Review – Sigma 35mm f/1.4 DG HSM

Review – Sigma 35mm f/1.4 DG HSM

Review – Sigma 35mm f/1.4 DG HSM
By: Justin VanLeeuwen | Twitter
Discuss the Sigma 35mm f/1.4 DG HSM
Sigma is arguably one of the more recognizable of the third party lens manufacturers. It is known for providing inexpensive alternatives to many of Canon’s own zoom lens offerings, or filling niche gaps left in Canon’s lineup. This applied to their limited selection of prime lenses as well; I briefly owned their 30mm f/1.4 EX DC and was happy with it on a consumer level, though the optics didn’t hold up to some of the more pressing work I did and a move to full-frame (it’s a “DC” lens, denoting it’s for Digital Camera’s only, and specifically crop sensors) meant I wouldn’t be able to use it anyway. They released a 50mm f/1.4 EX DG that retailed for MORE than the Canon equivalent; their stance was that it performed better optically and had better build, both of which may very well be true. But pervasive issues of quality control, of batch variance where you never know for sure if the lens you get will be anywhere close to being as good as it can be, or as it is advertised, and a stigma (pun?) attached to owning something “inferior” than a first party “L” lens kept many consumers away.

Sigma 35mm f/1.4 DG HSM | Click for Larger

I can’t claim to know what Sigma was thinking when they produced the 35 f/1.4, but I like to think it was an evolution to their approach with the 50mm f/1.4, and a reaction to the (potentially unfounded) general opinion of their brand. It’s no secret new Canon lens prices have been particularly high as new technology, coating, and build methods are integrated. Maybe this gave Sigma some more leverage to manufacture a product that they could put a bit more money into, something that would still be competitive in price while appealing to everyone who’s always been on the fence about buying something from anyone but Canon with great optics as well.
Whatever the process was, it clearly has worked. The Sigma 35mm f/1.4 DG (I’m gonna leave the “DG” off from now on) was released with a simplified industrial design that would appeal to an Apple enthusiast. With the promise of better quality control and optical performance that could outperform Canon’s more expensive and more-than 10-year-old 35mm f/1.4 L is there any surprise that this lens has already been a roaring success?

Swing | EOS 5D Mark III & Sigma 35mm f/1.4 DG HSM | 1/3200th, f/2.0 ISO 100

Build
It’s not always necessary, or warranted, to comment on a lens’ looks, it is a tool and the optics are what really make the difference, but it’s hard not to remark on the cool industrial design the Sigma 35m f/1.4 offers. Simple, sleek and smooth, it appeals to the eye as much as to the touch, it features an all metal outer body and thick and smooth front rubber focusing ring. The lens has a great weight to it too, often an indicator of quality parts. Ridges carved into the body along the side help extend the design, as well as give a bit of grip. A firm AF/MF switch adorns the side of the lens which, when pressed, will click into place with an authoritative “snap”; I don’t see anyone switching it by accident. A nice touch is that the panel behind the switch changes from white in AF to black in MF as a visual cue.
A smoothed out base truly polishes out the look of the lens and provides a variance of texture from the slight matte finish of the body. All these features help give the lens a transcendental experience. It becomes more than just a tool you slap onto the front of the camera. From the moment you look at it, when you touch and handle it, you’re appreciating it in its own right as a work of art in itself.
Speaking of art, this lens has a rounded “A” slapped onto the side, denoting it as part of Sigma’s ?Art? series (I’m assuming they’re transitioning from the EX nomenclature that defined a lens with exceptional build quality or whatever…). I sort of find this misleading: while the art of the lens itself is clearly visible in its craftsmanship, it’s presumptuous and potentially misleading to say a lens is for “art” as much as it is to say another lens? S is for “Sport” or C for “Contemporary”. (What the heck does contemporary mean!?) As a slightly OCD guy, I understand the need to classify things, but this is a clear oversimplification that has little bearing on real-world photography. It’s actually kind of silly, but their corporate “Rethink Lenses” philosophy reads well enough. You can check it out here: http://www.sigma-global.com/en/lenses/cas/concept/index.html
Sigma has always been great at providing extra elements with their lenses that are optional add-on’s (read: cost money), on Canon glass. A petal-shaped lens hood is included and its design acts as a lovely extension of the design of the body. A newly designed centre-pinch lens cap is provided which I find a bit easier to manoeuvre than Canon’s own newly released centre-pinch caps. Finally, a small padded belt-pouch is included. While I doubt I’ll use the latter, I find this more desirable than Canon’s useless sacks that they include with the L series.
Image
Fast apertures bring all the photographers to the yard. We all love and drool over fast apertures. We talk about “creamy” bokeh like it’s a rich French pastry, sweet and sublime in both taste and texture. Well the Sigma 35mm f/1.4 has that to spare. A 9 blade aperture ensures your background blur is, in fact, soft and creamy. Bokeh renders beautifully and is pleasing to the eye. I can confirm that the lens reproduces images with stark colours and contrast as well as a reasonably sharp image when it is wide open. Vignetting is incredibly prevalent on this lens, enough so that you may have to adjust your metering accordingly. I don’t really know a prime lens that doesn’t, but you’ll have to stop down well past f/2.8 to get rid of it in-camera. Of course this can be corrected simply in software.
I admit I have an affinity for 35mm lenses: there’s something about this focal length that I just get. Having used the Canon 35mm f/1.4 L, my expectations for Sigma’s release were pretty high. They had to be. If it didn’t beat out the Sigma 30mm I wouldn’t buy it and if it didn’t come close to Canon’s 35mm I wouldn’t want it. And while I’ll say right here and now that I still like the “feel” and look of the images I took with the Canon lens, the Sigma is absolutely no slouch and it definitely out-performs the Canon on some, if not all, technical levels. For one, chromatic aberration, including fringing, is very well controlled. On the Canon I felt that there was a big purple moss growing on all my back-lit subjects. With the Sigma, there’s sometimes only a feint greenish/blue hue, and just a slight touch of purple or magenta. Obviously, situations will vary, but this was very impressive.

Trevor Portrait | EOS 5D Mark III | Sigma 35mm f/1.4 DG HSM | 1/3200th, f/2.0 ISO 100

A specific issue I had with Sigma’s 30mm lens was that the optics were not well suited to getting hit by direct light. Shooting into a light-source was the optical equivalent of a demolished building: nothing worthwhile was left over. The Sigma 35mm f/1.4 has none of these flaws; it handles light-flare well, retaining much of the image’s fidelity. The visible optical flare may not be as dramatic or pretty as you’ve seen in some of Canon’s primes, but it’s still there for those who like to add that creative flair (pun!).
As we all know, I’m shallow-depth of field challenged, and have a pretty tough time gaining focus wide open. Somehow I don’t have the same issue with the Sigma. This may very well be that it’s auto-focus system performs excellently. Silent and fast, I had no problem achieving focus with my 5DMKIII straight out of the box. Has Sigma squashed their bad quality control rep? One lens doesn’t tell the whole story, but for me it’s a very good sign.
Who’s it for?
For most people, if they could have one fast lens in their bag it would likely be a “nifty fifty.” 35mm is my jam. I love the middling optic, not quite telephoto enough to be great at tight portraits, not wide-angle enough to capture a whole room. It serves a great purpose of being able to photograph people and objects but show a selective amount of their surroundings.
Wedding photographers will surely want this lens in their kit: it is perfect for candids and low-light situations. The fast aperture and shallow depth of field will capture special moments with amazing clarity while isolating distracting backgrounds.
If you can work the focal length, portrait photographers have a lot to gain by showing off a bit more than just the face of their subject. Context can be achieved by showing some of the surrounding location; being able to blur out that background will help to isolate your subjects.
If I could travel with just one lens, right now, it would probably be the Sigma 35mm f/1.4. I love the versatility its aperture and focal length get me, and knowing I could get creative with my compositions while still maintaining excellent image fidelity makes it a no-brainer. While it’s not particularly light, the trade-off for a unique image is certainly worth it. That’s just me, though, but you may benefit from having this as part of a more varied kit.

iPad | EOS 5D Mark III | Sigma 35mm f/1.4 DG HSM | 1/200th, f/1.4 ISO 100

Conclusion
The Sigma 35mm f/1.4 is the finest lens I’ve ever used from the company. It has impressed me more than many of Canon’s own primes. Perhaps some of that is a bias because my expectations were slightly lower or I was at least cautiously optimistic about this offering. Either way, I have been thoroughly sold on the lens and have given up my quest for a Canon 35mm f/1.4L, even if Canon does replace their lens soon (which they should). It will likely retail for close to $2,000, putting the Sigma at half that. Canon would have to offer a significant amount of value for anyone to want to consider that over the Sigma, except possibly the most die-hard of Canon fans.
Caveat emptor: Sigma reverse engineers their lenses, which means they “figure out” Canon’s focus system and electronics. I haven’t heard of this being a problem for anyone yet, but it’s important to note that your lens may have an issue with future cameras. To hedge this, Sigma (Canada) offers a 10-year warranty to help with firmware upgrades and repairs. Their warranties are not global, though, so I recommend you buy your lens from a retailer in your own country and check on what is offered. To my knowledge, this is also the first lens that Sigma has released that will be compatible with their USB dock and optimization software for consumers to do their own lens calibrations and firmware updates.
Did Sigma beat Canon on this lens? When you factor in the cost, the look, the optics and the images (that’s all that matters in the end), then yes, absolutely. There is nothing that the Canon offers that would make me want the Sigma any less, especially the extra bit of cash left over after you buy it.
Pros

• f/1.4 shallow-depth of field and fast aperture
• Sharpness & superb optical quality
• Quick and accurate auto-focus
• Affordable compared to the Canon 35mm f/1.4 L
• It just looks and feels great

Cons

• Not weather sealed (but neither is the Canon)
• Potential future compatibility issues
• Lack of red ring will make Canon fanboys sad?

EOS 5D Mark III, EOS-1D X, EOS-1D C Firmware Info

Firmware coming soon
Lots of questions about the firmware updates Canon announced a while back. A non official source has updated us on the progress of the software updates for the following 3 cameras.
EOS 5D Mark III
Firmware 1.2.0 (may be 1.2.1 when released) will be on our CF cards by the end of April. Canon USA also confirmed this for me.
EOS-1D X
There is no reported delay on the firmware update for the EOS-1D X. It will arrive in May as previously announced.
EOS-1D C
Another announcement may be coming at the end of April letting us know when we can expect the 25p at 4K update. One of the challenges is encrypting the firmware to combat hacking or reverse engineering of the software inside the camera.
As for the 120fps/720p mode that leaked in a photo a few weeks ago, that feature won’t appear in the final version of the firmware update due to “stability concerns”.

Breathtaking Time-Lapse Shot Over Six Months on New Zealand’s North Island

This time-lapse, shot by photographer Bevan Percival on New Zealand’s North Island, has to be one of the most beautiful we’ve ever shared. Shot over the course of six months using a Canon 5D Mark II, various lenses, and a Dynamic Perception 6′ Stage Zero motorized dolly, it will keep your eyes glued to the screen all five minutes and fifty-nine seconds. Breathtaking Time Lapse Shot Over Six Months on New Zealands North Island newzealandtimelapse In keeping with the stunning visuals, Percival’s description isn’t about the gear he used or even the places he went. It’s about what inspires him to do what he does and how it has impacted him: I’m driven by chasing fleeting moments of dramatic light on beautiful landscapes and also capturing the night sky and milky way in all its glory is a real buzz. Not to mention curling up out under the stars beside all the gear for nights at a time catching some sleep here and there between checking the gear, changing batteries and staring up into eternity with spectacular meteors burning up in the cosmic shore out of the corner of your eye. To see more of Percival’s time-lapse work, you can check out his Vimeo profile by clicking here. (via DIY Photography)

The first 3.69 million dots electronic viewfinder

Citizen announced the highest resolution electronic viewfinders available today with a 1280x960 pixel display or 3.69 million dots (Google translation):

"This time, by making improvements faster and LCD design of the drive circuit finer, (1,280 × 960 × RGB) worth of pixels 3.69 million about resolution Quad-VGA with 0.4-inch increase the resolution by about 30% than conventional products I realized the LCD panel. Currently, much higher than the pixel 2.36 million the highest resolution on the market, has become a LCD panel with resolution highest peak in the world of, three-dimensional feeling, a sense of resolution, focus and precision that is required in digital SLR cameras I fit is made possible. Also, it is a product that has evolved dramatically that improve significantly also color break-up of specific system field sequential, plays a leading role in the new generation digital camera in the future."

Via Dpreview

Manfrotto Showcases Kata Line-Up at NAB

Manfrotto Distribution is showcasing a slimmed down lineup of Kata rollers, shoulder bags, video backpacks and rain covers at the National Association of Broadcasters (NAB) show in Las Vegas. “Kata Pro-Light products are designed to protect professional gear while minimizing weight, so you never miss a shot” said Doug Feldner, Product Category Manager. “The focused 2013 product line makes finding the right bag or rain cover with the online Kata Bag Chooser simpler than ever.” These products are all on display in booth C7025 at the NAB 2013 trade show. Click through / read on for the details.

Manfrotto Press Release

MANFROTTO DISTRIBUTION SHOWCASES KATA CARRYING AND PROTECTIVE SOLUTIONS AT THE 2013 NATIONAL ASSOCIATION OF BROADCASTERS SHOW

Kata Line Offers Superior Lightweight Protection and Makes It Simpler to Find the Right Bag or Rain Cover

LAS VEGAS, NV (April 8-11, 2013) – Manfrotto Distribution, world leader in the equipment and accessories industry for imaging, brings a slimmed down lineup of Kata rollers, shoulder bags, video backpacks and rain covers to the National Association of Broadcasters show in Las Vegas. Designed especially for professional videographers, Kata’s products set the standard for carrying and protective solutions. With a focused product line for 2013, it is easier than ever to find the right bag and rain cover for your camcorder or video DSLR.

“Kata Pro-Light products are designed to protect professional gear while minimizing weight, so you never miss a shot” said Doug Feldner, Product Category Manager. “The focused 2013 product line makes finding the right bag or rain cover with the online Kata Bag Chooser (http://www.kata-bags.us) simpler than ever.”

Pro-Light Photo Rollers (with attached wheels)

The Pro-Light FlyBy is a sleek, low-profile, on-board* camera organizer, with integrated wheels. It provides hard-case protection with the advantages of a soft case – light, modular, with a multitude of pockets and storage options. The FlyBy looks like any onboard luggage so you are not targeted as a shooter with “overweight” gear. Perfect for carrying a camera and laptop, the Flyby holds almost any gear you need for a job across town or across the country.

There are two sizes in the Pro-Light Flyby Series

Pro-Light Flyby 75 Rolling Case (Model # KT PL-FB-75) FlyBy-75 PL Photo Roller for and interchangeable lens video camera and accessories or 1-2 Pro DSLR Bodies + 6-8 Lenses (up to 400 mm) and 15’4 or smaller laptop.  Street price $249.99.

Pro-Light Flyby 77 Rolling Case (Model # KT PL-FB-77)– FlyBy-77 PL Photo Roller for 2-4 Pro DSLR Bodies + 8-10 Lenses (600 mm) and 17” or smaller laptop.  Street price $299.99.

*The dimensions of the FlyBy are within the strict international and domestic flight regulation, however due to constantly changing airline regulations we do recommend checking with your carrier prior to departure.

Pro-Light Resource-64 Shoulder Bag (For HDSLR Video Rigs)

The Resource-64 PL is a shoulder bag designed specifically for an HDSLR kitted up with video production gear and accessories. Lightweight yet highly protective, it caters to every detail of a professional’s working needs. The unique full-front opening offers a convenient in-the-field working platform, while the Double-Decker design allows you to arrange your gear hierarchically. The large top compartment fits your HDSLR fully rigged for video shooting, while underneath is a spacious storage area partitioned with modular Aeriform dividers to organize and store additional lenses and accessories. The padded compartment along the back holds up to a 15.4’’ laptop or a mattbox.

Pro-Light Resouce-64 Shoulder Bag (Model # KT PL-R-64) - Resource-64 PL Shoulder Bag for HDSLR video rig + accessories.  Street price $249.99.

Pro-Light Pro-V Backpacks

Pro-Light Pro-V Backpacks accommodate a broad range of HDV camcorders, large HDSLR rig configurations or a DLSR with an attached lens of up to 300mm.

The Pro-Light Pro-V Backpack is available in two models:

Pro-V 410 Backpack (KT PL-PV-410): designed to fit an HDV camcorder such as a Canon XF100 (with or without matte box), a large HDSLR rig configuration or a DSLR with a lens of up to 300mm attached, six to eight lenses (up to a 500mm telephoto lens not attached), an additional body and several accessories. A rear padded pocket will hold a laptop of up to a 15.4”. Street price $299.99.

Pro-V 610 Backpack (KT PL-PV-610): holds an HDV camcorder such as a Sony EX3 (with or without matte box), a large HDSLR rig configuration or a DSLR with a telephoto lens of up to 500mm lens attached, six to eight lenses, an additional body and several accessories. A laptop of up to 17” will fit in the rear padded pocket. Street price $349.99.

Pro-Light CC Video Bags

Kata’s best-selling line of video shoulder bags, our CC series, are now updated as part of the Pro-Light collection.  Pro-Light CC video bags are available in five sizes:

CC-191 Video Bag (Model # KT PL-CC-191): designed to carry camcorders such as the Sony MC50, Canon XA10, XF100 and similar sized models or an HDSLR rigged with video accessories. Street price $109.99.

CC-192 Video Bag (Model # KT PL-CC-192): carries camcorders such as the Sony FS100, Canon XH G1/s, A1/s and similar sized models or an HDSLR rigged with video accessories. Street price $129.99.

CC-193 Video Bag (Model # KT PL-CC-193): designed for camcorders such as the Sony F3, Panasonic AF100 and similar sized models or an HDSLR rigged with video accessories. Street price $159.99.

CC-195 Video Bag (Model # KT PL-CC-195): ideal for carrying camcorders such as the Canon XL series, JVC HD series and similar sized models or an HDSLR rigged with video accessories. Street price $199.99.

CC-197 Video Bag (Model # KT PL-CC-197): made to carry camcorders such as the Sony EX3, JVC HD series and similar sized models or an HDSLR rigged with video accessories. Street price $249.99.

Pro-Light Video Camera Rain Covers

Kata’s award-winning line of video rain covers has been updated as part of the Pro-Light product line.  Available models are:

RC-1 Rain Cover (KT PL-VA-801-1): designed for full-sized shoulder mount camcorders or an HDSL in video set-up with full video rig, external video viewfinder, shotgun mic and matte box attached. Street price $179.99.

RC-10 Rain Cover (KT PL-VA-801-10): made for medium-sized shoulder mount camcorders or an HDSL in video set-up with full video rig, external video viewfinder, shotgun mic and matte box attached. Street price $139.99.

CRC-12 Compact Rain Cover (KT PL-VA-801-12): tailored to fit the Sony EX3, F3 (basic camcorder configuration with no additional mounted accessories), Canon XL Series and similar models or an HDSL in video set-up with medium to large rig, external video viewfinder, shotgun mic and matte box attached. Street price $99.99.

CRC-13 Compact Rain Cover (KT PL-VA-801-13): designed to fit the Sony MC50, Canon XA10, XF100 and similar models in standard configuration without additional large external accessories. Street price $89.99.

CRC-14 Compact Rain Cover (KT PL-VA-801-14): fits the Sony F3 (basic camcorder configuration with no additional mounted accessories), Panasonic AF100 (basic camcorder configuration with no additional mounted accessories), Canon XH A1/s, G1/s and similar models or an HDSL in video set-up with external viewfinder and shotgun mic attached. Street price $99.99.

CRC-15 Compact Rain Cover (KT PL-VA-801-15): tailored for the Canon XF300, Sony F3 and similar models or an HDSL in video set-up with small to medium rig, external viewfinder, shotgun mic and matte box attached. Street price $109.99.
CRC-17 Compact Rain Cover (KT PL-VA-801-17): cleverly designed to fit and protect handheld camcorders against downpours. Street price $39.99.

Kata Pro-Light carrying solutions are available for purchase at Authorized Manfrotto Distribution dealers. 

For more information, please visit http://www.kata-bags.us.

About Manfrotto Distribution
Manfrotto Distribution, Inc. is a leading distributor of key accessories brands for the photographic, video, cine and lighting production markets. Manfrotto Distribution is an international company within the Imaging Division of the Vitec Group, which owns the following leading international brands: Manfrotto, Gitzo, Kata, Avenger and Lastolite. As the U.S. distributor of National Geographic, Metz, Gossen, Elinchrom, and Rotatrim, which are available nationwide through an extensive network of authorized dealers, Manfrotto Distribution offers the most complete range of exceptional camera and lighting accessories in the business. The Manfrotto Distribution international network covers the U.S., Germany, France, Italy, U.K., Hong Kong, China and Japan. http://www.manfrottodistribution.us.

The Blackmagic Production Camera 4K

An EF mount 4K cinema camera
For the second year in a row, the biggest buzz from the show has come from Blackmagic Design (you’re a close second Freefly).
Last year they launched a 2.5K cinema camera that has been plagued with availability issues. People that have got their hands on one seem to genuinely like the camera. Although there are still a lot of people that have been frustrated by their inability to get one.
This year Blackmagic Design launched two new cameras, a compact cinema camera for $995 and the very exciting 4K camera for under $4000. The camera itself has a Super 35 sensor and has a global shutter, which eliminates the rolling shutter frustration.
From Blackmagic Design
“Shoot Ultra HD TV or 4K feature films with the new Blackmagic Production Camera 4K. You get a large Super 35 size sensor with professional global shutter combined with precision EF mount optics, high quality visually lossless compressed CinemaDNG RAW and Apple ProRes 422 (HQ)™ file recording for a complete self contained solution. The built in touchscreen lets you monitor, change settings and enter metadata directly on the camera!”

I spent a half an hour or so with Blackmagic Design along with my friend Mitch from Planet5D. It was a good talk and has changed my view of Blackmagic Design and how successful I think they can be.
First up, the production issues of the first camera. The company feels those are behind them, they’ve learned a lot from the issues. The first camera had issues with sensor production, one of the only a handful of parts inside the camera that Blackmagic Design doesn’t manufacture themselves. For the last year, they have had an abundance of camera bodies without sensors inside them. The new sensor comes from a new supplier and they’ve made sure they are going to be able to meet demand. Blackmagic Design wouldn’t tell us who that manufacturer was at the time of writing this, as they don’t feel it matters to consumers where the sensor comes from. As long as they can produce them, and the camera gives good results, who cares? I agree with that point, but I do appreciate the passion of camera lovers.
That being said, the speculation is the sensor is made by CMOSIS , as it shares some physical similarities to the Leica M sensor. CMOSIS also makes a Super35 sensor that is in the Apertus camera.
The camera will only be available in EF mount, as the distance to the sensor prevents a PL mount version of the camera. The image circle is also too big for Micro 4/3 lenses.
The camera is slated for release in July, so there should be decent stock of them in August if what were told today about product was true.
This may not be the only cinema camera you own, but it’s shaping up to be one a lot of people with add to the kit. At under $4000, it’s almost a no brainer. One may appear in my camera bag, so I can continue to make bad movies, but at 4K resolution!
Thanks for your time Blackmagic Design.
Visit Blackmagic Design | Preorder the Blackmagic Production Camera 4K $3995

Canon EOS 6D Firmware Update

Firmware Version 1.1.3 Incorporates the Following Fix
1. Fixes a phenomenon in which the Date/Time/Zone settings screen appears on the LCD display, after the user has already configured these settings. The values for the Date/Time settings may reset if the backup functions which retain those values do not perform properly.
Even if the camera does not exhibit this phenomenon currently, it may in the future. Accordingly, we recommend that you update the Firmware in the camera to version 1.1.3 as soon as possible.
Firmware Version 1.1.3 is for cameras with firmware up to version 1.1.2. If the camera’s firmware is already Version 1.1.3, it is not necessary to update the firmware. Before downloading the firmware update for your camera, please review the instructions thoroughly.
Download Firmware Here

Canon Announcements on April 23, 2013? [CR2]

New Stuff!
We’re told Canon is holding press events on Tuesday, April 23, 2013. We have not seen any official invites, but this does come from a known source. I will post any invites I receive here to confirm.
No mention of what products to expect, though I would think an announcement for the EOS 70D must be close.
Pay close attention to the new sensor in the Canon EOS SL1 as far as performance goes. We’re told this sensor will appear in the EOS 70D, but not the EOS 7D Mark II.

Panasonic Lumix GH3 Firmware Update 1.1

Panasonic has issued a firmware update for the Lumix DMC-GH3 compact system camera. As promised earlier, Version 1.1 enables users to connect their camera to a PC over Wi-Fi by inputting the computer’s name, and add a 60p, 28Mbps Full HD video recording mode for MP4 movies. The firmware update also enhances AF speed and continuous shooting performance when using the camera in AF-C mode in conjunction with the 14-42mm, 40-150mm and 45-175mm lenses; and incorporates a number of bug fixes and improvements.

Website: Panasonic Japan

Canon at NAB 2013

At the 2013 NAB Show in Las Vegas, Canon will showcase its full line of professional, high-definition imaging equipment for motion picture, television production, video content creation, and still photography at booths C3628 and C4325. The company will feature a live 4K Workflow Demonstration where visitors will have the opportunity to interact with industry-leading colourists and editors in a 4K DI (Digital Intermediate) suite. Canon will also showcase the new Cinema EOS C100 EF 24-105 Lens Kit, which is billed as a cost-effective solution to assist cinematographers, including single-person and small cinematography crews. The company’s technical representatives will be on-hand to provide consultations for cinema, video and DSLR users and CPS Gold and Platinum members can receive free onsite Clean & Checks for current professional equipment.

Canon Press Release

CANON U.S.A., INC. DELIVERS ITS LATEST MOTION AND STILL DIGITAL IMAGING SOLUTIONS AT THE 2013 NAB SHOW

Highlights Include Live 4K Workflow Demonstrations in a Full On-Site DI (Digital Intermediate) Suite, Live 4K Broadcast Demonstrations for HD “Ultra-Zoom” Applications, and the Canon Theater

MELVILLE, N.Y., April 3, 2013 – At the 2013 NAB Show in Las Vegas, Canon U.S.A., Inc., a leader in digital imaging solutions, will showcase its full line of professional, high-definition imaging equipment for motion picture, television production, video content creation, and still photography at booths C3628 and C4325. Within this year’s booth, Canon will feature a live 4K Workflow Demonstration where visitors will have the opportunity to interact with industry-leading colorists and editors in a 4K DI (Digital Intermediate) suite. In a live color grading session of 4K footage from Canon’s groundbreaking C500 4K camera, on-site professionals will demonstrate the imaging possibilities of Canon’s 4K image capture technology and view the results on Canon’s prototype 4K reference displays, currently under development.

Building off the recent successes of the Canon Cinema EOS C500 4K digital camera’s broadcast capabilities, the Company will be exhibiting a live demonstration of 4K Remote Broadcast, highlighting how spectacular HD broadcast footage can be captured, digitally rendered and cropped for live-action broadcast applications using Canon’s Cinema EOS equipment. Visitors to this demonstration will see, in real-time, the results and stunning coverage that can be used in multiple high-speed productions, including live-action sports.

Exhibiting some of the recent artistry and award-winning footage shot on Canon Cinema EOS equipment, show attendees are welcome to enter a 90-seat Canon Theater to view spectacular footage and testimonials that illustrate HD, 2K and 4K projects including behind-the-scenes footage on how each project was captured. Demonstrating the full breadth of Canon capabilities from image capture through output, the Canon Theater will take visitors beyond capture and feature additional 4K reference display prototypes currently under development.

The Company has also announced and will showcase the new Cinema EOS C100 EF 24-105 Lens Kit, a cost-effective solution to assist cinematographers, including single-person and small cinematography crews, with the ability to purchase and produce high-quality pieces at an affordable price-point.

In addition, visitors to the Canon booth will have the opportunity to touch-and-try a full range of Canon equipment on display throughout the week.  Canon products, such as the EOS-1D C Digital Cinema SLR, EF Cinema zoom lenses and various other cameras and accessories will be available to demo.

Professional cinematographers in need of a fast, easy way to print images for scene continuity or to preserve highlights of a recently completed project can appreciate the convenience and versatility of Canon’s photo-quality printers. On-hand in the Canon booth will be the 24-inch imagePROGRAF iPF6450, and the 44-inch imagePROGRAF iPF8400, 12-color large-format printers. Both are equipped with LUCIA EX pigment ink set, an enhanced multi-sensor and advanced printing technologies to help achieve extraordinary quality and enhanced color range in large format printed output. Also being shown are the PIXMA PRO series of desktop inkjet printers. The PIXMA PRO-1 printer, the flagship model in Canon’s professional inkjet printer lineup, features a 12-color LUCIA Pigment ink system that expands the color gamut with improved saturation of colors and darker, deeper blacks, over previous models.  The PIXMA PRO-10 printer, with its 10-color pigment ink system, and the PIXMA PRO-100 printer, with its 8-color dye-based ink system provide photographers with a number of options to help satisfy their printing needs.  The SELPHY CP900 compact photo printer will be on display allowing professionals to see first-hand the convenience and high-image quality of this compact photo printer.

In the BCTV Shooting Gallery, booth visitors will have the opportunity to experience the performance and capabilities of Canon’s Broadcast HDTV lenses through various simulated shooting situations.

Throughout the 2013 NAB Show, Canon will host a series of unique live-learning stage demonstrations with renowned cinematographers, broadcast specialists, and filmmakers at the Canon booth.  These industry professionals will provide insight into the ever-changing field of optical and imaging technology and showcase their projects and works that were shot on Canon equipment, as well as share best practices and real-world applications for Canon technology.

Additionally, Canon is hosting a special, three-hour learning session focusing on the intricacies of the Canon Cinema EOS C500 4K digital camera. Led by Los Angeles-based Director of Photography, Suny Behar, the “Canon Cinema EOS C500 4K digital camera Workflow: 2K/4K from Set-Up to Shoot” session will explore camera set-up choices from System Priority, Recording Mode and Resolutions to file output options. Behar will also demonstrate a step-by-step configuration of the Cinema EOS C500 4K digital camera with external recorders. “The Cinema EOS C500 4K digital camera Workflow: 2K/4K From Set-Up to Shoot” will take place on Tuesday, April 9th in rooms N239 and N241with two convenient sessions - the first from 9:30am to 12:30pm and the second from 2:00pm to 5:00pm. NAB attendees with the Conference Flex Pass, the Exhibits-Only (Open to All), the Post|Production World and the SMART Pass are eligible to attend.

For the first time at NAB, Canon’s Professional Services (CPS) is proud to host the CPS Hospitality Suite. Providing service and support to the professional imaging industry and its high demands, the CPS Hospitality Suite is open to all NAB Tradeshow attendees and CPS Members. Located just off of the tradeshow floor visitors to the suite can see Canon’s latest products and take advantage of touch-and-try counters in a private setting. 

Canon technical representatives will be on-hand to provide consultations for cinema, video and DSLR users and CPS Gold and Platinum members can receive free onsite Clean & Checks for current professional equipment*. Suite visitors will also be able to chat with Canon experts about Canon’s exciting developments in cinema, video and DSLR technology as well as sign up for Canon CPS membership. Product serial numbers for qualifying CPS equipment will be needed in order to process on-site membership applications.

The Canon CPS Hospitality Suite will be open April 8th through April 10th from 9:00 a.m. to 6:00 p.m. and April 11th from 9:00 a.m. to 2:00 p.m.

About Canon U.S.A., Inc.

†Based on weekly patent counts issued by United States Patent and Trademark Office.

All referenced product names, and other marks, are trademarks of their respective owners.

*Gold & Platinum CPS members enjoy free Clean & Checks during the show,

(Limited to two current professional Canon DSLR products or one Cinema product or XF professional video camcorder. “Current” refers to professional cameras in Canon’s current lineup of equipment.)                               
Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. With approximately $40 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks third overall in U.S. patents registered in 2012† and is one of Fortune Magazine’s World’s Most Admired Companies in 2013. In 2012, Canon U.S.A. received the PCMag.com Readers’ Choice Award for Service and Reliability in the digital camera and printer categories for the ninth consecutive year, and for camcorders for the past two years. Canon U.S.A. is committed to the highest level of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting http://www.usa.canon.com/rss

Calumet Showcases Innovative Focusing Tool for DSLR Film-Makers

The FocusMaker, a new-generation DSLR follow focus device, is now available in the UK. Brought to market by Danish design company ID/FX, and retailing at £65, the FocusMaker is currently available exclusively through Calumet. Designed to fit on virtually any DSLR lens, the device is claimed to provide “an unmatched accurate overview of the shooter’s focus points,” helping videographers overcome complex focus shift challenges. “The FocusMaker mounts in seconds and can be removed even faster,“Sian Hamer, Calumet marketing executive said. “It doesn’t require heavy rigs and it’s ideal for small camera crews or photographers shooting alone.”

Calumet Press Release

Calumet showcases innovative focusing tool for DSLR film-makers

Calumet is set to help DSLR film-makers overcome complex focus shift challenges with an exclusive launch of a new focusing tool.

The FocusMaker, brought to market by Danish design company ID/FX, and retailing at £65, is designed to fit on virtually any DSLR lens to provide ‘an unmatched accurate overview of the shooter’s focus points’.

Sian Hamer, Calumet marketing executive said: “Right now this innovative product for DSLR film-makers is available exclusively through us. It’s extremely compact and lightweight and fits easily in any camera bag. The FocusMaker mounts in seconds and can be removed even faster. It doesn’t require heavy rigs and it’s ideal for small camera crews or photographers shooting alone. It’s very competitively priced and attaches and removes in a simple snap.”

A spokesman from ID/FX added: “This superb piece of equipment was invented by photographer and film-maker Nikolaj Bestle after he constantly struggled to manage focus shifts on his DSLR.
The FocusMaker can set stops when focusing but also intermediate physical markers, which allows seamless shifting back and forth of focus between multiple reference points. It’s easy to manage and control from behind the camera and maintains a clear and accurate view.  Just attach it to your lens and set up your focusing point. That’s it.  Job done. Quite simply, it’s the most affordable tool available to achieve highly accurate repeatable rack focus.”

For more information on The FocusMaker visit http://www.calumetphoto.co.uk/eng/product/id_fx_aps_focusmaker_video_focusing_tool/666-788z

Schneider Kreuznach Xenon Full-Frame Primes

Schneider Kreuznach has launched a completely new series of full-frame lenses, the “Xenon full-frame primes.” Developed specifically for video enabled DSLRs (but also usable on professional cine cameras), the series initially comprises three fixed focal lengths: T2.1/35mm, T2.1/50mm and T2.1/75mm. The lenses support 4K Ultra HD video resolution and can also be used for stills photography. Cinematographers will be pleased to learn that they are all compatible with standard professional cine accessories like rigs, follow focus or matte boxes. Each Schneider-Kreuznach Xenon full-frame prime lens features a maximum aperture of T2.1, an iris diaphragm with 14 rounded blades, an M95 filter thread, robust cine-style lens mechanics and a focus ring with a 300° angle of rotation. For more information, visit the website below.

Website: Schneider Kreuznach

Press Release

New SCHNEIDER-KREUZNACH DSLR Full-frame Lenses for Film-makers and cinematoghraphers

BAD KREUZNACH, 02 April 2013
Schneider-Kreuznach has launched a completely new series of full-frame lenses, the “Xenon full-frame primes” . They have been especially developed for DSLR cameras with full-frame sensors for video shooting and can also be used with professional cine cameras. The new lenses will be available from the second half of 2013.

The series initially comprises three fixed focal lengths: T2.1/35mm, T2.1/50mm and T2.1/75mm. All lenses are suitable not only for Nikon and Canon DSLR full-format cameras with corresponding F or EOS bayonet mounts, but also professional film cameras with a PL mount. The product series will soon be expanded with wide angle and telephoto focal lengths.

“This series of prime lenses has been especially designed for full-frame sensors and meets users’ exceptionally high demands in terms of optical performance and ease of use,” says Daniela Kesselem, product manager at Schneider-Kreuznach. The lenses are color matched. Whether for commercials feature films, Xenon full-frame prime lenses provide film makers with optimum performance and reliability in all situations.

The full-frame lenses are designed for 4K resolution (4096 × 2304 pixels). They can be used with standard professional cine accessories like rigs, follow focus or matte boxes. Special features required for filming such as minimized breathing, a harmonious bokeh or reduced stray light have been optimized in the Xenon full-frame prime lenses.

Further product features of all Xenon full-frame prime lenses include:

A maximum aperture of T2.1 as well as identical external dimensions and positioning of the controls in all models
A circular aperture with 14 blades to ensure a harmonious bokeh
Robust cine-style lens mechanics
Manual, precise and reproducible focus settings with a 300° angle of rotation
Larger focus and distance scales for easier focusing even with greater distances, readable on both sides
M95 filter thread
Exchangeable bayonet interface

For more information, see http://www.schneiderkreuznach.com.

About the Schneider Group:
The Schneider Group specializes in developing and producing high-performance photographic lenses, cinema projection lenses, as well as industrial optics and precision mechanics. The group comprises Jos. Schneider Optische Werke, founded in Bad Kreuznach in 1913, and its subsidiaries Pentacon (Dresden), ISK Optics GmbH (Göttingen), Schneider-Optics (New York, Los Angeles), Schneider Bando (Seoul), Schneider Asia Pacific (Hong Kong) and Schneider Optical Technologies (Shenzhen). The company’s main brand is “Schneider-Kreuznach”. It has around 660 employees worldwide, with 360 based in its German headquarters. For years now the group has been a world market leader in the area of high-performance lenses.

Nikon D7000, D3, D3S, D3X Firmware Updates

Nikon has posted firmware updates for the DX-format Nikon D7000 as well as the FX-format Nikon D3, D3S (pictured) and D3X DSLR cameras. Unlike the more comprehensive firmware updates issued for the Nikon D3200, D600, D800 and D4, this upgrade simply adds support for the new AF-S Nikkor 800mm f/5.6E FL ED VR lens.

Website: Nikon D7000 Firmware Update A1.03 / B1.04
Website: Nikon D3 Firmware Update A2.03 / B2.03
Website: Nikon D3S Firmware Update A1.02 / B1.02
Website: Nikon D3X Firmware Update A1.01 / B1.02

Nikon D3200 Firmware Update C1.01

Nikon has released a firmware update for the Nikon D3200 entry-level DSLR camera. Version C1.01 changes a couple of aspects of the camera’s behaviour when using the Wireless Mobile Utility, and fixes bugs. Click through / read on for the detailed list of changes.

• The following functions have been changed with shooting using the Wireless Mobile Utility. When the camera’s shooting mode is set to Auto or Auto (flash off), it now operates in Auto or Auto (flash off) mode. Prior to this upgrade, the camera functioned in [P] (Programmed auto) exposure mode. Live view can now be initiated even when the camera is set to “Auto” or “No flash” in GUIDE mode.
• In some very rare cases when certain memory cards were used, movie recording would stop, even when the time remaining display indicated remaining recording time.  This issue has been resolved.
• In some very rare cases, colors would change with shooting when white balance was set to a specific color temperature, as with Preset manual or Incandescent.  This issue has been resolved.

Website: Nikon USA Support

Nikon D4 Firmware Update A1.05 / B1.03

Nikon has posted a firmware update for the its Nikon D4 professional DSLR camera. Version A1.05 / B1.03 adds support for the new AF-S Nikkor 800mm f/5.6E FL ED VR lens, improves auto white balance performance, and fixes bugs. In the release notes (see below) Nikon also claims, somewhat mysteriously, that “images are sharper and appear more three dimensional.”

Support for the AF-S NIKKOR 800mm f/5.6E FL ED VR has been added.
Auto white balance performance has been improved.
Images are sharper and appear more three dimensional.
With live view photography in [M] (Manual) exposure mode, exposure preview was always on.  This issue has been resolved.
With shooting at an image quality setting of TIFF (RGB) and an image size setting of Small, the right edge of images contained a purple line.  This issue has been resolved.
In some rare cases, images recorded in JPEG format could not be opened by some software applications.  This issue has been resolved.
In some very rare cases, colors would change with shooting when white balance was set to a specific color temperature, as with Preset manual or Choose color temp.  This issue has been resolved.

Website: Nikon USA Support

Nikon D600 Firmware Update C1.01

Nikon has issued a firmware update for the Nikon D600 full-frame DSLR camera. Version C1.01 incorporates an array of enhancements and fixes, the most significant ones being an improvement in AF-C performance and the ability to output a live view feed with 100% frame coverage in movie mode via HDMI. Click through / read on for the details.

  Support for the AF-S NIKKOR 800mm f/5.6E FL ED VR has been added.
  Subject tracking performance in AF-C (continuous-servo autofocus) autofocus mode with framing using the viewfinder has been improved.
  Frame output size has been changed from 95% to 100% when movie live view display is changed to “Information off” and an HDMI-compatible device is connected.
  An issue that caused the right edges of images to be somewhat white when captured at an Image area setting of DX (24x16) 1.5x with Active D-Lighting set to Off has been resolved.
  When the camera’s shutter-release button was pressed repeatedly for uninterrupted shooting with the “Record to:” option in Camera Control Pro 2’s Storage tab set to “PC+CARD”, the camera would stop responding with displaying “Err” in its control panel.  This issue has been resolved.
  In some very rare cases, colors would change with shooting when white balance was set to a specific color temperature, as with Preset manual or Choose color temp.  This issue has been resolved.

Website: Nikon USA Support

Nikon D800 Firmware Update A1.01 / B1.02

Nikon has released a firmware update for the Nikon D800 DSLR camera. According to the company, Version A1.01 / B1.02 incorporates a number of improvements and fixes, some of which appear to be quite significant. Click through / read on for the details.

  Support for the AF-S NIKKOR 800mm f/5.6E FL ED VR has been added.
  Subject tracking performance in AF-C (continuous-servo autofocus) autofocus mode with framing using the viewfinder has been improved.
  Gamut for Adobe RGB images displayed in the camera’s monitor has been changed. This enables more vivid display of images.
  With live view photography in [M] (Manual) exposure mode, exposure preview was always on.  This issue has been resolved.
  In some very rare cases when certain memory cards were used, movie recording would stop, even when the time remaining display indicated remaining recording time.  This issue has been resolved.
  With shooting at an image quality setting of TIFF (RGB) and an image size setting of Small, the right edge of images contained a purple line.  This issue has been resolved.
  In some rare cases, images recorded in JPEG format could not be opened by some software applications.  This issue has been resolved.
  In some very rare cases, colors would change with shooting when white balance was set to a specific color temperature, as with Preset manual or Choose color temp.  This issue has been resolved.

Website: Nikon USA Support

Prime Circle XE System

Developed by LockCircle, the Prime Circle XE System is a complete range of innovative prime lenses with electronic aperture and wireless control up to 300 feet. Prime Circle XE lenses blend world-class optics (Carl Zeiss) with cine-style ergonomics complete with dedicated XE and XE-Z wireless controllers and an FZ intelligent mount. Available in 10 different focal lengths from 15mm to 135mm, PrimeCircle XE lenses feature large focus scales on both sides of lens barrel for precise focus-puller work and a 95mm front mount across the range. The lenses will be on display at the NAB 2013 show, in Booth # C 9921.

Press Release

Prime Circle XE System:  world class prime lenses with electronic wireless aperture!

LockCircle is proud to announce the premiere of the innovative Prime Circle XE System at NAB 2013.

Booth # C 9921 Manios Digital & Film

The Prime Circle XE System is a complete range of innovative prime lenses with electronic aperture and wireless control up to 300 ft, available in 10 different focals from 15mm to 135mm with a makro 50 and makro 100mm.

The Prime Circle XE lenses are world class optics (Carl Zeiss) in a high-end shape and cine-style ergonomics with dedicated XE and XE-Z wireless controllers and a FZ intelligent mount (a micro 4/3 follows shortly).

Large focus scales (cine-style focus classic direction) on both sides of lens barrel for precise focus-pullers work, and 95mm front mount across all the lenses sizes.

The optics offer magic cinematic feeling engineered by the most prestigious optical manufacturer in the world.

Based on the popular EF Mount the Prime Circle XE can be mounted on every EF Mount camera, or several different cameras with FZ Mount or micro 4/3 with the XE System intelligent mounts.
Lenses aperture can be controlled wirelessly directly from the d.o.p. chair in front of the control monitor.

Modern EF Mount cameras can control directly the Prime Circle XE lenses aperture, or with the wireless XE Controller it’s possible to control image exposure far away from the camera.

The XE System intelligent mount (adapter) offers the option to reach the same freedom with Sony FZ, Panasonic, Blackmagic or other cameras.

The XE Controller is dedicated to Canon EOS cameras and the XE-Z Controller is dedicated to the XE System intelligent mounts, offering a wide production choice across several cameras mounts.

The XE Controller has an integrated rechargeable battery for up to 18 hours of continuos shooting, and offers LiveView On/Off, Focus function recalling wide open aperture for precise focus check, also start/stop Rec is available.

The O-Led display can be checked in total sunlight or in total darkness!

The XE/XE-Z Controllers are really compact (pocket size)and heavy-duty for rough abuse on movie productions.

The XE System Controllers features the exlcusive K-Link protocol for future applications of “intelligent” accessories under development right now!

Prime Circle XE System: the wireless aperture kingdom!

Firmware Updates for Canon EOS Cinema Cameras

Canon is developing firmware updates for three of its interchangeable-lens Cinema EOS System cameras. Following the release of these upgrades, the Canon EOS C500 (pictured), EOS C300 and EOS C100 will offer support for a new Magnify function that will allow users to check focus in different parts of an image, on the camera LCD, as well as the centre. The EOS C300 will also be upgraded to support an additional range of features designed to assist independent videographers. Push Auto Iris and One Shot AF will provide further versatility on small-crew shoots, offering a quick, easy way to check and adjust exposure and focus prior to recording. The EOS C300 will also gain additional support with 1440x1080 HD video recording at 35Mbps. A further upgrade for the EOS C100 will add support for Continuous AF when used with Canon’s EF-S 18-135mm f/3.5-5.6 IS STM lens. In addition to these updates, Canon will also add new features to the Cinema Raw Development (CRD) software. The firmware updates for the EOS C500, EOS C300, EOS C100 and CRD software will be available later in 2013.

Canon Press Release

Canon announces firmware updates for EOS C500, EOS C300, EOS C100 and improvements to Cinema RAW Development software

United Kingdom, Republic of Ireland,  3 April 2013 – Canon has today announced the development of firmware updates for three of its ground-breaking Cinema EOS System cameras, as well as a selection of new functions for its Cinema RAW Development (CRD) software. The upgrades are the latest to be developed in response to feedback from imaging professionals, demonstrating Canon’s continued commitment to supporting the needs of the professional video community.

Following the release of the upgrades, the EOS C500, EOS C300 and EOS C100 will now offer support for a new Magnify function that will allow users to check focus in different parts of an image, on the camera LCD, as well as the centre. This offers enhanced control and flexibility during shooting.

The EOS C300 will also be upgraded to support an additional range of features designed to assist independent videographers. Push Auto Iris and One Shot AF will provide further versatility on small-crew shoots, offering a quick, easy way to check and adjust exposure and focus prior to recording. The EOS C300 will also gain additional support with 1440x1080 HD video recording at 35Mbps – a broadcast-friendly recording mode employed by many news and broadcast organisations.

To offer greater flexibility for single shooters, a further upgrade for the EOS C100 will add support for Continuous AF when used with Canon’s EF-S 18-135mm f/3.5-5.6 IS STM lens.

Cinema RAW Development software – enhanced with new functionality

As well as updates to Cinema EOS cameras, Canon will also add new features to the Cinema RAW Development software.  This software is supplied with the EOS C500 and is designed to support development, playback, and export of 4K Canon Cinema RAW clips.

The update will add support for the Academy Color Encoding Specification (ACES), providing an Input Device Transform function to allow output of developed Canon Cinema RAW files in an ACES-compliant OpenEXR file format.  ACES has been proposed by the Academy of Motion Picture Arts and Sciences as a SMPTE colour space standard, intended to define the colour response for input and output devices to achieve an end-to-end pipeline of colour management from filming to editing, grading, distribution and screening.

A new function will also allow users to specify in/out points before developing or copying their RAW footage, streamlining workflow both on-set and during post-production.  Finally, it will be possible to generate a development log, which will list details of files that have been copied or developed using the CRD software for future reference.

The firmware updates for the EOS C500, EOS C300, EOS C100 and CRD software will be available later in 2013.

Adorama Offers Flashpoint 3 Lighting Kit

Adorama has begun selling the Flashpoint 3 Lighting Kit with Light Stands, 3-33” Umbrellas, Socket, Bulbs & Case. Designed with photographers in mind, the Lighting Kit’s fluorescent lighting system allows users to easily customize the lighting setup by adding diffusers for a softer effect, or collapsible reflectors to alter the quality of the light. All pieces break down easily for storage in the included case. The Flashpoint 3 Lighting Kit retails at the special rebate price of $64.95 (regularly $84.52).

Adorama Press Release

Adorama Offers Flashpoint 3 Lighting Kit with Light Stands, 3-33” Umbrellas, Socket, Bulbs & Case

New York, NY – April 4, 2013 – Adorama, one of the world’s largest photography, imaging, video and electronics retailers, and a leading destination for iPhone photo specialty accessories, has begun selling the Flashpoint 3 Lighting Kit with Light Stands, 3-33” Umbrellas, Socket, Bulbs & Case. Designed with photographers in mind, the Lighting Kit’s fluorescent lighting system is the perfect kit for all complex lighting needs. Easily customize the lighting setup by adding diffusers for a softer effect, or collapsible reflectors to alter the quality of the light. All pieces break down easily for storage in the included case. Whether shooting in the studio or on location, the Flashpoint 3 Lighting Kit is ready for anything.

Flashpoint 3 Lighting Kit

·      2-6.5” Light Stands
·      Backlight Stand
·      3-33” White Umbrellas
·      2-45W Fluorescent Bulbs
·      30W Fluorescent Bulb
·      Sockets
·      Case

The Lighting Kit makes for a great on-the-go commodity that you won’t want to leave home without. It gives the photographer plenty of lighting choices while on a shoot. For those in need of some inspiration to jumpstart a photo shoot with the new Lighting Kit, check out Joe McNally’s “The Secret to Shooting Dramatic Flash-Lit Portrait Photography That Looks Like Natural Daylight” for some tips and tricks.

Pricing and Availability
Flashpoint 3 Lighting Kit with Light Stands, 3-33” Umbrellas, Socket, Bulbs & Case retails at the special rebate price of 64.95 USD (regularly 84.52 USD). It is available online at http://www.adorama.com or at the Adorama superstore located at 42 West 18th Street New York, NY 10011.

Flashpoint is Adorama’s in-house brand, featuring high quality photo and video accessories and gear, such as the Flashpoint 3 Lighting Kit, at price points lower than competing name brands like Interfit and Smith Victor.

About Adorama
ADORAMA: More than a camera store.
Adorama is more than a camera store. It is one of the world’s largest photography, imaging and electronics retailers serving customers for over 30 years. Adorama has grown from its flagship NYC store to a global destination for photography and imaging. Adorama’s vast product offerings now encompass home entertainment, mobile computing, and professional audio, while its services include an in-house photo lab (AdoramaPix) and pro equipment rental (Adorama Rental Company) and its award-winning Adorama Learning Center, which offers free Learning Resources for photographers.

Adorama is listed as Forbes.com’s “Best of the Web,” Internet Retailers Top 100, and in Consumer Reports as a leading Photography & Electronic Retailer. Visit ADORAMA at http://www.adorama.com/.

Lastolite Hotrod Octa & Strip Box Grids

Manfrotto Lighting has launched the new Hotrod Octa & Strip Box Grids. These new light modifying grids for the Hotrod Octa and Strip Softboxes provide a controlled direction to the light which can be positioned without having to worry about light spilling onto the background. They attach to the softbox using the included diffuser panel and hook and loop tape. Available for both sizes of Hotrod Octa and strip softboxes, the grids are priced from £52.92-£63.00.
Manfrotto Press Release
Manfrotto Lighting Limited Announce Lastolite Hotrod Octa & Strip Box Grids
March 20th 2013, Manfrotto Lighting Limited, the world’s leading manufacturer of backgrounds and lighting control systems for the photo, video and cinema industry, announces the release of the new Hotrod Octa & Strip Box Grids
The new light modifying grids for the Hotrod Octa and Strip Softboxes are an essential accessory which allows photographers to control light spill. Favoured by many portrait photographers, the grids provide a controlled direction to the light which can be positioned without having to worry about light spilling onto the background. The grids are extremely simple to fit. They attach to the softbox using the included diffuser panel and hook and loop tape. The nylon fabric construction also makes them a very durable and lightweight accessory.
Main Features and Benefits:
Control the spill of light
Quick and easy to fit
Durable and lightweight
Available for both sizes of Hotrod Octa and strip softboxes

Rhino Battery Holster Lets You Keep Your Camera’s Power at Your Fingertips

A revolutionary way for photographers and filmmakers to carry and organize their DSLR and video camera batteries.

• Launched: Mar 27, 2013
• Funding ends: May 3, 2013
• Remind me

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SO HERE'S THE PROBLEM...
I've been filming and photographing with my DSLR for a few years now and have experienced, like many others, the same problem over and over. I’m forced to switch out my batteries on shoots, run back to my bag to find fresh ones, all the while hoping I didn't miss the shot.
I've tried battery grips, but they are heavy, bulky, expensive and get in the way especially when I’m shooting video. Stuffing batteries in pockets or a fanny pack wasn't going to happen so we decided to solve the problem.
RHINO BATTERY HOLSTERS were born out of the necessity to have batteries easily and immediately accessible when you need them most. We created a hard shell holster that holds 2 LP-E6 batteries.
(Additional battery models might be available, see below for details.)

An integrated belt clip allows you to attach it on to your pants (with or without a belt), backpacks, and camera straps.

We worked with our good friends at Black Rapid to make sure Battery Holsters were compatible with their award winning straps. The belt clip on a Battery Holster is wide enough to attach to all of their straps securely.

Equipped with a 1/4-20 brass insert in the rear of the belt clip, you can attach the optional Black Rapid carabiner and clip it on to virtually anything.

WHAT CAMERAS DOES IT WORK WITH?
Battery Holsters work with any camera that takes a LP-E6 battery. These include the Canon 5D Mark II, 5D Mark III, 7D, 6D, & 60D.

Please back our project even if you battery model isn't supported yet. If we don't raise enough to support your battery model you can always retract your pledge before the project ends. Thanks!
Please note: If we raise enough money to expand Battery Holsters to support additional battery models the estimated delivery for all models except the original LP-E6 will be August of 2013.

WHAT IS THE RHINO TRIBE?
Rhino Tribe will be a major part of our new website which is launching in a few months. It will be a place where devoted Rhino fans have access to:

• Pro-Deals from other camera gear makers
• Discounts on Rhino Camera Gear apparel
• Temporary promotions on Rhino Camera Gear products
• Google Hangouts for Rhino Product Design meetings
• Rhino Sponsored Events and After-Parties
• Portal to promote Rhino Camera Gear and earn 20% commission to spend on Rhino Camera Gear products

This will start as an exclusive group of Rhino fans and will, initially, only be available to backers of the Production Pack pledge.
DESIGN PROCESS
We spent the last year perfecting the design of Battery Holsters. Our design was simplified from a handmade, four-piece design that was riveted together, to a one-piece injection molded battery holster. To keep with Rhino standards, we're only using the highest quality materials to make them. The technical term for the material is carbon fiber reinforced, glass filled, impact modified nylon. That just means that it's really, really durable and will never break. If they do, we’ll replace them.

PRODUCTION PLAN
We'll be manufacturing Battery Holsters in Richland, WA. We've used this molding shop to make parts on our Rhino Slider, so we trust their ability to pull off a project like this. We need to raise $15,000 to pay for the tooling to make the holsters and to cover the expense of making our first big order.
HOW DO THE BATTERIES STAY IN?
The batteries are held in place by 2 small ridges that they pass over when being pushed in. The holster design includes an adjustable tensioner that allows you to lock the batteries down as tight or as loose as you'd like depending on what you’re shooting.

Sigma 120-300 f/2.8 DG OS HSM Delayed

Delay of the first “sport” product
Sigma has delayed the release of the new 120-300 f/2.8 DG OS HSM lens. This lens was to be the first in their “sport” line of lenses. Along with the lens, the USB dock they announced with it has also been delayed.
Sigma suggests that the delay is due to sourcing parts for the new lens. It was originally scheduled for a March release, but now a release date is undetermined.
Sigma has been riding a wave of great publicity because of the 35mm f/1.4, so this is a disappointment.

Pentax Full Frame DSLR Rumors/Teases Starting to Really Simmer

Pentax is heavily teasing a full frame DSLR and leaks/rumors are continuing trickle out as Pentax still tries to plug the holes before the camera is finally announced.

In the latest tease, Pentax Australia responded to a customer on Twitter who inquired about using his old Pentax lenses with a full frame DSLR. Pentax Australia suggested that he “Hold onto those lenses” and that “This might very well be the year!”
At the same time, Pentax enthusiast Rice High received a tip that Pentax is prepping for the release of this full frame DSLR possibly next month. He’s even put together a handy counter that is counting down to the rumored April 17 release date.
In the past, Pentax has poured on some teasing leading up to announcements of new DSLRs (e.g., prior to the K-7 unveiling in 2009), so we could see some more official teases very soon if the camera will, in fact, be announced in April.

New Canon 7D Mark II and 100-400mm Lens Rumors

Rumors of the Canon 7D Mark II continue to trickle out as the original 7D approaches its fourth birthday. Alongside a set of rumored specifications for the pro-level APS-C DSLR, it appears that a refreshed version of the Canon EF 100-400mm IS lens may also join its ranks on the eventual announcement date (currently rumored for the September/October time frame).
The current 100-400mm lens is available at the moment for $1459 with Canon’s existing rebates. Based on Canon’s recent pricing strategy, I would surmise that pricing for a new version of this lens would be north of $2500. Not cheap, but Canon doesn’t seem to be having much of a problem moving the new 24-70mm f/2.8L at over $2k per unit.
Below are the most recent 7D Mark II specs, which are purportedly based on a prototype of the camera that is in the wild.

• 21MP APS C
• ISO 100-25600 (L: 50, H1 51200, H2 102400)
• 10fps
• Video ‘stills burst’ mode 30/60 fps
• Full HD video with manual control
• Single CF Card Slot
• 19 AF Points all Cross
• On chip phase detect pixels for liveview and AF tracking
• 100% Viewfinder
• Viewfinder LCD Higher Resolution Than 7D
• 3.2″ LCD
• GPS, WiFi
• Alloy body with better weather sealing over 7D

Previous rumors suggested a 24MP sensor; however, the remaining specs seems to be in-line with existing rumors; however, as Northlight notes, the source is not well known so there is no history of confidence to place any sort of reliability on these rumors.
[via Northlight & CR]

Olympus OM-D Easter Promotion

Olympus UK has announced a new promotion on the Olympus OM-D E-M5. From Good Friday (March 29th) Olympus are giving OM-D customers a saving of £150 off bodies and kits. This means that the body will be available for £849.99 while the M.Zuiko 12-50mm lens kit can be bought for £999.99. Additionally, Olympus are extending their offer on free accessories (worth up to £330) when bought with the OM-D to midnight on April 1st from the original end date of March 31st. This offer allows purchasers of the OM-D to get a head start with their camera kit by offering up the choice of either a free HLD-6 Battery Grip or the M.Zuiko 45mm f:1.8 portrait lens (read review) as well as an essential spare battery.

Website: Olympus UK

Olympus Press Release

Olympus give camera buyers two good reasons to choose the OM-D E-M5 this Easter.

OM-D down to £999.99 from Friday PLUS lens/grip promotion continues for 4 days only.

Over the Easter bank holiday weekend Olympus are giving buyers of the award-winning OM-D E-M5 an extra treat or two. Not only will the existing free accessory offer be extended over the Easter period but there will also be a great saving on the OM-D itself.

To celebrate the Easter break, Olympus are extending their offer on free accessories (worth up to £330) when bought with the OM-D to midnight on April 1st from the original end date of March 31st. This fantastic offer allows purchasers of the OM-D to get a head start with their camera kit by offering up the choice of either a free HLD-6 Battery Grip or the much lauded M.ZUIKO 45mm 1:1.8 portrait lens as well as an essential spare battery.

On top of this, from Good Friday (March 29th) Olympus are giving OM-D customers a saving of £150 off bodies and kits. This means that the body will be available for £849.99 while the M.ZUIKO 12-50mm lens kit can be bought for £999.99. Add this to the free accessories and new OM-D users can save a potential £480 off the recommended purchase price.

So for anyone still considering purchasing the OM-D there has never been a better time to invest in the award-winning camera and Micro Four Thirds system.

For more information on the offer please visit http://www.olympus.co.uk/promotions

DxO Optics Pro 8.1.4

DxO Labs have released version 8.1.4 of DxO Optics Pro for Windows and Mac. This update to DxO Optics Pro 8 brings support for four additional new cameras: the Nikon Coolpix P7700 (pictured), the Nikon 1 J3, the Olympus XZ-2 iHS, and the Panasonic Lumix DMC-GH3. Furthermore, over 200 new camera/lens combinations have been added to the library of DxO Optics Modules, offering support for additional Canon, Nikon, Olympus, Panasonic, Pentax, Sigma, Tokina, and Zeiss lenses for numerous Canon, Nikon, Olympus, Panasonic, and Pentax camera bodies. This upgrade is free for all owners of DxO Optics Pro 8, as well as for photographers who purchased a DxO Optics Pro 7 licence on or after September 1, 2012.

Dxo Press Release

DxO Optics Pro v8.1.4 supports four more new cameras

Special sale on all DxO Labs products through March 31, 2013

March 25, 2013 - DxO Labs announces the immediate availability of DxO Optics Pro v8.1.4 for Mac and Windows, the new version of its image processing software of reference for all demanding photographers. This update to DxO Optics Pro 8 brings support for four additional new cameras: the Nikon Coolpix P7700, the Nikon 1 J3, the Olympus XZ-2 iHS, and the Panasonic Lumix DMC-GH3.

DxO Optics Pro v8.1.4 integrates many powerful tools for processing RAW and JPEG images, including the best tool for automatically adjusting contrast and light, along with precise color management. Its unrivaled performance and intuitive interface provide a quick and smooth workflow.

11,000 DxO Optics Modules available

DxO Optics Pro v8.1.4 benefits from the continuous addition of DxO Optics Modules. More than 200 new camera/lens combinations have been added to the library, offering support for additional Canon, Nikon, Olympus, Panasonic, Pentax, Sigma, Tokina, and Zeiss lenses for numerous Canon, Nikon, Olympus, Panasonic, and Pentax cameras.

Among the new lenses supported are the Nikon 1 NIKKOR 18.5mm f/1.8 (a standard lens equivalent to a 50 mm in 24x36 format), and Pentax’s recent trans-standard K-mount, the smc DA18-270mm F3.5-6.3 SDM.

The addition of these new combinations means that DxO Optics Pro 8 now has more than 11,000 DxO Optics Modules at its disposal. Developed in the laboratory using an exclusive calibration process, this unique database automatically corrects optical flaws such as distortion, vignetting, chromatic aberrations, and lens softness.

Availability and special spring discounts

The Standard and Elite editions of DxO Optics Pro v8.1.4 for Mac and Windows are available in the DxO Labs online store (shop.dxo.com) and at photo resellers at a special discount through March 31, 2013:

USD :
DxO Optics Pro 8 Standard Edition: $99 instead of $169
DxO Optics Pro 8 Elite Edition: $199 instead of $299

EUR :
DxO Optics Pro 8 Standard Edition : 99€ € instead of de 149€ €
DxO Optics Pro 8 Elite Edition : 199€ € instead of 299€ €

GBP :
DxO Optics Pro 8 Standard Edition: £ 79 instead of £ 119
DxO Optics Pro 8 Elite Edition: £ 159 instead of £ 239
(Suggested retail prices, including VAT)

This upgrade is free for all owners of DxO Optics Pro 8, as well as for photographers who purchased a DxO Optics Pro 7 license on or after September 1, 2012. Other users can go directly to their customer account to take advantage of a special discount on the cost of their upgrade through March 31, 2013. Discounts on DxO FilmPack and DxO ViewPoint are also available through March 31, 2013.

A complete, fully-functional trial version of DxO Optics Pro 8, good for one month, is available on the DxO Labs website (http://www.dxo.com/intl/photo/free_trial_version).