Leica DG Summilux 25mm f1.4 initial impressions

I've had the Leica DG Summilux 25mm f/1.4 in for review for a while and I thought I would post my initial impressions. In terms of size it looks quite large on any of the tiny Olympus PENs though it doesn't feel cumbersome in any way. Why would you want to match this to a PEN? Well to benefit from the excellent built-in image stabilization for one and also to see the results of Olympus' excellent Jpeg engine. Panasonic supplied the GH2 with the 25mm Lux and it handles and balances well.

In terms of image quality, it has outstanding color rendition and terrific micro contrast at maximum aperture but the latter improves across the frame two stops down from the maximum. There's some axial (longitudinal) chromatic aberration visible but it's common on wide-aperture lenses. I like the 50mm (equivalent) field of view for environmental portraiture, and focusing is blisteringly fast on the GH2, though it's FoV won't be for everybody. However, this is a lens with exceptional imaging quality and to my mind an important addition to M3/4 system.

I've also had in the Olympus 45mm (90mm-equivalent) f/1.8, and that is much smaller, almost too small on the GH2 though it handles superbly well on my PEN E-PL2. I hope to post some early sample shots with that too.

The Panasonic made Leica DG Summilux 25mm f/1.4 on the tiny E-PL2 is a brute but handling and imaging is superb. Taken with a Panasonic GH2 with Olympus 45mm (90mm-equivalent) f/1.8 at f/5.6, ISO1600 (below).

For those wondering what the outstanding 45mm f/1.8 looks like on the GH2, here's a picture taken with the Olympus E-PL2 and Leica 25mm f/1.4.

Excellent color and micro-contrast (this looks washed out in some browsers, try a color aware browser such as Safari). Panasonic GH-2, Leica DG Summilux 25mm at f/1.4, ISO160.

Autofocus is surprisingly fast on the GH2, fast enough to focus on the seagulls in the foreground. Panasonic GH-2, Leica DG Summilux 25mm at f/1.4, ISO160.

1:1 crop at f/2.5 from an out-of-camera Jpeg, shows superb micro-contrast. Panasonic GH-2, Leica DG Summilux 25mm f/1.4 at f/2.5, ISO160.

Sales

UK retailer, Jessops, has an exclusive online discount of the Leica 25mm f/1.4 at £499.95 (inc VAT) and free delivery, please follow the link here.

To buy from Adorama (at $599.00 USD), please click here.

Related Posts

Panasonic roll out Leica 25mm (50mm) f/1.4

SanDisk and Adorama start Extreme promotion

Memory-card maker SanDisk today starts a promotion with US retailer and authorized reseller, Adorama, on Extreme & Extreme Pro Compact Flash that will drop the prices on CF cards by up to 50-percent on the regular price. The biggest savings will be made when the customer buys two or more or a twin-pack. Extreme SD cards are also discounted, but the savings are less than CF cards.

As an example, the SanDisk 32GB Extreme Pro has a regular price of $499.95 each, with a current price of $434.95 each when buying two or more. However, from today the price drops to just $239.95 each when buying two.

Please follow the links below for the promotion.

SanDisk 8GB Extreme CF
SanDisk 16GB Extreme CF
SanDisk 32GB Extreme CF

SanDisk Extreme Pro 16GB CF
SanDisk Extreme Pro 32GB CF
SanDisk Extreme Pro 64GB CF

 

Alternatively, please follow this link for both CF and SD Extreme and Extreme Pro cards.

Leica D-Lux 5 Titanium in stock at Adorama

Announced 18 October, the limited edition Leica D-Lux 5 Titantium is now in stock at Adorama. Please follow the links here for the announcement and here to Adorama. The price is $1,195, against the price of $799 for the standard model (albeit without case).

Adobe special Lightroom 3, 30-percent off

After the popular one day deal on Lightroom, Adobe are offering another a special purchase, via their store; buy any Creative Suite edition containing Photoshop CS5 or Photoshop CS5 Extended and they give you 30-percent off the list of £198.00 (ex VAT). The offer runs till December 31, 2011, and is subject to change without notice.

To shop please follow the Adobe store links here.

Offer Terms
The discount is available only when you purchase Lightroom 3 simultaneously with Photoshop CS5, Photoshop CS5 Extended, or a Creative Suite edition* containing Photoshop CS5 or Photoshop CS5 Extended. The discount will be reflected in the shopping cart just prior to checkout. Pricing is available only through the Adobe Store and certain select resellers. Education, OEM, and licensing customers are not eligible. This offer is valid worldwide. Offer valid from April 11, 2011 until December 31, 2011, and is subject to change without notice.

*Suites that contain Photoshop CS5 or Photoshop CS5 Extended:

Creative Suite 5.5 Design Premium
Creative Suite 5.5 Design Standard
Creative Suite 5.5 Web Premium
Creative Suite 5.5 Production Premium
Creative Suite 5.5 Master Collection

Ray Flash Rotator flash bracket review

RayFlash Rotator. Well-made and versatile the Rotator is a fascinating alternative to the conventional L-bracket.

Flash-brackets haven't changed much in design over the years but the novel Flash Rotator from Ray Flash promises additional versatility.

 

RayFlash came to the attention of portable flashgun users a while back with the introduction of the RayFlash Ring, an affordable light shaper that emulates the typical ring-flash look without breaking the bank. The second accessory launched by the company is less ambitious technically but no less interesting or useful for that. The concept is simple enough, it’s a rotating flash bracket that maintains TTL flash synching regardless of position.

Currently available in both Nikon and Canon versions, and priced at $149.95 in the US or around £119 (inc VAT) after a recent drop from £156 (inc VAT) in the UK, the Rotator has a built-in hot-shoe and TTL extension cable, but, the clever thing is that the cable is fixed and yet it maintains electrical contact with the rotating bracket and hot-shoe. The purpose, if you have a minute to adjust it, is to provide more flattering lighting. You can position the flashgun at any position around the lens’ axis, though in practice this will most likely mean between horizontal and vertical compositions.

As well as the rotating unit, three different size body brackets are supplied as well as a single body attachment mount meaning it will fit all current Nikon and Canon bodies from enthusiast to pro-level Being made from mainly aluminium it’s sturdy enough to use as some support and nicely finished. The TTL flash lead looks good quality too but unfortunately it doesn’t work with both makes, you must select the version for your brand. Apart from that, the only real shortcoming is that flash sits forward making the combination somewhat front heavy, though that would also depend on the model of flashgun. Most manual focus rings are likely to be obstructed as well, though in fairness it’s less of an issue when composing vertically.

With just one hot-shoe and no option to add a second (or third) it less convincing for macro set-ups as it could have been. However, with a fairly generous 100mm internal diameter, wildlife photographers using long lenses might find the Rotator appealing for adding catch lights. And, for just about every other photographic discipline, it’s a compelling option to the conventional L-shaped brackets.

Please click on the following links to buy the Ray Flash Rotator at the following retailers:

Amazon (all countries)
Adorama US

Warehouse Express UK/DE

For more information please visit UK distributor Flaghead or visit Ray Flash.

Ray Flash is distributed by ExpoImaging in the US.

LensCoat for Canon 70-200mm f/2.8L IS review

I've been intrigued by the LensCoat neoprene covers for lenses for a while now, especially as I've been very impressed with the neoprene Gimps (made by Crumpler) web bought for our old 12-inch PowerBooks and 15-inch MacBookPros. If you're a wildlife shooter then the camouflage LensCoats are a no-brainer, especially if you're using one of Canon's white lenses, but they're equally attractive as a protective covering. If you thought the closed-cell (non-water absorbing) neoprene coat was solely for wildlife photographers, think again; LensCoat make covers with a raft of patterns as well as in two solid colors; white and black. I guess the white covers could be used in snowy conditions but also if you're looking to preserve the temperature reducing effect (from thermal gain) of the original off-white color of Canon's telephoto lenses in hotter climes.

I was sent the Forest Green (woodland) pattern cover fitting the Canon EF 70-200mm f/2.8L IS (see above) by the UK distributor and e-tailer, WarehouseExpress. The kit consists of five rather small pieces of neoprene, all neatly cut to fit the painted areas of the lens while keeping the zoom and manual focus rings free. The fit is very snug; it's certainly worth making sure the lens body is free of any grit or dirt lest the paint is scratched during the fitting. I should point out the lens' controls for image stabilization and focus operation are covered by a fairly supple plastic window (as is the focus distance scale), however as the cover isn't waterproof as such (water can work its way in between the cover and lens barrel), the idea behind this is to provide some protection from scuffing. The window makes it more difficult to operate the sliders, but it's a fair trade-off in my opinion. Still, I rarely switch between the settings.

There's no doubt if you use a super-telephoto lens regularly, before long it will start to pick-up the inevitable scrapes and scratches, and that's true to a slightly lesser extent of smaller lenses as well. While covers for the shorter focal lengths are bordering on pricey (around $80/ £60 each), with only a small premium for the super-telephotos LensCoats are absolutely excellent value and an essential purchase in my view; the price will be easily recovered when the time comes to sell-on or upgrade your lens.

Readers can shop for LensCoat products (lens and tripod covers) at the following retailers:

Warehouseexpress.com
Adorama US

For more information please visit LensCoat

Tokina AT-X 16-28mm f/2.8 Pro FX review

Quality. Build quality of the Tokina ATX-Pro 16-28mm f/2.8 FX is good, with a mix of robust metal and plastic outer components and excellent ridged rubber grips.

You might think Nikon and Canon users have a good choice of ultra-wide zooms available to them but Tokina believes there's room for another.


Tokina has been making high-quality photographic lenses for various camera makers for over sixty years, with only the last three decades using the Tokina brand name. It's claimed the company was founded by a group of ex-Nikon engineers, and perhaps that might explain why many of their models take their design cues from Nikkor lenses to this day.

Certainly this lens, with its bulbous front element, built-in hood and trombone-shaped body could easily be mistaken for the AF-S 14-28mm f/2.8 Nikkor. Aside from the distinctive silhouette, the finish, focus grip and markings not to mention the lack of an aperture ring make it look uncannily similar up close too; only the widely ribbed zoom control covering gives it away. As a full frame model, the lens is also offered with a Canon mount, but the design looks somewhat incongruous on EOS bodies.

With a slightly longer focal length and 107-degree diagonal angle-of-view at its widest the Tokina 16-28mm f/2.8 can't match the extreme 114-degree view offered by the Nikkor but then the price isn't close either.

A quick look at the list (inclusive of VAT) shows there's quite a difference, £1500 for the former as opposed to £1075 for the latter. But, the disparity in street prices is even more favourable. The Tokina can be bought for a shade under under £665 (ex VAT), while the highly regarded Nikkor is commanding around £1100 (exc VAT). Nikon has since introduced a 'more affordable' AF-S 16-35mm f/4 but even though the VR-enabled lens is a capable performer it's aimed at different demographic.

Canon users face a similar dilemma. Their EF 16-35mm f/2.8L is smaller, lighter and has a wider range. But the main drawback is price. It sells for only a £100 (ex VAT) less than the big Nikkor. And while significantly cheaper than the f/2.8 model, Canon's widely respected EF 17-40mm f/4 L targets the same users as the new Nikon VR option yet costs around the same price as the Tokina.

As an ATX-Pro model, the Tokina is well built mechanically, only the built-in petal shaped hood, focus ring and mid-section are made from engineering plastic while the rest of the external components (essentially, the rear half) are metal. It's all rather impressive but a cheap plastic push-on cap is supplied, and a concession to the price no doubt. It marks the built-in hood, but at least it's not easily dislodged when placed in a bag. A clip-on cap was offered as a replacement for Japan market and, hopefully, that might now be made available for the UK.

To maintain the image quality at the wider end of the range the focal length at the longer end is reduced from 35mm to 28mm. The coverage is still useful but Tokina argue this lens is likely to be supplemented by a 24-70mm f/2.8. Even so anyone expecting the 16-28mm to be small and lightweight will be disappointed. With a length of 133mm and weighing 950g, this is a large and heavy lens.


The long body allows plenty of room for well-spaced and sizeable zoom and focus controls. Despite the otherwise excellent ergonomics though the action of the zoom ring was heavy compared to rivals. No claims are made of its resistance to the environment in any UK PR material but with translation the maker's Japan site makes reference to 'dustproof and waterproof rubber sealing the outer periphery'. It has a seal around the mount, but it's discrete enough to overlook without closer inspection.

Viewed against today's electronic real-time manual override options of rivals Tokina's One Touch Focus Clutch push-pull design of the focus-ring appears somewhat outdated. However, it's ergonomically superior to the switches of rivals and manual focus is well-weighted allowing ultra-fine adjustment.

Tokina says it has a newly developed silent DC motor, but that's a stretch as there was a noticeable rasping-sound in use from the sample tested. The lens is also the first model to feature a new GMR magnetic sensor in place of the more usual rotational type. These sensors relay focus movement of the lens to the body, but the accuracy of rotational sensors is subject to mechanical wear, typically, backlash from the reduction of gears.

This new design should help maintain accuracy with use, while a contact for the company told me it's more precise any way, and faster in operation due to the GMR sensor being located immediately above the focusing cam. Real-world use showed the Tokina to be in the same class in accuracy and AF speed to my AF-S Nikkor 17-35mm f/2.8, a lens still in production but one that bizarrely sells with a 25-30-percent premium over the 14-24mm f/2.8.

In terms of optical quality, the Tokina is unlikely to disappoint. As you might expect, wide-open at 16mm the edges fall behind but throughout the zoom and aperture ranges the resolution in the centre of the frame is very high.

Three SD (low dispersion) glass elements are used, with properties and performance close to fluorite say Tokina. But, this doesn't prevent chromatism completely, after all this is a complex zoom with 15-elements arranged in 13 groups. All the same, levels are low and easily correctable.

So to is light fall off wide-open at 16mm; a substantial 2.4 stops to the corners according to my testing with Imatest software, but it's not as noticeable as the figures suggest. Modern Nikon bodies remove this with out-of-camera JPEGs, though it's an important point to bear in mind when using a RAW workflow.

Care must be taken when shooting towards the sun as the large convex front is highly prone to flare. Like other modern designs the front group extends from the petal shaped hood during zooming and is more exposed at the wider-end.

With the Sun in the frame there will be the inevitable patches and even with oblique rays, you can expect dramatically lowered contrast. The propensity to flare is perhaps its weakest point as geometric distortion is low especially at mid distances and beyond. After a while it becomes obvious that this lens hasn't just been developed for a particular niche. The drawing style has an appealing aesthetic quality and out of focus elements are rendered smoothly with little of the harshness associated with zooms. Considering the broad range of potential uses the efficacy is impressive.

Lens design is all about compromise, though. The 1.75x zoom range is more modest than rivals, however, the addition of three aspherical elements; one a large (56mm) PMO and the high number of SD elements combine to make a very highly corrected lens. The large size and weight count against it to a point and some users might find it difficult to work with instinctively when switching between makes, but few can argue the Tokina 16-28mm f/2.8 isn't an attractive option.

Distortion. This indoor handheld high ISO shot won't easily convey the excellent micro-contrast this lens is capable of but it does show the excellent geometric correction as well as the propensity for flare (at the window, upper left) and ghosting (seen at the base of the column, lower right). Taken with a full-frame Canon EOS 1Ds Mk III.

Contact


More information, including a list of UK stockists, can be found at www.kenro.co.uk.

Tokina is distributed in the US by THK Photo, www.thkphoto.com.

Sales


Shop for the Tokina ATX-Pro 16-28mm f/2.8 FX at the following retailers:

Adorama US - $899 Nikon, Canon.

Amazon (all countries) Nikon, Canon

Warehouseexpress.com UK - £794.99 (inc VAT) Nikon, Canon

For lens hire in the US try here, and the in UK, try here (please mention us).

Related Posts

Manufacturer rebate available on Tokina 16-28mm f/2.8

Tokina roll out AT-X 17-35mm f/4 Pro FX for home market

Leica rolls out new Leica Elmarit-S 30mm f/2.8 ASPH wide-angle lens

Leica has announced the Elmarit-S 30mm f/2.8 ASPH for the S2 medium format camera. With an wide angle of view equivalent to 24mm in 35mm format, the new lens is the widest lens announced to date for the system. Although it's expected to be available in the UK during December, Leica UK hasn't as yet announced the price. Leica Camera AG, however, are quoting immediate availability and a price of 5500 euros / £4,820 (presumably ex VAT), or $7,715 USD. The new lens, showcased at the PhotoPlus Expo in New York today, has 13 elements in 9 groups and features two aspherical lens surfaces in its construction.

UPDATE: October 30. Adorama in NYC are taking pre-orders at $7,495.

 

Press release:

Leica expands the S-System with new Leica Elmarit-S 30mm f/2.8 ASPH. wide-angle lens
 
27 October 2011: Leica Camera AG has expanded its range of lenses for the Leica S-System with the new Leica Elmarit-S 30 mm f/2.8 ASPH., a wide-angle lens scheduled to be available from December 2011. With the addition of this lens, the portfolio of lenses for the professional S-System now comprises five focal lengths.
 
The Elmarit-S 30 mm f/2.8 ASPH., with its wide angle of view equivalent to 24mm in 35mm format, opens up a multitude of new opportunities for creative composition, particularly in the fields of interior, architectural and landscape photography. At the same time, a fast maximum aperture of f/2.8 lets S-System photographers work with shallow depth of field and selective focus, despite the lens' wide angle of view, and shoot in available light.
 
With outstanding imaging performance from the closest focus to infinity at all apertures, and brilliant colour rendition, the Leica Elmarit-S 30 mm f/2.8 ASPH. guarantees perfect results in a wide range of photographic situations.
 
Dedication to the highest imaging quality is a key factor in the design and construction of all Leica S lenses, fulfilling the stringent demands that professional photographers place on a camera system in their everyday work. Even wide open, the Leica Elmarit-S 30 mm f/2.8 ASPH. fulfils these demands and offers maximum contrast, highest resolution and extremely low distortion throughout its entire focusing range. Software-driven image optimisation is unnecessary, allowing photographers to concentrate purely on the creative side of their work. A further highlight of this lens is its excellent control of flare, ensuring high-contrast images, even when shooting a backlit subject.
 
The Leica Elmarit-S 30 mm f/2.8 ASPH. features an extremely robust bayonet mount and is fully sealed against dust and spray, for absolute reliability even under the harshest shooting conditions. Furthermore, the lens is supplied with a rectangular hood designed for optimum suppression of extraneous light.

For further product information, please visit the Leica web site at www.leica-camera.co.uk and www.S-League.net.

The Leica Elmarit-S 30 mm f/2.8 ASPH. is scheduled to be available in the UK in December 2011 from authorised Leica dealers including the Leica Store Mayfair.

Hasselblad announces H4x

Hasselblad has today announced the H4X, a trade-in product for the H2 and H2 series cameras. The new H4X has the same compatibility as the earlier H1/H2 film-based bodies and cannot be used with the maker's current range of H-series digital backs. However, any back that worked on the earlier cameras, such as a Phase One digital back, will work on the H4X.

A spokesperson for Hasselblad confirmed to the DJP 'the H4x is a refurbishment for all H1 and H2 camera bodies. Owners of H1 and H2 bodies can trade them in for a new H4x, which will not only give them the same functionality as before (compatibility with third-party and film backs), but extra functionality such as True Focus and compatibility with all the H-Series lenses.'

The spokesperson also believes 'H4D backs will still only work with their calibrated H4D bodies as an integrated camera. Note that the H4x is only available as a trade-in for H1/H2 owners - it is not available brand new as a non-trade-in product.'

Press Release

Copenhagen, October 27th 2011

Hasselblad announces new H4X trade-up deal

After almost a decade of service in the front line many H1 and H2/H2F bodies are growing tired and are now in need of replacement. Customers still using the aging platform can now trade-up to the new H4X.

Said Chris Russell-Fish, Global Sales and Marketing Director: “The H1/H2 series has had a long and distinguished career but the time has come to announce its evolution. We know there are still a substantial number of photographers out there using H1/H2 bodies – and we are offering them an exclusive opportunity now to trade-in and upgrade to a very worthy successor – the H4X.”

The new model is available only to H1/H2/H2F users and will cost from just 3,995 Euro (plus tax). The H4X is a great camera body upgrade, which supports all H System lenses, most third party backs and even film. And of course it comes with our world-acclaimed True Focus technology and all the built-in ‘DNA pedigree’ our customers have come to expect from Hasselblad.

Former US President J. Carter once said ‘We must adjust to changing times and still hold to unchanging principles’. We agree. Our new H4X completely underpins this sound logic.

For further information and for H1/H2/H2F owners who wish to trade-up to the new H4X, please go to:

www.hasselblad.com/H4X and contact your Hasselblad dealer.

Related posts

Hasselblad H4D-60 review
Hasselblad Europe offer half-price lens deal

Carl Zeiss unwraps new Distagon T* 25mm f/2

Carl Zeiss has announced a new Distagon T* 2/25 ZE and ZF.2 moderate wide-angle lens. It will be available at the end of 2011 (that's 2012 isn't it?) at a recommended retail price of 1217 euros / £1066 (excluding VAT).

Press release:

OBERKOCHEN, GERMANY – 27 October 2011

Carl Zeiss presents the Distagon T* 2/25 ZE and ZF.2 moderate wide-angle lenses. The large image angle allows photographers to capture exciting perspectives. With its excellent imaging quality at all aperture settings, the lens flexes its muscles particularly for photo documentaries in interior rooms where space is at a premium, as well as for pictures of objects, architecture and landscapes. In many situations, a flash is an unwelcome feature — at family gatherings, in a museum or in a church for example. To capture the mood in such places, photographers gladly do without aggressive lighting and instead work with particularly high-speed lenses that enable short exposure times even under difficult lighting conditions.

The optical experts have now virtually eliminated the chromatic aberrations on these lenses through a special design and selection of materials. Selected types of glass and two aspheric surfaces prevent color fringes from appearing on high-contrast edges. "The Distagon T* 2/25 elegantly combines a compact design with a large initial aperture," explains Christian Bannert, Senior Director of Product Development in the Camera Lens Division at Carl Zeiss AG.

Lens elements meticulously crafted to minimize stray light and reflections in the lens, and the Carl Zeiss T* anti-reflective coating to increase light transmission enable high-contrast image rendition and color saturation.

The previously available Distagon T* 2,8/25 ZF.2 will continue to be on stock and supplements the new Distagon T* 2/25.Therefore, this new lens is also the first 25-mm lens of Carl Zeiss for the EF-bayonet.

The Distagon T* 2/25 will be available end of 2011 at a recommended retail price of 1217 euros (excluding VAT)*.

Technical data
Focal length                 25 mm
Aperture range                 f/2- f/22
Number of lens elements/groups     11/10
Focusing range:              0.25 m – infinity
Angular field** (diag./horiz./vert.)      81°/ 71°/ 51°
Coverage at close range**          219 x 144 mm (close-up)
Image ratio at close range         1 : 5.9 (close-up)
Filter thread                 M67 x 0.75
Length with caps             95 mm (ZF.2)
                     98 mm (ZE)
Diameter                 71 mm (ZF.2)
                     73 mm (ZE)
Weight                     570 g (ZF.2)
                     600 g (ZE)
Mounts                     ZF.2 (F bayonet)
                     ZE (EF bayonet)

Adobe special, Lightroom 3 half off today only

Adobe Europe are offering their RAW conversion utility Lightroom 3.0 at half price, that's just £118.75 inc VAT, instead of the usual price of £237.60. The offer is only available today. Offer is limited to one discount per customer, and the discount will be taken off subtotalled amounts prior to calculation of tax and shipping fees.

Shop here.

Lexar announce Photography Lessons and Insights at PhotoPlus Expo in New York City

Today, Lexar announced that acclaimed professional photographers Jay Dickman, David Honl and Vincent Laforet will be giving presentations for attendees at PhotoPlus Expo in the Lexar booth (#450). Each presentation will offer valuable tips, tricks and techniques and provide insight into each pro's photographic style.

 

Press release:

Lexar Elite Photographers to Present Photography Lessons and Insights at PhotoPlus Expo in New York City
Renowned Photographers Jay Dickman, David Honl, and Vincent Laforet Will Share Tips and Techniques for Capturing Great Images and Videos at the Lexar Booth

Multimedia Elements:
    •    Lexar Digital Photography Website
    •    Jay Dickman's Portfolio (Images)
    •    David Honl's Portfolio (Images)
    •    Vincent Laforet's Portfolio (Images)
 
FREMONT, Calif., Oct. 26, 2011 (GLOBE NEWSWIRE) -- Lexar, a leading global brand of flash memory products, today announced that Lexar Elite Photographers Jay Dickman, David Honl, and Vincent Laforet will share their extensive digital imaging expertise and portfolios, as well as their capture tips and techniques, with visitors at the Lexar booth (#450) at PhotoPlus Expo 2011, taking place October 27-29 at the Jacob Javits Center in New York City.
 
In addition, Lexar will also be demonstrating how photographers can spend more time capturing images and less time editing in the studio by using a suite of Lexar memory cards and readers, as well as Crucial® memory and SSD solutions.
 
"PhotoPlus Expo is one of the most highly anticipated events for the professional and photography enthusiast community each year," said Manisha Sharma, director of product marketing for cards, Lexar. "The three Lexar Elite Photographers will offer attendees valuable tips and techniques to help improve their capture and image management skills, enabling them to spend more time creating and less time waiting."
 
Each of these top shooters depends on Lexar Professional Secure Digital High Capacity (SDHC™) and CompactFlash® (CF) memory cards and card readers to continuously and confidently capture images and improve workflow efficiency.
 
    •    Jay Dickman's celebrated style of photography encompasses historical events and cities around the world, and he is recognized worldwide for his nature photo work. Dickman will be discussing how to tell your photographic story and keep your audiences engaged.
 
    •    David Honl is tireless in his photographic efforts, with a body of work that spans the globe and includes groundbreaking images from Iraq, Afghanistan, Kazakhstan, and Turkey. Honl will be speaking on how to pack light when photographing in the world's most dangerous places.
 
    •    Vincent Laforet is a director and Pulitzer Prize–winning photographer who is known for his forward-thinking approach to image-making and storytelling. Laforet's presentations will encompass his experiences as an award-winning photojournalist and his work in aerial photography.
 
The Lexar Elite Photographers will share their portfolios and tips for various levels of photographers at the Lexar booth between 10:30 am and 4 pm each day. The full schedule of presentations is as follows:
 
    •    Thursday, October 27
    •    10:30-11:00am: Vincent Laforet
    •    1:30-2:00pm: David Honl
    •    3:30-4:00pm: Jay Dickman
    •    Friday, October 28
    •    11:00-11:30am: Jay Dickman
    •    1:30-2:00pm: David Honl
    •    3:00-3:30pm: Vincent Laforet
    •    Saturday, October 29
    •    10:30-11:00am: Vincent Laforet
    •    1:00-1:30pm: Jay Dickman
    •    2:00-2:30pm: David Honl
 
Designed for professionals in the photographic and imaging industries, PhotoPlus Expo showcases the latest advances in photography. Held annually at the Javits Center, attendees have the opportunity to explore an inspiring array of photography and imaging products and services – everything from image capture and color management to retouching and storage – all from the industry's leading manufacturers.

For more information about Lexar products, visit www.lexar.com.

ColorMunki Photo promotion starts

Color Confidence announce ColorMunki shipping with free mini ColorChecker and ColorChecker Passport software
 
Birmingham, UK, 26th October 2011 – Color Confidence, Europe’s leading value added distributor into the digital imaging markets, and the exclusive UK distributor for the X-Rite ColorMunki Photo, has today announced that all ColorMunki Photo will come with a free Mini ColorChecker and a link to download the ColorChecker Passport camera profiling software. The ColorMunki Photo is the multi-award winning monitor, printer and projector calibration tool and with the addition of the mini ColorChecker and Passport software, now offers photographers complete control over all aspects of their workflow. ColorMunki Photo is available from all major photographic retailers and direct from www.ColorConfidence.com
 
Resellers interested in stocking ColorMunki should contact Color Confidence on 0800 977 4168 or email reseller@colorconfidence.com
 
“The combination of ColorMunki Photo and the ColorChecker Passport software is a powerful, all in one, colour accuracy solution” comments Geoffrey Clements, Managing Director, Color Confidence “This offer gives photographers the ability to achieve the best colour results in their capture, on-screen editing, and final result, be it projected or in print. As Ink and paper costs continue to rise, making sure your image is correct first time, every time, is invaluable and this new bundle gives photographers the best chance to achieve this.”
 
Since its introduction, ColorMunki Photo has allowed photographers of all levels to control colour from screen through to print with a highly accurate reading device and simple software designed to make getting accurate colour a simple process.
 
ColorChecker Passport has become a must have solution for many photographers, delivering accurate capture control across multiple lighting conditions and with easy batch processing to deliver outstanding results on a consistent basis.
 
Trade in promotion continues
Due to its exceptional popularity, X-Rite and Color Confidence continue to offer a trade in promotion on the new i1Display Pro and ColorMunki Display monitor calibration products.
 
Users who own any old calibration device can get an £18 rebate against a ColorMunki display or £35 rebate against an i1Display Pro.

For more information visit www.colorconfidence.com/tradein

Shop for ColorMunki Photo at

Warehouseexpress.com
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Making Schneider-Kreuznach LS lenses for Phase One 645DF

Although this was uploaded a month ago I've only just come across it, and it's interesting not only for some behind the scenes look at the Schneider factory but also for a rather clear explanation of why chromatic aberration is not visible in film and yet is a problem for digital cameras. The result is that lens makers are having to work to much tighter tolerances when designing new lenses, and is equally applicable to Nikon and Canon DSLRs as it is MF.

Phase One announces Media Pro 1.1

Phase One has announced the first update to Media Pro after taking on the browser software from Microsoft (when it was called Expression Media).

Downloads can be found here.

 

Press release

Phase One Releases Media Pro 1.1
Improves performance of leading professional photographer’s digital visual assets manager

COPENHAGEN, October 25, 2011 — Phase One, the photographic image-quality leader today released Media Pro 1.1. Media Pro is a professional digital visual assets manager that supports rapid browsing, cataloging, searching, annotating, retrieval and sharing no matter where digital files are stored (such as shared folders, CDs, hard drives, DVDs or on other media). This new release features German and French localization and significant performance improvements.

Media Pro supports photo and video files from more than 100 different cameras and is well suited to managing large photo libraries. Images within Media Pro catalogs (more than 128,000 files may be saved per catalog) may be non-destructively edited with Capture One and with other image editing applications. Assets may also be converted into other file formats as required, and all catalogs may be archived, backed up, published via slide shows, web galleries, and distributed via email, contact sheets, prints, and other custom options.

What’s new in Media Pro 1.1

-- Faster importing and media rendering

Now Media Pro customers can choose between Capture One rendering and Apple/WIC rendering according to image quality requirements, rendering of Capture One adjustments and speed. For new customers, the factory default is set to Apple/WIC rendering. For best image quality and rendering of Capture One adjustments, the Capture One renderer is recommended.

-- Improved Capture One Integration with Media Pro

Used together, Phase One’s Capture One Pro for image editing and Media Pro for photo management, these programs comprise an optimal photography software toolset for photographers who need to manage very large, high quality image files and collections in a fast and efficient workflow.

Now Media Pro keeps Capture One adjustments when renaming and transferring files to other folders in Media Pro; and users can drop files onto the Media Pro application icon to have those rebuilt, selected and revealed in the front catalog;

-- Added support for the following camera RAW formats when using the Capture One renderer:

Olympus E-P3 and E-PL3
Sony NEX-7, NEX-5N, SLT-A77, SLT-A65 (all preliminary)
Sony DSLR-A580, NEX-C3
Panasonic DMC-G3,DMC‐GF3

For more information, please visit Phase One at http://www.phaseone.com

GoPro rolls out HD Hero2

GoPro has today launched the HD Hero2 Camera. Key features include:
 
-       This camera is twice as powerful as the original HD Hero Camera
-       It has a new high performance 11 megapixel sensor that delivers more than twice the image detail
-       It boasts a totally redesigned wide-angle lens
-       Wi-Fi BacPac and Wi-Fi Remote products are slated for release this winter, meaning the HD Hero2 will enable video remote control
-       RRP is £299.99, and it’s available from gopro.com, specialist retailers and Best Buy

Press release

 

GoPro® Launches HD HERO2® Camera
Announces Wi-Fi Remote Control and Video Streaming
2x More Powerful in Every Way, The HD HERO2 Democratises Professional Image Capture and Broadcast with Support for Remote Control and Live Video Streaming from Virtually Anywhere to the Web
 
HALF MOON BAY, CA (October 24, 2011) – GoPro today announced the release of its new HD HERO2® camera. Twice as powerful as GoPro's original HD HERO camera, the HD HERO2 enables consumers and professionals to capture and broadcast their lives’ most exciting moments in professional quality 1080p HD video and 11 megapixel photos. The new HD HERO2 is now available at GoPro.com, specialist retailers around the world, and at Best Buy for RRP £299.99.
 
Arguably the most versatile camera in the world thanks to its innovative mounting system, renowned durability and small form factor, the HD HERO2 surpasses its predecessor with several technology upgrades. The HD HERO2's new processor delivers twice the processing power, taking full advantage of a new high performance 11 megapixel sensor that delivers more than twice the image detail along with professional low light performance. A totally redesigned wide-angle lens was required to take full advantage of the HD HERO2's increased image-processing, resulting in a lens that’s twice as sharp as the previous model. And with the arrival of GoPro's new Wi-Fi BacPac™ and Wi-Fi Remote products slated for release this winter, the HD HERO2 will enable video remote control via the Wi-Fi Remote, smartphones and devices, tablets and computers, as well as enabling live GoPro video broadcast from anywhere there is Wi-Fi or a mobile hotspot.

Famous for its globally best-selling HD HERO line of wearable and gear mountable cameras, GoPro spared no expense developing the HD HERO2.

“GoPro created a new category of camera with the HD HERO back in 2009, and it’s gone on to become one of the best-selling video cameras in the world,” says Nicholas Woodman, GoPro’s founder and CEO. “With these big shoes to fill, we invested massively in engineering the HD HERO2 to be one of the greatest, most versatile cameras of all time. We think we’ve achieved our goal and we’re very excited to see the content our customers around the world capture and share with their powerful new GoPros.”

2x as Powerful in Every Way:
The HD HERO2 benefits from a complete redesign that results in dramatically enhanced image quality and ease-of-use:

List of HD HERO2 Feature Enhancements:
 
•       Professional 11MP Sensor
•       2x Faster Image Processor
•       2x Sharper Glass Lens
•       Professional Low Light Performance
•       Full 170º, Medium 127º, Narrow 90º FOV in 1080p and 720p Video
•       120 fps WVGA, 60 fps 720p, 48 fps 960p, 30 fps 1080p Video
•       Full 170º and Medium 127º FOV Photos
•       10 11MP Photos Per Second Burst
•       1 11MP Photo Every 0.5 Sec Timelapse Mode
•       3.5mm External Stereo Microphone Input
•       Simple Language-based User Interface
•       Compatible with Wi-Fi BacPac™ and Wi-Fi Remote™
-       Long Range Remote Control of up to 50 GoPro Cameras per Wi-Fi Remote       
-       Wi-Fi Video/Photo Preview, Playback and Control via GoPro App
-       Live Streaming Video and Photos to the Web
 
Visit http://gopro.com/hd-hero2-cameras/ for more information on the HD HERO2, Wi-Fi BacPac and Wi-Fi Remote products.

Upgraded Professional Photo Quality and Features
The HD HERO2’s photo capture performance has also been significantly upgraded. In addition to much improved low light performance, the HD HERO2 can capture up to ten 11 megapixel photos in a one second burst mode as well as automatic time-lapse photos with quick .5 second timing between photos. This dramatically increases the success-rate when attempting to capture magazine cover quality photos during fast action sports and activities.

Simplified User Interface
GoPro also placed a priority on redesigning the HD HERO2’s user interface for dead simple ease-of-use. The HD HERO2 features a totally new, straightforward language-based user interface that eliminates the need for instructions.
“The HD HERO2 is much, much easier to use than the original HD HERO. If you know how to use a traditional camera, you can use the HD HERO2 straight out of the box without instructions. This makes the HD HERO2 very powerful as an everyday, easy to use consumer camera while retaining all of the features, modes and performance that has made GoPro the best selling small form factor HD camera to Hollywood,” said GoPro’s Director of Product Definition, Rudy Samuels.

Specialized Right Down to the Packaging
The HD HERO2 sells in three bundled-accessory configurations, each containing the necessary mounts for particular genres of use or activity. The HD HERO2 is backwards compatible with all existing GoPro mounts and accessories.

Click each product name for a complete list of included mounts and accessories:
•          HD HERO2: Outdoor Edition - £299.99
•          HD HERO2: Motorsports Edition - £299.99
•          HD HERO2: Surf Edition - £299.99
 
The original 1080p HD HERO camera is now available for RRP £199.99 - £239.99 (USD) (previously £259.99 - £299.99) through GoPro.com and GoPro’s worldwide authorised dealer network. The Wi-Fi BacPac and Wi-Fi Remote are also compatible with the original HD HERO camera, but functionality is limited to remote control only. Video and photo streaming is not supported.

Canon outs PIXMA PRO-1 A3+ printer

Canon has announced today a new A3+ inkjet printer aimed at imaging pros. It features 12-separate inks for a wide gamut and adopts LUCIA pigment inks for improved print permanence. Ink cartridges are said to be 2.5x larger than the 'nearest model', but it's unclear which model this is referring to. The new printer will be available from November, priced at £799/899 Euro RRP Inc VAT.

Press release:

Canon launches the flagship PIXMA PRO-1 ultimate quality A3+ printer for photographers

 

United Kingdom, Republic of Ireland, 24th October 2011 – Canon today announced the launch of its new flagship PIXMA Pro series model, the PIXMA PRO-1, which is the world’s first A3+ printer to feature 12 separate inks. Featuring an EOS-inspired design, the stylish model produces the highest possible print quality in colour and monochrome, and is ideal for professional and serious amateur photographers.  Exceptional levels of productivity make it suitable for studio use and commercial exhibitions.

Groundbreaking 12-ink system for superb results
The unique 12-ink system significantly expands colour gamut in most areas and features new Chroma Optimizer for increased black density and uniform glossiness. Five monochrome inks produce professional quality black and white prints with excellent detail in shadow and highlight areas, as well as smooth tonal gradation and suppressed graininess. Next generation LUCIA pigment inks are used for outstanding image permanence, allowing prints to be sold or exhibited with confidence.

Exceptional quality colour and monochrome prints
The PIXMA PRO-1 supports 1200ppi input resolution (double compared to previous generations of PIXMA Pros) to reflect the increasing number of pixels available on professional cameras and produce smoother prints with high resolutions of up to 4800x2400dpi. The new Optimum Image Generating (OIG) system analyses the photo colour and precisely calculates the optimum ink combination and volume of ink droplets, which are then accurately placed on the paper by Canon’s FINE print head with 12,288 nozzles.

The OIG system enhances colour reproduction, natural tonal gradations and uniform glossiness in each print mode and media type, to produce print quality so realistic it almost jumps off the page. Smooth tonal gradations in colour and monochrome prints are achieved through 16-bits per channel printing capability. The new PIXMA PRO-1 also features three colour modes, including the new Photo Colour print mode which reproduces fresh blues and greens to match people’s memory of colours. Linear Tone mode reproduces colours with linear tone curve, while the ICC Profiles mode means users can utilise paper-specific colour profiles or create their own.

Productivity on a commercial scale
The PIXMA PRO-1 can produce a gallery-quality print n approximately 2 minutes 55 seconds¹ , down from 7 minutes 55 seconds² for the PIXMA Pro9500 Mk II. A 2.5x larger ink tank capacity compared with the nearest model ensures longer running periods can be maintained between ink changes. Front-opening panels enable easy access to the tanks either side of the main printer body, and for efficiency the rear tray takes up to 20 sheets of photo paper, while the manual feed slot accepts photo paper up to 356mm (14”) wide and heavier fine art papers.

For saleable prints, real-time droplet volume control stabilises colour and ink density ensuring consistency of colour output from print to print. Reliability in a commercial environment is assured through the use of features commonly found on wide format professional printers, including a mist fan with an air circulation system and a tubular ink supply system separate to the print head. An Ethernet connection ensures the PIXMA PRO-1 can be shared easily over a network.

Simplified workflow and professional colour control
The PIXMA PRO-1 comes with Easy-PhotoPrint Pro plug-in software which simplifies printer settings and allows batch printing. Support has now also been expanded to the full Adobe Photoshop® family as well as to the Canon Digital Photo Professional software package. The printer can also automatically select the correct ICC profile for each Canon paper, and an expanded range of ICC profiles is available for Fine Art papers from well known manufacturers.

The Colour Management Tool Pro software, which can be downloaded from [http://software.canon-europe.com] supports x-rite colour management tools, including Colour Munki Photo and Colour Munki Design, and enables users to create custom ICC profiles to ensure the optimum output quality. The PIXMA PRO-1 also includes the Ambient Light Correction feature so that users can select the type of lighting under which a print will be displayed. The print colours are then automatically adjusted to ensure the very best colour reproduction under different viewing conditions.

PIXMA PRO-1 – key features:
    •    The benchmark A3+ printer for photo professionals
    •    Groundbreaking 12-ink system with exceptional colour gamut
    •    Chroma Optimizer for uniform glossiness and crisp, sharp blacks
    •    Optimum Image Generating system enhances colour reproduction
    •    Stunning black and white prints with 5 monochrome inks
    •    New LUCIA pigment inks ensure outstanding photo permanence
    •    Create a gallery-quality A3+ photo in approx. 2 minutes 55 sec
    •    High capacity ink tanks ensure long periods between replacements
    •    Wide range of media support including 356mm (14”) wide and thick media
    •    Easy-PhotoPrint Pro plug-in for efficient printing workflow

Pricing and Availability

The PIXMA PRO-1 will be available from November 2011, priced at £799/899euros RRP Inc VAT.

Hasselblad appeals to studio photographers

With Canon's release Tuesday of the underwhelming EOS-1DX, the proposed replacement for both the EOS1D and EOS-1Ds, Hasselblad has decided to 'reach out' and remind studio shooters that there are more suitable cameras available. Priced at £8,995 (exVAT), the H4D-31 features a 31-million pixel sensor capable of outputting a 8-bit 93MB file without interpolation, but also boasts interchangeable 'heads', the unique and clever True Focus AF technology and a top-drawer 80mm f/2.8 lens (with built-in leaf shutter).



Press release:

Hasselblad reaches out to high-end DSLR users with groundbreaking H4D-31 camera

Hasselblad’s landmark launch of an entry-level medium format camera system
that competes directly on price with high-end 35mm DSLRs is paying off.

Launched earlier this year at £8,995 (ex VAT) the new H4D-31, complete with body, 31 megapixel back and an 80mm lens, ships with all the functionality of the Hasselblad H4 range.

Chris Russell-Fish, UK MD and global sales and marketing director said: “We are delighted with the first few months of trading with this new model. The H4D-31 has been made available at an extremely aggressive price point.
We are looking to attract those 35 mm DSLR users who aspire to highest quality medium format imagery with all the advantages and benefits of Hasselblad, but possibly couldn’t afford it. Until now.
We believe professionals and semi-pros alike will see a highly compelling argument for making the switch. The new medium format, entry-level H4D-31 features and price tag will afford people a very different perception about Hasselblad products in today’s world.”

He added: “This new model comes with all the H4 range functionality, including our pioneering True Focus technology and world-beating Phocus software. This is the camera that opens up our market space. Additionally Hasselblad V system camera users have an option to move completely to an integrated camera, enabling the use of their ‘V’ lenses. – rather than investing in a digital back.”

Hasselblad says the H4D-31 offers ‘an unsurpassed level of image quality’ with advanced controls, integrated sensor cooling, intuitive user interface and a new 3” display.

Technical features of the new H4D-31 include:
31 million pixel sensor (4872 x6496 pixels)
Image size: RAW 3FR capture 40 MB on average. TIFF 8 bit: 93MB
Lenses: Hasselblad HC/HCD lens line with integral central lens shutter:
Shutter speed range: 32 seconds to 1/800 second
ISO speed range: ISO 100, 200, 400, 800 and 1600
Capture rate: 1.2 seconds per capture.
Software: Phocus for Mac and Windows
Viewfinder options: HVD 90x: 90º eye-level viewfinder w. Diopter adjustment (-5 to +3.5D) image magnification 3.1 times.
Colour definition: 16 bit

For more information and a test drive visit www.handsonahasselblad.com

Related posts


Hasselblad H4D-60 review
Hasselblad Europe offer half-price lens deal
Hasselblad announces H4x

GuraGear unwraps Kiboko 22L+

GuraGura has announced the Kiboko 22L+, a smaller version of their hugely popular Kiboko (30L). It can carry a 500mm f/4 (or 200-400mm f/4, as shown below), as well as a couple of DSLR bodies, four other lenses (up to what looks like 24-70mm or equivalents) as well as a 15-inch laptop. The new pack is available now at $379 with free shipping in Continental US (international shipping is also offered).

 

Introducing the Kiboko 22L+
The versatile new camera backpack that you helped design.

The Kiboko 22L+ was designed from the blueprints that customers like you provided over the last couple of years after using the Kiboko 30. Much like its more mature sibling, the Kiboko 22L+ is lightweight and durable, but this bag has a thing or two to teach big brother; like how to carry up to a 15" laptop computer. Sized to fit the most stringent of international carry on requirements without sacrificing carrying capacity; this gem can carry up to a 500mm f4.0 lens in style. The Kiboko 22L+ was made to travel, with a beefed up harness system that features memory-foam shoulder straps, a vented and padded back panel, a removable waistbelt, and shoulder straps that can tuck away when not needed. 

While remaining true to the Kiboko DNA, the 22L+ features a unique butterfly flap access system which allows you to easily get to multiple bodies, lenses, and all your photo accessories without exposing all your prized gear. Kiboko backpacks are made of high-tech materials designed to balance weight and durability.

We use our products every day. We just finished traveling through Rwanda and Kenya working exclusively from the Kiboko 22L+ and are proud to finally be able to share this bag with you.

For more information please see www.guragear.com/

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Leica rolls out D-Lux 5 Titanium

Leica announces Leica D-Lux 5 Titanium ‘Special Edition’
 
Versatile digital compact camera in titanium styling with luxury leather case
 
18 October 2011: Leica Camera AG has today announced a special edition of its successful D-Lux 5 digital camera: the Leica D-Lux 5 Titanium. This elegantly-designed compact camera, with its sophisticated, anodised silver-grey finish, comes presented in a special set with a premium grey leather case with shoulder strap, and is sure to be on every discerning photographer’s list of ‘objects of desire’ this Christmas.
 
Equipped with the same high-performance technical specifications as the standard Leica D-Lux 5 model, the Leica D-Lux 5 Titanium includes a fast 5.1 - 19.2mm f/2 - 3.3 ASPH. zoom lens with a focal length range from 24 to 90 mm (35 mm equivalent), suitable for a wide variety of situations including wide-angle landscape and macro photography.
 
The camera’s 1/1.63” CCD image sensor, with a resolution of 10.1 megapixels, is unusually large for a compact model, and is perfectly attuned to the Leica lens together with the electronics and software, producing images with outstandingly natural colour rendition, superb sharpness and high contrast.  The exceptionally fast maximum aperture makes it an ideal camera for ‘available light’ photography.
 
With clearly laid-out menus and straightforward operation of its comprehensive range of features and manual settings, the versatile Leica D-Lux 5 Titanium offers intuitive handling in all photographic situations, from creative image design to spontaneous reportage-style shots, as well as when using the camera’s 1,280 x 720 pixel HD movie recording feature.
 
The camera delivers images in 4:3, 3:2, 16:9 formats as well as 1:1, a particularly interesting format for creative composition. Furthermore, the 3” LCD screen, with its wide viewing angle and 460,000 pixel resolution, enables accurate framing and composition, as well as high quality, detailed image review.
The Leica D-Lux 5 Titanium comes with (as a download) Adobe® Photoshop® Lightroom® 3, professional processing software that allows photographers to develop RAW image files and maintain complete control over the development process applied to their images. The high quality, complementary grey calf leather case is included in the set.

Pricing and availability
 
The Leica D-Lux 5 Titanium special edition set is scheduled to be available in the UK at the end of October 2011 at an SRP of £855 including VAT from authorised Leica dealers including the Leica Store Mayfair: www.leica-storemayfair.co.uk, tel: 020 7629 1351. A full list of authorised UK Leica dealers is available at www.leica-camera.co.uk.
 
Further optional accessories are available, priced as follows (SRP including VAT):
 
Leica D-Lux 5 handgrip (black) - £63
Leica D-Lux 5 EVF1 electronic viewfinder (black) - £275
Leica CF 22 flash unit (black) - £230
 
Leica warranty and added value services
 
The Leica D-Lux 5 Titanium comes with a two-year warranty and a one-year Leica UK ‘Passport’ (complimentary accidental damage cover). UK customers are also welcome to visit the Leica Store and Akademie in Mayfair, London, for a complimentary demonstration or training session on the features of the camera. Technical support by telephone is available via Leica’s London-based Client Care department.

Canon announces 50 million EOS, 70 million EF lens production milestones

Canon has announced sales of 50 million EOS cameras and 70 million EF lenses, with close to half that figure of 30 million lenses in just the past two years. Canon announced sales of 40 million lenses, over a 25 year period, back in April, 2009

Press release:

Canon celebrates 50 million EOS-series SLR camera and 70 million EF lens production milestones

United Kingdom, Republic of Ireland, 18th October 2011 – Canon today announced the achievement of its latest camera-manufacturing milestone, following the production of the company’s 50-millionth EOS-series SLR camera. Underlining the huge popularity of Canon’s leading EOS System, the announcement coincides with another significant manufacturing milestone, with production of Canon’s EF lenses due to pass 70 million units by the end of October 2011.

“These latest manufacturing milestones showcase the unprecedented popularity of the EOS system,” said Rainer Fuehres, Chief of Consumer Imaging, Canon Europe. “Throughout the development of the EOS System we’ve always been focused on providing leading levels of performance for our customers, and the consistently high demand for EOS cameras and EF lenses offers a powerful testament to the quality our products offer to photographers of all levels.”

EOS cameras – leading quality
The EOS series, which stands for “Electro Optical System” and also carries the name of the Greek goddess of the dawn, began production in 1987 at Canon Inc.’s Fukushima Plant with the launch of the iconic EOS 650, an SLR that featured the world’s first electronic mount system. Over the past 25 years, Canon has invested in the development of the EOS System to guarantee it provides the most advanced technologies and exceptional image quality for photographers of all skill levels – from beginners through to professionals.

Just two years after launching the EOS Series in 1989, Canon launched its most professional EOS SLR, the EOS-1, and on the 10th anniversary of the EOS series in 1997, production reached 10 million units. Production propelled to 20 million units in 2003, largely due to the release of the lightweight and compact EOS 500 in 1993 and EOS D30 in 2000, which spearheaded the rapid growth of digital SLR cameras across the globe.

Over the past 25 years, Canon’s technological advancements has seen the company launch the industry leading high-performance DIGIC digital image processor, as well as proprietary CMOS sensors that deliver unrivaled image quality. Developments such as these saw Canon reach the 30 million-unit landmark during the series’ 20-year anniversary in December 2007, and the 40 million mark shortly after, in May 2010. The current 50 million-unit production milestone was achieved in September 2011, and has been reached after a period of just one year and four months – by some distance the fastest-ever production period in the history of the EOS range.

Today, Canon marks this historic production landmark with the launch of the Canon EOS-1D X – a revolutionary, next-generation professional DSLR offering an unparalleled combination of speed, resolution and image quality ideal for all types of professional photographers.

EF lenses – precision technology, creative flexibility
Production of Canon’s prestigious interchangeable EF lens series for EOS SLR cameras commenced in 1987 at the company’s Utsunomiya Plant, alongside the development of the first EOS Series SLR camera.  Designed to provide EOS SLR photographers with unrivaled flexibility in all shooting scenarios, the diverse EF lens range now includes over 60 different lenses, which are produced in a total of four production facilities to meet the huge demand.

Since production began in 1987, the EF lens range has expanded to include a number of innovative technologies, including the development of the world’s first Ultrasonic Motor-powered lens (USM) (among interchangeable lenses for SLR cameras) and Image Stabilizer (IS) technology. Innovations such as these provided new and advanced levels of performance, and prompted the rapid growth of EF lenses that saw production pass 10 million units in 1995, and subsequently reach 20 million in 2001.

Production then reached 30 million units in 2006 – quickly followed just two years later by the 40-million-unit mark in April 2008. Owing to the surging popularity of the EOS series, production was increased and the 50 million-unit landmark was achieved in December 2009, before Canon reached the 60 million-unit mark in January of this year.  By October 2011 Canon will pass its next 10 million-unit cycle in just nine months to achieve the 70 million-unit milestone, spurred by cutting edge products such as the new EF 8-15mm f/4L Fisheye USM – the world’s first fisheye zoom lens (among interchangeable lenses for SLR cameras) that captures circular and rectangular images with a 180° view.

In line with its position at the forefront of the imaging industry, Canon will continue to refine its various imaging technologies in the years to come. By using optical technologies as a core, Canon strives to produce exceptional cameras and lenses that cater for the needs of photographers, from first-time users to advanced amateurs and professionals, enabling users of all levels to experience and enjoy the power of image.

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