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Terry Richardson banned by major magazine publisher, according to leaked email

Thu, 10/26/2017 - 07:13
Photo by Christopher Macsurak (cc-by-2.0)

Following a scathing piece by The Times, a leaked Conde Nast email reveals that controversial photographer Terry Richardson has been banned from working with the company's many publications—including major names like Vogue, Vanity Fair, Glamour, and GQ. The leak comes via The Telegraph, which claims that the email was "circulated within the media group Conde Nast International", and follows years of sexual misconduct allegations against Richardson.

Richardson has long been one of the photographers of choice in the fashion industry for his 'raw' style, this despite the allegations against him. Entities working with Richardson were recently called out by The Times, which asked why the photographer is still 'feted by fashionistas' despite being known as 'the Harvey Weinstein of fashion.'

The leaked Conde Nest email mentions neither The Times' piece nor the allegations, instead reportedly stating:

I am writing to you on an important matter. Condé Nast would like to no longer work with the photographer Terry Richardson. Any shoots that have been commission[ed] or any shoots that have been completed but not yet published, should be killed and substituted with other material.

The Telegraph claims the email was signed by Conde Nast International Executive VP James Woolhouse.

The publication itself has not made any official comments about the matter; however, a representative for Richardson issued a statement about the report to the Huffington Post, saying:

Terry is disappointed to hear about this email especially because he has previously addressed these old stories. He is an artist who has been known for his sexually explicit work so many of his professional interactions with subjects were sexual and explicit in nature but all of the subjects of his work participated consensually.

Categories: Photo News

Sony a7R III sample gallery

Thu, 10/26/2017 - 07:00
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The Sony a7R Mark III is here and we get our hands on one for a few hours while at a press event in New York City. First impressions are positive - The camera's Eye AF function seems reliable - which we used for quite a few images in this gallery, as well as the lock on AF. Also everything here was shot using the new 24-105mm F4 G OSS lens. We'll update with more images soon when we get one in the office and can process Raw files.

Categories: Photo News

Tamron unveils lightweight 100-400mm F4.5-6.3 ultra-telephoto zoom for $800

Thu, 10/26/2017 - 06:44

Tamron just revealed its newest ultra-telephoto zoom. Meet the Tamron 100-400mm F4.5-6.3 Di VC USD (Model A035) for full-frame Canon and Nikon DSLRs—a lens that combines compact, lightweight construction with 'superior' image quality and 'fast and precise AF', according to Tamron. The lens' tagline: heavyweight performance in a lightweight lens.

The new lens was revealed this morning, and its claim to fame is its size and weight. At just 39.3 oz., the new 100-400mm lens is the lightest in its class thanks to the use of magnesium allow in 'key areas' of the lens barrel. Inside that barrel you'll find 17 lens elements in 11 groups—including three low dispersion (LD) elements—and Tamron's high-speed Dual MPU that allows for 'fast and precise AF' as well as four stops of stabilization.

Below are some sample photos captured with the new Tamron 100-400 F4.5-6.3 Di VC USD at the racetrack by photographer Takahito Mizutani for Tamron:

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The Tamron 100-400mm F4.5-6.3 Di VC USD will be available starting November 16th, in both Canon and Nikon mounts, for $800. To find out more or see more impressive sample photos, read the full press release below or head over to the Tamron website.

Press Release

100-400mm F/4.5-6.3 Di VC USD (Model A035) Tamron announces the launch of a new ultra-telephoto zoom lens with fast and precise AF, superior image quality and a lightweight, compact design

October 26, 2017, Commack, New York— Tamron USA, Inc. , announces the launch of a new ultra-telephoto zoom lens, 100-400mm F/4.5-6.3 Di VC USD (Model A035), for full-frame Canon and Nikon DSLR cameras. The Model A035 delivers fast and precise AF performance and consistently powerful VC (Vibration Compensation) 4 stops*1 benefits thanks to the high-speed Dual MPU (Micro-Processing Unit) control system that is found in the latest Tamron lens models. The advanced optical design of Model A035 includes three LD (Low Dispersion) lens elements for aberration reduction and Tamron’s original eBAND Coating for superior anti-reflection performance. At 1,115g (39.3 oz), the new lens is the lightest in its class*2 and features magnesium alloy in key areas of the lens barrel to ensure weight reduction, and improve strength and portability. Model A035 is compatible with Tamron’s 1.4X tele converter and the Tamron TAP-in ConsoleTM that enables lens customizations for focus adjustments, VC mechanism adjustments and more. Additionally, an Arca Swiss compatible tripod mount is available as an optional accessory. The new Tamron 100-400mm will be available in both Canon and Nikon mounts on November 16th at $799.


1. High-speed Dual MPU (Micro-Processing Unit) control system delivers quick and highly responsive autofocus performance plus outstanding VC image stabilization

The Dual MPU system includes an MPU dedicated to vibration compensation processing, enhancing the computational capacity of the entire system. An MPU with built-in DSP (Digital Signal Processor) provides high-speed digital signal processing and achieves outstanding autofocus performance and vibration compensation, both indispensable for ultra-telephoto photography.

2. Superb image quality in an ultra-telephoto zoom lens

The Model A035 includes three LD (Low Dispersion) lens elements for optimal optical design and aberration correction. Lighter weight, increased light transmission and crisp images with excellent contrast are achieved by reducing the number of lens elements while ensuring an appropriate balance with aberration correction. The A035 has minimum object distance (MOD) of 1.5 m (59 in) and a maximum magnification ratio of 1:3.6 for close-up work.

3. Exclusive eBAND Coating reduces flare and ghosting

The new A035 features Tamron’s eBAND (Extended Bandwidth & Angular-Dependency) Coating, which has an extremely low refractive index and fine multiple-layer coating technology, to achieve outstanding antireflection performance. BBAR (Broad-Band Anti-Reflection) Coating, with excellent antireflection characteristics, increases light transmission. These coating technologies greatly reduce the ghosting and flare that can occur when subjects are backlit.

4. Lightest weight, 1,115 g (39.3 oz) lens in the ultra-telephoto zoom lens class*, and only 196.5 mm (7.7 in) long

Magnesium alloy is used in key areas of the lens barrel to improve weight reduction, strength and portability. Total length of 196.5 mm (Nikon mount) means a compact size for an ultra-telephoto zoom lens covering up to 400 mm, and the A035 can therefore be easily carried in a standard camera bag. Combined with excellent vibration compensation functions, the compact size enables successful handheld ultra-telephoto photography.

*Length is the distance from the front tip of the lens to the lens mount face.

5. Optional accessory tripod mount is Arca-Swiss compatible

An Arca-Swiss style tripod mount is available as an optional accessory. Designed exclusively for Model A035, it provides quick and secure attachment to a tripod and greater stability. An easy-to-hold grip shape includes an expanded mounting plane, and the use of magnesium helps achieve lighter weight, thereby further facilitating handheld photography.

6. Compatible with tele converters and TAP-in Console

Model A035 is compatible with tele converters designed exclusively for Tamron lenses to achieve 1.4X and 2X the original focal length*. It’s also compatible with Tamron’s TAP-in Console (Model TAP-01), an optional accessory enabling users to update lens firmware and customize the lens settings, including adjustments of focusing positions for autofocusing and the operation modes for the lens’s Vibration Compensation system.

*Use of the 1.4× tele converter results in light reduction of 1 F stop; use of the 2× tele converter results in the loss of 2 F stops

7. Moisture-Resistant construction and fluorine coating for enhanced weather protection

The surface of the front element is coated with a protective fluorine compound that has excellent water- and oil-repellant qualities. The front surface is easier to wipe clean and is less vulnerable to the damaging effects of dirt, dust, moisture or oily fingerprints, allowing for much easier maintenance. Also, with active use of the A035 for outdoor photography likely, sealant is used in each of the movable and joining areas of the lens barrel to resist the intrusion of moisture.

8. Electromagnetic diaphragm system now used also for Nikon-mount lenses

An electromagnetic diaphragm system, which has been a standard feature for Canon-mount lenses, is now employed in Nikon-mount lenses*. More precise diaphragm and aperture control is possible because the diaphragm blades are driven and controlled by a built-in motor through electronic pulse signals.

* Available only with cameras compatible with the electromagnetic diaphragm (D5, D4s, D4, D3X, Df, D850,D810, D810A, D800, D800E, D750, D600, D610, D300S, D500, D7500, D7200, D7100, D7000, D5600, D5500, D5300, D5200, D5100, D5000, D3400, D3300, D3200, D3100). (As of October, 2017; Tamron)

9. External design places importance on functionality and ease of use

While inheriting the design that makes use of many organic curves and the delicately polished form down to fine details that characterize the SP lens series, the new Model A035 comes with a highly sophisticated design that also places a lot of importance on the lens’s functionality and ease of use, featuring an overall form that faithfully encompasses the internal structures within, a slim Luminous Gold brand ring and the switch shape design.



: A035

Focal Length

: 100-400mm

Maximum Aperture

: F/4.5-6.3

Angle of View (diagonal)

: 24°24' - 6°12‘ (for full-frame format)

: 15°54' - 4°01‘ (for APS-C format)

Optical Construction

: 17 elements in 11 groups

Minimum Object Distance

: 1.5m ( 59 in)

Maximum Magnification Ratio

: 1:3.6

Filter Size

: φ67mm

Maximum Diameter

: φ86.2mm


: for Canon 199mm (7.8 in)

: for Nikon 196.5mm (7.7 in)


: for Canon 1,135g (40 oz)

: for Nikon 1,115g (39.3 oz)

Aperture Blades

: 9 (circular diaphragm)

Minimum Aperture

: F/32-45

Image Stabilization Performance

: 4 stops (CIPA Standards Compliant)

(For Canon : EOS 5DMarkIII is used / For Nikon: D810 is used)

Standard Accessories

: Lens hood, Lens caps

Optional Accessories

: Tripod mount, Teleconverter (1.4x, 2.0x), TAP-in ConsoleTM

Compatible Mounts

: Canon, Nikon

Categories: Photo News

What you need to know about Sony's a7R III

Wed, 10/25/2017 - 19:14

The a7R III is Sony's latest high resolution camera, which carries over many of the improvements found on the company's flagship a9. The 42.4MP sensor itself hasn't changed from the Mark II, but virtually everything else wired into it has. This allows for faster burst shooting, improved autofocus and higher quality 4K video. Some important user interface and ergonomic changes, inspired by the a9, have also made the transition.

Same sensor, better performance

The a7R III uses the same full-frame 42.MP BSI CMOS sensor as its predecessor, though improved readout circuitry lowers the already low read noise, improving dynamic range.

Sony promises a slight improvement in rolling shutter, but not to the level as the a9, so the a7R III didn't earn the 'Anti-distortion shutter' designation.

While the hybrid autofocus continues to offer 399 phase-detect points, there are now 425 contrast-detect points, up from 25 on the a7R II.

From a9 (hardware)

Several items found on the body a9 have thankfully migrated to the a7R III. They include its brilliant 3.69M-dot OLED EVF with incredible contrast and resolution, a joystick for selecting an AF point, an AF-On button and a flash sync port. (The a7R III flash sync speed is 1/250 sec.). Also added is the a9's 'C3' button to the left of the 'Menu' button on the camera's back, and the ability to assign a button to 'Protect/Rate' in Playback. This should make it much easier to quickly select images from bursts in camera. Bursts can even be grouped during playback for faster image viewing and selection.

The rear thumb dial on the back plate of the camera has been updated as well from the Mark II to be heftier, with better haptic feedback and less accidental input - just like the one on the a9.

On the memory card front, the Mark III now has two SDHC card slots instead of one on the Mark II. One of the slots supports UHS-II media while the other sticks to UHS-I.

From a9 (firmware)

There are some nice improvements on the software side, as well. Sony says that autofocus is up to two times faster than the Mark II. Low light performance is now rated down to -3 EV with a F2 lens, meaning the a7R III should offer similar low light AF performance to the a9 - a stop better than the Mark II. AF algorithms have been refined, with more 'tenacious' subject tracking and improved Eye AF. We're hoping this means that Eye AF is more prone to stick to your original subject (per the a9), rather than randomly jump between detected faces as with the a7R II. Eye AF is still laggy when shooting bursts though, much like the original a7R II.

Also new is the helpful Touchpad AF feature, which lets you use the LCD to move the focus point while your eye is to the viewfinder. Movement can be absolute (you're picking a point on the frame) or relative (to the current focus point). You can also restrict the active area to certain parts of the screen. Our first impression is that Touchpad AF seems rather over-sensitive, jumping almost uncontrollably around the screen.

While Sony didn't make a big deal about it, the a7R III should also inherit the a9's Improved JPEG color and noise reduction. Today, Sony's JPEG engine renders some of the finest detail we've seen amongst cameras, even at high ISO. But JPEG color still remains a point of contention.

From a9: Battery!

For both stills and video shooters, perhaps the biggest news is that Sony has found room for the larger NP-FZ100 battery used in the a9. This required a complete redesign of the body, including a slightly modified grip, but it means a huge boost in battery life. If you're using the LCD, expect 650 shots per charge (which is the 'official' CIPA number), and 530 shots with the EVF. Compare that to the 290 shot CIPA rating the Mark II received. Color us impressed.

An optional battery grip, the same VG-C3EM model as the a9 uses, doubles battery life, so you'll get up to 1300 shots.

Entirely new

There are a couple of things that are a7R III 'originals'. The first is a redesigned low vibration shutter mechanism, which allows 10 fps bursts without the risk of 'shutter shock.' It also allows for the 1/250 sec flash sync mentioned earlier. With the proper strobes, you can even get up to 10 fps shots with flash - something even an a9 won't do (it's capped at 5 fps with flash, since that's its maximum mechanical shutter rate).

The camera has two USB ports. The first is USB 3.1 with Type C connector (found on modern smartphones and newer Apple laptops), which allows tethering and battery charging. A more traditional micro USB jack is available which supports existing remotes and external battery packs.

Responding to user feedback, Sony has added the ability to enter the menus while the camera is writing to a memory card. YES!


Better processing means improved detail and lower noise in both full-frame and Super 35 crop mode 4K. The real standout footage, as before, should be the Super 35 4K, since it's oversampled.

The AF algorithms in video have also been improved and are more resistant to refocusing off to the background. That's a huge improvement over the Mark II, and means many casual users can leave the camera in complete auto AF area mode ('Wide') with Face Detection on and expect precisely focused 4K footage.

If you're looking for a simple 'tap-to-track-subject' mode a la most other manufacturers, you're still out of luck. The camera unfortunately still has the old outdated 'Center Lock-On AF' mode, which you'll have to turn on to enable 'tap-to-track' functionality. Once it's on, you can tap anywhere on the screen and it'll put a box around your subject and track it. It doesn't work as well as Lock-on AF modes in stills in our experience, and it's still unfortunate that you have to engage this mode to get 'tap-to-track' - a functionality you'd just expect out of the box by default. Furthermore, you'll have to remember to turn 'Center Lock-on' off when you switch back to stills mode, since it's not a mode you'll ever want to be used and can be accidentally triggered by a touch of the touchscreen.

New video functionality

This one is kind of huge: there are now separate function button configurations for stills and movie modes. By default the movie mode functions are set to 'As in Stills mode' but this can be edited, per button, to ensure you have access to the settings you need for both situations. We've been asking for this for a long time, as video needs often differ drastically from stills needs, so this is a welcome change. We'd still like to see totally separate settings banks for video vs. stills - where each mode remembers your last used settings - but this is a start in the right direction.

The a7R III now supports S-Log 3 / S-Gamut 3, which offer even flatter profiles to make use of camera's full dynamic range. Also new is support for Hybrid Log Gamma (HLG), which allows you to view wide dynamic capture on HDR displays, without any post-processing required. Newer displays allow HDR capture to appear less 'flat', since HDR displays have a wide range of tones they can reproduce. The 'flat' log capture is automatically expanded to the full capability of the display so your high contrast capture look high contrast on-screen, without blown highlights or blocked shadows.

HDR display of HDR capture will become increasingly important in the stills world, as it is already in the video world, so we're glad to see Sony taking this new movement seriously in even their prosumer cameras.

Multi-shot mode

This mode, similar to that on Olympus and Pentax cameras, shoots four uncompressed Raws, which must be later processed in Sony's Imaging Edge software to combine them into a .ARQ file, which can then be adjusted. Both Olympus and Pentax do this in-camera.

The benefits of Multi-shot mode are an increase in color resolution (since each pixel has its own red, green and blue value) and a reduction in noise and softness, since there's no demosaicing needed and since you've taken 4 images in place of one. The latter you can do by stacking images from any camera for a nearly ~2 EV noise or dynamic range benefit, but the benefits of not needing to demosaicing are specific to these sorts of multi-shot modes that can use sensor shift to shift the sensor in the precise movements needed to remove the effects of the Bayer color filter. You won't realize these gains unless you post-process, though.

There's at least a 1 second delay between shots while the camera waits for the sensor to settle. This delay means that this feature will not work well with moving subjects. You can change the delay to anywhere between 1 and 30s.

What's missing

There are a couple of things that we would've liked to have seen on the a7R III. They include lossless compressed Raw, more use of the touch panel (for adjusting settings, as an example), in-camera Raw conversion and support for downloadable PlayMemories apps.

The lack of PlayMemories apps may be of particular concern to landscape photographers using such apps for timelapse or gradient filters, and for those that use apps like 'Sync to Smartphone' to automatically download all JPEGs from camera to their phones and online photo storage services. This is a trend, starting with the a9, we'd really like to see Sony reverse.

Overall, though, the a7R III is an impressive package, and one that we're eager to spend more time with.

Categories: Photo News

Video: Sony a7R III first look

Wed, 10/25/2017 - 12:12

Sony took the wraps off its a7R III this morning, and we've been able to spend a little time checking out its standout features. Dan and Richard are on the ground in New York at Sony's launch event, and have put together a quick video showing what's new and cool.

Read all about the a7R III and keep an eye out for sample photos and more in the near future!

Categories: Photo News

Olympus 45mm and 17mm F1.2 Pro lenses emphasize bokeh quality

Wed, 10/25/2017 - 12:00
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Olympus has announced 17mm and 45mm F1.2 Pro primes, offering high-end fast 35mm and 90mm equivalent lenses. The lenses use the same 60mm filters that the existing 25mm F1.2 Pro uses and, like that lens both are weather sealed and dust proof.

The two lenses expand the company's series of F1.2 lenses, which are equivalent to 35 and 90mm F2.4 lenses for full frame. This allows Micro Four Thirds users to achieve very shallow levels of depth-of-field at the focal lengths where they need this capability. The lenses are designed to be consistent in size with one another.

Olympus says it's focused the design not just on achieving sharpness but also on providing attractive bokeh. It says its research showed that bokeh with a soft edge produces the most attractive result, producing a smooth transition from in-focus to out-of-focus regions, and with minimal risks of interference patterns occurring in backgrounds.

To achieve this, both lenses are designed so that spherical aberration is not fully corrected (that would give completely uniform bokeh). Instead it focuses peripheral light rays slightly in front of the plane of focus, giving a soft roll-off to the edges of the bokeh. This, they say, is how many much-loved 'classic' lenses gave desirable, '3D' rendering.

The 17mm lens includes a unique ED-DSA element, which has dual aspherical lenses formed from soft and hard-to-work extra low dispersion glass. They claim to be the only company currently able to do this.

The company also highlights that its cameras should be able to achieve very high levels of focus precision even with off-center points. Both lenses also have the snap-back focus clutch system, so that videographers can manual focus with a linear focus response.

Olympus mentions that there's been a trend towards bokeh-optimized primes in recent years but says its design approach gives attractive bokeh without any of the light loss causes by the use of apodization filters in Fujifilm's APD or Sony's STF lenses.

Each lens will cost $1200. The 45mm will go on sale in late November, and the 17mm will be available in late January 2018.

Press release


M.ZUIKO Digital ED 17mm F1.2 PRO and M.ZUIKO® Digital ED 45mm F1.2 PRO Offer Smooth Feathered Bokeh and High Resolution at the Brightest Aperture

CENTER VALLEY, PA., October 25, 2017 — Olympus expands its M.ZUIKO F1.2 PRO prime lens lineup with the new M.ZUIKO Digital ED 17mm F1.2 PRO (34mm focal length in 35mm equivalent) and the M.ZUIKO Digital ED 45mm F1.2 PRO (90mm focal length in 35mm equivalent). These Micro Four Thirds® system lenses join the currently available M.ZUIKO Digital ED 25mm F1.2 PRO (50mm focal length in 35mm equivalent) to deliver outstanding resolution and beautiful feathered bokeh at a maximum aperture of F1.2.

The M.ZUIKO Digital ED 17mm F1.2 PRO and M.ZUIKO Digital ED 45mm F1.2 PRO give M.ZUIKO PRO lens users more flexibility in low-light environments as well as an extraordinarily shallow depth-of-field. Each is designed to achieve a new level of depictive performance, delivering three-dimensional images that represent subjects as they appear in the real world through a combination of feathered bokeh and sharp resolution.

By focusing not only on the bokeh’s size but also its quality, each lens produces a feathered bokeh effect that better emphasizes the main subject and allows it to stand out within the image. The shallower depth of field produced at F1.2 is especially ideal for portrait photographers.

The newly developed ED-DSA lens, which possesses the characteristics of both an ED (Extra-low Dispersion) lens element and a DSA (Dual Super Aspherical) lens element, is incorporated in the M.ZUIKO Digital ED 17mm F1.2 PRO. The ED-DSA lens compensates for common wide-angle lens issues, including chromatic aberrations, distortion and color bleeding on the image periphery.

Like other lenses in the M.ZUIKO PRO series, the M.ZUIKO Digital ED 17mm F1.2 PRO and M.ZUIKO Digital ED 45mm F1.2 PRO feature compact, lightweight construction and a dustproof, splashproof, freezeproof (to 14°F/-10°C) design, giving photo enthusiasts and professionals the ability to capture brilliant images in a variety of shooting conditions.

U.S. Pricing and Availability
The M.ZUIKO Digital ED 45mm F1.2 PRO will be available late November 2017, while the M.ZUIKO Digital ED 17mm F1.2 PRO will be available late January 2018. Both lenses will have an estimated street price of $1,199.99 USD/$1,499.99 CAD. For a complete list of specifications for the M.ZUIKO Digital ED 45mm F1.2 PRO, visit the Olympus website: http://getolympus.com/lenses/m-zuiko-ed-45mm-f1-2-pro.html, and for the M.ZUIKO Digital ED 17mm F1.2 PRO lens, visit http://getolympus.com/lenses/m-zuiko-ed-17mm-f1-2-pro.html.

Main Features

1. Depictive performance that delivers feathered bokeh and outstanding resolution

Feathered bokeh provides an ultra smooth transition from the sharp to the defocused areas of the image to provide an overall softer background. This results in a subject that stands out with lifelike dimensionality.

In the M.ZUIKO Digital ED 17mm F1.2 PRO, there are 15 elements in 11 groups, including specialized lens elements like the newly developed ED-DSA lens. The ED-DSA lens element, which possesses the characteristics of both an ED (Extra-low Dispersion) lens and DSA (Dual Super Aspherical) lens, reduces the overall weight and the number of lens elements. This design effectively compensates for various types of aberrations that tend to occur in wide-angle lenses, such as chromatic aberration, distortion and color bleeding on the image periphery (magnification chromatic aberration).

The M.ZUIKO Digital ED 45mm F1.2 PRO contains three optimally placed and bonded lens elements, including one ED lens, which compensate for typical problems on wide-aperture lenses like out-of-focus color bleeding (axial chromatic aberration) and peripheral color bleeding (magnification chromatic aberration). The extensive use of special lenses incorporated into 14 elements in 10 groups results in superb optical performance and feathered bokeh effects, even at the widest aperture setting.

Both lenses use the same Z Coating Nano technology as the M.ZUIKO Digital ED 25mm F1.2 PRO for sharp, clear image quality that significantly reduces ghosts and flares that tend to occur in backlit images.

2. Fast, high-precision AF

Both lenses are equipped with the MSC (Movie- and Still-Compatible) autofocus mechanism that provides virtually silent and smooth high-speed focusing performance, even when using the maximum aperture of F1.2. Additionally, there are no AF point limitations, even at the widest aperture, due to the On-Chip AF system in all Olympus OM-D® and PEN® cameras.

Using Face Priority or Eye Priority AF, two modes which are highly regarded by professional portrait photographers, brings out the true power of these large-aperture lenses.

3. Compact, lightweight construction and dustproof, splashproof and freezeproof (14°F/-10°C) performance

The M.ZUIKO PRO F1.2 prime lens lineup is exceptionally compact, lightweight and provides unrivaled mobility, dustproof, splashproof and freezeproof (14°F/-10°C) performance consistent with the M.ZUIKO PRO series. A uniform lens filter diameter across the three F1.2 lenses allows for use of the same lens filters, such as protection filters and PL filters.

Other Features

  • Excellent close-up shooting: The M.ZUIKO Digital ED 17mm F1.2 PRO has a minimum focusing distance of 20 cm and a maximum image magnification of 0.15x (35mm equivalent: 0.3x), while the M.ZUIKO Digital ED 45mm F1.2 PRO has a minimum focusing distance of 50 cm and a maximum image magnification of 0.1x (35mm equivalent: 0.2x), providing outstanding close-up shooting performance.

  • Premium design: Each lens was designed with the professional photographer in mind. The focusing ring placed at the front of the lens makes focusing easier when paired with the large grip of the flagship OM-D E-M1 Mark II camera. The L-Fn Button is located on a gently curving surface to make it comfortable to access. The MF Clutch mechanism allows the photographer to instantly switch between auto and manual focusing mode by pulling the focusing ring toward the camera body.

Lens Accessories:
Lens Cap, LC-62F (bundled): This lens cap is designed for quick and easy removal from lenses with a filter diameter of φ62mm, and can be used even when the lens hood is still attached.

Lens Case, LSC-0811 (bundled): A purse-string-type lens case with three-layer construction thatsecurely protects the lens. The lens can be stored in the case with the lens cap, protection filterand lens hood (stored) attached to the lens.

Lens Hood, LH-66C (bundled): A lens hood specifically designed for the M.ZUIKO Digital ED 17mm F1.2 PRO lens to reduce the amount of unnecessary light entering the lens when shooting in backlit conditions. The hood release lock button features a nonprotruding design that prevents the hood from accidental detachment.

Lens Hood, LH-66B (bundled): A lens hood for use with the M.ZUIKO Digital ED 25mm F1.2 PRO and the M.ZUIKO Digital ED 45mm F1.2 PRO lenses to reduce the amount of unnecessary light entering the lens when shooting in backlit conditions. The hood release lock button features a nonprotruding design that prevents the hood from accidental detachment.

Protection Filter, PRF-ZD62 PRO (sold separately): This protection filter maximizes the abilities of M.ZUIKO PRO lenses bearing the Zuiko name. It features ZERO coating, which cuts reflection by approximately one-half compared to conventional multicoating, black-edged glass, and a satin-finished black alumite aluminum frame for a matte surface that suppresses reflections.

Sales Outline for Separately Available Accessories

Product Name


Planned Launch Date

Lens Cap, LC-62F

$23.99 USD
$21.99 CAD

On sale

Lens Case, LSC-0811

$26.99 USD
$26.99 CAD

On sale

Lens Hood, LH-66B

$44.99 USD
$44.99 CAD

On sale

Protection Filter, PRF-ZD62 PRO

$64.99 USD
$64.99 CAD

On sale

Olympus 17mm and 45mm F1.2 Pro specifications  Olympus M.Zuiko Digital ED 17mm F1.2 ProOlympus M.Zuiko Digital ED 45mm F1.2 ProPrincipal specificationsLens typePrime lensMax Format sizeFourThirdsFocal length17 mm45 mmImage stabilizationNoLens mountMicro Four ThirdsApertureMaximum apertureF1.2Minimum apertureF16Aperture ringNoNumber of diaphragm blades9OpticsElements1514Groups1110Special elements / coatings1 Super ED, 3 ED, 1 ED-DSA, 1 EDA, 1 Super HR, 1 aspherical1 ED, 4 HR, 1 asphericalFocusMinimum focus0.20 m (7.87″)0.50 m (19.69″)Maximum magnification0.15×0.1×AutofocusYesMotor typeStepper motorFull time manualYesFocus methodInternalDistance scaleNoDoF scaleYesPhysicalWeight390 g (0.86 lb)410 g (0.90 lb)Diameter68 mm (2.68″)70 mm (2.76″)Length87 mm (3.43″)85 mm (3.35″)MaterialsMagnesium alloySealingYesColourBlackFilter thread62.0 mmHood suppliedYesHood product codeLH-66CLH-66BTripod collarNo
Categories: Photo News

Hands-on with the new Olympus M.Zuiko Digital ED 17mm F1.2 and 45mm F1.2 Pro lenses

Wed, 10/25/2017 - 12:00
Olympus Digital ED 17mm F1.2 and 45mm F1.2 Pro lenses

Olympus has introduced two new lenses in its M.Zuiko Pro F1.2 prime lens lineup, the Digital ED 17mm F1.2 Pro and the Digital ED 45mm F1.2 Pro. Both lenses promise to give Micro Four Thirds shooters excellent flexibility in low light situations, in addition to providing shallow depth of field and excellent image quality.

The two prime lenses join the existing Digital ED 25mm F1.2 Pro in the Olympus lens lineup.

Olympus Digital ED 17mm F1.2 and 45mm F1.2 Pro lenses

Olympus says the design philosophy for its Pro F1.2 prime lenses is to deliver aesthetically pleasing 'feathered' bokeh without sacrificing any sharpness or resolution, even when shooting wide open. Both lenses use Olympus' new Z Coating Nano technology to suppress flares and ghosting in order to Provide extremely clear image quality.

Olympus Digital ED 17mm F1.2 and 45mm F1.2 Pro lenses

So, what is 'feathered bokeh'? Olympus says that unlike many lenses which Produce ring-shaped or solid bokeh (with sharper outlines), the Pro F1.2 primes deliver bokeh with extremely smooth transitions from in-focus to out-of-focus areas, resulting in smoother backgrounds that make a foreground subject stand out better, creating a sense of depth. Olympus says that feathered bokeh does not come at the expense of resolution, which remains extremely high, even wide open.

Olympus Digital ED 17mm F1.2 and 45mm F1.2 Pro lenses

The Digital ED 45mm F1.2 Pro is built around 14 elements in 10 groups, including one ED lens, four HR lenses, and one aspherical lens. It contains three bonded lens elements, including the ED lens, to compensate for problems that sometimes occur on wide aperture lenses, such as out-of-focus color bleeding (axial chromatic aberration) and peripheral color bleeding. It has a minimum focusing distance of 50cm and weighs in at 410g.

Olympus Digital ED 17mm F1.2 and 45mm F1.2 Pro lenses

The Digital ED 17mm F.12 Pro is built around 15 elements in 11 groups. Want to know how that breaks down? Get ready for acronym soup!

The 17mm F1.2 Pro includes six ED lenses (more than any other Zuiko lens), including one Super ED lens, three ED lenses, one EDA lens, and a newly developed ED-DSA lens, along with a Super HR lens and an aspherical lens. According to Olympus, this combination effectively compensates for chromatic aberrations, as well as spherical aberrations that can affect wide primes. The result, they say, is excellent optical performance with feathered bokeh.

The 17mm lens has a minimum focusing distance of 20cm and weighs in at 390g.

Olympus Digital ED 17mm F1.2 and 45mm F1.2 Pro lenses

What is a ED-DSA lens, you might ask? It's a Dual Super Aspherical lens that features an extremely large thickness ratio between the center and periphery of the lens, made from ED glass. Olympus claims to be the first company to successfully mass produce this type of lens, and that it results in a lens which possess the characteristics of both an ED (Extra-low Dispersion) lens and a DSA (Dual Super Aspherical) lens to compensate for spherical, comatic, and astigmatism aberration.

According to Olympus, producing this lens as a single element reduces the total number of lens elements, improving performance as well as reducing the overall length of the lens.

Olympus Digital ED 17mm F1.2 and 45mm F1.2 Pro lenses

Both lenses use the Olympus MSC (Movie and Still Compatible) autofocus mechanism, which provides smooth high-speed focusing while remaining virtually silent, despite being wide diameter lenses. Olympus says this system provides class-leading AF performance when paired with the E-M1 Mark II body (as low as 0.12 seconds for the 17mm lens). Additionally, there are no limits on what AF points can be used, even at the widest aperture, thanks to Olympus' use of on-sensor phase detect autofocus.

Olympus Digital ED 17mm F1.2 and 45mm F1.2 Pro lenses

All three M.Zuiko F1.2 Pro primes share virtually identical sizes, with less than a couple millimeters of variation between them, and have very similar weights. All use the same 62mm lens diameter, allowing them to share filters and other accessories.

Olympus Digital ED 17mm F1.2 and 45mm F1.2 Pro lenses

Both lenses are designed with ease of use in mind. The wide focus ring has been placed near the front of the lens in order to make manual focusing easier when paired with cameras that have large grips, such as the E-M1 Mark II. As with some other Olympus lenses, a clutch mechanism allows users to instantly switch from auto to manual focus by pulling the focus ring toward the camera body. Olympus even says it designed a gradually curving surface around the L-Fn function button to make it easier to access when shooting through the viewfinder.

Since all the Pro F1.2 lenses are so similar in size, Olympus has printed each lens's focal length in oversized numbers to make it easy to tell them apart.

Olympus Digital ED 17mm F1.2 and 45mm F1.2 Pro lenses

In addition to excellent optical performance, Olympus has built the Pro F1.2 primes to meet the needs of demanding users. Both lenses are dustproof, splashproof, and freezeproof (to 14ºF/-10ºC), making them ideal for use even in extreme conditions.

Olympus Digital ED 17mm F1.2 and 45mm F1.2 Pro lenses

Both the 17mm and 45mm lenses should provide great performance for Micro Four Thirds photographers, especially those who work in low light conditions or who desire very shallow depth of field.

When combined with Olympus' existing 25mm F1.2 Pro lens, the set represents a trio of fast primes at very useful focal lengths of 17mm, 25mm, and 45mm. (34mm, 50mm, and 90mm equivalent.) Their small size, when combined with a compact Micro Four Thirds camera body, could make a great kit for photographers who prefer to travel light but like to shoot with fast primes.

Olympus Digital ED 17mm F1.2 and 45mm F1.2 Pro lenses

The M.Zuiko Digital ED 45mm F1.2 Pro will be available in late November 2017, and the M.Zuiko Digital ED 17mm F1.2 Pro will be available in late January 2018. Both will retail for $1,199, the same price as the existing 25mm F1.2 Pro lens.

Categories: Photo News

Olympus 45mm F1.2 Pro sample gallery

Wed, 10/25/2017 - 12:00

The Olympus 45mm F1.2 Pro is a 90mm equivalent that just screams to be used for portraiture. So when we found ourselves with a production-ready copy, we got right to work. Head to our full sample gallery to see how Olympus' newest prime fares.

See our Olympus 45mm F1.2 Pro
sample gallery

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Categories: Photo News

Sony to shift focus as demand for automotive image sensors increases

Wed, 10/25/2017 - 09:13

Sony is the largest supplier or CMOS image sensors worldwide, with about half of its production capacity reserved for mobile device image sensors. However, according to a DigiTimes report, the company is now looking to expand its position in the market for automotive image sensors, where rivals On Semiconductor and OmniVision are currently the largest players.

As a consequence Sony is planning to allocate a larger portion of its sensor production capacity for advanced driver assistance systems (ADAS) and other automotive electronics applications.

Self-driving vehicles have been identified by sensor suppliers as a major growth area that will generate elevated demand for image sensors in the near future. According to DigiTimes sources, automotive is expected to overtake mobile devices as the leading application for CMOS sensors and will be first among all auto electronics segments, with major growth kicking in during 2018.

According to Digitimes, increasing demand for CMOS sensors through high-end smartphone and automotive applications could be bad news for consumers as the average unit price of CMOS sensors is expected to rise. The global market volume for CMOS sensors is forecast to increase to nearly US$13.8 billion in 2020, up from US$11.2 billion in 2017.

Categories: Photo News

Demo: Sony a7R III's impressive Eye AF

Wed, 10/25/2017 - 09:11

We've been fans of Sony's Eye AF feature for a while now, and since the company claims it's twice as effective in the a7R III it was one of the first things we wanted to check out. In our brief initial demo it does indeed look impressive, which could be a huge benefit for pro photographers. Take a look.

Categories: Photo News

Demo: Here is the Sony a7R III shooting at 10 fps

Wed, 10/25/2017 - 08:55

News of the Sony a7R III is hot off the press and we've just gotten some hands-on time with the camera at an event in New York. So what's the first thing to try? Why, 10 fps mechanical shutter bursts, with continuous autofocus, of course. It's impressive on paper and sure enough, it's darn impressive in person. Take a look for yourself.

Categories: Photo News

Apple shares two iPhone 8 Plus Portrait Lighting tutorials

Wed, 10/25/2017 - 08:27

Apple has just released two brief video tutorial through its YouTube channel, explaining the operation of the new Portrait Lighting feature on the iPhone 8 Plus. The function, which was introduced with the iPhone 8 generation and the iPhone X, lets the user add a variety of simulated lighting effects to portrait images.

The device uses its dual-camera and machine learning to produce a depth-map of the image and apply lighting and blur effects to the scene. Available effects include Natural Light, Studio Light, Contour Light, Stage Light and Stage Light Monochrome. Portrait Lighting can be activated while shooting or applied in editing at a later stage.

The first of the tutorials focuses on Portrait Lighting in shooting mode, the second shows how to apply the effect when editing through the Photos app.

Categories: Photo News

Watch Sony's a7R III livestream event on DPReview

Wed, 10/25/2017 - 06:54

UPDATE: The livestream is over. We'll update this post if and when Sony posts the recording online. For now, we've replaced the livestream with the Sony a7R III First Impressions video Sony published shortly after the event ended.

Sony dropped a bombshell at 2am Eastern time last night, announcing the 42.4MP mirrorless full-frame Sony a7R III to the world. And this morning, at a special event in New York City, they'll officially 'unveil' this camera (and more) with all of the Apple-esque showmanship we've come to expect from Sony camera launches.

The 'special livestream event' starts in just a few minutes. Click play up top and open up the DPReview Twitter account in another page for live commentary from our lovable nerds at the event.

Categories: Photo News

DxO acquires Nik Collection from Google and will continue to offer it for free... for now

Wed, 10/25/2017 - 06:00

Look alive, Nik Collection fans: the software suite is back from the (mostly) dead. It will change hands from Google to DxO, who will continue to offer it as Photoshop and Lightroom plug-ins, as well as incorporate it into their own software. DxO will offer a new flagship application called PhotoLab, a version of OpticsPro that will incorporate Nik Collection's U Point technology.

We spoke with Aravind Krishnaswamy, a Google Engineering Director, and DxO founder/CEO Jerome Meniere about the acquisition. Krishnaswamy mentioned Google's need to focus on its Photos application, but that they want the Nik community to have a future, and a place to continue using the suite's tools.

That's where DxO picks things up. The Nik Collection in its present state will continue to be offered for free – for now. Meniere hints that this may not always be the case, and DxO plans to develop a new "Nik Collection 2018" for mid-next year. Meniere also mentions that they'd like to work with the Nik community to take the software in a direction that they'd like to see it go.

Not surprisingly, Nik-developed Snapseed is not included in the transaction, and will remain with Google. The company plans to continue actively developing and improving the mobile image editing app.

Head to DxO's dedicated Nik Collection site if you'd like to snag free versions of the plug-ins while you still can.

Press release

DxO acquires Nik Collection assets from Google and plans to set a new bar on Photo editing softwares

PARIS – October 25, 2017 – DxO, one of the most innovative companies in consumer imaging, today announced the acquisition of the Nik Collection assets from Google.

DxO plans to continue development of the Nik Collection. The current version will remain available for free on DxO’s dedicated website, while a new “Nik Collection 2018 Edition” is planned for mid-next year.

“The Nik Collection gives photographers tools to create photos they absolutely love,” said Aravind Krishnaswamy, an Engineering Director with Google. “We’re thrilled to have DxO, a company dedicated to high-quality photography solutions, acquire and continue to develop it.”

“We are very excited to welcome the Nik Collection to the DxO family,” said Jérôme Ménière, CEO and founder of DxO. “DxO revolutionized the image processing market many times over the years with its innovative solutions, and we are convinced that we will continue to do so with Nik’s tools, which offer new creative opportunities for photographers. The latest version of our flagship software DxO PhotoLab, which is available as of now, is the first embodiment of this thrilling acquisition with built-in U point Technology.”

About the Nik Collection

The Nik Collection is composed of seven desktop plugins for Adobe Lightroom and Photoshop that provide a powerful range of photo editing capabilities — from filter applications that improve color correction, to retouching and creative effects, to image sharpening that brings out hidden details, to the ability to adjust the color and tonality of images. The current lineup of the Nik Collection includes:

  • Analog Efex Pro: Applies film-era camera, lens, and film simulations to digital images
  • Color Efex Pro: A comprehensive set of filters for color correction, retouching, and creative effects
  • Dfine: Noise reduction software for camera-specific digital images
  • HDR Efex Pro: Specialized program for processing HDR pictures
  • Sharpener Pro: Image sharpening for digital images
  • Silver Efex Pro: Black & White conversion of images with darkroom-inspired controls
  • Viveza: Selectively adjusts image color and tonality without complicated masks or selections
Categories: Photo News

Sony a7R III promises faster bursts, better focusing and longer battery life

Tue, 10/24/2017 - 23:30
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Sony has announced the a7R Mark III, a 42.4MP mirrorless camera built around the lessons learned from its flagship a9 sports camera. The result is a high-res full frame camera capable of 10 fps shooting with more tenacious autofocus and many of the improvements existing a7R II users had hoped for.

The camera features essentially the same body as the a7R II, but Sony has found room for a focus point selection joystick, AF-On button, twin SD card slots, flash sync socket and, most importantly, the higher-capacity battery of the a9. The new camera also gets the 3.69M-dot OLED viewfinder from the a9, providing a 1280 x 720 resolution view. This gives you highly detailed images with high contrast and deep blacks through the EVF, particularly during playback.


The sensor is the same 42.4MP BSI CMOS chip as before, but a series of hardware and processing changes act to get more out of it.

A faster 'Bionz X' processor, along with the front-end LSI processor featured in recent Sony models, allows the camera to process more data, faster. This, in conjunction with a redesigned, low-vibration shutter mechanism, allows the new camera to shoot at 10 frames per second, with full autofocus, in either mechanical or electronic shutter mode. It can also do a6500-style 'live view' continuous shooting at up to 8 fps.

Sony says the faster processing will give "more tenacious" subject tracking and Eye-AF than the existing a7R models

Continuous shooting bursts can last for 87 compressed or 28 uncompressed Raw files.

Sony claims 15 stops of dynamic range and 14-bit Raw capture across more of its shooting modes (including continuous shooting and e-shutter mode, which prompted the previous camera to drop to 12-bit capture), though it still drops to 12-bit when shooting 10 fps uncompressed Raw.

So, although the Mark III doesn't have the super-high throughput stacked CMOS design that we saw in the a9, Sony says the faster processing will give faster shooting speeds and even offer AF benefits: "more tenacious" subject tracking and Eye-AF than the existing a7R models to name a couple, even if not up to a9 standards.


The a7R III retains the 399 point on-sensor phase-detect AF system of its predecessor, ensuring accurate and precise autofocus at the image sensor plane with no calibration whatsoever. Importantly, though, Sony claims twice as good face and eye detection and tenacity. That would be welcome, as we found Eye AF-C to be very jumpy, readily hopping between detected faces in the scene, on the a7R II. The a7R II particularly struggled in continuous drive modes. The a9 remedied this issue quite a bit, more tenaciously sticking to your original intended subject as you can see below, and even functioning jaw-droppingly flawlessly even in 20 fps bursts. We hope the a7R II's algorithms allow for at least somewhat similar behavior:

Like with the a9, Sony has updated its low light AF rating, ensuring focus down to -3 EV with F2 lenses. Indeed, we've found Sony's ratings to be relatively accurate, with a F1.4 lens offering 1 stop faster performance (down to -4 EV), but slower lenses offering worse performance (-1 EV for F4 lenses). The a7R II predecessor focused down to -3 EV with F1.4 lenses, and reliably to -2 EV with F2 lenses.

Official Sony a7R III sample images $(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_4337610895","galleryId":"4337610895","isEmbeddedWidget":true,"standalone":false,"selectedImageIndex":0,"startInCommentsView":false,"isMobile":false}) }); Stable high resolution

As well as the more powerful processors, the a7R Mark III gains some of its capabilities from a completely new shutter mechanism. This is designed to be both fast and low vibration, with a braking mechanism designed to reduce the risk of shutter shock, to maximize image sharpness. Sony says it will offer professional levels of durability, too, though hasn't put a number on its expected lifespan.

The camera's IS mechanism also gets a boost with the 5-axis system upgraded to receive a 5.5 step rating, by CIPA standard testing. The full capabilities of the system remain available in video shooting, too.


Although the body is essentially that of the a7R II, the Mark II gains some of the ergonomic improvements of the a9. This includes an AF-On button and joystick/multi-controller for positioning the camera's AF point. The camera's 3" touchscreen can also be used as an 'AF touchpad' when the camera is held to your eye.

The touchscreen can also be used to perform a controlled rack focus during video capture.


As with its predecessor, the a7R Mark III can shoot UHD 4K from the full width of its sensor but gets better results in Super 35 (essentially APS-C) crop mode. In crop mode the camera shoots using a 5176 x 2924 pixel region, which it down-samples to produce highly detailed 3840 x 2160 UHD 4K footage. Sony says the image quality of both types of footage is improved but that the quality differential between full frame and Super 35mm modes will remain.

The a7R III gains the Hybrid Log Gamma feature we first saw in the Panasonic GH5, which essentially captures Log footage along with metadata that allows HLG-compatible HDR displays to correctly present the footage, without the need for post-processing. Display Assist, which gives a 'normal,' corrected preview while shooting in Log mode, is available when shooting HLG footage. SLog-3 has also been added to maximize dynamic range for users who do expect to grade their footage.

In crop mode the camera shoots using a 5176 x 2924 pixel region, which it down-samples to produce highly detailed 3840 x 2160 UHD 4K footage

The a7R III also gains the 1080p120 (100 in PAL mode) video capability that Sony has developed since the launch of the Mark II, along with the fast and slow-motion modes that stem from the feature. It also shoots XAVC-S Proxy, with the camera capturing both a high quality and a small, more easily editable proxy stream, simultaneously (a feature we first saw on the RX10 IV).

Multi-shot resolution mode

New to the a7R III is a multi-shot resolution mode that, much like the system in recent Pentax DSLRs, shoots four images and moves the sensor between each shot, so that each pixel position in the final image is captured with a red, a blue and two green pixels. This cancels out the side-effects of the Bayer color filter array, meaning that full color information is captured for every pixel. This has a noise benefit both from capturing multiple shots of the same scene, which helps average out the noise, while also reducing the additional softness and noise that usually comes from the demosaicing process.

However, unlike the system Pentax uses or the earlier, 8-shot process used by Olympus, the a7R III cannot assemble the final images in-camera. Instead four Raw files must be processed using a freely downloadable image processing application for PCs that Sony will offer. The camera must also wait either 0.5, 1, or 2 seconds between shots for the sensor to settle, which is likely to exacerbate the problems of subject movement between the first and last shot.

Other features

As well as all these there are a series of smaller additions. For a start, the a7R III also gains an anti-flicker mode that monitors the strobing of artificial lights and shoots at the peak intensity, to avoid dark or inconsistently exposed photos.

There are also twin USB sockets, a USB 3.1 type C connector and the microUSB port that is found on most cameras. The a7R III can be operated when charging over either of these sockets, meaning the camera can charge over a microUSB cable while also shooting tethered via USB-C.

As per the a9, the a7R Mark III has twin card slots, one of which is UHS-II compatible, while the other is the lower-bandwidth UHS-I standard.

Battery life

Use of the larger NP-FZ100 battery increases the battery life by 2.2x, meaning a CIPA rating of 650 shots per charge when using the rear LCD or 530 shots per charge with the EVF. This can be increased using the optional VG-3EM battery grip, which it shares with the a9.

The a7R Mark III will be available from the last day of November at a recommended selling price of $3199.

Press release

Sony’s New Full-frame α7R III Interchangeable Lens Camera Delivers the Ultimate Combination of Resolution and Speed

Innovative Full-frame Mirrorless Model Offers 42.4 MP High-Resolution, 10 fps Continuous Shooting, Fast and Precise AF Performance in a Compact Body

  • 35mm Full-Frame 42.4 MP1 Back-Illuminated Exmor R™ CMOS Image Sensor with Evolved Image Processing
  • Continuous Shooting at up to 10 fps2 with either Silent Shooting or Mechanical Shutter and full Auto Focus/Auto Exposure tracking
  • 399 phase-detection AF points covering 68%3 of image area, 425 contrast AF points and approximately 2 times more effective Eye AF4
  • 5-axis optical in-body image stabilization with a 5.5 step5shutter speed advantage
  • High Resolution 4K6 Movie Shooting with full pixel readout and no pixel binning7
  • Completely redesigned for professionals, including upgraded Auto Focus, Dual SD Card Slots, Extended Battery Life, SuperSpeed USB (USB 3.1 Gen 1) USB Type-C™ Terminal and more
  • Compact, Lightweight body at only 23 oz8

NEW YORK, Oct. 25, 2017 – Sony Electronics, a worldwide leader in digital imaging and the world’s largest image sensor manufacturer, has today introduced an impressive addition to their full-frame mirrorless camera lineup, the α7R III (model ILCE-7RM3).

Thanks to an evolutionary leap in image processing power and efficiency, the new α7R III combines a high-resolution 42.4 MP1 back-illuminated Exmor R CMOS image sensor with impressive shooting speeds at up to 10 fps2 with full AF/AE tracking, as well as beautiful image and 4K6 video quality, wide 15-stop9 dynamic range, high sensitivity with noise reduction of almost a full stop4 and more. With these immense capabilities and a compact, lightweight body, it’s an extremely versatile tool for photographers, videographers, multi-media creators and all other types of professionals that demand reliability, flexibility and versatility.

“We’re continuing to raise the bar for innovation in the imaging marketplace, in particular with our full-frame camera lineup,” said Neal Manowitz, Vice President of Digital Imaging for Sony Electronics. “As an industry, we are now entering the true digital age of imaging. The capabilities of the α7R III camera – silent shooting at 10 fps at full 42.4 MP resolution, extreme AF coverage and speed for both video and stills – exceed anything that is physically possible with a DSLR, making it an excellent symbol for this paradigm shift” He added, “It offers a level of customization, speed and stamina that will satisfy even the most demanding professionals, and ensures that they can take full advantage of this impressive tool to capture and create in ways they never could before.”

A New Level of Image Quality
The 42.4MP high-resolution, back-illuminated Exmor R CMOS image sensor utilizes a gapless on-chip lens design and AR (anti-reflective) coating on the surface of the sensor’s seal glass to dramatically improve light collection efficiency, resulting in high sensitivity with low-noise performance and wide dynamic range.

Sony’s new α7R III also features a new front-end LSI that effectively doubles4 the readout speed of the image sensor, as well as an updated BIONZ X™ processing-engine that boosts processing speed by approximately 1.8 times compared to the α7R II. These powerful components work together to allow the camera to shoot at faster speeds while also enabling its impressive ISO range of 100 - 32000 (expandable to ISO 50 – 102400 for still images) and massive 15-stop9 dynamic range at low sensitivity settings. This ensures outstanding overall performance at all settings and in all shooting conditions.

This new full-frame model was built without an optical low pass filter to maximize resolution, while also having the ability to output 14 bit RAW format even when shooting in silent or continuous mode. The camera is equipped with an innovative 5-axis optical image stabilization system that has been fine-tuned to support its high-resolution shooting capacity, resulting in a 5.5 step5 shutter speed advantage, the world’s highest10 compensation performance for an image stabilization system. There is also a new low-vibration shutter that reduces vibration and image blur in all modes, including the high speed 10 fps shooting, as well as several advancements in accurate color reproductions of skin tones.

High-Performance AF and AF/AE Tracking at up to 10 fps2
The innovative new α7R III full-frame mirrorless camera is equipped with a refined image processing system that allows it to shoot full 42.4MP images at up to 10 fps with continuous, accurate AF/AE tracking for up to 76 JPEG / RAW images or 28 uncompressed RAW images11. This high speed 10 fps mode is available with either a mechanical shutter or a completely silent shooting12, adding to the immense flexibility of the camera. The camera can also shoot continuously at up to 8 fps13 in live view mode with minimal lag in the viewfinder or LCD screen. These high speed options ensure that fast moving subjects can be captured with extreme accuracy and incredible image detail.

For added convenience, while large groups of burst images are being written to the memory card, many of the cameras key functions are operable, including access to the ‘Fn’ (Function) and ‘Menu’ buttons, image playback and several other menus and parameters14 including image rating and other functions that facilitate on-location image sorting.

Additionally, if there is fluorescent or artificial lighting present in a shooting environment, users can activate the Anti-flicker15 function to allow the α7R III to automatically detect frequency of the lighting and time the shutter to minimize its effect on images being captured. This minimizes any exposure or color anomalies that can sometimes occur at the top and bottom of images shot at high shutter speeds.

The upgraded focusing system of the α7R III is comprised of 399 focal-plane phase-detection AF points that cover approximately 68% of the image area in both the horizontal and vertical directions. There is also 425 contrast AF points, an increase of 400 points compared to the α7R II. This advanced system delivers AF acquisition in about half the time as the α7R II in low-light conditions, with tracking that is approximately 2 times more accurate as well. The acclaimed Eye AF feature is also approximately 2 times more effective, and is available when utilizing Sony’s A-mount lenses with an adapter16.

Additional improvements in focusing flexibility include AF availability in Focus Magnifier mode, focal-plane phase-detection AF support when using A-mount lenses17, an ‘AF On’ button, a multi-selector or ‘joystick’ for moving focusing points quickly, flexible touch focus functionality and much more.

High Quality 4K for the Video Professionals
The new α7R III is exceptionally capable as a video camera, offering 4K (3840x2160 pixels) video recording across the full width of the full-frame image sensor. When shooting in Super 35mm format, the camera uses full pixel readout without pixel binning to collect 5K18 of information, oversampling it to produce high quality 4K footage with exceptional detail and depth.

A new HLG (Hybrid Log-Gamma) 19 is available on the α7R III that supports an Instant HDR workflow, allowing HDR (HLG) compatible TV’s to playback beautiful, true-to-life 4K HDR imagery. Further, both S-Log2 and S-Log3 are available for increased color grading flexibility. The camera can also record Full HD at 120 fps at up to 100 Mbps6, allowing footage to be reviewed and eventually edited into 4x or 5x slow motion20 video files in Full HD resolution with AF tracking.

Build, Design and Customization for Professionals
Sony’s newest full-frame camera is equipped with a variety of enhanced capabilities that give it a true professional operational style. These include dual media slots, with support in one slot for UHS-II type SD memory cards. Users have a variety of options for storing their content, including separate JPEG / RAW recording, separate still image / movie recording, relay recording and more. Battery life has been greatly extended as well, as the new camera utilizes Sony’s Z series battery that have approximately 2.2 times the capacity of the W series battery utilized in the α7R II.

The α7R III features an upgraded high-resolution, high-luminance Quad-VGA OLED Tru-Finder™ with approximately 3,686k dots for extremely accurate, true-to-life detail reproduction. The Tru-Finder, also found in the acclaimed Sony α9 camera, utilizes a ZEISS® T* Coating to greatly reduce reflections, and has a fluorine coating on the outer lens that repels dirt. It also has a customizable frame rate, with options of either 60 fps or 120 fps21 to best match the action. The LCD screen has been upgraded as well, with a resolution of 1.44M dots and WhiteMagic™ technology that improves viewing in bright, outdoor conditions. “Standard” or “High” display quality settings are also available for both the viewfinder and monitor as well. “High” takes advantage of the large amount of data read from the 42.4MP sensor to provide extra fine viewfinder and monitor displays for a more natural view. The new camera also offers a multi-selector joystick that provides a fast, efficient way to shift focus points, as well as an ‘AF ON’ button to activate autofocus when shooting stills or movies.

The new α7R III allows for convenient transfer of files to a smartphone, tablet, computer or FTP server via Wi-Fi®, while also including a sync terminal, enabling external flash units and cables to be connected directly for convenient flash sync. A SuperSpeed USB (USB 3.1 Gen 1) USB Type-C™ Terminal is also available for increased flexibility in power supply or connected accessories, as well as a faster image transfer speed when connected to a PC.

New “Imaging Edge” Software Suite and Pixel Shift Multi Shooting Mode
New with the α7R III is a software suite called “Imaging Edge” that extends the creative capabilities of the entire shooting process – from pre-processing to post-processing. “Imaging Edge” provides three PC applications called ‘Remote’, ‘Viewer’ and ‘Edit’, available for free download, which support live-view PC remote shooting and RAW development.

Also making its debut on the versatile α7R III is a new Pixel Shift Multi Shooting mode, which takes full advantage of the advanced 5-axis optical in-body stabilization to create beautiful true-to-life, super-high resolution composite images. In this mode, the camera precisely shifts the sensor in 1-pixel increments to capture four separate pixel-shifted images containing a total of approximately 169.6 MP22 of image data. These four images can be composited together and processed utilizing the new “Imaging Edge” software suite. This ultimately results in a still image with overwhelming resolution and an unprecedented level of color accuracy, and is ideal for photographing architecture, art or any other still life photography subject with many intricate details and colors.

Pricing and Availability
The Sony α7R III Full-frame Interchangeable Lens Camera will ship this November for about $3,200 US and $4,000 CA. It will be sold at a variety of Sony authorized dealers throughout North America.

A variety of exclusive stories and exciting new content shot with the new α7R III camera and other Sony α products can be found at www.alphauniverse.com, a site built to educate and inspire all fans and customers of the Sony α brand.

The new content will also be posted directly at the Sony Photo Gallery and the Sony Camera Channel on YouTube. Detailed information pages within Sony.com for the new products can be found at:
· (US) - α7R III Full-frame Interchangeable Lens Camera
· (CA) - α7R III Full-frame Interchangeable Lens Camera

1. Approximately, effective
2. Up to 10 fps in continuous “Hi+” mode, and up to 8 fps in continuous “Hi” mode. Maximum fps will depend on camera settings
3. Approximately 68% of the image area in both the horizontal and vertical directions
4. Compared to the a7R II, according to Sony testing
5. CIPA standards. Pitch/yaw shake only. Planar T* FE 50mm F1.4 ZA lens. Long exposure NR off
6. A Class 10 or higher SDHC/SDXC memory card is required for XAVC S format movie recording. UHS speed class 3 or higher is required for 100 Mbps recording
7. In Super 35mm mode.
8. Approximately
9. Sony test conditions for still images
10. Among digital cameras with a full-frame image sensor. As of October 2017 press release, based on Sony research
11. “Hi+” continuous mode with UHS-II compatible SDXC memory card. Sony test conditions.
12. Some distortion may occur with fast-moving subjects of if the camera is moved sideways rapidly
13. “Hi” mode. Maximum fps will depend on camera setting.
14. Not all menu parameters can be edited while data is being written to the memory card
15. Only 100 Hz and 120 Hz flicker is detected. Continuous shooting speed may decrease. Flicker-free shooting is not available during silent shooting, BULB exposure, or movie recording
16. With SSM or SAM lenses only. Eye AF not supported for movie recording. AF-C can only be used when the “Phase detection” AF system is selected, but focus is fixed at the first frame during continuous shooting in any mode other than “Continuous: Lo” (Hi+, Hi, Mid).
17. With SSM or SAM lenses only. With the LA-EA3 mount adapter. Focal plane phase-detection AF not supported for movie recording. AF-C can only be used when the “Phase detection” AF system is selected, but focus is fixed at the first frame during continuous shooting in any mode other than “Continuous: Lo” (Hi+, Hi, Mid).
18. 15-megapixel
19. Connect this product to an HDR (HLG) compatible Sony TV via a USB cable when displaying HDR (HLG) movies
20. Sound not recorded. Class 10 or higher SDHC/SDXC memory card required
21. In NTSC. 50fps or 100fps in PAL
22. Image size after compositing is approx. 42.4 million (7952 x 5304) pixels.

Categories: Photo News

Sony announces lightweight FE 24-105mm F4 G OSS lens

Tue, 10/24/2017 - 23:30
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Alongside the Sony a7R III, the company also announced an FE 24-105mm F4 G OSS lens, adding a versatile zoom to a growing family of full frame Sony mirrorless glass - now totaling 23 lenses.

It uses a Direct Drive SSM motor, which should mean fast, silent subject acquisition, making it useful for photographers and videographers alike. And Sony claims to have engineered the lens to keep 'focus breathing' to a minimum. There's no 'G Master' lens distinction here, but the MTF charts provided by Sony in the press presentation show it outperforming its Canon and Nikon counterparts. Take that with a grain of salt, but it's clear Sony feels strongly about this lens' capability.

At 663 grams it is among the lightest full-frame 24-105mm F4 lenses on the market, as well as the smallest. It is constructed of 17 elements, arranged into 14 groups with 4 aspherical and 3 ED elements. The lens is both dust and moisture resistant and should ship the last week of November. Pricing is set at $1299.

Press release

Sony Expands Full-Frame Lens Lineup with New Compact, Lightweight FE 24-105mm F4 G OSS Standard Zoom Covering Wide-angle to Mid-telephoto range

New E-mount FE 24-105mm F4 G OSS Standard Zoom Delivers Serious Still and Video Performance with Compact Design

NEW YORK, Oct. 25, 2017 – Sony Electronics, a worldwide leader in digital imaging and the world’s largest image sensor manufacturer, has today introduced the latest addition to their expanding full-frame E-mount lens lineup, the FE 24-105mm F4 G OSS Standard Zoom (model SEL24105G).

The new full-frame lens covers the commonly used 24 to 105mm focal length range, delivering outstanding G Lens™ imaging performance with the most lightweight design in its class1, maximizing its versatility and usability. Therefore, the FE 24-105mm F4 G OSS can be used for versatile shooting such as landscape, portrait, wedding and so on. This lens also features fast, precise and quiet autofocus capabilities in both still and video shooting, making it an ideal complement for Sony’s extensive lineup of E-mount cameras.

High Optical Performance and Outstanding Resolution
Sony’s new FE 24-105mm F4 G OSS lens delivers excellent corner-to-corner sharpness throughout the entirety of its zoom range, while also producing beautifully rendered ‘bokeh’ or background defocus at all focal lengths.

This high image quality is made possible thanks to its advanced optical design featuring four aspherical lens elements, two of which are high precision AA (advanced aspherical) lenses. There are also three strategically located ED (Extra-low Dispersion) glass elements that work in combination with the aforementioned aspherical lens elements to minimize chromatic aberration and ensure the ultimate resolution is captured.

The lens also has Sony’s original Nano AR coating to minimize flare and ghosting, and utilizes a circular aperture to ensure it delivers high quality bokeh that is consistent for all Sony’s G series.

Compact, Lightweight Design and Shooting Flexibility
The new FE 24-105mm F4 G OSS lens weighs in at approximately 663 grams (23.4 oz), making it the lightest lens in its class1. When combined with one of Sony’s compact E-mount bodies, it gives photographers and videographers a far more mobile, manageable camera system that greatly increases their shooting flexibility.

In addition to the compact design and versatile 24-105mm focal length, the new lens has a minimum focus distance of 1.25ft, allowing for impressive close up detail. It also includes built-in optical image stabilization to make it easier to produce sharp, blur-free images when shooting handheld.

Highly Advanced and Accurate AutoFocus
In order to keep up with fast-moving subjects, the new standard zoom lens features a DDSSM (Direct Drive SSM) system that is capable of rapid positioning of the lens’ focus groups with high accuracy and very minimal noise. This advanced system combined with a constant F4 aperture at all focal lengths makes the SEL24105G an excellent choice for both still and video shooting.

Further adding to its versatility, the new standard zoom lens also features a customizable focus hold button, a dust and moisture resistant design2 and a fluorine coating on the front element to help minimize dust, water, oil and other contaminants.

Pricing and Availability
The new FE 24-105mm F4 G OSS Standard Zoom Lens will ship this November for about $1,300 US and $1,700 CA.

1. Compared to currently available full-frame 24-105mm F4 standard zoom lenses (October 25th, 2017, Sony research)
2. Not guaranteed to be 100% dust and moisture proof     

Sony FE 24-105mm F4 G OSS specifications Principal specificationsLens typeZoom lensMax Format size35mm FFFocal length24–105 mmImage stabilizationYesLens mountSony FEApertureMaximum apertureF4Minimum apertureF22Aperture ringNoNumber of diaphragm blades9OpticsElements17Groups14Special elements / coatings4 aspherical + 3 ED + Nano AR coatingFocusMinimum focus0.38 m (14.96″)Maximum magnification0.31×AutofocusYesMotor typeLinear MotorFull time manualYesFocus methodInternalDistance scaleNoDoF scaleNoFocus distance limiterNoPhysicalWeight663 g (1.46 lb)Diameter83 mm (3.27″)Length113 mm (4.45″)SealingYesColourBlackZoom methodRotary (extending)Zoom lockNoFilter thread77.0 mmHood suppliedYesHood product codeALC-SH152
Categories: Photo News

Sony developing a 400mm F2.8 G Master lens

Tue, 10/24/2017 - 23:30

The just-announced a7R III is pretty cool, but if you are a serious sports or wildlife shooter, the development announcement of a Sony 400mm F2.8 G Master lens is a way bigger deal. Not only does this lens receive the brand's top mark of quality, by being a part of the 'G Master' series, but it rounds out Sony's overall commitment to photographers, by providing a seriously long pro-level prime.

It won't be available until Summer 2018, which is conveniently right before some sort of major worldwide sporting event. And we just can't wait to get our hands on it.

Press release

Sony Announces Development of New G Master™ 400mm F2.8 Super-Telephoto Full-Frame E-mount Lens

Launching in Summer 2018

NEW YORK, Oct. 25, 2017 – Sony Electronics, a worldwide leader in digital imaging and the world’s largest image sensor manufacturer, has today announced the development of the long-awaited FE 400mm F2.8 GM OSS Super-Telephoto lens, with a target launch date in Summer 2018.

The new lens will feature the incredible high-resolution and spectacularly beautiful bokeh of Sony’s acclaimed line of flagship G Master™ series lenses, while also offering a far-reaching 400mm focal length and F2.8 large aperture. This combination will deliver a new elevated shooting experience for all professional sports, news and wildlife photographers looking to capture all of the decisive moments with higher image quality.

Sony will continue to evolve their lens lineup in order to meet the demands of all types of photographers, videographers and multi-media creators, with many different offerings to maximize the power of the innovative α™ camera lineup.

Additional details and specifications on the new FE 400mm F2.8 GM OSS Super-Telephoto Lens will be released at a later date.

Categories: Photo News

Fujifilm announces square-format Instax Share SP-3 SQ photo printer

Tue, 10/24/2017 - 19:00

Fujifilm has announced its first square-format standalone printer, the Instax Share SP-3 SQ. The SP-3 can crank out a 318 dpi photo in just 13 seconds and has a battery that will last for about 160 prints. The updated Share app includes templates for creating collages, magazine covers and CD jackets. Users can also search for hashtags on Instagram to select photos they wish to print. In addition to the Share app, photos can also be printed directly from Fujifilm's X-series cameras.

You can pick up the Instax Share SP-3 SQ next month, in your choice of white or black, for $199.


Newly designed smartphone printer provides high quality images in square format; improved app offers new features for greater artistic expression

Valhalla, N.Y., October 24, 2017FUJIFILM North America Corporation is excited to announce the new INSTAX SHARE™ SP-3 SQ printer, the latest line in the instax SHARE series of printers that can print photos taken with a smartphone on INSTAX SQUARE film. The SP-3 is an expansion of the INSTAX product line to give users even more ways to get creative with their instant pictures that can be shared in an instant, both in-person and online with #myinstax.

Square Format Provides More Artistic Potential

The square format has been widely popular among smartphone users. With a 1:1 aspect ratio, this format is an effective artistic style and a long-standing favorite among photography lovers. Recent years have seen a rise in the sharing of square photos on social media platforms, such as Instagram, with users putting great care into every step of the process, from composition to editing and processing. With the SP-3, users can print beautiful, high quality square images in just 13 seconds to be used in DIY crafts, to decorate with or to give as a gift.

Updated SHARE App Allows for Greater Creativity

The new and improved SHARE app comes with additional features, making every step easier and more fun. Users can print up to 9 photos on one sheet using the “Collage Template”, a feature enabled by the square format of the SP-3, or use “My Template” to add text to printed photos. “My Template” comes with 11 templates ranging from magazine covers to CD jackets. Users can also adjust the color and size of text. The end result is a stylish print that users will be proud to display and share. Additionally, the app’s display screens have been designed to make the entire process easy for novice users. The app can be downloaded from Google Play on Android devices or from the App Store on iPhones free of charge.

“Hashtag Print” Feature

In addition to Instagram and Facebook, the app is compatible with Dropbox, Google Photos and Flickr. Through the “Hashtag Print” option, users can access Instagram directly through the app and select images under a chosen hashtag. This function makes it easy for users to find the photos they want and print them with ease, perfect for printing a collection of photos from any event where guests use a hashtag, like a wedding or party.

Sleek Design

The SP-3 comes in white or black with a sleek, sophisticated look. The printer is also compact and lightweight with a sharp, multi-sided structure. The SP-3 is suitable in a wide range of situations.

This product is the latest in Fujifilm's ongoing plan to share the inherent joy of taking, printing, displaying and sharing photos to expand the world of the instax instant photo system, allowing users to enjoy instant photos by printing photos that they have taken with their smartphone.

Instax SHARE SP-3 Key Features:

  • Available in White and Black body colors.
  • Create instax photos by printing images from iPhones and Android phones via the instax SHARE app.
  • Printing is also compatible directly from X Series digital cameras to the SP-3.
  • High-resolution images with print pixels of 800 x 800 dots and 318 dpi to show detailed gradations and facial expressions of a full-length portrait, character or objects clearly.
  • Printing time of just 13 seconds.
  • Printing capacity of up to 160 prints per battery charge.
  • Comes with image Intelligence, proprietary image processing technology that automatically sets the optimum brightness during printing.
  • New Templates added to the instax SHARE app:
    1. My Template - A template function where users can add text as desired and adjust the text color, size and darkness by moving sliders left and right, broadening the range of photo styles available to them.
    2. Collage Template - A template function allowing users to print 2-9 photos together on one sheet to print a collection of memories from a special day or to tie together photos with a particular theme.
    3. Split Template - Transform one picture into multiple instax photos. This allows all kinds of unique photo styles, such as dividing a beautiful landscape across two instax photos to make one big print.
    4. SNS Template - Template for printing images that were uploaded to a social networking service (SNS). This social media-linked printing feature allows users to include their profile photo or number of likes in the photo.
    5. Real Time Template - When the “Real Time Template” is selected and a photo is taken, the date, place, weather, temperature, and humidity are indicated in the frame, making it great for travel photos or watching your child grow.

Availability and Pricing

The new INSTAX SHARE SP-3 SQ will be available in November 2017 for USD $199.95 and CAD $249.99. Instax SQUARE film is sold separately for USD $16.99 and CAD $15.99.

Categories: Photo News

Hasselblad X1D and H6D firmware update adds Touchpad AF and more

Tue, 10/24/2017 - 10:34

Hasselblad has released firmware update 1.19 for the X1D and H6D, adding new support and settings to the systems, as well as custom buttons and the ability to create a new folder. Notably, the firmware update brings support for V System lenses via the CF Adapter for the H6D, and it makes the X1D overall "more user friendly and customizable" by adding features like Touch-pad selection of the AF point.

You can read the changelogs for both firmware updates below.

X1D Firmware Update

The update for the X1D-50c includes the following new features:

  • Touch-pad selection of AF point
  • New setting: Live view in EVF only
  • Custom buttons
  • New setting: Max aperture (Lens bokeh)
  • Create new folder
  • Toggle overlay in Video Live View with display button

H6D-Firmware Update

The update for the H6D-50c & H6D-100c includes the following new features:

  • Support for CF adapter
  • Grip button lock
  • Custom buttons (more functions)
  • Create new folder
  • Toggle overlay in Video Live View with display button
Categories: Photo News

The Phottix Juno is a fully-manual transceiver flash that works with all major brands

Tue, 10/24/2017 - 10:22

Phottix has announced a new fully-manual speedlight that is compatible with all major camera brands, and also features the company’s radio control system so it can operate as commander or slave in a group of other flashes.

The Juno has a maximum guide number of 58m/190ft at the longest end of its zoom head and offers power settings of 1/128th to full power in 1/3EV steps across eight stops. As the gun is fully-manual, it only needs a basic connection to the camera to trigger, so it is compatible with almost all camera models that feature a hotshoe.

In addition, Phottix has built its 2.4GHz Ares ll system into the Juno flash unit so it can work with up to four groups of flashes across 16 channels, and can be triggered by both Ares and Strato wireless controllers, as well as by other flashes and certain Sekonic light meters. Juno also features optical slave sensors to ensure it works with older and non-radio systems, and offers a thread on its side for mounting it in the horizontal position.

Phottix says its radio system operates over 100m and full power recycling takes about five seconds.

The Phottix Juno is powered by four AA batteries or an external battery pack, and costs $130. For more information, visit the Phottix website or watch the introductory video below:

Categories: Photo News