End of the line for the Hasselblad V System

Hasselblad is to cease production of its 503CW model - the last V System camera in the company's portfolio.

 

 

The decision, which comes into immediate effect, brings to an end over a half century of evolution of the company's original camera line.

Dr. Larry Hansen, Hasselblad Chairman and CEO said: "Everything has its place in time. The veteran 503CW combined with an extensive V System range of interchangeable lenses and accessories, was for seventeen years the camera of choice for discerning professionals and aspirational amateur photographers.

But there has been a substantial decline in demand for this camera over the past five years or so and the time has now come for us to reluctantly consign the V System to history. In so doing we would like to thank all fans and customers for both their loyalty and their enthusiasm for our legacy Hasselblad V System."

He added: "Now of course the focus on medium format capture is on our H System - the world's most advanced camera system. The latest generation cameras represent medium format capture engineering at its most exemplary and are well-placed to secure and underpin the company's unrivalled reputation for providing highest image quality and craftsmanship. Additionally we are focusing on new products for advanced enthusiasts."
Hasselblad has confirmed that the last 503CW has rolled off the production line but the company will continue to provide V System accessories while stocks last. V System support will also still be available through current channels.

EF 100-400 Replacement in 2013?

Speculation has started again
We’ve received a few reports that an announcement for a replacement to the EF 100-400 f/4.5-5.6L IS is “very possible for the end of August”. A few prototypes of the lens are currently in use in Asia.
This has been a lens that has been set for replacement as far back as I can remember. I think it’s more probable for release now that Nikon has put their new 80-400 out, which was an area of weakness for them.
We’ve heard from a few people that Canon is having manufacturing issues and that there’s a backlog of new lenses slated for production.

EF 800mm f/5.6L IS II

Another mention
More mentions of a replacement to the longest lens in the Canon lineup. We’re told the new 800mm will be announced once the EF 200-400 f/4L IS 1.4x has begun shipping. There’s a possibility we’ll see at least a development announcement some time this fall. There was no mention of the EF 200 f/2L IS, a lens that was announced alongside the original 800mm only 5 short years ago. Beyond a new build type in materials, the lens will be a “nearly identical” optical formula, although improvements in vignetting and sharpness are probable.
Announcement timing could also depend on stock levels with retailers, not so much with Canon itself. I don’t imagine too many of these are made and warehoused.
I have had communication from a few other anonymous people that the next 800 would have a built-in teleconverter, which is not something I think will happen.

Seamlessly Flow from Shoulder Strap to Tripod with the Fusion Plate

About a year and a half ago, photographer David Fliger of Fusion Photo Gear found himself in a field, rushing to mount his camera onto a tripod in order to get a shot of a tractor in the fading light. There was only one problem: he already had his sling-style shoulder strap attached via the accessory loop that was sitting where his quick release plate would normally be.
It was a problem he ran into all too often (both used the 1/4″ accessory hole on the bottom of his camera) and one he made up his mind that day that he would solve. That’s when the Fusion Plate was born.

The Fusion Plate is a quick-release plate that features a built-in accessory loop for attaching things like a shoulder strap. When you’re not using the accessory loop, it quickly snaps down flat, allowing you to attach the release plate to a tripod without any messing about with screws.
Fliger created the prototypes in his father’s hobby machine shop, but now that they have something that works, they want to scale up production to a point where they can sell the Fusion Plate at a reasonable price. So, like many inventors before them, they’ve taken to Kickstarter to fund the project.
Here’s the Kickstarter campaign video for the Fusion Plate:
Each Fusion Plate is made from aircraft grade aluminum, color anodized and laser engraved. With 21 days left, the campaign has already reached and surpassed even the stretch goal of $10,000, but if you want to be one of the first to get a Fusion Plate you’ll still want to take advantage and order as soon as possible.

The black Fusion Plate will run you $65, with the Blue and Red costing $68. For now, everyone that orders one will receive it around September, and since Fliger and his father have reached their stretch goal, three lucky pledgers will also receive a free Fusion Plate in addition to the one they’ve already ordered.
Head over to the Fusion Plate Kickstarter to order and/or check out Fusion Photo Gear’s website for more info.

Hasselblad Lunar Delayed Until June

The Hasselblad Lunar was supposed to launch this month; however, Hasselblad has reportedly informed Amateur Photographer “that the Lunar is ‘scheduled’ for June availability.” No reason was provided for the delay in the launch of the exotic camera.
Thus far, I have heard of no one who is actually looking forward to this camera . . . even though it will be available with a Zebra Wood body. I have seen or heard nothing from Hasselblad’s marketing that suggests anything other than excess for the simple sake of it.
One can only hope that the delay is caused by Hasselblad’s reflex to the mockery that the Lunar has endured in recent months. And, hopefully, the Lunar will be released as something more than a Sony NEX-7 with fancier ergonomics and exterior materials. Thus far, we have seen no indications of Hasselblad anything but that.
While no official US price tag has been announced, overseas pricing points to a $5,000-ish price tag. Of course, I suspect that will vary depending on which nonsensical exterior body material is chosen.
[via Amateur Photographer]

Magic Lantern Team Discovers 2K RAW Video Capability on the 5D Mark II and III

In what may very well be the most exciting Magic Lantern development ever, the team has discovered a RAW DNG output in live view on the 5D Mark II and 5D Mark III. What this means is that, in the near future, 5D Mark II and III owners may be able to record crystal clear 2K RAW video that blows H.264 output out of the water and then some.
Apparently, both the Mark III and II are able to record a 2040 x 1428 DNG stream to the buffer in live view. The preliminary tech is still very limited, you can only record 10-14 frames per second for about 28 frames and then the camera needs to buffer, but the folks at Neumann Films got to test the functionality and the potential here is pretty mind-blowing.
Here’s that test video:
The hope is that Magic Lantern will be able to somehow push that burst to 24fps, intercept the DNG stream and write if from the buffer to the CF or SD card. That would translate into RAW DNG video that, according to Newmann Films, looks to provide 3x more resolution in addition to color depth, dynamic range and incredible post-processing flexibility that isn’t typically found outside of a Red EPIC or Black Magic Cinema Camera.
But RAW video, which will still take a little work to ramp up to a usable level, isn’t the only application here. The ability to take RAW DNG snaps without any mirror flipping or shutter actuation could potentially be huge for extending the life of your camera. Time-lapse shooters in particular could shoot a few thousand frames without wearing out any of the moving parts.

Like we said, Magic Lantern is still playing around with this capability, and it probably won’t be accessible to the public for a little while, but an update like this would be exciting to say the least. Be sure to check out the video above to see the massive quality difference between the H.264 and RAW DNG files and/or head over to Magic Lantern’s Facebook page to learn more.
(via EOSHD)

Samyang T-S 24mm f/3.5 ED AS UMC Pricing Announced

Intro2020 has announced availability and pricing details for the Samyang T-S 24mm f/3.5 ED AS UMC tilt-shift lens in the United Kingdom. Manufactured in Canon EF, Nikon F and Sony A. fittings - with Canon M, Fujifilm X, Samsung NX, Pentax and Sony E-mount versions coming soon -, the lens has an optical formula comprising 16 lens elements in 11 groups, including two aspherical lenses and two Extra-low Dispersion (ED) elements. Each optical component has been covered with multi-layered, anti-reflective UMC coatings, which are claimed to provide superb light transmission, high contrast and natural colours. The tilt-shift function in the Samyang T-S 24mm f/3.5 ED AS UMC allows for tilt and swing movements up to +/-8.5° and enables shift, rise and fall movements of up to +/-12 mm. The Tilt-Shift section may be rotated left by 90° (with 30° adjustment), while the lens mount may be rotated both ways by 90° (in 30° increments). The Samyang T-S 24mm f/3.5 ED AS UMC tilt-shift lens will be available from mid-May, at a suggested retail price of £949.99 including VAT.

Intro2020 Press Release

Samyang Tilt-Shift 24mm to be released in mid-May

Initially announced at last year’s Photokina exhibition, the Samyang T-S 24mm f/3.5 ED AS UMC lens, featuring perspective control function, will be released in the UK in mid May.

Source of inspiration
Samyang T-S 24mm f/3.5 ED AS UMC is a wide-angle prime lens designed for full frame cameras. Its optics and mechanic features enable independent shift of the optical axis and lens plane tilt. This feature, combined with the Tilt-Shift section rotation function, gives unlimited range of image creation options with the use of perspective and depth of field. The lens is an ideal tool for landscape and architecture photography, but it is also a limitless source of inspiration for ambitious photographers who express their emotions in new ways, through unique perspectives, precise placed focal planes, corrected convergence of lines within the frame and high-resolution panoramas.

Broad potential
Tilt-Shift function of the lens allows for smooth adjustment of the focal plane angle (from -8.5 to +8.5 degrees) and parallel shift of the lens optical axis by ±12 millimetres. Sections responsible for tilt-shift function may be rotated to the left by 30, 60 or 90 degrees against each other and the bayonet mount may also be independently rotated to the right by ± 90 degrees, also at 30 degrees increments.

Technical precision
The wide range of functionalities of this Tilt-Shift lens required designing sophisticated optics based on the highest quality elements. The lens features sixteen elements divided into eleven groups that include two aspherical lenses (ASP), to prevent spherical aberration effect, and two lenses made of low dispersion glass to reduce chromatic aberration. Each lens is covered with multi-layer anti-reflective UMC coatings that provide perfect light transmission, high contrast and faithful colour reproduction.

The Samyang T-S 24mm f/3.5 ED AS UMC will be released in Canon EF, Nikon F and Sony A. fittings. Canon M, Fujifilm X, Samsung NX, Pentax and Sony E fittings will be available at a later date.
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Suggested retail price £949.99 inc VAT.

For further details please contact Intro2020 on 01628 674411 or visit the Samyang website at: http://www.samyang.co.uk

Sigma 135mm f/1.8 DG OS Lens in the Works?

Sigma is really hitting it out of the park lately. The initial line of new lenses – particularly its Art lenses – are simply stunning as both engineering feats and in terms of what we have seen and heard of their real world results.
Case in point: the 18-35mm f/1.8 APS-C zoom, the 35mm f/1.4 and the 30mm f/1.4 APS-C lenses.
That being said, new rumors point to the possibility of an upcoming 135mm f/1.8 DG OS lens being added to Sigma’s line of Art lenses later this year. If that turns out to be the case, that could turn out to be a very attractive long portrait lens for Canon and Nikon shooters looking for alternatives to pricier first-party options.

Firmware 1.2.1 for the 5D Mark III in the Wild

5D Mark III’s running the new firmware
We’ve received various reports that EOS 5D Mark III’s that have come back from Canon service in the last week are running firmware 1.2.1.
So I guess if you can’t wait until the 30th of April, you can drop your camera off to Canon!

Pentax K-5 II(s) Firmware Update 1.04

Pentax Ricoh have issued a firmware update for the Pentax K-5 II and K-5 IIs digital SLR cameras. According to the company, Version 1.04 corrects the following bug: "Switch operation may not rarely work during displaying Status screen in firmware version 1.03." You can download the firmware update from the website below.

Website: Pentax K-5 II Downloads : Firmware Update

Pentax Q Firmware Update 1.12

Pentax Ricoh have posted a firmware update for the Pentax Q compact system camera. Version 1.12 corrects a bug related to the Smart Effect, "Tone Expansion." This effect is supposed to produce a dramatic, "quasi-HDR" image but users who have updated their camera firmware to version 1.11 when that update came out have found that the effect was no longer applied. This issue is resolved in version 1.12, which you can download from the website below.

Website: Pentax Q Downloads: Firmware Update

Sigma Announces 18-35 f/1.8 DC HSM Art for APS-C

RONKONKOMA, NY, Apr. 18, 2013 — Sigma Corporation of America (www.sigmaphoto.com), a leading researcher, developer, manufacturer and service provider for some of the world’s most impressive lines of lenses, cameras and flashes, today announced the Sigma 18-35mm F1.8 DC HSM Art lens, the market’s first zoom lens to achieve a maximum aperture F1.8 throughout the entire zoom range.
This revolutionary, wide aperture, standard zoom lens is created for DSLR cameras with APS-C size sensors, which translates to a focal range of 27-52.5mm on a 35mm camera. With a minimum focusing distance of 11 inches, and a maximum magnification ratio of 1:4.3, the 18-35mm is ideal for landscapes, portraits, still-life, studio, close-up and casual photography.

“Exceptionally fast apertures were previously unavailable in zoom lenses, so photographers turned to several prime lenses in a session to get bright images at various focal lengths. We’re incredibly excited to be the first manufacturer to bring the F1.8 standard zoom to the market and to provide photographers with a new level of creativity and convenience, with the outstanding image quality at the core of the new Sigma Global Vision,” said Mark Amir-Hamzeh, president of Sigma Corporation of America.
Amir-Hamzeh added that because developing a large aperture wide angle zoom lens can prove to be technologically and optically challenging, often resulting in various distortions, aberrations and field curvature, Sigma has tapped into its long history as a lens pioneer to overcome those issues in this new generation lens.
“Our experience with the wide angle designs of our 12-24mm F4.5-5.6 II DG HSM and our 8-16mm F4.5-5.6 DC HSM, and our research and development in our Aizu factory have prepared us for this technological advancement,” he said. “Our wide, glass-molded aspherical lens and the incorporation of Special Low Dispersion (SLD) glass have optimized power distribution of the optical elements and compensated for various aberrations, as well as curvature of field at the widest angle. We’re extremely proud of this achievement.”
The 18-35mm is the latest addition to the company’s company’s Art line of lenses, designed under the new Global Vision. The Global Vision lenses have a sleek new design with the manufacturing year stamped on the barrel, and are categorized by use into one of three groups: Art, Contemporary and Sports. The Art category delivers high-level artistic expression through sophisticated and abundant expressive power.
The new 18-35mm lens incorporates Sigma’s improved AF/MF switch and the use of Thermally Stable Composite (TSC) compound material, which has a high affinity to metal parts, consistently performs well at extreme temperatures, and reduces the size and weight of the lens. It is also compatible with Sigma’s new USB Dock, which will be available in coming months, enabling photographers to update lens firmware and adjust focus parameters from their computers.
Convenient handling is achieved with internal focusing and zooming, which prevents changes to the size of the lens. Additionally, the front part of the lens does not rotate, so special filters like circular polarizers can be used.
The 18-35mm lens’ Super Multi-Layer Coating reduces flare and ghosting and provides sharp and high contrast images, even in backlit conditions. The petal-type hood that is supplied with the lens will provide extra protection from flare and ghosting. Sigma’s Hyper Sonic Motor (HSM) ensures a silent, high-speed AF function and the optimized auto focus algorithm results in smooth focusing and full-time manual focusing capability. Lastly, the nine-blade, rounded diaphragm creates an attractive, round bokeh at large-aperture settings.

EOS 5D Mark III Firmware Coming April 30, 2013

From Canon USA
Canon has updated the product page for the EOS 5D Mark III and have  stated April 30, 2013 as the release date for the new firmware that will include clean HDMI out and f/8 autofocus.

*UPDATE* A Bit of EOS 70D Info [CR1-CR2]

UPDATE
Two people have written in to tell me that the April 23, 2013 date is not for the EOS 70D. With it being a week away, I tend to agree.
The next EOS
The next DSLR Canon is going to announce is the EOS 70D, we’re trying to confirm if it will come on April 23, 2013 as previously reported. Below is a spec list put together from various sources that have written in. All of it seems plausible and almost expected.
What to expect from the EOS 70D.

• 18mp Sensor (Same as SL1)
• DIGIC V (no one has said it will get DIGIC 6)
• 6.5fps
• SD Card
• Wifi
• GPS
• 3.2″ Touchscreen LCD (No mention of swivel)
• Magnesium Alloy Construction
• Weathersealed
• Slightly larger than the EOS 60D
• $1199 USD Body Only

We’re told a lens will be announced with the EOS 70D, but we haven’t heen told what it will be.

EF 200-400 f/4L IS 1.4x Availability

A light at the end of the tunnel?
I spoke to someone at NAB last week about the yet-to-be-officiall-announced EF 200-400 f/4L IS 1.4x. I was told that the lens is now “expected to arrive in the fall of 2013. The design and functionality of the lens are set, Canon is now waiting for the manufacturing process to be finalized so production can begin”.
I got to hold and play with the 200-400 a bit last week, and I must say the weight of it shocked me. It’s going to be pretty close to the EF 600 f/4L IS II. I’m sure everything else about the lens is top notch, as we’re still being told to expect a price north of $10,000 USD.

Patent: EF 400 f/4 DO IS II

Another DO patent
We haven’t seen a new DO lens in a long time, but the patents haven’t stopped. It looks like Canon is continuing the R&D, I’d love to see it go somewhere.
Interpretation and self-description of the patent literature

• Patent Publication No. 2013-64858
• 2013.4.11 Release Date
• Filing date 2011.9.16

Example 1

• Focal length f = 392.12mm
• Fno. 4.12
• Half angle of ω = 3.16 °
• Image height Y = 21.64mm
• 262.14mm length lens
• BF 69.97mm
• Two fluorite
• Materials and anomalous partial dispersion DOE to use, reduce the chromatic aberration
• Refractive power of the diffractive surface
• Strong, but can reduce the chromatic aberration of the element itself, flare increases
• The weaker, other optical element DOE play a role
• Refractive optical unit
• DOE anomalous partial dispersion and bonding materials
• DOE aspherical surface on the opposite side of the
• Vibration control
• Inner Focus

Photography’s greats feature in the new issue of VICTOR

Hasselblad's VICTOR Magazine made a triumphant return to a print format last year, and Issue Two is now available, featuring contributions from the likes of David Hockney, Steve McCurry and Perou.

The brave decision by Hasselblad to swim against the tide last year, and to turn VICTOR Magazine from an online publication back to a printed issue, paid huge dividends as the new-look publication earned plaudits around the world for its strikingly high quality, luxury feel. Not surprisingly VICTOR - Photography Book Two has been hotly anticipated and now it's here, boasting a list of contributors that sounds like a who's who of international greats.
The new issue of VICTOR has David Hockney revealing a word-exclusive triptych, stylishly reproduced as a complex multiple gatefold, while there's also an exclusive edit from Steve McCurry of the Pirelli 2013 Calendar, which he photographed in Rio de Janeiro. Also featured in VICTOR - Photography Book Two is Alec Soth, a photographer known for his monochrome exploration of Americana; Guido Argentini, showcasing his exceptional nude studies; and London-based photographer Perou, who has photographed every celebrity in modern culture from Bill Clinton through to Justin Bieber. Exclusively for VICTOR Perou is also showcasing a collaboration with adidas Originals, an exciting project titled Concrete that features their Spring/Summer 2013 collection.
"We were delighted to bring VICTOR back as a print title last year," says Paul Waterworth, Hasselblad's Global Photographer Relations Manager. "Because we were looking to showcase some of the exceptional photographers from around the world who are using Hasselblad cameras it made sense to use their work within a format that truly did it justice. Issue Two of VICTOR will very much continue that journey, and the book format allows us to capture the full quality of images produced by one of the world's best cameras."
"Establishing VICTOR at the forefront of print publishing and photography titles has been a key aim," says the publication's Editor-in-Chief and Creative Director Stephen Toner, "and we were delighted to see this recognised by the British Journal of Photography in its 'Cool & Noteworthy 2012' review, where they named VICTOR as Best Customer Magazine 2012.
"This is an exciting time for photography, calling for innovation, dynamism and an embrace of the future. But it also requires a respect for heritage and for the expertise that comes from a long history of working at the very highest level, to the most exacting standards. Hasselblad - and all the photographers included in this issue - embody this approach perfectly and this book is a testament to their craft."
True to the spirit of Issue One, VICTOR - Photography Book Two is a large-format, hardback, cloth-bound print title defined by outstanding photography, unique typography and the highest-quality print reproductions. Although its appearance is not that of a magazine at all but of a high quality book, it continues to be priced at a magazine level - £15/€20/US$25 - making it accessible to the widest possible audience.
VICTOR is stocked by exclusive magazine shops around the world, and will be available in the UK from April 15, the EU from April 22 and the rest of the world from May 6. The magazine can also be ordered online and will be shipped to all countries.
You can also visit the VICTOR website, which has been updated with exclusive new online material, and the log-in procedure has been dropped to allow free access to all visitors.


Head for:
www.victorbyhasselblad.com
www.facebook.com/victorbyhasselblad
VICTOR channel at HTV (htv.hasselblad.com/channel/victor-magazine)
VICTOR channel at YouTube (www.youtube.com/HasselbladAS)


To order your copy of VICTOR online, visit:
www.newsstand.co.uk

Super Colour: Exploring the Play Between Color, Light, Motion and Emotion

By his own admission, photographer Andrew McGibbon doesn’t like using natural light. It’s not that there’s anything wrong with shooting natural light — he’s done it before when the situation called for it — it’s just that he prefers the wow factor that he knows he can get by experimenting with crazy lighting setups.
He wants to create “surreal” images, and so it makes sense that he would be the photog behind Super Colour, a series of psychedelic portraits taken by combing the effects of colored gels, paints, powder and sometimes water.
Here are a few of our favorites from the series:










Some of the shots that fall under the Super Colour series were taken for ads, others for fun, but all of them, as he puts it, are an exploration of the relationship between “colour (obviously), light, motion and emotion.”
Click here to head over to Behance and see more Super Colour photos, and be sure to check out McGibbon’s blog for some behind the scenes shots as well.
Super Colour!! [Behance via Orms Connect]

PBS Arts Takes a Look at How Photoshop is ‘Remixing The World’

It’s hard to fathom the effect that Photoshop and digital retouching has had on our world. Limitations placed on artists and photographers in particular have systematically been stripped away as terms like “‘shopped” made their way into our vernacular. In this short video, PBS Arts examines that effect. From the artist, to the photographer, to the everyday citizen who has something to say, nobody has been left unaltered by Photoshop. PBS Arts Takes a Look at How Photoshop is Remixing The World photoshop1 Giving the artist perspective, art director and illustrator Jeff Huang talks about the new and exciting canvas that Photoshop has given artists like him. Constantly fighting those who don’t understand the skill required on one side and those who see a piece of Photoshop art as somehow less artistic on the other, the Photoshop artist is still awaiting the recognition he’s due. On the photography end we have Laurent Le Moing of Picturehouse NYC, who briefly explains the ins and outs of retouching, and makes the distinction between good retouching — that is, retouching that preserves the human element — and bad retouching that has led to a twisted understanding of beauty and perfection. PBS Arts Takes a Look at How Photoshop is Remixing The World photoshop2 Perhaps most interesting, however, is the third section of the video on meme generation. Narrated by Don Caldwell of Know Your Meme, this section discusses how the ability to create and alter memes in Photoshop has changed the way we interact with and comment on our culture. PBS Arts Takes a Look at How Photoshop is Remixing The World photoshop3 Caldwell mentions the Thumbs & Ammo meme as a statement about gun control, and the pepper spray cop as a statement about police brutality. It seems that our ability to alter images in Photoshop, be they obviously fake or otherwise, has allowed people to communicate their political and cultural views more effectively than words ever could. Truth be told, there are probably many more examples of how Photoshop has affected us. In the past, we’ve shared the opinion that the prevalence of Photoshop has even changed our perception and understanding of reality. How else do you think Photoshop is “remixing the world?”

Topaz B&W Effects 2.1 upgrade released

2

Topaz Labs released B&W Effects 2.1. The new features include zone system, borders, tone quick tools and apply button. You can read all the details on the new version in this this blog post. Topaz B&W Effects 2.1 screenshots:

 

 

Few before and after comparisons to get an idea what you can do with Topaz B&W Effects:

Adaptive dynamic conversion

Dynamic cyanotype conversion

Warm tone with selective color

G-Tech G-Dock ev Swappable Dual-Bay Storage System

G-Tech showed the G-Dock ev and G-Drive ev hard drives (shown above) at NAB 2013. I stopped by their booth to take a closer look at them.
The G-Dock ev is a Thunderbolt dock, which ships with two of the G-Drive ev drives.

These G-Drive ev hard drives feature a USB 3.0 connection and SATA connector on the back. This allows you to take the G-Drive ev units with you in the field, giving you USB 3.0 connectivity at transfer speeds up to 136MB/s. Then when you get back to home or office, you can drop the G-Drive ev units into your G-Dock ev, which uses the SATA connection.

The G-Drive ev units are a solid aluminum design, which we have come to expect from G-Tech. They are ruggedized and rated to handle drops up to a meter. And, of course, the aluminum case matches nicely with Apple’s current Mac design scheme.

In addition to the standard single-drive G-Drive ev units, G-Tech also makes a G-Drive ev Plus that will mount in the G-Dock ev. The G-Drive ev Plus features a pair of spinning drives that use hardware RAID to offer transfer speeds up to 250MB/s, which you can take advantage of using either the USB 3.0 interface as a standalone unit or via Thunderbolt when it is plugged into the G-Dock ev.
(If you want a better understanding of hard drive data transfer rates, check out my prior article Making Sense of Memory Card Read/Write Speeds and USB 3.0 / Thunderbolt Data Transfer Rates.)
The G-Dock ev ships in a JBOD configuration; however, it can also be configured in RAID 0 or RAID 1 to suit individual users’ needs. The drive bays are hot swappable and show up as individual G-Drive ev disks on the Mac desktop. There is also a Kensington lock slot on the G-D0ck ev if you are in an environment that requires you to secure it.

The G-Dock ev with (2) 1TB G-Drive ev hard drives retails for $749.95. Other configurations will be available as well. Individual G-Drive ev units will start at $149.95 for a 500GB drive.
The G-Dock ev is a brilliant product that should hit mark with loads of photographers and video pros. I spoke with several other industry pros at NAB who were very impressed with the unit as well. I think G-Tech has a real winner on its hands here.