The Tamron SP 70-200mm F/2.8 Di VC USD is the most compact full-size, high-speed telephoto zoom lens. Equipped with VC (Vibration Compensation) image stabilization, and USD (Ultrasonic Silent Drive), the Tamron 70-200m F/2.8 lens is currently under development with no launch date or price set. It will be available for Nikon, Canon and Sony mounts.
Tamron Press Release
The most compact*1 full-size, high-speed telephoto zoom lens, delivering leading-edge image quality with Tamron’s proprietary VC (Vibration Compensation) and USD (Ultrasonic Silent Drive).
SP 70-200mm F/2.8 Di VC USD (Model A009)
September 13, 2012, Saitama, Japan – Tamron Co., Ltd. (President and CEO: Morio Ono / Headquarters: Saitama City), a leading manufacturer of optical equipment, announced the development of a full-size, high-speed telephoto zoom lens equipped with VC (Vibration Compensation)*2 image stabilization, and USD (Ultrasonic Silent Drive)*3 that achieves leading-edge image quality while boasting the most compact design in its class.
The Tamron SP 90mm F/2.8 Di MACRO 1:1 VC USD is a redesigned version of the classic 90mm macro lens. Equipped with VC (Vibration Compensation) and USD (Ultrasonic Silent Drive) with completely redesigned optics, the Tamron 90mm F/2.8 Macro lens is currently under development for Canon, Nikon and Sony mounts, with price and availability to be announced.
Tamron Press Release
Tamron announces the redesign of their legendary 90mm Macro lens, equipped with VC (Vibration Compensation) and USD (Ultrasonic Silent Drive)
SP 90mm F/2.8 Di MACRO 1:1 VC USD (Model F004)
September 13, 2012, Saitama, Japan—Tamron Co., Ltd. (President and CEO: Morio Ono / Headquarters: Saitama City), a leading manufacturer of optical equipment, announced the development of a next generation 90mm Macro lens for full-size SLR cameras. The lens features completely redesigned optics, a proprietary VC (Vibration Compensation)*1, and USD (Ultrasonic Silent Drive)*2.
Product Name: SP 90mm F/2.8 Di MACRO 1:1 VC USD (Model F004) for Canon, Nikon and Sony*3
Launch Date & price: TBA.
Nikon has announced the upcoming release of a weather sealed 800mm f/5.6 Nikkor lens with auto-focus capabilities. Compatible with both FX and DX digital SLR bodies, the new lens will boast the longest focal length of any AF Nikkor to date. Nikon’s new 800mm lens is scheduled to be on display at Photokina, 18-23 September 2012. The full specifications, release date and suggested retail price have not yet been determined. Judging by the number of controls on the lens barrel, we fully expect the lens to a offer a focus limiter, Vibration Reduction with different VR modes, full-time manual focus override and perhaps a few other functions (e.g. on-lens AF-Lock and AF-On buttons or a Focus Preset feature etc.). Do note however that the appearance of the final version of the lens might differ from the picture above.
Sigma has posted sixteen sample images captured with the new Sigma 18-250mm F3.5-6.3 DC Macro OS HSM lens. All of these sample photos are available at full resolution, but be aware that – somewhat surprisingly – they were all shot with the lens mounted to a Sigma SD15 rather than the newer and higher-resolution SD1. The photographs represent a range of genres including landscapes, portraiture, macro, wildlife, architecture and sports. You can download the Sigma 18-250mm F3.5-6.3 DC Macro OS HSM sample images from the website below.
The Sigma 18-250mm F3.5-6.3 DC Macro OS HSM is a new, compact superzoom lens for dSLR cameras with APS-C sized sensors. Compared to the existing 18-250mm F3.5-6.3 DC OS HSM, the new lens offers a lighter and more compact design, better close-up capabilities with a maximum magnification ratio of 1:2.9, and incorporates a special Thermally Stable Composite (TSC) material that makes it ideal for use in circumstances where extreme variations in temperature cannot be avoided. The Sigma 18-250mm F3.5-6.3 DC Macro OS HSM lens is also equipped with Super Multi-Layer Coating to reduce flare and ghosting, a Hyper Sonic Motor (HSM) to ensure fast and quiet auto-focusing, an Optical Stabiliser (OS) for better hand-held results and a rounded, seven-blade diaphragm for a pleasant rendering of the out of focus areas. The lens will be available in Sigma, Sony, Nikon, Canon and Pentax mounts, starting with the Canon version coming in July. Pricing and availability for other mounts have yet to be announced.
Pentax didn’t wait long after a rather conspicuous leak to make the details official: welcome the K-30, the company’s spiritual successor to the long-serving K-r. The camera makes its biggest numerical jump in sensor size, from 12.4 megapixels to 16, but you’re primarily shelling out for a much tougher body that’s both resistant to rain as well as to dust and temperature extremes; one of the cheapest cameras to do so, if you go by Pentax’s word. We’re slightly down on the light sensitivity being unchanged from three years ago at ISO 100 to 25,600, though you can now shoot video at a much higher 1080p at 30 frames per second — and that French catalog was wrong about a drop in burst speeds, which still top out at a healthy 6 fps. Should you be committed to the K-mount ways, stores will have the K-30 in July at $850 body-only and $900 for an 18-55mm kit. While you’re in the shop, there will also be a new 50mm f/1.8 prime lens to pick up for $250.
As powerful as they’ve become, Mirrorless camera systems can’t match the versatility of a full-size DSLR. One key component we haven’t seen is a constant-aperture lens, offering a consistent large aperture size throughout the zoom range. That changed today. Panasonic’s new Lumix G X Vario 12-35mm optic packs one incredible advantage over its compact competitors — a constant f/2.8 aperture. Because of the Micro Four Thirds system’s 2x multiplication factor, this 12-35mm lens covers the same zoom range of 24-70mm glass on a full-frame camera, in a significantly smaller package. The optic consists of 14 elements in nine groups, and includes UED and UHR lenses to increase image quality and minimize distortion, along with built-in image stabilization and Panasonic’s Nano Surface Coating to reduce ghosting and lens flare. It’s also splash- and dust-resistant, and features a metal mount on the rear. Panasonic has yet to release pricing in the US, but the European price tag has been estimated at €1,100 (about $1,400) — by comparison, Canon’s equivalent optic (from a specification perspective) will run you $1,600. For its part, the 12-35mm MFT lens is expected to hit stores in August. Full PR is just past the break.
Sigma’s 18-200mm F3.5-6.3 II DC OS HSM has won the TIPA 2012 Best Entry Level Lens award, while the Sigma APO Macro 180mm F2.8 EX DG OS HSM has been named the Best Expert DSLR Lens in 2012. The 18-200mm F3.5-6.3 II DC OS HSM is the new, optically stabilised version of Sigma’s 11.1x superzoom lens, equipped with a HyperSonic Motor (HSM) for quiet focusing. The Sigma APO MACRO 180mm F2.8 EX DG OS HSM is the world’s first optically stabilised 180mm macro lens with a reproduction ratio of 1:1 and a maximum aperture of f/2.8.
Canon has been awarded six separate honours by the Technical Image Press Association (TIPA). The award-winning Canon products include the EOS C300 (Best Professional Video Camera), the EOS 5D Mark III (Best Video DSLR), the not-yet-available EOS-1D X (Best Professional DSLR, pictured), the EF 8-15mm f4L USM Fisheye (Best Professional DSLR Lens), the Powershot G1 X (Best Expert Compact Camera) and the Pixma MG8250 (Best Multifunction Photo Printer).
Canon 30-105mm Cine Zoom
Along with the Canon EOS 1D C and EOS C500, Canon also unveiled a pair of new Cinema Zoom lenses today – each in PL and EF mounts. The CN-E15.5-47mm T2.8 L S/SP and CN-E30-105mm T2.8 L S/SP lenses are designed to cover Super 35 frames and deliver top notch performance at 4K resolution.
Zeiss has announced a brand new ultra-wideangle lens for Canon and Nikon SLR cameras. The Carl Zeiss Distagon T* 2,8/15 boasts an optical formula comprising 15 lens elements in 12 groups, a 0.25m close-focus point, an integrated hood and a huge 95mm filter thread. The company claims the lens features “extraordinary chromatic aberration correction” and nearly complete insensitivity to reflections and stray light. Zeiss also emphasises the “extremely well controlled” distortion that enables the lens to capture “naturally proportioned photographs which are not typical of many other super wide angle lenses”. When attached to a camera with an FX sized sensor, the Carl Zeiss Distagon T* 2,8/15 offers a diagonal angle of view of 110°. The lens will begin shipping in May 2012 at a recommended retail price of €2,148 or US$2,948 (excluding VAT).
Here’s a first look at two lenses Canon has up its sleeve: the new Canon 24mm f/2.8 IS USM and Canon EF 28mm f/2.8 IS USM. It looks like Canon is making an effort to bring image stabilization to cheaper and wider prime lenses. Currently the “widest” Canon prime lens with image stabilization is the Canon 100mm f/2.8L IS USM. These would also be the first non-L series prime lenses to offer IS. Price and release date for both are currently unknown.
Sigma Corporation of America has announced the price and availability of the new Sigma 18-200mm F3.5-6.3 II DC OS HSM lens. Successor to the 18-200mm f/3.5-6.3 DC OS HSM “Mark I”, Sigma’s newest superzoom lens features FLD (“F” Low Dispersion) glass elements, which have the performance equal to fluorite glass, and SLD (Special Low Dispersion) glass elements for the correction of colour aberrations. Additionally, the manufacturer’s Super Multi-Layer Coating is also there to reduce flare and ghosting throughout the entire zoom range. An iris diaphragm with seven rounded blades and an Optical Stabiliser promising approximately 4 stops’ worth of image stabilisation round off the features list. The Sigma 18-200mm f/3.5-6.3 II DC OS HSM lens is available now in Canon and Nikon mounts for the MSRP of $720. As reported earlier, the UK price will be £499.99.
THK Photo Products have announced the US availability of the new Tokina AT-X Pro FX 17-35mm f/4 wide zoom for Canon and Nikon. Equipped with a quiet, high-precision focus motor, the Tokina AT-X 17-35mm f/4 Pro FX has an optical formula that comprises 13 elements arranged in 12 groups, and comes with a nine-bladed iris diaphragm. Notable features include an angle-of-view range of 103.96° -64.74°, a rubber seal around the lens mount, and Tokina’s exclusive one-tocuh focus clutch mechanism that allows the photographer to switch between AF and MF simply by snapping the focus ring forward for AF and back toward the camera to focus manually. The Tokina AT-X 17-35mm f/4 Pro FX is available for $719.
So you flew around the world for a photo assignment, camera bag packed full of high-end lenses, but forgot the DSLR on the kitchen counter. Not to worry! You never leave home without your iPhone 4 and its new must-have accessory: the iPhone SLR Mount. $190 $249 scores you one of these aluminum bad boys, eager to pair with your multi-thousand dollar Canon or Nikon optics, bringing “powerful depth of field” and manual focus to your smartphone’s itsy bitsy image sensor. You can reportedly use the new pricey mobile rig to capture photos with shallow depth of field, without the need to add one of those “unethical” $5 digital filter apps. The accessory is ready to ship, so you’re just 24 hours (and a couple hundred dollars) away from having this life-changing masterpiece sent straight to your door. As for us? We’re holding out a bit longer for the iPad version.
Update: The folks at Photojojo wrote in to let us know that the $190 price provided earlier today was incorrect — the iPhone 4 mount will actually set you back a cool $249.
Sony announced the successor to its NEX-3 digital camera earlier this week, so we decided to take a post-E3 road trip down to the electronics maker’s US headquarters in San Diego to check out the $599 NEX-C3 for ourselves. We’ll analyze the new sensor’s image quality in a full review before the camera hits stores later this summer, but from our initial impressions, the new cam appears to offer fairly minor tweaks compared to its predecessor. It’s incredibly small for a camera with an APS-C sensor — perhaps even awkwardly so, when paired with the comparatively massive 18-55mm kit lens or Sony’s enormous 18-200mm optic — but not small enough to be any less functional than the previous iteration. Like the NEX-3, the camera was designed to be held by resting the lens on your left palm, rather than by the grip, so size isn’t likely to be an issue. Cosmetic changes include a magnesium alloy top panel, front microphone positioning, and a more efficient display hinge, which helped reduce the camera’s thickness. We’ll be posting a full review in several weeks, but jump past the break for more observations, and a hands-on video from Sony HQ.
We’ve been (impatiently) waiting for Sony to update its NEX line of digital cameras since the NEX-3 was discontinued earlier this year, and it looks like a worthy successor has finally been named. Announced today, the NEX-C3 appears identical to the model leaked in April, and uses the same format APS-C image sensor as its predecessor, bumping resolution to 16.2 megapixels in a camera body smaller than the NEX-5. Sony says the new entry-level cam is designed to fill the gap between point-and-shoot and DSLR cameras, and is the smallest body to pack an APS-C sensor, offering DSLR-level image quality — the same 16.2 MP chip is also included in its new full-size Alpha A35, which replaces the A33. Both cameras can shoot at up to 5.5 fps (the A35 adds a 7 fps mode at 8.4 megapixels), and include 3-inch LCDs, with the NEX keeping its hallmark tilt display, and the A35 adding Sony’s Translucent Mirror live-view mode, and an electronic viewfinder. We have plenty more to share, including a new lens and flash, along with pricing and availability for all, so jump past the break for the juicy details.
In line with Sony’s goal of improving the user experience for beginners, the NEX-C3′s Photo Creativity interface simplifies the process of adjusting advanced settings, to help grow the skills of those new to DSLR shooting. Both models include new Picture Effects (like the retro look you get with those novelty smartphone apps), which will also be available for previous generation cameras via a firmware update on June 20th. The NEX-C3 ships in late July or August, and will be offered with those familiar 18-55mm and 16mm kit lenses for $649 and $599, respectively. Bodies paired with the zoom will be available in black, pink, and silver, while the camera in the fixed-lens kit will only ship in black. The A35 will hit stores in August for $699 with an 18-55mm kit lens, or $599 for the body. There’s also a new 30mm f/3.5 macro lens ($249, October) and a larger external flash ($149, August) for the NEX series. You’ll have to wait a month or two to pick up a C3 of your own, but check back for our hands-on preview later this week.