Balko Photo

As part of the development of version 5, we have decided to extend the testing and quality assurance phase. We currently anticipate the release of DxO Optics Pro v5 Windows to occur in the 2nd half of November 2007. Regarding the Macintosh platform, we anticipate providing a revised release date towards the end of November.

DXO Optics Pro v5’s RAW conversion engine will include a completely new demosaicing engine producing images with much more detail and fewer artifacts, setting a new standard in image quality.

Demosaicing is the crucial step of RAW conversion during which the sensor output image (meaningless to the eye since it is made of a particular arrangement of color filters – namely Color Filter Array - used in the image sensor of digital cameras to create a color image) is reconstructed as a visible image for the human eye. The quality of demosaicing determines the amount of detail and artifacts in the final image. Inherently, demosaicing involves trade-offs between image sharpness, details, noise, processing time and conversion artifacts.

Ever since digital images have been shot using sensors with a Color Filter Array, they have been plagued by a number of disgraceful artifacts: false colors, unnatural 2×2 grain, maze like structures for example. These artifacts, particularly visible and unsightly are compounded at high ISO settings and are in large parts responsible for what is deemed the unnatural look of digital images.

Unwilling to live with these problems, DXO took a radical approach and turned a number of classical solutions on their head: Instead of only considering pixels with respect to their direct neighbors, DXO’s new RAW Engine uses a ‘non local’ approach looking much further afar than is usual from each pixel in the image in order to reconstruct detail.

A new noise removal technology for RAW images

The other key characteristic of DXO Optics Pro’s new RAW Engine is that instead of applying noise reduction techniques after demosaicing, a newly-developed noise reduction is performed upfront, before noise has a chance to be amplified by the conversion process and absorb important fine details.

Combined with other proprietary techniques, DXO Optics Pro v5’s new RAW Engine produces both the most detailed and most natural looking images yet, its very fine and homogenous grain translating into subtle shades and textures. DXO Optics Pro v5’s new RAW conversion engine has been fine-tuned and optimized with the rest of DXO’s automated image enhancement features (optical corrections, color rendering, exposure optimization, etc…) to produce best-in class results.

Dust & blemish removal tool

DXO Optics Pro v5 now incorporates a tool to remove dust and blemishes from any digital image. This feature has been very often requested by our current customer base and leads.

How does it work?

* Click on dust spots or blemishes with the mouse.
* DXO Optics Pro removes them automatically and provides a natural reconstruction of the scene.
* Any number of images can processed in batch mode with this particular dust/blemish template, leading to a significant productivity improvement.

An advanced technology has been developed and implemented in DXO Optics Pro for reconstructing textured areas and suppressing blemishes in complex scenes.

A new User Interface

Based on extensive work and dialogue with the photographic community, DXO Optics Pro’s user interface has been reorganized to improve workflow and ease of use. In particular tools are now organized into four main sections that match the photographer’s approach:
Light > Color > Geometry > Details

Users of DXO Optics Pro v5 can also customize their workspace to their particular way of working or choose to keep the tool organization of the previous version.

DXO Optics Pro’s powerful project and preset functionalities have also been overhauled for increased ease of use and functionality.

Dozens of other refinements and improvements have been added to DXO Optics Pro v5.

More speed, more cameras

Benefiting from an entire rewrite using Microsoft’s and Apple’s latest technologies, DXO Optics Pro v5 displays preview images up to 4 times faster than version 4, by taking further advantage of GPU processing – where the power of dedicated video card chips is used to accelerate an application multicore processor capability - where the previewed image is split into tiles that are independently processed by as many processors as available, and therefore now displayed on the monitor much faster than before.

DxO Optics Pro v5 will also support the latest Canon and Nikon Digital SLR camera bodies.
Support for the Canon 40D, Canon 1Ds MKIII, Nikon D300 and Nikon D3 will be included in DxO Optics Pro v5 over the next few months following the availability of these cameras.

Canon UK has apparently informed dealers that it has temporarily stopped shipments of its EOS-1D Mark III and is asking that unsold units be returned pending an official announcement due over the next few days.

It seems to be an issue concerning the camera’s sub-mirror and it is not only in the UK. Canon USA’s customer care center is advising EOS-1D Mark III owners who call in that a fix for the camera’s AI Servo autofocus problems is approximately two weeks away, that it will involve replacing the sub-mirror (a mirror behind the main reflex mirror that passes light to the autofocus sensor module) and that customer care reps are taking down contact information from those customers who would like to be notified when the fix is available.

Chuck Westfall, Canon USA’s Director of Media and Customer Relationship, did confirm that a fix was coming for secondary mirror in affected cameras. The secondary, or ’sub-mirror’ focuses light coming through the lens onto the AF sensor beneath the main reflex mirror. Apparently, although Canon has not identified a problem with the mirror itself, the components that make up the sub-mirror mechanism in some cameras may need to be adjusted or replaced.

Speaking to AP, a spokesperson within Canon Europe indicated that a ‘potential source of problems with AF performance’ had been identified in the secondary AF mirror, which can cause ‘unstable focus prediction with moving subjects in Ai-Servo AF mode’. Apparently, this problem becomes more acute in ‘higher than normal temperatures’, which might suggest that thermal expansion of certain key components within the mirror assembly is a contributing factor.

Apparently, only a limited number of 1D Mark IIIs within a particular production range are affected, and Canon is planning to announce a simple way of determining whether or not an individual camera needs the fix. An official announcement, and details of how to determine whether individual cameras are at fault, is expected within the few days.

FEATURES
* It weighs less than a pound.

* It has it’s own quick release platform.

* Holds over 25 lbs.

* Full movements in any camera position.

* Most all QR plates fit it. Kirk, Arca etc.

I’ve found it to be everything advertised, and even a little bit more. The quick release jaws open to the point where I can twist the QR plate in. I’ve been able to insert the plate sideways as well as sliding it forward through the slot. I find not having to look as I insert the camera or lens a big help. It has a four knob design. The tension knob is factory set and holds the ball from falling forward when equipment is not mounted. You needn’t touch it. The QR knob opens and is secured with a simple twist and once done will not loosen. The panoramic knob allows the head to move laterally. The only knob you need be concerned with (one knob operation is what a ballhead is about) is the Main Adjustment knob. Once this is secured it’s not possible to move the camera again. It’s what’s promised and what’s most important. All positions all available and easily locked down. Knobs can not vibrate loose! They never come off the ballhead. [ Luminous Landscape ]

Cons:
The quick release plates are too expensive.
The design requires you to pan some it achieve some positions. I find this difficult when tracking birds.
.

There are basically four types of purchasers out here - Professional, Serious Amateur, Experienced Amateur, Novice. Each has a different set of needs with regard to support. It is ridiculous in my opinion to say that one level of support system fits all four anymore than one camera body or lens series fits all four. I am not a proponent of buy the best with little regard to need and cost and never look back.

’ll spend only a brief period of time on the Professional level. It’s almost a given here that a professional’s equipment has to be first rate. Carbon fiber Gitzo tripods dominate this level and cost is high. There is a wide selection of ball mounts at this level with Kirk, Markins, Arca Swiss and Really Right Stuff as the serious contenders. It is safe to say that the purchase of a Gitzo carbon fiber tripod and a ball mount from one of the four above will handle things pretty nicely in the professional’s support department. I have both carbon fiber and aluminum Gitzo tripods and Arca Swiss and Markins ballmounts. I expect they will be passed on to future generations, as I am not a professional and don’t extract the full level of use from my equipment.

Below Professional things really open up. Many of the tripod/ball mount choices from name companies certainly can be useful at the professional level, however we now enter into tradeoffs between various aspects. It has been said here (more times than I can count) that out of three primary support aspects (light, stable, cheap) you can have any two, but not the third. While I am in general agreement I think this characterization needs to be broadened a bit to include a fourth aspect – durability. I think you can get any three of the four (which means it is possible to get a light and stable tripod cheaply, but accept that you will loose some degree of durability).

Below Professional we consider other materials and build quality tradeoffs. Tripod legs can be carbon fiber, but also aluminum, magnesium and wood. Tripod heads/spiders/yokes can be aluminum or magnesium alloy. Ball mounts are aluminum cased, but both Delrin and aluminum make up the balls. Plate systems vary from Arca Swiss type to Manfrotto variants to non standard or none of the above. In this arena we have not only name companies like Bogan/Manfrotto, Berlbach, Gitzo (Basalt, aluminum), but a whole slew of other traditional contenders (Slik, Velbon, etc.). As well we have all the knockoffs – Benro/Induro, Feisol, Weifeng, Dynatran, etc. The latter take the top of the line Gitzo and Bogen/Manfrotto tripods and ball mounts and by using less expensive materials or build/manufacturing techniques or manufacturing in places where labor is lower cost, put out a very similar product in appearance to the top line support equipment, but will most likely suffer in the durability aspect referenced above. In this arena the buyer needs to look closely at his/her needs and decide what tradeoffs are acceptable. There is great value in this area depending on one’s risk tolerance. Still there are some basics drivers that help wade through the offerings.

continue reading post
.

Gor those looking for a tripod head, here is a great line - Acratech!

Pentax didn’t do anything too drastic when it revved the already well-received K100D to “Super” status: apart from a dust-removal system, SDM lens support, ISO 3200 mode, and a much lower price, the Super is pretty much the same as the non-Super K100D it replaced.

Super is an updated version of the year-old entry-level K100D DSLR camera. Still has a 6.1 megapixel sensor, Shake Reduction system to help achieve sharp images, 11 point auto-focus, 2.5″ LCD screen and a compact design with metal body.

The price is what is astounding - $600! - complete with a 18-55mm f/3.5-5.6 kit lens.

This is one heck of a camera if people can get past measuring digital cameras in terms of megapixels. With only 6, many will bypass this gem when in reality, it is more than enough for general purposes.

Lens Construction — 20 Elements in 14 Groups
Angle of View — 30.3 - 6.2 degrees
Number of Diaphragm Blades — 9 Blades
Minimum Aperture — F32
Minimum Focusing Distance — 180cm / 70.9 in.
Maximum Magnification — 1:5
Filter Size Diameter — 77mm
Dimensions Diameter — 95mm / 3.7 in. X Length 192mm / 7.6 in.
Weight — 1750g / 61.9 oz (3.875 pounds)

Comes With:

• Front & Rear Lens Caps
• Lens Hood [LH840-01]
• Soft Case with Strap
• Tripod Collar
• 1-Year Manufacturer Warranty

This lens is a direct competitor to the Canon EF 100-400mm f/4.5-5.6 USM L IS and the Nikon AF 80-400mm f/4.5-5.6 ED VR, though a biut less expensive in price. Available only in Canon and Nikon mounts, it is a full frame lens perfectly usable on both film as well as digital SLRs, but can deliver amazing FOVs on a cropped body ( 350D - equivalent to 128-640mm ).

The build quality of this lens is very good and the zoom ring gives slightly better control than Canon’s push-pull design. Since it does extend quite a bit, there is still the issue of the lens sucking in air and the consequences of that - dust, the main complaint on Canon’s 100-400L

The AF motor is noisy and slow as opposed to the Canon EF 100-400L USM IS. There is a ring lock at 80mm. It is also compatible with both Sigma AF EX converters (losing AF ability), but considering the slow maximum aperture, it may not be such a good idea!

There is very little vignetting on APS-C type DSLRs. Distortions are very well controlled with this lens, and the lens exhibited a very decent resolution performance in the lab.

At 80mm the quality is already very good at wide-open aperture increasing to excellent results at medium aperture settings. There’s a gradual decrease in performance towards the long end of the zoom range but the performance penalty isn’t overly pronounced. At 400mm the lens is still capable to deliver a good to very good resolution at f/5.6.

Overall, it gets a “fair to middlin” verdict from Photozone.

Mr. Morio Ono, President of Tamron Co., Ltd., has announced the successful development of the AF28-300mm F/3.5-6.3 XR Di VC LD Aspherical (IF) MACRO zoom lens, a high power zoom lens designed for SLR cameras with full-size format(Model A20), now equipped with a Vibration Compensation (VC) mechanism.

The AF28-300mm F/3.5-6.3 XR Di VC is the ultimate high power zoom lens that covers everything from wide-angle to telephoto and macro. Tamron has incorporated a Vibration Compensator, an anti-shake mechanism developed by Tamron, into the highly versatile zoom lens.

The new AF28-300mm F/3.5-6.3 XR Di VC LD Aspherical (IF) MACRO zoom lens offers the convenience, comfort and versatility of a high power zoom lens and the capability to reduce hand-shake blur on SLR cameras using either APS-C size or full size format imagers. When the AF28-300mm F/3.5-6.3 XR Di VC is used with a full size format SLR camera, it covers the tremendous focal length range from 28mm in wide angle to 300mm ultra telephoto. When mounted on a DSLR with an APS-C sized imager, the lens covers a 43mm wide angle to 465mm equivalent ultra telephoto* (full size format equivalent, in a diagonal angle of view of 5°20′).

Release dates: For Canon - August 29th / For Nikon - by the end of 2007-order at Adorama

MAIN FEATURES

1. VC (Vibration Compensation) Mechanism Reduces Hand-shake
The proprietary VC (Vibration Compensation) mechanism developed by Tamron features a triaxial configuration using three pairs of driving coils and slide balls around the compensator group of the lens’ optical system. Since the compensator lenses are supported with rolling friction of the balls, the response performance is enhanced and the construction is simple, which results in the compactness of the lens. The lens incorporate a highly accurate gyro sensor for detecting hand-shake, which, combined with a 32-bit RISC CPU, offers comfortable anti-vibration effects.

2. Outstanding Design Realizing High Zoom Power, VC Mechanism and Compactness
The AF28-300mm F/3.5-6.5 XR Di VC integrates optical technologies that Tamron has accumulated as the pioneer and leader of high power zoom lenses in order to realize the desired compactness even while incorporating the VC mechanism. The optical system uses a number of lens elements made from special optical glass materials including XR (high refraction index) glass elements, GM (glass-molded aspherical lens) elements, hybrid aspherical elements, LD (low dispersion) glass elements to compensate for on-axis and lateral chromatic aberrations and AD (anomalous dispersion) glass element. The lens offers high contrast, high resolution performance and flatness of the image field as a one-does-it-all zoom lens designed to match the characteristics of DSLR cameras.

3. Revolutionary MFD of 0.49m (19.3″) throughout the Zoom Range Provides 1:3 Macro Magnification Ratio
The AF28-300mm F/3.5-6.3 XR Di VC LD MACRO boasts an MFD (minimum focusing distance) of 0.49m (19.3″) over the entire zoom range, a top-class closing focusing capability among high power zoom lenses for full-size format SLR cameras, which provides the remarkable maximum macro magnification ratio of 1:3 at the 300mm telephoto end.

4. Internal Surface Coatings Minimize Ghosting and Flare
Through the use of “Internal Surface Coatings” (i.e., multiple-layer coatings on cemented surfaces of plural elements) and multiple-layer coatings to prevent reflections from lens surfaces, ghosting and flare due to reflections that occur when light enters through the front element as well as reflections caused by the imager itself in the mirror box are reduced to the absolute minimum.

5. Ultra-high Zoom Power, yet Lightweight and Compact Design Thanks to New Mechanical Devices
Tamron has reviewed the roles that respective barrel parts play in order to achieve the high power, compactness and light weight. As a result, dimensional increases are confined to a mere 17.8mm (0.7″) in overall length and about 5mm(0.2″) in diameter, when compared with the existing AF28-300mm (Model A061), despite the incorporation of the VC mechanism.

6. Zoom Lock Mechanism for Enhanced Portability
The zoom lock prevents unwanted barrel extension when carrying the lens/camera combination over the shoulder.

7. Flower-shaped Lens Hood
A flower-shaped lens hood is included as a standard accessory. The special hood provides optimum shading of superfluous light rays that enter from the rectangular frame outside the image field.

* values given are for Nikon AF-D cameras.
* The cosmetic design and specs are subject to change without notice.

UPDATE ON DELAYS

Please be informed that we are now ready to re-launch AF28-300mm F/3.5-6.3 XR Di VC for Canon of which the release has been postponed as announced on August 24th.

For Canon (IN JAPAN) — October 26, 2007
For Nikon — early spring of 2008
[Tamron]

pre-order at Adorama

.

They are finally here - rebates on 15 lenses, ranging from $125 to $20, plus a $50 rebate on the 580EX II Speedlite. And different from previous rebate programs, these are in the form of “instant rebates” so there are no forms and bits of paper to send in. The promotion runs from October 18th 2007 to January 13th 2008.

SHOP Adorama // B&H Video

Qualifying Products:
• EF 70-200/2.8 L IS USM — $125
• EF 100-400/4-5.6L IS USM — $100
• EF 16-35/2.8L USM — $100
• EF 85/1.2L II USM — $125
• EF 50/1.2L USM — $100
• EF 70-200/4L IS USM — $75
• EF 24-70/2.8L USM — $80
• EF 70-200/4L USM — $40
• EF-S 17-55/2.8L IS USM — $70
• EF-S 10-22/3.5-4.5 USM — $50
• EF 17-40L USM — $50
• EF 100.2.8 macro USM — $35
• EF 85/1.8 USM — $25
• EF 50/1.4 ISM — $20
• EF-S 60/2.8 Macro USM — $30
• 580EX II Speedlite — $50

LAKE SUCCESS, N.Y., October 15, 2007 – Canon U.S.A., Inc., a leader in digital imaging, today announced the development of two all-new telephoto lenses for use with its EOS SLR cameras: the EF200mm f/2L IS USM and the EF800mm f/5.6L IS USM. The Company will exhibit prototypes of the new lenses at PhotoPlus Expo (booth #318), taking place at the Jacob K. Javits Convention Center in New York City, October 18 to 20.

The new Canon EF200mm f/2L IS USM and EF800mm f/5.6L IS USM, both of which are L (luxury)-series lenses incorporating a high-performance Image Stabilizer, feature optical systems utilizing special optical materials such as fluorite to correct chromatic aberrations, making possible high-resolution, high-contrast shooting performance.

The Canon EF200mm f/2L IS USM, targeting users who seek a brighter lens for portraiture and indoor sports photography, realizes a large aperture of f/2. The EF800mm f/5.6L IS USM, expected to deliver telephoto performance surpassing the current top-of-the-line EF600mm f/4L IS USM super telephoto lens, is being developed in response to requests from users working in the fields of sports and news photography who are looking for a high-performance lens that offers a longer focal length.

“These new lenses demonstrate that Canon is continuing to respond actively and flexibly to the wide-ranging needs of professional and advanced amateur users, with the aim of contributing to the expansion of photographic possibilities for SLR cameras,” said Yuichi Ishizuka, senior vice president and general manager, Consumer Imaging Group, Canon U.S.A. “Canon’s EOS System is the premier brand of Digital SLR cameras, and we take great pride in offering the world’s largest selection of interchangeable autofocus lenses.”

As these new lenses are currently under development, pricing and availability information is not yet available.
[source: press release]

-Construction 6 groups / 7 elements / 8 aperture blades
-Angle of view 46°
-F stop range 1.4-22
-Closest Focusing Distance 0.45m / 1.5 ft.
-Maximum Magnification 1:6.66
-Filter Size 58mm
-Dimensions (Length x Diameter) 2.9″ x 2.0″ / 73.8 x 50.5mm
-Weight 10.2 oz. / 290g

Introduced in June 1993, this lens was the mid-range between the EF 50mm f/1.0 USM L and the cheap EF 50mm f/1.8. On an APS-C sensors, the FOV (field-of-view) resembles a 80mm full-frame equivalent.

features a micro-USM AF drive including full-time manual (FTM) override in one-shot AF mode. This is, I think, a quite unique combination. FTM is usually possible with a ring-type USM drives only. The AF operation is quite fast and silent but a little worse than ring-type USM lenses (such as e.g. the 85mm f/1.8 USM). Manual focusing feels pretty smooth and the broad, rubberized control ring adds to the positive impression here. The overall build quality is very decent with a metal mount and an outer barrel made of good quality plastics.

The EF 50mm f/1.4 USM showed an almost flawless performance during the lab- and field-tests both in terms of optical and mechanical quality. Of course, there is slight vignetting at full open, Stop down to eliminate the problem (from f/2.8 & up it’s a non-issue).

see 50mm 1.8 / 1.4 comparisons

BUY at Adorama

Construction    5 groups / 6 elements
Angle of view    46°
F stop range    1.8-22
Closest Focusing Distance    0.45m / 1.5 ft.
Maximum Magnification    1:6.66
Filter Size    52mm
Dimensions (Length x Diameter)    2.7″ x 1.6″ / 68.2 x 41.0mm
Weight    4.6 oz. / 130g

The Canon EF 50mm f/1.8 II Lens delivers very sharp images as inexpensively as Canon lenses get - but at the price of nice bokeh.

Build quality of the 50 f/1.8 is insexpensive (ok, cheap) with its plastic construction, even the lens mount! The glass is good though and this lightweight construction makes it a perfect lens to take everywhere.

Autofocus is driven by a micro motor and performs well in good light, albeit noisily. Don’t try to sneak up on something with this one

The Canon EF 50mm f/1.8 II Lens’ strongest quality is its sharpness. Sharpness performance wide open (f/1.8) is decent, but the Canon 50 f/1.8 is very sharp at f/2.8 and beyond. And it is fast with its max aperture of 1.8. The bokeh problem comes in because of its five non-rounded aperture blades.

But for $75 new, it is a bargain.   BUY at Adorama

.

With that little”L” in the designation, you know it is pricey, but here is what you get:

• –Latest Ultrasonic Motor (USM) for fast and near silent auto focus
• –Full-time manual focus override
• –Super Spectra coatings and optimised lens element shaping to suppress flare and ghosting
• –Environmental seals providing dust and moisture resistance
• –Circular aperture diaphragm for beautifully even background bokeh and ‘removal’ of distracting backgrounds
• –Distance information passed back to the new E-TTL II flash algorithm of all current model digital EOS cameras
• –Minimum focus distance 45cm
• –Lens hood and pouch included in the box.

Ideal for low light shooting - great for indoors using available light – a typical requirement of photojournalists and wedding photographers not wishing to disturb or influence a scene with flash. With fast auto focus, the capacity for glorious bokeh, it is a perfect lens for portraiture or even flowers in the wild.

The L-series, as photogs know, represent the top of Canon’s lens line and offer weather resistance with seals and gaskets and a lens mount O-ring prevent the ingress of dust and moisture. The large aspherical lens element with precise variable curvature is incorporated into the 8 lens, 6 group construction. The aspheric element ensures high sharpness and contrast throughout the focus and aperture range.

In addition to optimized lens shapings to reduce reflections and the use of anti-reflective material inside the lens barrel, the EF 50mm f/1.2L USM employs Canon’s patented Super Spectra lens element coatings. These suppress flare and ghosting – more prone to occur with digital cameras due to reflection off the image sensor. By increasing light absorption, coatings reduce reflections off lens element surfaces to deliver crisp, undistorted images with natural color balance.

The EF 50mm f/1.2L USM transmits distance information to the E-TTL II flash system of all current model digital EOS cameras, improving flash exposure metering when used in conjunction with Canon’s range of EX Speedlite flash units.

The EF 50mm f/1.2L USM comes with a cylindrical lens hood and lens pouch.
In keeping with Canon’s Kyosei philosophy of living in harmony with the environment, the lens features only lead-free glass.

BUY at Adorama

.

Angle of view (horizontal, vertical, diagonal) - 16º, 24º, 28º 30′
Lens construction (elements/groups) - 8/7
No. of diaphragm blades - 8
Minimum aperture - 16
Closest focussing distance (m) - 0.95
Maximum magnification (x) - 0.11
Distance information - Yes
Image stabilizer - No
AF actuator - Ring USM²
Filter diameter (mm) - 72
Max. diameter x length (mm) - 91.5 x 84.0
Weight (g) - 1025
Magnification with Extension Tube EF12 II - 0.25-.015
Magnification with Extension Tube EF25 II - 0.42-0.33
Lens hood - ES-79 II
Soft case - LP1219
TeleExtenders EF1.4x II and EF2x II - Not compatible

The f/1.2 aperture is the widest in Canon’s current range and makes it possible to shoot in low light without a flash or slow shutter speeds. The USM holds the lens with precision and accuracy, the instant it arrives at the correct focus and without overshoot, and features full-time electronic manual focus override*. Super-fine control over depth of field afforded by the lens’ large aperture allows sports photographers to deliberately ‘blur out’ crowds, hoardings and other distracting backgrounds.

The L-series is Canon’s flagship professional lens range, designed and built to meet the needs of the most demanding professional photographers. The superb optics of the EF 85mm f/1.2 II USM and other L-series lenses represent the pinnacle of optical performance, enabling focal length/speed/quality combinations not readily attainable using traditional optical technologies.

Portrait photography: The combination of an almost circular aperture diaphragm for attractive bokeh (evenly graduated blurring of out-of-focus areas) and the extremely narrow depth of field at its widest aperture combine to make this an ideal portraiture and studio lens. With the lens’ aperture at f/1.2, photographers can create dramatic effects such as keeping a model’s eye sharp while blurring the eye lash ends. [dpreview]

BUY at Adorama

.

Focal length: 10 to 17mm
Maximum aperture: f/3.5-4.5
Minimum aperture: f/22
Optical construction: 10 elements in 8 groups
SD: one element
Coatings: multi-layer
Angle of view: 180° to 100°
Minimum focus distance: 5.5 in (14 cm)
Reproduction ratio: 1:2.56
Zooming system: rotary type
Number of diaphragm blades: 6
Filter size: N/A
Maximum outer diameter: 2.75 in (70 mm)
Dimensions: 2.75 in. (70 mm) X L 2.79 in (71.1 mm)

It has the same optics as the Pentax 10-17mm, but packaged differently to fit Nikon and Canon.

FYI: It does not work with film cameras or full-frame or 1.3x Canon cameras.

It is more of a zoom fisheye lens, not to be confused with a rectilinear wide angle lens. Fisheyes bend straight lines deliberately. It is a wonderful effect if sparingly used. It is also possible to convert “fishy” images to rectilinear with software. It provides a 180 degree field of view and an entire view or vista can be captured, in one shot.

The front element of the AT-X 107 DX has a newly formulated WP or “Water Proof” optical coating on the glass. This new coating makes marks such as spots left by water or finger-prints much easier to clean than standard multi-coating. The rear optical group of the lens contains 1 SD (Super-Low Dispersion) glass element to reduce the number of elements (pieces of glass) in the optical design in order to make the lens more compact, light-weight and faster focusing.

Tokina is part of Hoya Optics, the worlds’ largest maker of superior optical glass, so the association is a good sign.

If the fishiness is not your cup of tea, then consider Tokina’s 12-24mm f/4 AT-X AF Pro DX. or the better built Canon 10-22mm.

BUY at Adorama
.

The Phoenix DRLLED “L” (Digital Ring Light, Light Emitting Diode “Large”) clad with 16 LEDs, is designed to accommodate extra large macro lenses with a filter ring up to 82mm. DRLLED “L” provides 45 minutes of constant wireless lighting with a fully charged built-in long lasting lithium polymer battery and is excellent for medical, dental and creative applications that require even close up lighting. Because it’s light is constant, not flash, the DRLLED “L” simply and consistently illuminates the subject giving accurately composed lighting time and time again. If 45 minutes is not enough, simply plug it in with its included AC adapter and work “wired.” Ring light is also equipped with a battery meter that indicates full charge, half charge, empty and charging. To sum it up DRLLED “L” provides a perfect affordable lighting system for just about anywhere you can think of using a macro lens with digital or film photography.

This is the Large version and works with most lenses having a filter size up to 82mm - it comes with 62mm, 67mm, 72mm and 77mm adapter rings. For even further versatility, the built-in tripod socket enables mounting to stands, tripods, positioning arms and other supports.

There is a smaller version (for 52mm 55mm 58mm 62mm), but I hear complaints that it does not emit enough light. Remember that this is a constant light source, not a flash. I would use it with additional light sources in a studio or light tent setting.

Phoenix is a division of OmegaSatter, based outside of Baltimore, MD.

FEATURES

* Tripod Socket
* Two power settings
* Sixteen (16) high output LED’s
* LED Battery Power Level Indicator
* Includes Charger/ AC Power Supply
* One piece design weighs only 4.2oz
* Lithium Polymer Rechargeable Battery
* Maintains TTL metering and all exposure modes
* Large inner diameter opening prevents vignetting
* Includes 62mm, 67mm, 67mm and 77mm adapter rings
* Enables the use of smaller apertures for increased depth of field
* Provides continuous, soft, color corrected and shadow free light
* Use off lens for creative lighting control, focus assist and red eye reduction

Light Source: 16 LED lights at full brightness
Color Temperature: 3,000K
Power Requirements: AC adapter; built-in, long life lithium polymer battery
Power Modes: OFF, DC Power, AC Power
Available Ring Sizes: 62mm, 67mm, 72mm, 77mm (included) and 82mm (optional)
Battery Capacity: 45 minutes of constant shooting with full charge
Measurements (L x H x W): 120mm x 142mm x 23mm
Weight: 120g without AC adapter
.

* “Di (Digitally Integrated design)-II” is the designation Tamron puts on lenses designed for exclusive use with digital (APS-C size) SLR cameras, featuring optical systems optimized to meet the performance characteristics of digital cameras.

* “Di-II” lenses cannot be used with digital SLR cameras using image sensors that are larger than that of an APS-C size imager, or with 35mm film SLR cameras.

Some casual shooting and print examinations show this to be a fine performer. Even a critical user will not be dissatisfied with the Tamron’s day-to-day performance, especially when stopped down at least 1 stop from wide open – as is the case with most lenses.

If you’re looking for an ultra-wide zoom for your 1.5x or 1.6x lens factor DSLR then I can recommend the Tamron SP 11-18 f/4.5-5.6 Di II LD to you. The price is attractive and the lens is capable of producing high quality images. If you are the owner of a Canon D30, D60 or 10D, and therefore unable to use the Canon 10-22mm lens without performing warranty destroying surgery, the new Tamron provides an attraction option. [luminous-landscape]

Tamron SP AF11-18mm F/4.5-5.6 Di-II LD Aspherical (IF) is a Tamron “Di (II)” lens. Di (II) lenses are designed with digital SLRs in mind and Tamron say that they have higher resolution, better control of flare and ghosting, less light fall-off and lower chromatic aberration than earlier designs.

Solidly constructed with a low reflectivity black finish and rubberized zoom and focus controls … Focus speed is pretty good. … The zoom cannot be locked, but I saw no “creep” at any focal length … the Tamron 11-18 is pretty good wide open at f5.6 (much better than the Canon) and even slightly better at f8. [bob atkins]

.

These rebates run until December 31, 2007

$10.00 — SP AF17-50 F/2.8 Di II LD Aspherical (IF) for Canon, Sony/Maxxum, Nikon-D
$10.00 — AF17-35 F/2.8-4 Di LD Aspherical for Canon, Sony/Maxxum, Nikon-D, Pentax/Samsung
$30.00 — SP AF24-135 F/3.5-5.6 AD Aspherical for Canon, Sony/Maxxum, Nikon-D, Pentax/Samsung
$10.00 — SP AF28-75 F/2.8 Di LD Aspherical (IF) for Canon, Sony/Maxxum, Nikon-D, Pentax/Samsung
$30.00 — SP AF200-500 F/5-6.3 Di LD (IF) for Canon, Sony/Maxxum, Nikon-D
$50.00 — AF11-18 Di II for Canon,Sony/Maxxum, Nikon-D.
$90.00 — SP AF90 Di 1:1 Macro for Canon, Sony/Maxxum, Nikon-D, Pentax/Samsung.
$100.00 — SP AF14 F/2.8 Aspherical (IF) for Canon, Sony/Maxxum, Nikon-D, Pentax/Samsung
$500.00 — SP AF300 F/2.8 LD (IF) for Canon, Sony/Maxxum, Nikon-D

Rebate Form: http://www.tamron.com/lenses/rebates.asp

.

Most of us love wide angle shooting and the wider, the better. On crop cameras, we lose on the wide end because the 12-24 becomes equivalent to 18-36mm (1.5 crop)

This Sigma is the only one that can be used on a FF (full frame) camera, such as the Canon 5D. The others in the field, Sigma’s 12-24mm f/4.5-5.6 EX ASP HSM, Nikon’s 12-24mm f/4G DX, Canon’s 10-22mm f/3.5-4.5, and Tamron’s 11-18mm f/4.5-5.6 cannot be used on FF and serve the other dSLRs.

Overall, it is a well built lens. It is a constant f/4 throughout its zoom range and uses 77mm filters. In Canon mount, there is no separate AF/MF switch. It is sharp at 24mm, even wide open, and even in the corners. It improves slightly by stopping down to f/5.6. Zooming out to 12mm, the center remains sharp, but the corners soften. Surprisingly, at 18mm the corners are softer than at 12mm. The usual solution is stopping down. - in this case to f/5.6, or even better, f/8 if at 12mm, will make for very sharp pictures. There is also a bit of CA, but not much. [photo.net]

BUY at Adorama

.

Tamron ’s 18-250mm is in the middle here with Canon’s 17-85 on the left and Canon’s 70-300 on the right.

The main selling point here is the 13.9x, wide range zoom (28-400mm lens in 35mm format). It’s a dream lens for the person who loves wide and telephoto all in one (like me!). Small and light (3.3″ long x 2.9″ diameter / 15 ounces), this is a great lens for travel or a whole day out.

It is also termed a “macro” and while not a true macro lens, it can focus down to 45cm at all focal length settings and gives a 1:3.5 magnification ratio.

This is not a Canon L lens, so we have to make some concessions to have such a wide range at such a low price as well.

On Vignetting: on a Canon 20D there is some vignetting at 18mm / f3.5, but this is greatly improved at f5.6. (so just stop down). At 50mm focal length, f4.5 there is barely any vignetting and at 5.6 it is gone. Wide open at 250mm (f6.3), vignetting increases a little, but again - stopping down to f8 improves it a lot.

On Distortion: Like most wide zooms, there is some visible distortion at 18mm, but this disappears at 28mm. Basically, unless your image contains a lot of parallel straight lines, it will not be noticeable.

On Image Quality: stopping down is the key with this lens. Center sharpness at 18mm is good throughout, but the edges are best at f8. At 50mm, the lens compares to Canon’s 17-85 IS USM. That’s pretty good. Moving on to 135mm, center sharpness is still good, but quality drops sharply by the time you get to the corners. Here the heavier and more expensive Canon EF 70-300/4-5.6 IS USM does a lot better. At 250mm, the differences between the Tamron and Canon 70-300 are less noticeable, but the Canon still is better. Of course, you need two Canon lenses (costing #1000+) to cover the range of this one Tamron.

“We tend not to expect much from “vacation” zooms, so were pleasantly surprised by the Tamron 18-250mm f/3.5-6.3 Di II LD Aspherical IF Macro AF. It maintained good center sharpness across its entire focal length range, softness in the corners was average to better than average, and things flattened out nicely when we stopped it down just a bit. Other optical characteristics are in line with the rest of the field, and its build quality was quite good for its price range. All in all, a very nice lens, a great lens to bring, if you’re bringing only one!” [SLR Gear]

In PopPhoto tests, SQF data came in at Excellent for all focal lengths. In DxO Analyzer 2.0 tests, there was Visible barrel distortion at 18mm (0.72%) and Slight pincushion distortion at 35mm, 100mm, and 250mm (0.18%, 0.22%, and 0.16%, respectively). These numbers, though, are also noticeably better than the older 18-200mm.

Conclusion: it is always difficult to stick such a wide optical range into a small and lightweight physical package. Something has to give as shown by vignetting (not such a big problem) to Image Quality (a bigger problem). If you are not planning on printing out poster-sized prints, then this may be a great lens for you.

Costing $500, the Tamron 18-250mm F/3.5-6.3 isn’t cheap, but it does include a lens hood and a standard 6-year warranty. BUY at Adorama.

.