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Wednesday, 29 October 2014



In the five years since its launch, the Canon EOS 7D has gone from being a cutting-edge piece of technology to an apparent remnant of a bygone age. Not simply in the sense that its technology has been superseded, but also in that the idea of a pro-grade APS-C DSLR seemed to one whose time had passed.

Canon clearly doesn't think this is the case and, just as it did with the original 7D, has applied truly pro-grade autofocus to one of its best-built bodies. While Nikon appears to be encouraging its high-end users across to full frame, Canon's range continues to offer a range of options. The long-awaited EOS 7D Mark II takes the strengths of its predecessor - highly capable autofocus and video - and builds on every aspect of them.

For stills photographers, the EOS 7D Mark II offers an all cross-type, 65-point AF module. This works in conjunction with information from a 150,000-pixel RGB + IR metering sensor to offer the latest version of the 'Intelligent Tracking and Recognition' (iTR) focus system from the EOS-1D X. This means that with iTR engaged and an initial focus point selected, you can initiate focus with a half-depress of the shutter button and then allow the camera to track the subject as it moves across the frame. In this scenario, the camera automatically uses whichever AF point is necessary to maintain focus on the initially selected subject.

The camera's continuous shooting rate jumps to 10 frames per second - something that was limited to pro-grade sports cameras until relatively recently. Along with this comes a shutter rated to survive 200,000 cycles.

The main image sensor is a variant of the Dual Pixel AF design first seen in the Canon EOS 70D, which means 20MP output. It also means the camera is able to capture information about both subject position and depth whenever its mirror is up, using its image sensor. This can potentially provide more decisive autofocus and subject tracking in 'Live View' and while shooting video. Speaking of movies - the 7D II's movie capabilities get a bit of a boost - gaining 1080p/60 shooting capability and a second choice of wrapper (MOV or MP4) and a third compression option (IPB-Lite, as well as IPB and All-I).



Canon EOS 7D Mark II key specifications:

20MP Dual-Pixel AF CMOS Sensor
10 fps continuous shooting with autofocus
65 all cross-type autofocus sensor
150,000 RGB + IR pixel metering sensor
Dual Digic 6 processors
Enhanced environmental sealing
Compact Flash (UDMA) and SD (UHS-I) slots
USB 3.0
Built-in GPS
Larger-capacity LP-E6N battery
Shutter speeds up to 1/8000th seconds
Shutter rated to 200,000 cycles (vs 150,000 on 7D)
________________________________________________________________________________
Canon EOS 7D Mark II key differences

What a difference half a decade makes. The EOS 7D was one of the first DSLRs to offer 1080p video recording - a feature that's now expected, even though it hasn't necessarily been perfected. The Mark II's Dual Pixel AF has the potential to offer impressive autofocus during video capture, since it's able to assess subject position and distance from every captured frame. In principle, this could be enough to allow the 7D II to offer reliable autofocus during video - which would be a major selling point for keen videographers.

On the stills side of things, Canon has made remarkably few advances in sensor technology since the launch of the original 7D, and variants of its sensor still underpin much of the company's lineup.

 
Canon EOS 7D II
Canon EOS 7D
Nikon D7100
 Effective Pixels • 20.2 MP • 18.0 MP • 24.1 MP
 ISO Range • 100-16000 standard
 • 25600 expanded 
 • 100-6400 standard
 • 12800 expanded
 • 100-6400 standard
 • 50-25600 expanded
 Movie options • 1080p/60/50/30/25/24
 • MP4 or MOV
 • All-I, IPB, IPB-Lite
 • 1080p
 • MP4
 • 1080p
 •
 No of AF points • 65 (All cross type, center double-cross) • 19 (All cross-type) • 51 (15 cross-type)
 Metering sensor-assisted  AF tracking • Yes • No  • Yes
 AF in live view • On-sensor phase detection • Contrast detection • Contrast detection
 Spot-metering linked to  AF  point • No • No • Yes
Maximum shutter speed • 1/8000th sec • 1/8000th sec • 1/8000th sec
Flash Sync speed • 1/250th sec • 1/250th sec • 1/250th sec
 Screen • 3.0" 3:2
 • 1,036,800 dots
 • (720 x 480 px, RGB)
 • 3.0" 4:3
 • 920,000 dots
 • (640 x 480 px, RGB)
 • 3.2" 4:3
 • 1,228,800 dots
 • (640 x 480 px, RGBW)
 Viewfinder • 100% coverage
 • 1.0x magnification
 • (0.63x in 35mm terms)
 • 100% coverage
 • 1.0x magnification
 • (0.63x in 35mm terms)
 • 100% coverage
 • 0.94x magnification
 • (0.63x in 35mm terms)
 Continuous drive • 10 fps • 8 fps • 6 fps
 Buffer depth • 1090 JPEG
 • 31 Raw
 • 130 JPEG
 • 25 Raw
 • 33 JPEG*
 • 9 Raw
 Storage • Compact flash
 • SD/SDHC/SDXC
 • Compact flash • SD/SDHC/SDXC
 • 2 slots
 Weight
 (inc batteries)
 • 910g (2.0 lb) • 860g (1.9 lb) • 765g (1.7 lb)
 Dimensions • 149 x 112 x 78 mm
   
(5.9 x 4.4 x 3.1")
 • 148 x 111 x 74 mm
   (5.8 x 4.4 x 2.9")
 • 136 x 107 x 76 mm
   (5.4 x 4.2 x 3.0")
 GPS •  Built-in •  Optional •  Optional
 Wi-Fi •  Optional •  Optional •  Optional
* Figures are for 12-bit compressed Raw and Large/Fine JPEGs.

Retail price is : 
Body Rm 5999.00
EOS 7D Mark II with 18-135 IS STM Lens - RM 7499
EOS 7D Mark II with 15-85mm IS USM Lens - RM 8499 



Will Release at Famcart on November 20th 2014 

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Tuesday, 21 October 2014


Whether taking professional candids at events or family snapshots at parties, the winter season means an abundance of holiday festivities, and that also means more photos taken indoors. It’s important in these situations to be able to move quickly on your feet while dealing with low light and tight quarters, and a quality standard zoom that starts wide will cover many of the unique compositional needs working in environments where close-ups matter as much as being able to capture the full view of the scene. 

Most standard zooms start wide in the 24mm to 28mm range, but choosing how much to spend will influence how far into the telephoto range a standard zoom will go. While a longer focal range definitely will cost more, nine times out of 10, having that extra throw will make the difference between missing a photographic opportunity and catching it. Your zoom can move much faster than your feet, after all. 

Another important consideration is the aperture of the lens. Remember that large apertures will provide you with faster shutter speeds for working in dimly lit interiors, and they also will bring a nicer bokeh to images, especially with backgrounds that often include festive lights.


Canon
With a rumored replacement imminent for the popular 24-70mm ƒ/2.8L, the EF 24-105mm ƒ/4L IS USM wide-angle to portrait-length telephoto zoom from Canon might be a better choice for photographers looking to make a purchase now. The lens extends an extra 35mm over the focal range of the 24-70mm, and though you lose a stop of light from the 24-70mmƒ/2.8L, you also spend $200 less for a much longer zoom. The 24-105mm sports IS Image Stabilizer Technology for up to three stops of shake reduction. (The 24-70mm replacement is expected to offer image stabilization, as well, but the current model doesn’t have it.) Lens construction features one Super-UD glass element with three aspherical lenses for minimizing chromatic aberration and distortion throughout the zoom range. The ring-type USM (Ultrasonic Motor) provides autofocus with an exterior switch for quickly switching to manual focus. On sub-full-frame APS-C cameras, the 24-105mm translates to about a 38-170mm range. List Price: $1,249.


Nikon
The new AF-S NIKKOR 24-120mm ƒ/4G ED VR standard zoom offers a fixed aperture in a big 5x zoom. Nikon’s VR II (Vibration Reduction) image stabilization helps to reduce camera shake by up to four stops, making it an ideal choice for handheld shots and quick framing. Nikon is known for excellent autofocusing capabilities in its cameras, and the Silent Wave Motor in the 24-120mm provides fast and quiet autofocus. There’s also an M/A Focus switch for disengaging autofocus to manual. The lens includes two Extra-low Dispersion ED elements and three aspherical lens elements for minimizing chromatic and other kinds of aberration, as well as a Nano Crystal Coat for reducing ghosting and interior flare and a Super Integrated Coating (SIC) for enhancing light transmission efficiency. The versatile lens provides a 35mm equivalent of 36-168mm when used with Nikon’s sub-full-frame cameras. List Price: $1,299. 


Olympus (Four Thirds)
The Zuiko Digital ED 12-60mm ƒ/2.8-4.0 SWD for Four Thirds cameras is compatible with the E-mount of Olympus cameras, as well as Panasonic’s LUMIX DMC-L1, L10 and Leica’s Digilux 3. Four Thirds mounts provide a doubled focal range thanks to the size of the Four Thirds sensor, which means that the seemingly conservative 12-60mm lens is the equivalent of a healthy 24-120mm zoom. (Though the sensor size is the same and the focal range is also doubled, the Four Thirds System is not to be confused with the newer Micro Four Thirds mirrorless mount. Four Thirds lenses can be used with Micro Four Thirds bodies via an adapter, however.) Olympus’ very fast SWD Supersonic Wave Drive autofocusing system was introduced with the 12-60mm, and the lens is ideal for close-ups, too, with a minimum focusing distance of less than 10 inches. The lens works with Olympus’ In-body Image Stabilization for up to five shutter speed stops of blur compensation. List Price: $999. 


Olympus (Micro Four Thirds)
Though the cameras feature a sensor the same size as the Four Thirds System, the advantage to Micro Four Thirds mirrorless cameras is a more compact design, which means lighter and more efficient lenses. Compatible with Micro Four Thirds System cameras like the Olympus PEN series and the Panasonic LUMIX DMC-G1, GH1, GF1, G10, G2 and GH2 (as well as the upcoming Panasonic AG-AF100 video camera), the Micro Four ThirdsM.Zuiko 14-150mm ƒ/4.0-5.6 from Olympus offers a 35mm equivalence value of 28-300mm for a very long range in a single portable package. Measuring 2.5x3.27 inches and weighing only a little more than half a pound, the 14-150mm still manages to pack in 15 elements in 11 groups, including a DSA lens, Aspherical ED lens, ED lens and three HR lenses for keeping optical aberrations as minimal as possible. Just as in the Four Thirds System, Olympus chose to add In-body Image Stabilization to camera bodies rather than the lenses, resulting in cost and size savings for lenses. List Price: $599.


Pentax
The new 7.5x smc Pentax-DA 18-135mm ƒ/3.5-5.6ED AL [IF] DC WRmay sound a lot like alphabet soup, but the acronyms spell out some interesting features. The DA line of lenses is designed specifically for the characteristics of a digital sensor with a more efficient and compact build. With a 27.5-207mm 35mm-equivalence value, the 18-135mm includes a Quick Shift system for switching from auto to manual focus, and a Direct Current DC internal focus IF motor provides autofocusing with minimal noise. Construction is weather-resistant (i.e., WR), with a Pentax SP Super Protect coating for repelling dust, water and grease. An AL aspherical lens element is included internally for spherical aberration compensation. List Price: $529.


Sigma
A popular standard zoom for a variety of mounts is the 17-70mm ƒ/2.8-4 DC Macro from Sigma. Available for Canon, Nikon, Pentax, Sony and, of course, Sigma, the lens is designed exclusively for APS-C-sized sensors with a 35mm equivalence of approximately 27-112mm. (It’s not compatible with full-frame cameras.) OS Optical Stabilization has been added to the lens (excepting the Sigma model) for four stops of shake reduction. Depending on the mount, the minimum focusing distance is 8.7 or 7.9 inches, and maximum magnification is 1:2.7 or 1:2.3, making it a great close-up and macro lens as well. The HSM Hyper Sonic Motor (not included with the Sony version) provides quiet and fast autofocus with a manual override switch, and SLD Special Low Dispersion glass elements, aspherical elements and a super multi-coating optimize light transmission. Estimated Street Price: $449.

Sony (A-Mount)
For Sony Alpha-mount cameras (and Minolta DSLRs), the SAL-2875 28-75mm ƒ/2.8 zoom has a fast constant aperture throughout the zoom range, making it a great choice for shooting indoors when you prefer to use as little flash as possible. The lens is lightweight at only 20 ounces, and the minimum aperture of ƒ/32 offers larger depth of field than most other zooms in this class. The SAM Smooth AF Motor works quickly and quietly and, conveniently, the SAL-2875 has a built-in lens hood rather than one that need to be affixed to the front of the lens, saving you time during lens changes and making it a little easier to move around. Keep in mind, unless you’re using the full-frame A850 or A900, the 28-75mm lens is the approximate 35mm equivalent of a 45-120mm lens on Sony’s sub-full-frame APS-C cameras. List Price: $799. 


Sony (E-Mount)
This last year has been particularly exciting for photographers with the introduction of mirrorless, interchangeable-lens camera systems. Pioneered by Olympus with its PEN series, Sony has also entered the arena with the popular NEX-3 and NEX-5 digital cameras. (Sony’s NEX-VG10 interchangeable-lens camcorder uses the same E-mount series of lenses, as well.) The line is fairly new, so as of this article there are only two available zoom lenses, the 18-55mm ƒ/3.5-5.6 (27-82.5mm in 35mm equivalence) and the much more versatile18-200mm ƒ/3.5-6.3 (27-300mm in 35mm equivalence). The NEX line is compatible with Sony’s Alpha-mount lenses, as well, via the optional LA-EA1 adapter. List Price: $299 (18-55mm); $799 (18-200mm). 

Tamron
Tamron offers two all-in-one zooms, the AF18-270mm F/3.5-6.3 Di II VC for Canon and Nikon DSLRs, and the AF18-200mm F/3.5-6.3 for Canon, Nikon, Pentax and Sony cameras. The Di II lens is compatible with sub-full-frame cameras only, and the 18-270mm range offers an incredible 15x zoom that covers a 35mm equivalent of 28-419mm. Tamron’s Vibration Compensation VC system is included for reducing camera blur, and the lens also offers macro capability with a 1:3.5 magnification and a minimum focus distance of 19.3 inches. The 18-200mm is available for more systems than the 18-270mm, and it includes Di sub-full-frame, APS-C compatibility in an efficient package of only 14.3 ounces and a length of only 3.3 inches. Estimated Street Price: $629 (AF18-270mm); $289 (AF18-200mm).

Tokina
Designed for Canon EOS APS-C and Nikon DX sub-full-frame camera mounts, theAT-X 16.5-135mm DX starts at a wider angle than most standard zoom lenses, making it an ideal choice for working in narrow shooting conditions. The lens is comprised of 15 elements in nine groups, with three aspherical elements, two compound elements, a multi-layer coating and one all-glass element for precise optical reproduction of the image. The 16.5-135mm DX features a mechanical zoom system that minimizes play and reduces zoom creep. Weighing just a little more than 20 ounces, the lens is just shy of three and a half inches. Estimated 

Information From : http://www.dpmag.com/gear/lenses/toolbox-wide-angle-zooms.html

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Wide-angle zoom lenses are often far more practical as a purchase for photographers than a telephoto or even a standard do-it-all zoom. The large foreground framing is ideal for working from tight spaces or indoors, and while they can be unflattering for commercial portraiture, they're still very handy when working with people because they allow you to frame a subject while incorporating quite a bit of background—useful for telling a story through composition and environment.

Often sporting a fast aperture, useful for more than just shallow focus, these lenses will let you work in low-light situations, as well. The wide coverage is also an advantage for handholding without too much camera shake, unlike a telephoto, which is sensitive to even the subtlest movements. Both indoors and out, a fast wide-angle zoom will be able to handle anything from architecture to interiors, candids at the beach, expansive landscapes and so much more.


CANON

Canon divides their current lens array into two lines: the EF line, which covers full-frame cameras, and the EF-S series, capable of covering only sub-full-frame image circles. Their widest wide-angle zoom is the EF 8-15mm ƒ/4L USM, but it's a fish-eye, which is an impractical lens for most purposes. Instead, you might consider their EF 16-35mm ƒ/2.8L II USM, a member of their top-quality L-series lenses or, at a substantial savings thanks to a slower aperture and a slight loss to focal length, their EF 17-40mm ƒ/4L USM lens. 

Canon has just released two new wide-angles, a slower and less expensive version of the 16-35mm, the EF 16-35mm ƒ/4L IS USM, the first wide-angle zoom from the company to include IS image stabilization. They also announced the very affordable EF-S 10-18mm ƒ/4.5-5.6 IS STM with 16-28.8mm equivalence and a stepping STM motor for quiet operation and continuous autofocus during video capture. For sub-full-frame cameras, the EF-S 10-22mm ƒ/3.5-4.5 USM is a good economical choice with a large range. List Price: $299 (EF-S10-18mm ƒ/4.5-5.6 IS STM); $599 (EF-S 10-22mm ƒ/3.5-4.5 USM); $839 (EF 17-40mm ƒ/4L USM); $1,199 (EF 16-35mm ƒ/4L IS USM); $1,499 (EF 8-15mm ƒ/4L USM Fish-eye); $1,699 (EF 16-35mm ƒ/2.8L II USM).


NIKON
Nikon has several economically priced wide-angle zooms, including their widest, the AF-S DX Nikkor 10-24mm ƒ/3.5-4.5G ED, as well as the AF-S DX Nikkor 16-85mm ƒ/3.5-5.6G ED VR. A number of their wide zooms start at 18mm, like the AF-S DX Nikkor 18-300mm ƒ/3.5-5.6G ED VR and, for $100 less, the brand-new and almost identical AF-S DX Nikkor 18-300mm ƒ/3.5-6.3G ED VR lens. These lenses all have a variable aperture, which has a maximum aperture that varies by the focal length you're zoomed to. So the 16-85mm ƒ/3.5-5.6G ED VR, for example, has a faster aperture of ƒ/3.5 at the wide end while it's only capable of ƒ/5.6 when zoomed all the way out to 85mm. To make matters more complicated, the aperture will change while you're zooming, so if you're not paying attention, it can ruin an exposure. 

More expensive professional lenses have been designed for a fast and constant aperture throughout the zooming range, like the AF-S Nikkor 14-24mm ƒ/2.8G ED, the AF-S Nikkor 16-35mm ƒ/4G ED VR and the AF-S Zoom-Nikkor 17-35mm ƒ/2.8D IF-ED. Nikon offers two lines, the full-frame FX line and the sub-full-frame DX line. DX cameras can be used with Nikon's full-frame cameras because the sensor will automatically crop to an APS-C-sized image circle to achieve full coverage. List Price: $699 (AF-S DX Nikkor 16-85mm ƒ/3.5-5.6G ED VR); $899 (AF-S DX Nikkor 10-24mm ƒ/3.5-4.5G ED); $899 (AF-S DX Nikkor 18-300mm ƒ/3.5-6.3G ED VR); $999 (AF-S DX Nikkor 18-300mm ƒ/3.5-5.6G ED VR); $1,259 (AF-S Nikkor 16-35mm ƒ/4G ED VR); $1,954 (AF-S Zoom-Nikkor 17-35mm ƒ/2.8D IF-ED); $1,999 (AF-S Nikkor 14-24mm ƒ/2.8G ED).


FUJIFILM
Most digital sensors are sub-full-frame, which means they're smaller than the standard 35mm-sized full-frame sensors found in professional and prosumer cameras. Given in 35mm equivalence, this means that sub-full-frame lenses will have a field of view that approximates much longer lenses on a full-frame camera. Fujifilm currently offers three lightweight wide-angle zooms for their X-series mirrorless cameras, which have an APS-C crop factor of 1.5x. With a 35mm equivalent focal range of 15-36mm, their widest is the new XF10-24mm ƒ/4 R OIS. It has a stepping motor for video work and a minimum focusing distance of only 9.45 inches, useful for macro shots. Additionally, the XF18-55mm ƒ/2.8-4 R LM OIS lens is equivalent to 27-84mm, while the XC16-50mm ƒ/3.5-5.6 OIS offers a range of 24-76mm. The XC16-50mm ƒ/3.5-5.6 lacks an aperture ring, so it's much more lightweight than the other options at less than half a pound. Fujifilm's OIS Optical Image Stabilization promises between 4 to 4.5 stops of shake reduction. List Price: $699 (XF18-55mm ƒ/2.8-4 R LM OIS); $799 (XC16-50mm ƒ/3.5-5.6 OIS); $999 (XF10-24mm ƒ/4 R OIS).


OLYMPUS
Given the 2.0x crop factor of the Micro Four Thirds system that Olympus and Panasonic use for their respective mirrorless camera systems, wide-angle zooms are a bit of a challenge, as focal lengths are effectively doubled. Olympus has the M.Zuiko ED 9-18mm ƒ/4.0-5.6, their widest zoom, with an equivalent range of 18-36mm. The M.Zuiko Digital ED 12-40mm ƒ/2.8 PRO lens has a range of 24-80mm, while the ED 14-150mm ƒ/4.0-5.6 is equivalent to 28-300mm. The Zuiko ED 18-180mm ƒ/3.5-6.3 has 36-360mm equivalence, a really nice reach for a single zoom even though it starts out not very wide. The M.Zuiko Digital ED 14-42mm ƒ/3.5-5.6 II R and EZ lenses, which stands for Electronic Zoom, are a popular choice for their basic 28-84mm coverage at reasonable price points. The M.Zuiko ED 12-50mm ƒ/3.5-6.3 EZ will provide more coverage than the 12-40mm ƒ/2.8 PRO at half the cost. List Price: $299 (M.Zuiko Digital ED 14-42mm ƒ/3.5-5.6 II R); $349 (M.Zuiko Digital ED 14-42mm ƒ/3.5-5.6 EZ); $499 (Zuiko ED 18-180mm ƒ/3.5-6.3); $499 (M.Zuiko Digital ED 14-150mm ƒ/4.0-5.6); $499 (M.Zuiko ED 12-50mm ƒ/3.5-6.3 EZ); $599 (M.Zuiko ED 9-18mm ƒ/4.0-5.6); $999 (M.Zuiko Digital ED 12-40mm ƒ/2.8 PRO).


PANASONIC
Because mirrorless designs like the Micro Four Thirds system require shorter flange distances, lenses are often much lighter and smaller than larger-sensor APS-C and full-frame models. Panasonic also sports the Micro Four Thirds mount system in its LUMIX line of mirrorless cameras with 2.0x magnification of angle of view. So the LUMIX G VARIO 12-32mm ƒ/3.5-5.6 ASPH lens is equivalent to a 24-64mm while weighing less than a fifth of a pound. The G VARIO 14-140mm ƒ/3.5-5.6 ASPH is a bigger lens at a larger cost, but the field of view is equivalent to a massive 28-280mm 10x zoom. With a fast constant aperture and weather resistance, the G X VARIO 12-35mm ƒ/2.8 ASPH lens is comparable to 24-70mm, an essential focal length for pro photographers. Panasonic's widest option is the G VARIO 7-14mm ƒ/4.0 ASPH, also with a constant aperture. List Price: $349 (LUMIX G Vario 12-32mm ƒ/3.5-5.6 ASPH); $699 (G VARIO 14-140mm ƒ/3.5-5.6 ASPH); $999 (G X VARIO 12-35mm ƒ/2.8 ASPH); $1,199 (G VARIO 7-14mm ƒ/4.0 ASPH).


PENTAX
The Pentax DA series of lenses are designed for the exact specifications of digital sensors so, much like mirrorless lens models, they're efficiently compact with a smaller imaging circle and, hence, smaller, lighter components. With APS-C crop, the Pentax K-mount currently includes the smc DA 12-24mm ƒ/4 ED AL (IF) lens with 18.5-37mm coverage and a constant aperture. At an equivalent 24-75mm, the smc Pentax DA* series 16-50mm ƒ/2.8 ED AL (IF) SDM zoom is a high-quality pro lens with a quieter SDM focus motor and weather- and dust-resistant construction. They also offer a number of intermediate wide-angles like the 17-70mm ƒ/4, an 18-55mm ƒ/3.5-5.6, a 16-45mm ƒ/4, an 18-135mm ƒ/3.5-5.6 and a 15x zoom with the 18-270mm ƒ/3.5-6.3. The smc DA 10-17mm ƒ/3.5-4.5 ED (IF) fish-eye will zoom out to a more conventional wide-angle view at 100º. List Price: $199 (DA 18-55mm ƒ/3.5-5.6 AL WR); $499 (smc DA 18-135mm ƒ/3.5-5.6 ED AL (IF) DC WR); $599 (smc DA 17-70mm ƒ/4 AL (IF) SDM); $599 (smc DA 18-270mm ƒ/3.5-6.3 ED SDM); $599 (smc DA 16-45mm ƒ/4 ED AL); $649 (smc DA 10-17mm ƒ/3.5-4.5 ED (IF) fish-eye); $899 (smc DA 12-24mm ƒ/4 ED AL (IF)); $1,299 (smc DA* series 16-50mm ƒ/2.8 ED AL (IF) SDM).


SAMSUNG
Samsung's line of NX mirrorless lenses starts with the new 9-27mm ƒ/3.5-5.6 ED OIS, which is only compatible with the diminutive Samsung NX mini (24-73mm equivalence). For the rest of their APS-C line of NX-system cameras with a 1.54x crop factor, they offer the 12-24mm ƒ/4-5.6 ED and several "standard zooms" that start fairly wide, including the 16-50mm ƒ/3.5-5.6 with 24.6-77mm equivalence, and the more professional version of the same focal length with a brighter variable aperture in the 16-50mm ƒ/2-2.8 S. They also produce the 20-50mm ƒ/3.5-5.6 ED II and the 18-55mm ƒ/3.5-5.6 OIS with Optical Image Stabilization, but at a few hundred dollars more, the much longer 18-200mm ƒ/3.5-6.3 ED OIS might be the better purchase with roughly the same minimum aperture at an equivalence of 27.7-308mm. List Price: $219 (20-50mm ƒ/3.5-5.6 ED II); $229 (18-55mm ƒ/3.5-5.6 OIS); $299 (9-27mm ƒ/3.5-5.6 ED OIS); $349 (16-50mm ƒ/3.5-5.6 ED OIS); $559 (12-24mm ƒ/4-5.6 ED); $699 (18-200mm ƒ/3.5-6.3 ED OIS); $1,299 (16-50mm ƒ/2-2.8 S ED OIS).


SIGMA
Available in Canon, Nikon, Pentax, Sigma and Sony mounts, Sigma's wide-angle zooms include the 8-16mm ƒ/4.5-5.6 DC HSM (DC indicates lenses designed for APS-C sensors, which will cause vignetting if used with full-frame cameras), the full-frame 12-24mm ƒ/4.5-5.6 DG HSM II and two 10-20mm zooms for APS-C cameras, one with a constant ƒ/3.5 aperture and the other with a variable ƒ/4-5.6, which is also available for Four Thirds mounts. For a longer reach, they also produce the 18-250mm ƒ/3.5-6.3 DC OS Macro HSM and the 18-200mm ƒ/3.5-6.3 DC OS HSM, which is available with or without macro. List Price: $399 (18-200mm ƒ/3.5-6.3 DC Macro OS HSM | C); $479 (10-20mm ƒ/4-5.6 EX DC HSM); $499 (18-200mm ƒ/3.5-6.3 II DC (OS)* HSM); $549 (18-250mm ƒ/3.5-6.3 DC (OS)* Macro HSM); $649 (10-20mm ƒ/3.5 EX DC HSM); $699 (8-16mm ƒ/4.5-5.6 DC HSM); $949 (12-24mm ƒ/4.5-5.6 DG HSM II). 


SONY
Sony lenses are currently available in two lines: A-mount for their line of APS-C and full-frame DSLRs, and E-mount for their mirrorless options. A-mount lenses can be mounted to E-mount mirrorless cameras via a lens adapter, while the reverse isn't true. Looking at newer E-mount lenses, Sony offers three versions of its 18-200mm ƒ/3.5-6.3 lens in varying weights and sizes, each equivalent to a 27-300mm zoom, as well as the retractable 16-50mm ƒ/3.5-5.6, a 10-18mm ƒ/4 wide-angle zoom, an 18-105mm ƒ/4 G OSS, the Vario-Tessar T* E 16-70mm ƒ/4 ZA OSS lens and a more standard 18-55mm ƒ/3.5-5.6 OSS lens. List Price: $349 (16-50mm ƒ/3.5-5.6 OSS); $599 (E PZ 18-105mm ƒ/4 G OSS); $849 (10-18mm ƒ/4 Wide-Angle Zoom); $999 (Vario-Tessar T* E 16-70mm ƒ/4 ZA OSS); $849 (18-200mm ƒ/3.5-6.3 Zoom); $899 (18-200mm ƒ/3.5-6.3 OSS); $1,199 (18-200mm ƒ/3.5-6.3 Telephoto).


TAMRON
Tamron has a healthy selection of zooms available for Canon, Nikon and Sony cameras in both A-mount and now the mirrorless E-mount with the 18-200mm ƒ/3.5-6.3 Di III VC. This lens is part of the new Di III line of mirrorless lens solutions while Di II lenses will work with APS-C cameras. Currently, the Di II system is comprised of five zooms that start fairly wide, including an extremely affordable 18-200mm ƒ/3.5-6.3 with macro, the 18-270mm ƒ/3.5-6.3, the SP 10-24mm ƒ/3.5-4.5 Di II and an SP AF17-50mm ƒ/2.8 available with VC Vibration Compensation for Canon and Nikon models but without for the other mounts. Including the SP 24-70mm ƒ/2.8 and the SP AF28-75mm ƒ/2.8, as well as other models, Tamron's pro Di line is available for full-frame camera mounts. List Price: $199 (18-200mm ƒ/3.5-6.3 XR Di II Macro); $449 (18-270mm ƒ/3.5-6.3 Di II PZD); $499 (SP AF28-75mm ƒ/2.8 XR Di LD [IF]); $499 (SP AF10-24mm ƒ/3.5-4.5 Di II); $499 (SP AF17-50mm ƒ/2.8 XR Di II LD [IF]); $649 (SP AF17-50mm ƒ/2.8 XR Di II VC LD [IF]); $739 (18-200mm ƒ/3.5-6.3 Di III VC); $1,299 (SP 24-70mm ƒ/2.8 Di VC USD).


TOKINA
Similarly, Tokina divides their offerings for Canon, Nikon and Sony Alpha cameras into the APS-C DX or the 35mm full-frame FX lines. For DX, they include quite a few wide-angle zooms: the AT-X PRO 12-24mm ƒ/4, the AF 12-28mm ƒ/4 and the AF 11-16mm ƒ/2.8. Their AT-X 10-17mm ƒ/3.5-4.5 DX fish-eye lens is interesting in that it can be zoomed out to a wide angle at the 17mm end. It's a DX lens, but it's available as an NH (no built-in hood) version, allowing for more coverage for full-frame cameras, although there will be some vignetting at the wider end of the range. The FX line features the AT-X 16-28mm ƒ/2.8 PRO FX and the AT-X 17-35mm ƒ/4 PRO FX lenses. List Price: $399 (12-24mm ƒ/4 AT-X 124AF PRO DX II); $449 (11-16mm ƒ/2.8 AT-X 116 PRO DX); $489 (12-28mm ƒ/4 AT-X PRO DX); $499 (17-35mm ƒ/4 PRO FX); $559 (AT-X 107 AF DX fish-eye 10-17mm ƒ/3.5-4.5); $619 (AT-X 107 AF NH fish-eye 10-17mm ƒ/3.5-4.5); $649 (AT-X 16-28mm ƒ/2.8 PRO FX). 

Information From : http://www.dpmag.com/gear/lenses/toolbox-fast-wide-zooms.html

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Monday, 20 October 2014

About Razer

Founded in San Diego, California by our CEO Min-Liang Tan and Robert "Razerguy" Krakoff, Razer began in a tiny shared office with a couple other gamers. Today, we have shipped 11 million connected devices around the world and have grown to over 400 employees with offices in 10 cities across the USA, Asia and Europe.
Our vision from the very beginning was to be the world's greatest gaming brand and we've set out to achieve that by designing the best gaming products that anyone has ever used. Seven million gamers use our products and 20,000 new fervent Razer fans join us every day.

We design our products based on three fundamental tenets: technology, ergonomics and validation from the very best professional gamers. World-class scientists and engineers develop cutting-edge technology in-house or with partners, design products with extensive human interfacing studies and then test the hell out of them in the field with pro-gamers before launch.
No other gaming hardware company boasts dedicated gaming user interface R&D labs, and our technology and designs are incubated in three design facilities located in California, Singapore and Shenzhen.


We tell it like it is. Some can pretend to co-develop products with professional gamers, but gamers don't develop technology: scientists and engineers do (and ours just happen to be passionate gamers too). That said, feedback from professional gamers who use our products in high-level tournaments is invaluable to us. It is how we iterate, refine, and perfect our designs over and over again. That's how a Razer product is built from the ground up. No marketing BS and no hype.
Not only do we work with the very best in the eSports scene, we believe in helping the community grow. We were one of the pioneers back in the early days of competitive gaming and, to this day, continue to sponsor top cyber athletes and international teams with aspirations of epic glory and ever-increasing prize money. They in turn give back to Razer by testing and validating our products.
The people who work here at Razer are just like you--gamers. Some are amateur, some are ex-professionals, all are in it for the love of gaming. Just ask our CEO, who will happily lay the smack down on you in Quake Live.
We hope our passion for gaming speaks to you like it does to us, through our products and the competitive edge we bring to your game.
For Gamers. By Gamers.™









More Info about Razer , visit : http://www.razerzone.com/

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Sunday, 19 October 2014

Are you a Canon photographer with an APS-C camera and need an ultra wide-angle zoom? Do you want the best value for your money? Look no further than Canon's new $299 EF-S 10-18mm f/4.5-5.6 IS STM lens. Announced back in May, the new Canon EF-S 10-18mm f/4.5-5.6 IS STM ultra wide-angle zoom lens is small, lightweight, very affordable, and as it turns out, quite the solid performer.

Canon already released an APS-C ultra wide-angle zoom lens -- the EF-S 10-22mm f/3.5–4.5 USM -- back in 2004, and earned a lot of praise for its image quality. However, it's significantly larger, heavier and pricier than this new 10-18mm lens, albeit a little faster with the ƒ/3.5-4.5 aperture range. As a compromise for the slower apertures, the Canon 10-18 features a IS system -- rated up to 4-stops at 18mm -- and combined with Canon's STM focusing, this new lens should make it a hit with those looking for a small, fast-focusing lens as well as with HD-DSLR video shooters.

The 10-18mm, however, it not meant as a replacement to the 10-22mm. The small, lightweight build is constructed most from solid-feeling polycarbonate plastic and is designed primarily as good match with Canon's smaller, more entry-level DSLRs like the Rebel T5i or SL1. And based on our test results, the new budget-friendly Canon 10-18mm lens is going to give the older 10-22mm lens a run for its money!

Head on over to SLRgear to read the full Canon EF-S 10-18mm f/4.5-5.6 IS STM review, complete with our in-depth report, final conclusion as well as our full range of test results and sample images.

The Canon EF-S 10-18mm f/4.5-5.6 IS STM is currently available for purchase at the low price of $299 (ships with front and rear caps; a lens hood and soft carry bag can be purchased separately), and can be purchased at one of our trusted affiliates: Amazon, Adorama and B&H. Purchasing this lens, or any other item, at one of these retailers helps support this site and keeps the reviews coming!

In the meantime, check out some sample photos shot by our senior lens technician Rob Murray using the Canon 7D. You can view more sample photos, plus download the full-resolution files.

Canon 7D: 12mm, f/5.6, 1/500s, ISO 100

Canon 7D: 10mm, f/9, 1/125s, ISO 100'

Canon 7D: 18mm, f/5.6, 1/125s, ISO 100

News From : http://www.imaging-resource.com/news/2014/08/06/canon-10-18mm-f-4.5-5.6-is-stm-lens-review-the-best-bang-for-your-buck-for



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Upgrading to a good quality pair of headphones will make a real difference when listening to your music. We take a look at how to buy the best headphones.

There is a huge variety of headphone types available from a number of brands such as Beats headphones, Sony headphones and Klipsch headphones. Some are great for listening to music at home, whereas smaller, more portable models keep you listening in comfort while on the go. Each set also varies in the range of features it offers – from noise isolation, wireless operation, onboard controls, to mobile phone functionality.

It’s worth investing in the best headphones you can afford, but choosing the right pair can be a challenge. Take time to shift through the choices available and read our guide to essential features to discover the best headphones that can deliver the excellent audio quality your music collection deserves.


What makes a good set of headphones?

Great sound quality – As with speakers, good headphones will deliver full sound that’s balanced across treble, midrange, and bass frequencies. Most headphones struggle when it comes to producing bass but some over-the-ear headphones deliver rich, deep sounds. Headphones have either open or closed back ear cups. Open-backed headphones offer a more natural sound than closed headphones, but they tend to leak more noise. Closed headphones can sound a bit muffled but are good at preventing sound leakage and blocking out unwanted noise.
The best way to test headphones is to try them out. Good retailers will have demo headphone units, though these are restricted to over-and on-ear models for hygiene reasons.
Comfortable to wear – Whether you intend to use headphones every day or just occasionally, comfort is paramount when choosing the best set. Some in-ear headphones are comfortable but if you plan to use your headphones for long periods then on- and over-ear models typically offer the best comfort.

What type of headphones should I buy?

There are four main types of headphones: over-ear, on-ear, in-ear and earbuds.

Over-ear headphones – These large headphones have cushioned pads that cover the entire ear. This makes them more comfortable to wear for long periods and they generally deliver good sound quality. Too bulky to be portable, they’re best reserved for home use.
On-ear headphones – Smaller and lighter than over-ear models, these headphones sit on the ears and usually have foam or leatherette pads for extra comfort. Some are foldable making them more portable than over-ear models. However, many have an open back design, which means they can’t match the base levels of closed-back, over-ear headphones.
In-ear headphones – These are probably the most common type and are usually supplied with portable music players. They're lightweight, portable, and generally much cheaper than on- and over-ear sets. They fit snugly inside the ear canal to provide a tight seal so sound leakage is less likely. However, sound quality is poorer than over-ear and on-ear designs, particularly at the base end.
Earbuds – Small and cheap, earbuds are often bundled with MP3 players and smartphones. They nestle inside the ear but don't fully seal it, so they’re susceptible to sound leakage and some people find them too loose fitting to be comfortable. They generally offer the worst audio experience out of the four types of headphones.
In addition to the four main types, there are specialised headphones for specific purposes such as sports models that to fit comfortably around your ear, neck, or head, or clip onto clothing.

What else should I consider when buying a pair of headphones?

Is it worth going wireless? 
Wireless headphones let you listen to music without being tethered to the audio source. This makes them perfect for situations such as listening to music in the gym where trailing cables can get in the way. They use one of three wireless technologies: infrared, radio and Bluetooth.

  • Infrared – Like a TV remote control, these headphones use an infrared (IR) beam to transmit sound from the base unit. With a range limited to about 7m and the need for a clear line of sight between the headphones and base unit, you can’t wander round the house using infrared headphones. However, they’re great for watching TV or listening to music from your MP3 player or hi-fi while in the same room.

  • Bluetooth – As with hands-free mobile phone kits, these uses a short-range digital radio signal to transmit sound. Bluetooth headphones have a similar range to infrared but as they don’t require line of sight, you can move from room to room at home while listening to your music.

  • Radio – The best choice if you want to listen to music while walking around the house or in the garden, these headphones use a FM radio signal and typically offer a choice of two or more frequencies to avoid interference from other devices.

Is it worth paying more for sound isolating headphones?

It’s tempting to drown out external noise such as traffic by cranking up the volume on your headphones but this can, in turn, annoy others or damage your hearing. The best solution is to invest in a pair of noise-cancelling or sound-isolating headphones so you can enjoy your audio at much lower volumes.

Great for commuting, sound-isolating headphones fit tightly over or in the ear to eliminate ambient sounds and they deliver better sound quality than noise-cancelling models. Noise-cancelling models are particularly effective on flights and train journeys. They have tiny built-in microphones and battery-powered electronics that produce anti-noise signals to cancel out external sounds like the low drone of engines. Some headphones use standard AAA batteries while other headphones have a rechargeable battery. These headphones don’t come cheap – expect to pay from around £45 and up to around £350 for a top-end pair.

Can I use headphones with my mobile phone? 

Look for headphones that have a built-in microphone so you can take mobile phone calls without having to remove the ear piece. This means you can seamlessly switch between hands-free telephone calls and listening to music.


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