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  • Fotodiox’s DLX Stretch adapters feature a built-in extension tube for macro photography

    Accessories manufacturer Fotodiox has launched a versatile new series of lens adapters for mirrorless camera users. The Fotodiox Pro DLX Stretch adapters not only allow you to mount off-brand lenses onto several major camera mounts, they also feature a built-in variable extension tube for macro shooting.

    The DLX Stretch is a regular DLX lens adapter with one major difference: it features a barrel that turns to extend the distance between the lens and the sensor, endowing the set-up with the macro shooting capability of an extension tube. It isn’t clear how great the extension is for each of the adapters, but total distance will be dependent on the type of lens used.

    The new adapters will be available for Sony E, Micro Four Thirds and Fujifilm X cameras and will come in a choice of 24 permutations to suit a collection of eight lens mounts—Canon EOS, Canon FD, Contax/Yashica, Leica R, Minolta MD, Nikon, Olympus Zuiko (OM), and Pentax K. If your particular lens mount doesn’t have an aperture control ring, the adapter will throw that in as well.

    In addition to the Sony adapter video above, you can find demos for the Micro Four Thirds and Fuji X mount adapters here.

    Finally, in conjunction with this adapter release, Fotodiox has also introduced a range of filters for the DLX Stretch that drop in to the rear of the barrel and stay in place using magnets. Three ND filters—an ND4, ND8 and ND16—come with the kit, and feature their own leather case.

    All of the Fotodiox Pro DLX Stretch adapters cost $ 130. For more information, visit the Fotodiox website.

    Press Release

    Fotodiox Pro Launches Multi-Functional DLX Stretch Lens Adapters

    Fotodiox Pro, creator and distributor of several lines of specialty solutions for videography, cinematography and photography, has announced a brand new addition to their extensive collection of innovative lens adapters: The DLX Stretch, a new series of 24 multi-function lens adapters for Sony E-Mount, Fuji X-Mount and Micro Four-Thirds mirrorless cameras.

    The DLX Stretch is the latest in Fotodiox’s ongoing commitment to creating and manufacturing the largest and most flexible library of lens adapters in the photo and cinema industry. Each DLX Stretch packs three levels of creative functionalty into a single lens adapter. Vintage and modern lenses can be mounted via eight different lens mounts.

    A built-in helicoid allows adjustment of the overall length of the adapter for close-focus macro style shooting or backfocus adjustment. Plus, the specially-designed rear section of the DLX Stretch houses drop-in magnetic Neutral Density filters. Each kit includes ND4, ND8, and ND16 glass filters in a leather case.

    “When we created the DLX Stretch, we set out to “stretch” what shooters expect from a lens adapter,” said Bohus Blahut, marketing director for Fotodiox Pro. “Today’s mirrorless cameras are amazing, but they suffer from too few native lens choices. The DLX Stretch adapters bring those choices back. Additionally, the DLX Stretch offers amazing imaging flexibility with its built-in macro-focusing helicoid as well as our revolutionary drop-in filter system for rapid-fire filter changes. With DLX Stretch lens adapters, you can get more done with a single lens than ever before.”

    DLX Stretch adapters are available for the following lens mounts: Canon EOS, Canon FD, Contax/Yashica, Leica R. Minolta MD, Nikon, Olympus Zuiko (OM), and Pentax K. Select models of the DLX Stretch also include additional aperture control for lenses that lack an aperture control ring. They are available now at FotodioxPro.com.

    Articles: Digital Photography Review (dpreview.com)

  • Instagram’s new AI-powered comment filter tackles trolls and spam

    Instagram is getting serious about keeping the trolls away from your photos. Earlier today, the company announced that it will be rolling out an enhanced comment filter that uses artificial intelligence to squash rude, spammy, and otherwise inappropriate comments.

    The news, along with an in-depth breakdown of how the technology was designed and works, was initially announced on Wired, but you can get the important bits from Instagram’s own blog post.

    The tool acts by automatically and intelligently detecting and removing comments it believes are either inappropriate or spam, and hiding them from everyone except the poster him or herself. They have no idea their comment is invisible, but nobody else can see it.

    The same goes for the spam filter, which can detect ‘obvious spam in comments’ in a total of 9 languages: English, Spanish, Portuguese, Arabic, French, German, Russian, Japanese and Chinese.

    If for some reason you don’t want these comments filtered, the intelligent filter can be turned off by clicking on the ‘…’ menu on your profile page and flipping the ‘Hide Offensive Comments’ slider off.

    Both tools are powered by machine learning, meaning that, over time, they’ll get better at detecting inappropriate comments and leaving inappropriate seeming (but actually okay) comments alone.

    “Our team has been training our systems for some time to recognize certain types of offensive and spammy comments so you never have to see them,” reads the IG announcement. “We believe that using machine learning to build tools to safeguard self-expression is an important step in fostering more inclusive, kinder communities.”

    As the algorithms improve, Instagram is promising to make both filters available in more languages. For now, offensive comments will only be filtered in English, but expect ongoing updates.

    Articles: Digital Photography Review (dpreview.com)

  • New product overview videos now available: Fujifilm GF

    We’re constantly adding to our collection of product overview content, and we just added videos covering Fujifilm’s new GFX 50S medium-format camera and three GF lenses. Check out the new videos from the links below, and be sure to bookmark our YouTube channel to stay up to date with new videos when they’re published.

    Fujifilm GFX 50S Product Overview

    Fujifilm GF 120mm F4 Macro Product Overview

    Fujifilm GF 63mm F2.8 Product Overview

    Fujifilm GF 32-64mm F4 Product Overview

    This is sponsored content, created with the support of Amazon and Fujifilm. What does this mean?

    Articles: Digital Photography Review (dpreview.com)

  • Think Tank teams up with SKB for hard cases, launches MindShift ‘PhotoCross’ sling bags

    MindShift Gear has announced ‘PhotoCross,’ a new lineup of sling bags designed for adventure photographers. Coming alongside this announcement is one from sister company Think Tank Photo, which has teamed up with SKB to offer the latter company’s hard cases fitted with soft inner dividers and organizers from Think Tank. The SKB/Think Tank hard case lineup currently includes 10 models.

    The new hard case lineup comprises ‘SKB designed by Think Tank’ models featuring SKB’s own waterproof and durable iSeries hardshell exteriors. Think Tank has fitted its own internal modular organizers and protective padding into the cases, including movable dividers and lid organizers. The hard case lineup ranges in price from $ 109.99 to $ 329.99.

    Joining those hard cases is MindShift Gear’s PhotoCross 10 and PhotoCross 13 bags for photographers in the field. Both bags feature space for photographic gear and either a 10-inch tablet (the PhotoCross 10) or up to a 13-inch laptop (the PhotoCross 13). The bags’ designs include T-pulls, carrying handles on both the side and top, a 320G breathable air-mesh back panel, a pocket that can accommodate most 1-liter water bottles and a 3-point harness.

    The PhotoCross 10 bag can accommodate either a mirrorless camera body and up to five lenses or an ungripped DSLR and up to two lenses plus a tablet. The larger PhotoCross 13 can accommodate up to an ungripped DSLR alongside up to four lenses – including a 70–200mm F2.8 lens, MindShift explains – plus ‘some’ 13-inch laptops. The PhotoCross 13 will cost $ 129.99; PhotoCross 10 will cost $ 114.99.

    Via: Think Tank Photo

    Articles: Digital Photography Review (dpreview.com)

  • The iPhone turns 10 years old today: What has it meant to you?

    10 years later, photography is a much bigger part of the iPhone’s DNA than anyone could have predicted.

    Ten years ago today, Steve Jobs stood up on stage and delivered what might be the most consequential keynote of his career: he introduced the world to the iPhone. Today, we want you to tell us how it has revolutionized, reorganized, and restructured the world of digital photography.

    As Jobs put it on stage, repeating the line over and over again to a crowd of excitable tech journalists, the iPhone was three things: “an iPod, a phone, and an internet communicator.” But if Jobs could somehow come back to life and re-do that moment today, he would probably add ‘camera’ to that list.

    Sure, that original 1st generation iPhone only boasted a measly 2MP camera that was laughable even by 2007 standards. But the impact that this camera—and the one after that… and the one after that… and the 6 after that—had on our industry is hard to fathom.

    The point and shoot camera has all but gone extinct, camera giants are struggling to appeal to a new crop of ‘photographers’ who value convenience and connectivity above all else, and each day the line between ‘professional photography’ and ‘smartphone photography’ gets a bit blurrier—if it hasn’t already disappeared entirely.

    The 1st generation iPhone looked a lot different than today’s iPhone 7

    But we’re not interested in the big picture stuff—there are tens, hundreds, maybe thousands of articles about how the iPhone changed photography for better and for worse. We want a more personal perspective. We want to hear from you.

    From a photography perspective, how has the iPhone impacted your life? Do you use your main camera less often, or not at all? Is the ability to connect your camera to your phone and post pictures instantly a must-have? Do you even remember the last point-and-shoot camera you owned, and when you last turned it on?

    On a day marked by hundreds of tech op-eds, quirky origin stories, and enough ‘looking back’ videos to keep you busy for days, we want to compile a more personal picture of the iPhone and how it has impacted the world of digital photography. Share your story with the community in the comments, or drop us a line directly at dpreview.com/feedback.

    And in the meantime, we’ll content ourselves with wishing the iPhone a happy 10th birthday… and we’re only being, like, 21% passive aggressive when we say that.

    Articles: Digital Photography Review (dpreview.com)

  • Craigslist ad wants wedding photographer to also shoot the… uh… consummation

    The Craigslist ad headline reads ‘All Day Wedding Photographer Needed,’ followed by a small, but extremely important, parenthetical: (see details). That bit is important because when the couple in question says ‘all day,’ what they actually mean is ‘all night long.’

    The ad, posted to Craigslist in Wisconsin and sent to PetaPixel by one of its readers, is seeking a wedding photographer who wouldn’t mind sticking around and photographing the couple’s first time. Their consummation. The… moment of truth, if you will.

    “We are hoping someone will document the whole day from beginning to end,” reads the ad, innocently enough. “We are specifically hoping someone will document the end, which we are finding difficult to find someone who will.”

    Now you see where this is going.

    “We have both saved ourselves for marriage and understand our first time will be awkward,” writes the bride and groom. “But [we] do not think it will be that much more awkward for the photographer to be there and we’d really like it documented (in a beautiful and tasteful way).”

    So… any boudoir photographers want to take their work to an extremely awkward new level? We’ve got a job prospect for you.

    Articles: Digital Photography Review (dpreview.com)

  • ‘Above Bellingham’ soars from bay to Mount Baker

    ‘Above Bellingham’ takes you all the way from the shores of Bellingham Bay to the top of Mt. Baker, highlighting the City of Subdued Excitement from the air.

    Earlier this year, visual journalist Kjell Redal released the second video in his ‘Above’ 4K drone video series, this time turning his attention to the city of Bellingham, WA. The video ably encapsulates the so-called ‘City of Subdued Excitement’ as well as its immediate surroundings, featuring mountain bikers charging through forests, skiers charging through some Mt. Baker powder, and beautiful flyovers of some of Bellingham’s picturesque waterfront.

    We chatted with Redal about his experience in making the video, his background and some challenges along the way.

    DPR: To start off, tell us a little about yourself, your background and what you do.

    Kjell Redal: I’m a video producer and visual journalist from Colorado originally, but I’ve been in Washington for the last four years, recently finishing school at Western Washington University. I’m trained as a journalist so I enjoy finding real-life storylines that inspire, entertain, scare and teach people. I like to tell these kinds of stories through even better visuals and I’ve found that drones help a lot in the latter part of this goal.

    That uniqueness of perspective was what really attracted me to the tech as a cinematic tool.

    What spurred you to get into drone flying and video capture?

    Before I started flying, I remember seeing a lot of travel videos on Vimeo’s Staff Picks channel that included shots unlike any I’ve ever seen. I remember one of them in this Iceland video where a drone was recording while moving only about a foot over these flowers at a decent speed and it was the first time I’ve seen that camera movement from that angle. That uniqueness of perspective was what really attracted me to the technology as a cinematic tool.

    Hiking trails and stellar views are plentiful in the greater Bellingham area.

    What was the inspiration for ‘Above Bellingham?’

    Above Bellingham came as the second part in my ‘Above’ series where I feature two towns I’ve come to know well via the air. My first video in the small series was ‘Above Boulder’ which featured scenes from my hometown. I tried to capture both the iconic places from the two areas in both videos, as well as some less well-known spots that give the cities their character.

    Tell me a little about how the video has been received.

    The video was received great! I had a lot of people tell me thanks for capturing a place they know and love from a new perspective. I can only think of one minor negative comment about drones on the comment board for that one.

    The DJI Phantom 3.
    Image via: DJI

    What were the biggest challenges you experienced throughout this project? Did you have any crashes or issues with the FAA?

    I haven’t had a crash on either of these projects (knock on wood) and got my FAA certification to fly commercially in September of last year. Other than the test being a bit more difficult than I expected, as well as full of what I saw as fairly irrelevant information to drone pilots, like reading airport-issued weather reports and guidelines for flying at ridiculously high altitudes, everything went pretty smooth during the productions.

    I did get some heat after the Boulder video went out though. I didn’t realize the city had out-and-out banned drones before I started filming (something they can’t really do according to the FAA, see paragraph 9). I followed all the FAA regulations for flying in the airspace and nothing more than angry commenters came of it, but I think I’d have a fairly solid federal preemption claim were the city to have pressed charges.

    And lastly, what drone(s) did you use for this project?

    I used a DJI Phantom 3 4K for all of last year, and just got a Phantom 4 Pro this spring – looking forward to the next big project to go with the new drone!

    To see more of Kjell Redal’s work, check out his portfolio at kjellredal.com.

    Articles: Digital Photography Review (dpreview.com)

  • Ask the staff: wedding season weirdness

    Weddings: They’re a cornucopia of creative possibilities, I find them incredibly rewarding and I’ve never had a ‘bad’ wedding as a photographer. That doesn’t mean everything always goes according to plan, though.

    It was June of 2012, and I had been blackmailed into photographing my first wedding.

    ‘If you don’t want to take photos,’ I was told, ‘then we just won’t have any photos.’

    One of my best friends from high school was getting married in his backyard with around a dozen of their closest family members, and they were adamant about having a photographer they knew personally, rather than a stranger. So it was really quite a friendly blackmailing.

    What the heck, I thought. I quoted them the princely sum of $ 250, and everything was set. Then, just a day or two before the wedding, my car sprung a substantial coolant leak. No worries, my 30-year-old motorcycle would get me there. Probably.

    Thankfully, the universe had decided enough was enough, and the day proceeded without incident after I toweled off a bit.

    And then it rained on the big day, and though my Yamaha got me there just fine, I arrived slightly behind schedule and absolutely soaking wet. Thankfully, the universe had decided enough was enough, and the day proceeded without incident after I toweled off a bit.

    I don’t shoot weddings full time, but I do at least a few every year. I find them creatively challenging as well as rewarding, and so far, there’s not been a ‘bad’ wedding for me as a photographer. That doesn’t mean there aren’t always a few hiccups along the way.

    And so, now that wedding season is upon us, we polled ourselves as a staff to find out what sorts of ‘challenges’ we’ve all faced over our years of photographing weddings, and some themes began to emerge.

    ‘Uncle Bob’

    A common tool of choice for an Uncle Bob – an older, preferably double-grip DSLR.

    Without fail, most photographers that have shot even a handful of weddings have a story of the affable yet oblivious Uncle Bob. You will know him from the prominence of the large camera dangling from his neck, possibly with his own speedlight attached.

    Uncle Bob will good-naturedly ask you what camera you’re shooting with (‘and why is it covered in black tape?’), what aperture you’re using, pronounce ISO like ‘eye-soh,’ and occasionally suggest that you are just doing it wrong.

    But while some of us have encountered Uncle Bobs that are more tenacious or hover-y than others, many are friendly, genuinely curious, and if you gently suggest that you need to concentrate and will catch up with them later, you should find yourself in the clear.

    Unfortunate urgings of the bridal party, audacious acts of the guests

    Many couples will have some idea of the sorts of photos and moments they would like the photographer to capture throughout the day. One of our staff, however, was instructed by the bride to ‘not take any photos showing the front of my face.’ Challenge accepted.

    The majority of weddings these days seem to involve a good deal of drinking, and indeed, some guests will refuse to attend without an open bar. An open bar is just common decency (in the U.S., anyway). This is not something that is generally taken advantage of by the photographer for obvious reasons, unless of course the bride and groom confront you and insist that you ‘get wasted.’ One of our staff encountered this from a very stubborn couple, and we surmise that the inevitable crooked horizons were corrected in post.

    I was instructed by the bride to “not take any photos showing the front of [her] face.”

    A common complaint: friends and family holding up phones, tablets and phablets at just the right spot to ruin a photo. The most egregious example of this was a guest getting up and blocking the aisle just after the bride passed him. The photographer missed the father giving his daughter away, but that’s alright, average attendee, you have it in Apple Photos forever.

    And finally, there’s the group shots, where inevitably a family member will stand behind the hired photographer with a phone or compact camera, and snap away. This ordinarily wouldn’t be too much of an issue, except it’s the cause of many an eye-or-face swap in Photoshop, just to make sure everyone’s looking into the right lens.

    How does this get worse? Occasionally, that family member’s camera will be in Auto mode and fire the flash with every shot, which will trigger any pre-set optically slaved flashes the photographer has set up. This will ruin the hovering family member’s image, drains flash batteries unnecessarily, and confuses the family being photographed; an upgrade to radio triggers helps prevent these sorts of situations, but flashes from a competing photographer are still awfully distracting.

    The unpredictable, or just plain weird

    This is a pig at a wedding I attended as a guest, photographed (poorly) with my phone. Any guest was welcome to go and say hello, the pig was very friendly.

    And sometimes, there’s just the crazy, random happenstances that don’t really fit into any sort of reliable pattern or theme. As above, sometimes the wedding venue is adjacent to a restaurant that grows its own food, and there is a pig. This obviously isn’t a grievance per se, that pig was adorable in his own way.

    Thankfully, gear failures weren’t all that common for us, but one of our staff had an autofocus motor die just as the bride and groom began their walk back down the aisle.

    Another time, a group of groomsmen grew demonstrably angry when the photographer would not sit with them at the reception and drink heavily instead of taking photographs.

    A guest videographer at one destination wedding set up an enormous ladder to film video from at the back of the group, which would have been less of a problem were he not wearing a kilt. Underwear status remained carefully unconfirmed.

    Everyone’s got stories

    In a follow-up post, we’ll be polling some full-time freelance and wedding photogs on some of their more…interesting experiences, so stay tuned for that. In the meantime, do you shoot weddings full-time or on the side, or have attended a wedding and borne witness to an unusual event? Let us know in the comments, and maybe we’ll feature your story in a follow up as well!

    Articles: Digital Photography Review (dpreview.com)

  • Latest Tamron 24-70mm F2.8 lens improves AF speeds, image stabilization

    Tamron has announced the latest generation of its 24-70mm F2.8 lens, officially known as the ‘SP 24-70mm F/2.8 Di VC USD G2 (Model A032).’

    Highlights of this new full-frame zoom include Dual Micro-Processing Units (MPU) which provides ‘faster and more precise autofocus’ and improves the Vibration Correction system to the point where it can reduce shake by up to five stops. The lens has 17 elements, of which 2 are extra-refractive, 3 are low-dispersion, 3 are glass-molded aspherical and 1 is a ‘hybrid’ aspherical element. The aperture is made up of nine circular blades.

    There’s also Tamron’s nano-scale ‘eBAND Coating’ to reduce ghosting and flare. The front element has a fluorine coating to keep oil and fingerprints away, and the lens as a whole is weather-sealed. The lens supports electronic aperture control on compatible Nikon cameras and can be used with Tamron’s TAP-in Console dock for updating firmware and fine-tuning AF and Vibration Correction.

    The Tamron SP 24-70mm F2.8 G2 will ship in August for Nikon F-mount and September for Canon EF. It will be priced at $ 1199 for both mounts.

    Press Release

    Tamron introduces next-generation high-speed 24-70mm F/2.8 zoom lens with advanced features

    Versatile new lens delivers ultra-high image quality, image stabilization of 5 stops1 and superb performance even in backlit scenes

    SP 24-70mm F/2.8 Di VC USD G2 (Model A032)

    June 30, 2017, Commack, New York— Tamron Co., Ltd., a leading manufacturer of optics for diverse applications, announces the launch of a new high-speed zoom lens, SP 24-70mm F/2.8 Di VC USD G2 (Model A032), for full-frame DSLR cameras. Model A032 is a fast F/2.8 zoom that achieves top-level image quality. The new Dual MPU (Micro Processing Units) provides rapid autofocusing with improved accuracy and the highest vibration compensation performance of any lens in its class2 (CIPA level of 5 stops). The use of specialized, high quality glass materials (offering greater optical transmittance) for the lens elements assures superior color reproduction and greater sharpness, while the application of Tamron’s exclusive nanotechnology-based eBAND Coating substantially curbs the ghosting and flare that are prone to occur in backlit photography, successfully improving the overall optical performance of the lens. Additionally, model A032 provides the added conveniences of protective Fluorine Coating, Moisture-Resistant Construction and a locking lens hood. Photographers can use this new high-speed zoom lens for wide-ranging purposes, including landscape, portrait, news, travel and many others. The Tamron SP 24-70mm G2 in Nikon mount will be available in August and the Canon mount in September at $ 1199.

    PRODUCT HIGHLIGHTS

    1. Sophisticated design delivers superb performance and ultra-high image quality

    The use of specialized, high quality glass materials assures accurate color reproduction and superior sharpness, perfect for today’s high-pixel-density cameras. The optical construction (17 elements in 12 groups) uses 2 XR (Extra Refractive Index) elements, 3 LD (Low Dispersion) elements, 3 GM (Glass-Molded aspherical) and one hybrid aspherical lens element. Together they minimize axial chromatic aberrations, transverse chromatic aberrations, spherical aberrations and distortion, and allow a compact design that achieves superior image quality.

    2. eBAND Coating provides superior anti-reflection properties and reduces ghosting and flare

    The new A032 features Tamron’s original eBAND (Extended Bandwidth & Angular-Dependency) Coating, a technology combining a nano-structured layer that has an extremely low refractive index with conventional multiple-layer coatings to provide superior anti-reflection performance. The optimal application of this eBAND Coating in combination with Tamron’s BBAR (Broad-Band Anti-Reflection) Coating successfully and substantially curbs the ghosting and flare that can occur when photographing backlit subjects.

    3. New Dual MPU (Micro-Processing Unit) control system3 provides faster and more precise autofocus and improved Vibration Compensation

    This innovative control system uses a Dual MPU design with enhanced computing capacity. The MPUs have powerful, built-in DSP (Digital Signal Processor) blocks that achieve quicker and more precise AF performance, and more consistently powerful Vibration Compensation. The features combine to provide outstanding performance at night and in low light.

    High performance MPU for AF dramatically improves autofocusing accuracy and speed
    The A032 is equipped with its own MPU (micro-processor unit), with embedded DSP (Digital Signal Processor) blocks that enable high-speed digital signal processing, achieving both excellent responsiveness to signals from the camera and high-precision AF performance.

    Dedicated MPU delivers the highest vibration compensation ability in class (CIPA level of 5 stops).

    The new A032 is equipped with Tamron’s proprietary VC (Vibration Compensation) system. Adding an MPU dedicated to VC processing unleashes a new-generation algorithm, ensuring the highest vibration compensation ability?in the class (CIPA level of 5 stops). Even in low light or with slow shutter speeds, photographers can enjoy shake-free handheld shooting with ease and comfort.

    4.     Fluorine Coating and Moisture-Resistant Construction

    The Fluorine Coating applied on the front element surface is water-and oil-repellant and allows safe and easy removal of fingerprints, dirt and smudges. The coating also provides an enhanced level of durability, and will sustain its effectiveness for years. In addition, seals are located at the lens mount area and other critical locations to prevent infiltration of moisture and/or rain drops to provide Moisture-Resistant Construction. This feature provides an additional layer of protection when shooting outdoors under adverse weather conditions.

    5. Lens hood equipped with a new, convenient locking mechanism

    The lens hood is equipped with a locking mechanism that prevents detachment due to unintentional contact during use.

    6. Compatible with TAMRON TAP-in ConsoleTM, an optional accessory

    The new A032 is compatible with the optional TAMRON TAP-in ConsoleTM, an optional accessory product that provides a USB connection to a personal computer, enabling users to easily update the lens firmware as well as customize features including fine adjustments to the AF and VC.

    7. Electromagnetic diaphragm system now used also for Nikon-mount lenses

    An electromagnetic diaphragm system, which has been a standard feature for Canon-mount lenses, is now employed in Nikon-mount lenses4. More precise diaphragm and aperture control is possible because the diaphragm blades are driven and controlled by a built-in motor through electronic pulse signals.

    8. Manufacturing innovation with thorough attention to details based on the rigorous quality standards worthy of the SP series

    Tamron has enhanced the SP series lenses to fulfill high-level photographic requirements and provide the pleasure of ownership. While introducing a new exterior design, Tamron reviewed the SP series standards. The new SP series has been developed by setting rigorous standards for design, manufacturing and quality that apply to the optical design and mechanical design as well as such wide-ranging areas as the product’s robustness and improvements in a variety of individual functions. For this model, Tamron has introduced a unique MTF (Modulation Transfer Function) tester, which was developed exclusively for Model A032, and reviewed the management method. This has helped to achieve a more consistently superb optical performance, making it a lens that fulfills the demand for higher image quality that is compatible with the latest high-pixel cameras. To maximize the optical performance of the SP series, Tamron will continue to enhance the accuracy of the component parts of each lens element unit and improve the mechanical precision of the entire lens, thereby achieving a high overall performance.

    [1] CIPA Standard Compliant. For Canon: EOS-5DMKIII is used. For Nikon: D810 is used.

    [2] Among 24-70mm F/2.8 interchangeable lenses for DSLR cameras (as of May, 2017; Tamron)

    [3] A new control system using two high-performance MPUs (micro-processor units)

    [4] Available only with cameras compatible with the electromagnetic diaphragm: (D5, D4s, D4, D3X, Df, D810, D810A, D800, D800E, D750, D600, D610, D300S, D500, D7200, D7100, D7000, D5600, D5500, D5300, D5200, D5100, D5000, D3400, D3300, D3200, D3100). (As of May, 2017; Tamron)

    Tamron SP 24-70mm F2.8 Di VC USD G2 specifications

    Principal specifications
    Lens type Zoom lens
    Max Format size 35mm FF
    Focal length 24–70 mm
    Image stabilization Yes (5 stops)
    Lens mount Canon EF, Nikon F (FX)
    Aperture
    Maximum aperture F2.8
    Minimum aperture F22
    Aperture ring No
    Number of diaphragm blades 9
    Optics
    Elements 17
    Groups 12
    Special elements / coatings 2 XR, 3 LD, 3 GM aspherical, 1 aspherical elements + eBAND and fluorine coatings
    Focus
    Minimum focus 0.38 m (14.96″)
    Maximum magnification 0.2×
    Autofocus Yes
    Motor type Ring-type ultrasonic
    Full time manual Yes
    Focus method Internal
    Distance scale Yes
    DoF scale No
    Physical
    Weight 905 g (2.00 lb)
    Diameter 88 mm (3.46″)
    Length 111 mm (4.37″)
    Sealing Yes
    Colour Black
    Zoom method Rotary (extending)
    Power zoom No
    Zoom lock Yes
    Filter thread 82.0 mm
    Hood supplied Yes
    Tripod collar No

    Articles: Digital Photography Review (dpreview.com)

  • Video: Those ‘Shot on iPhone’ ads are not what they seem

    Anybody who knows about the technique and gear involved in capturing great photos and video knows to look at those ‘shot on *insert smartphone here*’ ads with a bit of skepticism. Yes, they were technically shot on those phones, but many people don’t realize the amount of extra gear and software that goes into the final product.

    There is a disclaimer at the end of these videos, of course, but it’s easy to miss or subconsciously ignore it when you’re hoping against hope that your iPhone 7 Plus will be the last camera you’ll ever need.

    Have you noticed this disclaimer at the end of the ‘Shot on iPhone’ ads?

    In this short video, YouTuber Marques Brownlee sheds a bit of light on the matter, sharing a little behind the scenes look at some of the really intense gear these commercials use, before diving into some more affordable options that can help get your smartphone video—shot on iPhone or otherwise—closer to those professional grade commercials.

    Because while you’ll probably never use a rig this advanced:

    It’s not unthinkable that you could buy yourself a DJI Osmo Mobile and some Moment lenses to help get your shaky hand-held attempts a little closer to the results you see in Apple and Samsung’s professional ads.

    Just don’t beat yourself up if your first few tries don’t live up to this level of quality. We don’t know exactly what gear Apple used on its latest ‘Shot on iPhone’ commercials, but we’re betting it’s closer to the crazy rig you see above, than the pared down little stabilizer and smartphone lenses Brownlee touts in his video.

    Articles: Digital Photography Review (dpreview.com)