R 鏡頭的單刀、雙刀、三刀(1 cam, 2 cams & 3 cams)和 ROM 版本

想著手進入 Leica R 系列，除了選擇機身外，首先面臨的便是 R 鏡頭的單刀、雙刀、三刀(1 cam, 2 cams & 3 cams)和 ROM 版本（尤其是想接二手之鏡頭）。

參考過去網路上前輩的意見和國外幾個網頁（較具代表性的為：http://members.lycos.co.uk/JemK/Pic-A- Week/cams.htm 和 http://www.nemeng.com/leica/001c.shtml），整理出以下資料供大家參考。（由於沒有LEICAFLEX、SL和 SL2的操作經驗，以下相關資料，均來自以上相關網頁，所以若有誤，請不吝賜教，謝謝！）

光圈連動

在談到上述鏡頭差異之前，先談一下單眼相機 （SLR）的工作方式。平時SLR會將鏡頭切至光圈最大處（若光圈不連動者不會如此）使進光量最大以方便構圖和對焦。即使改變光圈設定至較小值，鏡頭仍會 保持在最大光圈處。直到攝影者按下快門後，光圈縮至設定的較小光圈處，接著反光鏡上掀、快門簾開啟、底片曝光、快門簾關閉、反光鏡彈下，最後鏡頭的光圈又 回 到最大光圈處，等待下次快門按下。為達成此光圈連動之功能，Leica R 鏡頭有一光圈連動機構，如圖一右下方紅色圓圈內的突起物。有些鏡頭的光圈連動機構是三角形，如圖一和圖五；但也有些是方形的，如圖二和圖三。

附註：
為了讓大家比對方便，文中鏡頭的紅點都置於右上方的位置。

光圈設定值回饋

在進行測光時，如前述，鏡頭會一直保持在最 大光圈處，鏡頭必須要有一特定的機構告知機身設定之光圈，機身再依當時設定的快門光圈組合與其測光表測出值的差 異提出建議，進而達到正確的曝光組合。Leica SLR 的特定機構便是單刀、雙刀和三刀。 但由於 Leica 生產的 SLR 大致可分為三大階段，其鏡頭與機身溝通光圈設定值的機構略有不同： 1. LEICAFLEX （1968 停產） 2. SL和SL2（1974/1976 停產） 3. Leica R （R3~R9） 圖一為 Leica 三刀（3 Cams）鏡頭，可見其三刀的分布。 1. 第一刀是給 LEICAFLEX 使用 2. 第二刀是給 SL 和 SL2 使用 3. 第三刀是給 Leica R 使用
	圖 一：Leica 三刀（3 Cams）鏡頭

Leica SLR 鏡頭可分為以下幾種版本：
1. 單刀鏡（1 cam lens）（1965~1968）只有第一刀；支援 LEICAFLEX
2. 雙刀鏡（2 cams lens）（1968~1976）有第一刀和第二刀；支援 LEICAFLEX、SL 和 SL2
3. 三刀鏡（3 cams lens）（1976~）有第一刀、第二刀和第三刀；支援 LEICAFLEX、SL、SL2 和 LEICA R
4. R 刀鏡（R cam only lens）（1986~）只有第三刀；支援 LEICA R
5. ROM 鏡（ROM lens） 有第三刀和 ROM 電子接點（如同 R 刀鏡加了電子接點）；支援 LEICA R（若非 R8/R9，ROM 無作用）

Leica R SLR 配單刀鏡和雙刀鏡

此類搭配仍可行，只是會比較麻煩操作。由於鏡頭始終保持在最大光圈，測光表建議修正值是架構在最大光圈和機身設定之快門組合之上而非實際設定光圈快門組 合，因此所有的修正要依最大光圈為起始。例如：使用 f2.8 鏡頭，當測光表告知要減光三格時（此時光圈假若已定在 f5.6），在快門不變的狀況下，應將光 圈定 在 f8，而非 f16。

R 刀鏡（R cam only lens）

由於生產三刀鏡需要較高的精確度來設定三刀之位置，影響到其生產的良率。因此 Leica 於 1986 年（此時 LEICAFLEX 已停產十八年；SL2已 停產十年）推出單單支援 Leica R SLR 的 R 刀鏡。為避免 R 刀鏡（含 ROM 鏡）裝上 LEICAFLEX、SL 和 SL2，造成不必要的困擾，大部分的 R 刀鏡的接環底部會有一圈凸起環（如 圖三和圖五）（圖二為 Summicron 50mm）。可惜是同時也無法將 R 刀鏡頭配上早期的接寫環和蛇腹（可參考“ 接寫環改裝“一文）。

圖 二：Leica R 刀鏡 (Summicron-R 50 加拿大版)	圖 三：Leica R 刀鏡 (接環底部有一圈凸起環)

第三刀﹝Cam 3﹞的功能

第三刀﹝Cam 3﹞為黑色階梯狀，目的在對應機身上的兩個獨立的連桿﹝為了避免混淆，在文中稱為機身的第三連桿和機身的歸零連桿。請參考圖四﹞。機身的第三連桿主要功能 是得知鏡頭上預設的光圈值﹝如同早先鏡頭第一刀/第二刀的功能相同﹞。若撥動此連桿，機身依序會顯示 1.4、1.7、2.0、2.4、2.8、3.4、4.0、4.8、5.6、6.8、8.0、9.5、11、13、16、19 和 22﹝由此推論：藉由 第三刀是無法搭配光圈大於 1.4 或小於 22 的鏡頭﹞。然而藉由這兩個獨立的連桿，R 機身可獲得較先前機種更多的鏡頭資料。 例如： 1. 鏡頭的最大光圈值。主要是靠機身的第三連桿和機身的歸零連桿相對應的距離﹝M﹞。光圈大者，M 比較短；光圈小者，M 比較長。 2. 機身在獲得先前資訊後會進一步判定光圈的範圍：若是 Summilux (f1.4)或 Summicron (f2.0) 的鏡頭，最小光圈是 16；若是 Elmarit (f2.8) 或最大光圈更小的鏡頭，最小光圈是 22。 3. 如此，可避免鏡頭未接妥，系統誤判鏡頭上預設的光圈值，導致曝光不足﹝因為未至定位時，相機得知的光圈值會較實際大﹞。 4. 在一些無法獲知鏡頭狀況時﹝如鏡頭搭配加倍鏡，因為無法預料搭配鏡頭的最大光圈﹞，加倍鏡第三刀﹝Cam 3﹞會設計成一階黑色階梯狀﹝相較於右圖的兩階﹞。如此機身的第三連桿和機身的歸零連桿會靠在一起﹝M = 0﹞，此時，機身不會顯示預設的光圈值，機身測光表還是會提供正確的建議值。

圖 四：Leica R 鏡第三刀﹝Cam 3﹞對應機身連桿

ROM鏡（ROM lens）

於九零年代初期，Leica 推出 ROM 鏡，如圖五。於 http://www.nemeng.com/leica/001c.shtml 一文中，Pascal Heyman 提及主要功能有二：自動切換閃光燈反射版的焦段和另一較耐人尋味的是使攝影更方便。

先談一：讓一些可自動調整焦段（其燈旁之反射 板）的閃光燈（如 Metz 54MZ-3/4、40MZ-2/3、32MZ-3 搭配 SCA3501 或 SCA3502 座）做自動調整之動作。也就是說，裝 50mm 的鏡頭，閃光燈會自動調整到 50mm；裝 28mm 的鏡頭便到 28mm。但一般閃光燈望遠端能切到 105mm 者已經很了不起，如裝 180mm 的鏡頭可能只能到閃光燈的上限 105mm or 85mm。因此說：此功能對使用標準變焦鏡者, 如 R28-70、R35-70 和 R28-90 最方便。如用 R28-70 的鏡頭，當鏡頭在 28mm 端時，閃光燈會自動調整到 28mm；當鏡頭在 70mm 端時，閃光燈會自動切到 70mm（其實此類閃光燈同時具備手動調整功能）。但若您的閃光燈無法自動調整，如 32 Z-2，那閃光燈上有調整的部份，可讓您用手調至 50mm、28mm 或其他。此時，即使是搭配 ROM 鏡，ROM 鏡也無用武之地。回過頭來，若可自動調整的閃光燈接上非 ROM 鏡，閃光燈上仍有可調整的部份，可讓您用手調至 50mm、28mm 或其他。 附註：上述的功能以閃光燈直射被攝物為主。若是跳燈，不見得一定要將閃光燈切到鏡頭對應的焦段。若將閃光燈切到較鏡頭對應稍長的焦段﹝視狀況﹞，閃光燈可 以打較遠的距離。

圖五：Leica ROM 鏡

鏡頭	閃光燈	R3、R4/R4s、 R5/RE、R6/R6.2 & R7	R8 & R9
ROM 鏡	54MZ、44MZ、40MZ、32MZ 等加 SCA3501/3502 腳座	手動調整	自 動調整
	其他可調整反光板，如 32 Z-2	手動調整	手動調整
R刀鏡和三刀鏡	54MZ、44MZ、40MZ、32MZ等加SCA350x腳座	手動調整	手動調整
	其他可調整反光板，如 32 Z-2	手動調整	手動調整

再談二：今年九月承蒙 rocaf 前輩於攝影家手札 Leica 版指點和 ycr 兄提供的使用資料，可確定“使攝影更方便”的功能是傳遞預設的光圈值、鏡頭的最大光圈值等與先前所述第三刀﹝Cam 3﹞相當的功能。當使用 ROM 鏡時，機身會獲得兩組相當的資料﹝ROM 和第三刀﹞，機身會優先取用 ROM 的資訊。在一般狀況，兩組資料會相同，以致於會讓人覺得是不是 ROM 鏡差異不大。但是，ROM可突破第三刀有限的功能，使 ROM 鏡推出之後有更多的發展空間。

例如：
1. 非定光圈的變焦鏡，ROM 可回饋正確的光圈值。如使用 R28-70 時，機身會顯示出 3.6、4.5 和 27 等光圈值
2. 使用 ROM 鏡加 ROM 加倍鏡，機身可顯示正確的光圈值。如鏡頭設定光圈 f5.6 加兩倍鏡時，機身會顯示 11
3. 或是將來 Leica 會推出 Noctilux-R

附註：
1. R8/R9搭配 ROM 鏡、R刀鏡和三刀鏡，其M/A/T/P/F模式均能正常動作。
2. ROM 鏡唯有搭配 R8/R9 方有 ROM 鏡的功能；搭配其他 R 機身是藉由第三刀傳遞資訊，並無搭配問題。R

Olympus Zuiko Digital 12-60mm 1:2.8-4.0 review

The Digital Zuiko ED 12-60mm 1:2.8-4.0 SWD is Olympus's latest upmarket standard zoom, announced to accompany its E-3 flagship DSLR in October 2007. Firmly placed in what Olympus refers to as its 'Pro' lens lineup, this lens offers a near-ideal focal length range for a standard zoom (24mm to 120mm in 35mm-equivalent terms), combining a useful wideangle for landscapes and architecture with a telephoto extending nicely into the classic 'portrait' range. Hopefully this 5x zoom range isn't so ambitious as to introduce unacceptable optical compromises. The optical configuration is sufficiently exotic to offer great hopes in this regard; the lens boasts no fewer than three extra-low dispersion (ED) glass elements, one of which is aspherical, coupled with two further aspherical elements, and as the icing on the cake one Super ED glass element. Clearly Olympus has adopted a "no holds barred" approach to lens design here, which can only be applauded.

This lens also sees Olympus finally adopting the now near-ubiquitous ultrasonic motor for focusing, here dubbed the 'Supersonic Wave Drive', and (according to their press material at least) offering the world's fastest autofocus when used with the E-3. This in turn allows the use of a mechanically-coupled manual focus ring, in a welcome contrast to the somewhat-unloved 'focus-by-wire' mechanisms on its previous lenses. Further headline features include dust and splashproofing for protection against the elements, a 25cm close focusing distance, and a circular aperture diaphragm promising pleasing background blur. On paper at least, this makes for a hugely compelling overall package.

Of course the 12-60mm has a hard act to follow, as the spiritual successor to the highly regarded 14-54mm F2.8-3.5, which was the standard kit lens for the E-1. In comparison, the newcomer offers extended range at both wideangle and telephoto, improved focusing, and even better macro performance, but at the expense of a slightly dimmer maximum aperture throughout the range. Of course this all comes at a price, and the 12-60mm is by no means cheap; so do the optics justify the price tag?

Use of the Panasonic L10 as Four Thirds test body

We have chosen to use the Panasonic L10 as our standard test body for Four Thirds lenses purely because it gives the highest numbers in our resolution tests (which we believe is most likely due to it having a relatively weak anti-aliasing filter); this is intended simply to provide the fairest comparison to other manufacturers' systems. The samples gallery contains images taken using various camera bodies (Olympus E-3, Olympus E-510, and Panasonic L-10).

Headline features

• 24-120mm equivalent focal length range
• Relatively fast 2.8-4.0 maximum aperture
• Four Thirds mount for Olympus and Panasonic DSLRs

Olympus Zuiko Digital 14-42mm 1:3.5-5.6 ED review

The Zuiko Digital 14-42mm 1:3.5-5.6 ED is the standard kit lens which Olympus supply with their lower-tier DSLRs, including the E-420 and E-510. Announced in September 2006 to accompany the launch of the E-400, it shares that camera's defining characteristic, being remarkably compact in size. Indeed it takes advantage of the relatively small size of the Four Thirds sensor to be comfortably the smallest and lightest DSLR zoom lens currently available, great for those users who wish their camera systems to be as portable as possible.

However despite its diminutive size, the 14-42mm still packs in some fairly exotic optics to deal with aberrations, in the shape of one extra-low dispersion (ED) glass element and two aspheric elements. It also incorporates a circular aperture diaphragm, which Olympus claim should provide 'beautiful rendition' of defocused areas of the image, and indeed consider to be one of the big advantages of this lens. The icing on the cake is an internal focusing system with a proper manual focus ring and a non-rotating front element, always a positive point for those photographers who like to use filters.

Olympus have long had a reputation for the quality of their lenses, plus a proven track record in the design of small but highly capable cameras and lenses (exemplified by such 1970s classics as the OM system SLRs and XA rangefinders), so the 14-42mm comes with a solid pedigree behind it. But as always with kit lenses, the biggest question is whether Olympus have cut corners unacceptably with either the optics or mechanics, in a drive to keep costs to a minimum. Let's find out.

Use of the Panasonic L10 as Four Thirds test body

We have chosen to use the Panasonic L10 as our standard test body for Four Thirds lenses purely because it gives the highest numbers in our resolution tests (which we believe is most likely due to it having a relatively weak anti-aliasing filter); this is intended simply to provide the fairest comparison to other manufacturers' systems. The samples gallery contains images taken using various camera bodies (Olympus E-3, Olympus E-510, and Panasonic L-10).

Headline features

• 28-84mm equivalent focal length range
• 'Focus by wire' manual focus system
• Four Thirds mount for Olympus and Panasonic dSLRS

Canon EOS 450D

today launches its latest D-SLR, the EOS 450D. Featuring a 12.2 Megapixel CMOS sensor, EOS Integrated Cleaning System, 3.0” LCD with Live View mode and a new 9-point AF system, the model presents consumers with an unprecedented level of image quality and versatility at this end of the market.

The EOS 450D employs features already proven in Canon’s professional EOS-1 series cameras, including the DIGIC III image processor and a redesigned menu system that enables features such as direct control of Speedlite flash units from the camera LCD. A choice of 13 custom functions allows the photographer to customise the camera to their shooting style.

“The EOS 450D bears the fruits of more than 20 years of ongoing investment into EOS,” said Mogens Jensen, Head of Canon Consumer Imaging, Europe. “This camera continues Canon’s policy of taking technologies proven in the professional arena and putting them within reach of a wider market of amateur photographers.”

The EOS 450D features:

• 12.2 Megapixel CMOS sensor
• Canon’s EOS Integrated Cleaning System
• 3.5 frames per second
• 3.0” LCD with Live View shooting
• 9-point wide-area AF system with f/2.8 cross-type centre point
• Picture Style image processing parameters
  
• DIGIC III image processor
• Digital Photo Professional RAW processing software1
• Compact and Lightweight body
• Fully compatible with all Canon EF and EF-S lenses and EX-series Speedlites

The EOS quality advantage

With all key components developed and manufactured in-house, EOS offers photographers a unique quality advantage. The EOS 450D’s specially designed 12.2 Megapixel sensor employs Canon’s high-sensitivity, low-noise CMOS technology to produce richly detailed images with minimal grain. The DIGIC III processor ensures superior image rendering and rapid response times, with an almost instant 0.1 start up. Image data is processed at 14 bits for Delivering a burst rate of 3.5 frames per second, the DIGIC III processor works with the image buffer to handle up to 53 JPEGs (6 in RAW) without interruption.

Built for better photos

The EOS 450D is designed to make photography a fluid experience for photographers of all levels and experience. Housed in a compact body that weighs less than 475 grams, the camera features an improved grip design that provides a natural, ergonomic fit with the user’s hands. A large, bright viewfinder makes image composition clearer and more comfortable. The menu system inherited from professional EOS cameras uses a simplified tab structure that does away with scrolling. It includes a user-defined My Menu tab for instant access to frequently used settings.

Several custom functions are available to optimise the quality of photos captured in a range of situations. Highlight Tone Priority boosts the dynamic range at the highlight end, providing better tonal detail from wedding dresses, cloudy skies and other bright objects. The new Auto Lighting Optimiser corrects brightness and contrast during image processing, while improving skin tones in portraits by ensuring correct exposure for faces. Photographers can also enable additional noise reduction for shots captured at high ISO speeds.

Live View

Available for the first time on a Canon consumer D-SLR, Live View mode makes it easier to shoot from awkward angles, such as ground-level macro shots or when shooting from a tripod. The image from the Live View mode is displayed as a smooth, 30fps video feed on the 3.0” LCD, which is 50% brighter than the screen of the EOS 400D. A grid line display and live histogram can be selected to help with shot composition and exposure. While focusing, the photographer can zoom in on specific details with up to 10x magnification of the image displayed on the LCD screen. Two types of auto focus are available: Quick AF flips the camera mirror momentarily to engage the AF sensor; Live AF uses the image contrast data to focus - a method familiar to anyone upgrading from a compact digital camera.

For studio environments, remote Live View lets the photographer compose, adjust settings and capture the shot from a PC using the supplied EOS utility software.

Other improvements

The EOS 450D complements its headline features with a host of smaller improvements that enhance the photographic experience. The viewfinder now displays all key exposure information including ISO speed. The addition of spot metering (4% of viewfinder) allows for greater control over exposure in tricky lighting conditions. PictBridge functionality has been expanded so that photographers can correct horizons and add picture effects before printing. A new high capacity battery extends shooting time on a single charge to a maximum of 500 shots.

Software

The EOS 450D is supplied with a comprehensive software suite that provides everything the photograph needs to manage and process images. This includes Digital Photo Professional (DPP), a powerful RAW converter that provides complete RAW image processing control. DPP also integrates with camera features such as Dust Delete Data and Picture Styles. The supplied Picture Style Editor software can be used to create custom Picture Styles for fine control over colour display. The camera also comes with EOS Utility, Image/Zoom Browser and Photostitch.

CMOS

Canon’s CMOS technology is one of the company’s key competitive advantages, with noise reduction circuitry at each pixel site delivering virtually noise-free images. In comparison with CCD technology, the lower power consumption characteristics of Canon’s CMOS sensors also contribute to longer battery life.
Signal conversion in Canon’s CMOS sensors is handled by individual amplifiers at each pixel site. Unnecessary charge transfer operations are avoided, vastly speeding up the process of getting signal to the image processor. Noise generation is reduced, power consumption is limited and faster frame rate potential is increased.

EOS Integrated Cleaning System

The EOS Integrated Cleaning System combats sensor dust in three important ways: Reduce, Repel and Remove.

1. Reduce - Internal camera mechanisms are designed to minimise dust generation. The redesigned body cap prevents dust generation through wear on the cap itself.
2. Repel - Anti-static technologies are applied to the low-pass filter covering the front of the sensor so as not to attract dust.
3. Remove - A Self-Cleaning Sensor Unit uses hi-frequency vibrations to shake dust from the infrared filter for a period of approximately one second after each start up. For instant shooting after power up, this feature is disabled immediately the shutter release is depressed.

Canon has also developed an internal Dust Delete Data system, which can map the position of visible dust on the sensor. This can then be deleted automatically after the shoot with the latest Digital Photo Professional software.

Picture Style

Picture Style pre-sets simplify in-camera control over image qualities. Picture Style pre-sets can be likened to different film types – each one offering a different colour response. Within each selectable pre-set, photographers have control over sharpness, contrast, colour tone and saturation. The camera’s factory default configuration is set to deliver immediately-usable JPEG images without need for additional menu settings. Picture Style presets applied to a RAW image can be revised with Canon’s Digital Photo Professional software.

The six pre-sets include:

• Standard – for crisp, vivid images that don’t require post-processing
• Portrait – optimises colour tone and saturation and weakens sharpening to achieve attractive skin tones
• Landscape – for punchier greens and blues with stronger sharpening to give a crisp edge to mountain, tree and building outlines
• Neutral – ideal for post-processing
• Faithful – adjusts colour to match the subject colour when shot under a colour temperature of 5200K
• Monochrome – for black and white shooting with a range of filter effects (yellow, orange, red and green) and toning effects (sepia, blue, purple and green).

The User Defined Picture Style can be used to store up to three customised pre-sets, or any of the pre-sets available for download from Canon’s web site at www.canon.co.jp/Imaging/picturestyle/file/index.html.

Software

Digital Photo Professional Software

Digital Photo Professional software provides high speed, high quality processing of lossless RAW images. Processing with Digital Photo Professional allows real-time display and immediate application of image adjustments, giving control over RAW image variables such as white balance, dynamic range, exposure compensation and colour tone. Images can be recorded in camera with sRGB or Adobe RGB colour space. Digital Photo Professional supports sRGB, Adobe RGB, ColorMatch RGB, Apple RGB and Wide Gamut RGB colour spaces.

ICC (International Colour Consortium) profiles can be attached to TIFF or JPEG images when converted from RAW. This allows faithful reproduction of colours in software applications that support ICC profiles, such as Adobe Photoshop. For improved efficiency, a set of image adjustments can be saved as a recipe and applied.

EOS Utility

The latest version of EOS Utility provides essential support for Live View remote shooting, camera configuration and image transfers. Tightly integrated with Digital Photo Professional, EOS Utility can be configured to monitor ‘hot’ folders, automatically renaming and moving incoming images to a structured file system.

Nikon D60 Review

The D60 is the third incarnation of Nikon's compact, user-friendly entry-level SLR line that started back in 2006 with the D40 (which replaced the first Nikon 'starter' model, the D50). The original D40 was a hugely important camera for Nikon and can be given a lot of the credit for the resurgence in Nikon's fortunes at the volume end of the SLR market (which had been totally dominated by Canon since the launch of the EOS 300D / Digital Rebel). The D40's success (which continued long after the D40X made its swift appearance only 6 months later) isn't hard to explain; it was keenly priced, nicely designed and built and capable of excellent results. It was also a camera that proved cameras do not sell on megapixels alone (even at launch its 6MP resolution was far from 'class leading').

The D40X, which was positioned as a premium alternative to the D40 rather than its replacement, didn't mess around with the formula much at all; a new sensor with more (ten) megapixels and a lower base ISO, plus a slightly higher continuous shooting rate. The D60 is a direct replacement for the D40X (the D40 will stay around for a while as Nikon's budget option), and once again it's not a major upgrade; the sensor remains the same (though now has a dust reduction system) and the external design is almost identical. There's a few new features, including the same Expeed processing 'concept' seen in the D3 / D300, Active D-Lighting, an eye sensor (to control the screen display), and some tweaks to the interface, but perhaps the most significant change isn't to the camera at all; the move to an optically stabilized version of the kit lens.

Auto Focus only for AF-S or AF-I lenses

As with the D40 and D40X, the new D60 doesn't have an built-in focus drive motor which means it can auto focus only with lenses which have their own drive motor (AF-S and AF-I lenses). The lack of a drive motor can be seen by the missing mechanical focus drive pin on the lens mount (see images below). One of the D60's new features is an electronic rangefinder to help manual focus on non AF-S / AF-I lenses.

Nikon D60 key features

• 10 megapixel DX format CCD (1.5x FOV crop)
• Nikon EXPEED processing 'concept' (as per D300, D3)
• 3D Color Matrix Metering II, 420 pixel sensor
• Multi-CAM530 three area AF sensor
• New Image sensor cleaning system
• Eye sensor (turns off LCD display)
• ISO sensitivity range 100 - 1600 plus HI 1 (3200 equiv.)
• 3.0 fps continuous shooting*, unlimited in JPEG
• No status LCD, LCD monitor based status / settings screens (now rotates)
• Help suggestions on LCD monitor (eg. scene too dark, try using flash)
• Large 2.5" 230,000 pixel LCD monitor
• Short shutter lag and viewfinder blackout
• Support for SDHC (SD cards over 2 GB in capacity)
• In-camera retouching
  • Quick Retouch
  • D-Lighting (shadow / highlight enhancement)
  • Red-eye reduction
  • Trimming
  • Monochrome
  • Filter effects
  • Small picture
  • Image overlay
  • Raw processing
  • Stop-motion movie
• USB 2.0 with PTP and Mass Storage device support
• Very compact, light body
• Improved menu user interface
• EN-EL9 Lithium-Ion battery (7.2V, 1000 mAh)
• New stabilized AF-S DX 18-55 mm kit lens

Differences compared to the D40X

• EXPEED processing
• Image sensor cleaning system with Airflow control system
• Automatically rotating user interface (for using camera vertically orientated)
• Stop motion movie function
• New stabilized kit lens (AF-S DX NIKKOR 18-55mm f/3.5-5.6G VR)
• Eye sensor
• Electronic 'rangefinder' for manual focus
• Active D-Lighting with dedicated button
• In-camera Raw processing
• New JPEG retouch effects (Cross Star and Color Intensifier)

Sigma 50mm f/1.4

Sigma bolsters its top-end EX range with the announcement of a HSM focusing-motor-equipped 50mm f/1.4 lens. Offering a moderate telephoto field of view on APS-C cameras, Sigma's DG designation means it will also work as a standard lens on full-frame digital cameras. We believe this is the first time a 50mm f/1.4 lens has been offered with a ring-type focus motor. Pricing and availability information to follow as soon as we have it.

The Sigma Corporation is pleased to announce the new large aperture 50mm F1.4 EX DG HSM standard lens. For Sigma, Canon, Nikon, Pentax* and Sony*

• Standard lens with large maximum aperture of F1.4.
• It creates sharp images with high contrast and ensures superior peripheral brightness.
• Incorporates molded glass aspherical lens, perfectly correcting coma aberration and creating superior image quality.
• Super multi-layer coating reduces flare and ghosting.
• Hyper Sonic Motor (HSM) ensuring silent, high-speed AF

This is a large aperture prime lens with a standard focal length of 50mm, ideal for digital cameras. This lens is perfectly suited for a wide range of subjects enabling outstanding, sharply defined images against a nicely blurred background. The fast, F1.4 aperture makes this lens desirable for use with Digital SLR cameras. This lens effectively becomes an 80mm medium telephoto lens on digital cameras with APS-C size image sensors. The optimum optical design and molded glass aspherical lens elements provide excellent correction for all types of aberrations. This lens has superior peripheral brightness and provides sharp, high contrast images even at the maximum aperture. Superior optical performance is also ensured throughout the focusing range. The super multi-layer lens coating reduces flare and ghosting. This lens has a minimum focusing distance of 45cm (17.7”) and has maximum magnification of 1:7.4. It creates a very attractive blur, even when a small aperture is used.

This lens incorporates HSM (Hyper Sonic Motor), which ensures a quiet and high-speed AF as
well as full-time manual focus override.

Tamron developing 10-24mm f/3.5-4.5

A New High Performance Zoom Lens Designed for Exclusive Use on Digital SLR Cameras Covering the Ultra Wide-Angle Range

PMA, January 31, 2008, Las Vegas, NV— Mr. Morio Ono, President of Tamron Co., Ltd., announced the development of the SP AF10-24mm F/3.5-4.5 Di II LD Aspherical (IF) (Model AB001), a new high performance ultra wide-angle zoom lens designed exclusively for digital SLR cameras with APS-C size imagers.
“Di (Digitally-Integrated design)-II” lenses are designed for exclusive use on digital cameras with smaller-size imagers.
This lens is not designed for use with 35mm film cameras and digital SLR cameras with image sensors larger than 24mm x 16mm.

The new SP AF10-24mm F/3.5-4.5 Di II LD Aspherical (IF) is an advanced ultra wide-angle zoom lens that is versatile and offers even higher performance and specifications than the current Tamron SP AF11-18mm F/4.5-5.6 zoom lens.

The lens covers an extended focal length range that is particularly wide for an ultra wide-angle zoom lens, while improving the aperture to F/3.5-4.5 and keeping the filter diameter to 77mm. Its lightweight and compact size makes this new wide-angle zoom very user friendly.

The lens was designed for use with digital SLR cameras and thereby employs special optical glass materials for outstanding optical performance such as large-aperture glass-molded aspherical elements and hybrid aspherical elements.

Main Features

Compact Ultra Wide-angle Zoom Lens Covering a Broad Range from 10mm to 24mm
The new Tamron zoom covers a focal length range equivalent to 16-37mm* when converted to a 35mm full-size format. Its ultra-wide zoom ratio of more than 2X provides a versatile variety of angles of view, thus improving photographic creativity.
*Tamron’s conversion ratio is 1.5x.

Features an Optical Design Optimized for Digital Camera Characteristics Ensures High Optical Performance

1. Employment of Special Optical Glass Materials Provides High Performance The new zoom lens uses an HID glass element and a pair of LD glass elements to minimize on-axis and lateral chromatic aberrations that are the greatest hindrance to high optical quality. To further achieve outstanding optical quality, the lens uses a high quality, glass-molded aspherical element and three hybrid aspherical elements to thoroughly compensate for spherical and comatic aberrations and distortion.
   HID – High Index/High Dispersion optical glass
   LD – Low Dispersion optical glass
2. Optical Design Optimizes the Angles of Incidences of Light Rays Reaching the Imager The ultra wide zoom lens uses a new optical system designed to confine the changing angles of incidences of light rays reaching the imager within a certain scope over the entire image field from the center to the periphery, by considering the effects of variances due to zooming.
3. Enhanced Peripheral Illumination Peripheral light fall-off is minimized so that images are high quality from the center to the periphery.
4. Outstanding Resolution As an SP Di II class lens, it provides high optical quality in terms of resolution, contrast and flatness of image field.
5. Internal Surface Coating Reduces Ghosting and Flare The lens uses a newly developed multiple coating and internal surface coating, (i.e., multiple-layer coatings on cemented surfaces of plural lenses) to reduce the image degradation caused by the reflection of light rays entering from the lens front and affected by the imager.

Ultra Compact and Lightweight Design
The new zoom lens covers a wider focal length range with a greater zoom ratio and offers a faster maximum aperture and enhanced optical quality than the existing SP AF11-18mm zoom lens. Despite higher specifications that are likely to incur a bulky design, the new zoom lens is lightweight and compact. Tamron has successfully realized a versatile ultra wide-angle zoom lens that is lightweight and compact enough in overall length and diameter to accept a 77mm filter, the same as the existing SP AF11-18mm zoom lens.

Minimum Focus Distance of 0.24m throughout the Entire Zoom Range
Considering the importance of “close focusing capability” as an essential condition in wide-angle photography, Tamron has achieved a 0.24m minimum focus distance over the entire zoom range. Getting closer to the subject allows you to easily express a more creative photographic vision.

Flower-shaped Lens Hood
A glare-reducing flower-shaped lens hood is included as a standard accessory. The special hood provides optimum shading of superfluous light rays that enter from the rectangular frame outside the image field.

New External Design Conveying “High Performance, High Precision Image” on the Basis of Tamron’s Conventional Lens Design
The external design is improved to enhance the uniformity and smoothness. The metallic finish of the gold band of Tamron lenses makes it stand out as a Di II lens, while the layout of alphanumerical markings is improved for better visibility. The rubber patterns of the zoom and focus rings have also been improved to compliment today’s digital camera design style and to provide better handling.

Tamron Announces the Launch of SP AF70-200mm F/2.8 Di LD (IF) MACRO

A lightweight, high-performance and fast tele-zoom realizing 0.95m (ft) MFD over the Entire Zoom Range

Mr. Morio Ono, President of Tamron Co., Ltd., has announced the launch of SP AF70-200mm F/2.8 Di LD (IF) MACRO, a lightweight, high-performance and fast tele-zoom lens designed for DSLR cameras with 35mm full-size image sensors.

The new SP AF70-200mm Di LD (IF) MACRO (Model AA001) is an F/2.8 fast tele-zoom designed for DSLRs with 35mm full-size image sensors, inheriting product concept of the existing SP AF28-75mm F/2.8 XR Di (Model A09) that is highly acclaimed as a compact and fast standard zoom lens enabling photographers to enjoy high cost　performance characteristics.

While dimensional increases are confined to the absolute minimum, the new SP AF70-200mm F/2.8 Di LD (IF) MACRO zoom lens offers the MFD (minimum focusing distance) of 0.95m over the entire zoom range for the maximum macro magnification ratio of 1:3.1 at f=200mm focal length, for stress-free photography, combined with the advantage of an internal focusing (IF) system.

It enables the user to cover a focal length range of 70mm medium telephoto to 200mm telephoto when mounted on a 35mm full-size DSLR camera and a focal length range from 109mm to 310mm equivalent* ultra telephoto (35mm equivalent, in an angle of view of 7°59’) when mounted on a DSLR camera equipped with an APS-C sized image sensor.

Main features

1. 0.95m MFD over the Entire Zoom Range for 1:3.1 Maximum Magnification Ratio
   This zoom lens, designed for use with full-size format SLR cameras, boasts a fast maximum aperture of F/2.8, yet it allows close-focusing down to 0.95m over the entire zoom range. The maximum magnification ratio is 1:3.1 at the 200mm tele-end. The filter diameter is confined to φ77mm as a result of the use of an advanced optical design pursuing optimum optical power distribution.
2. Soft Out-of-Focus Effect and Sharp Depiction
   In order to realize soft out-of-focus effect and sharp depiction performance at the same time, the zoom lens uses three LD (low dispersion) elements. As a result, the optical system effectively compensates for lateral and on-axis chromatic aberrations that are major image-degrading factors in telephoto photography, in order to provide edge-to-edge sharpness and high-contrast image quality with flat-field characteristics over the entire zoom range in various photographic situations.
3. Lightweight, yet Fast F/2.8 Maximum Aperture
   The lens features a fast maximum aperture of F/2.8, yet it weighs a mere 1,112.6 grams (39.2oz.), since it uses barrel parts made of engineering plastic materials having excellent dimensional stability and sufficient strength for professional use and even industrial applications.
4. Internal Surface Coatings Minimize Ghosting and Flare
   Through the use of "Internal Surface Coatings (i.e., multiple-layer coatings on cemented surfaces of plural elements) and multiple-layer coatings to prevent reflections from lens surfaces, ghosting and flare due to reflections that occur when light enters through the front element as well as reflections caused by the imager itself in the mirror box are reduced to the absolute minimum.
5. One-Touch AF/MF Switchover Mechanisms (for Canon and Nikon only)
   The models for Nikon and Canon cameras are equipped with AF/MF switchover mechanisms to allow one-touch switchover from AF mode to MF mode or vice versa electronically and mechanically by simply sliding the button. (Sony and Pentax systems require AF/MF switchover operation on both the camera and lens.)
   Since the lens uses an IF (internal focusing) system, the focusing ring does not rotate during focusing, which ensures good holding balance at all times. In the MF mode, focusing is performed as easily and comfortably as with an MF lens. Since the overall length of the lens does not change due to zooming or focusing, it offers excellent operability and holding balance.
6. Detachable Tripod Grip Ring
   The lens is supplied with a lightweight and rigid aluminum removable tripod socket.
7. Flower-shaped Lens Hood
   A flower-shaped lens hood is included as a standard accessory. The special hood provides optimum shading of superfluous light rays that enter from the rectangular frame outside the image field.

Canon EOS 450D / Digital Rebel XSi

Amstelveen, The Netherlands, 24 January 2008: Canon today launches its latest D-SLR, the EOS 450D. Featuring a 12.2 Megapixel CMOS sensor, EOS Integrated Cleaning System, 3.0” LCD with Live View mode and a new 9-point AF system, the model presents consumers with an unprecedented level of image quality and versatility at this end of the market.

The EOS 450D employs features already proven in Canon’s professional EOS-1 series cameras, including the DIGIC III image processor and a redesigned menu system that enables features such as direct control of Speedlite flash units from the camera LCD. A choice of 13 custom functions allows the photographer to customise the camera to their shooting style.

“The EOS 450D bears the fruits of more than 20 years of ongoing investment into EOS,” said Mogens Jensen, Head of Canon Consumer Imaging, Europe. “This camera continues Canon’s policy of taking technologies proven in the professional arena and putting them within reach of a wider market of amateur photographers.”

The EOS 450D features:

• 12.2 Megapixel CMOS sensor
• Canon’s EOS Integrated Cleaning System
• 3.5 frames per second
• 3.0” LCD with Live View shooting
• 9-point wide-area AF system with f/2.8 cross-type centre point
• Picture Style image processing parameters
  
• DIGIC III image processor
• Digital Photo Professional RAW processing software1
• Compact and Lightweight body
• Fully compatible with all Canon EF and EF-S lenses and EX-series Speedlites

The EOS quality advantage

With all key components developed and manufactured in-house, EOS offers photographers a unique quality advantage. The EOS 450D’s specially designed 12.2 Megapixel sensor employs Canon’s high-sensitivity, low-noise CMOS technology to produce richly detailed images with minimal grain. The DIGIC III processor ensures superior image rendering and rapid response times, with an almost instant 0.1 start up. Image data is processed at 14 bits for Delivering a burst rate of 3.5 frames per second, the DIGIC III processor works with the image buffer to handle up to 53 JPEGs (6 in RAW) without interruption.

Built for better photos

The EOS 450D is designed to make photography a fluid experience for photographers of all levels and experience. Housed in a compact body that weighs less than 475 grams, the camera features an improved grip design that provides a natural, ergonomic fit with the user’s hands. A large, bright viewfinder makes image composition clearer and more comfortable. The menu system inherited from professional EOS cameras uses a simplified tab structure that does away with scrolling. It includes a user-defined My Menu tab for instant access to frequently used settings.

Several custom functions are available to optimise the quality of photos captured in a range of situations. Highlight Tone Priority boosts the dynamic range at the highlight end, providing better tonal detail from wedding dresses, cloudy skies and other bright objects. The new Auto Lighting Optimiser corrects brightness and contrast during image processing, while improving skin tones in portraits by ensuring correct exposure for faces. Photographers can also enable additional noise reduction for shots captured at high ISO speeds.

Live View

Available for the first time on a Canon consumer D-SLR, Live View mode makes it easier to shoot from awkward angles, such as ground-level macro shots or when shooting from a tripod. The image from the Live View mode is displayed as a smooth, 30fps video feed on the 3.0” LCD, which is 50% brighter than the screen of the EOS 400D. A grid line display and live histogram can be selected to help with shot composition and exposure. While focusing, the photographer can zoom in on specific details with up to 10x magnification of the image displayed on the LCD screen. Two types of auto focus are available: Quick AF flips the camera mirror momentarily to engage the AF sensor; Live AF uses the image contrast data to focus - a method familiar to anyone upgrading from a compact digital camera.

For studio environments, remote Live View lets the photographer compose, adjust settings and capture the shot from a PC using the supplied EOS utility software.

Other improvements

The EOS 450D complements its headline features with a host of smaller improvements that enhance the photographic experience. The viewfinder now displays all key exposure information including ISO speed. The addition of spot metering (4% of viewfinder) allows for greater control over exposure in tricky lighting conditions. PictBridge functionality has been expanded so that photographers can correct horizons and add picture effects before printing. A new high capacity battery extends shooting time on a single charge to a maximum of 500 shots.

Software

The EOS 450D is supplied with a comprehensive software suite that provides everything the photograph needs to manage and process images. This includes Digital Photo Professional (DPP), a powerful RAW converter that provides complete RAW image processing control. DPP also integrates with camera features such as Dust Delete Data and Picture Styles. The supplied Picture Style Editor software can be used to create custom Picture Styles for fine control over colour display. The camera also comes with EOS Utility, Image/Zoom Browser and Photostitch.

Why do R lenses come in 2/3-CAM or ROM mounts?

Single cam

The original Leicaflex Standard camera, released in 1964, used a cam arrangement inside the lens mount to mechanically communicate the aperture information from each lens to the camera body (similar to the way the Nikon AI mount does it). As there was only one cam, ergo… "single cam".

2-cam

When the Leicaflex SL, with its integrated TTL light meter, was introduced in 1968, a new lens cam was added for aperture indexing. To maintain backward compatibility with older Leicaflex cameras, new lenses were released with two cams, so they could aperture-index on both old and new Leicaflex bodies.

3-cam

In 1976 Leica released the R3, the first of its R series SLR cameras designed in collaboration with Minolta. Because the new camera(s) had auto exposure features, this meant adding another cam, bringing the total to three. This third cam is a black stepped affair, located next to and just inside the chrome 2nd cam.

R-only

An added complication is that some newer R lenses are sold as 3rd cam only. These will only mount on R bodies and are easy to distinguish as they have a collar around the base of the stainless steel lens mount flange, to prevent you from mounting them onto older Leicaflex bodies.

New Sigma 50-150 & 70-200

Sigma today announced two new telephoto zooms - one for APS-C cameras and one for full-frame. The APO 50-150mm F2.8 II EX DC HSM uses no less than four SLD elements in its design to minimize aberrations and HSM focusing to keep the noise down. Internal focus and zoom ensure there is no change to the size of the lens during use. The APO 70-200mm F2.8 II EX DG MACRO HSM has a modified layout to improve close-up performance to make better use of the maximum 1:3.5 subject magnification ratio. Pricing and availability are to be announced but click though for specifications.

Large aperture telephoto zoom lens designed exclusively for digital SLR cameras and reveals its strength in close-up photography

APO 50-150mm F2.8 II EX DC HSM

The Sigma Corporation is pleased to announce the launch of the new APO 50-150mm F2.8 II EX DC HSM lens.

This large aperture telephoto zoom lens is designed exclusively for digital SLR cameras with APS-C size sensors and its compact, lightweight body provides freedom of movement and versatility. The minimum focusing distance of 100cm/39.4in. and the high-resolution power layout have improved the strength of the lens in close-up photography. This lens offers a large aperture of F2.8 and its large depth of field offers greater freedom of creative expression. It has a maximum aperture of F2.8. Four SLD glass elements are used for maximum correction of chromatic aberrations. The super multi-layer lens coating reduce flare and ghosting and ensure sharp images throughout the entire zoom range. The lens design incorporates an inner focusing and inner zooming system. As the overall length of the lens does not change during focusing and zooming, convenient handling is ensured. The HSM (Hyper Sonic Motor) system allows quiet and high-speed auto focusing with full time manual focus override by just rotating the focusing ring. The addition of the optional 1.4x EX DG APO or 2x EX DG APO Tele Converters produce a 70-210mm F4 AF tele-zoom lens and a 100-300mm F5.6 AF ultra-telephoto zoom lens respectively.

*Vignetting will occur if the lens is used with digital cameras with image sensors larger than APS-C size or 35mm SLR cameras.

Sigma APO 50-150mm F2.8 II EX DC HSM Features

• Compact, lightweight, large aperture telephoto zoom lens.
• SLD （Special Low Dispersion） glass elements and the super multi layer lens coating assured high image quality throughout the entire zoom range.
• The new lens design ensures high image quality at the minimum focusing distance of 100cm/39.4in.
• Equipped with HSM (Hyper Sonic Motor) with full-time manual focus override.
• Compatible with Sigma 1.4x EX DG and 2x EX DG APO Tele-Converters.

Press release:

Large aperture zoom lens with improved optical performance

APO 70-200mm F2.8 II EX DG MACRO HSM

The Sigma Corporation is pleased to announce the launch of the new APO 70-200mm F2.8 II EX DG MACRO HSM.

This large aperture zoom lens has improved optical performance and retains close-up ability with a minimum focusing distance of 100cm/39.4in and maximum magnification ration of 1:3.5. This lens is suitable for taking all type of subjects such as portraits, landscape, and close-up pictures. Two SLD (Special Low Dispersion) and three ELD (Extraordinary Low Dispersion) glass elements provide excellent correction for all types of aberrations. High image quality is assured throughout the entire zoom range. The super multi-layer coating reduces flare and ghosting. This lens incorporates HSM (Hyper Sonic Motor), which ensures a quiet and high-speed AF as well as full-time manual focusing capability. The lens design incorporates an inner focusing and inner zooming systems. The overall length of the lens does not change during focusing and zooming, ensuring convenient handling. A removable tripod collar (TS-21) is included as a standard component. When this lens is used with the optional 1.4x EX DG APO or 2x EX DG APO Tele Converters, it becomes a 98-280mm F4 AF telephoto zoom lens or a 140-400mm F5.6 AF telephoto zoom lens respectively.

Sigma APO 70-200mm F2.8 II EX DC HSM Features

• Improved optical performance with a minimum focusing distance of 100cm/39.4in and maximum magnification of 1:3.5.
• Two SLD and three ELD glass elements provide excellent correction for all types of aberrations.
• Super multi-layer coating reduces flare and ghosting.
• HSM ensures quiet, high speed autofocus with full time manual focusing.
• APO Tele Converter is available.

Tamron builds 'D40-friendly' 18-250

Tamron has announced a new version of its popular 18-250 superzoom with an in-built focus motor evidently aimed at users of Nikon's D40 and D40x DSLRs. These two cameras lack legacy lens support in the form of a mechanical focus coupling - an omission widely criticized due to the reduced range of available lenses. Other specs appear to be unchanged from the existing version. Due to go on sale in Japan on December 13th, pricing and worldwide availability are yet to be announced.

A Compact, Lightweight and Ultimate High Power Zoom Lens Boasting the 13.9X Zoom
Power Designed Exclusively for APS-C Sized Digital SLRs

Mr. Morio Ono, of Tamron Co., Ltd., announced that the company will release the AF18-250mm F/3.5-6.3 Di-II LD Aspherical (IF) Macro, a lightweight, compact and ultra high power zoom lens designed exclusively for digital SLR cameras with APS-C sized image sensors with a built-in motor for Nikon (Model A18N II).

The AF18-250mm F/3.5-6.3 Di-II LD Aspherical (IF) Macro is the ultimate high power zoom lens boasting the world’s greatest zoom ratio* of 13.9X, a milestone that Tamron, the pioneer of high power zoom lenses, has achieved by commanding its technologies to further expand the capabilities of high power zoom lenses.

CANON U.S.A. TO EXHIBIT TWO NEW TELEPHOTO LENSES

LAKE SUCCESS, N.Y., October 15, 2007 – Canon U.S.A., Inc., a leader in digital imaging, today announced the development of two all-new telephoto lenses for use with its EOS SLR cameras: the EF200mm f/2L IS USM*/** and the EF800mm f/5.6L IS USM*/**. The Company will exhibit prototypes of the new lenses at PhotoPlus Expo (booth #31, taking place at the Jacob K. Javits Convention Center in New York City, October 18 to 20.

The new Canon EF200mm f/2L IS USM and EF800mm f/5.6L IS USM, both of which are L (luxury)-series lenses incorporating a high-performance Image Stabilizer, feature optical systems utilizing special optical materials such as fluorite to correct chromatic aberrations, making possible high-resolution, high-contrast shooting performance.

The Canon EF200mm f/2L IS USM, targeting users who seek a brighter lens for portraiture and indoor sports photography, realizes a large aperture of f/2. The EF800mm f/5.6L IS USM, expected to deliver telephoto performance surpassing the current top-of-the-line EF600mm f/4L IS USM super telephoto lens, is being developed in response to requests from users working in the fields of sports and news photography who are looking for a high-performance lens that offers a longer focal length.

"These new lenses demonstrate that Canon is continuing to respond actively and flexibly to the wide-ranging needs of professional and advanced amateur users, with the aim of contributing to the expansion of photographic possibilities for SLR cameras," said Yuichi Ishizuka, senior vice president and general manager, Consumer Imaging Group, Canon U.S.A. "Canon's EOS System is the premier brand of Digital SLR cameras, and we take great pride in offering the world's largest selection of interchangeable autofocus lenses." ***

As these new lenses are currently under development, pricing and availability information is not yet available.

About Canon U.S.A., Inc.
Canon U.S.A., Inc. delivers consumer, business-to-business, and industrial imaging solutions. Its parent company, Canon Inc. (NYSE:CAJ), a top patent holder of technology, ranking third overall in the U.S. in 2006†, with global revenues of $34.9 billion, is listed as one of Fortune's Most Admired Companies in America and is on the 2007 BusinessWeek list of "Top 100 Brands." To keep apprised of the latest news from Canon U.S.A., sign up for the Company's RSS news feed by visiting www.usa.canon.com/pressroom.

* This device has not been authorized as required by the rules of the Federal Communications Commission. This device is not, and may not be offered for sale or lease, or sold or leased, until authorization is obtained.

** A Product Report required by 21.C.F.R.§ 1002.10 has not been submitted to the United States Food and Drug Administration for this product. This product is not, and may note be, offered for sale or lease, or sold or leased, until the required report has been submitted.

*** As of October 15, 2007

All referenced product names, and other marks, are trademarks of their respective owners.

Specifications and availability are subject to change without notice.
† IFI Patent Intelligence, January 2007.

Source: http://www.usa.canon.com/html/templa...15_eflens.html

Nikon Lens Serial Nos

Nikon Lens Serial Nos link

This page lists every Nikon lens version and sub-version I know of. Minor changes to internal mechanics, lens coating, engravings or electronics may not be listed. For each version up to four serial numbers are given: Start - Earliest - Latest - End. Start and End serial numbers are from Nikon Ai conversion lists, catalogues and various books. The Earliest and Latest serial numbers are from lenses I have seen. They help confirm the Start and End numbers or indicate the range where the Start and End numbers are unknown.

Serial numbers for some versions overlap, and some numbers are beyond the recorded Start or End Number. Batches of serial numbers may have been mixed in the transition from one version to another or my data is incorrect. More research is needed here.

Note: Pictures of pre-Ai versions may be of Ai converted lenses. Versions with the same optical design are grouped together. Different optical variants are separated by a thick line, minor optical updates are separated by a thin dark line. Serial number blocks are separated by a thin pale line.

解讀RAW檔案

1. 什麼是NEF(RAW)模式？

藝康將保存成RAW格式的圖像叫作NEF（Nikon Electronic Format，藝康電子格式）檔案。利用RAW模式可將圖像拍攝成RAW圖像。RAW圖像是將相機圖像感測器上的純資料直接保存到記憶卡上。使用其他圖像 格式，相機會將原始資料處理轉換成TIFF或JPEG，但使用RAW模式，將保存純資料並可在稍後進行編輯。由於未作任何修改，因此稍後可以更充分地編輯 檔案。RAW圖像比JPEG圖像大，但沒有TIFF圖像大。

2. RAW圖像和16位元檔案

取決於相機的類比到數位轉換電路，相機可以拍攝每色12位元數據或每色14位元數據。下表顯示了不同位元深時每種色彩的色度數量。

8位	256種色度的紅、藍和綠
12位	4096種色度的紅、藍和綠
16位	65536種色度的紅、藍和綠

RAW檔案是16位檔案，而JPEG是8位檔案，因此，RAW檔案可以包含每色65536種色度，而JPEG檔案只有每色256種色度。如果將圖像保存成RAW檔案，數位相機實際上拍攝的是12位色彩，然後將其轉換成16位。如果保存成JPEG，圖像將轉換成8位元。

3. 以RAW模式拍攝的好處

在應用少量的色階後，8位元JPEG圖像的柱狀圖將開始結合，圖像很可能形成色調分離效果。RAW圖像將保留連續的色調流。

應用色階後的RAW檔案柱狀圖

應用色階後的JPEG檔案柱狀圖

在Nikon View Editor、PictureProject、Nikon Capture Editor 和Nikon Adobe Photoshop插件中進行編輯。

D80 Firmware Update

• What's New?
• Modifications enabled with upgrade of A and B firmware from Ver. 1.00 to Ver. 1.01:
• The electronic analog exposure display will be displayed in the viewfinder when the brightness of the subject exceeds the range that can be controlled by the camera, whether too bright or too dark, in the following shooting modes:
  • Shutter-priority auto (S) or Aperture-priority auto (A) exposure modes with the built-in flash up
  • Programmed auto (P) exposure mode
• Effects of processing performed when the Long exp. NR item in the shooting menu is enabled have been improved.
• When attempting to edit images, which had already been edited using a computer, with options in the D80's retouch menu, the camera sometimes froze. Therefore, images that have been edited using a computer can no longer be edited using the camera.
• Errors in English, Polish, Swedish, and Traditional Chinese menus have been corrected.

windows download link

Why reduce f stop will sharper

not all lens sharp at wide open

簡單的講同「球面像差」有關：
Spherical aberration
http://en.wikipedia.org/wiki/Spherical_aberration

先理解一下「球面像差」再想想收細光圈就是把"焦平面"孔徑縮少,使偏差了的光路阻擋從而減少了光暈,成像就會更為清晰!
http://article.xitek.com/showarticle.php?id=2346

光圈收得太細又會出現 繞射/衍射 Diffraction 影響成像!
http://hk.knowledge.yahoo.com/question/?qid=7006071102340&others=1
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60mm f/2.8D AF Micro-Nikkor

The most compact Nikon Micro-Nikkor lens for portrait, copy work, and field close-up applications. Close Range Correction (CRC) system provides high performence at both near and far focusing distances. Continuous focusing from infinity to life-size (1:1).

Tech Specs:
Lens Construction: 8 elements in 7 groups
Picture Angle: 39 degrees 40 minutes (35mm format), 26 degrees 30 minutes (Nikon DX format)
Minimum Focus Distance: 8 3/4 in.
Maximum Reproduction Ratio (Macro Setting): 1:1
Attachment/ Filter Size: 62mm
Dimensions (diameter x length - in.): 2.8 x 2.9 inches
Weight (oz.): 15.5 ozNikon Lens Hood: HN-22
Case(s): CL-S1Included
Accessories: 62mm lens cap, rear cap