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Sony Adds 3 E Mount Lenses, a New A-to-E Adpater, and New EVF

In addition to the two nex NEX bodies, Sony is further expanding its NEX system with a few news lenses, a new Alpha mount adapter using the same pellicle technology as their SLT Alphas, and a new FDA-EV1S external viewfinder with the vastly improved 2 million dot (anyone tired of reading that yet? I’m certainly tired of typing it, anyway) OLED 0.5″ display buried inside.

The most exciting of the three lenses is probably the one bearing the name of Mr Carl Zeiss instead of the Sony brand, and this one is the CZ Sonnar T* E 24mm f1.8. See pros, I told you there’d be some nice stuff to perk up that NEX-7 here.

The other two lenses are both Sony branded, and are both “OSS,” indicating they add in-lens stabilization to the mix. The first is the E 50mm F1.8 OSS, which works out to a 75mm 1.8 portrait prime. The other s the more pedestrian E 55-210mm F4.5-6.3 OSS, which exists as the consumer-level telephoto compliment to the 18-55mm kit lens.


If you’ve got a bunch of Alpha or Minolta A glass around, but don’t like the crippled AF functionality offered by the current mount adapter, Sony’s new mount adapter has the solution to your woes. It has Sony’s SLT semi-translucent mirror built in, which can direct a portion of the light to an autofocus sensor, which is also built in. It is named, in a rare moment of lucidity for the camera industry, the LA-EA2, or “Lens Adapater, E to Alpha, revision 2.” Craziness.



Its time to polarize!

If i had a nickel for every time someone asked if they need a polarizing filter…i should change my name to Jefferson.  The thing about polarizing lenses is that you really do need them, when you need them.  I should change my name to Cryptic Jeff.  A polarizing filter is designed to do one thing very specifically and it is truly (so far) the only way to achieve the effect.  I say “so far” because software is becoming more competent every day and could, at some point in the not to distant future, replace the need for optical filtering.  The image to the left is from my recent trip to the National Street Rod Association’s annual hot rod event.  Using a polarizer is a must for an event like this.  The ability to cancel out the reflective value and allow the color of the paint to show will make a HUGE difference in the look of your image.

For a fancy description of what a polarizing filter does to the light that makes your image see this incredibly boring wikipedia article.  For those of us that cant call MIT our Alma Mater, a polarizing filter allows certain wavelengths (colors) of the visible light spectrum to come through the lens and bounces other wavelengths away.  These filters are very effective at reducing reflections and this is why polarized lenses are used in sunglasses.  Here is the tricky part though, you can purchase $10 sunglasses or $200 sunglasses and there is a major difference in how efficient the glasses are at polarizing the light.  The same holds true for lens filters.  A high quality filter (which will cost more than a few Jeffersons) is going to deliver consistent results across the entire field of view of the lens.  This is especially important when using wide angle lenses.

Wide angle lenses have a very large field of view which means the light that makes that image is collected and bent into the camera lens at a steep angle.  High quality camera lenses are built to correct for optical aberrations that occur as a result of the light being manipulated in this manner.  Low quality filters are not.  A cheap polarizing filter will not provide a consistent effect across the entire field of view of the image.  Instead you will be left with the effect in one area while the rest of the image remains unaffected.  Keep in mind a cheap polarizing filter for an average sized consumer lens can set you back about $50-70 .  Typically you will invest another 25-35% for a pro-grade filter like the B+W or Hoya HD brands.

So, while most photographers think of using polarizing filters for landscape shooting because it produces a rich blue sky with nice contrast in the clouds,  it is also minimizing unwanted reflections and glare in your scene.

The image to left is shot with exactly the same camera settings, lens, camera body, position of camera, etc as the image to the right.  The only difference is the use of a polarizing filter on the image to the right.  Note how the reflection of the sun is not completely hidden.  No polarizer will do that.  Pick your battles.  More importantly, notice how the beautiful color of the classic Corvette comes through with a properly used filter.

Both of the following images were shot with a polarizing filter, but the filter was set to different position in its rotation.  The top image was set to reduce glare on the hood of the car.  In this case the color wasnt being drastically affected by the reflection of the sky, but the reflection was extremely annoying to see.  However, notice the glare on the side of the truck to the right side of the image.  Because  these two surfaces are perpendicular to each other, you cannot polarize to reflection on both surfaces simultaneously.

The image below shows the reflection on the hood of the car but omits it on the truck.

As always, click on any image to see it larger.



SpyderGallery Calibrates Your iPad Screen

If you could be a color, which one would you be? Whatever your choice, you want it to be accurate and true.

If you happen to be in the group of people who own both a Spyder3 calibrator and an iPad or iPad 2, then you’re exactly the sort of person DataColor would like to show their new-ish app to. It lets you calibrate your display… sorta. Obviously it can’t access the root level functions of your iPad, Apple’s toys don’t work that way. But, it can calibrate the screen while it is open itself, and that’s what it does. You run the app, and you access your photo library from inside it, and so long as you’re doing that then you can show your pictures off with accurate color calibration.

It’s a free bit of software, so, it’s worth the try if you’ve picked up a Spyder3 along the line for your other calibration needs. You can grab it from the Apple App Store via the external link.



Induro Announces Three New Adventure Tripod Outfits

Induro, while perhaps not carrying the same brand recognition Manfrotto and Gitzo do, is nonetheless a very quality manufacturer of tripods, and they have also announced three new additions into their entry-level Adventure series, which features portable tripods with integral heads. The three new Adventures, the AKP0, AKP1, and AKP2, may vary in size but contain a virtually identical set of standard features. According to their site, you’re looking at:

  • Wide Stance Cross-braced Magnesium Alloy Spider
    provides ultimate core system stability
  • Oversized Center Column Lock
    adds vibration reducing structural support
  • Matched Precision Unique Three-Way Panhead
    with quick release plate and folding handles that allows precise camera positioning and easy transport
  • Non-Rotating Double-Keyed Leg Sections
    advanced new tubing design provides extra strength and permits easy setup
  • Quick Lock Legs
    tripod height can easily be set by a flip of the quick lock leg levers
  • Reversible Center Column
    allows low angle shooting
  • Spring Loaded Weight Hook
    allows additional weight mounting stability during windy conditions
  • Adjustable Leg Angles with Lock
    accommodates uneven surfaces and awkward shooting situations
  • Grooved Center Column
    prevents unwanted column rotation
  • Integral Bubble Level
    allows adjustment to prevent uneven pans and tripod head movements
  • Snap-in Quick Release Plates
    interchangeable QR system assures effortless and rapid camera changes
  • Closed Cell Foam Grip
    provides comfortable handling during cold or hot outdoor conditions

Also note all three of these new ones are panheads. It looks like the previous generation with ballheads will continue to exist alongside this new strain. They’ll set you back between $164 and $220, depending on how big of one you need, but for that price you get the complete tripod and head set, so, it’s pretty good for those of you starting to get serious about photography. A cheap tripod will wobble enough to actually add shake to your photos instead of lessening it, so, it’s really worth upgrading to a proper quality set of legs for your shooting.



Tenba Announces Very Brightly Colored ‘Vector’ Series Bags

Tenba, having clearly decided that understated, incognito bags just don’t make enough of a statement for some people, has come out with it’s new, boldly colored ‘Vector’ line of bags. Which are also the first bags to feature their new logo, as you can see. While we’re looking at the logo, Roberts Raw would like to be the first to make the following observation:

OK, that out of the way, here’s what Tenba has to say about this new collection:

VECTOR is a unique collection of prosumer bags with a striking monochrome design. Every zipper, clip, D-ring, rain cover, lens cloth and piece of fabric is custom-dyed in three of the latest trend colors (plus black) and made to match. Vector bags are extraordinarily lightweight, and constructed of water-resistant fabrics for protection in wet weather conditions. The materials and hardware used in each bag meet the “Crafted Without Compromise” level that has continued to be Tenba’s signature. All bags are available in Krypton Green, Oxygen Blue, Cadmium Red and Carbon Black.

The system will be made of three pouches, two top-loaders, three shoulder bags, and a daypack, all available in Cadmium Red, Carbon Black, Oxygen Blue, or–our favorite–Krypton Green. Tenba makes good bags, and my Messenger has been doing me quite well since I bought it last summer, so, I’m rather excited to see these vibrant beasties start coming to shelves.



Super-zooms Still Exist: The Olympus Stylus SP-610 Ultra Zoom

So, this just in, the superzoom point-and-shoot market isn’t dead, it seems. Olympus has announced a new entry to their SP- UZ series of ‘superzoom,’ ‘ultrazoom,’ or ‘bridge’ style cameras. The bodies have gotten much smaller these days, but with their still notable lens barrels these cameras look a bit more like a DSLR, and pack in way more zoom than is probably healthy. This year, we’re looking at a 22x zoom lens here, covering 28 – 616 mm and ranging from f2.8- 5.6. So, pretty respectable there. And, er, it’s got like, 14 megapixels, and 8 art filters, and 3″ LCD with sadly low resolution, and it shoots 720 p and you totally stop caring about the other details after that zoom, didn’t you? It’s OK, it’s an impressive zoom, and it’s really the selling point for this camera.

“Why, hello sir, do you need an obscene amount of zoom to revel and romp in?”

“Why, actually, I do.”

“Aha! Well, the Olympus Sp-610 UZ it is for you then, sir! Right this way…”

It’ll be about $230ish, and should come out “soon.”



Power of Light – Small Flash Pt. 2

To continue our small flash theme from last week, lets talk in detail about some regular uses of speedlights.  In an effort to keep this simple, i will limit this post to two styles of photography: macro (close-up, high magnification) and portrait photography.

Macro photography offers a view of the world in a way that most people don’t have a chance to see it.  The trouble is you are often shooting into dark places and a little extra light can make a really big impact on your photograph.  In the image above, i used a single SB900 Nikon Speedlight triggered wirelessly with the built-in Nikon CLS control, a Nikon D90 and the AF-S 105mm f/2.8 VR Micro.  CLS is the “Creative Lighting System” and it offers some of the very best abilities in the flash photography market.  Nikon has always been pretty serious about speedlights and the role they carry out in photography.

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Better Than Daylight


I do a fair amount of higher ISO rated shooting with my photography these days and there is no doubt that the capacity to which we are capable to shoot this way has literally changed the realm of photography.  Its a game changer as much as roll film or Polaroids or the advent of digital photography.

Camera sensors are rated for a range of sensitivity and my Nikon D700 shoots from 200ISO through 6400ISO. Then you have the option of pushing beyond the sensor’s ratings into “High ISO” or, essentially, push processing (remember that?).  Push processing was rating film at your camera for underexposure then “pushing” the film back to its original rating during the processing of the negatives. This was tricky to get just right, unless you did the math.  Let’s be honest though, the math sort of ruined the fun and sometimes I’d rather just guess and see what came out the other end. This was akin to shocking your film with a cold water rinse just before the fixing stage or cross-processing chromes in color chemistry. All these options, with so much left to the unknown, often resulted in undesired results, but every once in awhile strange and happy photographs would greet you on the other end.

I know a lot of photographers that wont budge over 800ISO on their fancy pro DSLRs.  Three years ago I was more inclined to agree with them as the loss of detail through noise reduction or the overwhelming amount of noise produced in the image made it near impossible to see what was what.   Put simply, as a photographer, all we do is chase the light around.  Today, however, if you’re not venturing down the higher ISO road, you’re missing out on some great light.

I love night photography.   The color cast from lights at night are anything but normal.  The strong shadows and eerie light patterns are a draw to my photographic eye. Normally higher ISO ratings aren’t a necessary tool with night photos, a sturdy tripod is, however, a must have piece of equipment.  My daily tripod is the Manfrotto 3021BPro which is the earlier version of the 055XProB.

The image above (click for a larger view) was shot without a tripod because I can’t find my quick release plate for my tripod head.   I know, I know… =/  so the thought enters my head, lets see what light is out there.   With my D700 and my 70-300VR lens hand-held (lens hood pressed against a glass door) I looked across the backyard, dialed the ISO to High 2 (25,600 ISO, this is two stops above 6400 with each stop acquiring two times as much light), set the aperture to f/11 (the sweet spot on that lens) and the shutter speed to 1/2 seconds.  This metering set is equivalent to 200 ISO, f/11 at a 60 second exposure time (shutter speed).  Keep in mind VR in your lens can compensate the same 2-3 stops regardless of what shutter speed you start from.   I braced myself against the back of a chair for a little extra stability.

B/W picture control was set at the camera. The image was processed through Nik Capture NX2 for sharpening only. NO noise reduction was applied (NR was off in the camera, also).

I don’t normally venture above 6400 ISO on my camera, but i didn’t often cross-process slides either. Some days it just feels right to be a little abnormal.

Go shoot something differently tomorrow.

Get outside your comfort zone.

___________________

John Scott



Nikon Announces New Coolpix S1100pj Camera with Projector

Nikon Coolpix S1100pj

Nikon today has announced the update to last year’s novelty S1000pj, the first camera with a built in projector. This year’s model ups the ante, and adds a lot of features to this concept that help to make it a much more appealing package. And then they made it cheaper. Hard to complain about that, isn’t it?

Key changes include an upgrade to a 14 megapixel sensor and a switch to a 3″ touchscreen LCD with twice the pixel resolution. And, on the projector front (you know, that big honky lens on the front that makes this thing unique), we’re looking at 14 lumens, up from 10, and it can now be used as an ad hoc projector for any JPEGS on the memory card, or can be hooked up to your computer and used as a projector for that.

And, let’s not forget these slick new colors on that much nicer looking body there, yeah? It’s good to see someone else taking visual cues from those nifty Olympus Tough cameras, which the design on this is admittedly very reminiscent of (*cough cough Stylus 750SW cough*).

It’ll be available yet this year, and it’ll debut at around $350, or about $80 bucks less that its predecessor did, and not much more than the S1000pj is currently at. Impressive.



Hoya Introduces HRT Circular Polarizers

HRT, or “High Rate Transparency,” is what you can expect to see printed on a new series of Hoya circular polarizers, it seems. What this means, mostly, is that they use a new film that polarizes as normal, but remains about 1/3 stop brighter while doing so. For those of you inexperienced with C-Pols, they tend to cost you about 1 stop in light, making them useful as a 1 stop ND and for making your camera looks like it has tinted windows (like a real gangsta), but not so hot if you were shooting lakes at dusk.

So, luckily, these new C-Pols will be 1/3 stop brighter, which will of course matter so some and be irrelevant to others, but it’s still a nice new offering. And, apparently the new film has UV cut-off filters on its own, so they’re UV filters, too, for those of you with no or weak cut-off filters built over your sensor (or, for those of you nuts using this “film” stuff I hear about).

Pricing and availability still unknown.




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