Infrared Landscapes

Post your near-infrared landscapes!

I think infrared photography is not very popular, but I enjoy it very much. Anytime there is a clear blue sky, I try not to miss the chance. This is a 720 nm cutoff, so there is some false color present.

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Need Help w/Lightings...

Hi All,

I was looking at the at the Sony HVL 20DW2 light previously but didn't get it due to budget and need at the time. Now I need it, but it doesn't seem to be selling anymore.

I will use this as a off camera light for stills. Portraitures, weddings, etc.

I was also thinking of getting another LED light that's bigger. Like this:
Litepanels Litepanels Micro - On-camera light - LED - 3 W - DC.

My budget is $400 for both. Any suggestions would be greatly appreciated.

Thanks!!

I'm done part II - here are all of the lenses I've sold

As a follow up to my I'm done list, here's all the lenses I bought then sold:

18-55 IS - nice kit lens

50 1.4 - The lens that made me fall in love with photography - great at f/2, but didn't care of the build quality - upgraded to f/1.2 version

70-300 4.5-5.6 IS - Good starter lens, but very soft at 300mm, the focal length I used most - upgraded to 70-200 4 IS

Tokina 11-16 2.8 - Nice lens, bad CA, but DxO and others fixed it well. Sold when leaving crop

35 1.4 - Great lens, but fell in love with 24 1.4 II, never looked back :)

24-70 2.8 - Upgraded to Mk II

70-200 4 IS - Upgraded to 2.8 IS II, but miss the compact size sometimes

50 1.2 - I miss it :( Wish it were sharper, but it took great photos. Sold to fund 300 2.8 IS II

135 2 - Beauty, but like the 35, I all but stopped using it when I bought the 85 1.2 II. Killer for indoor sports.

400 5.6 - Sold to fund 300 2.8 IS II, but best telephoto for the money by far. Tough to use, but great results when mastered. Miss the compact size.

Sigma 12-24 4-5.6 II - Love the 12mm rectilinear view, but didn't use it enough to keep it.

Mark II Extenders - upgraded to Mark III

Canon Teaser Appears in Korea

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<p><strong>Canon Teaser</strong>

Below is a link to the Canon Korea site showing a teaser for a new camera body.</p>
<p><strong><a href="http://www.canon-ci.co.kr/microsite/event/201311/index.jsp">Canon Korea Teaser</a></strong></p>
<p>It looks to be a camera the same size as the Canon EOS SL1, perhaps an entry level version of the camera to replace the 1100D? Or maybe just a white version of the SL1? Whatever it is, I wouldn’t get too worked up about it. It won’t be a cool full frame mini camera, or a $1000 1D X replacement.</p>
<p>More information and discussion at <a href="http://dicahub.com/2013/11/08/canon-unveils-teaser-for-new-product-white-world-will-start-from-canon" target="_blank">DicaHub</a></p>
<p><strong><span style="color: #ff0000;">c</span>r</strong></p>

Micro Adustment Issues

I thought I would have some Friday Fun -- so I tried to use FoCal to calibrate my new TS-E 24mm f/3.5L II. I set up my target perfectly, covered my eyepiece, and set it on a rock solid tripod. As it's a 5DIII, I had to set it up manually and I have adjust the AFMA values myself.

Something's not working, though. It won't AF at all, and I worry the USM motor might be fried. I guess I'll have to move on to calibrating my Zeiss lenses, but can someone help?

5D MK2 and MK3 :: Sub Freezing Temperatures

Hey guys, I'm new here. I found this forum through an attempt to research online about this topic..


Well, at the end of this year (Xmas and New Years) I'll be flying to Alaska to chase the Northern Lights/Aurora Borealis.

Anyway, my main concern is the incredibly cold temperatures I'm going to be out in! Now I know that the 5D2 and 5D3 should be OK to work in those temps, as well as the 24-70mm f/2.8 my friend and I will be using.


But what I wish to find out about, are tips and stuff with dealing with the temperature changes.

I've read on this topic that somebody recommended using an airtight bag (unsure what kind?) while outside before bringing it back inside to avoid condensation.
http://www.canonrumors.com/forum/index.php?topic=17125.0

Another concern of mine is from stepping inside to outside, the sudden drop in temperature I'm scared will shatter the glass or somehow break the camera (as well as later stepping back inside, where it again would be expected to expand?).



So if anybody can please provide any information, insight or tips on this matter, I would be greatly appreciative!


I shoot on a 5D MK3 with a Canon 24-70 f/2.8 (series 1) and my friend has a 5D MK2 with the same lens.

I live in Australia, the cameras have always travelled to hot/warm destinations and the coldest would be maybe 10*C!


Thank you :) :)

Large lens carriage experiences

Many of the CR posters have large, heavy, lenses (and several full sized bodies too!), and take them on distant trips. I have a number of lenses and cameras, with the heaviest being my 70-200 2.8 II. I am going to acquire a 300 2.8 in a few months.

This got me to thinking about carting this gear around, as I go on several long distance trips a year, and always take my gear. So, to all of you with large lenses, etc., I was hoping that you would share your travel stories about traveling with these beasts? Any nagging issues or insights to share? Any tips or pointers? Any funny or tragic stories to share? For those of us about to join the very long heavy expensive lens club, what the heck are we about to get in to? How will this hamper our travel? Thank you all in advance for your sage advice and experiences.

sek

Black Rapid vs Peak Design vs CarrySpeed vs SpiderHolster

Once you've moved away from the traditional neck-strap, it's very hard to go back. But the whole sling-strap and holster industry is still very young and evolving fast. PeakDesign has been one of the bigger Kickstarter successes. Is anyone using the Peak Design Capture system?

http://peakdesignltd.com/capture/
https://peakdesignltd.com/leash-cuff/

The Peak Design CapturePro looks to me to be a sophisticated, evolved, compact design. The DualPlate is an intriguing design compatible with both Manfrotto RC2 and Arca-Swiss. Any reviews I've read are gushing, but appear to have been written by acolytes or affiliates. Any real-world feedback?

The Leash strap system can convert in seconds from a sling strap to a conventional neck strap. The Leash looks a little thin, so I emailed Peak Design who replied almost immediately saying a wider, more comfortable strap suited to the weight of a pro body with 70-200 zoom will be shipping very soon.

I often work long days on my feet carrying a load of gear. The search for a perfect carrying system is a bit like the search for the holy grail. I have a Spider Pro system www.spiderholster.com with the dual holster belt which has been very good but is now worn out and needs replacing.

Recently I had a case of buyers-regret on a full set of CarrySpeed straps; the Extreme, the Pro and the Dual plus extra F1 foldable plates. Initially the system looked full of promise, and I figured I'd get used to the clumsy attachment system and bulky components. What I will say about CarrySpeed is that it is just great if you're only carrying one body/lens so long as that does not include a 70-200 f/2.8. The ability to instantly hitch the camera up tight solves the BR bouncy-bouncy issue. Two straps doesn't work together and the design implementation of the Dual is a mess.

So what to choose? The new kid from Peak Design? More Spiders? BR? And CarrySpeed appear to have been wiped off the face of the map, litigated out of existence by a cashed-up BR for having the audacity to make a sling strap.

-pw

how to sell editorial material to agencies and news channel?

when you have material like a plane crash or train accident.
newsworthy material nobody except you have.

how do you sell it?

i do some work for the local firefighters. i have a few friends in the brigade.
they call me for normal shoots (portraits etc.) but lately i am quite often called when they have rescue efforts etc.

often there are quite spectacular images.
but i have never done editorial work so i don´t know how i get this to news channel.

any hints?

Canon Introduces the DP-V3010 4K Monitor

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<p><b>MELVILLE, N.Y., November 6, 2013</b> – As motion picture, television and commercial production continues to transition to ever-higher resolution digital video and CGI (computer graphic imaging) formats, color-grading and postproduction professionals increasingly rely on reference displays with exceptional detail, color and gradation accuracy. Developed in response to this trend is the new DP-V3010 4K Reference Display from Canon U.S.A., Inc., a leader in digital imaging solutions. The Canon DP-V3010 4K Reference Display measures 30 inches wide diagonally by 7.4 inches deep to help minimize space requirements and provides a 2000:1 DCI-compliant contrast ratio, uniform brightness, very wide viewing angles in all four directions, internal color calibration and additional advanced features. Designed for use in color-grading, digital intermediate (DI), CGI/animation/visual effects (VFX), and editing/finishing suites, as well as digital imaging technician (DIT) workstations on production stages and on-location “video villages,” the Canon DP-V3010 4K Reference Display provides full-screen 4096 x 2560 resolution with extremely high levels of color accuracy and fidelity.</p>
<div id="attachment_14645" style="width: 585px" class="wp-caption alignnone"><a href="http://www.canonrumors.com/wp-content/uploads/2013/11/DP-V3010_display-FSL-w-controller.jpg"><img class="size-medium wp-image-14645" alt="Canon DP-V3010" src="http://www.canonrumors.com/wp-content/uploads/2013/11/DP-V3010_display-FSL-w-controller-575x431.jpg" width="575" height="431" /></a><p class="wp-caption-text">Canon DP-V3010</p></div>
<p>“We are proud to continue the Canon tradition of providing our customers with complete solution technologies, providing them the option to work within a Canon ecosystem from input through output, and maintain the quality and reliability of our brand,” noted Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “These displays are the result of the enthusiastic response we received to the Canon Cinema EOS System of cameras and lenses, and we look forward to continuing to demonstrate our commitment to these markets with outstanding technology, quality and reliability to help creative professionals deliver and tell the stories as they envision them.”</p>
<p>The DP-V3010 4K Reference Display features a 16:10 aspect ratio for the display of video signal information essential to VFX creation. With a tightly packed “pixel pitch” of 157.5æm, the Canon DP-V3010 4K Display provides high-accuracy tonal gradations between darkest and brightest areas, with 1024 shades in each color channel. The technology enabling such performance is a new and proprietary display engine developed by Canon that helps maximize color accuracy and brightness uniformity. The actual panel employed by the DP-V3010 4K Display is an IPS (in-plane switching) LCD with full array RGB LED scanning backlight technology that delivers excellent color accuracy, and crisp video imagery without the perception of motion blurring between frames. By featuring an IPS LCD panel with polarizing and filtering film layers to prevent changes in color and contrast, the DP-V3010 4K Reference Display enables image viewing within a wide viewing angle, top to bottom and left to right.</p>
<p><!--more--></p>
<p><b>Industry Compatibility</b>

The Canon DP-V3010 4K Reference Display is compatible with the five major color gamut standards – SMPTE-C, EBU, ITU-R BT.709, DCI, and AdobeRGB – as well as conforming to DCI standards for 4K display. These DCI standards include a 2000:1 contrast ratio, which the DP-V3010 4K Reference Display evidences in its faithful reproduction of detail in the shadows and accurate highlights. This high contrast accuracy is essential for critical assessment and mastering of high dynamic range cinematic imagery.</p>
<p>Also supported by the Canon DP-V3010 4K Reference Display is the ASC CDL (American Society of Cinematographers Color Decision List) format. The display controller provided with the DP-V3010 4K Display includes a dedicated CDL button. Color settings made at the shooting location can be stored on a USB flash drive and imported into the user’s color-grading system, which can then relay color correction parameters directly to the DP-V3010 4K Display in the ASC CDL format using slope, offset, power, and saturation parameter adjustments to the overall RGB image and/or separately to the individual R, G, and B channels.</p>
<p>The importation of LUT (Look Up Table) data created by third-party color-grading systems is also supported by the DP-V3010 4K Reference Display. The Display allows both 1D and 3D LUTs to be easily imported by operating the menus of the unit itself. This enables accurate color matching between displays and the ability to import customized “looks” created in third-party applications. In this way, the unique colors and gradations intended by producers can be easily reproduced.</p>
<p>Ready to support the wide dynamic range of Canon Log gamma video data recorded by the popular Canon EOS C500 and EOS C300 Cinema cameras, the Canon DP-V3010 4K Reference Display also comes pre-installed with the Cinema EOS Canon Log viewing LUT allowing those cameras to be integrated with the DP-V3010 4K Display for linear conversion and display in real time. Furthermore, using 1D/3D-LUT data, the display will be able to provide support for ACESproxy output from Canon’s EOS C500 digital cinema camera.</p>
<p>A wide variety of the full HD video production format resolutions, typically used for TV dramas, commercials and other TV content, can also easily be displayed by the new Canon DP-V3010 4K Reference Display. To accommodate HD formats, the DP-V3010 Display offers upscaling modes offering smooth and accurate rendering up to 4K resolution of DCI 4K (in up to 12 bit 4:4:4 color), 2K, 1080p, 1080i and 720p. Inputs include 3G-SDI, HD-SDI and DisplayPort connectors for compatibility within many different production, post and VFX workflow environments.</p>
<div id="attachment_14646" style="width: 578px" class="wp-caption alignnone"><a href="http://www.canonrumors.com/wp-content/uploads/2013/11/DP-V3010_Display_BSL.jpg"><img class="size-medium wp-image-14646" alt="Canon DP-V3010" src="http://www.canonrumors.com/wp-content/uploads/2013/11/DP-V3010_Display_BSL-568x575.jpg" width="568" height="575" /></a><p class="wp-caption-text">Canon DP-V3010</p></div>
<p><b>Calibration and Convenience</b>

Each Canon DP-V3010 4K Reference Display undergoes high-precision calibration before shipment to help ensure high color uniformity between all units. Color accuracy is further improved by the Canon DP-V3010 4K Display’s control system, which continuously monitors internal conditions of the display which might affect color, uniformity and performance accuracy, like heat or aging of internal components and make corrections to help ensure long-term image stability and exceptional color consistency.</p>
<p>External calibration of the Canon DP-V3010 4K Reference Display can be performed without the need for a dedicated PC application through the use of a third-party spectroradiometer. Use of such an external sensor allows users of the DP-V3010 Display to maintain factory calibration settings as well as help adjustment for specific display applications or account for variations in ambient lighting.</p>
<p>The DP-V3010 Display features an easy-to-navigate on-screen display that can be controlled using the included display controller. Built-in carrying handles allow the display to be easily transported and positioned on top of a desk or a counter, or attached to a VESA-compliant bracket for easy wall or rack mounting. The accompanying display controller is designed to be used as both a desktop control device or to be rack-mounted for easy integration into suites, control rooms or mobile vehicle applications, such as HD sports production trucks.</p>
<p>Markers, time code display and test patterns are provided within the Canon DP-V3010 4K Reference Display. A variety of markers (aspect, safety zone, grid, and center) and test patterns (pluge, grayscale [20%], white, five-step, ramp, color bars, and black) are also built into the DP-V3010 Display.</p>
<p>The Canon DP-V3010 4K Reference Display is scheduled to be available in the first quarter of 2014 for a suggested list price of $40,000.</p>
<p><strong><span style="color: #ff0000;">c</span>r</strong></p>

Trigger Speedlite 600EX with 270 EXII?

I think the subject line says it all. I am completely new to flash photography, I more or less only shoot natural light. I've decided to get myself a Speedlite 600EX. I'll go for what I understand is the best although I'm sure a 430 EX II would cover my needs.

Anyway, when I want to use the flash off camera, will I be able to trigger it with the 270 EX II that O already have?

I am shooting with a 5D MkIII.

Fuji x100s + Canon Speedlites?

So I've taken the plunge and ordered a Fuji x100s which will be arriving tomorrow. The biggest factors for me that justified the price tag and stray from my Canon gear are the leaf shutter, built-in ND filters, and size/convenience factor.

However, to make full use of the leaf shutter and it's oh so awesome qualities, I need to now figure out what kind of wireless flash setup I will need.

I already have 580exII x 2 and a 430ex along with 2 sets of Yongnuo YN622 ETTL radio triggers. I just wanted to know if anyone else has used a similar setup with the x100s or whether you've tested it and had it not work out. If it's worked out well for you, how is it?

Macro lens for the missus for christmas

She expressed some displeasure yesterday that I hadn't bought her a macro lens yet and told me I ought to get her one for christmas. Question is which one though? She prefers the 40D but I want to be able to use it on my 1D as well so that rules out the 60mm macro. She wants to mainly photograph flowers with it so I imagine the 50mm 2.5 would work quite well but I'm a little put off by the age of the design and the short focal length, I'm hoping to be able to use it as a normal lens as well as a macro. In that kind of focal length I'd rather just get the 40mm pancake. The 100mm non-L stands out like a winner when it comes to price but the problem is she has zero patience for either eternal flashes or tripods so I would expect a lot of blurry shots without IS (yes I understand the limitations of it in macro but every little helps after all). Given that she doesn't like the weight and heft of a 70-200 f2.8 I doubt a big lens like a sigma 150mm 2.8 OS would go down very well. In reality she could probably do well with just a normal close focussing lens but I don't mind flashes or tripods and would quite like to have a proper macro lens myself. The zeiss macros are too expensive unfortunately

Shall I just buy her a 100mm L macro and be done with it? Of course I could just get a 100mm non-L and a ring flash for her for the same money. How well does it work to do handheld flower macro with a non stabilised lens? Most of the shots will be at less than 1:1 magnification I expect.

AFMA & distance?

Since my good ol' 60d doesn't have afma (thanks, Canon!) I'm new to this with my 6d and would like to ask some people with more afma experience for advice.

I just adjusted my lenses with Magic Lantern's dot_dune module which is basically a free in-camera version of FoCal and found that neither of my f4 zooms need afma (well, the 17-40L +1) at all at either end, at least not at the distance I could test them with in my room. I wonder...

1. My 100L seems to need more afma the longer the lens-subject distance gets. Did I do something wrong, is this normal behavior so I actually arbitrarily need to pick my favorite distance I'd like the lens to af? Do I need to test my 70-300L at longer distances than the 2m right now for accurate results?

2. I don't understand the scale of the afma values - does for example make the +5 of my 100L @1m a difference at the dof of f2.8 in real life? Or is this overcompensated by the camera's and my human's focusing variance anyway unless I shoot on tripod (and in this case would use focus peaking or contrast af)?

Nikon drops sales forecast as high-end camera market stalls

http://www.reuters.com/article/2013/11/07/nikon-earnings-idUSL3N0IR39F20131107?type=companyNews

Nov 7 (Reuters) - Nikon Corp cut its full-year unit sales forecast for high-end cameras for the second quarter in a row on Thursday, as a dramatic fall in demand among photography hobbyists that began last year accelerated faster than expected.

The company posted a 41 percent drop in operating profit to 21.9 billion yen ($222 million) for the six months ended September, saying overseas demand for pricy single-lens reflex models had remained depressed.

It cut its unit sales projection for interchangeable lens cameras to 6.20 million from a previous forecast of 6.55 million, which had predicted the first fall in sales of the format since Nikon's first digital SLR in 1999.

A sharp downturn in the single-lens reflex camera market this year has come as a blow to companies such as Nikon and market leader Canon Inc, after the shrivelling of the compact camera market as consumers switched to smartphones for taking photos. Nikon's imaging unit's operating profit slid 26 percent in the first half to 30.9 billion yen.

Nikon also cut its sales forecast for steppers, multi-million dollar lithography machines that are a vital part of the semiconductor manufacturing process, to 36 from an earlier forecast of 37 machines, saying it had felt the impact of a drop in capex among chipmakers. Operating profit in its precision instruments unit fell 48.2 percent to 3.7 billion yen.

The Japanese firm now claims less than a fifth of the market, down from less than 40 percent a decade ago, as Dutch rival ASML Holdings NV has gained a share of over 80 percent.

financial results:

http://www.nikon.com/about/ir/ir_library/result/pdf/2014/14_2qf_c_e.pdf

when you look at the numbers and reports from nikon it seems nikon was also very busy cutting production cost this year to keep the operating income relatively(!) close to the forecast.

70-200 f2.8 IS II noise

I'm starting this topic, since I have sth else to ask you guys.

It's been a few months now (since mid-July, I think) that my 70-200 f2.8 IS II makes a strange noise when the IS engages and disengages. Before, it was totally silent. As far as IQ and overall performance goes, everything seems to be OK. Does anyone have any idea, suggestion why is that so? Do I need to be worried and send my lens in for repair?

Thanks in advance for your comments

Canon vs Sigma MFA

Two questions, really.

First, how does the Canon method of microfocus adjustment differ from Sigma? I know Sigma has a USB dock and an app, and that Canon does MFA right from the back-of-camera menu system.

What I'd like to understand is whether Canon is also adjusting the lens itself, as in the Sigma method, or is making some adjustment in the body?

My other question is specific: Will a 5D Mk III be able to apply MFA to the latest Sigma 150mm 2.8 Macro? I find clear info about the Sigma 35mm 1.4, but little (and confusing) info about the macro.

Thanks!

Tamron Announcement: SP 150-600mm F/5-6.3 VC USD

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<strong>Tamron announces the development of a revolutionary new 150-600mm Ultra-Telephoto Zoom Lens for full-frame and APS-C format DSLR cameras</strong></p>

<p><strong></strong>November 7, 2013, Saitama, Japan – Tamron Co., Ltd. (President & CEO: Morio Ono), a leading manufacturer of precision optics, has announced the development of an innovative ultra-telephoto zoom lens with a focal length range of 150mm to 600mm for full-frame and APS-C format DSLR cameras. The lens sample will be on display in showcase at the Tamron booth at the Salon de la Photo 2013 which will be held from November 7 to 11 in Paris, France.</p>
<p>Tamron’s previously announced 200-500mm (Model A08), still currently available, is a popular, compact, easy-to-use ultra-telephoto zoom lens, but customers have shown great interest in having a lens that provide an even greater focal length range.</p>
<p>This all-new ultra-telephoto zoom lens features VC ( Vibration Compensation)*² image stabilization, speedy, precise USD ( Ultrasonic Silent Drive)*³, state-of-the-art eBAND (Extended Bandwidth & Angular-Dependency) Coating*1, which significantly reduces the unwanted light reflections that cause flare and ghosting, and, in addition a sophisticated and stylish new external finish.</p>
<p>Its 4x ultra-telephoto zoom capabilities, with a focal length range from 150mm to 600mm, enhance the creative potential of telephoto photography, a captivating feature for all photographers, particularly nature, wildlife, and sports shooters.</p>
<p>SP 150-600mm F/5-6.3 Di VC USD (Model A011)</p>
<p><!--more--></p>
<p><strong>Product Highlights</strong></p>
<p>4x ultra-telephoto zoom lens with a focal length range of 150mm to 600mm</p>
<p>The focal length range of this lens was extended by 50mm on the wide-angle side and 100mm on the telephoto side compared to the existing model (Model A08), making it possible to take even more striking photographs of birds, wildlife, sports, and other distant subjects. Mounted on APS-C DSLR cameras, it has a stunning equivalent focal length range of 233mm to 930mm, almost to 1000mm.</p>
<p>World class image quality</p>
<p>Employing 20 elements in 13 groups and boasting an advanced optical design, it delivers a superior balance of resolution and contrast for sharp, clear images. The front group contains three LD ( Low Dispersion) glass elements (two in the first group, one in the third) for enhanced optical correction effectiveness, enabling the lens to thoroughly compensate for on-axis aberrations at the telephoto end. The lens also adopts eBAND Coating*¹, developed from state-of-the-art coating technologies, and conventional BBAR(Broad-Band Anti-Reflection) Coating to greatly suppress ghosting and flare even when shooting under adverse lighting conditions.</p>
<p>Achieves a 600mm focal length in a compact easy-to-handle package</p>
<p>Ingenious optical design features minimize the movement of lens groups within the lens when zooming. This reduces the amount of barrel extension needed to cover the complete focusing range, making the entire lens more compact.</p>
<p>Beautiful background blur effects</p>
<p>Adopting a 9 blade circular diaphragm enables users to create beautiful background blur effects (bokeh), which provide even greater potential for creative expression. This circular diaphragm retains a nearly circular shape even at two stops down from its maximum aperture.</p>
<p>VC ( Vibration Compensation)*² mechanism creates greater opportunities for sharper handheld photography.</p>
<p>Tamron’s proprietary VC ( Vibration Compensation) image stabilization system uses a three-coil system, delivering significantly sharper images and creating greater opportunities for handheld ultra-telephoto photography.</p>
<p>Comfortable autofocus</p>
<p>Tamron’s new SP 150-600mm F/5-6.3 Di VC USD features a USD ( Ultrasonic Silent Drive) ultrasonic motor drive*³ for swift and accurate AF response, it delivers high torque, very fast response times, and very low noise. The full-time manual focus mechanism allows users to make fine manual focus adjustments at any time even when AF is engaged.</p>
<p>New elegant, high-class external finish</p>
<p>Tamron has upgraded the cosmetic design and finish of this lens to create a more sophisticated, high-end look in keeping with the demands of discerning full-frame DSLR users.</p>
<p>Employing a sophisticated linear pattern rubber grip on the zoom and focus rings and an attractive and stylish tungsten silver name-brand ring, this newly designed model accentuates its visceral presence with understated elegance and class.</p>
<p>Easy-to-use tripod mount</p>
<p>The tripod mount has been completely redesigned to provide superior stability, durability, ease of use, and portability.</p>
<p>Comes with “SILKYPIX Developer Studio for Tamron”, RAW image development processing software for Tamron’s SP lenses</p>
<p>The SILKYPIX Developer Studio software can develop high-quality images from RAW data, incorporating adjustments that can express the personal style and taste of the photographer. These include white balance, color, sharpness, and the tonal curves recorded by digital cameras.</p>
<p>The SILKYPIX Developer Studio for Tamron provides a range of functions, in addition to the basic adjustment capabilities, such as correcting aberrations (chromatic aberrations of magnification, distortion, peripheral light fall-off), based on the optical data. Used in tandem with Tamron’s SP series lenses – renowned for their high-depiction capability – this advanced technology efficiently produces images that meet photographers’ most exacting demands.</p>
<p><strong> </strong></p>

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