DOCSLIB.ORG

PENTAX Lenses Capture the Diverse Expressions of Light

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Lenses & Accessories LENSES and ACCESORIES April 2017 PENTAX lenses capture the diverse expressions of light Nearly two centuries have passed since Frenchman Joseph Niépce captured the world’s rst photographic image. Although the mainstream of photography has shifted from silver halide lm to digital, the essence of the camera remains unchanged: to capture the light as truthfully as it is. PENTAX has developed a series of state-of-the-art photographic lenses as part of its relentless pursuit to deliver the ultimate in photographic images. is work is based on the belief that lenses are the key element in creating photographic expression that has a powerful impact on the viewer’s emotions. In its quest to optimize the possibilities and excitement of photographic expression, PENTAX not only places great importance on the numerical values related to optical performance, but also treasures the specic characteristics of each individual lens, which leave a powerful impact on the viewer’s sensibilities. SR and SR II in-body shake reduction For 35mm full-frame and APS-C-format SLR cameras 35mm Full Frame / APS-C For APS-C-format SLR cameras APS-C mechanisms are High-performance lens series optimized Single-focus lens series designed Compact, lightweight lens series providing the key to creative for characteristics of digital imaging for optimum descriptive power exceptional imaging power and operability lens design PENTAX K-series digital SLR cameras incorporate an SR (Shake Reduction) mechanism in their body. Because this mechanism eectively compensates for camera shake on e image circle (the circular area where the light coming ese series consist of single-focus lenses renowned for their ese compact, lightweight series are optimized for the image the camera body side, it meant that PENTAX lens designers no through the lens forms the image on the image sensor) of these brilliant color reproduction, rich gradation and superb sense of circle of APS-C-format cameras, and deliver high-resolution, longer needed to install anti-shake optics or mechanism within two series covers a 35mm full-frame image area. When mounted depth. e FA-series lenses are long-selling models favored by many high-contrast images with minimal are and ghost images. ey the lens body. ey could instead creatively and exibly design on a PENTAX digital SLR camera body, they deliver exceptional leading professionals. e FA Limited-series lenses provide unique provide a wide selection of high-performance lenses, including new lenses for optimal image power and compact size. e resolution, contrast, color reproduction and operability. focal lenses drawn from professional advice and incomparable the super-high-performance DA series, and the DA Limited series new-generation SR II ve-axis mechanism even compensates for e super-high-performance D FA -series lenses suppress various imaging power proven over repeated performance assessments of that creates rich, artistic visual expressions. ese lenses can also be camera shake caused by roll, something dicult to handle by aberrations to a minimum, while the D FA-series lenses provide actual images. ese series can also be used on 35mm lm-format used on 35mm full-frame digital SLR cameras in the Crop mode. lens-installed shake reduction mechanisms. well-balanced optical performance. ese series can also be used cameras. on APS-C-format digital SLR cameras. SmC PENTAX-DA18-135mmF3.5-5.6ED AL[IF]DC WR 35mm Full Frame / APS-C High-performance D FA Star-series lenses, created through High-image-quality lens series optimized for 35mm full-frame format, an uncompromising quest for the ultimate in digital imaging delivering rich gradation and ne image description HD PENTAX-D FA 70-200mmF2.8ED DC AW HD PENTAX-D FA 24-70mmF2.8ED SDM WR HD PENTAX-D FA HD PENTAX-D FA HD PENTAX-D FA 70-200mmF2.8ED DC AW 15-30mmF2.8ED SDM WR 24-70mmF2.8ED SDM WR When mounted on an APS-C-format digital SLR camera: When mounted on an APS-C-format digital SLR camera: When mounted on an APS-C-format digital SLR camera: Super-high-performance 35mm full-frame lenses with equivalent to 107mm to 307mm (in the 35mm format) A selection of high- equivalent to 23mm to 46mm (in the 35mm format) equivalent to 37mm to 107mm (in the 35mm format) exceptional image quality and outstanding operability, performance lenses developed by applying the latest optical technologies perfect for latest PENTAX digital SLR cameras e D FA Star series is designed for the ultimate in image quality. To gain the Star ( ) designation, a lens must excel in every aspect of imaging performance at Dustproof & weather-resistant DC Quick-Shift Focus is series is designed for exclusive use Weather-resistant SDM Quick-Shift Focus Weather-resistant SDM Quick-Shift Focus all focal lengths and shooting distances — not only in SP coating Aero Bright Coating II HD Coating with PENTAX digital SLR cameras SP coating HD Coating Round Diaphragm HD Coating Round Diaphragm its overall imaging performance, but also in sharpness, Round Diaphragm that feature a new optical system contrast, color rendition, and texture reproduction. - - - optimized for a high-pixel image is ultra wide angle zoom lens features an extra wide is standard zoom lens provides a zoom ratio of In addition, it must be a large-aperture lens with is large-aperture telephoto zoom lens has angle of view for sweeping landscapes, and approximately 2.9 times to cover the ultra-wide-angle sensor. It delivers crisp, ne-detailed the highest brightness level. PENTAX even considers a maximum aperture of F2.8 over its entire zoom a well-dened sense of depth. It incorporates a set of to standard ranges. It can be used not only for everyday images, thanks to the latest lens such optical qualities as the bokeh (defocus) eect, range. anks to advanced coating technologies ED glass elements and AL (aspherical lens) elements to scenes, but also for more specialized applications coating technologies that minimizes clearness and image denition in its lens evaluation, including the newly developed Aero Bright Coating II eectively minimize distortion, while optimizing demanding an exaggerated perspective or extra-wide the deterioration of contrast caused by further incorporating human sensibilities into the lens and HD Coating, it delivers clear, high-contrast resolution and contrast even with an open aperture. depth of eld. It features three ED glass elements, one images with minimal are and ghost images, even in are and ghost images. Since it Its HD Coating helps minimize the deterioration of Anomalous Dispersion glass AL element, and three AL design process. To achieve this goal, PENTAX backlit scenes. With the incorporation of four provides an image circle covering contrast caused by are and ghost images. elements to deliver well-illustrated, ne-detailed images invested all its technologies and resources into lens Anomalous Dispersion glass elements, two ED the 35mm full-frame image eld, all Incorporating such advanced features as Round that are rich in contrast and resolution across the entire production, including the latest lens design, optimum - Diaphragm to minimize the streaking eect of point image eld, while compensating various aberrations to (Extra low Dispersion) glass elements and two Super lenses of this series can be used on any lens coatings, special optical glass materials and ED glass elements to assure excellent compensation of light sources, SDM (Supersonic Direct-drive Motor), a minimum. Coupled with HD Coating, Round PENTAX K-mount digital SLR camera aspherical lens elements. PENTAX also harmonizes chromatic aberration, this lens assures remarkable Quick-Shift Focus system, and a weather-resistant Diaphragm, high-speed AF system with quiet operation, body. is series lets you enjoy performance with functionality: it mastered imaging performance across the entire image eld — structure, this lens is ideal for capturing everything and weather-resistant structure, it assures the superb imaging power and excellent the tting of large-aperture optics into a compact lens from the center to the edges — at all focal lengths. from snapshots to star-lled landscapes. the excellent performance required for a standard-use lens. operability made possible by barrel through the adoption of a smooth AF PENTAX’s advanced lens technologies. mechanism driven by a motor installed in the lens, and a dustproof, weather-resistant structure that withstands harsh environmental conditions. 3 Dustproof & weather-resistant Weather-resistant SDM DC Quick-Shift Focus SP coating Aero Bright Coating II HD Coating Round Iris Diaphragm See pages 23 to 26 for details. :Super ED glass :ED glass :High refractive index low dispersion glass :Anomalous Dispersion glass :Anomalous Dispersion glass AL element :AL element 4 35mm Full Frame / APS-C HD PENTAX-D FA 150-450mmF4.5-5.6ED DC AW SmC PE NTAX-D FA MACRO 100mmF2.8 WR HD PENTAX-D FA HD PENTAX-D FA SmC PENTAX-D FA SmC PENTAX-D FA 28-105mmF3.5-5.6ED DC WR 150-450mmF4.5-5.6ED DC AW MACRO 50mmF2.8 MACRO 100mmF2.8 WR When mounted on an APS-C-format digital SLR camera: When mounted on an APS-C-format digital SLR camera: When mounted on an APS-C-format digital SLR camera: When mounted on an APS-C-format SLR camera: equivalent to 43mm to 161mm (in the 35mm format) equivalent to 230mm to 690mm (in the 35mm format) Single-focus macro lens equivalent to 76.5mm (in the 35mm format) equivalent to 153mm (in the 35mm format) optimized for digital imaging, and ideal for life-size macro photography Weather-resistant DC Quick-Shift Focus Dustproof &
Recommended publications
  • Digital Photo | Dpmag.Com

    Digital Photo | Dpmag.Com

    dpmag.com ® NIKON D500 Nikon’s New Flagship APS-C DSLR Equipment Checklist UPGRADE The Gear To Replace ISSUE For Maximum Results Upgrade Your Gear, Technique And Vision For Better Photos Camera 2.0: Adjustment Layers A Technology For Nondestructive Wishlist Editing In Photoshop Exceptional Images Deserve an Exceptional Presentation Images by:Sal Cincotta, Max Seigal, Annie Rowland, Hansong Fong, Kitfox Valentin, Nicole Neil Simmons Sepulveda, Valentin, Kitfox Images by:Sal Hansong Fong, Annie Rowland, Cincotta, Max Seigal, Display Your Images in Their Element Choose our Wood Prints to lend a warm, natural feel to your images, MetalPrints infused on aluminum for a vibrant, luminescent look, or Acrylic Prints for a vivid, high-impact display. All options provide exceptional durability and image stability, for a gallery-worthy presentation that will last a lifetime. Available in a wide range of sizes, perfect for anything from small displays to large installations. Learn more at bayphoto.com/wall-displays 25% Get 25% off your fi rst order with Bay Photo Lab! For instructions on how to redeem this special off er, create a free OFF account at bayphoto.com. Your First Order NEW! Easy Web Ordering! o rd om Stunning Prints er.bayphoto.c on Natural Wood, High Defi nition Metal, or Vivid Acrylic Quality. Service. Innovation. We’re here for you! 3 esos WHY PHOTOGRAPHY IS HARDER TODAY, AND MORE 3FUN, THAN IT’S EVER BEEN AT ANY TIME IN HISTORY. HERE ARE A FEW REASONS WHY THAT LITTLE SCREEN NONE OF THIS SOUNDS LIKE FUN. new gear. You can make amazing images with CAN WORK AGAINST YOU WHERE’S THE FUN PART? whatever gear you already have.
  • Single-Use Duodenoscopes and Duodenoscopes with Disposable End Caps

    Single-Use Duodenoscopes and Duodenoscopes with Disposable End Caps

    REPORT ON EMERGING TECHNOLOGY Single-use duodenoscopes and duodenoscopes with disposable end caps Prepared by: ASGE TECHNOLOGY COMMITTEE Arvind J. Trindade, MD,1,* Andrew Copland, MD,2,* Amit Bhatt, MD,3 Juan Carlos Bucobo, MD, FASGE,4 Vinay Chandrasekhara, MD, FASGE,5 Kumar Krishnan, MD,6 Mansour A. Parsi, MD, MPH, FASGE,7 Nikhil Kumta, MD, MS,8 Ryan Law, DO,9 Rahul Pannala, MD, MPH, FASGE,10 Erik F. Rahimi, MD,11 Monica Saumoy, MD, MS,12 Guru Trikudanathan, MBBS,13 Julie Yang, MD, FASGE,14 David R. Lichtenstein, MD, FASGE, (Chair, Technology Committee)15 This document was reviewed and approved by the Governing Board of the American Society for Gastrointestinal Endoscopy. Background and Aims: Multidrug-resistant infectious outbreaks associated with duodenoscopes have been documented internationally. Single-use duodenoscopes, disposable distal ends, or distal end cap sealants could eliminate or reduce exogenous patient-to-patient infection associated with ERCP. Methods: This document reviews technologies that have been developed to help reduce or eliminate exogenous infections because of duodenoscopes. Results: Four duodenoscopes with disposable end caps, 1 end sheath, and 2 disposable duodenoscopes are re- viewed in this document. The evidence regarding their efficacy in procedural success rates, reduction of duode- noscope bacterial contamination, clinical outcomes associated with these devices, safety, and the financial considerations are discussed. Conclusions: Several technologies discussed in this document are anticipated to eliminate or reduce exogenous infections during endoscopy requiring a duodenoscope. Although disposable duodenoscopes can eliminate exog- enous ERCP-related risk of infection, data regarding effectiveness are needed outside of expert centers. Addition- ally, with more widespread adoption of these new technologies, more data regarding functionality, medical economics, and environmental impact will accrue.
  • Photo History Newsletters • Vol

    Photo History Newsletters • Vol

    THE AMALGAMATED PHOTO HISTORY NEWSLETTERS • VOL. 2-2 2021 We hope that the Covid pandemic soon passes away so we can get back to normal with regular meetings and events. In the interim here are addi- tional newsletters to keeping you read- ing. Please enjoy. Ken Metcalf of the Graflex Journal has another interesting issue which should entertain you well. Another fine newsletter comes from The Western Canada Photographic Historical Association in British Colum- bia with some fine reading content. Permissions granted: Graflex Journal– Ken Melcalf The Western Canada Photographic Historical Association– Tom Parkinsion SHARING INFORMATION ABOUT GRAFLEX AND THEIR CAMERAS ISSUE 3 2020 FEATURES some leather that was a good match. Thickness was right, color was good, and the pebble grain was close National Graflex Gets a New Coat by Paul S. Lewis……..….....….....….1 enough. So, I had them send me a large sheet; 12x17. Camera Group - Roger Beck………….…….………...….…..…………....2 Having a good supply would allow for some mistakes Viewing Wild Animals at Night by William V. Ward …….…...…………..4 and assure me that there would be enough length and Hold It! Part 1 by Ken Metcalf.……………….…………….…………….....5 width to cover the missing panels with one complete Graflex Patents by Joel Havens….…..………………...…………….…...12 piece. The source I used was Cameraleather ([email protected]). I did just check with them to be sure similar material is available. The report is that although the material is available, supply is limited. So, with material and camera in hand, the next step Ed: Mr. Lewis is a Graflex Journal subscriber and author was to get the new cover panels cut out and attached.
  • “Digital Single Lens Reflex”

    “Digital Single Lens Reflex”

    PHOTOGRAPHY GENERIC ELECTIVE SEM-II DSLR stands for “Digital Single Lens Reflex”. In simple language, a DSLR is a digital camera that uses a mirror mechanism to either reflect light from a camera lens to an optical viewfinder (which is an eyepiece on the back of the camera that one looks through to see what they are taking a picture of) or let light fully pass onto the image sensor (which captures the image) by moving the mirror out of the way. Although single lens reflex cameras have been available in various shapes and forms since the 19th century with film as the recording medium, the first commercial digital SLR with an image sensor appeared in 1991. Compared to point-and-shoot and phone cameras, DSLR cameras typically use interchangeable lenses. Take a look at the following image of an SLR cross section (image courtesy of Wikipedia): When you look through a DSLR viewfinder / eyepiece on the back of the camera, whatever you see is passed through the lens attached to the camera, which means that you could be looking at exactly what you are going to capture. Light from the scene you are attempting to capture passes through the lens into a reflex mirror (#2) that sits at a 45 degree angle inside the camera chamber, which then forwards the light vertically to an optical element called a “pentaprism” (#7). The pentaprism then converts the vertical light to horizontal by redirecting the light through two separate mirrors, right into the viewfinder (#8). When you take a picture, the reflex mirror (#2) swings upwards, blocking the vertical pathway and letting the light directly through.
  • NIKKOR Photoguide

    NIKKOR Photoguide

    Photo Guide I AM YOUR VIEW Photo is a conceptual image. Enhance your expression with interchangeable lenses Control light and shadow using Speedlights Wide-angle zoom lens Normal zoom lens Telephoto zoom lens High-power-zoom lens Daylight sync Bounce flash DX DX DX DX format format format format AF-S DX NIKKOR 10-24mm f/3.5-4.5G ED AF-S DX NIKKOR 16-80mm f/2.8-4E ED VR AF-S DX NIKKOR 55-200mm f/4-5.6G ED VR II AF-S DX NIKKOR 18-300mm f/3.5-6.3G ED VR Speedlights SB-910/SB700/SB-500/SB-300 Speedlights SB-910/SB700/SB-500/SB-300 (15-36 mm equivalent*1) (24-120 mm equivalent*1) (82.5-300 mm equivalent*1) (27-450 mm equivalent*1) 109° 83° 28°50' 76° DX 61° DX 20° DX 8° DX 5°20' Fixed-focal-length lens Micro lens Fisheye lens Auto FP high-speed sync Advanced Wireless Lighting Fast lens DX Fast lens FX-format DX DX format compatible format format AF-S DX NIKKOR 35mm f/1.8G AF-S NIKKOR 50mm f/1.8G AF-S DX Micro NIKKOR 40mm f/2.8G AF DX Fisheye-Nikkor 10.5mm f/2.8G ED Speedlights SB-910/SB700/SB-500 Speedlights SB-910/SB700/SB-500 (52.5 mm equivalent*1) (When attached to DX-format D-SLR cameras: 75 mm equivalent in 35mm [135] format) (60 mm equivalent*1) (16 mm equivalent*2) DX 44° FX 47° DX 31°30' DX 38°50' DX 180° 2 *1: When converted to 35mm [135] format.
  • Estimation and Correction of the Distortion in Forensic Image Due to Rotation of the Photo Camera

    Estimation and Correction of the Distortion in Forensic Image Due to Rotation of the Photo Camera

    Master Thesis Electrical Engineering February 2018 Master Thesis Electrical Engineering with emphasis on Signal Processing February 2018 Estimation and Correction of the Distortion in Forensic Image due to Rotation of the Photo Camera Sathwika Bavikadi Venkata Bharath Botta Department of Applied Signal Processing Blekinge Institute of Technology SE–371 79 Karlskrona, Sweden This thesis is submitted to the Department of Applied Signal Processing at Blekinge Institute of Technology in partial fulfillment of the requirements for the degree of Master of Science in Electrical Engineering with Emphasis on Signal Processing. Contact Information: Author(s): Sathwika Bavikadi E-mail: [email protected] Venkata Bharath Botta E-mail: [email protected] Supervisor: Irina Gertsovich University Examiner: Dr. Sven Johansson Department of Applied Signal Processing Internet : www.bth.se Blekinge Institute of Technology Phone : +46 455 38 50 00 SE–371 79 Karlskrona, Sweden Fax : +46 455 38 50 57 Abstract Images, unlike text, represent an effective and natural communica- tion media for humans, due to their immediacy and the easy way to understand the image content. Shape recognition and pattern recog- nition are one of the most important tasks in the image processing. Crime scene photographs should always be in focus and there should be always be a ruler be present, this will allow the investigators the ability to resize the image to accurately reconstruct the scene. There- fore, the camera must be on a grounded platform such as tripod. Due to the rotation of the camera around the camera center there exist the distortion in the image which must be minimized.
  • Photographic Equipment Guidelines the Farm Lodge Lake Clark National Park, Alaska

    Photographic Equipment Guidelines the Farm Lodge Lake Clark National Park, Alaska

    Photographic Equipment Guidelines The Farm Lodge Lake Clark National Park, Alaska by Jim Barr Professional Nature, Adventure Travel, and Outdoor Sports Photographer President, American Society of Media Photographers, Alaska Chapter Photography Guide, The Farm Lodge, Lake Clark National Park Introduction. Here are some general and specific equipment suggestions for photo tour participants. These start and build from “ground zero”, so just blend this information with the equipment that you already have. Equipment is important, but...the old cliché “cameras don’t take pictures, people do” really is true. So don’t put too much emphasis on the equipment. We’ll help you get the most out of what you have. On the other hand, a bear’s face would need to be within two or three feet of the lens for a frame- filling National Geographic quality close-up with a small point-and-shoot or cell phone camera. Not healthy for the photographer (or the bear), and not too likely to happen. The right tools do help. Keep size, weight, and portability in mind. You’ll be traveling to Port Alsworth on a small plane, and deeper into the bush each day on an even smaller one. Space is limited. We’ll also be doing some walking. Bears will require a mile or so of light hiking each way. On landscape days we may hike further and sometimes over rougher terrain, but you can leave heavy wildlife gear at the lodge or in the airplane. We do have options that limit the walking necessary, but there will always be some.
  • HASSELBLAD INTRODUCES the H6D-400C MS, a 400 MEGA PIXEL

    HASSELBLAD INTRODUCES the H6D-400C MS, a 400 MEGA PIXEL

    Press information – for immediate release Gothenburg, Sweden 16 Jan 2018 HASSELBLAD INTRODUCES THE H6D-400c MS, A 400 MEGA PIXEL MULTI-SHOT CAMERA Building on a vast experience of developing exceptional, high-quality single and multi-shot cameras, Hasselblad once again has raised the bar for image quality captured with medium format system. Multi-Shot capture has become an industry standard in the field of art reproduction and cultural heritage for the documentation of paintings, sculptures, and artwork. As the only professional medium format system to feature multi-shot technology, Hasselblad continues to be the leading choice for institutions, organizations, and museums worldwide to record historic treasures in the highest image quality possible. With over 10 years of digital imaging expertise, the latest Multi-Shot digital camera combines the H6D’s unrivalled ease of use with a completely new frontier of image quality and detail. This new camera encompasses all of the technological functions of Hasselblad’s H6D single shot camera, and adds to that the resolution and colour fidelity advancements that only Multi-Shot photography can bring to image capture. With an effective resolution of 400MP via 6 shot image capture, or 100MP resolution in either 4 shot Multi-Shot capture or single shot mode, the Multi-Shot capture requires the sensor and its mount to be moved at a high-precision of 1 or ½ a pixel at a time via a piezo unit. To capture Multi-Shot images the camera must be tethered to a PC or MAC. In 400MP Multi-Shot mode, 6 images are captured, the first 4 involve moving the sensor by one pixel at a time to achieve real colour data (GRGB- see 4 shot diagrams below), this cycle then returns the sensor to its starting point.
  • KODAK Advantix Films

    KODAK Advantix Films

    TECHNICAL DATA / ADVANCED PHOTO SYSTEM February 2002 • E-7003 KODAK ADVANTiX Films Welcome to the innovative world of the Advanced Photo Kodak offers three color negative films for the Advanced System and KODAK ADVANTiX Films! Photo System. These films share the following features: At the heart of the Advanced Photo System, KODAK ADVANTiX Films are truly hybrid products. They use Features Benefits breakthrough photographic emulsion and coating • KODAK Film Safe • Worry-free, drop-in loading technologies to deliver excellent image quality in the smaller Cassette • Automatic film threading and rewinding film format. • Safe storage of negatives At the same time, Kodak’s magnetics technology enables • Index print of all exposures coating the entire surface of the film with a transparent • Choice of picture • “Classic,” similar to 35 mm prints magnetic layer. This layer records digital information that formats on the same • “Group,” for slightly wider shots links all Advanced Photo System components through roll • “Pan,” for panoramic scenes information exchange (IX). IX permits communication • Film Status Indicator • Easy identification of status of between you, the camera, the film, and the photofinishing (FSI) on cassette film inside the cassette— unexposed, partially exposed, equipment in the lab that processes and prints your film. exposed, or processed ADVANTiX Films come in a unique elliptical film • Choice of film speed • Selection of 100-, 200-, or cassette called a KODAK Film Safe Cassette. A code 400-speed film number is assigned to each cassette and the film inside. The • Information Exchange • Exposure and print format data number enables automatic rematching of the cassette and (IX) recorded on the film to optimize film in photofinishing operations.
  • Sensor Zoom Min. Focusing Dimensions Est. Street Brand Model Mount(S) Format Range Distance (D X L) (In.) Weight Price

    Sensor Zoom Min. Focusing Dimensions Est. Street Brand Model Mount(S) Format Range Distance (D X L) (In.) Weight Price

    Sensor Zoom Min. Focusing Dimensions Est. Street Brand Model Mount(s) Format Range Distance (D x L) (in.) Weight Price Canon EF-S 18-200mm ƒ/3.5-5.6 IS Canon APS-C 11.1x 17.8 inches 3.1 x 6.4 20.9 oz. $699 Canon EF 28-300mm ƒ/3.5-5.6L IS USM Canon Full-Frame 10.7x 27.6 inches 3.6 x 7.2 59.2 oz. $2,449 Nikon 1 NIKKOR VR 10-100mm ƒ/4-5.6 Nikon 1 CX (1-inch) 10x Variable 2.4 x 2.8 10.5 oz. $549 Nikon 1 NIKKOR VR 10-100mm ƒ/4.5-5.6 PD-ZOOM Nikon 1 CX (1-inch) 10x Variable 3.0 x 3.7 18.2 oz. $749 Nikon AF-S DX NIKKOR 18-200mm ƒ/3.5-5.6G ED VR II Nikon DX (APS-C ) 11.1x 19.2 inches 3.0 x 3.8 19.8 oz. $649 Nikon AF-S DX NIKKOR 18-300mm ƒ/3.5-6.3G ED VR Nikon DX (APS-C) 16.7x 19.2 inches 3.0 x 3.8 19.4 oz. $699 Nikon AF-S DX NIKKOR 18-300mm ƒ/3.5-5.6G ED VR Nikon DX (APS-C) 16.7x Variable 3.3 x 4.7 29.3 oz. $999 Nikon AF-S NIKKOR 28-300mm ƒ/3.5-5.6G ED VR Nikon FX (Full-Frame) 10.7x 19.2 inches 3.3 x 4.5 28.2 oz. $949 Olympus M.Zuiko ED 14-150mm ƒ/4.0-5.6 II Micro Four Thirds Micro Four Thirds 10.7x 19.7 inches 2.5 x 3.3 10.0 oz.
  • Minolta Electronic Auto-Exposure 35Mm Single Lens Reflex Cameras and CLE

    Minolta Electronic Auto-Exposure 35Mm Single Lens Reflex Cameras and CLE

    Minolta Electronic Auto-Exposure 35mm Single Lens Reflex Cameras and CLE Minolta's X-series 35mm single lens user the creative choice of aperture and circuitry requires a shutter speed faster reflex cameras combine state-of-the-art shutter-priority automation, plus metered­ than 1/1000 second. These cameras allow photographic technology with Minolta's tra­ manual operation at the turn of a lever. The full manual control for employing sophisti­ ditional fine handling and human engineer­ photographer can select shutter-priority cated photo techniques. The silent elec­ ing to achieve precision instruments that operation to freeze action or control the tronic self-timer features a large red LED are totally responsive to creative photogra­ amount of blur for creative effect. Aperture­ signal which pulsates with increasing fre­ phy. Through-the-Iens metering coupled priority operation is not only useful for quency during its ten-second operating with advanced, electronically governed depth-of-field control , auto~exposure with cycle to indicate the approaching exposure. focal-plane shutters provide highly accu­ bellows, extension tubes and mirror lenses, The Motor Drive 1, designed exclusively rate automatic exposure control. All X­ but for the control of shutter speed as well . for the XG-M, provides single-frame and series cameras are compatible with the Full metered-manual exposure control continuous-run film advance up to 3.5 vast array of lenses and accessories that allows for special techniques. frames per second. Plus, auto winders and comprise the Minolta single lens reflex A vibration-free electromagnetic shutter "dedicated" automatic electronic flash units system. release triggers the quiet electronic shutter.
  • AUTO LENS ADAPTER USER MANUAL LAE-CM-CEF Canon EF/EF-S Lens to Canon EOS-M Camera INTRODUCTION

    AUTO LENS ADAPTER USER MANUAL LAE-CM-CEF Canon EF/EF-S Lens to Canon EOS-M Camera INTRODUCTION

    AUTO LENS ADAPTER USER MANUAL LAE-CM-CEF Canon EF/EF-S Lens to Canon EOS-M Camera INTRODUCTION Thank you for purchasing the Vello LAE-CM-CEF Auto Lens Adapter – Canon EF/EF-S Lens to Canon EOS-M Camera. This adapter allows you to mount any Canon EF or EF-S lens to a Canon EOS-M camera. With an EF or EF-S lens mounted to a Canon EOS-M camera using this adapter, all automatic functions, such as auto focus and auto exposure, are available and fully operational. A removable tripod mount collar with a ¼" socket is included. 2 CONTENTS INCLUDE • Vello LAE-CM-CEF Auto Lens Adapter - Canon EF/EF-S Lens to Canon EOS-M Camera • Front and rear caps • Removable tripod mount collar • User manual 3 INTRODUCTION The Vello Auto Lens Adapter – Canon EF/EF-S Lens to Canon EOS-M Camera can expand the arsenal of lenses for your Canon EOS-M camera using lenses you already own. With this adapter, you can mount any Canon EF or EF-S lens to a Canon EOS-M camera. Just attach the adapter to your EF or EF-S lens, then mount the lens and adapter to your Canon EOS-M camera. 4 When using an EF lens, there will be a crop factor of 1.6x, so that the apparent focal length of the lens will be 1.6x of the actual focal length. With EF-S lenses, there is no apparent change in the focal length. All camera functions will operate normally, including auto focus, auto exposure, and touch-screen modes.