Key features

• High-speed USM AF
• Fluorine lens coating front and rear
• 9-blade circular aperture
• Three Aspheric lens elements
• One Super Ultra-low Dispersion lens element
• Two Ultra-low Dispersion (UD) lens elements
• Minimum focusing distance: 0.38m at all focal lengths
• Improved dust and weather resistance
• Improved durability for daily use
• Front of lens doesn’t rotate during focusing
• Manual focus possible in AF mode
• Only lead-free glass is used

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UPDATE:   The 24-70 will be available in April for approx. $2300.  The 24mm and 8mm will be available in June for approx $850 and $800 respectively.

Press Release

London, UK, 7th February 2012 – Canon today adds to its world-famous EF lens series with the launch of three new lenses for photography professionals and enthusiasts. The new EF 24-70mm f/2.8L II USM professional zoom lens is an update to the popular EF 24-70mm f/2.8L USM, while the new EF 24mm f/2.8 IS USM and EF 28mm f/2.8 IS USM are the world’s first1 wide-angle prime lenses to feature optical Image Stabilizer (IS) technology. All three provide the highest levels of performance for modern digital photographers, combining premium image quality with durable, user friendly designs.

EF 24-70mm f/2.8L II USM: the ultra-high performance standard zoom

The new EF 24-70mm f/2.8L II USM features completely redesigned optics to provide outstanding clarity, image quality and durability. A compact design makes it ideal for carrying on every shoot, and a range of optical enhancements provide improved performance – capturing greater detail across the frame while reducing distortion throughout the entire zoom range, particularly at the maximum 70mm focal length.

With a redesigned optical system that includes two Ultra-low Dispersion (UD) and one Super UD aspheric elements to minimise chromatic aberration and colour blurring, the lens delivers consistently sharp, high-contrast images. Each lens element also features Canon’s optimised Super Spectra coatings to reduce ghosting and flare and ensure excellent colour balance. Additionally, a fluorine coating minimises the amount of dust, dirt and fingerprints that adhere to the front and rear of the lens, helping to maintain superior image quality.

The EF 24-70mm f/2.8L II USM also enables photographers to capture their subjects up close, with a minimum focusing distance of 0.38m at all focal lengths throughout the zoom range. A ring-type Ultrasonic Motor (USM) works in combination with a highperformance CPU and advanced AF algorithms to ensure accurate, silent and ultraresponsive autofocus. For those who prefer to maintain full control in every shot, fulltime manual focusing allows photographers to precisely tweak or alter the focus of their shot at any time, even when AF is engaged.

Distinguished L-series design

The EF 24-70mm f/2.8L II USM is the latest lens from the elite L-series to offer Canon’s high-grade and user-focused design enhancements. The mechanical structure of the lens has been improved to offer enhanced zoom durability and greater shake and shock resistance within the lens barrel. The size of the lens has also been reduced by 10mm compared to the previous model, providing enhanced portability and greater convenience in everyday use. A new Zoom Lock lever also enables photographers to lock the zoom position at the extreme wide end to prevent damage to the lens in transit, while a water and dustproof construction2 enables users to continue shooting in harsh conditions.

Introducing the world’s first wide-angle primes with IS

Canon today also launches the new EF 24mm f/2.8 IS USM and EF 28mm f/2.8 IS USM – the world’s first 24mm and 28mm fixed wide-angle lenses to feature optical IS technology. Ideal for landscape and reportage, both lenses offer outstanding flexibility allowing photographers to shoot an even broader range of scenes and subjects – combining fast apertures with IS to enable sharp results when shooting handheld, even in low light conditions.

Offering an advantage of up to 4-stops over lenses without IS, both lenses are ideal for capturing more of the scene thanks to their wider focal lengths. Both feature a wide f/2.8 aperture, allowing photographers to explore shallow depth of field, or to shoot in lower-light conditions. Wide apertures and IS technology also make each lens ideal for shooting fast-moving subjects, while Canon’s advanced IS technology is able to detect intentional panning movement and automatically switch from Normal IS mode to Panning IS mode – helping users to capture movement with greater accuracy.

Silent, high-speed AF performance is provided by the inclusion of a ring-type USM and additional features including optimized AF control. Full-time manual focusing also ensures adjustments can be made even when AF is engaged, while a minimum focusing distance of 0.20m (EF 24mm f/2.8 IS USM) and 0.23m (EF 28mm f/2.8 IS USM) allows photographers to get even closer to smaller or more detailed subjects.

Designed to perform

Both the EF 24mm f/2.8 IS USM and EF 28mm f/2.8 IS USM feature redesigned optics to improve image quality and reduce the need for post-production. An aspherical glass moulded (GMo) lens element is incorporated to correct aberration throughout the optical system, while Canon’s optimised Super Spectra Coatings reduce ghosting and flare for stand-out image quality. Externally, both models also boast a number of design similarities with Canon’s professional L-series lenses, with a similar coating on the barrel and a similar design on the focus ring. A distance scale is also included to assist with landscape photography, while the compact design makes these lenses an unobtrusive addition to any kit bag.

1 According to Canon research as of February 2012
2 Waterproof construction around the lens mount, switch panel, zoom ring, focusing ring and zoom lock.
Weatherproof when used with weatherproof EOS bodies.

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Critical Specs

• 35.9 x 24.0mm CMOS FX Format Sensor
• 36.3Mp Resolution
• EXPEED 3 Image-Processing Engine
• 3.2″ LCD Monitor
• Optical Filter w/ Anti-Aliasing Removed (D800E only)
• Eye-Level Pentaprism Viewfinder
• 1920 x 1080/30/25/24p HD Video Capture
• Built-In Flash + i-TTL Flash Control
• SD and CF card slots
• 4fps in FX or 6fps in DX mode

Video Function

As with the D4, Nikon is really pushing the new and improved video features of the D800.  At the time I wrote a specific article about the video improvements so if this is an area that interests you then this article is now relevant to the D800 as well as the D4.  You can read that article HERE.

This short film was shot to promote the new D800 video features.

Pre-Orders

B&H have the D800E body only for pre-order $3299.99

B&H have the D800 body only for $2999

Amazon have the D800 body only for $2999

Amazon have the D800E body only for $3299

Press Release

London, UK, 7th February 2012 – Nikon today announces a groundbreaking new 36.3 megapixel FX-format professional D-SLR, the Nikon D800.

Designed to answer the needs of tomorrow’s photography and video today, the masterful Nikon D800 is packed with new technology that delivers unprecedented levels of depth and detail in photography, and offers all the flexibility necessary to shoot broadcast quality video.

Firmly establishing a league of its own, the Nikon D800 offers imaging potential to rival medium format cameras, but with all of the agility of the D-SLR format — giving professionals who demand attention to detail the freedom to create monumental images.

In an industry first, this exciting launch includes a special edition of the D800 – the Nikon D800E. With a modified optical filter, the D800E offers a unique alternative for those seeking the ultimate in definition.

Kentaro Kusakari, Product Planning Manager, Nikon UK says: “The D800 sets a new benchmark for photographers shooting both still images and video. The combination of the powerful 36.3 megapixel resolution that records detail like never before, and the comprehensive video options will captivate photographers and moviemakers of all disciplines. He adds: “We’re excited about the D800 and know it will help to shape the future of the way we capture images and movies.”

The big picture
The groundbreaking 36.3 megapixel FX-format (full-frame) CMOS sensor incorporates key technologies that enables unprecedented levels of detail and tonal range.

12-channel readout with 14-bit A/D conversion and high signal-to-noise ratio: delivers images of remarkable quality with low noise and wide dynamic range.

Broad ISO: offering an ISO range of 100–6400, extendable up to 25600 (equivalent) and down to 50 (equivalent), the D800 will set a new benchmark for D-SLRs with this level of resolution. The camera’s intelligent noise reduction systems manage noise without sacrificing fine details, allowing superb flexibility under all lighting conditions: images are crisp and clean, even at higher ISO settings.

Peak performance
Equipped with Nikon’s next-generation EXPEED 3 image-processing engine, the D800 makes light work of data-rich tasks without sacrificing the speed and quality that professionals are accustomed to.

16-bit image processing: offering richer colours and tones than ever before, this cutting-edge image processor delivers smooth gradations with abundant detail and tone all the way up the scale to pure white, even when shooting in JPEG.

Broadcast quality video
For professionals whose workflow demands video, the D800 offers all the flexibility required for a wide variety of movie applications.  It’s large format movie shooting at its best, with a comprehensive variety of frame rates.

Frame rates: Full HD (1080p) movies can be recorded in 30p, 25p and 24p, with 60p, 50p and 25p options at 720p. Movie clips can be up to 29:59 minutes long.

Multi-Format Full HD D-Movie: as introduced with the D4, Full HD recording is possible in both FX and DX based formats, enabling exceptional freedom of expression.

High-fidelity audio control: responding to feedback from the industry, the D800 sets a new standard for D-SLR audio recording, enabling your movies to sound as good as they look. Aside from the external stereo microphone input, an audio out for external headphones lets you fine tune audio in isolation, both before and during movie recording. A line input setting for PCM linear recorders is also provided.

Uncompressed HDMI output: for those who need the purest video output for professional quality editing, the D800 offers the possibility to output the uncompressed live view to external recorders and monitors.  As with the Nikon D4, this data is output at the designated image size and frame rate, and is clean of the information overlay that can be simultaneously displayed on the camera’s TFT monitor.

Convenient custom controls: have been implemented for live view operation. Instead of rotating the command dial, power aperture enables smoother aperture control using assigned buttons on the front of the camera. Index marking helps you tag important frames in the timeline by attaching markers during movie recording, which makes for easy location during editing.

Advanced scene recognition with 91K-pixel RGB sensor
Nikon’s revolutionary Advanced Scene Recognition System now incorporates a newly designed 91,000-pixel RGB sensor that meticulously analyses each scene for outstanding accuracy. It can detect human faces with startling exactness even with exclusive use of the optical viewfinder, and recognises a scene’s colours and brightness with unprecedented precision.

This level of detailed scene analysis is also utilised to support more accurate autofocus; auto exposure and i-TTL flash exposure results in a diverse range of compositional and lighting situations. For example, 3D-subject tracking is particularly improved when shooting smaller subjects.

Implementing Nikon’s highly-acclaimed Multi-CAM 3500FX AF system — with individually selectable or configurable 9-, 21- and 51-point coverage settings — the autofocus sensor module and algorithms have been re-engineered to significantly improve low light acquisition sensitivity capabilities down to -2 EV (ISO 100, 20°C/68°F). The overall performance is similar to the latest flagship of Nikon, the D4: AF operation is even possible under a combined aperture value of f8 (e.g. a 600mm f/4 AF-S lens combined with 2x-teleconverter TC-20EIII) with 11 AF sensor involved, and with 15 AF sensors between f/5.6 and f/8.

Simplified AF and AF-area mode selection is now possible without taking your eye away from the viewfinder.

Responsive and intuitive
The Nikon D800 responds as quickly as you do, with secure, conveniently placed, buttons and controls that quickly become an extension of your hand.

Fast response: start-up is approx. 0.12 seconds , release time lag is minimized to approx. 0.042 seconds (equivalent to that of the D4), with continuous approx. 4 fps capability in FX-format and crop modes, pushed to approx. 6 fps capability in DX-format Crop mode with the optional Multi-Power Battery Pack MB-D12.

Precision 8-cm (3.2-in.), approx. 921k-dot, wide-viewing-angle LCD monitor with automatic monitor brightness control: delivers bright, crisp image playback with a much wider color reproduction capacity. LCD brightness is automatically adjusted according to the viewing environment and images can be magnified up to 46x during playback, which can be a big help for spot focus confirmation.

Glass prism optical viewfinder with approximately 100% frame coverage and 0.7x magnification (50mm f/1.4 lens at infinity, -1.0m-1).

Dual-axis electronic virtual horizon offers accurate confirmation of level shooting by letting you check the LCD monitor, or the viewfinder, for both the camera’s position in relation to the horizontal plane and its pitch (forward or rear rotation).

Enhanced ergonomics: buttons and dials have been strategically laid out for fluid operation. Improvements around the shutter-release button mean your index finger can rest comfortably for longer periods of time, while the designated movie record button means you’re ready to trigger movie shooting in an instant.

Release mode dial: mode visibility and operability has been improved via a four-button layout and release mode dial on the camera’s top panel, along with dedicated buttons for ISO, White Balance and Image Quality. A new bracketing button has been strategically placed to aid such features as HDR.

Direct access to Picture Controls via a new, dedicated button, rather than via the menu. Picture Controls let you customise the look of your stills and videos by fine-tuning parameters such as sharpness, saturation, and hue.

Durability
Despite its light weight and compact size, the D800 is as tough as Nikon’s professional single digit cameras, with extensive weather and dust sealing throughout to ensure you can keep working when the going gets tough.

High-precision, high-durability shutter: the shutter unit has been tested to well over 200,000 cycles of release to prove durability and precision. Boasts a speed range of 1/8000 to 30s; features an intelligent self-diagnostic shutter monitor and, for the first time, a drive unit designed to reduce the demand on power when the shutter is raised for extended periods during movie shooting.

Efficient power management: a re-working of the D800’s circuits now enables approx. 850 shots of still image shooting or approx. 60 min. of movie live view . All on one charge of a Rechargeable Li-ion Battery EN-EL15.

Build quality: as reliable on the road as it is in the studio, the D800 boasts a weather- and dust-sealed magnesium alloy body that weighs in at approx. 10% lighter than the D700.

Storage media:  high-speed CF (UDMA 7) and SD (SDXC and UHS-1) dual card slots.

High-speed data transfer with USB 3.0.

Nikon D800E – The ultimate alternative
The Nikon D800E is a special edition of the D800, specifically designed for those seeking absolute definition.

Incorporating an optical filter with anti-aliasing properties removed in order to facilitate the sharpest images possible, this is an ideal tool for photographers who can control light, distance and their subject to the degree where they can mitigate the increased risk of moiré  and false colour.  Aside from the optical filter, all functions and features are the same as on the D800.

Creative expansion tools
The D800 incorporates a variety of creative and practical tools for those too busy to spend time in excessive post-production.

Time-lapse movies: the D800 extends the popular time-lapse photography function by saving images as a movie file in the camera. With playback rates from 24 to 36,000 times faster than normal.

HDR (High Dynamic Range) shoots one overexposed and one underexposed frame in a single shutter release. The range can be widened by up to 3 EV for different looks, full of saturation and tonal gradation, while the smoothness of the edge where the two exposures meet can be adjusted for a more natural appearance.

Refined colour temperature control enables minute control over white balance. The monitor hue of live view and the resulting image’s white balance can be adjusted so that the two are aligned. Colour temperature can be manually set in 10-Kelvin increments, or in mired units.

Auto shutter speed control for auto ISO sensitivity control: a new auto option for minimum shutter speed, which automatically controls the balance between shutter speed and ISO sensitivity based on the focal length of the lens being used.

Four image area options: for the first time in a camera of this class, you can choose from a variety of image crop modes, all visually masked in the viewfinder. 5:4 (30.0 x 24.0 mm), 1.2x (30.0 x 19.9 mm), and DX-format (23.4 x 15.6 mm).

In-camera editing: captured images and movies can be altered and edited in camera and on the fly if required. Retouch menus include an array of useful features such as NEF (RAW) processing, resize, distortion control, fisheye, miniature effect, red-eye correction, filter effects and image overlay — as well as the ability to designate the start and end point of movie clips all at once, in order to save them more efficiently.

Accessories
Multi-Power Battery Pack MB-D12 (optional) accommodates a variety of batteries (see specifications) and utilises the same integral magnesium alloy construction and weather sealing as the D800 body itself. You also get approx. 6 fps continuous shooting speed in DX-format. The MB-D12 has its own dedicated shutter-release button and command dials for vertical composition shooting.

Nikon SB-910 (optional) — unparalleled lighting performance: Nikon’s SB-910 offers versatile i-TTL for on-camera or wireless flash control, refined operability and a powerful guide number of 34/112 (ISO 100, m/ft, STD, FX format, zoom 35mm). Menus and controls have been improved for more operational ease. Hard-type incandescent and fluorescent colour filters are included, which can adjust your D800‘s white balance instantly.

Capture NX 2 (optional) — Fast, powerful and creative image processing: to accommodate the imaging power of the D800’s 36.3 effective megapixels, the latest Capture NX 2 is faster than before and 64-bit compatible.

Camera Control Pro 2 (optional) — Versatile remote camera controls: aside from controlling exposure mode, shutter speed, and aperture, the software now offers numerous improvements to make the D800’s live view operation exceptionally smooth. New creative controls include remote start and stop for movie shooting and switching between live view for stills and movies.

ViewNX 2 (supplied) — Browse, edit, share and more: this bundled, all-in-one software implements an easy-to-use interface and an array of editing functions, including basic editing of RAW files and D-Movies. Seamlessly integrates with my Picturetown, Nikon’s photo sharing and storage service.

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• 82mm Filter Thread
• Lighter than the original version (which is a bit of a beast!)
• approx $1799

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Body

Fuji X-Pro 1 Body Only – Order from B&H

Fuji X-Pro 1 Body Only – Order from Amazon

Lenses

Fuji 18mm f2.0 – Order at B&H

Fuji 18mm f2.0 – Order at Amazon

Fuji 35mm f1.4 – Order at B&H

Fuji 35mm f1.4 – Order at Amazon

Fuji 60mm f2.4 Macro  – Order at B&H

Fuji 60mm  f2.4 Macro – Order at Amazon

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The regular ingest dialog on Photo Mechanic doesn’t allow you to select specific photos to import from your card. This quick tutorial shows you how to achieve this functionality.

For more detailed ingest tutorial please see my previous video.

vimeo.com/30521015

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Rode Stereo Videomic Pro

The bulk old Stereo Videomic is gone and replaced with this MUCH smaller version.  Like the Videomic Pro it features a -1odb PAD switch for loud situations like sporting events and live music.  It also has a +20db switch for use with DSLRs.  Sending a hotter signal to a DSLR means that the camera needs to make much less use of their often noisy internal pre-amps and there is also a 75Hz high pass filter switch to help cut down background noises.  The mic is powered by a 9v battery which is certainly not my favorite option.  Most of us have plenty of AA batteries and chargers so it’s a shame it doesn’t make use of that. The microphones themselves are ½”cardioid condenser capsules arranged in an XY pair.  Most people tend to go with a hotshoe mounted shotgun microphone but for ambient noise a stereo mic like this one is much more suitable.  Due to the more complex nature of a pair of mics the price if the Stereo Videomic Pro is a bit more than the shotgun version which are $299 and $229 respectively.  Shipping will begin almost immediately for this new microphone.

Rode Videomic HD

The Videomic HD is scheduled for a little later in the year.  According to Phillip Bloom it is about 6 months away.  The microphone capsule design is supposedly based on the popular NTG-3 shotgun which suggests that this will be a premium product.  It is the very first microphone to feature a built in recorder which records to Micro SD for a higher quality audio track that one which is recorded in camera.  The microphone will also feature a 3.5mm line out to plug into the camera though for those that want to record a ‘scratch’ track for easy synching of the external audio or for those who don’t mind recording in camera and just want to make use of the other features of the Videomic HD.  Those other features are also pretty compelling, the first being the ability to plug headphones into the mic for monitoring, something which you can only do on the Nikon D4 at the moment.  The microphone also features a 3.5mm line in jack which you can plug a second microphone into, a lavalier mic for example.  This line in can be tracked to either the left or right channel of the output to camera , or the onboard recorder allowing you to have basic mixing functions to create 2 separated mono tracks from the two mics.  A further Safety mode sends the regular output on one track and a -20db attenuated signal to the second track. If your recording situation suddenly has an unexpected spike in levels you hopefully won’t clip the sound on the -20db track.  A very nice feature!

The body of the microphone is manufactured from aluminum and features a built in sound blimp design.  It comes with a dead cat for more blustery outdoor conditions which is also something none of their other microphones come with as standard.  No pricing has been announced yet for this mic, but given the metal body, the NTG-3 capsules and the built in recording capabilities I would be surprised to see this come in at under $600, and not surprised either to see it higher than that.  Given that it would negate the use of an external recorder which would cost a few hundred dollars and feature a seemingly higher quality shotgun than the Videomic Pro which is $229 and feature a built in blimp + dead cat I think we’ll see this higher price but it sounds like it will be worth it.

Press Release

Announcing the VideoMic HD – The World’s First Digital Recorder Video Microphone

RØDE Microphones is extremely proud to announce the VideoMic HD, a high-fidelity, precision RF bias shotgun microphone with integrated digital recording, designed for use with DSLR and large-sensor video cameras.

The VideoMic HD’s audio DNA is directly inherited from RØDE’s flagship NTG3 professional shotgun microphone. Incorporating the same capsule and sharing much of the electronic design of the NTG3, the VideoMic HD is a true condenser super-cardioid shotgun microphone with RF bias technology. This makes it virtually immune to RF interference and condensation that can cause other condenser microphones to fail.

Continuing its history of innovation and ‘industry-firsts’ RØDE has incorporated a high quality digital recorder into the body of the VideoMic HD. This completely removes the requirement for a separate audio recorder, while still also providing throughput of the audio signal to the camera for a superior reference audio track.

File storage is via microSD card and a microUSB port is supplied for convenient file access and possible firmware updates.

An integrated headphone jack with level control allows users to monitor their recording in real-time, while a high contrast LCD display on the rear of the microphone provides visual metering as well as basic recording control.

Audio capture and output can be configured in a number of ways thanks to the microphone’s innovative output selection.
In its default mode the VideoMic HD’s audio is recorded and outputted as a dual mono signal. When in ‘safety recording’ mode, the microphone captures and outputs the standard audio signal on the right channel and a -20dB attenuated signal on the left channel. In case of unexpected boosts in the audio the user has a safety backup channel of audio that can be referenced. A third output setting allows for dual mono audio capture and a balanced signal output using the optional RØDE VXLR 3.5mm to XLR adaptor.

The VideoMic HD offers a 3.5mm mono line in that supports ‘plug in’ power, allowing for the connection of a secondary microphone such a lavalier or headset. The microphone’s fourth output mode allows the tracking of the line-in to one of the stereo channels, both on the on-board recorder and through the 3.5mm output jack.

The microphone body is constructed from rugged, lightweight die-cast aluminium and features a quick release cam lever for simple and secure mounting in any universally sized camera shoe mount.

Drawing on the design architecture of the award winning RØDE Blimp, the VideoMic HD features a unique windshield and suspension structure. The capsule and line tube are completely suspended inside the microphone, providing superior shock mounting and isolation from physical sound sources through the microphone body, and the outer geodesic structure provides strength while offering superior wind protection to foam windshields. A DeadCat VMHD furry windshield is supplied with the microphone to provide protection in high wind environments.

For more information and to register your interest to be notified when the microphone begins shipping, please visit rodemic.com/vmhd.

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Last week at CES I had some hands on time with the new zooms and they are meticulously constructed, a joy to use.

Canon CN-E 14.5-60mm T2.6 L S Cinema Zoom Lens with EF Mount

Canon CN-E 14.5-60mm T2.6 L SP Cinema Zoom Lens with PL Mount

Canon CN-E 30-300mm T2.95-3.7 L S EF Mount Cinema Zoom Lens

Canon CN-E 30-300mm T2.95-3.7 L SP PL Mount Cinema Zoom Lens

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