Leica Underwater Housing Auctioned For $204,841 Plus More Leica Auctions

Leica auctions are never for the faint hearted and this one especially at the 20th Westlicht Photographica that took place on November 12, 2011 certainly wasn't. Take a look at what you could of picked up, if only you had been there (and had the nerve and funds to match).

Leica UW Underwater housing (1970), no. 240-0043

Expected Price: $34,142

Fetched Price: $204,841
This is an extremely rare red painted underwater housing for the US Army. This housing is the most new looking of the lot with the original Leitz Canada users manual. The camera also has a special Samsonite case marked KG-24. The housing contains an M-mount Elcan (Ernst Leitz Canada) lens with a 90-degree field of view and f/2.8 maximum aperture.

MP black paint (1958), no. MP-28

MP black paint (1958), no. MP-28MP black paint (1958), no. MP-28
Expected Price: $68,304
Fetched Price: $165,567
The rare and original MP No. 28 was built around 1958 for professional photographers and was expected to be sold at $68,304. This rare camera seems to be the bidders favorite as it was sold at an unexpected price of $165,567.

Leica KE-7A

Leica KE-7ALeica KE-7A
Expected Price: $16,384
Fetched Price: $90,120
The camera was specially made for the US military around 1954 with special Elcan 2/50mm lens and was expected to draw a price of $16,384 but went up for sale at $90,120.

KE-7A + Elcan 2/66mm (1948), no. 1294559

Expected Price: $32,772
Fetched Price:NA
This rare camera was also produced for the US army and is still in a very good working condition. The back side of the camera is engraved with the ‘Serial No 1294559 FSN 6720-165-7115 CONT. F42600-71-C-2429 US’. The camera is equipped with a rare Elcan 2/66mm no.283-0025 and unique camera lenses.

M3-P chrome + Noctilux 0.95/50mm chrome (2011), no. 20/20

M3-P chrome + Noctilux 0.95/50mm chrome (2011), no. 20/20M3-P chrome + Noctilux 0.95/50mm chrome (2011), no. 20/20
Expected Price: $ 34,105
Fetched Price:$ 81,835
This one is a special edition limited camera that was created in order to celebrate the 20th Anniversary of the Leica Shop in Vienna. These cameras are limited to 20 units. Leica MP silver chrome has vulcanite cladding finish and the top cover is designed in the typical Leica M3 style. The top of the camera is inscribed with Classic Leica Script and the serial number of the camera. The camera comes with the Leica Noctilux-M 50mm f/0.95 ASPH lens in silver anodized finish.

Leica I Mod.A Elmar ‘Calfskin’ from 1930

Leica I Mod.A Elmar ‘Calfskin’ from 1930Leica I Mod.A Elmar ‘Calfskin’ from 1930
Expected Price : $20,492
Fetched Price:$ 163,939
The 9th lot of the auction, this rare Leica I Mod.A Elmar ‘Calfskin’ from 1930 is a limited edition as only three are known to be in existence and none of the others are in working condition. The black paint camera, covered with colored calfskin was expected to fetch $20,492, but fetched much more i.e. $163,939.

Via: Born Rich

Olympus UK offer £50 cashback on PEN Lite, Mini kits

With £50 cashback the Olympus PEN Lite & PEN Mini are now even more desirable

From November 15th Olympus are offering £50 cashback on purchases of all PEN Lite (E-PL3) and PEN Mini (E-PM1) kits.

The much-lauded Olympus PEN range must be at the top of the Christmas lists of many budding, and professional, photographers thanks to its superb image quality, fantastic features and style.

This Christmas Olympus have made both the PEN Mini (E-PM1) and PEN Lite (E-PL3) more desirable and affordable by giving anyone buying either camera £50 (50 euros in Ireland) cashback.

The cashback offer will run in the UK and Ireland from 15th November 2011 until 15th January 2012 and is valid on purchases of all PEN Lite E-PL3 and PEN Mini E-PM1 kits from authorised UK and Ireland stockists.

More information on the offer and how to claim will available at: http://pen.sales-promotions.com once the promotion has begun.

For more details on the PEN Mini & Lite, please go to www.olympus.co.uk/pen

Adorama specials

Sony NEX-VG10 Hi-definition Interchangeable Lens Handycam Camcorder (E-mount 18-200mm Zoom Lens Included)
Save 35%
Regular Price $1998
Sale Price $1299
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FREE SHIPPING

Panasonic 25mm f/1.4 Leica DG Summilux Aspherical Lens for Micro 4/3 System
Sale Price $599.95
In stock - Limited supply
FREE SHIPPING

See our first impressions of this new lens here.

Not to be outdone by SanDisk's specials, Lexar are offering between 13-45% off their regular price (depends on model). Please use this link here to search.

Panasonic announces GX1

After parring down the GF2 and realizing there was indeed a market for the GF1 advanced compact, Panasonic has today announced the GX1 as its successor. The camera will be available from mid December at a body only price of £499.99, £599.99 with the H-FS014042 lens (standard 14-42mm kit lens) or £729.99 with the premium Power Zoom H-PS14042 (shown above) . All prices include VAT.

 

Press Release: 7th November 2011 05:00 GMT
 
The Panasonic LUMIX GX1:
Ultra-stylish photography in the palm of your hand
 
The LUMIX GX1, the newest addition to Panasonic’s LUMIX G range, lets you take your photography to the next level in an interchangeable lens camera small enough to fit in your jacket pocket. With a chic style, exceptional image quality and intuitive features that help you get the perfect shot every time, the LUMIX GX1 is designed to be your companion for all of life’s precious moments.
 
Style in your pocket
Available in Gunmetal Grey and Raven Black, the LUMIX GX1’s elegant design is evocative of a quintessentially classic camera. Easy to handle, weighing just 413 grammes and sporting a sturdy but sleek aluminium chassis, you can rely on the LUMIX GX1 for quality photography wherever you are.
 
High quality, creative photography made simple
Panasonic’s range of LUMIX G micro system cameras provide the perfect option if you’re looking to improve the quality of your photography without having to use a large, complicated and heavy DSLR camera. The LUMIX GX1’s 16.0-megapixel image sensor is far larger than those found in point-and shoot cameras, while the intuitive automatic shooting modes, including touch Auto Focus (AF), and the full range of advanced features mean you can easily capture your world as you see it.
 
Speed to match your busy lifestyle
For exceptional photography on the go, speed is of the essence. A high-speed and extremely precise AF lets you capture all moments you want to remember without missing a thing. At 0.09 seconds, the GX1 has the fastest AF speed among Compact System Cameras[1], while the Burst Shooting speed of up to 20 Frames per Second means you can get the perfect shot of even a fast-moving object.
 
Designed to give you more
Barnaby Sykes, Product Manager, for LUMIX G, Panasonic UK comments: “High quality photography is no longer limited to the professionals. With our LUMIX G range, we were the first in the segment of Compact System Cameras,revolutionising the market with small, lightweight and stylish cameras that enable the incredible shots that are normally reserved for heavier and larger DSLRs. The LUMIX GX1 is the next step in this process. Alongside our wide range of LUMIX G lenses for every occasion, the LUMIX GX1 puts ultra-stylish photography in the palm of your hand.”
 
The perfect fit
Panasonic’s LUMIX G range is available with the world’s widest line-up of dedicated Compact System Camera lenses to choose from with 14 interchangeable lenses, making sure that with the LUMIX GX1 you have the set-up to capture every moment.  These include Panasonic’s new pancake lens sized 14-42mm X Zoom lens, part of it new range of ultra-compact electronic power zoom ‘X’ lenses, which makes the perfect fit for high quality photography in your pocket.
 
Key features:
·         Exceptional image quality:With a 16.0-megapixel Live MOS Four Thirds Sensor and the high-end image processor Venus Engine, the LUMIX GX1 provides the exceptional image quality and low-light sensitivity at up to ISO 12800.

·        Stylish, ultra-compact and lightweight:  With a unique luxurious design, the LUMIX GX1 is designed to become part of your everyday style, whilst being lightweight and small enough to your companion wherever you go.

·         Assisting your creativity: Behind the beautifully classic chassis, the LUMIX GX1 hides the simple, intuitive controls and advanced functions to help you get more from your photography. The camera puts you in control, allowing you to assign your own settings to the two external buttons and two menus in the software tab for quick and easy use. With pinpoint AF in just 0.09 seconds, the GX1 lets you take perfect photography on the go with ease. AF modes include multiple-area AF, Face Detection, and AF Tracking, which allows the LUMIX GX1 to lock onto any subject and keep it in focus even if it moves. Meanwhile the integrated flash will let you take the perfect shots, whatever the light level. You can even take 3D photos with the special digital interchangeable lens that makes 3D photo shooting possible.

 

·         The control to help make the most of every shot: The LUMIX GX1’s intuitive touch screen lets you have full control over your photos. Focus and defocus can be set immediately to the subject or to the background, with just one touch of the large LCD screen, while Panasonic’s Intelligent Auto Plus (iA+) functions let you take professional-level shots, even if you’re a beginner or need to shoot at a moment’s notice.

 

·         Capture your memories with Full HD Movie capability: The quality advances of the LUMIX GX1 are not restricted to still photos. The 16.0-megapixel sensor means the camera can record in Full HD AVCHD 1920 x 1080, 50i, with stereo sound, producing professional movie quality with minimal noise. With long recording times, instant access controls, an advanced AF system and LUMIX G lenses specifically designed for movie shooting, the LUMIX GX1 will allow you to capture the perfect movies with ease. The AVCHD format also provides the best in both compression efficiency and compatibility with AV equipment for viewing.
 
 
Pricing and availability
The LUMIX GX1 will be available in the following versions:
 
·                       LUMIX GX1 – Body only
o        Will be available from mid December
o        Panasonic eShop £499.99
·                       LUMIX GX1K – with the H-FS014042 lens
o        will be available from mid December
o        Panasonic eShop £599.99
·                       LUMIX GX1X – with the H-PS14042 lens
o        will be available from mid January
o        Panasonic eShop £729.99

Tool Apps For Photographers - Read Our Latest Article At DPreview.com

Our sister site, TheAppWhisperer.com has just had their latest article published at DPreview.com. This time we took a look at app tools for Photographers. Due to the proliferation of photography apps aimed at the casual user, it's becoming even harder to find specialised apps. In this article we introduce some excellent photographic tool apps that are sure to become popular with our readers.

We focused on apps that enhanced picture taking on the mobile phone before, but this time we've chosen to look at and highlight apps that serve to enhance photography with any camera, not just your mobile device. Many of these would be suitable for serious enthusiasts and professional image-makers, and while they’re likely to appeal to a much smaller market, this can often be reflected in the price.  

Don't miss it, click here to read the complete article at DPreview.com.

Red goes Scarlet with X-rated camera

On the day Canon announces the EOS C300/300 PL cameras, rival Red has officially announced the raw video shooting Scarlet-X. The new camera comes with either a Canon EF or PL mount (it can be swapped), captures 5K (14MP) stills and 4K video and boasts 18-stops DR, or so it's claimed. Orders are being taken now for a initial price of under $10,000, though that's for the basic body - add-ons will take the price up considerably. Remember, this was the camera that was supposed to compete with the Canon EOS 5D MkII. In terms of price that clearly hasn't happened, so it's unlikely to achieve the popularity of the 5d MkII, but it's still competitively priced for professional movie makers with smaller budgets to consider. If I was in the market right now, I would choose this over the EOS C300 (but would still be tempted by the Canon Cinema EF lenses).

Press release:

RED STUDIOS HOLLYWOOD, Hollywood, Calif., November 3, 2011 – RED Digital Cinema has officially released its third industry-changing camera, the Scarlet-X. With burst modes up to 12 fps at full 5K resolution alongside 4K motion capture from 1-30 fps, the camera allows professional photographers and cinematographers to simultaneously capture motion footage and still content.

Never miss a shot. Ever. Scarlet-X’s compact design, endless modularity and advanced feature set provide a future-proof solution catering to every shooter’s needs, leaving one-dimensional DSLRs and 1080p camcorders in its wake. Priced at under $10,000, Scarlet-X advances RED’s vision to democratize superlative cinema and professional photography.

Scarlet-X comes standard with a Canon EF or PL mount, which can be swapped easily using Scarlet-X’s interchangeable lens mount system. Panavision, Anamorphic, and Nikon lenses are also compatible with the camera, providing ultimate freedom when it comes to creative decision-making. The addition of HDRx reaches up to 18 stops of dynamic range, bringing digital images closer than ever to the natural perception of the human eye.

With the innate ability to capture 5K REDCODE RAW stills and true 4K motion footage, Scarlet-X produces visually lossless files that can easily be graded and finished. Combining all of the finest qualities of cinema and photography into one camera, Scarlet-X allows the customer to have the best of both worlds. Compromise nothing. Shoot everything.
“The future is dependent on those who push… not those who react,” said Jim Jannard, founder of RED Digital Cinema.
RED is now taking orders on RED.com for Scarlet-X.

Canon to develop new 4k video EOS DSLR camera

EMBARGO: 4th November, 2011, 00:30 (GMT)

Coming Attractions: New Canon Digital SLR Camera Under Development

TOKYO, November 4 / HOLLYWOOD, California, November 3, 2011—Canon Inc. today announced that the company is developing a new-concept EOS-series digital single-lens reflex (SLR) camera. Incorporating an enhanced version of the video-capture capability offered in the current EOS-series line-up, the new camera will be ideally suited for cinematographic and other digital high-resolution production applications. The model will be equipped with a 35 mm full-frame CMOS sensor and, enabling the recording of 4K video* (at a frame rate of 24P, with Motion-JPEG compression), will make possible the type of exceptional image quality and sublime imaging expression to be expected from the next generation of “EOS Movies.”

The announcement coincides with the launch of the Cinema EOS System, marking Canon’s full-fledged entry into the digital high-resolution production industry. The new professional digital cinematography system spans the lens, digital video camcorder and digital SLR camera product categories.

Further details regarding the new EOS digital SLR camera currently under development, including the product name, specifications and scheduled launch date, have yet to be decided.

EOS Movie: A New Industry Standard
Movie recording has been a standard feature in all newly introduced Canon EOS-series digital SLR cameras since the launch of the EOS 5D Mark II in November 2008. Coupled with the diverse array of lenses in Canon’s current interchangeable EF lens line-up, this feature has heralded rich visual expressive possibilities, delivering such characteristics as beautiful image blur and low noise while also garnering kudos for the mobility and manoeuvrability made possible through the cameras’ compact and lightweight body designs.

The impressive images created by the combination of Canon EOS digital SLR cameras and EF lenses, known as “EOS Movies,” have already earned their screen credentials on the sets of multiple productions, from television commercials and artist promotion videos to episodic dramas and even major motion pictures.

* Cropped to APS-H-equivalent size (dimensions measuring approximately 80% vertically and horizontally of a 35 mm full-frame sensor) when recording in 4K.

Canon rolls out new cinema EF lens range

If there was any doubt that Canon is an optical company, the announcement that it has introduced a range of lenses for the movie-making industry should finally silence the detractors. After similar announcements from Leica, Carl Zeiss, and even Schneider Kreuznach, with the introduction of the new Cinema EF lenses (as well as the introduction of the EOS C300/ C300PL camera), Canon has finally declared their intention to market a range of products dedicated to the specialist (and very high-end) movie industry.

Available in full-frame EF mount, the new Cinema EF lenses are not based on the EOS EF equivalents, unlike the CZ compact primes which adopt the same optical construction of CZ DSLR lenses. The Cinema EF lenses are more like the German made CZ Ultra and Master Primes but can be used on standard Canon EOS DSLRs (note, the cine PL mount versions can not but they can be used on any camera using a PL mount).

The popularity of the Canon 5D Mk II was a happy accident, but it shook up Sony enough to retaliate with the NEX-7 and SLT-A77. This is a very carefully considered move by Canon, one that looks to safeguard the EOS stills line, while offering movie capabilities to rival Sony, Red and Arri.

While none of this bodes well for Nikon right now, they could have and maintain a sizable presence by producing cinema Nikkors, for want of a better name. Based on the Nikon F mount and featuring the prerequisite gearing for manual focusing and manual aperture rings, I'm convinced there are movie makers out there that would want modern Nikon optical designs rather than using old Ai-S lenses (no matter how good they are). The Nikkor outstanding 300mm f/2, for instance, and later 300mm T2.2 with a PL mount (produced by Tochigi Nikon, and a favorite of Hollywood Director Ron Howard) achieved cult status in its day - it's no longer made.

 

 

EMBARGO: 4th November 2011, 00:30 (GMT)

Canon casts EF cinema lenses in starring role for new Cinema EOS System
New lens series debuts with seven models and more in the wings

United Kingdom, Republic of Ireland, November 4th Canon Inc. and Canon UK today announced the introduction of seven new 4K EF Cinema Lenses, an all-new series of video cinematography lenses that, in addition to the company’s current line-up of interchangeable EF lenses for EOS single-lens reflex (SLR) cameras, form the core of Canon’s new Cinema EOS System.

The launch of the Cinema EOS System marks Canon’s full-fledged entry into the digital high-resolution production industry. The new professional digital cinematography system spans the lens, digital video camcorder and digital SLR camera product categories.

Canon’s new EF Cinema Lens line-up includes four top-end zoom lenses covering a zoom range from 14.5 mm to 300 mm —two models each for EF and PL lens mounts — and three single-focal-length lenses for EF mounts. All seven new lenses are capable of delivering exceptional 4K optical performance and offer compatibility with the Super 35mm equivalent image format. The three single-focal-length EF lenses can be used with cameras equipped with 35 mm full-frame sensors.

The seven new lenses represent the starting cast of Canon’s new EF Cinema Lens series, a star-studded line-up that will continue to grow in the future with the introduction of new A-list zoom and fixed-focal-length lenses.

Wide-Angle and Telephoto Cinema Zoom Lenses for EF and PL Mounts
CN-E14.5–60mm T2.6 L S / CN-E14.5–60mm T2.6 L SP
CN-E30–300mm T2.95–3.7 L S / CN-E30–300mm T2.95–3.7 L SP

The four new Canon zoom cinema lenses comprise the CN-E14.5–60mm T2.6 L S (for EF mounts) and CN-E14.5–60mm T2.6 L SP (for PL mounts) wide-angle cinema zoom lenses, and the CN-E30–300mm T2.95–3.7 L S (for EF mounts) and CN-E30–300mm T2.95–3.7 L SP (for PL mounts) telephoto cinema zoom lenses. Each lens supports 4K (4096 x 2160 pixels) resolution, which delivers a pixel count four times that of Full HD (1920 x 1080 pixels), and offers compatibility with industry-standard Super 35 mm-equivalent cameras as well as APS-C cameras (Not compatible with 35mm full-frame or APS-H camera sensors).

Employing anomalous dispersion glass, effective in eliminating chromatic aberration, and large-diameter aspherical lenses, the zoom lenses achieve high-resolution imaging from the centre of the frame to the outer edges. Each lens is equipped with a newly designed 11-blade aperture diaphragm for soft, attractive blur characteristics, making them ideally suited for cinematographic applications.

The focal length range of 14.5–300 mm covered by the new zoom lenses represents the most frequently used focal lengths in theatrical motion picture production, a range that often requires a combination of three or more separate zoom lenses. Canon’s new wide-angle and telephoto cinema zoom lenses, however, offer a wider angle and powerful zooming to provide complete coverage across this range with just two lenses. The new wide-angle cinema zoom lenses will offer the industry’s widest angle of view among 35 mm digital cinema lenses with a wide-angle-end focal length of 14.5 mm (as of November 3rd 2011, according to published competitive data).

Zoom, focus and iris markings are all engraved on angled surfaces for improved readability from behind the camera. With a focus rotation angle of approximately 300 degrees and a zoom rotation angle of approximately 160 degrees, the lenses facilitate precise focusing performance while making possible smooth and subtle zoom operation.

The new top-end cinema zoom lens line-up can be used with standard manual and electronic movie industry accessories, as well as matte boxes. Featuring a unified front lens diameter and uniform gear positions, the lenses do away with the need to adjust or reposition accessory gear when switching between other lenses in the series.

Single-Focal-Length Cinema Lenses for EF Mounts
CN-E24mm T1.5 L F / CN-E50mm T1.3 L F / CN-E85mm T1.3 L F

Like their wide-angle and telephoto cinema zoom lens co-stars, Canon’s new CN-E24mm T1.5 L F, CN-E50mm T1.3 L F and CN-E85mm T1.3 L F cinema lenses deliver 4K optical performance. The three lenses, designed for use with EF mounts, are compatible with not only industry-standard Super 35 mm-equivalent cameras, but also 35 mm full-frame, APS-H and APS-C sensor sizes. The trio incorporates anomalous dispersion glass and large-diameter aspherical lenses for high resolution imaging throughout the frame, and features a newly designed 11-blade aperture diaphragm for gentle, attractive blurring.

With focus and iris markings that are easily visible from behind the camera, Canon’s three new fixed-focal-length lenses support convenient film-style operation and, offering a focus rotation angle of approximately 300 degrees, facilitate precise focusing performance.

The CN-E24mm T1.5 L F, CN-E50mm T1.3 L F and CN-E85mm T1.3 L F support standard manual and electronic industry accessories and matte boxes, and have a unified front lens diameter and uniform gear positions, eliminating the need for adjustments when switching lenses.

Canon rolls out mirrorless EOS camera with EF mount

The introduction of this camera is a significant move for Canon, as the company appears to be attempting to safeguard its traditional stills camera business by retaliating against Sony's domination of the movie-industry. The announcement of this camera is more revealing of the company's long-term business strategy than that of the recent announcement of the EOS 1DX (which is clearly follwing Nikon and their D3s camera in particular - and is something of u-turn for Canon). For additional comment please see here.

Canon has some additional and interesting infomation about the new camera on their CPN site here.

 

Press release:

EMBARGO: 4th November 2011, 00:30 (GMT)

A star is born: Canon launches new digital video camcorder for high-resolution motion picture production

United Kingdom, Republic of Ireland, November 4th  Canon Inc. and Canon UK today raised the curtain on an all-new interchangeable-lens digital video camcorder that combines exceptional imaging performance with outstanding mobility and expandability to meet the demanding production needs of today’s motion picture industry. The camcorder, which features a newly developed Super 35 mm-equivalent approximately 8.29-megapixel CMOS sensor, will be available in two models: the EOS C300 Digital Video Camcorder, equipped with an EF lens mount for compatibility with Canon’s current diverse line-up of interchangeable EF lenses for EOS single-lens reflex (SLR) cameras and new EF Cinema Lens line-up; and the EOS C300 PL Digital Video Camcorder, with a PL lens mount for use with industry-standard PL lenses.

The introduction of the EOS C300/C300 PL coincides with the launch of the
Cinema EOS System, marking Canon’s full-fledged entry into the digital high-resolution production industry. The new professional digital cinematography system spans the lens, digital video camcorder and digital SLR camera product categories.

Star-Studded Supporting Cast
Equipped with an EF lens mount, the EOS C300 is supported by an all-star cast of high-performance EF lenses, not only the wide array of interchangeable EF lenses for EOS SLR cameras that have earned the trust and respect of photographers around the world, but also the EF cinema lenses in the newly announced Cinema EOS System. When outfitted with a Canon EF lens, the C300’s peripheral illumination correction (Compatible features differ depending on the EF Cinema Lens used) automatically corrects for vignetting in accordance with each lens’s optical characteristics, and enables iris control from the camcorder (Compatible features differ depending on the EF Cinema Lens used). Canon EF lenses also enable the recording of such metadata (Compatible features differ depending on the EF Cinema Lens used) as the name of the lens used, aperture setting and shutter speed.

Show-Stopping High-Resolution Full-HD Performance
The Canon EOS C300/C300 PL’s newly developed Super 35 mm-equivalent CMOS sensor incorporates approximately 8.29 million effective pixels and has a pixel size that is larger than that for conventional professional camcorders, enabling greater light-gathering capabilities for enhanced sensitivity and reduced noise. The sensor reads Full HD (1920 x 1080 pixels) video signals for each of the three RGB primary colors, decreasing the incidence of moiré while realizing high resolution with 1,000 horizontal TV lines.

Supported by a heightened signal read-out speed, the CMOS sensor reduces rolling shutter skews, a phenomenon prevalent with CMOS sensors in which fast-moving subjects may appear diagonally distorted. Additionally, the powerful combination of the sensor with Canon’s high-performance DIGIC DV III image processor facilitates high-precision gamma processing and smooth gradation expression.

In addition to MPEG-2 Full HD (MPEG2 422@HL compliant) compression, the
EOS C300/C300 PL employs 4:2:2 color sampling for high-resolution performance that minimizes the appearance of “jaggies” at chroma edges. Additionally, with a maximum recording rate of 50 Mbps, the camcorder supports the recording of high-quality video.

The camcorder’s video and audio recording file format adopts the industry-standard MXF (Material eXchange Format), an open source file format ideally suited for non-linear editing systems. Recording to versatile, readily available CF cards, the
EOS C300/C300 PL realizes high cost-performance and, equipped with two CF card slots, makes possible the simultaneous recording of video data to two CF cards.

 

Ready for Action
With a compact body design measuring 133 (w) x 179 (h) x 171 mm (d), the Canon EOS C300/C300 PL delivers exceptional manoeuvrability, enabling shooting from vantage points all but inaccessible to large cinema cameras, such as close to the ground for high-impact low-angle shots, and alongside walls. In accordance with on-location shooting needs, the camcorder can be outfitted with a handle, grip, thumb rest and monitor unit, and offers an array of industry-standard terminals, including HD/SD-SDI video output for the external recording of high-quality video content. When using a WFT-E6B wireless file transmitter for EOS digital SLR cameras (sold separately), the EOS C300/C300 PL can be controlled remotely by means of such common devices as smartphones or tablet PCs.

The camcorder is equipped with four start/stop buttons positioned at various locations to satisfy any preferred camera-holding style, and can be outfitted with a variety of third-party accessories, including matte boxes, follow focuses and external video and audio recorders. The unit also achieves seamless integration with third-party editing systems and provides added peace of mind through its dust-proof, drip-proof construction and built-in cooling system.

The new camcorder allows users to adjust image quality to match that of professional camcorders and EOS-series digital SLR cameras, and offers Canon Log Gamma, enabling flat image quality with subdued contrast and sharpness for maximum freedom in post-production editing and processing. In addition to frame rates of 59.41i, 50.00i, 29.97P, 25.00P and 23.98P, the EOS C300/C300 PL features a 24.00p mode, matching the 24 frame-per-second frame rate of film cameras for high compatibility with common film-production workflows.

Other features include fast-motion shooting, achieved by capturing fewer frames per second to create action up to 60x normal speed, and slow-motion down to 1/2.5x  (1/2.5x possible only when recording in 720p mode) made possible by capturing more frames per second. Frame rates between 1 and 60 frames per second (fps) (When 59.41i frame rate is selected), can be adjusted in increments of 1 fps. Additionally, a selection of Custom Pictures lets users freely adjust image quality for greater control over how content looks.

EOS 300 PL, showing the different mount.

Canon USA launches EOS C300, breaks own embargo

Following Nikon's lead of launching product first in the US (the 1 System was launched several hours ahead of the european press event to the dismay of new-orientated websites, such as ourselves and others), Canon has decided to follow suite. On this occasion, where Canon introduced a new camera aimed squarely at professional movie makers during a special event at Paramount Studios, Hollywood, California, it was ahead of the press embargo in Europe.

The introduction of this camera can be viewed as a significant move for Canon, however, as the company is attempting to safeguard its traditional stills camera business by retaliating against Sony's domination of the movie-industry. For additional comment please see here.

 

Press release:

EMBARGO: 4th November, 2011, 00:30 (GMT)

 

Lights! Camera! Action! Canon Makes Hollywood Debut with Launch of Cinema EOS System

Company’s All-New Cinema Lens Lineup, Video Camcorders and Digital SLR Cameras to Leave No Story Untold

 

TOKYO, November 4 / HOLLYWOOD, California, November 3, 2011— Canon Inc. today announced Canon’s full-fledged entry into the motion picture production industry with the launch of the Cinema EOS System. Canon’s new professional digital cinematography system spans the lens, digital video camcorder and digital SLR camera product categories.

The Cinema EOS System targets a new area of imaging expression for Canon, building on the company’s 74-year history of innovation and expertise in the field of optical and imaging technology. The company has already earned accolades in the entertainment industry for the EOS 5D Mark II digital single-lens reflex (SLR) camera, launched in November 2008, which has been used in the production of blockbuster Hollywood motion pictures and hit television programs.

Canon’s new Cinema EOS System, which offers compatibility with Canon’s wide array of high-performance EF lenses, provides cinematographers with a range of unprecedented creative possibilities to ensure that no story is left untold.

“As a leading company in digital imaging, Canon’s debut in the film and TV production industry provides a tremendous opportunity to enter into a thriving market,” said Fujio Mitarai, Chairman and CEO, Canon Inc. “Reflecting upon the achievements that Canon EOS Digital SLRs have had in the industry thus far, we are confident the new Cinema EOS series products will bring that success to a whole new level.”

With the debut of the Cinema EOS System, Canon today introduced seven new 4K EF Cinema Lenses—four zoom lenses and three single-focal-length models—which complement the company’s current diverse lineup of interchangeable EF lenses for EOS SLR cameras. The company also announced the launch of the EOS C300/C300 PL interchangeable-lens digital video camcorder, equipped with a Super 35-mm-equivalent CMOS sensor, and a new digital SLR camera currently under development that features a 35 mm full-frame CMOS sensor supporting the recording of 4K video.

4K EF Cinema Lens Lineup
Canon’s Cinema EOS System makes its Hollywood debut with an all-star cast featuring seven new 4K EF Cinema Lens models: four zoom lenses covering a wide zoom range from 14.5 mm to 300 mm—two models each for EF and PL lens mounts—and three single-focal-length lenses for EF mounts. All seven new lenses deliver exceptional 4K (4096 x 2160 pixels) optical performance and offer compatibility with Super 35 mm-equivalent sensors. Additionally, the three single-focal-length lenses can be used with cameras equipped with 35 mm full-frame sensors. (See accompanying EF Cinema Lens press release for additional information.)

EOS C300/C300 PL Interchangeable-Lens Digital Video Camcorder
The Canon EOS C300/C300 PL is an all new digital video camcorder available in two models: the EOS C300, equipped with an EF lens mount for compatibility with the wide array of lenses that make up Canon’s current interchangeable EF lens lineup; and the EOS C300 PL, offering a PL lens mount for use with industry-standard PL lenses. The camcorder features a Super 35 mm-equivalent approximately 8.29-megapixel CMOS sensor ideally suited for digital cinematography. (See accompanying EOS C300/C300 PL press release.)

New Digital SLR Camera with 4K Movie Function (Under Development)
Equipped with a 35 mm full-frame CMOS sensor and supporting the recording of 4K video* (at a frame rate of 24P, with Motion-JPEG compression), the next-generation digital SLR camera currently under development will enable exceptional image quality for the creation of innovative and expressive images. Additional details, including the product name, specifications and scheduled launch date, have yet to be decided. (See accompanying digital SLR camera press release.)

* Cropped to APS-H-equivalent size (dimensions measuring approximately 80% vertically and horizontally of a 35 mm full-frame sensor) when recording in 4K.

Canon announces EOS C300

Canon has announced the EOS C300, a new pro video camera, at a exclusive event in Hollywood, California. The new camera will be available in two versions; one using the 35mm EF lens mount and the other using a PL mount. The price is expected to be $16,000 body only, and will be available in January. Two zoom lenses have been announced, available in both mounts as well as three primes for EF mount only. Details are scant but the prime lenses look similar to the Zeiss manual focus primes and are believed to be 24, 50 and 85mm focal lengths. Canon UK has not confirmed the camera or lenses at the time of posting.

Source engadget.

onOne announce Perfect Photo Suite 6

Colour Confidence, the UK distributor for onOne software, has today announced the launch of onOne’s Perfect Photo Suite 6. Perfect Photo Suite 6 is priced at just £185 + VAT and is expected to start shipping at the end of October. Owners of the Perfect Photo Suite 5.5, Plug-In Suite 5 or earlier versions, can upgrade to Perfect Photo Suite 6 for £100.80 ex. VAT. Users who purchased Perfect Photo Suite 5.5 on or after August 7th 2011 are eligible for a free upgrade.

Press release:

Color Confidence announce launch of onOne Perfect Photo Suite 6
 
Birmingham, UK, 2nd November 2011 – Color Confidence, Europe’s leading value added distributor into the digital imaging markets, and the UK distributor for onOne software, has today announced the launch of onOne’s Perfect Photo Suite 6. Perfect Photo Suite 6 is a complete set of all onOne’s solutions and for the first time, each and every application works standalone, in addition to being a plug-in to Photoshop, Lightroom or Aperture. Available from late October, Perfect Photo Suite 6 will be available from all major photographic retailers and direct from www.ColorConfidence.com/onone

“The launch of Perfect Photo Suite 6 is significant for two reasons.” commented Geoffrey Clements, Managing Director, Color Confidence “Firstly, it continues onOne’s record of developing high quality and powerful tools that really help photographers spend more time behind a camera, and secondly, because these products are now available standalone, giving more photographers access to the products and more flexibility for existing users”.
 
Perfect Photo Suite 6 includes full versions of the following products:
 
NEW - Perfect Portrait 1 – A powerful retouching tool, including face and feature recognition, and both manual control and automatic adjustments.
 
NEW - Perfect Layers 2 – Create and edit multi-layered files, and combine photos for endless creative options.
 
NEW - Perfect Effects 3 – A complete library of professional photographic effects that can be previewed full screen before being applied to an image.
 
NEW – Perfect Mask 5 – The new and improved Mask Pro. Perfect Mask 5 adds power and speed to make mask creation quick and simple.
 
Perfect Resize 7 – Powered by Genuine Fractals. Resize images by well over 1000% without loss of sharpness or detail.
 
PhotoFrame 4 – Thousands of design elements included such as film edges and borders for darkroom effects and albums
 
FocalPoint 2 – Add the most realistic depth of field and selective focus control to any image, after it is photographed
 
Pricing, Availability and Existing users
Perfect Photo Suite 6 is priced at just £185 + VAT and is expected to start shipping at the end of October.
 
Owners of the Perfect Photo Suite 5.5, Plug-In Suite 5 or earlier versions, can upgrade to Perfect Photo Suite 6 for £100.80 ex. VAT. Any users who purchased Perfect Photo Suite 5.5 on or after August 7th 2011 are eligible for a free upgrade
 
Customers who have purchased Perfect Photo Suite 5.5 on or after August 7th 2011 should register their software with onOne. onOne will send a download version of Perfect Photo Suite 6 upon registration and send a physical product when available in the post.

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