360Photography

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  • World’s fastest SD cards hit 299MB/s write-speed according to Sony

    Sony has announced what it is describing as the world’s fastest SD memory cards with the launch of the new SF-G series. The three cards under the new label are capable of reading out at a rate of 300MB/s, but more significantly for camera performance they can accept data at a write speed of up to 299MB/s. Such speeds equip them to receive high resolution video as well as to cope with the new wave of extreme frame rates in DSLR and mirrorless cameras – such as that produced by the Olympus OM-D E-M1 ll.

    Sony says that it isn’t just the physical properties of the cards that assist getting long bursts of high resolution images recorded, as the company has also developed a new algorithm that it says ‘prevents loss of speed in data writing even after repeating burst shooting, and contributes to the camera’s speed of burst shooting’.

    Sony will launch three different capacities in the SF-G range; 32GB, 64GB and 128GB, and says the very high read rates possible will reduce the time it takes users to copy large amounts of data from the cards – so long as a suitable card reader is used. Conveniently then, Sony has also announced a new card reader that uses USB 3.1. The MRW-S1 is claimed to be the fastest card reader in the world too, due to its adoption of SuperSpeed USB and a direct, cable-free connection between the reader and the PC’s USB port.
    No pricing has been released with the news, but the SF-G cards are due to go on sale in March while the card reader is expected for April.

    It’s interesting to note, however, that the card is still rated as U3 speed class, meaning that it’s only guaranteed to be able to sustain a writing speed of 30MB/s, which is significant if you’re attempting to shoot video (30MB/s is 240 Mbps). It’s unclear whether this is because the card can’t dependably write fast enough to earn a V60 rating or if Sony simply hasn’t fully adopted the SD 5.0 standard yet.

    For more information visit the Sony memory card website.

    Press Release

    Sony launches the World’s Fastest SD card, the SF-G series

    World’s fastest SD Card for writing speeds up to 299MB/s, for burst mode shooting and 4K video with DSLR

    Faster reading speeds up to 300MB/s, for quick file transfer
    File rescue software to recover accidentally deleted photos and videos

    Faster than ever before

    Sony has applied years of experience in professional media to expand the current high performance memory card line up with an ultra-fast speed model that will maximise your camera performance. Introducing the world’s fastest SD card, the SF-G series is the perfect accompaniment for your high-performance DSLR or mirrorless camera, offering up to 299MB/s write speeds, contributing to longer high-speed continuous burst mode shooting for high-resolution images with cameras supporting UHS-II.

    Available in 32GB, 64GB or 128GB storage capacity, this memory card’s blazing-fast write speed also allows for a shorter buffer clearing time, making sure you will never miss those life-changing moments or shots.

    A Sony developed algorithm prevents loss of speed in data writing even after repeating burst shooting, and contributes to the camera’s speed of burst shooting – this is an SD card you can rely on.

    Another brilliant feature of this SD card is the ultra-fast read speed of up to 300MB/s. Paired with a memory card reader, the cards can transfer large volumes and file sizes to a computer very quickly, contributing to a more efficient workflow for professionals.

    “As the continuous shooting of higher-resolution images and adoption of 4K video with DSLR and mirrorless camera increases, the inherent need for larger, faster and more reliable cards becomes apparent. Thanks to the SF-G series, we continue to show our commitment to providing a full range of extremely high performance media devices to professional photographers and enthusiasts, maximising their camera performances” said Romain Rousseau, European Product Marketing Manager.

    The perfect back-up

    Sony’s SD products are highly reliable and durable and offer such features as water proofing and anti-static protection which help keep your precious contents safe. But when you are out all day shooting fast with time at a premium, accidental deletion of images can happen. With Sony’s free downloadable File rescue software, you can quickly recover deleted images or videos, including RAW images and 4K XAVC-S video files.

    MRW-S1, the fastest card reader for SF-G series

    In conjunction with SF-G series, Sony is introducing a new memory card reader, model MRW-S1, the perfect solution to drastically improve workflow efficiency after shooting by quickly transferring large data from SF-G series SD cards to a PC. This compact card reader offers an in-built SuperSpeed USB (USB3.1 Gen.1) standard A port for cable-free PC connection, so that your files can be copied faster than copying through the SD slot on a PC.

    The new SF-G series SD cards will be available in stores in March 2017 and the MRW-S1 card reader will be available in stores in April 2017.

    For more information on Sony’s SD card lineup, including the SF-G series, please visit; https://www.sony.co.uk/electronics/storage-devices/t/sd-cards

    Articles: Digital Photography Review (dpreview.com)

  • This CMOS sensor with 3D-printed microlenses is designed to mimic predator vision

    A research team at the University of Stuttgart, Germany has proposed utlizing a 3D printer with ultra-short pulse laser-technology to print multi-component microlenses directly onto the surface of a CMOS image sensor. Doing so would create a ‘foveated’ imaging system: one with greater resolving power in the center, similar to the vision of predators in the animal kingdom.

    In the research project, lens groups consisting of one of four types of tiny doublet lenses were printed directly onto the chip, after some functional layers like the existing microlenses and the color filters had been scratched off. The individual lenses come with 35mm equivalent focal lengths of 31, 38, 60 and 123mm which together give the system a field of view of approximately 70 degrees but with extra resolution at the center.

    The footprint of the optics on the sensor is less than 300 x 300µm and the height of the lenses is 200µm, allowing for the design of highly miniaturized cameras that could be used in areas such as endoscopy, optical scientific instruments, optical sensing, camera drones or security.

    Improvements to the current version could include anti-reflective coatings on the lenses, the use of triplets or more lens elements for aberration correction and the inclusion of absorbing aperture stops.

    The paper by Simon Thiele, Kathrin Arzenbacher, Timo Gissibl, Harald Giessen, and Alois M. Herkommeris is titled ‘3D-printed eagle eye: Compound microlens system for foveated imaging’ and can be read in its entirety on Science Advances. 

    Abstract:

    We present a highly miniaturized camera, mimicking the natural vision of predators, by 3D-printing different multilens objectives directly onto a complementary metal-oxide semiconductor (CMOS) image sensor. Our system combines four printed doublet lenses with different focal lengths (equivalent to f = 31 to 123 mm for a 35-mm film) in a 2 × 2 arrangement to achieve a full field of view of 70° with an increasing angular resolution of up to 2 cycles/deg field of view in the center of the image. The footprint of the optics on the chip is below 300  × 300 um, whereas their height is less than 200 um. Because the four lenses are printed in one single step without the necessity for any further assembling or alignment, this approach allows for fast design iterations and can lead to a plethora of different miniaturized multiaperture imaging systems with applications in fields such as endoscopy, optical metrology, optical sensing, surveillance drones, or security.

    Articles: Digital Photography Review (dpreview.com)

  • Catch them all: high resolution poster shows every Pentax SLR ever produced

    Ricoh has released two posters charting the history of Pentax cameras, both in downloadable high-resolution PDF formats. These posters join the company’s existing online Pentax History website, serving as large visual aids to complement the site’s extensive product-by-product details.

    The first of the two posters is dubbed the ‘Pentax Archives,’ and it shows camera models over the years starting with the Asahiflex I from 1952. Many of the cameras are accompanied by descriptions detailing the notable aspects of the model. The other poster shows every Pentax SLR from 1952 to 2017.

    You can download them here:

    • Pentax Archives
    • Every Pentax SLR from 1952 to 2017

    Those interested in additional information can view the brand’s history archives sorted by year, film and digital categories here.

    Via: PentaxRumors

    Articles: Digital Photography Review (dpreview.com)

  • World’s fastest SD cards hit 299MB/s write-speed according to Sony

    Sony has announced what it is describing as the world’s fastest SD memory cards with the launch of the new SF-G series. The three cards under the new label are capable of reading out at a rate of 300MB/s, but more significantly for camera performance they can accept data at a write speed of up to 299MB/s. Such speeds equip them to receive high resolution video as well as to cope with the new wave of extreme frame rates in DSLR and mirrorless cameras – such as that produced by the Olympus OM-D E-M1 ll.

    Sony says that it isn’t just the physical properties of the cards that assist getting long bursts of high resolution images recorded, as the company has also developed a new algorithm that it says ‘prevents loss of speed in data writing even after repeating burst shooting, and contributes to the camera’s speed of burst shooting’.

    Sony will launch three different capacities in the SF-G range; 32GB, 64GB and 128GB, and says the very high read rates possible will reduce the time it takes users to copy large amounts of data from the cards – so long as a suitable card reader is used. Conveniently then, Sony has also announced a new card reader that uses USB 3.1. The MRW-S1 is claimed to be the fastest card reader in the world too, due to its adoption of SuperSpeed USB and a direct, cable-free connection between the reader and the PC’s USB port.
    No pricing has been released with the news, but the SF-G cards are due to go on sale in March while the card reader is expected for April.

    For more information visit the Sony memory card website.

    Press Release

    Sony launches the World’s Fastest SD card, the SF-G series

    World’s fastest SD Card for writing speeds up to 299MB/s, for burst mode shooting and 4K video with DSLR

    Faster reading speeds up to 300MB/s, for quick file transfer
    File rescue software to recover accidentally deleted photos and videos

    Faster than ever before

    Sony has applied years of experience in professional media to expand the current high performance memory card line up with an ultra-fast speed model that will maximise your camera performance. Introducing the world’s fastest SD card, the SF-G series is the perfect accompaniment for your high-performance DSLR or mirrorless camera, offering up to 299MB/s write speeds, contributing to longer high-speed continuous burst mode shooting for high-resolution images with cameras supporting UHS-II.

    Available in 32GB, 64GB or 128GB storage capacity, this memory card’s blazing-fast write speed also allows for a shorter buffer clearing time, making sure you will never miss those life-changing moments or shots.

    A Sony developed algorithm prevents loss of speed in data writing even after repeating burst shooting, and contributes to the camera’s speed of burst shooting – this is an SD card you can rely on.

    Another brilliant feature of this SD card is the ultra-fast read speed of up to 300MB/s. Paired with a memory card reader, the cards can transfer large volumes and file sizes to a computer very quickly, contributing to a more efficient workflow for professionals.

    “As the continuous shooting of higher-resolution images and adoption of 4K video with DSLR and mirrorless camera increases, the inherent need for larger, faster and more reliable cards becomes apparent. Thanks to the SF-G series, we continue to show our commitment to providing a full range of extremely high performance media devices to professional photographers and enthusiasts, maximising their camera performances” said Romain Rousseau, European Product Marketing Manager.

    The perfect back-up

    Sony’s SD products are highly reliable and durable and offer such features as water proofing and anti-static protection which help keep your precious contents safe. But when you are out all day shooting fast with time at a premium, accidental deletion of images can happen. With Sony’s free downloadable File rescue software, you can quickly recover deleted images or videos, including RAW images and 4K XAVC-S video files.

    MRW-S1, the fastest card reader for SF-G series

    In conjunction with SF-G series, Sony is introducing a new memory card reader, model MRW-S1, the perfect solution to drastically improve workflow efficiency after shooting by quickly transferring large data from SF-G series SD cards to a PC. This compact card reader offers an in-built SuperSpeed USB (USB3.1 Gen.1) standard A port for cable-free PC connection, so that your files can be copied faster than copying through the SD slot on a PC.

    The new SF-G series SD cards will be available in stores in March 2017 and the MRW-S1 card reader will be available in stores in April 2017.

    For more information on Sony’s SD card lineup, including the SF-G series, please visit; https://www.sony.co.uk/electronics/storage-devices/t/sd-cards

    Articles: Digital Photography Review (dpreview.com)

  • Leica SL Review

    Introduction

    The Leica SL is a high end 24MP full-frame mirrorless camera that has an astonishing ‘EyeRes’ high-resolution viewfinder, an incredibly high level of build quality and weather sealing, and unconventional though effective controls. Perhaps most significantly, this is the first non-rangefinder 35mm full-frame digital camera Leica has made, and the company’s first full frame mirrorless camera in the modern sense.

    Key specifications

    • 24MP full-frame CMOS sensor
    • 0.8x magnification electronic viewfinder with 4.4 million dots
    • 11 fps continuous burst shooting
    • Maestro II image processor
    • Native ISO range of 50-50000
    • 49-point contrast-detect AF system
    • Dual SD card slots
    • 4K video recording with 4:2:2 10-bit HDMI out
    • Sturdy, weather-sealed construction

    Leica, for all its cachet, mystique and eye-watering price points, has been consistent in its manufacture of somewhat unconventional digital cameras. There’s the X-U, which is the only camera with an APS-C sized sensor that’s designed to be submersible right out of the box. There’s the T and TL, which, at the time of its release anyway, was unique in its heavy reliance on touch control. And then there’s the M Monochrom, the only digital camera on the market that only shoots in black and white.

    Enter the SL. Priced body-only higher than an M10 but (far) less than the company’s S line of medium-format bodies, the SL is aimed squarely at professionals and advanced amateurs with deep pockets. The SL is a blend of the S, M and Q cameras in terms of specifications, overall design aesthetic and controls.

    The sensor performance of the SL isn’t quite class leading, but the native lenses are lovely. Out of camera JPEG, Leica Summilux-SL 50mm F1.4. ISO 500, 1/100 sec, F2.2. Photo by Carey Rose

    Although the SL shares a lens mount with the T (whose lenses are now designated ‘TL’ while the SL’s are, predictably, ‘SL’), you’ll really want to use full-frame lenses to get the most out of it. At the time of this writing, that means you’re limited to just three native autofocus lenses, which include two variable-aperture zooms and a fast fifty. You can, of course, adapt M-mount glass to it, and though you’ll be potentially slowed by manual focus, the incredible viewfinder makes that process about as easy as can be.

    Let’s take a look at how the SL compares with the Sony a7R II, the only other full frame mirrorless camera out there currently.

       Leica SL Sony a7R II
    MSRP (Body only) $ 7450 $ 2899
    Pixel Count 24MP 42MP
    ISO Range (native) 50-50000 100-25600
    AF Point control Joystick/touchscreen Four-way controller
    Card slots

    Dual SD, 1x UHS II

    		 Single SD, UHS I
    EVF (magnification/resolution) 0.80x / 4.4M dots 0.78x / 2.36M dots
    Continuous Shooting rate 11 fps (7 fps with AF) 5 fps
    Rear screen Fixed touchscreen Tilting
    Autofocus 49-pt contrast-detect 499-pt on sensor phase-detect
    Image stabilization In-lens In-body
    Video Up to 4K/30p Up to 4K/30p
    Battery life

    400 shots

    		 290 shots
    Weight 847g 628g

    So who is the SL for? It shoots nearly as fast as a Nikon D5, but with focus locked and a much more limiting lens lineup. It has rugged, go-anywhere construction and weather-sealing, but with the native lenses, it makes for a heavy and bulky companion. You could lock it down as a studio camera, aided by its 1/250 sec flash sync, but then you’re stuck with ‘only’ 24MP of resolution.

    So far as I can tell, there just isn’t a strictly rational reason to recommend this camera to any particular type of photographer, but when has purchasing a Leica ever been a strictly rational decision? The Q, M and even the T to a certain extent are ‘special’ in some way, particularly in the eyes of their owners. So the question really is, is the SL ‘special?’ It’s certainly less limiting than any of Leica’s other cameras, but in many cases its those other cameras’ very limitations that contribute to their distinctiveness.

    The SL is the ‘cost-no-object’ all-rounder for people who want the most practical camera that Leica currently makes. People will notice it. People who know what a Leica is may know just how expensive and exclusive it is. But practicality and luxury don’t always go hand-in-hand, and using the Leica SL as an all-around photographic tool brings it down to Earth more than its Leica stablemates. To see if its exclusivity and luxury appeal can transcend its utilitarian leanings, let’s dig in.

    Can the capabilities of the SL justify the Red Dot premium? It’s a tall order, but let’s find out. Leica 24-90mm F2.8-4, image processed and cropped slightly to taste. ISO 50, 1/200 sec, F5.6. Photo by Carey Rose

    Articles: Digital Photography Review (dpreview.com)

  • Luuv video camera stabilizers finally make it to the market

    Three years after launching its Indiegogo funding campaign German start-up Luuv has announced it is ready to begin open sales of its video camera stabilization devices. The company has serviced all its backers and is now selling its solidLuuv, ultraLuuv Action and Action Gimbal to the public.

    Designed for filmmakers using small cameras such as GoPro action cams and smartphones, the ultraLuuv Action combines the company’s solidLuuv and Action Gimbal to provide both mechanical and electronic stabilization. Luuv says the setup offers 2x 3-axis stabilization, with the 3-axis mechanical stabilization of the solidLuuv alongside the 3-axis electronic stabilization produced by the rechargeable-battery powered Action Gimbal. The gimbal has four modes that allow panning actions, panning and tilting and for the head to be locked or inverted.

    On its own the Action Gimbal can only cope with 150g weight, so the ultraLuuv Action is limited in the same way, but the solidLuuv can deal with kit weighing up to 500g.

    The ultraLuuv Action is priced €599 (about $ 630), while the solidLuuv is €349 (about $ 370) and the Action Gimbal is €269 (about $ 280). For more information see the Luuv website. Shipping is free within Germany, but looks like an additional €35 (about $ 37) to the US.

    Articles: Digital Photography Review (dpreview.com)

  • Mesmerizing video shows every New York Times front page since 1852

    Looking for a history lesson that’s less than a minute long? A video from self-described data artist Josh Begley is just that. It shows every New York Times front page, starting with 1852 and ending in present day. It’s a mesmerizing visual, but it’s also acts a timeline of the adoption of photography. Photos begin appearing more frequently around the halfway point in the video, and the transition to color photography happens around the 48 second mark.

    The New York Times published its first issue on September 18, 1851. The first photos published by the paper appeared in a Sunday magazine in 1896. May 29, 1910 marks the first front page photographed published by the Times, an image of a daredevil flight from Albany to New York sponsored by the paper. The first color photograph appeared on the front page in 1997.

    Articles: Digital Photography Review (dpreview.com)

  • Fujinon MK18-55 T2.9 cine lens: First impressions and shooting experience

    Setting up the Fujinon MK18-55mm T2.9 cine lens with the Sony FS7 and Zacuto rig. (I accidentally left the matte box back at the office. Shh… don’t tell anyone.)

    Fujifilm is a respected name in the photography world thanks in part to its highly regarded X-series cameras and lenses. However, Fujifilm is also a major player in the professional cinema market, producing cinema lenses with prices that reach upward of $ 90,000. The company is now extending its cinema expertise into what it calls the ‘emerging production’ market: users who need capabilities and features beyond what’s available in standard DSLR or mirrorless lenses, but who don’t have a budget to spend tens of thousands of dollars on a single lens.

    The Fujinon MK18-55mm T2.9 cinema lens is the first in Fujifilm’s new MK line of Super 35 lenses designed specifically for this market. It will be joined later in the year by the matching MK50-135mm T2.9 lens, giving users complete coverage of the very useful 18-135mm range of focal lengths. The MK line is based on the company’s Cabrio line of cinema lenses, which have prices starting around $ 15,000, and both lens lines share the same coatings and basic mechanical build. At $ 3,799, the MK18-55 is still a bit pricey by photography standards, but a relative bargain for a high quality cinema lens.

    Sony E-mount on a Fujinon lens? Read our First Look slide show to learn why.

    Despite being a Fujifilm product, this lens uses Sony E-mount. (We discuss Fujifilm’s reasons for choosing E-mount in our First Look slide show.) As a result, I tested the lens attached to a Sony FS7, a Super 35 camera that’s very popular among this segment of users.

    Shooting with the MK18-55mm T2.9

    We only had a couple days to do our testing, so I threw together a quick shoot highlighting one of the Pacific Northwest’s favorite sports – climbing – and met up with local climber Jay Griffin at The Mountaineers climbing wall in Seattle. This scenario was perfect for shooting with focal lengths across the range of the lens, as well as for some good follow focus opportunities.

    TL;DR – I really like this lens. In fact, I won’t even make you wait to get to the video, so here it is:

    Video shot using the Fujinon MK18-55mm T2.9 cine lens and Sony FS7 camera. All footage was captured in DCI 4K/24p using Sony SLog3, edited in Final Cut Pro X, and graded using LUTs from Color Grading Central.

    I chose to shoot the entire video shoulder-mounted, so I set up the FS7 on a Zacuto Recoil rig with rails, a Z-Drive follow focus, and a Gratical Eye viewfinder, along with the FS7’s remote grip. This is a fairly straightforward setup, but it takes a few minutes to arrange all the pieces so that everything works correctly and is ergonomically arranged for the camera operator

    Setting up the rig highlighted one of the important features of the MK lenses: they’re matched. For this shoot I only had the MK18-55mm available, but later in the year Fujifilm will be adding the MK 50-135mm to the line as well; both lenses share the same weight and dimensions. In a two-lens shoot, it would be incredibly easy to switch between the two while leaving things like matte boxes and follow focus in place. Also, since both lenses have identical T-stops it would be easy to match exposure as well.

    Using the lens was a joy. As with most cinema lenses, it’s completely mechanical, and build quality is outstanding. Every movement feels well damped, and one gets the immediate sense that it’s a high quality piece of precision equipment.

    One place where this mechanical build is immediately noticeable is the focus ring. Unlike most modern DSLR or mirrorless lenses, which continue to spin after reaching the end of their focus range, the MK18-55mm has hard stops.

    Working with a follow focus is a breeze thanks to the mechanical lens design and geared focus ring.

    It was simple to set up the Z-Drive follow focus with the standard pitch gearing on the focus ring, and thanks to the 200 degree focus rotation angle it was easy to make precise focus adjustments, using peaking in the viewfinder as a guide. The large rotation angle made it easy to adjust for small movements or to follow Jay when he moved slowly. You don’t get this level of precision with the shorter focus throw of most DSLR lenses, and you certainly don’t get it with focus-by-wire!

    I didn’t notice any obvious signs of lens breathing, a phenomena that causes a lens’s field of view to change slightly as a lens is focused. Breathing is fairly common on stills camera lenses, and it rears its ugly head when you’re trying to do something like rack focus between two subjects. Cine lenses are designed to suppress lens breathing, and as far as I could tell the MK18-55 did so extremely well.

    Like other cine lenses, the MK18-55mm has a parfocal design, meaning it should maintain precise focus during zooming. Still photographers often don’t care much about this since it’s simple to zoom and then refocus before taking a shot. For video work, however, you sometimes want the zoom to be part of the shot. Loosing focus mid-zoom is a big deal.

    Since I was using a shoulder mount rig without an assistant, it wasn’t very practical to test the parfocal performance of the lens with Jay. However, back in the studio I lined up the lens with our studio scene and confirmed that its performance is excellent in this regard; once focused, the subject remains in focus throughout the zoom range.

     Shooting with the Fujinon MK18-55mm T2.9 lens and Sony FS7.

    It should be pretty obvious by now that I really enjoyed using the MK18-55mm. In addition to finding it well designed and delightful to work with, I was very pleased with the footage I captured. Optical performance appears to be outstanding. Based on my brief experience I would have no qualms about shooting a full project with this lens. It’s exciting to see Fujifilm entering this market, and I’m really looking forward to future lenses in the MK line.

    Now, bring on the MK50-135mm so I can use the set!

    Articles: Digital Photography Review (dpreview.com)

  • Sigma Announces 100-400mm F5-6.3 DG OS HSM lens

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    Sigma has announced the 100-400mm F5-6.3 DG OS HSM, a relatively compact and lightweight optically stabilized super-telephoto lens with with a dust and splashproof mount. The lens weighs 1160g/41oz, is 182mm/7.2in long, and the lens’ front element has a 67mm diameter filter thread.

    For zooming, the lens utilizes a standard twist mechanism, or the front of the lens can be pushed or pulled. It can focus down to 1.6m/5.2ft, and features a maximum magnification ratio of 1:3.8. The optical design comprises of 21 elements in 15 groups with four SLD (Special Low Dispersion) elements and a hypersonic motor with an updated algorithm.

    Pricing will be announced at a later date.

    Press Release

    SIGMA 100-400mm F5-6.3 DG OS HSM

     Introducing the light bazooka-a new approach to the ultra-telephoto zoom

    1. Top performance with the specification and functionality of a more expensive unit
    2. Compact packaging with uncompromising image quality
    3. Push/pull zoom mechanism incorporated
    4. Telephoto plus macro functionality
    5. Other features?

    A compact body and top performance in one complete package

    An ultra-telephoto lens with an optical stabilizer (OS) system has several advantages. The OS allows the photographer to take photographs in unstable circumstances. The narrow angle of view makes it possible to dramatically compress perspective and flexible handling of the background. The photographer can thereby make the subject appear to jump out of the image, with the area in focus impressively sharp and clear. Nevertheless, ultra-telephoto lenses have traditionally had some disadvantages as well. As the nickname “bazooka” implies, they have tended to be big, heavy, and therefore burdensome to carry around. With the goal of creating an ultra-telephoto lens that is far more accessible, SIGMA incorporated all of its latest technologies into SIGMA 100-400mm F5-6.3 DG OS HSM | Contemporary. With its outstanding combination of optical performance and compactness, this is an ultra-telephoto lens that is a joy to carry and use. While keeping the robust functionality and exceptional image quality of an ultra-telephoto zoom lens intact, SIGMA has achieved amazingly compact packaging enclosing 400mm optics. Introducing the new and greatly enhanced “light bazooka” ultra-telephoto zoom lens.

    SIGMA 100-400mm F5-6.3 DG OS HSM | Contemporary offers the compact size, lightweight, and high cost performance of a 70-300mm lens while delivering 400mm telephoto performance. This approach results in a tempting new ultra-telephoto choice for photographers. Offering a combination of stunning image quality and outstanding functionality, this lens satisfies the needs of pros and amateurs alike.

    ?Key features?

    1. Top performance with the specification and functionality of a more expensive unit

    Since its release, the SIGMA 150-600mm F5-6.3 DG OS HSM | Contemporary has won photographers over with its strong fundamental performance and exceptional image quality. The new lens retains all of this performance in a compact 400mm ultra-telephoto zoom package with a filter size of just ?67mm and weight of just 1,160g. Yet it also comes with the full range of features and functions expected of an ultra-telephoto zoom: optical stabilizer (OS), hypersonic motor (HSM) with updated algorithm for fast autofocus, focus limiter, and more. In addition, this uncompromising specification becomes customizable with the available SIGMA USB Dock accessory.

    1. Compact packaging with uncompromising image quality

    In designing this lens, SIGMA strived to push both compactness and image quality to the limit. Four SLD (Special Low Dispersion) glass lens elements and an optimized power distribution help minimize optical aberrations. Moreover, by taking special care to minimize transverse chromatic aberration, which cannot be corrected via aperture control, SIGMA has ensured outstanding image quality throughout the zoom range. 

    1. Push/pull zoom mechanism incorporated

    For quick control of the angle of view, the zoom ring incorporates a push/pull mechanism in addition to the regular twist mechanism. The exclusive lens hood has also been designed to accommodate push/pull zooming and overall lens maneuverability. By making it possible to adjust the angle of view instantly, this lens gives photographers an even better chance of getting that crucial shot.

    1. Telephoto plus macro functionality

    With a minimum shooting distance of 160cm and a maximum magnification ratio of 1:3.8, this lens can shoot either from a distance or up close. 

    1. Other features
    • Dust- and splash-proof mount

    Since the area of the lens most vulnerable to dust and other foreign bodies is the mount, rubber sealing helps provide peace of mind.

    • All-new optical stabilizer (OS) unit with exclusive algorithm

    Featuring a newly developed gyroscopic sensor and a new and exclusive algorithm, the all-new OS unit provides a powerful stabilization effect. An acceleration sensor detects camera shake in any direction—horizontal, vertical, or diagonal. This technology allows the OS to stabilize the image very effectively, regardless of whether the camera is being held in horizontal or vertical orientation.

    • Nikon electromagnetic diaphragm mechanism included

    The Nikon mount version of this lens includes an electromagnetic diaphragm mechanism that allows it to receive the appropriate signals from the camera body. This feature ensures precision diaphragm control and stable Auto Exposure (AE) performance during continuous shooting.

    Note: Functionality may be limited on some camera bodies. 

    • Rounded diaphragm 
    • Designed to minimize flare and ghosting
    • Compatible with the newly developed tele converters
    • Fast AF with full-time manual override

    Note: The operation of full-time MF may vary based on mount type

    • Compatible with Mount Converter MC-11
    • Available SIGMA USB DOCK (Makes customization and flexible adjustment possible)
    • Available Mount Conversion Service (Allows use with another camera body)
    • High-precision, durable brass bayonet mount
    • Evaluation with SIGMA’s own MTF measuring system “A1”
    • Made in Japan (With outstanding craftsmanship)
    • The lens barrel is engraved with the year of release

    Sigma 100-400mm F5-6.3 DG OS HSM | C specifications

    Principal specifications
    Lens type Zoom lens
    Max Format size 35mm FF
    Focal length 100–400 mm
    Image stabilization Yes
    Lens mount Canon EF, Nikon F (FX), Sigma SA Bayonet
    Aperture
    Maximum aperture F5–6.3
    Minimum aperture F22
    Aperture ring No
    Number of diaphragm blades 9
    Optics
    Elements 21
    Groups 15
    Special elements / coatings Four SLD elements
    Focus
    Minimum focus 0.16 m (6.3″)
    Maximum magnification 0.26×
    Autofocus Yes
    Motor type Ring-type ultrasonic
    Full time manual Yes
    Focus method Internal
    Distance scale No
    DoF scale No
    Physical
    Weight 1160 g (2.56 lb)
    Diameter 86 mm (3.4″)
    Length 182 mm (7.18″)
    Sealing Yes
    Colour Black
    Zoom method Push/Pull (extending)
    Power zoom No
    Filter thread 67.0 mm
    Hood supplied Yes
    Hood product code LH770-04
    Tripod collar No
    Other
    Notes Rotating or push/pull zoom.

    Articles: Digital Photography Review (dpreview.com)

  • 2016 Challenge of Challenges winners announced

    The votes have been tallied and we have a winner! DPR member cand1d’s image of a glowing sunset in Bagan, Myanmar takes top honors in the 2016 Challenge of Challenges competition. The photo is one of almost 1000 challenge-winning entries. See how your votes ranked the top 25 images, and head to our challenges page if you’re feeling inspired.

    See the 2016 Challenge of Challenges Winners

    Articles: Digital Photography Review (dpreview.com)