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Review: Custom SLR Air Strap Camera Sling Strap



Overview : A camera strap that does more with less. This breathable strap is a lightweight, versatile and comfortable alternative to traditional straps. Designed with you in mind, the Air Strap is made for anyone -- not just professional photographers -- who wants an easy-to-use strap that can adapt to different situations. With its unique quick-adjust slider, you can keep your camera secure at your side to maneuver through crowds and tight spaces; when you need to take a photo, just pull and slide to extend the strap.

Features :
  • Quick-adjust slider lets you keep your camera secure at your side. When you need to take a photo, just pull and slide.
  • Breathable vents and moisture wicking fabric channel heat and sweat away from your shoulder to keep you cool
  • ider strap and ergonomic design distribute weight evenly, making your load feel lighter. Cushy neoprene padding absorbs shock for maximum comfort.
  • Rotating buckle swivels, so the strap moves with you for improved flexibility
  • Lightweight, portable design is perfect for travel
  • Compatible with most cameras and bags (with optional laptop bag attachment)
  • Compatible with the Custom SLR C-Loop

Quality/Usability : We've been a big fan of Custom SLR products. They're really comfortable and great quality. When Custom SLR announced their Air Strap project on Kickstarter, we had no doubt that it would be a success.

We've reviewed their Split Strap and Glide Strap, but the Air Strap seems to take a page out of both straps. It takes the camera strap attachment from the Split Strap, the gliding concept from the Glide Strap and the swivel buckle from both straps.


There's not much that comes with the Air Strap. It comes with two camera strap attachments and the Air Strap padding. One thing we did notice was how light the strap was.


One of the differences is the neoprene padding. No more split down the middle and the new Air Strap is a lot more breathable. It still has that elastic and stretch factor so it will contour your shoulder and distribute the weight.


The swivel buckles are the same as the Sling Strap and Glide strap. The buckles swivel so the strap can stay in place while the strap attachments contours the body.


Another new feature is the cinch or the quick-adjust slider. When you're not using the camera, you can pull on the tap up to tighten the strap. By tightening the strap, the camera sits closer to your body. When you need to use the camera, simply pull the tab down which lengthens the strap allowing you to pull the camera up to take a picture.

With the Glide strap, the camera glides smoothly along the strap and the neoprene padding stays on your shoulder. With the Air Strap, their is no gliding but rather it lengthens the strap so that there is more slack. The strap rotates towards your back when you bring the camera up to take a picture. I've used the Air Strap with a t-shirt as well as a suit and it does not tug or pull on your clothing.

I've noticed its easier when you lift the camera up just a little and pull on the tab to lengthen the strap or pull up on the tab to shorten the strap.


My preferred method of installing the Air Strap is with the C-Loop


The installation concept is the same whether its for C-Loop or camera. You're essentially sliding the loop end of the strap attachment through either the strap loop on the C-Loop or camera eyelet. Once its threaded through, you'll take the buckle end of the strap attachment and pull it through the loop and tighten it. This is called the "cow-hitch". You'll have to do the same thing to the other strap attachment.


You can install the camera strap attachment multiple ways (videos also below). You can install the strap to the traditional strap loops on the camera eyelet that is on each side of the camera, C-Loop or on the left eyelet and the other on the bottom of the camera. If you don't have a strap loop on the bottom of your camera, you can purchase a Custom SLR M-Plate Pro + Hand Strap Attachment which allows you to attach a strap or offset the placement of the strap. It is also Manfrotto RC2 and Arca-Swiss compatible.

Below are videos on how to install the Air Strap:




Conclusion : Overall, the Custom SLR Air Strap Camera Sling Strap is just as comfortable as the other Custom SLR sling straps. I'm starting to like straps that cinch since it moves the camera closer to your body and reduces less bouncing. The price is very affordable but if you purchase the C-Loop, it pushes the purchase price to about $60. Still a decent price and in line with other straps on the market.

If you're not the type of person that feels comfortable hanging a camera upside down from the tripod screw mount, I highly suggest getting the Air Strap. Why strangle yourself or subject yourself to being uncomfortable when you can still attach the strap like the OEM straps and make it much more comfortable.




Manufacturer: Custom SLR
Site: Buy from Custom SLR / Buy from Amazon / Buy from B&H Photo
Price: $19.95

C-Loop
Site: Buy from Custom SLR / Buy from Amazon / Buy from B&H Photo / Buy from Adorama
Price: $39.95


Peak Design Coupon Code Amazon TrekPak Custom SLR

Press Release: Sony Announces RX100 III



Sony has announced the Cyber-shot DSC RX100 III, the most advanced model yet in its 1"-type sensor range of compacts. It is the third successor in the RX100 line. The RX100 III features the same 20.2MP BSI CMOS sensor as the II, with a new Exmor R BSI CMOS sensor complimented with the latest Bionz X processor (fires off 10 frames per second at up to 128000 ISO), a pop-up electronic viewfinder and a faster lens. The RX100 III's zoom now extends across a 24-70mm equivalent range, with a maximum aperture of F1.8-2.8, a great improvement on the 28-100mm, F1.8-4.9 lenses sported by the existing two models and sports a manual control ring. The rear 3" LCD now flips up by up to 180° for those all-important high-quality selfies. The RX100 III includes Wi-Fi and can run Playmemories Camera Apps. Video has also been upgraded - including full-sensor readout 1080p stored at up to 50Mbps in the XAVC S format.


The RX100 III will be available in June at a cost of around $800. You can preorder the RX100 III from: Amazon | B&H Photo | Adorama

Continue reading for full press release.

New RX100 III Model Features Large-Aperture ZEISS® 24-70mm lens1, Built-in OLED Viewfinder with ZEISS T* Coating, BIONZ® X processor and more

SAN DIEGO, May 15, 2014
– Building on its lineup of acclaimed compact cameras, Sony Electronics has introduced a new addition to its popular Cyber-shot RX series - the pocket-sized RX100 III camera.

Based on the same sleek, stylish design as the existing RX100 and RX100 II models, the new RX100 III features a specially developed ZEISS® Vario-Sonnar T* 24-70mm1 F1.8-2.8 lens and adds a built-in OLED viewfinder with ZEISS T* coating. The camera utilizes the same high-resolution 20.1 MP 1.0-type back-illuminated CMOS image sensor as the existing RX100II model, and adds the powerful BIONZ X processor featured in several high-end Sony cameras including the full-frame α7, α7R and α7S models.

“Sony continues to push the modern limits of engineering and innovation with our Cyber-shot RX family of products” said Patrick Huang, director of the Cyber-shot business at Sony Electronics. “With the new RX100 III model, we’ve added a brighter, wider aperture lens and an impressive retractable OLED EVF, while also utilizing the latest Sony imaging technologies to boost the camera’s processing speed and efficiency. And we’ve done this without sacrificing any of the true ‘pocketability’ of our RX100 line, creating an especially unique compact camera unlike anything else in market today.”

New ZEISS® Vario-Sonnar T* 24-70mm1 F1.8-F2.8 Lens
The unique new ZEISS lens on the RX100 III camera covers the popular 24 -70mm1 focal length with a wide F1.8 – F2.8 aperture. This is particularly noteworthy at the 70mm telephoto end of the lens, where the maximum F2.8 aperture allows it to gather about twice as much light as the RX100 and RX100 II models (at 70mm), ensuring that portrait subjects can be captured against beautiful background defocus. The wide aperture also allows the lens to capture moving subjects clearly without any blur due to camera and/or subject shake.

The versatile new lens is capable of capturing dramatic landscapes or large group photos at the wide 24mm length while also boasting impressive macro shooting capabilities throughout the focal range. For example, it can still focus accurately as close as 30cm from the front of the lens (working distance) when fully extended. There’s also a built-in 3-stop (1/8) neutral density filter that adds to shooting flexibility in a wide range of outdoor conditions.

The new ZEISS lens realizes outstanding corner-to-corner sharpness, with nine total aspherical glass elements including two advanced aspherical elements that have been cemented together – a world’s first in lens manufaturing2. This results in an ultra-compact physical footprint while maintaining a wide maximum angle of view. Additionally, the 24-70mm lens1 features ZEISS T* coating that minimizes flare and ghosting and a seven-blade circular aperture that enhances ‘bokeh’ background defocus.

Clear, High-Precision Built-in EVF with ZEISS T* Coating
Largely based off of customer feedback on existing RX100 series cameras (RX100 and RX100II), the new RX100 III adds a versatile, high-quality OLED Tru-Finder™ electronic viewfinder. The EVF has an impressive 1.4 million dot resolution, adding exceptional brightness and clarity to the overall framing and viewing experience, and handily pops in and out of the top of the camera body based on shooting preferences. This allows the camera to operate in the traditional ‘rangefinder’ style without sacrificing any of its portability or compactness.

The unique new EVF also features a specially-designed eyepiece lens with ZEISS T* coating, dramatically reducing reflections that can interfere with clear viewing. The viewfinder achieves exceptional corner-to-corner clarity, and includes an eye sensor that automatically switches between viewfinder and monitor display.

Exmor R CMOS Sensor and BIONZ X Processor
The powerful new RX100 III camera shares the same critically acclaimed 1.0-type back-illuminated 20.1 MP Exmor R CMOS image sensor featured in the RX100 II and RX10 cameras. With approximately four times greater image capture area than the 1/2.3 type image sensors commonly used in compact cameras, the sensor takes in significantly more light, translating into brighter, clearer images and sharper Full HD videos that capture all of the finer details of a scene.

The high-resolution sensor is paired with the evolved BIONZ X image processor introduced in the α7, α7R models this past fall. Around three times faster than the BIONZ processing engine in the RX100 and RX100 II models, it employs detail reproduction, diffraction-reducing and area-specific noise reduction technologies that allow the camera to produce amazingly detailed images and Full HD videos in all types of lighting conditions.

Pro-Quality Full HD Video Capture
The new RX100 III model is equipped with a host of HD video capabilities to satisfy the most demanding enthusiasts.

The new compact is the first Cyber-shot model to offer high-resolution HD video recording in the XAVC S format, which allows for full HD recording at a data rate of 50 mbps with lower compression for improved video quality. Additionally, with the power of the BIONZ X processor, the camera is able to read, process and output data from all of the sensor’s pixels during video recording, ensuring that it produces the highest quality video possible by eliminating aliasing, moiré and false color artifacts.

Other video features include a ‘clear’ HDMI® output for reviewing footage on an external monitor, 120 fps recording at 720p HD resolution and zebra pattering on the LCD and built-in EVF. The camera also has dual video recording capability (XAVC S / AVCHD files4 along with MP4 files), which allows users to shoot a high bit-rate video for storage or editing purposes while also recording a lower bit rate video that’s optimized for sharing via Wi-Fi®.

The camera also has Intelligent Active Mode – another first for Cyber-shot RX series cameras – which utilizes Sony’s frame analysis technology and 5-axis compensation to dramatically reduce the effects of camera shake while shooting movies.

Camera Design, Customizability and Control
Despite its small “pocketable” size, the new RX100 III features many opportunities to adjust common shooting settings, including a ‘Fn’ key, customizable control ring and a “C” custom button with more than 40 assignable functions.

New to the RX series, the RX100 III model features an articulated LCD that can tilt upward by about 180 degrees for self-portraits and all the way downward to approximately 45 degrees for high-angle shots. The camera also can output still images in 4K resolution6 with full wide-gamut TRILUMINOUS Color support when connected to compatible 4K televisions.

Wi-Fi® and PlayMemories™
The RX100 III camera has built-in Wi-Fi, giving consumers one-touch connection with Xperia® or NFC-compatible Android™ smartphones or tablets for instant image transfer and sharing. A single touch also activates Smart Remote Control, linking the camera with a smartphone or tablet for a live image preview, to fire the shutter from a distance and to review shots instantly.

For devices without NFC one-touch capabilities, users can wirelessly transfer images and videos and activate Smart Remote Control through Sony’s free PlayMemories Mobile™ application, available for the iOS and Android platforms.

The camera is also the first Cyber-shot RX series model to feature compatibility with Sony’s growing assortment of downloadable Sony PlayMemories Camera Apps5, adding a range of exciting and creative capabilities. Learn more at www.sony.net/pmca .

Pricing and Availability
The Cyber-shot RX100 III compact camera will be available in June for about $800. The camera and a range of compatible Cyber-shot accessories will be sold at all Sony retail stores (www.store.sony.com) and other authorized dealers nationwide.

Footnotes:
1 35mm full-frame format equivalent
2 As of the official May 16, 2014 release date. Based on Sony survey of of glass aspherical elements used on digital cameras.
3 An SDXC memory card with a Class 10 or higher speed rating is required for XAVC S recording.
4 Dual Video Recording is not available when the Intelligent Active Mode is ON, or when XAVC S 120p/60p/50p or AVCHD 60p/50p is selected.
5 The latest version of the PlayMemories Mobile application must be downloaded and installed on your smartphone or tablet computer.
6 QFHD (3840 x 2160)

Sony Announces Pricing and Availability for Alpha 7S



Sony has finally announced pricing and availability information for Alpha 7S. The a7S is high ISO full frame 12MP mirrorless compact camera that was announced earlier this year. Sony has finally given it a price tag of $2,498. The Alpha 7S is the first full-frame camera able to read out its entire sensor fast enough to output 4K 30p footage without the need for line skipping or pixel binning.

Unlike the Alpha 7 and Alpha 7R, the latest model is not constrained by the AVCHD standard for video, and also offers the XAVC S system, with bitrates of up to 50Mbps.

Specifications:
  • 12.2MP full-frame sensor
  • Native 100-102,400 ISO, expands to 50-409,600
  • On-chip, gapless lens design (for better light-gathering, which means better image quality across the board)
  • 25-point contrast-detection AF system
  • 5fps (2.5fps with continuous AF)
  • Support for 4K video recording (with external recorder)
  • 1080p up to 60p, 120fps possible at 720p using roughly APS-C-sized center of sensor
The body will be available in July and sell for $2,499.99. You can preorder the RX100 III from: Amazon | B&H Photo | Adorama

Continue reading for more information about the camera.

The Sony Alpha a7S Mirrorless Digital Camera features a full-frame 12.2MP Exmor CMOS sensor and BIONZ X image processor to enable notable video and still image quality with an expansive dynamic range, low noise, and extended sensitivity to ISO 409600. At the sensor level, this full-frame sensor features a unique on-chip gapless lens design, which incorporates small lenses between neighboring pixels in order to increase light-gathering efficiency and promote greater image quality across the entirety of the sensor plane. The sensor and processor combination also avails a wealth of speed throughout the camera system, including a top continuous shooting rate of 5 fps, support for 4K video recording, and a fast 25-point contrast-detection AF system with sensitivity to -4 EV.

Beyond its still image performance, the a7S is also quite adept in regard to recording video. It is able to output uncompressed 4:2:2 UHD 4K video to an optional external recorder over HDMI, as well as record full HD 1080p video in the high-quality XAVC S format at 50 Mbps in multiple frame rates. Extending the video recording capabilities is support for S-Log2 gamma, which helps to expand the effective dynamic range during recording, as well as picture profile options, time code, and zebra marker display aids. Sound can be recorded in the AAC/Linear PCM format via the internal stereo microphone, with a built-in headphone jack for on-board monitoring, or via an external microphone.

Rounding out the a7S’s imaging capabilities, both a 3.0″ 921.6k-dot tilting LCD monitor and 2.36 million-dot OLED electronic viewfinder are available for image monitoring and review. Built-in Wi-Fi connectivity, with support for NFC, is available, too, for instant sharing of imagery from the camera as well as remote camera control from a linked mobile device.

Full-Frame Exmor Sensor and BIONZ X Image Processor
Incorporated within the sleek body design is a 12.2MP full-frame Exmor CMOS sensor and BIONZ X image processor, which work together to enable an expansive dynamic range with minimal noise and notable sensitivity. The a7S features a native sensitivity range from ISO 100-102400, which is further expandable to ISO 50-409600. Coupled with the large individual pixel size the 12.2MP sensor affords, this camera is well-suited to use in low-light conditions.

The sensor’s design also features a new-generation RGB color filter array, as well as a gapless on-chip lens design. Together, these two technologies enable truly efficient light-gathering abilities that further reinforce the low noise, high-sensitivity design. Furthermore, an anti-reflective coating has also been applied to the seal glass of the image sensor to minimize surface reflections, glare, and ghosting for contrast-rich, color-neutral imagery.

The sensor and processor combination also avail a wealth of performance-related benefits to still shooting, including a Speed Priority continuous shooting rate of 5 fps, or a 2.5 fps shooting rate with continuous AF. The contrast-detection AF system employs 25 distinct points to quickly and precisely acquire focus in light levels as low as -4 EV to support working in a wide variety of shooting conditions.

Full Pixel Read-Out with Clean HDMI Out for 4K Recording
Line-Skipping has been the Achilles Heel of video recording DSLR and Mirrorless cameras since video recording was first introduced. Most full-frame and APS-C still cameras have extremely high pixel counts, which is great for still photography, but makes utilizing the whole sensor technically infeasible when recording video since scaling down, say a 36 megapixel image in real time would require a much more expensive image processor and generate more heat than such a compact body could handle. So traditionally these cameras skip lines when recording video, leading to major aliasing and moiré from the large sample gaps as well as decreased resolution and increased noise. However, the lower resolution sensor of the a7S is designed for video recording and features a full sensor readout without any line skipping. This means you will see a sharp image devoid of major aliasing and moiré whether recording internally at 1080p or externally in UHD 4K.

For times when the high quality 50 Mbps XAVC S Codec is not enough the a7S is able to output uncompressed UHD 4K (3840 x 2160) at a 4:2:2 color depth over HDMI to compatible third party recorders. Or, if recording internally to a memory card the HDMI can output 1080p at 4:2:2 for external recorders or HD monitors that don’t support 4K inputs. The full list of supported HDMI output signals is:

3840 x 2160 (30p/24p/25p)
1920 x 1080 (60p/24p/50p)
1920 x 1080 (60i/50i), YCbCr 4:2:2 8-bit/RGB 8-bit
Up to 120 fps High Speed Video Recording

In addition to the standard 24p/25p/30p/60i recording formats the a7S is also able to record at much higher frame rates for slow motion playback, albeit at lower resolutions. 1080p video can be recorded in up to 60p using the entire sensor. And 120 fps is possible at 720p using an approximately APS-C sized center crop of the sensor. 120 fps recording allows for about 5x slow motion when played back in 24p.

Customizable Color Profiles and S-Log2 Gamma
To make sure the a7S is able to use its extensive dynamic range while recording video it incorporates extensive customizable color and gamma controls. Users can adjust the gamma, black level, knee, color level, and more. Also users can use the same S-Log2 Gamma Curve that is found on high end Sony Cinema cameras that squeezes up to 1300% more dynamic range into the video signal then traditional REC709, for increased post-production flexibility.

Flexible Timecode Options
The a7S has multiple timecode recording options to meet different workflows. It has the standard ‘Record Run” mode that only advances the timecode when recording, as well as “Free Run” timecode that advances the timecode even when not recording, which can be great for syncing multiple cameras at live events. It can also record timecode in both drop frame and non-drop frame modes. When recording internally the a7S is also able to output timecode via HDMI. Timecode output is not supported when outputting 4K over HDMI.

Live Video Overlays
The a7S features many of the same real-time visual overlays and aids that professional video users have come to rely on. These include focus peaking to aid in manual focusing, zebra markers to help judge overexposure, and an audio level overlay for mixing audio. Also focus magnification is available for checking critical focus. These are available in both viewfinder and LCD display.

Audio Input & Headphone Jack
The a7S features a 3.5mm microphone input jack for compatibility with external microphones. And for users needing more the a7S is also compatible with the Sony XLR-k1M XLR Adapter for recording professional balanced XLR audio signals with phantom power and adjustable mic/line inputs.

For monitoring audio the a7S features a 3.5mm headphone jack as well as real time audio levels for a visual reference.

Body Design
Revolving around a compact, sleek body design, the a7S features both a large rear LCD monitor as well as a bright electronic viewfinder. The rear 3.0″ 921.6k-dot Xtra Fine LCD features a tilting design (up 90° and down 45°) to benefit working from both high and low angles. Also benefitting visibility with the rear monitor is the incorporation of WhiteMagic technology, which noticeably increases brightness for easier viewing in sunlit conditions. When shooting at eye-level, the 0.5″ XGA OLED electronic viewfinder features a high 0.71x magnification and a 2.36 million-dot resolution for precise monitoring capabilities.

Built-In Wi-Fi Connectivity with NFC
Built-in Wi-Fi connectivity enables the a7S to instantly share imagery to mobile devices for direct sharing online to social networking, via email, and to cloud storage sites. NFC (Near Field Communication) is also supported, which allows for one-touch connection between the camera and compatible mobile devices; no complex set-up is required. Once connected, the linked mobile device can also display a live view image on its screen and remotely control the camera’s shutter.

Additionally, PlayMemories Camera Apps are also supported via the built-in Wi-Fi connection, and allow you to personalize the camera’s features depending on specific shooting styles. Apps are available to suit creating portraits, detailed close-ups, sports, time lapse, motion shot, and other specific types of imagery.

Other Camera Features
- Picture Effect modes: Posterization (Color, B&W), Pop Color, Retro Photo, Partial Color (R/G/B/Y), High Contrast Monochrome, Toy Camera, Soft High-Key, Soft Focus, HDR Painting, Rich-Tone Monochrome, Miniature, Watercolor, and Illustration.
Create Style settings: Standard, Vivid, Neutral, Clear, Deep, Light, Portrait, Landscape, Sunset, Night Scene, Autumn Leaves, Black & White, and Sepia (all with +/- 3 step contrast, saturation, and sharpness adjustment).

- Color space: sRGB standard (with sYCC gamut) and Adobe RGB standard compatible with TRILUMINOS Color.

- Picture Profile parameters: Black Level, Gamma (Movie, Still, Cine 1-4, ITU709, ITU709 [800%], S-Log2), Black Gamma, Knee, Color Mode, Color Level, Color Phase, Color Depth, Detail, Copy, and Reset.

- Scene Selection modes: Portrait, Landscape, Macro, Sports Action, Sunset, Night Portrait, Night Scene, Hand-held Twilight, and Anti Motion Blur.

- Face Detection is available to base exposure and focus on up to eight recognized faces. Furthermore, Eye AF can be used for even greater precision by maintaining critical focus on a subject’s eye.

- Auto Object Framing automatically creates compositions revolving around portrait and still life subjects and aesthetically crops imagery based on the rule of thirds, where the subject is located within the frame, exposure on your subject, and, in the case of portraiture, the direction he or she is looking.

- 2x Clear Image Zoom can be used to effectively double the magnification afforded by any lens in use with minimal image degradation. For even greater magnification, 1.5x and 2x Smart zoom is available, as well as 4x digital zoom.

- Playback modes: Single (with or without shooting information, Y RGB histogram & highlight/shadow warning), 9/25-frame index view, Enlarged display mode (Maximum magnification L: 13.3x, M: 8.7x, S: 6.7x), Auto Review (10/5/2 sec., off), Image orientation (Auto/Manual/Off selectable), Slideshow, Panorama scrolling, Folder selection (Still/Date/MP4/AVCHD/XAVC S), Forward/Rewind (Movie), Delete, and Protect.

Nikon’s New Fluorine Coat Protects Against Dirty Front Elements



Nikon has provided a new video highlighting the benefits of using its fluorine coat. The first lens to use this new coating is the just-announced updated 400mm f/2.8 lens. The fluorine coat has the ability to repel just about anything that would come in contact with it like water, mud, permanent marker and even paint!

Here is Nikon's explanation of it:
Nikon's fluorine coat effectively repels dust, water droplets, grease or dirt, ensuring easy removal even when they adhere to the lens surface. Thanks to Nikon's original technology, it delivers higher durability and is more peel-resistant. Compared to other manufacturers' coating of a similar kind, fluorine coat endures a higher frequency of lens surface wiping and provides longer-duration staying power. Its anti-reflective effect also contributes to the capture of clear images.
Here is a video of it in action:

Deal: Other Adorama Brands - 3Pod, Flashpoint, Green Extreme, ProOptic, Slinger, Belle Drape



By now, everyone should know who Adorama is. If not, it's time that you do. But not everyone knows that Adorama also has other brands. We've all seen other types of brands when we're browsing their site but never really thought who these companies really are.

Check out all the other Adorama brands:
  • 3Pod - tripods and tripod heads, monopods, quick release systems and plates
  • Belle Drape - a great variety of painted muslin backgrounds for studio photography
  • Flashpoint - tripods, reflectors, camera power supplies, flash modifiers, shoe-mount flashes, monolights, light stands, softBoxes & accessories, on camera video lighting, lenses, lens accessories and much more!
  • Green Extreme - camera batteries, video batteries and power supplies for professional photographers and videographers
  • ProOptic - a variety of lens accessories, lens filters and filter kits
  • Slinger - camera and video camera bags and backpacks, camera protectors, tripod bags, and lens pouches

Press Release: Canon Announces Two EF Ultra Wide-Angle Zoom Lenses and White EOS Rebel SL1 Digital SLR Camera



Canon announced two new ultra wide-angle lenses and a Rebel SL1 in white. The Canon EF 16-35mm f/4L IS USM and the EF-S 10-18mm f/4.5-5.6 IS STM ultra-wide zoom lenses are scheduled to be available in June for estimated retail prices of $1,199.00 and $299.99, respectively.

EF-S 10-18mm f/4.5-5.6 IS STM ($299, pre-order at AmazonB&H Photo | Adorama)
EF 16-35mm f/4L IS USM ($1,199, pre-order at AmazonB&H Photo | Adorama)


The Canon EOS Rebel SL1 and EF-S 18-55mm f/3.5-5.6 IS STM lens kit in white is scheduled to be available at the end of June for an estimated retail price of $749.99.

Canon EOS Rebel SL1 DSLR Camera with EF-S 18-55mm f/3.5-5.6 IS STM Lens ($749 at AmazonB&H Photo | Adorama)

Continue reading for full press release.


High Performance Lenses Offer Optical Image Stabilizer and a Refined Compact Design; Lightweight EOS Rebel SL1 SLR Kit in White Available Soon

MELVILLE, N.Y., May 13, 2014 – Canon U.S.A., Inc., a leader in digital imaging solutions, is proud to announce two new wide-angle lenses and a new white color model of the EOS Rebel SL1 Digital SLR camera, just in time for summer. The introduction of the new Canon EF 16-35mm f/4L IS USM and the EF-S 10-18mm f/4.5-5.6 IS STM wide-angle zoom lenses provides Canon digital SLR camera users with the ability to capture stunning photographs and videos of spacious landscapes and many other iconic scenes. The EF 16-35mm f/4L IS USM lens is the first L-series wide-angle zoom lens equipped with image stabilization, providing professional photographers with expanded creative options, especially in low light. The EF-S 10-18mm f/4.5-5.6 IS STM wide-angle lens is an affordable option for entry-level DSLR users looking to enhance their images and videos with unique and creative perspectives.

Since its introduction in March 2013, the EOS Rebel SL1, the world’s smallest and lightest digital SLR camerai, has provided photographers of all levels with a high-performance digital SLR in a small, compact camera body. The new white EOS Rebel SL1 Camera Kit is complemented by a matching white EF-S 18-55mm f/3.5-5.6 IS STM lens and offers a stylish alternative for photographers who like to stand out from the crowd.

“Having just reached a milestone of producing 100 million EF lenses, Canon is dedicated more than ever before to its heritage of creating outstanding optics for photographers of all levels,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “The EF 16-35mm f/4L IS USM and EF-S 10-18mm f/4.5-5.6 IS STM ultra-wide zoom lenses, when paired with Canon EOS Digital SLR cameras, are powerful tools that can enhance any photographer’s creativity. And new to the U.S. market, the white EOS Rebel SL1 Digital SLR camera with its companion white lens, provides users with high-quality images in a small, compact body that is easy to bring along on all their summer adventures.”

Fully compatible with all EOS Digital SLR cameras including full-frame models like the EOS 5D Mark III and EOS 6D Digital SLR cameras, the compact and lightweight EF 16-35mm f/4L IS USM ultra wide-angle zoom lens offers high image quality and an Optical Image Stabilizer (IS) for shake correction up to four shutter speed stepsii, making handheld shooting possible in dimly lit scenes where camera shake can occur. In addition, an intelligent CPU in the lens automatically selects the optimal IS mode by recognizing differences between normal handheld shots and panning. This technological advancement supports a greater range of creative expression for photographers in otherwise difficult shooting situations, such as dark indoor scenes where flash photography is prohibited, or in places where a tripod cannot be used, or when shooting at low ISO speeds.

The EF 16-35mm f/4L IS USM ultra wide-angle zoom lens features newly developed, high quality Canon optics that incorporate three GMo (Glass-Molded) aspheric lens elements, including a large-diameter aspheric lens, which help improve image quality by correcting aberrations. Two additional UD lens elements help reduce chromatic aberration from edge to edge throughout the entire zoom range for excellent image quality with high resolution and contrast. The lens also features enhanced fluorine lens coatings on the front and rear lens surfaces to repel dust particles and help ensure superb color balance while minimizing ghosting. The inner focusing and ring USM offer silent, fast and accurate autofocusing. Full-time manual focus adjustment is available in autofocus (AF) mode. A nine-blade circular aperture creates beautiful, soft backgrounds. A new compact four-group zoom system provides a minimum focusing distance of 0.28m/11 inches throughout the zoom range and a maximum magnification of 0.23x at the telephoto end for outstanding performance.

Created to be a great companion lens for the Canon EOS 70D, EOS Rebel T5i, EOS Rebel SL1 and other EOS Digital SLR cameras with APS-C size image sensors, the EF-S 10-18mm f/4.5-5.6 IS STM lens expands Canon’s line of Stepping Motor (STM) lenses. For entry-level users, this affordable wide-angle lens offers the ability to shoot creative, high-quality images and video in tight indoor locations such as a cozy corner table in a restaurant or unique vacation photos where the subject is close up, yet the surrounding area can still fill the frame.

The EF-S 10-18mm f/4.5-5.6 IS STM ultra wide-angle zoom lens features a compact and lightweight design with an Optical Image Stabilizer for shake correction up to four shutter speed stepsiii, enabling handheld shooting in low light. The lens’ stepping motor and newly designed focus mechanism are ideal for Canon EOS Movie Servo AF (available on EOS 70D, EOS Rebel T5i and EOS Rebel SL1 cameras) to provide smooth, quiet and continuous autofocusing during video shooting, as well as when taking photos.

The EF-S 10-18mm f/4.5-5.6 IS STM ultra-wide zoom lens features one UD lens element to help reduce chromatic aberration throughout the zoom range for excellent image quality with high resolution and contrast. It also features enhanced multi-layer lens coatings to help ensure superb color balance while minimizing ghosting and flare, while a seven-blade circular aperture creates beautiful, soft backgrounds.

Compared to the EF-S 10-22mm f/3.5-4.5 USM wide-angle lens, the EF-S 10-18mm f/4.5-5.6 IS STM ultra wide-angle zoom lens is nearly 20% smaller and 38% lighter. When combined with a compact digital SLR, such as the Canon EOS Rebel SL1 camera, the smaller size makes it very convenient to carry with the camera when traveling. The compact four-group zoom optical system provides a maximum magnification of 0.15x at the telephoto end. The wide-angle zoom range of the new EF-S 10-18mm f/4.5-5.6 IS STM is a perfect complement to the currently available EF-S 18-55mm IS and EF-S 55-250mm IS STM zoom lenses.

New Lens Availability

The Canon EF 16-35mm f/4L IS USM and the EF-S 10-18mm f/4.5-5.6 IS STM ultra-wide zoom lenses are scheduled to be available in June for estimated retail prices of $1,199.00 and $299.99, respectively. For more information about Canon EF Lenses visit: www.usa.canon.com/cusa/consumer/products/cameras/ef_lens_lineup.

White EOS Rebel SL1 Kit with EF-S 18-55mm f/3.5-5.6 IS STM Lens Availability

The Canon EOS Rebel SL1 and EF-S 18-55mm f/3.5-5.6 IS STM lens kit in white is scheduled to be available at the end of June for an estimated retail price of $749.99. For more information about the white Canon EOS Rebel SL1 Digital SLR Camera kit and the full list of product specifications, visit www.usa.canon.com/eos.

Review: Aputure V-Screen VS-3 7" IPS LCD HDMI Monitor



Overview : This compact 7" ultra thin LCD display is perfect for filmmakers looking to free themselves from relying on their camera's tiny built in display. The V-Screen's larger screen is crucial for critial focus and exposure adjustments. The V-Screen includes a host of on-screen scopes and meters - features usually only found in full sized editing monitors. In addition to histogram, peak focus, and false color display, the V-Screen 3 has a full time VU Meter to monitor incoming audio.

Features :
  • 7" 1024 x 600 display with 800:1 contrast ratio - supports input resolutions up to 1920 x 1080
  • Multi-coated anti-reflection coating, Wide viewing angle + included sunshade
  • Full suite of on-screen scopes for focus, histogram, & exposure assist; Real-time VU meter for monitoring audio levels; User configurable shortcut buttons
  • Multiple video inputs, including HDMI loopthru; Built in speaker & headphone jack; Operates on Sony NP-F style battery or AC power
  • 24 Month Fotodiox Warranty

Quality/Usability : A external monitor may not be an essential tool but it is valuable addition for any filmmaker. It allows you to check your shots more accurately, monitor the scene as opposed to a small 3" screen on your camera. Having a larger screen to view your scene makes things a lot easier and for your eyes as well.


The Aputure V-Screen VS-3 comes with a slew of accessories. Not only does it come with the 7" VS-3 screen, it comes with wall power adapter, cold shoe mini-ballhead, USB cable for firmware updates, right angle HDMI to HDMI mini cable, allen wrench with 1/4-20 screw, shade, cleaning cloth and pamphlets.


When I first took the VS-3 out of the box, I was shocked at how light the screen is. It weighs roughly 13 ounces. That's less than 1lb. without a battery. Controls on the front of the Aputure VS-3 are straightforward. A power button, a source selection button (labeled A/V) and a 4 way directional pad (also acts as shortcut menu) with a menu button in the center.


The "Shortcut" menu is very handy. It basically allows you to assign commonly used functions to the directional pad at the bottom of the screen. If you don't want to scroll through the menus, you can simply assign peaking or histogram display or whatever you use the most to one of the 4 arrows on the directional pad.


On the base of the unit, there’s only one mounting point which is a 1/4-20 mounting thread and gives you a nice and solid connection point. Also at the bottom is a headphone jack. To the left of the VS-3 is a USB port. This port lets you connect the USB cable to allow you to update the screen with any firmware updates that Aputure may release. At the time of my review, it came with v1.1. I checked Aputure's website and there was a new firmware update.

Upgrading the firmware was painless and quick. Simply download the latest firmware, load it onto a thumbdrive, connect the thumbdrive to the USB cable and attach the USB cable to the monitor. Under OTHER SETTING, select SOFTWARE UPD. and it will begin updating.


On the back of the panel you'll find support for both HDMI in and pass through as well as component video on the left side. The battery plate in the center of the Aputure VS-3 is designed to work with Sony NP-F type batteries or you can use the included power adapter to easily power the monitor on the right side. A speaker is also above the DC power input.

A Sony NP-F950 7200mAh can last you an entire shoot (Maximal Power was used during our testings). But of course, it's always best to always have a spare just in case. If you're not using the monitor and have the Sony NP-F battery still inserted into the back of the monitor, it will still drain your battery. Even though it is not on, the power button is lit up red and is still using the batteries power.


The Aputure VS-3 comes with a pretty decent sun hood. It uses two elastic bands around the edges of the monitor (which has indentations so that the elastic band doesn't shift) and a long piece of velcro which attaches across the bottom of the unit.


The included mini-ball head is a nice addition. It allows you to mount your VS-3 to a hotshoe like on top of your camera. It's sturdy and capable of holding the monitor perfectly fine but I noticed that the base of the ballhead likes to pan/wobble a little even though everything is tightened down.


Installation of the VS-3 is very easy and takes only a few minutes.


Once it's all set up and mounted, it takes the VS-3 a few seconds to fully power on and another few seconds to sync and display the live view.


Menus on the Aputure VS-3 are extremely easy to navigate and labels are very straight-forward.

Our four favorite modes is False Color, Zebra Lines, Histogram and Focus Peaking.


Histogram and Zebra Lines (blinking patterns on the LCD when you over expose) should be familiar to everyone as its available on camera stills.


In False Color mode, it shows the luminosity levels rather than what you actually see. If you have a grey card on hand and it shows yellow in False Color mode, than it is correctly exposed. If there is any place that is black, it will show blue on the monitor.

Focus Peaking lets you know what objects in the scene are in focus. Like the Zebra Lines highlighting areas that are over exposed, Focus Peaking marks the areas in the frame that are in focus.

These four modes will help you nail your exposure.

Conclusion : Overall, the Aputure V-Screen VS-3 7" IPS LCD HDMI Monitor is a reasonably priced external monitor. It offers a lot of what higher end monitors would offer but at a much more affordable price. I would of like the mini ballhead to be a lot more sturdier. The colors on the monitors is vibrant and crisp. Performing firmware updates is fairly easy and quick.

Depending on the battery you get, it should last you an entire shoot. But just remember to remove the battery from the monitor when you're not using it. Even though the monitor itself is off, it's still using the battery to light the power button.




Manufacturer: Aputure
Site: Buy from Fotodiox / Buy from Amazon
Price: $389.95

Sony NP-F Batteries
Site: Buy from Amazon
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