Now we have ‘son of’ … a model similar in many respects, at a lower price, but with many of the A77′s remarkable features. The review camera was supplied with the kit lens, a Sony f3.5/18-55mm.

The heart of the camera is the Translucent Mirror, marked by the model ID: SLT stands for Single-Lens Translucent.

Unlike a reflex mirror in ‘normal’ DSLRs that flips up and down to alternate between viewing and shooting, a translucent mirror is fixed in the light path to give an interrupted — and continuously live — view of the subject. One of a number of benefits is to reduce blackout time between shots; the SLT camera is also lighter and faster to use than ‘normal’ DSLR cameras.

Identified as an Alpha camera, this model can use any of the Sony A-mount lenses, as well as those from the Konica-Minolta range and compatible with Sony’s SteadyShot internal stabiliser system.

The body is made from polycarbonate material, differing from the A77′s magnesium alloy/plastic construction; the A65 body is 110 grams lighter than the A77.

The LCD screen tilts vertically through 180 degrees and can be rotated leftward 270 degrees from the position in which the LCD monitor is facing forward. An eye sensor switches the view between the turret finder and the LCD screen. The only demerit of the screen is that it’s not so easy to swing downwards when attached to a tripod: the A77 excels in this department.

Sony Alpha SLT-A65 Features

The CMOS sensor captures 24.3 million pixels, more than most amateur photographers would ever need, but allowing enormous capabilities to crop and extract detail from the images.

With a maximum image size of 6000×4000 pixels expect to make prints measuring 51x34cm at 300 dpi — or even larger if you’re using sophisticated upscaling.

Video? Full HD and 1920×1080 pixel resolution. I found that auto focus tracked any changes in camera-subject distance fairly quickly, while exposure variations were handled smoothly. Unfortunately, like the A77, you can’t shoot still images while recording video.

Much of the camera’s operation can be managed from the external controls; the mode dial gives access to Program AE, shutter and aperture priority as well as manual operation.

(insert A65 menu 1 to A65 menu 3)

To get access to such matters as white balance, image size, colour space etc you access the finder menus. And menus they are! Control upon control! An easier way to get to some of these is is to tap the Function button.

For the nervous there’s a handy in-camera guide that can lead you into the mysteries of how to capture the more challenging shots. Unfortunately, just as I was about to list these, the camera (a pre-production model) froze on me, reviving only upon my emptying the battery.

Useful in the LCD display is a digital level gauge, showing fore-and-aft and lateral levels, down to an accuracy of +/- 1 degree.

Burst shooting of stills can be made up to 10fps with continuous focus in play all the time.
In deference to those who would use the camera’s more auto modes, there is a range of ‘Picture Effects’ that give access to 11 different ‘tools and filters’ to edit your images and movies as you shoot; these include partial colour effects, toy or retro camera effects etc.

Added to this is a collection of scene modes, which includes macro, sunset, night portrait etc.
Sony’s remarkable Sweep Panorama (and 3D panos) feature is also in the kit: expect to shoot panoramas out to 12,416×1856 pixels in span, stitched in-camera while you wait.

The flip-up onboard flash has a guide number of 12 (metres/ISO 100), meaning you could successfully capture a subject at f4 at a distance of three metres … or, using an ISO setting of 400: lens aperture of f4 with a subject distance of 12 metres.

Auto focus gets maximum attention: the A65 has a new 15-point AF with three cross sensors. Tracking Focus maintains accurate focus lock on a moving subject — even if it is briefly obscured.

Sony Alpha SLT-A65 ISO Tests

Fairly clean, sharp and accurately coloured all the way up to ISO 3200.

At ISO 6400 a slight increase in noise but sharpness still OK.

At ISO 12,800 noise more noticeable. At ISO 16,000 noise well up.

Sony Alpha SLT-A65 Verdict

Quality: with the A65 I captured stunning, sharp, brilliantly colour-saturated images.

Why you’d buy the A65: 24 megapixel shooting and a 10 fps burst rate appeal.

Why you wouldn’t: you (still) want an optical pentaprism view … just like your daddy’s SLR!

I did have a hassle with the close proximity of the on/off lever and the control dial. Maybe it’s my big butter fingers.

It would be a tragedy if this baby ended up shooting family pics and snapshots. It’s too good!
Whoever buys it, my prediction is that this one will fly off the shelves: super specs, well-engineered and megapixels to burn!

Sony Alpha SLT-A65 Specifications

Image Sensor: 24.3 million effective pixels.
Metering: 1200 zone multi segment, centre-weighted, spot.
Lens Mount: Sony A-mount, Konica-Minolta AF mount.
Exposure Modes: Program AE, shutter and aperture priority, manual.
Effective Sensor Size: 23.5×15.6mm HD CMOS.
35 SLR Lens Factor: 1.5x.
Shutter Speed (stills): 30 to 1/8000 second and Bulb. Flash sync: 1/160 sec.
Continuous Shooting: 3-12 fps.
Memory: SD/SDHC/SDXC, Memory Stick Pro Duo cards.
Image Sizes (pixels): Stills: 6000×4000 to 3008×1688.
Movies: 1920×1080 (AVCHD) — (PAL: 50p/28Mbps/PS, 50i/24Mbps/FX, 50i/ 17Mbps/ FH, 25p/24Mbps/ FX, 25p/17Mbps/FH); 1440×1080 (MPEG4) — (PAL: 25fps/12M), VGA: 640×480 (25fps/ 3M).
Viewfinder: Turret 1.3cm (2.36 million); 7.6cm LCD screen (921,600 pixels).
File Formats: JPEG, RAW (Sony ARW), JPEG+RAW, MPEG4, AVCHD.
Colour Space: sRGB, Adobe RGB.
ISO Sensitivity: Auto, 100 to 25,600.
Interface: USB 2.0, HDMI mini, ext mic.
Power: Rechargeable lithium ion battery, DC input.
Dimensions: 132x97x81 WHDmm.
Weight: 543 g (body only).
Price: get a price on the SLT-A65 at Amazon – Sony A65 With 18-55mm Lens

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Sony Alpha SLT-A65 Review

Panasonic and Sony seem to be waging the war with their Micro Four Thirds models and this is another missile hurled at (IMHO) the oversize DSLRS, with or without flipping mirrors!

The GF3 leads the bunch in size — or lack of it! No question!

Claimed to be the world’s smallest and lightest system camera, it’s approximately 16.7% smaller and 16.2% lighter compared with the GF2 at just 325 grams (including 14mm lens, card and battery), built into a polycarbonate/aluminium body. The review lens supplied was the superb f2.5/14mm.

The GF3 is indeed a joy to handle, hold and stow. External controls are minimal. I particularly liked the on/off control, set in the form of a switch … and very positive.

If you need to select Program AE, shutter or aperture priority and manual, scene modes etc simply hit the menu button and choose from the screen display; you can also touch the screen to make your selection.

Panasonic DMC-GF3 Features

Maximum image size is 4000×3000 pixels; this means you could make a 30x25cm print at 300 dpi. Movies at Full HD 1920×1080 resolution can be shot in AVCHD format or 1280×720 in MPEG. While the AF worked effortlessly when shooting video, I did find the auto exposure a little tardy when correcting for brightness extremes. And, of course, you can’t take stills while recording video but you can of course select stills from a video sequence.

If you like the simple life you can rely on Intelligent Auto for both stills and video recording; additional iA features include AF Tracking, Face Recognition, Intelligent D-range Control, Intelligent Resolution, MEGA O.h3built into the lens), Intelligh3O Control and Intelligent Scene Selector.

The built-in flash pops up at a button touch and presents a decent 55mm of lens-to-flash separation, helping to lessen red-eye in portrait shooting.

I liked the AF function: when the screen is touched the system creates a green rectangle around that section and targets focus exactly there; you could aim it at a person’s eyes or, say, a bee on a flower!

There h3otal of 23 AF areas, with the camera dividing these into nine groups; touch one of these groups and the camera auto selects an optimal area within that group.

The popular defocus control function in iA mode is now easily operated with a slider on the touch screen, allowing users to adjust the defocus area for a sharp subject and softly focused background.

In My Colour mode you can enjoy fuss-free experimentation with colour modes like Expressive, Retro, High Key, Sepia and High Dynamic and (not my favourite!) Miniature Effect.

Panasonic DMC-GF3 ISO Tests

Fairly clean and useable right up untilI SO 1600. By ISO 3200 noise is fairly noticeable. IMHO ISO 6400 is unuseable.

Panasonic DMC-GF3 Verdict

Quality: I enjoyed the quality of the GF3′s shots, sharp and accurately coloured.

Why you’d buy the GF3: it’s real, real small; easy to fall in love with the AF function; you want to use Leica lenses.

Why you wouldn’t: you want to shoot stills while recording video; you want to attach an eye-level viewfinder.

This camera quite took my fancy, not only because of its tiny size, but because it has reduced the operational maze considerably: you can shoot in all the usual modes, enjoy the image options of RAW or JPEG or use it as a well-endowed point-and-shoot camera.

Panasonic DMC-GF3 Specifications

Image Sensor: 12.10 million effective pixels.
Metering: 144 zone multi pattern, centre-weighted, spot.
Lens Mount: Micro Four Thirds.
Exposure Modes: Program AE, shutter and aperture priority, manual.
Sensor: 4/3 type Live MOS 17.3x13mm. 35 SLR Lens Factor: 2x.
Shutter Speed (stills): 4 mins to 1/4000 second and Bulb. Flash sync: 1/160 sec.
Continuous Shooting: up to 3.8 fps. Memory: SD/SDHC/SDXC cards.
Image Sizes (pixels): Stills: 4000×3000 to 1440×1440.
Movies: 1920×1080, 1280×720 (AVCHD); 1280×720, 640×480, 320×240 (MPEG4).
Viewfinder: 7.6cm LCD screen (460,000 pixels).
File Formats: JPEG, RAW, JPEG+RAW, MPO (3D), MPEG4, AVCHD.
Colour Space: sRGB, Adobe RGB.
ISO Sensitivity: Auto, 160 to 6400.
Interface: USB 2.0, HDMI mini, AV, ext micxxxx.
Power: Rechargeable lithium ion battery, DC input.
Dimensions: 107.7×67.1×32.5 WHDmm.
Weight: 264 g (card and battery).
Price: Get a price on the GF3 in the following configurations:

• Panasonic Lumix DMC-GF3- Body Only
• Panasonic Lumix DMC-GF3with a 14-42mm Zoom Lens
• Panasonic Lumix DMC-GF3 with a 14mm F2.5 ASPH Lens

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Panasonic DMC-GF3 Review

The interchangeable lens, magnesium alloy bodied NEX-7 would also seem to gain from the absence of a partially-silvered mirror in the light path. However, as with all NEX cameras and most lenses, the smallish body is outweighed by the lens, so — with f3.5/18-55mm review lens attached — pocketable it wasn’t!

The 24.3 megapixel image capture produces a maximum 6000×4000 pixel image, so big prints? You betcha!

Video capture is right up there too, with Full HD 1920×1080 on tap. When shooting a video such matters as AF, manual focus and auto exposure are very smoothly in play; but you can’t shoot stills at the same time.

Sony NEX-7 Features

The viewing situation is excellent, with a 7.6cm LCD screen at the rear and a high res turret finder for eye level viewing, auto switchable with eye contact.

However, I could curse the designer who placed the tiny dioptric control wheel slap up against the eye-level finder, almost impossible to roll in either direction.

While we’re in whinge mode I also found it quite a chore to load/remove the memory card … the slot is hard up against the compartment hinge. So, a hinge whinge!

The LCD screen is tiltable through a vertical arc but does not rotate horizontally; in spite of this, with the screen tilted upwards, the camera can be attached to a tripod.

The inbuilt flash will be a help as a fill light but, with a Guide Number of 6 (ISO 100/metres) it will not be of much use for group photos unless you wind up the ISO setting.

There are ten external controls, including power, shutter, replay etc plus two unmarked control dials on top which respectively, handle exposure compensation and aperture/shutter speed. Warning: they’re easy to bump!

Much of the rest of the camera’s operation — PASM, image size, ISO setting etc — can be accessed via the ultra-clear viewfinder menu.

Claimed to be the “world’s fastest burst shooting speed of any mirrorless interchangeable lens camera”, the NEX-7 can fire off a round of shots at 10 fps. That’s 10 6000×4000 shots every second, with focus fixed at the first frame!

The camera’s Picture Effect mode offers in-camera effects that comprise 11 modes and 15 effects, such as new HDR Painting, Soft Focus, Miniature and Rich-Tone Mono. Other attractions include 3D Sweep Panorama, Soft Skin, Anti Motion Blur Modes etc.

The relatively small number of scene modes (eight) include twilight shooting, sports action, sunset etc.

Now a confession: the camera was so new there was no instruction manual available to help with the review, so if there are omissions please be kind to me!

Sony NEX-7 ISO Tests

Only when ISO 3200 was reached were there signs of image noise; sharpness and colour quality OK.

By ISO 6400 noise was slightly up but the image was still useable.

By ISO 12,800 noise up further but still — depending on the shot — still useable. Definition surprisingly good.

At ISO 25,600 noise was quite noticeable but image sharpness still acceptable. An amazing performance.

Sony NEX-7 Verdict

Quality: the camera displayed exceptionally good image quality and sharpness, along with an enjoyable easy operator interface.

Why you’d buy the NEX-7: access to E-mount lenses, Carl Zeiss and (via an adaptor) Sony A-mount optics.

Why you wouldn’t: you prefer external control of exposure modes; with lens attached the camera is not pocketable; pricey.

A significant camera that could shoot right up there with most DSLRs, but is as easy to use as a snapshot camera.

Sony NEX-7 Specifications

Image Sensor: 24.3 million effective pixels.
Metering: 49 zone multi segment, centre-weighted, spot.
Lens Mount: Sony E-mount.
Exposure Modes: Program AE, shutter and aperture priority, manual.
Effective Sensor Size: 23.5×15.6mm HD CMOS.
35 SLR Lens Factor: 1.5x.
Shutter Speed (stills): 30 to 1/4000 second and Bulb.
Continuous Shooting: 3-10 fps.
Memory: SD/SDHC/SDXC, Memory Stick Pro Duo cards.
Image Sizes (pixels): Stills: 6000×4000 to 3008×1688.
Movies: 1920×1080 (AVCHD); 1440×1080, 640×480 (MPEG4).
Viewfinder: Eye level 1.3cm (2.36 million); 7.6cm LCD screen (921,600 pixels).
File Formats: JPEG, RAW (Sony ARW), JPEG+RAW, MPEG4, AVCHD.
Colour Space: sRGB, Adobe RGB.
ISO Sensitivity: Auto, 100 to 16000.
Interface: USB 2.0, HDMI mini, ext mic.
Power: Rechargeable lithium ion battery, DC input.
Dimensions: 119.9×69.9×42.6 WHDmm.
Weight: 291 g (body only).
Price: Get a price on the Sony Alpha NEX-7 (Body Only) or Sony Alpha NEX-7 with 18-55mm Lens

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Sony NEX-7 Review

Fast forward to last summer. I was hiking in the hills outside of Boulder, Colorado with fellow photographer Ben Fullerton and while we were both testing the same pack from LowePro, we started up a conversation about what we’d like to see in a larger backcountry pack. Something that could hold all our gear (and we both differed on what we wanted to carry on a shoot) as well as camping equipment. He wanted a spot of a water bladder, I wanted a spot of a water bottle. He would carry two bodies, five lenses and a couple of strobes. I only wished to carry one body, a couple of lenses and a single strobe. But I also would bring my laptop. And plenty of Very Cherry  Jelly Bellies.

Somehow this whole time f-stop had been off my radar.  f-stop makes serious packs specifically for photographers who take their gear far from the comforts of a studio. They have a number of pros in the business as advisers and they listen to customers about what they would like improved. They build packs for adventure photographers and I requested a review copy of the Satori EXP, their largest bag designed for extended trips abroad or in the backcountry.

What arrived at my house was a bag perfect for scratching my gear-loving itch. I love versatility and this bag is all about expandability and expansion. At 62 liters it is big, but still sized to fit in most airline overhead compartments, meaning your gear stays close and out of the maul of the checked baggage system. Let me dive right into the modular features that make this bag a must-have for any photographer serious about carrying their gear in comfort while bringing along camping or travel gear. It has four main systems to help carry gear inside and out.

Internal Storage

Inside is where this bag starts to handle your gear. The integrated pockets of this pack are not too numerous not too few. The main compartment is accessed two different directions; from on top and from the front panel. The front panel flap, which sits against a wearer’s back, opens fully to reveal four pockets lining its inside. The bottom two are ideal for a filter or two and there are two memory card pockets at the top to keep your storage available. The nice thing about the lower pockets is they can be used as a means of adjusting lumbar support in the bag. if you like more lower back support, just load that second with two filters in storage cases and you’re set (l prefer wearing my pack this way). If you want support higher up, just load that pocket. It is also comfortable without anything in the pockets.

The top flap has an outer pocket and an inner pocket and they can devour a large amount of odds and ends. I won’t list it all out, but the inside pocket can easily hold two 77mm filters side by side, two hard-case memory holders and a card reader. The outer pocket is designed for easy access and a small first aid kit works here, plus it has pockets for business card (when in town or working tradeshows), cell phone and a key chain so your keys don’t go missing. A mesh pocket in here further divides the space for small items.

Inside the main compartment is a spot for a laptop (a padded sleeve which does not extend all the way to the bottom, helping ensure the laptop is not excessively bumped when setting the bag down on hard surfaces) as well as a sleeve for important documents or a water bladder, complete with Velcro loops to route the bladder hose.

On the back of the back are four more zippered compartments integral to the bag design. Two are on the very back and one has a grommet at the bottom to allow for water to escape, making it ideal for wet items such as a bathing suit or ski skins. On the bottom is a trash compartment to keep your wrappers and peels away from the rest of your gear. On the bottom is a pouch for a rain cover (not included, but available as an option if you don’t have your own). While traveling I have been able fit flip flops in the back compartment while additionally shoving in a book, paperwork, my glasses case and snacks.

Modular Space For Your Camera Gear

The Internal Camera Unit (ICU) takes the standard camera bag practice of padded Velcro space and let’s you decide how much bag space is taken up by your camera in lenses. Where other packs are built around the camera storage, f-stop takes a different approach and has created five different sizes of ICUs to let you decide how to configure your bag. From the smallest size, built to hold a single camera and a couple of lenses, the largest which can muster enough space to tote a 500mm prime lens and more, the ICU approach will insure no space is wasted when you want to carry more or less equipment.

The units Velcro into the main compartment with two or four attachment points and will leave as much as 2/3rd of the internal 62L of space available for camping equipment or other gear. The largest ICU will fill the entire space. In between are bags perfect for one or two cameras and a variety of lenses. In the medium version, I was able to fit a Canon 7D with 28-500mm L lens (equivalent to most 70-200mm lenses) attached, as well as the battery grip. Around this was placed another five lenses. There is also a thin version of the ICU to save more space if you are not carrying thick gear.

Lastly, the ICUs are designed to work in a number of the f-stop packs in their Mountain series, such as the popular Loka. It takes about four minutes to move an ICU from one bag to another (assuming both are empty bags) and the Velcro loops are a bit stuffed behind the pack frame stays, necessarily so. The ICUs also have a handle to make them easy to stuff into any other bag you may be bringing and helps keep dust and rain off your gear while in transport.

MOLLE For Universal Expandability

The MOLLE system is an industry standard used by the military and police units to allow for easy attachment of any number of devices via, you guessed it, Velcro. There are loops for expanding your bag’s carrying capacity on the sides and waist belt. f-stop makes a number of accessory pouches to hold items you want close at hand and not buried inside your bag, such as cable releases or remote triggers and units for flashes. Further, they also have single unit bags for smaller cameras (the Navin version can hold a Nikon D7000 and 28-300mm lens attached) that will fit on the belt loops to keep a camera always at hand.

Because of their positioning on the side of the pack, other brands of pack accessories can be used as well, such as the Outdoor Research crampon bags or the Dana Design side pouches, one of which can easily carry a small stove, water purifier and first aid kit on the outside of the Satori.

GateKeeper Straps All Over

GateKeeper is f-stop’s system for adding attachment straps all over the top, back and bottom of the bag. There are 14 of these points on the outside of the pack and the straps come in a variety of lengths. This system is superior to the typical daisy chain method as it keeps the straps tight against the pack. The back section can be used to carry a snowboard or rails for a dolly setup. The top and bottom sections can hold a sleeping bag, sleeping pad or additional gear pouches.

The GateKeeper system also allows for attachment of the Navin camera bag on the front of the pack while the wearer hikes, keeping a camera always at the ready. Additionally the straps can all be removed to insure smooth travel if the pack does need to be sent as checked baggage.

Odds And Ends

The bag also sports side compression straps which will hold your tripod firmly, ice axe or trekking pole loops sewn into back of the bag and a few extra attachment points on the back for spare straps. On the shoulder straps are D-rings, a sleeve to help route a water bladder hose and two other loops on the left shoulder strap to hold fast a two way radio, GPS, knife or cell phone.

A full list of stats and sizes can be found at f-stop’s website.

Conclusion

I know this post is long and I was not attempting to explain every aspect of the Satori, but there is a lot of cover in this bag and the effort f-stop has put into making it the best it can be, while realizing they never stop trying to improve their equipment so it meets the needs of the photographers who rely on solid gear to help them capture the beauty of the outdoors. The MOLLE system, the GateKeeper system and the ICU system exist in a number of f-stop’s packs and worth a look, no matter what your torso size or the amount of gear you wish to carry.

More information specific to the Satori can be found here.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

The Ultimate, Expandable Expedition Camera Backpack: f-stop Satori EXP [REVIEW]

Flash Lighting and Accessories by GoDox from Elemental

With digital photography, it’s pretty easy to try and try and try again, because there’s no developing time, there’s no film cost, there’s no fixer to spill! There’s simply no excuse for you to continue to suck at off camera flash… what? you can’t practice because a Canon Speedlite 580EX II is WAY TOOOOO EXPENSIVE? Fair call, they’re not cheap! They are really good, but you’re right, they’re not cheap… So, I have a very functional, robust alternative for you… It costs £80 (or £50 if you don’t ever want to plug in an external battery) per flash unit and you can also get a remote trigger for it for £50… So, essentially, for £130 you’re set up to use flash, off camera, remotely and ‘on the cheap’ Yeah!

The handy remote trigger is called a REEMIX RMII and, as well as being a 16 channel flash controller, can also control your camera* (remote shutter) and the receiver has a handy umbrella holder built in, so you can attach it to your flash unit, slot an umbrella in and go flashing wild.

You can take it a step further, with the GoDox thinkLite TT560PB you can add an external battery pack, the GoDox ProPac PB820. It plugs right into the flash unit and will have you flashing for a good while (250 to 320 full power flashes, 1 sec recharge time, 2 hr battery recharge time) and comes in photographer black or sexy lime green (I went green!)

Having picked up the three units, Here  is my experience with them.. The start of my journey to better flashing if you will!

I have a Canon 580EXII.. That’s a great unit! It’s powerful, it’s fully featured and it’s EXPENSIVE. To work on an article that allowed more people who are just starting out, to be involved in trying off camera lighting, I wanted to use readily available and more ‘cost sensitive’ kit… I have tried out the Elemental studio lights once before, So, back on the http://studio-flash.com website I went and I came across the GoDox gear and made my enquiries. Hello? Scotland Yard?

I know how well my Canon flash unit works, so I had a good bench mark… The Canon has the higher guide number (Higher guide number = more powerful flash) of 39 as opposed to the 38 rated ThinkLite.. Not much in it really.. Though, the Canon does have all the bells and whistles, as well as ETTL (basically means your camera tells the flash what to do if it’s all compatible) For this little test, I wanted to set everything to manual to help teach myself what all the buttons did! That, I believe, is what you should do, too!

So, the first little test (that mattered!)  that I used my ThinkLite for was a quick real estate shoot, I had a brightly lit outdoor shot of a house to take, I had a lovely blue sky that, if I exposed for, meant that the house was a bit dark.. I bumped the power on the little flash up to full, popped it on a Nasty Clamp and stuck that on the front fence facing the house… Taking a few photos, mostly inspired by a recent “One light real estate shoot” from Strobist, David Hobby, I tried to blend the flash in with the ambient light and get the photograph that I needed. The whole time using the REEMIX II to pop the flash and I also had the battery pack plugged in, giving me simply awesome recycle times (the time it takes for the little red light to come on and say “I’m ready to flash again!”)

Go Easy! It's my first shot it this type of thing

You can see the Nasty Clamp attached to the right hand end of the railing above and the shadow of the front porch light headed up and left. This is pretty much out of the camera with a little perspective correction (I couldn’t stand in front, there’s a tree!) So the sky is nice and blue and the front of the house is easy to see because of that light there. It could be a bit brighter and with a bit of an ISO bump, it would be. This was f/8.0, so I probably could have opened her up a little more, too, if I needed to. I got what I was after.

The flash unit is very simple. It has an off / on switch, an 8 level power output switch  (1/128, 1/64, 1/32, 1/16, 1/8, 1/4, 1/2, 1/1) and a couple of buttons to use the slave mode, slave mode doesn’t mean you can yell “Hey flash, get me a coffee” form the next room… It means that, in S1 mode, when you fire another flash, that the ThinkLite will also fire – this means that you can start getting all creative and have a pair of GoDox ThinkLite flash units and use one as your main light and one as your fill light or your hair light (fill, adds extra light where you need it – it fills and a Hair light is just that, adds a little light to the hair / side / back of the subject, gives your image some depth)

I had a whole three bedroom house to photograph for our real estate agent, the ThinkLite sitting on the end of the Nasty Clamp (Seriously, If you don’t have Nasty Clamps, get a pair! they’re such life savers!) with the remote trigger and external battery – I’d clip the unit on to the top of a door, angle it around until it was working how I wanted it to work and get my image. Mostly I’d fire the flash into a wall or ceiling to diffuse the small hard light that you typically get from a flash gun, the wall acting as a big reflector (Make sure your walls are white and not burnt orange… imagine light hitting a burnt orange wall and turning your photo into a big cup of Fanta!)

The kitchen shows the blend of flash and sun light..

This photo (above) is natural light through the roof / skylights, and the darker back of the house has the ThinkLite on the Nasty Clamp attached to the top of the shower screen door, low power firing out into the hall way. Whilst the balance of the color temp is way off (you see the bluer flash v the warmer sun) that’s very easy to fix with a gel for the flash or, if you’re a bit more lazy, in post!

the external battery hadn’t even dropped down a notch (it has 5 notches to show you when you need to recharge) I can see great use for an external batter as a wedding photographer or event photographer (I wish I had one of these when I was shooting events back in London!!!) You take the thing and clip it to your belt / put it in your camera bag and flash over and over…

This is all the gear I used on the day!

As I said at the start, I’m not a ‘Strobist‘ (not even in the same city, park or country!)  …though, now with my new found love for lighting and the ability to practice (on everything and everyone… yay for my two year old!) I’m getting better at it!

So, let’s look at the specs of the ThinkLite TT560

Guide Number 38
Flash Modes M, S1, S2
Tilt 0 – 90°
Swivel 0 – 270°
Power Source 4 * AA batteries
Recycle Time 0.5 – 5s
Output Full, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/128
Colour Temperature 5600K +/-200K
Flash Duration 1/800 ~ 1/2000s
Dimensions 190 * 75 * 55mm
Net Weight 286g

There’s nothing automatic about this unit, and that makes you learn!

And a pricing re-cap?

• GoDox ThinkLite TT560PB £79.20
• GoDox REEMIX II £47.99
• GoDox ProPac £129.99

The kit has performed without fault since I picked it up a couple of months ago, it has really showed me that you don’t always need to get ‘amazing’ to teach yourself how to do something properly! Manual mode isn’t as scary as I thought, folks!

• Out of ten, I give the thinkLite TT560PB an eleven (this was a nine, but earlier today my two year old pushed over a chair and knocked the flash unit and my reemix flying – baby proof.
• The reemix is a straight eight out of ten, with a couple points taken off for the slightly fiddly channel switching, though for a remote to allow you to use 16 channels and to reverse control your camera, for under fifty quid is pretty darn good.
• The ProPac, whilst being the most expensive item in this test, is something I never want to be without again. Get one.

I hope this has been helpful to some of you! I hope to come back at some point when I’m more practised in my flashing and give you an update on how the gear’s doing – I’m about to order a couple more of the TT560 units myself.

–Sime

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

GoDox Lighting Kit, Just the ticket! [Review]

The Problem With Finding The Perfect Backpack For You Gear

I can already imagine there will be some comments saying that I’m wrong and that the perfect camera backpack is actually (fill in the blank). Well, let me respond to all of those ahead of time by saying that I can find something wrong with any backpack (or product for that matter). The reason being that no backpack is perfect for everything. Unfortunately, in reality you probably need several different backpacks for different trips, different shoots, different styles, etc. A massive backpack that holds all of the gear in my office is great for getting from point A to point B. But what if when I get to point B I want to explore and be light on my feet?

On the flip side, a light and sporty camera backpack is great for day trips and long hikes, but what about when you need to get a large amount gear to a location?

See what I mean? So the challenge becomes doing your best to find a backpack that fits somewhere in-between these two extremes. A camera that can hold a LOT of gear, but can also tear down when you need to go out and about.

Enter The Shape Shifter

I. love. this. backpack. My good buddy Jacob Lucas suggested it to me and when I looked it up on the ThinkTank website I knew my search was complete. I went to Italy with more gear than I would normally bring along because I was shooting a wedding for part of the trip. Because of that I had to bring a bit more gear than I would if I was just going for travel photography. The Shape Shifter was the only camera bag I took and you will not believe what I fit into this thing! Here’s the list…

1 – Canon 1Ds Mark III camera body
1 – Canon 5D Mark II camera body with BG-E6 battery grip
1 – Canon 24-70mm lens
1 – Canon 70-200mm lens
1 – Canon 50mm lens
1 – Canon 15mm Fisheye lens
2 – Canon 580EXII flashes
1 – Canon ST-E2 Flash Transmitter
1 – 15inch Macbook Pro
1 – Small Wacom Tablet with mouse and pen
1 – Lacie 500GB Rugged External HD
1 – Canon TC-80N3 Intervalometer
1 – B+W 10 Stop Filter
8 – CF Cards
3 – Extra batteries for 5DMII
2 – Chargers for 5DMII
1 – Extra battery for 1DsMIII
1 – Charger for 1DsMIII
1 – Manfrotto Tripod Legs/Head

Now that’s a lot of gear in one backpack and one thing a manufacturer will never be able to do is make that much gear weigh less than it actually does (unless the backpack came with an assistant to carry it). This backpack was quite heavy but that was fine because I only needed it to all be with me while I was traveling from point A (Texas) to point B (Italy). There’s no way that I’m going to check any of my photography gear on an airplane, especially when clients are counting on me to photograph their wedding! Once I got to the hotel we were staying at I took out a lot of the gear like the laptop, hard drive, Wacom tablet, and anything that I didn’t need for that specific night. When it was time to move from one hotel to the next, I’d pack everything up again just like before. If you don’t believe you can pack all the gear listed, here’s a quick time-lapse video as I pack the gear from the list above. (Note: I don’t pack the tripod and the 5DMII because they were being used to film the video. I do pack the battery grip for the 5DMII where the camera body would normally go. The tripod connects on the outside of the backpack via the very front pocket and some straps that connect at the top of the backpack).

INSERT VIDEO HERE <http://youtu.be/Gga6_3SQClE>

Why This Bag Is Awesome

There are actually quite a few reasons why this bag is awesome so I will touch on a few of them here…

It Holds All The Gear I Need

Sure I could have brought more lenses and gear but then my backpack would just keep getting heavier and heavier. With the range of lenses I brought, I never felt during the trip that I should have packed more gear.

It’s Ability To Shift Shapes

There were several days/nights in Italy where my wife and I were all on our own, free to travel and explore. On those nights all I really needed was a camera body, my tripod and my lenses. I could really strip everything down to just the bare essentials and that’s when you get to take advantage of the Shape Shifters ability to…well…shift shapes! If you don’t have much gear in your backpack, you can grab a zipper at the bottom of the packpack and zip the backpack down to only 3 inches thick. The zipper just compresses the width down and sort of streamlines everything. This can only be done in certain situations. If you have too much in the backpack the zipper won’t zip closed. Doing this make the backpack incredibly thin and low profile and really it just feels better in this configuration. I wish ThinkTank would find a way to shrink my camera bodies and lenses down to size so I could use this feature all the time!

Plenty of Pockets for Accessories

Pockets are always a good thing and the Shape Shifter has plenty of them. And not just pockets mind you but every pocket seems to have a purpose, a reason for being there. Some pockets are there to hold CF cards, some hold batteries, others hold cell phones, pens, etc. They aren’t just big pockets to stuff anything into (although there are a couple of those). When you really pack this bag up to it’s limits, you will stand back in disbelief over how much you just fit inside of it.

Lockable Zippers

This was a must on my trip to Italy. I wasn’t going to take a bag with me unless there was some way to lock it. Although the bag doesn’t come with the locks (I think that would be a great feature as well) you can find them at just about any store with a travel section. While I bought locks that came with keys, I would encourage any travelers out there to do the opposite and get a lock with a three digit combination. It was too complicated trying to keep the keys in a place that was easy to find but not too easy to find (if you know what I mean).

Comfortable Shoulder Straps

This is another must-have-feature for a travel backpack. If your backpack isn’t comfortable on your shoulder then really what is it worth? The Shape Shifter has exceptionally padded shoulder straps that sit very comfortably and never let me down. There were certainly times where I was sick of carrying this thing around at train stations and airports but that was just because of the weight, and we already decided there’s nothing they can do about the weight of my gear. The Shape Shifter also comes with a waist belt and a clip to connect your shoulder straps together. If you don’t want the waist belt it tucks away nicely inside the bottom of the backpack, or you can just remove them altogether. Very clever!

Potential Setbacks For Some Photographers

Like I said in the beginning: No camera backpack is perfect for everyone. So while I may love a feature about this bag, someone else could hate it for that very same reason! I understand that and I don’t think this would be a good review without stating the potential disadvantages of the Shape Shifter.

Camera Gear Tough To Access  When Actively Shooting

I bought this bag so my camera gear would be protected from potential theft. Because of that reason, the gear also takes longer to get to when I’m shooting on location. If you buy a backpack that has super fast access to all your stuff, then you might want to consider that it proveds super fast access for thieves as well! So, this really comes down to the question that you have to ask yourself: Why do I want/need this backpack? We live in a fast food world and some people get all fussy if it takes them 10 seconds to get a lens out of their backpack instead of 6 seconds. It doesn’t bother me but that is just me.

Can’t Carry A Camera Body With Lens Attached

Again, I don’t mind this feature because it makes the bag thinner and lower profile. But I have heard a number of people complain about this so it is certainly noteworthy. Each compartment in the gear section of the backpack is specifically designed for either a lens or a camera body. There’s really not a way to pack a camera body with a lens attached. This means that if your walking around without a camera in hand and see something happening you’d have to unzip your backpack, grab a camera body, grab a lens, attach them and stow the lens and body caps, re-zip the backpack and then shoot.

My solution: Always have a camera in hand! Any time I’m walking around with my backpack, you can rest assured that I also have a camera body and lens around my shoulder via a Black Rapid RS-7 Camera Strap. I put the strap around my shoulder first, then put the backpack on second. It works perfectly and the backpack doesn’t constrict the movement of the RS-7.

Conclusion

The ThinkTank Shape Shifter is by far my favorite camera backpack that I’ve owned to date. The advantages to the backpack far outweighed any potential setbacks in my opinion and I really can’t think of a better solution. This bag gives me the ability to carry large amounts of gear, but also the option to strip everything down and go incognito if need be.

Get a price on a ShapeShifter at Amazon.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

ThinkTank Shape Shifter Review

With that mentality in mind, I took a look at the Tamron 18-270mm after they sent me a review copy. Was it going to become my new pro lens of choice? No, and that’s not who it is built for.

Who it is built for, in my opinion, is anyone who loves to travel but doesn’t want to carry a quiver full of lenses for most occasions (read: heavy bag). Any zoom lens is a compromise as compared to a prime, or fixed focal length, lens and the limits of optics are a fierce field in the photography industry. An industry that didn’t see a competent 18-200mm lens until a couple of decades ago, is now seeing the limits pushed further with this 15X zoom entry.

Specifications

Length:96.4mm (3.8 inches)

Weight: 450g (15.4oz)

Filter Size: 62mm

Mounts Available: Nikon II, Canon, Sony (Note: Sony version is currently without VC capability)

Minimum Focus Distance: .49m (19.3 inches)

Current street price: $600 (Amazon currently have it for $585 via the links above and below)

Tamron’s Official Site

In Real Life

To test this lens, I took it with me on a couple of trips. First was a six week combination photo tour and personal trip to Nepal, Bhutan and India. Next followed three weeks in Peru. If this isn’t travel testing a lens, I don’t know what is. If you are looking for benchmark laboratory results, I suggest you check out DXO Mark. They have great stats for the tech-minded folks who want clean-room results. I tested this lens in dirty, hot, high altitude and often wet conditions and I am not an optic specialist. Just someone who relies on optics to make a living.

Let me state for the record that the Tamron 18-270mm is not perfect. It’s a zoom lens after all, and as I mentioned, all zoom lenses compromise. This lens is meant to cover a very wide range and is built for DX or APS-C sensor cameras (or crop-sensor camera…or a number of other terms, just not full sensor frame cameras). I include many test shots below and each links to a full sized copy you may download and pixel peep if that helps you. I performed very little editing on each image, just the basics from knowing how my camera presents images, so you can get an idea of what’s possible. I also included some less than stellar shots to show the lens’ limits.

In the hand, the lens feels solid but light. It is not made from all glass and that helps the weight, which comes in at just one pound. This is common in lenses of this range and you have to spend nearly twice as much before finding a lens that has more heft and solid elements. Controls on the lens are simple and I appreciate the zoom lock the lens will drop forward without the lock if carried with the lens pointing at the ground. The zoom has a smooth feel from 18mm until about 50mm and then there is a bit more resistance in the control ring. It’s not as smooth from 50mm-270mm as it could be, but it is not a hindrance. When in manual focus mode, the focus ring is light and easy to move and care must be taken not to bump it, it’s that easy to use. The last control on the lens is the Vibration Control (VC) switch and that is simply “On” or “Off”

Tamron claims the VC is good for up to four stops of vibration reduction and it’s my guess that is in a test lab with certain acceptable parameters. In real life, I found the VC helped by about the standard stop to two stops. I pushed the lens in a couple of case to four stops and it simply did not perform in creating sharp images, such as knowing I had a good shot at 1/100 and 50mm without VC and then taking the shutter speed down to 1/6 to see what would happen. Hand holding at 1/6 is tough by any standards and I was calm and steady as I could be, but the results were not satisfactory. However, when I dropped to 1/25th (being one stop under the rule-of-thumb 1/focal length slowest speed) the results were in line with other lens’ ability to reduce vibration blur. So in that regard, while my test didn’t show four stops of VC, I think it may be in the wording on Tamron’s part how they define the starting point. In my book, this lens performed as well as others for its ability to reduce lens shake with VC on. It is a useful feature.

In the field the lens returned above average results for the price range and zoom ability. It’s hard to find a comparable lens to test it against. So I used the standard criteria of, “Would I suggest this lens to a friend?” In that regard, yes, yes I would suggest it to a friend who is thinking of traveling and isn’t looking to sell 24”x36” prints to art galleries. I liked the image quality even though it was not stellar because not everyone is looking for professional level results. If they did, we’d all have $3000 lenses and $8000 bodies. Take a look at the images below and tell me what you think. As this lens pushes 15x zoom, there is some noticeable distortion, especially at the edges (as expected), but it is well within the acceptable range for me. This distortion is least noticeable in the middle range of the zoom.

This lens fits a niche. That niche is people who love to travel or who want only one lens for taking shots of their kids, be they near or far. The aperture is about standard for other lenses close to this range (I’d love to see the top end brought down to f/5.6 instead of f/6.3). The focus isn’t lightning fast as high-end L lenses but it is solid, accurate and the casual tourist will enjoy it. It makes micro adjustments easily once it is locked on and subjects move. I didn’t find it to hunt during any of my tests except for in the lowest of lighting conditions when every lens hunts.

Conclusion

The bottom line for me with a lens like this; would I suggest it to my parents if they were, “…going on a trip and we don’t want to mess around with a bunch of different lenses. We just want something that works well for scenic shots but also can zoom in for details”? Yes, I would. The lens is well suited for the vacationing family who doesn’t want to take up room or weight with a professional lens but still wants versatility in their equipment. Just don’t expect the VC to help you by four stops, stick with the 1/focal length rule and you’ll do fine.

Order this Lens

Tamron AF 18-270mm f/3.5-6.3 Di II VC PZD LD Aspherical IF Macro Zoom Lens with Built in Motor for NIKON DSLR Cameras

Tamron AF 18-270mm f/3.5-6.3 Di II VC PZD LD Aspherical IF Macro Zoom Lens for CANON DSLR Cameras

Tamron AF 18-270mm f/3.5-6.3 Di II PZD LD Aspherical IF Macro Zoom Lens with Built in Motor for SONY DSLR Cameras

Examples

Below are a number of examples taken while on the road. Clicking an image will bring up a full size image which may be a large file. Actually, it WILL be a large file. Don’t forget to check out DXO Mark for more laboratory data. All images shot with a Canon 7D and are handheld unless noted.

ISO 100, 18mm, f/5.6, 1/640

ISO 100, 270mm, f/6.3, 1/125

ISO 100, 169mm, f/6.3, 1/1250

ISO 100, 130mm, f/5.6, 1/320

ISO 100, 85mm, f/5.6, 1/320

ISO 100, 270mm, f/7.1, 1/160

ISO 100, 33mm, f/5.6, 1/500

ISO 500, 246mm, f/5.6, 1/200

ISO 500, 246mm, f/6.3, 1/125

ISO 800, 200mm, f/6.3, 1/100

ISO 800, 18mm, f/22, .3 seconds (tripod used)

ISO 800, 110mm, f/7.1, 1/80

ISO 1250, 18mm, f/4.5, 1/25 (Tripod used)

ISO 500, 92mm, f/7.1, 1/320

ISO 250, 27mm, f/5.0, 1/60

ISO 100, 54mm, f/9.0, 1/400

ISO 400, 270mm, f/7.1, 2 seconds (Tripod used)

ISO 2500, 50mm, f/5.6, 1/80

ISO 2500, 59mm, f/5.0, 1/13

ISO 2500, 18mm, f/6.3, 1/5

ISO 2500, 18mm, f.8.0, .3 seconds

ISO 320, 54mm, f/6.3, 1/160

ISO 4000, 100mm, f/5.6, 1/8000

ISO 100, 100m, f/32, 1/8

ISO 100, 110mm, f/5.6, 1/80

ISO 100, 270mm, f/6.3, 1/200

ISO 100, 23mm, f/13, 1/100

ISO 100, 23mm, f/10, 1/400

ISO 100, 92mm, f/13, 1/640

ISO 100, 246mm, f/6.3, 1/25

ISO 100, 50mm, f/7.1, /3 seconds (Tripod used)

ISO 100, 18mm f/10, 1/160

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Tamron 18-270mm f/3.5-6.3 Di II VC Piezo Lens [REVIEW]

Another new camera announced today comes from Canon – the Powershot G1X. This camera too comes with a larger CMOS sensor – however unlike many other cameras with larger sensors is an all in one camera with no interchangeable lenses.

Canon are billing it as an alliterative to a DSLR (or a 2nd camera for those with a DSLR who want something smaller) in that it has a higher quality image but in a portable body but I have to wonder whether the recent array of smaller interchangeable lenses are going to make people overlook this option – it’s definitely a statement that they’re not looking to head down that route with their larger sensor compact cameras.

The beauty of not having to include lens mounts means that they’re able to keep the size down, quality up and still have a pretty good focal range.

The Canon Powershot G1X comes with a 4x zoom (a 28-112mm equivalent) lens (f2.8-f.8) and a 14 megapixel sensor. It has a wide array of manual controls, optical viewfinder, ISO of 100-12800, 3 inch swivelling LCD and 4.5 frames per second shooting (and up to 6 frames).

The G1X has a retail price of $799.

Canon PowerShot G1X News Release

Canon today introduces the PowerShot G1 X – a revolutionary new compact camera with a large CMOS sensor, designed to produce DSLR levels of image quality and control in a highly portable metal body. Created for professional and serious photographers, the PowerShot G1 X creates a prestigious new category at the top of Canon’s legendary G-series line-up, and redefines the performance achievable from a compact camera.

A high-quality camera in its own right or the perfect complement to a professional DSLR, the PowerShot G1 X combines EOS sensor technology with DIGIC 5 processing power, a new precision Canon lens and extensive manual control – creating the finest compact camera Canon has ever produced. Designed to be highly portable, the PowerShot G1 X features a zoom lens which retracts into a discreet, robust metal body, providing photographers with an unimposing camera that delivers high quality images and superior handling.

Professional levels of image quality

Incorporating Canon-developed technologies and expertise trusted by professionals worldwide, the PowerShot G1 X offers a level of image quality previously only possible with a Canon DSLR.

It’s Canon’s first compact camera to feature a large, 4:3 aspect, 14.3 Megapixel CMOS sensor measuring 18.7mm x 14mm – similar in height to the APS-C sensors used within EOS DSLR models. Featuring the same pixel size and structure as the EOS 600D, and a surface area approximately 6.3 times larger than the sensor in the acclaimed PowerShot G12, it provides DSLR image quality in a body small enough to carry anywhere.

The increased sensor size allows photographers to have greater control over the depth of field, with increased potential to creatively and artistically isolate a subject from its background. Improved dynamic range enables users to accurately capture shadows and highlights within the same frame, while the 14.3 Megapixel resolution allows for the output of large-sized prints, or permits images to be cropped for more powerful compositions.

The PowerShot G1 X also features a range of benefits that result from the advanced CMOS sensor technology developed within Canon’s EOS range. On-chip noise reduction ensures images are clear, even at high ISO speeds, while a 4-channel read-out provides high speed image capture – ensuring fast, responsive performance in all conditions.

Combining the large sensor with the DIGIC 5 image processor, the HS System in the PowerShot G1 X sets new standards for low-light performance, with a maximum full resolution ISO range of 100 to 12800 – a level never before seen in a Canon compact. Photographers can shoot using the ambient light in even the darkest of conditions, capturing natural shots with incredible detail and low noise – providing a powerful basis for low-light photography.

Precision lens technology

Developed using the same design, manufacturing and quality processes as the world renowned EF lens range, the lens in the PowerShot G1 X is built to achieve professional levels of image quality. Utilising Ultra high refractive index Aspherical (UA) elements and precision glass moulding technology, the lens achieves both a compact size and pin-sharp clarity for the most discerning of photographers. The lens retracts compactly into the camera body while offering a flexible 4x optical zoom range of 28mm – 112mm, giving photographers the option to use the zoom creatively and change the framing and perspective of their shot. A 6 blade aperture also combines with the largesized sensor to produce beautiful background blur.

To help ensure optimum image and Full HD movie clarity, the lens features a 4-stop optical Image Stabilizer (IS), allowing photographers to shoot in darker conditions and use shutter speeds up to four stops slower than would be possible without IS. The optical Image Stabilizer is supported by Intelligent IS which analyses the focal length, focal distance and type of camera movement and applies the most appropriate Image Stabilizer mode1. For example, when a panning motion is detected, Panning IS is activated and stabilises in only one direction for more artistic capture of movement across the frame. Hybrid IS technology is also included to capture macro subjects without the blur associated with shift camera shake.

The lens also includes an in-built 3-stop Neutral Density (ND) Filter, permitting the use of wider apertures in bright light to achieve a shallower depth of field, or to use slower shutter speeds to intentionally blur motion.

Extensive control

Following on from the control historically offered by the PowerShot G-series, the PowerShot G1 X offers Full Manual Control with shooting mode and exposure compensation dials for quick and intuitive access to a range of settings. For maximum control over the final image, the PowerShot G1 X fits seamlessly into the EOS photographer’s workflow, supporting 14-bit RAW capture for smooth gradations and natural colours which can be fine-tuned using the supplied Digital Photo Professional (DPP) software.

Giving photographers the option to capture split-second action, the PowerShot G1 X features High-speed Burst HQ, capturing bursts of six full-resolution shots at 4.5fps to freeze fast-moving action. Alternatively, users can shoot continuously at 1.9fps right up to card capacity in JPEG format – ensuring longer sequences of action are captured.

High quality, Full HD movies

The PowerShot G1 X supports Full HD (1080p) movie capture instantly at 24fps, via a dedicated movie button. Taking advantage of the camera’s large CMOS sensor, users can experience high quality movies, even in low light conditions, with the shallow depth of field associated with a larger sensor. Additionally, the 4x optical zoom can be used whilst filming, offering versatility, while stereo sound is also captured.

Professional handling

With its robust, stainless steel chassis and compact design, the PowerShot G1 X offers professional-quality handling. A large vari-angle, 7.5cm (3.0″) PureColor II VA LCD screen allows photographers to shoot from virtually any angle or position, to get the composition they desire. The bright, high-resolution, 920k dot LCD provides a sharp, detailed platform for image framing and review, while an optical viewfinder (OVF) with dioptre adjuster gives photographers the option to shoot according to their individual style. A newly-integrated manual pop-up flash provides the option to add additional light to a scene, and, using the hotshoe, external Canon Speedlite flashes can also be used.

Advanced shooting modes

A range of advanced shooting modes are provided to assist photographers in capturing challenging scenes and situations. When shooting in very dark conditions without a tripod for example, Handheld Night Scene captures a high-speed sequence of shots, combining the data to produce one well-exposed image with minimal blur.
Additionally, High Dynamic Range (HDR) mode captures scenes with a particularly high range of bright and dark tones, taking multiple exposures and combining them to deliver rich detail in shadows and highlights.

Expanded potential through accessories

Ideal for EOS DSLR users, the PowerShot G1 X is compatible with a range of EOS System accessories, allowing photographers to instantly expand the potential of the camera. Canon’s EX Speedlite flash units can be used for creative lighting, while the WP-DC44 waterproof case provides protection to a depth of 40m – ideal for shooting in the heavy rain or taking shots underwater – with full access to all controls.

An optional lens Filter Adapter, FA-DC58C, also enables photographers to use a range of filters, such as a circular polariser to enhance blue skies or remove reflections. For more even lighting when shooting macro subjects, a Macro Ring Lite adapter (MLA-DC1) allows Canon’s Macro Ring Lite or Twin Lite flash units from the EOS System to be used.
Offering truly advanced levels of professional control alongside unprecedented image quality, the PowerShot G1 X is the ideal camera for professional and serious photographers who demand DSLR flexibility and quality from a compact camera.

PowerShot G1 X – key features:

• Large 14.3 MP CMOS, DIGIC 5, HS System
• Compact 4x zoom; Intelligent IS
• 7.5 cm (3.0″) vari-angle LCD; OVF
• Full Manual, RAW, DPP
• Full HD, HDMI
• High-speed Burst HQ
• Smart Auto
• Extensive accessories
• HDR mode and ND filter
• Optional 40m waterproof case

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Canon PowerShot G1X Announced

One of the fastest growing segments of the digital camera market is the smaller bodied interchangeable lens mirrorless cameras that have been released by many manufacturers in the last 12 or so months. Filling the gap between DSLRs and compact point and shoots – these cameras give the flexibility of being able to change lenses with the benefits of not having to lug around a larger camera. Increasingly they’re providing these benefits with a really high standard of image.

One manufacturer doing great things in this space is Fuji who have won a lot of fans in the last little while with their highly acclaimed X100.

Today they went one further and released the Fujifilm X-Pro1 – an interchangeable lens system aimed at the professional and advanced amateur audience. It’s a 16 megapixel camera with a new custom APS-C sized sensor and hybrid optical and electronic viewfinder.

It is being launched with 3 lenses – a 18mm (27mm equivalent) f2.0, a 35mm (53mm equivalent) f1.4 and a 60mm (90mm equivalent) f2.4 macro lens. It’s great to see them releasing some nice fast lenses.

Design wise it’s a pretty minimal design – still a little retro and rangefinder-ish like the X100 but all in black this time.

There’s a lot more to say about this camera but rather than rehash all the details check out the news release and hands on video below. We’ll do our best to put hands on an X-Pro1 to test it for ourselves but until then check out the video below.

The Fujifilm X-Pro1 will be available in February and price is expected to be released later this month.

Here’s a video from Fujifilm with a good look at it:

Also below is the official news release for the X-Pro1.

Fuji X-Pro 1 News Release

Fujifilm is proud to announce the new model changes the rules in the new interchangeable lens system: Fujifilm X-Pro1. This camera is aimed at a professional audience and advanced amateurs and incorporates advanced technologies such as Trans-X’s unique sensor CMOSTM megapixel APS-C 16, a new X port for mounting the lens, a viewfinder and three hybrid optical the base.

X-Pro1 sets new standards in image resolution

For this camera, Fujifilm has developed a new CMOS sensor called X-TransTM CMOSTM which is able to provide a response similar to that of a sensor “full frame”.

The new array (CFA – Color Filter Array) opens the way for an ideal sensor that does not require an optical low-pass filter. This filter is in fact essential for the reduction of false colors and moiré generated by conventional sensors, but at the same time, also degrades the resolution. Fujifilm has developed a new matrix that is inspired by the CFA random arrangement of the grain in the film, eliminating the need for optical low-pass filter to solve the problems of false colors and moiré. In the matrix, RGB pixels are arranged in groups of 6×6 pixels with high aperiodicity (randomness).

Increasing the degree of randomness eliminates the root cause of the false color and moiré, a problem that occurs in conventional matrix elements during the filming of rows and other repeating patterns. The presence of a pixel R, G and B in each series of horizontal and vertical pixels minimizes the generation of false colors and provides superior color reproduction themselves.

The use of a matrix inspired by the film has necessitated a more powerful processor to process image data for this FUJIFILM EXR Processor Pro has created this project to optimize the potential of the Trans-X sensor CMOSTM providing high speed and high-precision image processing.

Fujinon XF for the best image quality

The Fujinon lenses used for television broadcasts and medium format cameras, have always been associated with high image quality. All the experience in the design of the optics has been used in the study phase of the objectives dedicated to X-Pro1.

The targets are launched with the machine, and three are part of the new XF series Fujinon: “XF 18mm F2 R”, “XF 35mm F1, 4 R” and “R XF 60mm F2 Macro 4. These objectives are compact, very bright and offer precise control over depth of field effect and the possibility out-of-focus bokeh thanks to the design of the curved blades of the diaphragm. The slats are curved to create a circular image at all apertures, while the edges of each blade is carefully rounded for a sharper image.

The feeling of solidity and the precise mechanics of optics will satisfy the desire of photographers to capture multiple images with every shot.
 

FUJIFILM Attack “X-Mount” to maximize performance

Designed specifically to maximize the design “mirrorless” of the body, X-mount flange has a short distance posterior to the sensor plane, equal to only 17.7 mm. This means that the rear lens as close as possible to the sensor. The wide opening allows you to attach the lens deeper inside the body – up to about 7.5 mm from the mounting surface – minimizing the distance of “back focus” of each lens for high resolution to the edge of the image.

Hybrid Multi Viewfinder

FUJIFILM’s revolutionary hybrid viewfinder appeared first in the X100. With its ability to instantly switch between optical viewfinder and an electronic viewfinder, the viewfinder hybrid has added a new dimension to the pleasure of composing photographs.

The user may choose to use, depending on your mood or need, depending on the optical viewfinder for a picture as real as possible and have all the information electronically in real time.

The advantage of hybrid viewfinder is the ability to combine the two technologies to get the ultimate in visual quality and functionality, allowing you to place the composition of images through a bright viewfinder and offering the ability to overlay important information for the release of photos. The change from a crosshair to another is easy, thanks to the switch on the front of the body of the X-Pro1.

When mounting a Fujinon lens on the X Series XF-Pro1 in the viewfinder magnification and size of the light frame automatically change to support its focal length. The viewfinder magnification, equal to 0.37 for x and 0.60 x 18mm lens for the 35mm and 60mm, allows you to compose the scene with the brilliant optical clarity and sharpness of an image. The X-Pro1 also gives the freedom to manually set the focal distance and switch to another magnification of the viewfinder.

Technology and careful design

The top and bottom made of aluminum alloy die-cast and hand enameled precise engravings on the top and the camera lens, point to the fact that all the X-Pro1 is built with attention to detail and uncompromising quality.

This attention to detail extends to dial in shutter speed and exposure compensation control, precisely machined from solid metal. In addition, the locking mechanism and the shutter switch exposure compensation set back, are designed to prevent accidental change of settings. The edges of the selectors have a knurled finish, knurled detail, for a grip and an excellent feeling.

The seal “Made in Japan” also present on the body of the new X-PRO1, confirming that each part of the building meets the highest standards FUJIFILM.

The lens hood with precision knurled aluminum, supplied with the lens is designed exclusively for Fujinon XF. The hood is compact and lightweight and offers excellent performance with a design that perfectly matches the style of X-Pro1.

The diameter of the aperture ring and focus of the three interchangeable lenses Fujinon XF is only slightly larger than the diameter of the objective to standardize the elegant design. The precise machining of the metal, the reassuring click each picture to the aperture ring and a comfortable pair of resistance when using manual focus, contributing together to improve the shooting experience.

The coating of X-Pro1 was designed to be weather resistant and provide a look of quality. The body of X-Pro1 was designed for the complete comfort of the photographer, the natural form of the eyepiece also provides excellent protection from light. The viewfinder you can use an additional lens (optional) for diopter adjustment.

Fujifilm continues the myth of the films

Further improvements have been made to the options Film Simulation Mode with the new “Professional Color Negative Film Modes” (Pro Neg. Neg Standard and Pro. Hi) designed for users who work in the studio with the X-Pro1. If you want to take the same scene in different film simulation modes, X-Pro1 offers the option of bracketing “Film Simulation”, along with AE Bracketing, Dynamic and ISO.

Fujifilm has also included the Film Simulation mode by which X-Pro1 simulates the color and tonal qualities of popular FUJIFILM emulsions. These include the colors of Velvia, the skin tones soft and natural look of the ASTIA TEST.

Pro1-X allows you to use special color filters to expand the photographic interpretation: to increase the contrast with the yellow and red filter, make brighter green and red filter with the deepest green. Just as professional photographers when selecting a filter paper and printing to complement their creative vision, now you can easily adjust the image quality with these filters. For those who wish to achieve a more nostalgic is also a sepia filter.

Through advanced digital processing, X-Pro1 is able to simulate the multiple-exposure technique: simply select this mode and the first shot. In the hybrid viewfinder or LCD you can see what the end result and then framing the precise second shot.
 

A series of exclusive accessories

The handle HG-XPro1 optional, helps balance the weight of the camera, allowing a more comfortable grip and offers a uniform look to the lines of X-Pro1.

The Flash EF-X20 option, to be mounted on the hot shoe is designed as a complementary accessory to the X-Pro1. A switch lets you choose between two modes: AUTO, which automatically optimizes the flash to daylight for outdoor and indoor shooting in low light; MANUAL for manual control. In addition, the built-in speaker, easy to use, it helps to soften the effect of excessive contrast created by the flash.

The leather case LC-XPro1 optional *, X-shaped to protect Pro1, is designed to allow quick access to the camera. Particular attention was paid to every detail: the red interior that contrasts with the black leather exterior, the accuracy of the stitching and the adoption of a magnet hidden for closure. This beautiful case is completed with the inclusion of a genuine leather strap and a protective cap bellows for different optics.

Filter Protector and Protector Filter 39mm 52mm optional protective filters are dedicated to the new XF goals. Super EBC treatment of these filters effectively reduces reflected light. The ring of the filter, made with a special process, fits the overall design of the optics.

Fujifilm and X-lenses Pro1 18mm F2 R XF, XF 35mm F1, 4 R and R XF 60mm F2 Macro 4 will be on sale from March 2012.

Key Features

• New CMOS sensor called X-TransTM CMOSTM
• New EXR Processor Pro
• Three Fujinon dedicated XF
• FUJIFILM Attack “X-Mount”
• Hybrid Multi Viewfinder
• Sensor Cleaning System Ultra Sonic Vibration
• RAW files
• Full HD video and stereo audio
• Shutter: Focal Plane Shutter
• “Made in Japan” extremely accurate
• Film Simulation Mode Advanced
• Range of optional accessories dedicated

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Fuji Release the Fujifilm X-Pro1

Sniff test it? Yes he did… Watch the video below for Jared’s reaction to the newly announced Nikon D4

Potentially available end of Feb 2012 and coming in at around $6,000…

Here’s the video, press release right below it!

Follow @FroKnowsPhoto for more updates (He is spree casting at 11:30 PST)

Here is the FULL Nikon Press Release for the brand new Nikon D4

The New 16.2 Megapixel Nikon D4 Wields a Formidable Fusion of Swift Performance, Battle-Tested Technologies and Innovative New Features to Create High Caliber Photo and HD Multimedia Content

MELVILLE, N.Y. (Jan 5, 2012) – The new Nikon D4 digital SLR builds upon the legacy of the proven Nikon flagship D-SLRs before it, engineered to give today’s professional multimedia photographers a new apex of speed and accuracy with unparalleled image quality, low-light capability and Full HD video. The Nikon D4 hosts a multitude of advanced new features and useful functions that deliver speedy performance and amazing image quality for when missing the shot is not an option.

Every aspect of the new Nikon D4 D-SLR has been designed to emphasize rapid response and seamless operation to help professional photographers consistently capture incredible content. Nikon’s proven 51-point AF System has been further enhanced for maximum speed in a variety of challenging shooting situations, even at 10 frames per second (fps). Considered the new Nikon flagship, the D4 renders supreme image quality, a feat accomplished with a new 16.2-megapixel FX-format CMOS sensor, coupled with the latest generation of Nikon’s EXPEED 3 image processing engine to help produce images and videos with stunning clarity and color. Photographers are also able to shoot in even the most challenging environments and lighting conditions with the assistance of Nikon’s new 91,000-pixel 3D color matrix meter and a broad ISO range from 100 to a staggering 204,800 for low-light capture like never before. The Nikon D4 is engineered for the modern professional and incorporates never before seen HD-SLR video features for those who also need to capture multimedia content from the field.

“Speed without accuracy is irrelevant,” said Bo Kajiwara, director of marketing, Nikon Inc. “The status of a Nikon flagship camera is not given lightly; this next generation of Nikon’s most professional body exceeds the needs of a wide variety of both still and multimedia professionals that rely on Nikon to make their living. Besides overall performance and burst speed, the D4 provides Nikon’s most advanced AF system to date, as well as enhanced workflow speed to give professionals the edge in the field.”

Velocity Meets Versatility
Speed is a necessity for today’s multimedia photographer as milliseconds matter when the action commences. Whether an assignment relies on fast processing power, burst rate, write speed, enhanced workflow or even streamlined camera controls, the D4 is the epitome of professional-caliber photographic horsepower. Ready to shoot in approximately 0.012 seconds, the new Nikon D4 can capture full resolution JPEG or RAW files at up to 10 fps with full AF / AE or up to 11 fps with AF / AE locked. Immediately before image capture, the camera interprets data from the AF sensor, including subject color as detected on the 91,000-pixel RGB sensor, to deliver consistently tack-sharp focus frame after frame. Whether a photographer is shooting a full-court fast break under gymnasium lighting or the downhill slalom in the bright sun and frigid temperatures, the D4 will instill the confidence with consistently great results.

The Advanced Multi-Cam 3500 AF autofocus system is the next generation of Nikon’s proven 51-point AF system. The fully customizable system offers users the ability to capture fast moving subjects and track focus with precision or select a single AF point with pinpoint accuracy. The Nikon D4 D-SLR aligns 15 cross-type sensors in the center to detect contrast data in both vertical and horizontal planes. In addition to detecting each AF-NIKKOR lens with an aperture of f/5.6 or lower, the camera also utilizes nine cross-type sensors that are fully functional when using compatible NIKKOR lenses and TC14E or TC17E teleconverters or a single cross-type sensor when using compatible NIKKOR lenses and the TC20E teleconverter with an aperture value up to f/8, which is a great advantage to those shooting sports and wildlife. For maximum versatility in situations such as photographing nature from afar or competition from the sidelines, photographers are also able to select multiple AF modes, including normal, wide area, face tracking and subject tracking, to best suit the scene.
The Nikon D4 D-SLR also employs a new 91,000-pixel RGB 3D Color Matrix metering system that meticulously analyzes each scene and recognizes factors such as color and brightness with unprecedented precision. This data is then interpreted and compared against D4’s on-board database to implement various settings, resulting in vibrant images with faithful color reproduction and balanced exposure. In addition, this new AF sensor now has the ability to detect up to 16 human faces with startling accuracy, even when shooting through the optical viewfinder, allowing for correct exposure even when the subject is backlit. Additionally, to capture every brief moment from a bouquet toss to a photo finish under nearly any condition, the 51 focus points deliver fast and accurate detection down to a -2 EV with every AF-NIKKOR lens.

All of this image data is funneled through a 16 bit pipeline and are written to dual card slots which have been optimized for the latest UDMA-7 Compact Flash™ cards, as well as the new XQD™ memory card. The D4 is the first professional camera to harness the capabilities of this new durable and compact format, which offers blazing fast write times and extended capacity essential for multimedia professionals shooting stills and video.

Image Quality That Hits the Mark
The heart of the new D4 is the Nikon-developed 16.2-megapixel FX-format (36 x 23.9mm) CMOS sensor that provides amazing image quality, brilliant dynamic range and vivid colors in nearly any lighting condition. By achieving the optimal balance of resolution and sensor size, professional photographers will realize exceptionally sharp, clean and well saturated images throughout the entire ISO range.

Like the D3 and D3s before it, the Nikon D4 retains Nikon’s status as the sovereign of low-light capture ability, with a native ISO range from 100 to 12,800 ISO, expandable from 50 (Lo-1) to an incredible yet usable 204,800 (Hi-4). From a candlelit first dance to nocturnal wildlife, the large 7.3µ pixel size absorbs the maximum amount of light to excel in any situation. Additionally, the sensor’s construction features a gapless micro-lens structure and anti-reflective coating which further contributes to images that retain natural depth and tones with smooth color gradation. For ultimate versatility, photographers can also take advantage of the camera’s extreme high ISO ability while recording video.

Another factor contributing to the camera’s rapid performance and stellar image quality is Nikon’s new EXPEED 3 image processing engine that helps professionals create images with amazing resolution, color and dynamic range in both still images and video. From image processing to transfer, the new engine is capable of processing massive amounts of data, exacting optimal color, perfect tonality and minimized noise throughout the frame.

There are also a variety of shooting options available to help capture the highest quality images and video. In addition to standard NEF (RAW) files, the D4 is also capable of shooting smaller compressed RAW files to ease storage and speed up workflow. Users are also able to capture even more dynamic range with the in-camera High Dynamic Range (HDR) function that merges consecutive exposures. For deep contrast and further tonality, Active D-Lighting can also be activated during shooting for balanced exposures even in backlit scenes. Additionally, the camera features a dedicated button for quick access to Nikon’s Picture Controls, allowing users to quickly select one of six presets.

Professional Multimedia Features
The Nikon D4 D-SLR is engineered with innovative new features for the multimedia professional that needs the small form factor, low-light ability and NIKKOR lens versatility that only an HD-SLR can offer. The new features add functionality for those professionals looking for the best possible experience to capture a moment in Full HD 1080p video at various frame rates, providing footage that is more than suitable for broadcast.

Full HD video recording – Users have the choice of various resolutions and frame rates, including 1080p 30/24fps and 60 fps at 720p. By utilizing the B-Frame data compression method, users can record H.264 / MPEG-4 AVC format video with unmatched integrity for up to 20 minutes per clip. This format also allows for more accurate video data to be transferred requiring less memory capacity. The sensor reads image data at astoundingly fast rates, which results in less instances of rolling shutter distortion.
Full manual control of exposure – Shutter speed, aperture and ISO can be changed while recording to adapt to lighting and alter depth of field for professional cinematic results that help realize a creative vision.
Uncompressed output: simultaneous Live View – By using the camera’s HDMI port instead of the CF or XQD card, users can stream an uncompressed full HD signal directly out of the camera. This footage can be ported into an LCD display or appropriate external recording device or routed through a monitor and then to the recording device, eliminating the need for multiple connections.
Audio recording for professionals – The Nikon D4 features a stereo headphone jack for accurate monitoring of audio levels while recording. Output can be adjusted in up to 30 steps for precise audio adjustment. The D4 offers high-fidelity audio recording control with audio levels that can be set and monitored on the camera’s LCD screen. The microphone connected via the stereo mic jack can also be adjusted with up to 20 steps of sensitivity for accurate sound reproduction.
Multi-area Mode Full HD Video: FX/DX, and 2.7x crop mode at 1080p video modes – Whether shooting for depth of field in FX format mode, or looking for the extra 1.5X telephoto benefits of DX mode, the high resolution sensor of the D4 allows videographers to retain full 1080P HD resolution no matter what mode they choose. With the 2.7x crop, users can experience ultra-telephoto benefits in full HD resolution all at 16:9 aspect ratio.
Simultaneous live view output without display / simultaneous monitor – Shooters have the option to send the display signal directly to an attached monitor via the HDMI port. This signal can be viewed on the camera’s LCD screen and external monitor simultaneously. Additionally, the image data display can be cleared from the screen, to remove distracting data or when feeding a live signal.
Full-time AF – In addition to manual focus, four modes are available, including normal, wide area, face detection and subject tracking, which uses fast contrast detect AF to accurately focus while recording video and in live view.
New LCD screen – The large high resolution 3.2-inch LCD screen is 921K dots, and includes auto brightness adjustment. Users can also zoom in up to 46x to check critical HD focus.
Time lapse shooting – This new feature combines a selected frame rate and “shooting interval” in a dedicated time lapse photography menu. Playback can be achieved with a wide variety of speeds from 24x to 36,000x while producing a fully finished movie file output for faster multimedia workflows.
Remote shutter operation – Using dedicated Movie Custom Settings, recording can be set to be engaged by the shutter release button -users can now use a variety of remote accessories to trigger video recording.
NIKKOR lens compatibility – The highest caliber optics are vital to creating HD images and Nikon is the world leader in optics manufacturing with a legacy spanning more than 75 years. Nikon has a vast NIKKOR lens system, with more than 50 lenses with a variety of focal lengths and features, including VR II vibration reduction.

Professional Construction, Superior Operability
The reputation and respect bestowed upon a Nikon D-Series flagship camera is earned from those who use it; therefore the chassis of the Nikon D4 is machined from magnesium alloy for maximum durability and reliability. The body of the camera is sealed and gasketed for resistance to dirt and moisture, as well as electromagnetic interference. Photographers are able to easily compose through the bright optical viewfinder, which offers 100% frame coverage. The shutter has been tested to withstand 400,000 cycles for maximum durability, while sensor cleaning is employed by vibrating the OLPF. The self diagnostic shutter unit also encompasses a mirror balancer to minimize the residual “bounce” to enhance AF and extend viewing time. What’s more, the viewfinder is coated with a new thermal shield finish which works to resist overheating during prolonged use, enhancing overall reliability. Users can easily compose on the camera’s wide, bright and scratch resistant 921,000-dot high resolution 3.2-inch LCD screen.

The overall controls and operability of the camera has also been engineered with a renewed emphasis on speed and functionality. During critical moments, users will appreciate refined button layouts with renewed ergonomics, such as a quick AF mode selector placed near the lens mount for fast access on the fly. A new joystick style sub-selector is also placed on the camera’s rear for AF point and option selection, while vertical controls have been enhanced for improved operability. Finally, to continue the D4’s moniker of the best tool for just about any condition, key control buttons on the back of the camera can all be illuminated, making the camera simple to operate in complete darkness.

Nikon has also made enhancements to overall workflow, adding options to streamline the process and maximize shooting time. Users are now able to automatically generate IPTC data for their images and image sets, making organizing and chronicling images easier for both the photographers and their editors. A wired Ethernet port is also utilized so that a user can shoot tethered and transfer images easily and quickly to clients. Nikon has also introduced the new WT-5A wireless file transmitter, to transmit via FTP server or computer. The device can be set to transfer either automatically or manually selected images. This device also allows for remote operation of the camera using Nikon’s Camera Control Pro 2 software. A mobile application is also in development to control the camera using this accessory, which will include the ability to trigger the shutter and record video, making this a must-have remote accessory for many professionals.

Price and Availability?The Nikon D4 will be available in late February 2012 for the suggested retail price of $5999.95.*

To see the new D4 D-SLR and other new Nikon products, visit Nikon at the 2012 International Consumer Electronics Show (CES) at booth # 11039 from January 10-13th, 2012 in Las Vegas, NV.

About Nikon?Nikon, At the Heart of the Image™. Nikon Inc. is the world leader in digital imaging, precision optics and photo imaging technology and is globally recognized for setting new standards in product design and performance for its award-winning consumer and professional photographic equipment. Nikon Inc. distributes consumer and professional digital SLR cameras, NIKKOR optics, Speedlights and system accessories; Nikon COOLPIX® compact digital cameras; 35mm film SLR cameras; Nikon software products and Nikon sports and recreational optics as well as the new Nikon 1 advanced camera with interchangeable lens system. In 2011, production of NIKKOR lenses surpassed 65 million, creating a new milestone in Nikon’s heritage of superior optics.  For more information, dial (800) NIKON-US or visit http://www.nikonusa.com, which links all levels of photographers to the Web’s most comprehensive photo learning and sharing communities. Connect with Nikon and other photographers on Facebook at http://www.facebook.com/nikon and get the latest news and information from Twitter by following @Nikon_USA.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Nikon D4 to blow our minds?