360Photography

Category: Uncategorized

  • Elinchrom ELB 1200 portable flash system to launch this summer

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_9219200983″,”galleryId”:”9219200983″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

    Elinchrom has introduced its new ELB 1200 portable lighting system for photographers, a model that builds upon the company’s existing ELB 400 system introduced in 2015. The new system features three new flash heads, the Action, Hi-Sync, and Pro, as well as a TSA-approved ‘Air’ lithium-ion battery capable of powering 215 full-power flashes and 80 minutes of continuous LED use. 

    In addition to the TSA-approved ‘Air’ version of the battery, Elinchrom also has an ‘HD’ version with a higher capacity that can power 400 full-power flashes and 120 minutes of continuous light. The batteries are also capable of powering accessories via a 5v USB outlet, and they can both be switched into a ‘shipping mode’ for long distance travel.

    The three aforementioned flash heads feature a daylight-balanced and dimmable LED CRI 92 lamp, which Elinchrom says is equivalent to a 250w Halogen lamp. The Hi-Sync flash head supports shutter speeds as fast as 1/8000s. The company expects the ELB 1200 to be available in the ‘middle of 2017,’ with pricing information being provided at a later date.

    Check out Elinchrom’s product video below to see the kit in action.

    Articles: Digital Photography Review (dpreview.com)

  • This photo of some strawberries with no red pixels is the new ‘the dress’

    UCLA neuroscientist Matt Lieberman posted the ‘no red pixels’ image on the left. It’s developed from an original by Experimental Psychologist Akiyoshi Kitaoka (right) that, despite appearances, does have some very slightly red-tinged pixels in it.

    Remember internet kerfuffle that was ‘the dress’ ? Well, there’s another optical illusion that’s puzzling the internet right now. Behold: the red strawberries that aren’t really red. Or more specifically, the image of the strawberries contains no ‘red pixels.’

    The important distinction to make here is that there is red information in the image but, despite what your eyes might be telling you, red is not the highest value for any individual pixel in the image. Hence, no ‘red pixel’ in the image.

    As was the case with ‘the dress,’ it all relates to a concept called color constancy, which relates to the human brain’s ability to perceive objects as the same color under different lighting. Which should immediately bring to mind a familiar photographic concept: white balance. Although there’s a significant cyan cast to the whole image, your brain is able to correct for it without you having to consciously identify a neutral part of the image (as you’d need to in processing software).

    This got us thinking: without any understanding of what strawberries look like, how well would a camera’s auto white balance cope with the significant color cast in this image?

    Here’s what a Nikon D7200’s auto white balance algorithms made of the image (defocused slightly, to avoid moiré from the monitor’s pixels)

    The answer? Pretty well, actually. We don’t know whether it’s been able to detect the overall cyan cast or has assumed that the brightest point in the image is probably neutral, but it’s done a good job.

    We have Experimental Psychologist Akiyoshi Kitaoka to thank for turning this puzzle loose on the world, and neuroscientist Matt Lieberman for turning it viral. Curiously, the first image contains a few red-dominated pixels (which Lieberman’s edited version doesn’t), yet appears more grey than Lieberman’s version.

    Articles: Digital Photography Review (dpreview.com)

  • Nikon D5600 review: making connectivity a snap?

    The D5600 is the company’s mid-range DSLR and it’s the smallest and best-connected, yet.

    Nikon has been on something of a roll, making solid DSLRs with good ergonomics, dependable metering, some of the best image sensors, often very good (often industry-leading) autofocus and a JPEG engine that gives results that lots of people like.

    However, falling camera sales and rivalry both from smaller mirrorless models and the convenient, perpetually available smartphone means that producing a really good little DSLR isn’t quite enough. The D5600 aims to address this by making it as painless as possible to get the images from the camera to your phone, meaning that you get the huge benefit of a large sensor camera but with as small an energy barrier as possible.

    As such, the addition of SnapBridge is virtually the only change between this and the older D5500. It may sound like a minor change but, to us, we feel it’s likely to be the making or the downfall of this model and perhaps it makes more sense than adding an array of clever but bewildering additional features and modes, as many rival makers seem to do.

    Key Features:

    • 24MP APC-S CMOS sensor
    • 39 point AF sensor with 9 central cross-type points
    • 2,016-pixel RGB sensor assists AF tracking and metering
    • Up to 5 fps continuous shooting
    • ‘SnapBridge’ Bluetooth/Wi-Fi communication
    • 1080/60p video capability
    • Time-lapse movie feature

    SnapBridge

    At its heart, SnapBridge is primarily a Bluetooth-based system which uses a low-energy connection to stay connected to your smart device (and sidestep the hurdles that mobile OSs might otherwise place in your way) and to transfer images. Although the camera is Wi-Fi capable, that capability is used solely for remote live view operation and video transfer.

    We weren’t very impressed the first time we encountered SnapBridge: it seemed unfinished and not very well suited to the D500 where it first appeared. The high likelihood of the photographer wanting full resolution files and the camera’s propensity for generating lots of images made it a poor fit for that camera. However, on the mass-market D3400 it seemed much more likeable: you take the photos and 2MP versions appear on your phone shortly afterwards.

    The needs of the D5600’s users are likely to lie somewhere between these two extremes, so we’ll see how well it does.

    Review based on a camera running firmware v1.0. All SnapBridge commentary amended to reflect the behavior of firmware v1.1 and both iOS and Android app version V1.20

    Articles: Digital Photography Review (dpreview.com)

  • CP+ 2017: the weird, wonderful, and everything in between

    Best of CP+ 2017 in Japan

    While there weren’t a lot of new announcements at CP+, the theme of the show seemed to be glass: Sigma launched four new lenses, Tamron showed off two, Pentax announced the development of two full-frame primes, Fujifilm showcased a line of affordable cinema primes for Sony E-mount users and a ton of third-party brands had their latest glass creations on display.

    So take a peek through our gallery for a rundown of the best of CP+ 2017… and some other stuff we found along the way.  

    Fujifilm GFX 50S

    While not newly announced, CP+ 2017 was the first time we were able to shoot with a final production Fujifilm GFX 50S medium-format digital camera. As you might expect, it’s an absolute peach to use. Barney and I spent most of the time in Japan fighting over who’d get to use it, which should tell you all you need to know. Simply put, we both found its form factor to be fabulous (it’s surprisingly light), and as for image quality – well, take a look for yourself.

    Sigma 14mm F1.8 DG HSM

    Sigma announced four new lenses at CP+, three of which join the growing ‘Art’ series. They include a 24-70mm F2.8, a 135mm F1.8 and the one we are most excited for: a 14mm F1.8. In addition, the company also launched a 100-400mm F5-6.3 DG OS HSM lens which is part of the company’s more modestly-priced ‘Contemporary’ series. 

    But back to the 14mm F1.8. It’s the fastest 14mm in existence, yet despite its wide angle of view, distortion appears almost non-existent. It also appears to be crazy sharp! We’re hoping to be able to post some sample images very soon to prove it. 

    Nikon D5 100 Year Anniversary Strap

    Nikon didn’t launch any new products at CP+, but as part of its continuing 100th year anniversary celebration, it did unveil several special edition 100 year anniversary items including this swanky leather strap (and a gunmetal grey edition D5 and D500). We have no idea if these straps will eventually be for sale, or if acquiring one also means buying a D5/D500, but we’d hang them round our necks.  

    HandeVision Iberit 75mm F2.4

    We stumbled on a bunch of cool mirrorless lenses from HandeVision, including this matte grey Iberit 75mm F2.4 (shipping versions will be finished in chrome or black). Build quality seems good, and at just over $ 700, it’s a semi-affordable option for mirrorless (and Leica M) manual focus shooters. On crop sensor bodies it gives a 112mm effective field of view. Check out the other lenses HandeVision had on display. 

    Sigma 135mm F1.8 DG HSM

    In addition to the 14mm F1.8, Sigma also dropped a 135mm F1.8 at this year’s show. It’s pretty large, and a little heavy, but it sure is pretty, especially that big front element. The lens mount also has a rubber gasket to keep dust and water out, something not offered in previously released Sigma’s ‘Art’ series lenses. And a 9-blade aperture should ensure attractive bokeh (as much as you can expect at 14mm, anyway) and hopefully nice sunstars, too. Simply put, we’re pretty jazzed to get it in the office and getting shooting. 

    Exploded gear/gear cut in half

    There was a lot of bisected and exploded gear at this year’s show (as always). As has become tradition, we made this gallery to highlight some of the best examples. 

    Ricoh Pentax D FA* 50mm F1.4

    Ricoh added two new full-frame prime lenses to its lens lineup this year, including this 50mm F1.4 as well as an 85mm F1.4. The 85mm wasn’t on display, but we were able to lay eyes (and our cameras) on a mockup of the new 50mm, tucked inside a very reflective and very secure plastic case. Details about the lens are forthcoming, but it’s certainly large. 

    Canon EOS 77D

    We didn’t get our hands on Canon’s new EOS 77D at the show, mainly because of the sizable crowds in the Canon booth, but we’d already seen it a few weeks ago back in the US. The EOS 77D is built around a 24MP APS-C sensor, Digic 7 processor and 45-point AF system. Take a look at our hands-on for more info. 

    Sigma 24-70mm F2.8 DG OS HSM Art

    We’ve included all three new Sigma Art lenses in this gallery because frankly, they’re all really enticing. The 24-70mm F2.8 is impressively small and light weight (for an Art-series prime). And like the 135mm it has a rubber gasket at the base to keep dust and moisture out. Even more impressive: it’s stabilized. Check out our hands-on for more. 

    Pigeon camera

    Every year, in the back corner of CP+ is a small camera museum exhibit. And one of my absolute favorite cameras on display was the Michel Pigeon Camera, which is exactly what it sounds like. Though the pigeon is no longer with us (we assume – it could just be very well-trained), the camera still looks pretty functional. You can read more about the Michel Pigeon Camera here. 

    Used camera fair

    Another fixture of CP+ is the used camera fair, which takes place upstairs. A great place to find weird old rangefinder lenses, camera cases, obscure film compact cameras. As such, a great place to spend money. We were disappointed when we missed the end of the fair when we returned on Sunday, but to be honest, it was probably for the best. 

    Voigtländer Macro APO-Lanthar 65mm F2

    Voigtländer unveiled three new manual focus Sony E-mount lenses at CP+ including this 65mm F2 macro. The build quality on these lenses, as you might expect, is marvelous. And unlike older Voigtländers, these lenses have electronic contacts, so they’ll communicate with the camera body to which they are attached. the 65mm F2 offers a 1:2 max magnification. Take a look at the other two lenses Voigtländer announced in our hands-on slideshow. 

    Canon EOS Rebel T7i

    Canon’s flagship Rebel, the T7i is the first in the series to incorporate Canon’s Dual Pixel AF. Take a look through our previously-published hands-on to find out more.

    Ricoh Pentax KP

    We were able to get closer look at the insides of Pentax’s latest APS-C DSLR. How cool is it to see the pentaprism cut right down the middle? In many respects a miniature Pentax K-1, the KP is well-featured, and weather sealed (when it hasn’t been cut in half). Also in the Pentax booth was a pretty cool demo showing off the company’s image stabilization. You can find a short video of that here. And for more on the Pentax KP, check out our hands-on. 

    Tamron SP 70-200mm F2.8 Di VC USD G2

    There’s a lot of buzz surrounding Tamron’s 2nd generation SP 70-200mm F2.8 lens and we were pretty excited to check it out in person. Compared to its predecessor, Tamron promises faster autofocus and better stabilization. It also offers a completely overhauled optical and mechanical design. Available in Canon, Nikon and Sony mounts, this high-end telezoom will only set you back $ 1500, making it a bargain compared to it’s non-third party counterparts.

    Tamron was also showing off its new 10-24mm F3.5-4.5 Di II VC HLD. You can read more about both lenses here. 

    This poor man

    It was freaking hot on the tradeshow floor! And this poor man had to spend all four days dressed in what seemed like fairly un-breathable getup all while posing with anyone who passed by and wanted to get a photo. Did he lose a bet? We have no idea.

    Fujifilm MK cinema lens series 

    Fujifilm is entering the affordable cine lens market with the launch of the MK series for Sony E-mount (and X mount, coming later). These lens are an affordable alternative to much more expensive cinema lenses and cover a Super 35 or APS-C imaging area. The lenses include an 18-55mm T2.9, and a 50-135mm T2.9. 

    We recently made a short video using the MK18-55 T2.9. Take a look. 

    Sony a7S rig for the International Space Station

    Did you know that the International Space station has a Sony a7S mounted on it for low-light photography? Here’s a copy of the rig it sits in, in while flying around the Earth at 17,150 miles per hour. 

    Mini space station

    And just for reference, here’s a full-size model of the ISS. It’s smaller than you expect.

    Articles: Digital Photography Review (dpreview.com)

  • DPReview to produce regular segment on The New Screen Savers

    We’re excited to announce that DPReview is partnering with the TWiT Network (named after its flagship show, This Week in Tech) to produce a regular segment for The New Screen Savers, a popular weekend show hosted by technology guru Leo Laporte.

    On this week’s show, DPReview editor Dale Baskin joins Leo and guest host, Iain Thomson of The Register, to talk about the Panasonic GH5. Tune in to the entire episode to also learn about the discovery of a solar system with 7 Earth-sized planets that could potentially support life, a large internet security bug, and a report on the new Nintendo Switch.

    You can watch The New Screen Savers live every Saturday at 3pm Pacific Time (23:00 UTC), on demand through our articles, the TWiT website, or YouTube, as well as through most podcasting apps.

    Articles: Digital Photography Review (dpreview.com)

  • OPPO 5x smartphone zoom system sample images

    Yesterday smartphone maker OPPO announced an innovative 5x zoom system for smartphone cameras that uses a dual-camera in combination with a prism and periscope-style lens design. It’s only 5.7mm tall, and therefore could fit into even the thinnest smartphones. Unfortunately, OPPO did not release too much technical information but there are a few prototype devices available to shoot with at the OPPO both at the Mobile World Congress. We gave the camera a quick try, and had a closer look at the sample images and embedded EXIF to find out more.

    The camera app on the prototype phones is kept very simple, with the main feature being a big zoom button. One tap on the latter makes the camera jump from wide-angle to a 2x zoom factor; a second tap jumps to the full 5x magnification. There are no intermediate zoom settings. The sample images below were taken at those respective lens settings and show a well-illuminated test scene at the OPPO booth.

     Wide-angle, ISO 189, 1/189 sec
     2x zoom, ISO 115, 1/100 sec
     5x zoom, ISO 111, 1/50 sec

    The camera produces 12MP images and in the EXIF data aperture at all zoom settings is reported as F2.0. At ISO 189, sensor sensitivity is the highest at the wide-angle setting. It decreases to ISO 115 at the 2x zoom setting and ISO 111 at the 5x setting. Shutter speed is reported at 1/100 sec at the wide-angle and 2x setting and 1/50 sec at the tele setting.

    There is no way of knowing if the reported EXIF is accurate but, looking at the scene and considering the tele-portion of the lens construction is optically stabilized, it could well be the case that at the tele settings the light fall-off on the OPPO system is much less significant than on a conventional zoom with changing apertures. The image quality of the samples seems to support the ISO data, with the zoomed images not showing noticeably more image noise or less detail than the wide-angle shot.

    Of course, we are looking at a prototype device here and the image output of an eventual production phone might look very different. Nonetheless, the sample images out of the prototype do look promising and we hope to see an OPPO device with the 5x zoom system being launched soon.

    Articles: Digital Photography Review (dpreview.com)

  • CP+ 2017: HandeVision shows off prime lenses for mirrorless and Leica M

    CP+ 2017: HandeVision shows off prime lenses for mirrorless and Leica M

    Originally announced in late 2015, German-Chinese company HandeVision’s collection of Leica-inspired, full-frame ‘Iberit’ prime lenses is on display at this year’s CP+ tradeshow in Yokohama, Japan.

    HandeVision is a brand created through cooperation between German lens manufacturer IB/E Optics and the Chinese company Shanghai Transvision Photographic Equipment Co – the company behind the Kipon brand. Reportedly, the brand name came about because the first three letters – ‘Han’ signify ‘China’ in Mandarin, while the following two letters ‘De’ represent the first two letters of ‘Deutschland’.

    All of the Iberit series are available in Leica M, Leica T, Sony E and Fujifilm X mount, and the Iberit 50mm F2.4 will cost ¥82,000 (~$ 730).

    CP+ 2017: HandeVision shows off prime lenses for mirrorless and Leica M

    Here’s the Iberit 75mm F2.4, in a matte gray finish. At ¥79,800 (~$ 712) this is a relatively affordable prime lens for mirrorless manual-focus fans, and covers an effective focal length of 112mm on APS-C formats.

    CP+ 2017: HandeVision shows off prime lenses for mirrorless and Leica M

    Shown here in a chrome finish, the Iberit 24mm F2.4 is the most recent addition to the lineup. This compact wideangle prime and will be available for ¥92,000 (~820).

    CP+ 2017: HandeVision shows off prime lenses for mirrorless and Leica M

    Here’s the most compact lens in the Iberit lineup, the 35mm F2.4. Like all of the other Iberit lenses, the¥88,900 (~$ 790) 35mm is made in China, from anodized aluminum, brass and stainless steel.

    CP+ 2017: HandeVision shows off prime lenses for mirrorless and Leica M

    The Ibelux 40mm F0.85 is a different beast altogether, The world’s fastest commercially-produced lens, the Ibelux is available in Sony E, Canon EF and M43 mounts, and weighs in at a hefty 2.6 pounds (1.2kg). As you can see, it looks more like a short telephoto prime than a 40mm. Costing around $ 2000, the Ibelux might be of some interest to filmmakers, but we’d think twice before buying it for stills shooting. 

    Articles: Digital Photography Review (dpreview.com)

  • Sony Xperia XZ Premium features 960 fps slow-motion and 4K display

    Sony has today announced two new high-end Android smartphones, the Xperia XZ Premium and the Xperia XZs, which both use a 19MP 1/2.3 image sensor that is based on Sony’s recently announced 3-layer stack technology for smartphones. The camera, which Sony calls Motion Eye, also features a 25mm equivalent lens, F2.0 aperture, laser-assisted AF and an RGBC-IR sensor for natural color rendering. In video mode it can record 4K footage and comes with Sony’s very efficient SteadyShot 5-axis digital stabilization. Sony also says it has improved the panorama mode which is now capable of capturing higher resolution images. 

    Thanks to the 3-layer sensor’s fast readout times the camera’s highlight feature is a 960 fps slow motion video mode that can record 720p footage. The new sensor technology also reduces the rolling shutter effect in both still images and video. The two new models also the same front camera which comes with a 13MP 1/3.06” sensor and 22mm equivalent focal length. 

    While the camera looks impressive the Xperia XZ Premium offers the best of the best in all other departments as well. The Android 7.0 operating system is powered by Qualcomm’s latest Snapdragon 835 chipset and 4GB of RAM. Images can be viewed and composed on a 5.5” display with 4K resolution that also supports HDR technology. The phone is completely wrapped in Gorilla Glass 5 and waterproof (IP68). The 3,230mAh battery supports Quick Charge and the power button doubles as a fingerprint reader. 

    The Xperia XZs comes with the same new camera as the XZ Premium but, with a 5.2″ 1080p screen and Snapdragon 820 processor, is otherwise more or less identical to the current XZ. The Xperia XZs will be available early April at approximately $ 700. The XZ Premium will launch later in spring. No pricing information on the higher-end model has been released yet. 

    Sony Xperia XZ Premium key specifications:

    • 19MP 1/2.3 CMOS sensor
    • 25mm equivalent lens
    • F2.0 aperture
    • ON-sensor phase detection and laser-assisted AF
    • RGBC-IR sensor
    • 4K video
    • 5-axis digital stabilization
    • 960fps slow motion at 720p
    • 13MP front cam with 1/3.06” sensor and 22mm equivalent focal length
    • Android 7.0
    • Qualcomm Snapdragon 835 chipset
    • 4GB RAM
    • 5.5” 4K display
    • Waterproof (IP68)
    • 3,230mAh battery with Quick Charge

    Articles: Digital Photography Review (dpreview.com)

  • These are the four cameras that won Oscars in 2017

    Four Oscar winning cameras of 2017 

    Before things got really confusing at the 89th Academy Awards last night, we got an overview of the Oscars given out earlier in the month at the Scientific and Technical Awards. Notably, four cameras earned recognition for helping to usher in the digital age of filmmaking. 

    So, which cameras were Oscar winners? And the award goes to…

     1. Arri Alexa 


    ARRI     was honored ‘for the pioneering design and engineering of the Super 35 format Alexa digital camera system.’ 

    Arri Alexa cameras were used on the nominated and award winning films Arrival, Moonlight, Lion, Hell or High Water, and Manchester by the Sea.

    2. RED Epic


    RED Digital Cinema received an award for the the RED Epic thanks to its upgradeable full-frame sensors. The RED Epic Dragon was used on the award-nominated films Hacksaw Ridge and Hidden Figures.

    3. Sony F65 CineAlta

    The Academy recognized Sony for the development of the F65 CineAlta camera with its unique sensor design and ‘true’ Raw recording capability.

     4. Panavision Genesis

    Finally, Panavision and Sony were recognized for the design of the Genesis digital motion picture camera, which allowed for it to become one of the most widely adopted digital cameras for cinematography.

    Articles: Digital Photography Review (dpreview.com)

  • Hasselblad to introduce 120mm macro for the X1D with three more lenses to follow

    Medium-format camera manufacturer Hasselblad has announced that it will introduce four new lenses over the next twelve months for its X1D mirrorless model. The new lenses will be a 22mm wideangle, a 65mm moderate wide, a 120mm macro and the system’s first zoom – a 35-75mm.

    The first lens to arrive will be the XCD 120mm F3.5 macro that will have a maximum image scale of 1:2 and a closest focus distance of 0.43m from the camera sensor. The focal length on the X1D sensor will deliver the angle of view we’d expect from a lens of just longer than 90mm on a 135 format system. As you’d expect, the lens has an integrated shutter and will be able to achieve synchronisation with flash at shutter speeds of up to 1/2000sec. The lens uses 10 elements in 7 groups and an internal floating focusing mechanism. It will weigh 970g and will measure 150mmx81mm.

    Hasselblad says the flat field reproduction makes the lens ideal for accurate macro work, but that the moderate telephoto focal length will also suit portrait photographers. The autofocusing system is effective throughout the entire distance range, and the smallest aperture available will be F32.

    While the 120mm macro is due to arrive in June there is no date yet for the release of the other lenses, but the company expects to make them available within the next twelve months. No technical data has been provided other than their focal lengths. Pricing will also be released closer to the availability dates. For more information on the Hasselblad XCD lens range visit the Hasselblad website.

     Hasselblad XCD lenses  Approx equiv focal length
     Existing lenses  
     45mm F3.5  35mm 
     90mm F3.2  70mm
     30mm F3.5  24mm
     New lenses  
     22mm 18mm
     65mm  50mm
     120mm F3.5 Macro  95mm
     35-75mm  28-60mm

    Press Release

    Hasselblad announces four new XCD lenses for the X1D

    Combining Compact Format with the Highest Optical Quality

    Following the hugely successful launch of the ground-breaking X1D in 2016, Hasselblad is delighted to introduce four new XCD lenses. The XCD 120mm Macro lens is the first to complement the existing XCD lens family, and will be available at the end of June 2017.

    The exceptionally high performing 120mm F3.5 lens brings together the compact format of the XCD range with the maximum optical quality across the frame with a flat image field. Providing a new versatility to the X1D user, the lens is suitable for both close-up work up to a 1:2 image scale, and also as a mid-range telephoto lens for portrait or other photography requiring a longer focal length. Auto or manual focusing goes from infinity to 1:2 without the need for extension tubes.

    Like the other XCD lenses, XCD 120mm Macro lens has an integral central shutter offering a wide range of shutter speeds and full flash synchronisation up to 1/2000th second.

    Hasselblad Product Manager, Ove Bengtson commented: “The XCD 120mm Macro lens complements the existing XCD dedicated autofocus lenses which were developed to support optical quality and portability. This is the first addition to the X1D range of lenses in 2017 and we are excited to launch more lenses later in the year.”

    Over the next 12 months, Hasselblad will also launch the XCD 35-75mm Zoom*, XCD 65mm*, and XCD 22mm Wide Angle* lenses. By the beginning of 2018, the X1D will have access to seven dedicated XCD lenses and all twelve HC/HCD lenses using the XH lens adapter.

    XCD 3,5/120mm Macro Technical Specification 

    • 3.5/120 mm Macro
    • Focal length: 120 mm
    • Max aperture: F3.5
    • Min Aperture: F32
    • Image scale: 1:2
    • Angle of view: (diag/hor/ver): 26°/21°/16°
    • Integral central shutter
    • Full flash synchronisation up to 1/2000 sec
    • Size: diam 81 mm, length 150 mm
    • Filter diameter – 77mm
    • Weight: 970 g

    Specification subject to change without notice.

    Articles: Digital Photography Review (dpreview.com)