Sony has announced an interchangeable lens video camera today based around the sensor from their new NEX camera series.  This has surprised a few people, myself included!  We all figure Canon is working on something like this, we know Panasonic is because they have officially released prototype drawings of it, called the AG-AF100 but Sony always seemed a little bit behind in the race because their Alpha line of SLR cameras is really the only major SLR lineup that currently does not feature video recording.  It seems then that Sony just decided to skip the intermediary stage of creating an SLR that can shoot video and go straight to the video friendly form factor that everyone has been clamoring for since the release of the Canon 5dMKII.  Interestingly the press release says it features an autofocus lens but details on this are slim right now.  It is not clear whether all lenses attached will be able to shoot with autofocus or whether the system is built into the 18-200 lens that comes with it.

So lets break it down, what are they giving us ?

UPDATE:  It seems that this camera will only shoot 1080/60i , no progressive mode.  No 24p , 30p etc.  I have no idea why sony would cripple it in this way.  Seems weird because the rest of the concept seems pretty solid.

• Shoots to SDHC / SDXC
• Exmor™ APS HD CMOS sensor
• Comes equipped with an 18-200 stabilized zoom lens featuring an autofocus system!
• Uses the new Sony E-Mount (and Alpha via an adapter)
• Shoots 14.2 Megapixel still images
• 3″ Swivel LCD Screen
• Quad capsule stereo array microphone
• Dropping in September for approx. $2000

Full press release :

CAMCORDER REDEFINED: SONY DEBUTS WORLD’S FIRST CONSUMER INTERCHANGEABLE LENS HD CAMCORDER

SAN DIEGO, June 13, 2010 – Following the 25th anniversary of its industry-leading Handycam® product line, Sony today announced the innovative NEX-VG10 Interchangeable Lens HD Camcorder.
The new NEX-VG10 is the world’s first consumer camcorder with interchangeable lenses and the first Handycam camcorder to feature an extra-large Exmor™ APS HD CMOS sensor.

“The NEX-VG10 takes Sony’s Handycam line to the next level by allowing unprecedented artistic expression that isn’t possible with conventional consumer video cameras,” said Andy Bubala, director of Sony’s camcorder business. “With this camcorder, video enthusiasts and photographers can now capture cinematic full HD movies and premium stereo sound.”

Sony’s NEX-VG10 Interchangeable Lens HD Handycam® Camcorder is equipped with the same Exmor™ APS HD CMOS sensor used in the “NEX-5″ and “NEX-3″ digital cameras and compatible with the high grade “E-mount” series of smaller, lighter lenses optimized for video shooting with silent operation and AF. It is also compatible with a wealth of “A-mount” interchangeable lenses used by Sony’s existing α DSLR camera lineup via a mount adapter (sold separately), including award winning Sony G Lenses and Carl Zeiss® branded lenses.

Coupled with Sony’s powerful BIONZ® processor, the camcorder’s Exmor™ APS HD CMOS sensor realizes high resolution video and 14 megapixel still images. Approximately 19.5 times bigger than the standard sensor found in conventional camcorders, the APS HD CMOS sensor enables an extremely shallow depth of field. This allows videographers to achieve cinematic results with stunning background defocus (bokeh). Users can also enjoy DSLR-quality photo capture with features like Auto HDR, Handheld Twilight, and Anti Motion Blur, as well as catch fast action sequences with a continuous burst rate of up to seven fps.

The NEX-VG10 can capture full 1920×1080 high definition video at up to 24Mbps for amazing clarity and detail, ideal for recording on to Blu-ray Disc™ media. It also comes with an E-mount 18-200mm lens optimized for video shooting that offers a powerful 11x optical zoom in addition to a silent auto-focus system and Optical Steadyshot™ image stabilization with Active Mode for superior versatility.

Satisfying the needs of serious videographers, sound quality matches the stellar imaging performance of the NEX-VG10. Its Quad Capsule Spatial Array Stereo Microphone uses advanced processing algorithms to combine signals from four individual microphone capsules. The result is exceptionally clear stereo audio with high directional response, allowing videographers to capture more sound from their subject and less background noise. The camcorder also features dedicated inputs for optional external microphones and headphones to monitor sound levels.

The camcorder’s TruBlack™ technology brings remarkably higher contrast and brightness to its 3.0″ Xtra Fine LCD™ swivel display, delivering more natural, realistic colors and easier viewing in bright conditions. The LCD is supplemented by a high-resolution adjustable electronic viewfinder that helps framing, monitoring and capturing clear images.

Compact and easy to handle, the NEX-VG10 gives videographers the flexibility of a removable lens with the ergonomics and operability of a Handycam camcorder. An intuitive jog dial and hotkeys make it easy to navigate menus and adjust shooting parameters, including full manual control of Iris, Shutter Speed, Gain and White Balance for professional results.

Dual accessory shoes (Alpha Hot Shoe/Universal Cold Shoe) allow for many still photography and video accessories, such as the ECM-CG50 shotgun microphone and external flash lighting. There’s also a choice of rechargeable battery options, including the NP-FV100 that provides up to 315 minutes of continuous HD shooting (may vary), and a specially designed soft carrying case.
Included with purchase as a download voucher ($99 value), Sony Vegas® Movie Studio HD Platinum 10 video editing software includes powerful tools for video compositing, color correction and sound mixing to produce cinema-quality HD movies with ease. You can also share your creations via DVD, Blu-ray Disc™ media, or upload to the web – all from one simple program.

The NEX-VG10 accepts both Memory Stick PRO Duo™ (including Memory Stick PRO-HG Duo™) and SD (including both SDHC and SDXC formats) media. Users can record up to four hours of high definition footage (1920×1080, FH mode) when using the 32GB memory card.

Sony’s Memory Stick PRO-HG Duo HX offers an industry leading 30MB per second transfer rate, which means Handycam users can upload video clips in a fraction of actual playback time.

Price and Availability
The NEX-VG10 will be available in September for about $2,000 and presales on www.sonystyle.com will begin July 14. They will also be available at Sony Style® retail stores and at authorized dealers nationwide.

The day has finally come , and now the clock is ticking for those of us who are running the beta version of lightroom 3.  The beta will expire on June 30th and after that point you will have to purchase a copy of Adobes flagship image organizer to continue to use it.  Like a lot of people out there I have been testing LR3 for some time and it is a vast improvement over LR2.  Earlier in the winter I tried out Aperture 3 as well, but for me Lightroom’s file organization was much better.  I don’t profess to be a Lightroom expert but I know what works well for me. You can also download a trial version of the final release candidate and try it for 30 days  to help make the decision to upgrade or not and you can also Get 30% off Lightroom 3 when purchased with Photoshop CS5 software which is a pretty good deal.

If you shoot video with a Canon DSLR you already know the audio sucks.  Or even if you don’t, maybe you have read my guide to audio and microphones for these cameras ! Recording your audio separately is without a doubt the way to get the highest quality audio track but it adds a couple of daunting extra steps to your production. Firstly the simple process of making sure you record the audio and not just the video while you are shooting, 2 record buttons to press!  And secondly syncing that audio to your video track in post-production.  I guess you could also add in an extra middle process in there of keeping all the audio files organized in a way that you can relate them to the video clips.  This all sounds pretty time consuming but for the last year or so lots of people have been singing the praises of a piece of software called PluralEyes from Singular Software.  Available as a plug-in for Final Cut, Premiere and Vegas, it takes your the audio track that is associated with your video track and automatically analyzes the waveform to match it up with your second separately recorded audio track.  Great if you have one of those 3 editing programs, but consumer video users were left out in the cold. Not any more though…… DualEyes is a new program in beta testing from Singular.  And rather than being a plug-in, it is now a totally separate program meaning that anyone can use it all the way from iMovie makers to pros already using Final Cut , but wanting a more streamlined workflow for audio syncing.  Take a look at the demo video that they posted on their website, it really looks very easy and would be perfect to use with the new Zoom H1 audio recorder or the H4N.

Samson Tech stumbled onto something great with the ubiquitous Zoom H4N audio recorder.  When the DSLR video craze kicked off, people quickly realized that whilst the video was stunning to look at, the on-board audio sucked.  All professional films use separate audio recorders though, and the HDSLR crowd quickly fell in love with the full featured Zoom H4N.  Built in stereo mics and 2 XLR inputs meant 4 track recording was possible in a device that was only $300.  Samson was in the right place at the right time with the right price, the H4N was and still is everywhere.  But many of the features of the H4N were unnecessary to the “run and gun” photo journalist who just want to record some background audio for a multimedia piece, or just use one extra microphone like a shotgun to get slightly more directional pickup.  Well the folks at Samson heard your calls and today announced their first piece of audio gear that was actually designed with DSLRs in mind.  The Zoom H1.  The full feature list is below, and it looks like this little device will give you just what you need for journalistic applications, in a frankly beautifully designed package.  But here is the crazy thing, they only want $99 for it!!

All of Samsons previous audio devices have received glowing reviews when it comes to audio quality, so I’m not expecting anything less on that front.  If you already have a shotgun mic for your DSLR then it will plug in to the H1 just fine in the 1/8″ jack.  The H1 does forgo the XLR input so if you need that then the H4N is still the way to go.  But for people using a sennheiser MKE400 or RODE videomic (of which there are plenty), this is the next logical step up in audio quality as you can continue to use the same mic, but now have the quality of separate audio and the freedom to position the mic where you want.  For stills photographers looking to add to their arsenal its diminutive size is far more appealing than the clunky H4N and I will definitely be ordering one.

• Stereo X/Y mic configuration captures perfect stereo images
• Same frequency and SPL handling as popular Zoom H2
• Records Broadcast WAV (BWF) at 96kHz/48kHz/44.1kHz at 16-bit or 24-bit
• Records MP3 from 48 to 320kbps for maximum recording time
• Hi-Speed USB 2.0 port
• Built-in reference speaker
• Includes 2GB microSD card and one AA battery
• One AA size battery allows 10 hours operation
• Accommodates up to 32GB microSDHC memory cards
• Track marker function
• Low cut filter
• Built-in tripod mount
• 1/8″ external mic input
• Stereo 1/8″ line output
• Auto record level

The Zoom H1 recorder is currently available for pre-order from B&H photo.

F-Stop gear is having a great sale this weekend on the Tilopa backpack to honor the military (up to and including Monday 31st May).  This bag has been extremely popular this year so this is a great opportunity for you to save 25% and also get a FREE F-Stop t-shirt in the deal.

To get the discount simply follow this link to the F-Stop store and then at the checkout enter the promotional code Cap-Nick in the discount code section on the last page of the checkout.  I also have a review and more photos of my F-Stop Satori which is a very very similar bag to the Tilopa.  The difference being that the Tilopa comes with a slightly smaller internal camera compartment and is also about 2 inches shorter in overall height.

Tilopa Specs:

• Volume: 50 Liter / 3,100 Cubic Inches
• Weight: 2032 Grams – 4.47lbs (With Full ICU) / 1392 Grams – 3.07lbs (No ICU)
  
• Dimensions: 12” x 24″ x 10″
• Internal Compartment Dimensions: 12” x 22” x 10”
• Internal Compartment Space Available with Large ICU: 7” tall ½” on each side, extra depth taken by laptop sleeve.
• Torso Length: 18.5”
• Metal internal Frame for support carrying heavy loads.
• Fabric Info: Ballistic Rip-stop Nylon, Abrasion Resistant Nylon Webbing, High Density foam, Heavy Gauge Zippers, YKK Waterproof Zippers, Waterproof Urethane coasted mesh

Users of pocketwizards and Elinchrom or Alien Bees flashes rejoice!  A couple of days ago Pocketwizard announced a couple of pretty cool sounding new products.  The PowerST4 and the AC9 adapter for Elinchrom and Alien Bees strobes respectively.  They both work in different ways so let me break it down differently…

Pocketwizard AC9

Firstly if you have just purchased the new Paul C Buff Einstein lights let me break your heart now and let you know the AC9 does not work with those lights (though intriguingly Paul himself has hinted that there is something else in the works that we dont know about yet).  The new AC9 works by connecting a TT5 transceiver to the RJ11 jack on the Alien Bees and White lighting strobes, the Einstein lights do not support the RJ11 and instead communicate using a transceiver.

The recommended pricing for the AC9 is $55 BUT you need to pair it with a TT5 transceiver for it to work.  These currently sell for about $230 so if you don’t already own a TT5 the system is going to set you back $285 which is pretty steep but it has potential to save you a lot of running around during a shoot.  Thankfully the Elinchrom solution is much cheaper but I’ll get to that in a bit.  Plugging the AC9 into the hot-shoe on top of your TT5 and connecting it to the RJ11 jack on your Alien Bess light enables you to remotely control the power on your strobe so long as you are using a MinniTT1 transmitter or a FlexTT5 transceiver as the transmitter on your camera.

By adding a Pocketwizard AC3 Zone controller to the transmitter on the camera, you can actually control the power of up to 3 groups of flashes.  Very cool.  If you do not wish to use the zone controller you can simply use the flash exposure compensation dial on your camera to control just one light or one group of lights. Pretty clever implementation.  But it doesn’t stop there, the clever boffins at LPA designs have gone one further by introducing a sort of pseudo TTL functionality to the whole affair.  They call it power tracking.  Basically what you have to do it get the initial exposure correct yourself.  Once you have done that you can have the pocketwizard automatically compensate for any changes you make on the camera, to create the same final exposure.  If you change your ISO or aperture, the AC9 will automatically send a signal to the flash and adjust it’s power accordingly to produce the same exposure on your image.

A final party trick for the AC9, it requires no batteries and simply takes its power from the TT5 which is sweet because there is nothing I hate more than forgetting to turn off a receiver and finding it flat when you show up to your next shoot!  One less thing to worry about.

Pocketwizard Power ST4

Now on to the new receiver for Elinchrom Strobes.  You’ll notice I called this one a “receiver”  and that indicates the first bit of good news.  The Power ST4 does not require you to use it in conjunction with a TT5 transceiver, it can handle the receiving all on its own.  RRP for the ST4 is $120 but not needing a TT5 makes this solution half the price of the Alien Bees one.  That’s good news for me because I shoot with Elinchrom gear.  Much as I smashed the dreams of the Einstein strobe owners though, I’m afraid I have to do something similar again.  The Power ST4 will not work with your shiny new Elinchrom Ranger Quadra RX that you just bought.  The ST4 works by plugging into the remote socket that is found on many Elinchrom flashes, unfortunately the the new Quadras have a built in skyport receiver and as such, do not have the needed remote socket for this to work.

If you have any of the other Elinchrom strobes though you can do a little dance now as you will be just fine.  The ST4 is backwards compatible with all previous Pocketwizard transmitters so even if you just want simple triggering from a standard PW PLUSII on your camera then the cheap ST4 provides a good solution.   If you want to have the remotely adjustable power options you will need a TT1 or TT5 on the camera as with the AC9, and things are run the same way by using the flash compensation dial or adding an AC3 to control multiple flashes all at once.  You can also set the zone of the receiver so a Multimax zone system can be used too.

The ST4 is powered directly by the battery pack and the firmware is totally upgradeable using the USB port.  The low profile of the ST4 is another appealing feature.  Hopefully the usable range on the receiver is good enough to make this as useful a product as it sounds.  As an owner of a couple of Elinchrom products (and a big bag full of pocketwizards) i’m going to try my hardest to get hold of one of these PowerST4s for review so stay tuned.

The popularity of smaller form-factor cameras such as the Panasonic and Olympus Micro 4/3 cameras in on the increase. Samsung recently introduced their version, the NX-10 with its mirrorless design and APS-C sized sensor. Sony announced their intention to join the so called EVIL camera market back at PMA when they displayed prototype cameras, but today the NEX-3 and NEX-5 cameras were finally made official. And at first glace it looks like they will have been worth the wait!

The striking design somehow manages to hide a 14 megapixel APS-C sized sensor inside and a swiveling 3″ screen.

Spec list:

• 14 Megapixel
• APS-C CMOS sensor (bigger than M4/3)
• Sony E-series lens mount
• Shutter speed: 30 to 1/4000th of a second
• 1280×720 video mode (NEX-3)
• 1920×1080 AVCVHD video mode (NEX-5)
• 2.7FPS burst shooting, 7FPS in special mode
• Memory Stick and SD card slots (SDXC supported)
• File Formats ; JPEG, RAW, JPEG+RAW, MPEG4.
• Swivelling 3″ LCD
• ISO 200-12800
• Price: €250/~$320 (body only)

When the cameras are released there will be 3 lenses available:

• 16mm f2.8
• 18-200mm f3.5-5.6
• 18-55mm f3.5-5.6

There will also be a range of accessories including a fisheye adapter for the 16mm lens, a flash and an optical viewfinder to work with the 16mm f2.8.  One website accidentally leaked information and test photos a day early and the high ISO photos up to 3200 looked remarkably good.  It seems as though Sony has taken their time with this camera and not rushed into the market too quickly.  The form factor is noticeably different to that which they showed off at the PMA show with the camera body being much smaller.  Image stabilization is handle in the lens and not the body, and that does add to the bulk of the lenses.  In fact the lenses do seem to be much larger than other EVIL system cameras.  Time will tell us if that adds to the quality of the images in any way.  I have not yet been tempted to try any micro 4/3 cameras but the stunning design and the APS-C sensor on this camera have me wandering how much longer I will be using a simple point and shoot camera.  Sony has been very aggressive with the pricing too.  For those who were considering a high end point and shoot , this is not much more of a step up in price.  The cameras are already listed on the B&H website.  And also on ADORAMAs website too now with full pricing information.

A few days ago Apple announced that it has sold 1 million iPads in the device’s first month on sale.  Less than half the time it took the original iPhone to achieve the same feat.  Lots of photographers like a good gadget and many are users of other apple products already, but is there actually any practical use for one?

It seems as if the iPad might be the catalyst for a fundamental change in the way that we receive what was previously “printed” media.  The iBook store has sold 1.5 million books along with that first 1 million iPads and many of the largest magazine publishing companies have released iPad versions of their monthly magazines.  So far most of them have failed to really optimize these digital magazines and really take advantage of the possibilities, but i’m sure that it will come with time.  Many people were waiting to see how things took off before committing budgets to their development.  But what use can an iPad be to a working photographer right now?

iPad for photo storage

It came as something of a surprise to me that the iPad was compatible with the same RAW files as Mac OSX snow leopard.  So that means that viewing your RAW files is no problem at all.  In fact, navigating them turns out to be quite speedy.  The website Leica Rumors posted a video on Youtube showing a collection of Leica DNG files from a Leica M9 being manipulated on the iPad and it really seemed to do a great job of it.  To get your photos onto the iPad though you are going to need the optional Camera Connection Kit, available from Apple for $29.99.  The kit contains 2 “dongles” that fit the dock connection in the bottom of the iPad.  One is an SD card reader and one is a female USB port that allows you to connect your camera directly to the iPad.  Using either of these brings up an import screen that allows you to select which photos to import and they are then added to your iPhoto collection.

The problem of course is the iPad’s limited storage capacity.  You cannot use the USB port to add storage via an external USB drive or anything of that nature so you are stuck with with at most 64GB of storage space ( and that is assuming you have added no apps, music or videos).  This might be enough for backing up photos from a family vacation but it’s unlikely to do the trick for most pro photographers out there.  The other problem with using an iPad for this purpose is that you have no way of duplicating the photos onto another drive.  Something that is an absolute necessity if you are to maintain fully redundant data backups.  One option would be to travel with a device such as my previously reviewed Hyperdrive Colorspace UDMA.  This would take care of your second backup for you and negate the need to bring a laptop.  At most I can see myself using this combination for a weekend break somewhere as long as shooting photos was a secondary goal.

iPad as a portfolio

There’s no denying that the 1024×767 pixel screen of the iPad is beautiful.  Photos displayed on the screen look vibrant and clear.  Combined with the smooth operation of photo viewing software it makes for an interesting and impressive way to show photos to prospective clients.  I can definitely see people carrying these around at trade shows but I still think that traditional photo buyers at editorial and advertising agencies are still going to need that printed alternative that you can easily hold on to.  The usefulness of the iPad for showing your work is going to depend on what sector you work in.  For people like wedding photographers having a first meeting with a potential client it could really make a stand-out difference.  For high-end weddings it could even be used as a content delivery method.  All your photos presented on the iPad which the bride and groom can carry around with them to show all their friends.  The ability to pass the iPad from person to person so easily is what can really make it stand out in this instance over something like a regular computer.  It FEELS like passing a photo album around but it looks so much better than that, and I haven’t passed a photo album around in a long long time.

iPad for reviewing shots during shooting

Before the iPad was officially announced, I think this is what most photographers dreamed of being able to use it for.  If you could tether your camera to the iPad and instantly review your images it could be a very useful device.  Unfortunately Apple’s decision to not include a USB port on the iPad has made this a bit of a problem.  The camera connection kit does allow you to connect a camera but only to download shots, not control things while tethered like you can with standard tethering programs on a regular computer.  You could review your shots with the connection kit but it would slow your work down to the point where it’s really not worth it.  There is one more solution that I have stumbled upon though…………

Shuttersnitch is an iPad app available from the app store HERE.  Designed specifically for the iPad, it enables direct FTP transfer of JPEGS from any FTP enabled device, to the iPad.  This includes the Eye-Fi wireless SD card , or any wireless enabled cameras such as a Canon 1dMKIV with the WFT-E2 II.  With the Eye-Fi you could put the SD card in the second memory card slot of a Canon 1dMKIV and tell the camera to write RAW+ small sized JPEG files.  You can select it to write the JPEGS only to the SD card and then configure it so that ShutterSnitch displays the JPEGS as they arrive via FTP from the Eye-Fi.  It will automatically display the JPEG on screen, along with basic EXIF information.  It’s also possible to transmit RAW photos and video via ShutterSnitch, but at this time it cannot display them.  Everything also works on an iPhone too!  I haven’t had a chance to try out the program with an Eye-FI yet so no comments on the speed, but shooting small JPEGS it should be pretty fast.  If anyone tries it out please leave a comment below!  If this works as I imagine it could , its actually better then direct tethering as there are no wires!  You could have an art director several feet away monitoring the shots coming wirelessly out of your camera!

iPad for photo editing

There are hundreds and hundreds of image editing applications available on the iPhone and all of these will also work on the iPad.  But none of the apps are designed with professional photographers in mind and so far, none of them allow you to edit RAW files.  Personally I can’t see any reason why you would ever want to edit photos on such a small screen anyway so I dont really see this as a problem.  If you need fast image delivery for content sharing websites and social media like twitter and Flickr then you might want to make a couple of fast adjustments but nothing too major.  One interesting piece of info though is that an Adobe product designer named Terry White posted some information on his blog which all but admits that Adobe is working on a version of Lightroom to be used on the iPad!  So watch this space I guess…. it would be fun to be able to adjust RAW images though I don’t know how I would ever integrate that into my workflow.  But this is just the beginning, I suspect there are many uses of such a device that we have yet to think of.

iPad for making money

This is worth a quick mention, there are a few photographers out there making a bit of extra money on the side of their business by selling wallpapers for the iPad.  Trey over at stuckincustoms.com has a beautiful set of HDR images available for purchase, pre-formatted at iPad screen size.  Other photographers have gone even further and enlisted programmers to create apps available in the app store that give you a selection of wallpapers.  Trey has reported very very good sales from his site.  I would also expect to see a slew of photography related books appearing in the iBook store before too long.  The high resolution screen would lend itself very well to displaying books like this.

Nikon has today announced a brand new version of their beautiful 200-400mm F4 zoom lens.  Everyone knows I shoot Canon, but I appreciate a good lens and this is one!  The original 200-400 was a highly regarded lens and this new version adds Nikons VRII image stabilization (equivalent to roughly 4 stops) and also the new Nano Crystal Coating that we have seen on their latest 300mm f2.8 lens. The new AF-S NIKKOR 200-400mm f/4G ED VR II lens weighs in at 7.4 lbs (3.4 kg), and it will retail for $6999.95 (USD) If I was a Nikon shooter this would be top of my list! Amazon is already taking pre orders for the lens HERE

Read the Nikon press release below:

MELVILLE, N.Y. (April 27, 2010) – Today, the evolution of the super telephoto lens continues as Nikon Inc. announced the new AF-S NIKKOR 200-400mm f/4G ED VR II lens which delivers optical excellence and stunning image quality for professional photographers. Ideal for bringing to life exquisite detail for sports, nature and travel photography, this new lens affords a constant maximum aperture of f/4 and rugged construction for maximum versatility. Continued refinements and new technologies such as Vibration Reduction (VR) II, Nano Crystal Coat, and optimized autofocus (AF) modes enhance functionality and improve performance for discerning FX and DX-format photographers.

“The AF-S NIKKOR 200-400mm lens builds upon a proven design for professional level optics by incorporating the latest Nikon lens technologies to give photographers the edge in the field, and the ability to capture the most intricate of details with extraordinary fidelity,” said Lisa Osorio, general manager of Marketing at Nikon Inc. “As both camera capabilities and the roles of photographers expand, NIKKOR enhancements will continue to meet demands and exceed expectations to remain the pinnacle of optical excellence for all types of photographers.”

Whether photographing the decisive play at home plate or predators of the Serengeti, the 200-400mm f/4 lens is an essential tool for photographers who require long focal lengths and maximum versatility without sacrificing image quality. The 200-400mm lens benefits from the addition of Nikon’s proprietary Nano Crystal Coat to reduce instances of ghosting and flaring. The result is unparalleled clarity and sharpness in challenging lighting environments typical to sports venues or harsh sunlight.

Additionally, this new NIKKOR lens features Nikon VR II image stabilization, which is specifically engineered for each lens for maximum performance. VR II is a valuable asset to those shooting photos or HD video, as image blur introduced by camera shake and telephoto magnification is significantly reduced. Users are able to shoot up to four stops* slower than otherwise possible, overcoming many of the challenges of handheld shooting with such extreme focal lengths. VR functionality is further augmented with Automatic Panning Detection and an Active VR Mode to help compensate for movement from an unstable position such as a moving vehicle. Additionally, VR is always engaged when shooting in the D-Movie mode on select Nikon D-SLRs, helping to stabilize HD video capture.

The new 200-400mm f/4 lens features a host of professional focusing features to further enhance functionality. Photographers can now select from three focus modes to match shooting conditions, including manual mode (M) and autofocus with manual override (M/A) mode, and new A/M mode which is used to avoid cancelling the AF setting by unintentionally moving the focus ring while shooting. The M/A and A/M focus modes enhance AF control with fast, secure switching from automatic and manual focus to adapt to personal shooting preference and techniques. Additionally, photographers can activate the AF Recall Mode at the press of a button that allows for instant return to a predetermined point of focus to confidently capture anticipated shots.

This professional lens is constructed of die-cast magnesium for maximum durability and is sealed to resist dust and moisture, with protective Meniscus glass to safeguard the lens’ front element. The optical formula features four Extra-low Dispersion (ED) glass elements for superior sharpness, color and image quality, while minimizing chromatic aberration. The lens also features Nikon’s exclusive Silent Wave Motor (SWM) technology, which enables high-speed autofocus performance with exceptional accuracy and powerful, super-quiet operation. Nikon’s Super Integrated Coating further suppresses flare and offers superior color consistency throughout the frame

I know a lot of people who check out this blog are interested in video as well as photography, and especially in the current convergence between the two.  This years NAB (National Association of Broadcasters) show has just wrapped up, and even more than last year the buzz about the show was all about DSLR video technology.  There were many noteworthy announcements at the show but these are a couple that caught my attention.

Carl Zeiss Compact Primes II

When major cine lens manufactures start producing a lineup specifically designed for shooting video with a DSLR the whole industry sits up and takes notice.  This was one of the most covered releases at NAB 2010, and rightfully so.  The new Compact Primes II lineup consists of 8 lenses available with a Canon EF mount,  designed to perfectly partner you DSLR camera on your next video project.  The lenses are available individually for about $3900 each or in sets of varying sizes that offer a reduction in price.  Availability is late May.

Important features include 14 blade apertures for beautiful bokeh, full frame coverage, 300 degree focus rotation, interchangeable EF and PL mounts and identical barrel dimensions right through the range of primes from the 18mm up to the 85mm.  For movie makers who have been putting up with using still camera lenses for 2 years, these will be a huge deal.  The 300mm focus rotation will allow much more accurate focus pulling and with all lenses being identically sized, you can easily switch lenses on your rig while maintaining the same matte box, or follow focus setup.

RED Epic 5k camera

Red finally unveiled a working version of the Epic 5k camera at a press conference during the show.  The Epic looks set to begin trickling out of the factory door in limited numbers very soon.  For more information on the camera check out the new Epic mini site. Hardly anyone has had any hands on time with the camera yet but nobody seems to doubt that this will be an incredibly impressive piece of kit.  The modular nature of the design means that it can be built in to a rig capable of shooting a hollywood blockbuster, or a lightweight setup capable of being packed into a tiny backpack.

Redrock Micro microRemote focus controller

Redrock Micro showed off a totally new focusing system at NAB consisting of a sonar range finder, focusing controllers and motors that allow you construct a remote follow focus with the option of sonar guided auto focus!  In its simplest form the microRemote allows for standard remote follow focus, but the real trick is when you insert an iPhone into the remote unit.  All of a sudden you have an interface that displays depth of field and current focus using software that contains calibration information for all of the most popular lenses!