikon will also offer optional 95mm NC (Neutral Color) and the 95mm Circular Polarizer CPL2 filters.
AF-S NIKKOR 24mm f/1.8G ED
The AF-S NIKKOR 24mm f/1.8G ED is the latest addition to the exceptional system of NIKKOR f/1.8 primes, and provides enthusiast photographers with a fast wide-angle prime lens that’s both lightweight and affordable. This new lens lets photographers immerse viewers into landscapes, interiors and architecture with amazing clarity and minimal distortion, while a fast maximum aperture delivers superb bokeh and excellent low-light ability. Whether a photographer’s passion is capturing environmental portraits or the delicious details of a meal, this lens creates a dramatic separation between subject and background.
The new NIKKOR 24mm f/1.8 complements Nikon’s high-resolution DSLRs and provides amazing image quality thanks to Nikon lens technologies including Nikon’s exclusive Nano Crystal Coat. Additionally, this compact lens features ED and Aspherical lens elements for extreme sharpness while minimizing ghosting and flare.
Price and Availability
The new AF-S NIKKOR 24-70mm f/2.8E ED VR will be available in late August for a suggested retail price (SRP) of $2,399.95. The AF-S NIKKOR 200-500mm f/5.6E ED VR will be available in mid-September for the SRP $1,399.95. The new AF-S NIKKOR 24mm f/1.8G ED will be available in mid-September for the SRP of $749.95.
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Among the additional lenses loaded into the tool are the 24-70mm f/2.8 zooms (Canon, Nikon and Sigma). Remember that CA is generally more prevalent in zoom lenses (especially in the maximum focal length extents) and that CA is a significant factor in corner MTF performance (and is generally an easy-to-correct aberration). If you see chart lines/colors showing decreasing MTF measurements toward the corners (right side or periphery), CA may be at least some of the cause. Reference the Lens Image Quality Tool to see if CA is a significant component of a dropping MTF chart measurement for a specific lens.
One of the zoom lens additions is the new Sigma 24-35mm f/2 DG HSM Art Lens. Of note is that, while the tool says "Average" for the chart type, only one copy of this lens was available for MTF testing. The test results will be updated (and the other chart types added) when a larger sample size is available. B&H has the Sigma 24-35mm f/2 DG HSM Art Lens in stock.
There are enough results in the MTF tool to entertain for hours. Here is a comparison that I find interesting. While these are not equivalent apertures (one stop apart), B&H has the Zeiss 135mm f/2 Lens in stock with a $300 instant rebate bringing the price down to far less than half that of an Otus.
Be sure to share the MTF tool with your friends!