From LEE Filters:
Two years in the making, the ProGlass IRND range from LEE Filters sets a new standard in neutral-density filters. ProGlass IRND filters were originally designed for the film industry, to meet the exacting needs of the world’s leading cinematographers, and have already been hailed as the best neutral-density filters on the market. Now, they are available to the stills photographer, in sizes to fit the LEE Filters Seven5, 100mm and SW150 systems.
Advances in coating technology mean that the filters, which are manufactured from 2mm-thick, optically flat glass, are available not only in strengths of two (0.6ND), three (0.9ND), four (1.2ND) and six (1.8ND) stops, but also in ultra-long 10 (3ND) and 15-stop (4.5ND) versions. Not only this, but all filters in the range – whatever their strength – are designed to be free of color casts, with extremely accurate stop values, ensuring consistency in all shooting conditions and allowing for absolute precision when exposing images. Their neutrality also means less time spent tweaking color balances in postproduction.
In addition, filters in the ProGlass IRND range are designed to block both infrared and ultraviolet pollution. As a result, blacks are rendered truly black, whites are clean, and results reveal a crispness that is second to none. The 6, 10 and 15-stop versions of the ProGlass IRND filters come with a foam seal to prevent light leaks during long exposures, and should be placed into the filter slot closest to the lens. While the 2, 3, 4 and 6-stop versions do not feature a foam seal, it is still recommended also to place them into the slot closest to the lens.
All filters in the ProGlass IRND range can be used in conjunction with other filters, including neutral-density grads and the polarizer.
ProGlass IRND Filter (Seven5 System) – $200.00
ProGlass IRND Filter (100mm System) – $230.00
ProGlass IRND Filter (SW150 System) – $450.00
will carry the LEE Filters ProGlass IRND Filters
If you are considering the purchase of a Canon EOS 6D Mark II
, you may also be considering the EOS 5D Mark III
as they are similarly priced with an also-attractive, mid level feature set within the confines of today's camera market.
Make no mistake, these bodies are similarly versatile and capable cameras, but depending on the intended use and/or photographic challenges being pursued, either one may be a better choice compared to the other. With that said, let's look at how these full frame contenders differ.
Advantages of the EOS 6D Mark II over the 5D Mark III:
Advantages of the EOS 5D Mark III over the 6D Mark II:
- Dual Pixel AF sensor with Movie Servo AF vs. contrast-detect AF in Live View with no Movie Servo AF
- More resolution (26.2 vs. 22.3)
- DIGIC 7 vs. DIGIC 5+
- More sensitive AF (EV -3 – 18 vs. EV -2 – 18)
- More AF points active at f/8 (27 points vs. center AF point with 4 assist points)
- 7560-pixel RGB+IR 63 zone metering sensor vs. iFCL 63-zone Dual-layer sensor
- Faster max burst rate / larger RAW buffer (6.5 fps. (150 images in JPEG, 21 images in RAW) vs. 6 fps. (16,270 images in JPEG, 18 images in RAW))
- Vari-angle LCD vs. fixed
- Flicker detection and corrective shutter release timing
- Ambience priority/white priority AWB vs. ambience priority only
- In-camera 4K UHD time-lapses vs. none
- GPS, Wi-Fi, Bluetooth & NFC vs. none
- Longer battery life (Approx. 1200 (at 23°C, AE 50%, FE 50%) vs. 950)
- Smaller & lighter (5.67 x 4.35 x 2.94" (144.0 x 110.5 x 74.8mm), 26.98 oz (765g) vs. 6.0 x 4.6 x 3.0" (152 x 116.4 x 76.4mm), 33.5 oz (950g))
- More AF points / more dual cross type points at f/2.8 (61 Point / 41 f/4 cross-type AF points including 5 dual cross type at f/2.8 vs. 45 cross-type AF points including center point dual cross type at f/2.8)
- Joystick multi-controller vs. none
- Larger viewfinder coverage (100% vs. 98%)
- Faster max shutter speed (1/8000 sec vs. 1/4000 sec)
- Dual memory card slots (CF + SDXC/SDHC vs. SDXC/SDHC only)
- HDMI mini, headphone & microphone mini jacks vs. microphone mini jack only
As is evident above, the 6D Mark II has more advantage bullet points compared to the 5D Mark III. However, the importance of some of the 5D III bullet points could easily sway one's decision in favor of the older, economical 5-series body.
Who should opt for the EOS 6D Mark II?
First of all, anyone wanting to quickly create high quality videos with their DSLR will likely prefer the 6D's Movie Servo AF – thanks to its Dual Pixel CMOS AF sensor – as well as its vari-angle LCD. Another nice feature that DSLR filmmakers are likely to appreciate is the 6D II's ability to create 4K UHD time-lapses in-camera, though many filmmakers will prefer to compile their time-lapses in post-processing for more control over the final video (essentially making this feature a less compelling advantage compared to the 5D III).
From a video perspective, one drawback could be the 6D II's .MP4 recording format if someone instead preferred using the .MOV format featured in the 5D III. Another drawback is the 6D II's lack of a headphone jack.
Even though it features fewer overall points, those shooting wildlife will likely prefer the 6D II's slightly faster burst rate and AF system capable of up-to 27 active phase-detect AF points when using lens+extender combinations resulting in an f/8 effective maximum aperture. And on top of that, Live View with subject tracking can be utilized with lens+extender combinations through f/11.
In comparison, only the center AF point (with 4 assist points) is enabled on the 5D III with f/8 maximum apertures and subject tracking is unavailable in Live View. For wildlife photographers who never plan on using lens+extender combinations, the 5D III may be the better choice thanks to its 61 point AF system. But considering how often wildlife photographers utilize extenders, they will likely accept the 6D II's 45 point AF system to gain significantly more AF functionality at f/8.
Those carrying their cameras long distances and/or for long periods of time will of course appreciate the 6D II's smaller design and lighter weight, including (but not limited to) those who are hiking to remote locations or traveling on domestic/international flights.
All photographers will appreciate 6D II's higher resolution and longer battery life, and many will enjoy using its GPS, Wi-Fi, Bluetooth and NFC features which are all absent on the 5D III. Any photographers photographing under stadium lights will be thankful for the 6D II's Flicker Detection and corrective shutter timing for avoiding color balancing problems.
Who should opt for the EOS 5D Mark III?
Even though the 5D III seems to have few benefits over the 6D II, the value of some of those benefits can be huge. For instance, anyone photographing once-in-a-lifetime events such as weddings should likely choose the 5D Mark III for its dual memory card feature alone. While card corruption is relatively rare, dual memory card slots provide a vital layer of protection to keep your (or your client's) images safe. Having images backed up in-camera can help you avoid tarnishing your reputation due to a faulty memory card.
Many photographers will appreciate the 5D III's viewfinder with 100% coverage and faster maximum shutter speed.
If you already own a 7D Mark II, you will likely appreciate the very similar controls featured in the 5D III, including (but not limited to) the multi-controller joystick. If keeping the 7D II as a secondary camera, you should be able to switch between bodies without missing a beat.
Released in 2012, the 5D Mark III still remains relevant in today's camera landscape, although its target market has surely shifted from those needing cutting-edge technology (without stepping up to a 1-series camera) to an enthusiast group wanting full-frame image quality and a more-than-reasonable feature set at an attractive price. And, coincidentally enough, that's a good description of the 6D Mark II as well, although its overall feature set is certainly more contemporary.
As illustrated above, each of these cameras will serve specific photographers' needs better than the other. If you or your business can't afford the ill-effects of a memory card failure, or if the 5D III's controls make it a better fit for your photography, the 6D II's advantages will mean little when adding the 5D III to your shopping cart.
However, with its higher resolution, Dual Pixal CMOS AF sensor, more than sufficient AF system, GPS/wireless features and smaller design/lighter weight, the 6D II will likely be the preferred choice for a large number of photographers.
SANTA ROSA, CALIF
– Adventure photographers need a camera bag that’s as tough as they are. With its rugged materials and faceted design, MindShift Gear’s new PhotoCross sling bags protect a photographer’s gear from punishing trips into the wild. The PhotoCross is built to withstand the elements, yet comfortable enough to wear on long days in the field. These sling bags stay out of the way when scrambling but offer quick camera access when ready to take the shot. They feature weatherproof zippers and abrasion-resistant materials, plus a carrying system for tripods or jackets.
The PhotoCross comes in two sizes and colors, Orange Ember and Carbon Grey. The PhotoCross 10 fits an ungripped DSLR and one to two lenses, plus a 10” tablet, or a Mirrorless body and three to five lenses, plus a 10” tablet. The PhotoCross 13 fits an ungripped DSLR, two to four lenses, including a 70–200mm f/2.8, and some 13” laptops.
“The PhotoCross sling bags are significant because they meld two concepts that are often in conflict in outdoor gear design: protection and comfort. An example is how we’ve integrated the waterproof Tarpaulin bottom panel with a body-conforming design, wide shoulder strap, and stability wing for superior comfort,” said Doug Murdoch, MindShift Gear’s CEO and Lead Designer.
ADDITIONAL FEATURES AND BENEFITS
- Dedicated, padded pocket fits a tablet or a laptop (10 = 10” tablet, 13 = some 13” laptops)
- Easy rotation for rapid access to gear and accessories
- 3-point harness for stabilization with tuck-away waist belt
- Secure your bag by linking the zipper pulls together
- Water bottle pocket locks in most 1 liter bottles
- Breathable 320G air-mesh back panel keeps your back cool during long days
- Internal zippered pockets for batteries, memory cards or other small accessories
- Easily accessible front pocket for filters, snacks, or a light layer
- T-pulls are easily gripped with or without gloves
- Top and side carry handles
- Fully customizable interior dividers for photo or personal gear
- Seam-sealed rain cover included for downpour conditions
Exterior: All fabric exterior is treated with a durable water resistant coating while fabric underside is coated with polyurethane for superior water resistance, YKK weather resistant zippers, 420D high-density nylon, heavy-duty nylon Tarpaulin, 350g air mesh, nylon webbing, 3-ply bonded nylon thread.
Interior: Removable closed-cell foam dividers, P210D liner, polyurethane backed velex liner, 2x polyurethane coated 210T seam-sealed taffeta rain cover, nylon binding tape, 3-ply bonded nylon thread.
- Internal Dimensions: 7.1” W x 12.5” H x 4.8” D (18 x 31.8 x 12.2 cm)
- External Dimensions: 11” W x 15.9” H x 6.3” D (28 x 40.5 x 16 cm)
- Tablet compartment: 8.2” x 11” x 0.6” (20.8 x 27.9 x 1.5 cm)
- Maximum weight (with all accessories): 2.1 lbs (1.0 kg)
- Shoulder strap length: 42.5–62.2” (108–158 cm) (includes length of product)
- Waist belt length: up to 61” (155 cm) (includes length of product)
- Volume: 7.5 liters
- Internal Dimensions: 9.4” W x 14.2” H x 5.5” D (24 x 36 x 14 cm)
- External Dimensions: 12.6” W x 17.7” H x 7.1” D (32 x 45 x 18 cm)
- Laptop compartment: 9.1” x 13” x 1” (23 x 33 x 2.5 cm)
- Maximum weight (with all accessories): 2.4 lbs (1.1 kg)
- Shoulder strap length: 42.5–62.2” (108–158 cm) (includes length of product)
- Waist belt length: up to 63.8” (162 cm) (includes length of product)
- Volume: 11 liters
has the PhotoCross sling bags
The Sigma Corporation would like to announce the development of the rear filter holder for the SIGMA 14mm F1.8 DG HSM | Art for Canon.
By attaching the rear filter holder to the rear of the SIGMA 14mm F1.8 DG HSM| Art, it is possible to use a filter sheet with the lens. This will allow more freedom of the expression when photographing starry skies.
* Only available for the Canon mount lens. There are no plans for the development in SIGMA and Nikon mounts.
As more details of this rear filter holder become available, a further announcement will be made.
has the Sigma 14mm f/1.8 DG HSM Art Lens
available for preorder.
From Tamron USA:
June 30, 2017, Commack, New York- Tamron Co., Ltd., a leading manufacturer of optics for diverse applications, announces the launch of a new high-speed zoom lens, SP 24-70mm F/2.8 Di VC USD G2 (Model A032), for full-frame DSLR cameras. Model A032 is a fast F/2.8 zoom that achieves top-level image quality. The new Dual MPU (Micro Processing Units) provides rapid autofocusing with improved accuracy and the highest vibration compensation performance of any lens in its class (CIPA level of 5 stops). The use of specialized, high quality glass materials (offering greater optical transmittance) for the lens elements assures superior color reproduction and greater sharpness, while the application of Tamron's exclusive nanotechnology-based eBAND Coating substantially curbs the ghosting and flare that are prone to occur in backlit photography, successfully improving the overall. optical performance of the lens. Additionally, model A032 provides the added conveniences of protective Fluorine Coating,Moisture-Resistant Construction and a locking lens hood. Photographers can use this new high-speed zoom lens for wide-ranging purposes, including landscape, portrait, news, travel and many others. The Tamron SP 24-70mm G2 in Nikon mount will be available in August and the Canon mount in September at $1199.
1. Sophisticated design delivers superb performance and ultra-high image quality
The use of specialized, high quality glass materials assures accurate color reproduction and superior sharpness, perfect for today's high-pixel-density cameras. The optical construction (17 elements in 12 groups) uses 2 XR (Extra Refractive Index) elements, 3 LD (Low Dispersion) elements, 3 GM (Glass-Molded aspherical) and one hybrid aspherical lens element. Together they minimize axial chromatic aberrations, transverse chromatic aberrations, spherical aberrations and distortion, and allow a compact design that achieves superior image quality.
2. eBAND Coating provides superior anti-reflection properties and reduces ghosting and flare
The new A032 features Tamron's original eBAND (Extended Bandwidth & Angular-Dependency) Coating, a technology combining a nano-structured layer that has an extremely low refractive index with conventional multiple-layer coatings to provide superior anti-reflection performance. The optimal application of this eBAND Coating in combination with Tamron's BBAR (Broad-Band Anti-Reflection) Coating successfully and substantially curbs the ghosting and flare that can occur when photographing backlit subjects.
3. New Dual MPU (Micro-Processing Unit) control system provides faster and more precise autofocus and improved Vibration Compensation
This innovative control system uses a Dual MPU design with enhanced computing capacity. The MPUs have powerful, built-in DSP (Digital Signal Processor) blocks that achieve quicker and more precise AF performance, and more consistently powerful Vibration Compensation. The features combine to provide outstanding performance at night and in low light. High performance MPU for AF dramatically improves autofocusing accuracy and speed The A032 is equipped with its own MPU (micro-processor unit), with embedded DSP (Digital Signal Processor) blocks that enable high-speed digital signal processing, achieving both excellent responsiveness to signals from the camera and high-precision AF performance.
Dedicated MPU delivers the highest vibration compensation ability in class (CIPA level of 5 stops).
The new A032 is equipped with Tamron's proprietary VC (Vibration Compensation) system. Adding an MPU dedicated to VC processing unleashes a new-generation algorithm, ensuring the highest vibration compensation abilityin the class (CIPA level of 5 stops). Even in low light or with slow shutter speeds, photographers can enjoy shake-free handheld shooting with ease and comfort.
4. Fluorine Coating and Moisture-Resistant Construction
The Fluorine Coating applied on the front element surface is water-and oil-repellant and allows safe and easy removal of fingerprints, dirt and smudges. The coating also provides an enhanced level of durability, and will sustain its effectiveness for years. In addition, seals are located at the lens mount area and other critical locations to prevent infiltration of moisture and/or rain drops to provide Moisture-Resistant Construction. This feature provides an additional layer of protection when shooting outdoors under adverse weather conditions.
5. Lens hood equipped with a new, convenient locking mechanism
The lens hood is equipped with a locking mechanism that prevents detachment due to unintentional contact during use.
6. Compatible with TAMRON TAP-in ConsoleTM, an optional accessory
The new A032 is compatible with the optional TAMRON TAP-in ConsoleTM, an optional accessory product that 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.
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 lenses. More precise diaphragm and aperture control is possible because the diaphragm blades are driven and controlled by a built-in motor through electronic pulse signals.
8. Manufacturing innovation with thorough attention to details based on the rigorous quality standards worthy of the SP series
Tamron has enhanced the SP series lenses to fulfill high-level photographic requirements and provide the pleasure of ownership. While introducing a new exterior design, Tamron reviewed the SP series standards. The new SP series has been developed by setting rigorous standards for design, manufacturing and quality that apply to the optical design and mechanical design as well as such wide-ranging areas as the product's robustness and improvements in a variety of individual functions. For this model, Tamron has introduced a unique MTF (Modulation Transfer Function) tester, which was developed exclusively for Model A032, and reviewed the management method. This has helped to achieve a more consistently superb optical performance, making it a lens that fulfills the demand for higher image quality that is compatible with the latest high-pixel cameras. To maximize the optical performance of the SP series, Tamron will continue to enhance the accuracy of the component parts of each lens element unit and improve the mechanical precision of the entire lens, thereby achieving a high overall performance.