Marumi Adds New Sizes to Filter Range

Kenro has announced the additionh of several new filter sizes to Marumi's respected range of photographic accessories. Now available in four new sizes between 37mm-46mm, the Marumi DHG Light Control ND Filter has been designed to improve the results of landscape photography. Marumi's DHG Circular Polarising filters are now available in the newly added sizes of 86mm and 95mm. The two new sizes can also be seen in the DHG Super Circular Polarising range which incorporates the same features as the Digital High Grade range but with water and oil repellent coating. The 86mm and 95mm sizes are now also available within the Marumi DHG Lens Protect and Super Lens Protect Filter range.
Kenro Press Release
Marumi widens choice by adding new sizes to filter range
Kenro has announced the launch of several new filter sizes to Marumi's respected range of photographic accessories.
Each Marumi Filter uses a specifically developed ultra-low reflection coating to minimise internal reflection off the camera's built-in CCD and
CMOS Sensors. Other anti-reflect features include a special slim frame with satin smooth finish and a black ink process on the glass edge to eliminate flare.
Now available in four new sizes between 37mm-46mm, the Marumi DHG Light Control ND Filter has been designed to improve the results of landscape photography along with other images captured in scenic environments. Best used in the golden hours of dawn and dusk, these filters work by reducing light volume, allowing the photographer to use slower shutter speeds under bright conditions, resulting in greater control and creativity.
Photographers can now pick up one of Marumi's DHG Circular Polarising range in the newly added sizes of 86mm and 95mm. An ideal accessory for capturing water and other highly-reflective surfaces, Marumi DHG Circular Polarising Filters can be rotated to reduce reflection and also increase colour saturation under bright conditions, meaning photographers can create a more accurate depiction of the shooting environment.
The two new sizes can also be seen in the DHG Super Circular Polarising range which incorporates the same features as the Digital High Grade range but with two added benefits; they feature water and oil repellent coating and also include increased protection even with heavy duty use.
New 86mm and 95mm sizes are now also available within the Marumi DHG Lens Protect and Super Lens Protect Filter range. These colourless lens protection filters featuring a special ultra-low reflection coating are designed to minimise flare and ghosting on CCD and CMOS sensors. Thin mounts found on the filters have been made to prevent vignetting when used with a wide angle digital lens.
Paul Kench, managing director of Kenro, made this comment: "Marumi are renowned for their expertise in constructing filters that provide greater creative opportunities, so we are delighted to see the increase in their already successful lines with additional sizes. There really is something for everyone in Marumi's range of filters that enable the photographer to get the very best out of their work."
Other products in Marumi's range of photographic accessories include lens hoods and converters. See http://www.kenro.co.uk for details of your nearest stockist, or call Kenro on 01793 615836 for more details.

Sony HVL-F43M Flash

The Sony HVL-F43M is a new flash gun for the latest cameras and interchangeable-lens camcorders equipped with Sony’s Multi Interface Shoe. Successor to the HVL-F43AM model, the HVL-F43M also doubles as a powerful LED video light for keen videographers. Price and availability of the Sony HVL-F43M are to be confirmed.
Sony Press Release
Weybridge, 27th June 2013
Shoot smarter with the versatile new HVL-F43M external flash
• Smart, compact design with bright GN43 flash output, Quick Shift Bounce and dust/moisture resistant design
• Powerful LED light for video shooting
• Multi Interface Shoe for compatibility with latest Sony A-mount SLT, E-mount cameras/camcorders and Cyber-shot™ models
Brighten up your shooting with the HVL-F43M flash gun for latest cameras and interchangeable-lens camcorders equipped with Sony’s Multi Interface Shoe.
The powerful flash builds on the success of the acclaimed HVL-F43AM that’s a mainstay of many photographers’ gadget bags. Like its predecessor, the HVL-F43M offers the popular ‘Quick Shift Bounce’ system that allows instant rotation of the flash head when switching between landscape and portrait compositions. This maintains the same bounce angle in either shooting position for consistently lit photos.

While the F43AM was compatible with the Auto-lock accessory shoe on older A-mount cameras, the new F43M is now even more versatile. It’s equipped with a Multi Interface Shoe for 100% compatibility with Sony’s SLT-A99, SLT-A58, NEX-6, HDR-VG900, HDR-VG30, Cyber-shot™ HX50, RX1/RX1R and RX100 II models. It is also compatible with Auto-lock accessory cameras via the optional ADP-AMA adaptor.
The brand-new model has another bright trick to broaden its appeal. The F43M also doubles as a powerful LED video light for keen videographers. Keep shooting Full HD video on your camera or camcorder when you’re short of natural light; backlit subjects, interviewees, parties and night-time scenes are bathed with natural, even illumination.
With a design that resists dust and moisture, the HVL-F43M handles everyday shooting as well as more challenging outdoor assignments.
Wireless control allows quick creation of sophisticated multi-flash effects. It’s easy to accurately control lighting ratios for up to three on and off-camera flash units for beautifully balanced, pro-style results.
Other smart functions include Auto White Balance adjustment with colour temperature information for consistently natural-looking white balance under any lighting conditions.
For more information on Sony’s camera accessories, visit http://www.sony.co.uk/hub/digital-camera-accessories
HVL-F43M – key technical specifications
Guide Number 43 (105mm, ISO100・m)
Flash Coverage 24-105mm (15mm focal length covered with built-in wide panel)
Flash Control Pre-flash control, manual flash control selectable, direct through-the-lens (TTL) flash metering
Bounce Flash Click positions: up (30°/45°/60°/75°/90°/120°/150°); down (8°); right (30°/45°/60°/90°); left (30°/45°/60°/90°)
LED video light Max. illuminance 400 lux/0.5m; illuminating distance approx. 1 m at ISO3200 / F5.6)
Recycling time Approx. 2.9 seconds (with alkaline batteries)
Battery performance Approx. more than 200 flash cycles (with alkaline batteries - based on Sony measurement)
Power level switching 22 levels: (1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/128), 1/3 steps
Wireless Ratio Control Available to control by 3 groups when used with α99, α77, α65, α58, α57, α37, α900, α850, α700, NEX-7, NEX-6, DSC-RX1, DSC-RX1R
Other features Auto WB Adjustment with Colour Temperature Info; Auto zoom control optimised for image sensor size; High-Speed Synchro; Modeling Lighting; Test Lighting; Multi Lighting. Supports camera’s Red-eye reduction feature. Built-in wide panel and bounce sheet. High quality LCD screen.
Compatible Shoe Multi Interface Shoe (Auto-lock Accessory Shoe with optional ADP-AMA adaptor)
Included items Connector protect cap, mini-stand, case
Dimensions (WxHxD) Approx. 75 x 140 x 87 mm
Weight Approx. 355g (without batteries)
Power source 4x AA Alkaline / AA Ni-MH batteries
About Sony
Sony is a leading global innovator of audio, video, communications and information technology products for both the consumer and professional markets. Sony is renowned for its audio-visual products, such as the BRAVIA™ LCD high-definition (HD) television, Cyber-shot™ digital camera, Handycam® camcorder, “α” (pronounced Alpha) digital SLR camera, Sony Tablet and Walkman® MP3 player as well as its VAIO™ personal computers and 3D HD professional broadcast equipment.
For more information on Sony Europe, please visit http://www.sony-europe.com For m.ore information on Sony Corporation please visit http://www.sony.net

Canon EOS 70D Spec List [CR3]

New Sensor!
Below is the spec list of the upcoming Canon EOS 70D.
The new autofocus type we were told about appears to be the Dual Pixel CMOS autofocus. It works up to a claimed 5 times faster than previous EOS cameras in live view.
Canon EOS 70D Specifications

• 20.2mp CMOS Sensor
• DIGIC 5+
• 19pt AF System (All Cross Type)
• 7fps
• Built-in WiFi
• 3″ Vari-Angle Touch Screen LCD
• ISO 12,800 Maximum
• Dual Pixel CMOS Autofocus
• Full HD Video
• HDR
• Multiexposure Mode
• LP-E6 Battery
• Announcement on July 2, 2013

Review – Canon EF 600mm f/4L IS II

Review – Canon EF 600mm f/4L IS II
By: Glenn Bartley | Twitter | Web Site
Discuss the Canon EF 600mm f/4L IS II
Introduction
As a professional wildlife photographer my primary lens when heading out in to the field has to be a super-telephoto. I have no choice in the matter as the small and shy subjects will simply not be possible to photograph with any other focal length. When we talk about these super-telephoto lenses we are referring to fixed focal length lenses that are longer than 300mm (although the 300mm f/2.8 also may be considered a super telephoto). Because my work is primarily focused on birds I tend to lean towards the long end of the spectrum and for many years I have relied on the Canon 500mm f/4 to be my workhorse lens. It has never disappointed me and I am still astonished at the image quality that this lens is able to produce. The 500mm seemed to me like the perfect lens. It is light enough to hand hold for flight shooting and focuses as close as 14 feet. On the other hand the 500mm’s big brothers the 600mm and 800mm were too heavy and have minimum focusing distances that make them impractical to use in the types of rainforest environments that I often find myself in.
All of this changed when Canon recently released their series II super-telephoto lenses. In these new products Canon has been able to dramatically reduce the weight and minimum focusing distance of these lenses. They also radically increased the price tag! The temptation to upgrade to a longer lens was beginning to grow and I was very interested to see if the outrageous price tag could be justified. After all why spend twice as much on the new version?
Lens Rentals was kind enough to let me take the new 600mm lens into the field on a recent one week trip to southeastern Arizona. In this review I hope to shed some light on what I found and offer some information for those in the market for a super telephoto lens.

Canon EF 600mm f/4L IS II

Build
As you would expect in a lens that costs well over $10,000 the build quality of the Canon 600mm f/4 L IS II is superb. But then again there were very few things to complain about on the previous version. In the version II lens though Canon has been able to make the shell of the lens entirely of magnesium / titanium which allows for the weight savings over the previous version. Canon also claims that the new lens features better dust and waterproofing through the use of rubber O-rings on the lens mount and focus ring. Manual focusing is effortless on the new lens as the focus ring is incredibly smooth to operate (although perhaps this is because I am used to using a 10 year old lens). The design of the tripod collar does seem to have been improved and features extremely smooth operation with easy-to-operate tension control.
Switches on the side of the lens will be familiar to previous users of the Canon super-telephotos. Only two changes have been made to these controls. The first is that Canon has introduced a new stabilizer mode 3 (more information below). The other addition is the new PF or “power focus” setting. This setting “allows you to drive the autofocus motor electronically instead of having to use the focus ring. It is aimed at users shooting HD EOS Movies with their DSLR cameras as it makes it possible to produce a very smooth and controlled focus pull from one focus distance to another”*. (*Canon USA)

Canon EF 600mm f/4L IS II

Specifications
The weight savings is the biggest and most worthwhile change in the new series II telephoto lenses. It is especially noticeable in the 600mm with the new lens being over three pounds lighter. Three pounds may not sound like all that much and in many cases it is not. But when it comes to lugging around a lens all day in the field, or trying to hand hold one of these monster lenses, three pounds is a BIG difference. The other very noticeable advantage of the new 600mm lens is that the minimum focus distance has been reduced by 3.27 feet. Again this is a tremendous advantage when working in the field. Users of the new 600mm will benefit from a much higher magnification factor (essentially allowing you to get closer to your subject and get more pixels on the subject). At the end of the day the new 600mm is essentially like using the old 500mm except with a bonus 100mm.
Some people may be tempted to think that 100mm is not really a significant increase in focal length. For example, not significant enough to upgrade to a $12,000 lens. When we look closer at the numbers though it becomes evident that this 100mm can result in a much larger subject in the frame (i.e. more pixels on the subject). For example, a 600mm lens gives the user 20% more magnification but this translates into 44% more pixels on the subject (due to the fact that we are talking about area). Or if you want to get mathematical:

• o    600² = 360,000
• o    500² = 250,000
• o    360,000 / 250,000 = 1.44

Or to use another example:
An object that is 10 pixels long in the frame when using the 500mm would be 12 pixels long with the 600mm.

• o    10²  = 100
• o    12²  = 144
• o    144/100 = 1.44

Canon Super Telephoto Lens Comparison Table

LENS	WEIGHT	MIN FOCUS	MAGNIFICATION
Canon EF 500mm f/4.0 L IS II	7.04 lbs 3.19 kg	12.14 ft 3.7 m	0.15x
Canon EF 500mm f/4.0 L IS	8.54 lbs 3.87 kg	14.77 ft 4.5 m	0.12x
Canon EF 600mm f/4.0 L IS II	8.65 lbs 3.92 kg	14.77 ft 4.5 m	0.15x
Canon EF 600mm f/4.0 L IS	11.83 lbs 5.36 kg	18.04 ft 5.5 m	0.12x
Canon EF 800mm f/5.6 L IS	9.86 lbs 4.47 kg	19.68 ft 6 m	0.12x

Accessories
The lens comes with the enormous ET-160W lens hood which serves to eliminate lens flare and also protects the front element. It will also result in a lot of extra attention when you are in the field and many people asking you if you are shooting for National Geographic.
The lens also ships with its own hard sided case (although most users will likely wind up using a roller bag or backpack).
The Canon 600mm f/4 L IS II also includes both front and rear caps. While lightweight and effective the front cap is a very tight fit and does seem a bit “cheap” for a piece of equipment at this price point.
Most users will likely want to add some kind of protective lens cover and a quick release style foot or plate.

Canon EF 600mm f/4L IS II

A bit on Image Stabilization (from Justin’s text)
“Optical Image Stabilizer technology makes hand-held photography more practical at slow shutter speeds*” (*Canon USA). IS helps free the camera and photographer from the tripod and gives you a bit more latitude to how and where you shoot. As a guide, it’s suggested that photographers’ shutter speeds should match the apparent focal length of the lens. So ideal shutter speeds on a full frame camera like the 1DX, 5DMKIII, or 6D, would be about 1/300th of a second at 300mm – of course this has no bearing on stopping motion or action. On a crop body like the Rebel series, 60D, or 7D you’d be looking to multiply that by the crop factor of the camera (1.6x) so 300mm would be 1/480th of a second, this make sense as the apparent focal length is magnified, so are any potential shakes. The IS advantage, then, is to allow yourself a bit more working room to achieve sharp images. The stabilization compensates for movement and shake, effectively correcting the slight changes the photographer introduces into the image through movement. 4 stops *technically* brings the 1/300th rating down to 1/50th of a second, though excellent technique is still recommended and, again, this won’t’ stop your subject from moving. Obvious advantages to this are people working indoors, where lighting is limited and you don’t need sports-level action stopping shutter speeds.
The mode switch allows for three types of stabilization:

• Mode 1 is for “regular” use which corrects for vibrations in all direction
• Mode 2 compensates for moving subjects or panning where there is a bit of fluidity and motion already being introduced to the lens to capture an image.
• Mode 3 “Corrects vibration only during exposure. During panning shots, corrects vibration during exposure only in one direction the same as MODE 2*.” [Canon USA].

There’s a focus preset button so you can set a specific focusing distance and return to it at any time by rotating the “Playback Ring” (a grooved metal ring between the focus ring and the front rubber grip). The front rubber grip also has four equally placed AF stop buttons which temporarily pause autofocus.

Canon EF 600mm f/4L IS II

In the Field
The first thing that I noticed when I got to Arizona and started shooting was that I found myself using the lens without the 1.4x teleconverter that is normally fused to my lens. While there were certainly subjects that did require the 1.4x for the most part I found that 600mm was sufficient. This led to two major advantages in the field. The first was that the image quality is always better when not using a converter (especially if shooting wide open). The second was that I really needed that extra stop of light! Although you may think of Arizona as being a sunny and bright place, the truth is that I was often shooting in shaded canyons to avoid the harsh light and I needed every bit of shutter speed I could get. The extra 100mm really came in handy for me on this trip!
As expected the 600mm lens focused quickly, silently and accurately. Being used to the already wonderful 500mm lens that I already own I did not notice any real improvements here. Certainly nothing that would be worth upgrading for alone.
Lenses of this focal length are designed and intended to be used on a tripod. There are however times when photographing moving subjects where hand holding is definitely the way to go. I did not do any flight shooting while I was in Arizona. I would say though that given that the new 600mm is the same weight as my old 500mm I would not anticipate any challenges with hand holding this lens for short periods of time. While I cannot comment on the focus tracking ability of the lens I will say that the weight of this lens feels more balanced somehow and may actually be easier to handhold than my old 500mm. Furthermore, the extra two stops of image stabilization are sure to help when photographing birds in flight (especially at slower shutter speeds).

Canon EF 600mm f/4L IS II

Image Quality 
The image quality that this lens produces is nothing short of astonishing. It is hard to imagine how a 600mm lens could be any better. It is likely the case that the only lenses in the canon telephoto lineup that rival the new 600mm lens are the 300mm f/2.8 and 400mm f/2.8. It should be noted however that the previous version of this lens was also amazing. We really are comparing apples to apples here. While I did not do any controlled testing of the image quality the general consensus seems to be that the new 600mm offers some very slight optical improvements over the previous generation (especially at the edges and when using the 2x teleconverter).
Who it’s for
A 600mm lens obviously has a fairly limited target market – primarily wildlife and sports photographers (although the latter would probably lean towards the 400mm f/2.8). What we as wildlife photographers need is focal length – and lot’s of it! These long lenses with wide maximum apertures also allow us to isolate their subject from the background by providing pleasing blurred out backgrounds.
Dedicated wildlife photographers who have decided to invest in a super telephoto lens essentially have three choices these days – 500mm, 600mm or 800mm. There is no perfect fit for everyone and, for some photographers, the lighter and smaller 500mm will certainly fit the bill. It does seem however that the new 600mm has made the 800mm for the most part obsolete. After all, why would anyone want an 800mm f/5.6 lens that only focuses to 19.68 feet and costs more than the 600mm that focuses closer and accepts teleconverters so well?

Canon EF 600mm f/4L IS II

Who it’s not for
This is definitely not a lens for the weekend warrior to start with. Those considering buying their first long lens would be better off starting with a shorter focal length such as the Canon 300mm f/4 L IS and then “graduating up to the bigger glass.
The other major consideration has to be the sheer weight of this lens. When you consider that you will also need to carry a sturdy tripod, gimbal head, flash, camera body, etc. the entire rig will still wind up weighing in at well over 15 lbs. As incredible as this lens is it could also act as an anchor if the user is not able to carry it in the field.
Conclusion
What a treat to be able to use this lens for an extended period of time for real world testing. There is basically nothing that I did not like about the lens. It is at the top of its class in every regard.
When it comes to bird photography more focal length is always a good thing. This is especially true if you do not have to sacrifice weight or minimum focus distance. Having the luxury of being able to put more pixels on distant subjects, to not be forced to approach as closely to skittish wildlife, or to be able to choose to not use a teleconverter are all tremendous advantages.
For those who already own the older 600mm lens the decision becomes slightly more clouded. The new lens does not bring any real world sharpness advantages over the older version. The decreased weight and minimum focus distance however may just be worth the cost of the upgrade.
Perhaps the proof is in the pudding on this one? At the end of my week long shoot in Arizona I was certainly convinced of the merits of this lens and placed my order for one as soon as I returned home.

Canon EF 600mm f/4L IS II

Pros

• Fast and accurate autofocus
• Improved image stabilization (now 4 stops instead of 2)
• Best in class optics – sharp at all apertures and accepts teleconverters very well.
• Dramatically reduced weight and minimum focus distance over previous generation lens
• Improved weight distribution over previous version
• Improved tripod collar
• Exceptional build quality

Cons

• Weight – despite the reduction may still be too heavy for many users
• Shockingly expensive
• Supplied lens cap is a very tight fit. Perhaps could have been designed better.

Tokina AT-X 12-28mm f4 PRO DX for Nikon

Tokina has announced availability and pricing details for the Nikon version of its new AT-X 12-28mm f4 PRO DX wide zoom. Designed for digital SLR cameras with APS-C sized sensors, the Tokina AT-X 12-28mm f4 PRO DX offers users a 35mm equivalent focal range of 18-42mm on Nikon DX bodies. Weighing in at 600 grams, the Tokina AT-X 12-28mm f4 PRO DX features 14 elements in 12 groups and boasts a minimum focus distance of only 25mm from the sensor plane. Furthermore, the lens sports Tokina’s exclusive one-tocuh focus clutch mechanism that allows the photographer to switch between AF and MF simply by snapping the focus ring forward for AF and back toward the camera to focus manually. In the euro zone, the Nikon version of the Tokina AT-X 12-28mm f4 PRO DX will be available from the first half of the summer, priced at €659.
Via photoscala

Capture One 7.1.3

Capture One 7.1.3 adds new camera support, bug fixes and beta version of a new catalog importer. It includes file (and tethered support in Capture One Pro) for Canon 700D/Rebel T5i and 100D/Rebel SL1 cameras, as well as 11 other recent cameras. Capture One version 7.1.3 is a free update to owners of Capture One Pro 7, Capture One Express 7, and Capture One DB 7 (digital back) software.
Phase One Press Release
PHASE ONE RELEASES CAPTURE ONE 7.1.3
Adds new camera support, bug fixes and beta version of a new catalog importer
COPENHAGEN, June 20, 2013 -- Phase One today released Capture One 7.1.3, a service release that includes bug fixes, improved performance, and in response to customer requests, a new importer for catalogs from other photo editing applications.
Capture One 7.1.3 includes file (and tethered support in Capture One Pro) for Canon 700D/Rebel T5i and 100D/Rebel SL1 cameras, as well as file support for the following camera models:
- Canon 1D C
- Nikon V2, J3, S1 and Coolpix A
- Leica X Vario
- Panasonic DMC-G6 and DMC-GF6.
- Samsung NX300
- Sony SLT-A58 and NEX-3N
Capture One 7.1.3 also extends support for more lenses from Canon, Nikon, Olympus and Sony camera models, including several fixed-lens cameras. For a complete list of all new supported cameras and lenses, please review the release notes which can be found under Documentation on this page: http://www.phaseone.com/en/Downloads/Capture-One-Pro-7
It is now possible to import catalogs from applications other than Media Pro. The new importer is available in beta for all versions of Capture One on the Mac OSX platform with support for Adobe Lightroom 4 and 5 Catalogs only. The following adjustments can be transferred to a Capture One catalog: collections, white balance, exposure, crop and rotation, all metadata and keywords. Color adjustments are only approximations. Making further adjustments in Capture One will  deliver the full benefits of Capture One RAW conversion.
Capture One version 7.1.3 is a free update to owners of Capture One Pro 7, Capture One Express 7, and Capture One DB 7 (digital back) software.

Fujifilm X-M1 and Fujinon XC 16-50mm F3.5-5.6 OIS Lens

The Fujifilm X-M1 is a new compact and lightweight compact system camera. Featuring the same 16.3 megapixel APS-C X-Trans CMOS sensor as the flagship X-Pro1, the X-M1 weighs just 330 grams and is about half the size of a regular SLR body. It also offers a 920,000 dot tiltable 3-inch LCD, 5.6fps burst shooting, wireless image transfer, full HD (1920x1080) video recording at 30 frames per second, a built-in flash and hot shoe, ISO200-6400 and a 49 point AF system.
Fujfilm are also announcing the Fujinon XC 16-50mm F3.5-5.6 OIS lens, which will ship as a kit lens with the X-M1. Offering a focal range of 24mm-76mm in 35mm terms, the XC16-50mm lens consists of 12 all-glass elements in 10 groups including 3 aspherical elements and 1 ED element. It will be available in black and silver.
The X-M1 is available in three colours - Black, Silver and Brown In the UK, the X-M1 and XC16-50mm lens kit will be on sale from end July 2013 for £679.99.
Fujifilm Press Release
FUJIFILM launches the X-M1: a compact and lightweight CSC with the same APS-C X-Trans CMOS sensor as the X-Pro1
  
FUJIFILM Corporation (President: Shigehiro Nakajima) is proud to announce the launch of the FUJIFILM X-M1, the third premium interchangeable-lens camera from the company.  Compact and lightweight, the X-M1 offers enhanced operability whilst bringing the outstanding design, picture quality and performance of the multi-award-winning FUJIFILM X-Pro1 and X-E1 cameras not only to photo enthusiasts but also to a broader scope of users.
Featuring the same internationally-acclaimed proprietary multi-award-winning 16.3 megapixel APS-C X-Trans CMOS Sensor as the FUJIFILM X-Pro1 and FUJIFILM X-E1
• The FUJIFILM X-M1 is equipped with a large APS-C X-Trans CMOS Sensor, which offers picture quality comparable to that of full-frame sensors.  The sensor’s unique colour filter array minimises moiré and chromatic aberration without the need for an optical low pass filter, while dramatically boosting resolving power even at identical pixel counts to deliver sharp and texture-rich pictures.
• The design draws out the potential of high-performance lenses to the maximum. It delivers clear images with stunningly low noise even in low-light conditions at night and indoors, where high sensitivity would usually be required.  The sensor faithfully reproduces the warm tones of human skin and the vivid colours of the sky from deep blues to the red hues of the setting sun.
• Users can set the sensor sensitivity from the regular ISO200 to as high as ISO6400 in 1/3 step increments, and can even take advantage of the extended range of ISO12800 and ISO25600 to obtain incredibly clear and low-noise images even in low-light or at night.
Fujifilm EXR Processor II for high-speed reactions
The EXR Processor II boasts fast performance, offering stress-free photo capture with its:
• start-up time of 0.5 seconds (*1)
• shutter time lag of 0.05 seconds
• maximum burst speed of 5.6 frames per second (max. 30 frames*2)
Designed to enable one handed operation with intuitive and quick selection of functions for casual shooting with beautiful results
• All of the adjustable buttons and dials are positioned on the right-hand side of the camera’s rear LCD panel in pursuit of optimum operability and ease-of-use for casual shooting. When holding the camera with just your right hand, the placement of the buttons has been designed to allow you to access all functions and adjust the settings easily.
• The Mode Dial allows you to select the optimum scene setting with access to the “Advanced SR Auto” function, which automatically recognises a scene type for fail-safe photography, and the “Advanced Filter” function for artistic photographic effects.
• The camera is equipped with two Command Dials, allowing users to adjust the aperture, shutter speed and exposure compensation quickly with their thumb.  Individual buttons are also provided to access frequently-used functions such as White Balance, Burst Mode and Macro, so that you don’t have to go to the menu screen for each change of setting, enabling an intuitive and quick operation.
Sporting a compact and lightweight body, with a cool, retro design inherited from the FUJIFILM X-Pro1 and X-E1
• The X-M1 has a classical and elegant feel just like the popular FUJIFILM X-Pro1 and X-E1 cameras. And importantly, at about half the size of a regular SLR body (66.5mm high and 39.0mm deep), its compact and lightweight design means users can casually carry it in a bag without having to worry about the bulk.
• The X-M1 weighs just 330 grams(*3) despite incorporating a large APS-C CMOS sensor, a tiltable high-definition LCD monitor, a built-in flash, Wi-Fi and a hot shoe.
• The X-M1 is available in three colours: Black, Silver and Brown.
Featuring a 920,000 dot high definition tiltable 3-inch LCD for creative and multi-angle shots
• The 3-inch high-definition LCD screen tilts up and down, facilitating ground level shots of flowers and pets, as well as high-up shots over a crowd of people. It is also suited to tripod-mounted video shooting to broaden your creative options.
FUJIFILM’s Super i-Flash technology which regulates flash intensity according to the scene
• The X-M1’s high-precision built-in flash, rated at the equivalent of Guide Number 7 (*4), uses FUJIFILM’s Super i-Flash technology to regulate the amount of light it fires dependent on the scene. In low-light indoor portrait shots or for close-ups of accessories / plates of food, the flash controls its output to reduce highlight blowout. It also provides the perfect fill-in flash when photographing people in backlit conditions or under intense sunlight casting strong shadows on the face.
Wireless image transfer allowing you to instantly transfer high quality images to a mobile device or computer
• The wireless image transfer function allows users to transfer their shots immediately to their smartphone or tablet PC.  It broadens the enjoyment of photography through the easy uploading of your favourite images to social networking sites or just enabling you to share them with your friends.
• The camera has a built-in wireless image transfer function that uses the dedicated “FUJIFILM Camera App”, available as a free download, to instantly transfer and save your favourite photos to a smartphone or tablet PC. Beautiful images of your choice can be transferred with the Wi-Fi button ready for uploading to SNS or sharing with friends.
• Users can also view and import pictures and videos to the camera from a smartphone or tablet PC. The function can also retrieve location data from your smartphone to add the information to pictures you take.
• Additionally a PC Autosave feature is available, via Wi-Fi® (*5), this provides a simple means to back up your photos to your home PC. Just install the free “FUJIFILM PC AutoSave” software onto your PC and select which folder you want the photos to back up to, and then by linking your Wi-Fi Router and the X-M1 you will have set up a very simple to use backup for your photos on your home PC. Both incredibly useful and a big timesaver!
Get creative with your photography by employing popular special effects in-camera
• With eight advanced Art Filters, users can add special effects pre-image capture: namely Toy Camera, Miniature, Dynamic Tone, Pop Colour, Soft Focus, High Key, Low Key and Partial Colour. The camera also offers a Multiple Exposure mode which allows you to superimpose a second exposure onto the first exposure for a truly creative touch.
• Additionally, Fuji’s Film Simulation modes feature five different effects that emulate the looks that used to be captured by different photographic films: i.e. Provia (standard) for natural colour reproduction, Velvia (vivid) for saturated tones, Astia (muted) for soft graduation, and Sepia and Black & White.
Full HD video recording
• The FUJIFILM X-M1 is capable of full HD (1920x1080) video recording at 30 frames per second. Creative effects can be added when shooting videos with Film Simulation options including Monochrome and beautiful bokeh achieved with the large sensor at a large aperture.
FUJINON XC16-50mmF3.5-5.6 OIS lens (24-76mm equivalent) (*6)
• A compact and lightweight XC16-50mmF3.5-5.6 OIS zoom lens (24mm-76mm equivalent(*1)) is being launched with the X-M1 as a Kit lens and is designed to complement the camera perfectly, covering the focal lengths of 24mm to 76mm(*1). It is ideal for various scene types including indoor shooting, landscapes and snapshots.
• The XC16-50mm lens consists of 12 all-glass elements in 10 groups including 3 aspherical elements and 1 ED element. It features seven round-edged aperture blades, which offers 17 stops in 1/3 EV steps for precise aperture control.
• The use of lightweight lens elements and a high-precision stepping motor has enabled FUJIFILM to deliver high-speed autofocus speeds. Coupled with powerful optical image stabilisation, the lens ensures that you capture all your shutter opportunities.
• The XC16-50mm lens will be available in two colours: Black and Silver.
Extensive collection of X-M1 accessories
• Leather Case: Specifically designed to fit the FUJFILM X-M1, the case offers protection to your equipment whilst also providing the right amount of grip and the premium finish of genuine leather.
• Hand Grip: Ergonomically designed in pursuit of the perfect hold.
• Clip-on Flash: Available in three types to suit all your flash photography needs.
FUJIFILM X-M1 Key Features:
• 16.3 megapixel APS-C X-Trans CMOS sensor (same sensor as X-Pro1/X-E1)
• Hi-speed EXR Processor II
• Start-up time of 0.5secs (*1), shutter lag of 0.05secs and a maximum burst speed of 5.6fps (max. 30 frames (*2))
• Compact and lightweight body (half the size of an SLR)
• Tiltable 3-inch LCD (920K dot high definition)
• Built in flash with FUJIFILM’s Super i-Flash technology
• ISO200-6400 in 1/3 step increments (and extended range of ISO 12800 to 24600 at reduced resolution)
• Full HD Video recording at 30fps
• 49 point AF
• Art filters: 8 Advanced Filters plus 5 Film Simulation modes
• In-camera RAW processing
• Q button for list view of frequently-used menus and smooth configuration
• Hot shoe
• Wireless image transfer to smart phones and tablet PCs via FUJIFILM Camera app
• PC Autosave Wi-Fi® (*5) connectivity to PCs (for easy image backup)
• The X-M1 camera is available in three colours: Black, Silver and Brown
• Fujifilm X mount (compatible with all FUJINON XF / XC / Zeiss X mount lenses)
*1 Quick Start mode
*2 Max. number of frames can be shot on JPEG setting, use an SD card Class 10 or higher
*3 Including the battery and memory card, excluding the lens
*4 ISO200・m
*5 Wi-Fi(R) is registered trademark of the Wi-Fi Alliance
*6 35mm format equivalent
UK AVAILABILITY AND PRICING:
The FUJIFILM X-M1 and XC16-50mm lens kit will be on sale from end July 2013. Its UK SRP will be £679.99.

Image Gallery

Click on a thumbnail to see the full version.

Nikon D7100 C 1.01 Firmware Update

Nikon have released a new firmware update for the D7100 DSLR. Version C 1.01 includes 8 modifications, including when movie recording at 1920 × 1080/24p in M exposure mode, subject brightness did not change, even when shutter speed was adjusted.
Nikon Advisory
Modifications enabled in this version
- When images captured using a flash in Manual or Repeating flash flash mode were played back with the “Overview” display enabled, flash output level was displayed in the flash compensation portion of the display. This issue has been resolved.
- When the AE/AF lock button was pressed with Special Effects mode enabled, Selective Colour selected, and the view magnified with selective colour options displayed in live view, the image did not change while live view was active. This issue has been resolved.
- An issue that caused the Viewfinder Virtual Horizon to freeze when certain operations were performed has been resolved.
- When images captured with white balance bracketing enabled were played back, a white balance fine-tuning value of 9 (steps) was displayed even for images captured with a fine-tuning value of 10 (steps) applied. This issue has been resolved.
- An issue that prevented cursor movement when certain operations were performed in calendar playback mode has been resolved.
- The size of some text displayed in calendar playback mode has been modified.
- Display of focal lengths in 35mm [135] format recorded in image Exif data has been corrected.
- When movie recording at 1920 × 1080/24p in M exposure mode, subject brightness did not change, even when shutter speed was adjusted. This issue has been resolved.
https://nikoneurope-en.custhelp.com/app/answers/detail/a_id/57567

REVIEW: MindShift Gear Rotation 180° – FINALLY A Proper Hiking Backpack (Special Offer)

Anyone who has followed this blog for a while knows that Think Tank Photo makes my favorite camera bags, so outside of Kelly Moore Bags I’ve been reluctant to spend much time reviewing bags from other makers. This isn’t because I haven’t used other bags, but more because I’ve been so disappointed with others that I’ve tried that it hasn’t been worth my time to write about something that I wouldn’t feel comfortable recommending to my readers. My camera insurance article explains why I take my camera bags so seriously, so when I first heard about this new company called MindShift Gear (which is actually a spin off of Think Tank Photo), I was a bit skeptical.

The Problem

I wondered, why would ThinkTankPhoto mess with a winning formula? They make bags that are brilliant for travel and rough and tumble photojournalist, so what’s there to improve upon?

North Cascades, Washington State
2007 – Ron Martinsen

I live in the gorgeous Pacific Northwest where I can literally drive 5 minutes away from my house and take beautiful mountain hikes, so I can relate with the numerous complaints I get about gear and camera bag weight. Personally when I hike these days I just take my X20 (or a camera I’m reviewing like the X100s) because I don’t want to be bogged down with a heavy bag and gear. However, some of the best photo opportunities happen on those hikes so often I really wish I had my 5D Mark III or a camera like the D600. Given the conditions under the forest canopy, a tripod like my Gitzo GT1541 is handy to have too, but things add up quick so who wants to do that?
Well, from what I hear from my friends – pretty much everybody wants to! This leads to people doing silly things like putting their gear in their hiking backpack where stuff bangs against each other and gets scratched, and finding what you need can be a mess. This has caused me to get asked NUMEROUS times if there was a good hiking backpack that could also hold camera gear, but still hold things like water, a change of clothes, food, etc… that you’d typically want on a long hike.

The Solution

Here’s what they mean by Rotation 180
Get to your camera and basic gear without taking off your backpack!

It turns out the folks at Think Tank Photo got this question so much that they decided to do a Kickstarter Campaign to gauge the interest in them forming a new company dedicated to making camera bags for the outdoorsman instead of the traveller or photojournalist. This different focus would place weight, comfort, and ample storage above all others – yet there would still be the things we love about TTP bags – like durability! The result of that campaign was that people gave an overwhelming YES by contributing over $100,000 more than the $30,000 they needed to form this new company and develop this new bag in just 30 days! This extra funding resulted in the hikers dream bag becoming a reality with all the bells and whistles you could hope for!
Based off the old Think Tank Photo Rotation 360 Camera backpack design, this bag offers a small bag to hold your camera, and some basic essentials. The photos below show some possible configurations that I think cover most photographers real world configurations when going out for a hike:

Camera and a 70-200mm? – No problem

Camera & lenses or a flash? Sure, no problem!

While the mini-bag isn’t huge, it covers about as much gear as most people would want to carry on a hike. If you keep your camera on something like a BlackRapid RS-Sport, then you can carry even more like up to 5 standard size lenses as shown above. For me the configuration on the far right most accurately represents how I plan to use this bag.

Yeah, but what about my other stuff?

Way more than a camera bag, this bag is ready to hold gear that can save your life

My blog readers literally scale mountains on the weekend here in the Northwest (example), so sometimes the extra stuff in the bag can literally save your life. The photo above shows that this bag is designed with serious outdoor hiking in mind.
Of course, MindShift Gear realizes that there will be other times where you just want a camera bag and ideally you want one investment that can serve both needs. This is where this handy insert comes in to make your big compartment a full-on camera bag like you are used to from Think Tank Photo:

Insert this into your main compartment to convert this bag into a traditional camera bag

Water Anyone?

Store up to a 3 liter water bladder in a dedicated hydration pocket
that includes a tube pass-through where you see the water drop graphic

Long hikes require water and typical hiking bags keep this in mind by having a place to store your water bladder. This bag was designed this this in mind, so there’s a dedicated compartment just for your water that also works to hold things like your Rogue XL Pro Lighting Kit when you aren’t scaling mountains.

What about that darn tripod?

One of the most frustrating things when you are hiking is trying to carry a tripod because do-it-yourself solutions end up beating you to death with the tripod, and holding it in your hand gets old QUICK. As a result, many people leave the tripod at home for an activity where the tripod is often needed the most (for long exposure landscape shots).

Easily hold a Really Right Stuff BH-55 head with a Gitzo GT1541
in any of the three ways shown here

Mindshift Gear thought of this too by offering three ways to hold your tripod without having it beat you to death! The photo above shows three possible configurations. The far right offers the most stability, but I prefer the middle configuration the most for my BH-55 head with a Gitzo GT1541 combo. However, there’s also times when you have the tripod already out and you need to trek around the trail a bit for some additional shots. This scenario was covered to in this awesome tripod extended configuration:

Tripod Suspension Kit
I literally shouted out BOOYEAH when I saw this feature on my bag!
I want this on EVERY bag I own from henceforth!

But wait, there’s more… (sorry, no Ginsu knives included)

A wealth of accessories available (some sold separately)

These guys literally thought of everything, so unlike a normal bag there’s a crap load of accessories (some included, and some sold separately). I’m sure this is just the beginning too as readers like you are probably thinking “yeah, but what I need is…”.

Video Walkthrough

This bag has so much to show that a video is really helpful to appreciate it all. Even though I didn’t go into all the details I still ended up with two videos that are over 8 minutes long each! My bag has all of the accessories on it when I start the video so you can see how they work. I start with my video review which just goes over the bag itself with no gear inside:

Next up I have a video with a bunch of stuff inside including clothes, keys, flashlight, and more...
Hopefully my videos give you a better idea of what this bag has to offer. It's my understanding that MindShift Gear will stand behind these bags the same as Think Tank Photo, so if you are dissatisfied for any reason just contact them so they can make things right or issue a refund.

Conclusion

When I read about this bag I knew I wanted one, but more than anything I knew A LOT of my readers would want one too. As a result, I contributed $500 to the Kickstarter Campaign with the no gift option because I wanted to see this bag happen. I never imagined that so many people would give away their money to see this product happen, but they did (many receiving nice gifts for their donation). Of course this prompted some people to say “hey, what the heck does Think Tank Photo need donations for – those guys are probably super loaded and driving Ferrari’s!”. Well the reality is that Think Tank Photo is still only a small 30 person company that reinvests heavily in itself, so Kickstarter donations were the only way to make this new bag and company happen. They were also generous enough to send me a bag to review so I could bring this article to you.
I’m really loving what I see with this bag and I can’t wait to put it to heavy use this summer. I’ll report back if I see any issues that give me cause for concern.