Dear Tamron product users and potential purchasers.
Thank you for your interest in Tamron products.
We would like to announce that we discovered some issues with the auto focus of our new lens, 28-75mm F/2.8 Di III RXD (Model A036) for Sony E-mount, 35mm full-frame mirrorless cameras, released on May 24, 2018. The issues occur primarily when using the camera in video recording mode.
Rest assured, we are evaluating the cause of the error and for the solution to this matter. We expect this issue to be resolved very shortly and we will release a firmware update at that time.
Regarding the firmware updating process, please be assured that the process is accomplished directly through the Sony camera and supported by the Sony firmware updating function. As soon as the process is finalized, we will explain the process in detail on our website.
We sincerely apologize to all users and potential purchasers for any inconvenience this issue may cause.
by Sean Setters
I took a shot yesterday that I thought looked interesting, so I thought we'd have a little fun with it today.
Can you guess what the subject of the photo is? You can click on the image above to download a higher resolution version for analysis. Then scroll down for the answer.
Answer: It's the seed head of a grass plant.
I really wanted to create a macro focus stack image, but I was having a difficulty coming up with an idea for an interesting subject. As I often do when I'm experiencing a mental block for a macro subject, I strolled around my lawn to see what I could find. It had been raining off and on in Savannah, GA for several days, so I hadn't been able to mow the lawn in quite some time. Some of the grass had gotten very tall, and one such plant drew my attention. I marveled at the plant's seed head as I inspected it closely, and decided my search for a macro subject was complete. Now onto the photography bit.
I attached stacked Kenko extension tubes and a Kenko 1.4x Teleconverter to my Canon EF 100mm f/2.8 Macro USM and mounted it all onto my EOS 5D Mark III (tripod mounted, of course). Two studio strobes were already set up in my studio with one firing through a 4 x 6' (1.2 x 1.8 m) and a 3' x 8" (0.9 x 0.2 m) gridded stripbox, so I simply used those for lighting. A bottle provided a nice stand for the stem the grass plant.
I originally shot it without a background which caused the background to be completely black. However, while the light colored part of the seed head stood out very well, the black portions (unsure what their name is), understandably, did not. So, I searched my home for something that might provide a suitable background color for the subject (I didn't expect to see recognizable details in the macro shot because of the limited depth-of-field and camera-to-subject and subject-to-background distance). I found my answer donning the wall of our kitchen – a calendar someone had given us for Christmas.
After compiling the images in Helicon Focus and a little bit of editing in Photoshop CC, I arrived at the image below.
For what it's worth, I'm consistently amazed by the details found in readily available (very common) subjects that await capture with a macro lens and (sometimes) the higher magnification made possible by extension tubes and teleconverters.
From Pelican (thanks Trent):
TORRANCE, CA – May 30, 2018 – Pelican Products, Inc. (Pelican), the global leader in the design and manufacture of high performance protective cases, has assumed exclusive control of the TrekPak brand, along with all production, sales and marketing for this innovative divider system. The TrekPak system provides the ultimate organization and protection as an interior solution for a wide variety of applications for your Pelican cases. The new agreement allows Pelican to extend the TrekPak dividers across a broader range of Pelican’s cases, including the Pelican Air, Protector Case and Storm Case lines.
In 2016, Pelican began distributing TrekPak dividers as a new configuration in 6 of their most popular sizes. Today, Pelican offers TrekPak dividers in 18 case sizes, with plans to extend the divider system to most case models. Additionally, customers are now able to purchase the TrekPak divider system as an accessory, as well as a case configuration, directly and exclusively from Pelican.
TrekPak first introduced the divider system in 2012 as an aftermarket case accessory, recognizing the need for a modular solution that organizes and protects equipment inside Pelican cases. Users across multiple industries soon adopted the design as the premium alternative to foam or padded dividers in their cases. “Pelican continues to set the standard for protection and transportation across a variety of industries,” said Georgia Hoyer, Founder of TrekPak.
“Pelican looks forward to bringing new innovative TrekPak solutions for various applications to market soon and continuing to enhance our customer experience when it comes to protecting all that you value” stated John Luna, Director of Product Management for Pelican.
For a long time, our always-current Canon Lens Recommendations pages have been very popular and long on my to-do list has been to create recommendations pages for Canon cameras. While I still have several recommendation categories to add and refinements will be ongoing, the Canon Camera Recommendations page is now live.
Hopefully you can send your friends to these pages for answering their "Which camera should I get?" questions. To find the link, look under the "Recommendations" main tab.
Let us know if you disagree with any recommendations and also let us know if you think a model should be added to one of the categories.
Want to make sure I have considered a category you want to see? Please share that also!
From the Harvard Business Review:
by Shigeki IchiiRead the entire article on the Harvard Business Review.
He [Masashi Oka, CFO] asked one former major investor for a reaction to the company’s prediction (accompanying poor quarterly results): “that the [current] market contraction will bottom out soon and our profits will improve.” The reply he got was like a cold shower: “Management is delusional about their long-term prospects,” said the investor, adding, “Every time we meet … it truly shocks me how far behind it is and how slow they have been to grasp the trends of the industry.”
The company took note and duly committed to reducing costs at a rate exceeding market contraction. Six months later, with Nikon’s prospects looking much brighter, it was time to check in with investors. Their responses, like Nikon’s fortunes, had reversed course. The very same former major investor who had previously described Nikon’s management as “delusional” had now changed its tune. “I am very impressed with the bold actions you have taken thus far, and I look forward to monitoring your progress from here. It sounds like Nikon will be a very different company five years from now—at a minimum a much more profitable one.” The new attitude was reflected in the company’s share price: One year into its transformation, Nikon’s stock price had risen by 35%.
From Really Right Stuff:
Since launching our first carbon fiber tripods in 2009, we have been dedicated to making the world’s finest tripods. With the help of our customers’ invaluable feedback, we continuously make improvements. After years of development, we are excited to present our new Mark 2 tripod line with patent pending features!
New and Improved: Improved ergonomics make operating the tripod more comfortable and seamless. What hasn’t changed is our attention to detail, high-quality craftsmanship and commitment to proudly make and hand-assemble all our tripods in the USA.
Weight Hook: The integrated weight hook (comes installed on all TVC models) gives users an easy option for creating ballast when shooting in high-wind / waves.
Optional QD Strap: The ¼-20 accessory port is designed with subtle recesses for the optional RRS Mk2 Tripod Apex QD Mount or RRS Mk2 ‘Pod QD Strap Set.
Lightweight: Using the RRS Mk2 ‘Pod QD Strap Set creates an easy and secure way to transport your tripod.
Accessory Sockets: We redesigned our tripods to include additional ¼”-20 sockets along the outside of the tripod’s apex. This provides an extremely low-profile option for better placement of accessories like QD attachments or a BC-18 micro ballhead.
Sealed Twist Locks: The new sealed twist lock minimizes the amount of contaminants, such as sand and grit, that gets caught inside the twist locks. In addition to improving the feel and operation of the twist locks, the seals extend their life. This new feature is also important in sub-freezing environments, preventing moisture from entering the assembly and freezing, which inhibits the user from either extending or collapsing the legs.
Easier to Clean: Mark 2 tripods use a 360 degree collet and wiper shield that can be easily removed from the twist locks for cleaning. If you do need to clean out the twist-locks in the field, the process just got a lot easier. Gone are the days of difficult to remove and reinstall split gibs, maintenance is now a breeze!
Interchangeable Feet: RRS manufactures three different kinds of feet; rubber feet, rock claws, and spike feet. The rubber feet (come pre-installed on all Mark 2 tripods) are designed with a tapered silhouette for maximum stability at any angle. The rock claws are designed for maximum grip on rocky terrain and their solid stainless steel designed ensures constant performance. The foot spikes (shown above) bite info soft surfaces to keep your tripod feet from slipping.
Vented Clevis: We designed a discrete air vent to port air out just under our pull-tabs towards the center of the tripod. These air vents prevent pressure gradients from building up, allowing smoother leg extraction and collapse. The inward-facing vents also ensure air flow is directed towards the center of the tripod and away from mounted lens elements. Positioned at the top and inside of each leg, the air vents are also less likely to allow water or other debris enter the leg assembly.
Updated Sure Grip Set Screw: For added convenience, we changed the Sure Grip set-screws to use the same hex key as the one used to attach our L-plates to cameras. This means fewer tools to keep on hand. Also, if you have one of our L-brackets with a hex key storage feature, the requisite tool is at your fingertips. If you ever needed to swap out your Quick Column for a leveling base in the field, life just got easier.
The highly-welcomed Sony a7 III is here and I am sharing the 28 steps I took to make it ready for use. This may sound like a repeat of a similar Sony camera setup I shared not too long ago and there is good reason for that. Aside from a significantly lower resolution imaging sensor, it is hard to tell the two cameras apart.
To copy this configuration would mean that you intend to shoot similar to how I shoot – including shooting in RAW-only format. While my setup works great for me, your best use of this list may be for tweaking your own setup.
If you can't remember your own menu setup parameters, keeping an up-to-date list such as this one is a good idea. If your camera ever needs reset to factory settings, you will be ready to restore your setup quickly while ensuring that you do not miss an important setting. If you purchase another same or similar camera, you will be able to quickly set it up.
Tokyo, Japan — Sony Corporation today announced the upcoming release of the ECX339A OLED Microdisplay featuring UXGA (1600 x 1200 resolution), the highest in class for a 0.5-type. This product achieves the world's smallest pixel pitch of 6.3µm by leveraging Sony's OLED display technology and miniaturization technology, enabling a resolution 1.6x higher than the previous model*1. By employing a new drive circuit design that operates on half the voltage of the previous model*1, the new product achieves the same level of low-power operation as its predecessor but with much higher resolution. When paired with Sony's original driving system, a frame rate up to 240 fps is supported—double that of previous product.
|Model name||ECX339A 0.5-type OLED Microdisplay|
|Sample shipment date||Jan 2018|
|Mass-production shipment date (planned)||Nov 2018|
|Sample price (excluding tax)||50,000 JPY|
OLED Microdisplays are widely used in digital camera electronic viewfinders (EVF) for their superior high contrast, high color gamut, and high-speed responsiveness. Sony, having achieved this high resolution and high frame rate, now offers even more realistic image display and accurate capture of subjects for use in high-end cameras that demand extremely high image quality.
Going forward, Sony expects this high-definition OLED Microdisplay to be employed in a diverse range of fields and applications such as AR (augmented reality) and VR (virtual reality) head-mounted displays.
From Canon USA:
Providing Accidental Damage Protection, CarePAK Plans Now Offer Coverage for Cinema, Video and Professional Printer Equipment
MELVILLE, N.Y., May 30, 2018 – Canon U.S.A. Inc., a leader in digital imaging solutions, today announced the expansion of its CarePAK PRO and CarePAK PLUS service and support offerings for imaging professionals. The current CarePAK PRO program, which now includes accidental damage protection, has been restructured to meet the needs of the professional cinema, house of worship, and in-house corporate video production industries, among other professional video markets, and now covers Cinema EOS Cameras, Cinema Lenses, and Professional Camcorders. Additionally, the popular CarePAK PLUS plan, which currently includes professional SLR camera systems among other consumer products, has been expanded to cover Canon imagePROGRAF PRO-1000, PIXMA PRO-100, and PIXMA PRO-10 professional inkjet printers.
“Providing yet another solution to our customers, the CarePAK program expansion allows us to extend our services to more of Canon’s professional customers, implementing a worry-free ownership experience to help visual story-tellers focus and bring forth their creative visions,” said Kazuto Ogawa, president and COO, Canon U.S.A., Inc.
With CarePAK, customers can feel confident that their investment is covered by Canon’s world-class service and support. In addition to accidental damage protection from drops, spills, power surges, and other unforeseen events, CarePAK PLUS and CarePAK PRO provide normal wear and tear coverage for hardware and include Image Recovery*, designed to retrieve lost or corrupted images or videos from cameras, camcorders and printers with a memory card slot (only for use with a removable memory card).
Additional CarePAK benefits include:
Under a CarePAK plan, a damaged product will be repaired to good working condition or replaced with the same or an equivalent product, a feature that is unique to Canon and currently not available from other providers. CarePAK PRO and CarePAK PLUS will be available for Canon Cinema Cameras, Cinema Lenses, Professional Camcorders, and Professional Inkjet Printers beginning June 1 and can be purchased at the time of product purchase, or for up to 90 days thereafter.
For more information, please visit usa.canon.com/carepak. For those in attendance at this year’s Cine Gear Expo, stop by the Canon booth (number 12) to learn more about Canon’s service and support offerings, including CarePAK PRO.
CarePAK PLUS Eligible Items
From Canon USA:
Thank you for using Canon products.
We would like to offer our sincere apologies to users who have been inconvenienced by the phenomenon described below. We value the trust our customers have placed in us, and we are dedicated to continuously improving product quality as well as delivering industry-leading service and support.
In rare cases, error 70 or error 80 may repeatedly display on some EOS 70D digital SLR cameras due to an internal communication failure resulting from the structure of the electrical printed circuit board. If use of the camera is subsequently continued, a state may occur in which the camera’s power does not turn on. In most cases, this phenomenon occurs in conjunction with continuous use of the camera while the camera’s internal temperature is high, such as when shooting movies continuously.
“Err 70” or “Err 80” will appear on the LCD monitor at the back of the camera or on the LCD panel at the top of the camera.
Possibly Affected Cameras
Only some EOS 70D digital SLR cameras are affected by this phenomenon.
The phenomenon may occur only in cameras whose first two digits in its serial number are within the range of “00” to “22”.
EOS 70D digital SLR cameras on which error 70 or error 80 occurs repeatedly and that have a serial number within the range specified above will be inspected/repaired free of charge. Please note that inspection/repairs for any other issue will be handled as normal repairs.
If you wish to make a request for the free inspection/repairs, please bring the camera body only with the body cap attached to a Canon Service Center.
If you have not already done so, please register your EOS 70D so that we will be able to notify you via email about any future service upgrades.
This information is for residents of the United States and its five territories only. If you do not reside in the USA or its five territories, please contact the Canon Customer Support Center in your region.
Customer Support Operations
Canon U.S.A., Inc.
From the Canon Digital Learning Center:
by Rudy WinstonCheck out the entire article on the Canon Digital Learning Center. Also, check out our own article, "Comparing Electronic Viewfinders to Optical Viewfinders."
There’s no question that the completely electronic viewfinder in some recent interchangeable-lens cameras — think of “mirrorless” cameras, like Canon’s EOS M-series models — brings some cool features to their users. Some of these include the ability to see the effect of changes in camera settings, like exposure or white balance, and to see additional information like histograms and so on, before a picture is taken.
But there’s a lot of benefit to the traditional “optical” viewfinder, used in EOS digital SLRs like the EOS Rebel T7i and EOS 77D. We’ll look at those benefits in this article.
by Sean Setters
We often post Canon USA refurbished camera, lens and Speedlite flash deals to our news feed because a) the items are priced very nicely and b) they come with a retail matching 1-year warranty. I've purchased several refurbished items over the years and the only difference I've noticed between the refurbished gear and a new/retail one is that the refurbished gear comes in a nondescript (usually white) box.
However, we were curious to learn more about Canon's refurbishment process, so they kindly granted us a brief interview.
Please tell us a little about yourself. What’s your position at Canon and how long have you been with the company?
Jason Fligman, Director of Service Operations, centric to ITCG product quality assurance/control, business development, refurbishing operations, service parts management, technical training, and field event support. Employed at Canon for 10 years.What typical circumstances lead to an item being processed by Canon’s refurbished department?
When items are returned to Canon, primarily through customer stock balance returns, they are inspected and if they meet specific criteria, directed into our refurbishing operations.Which Canon facility handles refurbishment of its EOS cameras, EF/EF-S/TS-E/MP-E/EF-M lenses and Speedlite flashes?
Canon products returned to Canon USA, and judged by Canon USA to be eligible for refurbishing, undergo a rigorous refurbishment process. Our trained Canon technicians perform comprehensive quality assurance inspections, replacing any needed components with genuine Canon parts. Before being offered for sale by Canon USA, the refurbished product is subjected to a comprehensive technical evaluation, which includes functional testing and assessments against quality control standards by Canon USA’s trained technical staff. Refurbished products are then packaged with the appropriate manuals, cables, and accessories. All refurbished products are backed by our standard 1-Year limited warranty.When asked if Canon could go into even more detail, we were told that several of the steps in the refurbishment process involve proprietary information which could not be disclosed.
As mentioned above, the biggest benefit of buying a refurbished item is its lower cost compared to a retail model, with the savings potentially augmented during one of Canon's refurbished gear sales. That the refurbished item comes with an identical-to-retail warranty is certainly reassuring that your gear will perform as expected. The only downside to buying a refurbished item is that refurbished gear may have a slightly lower resale value compared to an item acquired new from an authorized retailer (the resale difference is largely due to the stigma associated with refurbished products and the lack of a retail box).
Want to know what Canon USA refurbished items are currently in stock? Check out the links below.
DJI has just revealed final details for its highly-anticipated single-handed gimbal stabilizer—the Ronin-S. This exceptionally capable device will help smooth footage when working with DSLRs and mirrorless cameras up to 7.9 lb. For now, the Ronin-S will be exclusive to B&H
NEW YORK, May 29, 2018 – B&H Photo would like to share the official announcement of the DJI Ronin-S 3-Axis Gimbal Stabilizer, a lithe, single-handed tool used to smooth movement when shooting video with a DSLR or mirrorless camera. DJI is daring us to move, and the Ronin-S makes that dare easy to accomplish with its clean and high performance, for camera systems weighing up to 7.9 lb. It also offers one-handed design, enabling simple, intuitive operation, and a slimmer profile for working in confined spaces with ease.
Among the major advantages provided by the Ronin-S is a design that moves the roll axis to a 45-degree angle, ensuring there is a clean line of sight to the camera’s rear screen for monitoring purposes. Also, it is a part of DJI’s constantly growing ecosystem, and will offer immediate support for plenty of their accessories, including the Master Wheels and Master Force. It has a dual handle system, multiple types of wireless receivers, a focus control setup, and more. Also included are standard mounting points for attaching useful tools like microphones and lights.
Three operational modes are available for added versatility—underslung, upright, and flashlight. Each of these is determined by the desired grip and angle of the shot, and make it more comfortable to operate for longer periods of time. The gimbal can even be removed from the handle and mounted on other supports, such as a jib or RC car, for which there is a dedicated mode to ensure silky smooth motion. A Sport Mode can be enabled for moments of fast-paced action.
To provide an excellent operating experience, the Ronin-S offers multiple control options, including a precise joystick located on the handle, with multiple customizable parameters. Users will enjoy support for camera control as well, with the ability to connect to select Canon, Sony, Nikon, and other systems where they can adjust focus settings, initiate recording and more without taking their hands off the Ronin-S. Other settings include a Virtual Joystick option, Time-Lapse, Track, and Panorama modes.
A wide range of movement is possible with this gimbal, including continuous 360 degrees of rotation, tilt from -95 to 185 degrees, and a complete 360 degrees of roll in a Roll 360 mode that will come in handy for rapid movement and repositioning of your camera. Additionally, it is powered by a rechargeable 18650 2400mAh Li-ion polymer battery pack that will operate for hours on a single charge, while Bluetooth 4.0 and USB Type-C connections permit the stabilizer to be connected directly to mobile devices and computers.
I was in coastal Katmai National Park primarily to photograph brown bears feasting on salmon, but the landscape was also very impressive.
As the light faded on the bears, clouds settled into the mountaintops and the setting sun brightly lit the clouds not shaded by the mountain.
Direct sunlight just before sunset (or just after sunrise) is warm in color and very significantly warmer than the light in shaded areas.
I often like that difference in color.
While I carried a wide angle zoom lens along with me on the bear treks, primarily to use for landscape photography, it was not the right lens choice for this scene. My subjects were mountain tops and I wanted them large in the frame. Meeting this goal calls for telephoto focal lengths and the Canon EF 100-400mm f/4.5-5.6L IS II USM Lens I primarily intended for wildlife use worked perfectly here.
Sometimes capturing a great landscape image with a telephoto lens seems too easy. While the 100-400 L II is not a small or light lens, it is usually with me when photographing landscape exclusively. This is an extremely versatile lens that delivers very impressive image quality.
A larger version of this image is available on Flickr.
From the We Eat Together YouTube Channel:
Ever wondered how to create levitation photography? Quickly learn how to make flying food photos and freeze time and space.
SIGMA 24mm F1.4 DG HSM | Art and SIGMA 35mm F1.4 DG HSM | Art for Sony E-mount are scheduled to start shipping in June, 2018.
While offering the same high-performance optical design as other lenses in the Art line, the new Sony E-mount models will feature a newly developed control algorithm that optimizes the autofocus drive and maximizes the data transmission speed. In addition, these lenses will be compatible with Sony’s Continuous AF (AF-C), which is not addressed by SIGMA MOUNT CONVERTER MC-11. Like the converter MC-11, the lenses will be compatible with in-camera image stabilization and in-camera lens aberration correction, which includes corrections for peripheral illumination, chromatic aberrations, and distortion.
B&H lists the lenses' expected availability as "mid June."
The “Bokeh Master” will begin shipping in Canon, Nikon and Sigma mounts in late June for a retail price of $1,599.00 USD
Ronkonkoma, NY – May 25, 2018 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, today announced that its 105mm F1.4 DG HSM Art lens will be available in Canon, Nikon and Sigma camera mounts in late June for $1,599.00 USD through authorized US dealers. The Sony E-mount availability will be announced later.
The “Bokeh Master” with Longest Focal Length Among Sigma Wide-Aperture F1.4 Art Lenses
The Sigma 105mm F1.4 DG HSM Art is the ninth lens in the Sigma F1.4 line-up designed for full-frame cameras. To combine outstanding wide-aperture, mid-telephoto performance with F1.4 brightness at maximum aperture, this lens incorporates 17 optical elements in 12 groups, including three FLD glass elements, two SLD glass elements and one aspherical lens element. This optical setup minimizes axial chromatic aberration to deliver ultra high resolution along with ample peripheral light volume, which minimizes vignetting. As a result, the area in focus is extremely sharp, while the out-of-focus area features a beautiful bokeh effect with highly natural colors, making this a desired lens for portrait photography. The optical design also minimizes sagittal coma flare, making it an excellent choice for capturing starry skies.
Featuring the Sports line level dust- and splash-proof design, this lens can be used in varying weather conditions. The high-speed, high-accuracy autofocus helps photographers react in an instant to capture those special moments. Other lens highlights include carbon fiber reinforced plastic hood for durability and compatibility of the Canon mount lens with the Canon Lens Aberration Correction function.
Best known for her role in Game of Thrones, actress Emilia Clarke can be seen taking a starring role in several classic business stock photos. Do you have a business meeting coming up in the near future? You'll probably be seeing her face in the next slide show you're forced to sit through.
In this video, Dr Andrew Steele uses an infrared-converted DSLR to demonstrate the hidden world of IR that resides all around us.
Interested in converting a camera to infrared (or full-spectrum)? I highly recommend checking out LifePixel's vast assortment of conversion options.
With its 13 high-speed, full-frame, prime lenses for high-quality film productions, ZEISS is focusing on maximum quality, low weight, and significant versatility when it comes to creating superb visual imagery.
OBERKOCHEN/Germany, 2018-05-24 – ZEISS has introduced a new family of high-speed lenses for high-end film production: The ZEISS Supreme Prime family consists of 13 lenses with fixed focal lengths between 15 and 200 millimeters, the majority with a maximum aperture of T1.5. “The lenses are designed for film productions of an extremely high quality,” says Christophe Casenave from ZEISS. “They are perfect for high-budget advertising or feature films, for example.” ZEISS Supreme Primes are designed to cover cinematic large format camera sensors and are compatible with all of the latest camera models, such as the Sony Venice, ARRI Alexa LF, and RED Monstro. According to Casenave, the versatility of the Supreme Prime lenses to create different visual looks is due to the gentle sharpness, the aesthetic focus fall-off and elegant bokeh. The lenses are extremely flexible and can be used equally well for science fiction thrillers as well as for dramas.
Compact and Lightweight
"Weighing an average of 1600 grams (3.5 pounds), ZEISS Supreme Primes are significantly lighter and smaller than comparable lenses on the market,” says Casenave. With these compact and lightweight lenses, ZEISS is responding to many camera operators’ desire for compact equipment that stills meets the highest standards of quality. “ZEISS Supreme Primes are unbelievably rugged and reliable. Regardless of whether filming in the desert or in the Arctic, the lenses perform flawlessly. And in the event that something should ever break, our worldwide service network provides fast and professional help.”
ZEISS eXtended Data Metadata Technology
The ZEISS Supreme Primes are equipped with the ZEISS eXtended Data metadata technology. Introduced in 2017, ZEISS eXtended Data provides frame by frame data on lens vignetting and distortion in addition to the standard lens metadata provided using Cooke's /i technology1 protocol. This greatly speeds up the entire film production’s workflow. When using visual effects for example, with only a few clicks, the lens properties can be removed so that computer-generated effects imagery can be accurately applied to the captured imagery. The lens properties can then be reapplied with the same click of a button and combined with the film material to create a realistic image. Previously, all of the data had to be measured manually so that it could be corrected in post-production. But ZEISS eXtended Data eliminates this time-consuming job.
Price and Availability
The first ZEISS Supreme Primes lenses with focal lengths of 25, 29, 35, 50, and 85 millimeters will be available starting on August 1, 2018. The ZEISS Supreme Prime 100 millimeter will be available in December 2018. The set of six lenses, consisting of the focal lengths mentioned above, is available from ZEISS Cinema lens dealers for $108,000.00 USD. The remaining focal lengths will be released successively until 2020.
IMPORTANT: Firmware updates cannot be performed if Enable is currently selected for Network > Network connection in the SETUP MENU. Select Disable for Network connection before proceeding.
Changes from “C” Firmware Version 1.21 to 1.30
Recall shooting functions can be assigned to the following controls using Custom Setting f1 (Custom control assignment): Preview button, Fn1 button, Fn2 button, AF-ON button, Sub-selector center, AF-ON button for vertical shooting, and Lens focus function buttons. It can also be assigned to the Fn button on a WR-1 or WR-T10 remote control using the Assign remote (WR) Fn button option in the SETUP MENU.
For more information, see the addenda to the User’s Manual available from the Nikon Download Center (Nikon Download Center > D5 > Manuals > Supplementary Firmware Update Manual).
|Lens focal length||Teleconverter||Before update||After update|
|400 mm||1.4×||550 mm||560 mm|
|400 mm||1.7×||650 mm||680 mm|
|800 mm||1.4×||1150 mm||1120 mm|
|800 mm||1.7×||1350 mm||1360 mm|
Download: Nikon D5 Firmware v.1.30
Well, it looks like Tamron will be announcing an update to their Tamron AF 18-270mm f/3.5-6.3 Di II VC PZD Lens in the very near future as B&H has the new lens, the similarly named Tamron 18-270mm f/3.5-6.3 Di II VC PZD Lens, available for preorder in Canon EF and Nikon F mounts.
From Think Tank Photo:
05/23/2018 – Digital Imaging Reporter recently asked 85 retail photography dealers to indicate their favorite products in 12 different categories based on product quality, support and ease of selling. According to the magazine’s editors, “For the third year in a row, Think Tank Photo carried the day, winning the bag category with 48% of the votes going to its StreetWalker series.”
The StreetWalker Rolling Backpack V2.0 is so spacious, it will fit two DSLR bodies with lenses attached (including a 200-400mm f/4), and a 15” laptop. The StreetWalker HardDrive V2.0 backpack fits two bodies with lenses attached or a gripped body with a 200–400mm f/4 attached, a 15” laptop and a 13” tablet. The StreetWalker Pro V2.0 backpack fits two bodies with lens attached or a 400mm f/2.8 unattached, and a 10” table. And, the StreetWalker V2.0 backpack fits one gripped DSLR with 70–200mm f/2.8 attached, one standard DSLR with 24–70mm f/2.8 attached, a 16–35mm f/2.8, and a 10” tablet.
StreetWalker Rolling Backpack V2.0
StreetWalker Backpacks V2.0
Thank you for purchasing and using our products.
We would like to announce that a firmware update for the SIGMA MOUNT CONVERTER MC-11 EF-E is now available. This firmware update makes the SIGMA MOUNT CONVERTER MC-11 EF-E compatible with the new product SIGMA 70mm F2.8 DG MACRO | Art for Canon.
* Before updating the MC-11 firmware, please ensure SIGMA Optimization Pro has been updated to ver. 1.4.1 or later for Windows, and ver. 1.4.0 or later for Macintosh from the following download page.
Benefit of the Update