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Review Tamrac Anvil Pro Series Backpacks

07 Nov

Review Tamrac Anvil Pro Series Backpacks

Camera backpacks are abused, and I mean seriously mistreated.

We need them to be tough; want them to be comfortable; need them to be light; we want them to be dependable; want them to handle heavy loads (often worth thousands), we need them to offer security; we want them to adapt, and, we want to forget they’re there, and we don’t want them to complain.

It seems, on the surface, this is a rather one-sided relationship. But, in fact, it can be a rather nice love affair.

Ok, that’s a tad mushy, I know! The point is, camera backpacks are some of the hardest working bags in the world. When you need the shot, and the light is fading, they are dumped to one side, no matter what the surface, with zips ripped open. The last thing any of us think about is the poor backpack. And, that’s the way it should be. That’s the whole point. Their role is that of the consistently reliable silent partner.

Why I Switched to the Tamrac Anvil Pro Series Backpacks

After owning numerous backpacks over the years and always disappointed with their performance, I had a chance encounter with an old friend three years ago. They steered me in the direction of Tamrac, and more specifically, their range of six pro backpacks known as ‘Anvil.’

Review Tamrac Anvil Pro Series Backpacks 1

Side View of Anvil Pro Series Backpack with Accessories. Photo courtesy of Tamrac ®

Now, I had heard of Tamrac because I also own an older style Gura Gear bag. But I hadn’t realized just how influential they have been in camera backpack development over the last 40 years. A bunch of outdoor enthusiasts established the company in Southern California in 1977. They had a mission to design products that could withstand the day-to-day challenges of photographers in the world’s most testing and demanding environments and conditions. They stuck to that conviction and they continue to innovate and enhance – based on customer reviews they are getting.

Tamrac has sized the Anvil to fit us, and our gear. Whether we shoot pro-DSLR with battery grip, have a big fast glass or have been enlightened by the mirror-less movement. With six sizes, multiple heights and depths, any set-ups have an Anvil to suit.

I decided to invest in the ‘Anvil 23,’ as it is appropriate to my particular set of requirements. That said, all six Anvils are designed and built alike, with capacity being the only real difference.

Review Tamrac Anvil Pro Series Backpacks 2

Front/Side View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

Now, when it comes to handing over hard-earned cash for a backpack, I have some basic criteria to meet. Albeit, I would have to take a punt based on existing customer reviews and previous experience. Three years on, and I can now add my own real-world experience to this set of standards.

Adaptability

Backpacks need to be fully customizable and to adapt with you as your gear evolves.

The Anvil has certainly delivered on this front. It features a large main padded compartment designed to protect and carry multiple pro-sized DSLR bodies with lenses attached. Along with a full range of lenses, flashes, and accessories.

Review Tamrac Anvil Pro Series Backpacks 3

Compartment View of Anvil Pro Series Backpack Photo courtesy of Tamrac ®

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Top Compartment View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

I’ve lost count of the number of times I’ve reconfigured the internal compartment over the years to cater for my varying needs!

Robust Materials

While keeping my bag light is extremely important, there is also the need for it to stand up to some serious long-term abuse.

Anvil backpacks utilize over ten different optimized foams for the perfect balance of weight and protection. The fabric used is ‘Cordura 500D’ with a PU coating. It is super-rugged and has excellent abrasion resistance. It’s also incredibly strong with outstanding tear strength and water repellent capabilities.

My Anvil 23 is now three years old. Although it shows signs of use (extreme abuse) and its showroom shine has gone, everything is still in working order. There’s no evidence to suggest material degradation.

Of course, when your backpack is dragged down a wet pebble beach by a German Shepherd, it has to be tough, right?

Review Tamrac Anvil Pro Series Backpacks 5

Photo © Andrew Sproule

Comfort

Wider, flexible waist-straps and shoulder straps are a must to ensure I can manage all my gear comfortably over long periods of time.

Furthermore, I transit through plenty of airports each year and climb many a mountain. The Anvil’s comfortable airflow harness and removable belt system (which you can use independently) has made any amount of gear easy to carry.

I’ve also been able to fit the Anvil in the overhead compartment of most commercial aircraft, but please check with your own carrier’s carry-on restrictions.

Review Tamrac Anvil Pro Series Backpacks 6

Back View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

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Belt View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

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Back Belt View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

Access

Due to the fact that I work predominately outdoors, there are few things worse than missing a shot because I couldn’t get access to my gear on time.

Except for the Anvil Super 25 (designed to carry up to an 800mm lens or up to a 500mm attached to a pro DSLR), all Anvils have a handy front padded pocket that holds most 15” laptops. There are also many other exterior pockets for carrying accessories. These are where I tend to keep memory cards, phone, etc.

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Front View of Anvil Pro Series Backpack with Tripod (not included). Photo courtesy of Tamrac ®

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Front Open View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

Dust

Dust is my camera’s enemy.

I lead worldwide wildlife photo safaris to some extremely inhospitable places, and dust can be a constant concern. Past backpacks I’ve used have been dust magnets, especially ones with air-mesh type materials.

Thankfully, the Tamrac Anvil Pro Series Backpacks are completely seam-sealed and have a weather protective rain fly. Both have been critical components in my gear’s welfare.

Review Tamrac Anvil Pro Series Backpacks 11

Rain Fly View of Anvil Pro Series Backpack. Photo courtesy of Tamrac ®

In conclusion

As I’m sure you can tell by now, I’m a big fan of the Tamrac Anvil Pro backpack. That’s down to the fact that it has delivered against my set of expectations and requirements. So, it’s certainly not the cheapest backpack on the market, with prices ranging from around $ 170 – $ 270 (approx. £130 – £210). Although, if I had to choose a backpack again, I would most certainly go for an Anvil.

 

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Capture One Fujifilm editions to support GFX and X series cameras for free

28 Sep

Phase One’s Capture One image editing and archiving software package will finally support Raw files created by Fujifilm cameras, including the GFX bodies, via a free bundled deal with the cameras. In an arrangement similar to that enjoyed by Sony users, owners of Fujifilm GFX and X cameras will be able to use a scaled-back version made especially for them to process the Raw files from the GFX 50, as well as files from cameras going back as far as the Fujifilm Finepix S2 Pro.

Fujifilm camera owners will be able to use a free version of the software, but can buy the full program but with its additional features at a discounted rate. The Full version with full camera support costs a little bit more again, for those who need support for a wider range of camera brands.

The Free version that will come with the cameras is called Capture One Express Fujifilm. If you want more advanced features such as the ability to work in layers, to tether your camera to your computer, and faster image processing, a second tier of the Fujiiflm version allows photographers the full range of controls. The full Pro edition does the same but will also work for brands other than Fujifilm as well. The Capture One Pro Fujifilm costs €159 a year on a subscription basis, while the full version costs €180 annually.

For more information, including a list of all compatible cameras, please see the Capture One website.

Articles: Digital Photography Review (dpreview.com)

 
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What you need to know about DJI’s new Mavic 2 series drones

26 Aug

Two new Mavics

DJI’s orignial Mavic Pro became tremendously popular thanks to an impressive set of features shoehorned into a foldable drone that seemed almost purpose-built for travel. However, two of the most frequent requests from Mavic Pro users have been to upgrade the camera with a larger 1″ sensor, similar to the one found on the Phantom 4 Pro/Advanced twins, and to make a model with a zoom lens.

It appears that DJI was listening to its customers, offering its new Mavic 2 model in two versions: the Mavic 2 Pro includes a camera with a 1″-type sensor and the Mavic 2 Zoom ships with a 2x optical (4x digital) zoom lens, effectively delivering on both requests. Physically, the two models are identical except for the camera module and as a nice touch both include 8GB of internal storage: perfect for that time when you’ll eventually forget to bring a memory card with you.

On the following pages, we’ll take a look at what sets these two models apart, along with some of the headline features that they have in common.

Mavic 2 Pro

The Mavic 2 Pro will appeal to those who want a portable drone, but who have been waiting for a camera with a larger sensor. Its camera is built around a 20MP 1″-type sensor, similar to the one found on the Phantom 4 Pro/Advanced models. It uses a 28mm equiv. lens (compared to 24mm on the P4 Pro and 26mm on the Mavic Pro) with a F2.8-F11 aperture range.

This is the first DJI consumer drone to feature a Hasselblad-branded camera, which the company says was “co-engineered in partnership with Hasselblad.” (Though it’s not the first time DJI as put a Hasselblad on one of its aircraft.) We’re not sure to what degree Hasselblad was actually involved in the camera’s design, however we’re optimistic that the Hasselblad name means that DJI has set a high bar for image quality. DJI says it’s using Hasselblad Natural Color Solution (HNCS) technology to ensure good color accuracy.

The Mavic 2 Pro also has a couple features not found on the zoom model: 10-bit Dlog-M color profile and 4K 10-bit HDR support using hybrid log gamma (HLG) for use on HDR TVs and displays.

Mavic 2 Zoom

The Mavic 2 Zoom uses a 12MP, 1/2.3″ CMOS sensor similar to the original Mavic Pro, but adds a 2x optical zoom lens with an equivalent range of 24-48mm. If you need to zoom further, a 2x digital zoom extends the range to 96mm, though video is limited to HD resolution when it’s used.

DJI says that improvements in its hybrid AF system (phase detect + contrast detect) allow this model to focus up to 40% faster than previous models while still benefiting from improved focus accuracy.

The Mavic 2 Zoom’s lens also enables a couple features not found on the Mavic 2 Pro: Dolly Zoom mode and Super Resolution mode. We’ll take a look at those next.

Dolly Zoom

A dolly zoom is a camera technique you’ve probably seen in films before, and was popularized by directors like Alfred Hitchcock. It’s performed by physically moving the camera away from your subject while using the lens to zoom in at a rate that exactly offsets the camera’s movement. (Or vice versa.) It results in a shot in which the perspective shifts around an apparently unmoving subject.

The Mavic 2 Zoom includes a Dolly Zoom mode that coordinates the movement of the camera and zoom lens to automate dolly zoom moves, opening the door to produce some very creative shots.

Super Resolution

Above: Super Resolution image of New York City captured by the Mavic 2 Zoom. Courtesy of DJI

In addition to 12MP still photos, the Mavic 2 Zoom can also create ‘Super Resolution’ images. Using its optical zoom lens, the drone will automatically shoot 9 overlapping photos which it automatically stitches together to create a much more detailed 48MP image.

Of course, it’s possible to create your own Super Resolution images from any camera using a series of images and some post processing, but the extra telephoto reach from the zoom lens should allow the Mavic 2 Zoom to capture a bit more fine detail of distant subjects, while automating a process many users might not bother to do manually. We look forward to seeing how well this feature works.

Video

Despite having very different cameras, both Mavic 2 models share very similar video specifications. Both can capture UHD 4K (3840 x 2160) up to 30p, 2.7K up to 60p, and HD up to 120p, and video can be recorded using either H.264 or H.265 codecs at up to 100Mbps.

Noticeably absent is support for 4K/60p recording, which is available on the older Phantom 4 Pro/Advanced twins, as well as support for cinema DCI 4K (4096 x 2160), found on both the Phantom 4 Pro/Advanced and the original Mavic Pro.

As mentioned previously, the Mavic 2 Pro also includes a 10-bit Dlog-M color profile and supports 4K 10-bit hybrid log gamma. The Mavic 2 Zoom includes DJI’s D-Cinelike color mode.

HyperLapse Mode

Creating cinematic camera moves with a drone can be challenging without a lot of practice, which is why intelligent flight modes can be so useful. The Mavic 2 drones introduce a new HyperLapse feature designed to show the passage of time, and includes four different ways to direct the motion of the drone.

‘Circle’ mode automatically flies the drone in a circular pattern around your subject, ‘Course Lock’ keeps the camera fixed on a subject as the drone flies in a straight line, and ‘Waypoint’ allows you to plan a flight path using both GPS coordinates and altitudes to set up complex shots. Finally, there’s a ‘Free’ mode in which the pilot can fly the drone manually while it takes photos.

DJI says HyperLapse shots can be shared immediately to social media, but the drone also saves the JPEG and Raw files in case you want to do your own processing later.

ActiveTrack 2.0

The Mavic 2 series also benefits from DJI’s ActiveTrack 2.0, the newest version of its autonomous subject tracking system, which works in conjunction with the obstacle avoidance system to prevent collisions.

ActiveTrack 2.0 uses the main camera and front dual vision cameras to create a 3D map of the area in front of the aircraft, and it analyzes motion to predict the path of a subject up to three seconds in advance, which should improve tracking accuracy. DJI claims the system will even continue to follow your subject if it’s temporarily blocked from view by something else in the frame.

Smarter flying

The Mavic 2 models have an updated version of DJI’s FlightAutonomy system that uses 10 sensors around the drone which combine to detect obstacles in any direction, and an improved version of DJI’s APAS (Advanced Pilot Assistance System) analyzes the environment surrounding the aircraft so that it can fly without stopping. This should allow users to focus more on the creative process, such as framing a shot, without the drone drifting into something.

There’s also a new bottom auxiliary light that activates automatically when landing in low light situations, such as dawn or dusk, to ensure safe landings under such conditions.

OcuSync 2.0

DJI has also updated its OcuSync video transmission system to version 2.0. According to DJI, OcuSync 2.0 is more effective at resisting interference, supports both 2.4 GHz and 5.8 GHz bands, and includes auto-switching capability. It can even use the different frequencies to separate uplink and downlink data streams.

OcuSync 2.0 allows the Mavic 2 to transmit live 1080p video up to a claimed distance of 8km, and thanks to this improved transmission users will have immediate access to full HD video clips from the cache in the DJI app. It’s also possible to save original resolution JPEG files directly to your mobile device for immediate sharing, without needing to transfer image files from the aircraft.

Hardware and performance

Above: The Mavic 2 (left) next to the Mavic Air (right).

The original Mavic Pro became popular thanks to its compact size and weight. The new Mavic 2 models weigh in higher than the original (907g/2lb vs. 734g/1.6lb). However, DJI says that the new design also reduces body drag by up to 19% compared to the Mavic Pro. In fact, despite being slightly larger, the Mavic 2s have a respectable flight time of 31 minutes.

Both models can fly up to 72 kph (44 mph) in sport mode, making them useful for following some quickly moving subjects, though maybe not that Ferrari you’ve been meaning to shoot.

DJI claims that the Mavic 2s also use a more efficient, quieter propulsion system and noise reducing propellers to keep noise to a minimum. This is good news, especially since noise has been a bit of a sore point for some users of DJI’s recently released Mavic Air.

Price and availability

The Mavic 2 Pro retails for $ 1499, while the Mavic 2 Zoom is $ 1199. That’s still more than the current prices for the older Mavic Pro ($ 999) and smaller Mavic Air ($ 799), and more in line with the Phantom 4 Pro V2.0 ($ 1499) and Phantom 4 Advanced ($ 1199), both of which have 1-inch type sensors, but lack the compact foldability of the Mavic 2s.

Assuming you need some additional accessories, it’s probably worth considering DJI’s ‘Fly More’ kit, which includes two additional batteries, a multi-battery charging hub, a car charger, a battery to power bank adapter, extra props, and a case for $ 319. Extra batteries on their own will cost you $ 119 each.

Articles: Digital Photography Review (dpreview.com)

 
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California wildfire devastation revealed in series of aerial images

11 Aug

Aerial photos reveal California wildfire devastation

Image via city of Redding

The City of Redding’s Geographic Information Systems (GIS) Division has published a series of aerial images showing the devastation caused by the ongoing Carr Fire in Shasta County, California. Located approximately 100 miles north of the Mendocino Complex fire, the Carr Fire has destroyed approximately 176,000 acres of land, more than 1,000 homes, and claimed eight lives.

The aerial images, which are available publicly on Redding’s GIS website, reveal burned homes, vehicles and wilderness. The images were captured in part using UAVs equipped with cameras. According to ABC News, the fire was 48% contained as of Thursday morning, but experts expect it to continue into September. More than 13,000 firefighters are working to control the blaze.


Aerial photos were collected as part of a multi-agency collaboration. Licensed UAV pilots from Menlo Park Fire District, Alameda County Sheriff, Contra Costa Sheriff, and other agencies assisted the City in capturing the aerial photos. The City would also like to acknowledge CAL FIRE for permitting the use of UAV technology to assist in damage assessment.

Aerial photos reveal California wildfire devastation

Lake Keswick Estates. Image via the City of Redding

Aerial photos reveal California wildfire devastation

Image via the City of Redding

Aerial photos reveal California wildfire devastation

Image via the City of Redding

Aerial photos reveal California wildfire devastation

Image via the City of Redding

Aerial photos reveal California wildfire devastation

Image via the City of Redding

Aerial photos reveal California wildfire devastation

Image via the City of Redding

Aerial photos reveal California wildfire devastation

Image via the City of Redding

Aerial photos reveal California wildfire devastation

Image via the City of Redding

Aerial photos reveal California wildfire devastation

Image via the City of Redding

Articles: Digital Photography Review (dpreview.com)

 
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Manfrotto Noreg series launches with Backpack-30 and Messenger-30 bags

13 Jul

Manfrotto has launched its new Noreg camera bag series with the Backpack-30 and Messenger-30 models. Both bags are designed for premium mirrorless camera systems, each featuring internal camera units that can be removed and used independently of the larger bags. Additionally, both the backpack and messenger have connectors for carrying travel size tripods.

The Noreg series bags feature the same aesthetic and many mutual features, including enough room to accommodate up to a 15″ laptop and 9.7″ tablet, rain covers, interchangeable internal dividers, Flexi dividers, strap connectors for attaching the bags to luggage handles, and sizes that enable them to be used as carry-on bags with many airlines.

Both the messenger bag and backpack have a detachable rear compartment that can be used as a standalone laptop sleeve. The removable internal camera unit, meanwhile, doubles as a standalone shoulder bag with enough space for a premium mirrorless camera with an attached standard zoom lens and up to two extra lenses. The bag can also hold a DJI Mavic Pro combo kit, according to Manfrotto.

Likewise, both bags sport the Manfrotto Protection System for helping shield gear from shocks. The backpack also adds a quick access zippered opening on the top alongside a zippered top flap. Additional accessory items, such as keys and a wallet, can be stored in the backpack’s front multi-zippered pockets. The messenger bag features a bungee cord and pocket on the side for holding items, such as a monopod.

The Backpack-30 measures 29 x 18 x 47cm / 11.4 x 7 x 18.5in and the Messenger-30 measures 40 x 17 x 27cm / 15.7 x 6.7 x 10.6in.

Manfrotto is currently taking pre-orders for both the Noreg Backpack-30 and Messenger-30 bags on its website for $ 269.95 CAD / £159.95 and $ 229.95 CAD / £129.95, respectively. The Noreg bag series is not currently listed on Manfrotto’s US website.

Via: TechRadar

Articles: Digital Photography Review (dpreview.com)

 
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Sigma now shipping Art series prime lenses for Sony E-mount

19 Jun

Sigma has announced that its five of its Sony E-Mount Art-series primes, announced earlier this year, are now shipping. The 20mm F1.4 DG HSM, Sigma 24mm F1.4 DG HSM, Sigma 35mm F1.4 DG HSM, Sigma 50mm F1.4 DG HSM and 85mm F1.4 DG HSM are designed for Sony’s full-frame a7-series and a9 mirrorless interchangeable lens cameras. The E-Mount version of the 14mm F1.4 DG HSM (shown above, in prototype form) is expected later.

Optically the E-mount primes are unchanged compared to their DSLR-mount predecessors but are compatible with high-speed continuous autofocus and should offer faster data throughput compared to using a DSLR-mount version with an adapter. This should improve autofocus speed across the board, compared to using a DSLR-mount version with an adapter – something we hope to test for ourselves in the coming weeks.

Press release:

Sigma Ships Five Prime Art Lenses for Sony E-mount Cameras with Full-Frame Sensors

Ronkonkoma, NY – June 19, 2018 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, today announced availability of five of its interchangeable Art prime lenses for Sony E-mount camera systems – Sigma 20mm F1.4 DG HSM ($ 899 USD), Sigma 24mm F1.4 DG HSM ($ 849 USD), Sigma 35mm F1.4 DG HSM ($ 899 USD), Sigma 50mm F1.4 DG HSM ($ 949 USD) and Sigma 85mm F1.4 DG HSM ($ 1199 USD).

Offering the same high-performance optical design as other lenses in the Art line, the new Sony E-mount models feature a newly developed control algorithm that optimizes the autofocus drive and maximizes the data transmission speed. In addition, these lenses are compatible with Sony’s Continuous AF (AF-C) and high-speed autofocus, which are not addressed by Sigma Mount Converter MC-11. Like MC-11, the lenses are compatible with in-camera image stabilization and in-camera lens aberration correction, which includes corrections for peripheral illumination, chromatic aberrations and distortion.

Key Features and Benefits

Autofocus Tuned for Each Lens

Thanks to an autofocus drive control program tuned for each lens and high-speed data transmission, the lenses offer a high-speed autofocus at the same performance level as that of a lens designed exclusively for mirrorless cameras. In particular, in E-mount cameras offering Sony’s Fast Hybrid AF, AF-C mode delivers exceptional subject following performance. Autofocus remains
extremely precise even in those E-mount cameras offering only contrast AF.

Compatible with In-Camera Image Stabilization

The lenses are compatible with in-camera image stabilization. The Sony E-mount camera senses the focal length of the lens and automatically optimizes image stabilization performance.

Data Loaded for Compatibility with In-Camera Aberration Correction

The lenses are fully compatible with in-camera aberration correction, which includes corrections for peripheral illumination, chromatic aberrations and distortion. By matching corrections to the optical characteristics of the lens, this function takes image quality to an even higher level.

Native Mount for a More Rigid and Stable Feel

Making the mount native to the lens means a more rigid and stable feel to the lens. Featuring a special surface treatment to enhance strength, the brass bayonet mount offers a high-precision fit and exceptional durability. The mount connection area incorporates rubber sealing for dust- and splash-proof construction.

Available Mount Conversion Service*

This service converts the mount of Sigma lenses to that of a different camera body, allowing photographers to continue using their favorite lenses over the long term regardless of camera system.

*The Mount Conversion Service is different from a normal repair. In order to apply for the service, please contact your nearest authorized Sigma subsidiary or distributor: http://www.sigma-global.com/en/about/world-network/.

**This service is performed exclusively by Sigma.

Articles: Digital Photography Review (dpreview.com)

 
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Sigma introduces 70mm F2.8, first Art series macro

27 Feb

Gearing up for CP+ 2018, Sigma has announced two all-new lenses including the 70mm F2.8 DG Macro. It’s the first macro lens in the Art-series line, offering true 1:1 reproduction and a dust- and splash-proof design. Full-time manual focus is available even in autofocus shooting, and focus ring’s angle of rotation is tuned to the needs of macro shooting. Sigma gives no pricing or availability information for the 70mm F2.8 Macro.

SIGMA 70mm F2.8 DG MACRO

Stunning resolution and clarity for a breathtaking visual experience—a razor-sharp macro lens joins the Art line

1. Design prioritizing optical performance

2. Focus-by-wire system for comfortable and precise focusing

3. Compatible with Sony E-mount cameras with full-size sensors

4. Compatible with Canon Lens Aberration Correction

5. Compatible with SIGMA ELECTRONIC FLASH MACRO EM-140 DG (adapter required)

6. Compatible with SIGMA TELE CONVERTERS (Not available for Sony E-mount lens) Launch: TBD Accessory: Case, Hood (LH708-01) Available AF mounts: SIGMA, Canon, Sony E-mount Note: Appearance and specifications are subject to change without notice.

The long-awaited first macro lens in the Art line In recent years, macro lenses in the standard range have tended to employ inner focusing with the goal of maximizing autofocus speed. In contrast, the new SIGMA 70mm F2.8 DG MACRO | Art lens is designed to prioritize optical performance, fulfilling the demanding image quality requirements that define the Art line. In the standard to mid-telephoto range, it delivers stunning resolution and incredible clarity that greatly exceed expectations for a macro lens. The coreless DC motor further enhances image quality, while an optimized algorithm helps offer extremely smooth autofocus performance for a weightier, high-performance lens. Photography enthusiasts will recall a certain legendary, razor-sharp macro lens—the SIGMA MACRO 70mm F2.8 EX DG—and be glad to learn it is available in a new form, updated with outstanding Art line quality.

Key features
1. Design prioritizing optical performance In order to realize top-level performance at every shooting distance, the lens features an extending, floating, two-group focus mechanism. This configuration minimizes aberration to produce optimal results at any focus distance. To minimize axial chromatic aberration, the optical system incorporates two FLD glass elements, two SLD glass elements, and one element with a high rate of anomalous partial dispersion and a high index of refraction. In addition, two aspherical lens elements help increase resolution at close shooting distances. This optical system makes possible a razor-sharp in-focus area contrasted with a bokeh area free of color streaking.

2. Focus-by-wire system for comfortable and precise focusing The focus-by-wire system eliminates the direct mechanical connection between the focus ring and the focus drive system. Controlled by SIGMA’s latest algorithm, a newly developed coreless DC motor adjusts focus with optimal speed and low noise. Full-time manual focus is available even during autofocus, allowing the photographer to make minute focus adjustments simply by turning the focus ring. In addition, the focus ring’s large angle of rotation helps the photographer achieve the extremely precise focusing required for effective macro photography.

3. Compatible with full-frame Sony E-mount cameras The version of this lens compatible with Sony E-mount mirrorless cameras contains the same optical system as for SLRs. SIGMA MOUNT CONVERTER MC-11 is not required, as the lens performs the same functions as the converter, including in-camera image stabilization and in-camera lens aberration correction. In addition, the lens is compatible with Sony’s Continuous AF, which is not addressed by MOUNT CONVERTER MC-11. SIGMA plans to offer over time Sony E-mount versions of every full-frame prime lens currently available in the Art line, from 14mm to 135mm.

Note: This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation.

4. Compatible with Canon Lens Aberration Correction The Canon mount lens is compatible with the Canon Lens Aberration Correction function.* Matching the optical characteristics of the lens, this function performs in-camera corrections of peripheral illumination, chromatic aberrations, distortion, and more, further enhancing image quality. *Function not available on all Canon cameras. Further, available corrections may vary by Canon camera model.

5. Compatible with ELECTRONIC FLASH MACRO EM-140 DG (adapter required) Exclusively for SIGMA 70mm F2.8 DG MACRO | Art, the 65mm MACRO FLASH ADAPTER makes the lens compatible with ELECTRONIC FLASH MACRO EM-140 DG (both accessories sold separately). Thanks to the 72mm filter thread, a 72mm MACRO FLASH ADAPTER can also be added so as to accommodate 72mm macro flash products and accessories, including macro flashes other than EM-140 DG as well as ring lights.

6. Compatible with SIGMA TELE CONVERTERS The lens is compatible with SIGMA TELE CONVERTERS (sold separately) designed for the company’s new lens lines. SIGMA TELE CONVERTER TC-1401 allows the lens to be used as a 98mm F4 mid-telephoto macro with autofocus functionality,* while SIGMA TELE CONVERTER TC-2001 allows the lens to be used as a 140mm F5.6 mid-telephoto macro with manual focus.
*Autofocus available at 0.5m to infinity.
*Not available for Sony E-mount lens

Other features

  • Mount with dust- and splash-proof design*
    *SIGMA mount lens does not include sealing, since sealing is present on compatible SIGMA cameras.
  • Rounded diaphragm
  • Fast AF with full-time manual override*
    * The operation of full-time MF may vary based on mount type.
  • Compatible with SIGMA MOUNT CONVERTER MC-11*
    *SIGMA and Canon mount lenses
  • Available SIGMA USB DOCK makes customization and flexible adjustment possible*
    *Not available for Sony E-mount lens
  • Available Mount Conversion Service
  • Brass bayonet mount
  • Evaluation with SIGMA’s own MTF measuring system: A1
  • “Made in Japan” with outstanding craftsmanship

For more information about the SIGMA GLOBAL VISION lineup of fine products, please visit the official SIGMA global website: SIGMA GLOBAL VISION: http://www.sigma-global.com

Specifications
All figures calculated for SIGMA

Lens Construction: 13 elements in 10 groups | Angle of view (35mm): 34.3° | Number of diaphragm blades: 9 (rounded diaphragm) | Minimum aperture: F22 | Minimum focusing distance: 25.8cm/10.2in. | Maximum magnification ratio: 1:1 | Filter size: ø 49mm| Dimensions (diameter x length): ø70.8mm x 105.8mm/2.8in. x 4.2in. | Weight: 515g/18.2oz.

Articles: Digital Photography Review (dpreview.com)

 
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Cosina has discontinued the Zeiss SLR Classic series of lenses

15 Dec

Cosina Japan has officially discontinued the Zeiss SLR Classic lens series, specifically bringing an end to the: Zeiss Distagon T* 15mm F2.8, 18mm F3.5, 25mm F2, 28mm F2, and 35 F1.4, as well as the Zeiss APO?Sonnar T* 135mm F2.

The notice simply reads (translated):

“[Production End Guide] The ZEISS SLR classic series of products (2.8/15, 3.5/18, 2/25, 2/28, 1.4/35, 2/135) has finished production.”

The announcement comes a couple years after Cosina launched a new lens series called Milvus, which is designed for digital SLR cameras and more-or-less replaced the SLR Classic series. The Milvus series more than makes up for the lenses that are currently being discontinued, already boasting 11 lenses to its name, but there’s no doubt that some true gems will be relegated to eBay auctions from this point forward.

You can still find some Zeiss SLR Classic glass new at online retailers for now, but don’t expect that to last much longer.

Articles: Digital Photography Review (dpreview.com)

 
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First look at upcoming Pentax ‘star series’ lenses and silver edition K-1

27 Oct

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

Ricoh is showing off two upcoming lenses at the Photo Plus Expo show in New York this week. The HD Pentax-D FA* 50mm F1.4 SDM AW is designed for full-frame cameras, while the HD Pentax-DA* 11-18mm F2.8 is intended to be paired with the company’s APS-C DSLRs.

We weren’t able to get our hands on the new lenses, sadly – they’re still under glass – but we’re told that they’re cosmetically near-final. Click through for a closer look.

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

We’ve known about the HD Pentax-D FA* 50mm F1.4 SDM AW for a while, but the last time we saw it (also under glass) it was little more than a lens-shaped lump of plastic. Things have advanced since then, and the copy on show here appears to be a working prototype.

The upcoming 50mm is one of a new generation of ‘star series’ lenses that Ricoh intends for high-resolution imaging with its flagship K-1 and (presumably) follow-up full-frame models.

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

The 50mm F1.4 will come with a generously proportioned lens hood. The ‘AW’ in the designation stands for ‘All Weather’ and denotes environmental sealing, which should mean that like the K-1, it will stand up to use in harsh conditions.

A new ring-type SDM autofocus drive promises fast, quiet focusing. Pricing has yet to be announced, but the new 50mm should be available in spring of next year.

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

Meanwhile, the HD Pentax-DA* 11-18mm F2.8 is intended to be paired with the company’s APS-C DSLRs, and covers an effective focal length range of ~17-28mm. The fast maximum aperture of F2.8 is fixed across the zoom range, and while it hasn’t been spelled out anywhere, the sample on show appears to feature a switch for optical image stabilization, covered in black tape.

This would be a bit odd, given that Pentax’s DSLRs are stabilized in-body but could point towards hybrid stabilization. The alternative explanation (and probably more likely) is that it’s either a zoom lock or simply a vestigial bump which will be removed in shipping lenses.

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

Beyond the usual hyperbole (photographers should be able to ‘effortlessly capture breathtaking landscapes’ with this lens, apparently) details of the exact specification are sparse. Along with the mystery switch, the focus scale has also been obscured.

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

No pricing information has been shared, but we’re told that the 11-18mm will be available next summer.

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

Here’s the new K-1 ‘Silver Edition’, announced in August. This special edition of Ricoh’s flagship full-frame DSLR features a special silver coating, to match the silver versions of Pentax Limited lenses.

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

This is the kind of thing that often looks great in manufacturer-supplied renderings, but a bit tacky in real life. We’re pleased to see that in person, the silver K-1 looks pretty classy.

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

A special silver hotshoe cover is an especially nice touch. The K-1 silver edition is limited to 2000 copies worldwide.

First look at upcoming Pentax 50mm F1.4 and 11-18mm F2.8 lenses

Alongside its conventional cameras and lenses, Ricoh is also showing off its new Theta V 360-degree camera, which improves on the original model with much better resolution and advanced video features. Learn more about the Ricoh Theta V

Articles: Digital Photography Review (dpreview.com)

 
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Cravar unveils new Rana Series of leather messenger bags for photographers

04 Oct

Leather goods company Cravar has launched a new range of Rana Series messenger bags, and its attempting to crowdfund the release through Kickstarter. The new series is comprised of four leather messenger bags designed for photographers to use as either a camera bag or an everyday carry. All four bags feature solid brass hardware, a full grain veg-tanned leather exterior, closed-cell foam padding, and an interior made with linen and Sunbrella fabrics.

The Cravar Rana Series is comprised of the Rana 7, Rana 10, Rana 13, and Rana 15 leather messenger bags—each number approximates the bag’s width.

The Rana 15 is the largest of the bunch, and is able to accommodate most 15″ laptops as well as a full-frame DSLR and three lenses or more, depending on the size of said lenses. The bag has an aluminum-reinforced top flap, three vertical and two stack dividers, a luggage handle slot, two front pockets, and one rear pocket.

Similar, but slightly smaller, is the Rana 13 which is also able to fit a full-frame DSLR and three or more lenses, in addition to a smaller 13″ laptop. The Rana 10, meanwhile, can fit a full-frame DSLR, two or more lenses, and a 9.7 – 10.5″ tablet. Finally, Rana 7 can accommodate a full-frame DSLR and one or more lenses, depending on size, plus an iPad mini or other small tablet.

Cravar is offering the Rana Series bags at the following Kickstarter pledge prices ahead of the higher planned retail costs (assuming the bags are successfully funded and brought to market):

  • Rana 7: $ 165 or more
  • Rana 10: $ 195 or more
  • Rana 13: $ 245 or more
  • Rana 15: $ 275 or more

To learn more about these bags or order your own, head over to Kickstarter. Shipping to backers is expected to start in February 2018.

Articles: Digital Photography Review (dpreview.com)

 
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