The new Tokina 16-28mm f/2.8 PRO FX is the first in a new generation of lenses designed for professional digital SLR cameras with full-frame (FX) image sensors.
Ideal for landscape or architectural photography, the PRO FX offers a super-wide-angle view and features a newly-developed silent DC motor that allows the lens to focus faster and more quietly. Fitted with a new GMR magnetic AF sensor, the lens offers an increased AF speed and has three SD super-low dispersion glass elements throughout its optical design.
It also features Tokina’s exclusive one-touch focus clutch mechanism which allows the photographer to switch between AF and MF simply by snapping the focus ring forward for auto focus and back toward the camera for manual focus.
The Tokina 16-28mm PRO FX is available with either Canon or Nikon fit and is on sale now with a price of $849.00.
Most DSLRs today sport live view features, as we all know, but being able to remotely watch a scene and control your DSLR is another story, isn’t it?
The Aputure Gigtube is a plug-in, external LCD display and camera controller for digital SLR cameras. It works with all the major digital SLRs (except Sony) and provides a live feed via the camera’s LiveView function. If LiveView isn’t available on the camera, the Gigtube will still display the photo that has just been taken so you can review it. The Gigtube’s screen is a 2.5″, 230 kpixel 16 million colour unit and it connects to the camera via it’s video out port and USB control port.
It comes with a 2m extension cable or you can attach it to the camera via the flash hot-shoe. The display rotates 270° and it has a built-in rechargeable battery that will last about 3 hours on a full charge.
Compatible with any camera with a video output, the Aputure Gigtube screen can automatically display an image immediately after shooting it, or can stream the video feed from live view. Moreover, the LCD screen is rotatable for different angle view and this gadget offers the remote shutter release function.
How can you use it? How is the Aputure Gigtube going to come in handy to the pro-am photographer?
Check some examples.
Self-portraits viewfinder Aputure Gigtube can automatically transfer the live view mode of the camera (if the camera supports) on the LCD screen so you make a shooting toward your side to freely take photos of you and with your friend or family, just like you shoot other object, easily.
High-angle (position) viewfinder When shooting an object in high position that not easily accessible or overlooking to shoot and more such situations, the Aputure Gigtube can make its powerful effect by its live view and instant photo display function and off-camera remote shutter release function.
Off-camera remote shutter release When shooting an object in high position that not easily accessible or overlooking to shoot and more such situations, the Aputure Gigtube can make its powerful effect by its live view and instant photo display function and off-camera remote shutter release function.
Low-angle (position) viewfinder Aputure Gigtube is usefully in the situations where the camera is positioned in a way that makes viewing the camera’s screen difficult or impossible. There is a hot shoe mount for making above-the-head and low-angle shooting easier.
There are different models of the Aputure Gigtube for each camera manufacturer
specifically for Nikon (D700 /D300 /D300s/D3/D3x/D200/D2Xs/D2Hs/D2x/D2H Cameras) or Canon (EOS 5D/50D/40D/30D/20D/1D Mark III/1Ds Mark III Cameras) among others.
The good news is that now they are available with some interesting discount (up to 37%) at around US 189.95!
The Pentax K-7 is the new jewel in the company’s crown, with a long list of specs well beyond any previous Pentax DSLR. Existing Pentax users will be pleased to finally see a much-wanted pro-level upgrade, whereas those familiar with other manufacturers’ systems may also be drawn in thanks to an all-encompassing features list.
The Pentax K-7 has been built from the ground up by Pentax and, unlike the K20D and K10D which had Samsung GX20 and GX10 equivalents, is a standalone venture. The build quality is a key sell; ruggedly made, but following Pentax’s ultimately ‘classic’ design, the body is made from a magnesium alloy that’s both dust and weather-sealed at 77 points. Shooting in sand, getting splashed with rain or other treacherous conditions need not be a bother and, despite this upgrade, the whole camera is even marginally smaller and lighter than the previous K20D. The featured 18-55mm kit lens follows suit, as does the optional D-BG4 battery grip (which offers both AA and li-ion battery options) to complete a fully weather-and-dust-sealed unit in its entirety.
A high-resolution 14.6MP CMOS sensor is at the heart of the K-7’s body, which whilst not a step up over the K20D in terms of resolution, does double the number of output channels. The result? More information can speed through the K-7’s buffer for faster continuous shooting than ever before – a firm 5.2 frames per second sees the K20D’s 3fps barrier officially trounced; ideal for those looking to shoot sports or action photography.
Unlike its key competitors – namely the Nikon D300 and Canon 50D – the Pentax K-7, like many Pentax DSLRs before it, incorporates Shake Reduction (SR) into the camera body itself. Crucially this means even old K-mount bayonet-fit lenses can benefit from this function, and new lenses will not cost as much as their (hypothetical) stabilised counterparts.
A notable – and very much ‘flavour of 2009’ – feature is the inclusion of a 720p HD movie mode, plus the inclusion of a superior 1536×1024 capture that can be output at 1080i, though this is not ‘Full HD’ capture. Mono sound is recorded from the camera’s body, or there is the option to use the 3.5mm jack socket to plug in a microphone and record in stereo. Aperture can be set as fixed via the camera body for recording or there’s an automatic variable aperture mode, which adjusts the aperture according to the amount of light available throughout recording. Whilst in-camera shake reduction can also be used to full effect, it is not possible to autofocus whilst recording – though it is entirely plausible this will be possible in the future, if the clever bods at Pentax fix up the necessary firmware.
In keeping up with the competition, the Pentax K-7 adorns a 920,000 dot high resolution 3in LCD screen. Whilst it’s not a tilt and swivel screen as seem to be creeping into a number of camera bodies of late, it does auto-rotate images on the screen itself and, in keeping with orientation, has a virtual horizon level too – a really nice touch when in live view mode.
With customisable white balance settings, a shutter speed up to 1/8000th second, 77 segment metering system, the new SAFOX VIII+ 11-point AF system with AF illuminator lamp, in-camera HDR, and D-Range shadow and highlight adjustment options, the features list is certainly bulging. The K-7’s viewfinder has the much-sought after 100% field of view too, ensuring what you see is exactly what you’ll capture.
Now it’s your choice: which bargain are you going to take?
It’s either a Pentax K-7 with DA 18-55mm f/3.5-5.6 AL Weather Resistant Lens bundle priced at US $1,104.99 (saving up to 47% over regular price, that’s $979.11!) or the body-only Pentax K-7 priced at $979.00 that’s $320.95 (-25%)!
The Fujifilm FinePix HS10 is a long-zoom digital camera featuring a backside illuminated CMOS image sensor.
I must admit I’m a long time Fuji Finepix fan: I’m still in love with my S9600 bridge camera, which is two generation behind this Fujifilm FinePix HS10!
The Fujifilm FinePix HS10 is based around a 10.3 effective megapixel,1/2.3-inch back-side illuminated CMOS image sensor coupled to a Fujinon-branded 30x optical zoom lens. Maximum image resolution is 3,648 x 2,736 pixels in the camera’s native 4:3 aspect ratio, and both 3:2 and 16:9 aspect ratio modes are also available. The HS10’s lens offers actual focal lengths ranging from 4.2 to 126.0mm, equivalent to 24 to 720mm on a 35mm camera - a generous wide angle to a powerful telephoto. The Fuji HS10 has a two-step aperture, offering either F2.8 or F11.0 at wide angle, and either F5.6 or F11 at telephoto. Minimum focusing distance is ordinarily 1.6 feet at wide angle or 16.4 feet at telephoto, but drops to just 0.3 feet in Macro mode at wide angle, or 6.5 feet at telephoto. A Super Macro mode locks the lens at an unspecified focal length, but allows focusing as close as 0.4 inches
There’s no true optical viewfinder on this model, but as you’ expect on a long-zoom digicam like this, there’s a 0.2-inch, 200,000 dot FLCD electronic viewfinder which takes its place. There’s also a 3.0-inch tilting LCD display with 230,000 dot resolution. Both EVF and LCD provides 97% frame coverage. The HS10 also includes a sensor that detects when the user brings their eye towards or away from the viewfinder, then automatically switches between the EVF and LCD as appropriate!
The sensor in the Fujifilm FinePix HS10 yields an effective resolution of 10.3 megapixels, and sits behind a Fujinon-branded 30x optical zoom lens with a generous 24mm wide angle. The Fujifilm HS10 includes both an electronic viewfinder and a 3.0-inch LCD panel. Images are stored on SD or SDHC cards, or in 45MB of built in memory.
Again, as the old S9600, power for the Fuji HS10comes courtesy of four AA batteries, with alkaline disposables included in the product bundle!
This means that you’ll never run out of power thanks to wide availability of AA batteries worldwide!
The Fujifilm FinePix HS10 offers USB 2.0 High Speed data connectivity, as well as both high-definition Mini HDMI and standard-definition NTSC / PAL composite video outputs.
The Panasonic Lumix DMC-GF1 is the lastest member of the Micro Four Thirds family. But before Micro Four Thirds, there was Four Thirds. With Olympus having produced relatively small film SLRs since at least the early 1970s, it was probably no surprise that they would partner with Kodak to introduce the Four Thirds System standard (with its sub APS-C sized sensor) as they prepared to move into the digital age. The smaller sensor helped the company produce diminutive DSLRs that carried on the Olympus tradition.
Sensor resolution is 12.1 megapixels and there are full manual and auto controls, plus a palette of user-established settings that rival DSLRs in number and scope. You can shoot in RAW if you choose, or RAW/JPEG combinations, and there’s 1280×720 HD video in AVCHD Lite (which is more memory efficient than Motion JPEG) or Motion JPEG formats.
The GF1 is undoubtedly smaller than its big brothers, the G1 and GH1, but it’s not quite as tiny as Panasonic might lead you to believe. Measuring 119 x 71 x 36.3mm and weighing 285g without a lens attached, it’s just a little smaller and 50g lighter than the very similar Olympus E-P1 camera. Instead of a traditional DSLR hand-grip, the DMC-GF1 has a slightly raised vertical area on the front-right which isn’t big or pronounced enough to be of much assistance. The rubberized thumb-rest on the rear is a lot more useful.
Because of space considerations inherent in the Micro Four Thirds System, a 3.0 inch LCD monitor operating in Live View is the only means of image composition and framing for capture.
If you don’t want to use the LCD screen for composition, an optional electronic external viewfinder is also available, the Panasonic DMW-LVF1 (priced at $199.95), which slots into the external flash hotshoe on top of the camera. The GF1 can record 1280 x 720 high-definition video in the AVCHD Lite or Motion JPEG formats, and it can focus in just 0.3 seconds via its contrast auto-focusing system.
The camera uses SD/SDHC memory media, and Panasonic includes a battery charger/AC adapter, battery pack, body cap, AV cable, USB connection cable, AC cable, DC cable, shoulder strap and CD-ROM software with each camera.
The Panasonic Lumix DMC-GF1 is available in four colours, black, red, silver and white, either body only (£570) or in two different kits, one with the new LUMIX G 20mm/F1.7 ASPH pancake lens, and the other with the existing 14-45mm/F3.5-5.6 ASPH/MEGA O.I.S. zoom lens: starting from US $ 866,95!
The Nikon D3000 is an entry-level DSLR, but don’t let the term fool you. When you place the label “Entry Level” on a camera, it might call to mind a camera with no frills, limited uses, and little more to offer than an automatic shooting experience.
This has been disproved by the latest crop of cameras released in the past two years, and the D3000 continues to set the bar high for an entry-level camera.
This new generation of point-and-shoots and entry-level DSLRs not only push the boundary of low-light performance and mega resolutions, they give that power to a whole new audience of beginning photographers.
Not only do DSLRs offer you manual control over shooting, they give you the advantage of using different kinds of lenses. It’s important to remember when buying a DSLR that you’re also buying into a system of lenses, not just a camera. The power of having a DSLR is that you can place any of your old lenses onto a new camera body in the future.
Enter the Nikon D3000, a new entry-level DSLR with a 10.2 megapixel DX-format CCD APS-C image sensor, 11-point Autofocus system with 3D tracking (which comes on the higher-end D5000 and D90), Active D-Lighting and an AF-S DX NIKKOR 18-55mm f/3.5-5.6 VR lens for $599.
The Nikon D3000 feels and looks exactly like the other DSLRs from Nikon, and is only different from the D90 and D5000, both higher-end models, by a few tenths of an inch. The D3000 measures 5.0×3.8×2.6 inches while the D90 is 5.2×4.1×3.0 inches, though the D3000 weighs a bit less at 1 lb 1 oz, making the Nikon entry-level to prosumer DSLR models almost identical in shape and size as well as overall appearance.
First time DSLR users will enjoy the Guide Mode. It literally walked us through different shoot scenarios via the fixed 3″ LCD screen. An excellent tool, its step by step instructions allowed my niece to move from the operating booklet in no time.
The Nikon D3000 is paired with a Nikkor 18-55mm AF-S DX lens. It will operate with any Nikkor DX and AF-S lens.
Nikon makes it really simple with a thumb dial for tweaking aperture and shutter speed. Metering, focus modes, and exposure compensation are easily controlled via the menu. The D3000 does not shoot in video mode. This model easily shoots over three frames per second in continuous mode. The 3D tracking sensor operates quite well in low lighting.
Another winner from Pentax announced just before this summer: the Pentax K-7, is now available with a substantial price saving - up to 44% off!
The Pentax K-7 entered the Pentax range as a high-end model targeted at photo enthusiasts because its complexity made it most suitable for experienced SLR photographers.
Featuring a solid metal body, weatherproof sealing and a wide range of user-adjustable controls, it also supported high-speed continuous shooting at up to 5.2 frames/second and HD video recording at 30 frames/second.
The low-down: This 14.6-megapixel camera came fitted with the Pentax 18-55-millimetre lens. This is at the top of the company’s camera range. It has a magnesium-alloy body and is smaller than the K20D. It is weather-sealed and sports an excellent 920,000-dot LCD and 100 per cent viewfinder. It has an HD movie mode. Image stabilisation is by sensor shift. There are body-top and LCD information displays. All important controls are immediately accessible on the camera body, including a nifty white balance adjustment tool. This white balance tool itself is not unique to Pentax but the accessibility is. Among all the desirable features for serious photography is a killer innovation: true in-camera HDR (high dynamic range) processing.
Like: The in-camera HDR processing works by taking three exposures at widely spaced exposure values and then merging them into a single jpeg. Of course, it can really only work with the camera tripod mounted but that is true of any HDR sequence. The results from the Pentax K-7 are splendid and, unlike some HDR output from Photomatix or Photoshop, completely realistic.
High-quality movie recording at 1280 x 720 pixels; 30-frames-per-second
The Pentax K-7 adds a new movie recording function, extending the benefits of SLR photography to the world of movie shooting: For instance, reduce the depth of field to make the subject stand out, or use different lenses to create distinctive visual effects. Beautiful movie clips can recorded at different sizes–640 x 416 pixels, 1536 x 1024 pixels, or 1280 x 720 pixels (16:9 high-definition TV proportions)–at a frame rate of 30 frames per second. The K-7 is also equipped with an HDMI terminal and an external microphone input terminal for high quality sound to match your videos.
High-resolution, 14.6-megapixel CMOS sensor; compact, magnesium alloy body
Weather resistant, dustproof, and coldproof (14 degrees F, -10 degrees C)
Fast 5.2 fps shooting with the new PRIME II Image processing engine; top shutter speed of 1/8000 sec freezes even the fastest action in well-lit settings
3-inch LCD; Live View mode, with contrast AF, Face Detection, and optional histogram, grid, and bright/dark area display
Capture images to SD/SDHC memory cards (not included)
Pentax K-7 is available now (body only) for US $1,031.89
This means you save $822.12 (that’s 44% off regular price!)
The new colorful digital SLR camera Pentax K-x combine solid photography performance like Live View function, high quality movie recording, high quality DSLR photographic for all users.
The Pentax K-x DSLR is geared toward entry level users. It has a 12.4MP CMOS sensor and a large number of higher end features. Additionally, the camera will come in black, white, red and navy.
The Pentax K-x continues on the for the Pentax K2000. The K-x has a one-handed shooting design is targeted to users stepping up from a point and shoot digital camera to their first digital SLR.
Along with the 12.4MP CMOS sensor, it has a 2.7 inch LCD screen, Live View, face detection, 720p HD video capabilities shooting at 24p, HDR bracketing, 4.7 fps, 11 point autofocus, and uses AA batteries.
The Pentax K-x DSLR is geared toward entry level users. It has a 12.4MP CMOS sensor and a large number of higher end features. Additionally, the camera will come in black, white, red and navy.
The Pentax K-x continues on the for the Pentax K2000. The K-x has a one-handed shooting design is targeted to users stepping up from a point and shoot digital camera to their first digital SLR. Along with the 12.4MP CMOS sensor, it has a 2.7 inch LCD screen, Live View, face detection, 720p HD video capabilities shooting at 24p, HDR bracketing, 4.7 fps, 11 point autofocus, and uses AA batteries.
High-resolution 12.4-megapixel CMOS image sensor features sensor-shift Shake Reduction for stabilized image and video capture up to 4 stops max.
Large 2.7-inch LCD features Live View with contrast, phase difference, and Face Detection autofocus (up to 16 faces).
Capture widescreen HD video in full 720p resolution (1280×720) at 24fps cinematic framerate, using any Pentax 35mm lens.
Highly compact DSLR body design allows for 1 handed operation and comfort when travelling.
Powerful automatic modes, including Pentax Auto Picture and scene modes, ensure the perfect shot in any situation, while helping new photographers learn DSLR photography.
Creative processing and filter modes produce high quality finished images, while offering the ability to explore artistic freedom through unique special effects.
True HDR image capture blends 3 bracketed images into a single picture with outstanding shadow, highlight, and midrange detail.
Fast 4.7fps capture speed and 1/6000 second maximum shutter speeds are possible with the Pentax PRIME II image processing engine.
Responsive 11-point wide-angle SAFOX VIII autofocus system focuses quickly and accurately, and can easily track moving subjects.
Capture up to 1900 shots with universally available, easy-to-find AA lithium batteries (also compatible with AA NiMH rechargeable and alkaline batteries).
Expanded ISO range covers sensitivities from 100-12800 for extreme low light photography.
For a limited time, purchase Nikon’s next-generation D300s digital SLR and save 50% on the powerful, pocket-sized Coolpix S710.
Here’s some clue on this bast-Nikons-deal!
Nikon D300s
The Nikon D300s updates the excellent D300 as Nikon’s flagship DX format DSLR. It combines the performance and handling panache of its predecessor with high-definition video capability.
The Nikon D300 made a impressionable impact when it was first launched 2 years ago making it the semi-professional DSLR to beat. And in many respects it is still the camera to beat in that class. After 2 years, Nikon deemed it is time to up the ante, which most notably includes support for 720p video capture, and launched the D300S. The D300S will replace the D300 the same way the D70S replaced the D70 and it is looking to hold on to that high-end non-full frame slot for a long time.
Design
In line with tradition, the Nikon D300s
looks just like its older counterpart. The most notable addition is the three small holes just underneath the model number which is a microphone, a feature last seen in the D90.
Many of the new features on the Nikon D300s
are those that are already featured on recent Nikon DSLRs like virtual horizon from the D3 and movies from the D90. But one genuine new feature is the inclusion of contrast-detection autofocus that operates while in movie mode. This is a first for a Nikon DSLR.
There are some changes to the connection ports on the left. The HDMI output is now a mini HDMI port with a smaller Type-C specification.
Also new are twin card slots – one Type I CompactFlash and one SD/SDHC – with a full complement of write options. Either slot can be designated the primary one, with the secondary slot used for Backup (each photo is written to both cards) or Overflow (when the primary card is full the camera switches to writing to the secondary card). In addition, the Nikon D300s
can be configured to store NEFs on one and JPEGs on the other, plus photos can be copied between the cards too. Also interesting is the support for the newer Wi-Fi capable memory cards.
Many changes can also be found on the back where there is a repositioned “Lv” button which activates the Live view feature. Just below that is the “Info” which brings the Nikon D300s
up to the same level of usability as the D90. The dedicated “Info” button is extremely useful in that it lets you get to every camera setting and menu item using only your right hand.
Performance
The Nikon D300S is responsive and the improved frame rate is also a bonus. Still image focusing is fast and the AF viewfinder confirmation display is superb, the improved frame advance rate helps with fleeting subjects but seems to suffer when shooting uncompressed RAW files.
Metering and white balance are almost flawless. In terms of white balance, using auto WB setting seems to have a slight orange cast, but if you pick the correct WB setting for the picture by using a custom setting, the D300S renders natural looking images. Metering is excellent with the 3D Color Matrix.
In terms of image noise, shots in near darkness at ISO 1600 provide images with a good balance between image detail and noise. However, pushing ISO to 6400 results in images with an obvious level of noise.
Nikon Coolpix S710
The Nikon Coolpix S710 is a 14.5 megapixel digital camera. It has a 3.6x wide angle lens. One advantage it has over other smaller compacts is the fact it also has manual exposure modes. Other features include image stabilisation and a 3 inch LCD screen.
The Nikon Coolpix S710 is a compact that’s suited to night-time photography. Not only does it feature a 3-inch LCD screen that’s bright and easy to view in low light, but it also comes equipped with a generously high ISO of up to 12800 (allowing you to capture images in lower light without the need for flash) as well a Vibration Reduction feature to cut down on unsightly image wobble.
The Sony Alpha A330 is a new 10.2 megapixel DSLR camera featuring a restyled external design and enhanced user interface, both intended to make it easier to use for people new to SLR photography.
Replacing the A300 model, the Sony Alpha A330 retains all of its predecessor’s key features, with a 2.7 inch tilting LCD screen, impressively quick Live View mode, anti-dust system, ISO range of 100-3200, anti-shake that’s built into the body, eye-start auto-focus and Dynamic Range Optimiser.
Sitting in the middle of the Sony Alpha range above the entry-level A230 and and below the 14 megapixel A380, the Sony Alpha A330 retails now for US $ 679.99 , saving you US $ 120.00 (15%) including in the kit two lenses: 18-55mm and 55-200mm!
Off we go again for high-quality Canon lenses featuring the best specs along with the best price!
In Canon lenses roundup part #1 we featured a 100-400mm , 16-35mm and the gorgeus 50mm f/1.2.
In round #2, we feature three different lenses each one with distinctive winning points, high quality but with an eye on huge savings!
28-105 mm
A general purpose lens, the Canon EF 28-105mm spans wide-angle upto basic tele focal length in a very compact package - and a rugged one too.
The Canon EF 28-105mm standard zoom lens retains the optical capability of Canon’s previous EF 28-105mm USM lens but with a refined exterior design.
The lens is distinguished by a ring-type ultra-sonic monitor (USM) drive that provides silent, high-speed autofocusing, along with full-time manual focusing.
The 1.6-foot (about 48 cm) close-focusing distance, meanwhile, lets you take great close-up portraits and nature shots.
It’s a great lens for all-around use and does a great job without getting deep in your pocket.
THe Canon EF 28-105mm now retails for US $ 209.95 (a 46% saving over regular price)
60 mm Macro
The Canon EF-S 60mm f/2.8 Macro USM lens is compact, well built and shoot images that you would only expect from Canon L-series glass.
The Canon EF-S 60mm f/2.8 Macro USM lens is an excellent lens with 35mm comparable focal length of about 96 mm.
Who needs this lens after all?
Creative photographers willing to explore fixed-length lens and more prone to try out Macro photography, be it to discover nature’s secret or simply looking at the world from a different - yet enlarging, point of view.
Autofocus shows its technologically modern performance - it is fast, quiet and accurate.
The Canon EF-S 60mm f/2.8 Macro USM Lens incorporates Canon’s excellent USM (Ultrasonic Motor) with FTM (Full Time Manual) focusing. An internal focusing design is used. The lens does not change length while focusing nor does the front element rotate - a big plus when using the compatible Canon MR-14ex and Canon MT-24EX Macro Flashes.
Optically, the Canon EF-S 60mm f/2.8 Macro USM Lens performs very well. It is very sharp wide open (even in the corners) and slightly sharper stopped down. It is at least as sharp as the Canon EF 100mm f/2.8 Macro USM lens and the Canon EF 180mm f/3.5 L USM lens. It is at least as sharp as the Canon EF 50mm f/1.4 USM Lens at equivalent apertures.
Canon’s true macro lenses (the Canon EF-S 60mm f/2.8 Macro Lens is one) yield a magnification of up to 1x or 1:1 which means the subject can appear lifesize on the sensor.
Lifesize on the sensor means output size is significantly larger than the sensor unless you are viewing it as a thumbnail or as a smaller-than-wallet-sized print.
Canon includes a magnification ratio scale in the 60mm Macro’s ft/m distance window (if knowing the exact magnification is important to you). Something that is not as readily apparent is the loss of light at high magnification values. The Canon EF-S 60mm f/2.8 Macro USM Lens loses 1/2 stop at 1:5, 1 stop at 1:3, 1.5 stops at 1:1.5 and 2 stops at 1:1 (lifesize). You need a shutter speed twice as long for a 1 stop loss and four times longer with a 2 stop loss. The camera’s autoexposure (or E-TTL if using a flash) will automatically compensate for this light loss. This loss of light is a common trait of macro lenses - not something unique about the Canon EF-S 60mm f/2.8 Macro USM Lens.
Now available with a 43% saving at US $ 362.59!
70-200 mm
Almost any photographer has had a 70-200 mm general-purpose lens in its weaponry.
This Canon EF 70-200mm f/4L USM Telephoto Zoom is a true pleasure since it comes from the -L family of lenses therefore ensuring high image quality standards - and a rugged body too!
Combining a very popular and very useful focal length range with excellent image quality, professional build quality, superb autofocus performance, a fast aperture and one of users’ favorite features - Canon’s valuable 3-stop Image Stabilization - makes the Canon EF 70-200mm f/4L one of Canon’s most desired lenses.
Capture the far-off action of fast-paced sports or zoom in for an intimate portrait with the Canon EF 70-200mm telephoto zoom lens. This high-performance, L-series telephoto zoom lens is distinguished by such features as an f/4 maximum aperture, an inner focusing system, and a ring-type ultra-sonic monitor (USM). The last two features combine to deliver quick and quiet autofocusing–a priority for many amateur and professional photographers
Weighing 3.24 lbs (1470g) and measuring 3.4″ x 7.8″ (86.2mm x 197mm), the Canon EF 70-200mm f/4L will not be mistaken for a light or small lens. However, I can carry this lens for long periods of time without feeling it is a burden. This is a weather sealed lens that is ready to take professional use.
The Canon EF 70-200mm f/4L USM Lens balances out great build quality with excellent image quality. Images are sharp wide open (f/2.8) - corner performance is remarkable even with a Full Frame body. Stopping down to f/4 delivers even sharper results with better contrast.
Bargain-priced at US $ 600.00 , the Canon EF 70-200mm f/4L it’s now 38% off regular price!
We love high-quality lenses so here we go with a two-part survey of hard-to-beat Canon lenses with hard-to-resist savings and discounts!
You may find it helpful since savings are in the 30-40% range and since these lenses are not exactly cheap, these offers make them a lot more affordable by pro-amateur photographers!
100-400 mm
Meet Canon EF 100-400mm f/4.5-5.6 USM L IS which is Canon´s long range zoom lens primarily meant for sports-, wildlife- and press photography. Due to its rather small max. aperture it isn´t quite suitable for portraits.
On an APS-C DSLR the field-of-view resembles a whopping 160-640mm lens on classic (full-frame) SLRs.
The lens has a very good build quality - no wobbling whatsoever inc. smooth focusing action. It has a push-pull zoom mechanism which has both pros and cons. You can zoom very fast if necessary but at cost of accuracy. The amount of zoom friction can be adjusted using a dedicated control ring. It´s also possible to lock the lens at a certain zoom position so zoom creeping is not an issue.
True inner focus 4x or 5x zooms in this range aren´t overly likely to emerge in this range due to the physical size requirements for the 400mm setting.
One of the primary and still strong selling argument is the IS (Image Stabilizer).
The lens features a ring-type USM drive resulting in a very fast and virtually silent AF operation. Full-time manual focusing is possible in one-shot AF mode. To avoid unnecessary hunting there’s a focus limiter where you can choose between 1.8m-infinity or 6.5m-infinity.
Price for the Canon EF 100-400mm is US $ 1.400.00 (and that’s 42% off its regular price!)
16-35 mm
On the other side, let’s look at a ultra wide-angle lens from Canon: the Canon EF 16-35mm ultra-wide-angle zoom lens.
Taking over the ultra-wide angle position of the available professional grade f/2.8 zoom lenses from the Canon EF 16-35mm f/2.8 L USM Lens, the 16-35 L II becomes the new standard for professional and serious amateur photographers alike.
Specifically designed for improved edge-to-edge image quality that meets the strict requirements of professional and high-end amateur photographers alike, the lens lets you bring more area into focus while providing greater depth of field. The lens features three high-precision aspherical lens elements–ground, replica, and GMo–that produce even better image quality than the original Canon EF 16-35mm USM lens. The circular aperture, meanwhile, produces a beautiful and natural background blur when shooting at wider apertures. Other details include internal focusing, a ring-type ultra-sonic monitor (USM), and new AF algorithms for fast and quiet autofocusing.
The large 82mm filter size is a first for Canon EF Lenses. High quality filters of this size are expensive and at this point, not shareable on other Canon lenses without a stepping ring. The larger objective end of the barrel reduces the handling comfort of this lens only slightly, but the improved image quality is definitely worth the change. Focus and zoom rings are well-positioned, nicely sized, smooth and well-damped.
Price for the Canon EF 16-35mm is US $ 1.399.00 (a 39% cut-off from list price tag).
50 mm
Last but not least a super-classic lens we all started with: a 50 mm.
The Canon EF 50mm f/1.2 L USM lens is a peerless standard lens for Canon digital SLR cameras.
The lens is suitable for any shooting situation, with a lens coating and construction type that are optimized to minimize the ghosting and flare that frequently occurs when lenses are used with digital cameras.
The Canon EF 50mm f/1.2 L USM also offers an ultra-large aperture ( f/1.2 !!!) that produces a narrow depth of field and the type of soft background blur so loved by photographers everywhere.
The high-performance, weather-resistant lens delivers all the superb image resolution and contrast you expect in a Canon L Series lens.
What we really love about it: picture quality - from f1.2 thru f2.8, the lens works superbly. AF is fast & faster compared to 50mm 1.4.
List price for the Canon EF 50mm f/1.2 L USM is now $1,499.00 (which is some 35% cut-off from its regular price).
Made Products custom designs each of their Camera Armor cases to fit the camera like a glove.
All controls and access points are still accessible and you can use your camera just like you’re used to!
No more missed photographs trying to get your camera out of its case.
Rugged, custom fit Camera Armor cases that provide protection from impact and abrasion while allowing full access to all features of the camera.
Great for outdoor use (currently being used for nature photography, climbing, cycling, bungee jumping, canyoning, aerial photography, forensics, photo journalism, etc), working with multiple cameras (wedding photography, industrial applications), or other activities where full-time protection is required without a lot of additional bulk or weight.
Camera Armor is made up of 4 part system that includes Lens Armor, Body Armor, LCD shield, and lens cap lanyard.
Camera Armor even works with most tripods, optional battery grips, flash guns, L-brackets, and other accessories.
Proprietary silicone material is heat stable to 420 degrees, provides protection from heat or cold, and gives the camera a secure, grippy feel.
Does not trap condensation under the armor, and will not deform or lose its shape over time.
Long-awaited, spotted in VIP-like photos, so much rumored but now it’s here: the new Nikon D5000!
Where to place it?
It’s likely to be placed in between the D60 and the D90… and eventually in front of just launched Canon EOS 500D/Rebel T1i!
Features?
Nikon’s EXPEED CMOS sensor, 12,9 Megapixel (quite a standard for Nikon’s DSLR lineup) and HD 720p video recording @24 fps.
Among the (long) feature list the Nikon D5000 sports a 2.7″ display (the 230.000 pixel one, not the Nikon D90’s gorgeous one) literally with a twist!
The LCD display tilts and swivels which, along with the enhanced Live View functions, extends shooting opportunities to new (practical) levels.
Live View, by the way, can be switched on with a single dedicated button.
Moreover, the Nikon D5000 gives us ISO sensibility 200 up to 3200, 11-points autofocus with 3D focus tracking and set of retouch tool for in-camera photo adjustments.
An added gadget comes with the Nikon GP-1 GPS Unit, allowing globetrotters to geotag their favorite pictures/places.
One minor note comes from lenses compatibility: just like the D40/D40X/D60 crop, the Nikon D5000 is compatible with lenses with built-in autofocus motor.
15MP sensor - similar, but not the same as the 50D (slower readout for one thing)
Video - 1080p, but only at 20 FPS
Anti reflection coated display
Digic IV - menu layout similar to 50D/5D2
Auto lighting optimiser - now adjustable
Quick control setting mode
ISO to 12800
Variable high ISO noise setting adjustment
Face detect in Liveview
Peripheral Illumination Correction - brighten the corners of images to correct for lens vignetting
Sensors under viewfinder to blank screen when the camera is raised to the eye.
The Canon EOS 500D/Rebel T1i becomes the third (as of writing) camera to be able to shoot full HD video and, right now the very first in its not-so-entry-level class.
What’s inside? What comes from 50D/5D MkII?
Fast processing, fast focusing, and the Digic 4 Processor.
Canon’s DIGIC 4 processor drives continuous shooting speeds of up to 3.4 fps in bursts of up to 170 JPEGs . Using Canon’s wide area AF system – which features 9 individual sensors, including a central cross type point with a high precision sensor for f/2.8 or faster lenses– makes capturing split-second action sequences possible.
DIGIC 4 works in conjunction with the CMOS sensor to deliver exceptional noise reduction and 14-bit image processing for smooth gradation of tones and natural-looking colours. In addition, DIGIC 4 enables the ultra-fast start-up times and near-instant image review after shooting that photographers demand.
Why we like it?
The Canon EOS 500D/Rebel T1i it’s as compact and lightweight as the previous Canon Digital Rebel XSi but has far more features - not only megapixel-addiction, take a look at the VGA display - and grabs parts from higher-level Canon cameras.
It’s a serious (and price-aware) competitor to the widely-acclaimed Nikon D90 and to many of the new crop of over-12-mp-with-full-hd-video 2009 DSLR cameras.
Along with the Canon EOS 500D/Rebel T1i comes the Speedlite 270EX, the successor to the 220EX Speedlite model: a new compact flash gun with a maximum guide number of 27 m and silent recycling that becomes a lightweight external flash option for Canon cameras including select Canon PowerShot models.
The new Speedlite 270EX uses only two AA batteries and enables bounce flash shooting with four position steps from 0 degrees to 90 degrees.
Like Canon’s high-end Speedlite flash models, the 270EX allows users to control flash functions and input settings using the camera’s LCD monitor.
All products names and icons are trademarks of their respective holders. SourceCrowd.com is not responsible for the availability and correctness of the information provided nor responsible for any damage that may occure to your equipment or you by using the published information.
The 
Aputure Gigtube can automatically transfer the live view mode of the camera (if the camera supports) on the LCD screen so you make a shooting toward your side to freely take photos of you and with your friend or family, just like you shoot other object, easily.
When shooting an object in high position that not easily accessible or overlooking to shoot and more such situations, the Aputure Gigtube can make its powerful effect by its live view and instant photo display function and off-camera remote shutter release function.
When shooting an object in high position that not easily accessible or overlooking to shoot and more such situations, the Aputure Gigtube can make its powerful effect by its live view and instant photo display function and off-camera remote shutter release function.
Aputure Gigtube is usefully in the situations where the camera is positioned in a way that makes viewing the camera’s screen difficult or impossible. There is a hot shoe mount for making above-the-head and low-angle shooting easier.
is the new jewel in the company’s crown, with a long list of specs well beyond any previous Pentax DSLR. Existing Pentax users will be pleased to finally see a much-wanted pro-level upgrade, whereas those familiar with other manufacturers’ systems may also be drawn in thanks to an all-encompassing features list. 
The 
The 
The 
(priced at $199.95), which slots into the external flash hotshoe on top of the camera. The GF1 can record 1280 x 720 high-definition video in the AVCHD Lite or Motion JPEG formats, and it can focus in just 0.3 seconds via its contrast auto-focusing system. 
is an entry-level DSLR, but don’t let the term fool you. When you place the label “Entry Level” on a camera, it might call to mind a camera with no frills, limited uses, and little more to offer than an automatic shooting experience.
!
The new colorful digital SLR camera 
The 
The 
The 
A general purpose lens, the 
The 
This 
Meet 
ultra-wide-angle zoom lens.
Actually, this is the 
cases to fit the camera like a glove.
, 
, Canon EOS 400, 
, 
and a lot more: 
Long-awaited, spotted in VIP-like photos, so much rumored but now it’s here: the new 
, allowing globetrotters to geotag their favorite pictures/places.
)
looks like the 
, shoots much like the 50D.
if you’re budget-conscious.
and to many of the new crop of over-12-mp-with-full-hd-video 2009 DSLR cameras.
