Sigma 105mm F2.8 EX DG Macro now available

Sigma has announced pricing and availability for its 105mm F2.8 EX DG OS HSM Macro lens. The optically stabilized version of the lens, originally announced back in February, is available now with a recommended selling price of $1,400. The 105mm F2.8 EX DG OS HSM offers true 1:1 macro reproduction, and uses a floating focus system to maintain high optical performance at all distances.
Press Release:

Sigma Corporation of America’s 105mm F2.8 EX DG OS HSM Macro now available


Upgraded, large-aperture, medium-telephoto macro lens enables high-performance, close-up, handheld photography
Ronkonkoma, NY, June 28, 2011Sigma Corporation of America, a leading researcher, developer, manufacturer and service provider of some of the world's most impressive lines of lenses, cameras and flashes, is pleased to announce that its newly upgraded 105mm F2.8 EX DG OS HSM Macro lens is now available for the MSRP of $1,400.
The updated 105mm F2.8 EX DG OS HSM Macro lens now features Sigma’s own proprietary Optical Stabilizer (OS) technology, which allows for high-performance, handheld, close-up photography. The telephoto reach makes it a perfect lens for capturing images of insects and small creatures. Additionally, the wide maximum aperture combined with a short telephoto focal length make it very favorable for facial portraiture at lower magnification. A Special Low Dispersion (SLD) lens and one high refractive index SLD lens provide excellent corrections for all types of aberration and distortion.
“This lens is a fantastic addition to our extensive lineup of macro lenses,” said Mark Amir-Hamzeh, president of Sigma Corporation of America. “This is our fourth prime macro lens and the second of which that now includes our Optical Stabilization technology, which steadies the image for handheld use. This is yet another example of Sigma’s dedication to providing an array of unique lens that capture incredible imagery.”
Sigma’s Hyper Sonic Motor (HSM) feature ensures quiet and high-speed autofocus as well as full-time manual focus capability. This lens also has a rounded nine-blade diaphragm that creates an attractive blur to the out-of-focus areas of the image. 
The 105mm F2.8 EX DG OS HSM Macro features a floating focusing system that moves two different lens groups in the optical path to different positions. This system compensates for astigmatic aberration and spherical aberration, and provides extremely high optical performance from infinity to 1:1 macro. The super multi-layer coating reduces flare and ghosting, providing high contrast images. It is also possible to use this lens with Sigma’s APO teleconverters.
This announcement comes as part of an ongoing celebration of the company’s 50th anniversary. Find out about special anniversary activities and features, including product videos, photo sharing, photography tips and monthly chances to win Sigma products by visiting the anniversary web page.
For information about Sigma Corporation of America, visit www.sigmaphoto.com. For more information about sigma’s lenses, visit http://www.sigmaphoto.com/shop/lenses.
READ MORE - Sigma 105mm F2.8 EX DG Macro now available

ABOUT Ultrazoom Digital CameraS

Ultrazoom
Ultrazoom digital cameras typically boast an extremely large zoom range. Compact ultrazoom cameras will reach anywhere from 7x to 14x, and larger ultrazooms reach up to 30x in optical zoom power.  They are also very flexible, generally providing both automatic and manual modes of operation – all in a very compact package that is much smaller and lighter than standard digital SLRs (DSLRs).

Most ultrazooms also feature sophisticated image stabilization technologies, which can easily eliminate some of the blurriness that results from camera shake.

You can spend hundreds of dollars on an ultrazoom digital camera that includes such features as a high-definition movie mode and the ability to store raw editable content. However, you can also get a pretty decent model for $200 or less if you are willing to give up a little on the optical zoom capabilities – maybe settling for 10x instead of a whopping 20x, and sacrificing a bit on speed between shots.

The best way to select the perfect ultrazoom is to take stock of exactly what type of pictures you want most to capture. If you take a lot of scenery and distant pictures, then go for the larger optical zoom range. If you take a lot of sports and action shots, then choose a camera with good image stabilization and an ability to take rapid fire pictures – with some models capable of capturing 40 still frames per second and 1,000 frames per second or more in video capture mode.

When searching for the right model, be aware of the weight (since ultrazooms are usually heavier than point-and-shoots), the size, and the image stabilization technology. The price you pay for extreme focal length flexibility is camera shake and picture blur, so it is important to have technology on your side when you are framing that perfect shot.
READ MORE - ABOUT Ultrazoom Digital CameraS

Leica launches M9-P professionally targeted rangefinder

Designed particularly for professional photographers, new ultra-discreet version of
the Leica M9 added to Leica rangefinder portfolio
Leica today presents a new version of the world's smallest, full-frame digital system camera: the Leica M9-P. This new model will sit alongside the Leica M9 in the company's rangefinder portfolio, providing an alternative, even more discreet and resilient design that further reinforces the quintessential nature of the M9 – and particularly meets the needs of professional photographers. The new model will be available in a classic silver chrome or subtle black paint finish.
Offering the same technical specifications as the highly successfully Leica M9, the M9-P combines all the benefits of the original: compact size, full-frame, 18 megapixel 24 x 36mm sensor (35mm format), sophisticated image processing and robust construction, with features designed for the professional user or photographers who prefer a pure, even more unobtrusive styling.
The Leica M9-P includes a scratch-resistant, sapphire crystal covering on the LCD screen. This material is so tough that the screen can only be produced using special diamond cutting tools and is one of the world's hardest materials. As a result, the sapphire glass LCD cover is extremely resistant to wear and almost unbreakable, meaning many years of reliable use. In addition, thanks to an anti-reflective coating on both sides of the cover, reviewing images on the display during composition and after capture is further improved, particularly in unfavourable lighting conditions.
The external covering of the body of the M9-P, finished in vulcanite leatherette, features a more coarselytextured finish that ensures a steady grip when shooting, making the M9-P feel particularly safe and secure in the hand.
A further understated feature of the Leica M9-P is its minimalist styling, which is focused on the most essential features. Many professional photographers using Leica cameras have been known to tape over the Leica 'red dot' logo to make their equipment as inconspicuous and discreet as possible. For this reason, the Leica red dot logo and the M9 lettering on the front have been omitted. Instead, the top plate is engraved with the Leica name in classic script form.
Since 1954, the Leica M system has represented an unmistakable, individual kind of photography and a very conscious photographic style. With a Leica M, the photographer becomes a 'part of the action' in the process of capturing challenging, authentic and creative images.
The rangefinder frames precisely the shot the photographer envisages, while allowing a clear view of the scene outside the viewfinder frame. This allows the photographer to predict the decisive moment and capture it discreetly and reliably at the right moment – in all fields of photography, from photojournalism, reportage and 'available light' to the capture of portraits and aesthetic, fine-art images.
Another significant advantage for unobtrusive photography is the almost silent shutter, a feature of both the M9 and M9-P. Moreover, when longer exposure times requiring an extremely steady camera stance are essential, only a slight pressure on the shutter release button in 'soft release' mode is required. Photographers can also select the most appropriate moment for re-cocking the shutter.
The functions of the Leica M are consistently constructed for extreme durability and a long working life. The highest quality materials, intricate manufacturing processes and meticulous manual assembly at Leica's facility in Germany guarantee functional reliability for years to come.
In line with Leica's commitment to system compatibility, almost all Leica M lenses built since 1954 can be used with the M9 and M9-P – an important factor in the enduring value of the M series. The 18 megapixel image sensor, specifically designed and developed for the M9, enables capture of the full 35mm film format without any compromise. All M lenses mounted on the M9 and M9-P therefore offer the same focal length as originally intended, and the enormous potential performance of the extensive M lens portfolio, with focal lengths from 16 to 135mm, can be fully exploited by both cameras.

Pricing and availability in the UK

The Leica M9-P (available in black paint or silver chrome) is scheduled to be available in the UK from June
2011 from authorised Leica dealers including the Leica Store Mayfair: www.leica-storemayfair.co.uk, tel:
020 7629 1351. A full list of authorised UK Leica dealers is available at www.leica-camera.co.uk. The UK
suggested retail price of the Leica M9-P is £5,395 including VAT.

Pricing and availability in the USA

The MSRP for the M9-P will be $7,995.00.
The Leica M9-P comes with a two-year warranty and a one-year Leica UK 'Passport' (complimentary
accidental damage cover), both of which commence from date of purchase. UK customers are also
welcome to visit the Leica Store and Akademie in Mayfair, London, for a complimentary training workshop
on the features of the camera. Technical support by telephone is available via Leica's London-based Client
Care department.
READ MORE - Leica launches M9-P professionally targeted rangefinder

Leica announces Super-Elmar-M 21mm f/3.4 ASPH

Leica has announced the Super-Elmar-M 21mm f/3.4, a wideangle prime for its M-series rangefinder cameras. Weighing in at less than 10 ounces, it's extremely compact at just under 2 inches in length. It has a minimum focus distance of 0.7m, and uses a dual-sided aspheric element and 4 anomalous partial dispersion elements in its optical construction. On the M8 camera it offers an angle of view equivalent to a 28mm lens. It will be available from June 2011 at a price of £2025. Jump to:
Press Release:

Leica announces Super-Elmar-M 21mm f/3.4 ASPH.

Compact M lens with improved imaging performance sets new standards in wide-angle
photography
21 June 2011, 18.00 GMT: Leica has today added a new, high-performance wide-angle lens to its portfolio of short focal length lenses for Leica M cameras. The Leica Super-Elmar-M 21 mm f/3.4 ASPH. sets new standards in imaging performance and is characterised by its particularly compact size and suitability for a wide range of photographic situations. Whether used for photojournalism, architecture or landscape photography, the Leica Super-Elmar-M 21 mm f/3.4 ASPH. provides photographers with an extremely small, light and versatile wide-angle lens, particularly suitable for travelling.
The performance of the Leica Super-Elmar-M 21 mm f/3.4 ASPH. is reminiscent of one of the all-time favourite classics amongst M lenses, the Leica Super-Angulon-M 21 mm f/3.4. This much-praised lens was an integral part of the Leica M lens portfolio from 1963 to 1980, and made its name and reputation as an ideal tool for available light photography and photojournalism. Even today, the Super-Angulon-M 21mm f/3.4 is extremely popular and one of the most sought-after M lenses amongst connoisseurs of fine optics.
The new Leica Super-Elmar-M 21 mm f/3.4 ASPH. is a worthy successor, with further improvements over the already outstanding performance of its predecessor. The lens reveals its excellent reproduction of detail and superior contrast at maximum aperture. Of particular note are the extremely effective flare characteristics of the Leica Super-Elmar-M 21 mm f/3.4 ASPH., which allow the capture of fascinating 'contre-jour' images with absolute clarity and contrast.
The intricate optical design and construction of the lens are responsible for its outstanding sharpness and imaging qualities. The Leica Super-Elmar-M 21 mm f/3.4 ASPH. is constructed with eight lenses in seven groups. At the same time, the use of one lens element with two aspherical surfaces and four lenses with anomalous partial dispersion ensure that aberrations are reduced to an absolute minimum.
As with all Leica lenses, the Super-Elmar-M 21 mm f/3.4 ASPH. was designed and developed by Leica specialists in Solms, Germany, and represents the perfect combination of optical and technical expertise. Particularly reliable and with enduring value, every Leica lens is manufactured from only the highest quality materials and is assembled with meticulous precision, completely by hand. The combination of cutting-edge technologies and extremely thorough manufacturing processes guarantees consistently excellent quality.
The Leica Super-Elmar-M 21 mm f/3.4 ASPH. is supplied with a high-quality, all-metal lens hood, which should be mounted at all times. The hood not only protects the lens effectively against reduction of contrast by extraneous light, but also against damage and the accumulation of dirt on the front lens element.

Leica Super-Elmar-M 21mm f/3.4 ASPH specifications

Focal length • 21mm
Maximum aperture • F3.4
Minimum aperture • F16
Aperture settings • Click-stops with half-stop detents
Angle of view (diagonal,
horizontal, vertical)
• For 35mm format (24 x 36mm): 91°, 80°, 59°
• For Leica M8 models (18 x 27mm): 74°, 64°, 46° (approx 28mm equiv)
Optical design • 8 elements / 7 groups
• 2 aspherical surfaces
• Position of entrance pupil: 15.6 mm (to the apex of the first lens surface)
Minimum focus • 0.7m (2.3 ft)
Maximum magnification • 0.03x
Distance scales: • Combined metre/feet graduation
Filter thread • 46mm, non-rotating
Dimensions • 43mm length x 53mm diameter (1.7" x 2.1")
• 55mm length including hood (2.2")
Weight • 279g (9.8 oz)
Lens hood • bayonet-type, supplied
Mount • Leica M quick-change bayonet with 6-bit bar-coding
Supplied accessories • Metal lens hood
• Front cap for lens hood
• Rear cap
• Leather case
• Instruction manual
READ MORE - Leica announces Super-Elmar-M 21mm f/3.4 ASPH

Lensbaby Composer Pro / Sweet 35 Review

Lensbaby Composer Pro / Sweet 35 Review

 

Lensbaby is a company that's been steadily pursuing its own unique course for the past seven years or so, making what it calls 'selective focus' lenses for SLRs that exhibit a distinctive low-fi aesthetic. The basic principle is to utilise optically simple lenses which are deliberately uncorrected for many aberrations, and therefore produce a sharp zone of focus (or 'sweet spot') in the center of the image field with ever-increasing blur outside it. This is combined with a flexible barrel, such that the lens can be tilted and the sweet spot moved around the frame, to focus on off-center subjects. The size of the sweep spot can be increased by using a smaller aperture.

The original Lensbaby was little more than a flexible plastic tube, with a mount at one end and an uncoated single-element 50mm F2.8 glass lens at the other; the aperture was set using drop-in plastic discs held in place by a rubber ring. The sweet spot was manipulated and the lens focused simply by squeezing on a collar around the lens (in its modern incarnation, this design is known as the 'Muse'). It was an endearingly low-tech concept, but in practice could be was rather frustrating to use - the non-locking design meant that there was essentially no way of taking the same picture at different apertures, for example. And the single-element glass lens was a little too low-fi for many tastes.

Over the years, though, Lensbaby has refined its designs to address these problems and make its products more 'serious'. The Lensbaby 2 introduced a higher-quality 2-element lens and easier-to-use, drop-in magnetic aperture discs, and the '3G' a mechanism to lock the flexible barrel the desired position. Then a couple of years ago the company totally overhauled its range, bringing in the entirely different 'Composer' barrel design based upon a ball-and-socket joint for tilt, and conventional helicoid ring to set focus. At the same time it came up with an 'optic swap' system that allowed lenses to be interchanged, plus a choice of lenses including single element glass, dual element glass and plastic (all still at about 50mm focal length). The company also sells fisheye and pinhole optics, plus a range of screw-on wide/teleconverters and close-up lenses.

The Composer Pro can be used with a range of different lens modules including single element glass, dual-element glass and plastic. Lens modules for the Composer Pro are removed and installed using the lens swap tool. One of the benefits of the Sweet 35 is that no tools are necessary for installation.
 

We rather like the Composer; it allows reasonably consistent shot-to-shot results, which means you can experiment more easily with apertures and different exposures for creative effect. But with the best will in the world it's still slightly rough around the edges, with a somewhat loose focusing action and imprecise movements. Likewise the drop-in magnetic aperture discs still aren't especially user-friendly, and the temptation is to pick one for a shooting session and stick with it, hoping things work out in the end - especially when using any of the screw-on lens accessories. This is where Lensbaby's latest products come in - the Composer Pro and Sweet 35 optic, which are the subject of this quick review. The Composer Pro maintains the same basic ball-and-socket design as the original, but promises improved construction and refined operation. Meanwhile the Sweet 35 becomes Lensbaby's first lens to incorporate a built-in aperture mechanism. It also, as its name hints, has a different focal length to previous optics, at about 35mm, offering a more 'normal' perspective on APS-C cameras and a moderate wideangle look on full frame.

By their very nature Lensbaby's products aren't for everyone, with their emphasis on the aesthetic 'look' of the image rather than any conventional concept of image quality. This review will therefore be rather more subjective than usual, and since the lensbaby lends itself poorly to analysis using our normal tools, we have decided not to give it a score.

Selective Focus - what does it mean?

For those who haven't come across Lensbaby's product before, the idea of selective focus may be difficult to visualize at first. The example below illustrates the concept - when the lens is centred only an area in the middle of the frame is sharp, and the edges are blurred. By tilting the lens it's possible to move this sharpness 'sweet spot' freely around the frame, focusing selectively on your area of interest.

Left Tilt
Centred
Right Tilt
In this scene, we tilted the Sweet 35's 'sweet spot' from the centre of the image, to the left, and then to the right. Be aware that tilting the lens can dramatically alter the composition of the image as well, and you'll often need to rotate the camera to compensate. This is especially pronounced when working at short focus distances, as the front of the lens will also move relative to the subject.  

If you're new to digital photography you may wish to read the Digital Photography Glossary before diving into this article (it may help you understand some of the terms used).

Conclusion / Recommendation / Ratings are based on the opinion of the reviewer, you should read the ENTIRE review before coming to your own conclusions.

Images which can be viewed at a larger size have a small magnifying glass icon in the bottom right corner of the image, clicking on the image will display a larger (typically VGA) image in a new window.

To navigate the review simply use the next / previous page buttons, to jump to a particular section either pick the section from the drop down or select it from the navigation bar at the top.

DPReview calibrate their monitors using Color Vision OptiCal at the (fairly well accepted) PC normal gamma 2.2, this means that on our monitors we can make out the difference between all of the (computer generated) grayscale blocks below. We recommend to make the most of this review you should be able to see the difference (at least) between X,Y and Z and ideally A,B and C.

READ MORE - Lensbaby Composer Pro / Sweet 35 Review

DxO Labs develops FilmPack 3 film simulation software

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DxO Labs has launched FilmPack 3, the latest version of its silver halide film simulation software. The software now includes the ability to mimic up to 60 famous black and white, and color films, based on calibration from professional prints, giving what the company claims is the most precise film simulation on the market. Version 3 adds new film looks and color filters. It also brings a greater degree of control, including HSL sliders, a channel mixer for optimizing Black and White conversions and, at customer request, the ability to add vignetting. Custom film styles can also be created by mixing the color response of one film with the grain pattern of another. The software is available as standalone software or plugins for DxO Optics Pros, Photoshop, Lightroom or Aperture.Press Release:

New DxO FilmPack 3 Provides Unrivaled Film Fidelity and Opens Up Boundless Creativity Opportunities

New features include redesigned User Interface, and extended connectivity with Lightroom, Photoshop and Aperture. DxO FilmPack 3 is available at launch with up to 30 percent discount.
Paris, France – DxO Labs today announces DxO FilmPack 3 for Mac and Windows, the latest version of its reference software simulating silver halide film rendition based on DxO Labs' unique 10 years of recognized expertise in calibration. DxO FilmPack 3 allows photographers, from experts to beginners, to recreate the magic of dozens of black & white or color film stocks in one click, offering limitless creative options for their digital images.

Unrivaled Film Fidelity

Leveraging its worldwide known scientific expertise in image quality measurement, and working with world class film processing facilities, Picto - Paris and Duggal - New York, DxO Labs has developed a unique film profiling process, ensuring the most precise film simulation available on the market today. Users can easily give their prints, including large format fine art prints, the appealing grain, color and contrast of famous film stocks, recalling the deep history of photography and rich legacy of each film look.
Legendary black & white film photographer Sebastio Salgado, who recently migrated from film to digital, says "DxO FilmPack has become a must have step in my photographic workflow to render the unique Kodak Tri-X grain on my large format prints."
"In cases such as Kodachrome, the film is not available anymore, and our painstaking work to accurately portray the unique attributes of each stock in DxO FilmPack 3 is the only way to achieve these characteristics," said Cyrille de La Chesnais, Director Sales & Marketing for DxO Labs' Photography business.

Extended creativity

DxO FilmPack 3 introduces ten new film looks and ten new color filters to explore additional looks, and even create film looks that only exist in customer's imagination, with the addition of several new controls including:
  • Hue/Saturation/Luminance sliders for additional color creative control
  • Channel mixer for extended Black & White rendering styles
  • Creative vignetting to give images a particular look
  • Noise removal tool for more precise grain control
Original Default conversion Conversion with Channel Mixer
 Original image by Hank Gans

Ease of use

For easy integration of DxO FilmPack into customer workflow, the software will be available as a plug-in for Adobe Photoshop CS, Adobe Lightroom, Apple Aperture, and DxO Optics Pro. A standalone application will also be provided. These versions can all work in batch mode, allowing users to process hundreds of image in just a few clicks of the mouse. In addition, DxO FilmPack can be used as a Smart Filter in Adobe Photoshop for optimal flexibility.
In the third party plug-ins and in the standalone version, the interface has been revamped with a modern and slick design enhancing the picture and providing several new functions. At the heart of these new functions is a new visual preset system that allows photographers to easily choose from the many built-in film presets, and to save and share their own customized looks.
To enhance the user experience, noise removal and grain effect are now visible at all zoom factors.

Exceptional Introductory Discount, Availability and Editions

DxO FilmPack 3 is available in two editions, Essential and Expert (Mac or Windows), which differ in terms of available features.
Each DxO FilmPack 3 license includes
  • a standalone application
  • a plug-in for Adobe Photoshop CS4/CS5
  • a plug-in for Adobe Lightroom 3
  • a plug-in DxO Optics Pro v6.6 (and higher)
  • and for Mac, a plug-in for Apple Aperture 3
Each can all be simultaneously installed on two computers.
DxO FilmPack 3 standalone and DxO FilmPack 3 plug-in for Photoshop/Lightroom/Aperture will be available in the summer of 2011.
DxO FilmPack 3 plug-in for DxO Optics Pro and upgrades to DxO FilmPack 3 plug-in for DxO Optics Pro are available immediately from the DxO Labs e-store (www.dxo.com) at a special introductory discount:
• DxO FilmPack 3 Essential edition
  • €49, instead of €79, representing a savings of €30
  • $49, instead of $79, representing a savings of $30
  • at £49, instead of £69, representing a savings of £20
• DxO FilmPack 3 Expert edition
  • at €99, instead of €129, representing a savings of €30
  • at $99, instead of $129, representing a savings of $30
  • at £79, instead of £99, representing a savings of £20
• DxO FilmPack 3 Expert Upgrade from DxO FilmPack 1 or 2
  • at €39 instead of €49 representing a savings of €10
  • at $39 instead of $49 representing a savings of $10
  • at £29, instead of £39, representing a savings of £10
€ and £ prices include VAT.
Customers purchasing this plug-in or its upgrade will have free access to DxO FilmPack 3 standalone or Photoshop/Lightroom/Aperture plug-ins when available.
READ MORE - DxO Labs develops FilmPack 3 film simulation software

Apple adds photographic features for iOS5

Apple has announced details of the forthcoming versions of its iOS operating system for iPhone, iPad and iPod Touch. With these devices ranking among the most used on popular photo-sharing sites, it comes as no surprise that several new features in iOS5 are specifically aimed at photographers. These including additional camera features for the iPhone/iPod Touch and iPad2, such as the ability to overlay thirds gridlines, and wireless syncing of photographs between iOS devices using Apple's new iCloud service.New to the Camera app in iOS5 is the long-requested ability to use the physical 'up' volume button of the iPhone 4 as a shutter release, as well as the addition of pinch-to-zoom and overlaid 'rule of thirds' gridlines to aid composition. It is also possible to set exposure and AF lock with a single tap. The Photos app gains new crop, rotate and red-eye removal functions, as well as the ability to organise images into folders from within the app.

New photography features in iOS 5:

Camera app (iPhone/iPod Touch/iPad 2)
  • Volume up button (iPhone 4) can now be used as shutter release
  • Pinch-to-zoom in image capture mode (not just review)
  • Exposure and AF lock possible with single tap
  • New grid lines (rule of thirds) overlay
  • Camera app now available from lock screen
Photos app (all iPhones/iPod Touches/iPads)
  • New crop, rotate, remove red-eye and auto-enhance tools added
  • Organize photos into albums from within Photos app
  • Automatically sync photos between devices using iOS 5 using iCloud
Full details and compatibility of these and other new functions can be found at www.apple.com
READ MORE - Apple adds photographic features for iOS5

Sigma announces SD1 pricing and availability

 
Sigma has announced details of the pricing of its SD1 APS-C 15x3MP DSLR, saying it is aiming at users currently shooting medium format. The camera, based on the technology of Sigma's sensor development company Foveon, captures information about three colors for each of its 15 million pixels, rather than just one color per pixel in conventional, 'Bayer' designs. This gives 46 million pieces of color information. It is the company's first move away from the 4.7x3MP sensors used in its existing DSLRs and DP-series fixed lens large sensor compacts. The SD1 features the ability to shoot at 5 frames per second, offers a 3.0" 460,000 dot LCD screen and an 11-point AF system. It is based around the company's own SA lens mount. Cameras will available from the end of June at a price of $9,700 in the US and £6,199.99 (inc VAT) in the UK.Jump to:
Press Release:

Sigma Corporation of America to ship SD1 camera in early June

46-megapixel DSLR creates new market for medium-format photographers
Ronkonkoma, NY, May 20, 2011Sigma Corporation of America, a leading researcher, developer, manufacturer and service provider of some of the world's most impressive lines of lenses, cameras and flashes, is pleased to announce that its flagship DSLR, the Sigma SD1, will be available for purchase for the MSRP of $9,700 in early June.
This 46-megapixel DSLR is delivered in a splash-proof, easy-to-handle build that is similar to that of a classic 35mm camera. Professional and high-end enthusiast photographers will utilize the SD1’s exclusive Foveon 23.5x15.7mm APS-C X3 direct image sensor to capture exceptionally rich and detailed images that have a film-like quality. Users will also benefit from Sigma’s wide selection of interchangeable lenses that are compatible with the SD1.
“The SD1 will carve out a new category in the marketplace by providing high-end photographers with an alternative to very expensive medium-format cameras and digital backs, while offering unrivaled image quality,” said Mark Amir-Hamzeh, president of Sigma Corporation of America. “By embracing the SD1, serious photographers will also be able to take advantage of Sigma’s extensive lineup of affordable lenses, which are compatible with this new camera. The selections of lenses for medium-format cameras on the market are somewhat limited, so this will be a huge advantage for SD1 users. This is undoubtedly a very special camera, and we’re thrilled to share it with the photo community.”
In addition to the 23.5x15.7mm APS-C X3 direct image sensor, the Sigma SD1 features dual “Three-layer Responsive Ultimate Engine (TRUE) II” image processing engines, which improves processing speed, provides high resolution power and produces high-definition images with richly graduated tones.  It also allows simultaneous RAW and JPEG recording, which is a first for Sigma cameras. Additionally, the photographer has the option to select full-size, half-size or quarter-size RAW files making it a more versatile camera for a wide range of photographers. The Foveon sensor uses three silicon-embedded layers of photo detectors, stacked vertically to take advantage of silicon’s ability to absorb red, green and blue light at different respective depths. This technology efficiently reproduces color more accurately and offers sharper resolution, pixel for pixel, than any conventional image sensor. Since color moiré is not generated, the use of a low-pass filter is not required.
The optical format of the Foveon sensor has been upgraded from that which was used in previous SD cameras, and has increased from 1.7x focal length to the 1.5x focal length multiplier. The SD1 also benefits from improved image processing and noise reduction algorithms, with an ISO sensitivity range from 100 to 6400. This is two full stops more sensitivity than the SD15, which has a maximum 1600 ISO.  An intuitive user interface and an impressive lightweight, yet solid magnesium alloy body and O-ring sealing connections that make the camera durable and splash proof are also key feature upgrades of the flagship SD1. 
The SD1 adopts the TYPE 1 Compact Flash Card, and is UDMA-compatible enabling fast processing of large amounts of data. The autofocus system features an 11-point shifted twin cross type sensor, which improves AF accuracy. The SD1 features a 3.0 inch TFT color monitor. This 460,000 pixel resolution LCD monitor benefits from a wide viewing angle, making it easy to check focusing and composition. The SD1 can be used with more than 40 Sigma SA mount lenses such as ultra-wide, ultra-telephoto, macro and fisheye.
Sigma’s image processing software, Photo Pro 5.0, comes bundled with the camera and its simple operation allows quick and easy capture of the desired imaged.  Additional functions such as Loupe, Slideshow, Print, Convert to JPEG file and Batch White Balance settings are also incorporated into this software.
The Sigma SD1 will be available for the MSRP of $9,700 through select authorized Sigma dealers. For information about Sigma Corporation of America, visit www.sigmaphoto.com. For more information about the Sigma SD1 DSLR, visit http://www.sigmaphoto.com/shop/sd1-dslr-sigma or view the camera’s special page at www.sigma-sd.com/SD1.

Product Summary

46 megapixel 23.5×15.7mm APS-C X3 Full-color image sensor
The 46 effective megapixel (4,800×3,200×3 layers) and 44 recording megapixel (4,704×3,136×3 layers) 23.5×15.7mm APS-C X3 direct image sensor featured in the Sigma SD1 captures all primary RGB colors at each and every pixel location, ensuring the capture of full and complete color. Using three silicon-embedded layers of photo detectors, stacked vertically to take advantage of silicon’s ability to absorb red, green and blue light at different respective depths, it efficiently reproduces color more accurately, and offers sharper resolution, pixel for pixel, than any conventional image sensor. Since color moiré is not generated, the use of a low-pass filter is not required, meaning light and color, generated by the 46 megapixel APS-C X3 direct image sensor is captured with a three-dimensional feel.

Dual TRUE II image processing engine

The SD1 incorporates a dual “TRUE (Three-layer Responsive Ultimate Engine) II” image processing engine which improves the processing speed and overall quality of the final image. The unique image-processing algorithm provides high resolution power and reproduces high definition images with richly graduated tones.  In addition, the SD1 is Sigma’s first camera to allow simultanous RAW and JPEG recording.

Advanced DDR III buffer

To handle large volumes of color data at high speed, the SD1 uses DDR III buffer memory technology, which delivers class-leading performance. The SD1 features a continuous shooting speed of 5 frames per second and can capture up to 7 RAW images per sequence in continuous shooting mode.

CF card

The SD1 adopts the TYPE I CF Card. This camera is compatible with the UDMA enabling fast processing of large amounts of data.
* It is not possible to use Microdrives and TYPE II CF cards.

Intuitive user interface

The improved user interface provides faster and more convenient operation. Aperture and shutter speed can be set by their own dials. The exposure compensation button and exposure mode button are on top of the body for quick access. A Quick Set (QS) menu lets you easily change commonly used functions. To display the QS menu, simply press the QS button. QS menu 1 is for ISO setting, flash mode, metering mode and AF mode; QS menu 2 offers white balance, image quality, image size and color mode.

Magnesium body

The Sigma SD1 adopts a lightweight yet solid magnesium alloy body designed to withstand rough use and shocks in harsh conditions.

Splash proof design

Buttons and connections benefit from O-ring sealing connections to prevent dust and water getting inside the camera body.

Bright, wide-coverage viewfinder with integral pentaprism

The SD1 features a pentaprism viewfinder with 98% (vertical and horizontal) coverage, 0.95x magnification and an 18mm eye point. Diopter adjustment is provided over a range of -3 to +1.5 dpt.

Four metering modes

The SD1 features 77-segment Evaluative Metering, Center Weighted Average Metering, Center Area Metering and Spot Metering.Exposure can be manually adjusted to suit your needs. When difficult lighting conditions make appropriate exposure unclear, auto bracketing lets you take a sequence of shots of the same subject at three or five different exposure levels. Bracketing can be set in 1/3EV increments up to ±3EV(3levels) or ±1.7EV(5 levels).

11 point twin cross sensor

The autofocus system features an 11 point twin cross sensor. The shifted twin cross type sensor improves AF accuracy. Selecting the AF point can be done manually or automatically.

77-segment AE sensor

The SD1 features a new 77-segment AE sensor using advanced AE algorithms to improve exposure accuracy. Exact control coordinated with the 11 AF points achieves accurate exposure even in difficult lightning conditions.

Dust Protector

Most digital SLR cameras are vulnerable to dust entering the body. If dust and dirt adhere to the image sensor, it may appear in the photos. The lens mount of the SD1 is equipped with a dust protector and the area around it is sealed to prevent dust from entering the body. Even in the unlikely event of dust adhering to the image sensor, the dust protector can be removed easily for sensor cleaning.

Focal Plane shutter

The durable focal plane shutter mechanism has a life cycle of over 100,000 exposures and dramatically reduces generation of dust. The photographer can enjoy taking pictures with confidence that the image sensor is clean and protected from dust or dirt originating inside or outside the camera.

Two-motor system

Using a two-motor system with dedicated motors for mirror-drive and shutter charge reduces the vibration of mirror movement, thereby preventing camera shake. A mirror lock-up mechanism prevents further vibration when the shutter is released. Preventing camera shake is especially important for macro photography and when using ultra-telephoto lenses.

Noiseless image processing

ISO sensitivity can be selected from 100 to 6400. The SD1 captures light effectively and ensures noiseless image processing. The image sensor provides high definition with rich, graduated tones.

Large, highly visible 3.0” TFT color LCD Monitor

The SD1 camera features a 3.0 inch TFT color monitor. This 460,000 pixel resolution LCD monitor benefits from a wide viewing angle, making it easy to check focusing and composition.

Built-in flash with 17mm angle of coverage

The Sigma SD1 camera’s built-in flash has a guide number of 11 to cover a 17mm lens angle (equivalent to 25.5mm with a 35mm camera). The built-in flash can be synchronized to a shutter speed of up to 1/180 sec. The S-TTL automatic exposure system enables control of advanced flash photography.

SIGMA Photo Pro5.0 (Supplied)

The supplied image processing software, SIGMA Photo Pro 5, converts RAW data quickly and easily and describes full data of 46 megapixel resolution. A renewed interface design provides functional and convenient operation. Sigma PhotoPro allows easy operation, simply by moving a slider from left to right while looking at the particular image you took, you can get a photographic expression just as you like.  In addition, other functions such as Loupe, Slideshow, Print, Covert to JPEG file and Batch White Balance settings are incorporated into this software.

Dedicated BP-21 lithium-ion battery

The dedicated BP-21 lithium-ion battery is supplied as standard with the SD1. It takes about 150 minutes to fully charge with the supplied BC-21 battery charger. The optional SAC-4 AC adapter lets the Sigma SD1 run on AC power from a wall socket.

Optional lenses
The SD1 can be used with over 40 Sigma lenses such as ultra-wide, ultra-telephoto, macro and fisheyes which adopt the latest technology such as the FLD (“F” Low Dispersion) glass elements, which have the performance equal to fluorite glass, SLD glass, Aspherical lenses, Sigma’s own unique Optical Stabilizer function, Hyper Sonic Motor and Sigma’s Super Multi Layer Coating. They meet the various and demanding requirements of all types of photographers.

Sigma SD1 camera specifications

Format Interchangeable lens SLR camera
Storage Media Compact Flash (Type I, UDMA compatible)
Image Sensor Size 24 x 16mm (1.5x APS-C)
Lens Mount SIGMA SA bayonet mount
Compatible Lenses SIGMA SA mount interchangeable lenses
Image Sensor X3 direct image sensor (CMOS)
Effective Pixels 46MP (4,800×3,200×3 layers)
Aspect Ratio 3:2
Still Image Format Exif 2.3, DCF 2.0
File Size RAW
• High
• Medium
• Low
JPEG
• High
    Fine
    Normal
    Basic
• Medium
    Fine
    Normal
    Basic
• Low
    Fine
    Normal
    Basic

Approx 45 MB (4704 x 3136 x 3)
Approx 24 MB (3264 x 2176 x 3)
Approx 12 MB (2336 x 1568 x 3)


Approx 10 MB (4704 x 3136 x 3)
Approx 5.6 MB (4704 x 3136 x 3)
Approx 4.2 MB (4704 x 3136 x 3)

Approx 5 MB (3264 x 2176 x 3)
Approx 2.7 MB (3264 x 2176 x 3)
Approx 2 MB (3264 x 2176 x 3)

Approx 2.5 MB (2336 x 1568 x 3)
Approx 1.4 MB (2336 x 1568 x 3)
Approx 1 MB (2336 x 1568 x 3)
Continuous shooting speed High: 5 frames/sec, Medium: 6 frames/sec, Low: 6 frames/sec
Continuous buffer High: Max. 7 frames, Medium: Max. 14 frames, Low: Max. 14 frames
White Balance 8 types (Auto, Daylight, Shade, Overcast, Incandescent, Fluorescent, Flash and Custom)
Color Mode 7 types (Standard, Vivid, Neutral Portrait, Landscape, B&W, Sepia)
ISO Range • 100
• 200
• 400
• 800
• 1600
• 3200
• 6400
Viewfinder Type Pentaprism SLR viewfinder
Viewfinder Frame Coverage 98% vertical, 98% horizontal
Viewfinder Magnification 0.95x (with 50mm lens at infinity)
Eye point 18mm
Diopter Adjustment Range -3.0 dpt - +1.5 dpt
Metering System 77-segment Evaluative Metering, Spot Metering, Center Area Metering, Center-Weighed Average Metering
Metering Range EV 1 to 20 (50mm F1.4 : ISO 100)
Shutter Type Electronically controlled focal plane shutter
Shutter Speed 1/8000th – 30 sec, Bulb (up to 30 sec, or 2 min in extended mode)
Exposure compensation +/– 3EV (in 1/3 stop increments)
Auto Bracketing Three or Five frames (in 1/3 EV steps, 0, –, +)
Auto Focus Type TTL phase difference detection system
AF Point 11 points twin cross sensor
AF Operating Range EV -2 to +19 (ISO100)
Focus Mode • Single AF
• Continuous AF (with AF motion prediction function)
• Manual
Focus Mode • Single AF
• Continuous AF (with AF motion prediction function)
• Manual
Focusing Screen Fixed, all matt screen
Mirror Quick return
Depth of Field Preview Yes
AF Point Selection • Automatic Selection
• Manual Selection
Active AF point indicator Superimposed in viewfinder
Focus Lock Shutter Release Halfway-Down position
Built-in Flash • Manual Pop-up Built-in flash
• GN11
• 17mm lens angle covered
Flash Metering System S-TTL Auto Flash
Flash Compensation ±3EV (1/3 stop increments)
Flash Sync Terminal Available
Flash Connectivity Hot shoe (contact X synchronization at 1/180 sec. or less, with dedicated flash linking contact)
LCD Monitor • 3.0" TFT colour LCD monitor
• Approx. 460,000 dots
Language • 3.0" TFT colour LCD monitor
• Approx. 460,000 dots
Battery • Li-ion Battery Pack BP-21, Battery charger BC-21, AC Adapter SAC-4 (Optional)
Dimensions 146 mm(W) × 113 mm(H) × 80 mm (5.7" (W) × 4.4"(H) × 3.1")
Weight 700g/24.7oz. (without battery and card)
READ MORE - Sigma announces SD1 pricing and availability

Samyang ships 35mm f/1.4 AS UMC & 8mm f/3.5 Fisheye CS VG10

Samyang Optics has announced it has started shipping its 35mm F1.4 AS UMC lens in Canon and Nikon mount, as well as the 8mm F3.5 CS VG10 Fisheye lens for Sony's NEX-VG10 camcorder. The 35mm lens is available €399 for Canon's EF mount and €419 for the Nikon's AE mount. The 8mm fisheye lens is available for €299. Jump to:Press Release:

Samyang 35mm 1:1.4 AS UMC


Already on sale!
Krakow, May 4th 2011. Delta company - the sole distributor of Samyang products for Europe announces that wide-angle Samyang 35mm 1:1.4 AS UMC with Canon EF and Nikon AE mounts, has been released for sale today.
 

Samyang 35mm 1:1.4 AS UMC is now available in two versions: with Canon EF and Nikon AE mount. The remaining models, i.e. Four-thirds, Pentax, Samsung NX and Sony Alfa are to be released at a later date. 
Samyang 35mm 1:1.4 AS UMC
Samyang 35mm 1:1.4 AS UMC is an optically sophisticated bright (f/1.4) wide-angle lens with focal length of 35 mm.


It was designed to work especially with full-frame sensor cameras, nevertheless it may be also used with cameras featuring APS-C/DX and Four-thirds sensors. The device's optical construction comes with two lenses with high refractive index (HR) limiting its weight and dimensions. One aspherical lens (AS) protecting against chromatic aberration was also used. 


High-quality multi-layer and anti-reflexive coatings (UMC) increase the contrast and allow to generate more natural colours. Samyang 35mm 1:1.4 AS UMC lens takes advantage of the so called "gliding lenses" allowing to maintain high image quality with minimum focusing distance. AE model, intended for Nikon DSLR cameras feature a microprocessor unit allowing to have full control over the exposure parameters and freely use i-TTL flash control technology. Data on focal length and available apertures is recorded in EXIF format.
Warranty
36-months guarantee is provided for Samyang 35mm 1:1.4 AS UMC. 
Price
Samyang 35mm 1:1.4 AS UMC with Canon EF mount – EUR 399 (gross)
Samyang 35mm 1:1.4 AS UMC with Nikon AE mount – EUR 419 (gross)
Press Release:

Samyang 8mm f/3.5 Fish-eye CS VG10


Already on sale!
Krakow, May 5TH 2011. Delta company, the sole distributor of Samyang products for Europe is proud to announce that Samyang 8mm f/3.5 FISH-EYE CS VG10 designed especially for Sony NEX-VG10, has been released for retail sale at price of EUR 299


Samyang 8mm f/3.6 Fish-eye CS VG10 is equipped with a bayonet Sony E  mount and was designed for digital camcorder Sony NEX-VG10. Due to the camcorder's one-off construction, the bayonet mount was carefully adjusted to ensure possibly widest field of vision and prevent vignetting. Just like in other lenses constructed for filming purposes, aperture adjustment is perfectly smooth. 
Warranty
8mm f/3.6 Fish-eye CS VG10 lens is under 36-months warranty.
Price
Samyang 8mm f/3.6 Fish-eye CS VG10 – EUR 299 (gross)
READ MORE - Samyang ships 35mm f/1.4 AS UMC & 8mm f/3.5 Fisheye CS VG10

Panasonic DMC-G3 Hands-on Preview

Preview based on a production DMC-G3
The G3 represents the start of Panasonic's third generation of mirrorless camera. In some respects it's a refinement of the models that have led to this point (it uses the same electronic viewfinder and hinged rear display screen as the G1 and G2). However, behind the aluminium front panel of its slimmed-down, externally-simplified body there lurks a completely new 16.7MP sensor. This makes it the first mass-market Micro Four Thirds model to step away from Panasonic's 12MP chip.
While some of the new features of the G3 suggest a move upmarket, several of the other changes are indicative of an attempt on Panasonic's part to make the G series more accessible. This has seen a number of features removed, presumably in order to make the latest camera both less intimidating and less expensive (the recommended price is $100 lower than the launch price of the G2).
Mirrorless cameras are new enough that manufacturers are still trying to work out who they will appeal to most and what balance of features, capabilities and price those people are looking for. The first Mirrorless Interchangeable Lens Camera, Panasonic's G1, was essentially a miniaturized version of its L10 DSLR, both in terms of features and in terms of appearance. However, as the technology has developed, most Mirrorless cameras have moved away from trying to mimic conventional DSLRs, instead looking to capitalize on the differences they can offer, such as compact size and seamless video integration.
The first clues to this ambition are in the more compact-camera-like hand grip - gone is the full-hand lump that has become standard for DSLRs. Instead we have something that more closely resembles the bulge on the front of the GF2 - a curvaceous extension that encourages a very different hand position on the camera. In fact the G3 is as close in size and appearance to a GF2 (with a viewfinder) as it is to the G2.
From the GF2 it also gains the rather elegant touch-screen interface (which is easier both to understand and to use than the one on the G2). This not only allows lots of control over settings but also the direct touch-screen selection of focus point - something that no DSLR can offer. And, as an improvement over previous models, the G3 also lets you put the AF point anywhere in the frame, not just within a central portion.
The G3 also gains improved video capability, matching the GF2's ability to output either 1080i60 or 720p60 (both from 30fps sensor output). And, while this isn't up to the same specification as the video capability of the GH2, the G3 does gain that camera's image processor and impressive autofocus speed.
Beyond this, most of the G3's feature additions are incremental improvements - there's a picture-in-picture manual focus magnification option so that you can focus without losing track of your overall composition and a 'Pinpoint AF' mode that uses a small AF area and zoomed preview for precision focusing. And, unlike the GH2, the G3 features subject-tracking AF (as distinct from continuous AF) while shooting video (Panasonic didn't believe it was a feature that fitted with GH2 users' expectations).
However, it's not all a question of gains - unlike the G2, the G3 doesn't have an eye sensor for its viewfinder, so you'll have to manually switch between it and the rear display screen. It also loses the G2's focus point dial and focus mode lever from its top left shoulder. And, while it gains stereo microphones on its top, the G3 loses the option for connecting external mics, making sure it doesn't tread on the GH2's toes. These changes lead us to suspect that the G3 might take the place of both the G2 and G10 in Panasonic's lineup (its suggested price also sits exactly mid-way between those of the G2 and G10).

Panasonic G3 specification highlights:

  • 16.7MP CMOS sensor (standard Micro Four Thirds size)
  • ISO 160-6400
  • 4 fps continuous shooting (20fps at 4MP)
  • GF2-style touch screen interface
  • 1080i60 AVCHD shooting (from 30p sensor output)
  • All-area AF point selection
  • Pinpoint AF mode (magnifies focus point to allow confirmation and fine-tune of AF position)
  • Tracking AF in video mode
  • Picture-in-picture manual focus magnification
  • 460k dot articulated LCD
  • 1.44M dot-equivalent electronic viewfinder (phase sequential type)

Compared to a typical DSLR

Placed alongside a typical DSLR (A Rebel T3i / 600D in this instance) it becomes apparent how much smaller the G3 actually is.
A top-down view makes the distinction even more stark - the G3 is considerably smaller in every dimension. Crucially, though, it's no more pocketable.

If you're new to digital photography you may wish to read the Digital Photography Glossary before diving into this article (it may help you understand some of the terms used).
Conclusion / Recommendation / Ratings are based on the opinion of the reviewer, you should read the ENTIRE review before coming to your own conclusions.
Images which can be viewed at a larger size have a small magnifying glass icon in the bottom right corner of the image, clicking on the image will display a larger (typically VGA) image in a new window.
To navigate the review simply use the next / previous page buttons, to jump to a particular section either pick the section from the drop down or select it from the navigation bar at the top.
DPReview calibrate their monitors using Color Vision OptiCal at the (fairly well accepted) PC normal gamma 2.2, this means that on our monitors we can make out the difference between all of the (computer generated) grayscale blocks below. We recommend to make the most of this review you should be able to see the difference (at least) between X,Y and Z and ideally A,B and C.
READ MORE - Panasonic DMC-G3 Hands-on Preview

Lexar launches 500MB/s USB 3.0 CF/SD card reader

Lexar has launched a high-speed CF and SD card reader, capable of transferring data at up to 500MB/sec. The USB 3.0 device allows compatible computers to take advantage of the increased speeds of the latest UDMA Compact Flash cards as well as the emerging ultra high speed interface (UHS-I) SDXC cards. The device also allows full-speed copying from one card to another, even if your computer communicate with the device at its full speed. The reader features a pop-up design that protects the card slots if you throw it in your bag. It will sell for around $49.99 in the US and £39.99 in the UK.Press Release:

New Lexar Professional USB 3.0 Dual-Slot Reader Dramatically Accelerates Digital Workflow

Reader Leverages the Latest USB Technology to Provide Blazing-Fast Card-to-Computer
Transfer Speeds When Shooting is Complete
Fremont, CA, May 19, 2011 – Lexar Media, a leading global provider of memory products for digital media, today announced the new Lexar® Professional USB 3.0 Dual-Slot Reader, a high-performance card reader that enables professional and advanced amateur photographers and videographers to maximize their workflow with blazing-fast transfer speeds. The reader leverages SuperSpeed USB (USB 3.0) technology to deliver high-speed performance that supports the latest CompactFlash® (CF) UDMA, Secure Digital Extended Capacity™ (SDXC)**, and SD Ultra High Speed-I (UHS-I) memory cards. The versatile reader is also backwards compatible with standard CF, SD™, and Secure Digital High Capacity™ (SDHC) memory cards and USB 2.0 host devices. For additional information about the Lexar Professional USB 3.0 Dual-Slot Reader, visit www.lexar.com.
“USB is the most popular connectivity option for PCs, and it’s critical that professional photographers and videographers have convenient and versatile tools to maximize their workflow and fully leverage the performance of their high-speed memory cards,” said Manisha Sharma, director of product marketing for cards, Lexar Media. “The Lexar Professional USB 3.0 Dual-Slot Reader combines extremely fast performance with a versatile, innovative design to provide pro and hobbyist shooters with a reader that dramatically reduces image transfer time. The speed offered by the reader enables users to move large volumes of high-resolution images and HD video faster than ever, allowing them to spend less time at the PC and more time on other activities.”
The Lexar Professional USB 3.0 Dual-Slot Reader features the new SuperSpeed USB 3.0 interface, which operates at 500MB per second; while the Hi-Speed USB 2.0  interface operates at 60MB per second*. The Lexar Professional USB 3.0 Dual-Slot Reader takes advantage of the performance of high-speed cards. Real-world tests prove that today’s high-performance cards can be read more than six times faster with the Lexar Professional USB 3.0 Dual-Slot Reader than with previous generation USB 2.0 card readers, and future high-performance cards are likely to enable an even faster data transfer experience. The reader can transfer content from both SD and CF cards simultaneously, and allows for easy file transfer from one card to another. The USB 3.0 Dual-Slot Reader also features an innovative, pop-up mechanism that lets users close the reader when not in use, protecting it from dirt and debris. Its compact, portable design means users can take it on the go, and its smooth contours help it slip easily in and out of a photo bag or briefcase.
The Lexar Professional USB 3.0 Dual-Slot Reader provides consumers with the quality and reliability they have come to expect from Lexar Media. All Lexar product designs are tested in the Lexar Quality Labs, a group of facilities where all Lexar product designs undergo extensive testing to ensure performance, quality, compatibility, and reliability with more than 800 intended digital devices.
The Lexar Professional USB 3.0 Dual-Slot Reader comes with free, dedicated customer support and a five-year limited warranty. The reader is available now for purchase on www.lexar.com, and will be available from leading photo retailers in June, with an MSRP of $49.99.
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READ MORE - Lexar launches 500MB/s USB 3.0 CF/SD card reader

Leica announces V-Lux 30 superzoom compact


Leica has announced the V-Lux 30 superzoom compact featuring an image-stabilized wideangle 16x zoom lens (24-384mm equivalent). The camera also offers 1080i Full HD movie recording in the AVCHD format, 10fps continuous shooting at full 14.1MP resolution, built-in GPS, and can generate 3D images. Rounding off the features set is a 3" touch-sensitive screen. The V-Lux 30 comes complete with Adobe Photoshop Elements 9 and Adobe Premiere Elements 9 software, and will be available from June 2011 at a price of £550.Jump to:
Press Release:

NEW: THE LEICA V-LUX 30

The universal compact camera for carefree photography
Solms, Germany (May 26, 2011) - Leica Camera AG presents a new digital compact camera featuring a 15.1 megapixel sensor (14.1 MP effective) – the Leica V-Lux 30. In comparison to its forerunner model, the new camera has a Leica DC Vario-Elmar lens with an extended range of focal lengths and a new LCD touch screen display that guarantees fast and simple handling. Together with its numerous automatic features and manual setting options, this makes the Leica V-Lux 30 a compact and universal camera for the whole family. Additionally, its integrated GPS function and video recording in 1080i-AVCHD Full HD make it the ideal companion for all life’s moments from the family vacation to the backyard barbeque. 
The Leica DC Vario-Elmar 4.3 - 68.8 mm f/3.3-5.9 ASPH. 16x zoom lens has an extended range of focal lengths equivalent to 24 to 384 mm in 35-mm format. Thanks to this high performance lens, the Leica V-Lux 30 delivers outstanding image quality and covers a wide range of photographic opportunities, ranging from wide-angle and macro shots to telephoto shots of distant subjects.
The newly developed 1/2.33" CMOS sensor of the Leica V-Lux 30 guarantees outstanding image quality and allows photographers to capture image sequences with the camera’s fast, continuous shooting mode. The Leica V-Lux 30 enables consecutive burst shooting at a rate of ten frames per second at a full resolution of 14.1 MP, or 60 frames per second with reduced resolution in a choice of individual aspect ratios. This allows users to reliably capture fast moving subjects - for example when shooting sports or wildlife. Its brand new 3D mode lets users take fascinating, creative images. In this mode, the camera combines two suitable shots from a sequence in a “stereo image pair” and saves them as a 3D image in MPO format.
An outstanding feature, the Leica V-Lux 30’s video recording mode offers performance comparable to that of digital camcorders. Particularly, the video mode records in efficient, 1080i-AVCHD-Full-HD format with the entire 16x zoom range available during video recording and an integrated stereo microphone with an electronic wind noise filter guarantees a crystal-clear soundtrack.
As with the complete Leica portfolio, the V-Lux 30 is characterized by timelessly elegant styling and extremely easy handling. With the new 3" LCD touch screen, many camera features can now be controlled simply by touching the screen with a fingertip. This generously dimensioned screen has a diagonal of approximately three inches and displays images in outstanding brilliance with a resolution of 460,000 pixels. This provides users with an ideal tool for reliable and precise assessment of images both during composition and after capture.
Thanks to the integrated GPS function, the camera records the geographical coordinates of the location and the local time for every shot and saves them in the Exif data of the image files. When travelling, the V-Lux 30 can also display the sightseeing highlights of the immediate neighborhood (1,000,000 so-called “Points of Interest”). Images posted on social networks, image portals and map sites such as Google Maps or Google Earth reveal exactly when and where they were shot.*
The Leica V-Lux 30 will be available from Leica dealers beginning June 2011. The camera is supplied with an extensive software package comprising Adobe® Photoshop® Elements 9 for still image processing and Adobe® Premiere® Elements 9, especially designed for video processing. There is also a choice of two different camera cases: The strong and resilient leather case and the soft leather case.
* It is possible that GPS tagging may not function in the People’s Republic of China and neighboring regions. Satellite signal reception may be impossible, depending on the location. In such cases, the positioning data may be recorded inaccurately or not at all.

Leica V-Lux 30 specifications

Lens • Leica DC Vario-Elmar 4.3 - 68.8 mm f/3.3-5.9 ASPH
• 24 – 384 mm 35 mm equivalent
• 12 elements / 10 groups
• 6 Aspherical surfaces in 3 elements
Image Stabilization MEGA O.I.S. Lens-shift stabilization
Digital Zoom 4x
Focusing Modes • Normal
• Macro
• Continuous focusing On/Off
Metering modes • Face Detection
• AF Tracking
• Multi point
• 1 point
• Spot
• Touch Field
Focusing range • 50 cm (wide-angle) / 2 m (tele) - infinity (P/A/S/M)
• 3 cm (wide-angle) / 1 m  (tele) - infinity (Macro / intelligent /
auto / movie)
Sensor • 1/2.33" CMOS
• 15.1MP total pixels
• 14.1MP effective pixels
Image sizes 16:9:
• 4320 x 2432
• 3648 x 2056
• 3072 x 1728
• 2560 x 1440
• 1920 x 1080
• 640 x 360
3:2
• 4320 x 2880
• 3648 x 2432
• 3072 x 2048
• 2560 x 1712
• 2048 x 1360
• 640 x 424
4:3
• 4320 x 3240
• 3648 x 2736
• 3072 x 2304
• 2560 x 1920
• 2048 x 1536
• 640 x 480
1:1
• 3232 x 3232
• 2736 x 2736
• 2304 x 2304
• 1920 x 1920
• 1536 x 1536
• 480 x 480
3D
• 1920 x 1080 (MPO format)
Movie clips 16:9 format AVCHD
• 1080i: 1920 x 1080 pixels  (max. 60 min per clip)
• 720p: 1280 x 720 pixels (max. 60 min per clip)
Motion JPEG
• 16:9 format: 1280 x 720 pixels (max. 30 min per clip)
• 4:3 format: 640 x 480 pixels, 320 x 240 pixels  (max. 30 min per clip)
Exposure modes • Program mode (P)
• Aperture priority (A)
• Shutter Speed priority (S)
• Manual Setting (M)
Exposure compensation • ±2 EV
• 1/3 EV steps
Scene modes Portrait, Soft Skin, Transform, Self Portrait, Scenery, Panorama Assist, Sports, Night Portrait, Night Scenery, Handheld Night Shot, Food, Party, Candle Light, Baby1, Baby2, Pet, Sunset, High Sens., High-Speed-Burst, Flash Burst, Starry Sky, Fireworks, Beach, Snow, Aerial Photo, Pin Hole, Film Grain, Photo Frame, High Speed Movie
Metering modes • Multi-field
• Centre weighted
• Spot
White balance • Auto
• Daylight
• Cloudy
• Shade
• Halogen
• Manual
Sensitivity • Auto ISO
• Intelligent ISO
• 100
• 200
• 400
• 800
• 1600
Shutter speeds • 60s-1/4000s
• Starry Sky mode: 15s/30s/60s
Continuous shooting • 2 fps: max. number 100 / 14 MP max. resolution
• 5 fps: max. number 100 / 14 MP max. resolution
• 10 fps: max. number 15 / 14 MP max. resolution
• 40 fps: max. number 50 / 5 MP max. resolution
• 60 fps: max. number 60 / 3.5 MP max. resolution
Flash modes • AUTO
• AUTO with pre-flash (red-eye reduction)
• AUTO with slower shutter speeds and pre-flash
• On
• Off
Flash range • 60 cm – 5.0 m [W/ISO Auto]
• 1.0 -2.8 m [Tele/ISO Auto]
Self timer • 2 or10 sec delay
LCD display • 3.0” TFT-LCD
• A pprox. 460,800 pixels
• Touch screen functionality
Microphone Stereo
Speaker Mono
Storage • Approx. 18 MB internal memory
• SD/SDHC/SDXC memory cards
Connectivity • Mini-HDMI (type C)
• USB 2.0
• AV output (NTSC/PAL)
GPS • Geodetic Data System: WGS84
• 1 Mio. Points of Interest
Operating conditions • 0-40°C
• 10-80% humidity
Battery • BP-DC7 Li-Ion
• 3.6 V / 895 mAh
• 260 pictures according to CIPA standards
Dimensions (WxDxH) • 104.9 x 57.6 x 33.4 mm
• 4.13 x 2.27 x 1.31 in
Weight 219 g / 7.72 oz (with memory card & battery)
PictBridge Yes
Supplied accessories • Battery charger (Leica BC-DC7)
• Lithium-Ion Battery (Leica BP-DC7)
• Carrying strap
• AV cable
• USB cable
• Software DVDs
• CD with long instructions (PDF)
• Printed short instruction manuals
• Touch Pen
Supplied Software • Adobe® Photoshop® Elements 9
• Adobe® Premiere® Elements 9
READ MORE - Leica announces V-Lux 30 superzoom compact

Gary Fong launches Puffer diffuser for Micro Four Thirds

Flash accessory specialist Gary Fong has launched a version of its 'Puffer' flash diffuser for Micro Four Thirds cameras. The Micro Four Thirds Puffer clips into the hotshoe of the Panasonic GF and PEN E-PL series cameras and hangs a diffuser in front of the pop-up flash. The intent is to mitigate the harsh, direct lighting that can spoil portrait images with on-board flash, though it is likely to further limit the already low-powered internal flash output.Press Release:

Gary Fong expands Puffer line of pop-up flash diffusers with introduction of MICRO FOUR THIRDS puffer for Mirrorless ILC CAMERAS


 
This Key Addition to the Company’s Popular Line of Portable Accessory Diffusers Expands Availability to Olympus PEN Series, the Lumix GF Series and Other Camera Models with Similar Flash Placement
New York, NY (USA) – May 11, 2011 – Gary Fong, Inc. (www.garyfonginc.com), developer and manufacturer of cutting-edge photography equipment designed to help photographers experience new levels of creativity, today launched an addition to its popular lineup of PufferTM Pop-Up Flash Diffusers with the introduction of the Micro Four Thirds PufferTM.  Designed for the growing segment of popular micro four thirds, mirrorless interchangeable lens cameras (ILC), including the Olympus® PEN Series and the Lumix® GF Series, the Micro Four Thirds Puffer is specifically designed to eliminate shadows and deliver professional-style diffused lighting even from these over-powered pop-up flashes. The Micro Four Thirds Puffer’s compact size makes it ideal for travel and its universal capability make it ideal for portraits, group shots, or any scene that requires fill flash.
With the Micro Four Thirds Puffer Pop-Up Flash Diffuser in place, photographers can combat the limitations of micro four thirds-style camera flashes that make up for their compact size with immense power but can leave unflattering shadows and blown out detail in highlight areas.  Affixing directly to the camera’s hot-shoe, the variable-position Puffer is adjustable for center positioning on camera models with off center flash placement found in the popular micro four thirds cameras. The offset Puffer does not interfere with in-camera systems to ensure the full capabilities of the camera are preserved. When not in use, the sturdy, travel-friendly Puffer stores flat and stows easily in a camera bag or even a photographer’s pocket.  
“For users of the wildly popular micro four thirds mirrorless interchangeable lens cameras, the convenience and capabilities of these devices are often hamstrung by the compact nature of their flash.  Despite the rapid growth of this segment, finding a solution for these over-powered flashes is a requirement for any shooter looking to control the light like a pro,” said Gary Fong, internationally renowned photographer and CEO of Gary Fong, Inc. “By adding the Micro Four Thirds Puffer to our line of innovative Puffer Pop-Up Flash Diffusers, we’ve developed yet another solution for creating professional-style lighting effects in a truly transportable and travel-friendly package.”
 
The Micro Four Thirds Puffer Pop-Up Flash Diffuser is available for $21.95 MAP.  For more information on this new Puffer, the existing Puffer line, or to purchase any Gary Fong products, please visit http://www.garyfonginc.com.
READ MORE - Gary Fong launches Puffer diffuser for Micro Four Thirds