#Irix MMS

[karingottschalk]

Irix: Irix Matte Box IQ, The new filmmaking accessory – Commentary

[coffeenuts]

Mohnphase 1(3) by Günter Mengedoth https://flic.kr/p/2iZvRb2

[thephoblographer]

Add a Cinematic Look to Your Photos. Irix Edge Vari ND 2-5 Filter Review

This new variable ND filter by Irix might just be what you need for your lens

They’re very popular in cinematography circles for their cine lens lineup, and just a couple of months ago, Irix Lens released a new range of variable ND filters. They say it’s one of the slimmest and most compact ND filters in the market. The Irix Edge Vari ND 2-5 filter comes in two versions – the Magnetic Mount System (MMS) version and the more standard screw-in version. I received a copy of…

[clayhaus]

Sagittarius DSOs: M28, Globular Cluster; M8, the Lagoon Nebula; M20, the Trifid Nebula; & M21, an open cluster. Photo Details: Pentax K-5 Hydrogen-Alpha modified camera w/ 150 mm Irix lens; f/2.8; ISO 1600; 23 sec. x 37 subs = ~15 minutes total exposure; 77 bias calibration frames. IOptron SkyTracker Pro. Processing w/ Astro Pixel Processor, PixInsight & Photoshop. #milkyway_nightscapes #milkyway #astrophotography #astrophotographer #astrophoto #clayhausphotography (at Milky Way Galaxy) https://www.instagram.com/p/CE437saB2UX/?igshid=5z58160bt8rw

[riccardomantero]

The sentinel on fire - This lonely tree is placed on the edge of the Isola Bella, in the Lago Maggiore in Italy, I had just to wait that the sun was crossing its branches and shoot it with an Irix 15 mm with a CPL to achieve this effect.

[meso-mijali]

Anyone wanna buy me the irix 11 mm lens for pentax? Its only 600 bucks

[ioopix]

Irix Cine 150 mm T3.0 Macro 1:1, première optique cinéma

Irix Cine 150 mm T3.0 Macro 1:1, première optique cinéma

Irix lance sa première optique dédiée au cinéma, l’Irix Cine 150 mm T3.0 Macro 1:1. Retour sur ses principales caractéristiques.

© 2019 Phototrend.fr – Irix Cine 150 mm T3.0 Macro 1:1, première optique cinéma

Source: Phototrend

[fotografobcn]

Irix Cine 150mm T3.0 Macro 1:1

IRIX presenta el objetivo 150mm T3.0 Macro 1:1 -la primera línea de objetivos de vídeo para sensores Full Frame.

La nueva línea de objetivos de vídeo se ha creado con la colaboración de cineastas profesionales; sus ideas y sugerencias fueron un factor clave en el proceso y diseño. La experiencia de los diseñadores en el sector fotográfico nos llevó a crear nuevas y mejores prestaciones para los productos Irix Cine.

Ópticas acreditadas

El objetivo Irix Cine 150mm T3.0 Macro 1:1 es el primero de una nueva línea de objetivos de cine para sensor Full Frame, preparado para trabajar con formato 8K UHD. El complejo sistema óptico está basado en el diseño del objetivo Irix 150mm f/2.8 Macro 1:1. El objetivo tiene una construcción de 12 elementos distribuidos en 9 grupos, de los cuales cuatro elementos son de alto índice de refracción (HR), y tres de baja dispersión (ED). Gracias a estos elementos, el objetivo ofrece una excelente resolución, casi sin aberraciones cromáticas, además de una distorsión casi inexistente (tan solo 0,1%).

El sistema óptico está equipado con enfoque interno. El objetivo fue diseñado para tener la menor respiración de foco posible.

Mecanismo mejorado

Desde la perspectiva de un operador de cámara, que la construcción externa sea de buena calidad y resistente es de gran importancia. Irix es conocido por sus construcciones elegantes y en la gama Cine, lo hemos incentivado aún más, centrándonos en la excelente ergonomía y un mecanismo de alta precisión. La rotación silenciosa y suave del anillo de enfoque se consiguió gracias al nuevo sistema de posicionamiento de objetivos MST creado especialmente para la gama Irix Cine. El mecanismo “Multi Start Thread” (MST) combinado con una construcción sellada, garantiza un funcionamiento duradera y resistente en diversas condiciones atmosféricas, incluso en las más exigentes. El ángulo de rotación del anillo de enfoque ha sido ampliado hasta 270º, lo que hace que su manejo sea fácil y preciso en cualquier posición. El objetivo estará disponible con marcas métricas y con sistema imperial.

Se ha prestado la máxima atención a la apertura de estos objetivos, del que destacamos las once hojas de diafragma redondeadas que crean un gran efecto bokeh y nitidez. El objetivo Irix 150mm también reduce significamente la difracción cuando se graba con valores de aperturas de diafragma bajos. El anillo de apertura suave comprende de T3.0 a T32. El anillo de apertura tiene un giro de 75º.

Diseño y ergonomía únicos

El objetivo Irix Cine 150mm T3.0 Macro 1:1 destaca por su ergonomía y diseño. Los bordes de los engranajes del anillo de enfoque están protegidos por un anillo especial, que proporciona un área más grande para una mejor manipulación manual – además de ser compatible con los sistemas Follow-Focus. Más adelante proporcionaremos más información sobre el Sistema de Anillo Adaptador. Las marcas del objetivo están grabadas con láser y tratadas con pintura fluorescente UV, para mejorar su legibilidad incluso en condiciones de poca luminosidad.

Preparado para todo tipo de condiciones climáticas

El objetivo Irix Cine 150 mm T3.0 Macro 1:1 ha sido diseñado para ser una herramienta muy versátil para los cineastas, construido para soportar diversas condiciones climáticas. El cuerpo del objetivo está sellado para crear una barrera contra el polvo, la lluvia y salpicaduras de agua. Esta construcción sellada garantiza la seguridad tanto de la lente como del sensor de la cámara.

Innovación como objetivo

La funcionalidad excepcional y las prestaciones innovadoras son características distintivas de todos los productos Irix. Este objetivo ha sido equipado con un exclusivo Sistema de Montura Magnética para accesorios. El sistema MMS (Magnetic Mount System) ofrece una conexión rápida y fácil para una gran variedad de accesorios. El primero de los nuevos accesorios MMS es el parasol desmontable y reversible (incluido con el objetivo). Hablaremos del resto de accesorios próximamente.

Creado para formar parte de la familia de productos para cine

Realizar innovaciones no significa que renunciemos a los estándares de la industria. Sabemos lo importante que es la compatibilidad con otros accesorios para un cineasta. Los objetivos Irix Cine tienen un estandarizado diámetro frontal de 95mm para usar con Matte Box, un diámetro de rosca frontal de 86mm, la misma distancia de engranajes en la familia cine (futuros desarrollos), estandarizados 0.8 engranajes de paso, ángulos de rotación unificados y peso similar. El objetivo Irix Cine 150mm T3.0 está equipado con un soporte extraíble con rosca de ¼” que estabiliza al objetivo cuando se usa Follow-Focus y protege la montura de la cámara. El soporte puede desinstalarse desde la parte inferior o superior del objetivo para mayor comodidad durante el uso.

Monturas de cámaras disponibles

El nuevo Irix Cine 150mm T3.0 Macro 1:1, así como los futuros objetivos Irix Cine, serán compatibles con monturas: Canon EF, Sony E, Micro Cuatro Tercios y PL.

Precio y disponibilidad

El precio y la disponibilidad del Irix Cine 150mm T3.0 Macro 1:1 se anunciará próximamente.

Más info: https://irixlens.com/ y https://www.foto24.com/irix

El post Irix Cine 150mm T3.0 Macro 1:1 fue publicado por primera vez en DNG Photo Magazine.

https://ift.tt/2kbpiPT via Fotografo Barcelona

[slrlounge1]

Real Estate Photography Equipment Guide | Cameras, Lenses, Accessories, & Editing Software

This is the third article in our series about real estate photography; how to shoot the photos, process them, and how to be successful in business.

In this article, we will go over all of the equipment you’ll need to achieve professional results, including cameras, lenses, tripods, flash, and other accessories. Of equal importance, indeed, we will discuss the editing software required for professional real estate photography.

The good news is, you just don’t need a lot of expensive gear! Real estate photography isn’t a fast-action sport or another highly demanding genre, therefore, the equipment is rather straightforward. Even a modest budget can get you started and deliver professional results.

Similarly, you don’t need to master complicated processing techniques, although a basic understanding of exposure, raw processing, bracketing, and layer masking will be helpful in many situations. We’ll cover the final post-production in a future article.

First and foremost, focus on practicing your craft. Focus on creativity, and working efficiently, and of course, making sure your customers are happy. Get to know each piece of equipment, so that there are no surprises or frustrations whenever you’re with a client.

A big thank you to HDRsoft, creators of Photomatix, for sponsoring this education and helping our community of photographers.

The Right Tripod for Real Estate Photography

A good, sturdy tripod will make it easy to capture sharp, clean images inside dimly lit rooms, where your shutter speeds are often measured in seconds.

Whenever photographers ask for tripod recommendations, they usually ask which tripod is cheap, lightweight, and portable, most likely to be used for travel and casual landscape photography.

However, for real estate photography, a flimsy, lightweight tripod is not the best idea! Your camera’s support system is going to be your companion for many of the jobs you do. Therefore, the absolute best tripod for real estate and architectural photography is a big, tall, sturdy one.

Furthermore, having a solid, heavy tripod will really help to keep your images framed perfectly from one shot to the next, which will minimize your need for using alignment functions in post-production, whenever you need to create an HDR or other composite images.

Here’s the good news: big and heavy tripods can still be affordable! Name brands such as Manfrotto and Slik offer decades of experience making dependable quality tripods, at a relatively affordable price. Our top recommendations are the Manfrotto 190X series or 055X series, or the Slik 500DX or 700DX series. These tripods can all be found for around $100-200 new, or even less if you shop used.

Of course, if you travel a lot, or walk very far with your gear a lot, then it might be helpful to have a lightweight travel tripod, too. There are numerous options in the $200-300 range that weigh just ~2 lbs; one favorite being the Slik Lite series. (Either way, just avoid cheap/generic brands!)

Tripod Heads: Ballhead Versus 3-Way Head

Many tripods do come with both legs and a head, however it is also not uncommon to buy them separately.

If you do get a ball head separately, the question becomes, what type should you buy? Ball heads can be quick to set up at first, however, precision is difficult. A 3-way leveling head, or even a geared head, offers the highest precision, and is actually faster to achieve perfection once you get familiar with it.

Unfortunately, high-tech geared heads are a bit more pricey, whereas ordinary ballheads abound in all price ranges, and are often included together with legs. At the high end, a geared head such as an Arca Swiss C1 Cube, D-4 Monoball, or L60 Leveler are precision professional tools. As an affordable alternative, a Slik Leveling Unit, or any tripod with a leveling center column, can be a good way to quicken the pace of your workflow.

If you happen to buy tripod legs without a head, there are plenty of ordinary ballheads on the market, from name brands such as Slik, Manfrotto, Gitzo, and Really Right Stuff, to affordable alternatives such as Oben and Benro.

The Best Lens for Real Estate & Architectural Photography

While having a solid foundation to shoot from is essential, having the right focal length lens is equally important. Real estate photography involves shooting a range of subjects, from vast exteriors to cramped interiors, therefore, one job could require medium, ultra-wide, and telephoto focal lengths.

Exteriors of a home or commercial property are often easy to photograph with a normal (mid-range) zoom such as a 24-70mm f/2.8 or 24-105mm f/4. On APS-C crop sensors, the common mid-range zoom lenses are 18-55mm or 16-50mm.

However, for interiors or anything where space is tight, you’ll likely need a lens that goes even wider. On full-frame, the two most common focal ranges are 14-24mm and 16-35mm, or on an APS-C crop sensor, 10-20mm and 10-24mm are common.

Here is the good news: the lens’ aperture doesn’t need to be very fast, because you’ll be shooting with your aperture stopped down to f/8 or so for depth of field almost anyways. Therefore, affordable ultra-wide lenses such as f/4 zooms or even variable aperture zooms are great choices, saving you hundreds or even thousands of dollars. Similarly, both name-brand and third-party lenses are great, especially when stopped down just one or two stops.

The ultimate “exotic” ultra-wide lenses for real estate interiors are currently the Canon 11-24mm f/4 L, Nikon 14-24mm f/2.8, Sony 12-24mm f/4 GM, and Sigma 12-24mm f/4 Art.

(Approximately 14mm)

On the affordable end, there are plenty of ultra-wide lenses that are almost as good as the exotic options, when their aperture is stopped down: Consider a Rokinon 14mm f/2.8, or the Tamron 15-30mm f/2 VC, Irix 11mm, Laowa 12mm f/2.8, …or a 16-35 mm f/4 from any brand. One of the most affordable full-frame ultra-wide lenses for DSLR shooters is the Tokina 17-35mm f/4. 17mm may not sound like it is that much wider than 24mm, however it can make a huge difference when photographing indoors!

Great crop-sensor lenses include any of Tokina’s DX lenses that go as wide as 11mm or 12mm, or other lenses that get to 10mm even. (Canon, Nikon, and Sony all make multiple options which are extremely affordable; Nikon’s 10-20mm AF-P is just $250 when it’s on sale!)

Tilt-Shift Lenses for Real Estate Photography

(Note how all vertical lines in the image are actually vertical)

Any ultra-wide lens will get the job done, but there are also specialty lenses which are made primarily for architecture and real estate work: tilt-shift lenses. The question is, do you need one?

(Un-corrected, vertical lines may appear to “slant” even though they should not)

A tilt-shift lens is an incredibly useful tool that allows you to shoot images of buildings/rooms and have all the vertical lines (walls, doors, pillars, etc) stay vertical, instead of “leaning” up or down whenever you angle your camera up or down.

The most common architectural tilt-shift lens is usually a 24mm focal length; Canon, Nikon and Rokinon all make a 24mm tilt-shift lens. Canon also makes a 17mm TSE, and Nikon makes a 19mm PCE, and both also make mid-range and telephoto lenses if your job has a particular need.

So, how badly do you need a tilt-shift lens? The honest truth is that it’s not critical. There are ways to work around the problem of your vertical lines leaning. You can of course try to correct this in Photoshop or Lightroom, however, you can also achieve a similar result in-camera by shooting the image perfectly level at an extremely wide focal length, and then in post-production just crop the final composition.

If your lens goes as wide as 11mm, 12mm, or 14mm, (on full-frame) then you can heavily crop your images and get roughly the same perspective as a ~24mm tilt-shift lens. If your camera has 30-50 megapixels, and especially if your client is only doing low-resolution online listings or small printed ads, then you’ll have plenty of image resolution left after a severe crop.

In short, getting a tilt-shift lens is mostly a matter of in-the-field convenience and perfection, and although it’s a fantastic tool, in our opinion it’s not truly necessary unless you’re shooting a lot of very high-end work. (Consider it a reward that you treat yourself to once you’ve achieved much success in business, and not a tool that you absolutely need for your very first job.)

The Right Camera Body For Real Estate Photography

We’re going to be totally honest here- as far as camera bodies are concerned, you just don’t need an “exotic” camera body. Why? Because real estate photography doesn’t require features like extremely high frames-per-second, (FPS) or advanced subject tracking autofocus. Your main priorities are simple: a camera that provides great image quality from its raw files, plus good bracketing features and a flash hotshoe.

Thankfully, even beginner cameras these days have great image quality at their lower ISOs, as well as basic bracketing features and of course a flash hotshoe. Higher-end, professional cameras do offer more resolution, greater dynamic range, and more advanced bracketing functions, of course, but using proper shooting technique (and the right lens) will be the most important factor when it comes to the final image. Also, many wireless camera control apps offer remote control for exposure and image preview.

In fact, you should probably pick your camera based on the other types of photography you do, such as portraits, action sports, or landscape photography.

Crop-Sensor Versus Full-Frame Cameras for Real Estate Photography

In many genres of photography, owning a full-frame camera and lenses can offer significant, game-changing advantages.

However, with real estate photography, we’ve already made the shooting method very clear: you’re going to be using a tripod a lot, and shooting at a relatively low ISO such as 100-400 whenever possible. You’re also going to want everything in focus, instead of having a blurry background or foreground.

Because of these shooting conditions, an APS-C or even Micro Four Thirds camera system will adequately get the job done, as long as you have the right focal length for the job, and practice correct technique. So, nail your exposures and bracket for more dynamic range whenever necessary!

Whatever sensor format you choose, the important thing is the lenses! Be sure to pick a camera body that has enough wide-angle lens options for real estate photography, and are within your budget.

Wireless Flash for Real Estate Photography

This piece of equipment may be the most intimidating for a photographer who has not photographed portraits or similar subjects, but it is still quite simple! When working with flash in real estate photography, the professional results that you can achieve are worth it, specifically when using wireless flash off-camera to either bounce off a ceiling or directly illuminate subjects in a room with a diffuser such as an umbrella.

Our basic, beginner recommendation is both affordable and simple to use: one or two Yongnuo 560III or 560IV hotshoe flashes, and a Yongnuo 560TX radio transmitter/controller. It’s an all-manual flash system that lets you wirelessly control the power (brightness) of the light output. This flash isn’t built very tough, but it still makes a great starter flash for the money. if you ever upgrade to something else, it can stay in your bag as an emergency backup. Paid professionals should always have a backup!

If you do also shoot things like portraits or weddings, then of course you might want to consider a hotshoe flash that offers features such as HSS and TTL. In this realm, there are both name-brand wireless flashes, and more affordable models from Yongnuo and others.

Our medium budget recommendation is still relatively affordable: A Godox AD-series flash, such as the AD200, AD400, or AD600. Each of these offers a lot more flash power in a single flash, without breaking the bank. The AD200 is a more portable sized strobe, almost the size of a hotshoe flash, while the AD400 and AD600 are true strobe flashes which offer even more power.

Our high-end recommendation is, of course, the best in the business: Profoto strobes offer extreme reliability and durability, and significantly more power than any hotshoe flashes. They’re pricey, but they will absolutely last far longer, and will be far more reliable, whether you get one of the more affordable models such as the Profoto B2, or the cadillac of strobes, the Profoto B1.

Other lighting equipment you may need: a light stand, either heavy-duty or lightweight, is really helpful, especially if you ever work alone. You may also want a simple shoot-through umbrella for illuminating a room or specific subjects with soft, diffused light.

Is Wireless Flash Too Complicated For a Real Estate Job?

Bounced flash is the easiest way to begin adding illumination to a room (The flash is pointed at an area behind the camera that is not in the image)

If you’re afraid of even trying wireless flash, the easiest thing to do is to just dive in and play with it! With manual power (brightness) flash, it’s as easy as setting your camera’s exposure: just start shooting, and if the flash is too dark, or too bright, dial the flash power up or down and see how the lighting improves.

The hardest part is simply getting to know the interface of the flash itself, but this is one of those times when the only thing to do is get out the user manual and go through it.

Keep in mind that if you go down the path of using wireless flash in your photos, it will add time to both shooting and post-production. Some jobs are super quick, with only a few minutes to shoot, and require rapid turnaround time.

Often times, you may discover that you can perfectly illuminate the room with a single light, but there is a window or mirror which betrays the flash’s presence and brightness. Or, you may realize that you need to illuminate two or more different parts of a room separately. Sometimes, you may even have to stand in the photo in order to perfectly illuminate something.

So, what many photographers do is capture multiple photos with the various parts of the image lit perfectly, and then layer them all together in Photoshop. Using layer masks, you can “erase” any flashes, light stands, bright reflections, or people from the final image.

However if you’re not careful, you can wind up spending an hour or more on a single image! So, try and keep the use of wireless flash and composite frames as minimal and simple as possible.

Wireless Image Review & Camera Control Tools For Shooting Remotely

If you’re shooting from a tripod and walking around a room to trigger a flash or change the ambient light, (getting images with lights switched on and off) it can be extremely frustrating to have to walk back and forth to your camera repeatedly for just one final image. It can also be rather frustrating if your lens isn’t wide enough, and you realize that to get the shot you need to put your camera right up against a wall, or even in a corner where you simply can’t see the viewfinder or rear LCD at all. (Unless you have a fully articulated LCD!)

What some real estate photographers do is, use a wireless camera control tool such as a Camranger, or if the camera has it, the built-in wireless functionality that pairs with an app on your phone. Some apps even allow you to change your exposure or focus wirelessly, in addition to clicking the shutter and reviewing photos. No more walking back and forth across a room five times just to get one photo!

Aerial Real Estate Photography Equipment | Drones & Camera Poles

Drones have become incredibly popular lately, and almost every genre of photography has realized the benefits of being able to put a camera up in the air. Real estate photography is definitely one of those types of photography that can greatly benefit from aerial photo and video.

Thankfully, all of the latest popular drones from brands like DJI, such as the Phantom 4 Pro, Mavic Pro, and Mavic Air,  include both raw image capture and auto-bracketing, for epic aerial photos of a property even in tough light, resulting in beautiful images if processed correctly.

The Right Processing Tools for Real Estate Photography

Of course, even if you have a solid tripod, a great camera, and the perfect lens for the job, you still need to know how to edit the images you take, and what tools to work with.

A raw processing program is a must-have for all professional work, and real estate work is no exception. In many scenes, indoors and outdoors, dynamic range can be extremely wide, requiring heavy edits to your shadows and highlights, or bracketing and merging of an HDR image.

You may also need to process HDR images in large batches for certain jobs that require multiple, similar images of a room or property.

Adobe Lightroom and Photoshop can get a lot done with raw files by themselves, as well as a basic interface for bracketing exposures and panoramic stitching, but they’re not always enough, and batch processing is not practical.

Click Here To Learn More About Adobe Lightroom

HDR software such as Photomatix Pro offers professional control for managing the dynamic range in both single and bracketed images, as well as full batch processing for jobs that require numerous bracketed HDR images.

Click Here to Learn More About Photomatix

Real Estate Photography Gear | Recap & Conclusion

You need a solid tripod. Heavier is a not a bad thing, because any photo shoot could involve slow shutter speeds, and likely bracketing or composite blending.

Almost any camera will do. Remember, the body is only part of the equation; the right lens is just as important, if not more so!

The right ultra-wide angle lens for the job. On full-frame: 16-35mm, 14-24mm, or similar ultra-wide lenses are extremely useful. On APS-C crop: 10-20mm, 10-24mm, or similar lenses are great. On Micro Four-Thirds: look for  7-14mm or similar range lens.

Camera settings: Shoot at a lower ISO such as 100-400, with the aperture stopped down for sharpness and depth. Then, vary your shutter speed to achieve the correct exposure, or if bracketing multiple exposures is required.

A remote trigger or wireless app is very useful. You can use self-timer too, but the remote operation is really worth it, and sometimes free!

Use wireless flash for illuminating interiors or exteriors, but only if you like the look it gives compared to bracketing natural light, and if your job schedule allows the extra time for shooting and processing.

Bracket multiple exposures when necessary to ensure detail in highlights and shadows. Most cameras offer bracketing of 3-7 frames, in 1-2 EV increments.

Post-processing software: Lightroom, Photoshop, and HDR software offer a seamless workflow for preparing raw files, merging bracketed exposures, or creating composite images in tricky situations.

In our next article, we’ll actually get on-location, shoot some photos, and post-produce them, covering all the important details to ensure great quality, a quick shooting workflow, a rapid turnaround time, and last but likely most importantly, a satisfied client!

Click Here to Read A Complete Overview of Real Estate Photography

Click Here to Read About The Business & Pricing of Real Estate Photography

Be sure to read our previous articles that give a brief introduction, and help you to get started with the pricing and business side of real estate photography. Also, stay tuned for more tutorials in the future!

from SLR Lounge https://ift.tt/2OkkqCQ via IFTTT

[diegoricol]

Diego Ricol Freyre recomienda: Diego Ricol recomienda: Cámaras, objetivos accesorios de fotografía y más ofertas en cazando gangas

Un viernes más volvemos con nuestro Cazando gangas con las ofertas de fotografía más interesantes que hemos visto en las principales páginas de e-commerce. Todo para que puedas conseguir esa cámara que tanto querías un poco más barata o complementar tu equipo por un buen precio.

Por cierto que este fin de semana la Fnac celebra sus Días del Socio en los que ofrecen un 15% de descuento (10% directo y 5% indirecto) en un montón de productos de tecnología. Pero vamos ya con nuestra selección de hoy:

Ofertas en cámaras

Si prefieres un modelo de la misma marca pero algo menos avanzada y con un sensor APS-C, echa un vistazo a la Canon EOS 77D que se puede comprar por 899 euros , sólo cuerpo en Amazon, o por 1.099,90 euros con el objetivo EF-S 18-135 IS USM en Fnac.

Si te gusta el sistema de espejo traslúcido de Sony ahora tienes la oportunidad de conseguir una Sony A77 II con objetivo 16-50 mm por 1999 euros en Amazon.

Si lo que estás buscando es una sin espejo pequeña y ligera, hace unas semanas te contamos la oferta de la Canon EOS M100. Pues bien, ahora se puede conseguir aún más barata en color negro: Sólo 397 euros en Amazon con el objetivo EF-M 15-45 mm.

Y si lo que estás buscando es una cámara sencilla pero capaz con la que no tengas que preocuparte ni de cambiar objetivos, tienes una bridge como la Sony DSC-H300, con 20,1 Mpíxeles y zoom de 35 aumentos por 159 euros en Amazon.

Ofertas en objetivos

Si quieres un objetivo todoterreno para una réflex Canon con sensor APS-C (como la EOS 77D que te hemos mostrado antes), no te pierdas el Sigma 18-200 mm f3.5-6.3 EO DC OS MACRO HSM Contemporany en montura Canon que está en oferta por 169 euros en MediaMarkt.

Y si en vez de una Canon tienes una Pentax y te apetece añadir a tu equipo un ultra gran angular, no te pierdas este Irix IL Firefly 11 mm f4 con montura K por 404,99 euros en Amazon (precio mínimo).

Ofertas en accesorios

Si buscas una bolsa económica para una cámara que no sea muy grande echa un vistazo a esta Case Logic TBC-405 que cuesta 9,90 euros en Amazon (precio mínimo este año). Y si prefieres una aún más pequeña, para una compacta, no te pierdas la Case Logic TBC-404 que cuesta sólo 7,90 euros, también en Amazon.

Y si sigues una de nuestras recomendaciones y te compras una Canon EOS M100 te interesa saber que en El Corte Inglés tienes en oferta varias carcasas para personalizar la cámara con descuento desde 41,18 euros.

Ofertas en almacenamiento

Si necesitas una Tarjeta de memoria con buena capacidad, y la quieres comprar a buen precio, echa un vistazo a esta SanDisk SDXC de 128 GBytes Clase 10 hasta 80 MB/s por 35,86 euros en Amazon.

Como siempre, también te ofrecemos una alternativa en formato MicroSD. En este caso una Samsung MicroSDXC EVO 2017 Clase 10 de 64 Gbytes con adaptador incluido por 16,99 euros en PC Componentes.

Otra oferta interesante que hemos encontrado es el SanDisk Extreme – Portable SSD 250 GB, un disco duro externo muy rápido y preparado para resistirlo todo, que se puede comprar por 87,90 euros en Amazon (precio mínimo).

¿Más ofertas?

Si tras todo esto nuestra sección se te queda corta, puedes estar al día y en cada momento informado de las principales ofertas en los cazando gangas de Xataka, Xataka Móvil, Xataka Android, Vida Extra, Espinof y Applesfera, así como con nuestros compañeros de Compradicción y también en esta revista de Flipboard.

Y también os recomendamos varios artículos sobre las compras fuera de España y cómo funcionan las aduanas y sobre el tema de las garantías realizados por nuestros compañeros de Compradicción.

Nota: algunos de los enlaces aquí publicados son de afiliados. A pesar de ello, ninguno de los artículos mencionados han sido propuestos ni por las marcas ni por las tiendas, siendo su introducción una decisión única del equipo de editores.

Foto de portada | Wikipedia

Compartir Canon EOS 6D Mark II y EOS 77D, Sony A77 II y más cámaras, objetivos y accesorios en oferta: llega Cazando Gangas

Ver fuente

Ver Fuente

[akemoi]

Irix 150 mm f/2,8 macro : maousse costaud

http://dlvr.it/Qldw8K

[trainingcoursesindubai]

#Repost from @cindy_capo_. Regrann from @usinterior - Check out this stunning night sky photo at the beautiful #RubyBeach in #Washington’s Olympic National Park. Evan Kokoska went to get sunset pictures, but when that didn’t pan out, he stayed for the consolation prize -- the #MilkyWay. Of the experience, he says, I “framed the rising Galactic Core at about mid-tide while the partial moon was just setting (which provided just a touch of natural light for the landscape). I love the challenge of working reflections with the tide and was grateful that it was a fairly warm evening. As can also happen on the Pacific coast, there was a slight marine layer of fog (as was quite evident when I turned on my headlamp), but this was fairly manageable.” Photo @olympicnationalpark courtesy of Evan Kokoska (@evankokoska). Single Image Nikon 850 Irix 15 mm f/2.4 @ ISO 16000 30 sec. LR + PS. #usinterior #nationalpark #findyourpark #travel #olympicnationalpark — view on Instagram https://ift.tt/2PhpXcy

[cindycapo]

Regrann from @usinterior - Check out this stunning night sky photo at the beautiful #RubyBeach in #Washington’s Olympic National Park. Evan Kokoska went to get sunset pictures, but when that didn’t pan out, he stayed for the consolation prize -- the #MilkyWay. Of the experience, he says, I “framed the rising Galactic Core at about mid-tide while the partial moon was just setting (which provided just a touch of natural light for the landscape). I love the challenge of working reflections with the tide and was grateful that it was a fairly warm evening. As can also happen on the Pacific coast, there was a slight marine layer of fog (as was quite evident when I turned on my headlamp), but this was fairly manageable.” Photo @olympicnationalpark courtesy of Evan Kokoska (@evankokoska). Single Image Nikon 850 Irix 15 mm f/2.4 @ ISO 16000 30 sec. LR + PS. #usinterior #nationalpark #findyourpark #travel #olympicnationalpark @edaccessible @CWcream @Capochino67

[instapicsil3]

Check out this stunning night sky photo at the beautiful #RubyBeach in #Washington’s Olympic National Park. Evan Kokoska went to get sunset pictures, but when that didn’t pan out, he stayed for the consolation prize -- the #MilkyWay. Of the experience, he says, I “framed the rising Galactic Core at about mid-tide while the partial moon was just setting (which provided just a touch of natural light for the landscape). I love the challenge of working reflections with the tide and was grateful that it was a fairly warm evening. As can also happen on the Pacific coast, there was a slight marine layer of fog (as was quite evident when I turned on my headlamp), but this was fairly manageable.” Photo @olympicnationalpark courtesy of Evan Kokoska (@evankokoska). Single Image Nikon 850 Irix 15 mm f/2.4 @ ISO 16000 30 sec. LR + PS. #usinterior #nationalpark #findyourpark #travel #olympicnationalpark https://ift.tt/2M9niUq

[clayhaus]

Rho Ophiuchi Cloud Complex A colorful star-forming regions approximately 460 light years distant. The interstellar clouds of gas and dust contain both red emission nebulae and blue reflection nebulae. The dark brownish lanes (the largest one is called the Dark River and stretches nearly 100 light years) are caused by dust grains, created by the stellar atmospheres, which effectively block the starlight emitted behind them. The bright yellow star at the bottom right-center is the red supergiant Antares. Just to the right of Antares is M4, a globular star cluster. Photo Details: Pentax K-5 Hydrogen-Alpha modified camera w/ 150 mm Irix lens; f/2.8; ISO 1600; 23 sec. x 69 subs = 26.45 minutes total exposure; no calibration frames. IOptron SkyTracker Pro. Processing w/ Astro Pixel Processor, PixInsight & Photoshop. #astrophotography #astronomy #cosmos #nebula #nebulae #stars #clayhausphotography (at Stansbury Island) https://www.instagram.com/p/CE2g3DwhL3F/?igshid=f5dy2ka8alnr

[thephoblographer]

The Sigma 14mm f1.8 DG HSM Art lens is the fastest aperture wide angle lens that you can currently find on the market, and it’s perfect in so many ways for the photographers that do astrophotography as well as those who photograph interiors in low lighting. The fast f1.8 aperture along with the autofocusing will suit these photographers well. However, the moment that you try to attach a filter to the lens is when things start to go weird. It’s very difficult to do despite many lens options on the market finding ways to make this easier. At the same time, photographers can argue about how modern day sensors are so good at getting the image that you may not need those filters. But the same argument can be made for high ISO output–I mean, why would you need an f1.8 lens? Let me restate that: why would you need an f1.8 wide angle lens?

Despite my questions and reasoning with just how good modern optics and cameras are, the Sigma 14mm f1.8 DG HSM Art lens is a fantastic, and innovative lens for pretty much any photographer out there that needs a wide angle prime lens.

Pros and Cons

Pros

Sharp image quality

Keeps distortion down to a minimum

Fun to use

Great look overall to the scenes that you get

Images look fantastic in black and white

Weather resistance

F1.8 aperture is nice for really low light shooting

Cons

I wish that there were a way that I could attach a filter to the front.

Gear Used

The Sigma 14mm f1.8 DG HSM Art was tested on the Canon 6D and the Canon 6D Mk II.

Tech Specs

Specs for the Sigma 14mm f1.8 DG HSM Art were taken from the Sigma website

SPECIFICATIONS

Lens Construction 16 Elements in 11 Groups Angle of View (35mm) 114.2° Number of Diaphragm Blades 9 (Rounded diaphragm) Mininum Aperture F16 Minimum Focusing Distance 27cm / 10.6in Filter Size (mm)  – Maximum Magnifications 1: 9.8 Dimensions (Diameter x Length) Φ95.4mm × 126mm / 3.8in. x 5.0in. Weight 1,120g / 39.5oz. Corresponding Mounts

Sigma HSM DG Nikon HSM DG Canon HSM DG

HSM -Hyper-Sonic Motor DG – DG for Digital Full Frame and APS-C * The appearance, specifications, and the like of the product are subject to change for improvement without notice.

Ergonomics

The Sigma 14mm f1.8 DG HSM Art is first and foremost, characterized by that big, massive front element of glass. It’s curved and feels almost like a crystal ball. It’s also prone to oil and smudges, so be careful! Oh yeah, the lens hood is permanently attached too.

Turn the Sigma 14mm f1.8 DG HSM Art to the side and what you’ll find is the Sigma Art badge. The exterior is a carbonite type of plastic or something like that. Sigma doesn’t use metal like many other manufacturers do.

On the side of the Sigma 14mm f1.8 DG HSM Art is the AF/MF switch. Generally speaking, I only use MF if I’m focused out to infinity. Otherwise, there is this big giant focusing ring that you can use in combination with this switch’s functions. The ring provides the only real grip on the lens with the exception of the fact that the head of the lens is so darn giant.

Build Quality

When you look at the Sigma 14mm f1.8 DG HSM Art, what you’ll find is this rubber gasket ring on the outside. This is part of the weather sealing. For what it’s worth, I didn’t test this lens out in the rain, but it survived a splash or two from the Atlantic ocean–and those splashes weren’t that bad at all as I stood on a pier over at Coney Island and witnessed some of the biggest waves I’ve seen in a while. I have a lot of confidence in the build quality but for what it’s worth, I still think that IRIX, Tamron and Zeiss are more superior due to their incorporation of metal into the body’s exterior. IRIX in particular is a brand that I’m very impressed by these days.

Granted, if a plastic lens takes a bump then it’s less likely to affect the alignment of the elements. But metal prevents that in the first place.

Ease of Use

Using the Sigma 14mm f1.8 DG HSM Art is pretty simple. Screw it onto the camera, autofocus, and shoot. That’s it. But where it really starts to change is with the manual focusing that you’re going to need to do to shoot scenes at infinity. What I’m really in love with though is the fact that for the first time with a lens from the Global Vision project, Sigma incorporated a zone focusing system into the autofocus. That’s awesome!

Autofocus

On both the Canon 6D and Canon 6D Mk II, the focus was pretty much always accurate. In fact, even in low lighting the cameras and lens never missed focusing unless I wasn’t using the center focusing point. You need to expect this with the Canon 6D series of cameras though. They still are my favorite over the 5D series. I can’t imagine anyone shooting super fast moving subjects with the Sigma 14mm f1.8 DG HSM Art though, so don’t worry about needing to have the fastest focusing with such a wide angle lens anyway.

Image Quality

The Sigma 14mm f1.8 DG HSM Art is a lens that you’re not going to really have any sort of trouble with as long as you combine it with a high megapixel DSLR of some sort. At the lower megapixels, you may complain about sharpness until you zoom all the way in on a computer to see how stupidly, amazingly sharp this lens is wide open at f1.8. It’s very useful and pretty fun to work with. Then there are other things like the color.

Bokeh

Because I know that someone is bound to sit there and complain about the bokeh, you should know that it’s nice bokeh indeed. Is it creamy? No. You’re not going to get that from a wide angle lens. But to its point, the Sigma 14mm f1.8 DG HSM Art has the closest thing to creamy bokeh that I’ve seen from any sort of wide angle prime lens. As it is, you don’t buy this lens for the bokeh.

Pro tip though: because of the contrast that this lens has, it has a really beautiful look when shooting in black and white.

Chromatic Aberration

While some folks may say that lens flare is chromatic aberration, I embrace it. This lens has a lot of flare but surprisingly manages to keep the fringing down. Embrace the flare is what I say!

Color Rendition

The Sigma 14mm f1.8 DG HSM Art is like many of the company’s other wide angle lenses, very contrasty and very saturated. Perhaps they designed it for landscape photographers and this is why you get that look. Those colors and contrast translate well into beautiful black and white images.

Using the Sigma 14mm f1.8 DG HSM Art with Ilford Pan F 50 Film

The Sigma 14mm f1.8 DG HSM Art was loaded up in my Canon EOS 33 and used with Ilford Pan F 50 film. In the right situations, the film looks great with this lens. But the lens also has a whole lot of contrast that I don’t think works so great with what’s the equivalent of slide film. It’s hit or miss; but when you hit it, you really hit it! More of this can be found over at La Noir Image with a subscription.

Sharpness

Wide open the Sigma 14mm f1.8 DG HSM Art is super sharp. But as you stop down it becomes even sharper. For the most part though, it’s designed to be used wide open.

Extra Image Samples

This slideshow requires JavaScript.

Conclusions

Likes

Sharp wide open

Beautiful for black and white photography

Weather sealing

f1.8 aperture

Dislikes

I really think that it’s time that Sigma start making lenses like these for Sony E Mount

The Sigma 14mm f1.8 DG HSM Art is a fantastic lens is every single way. I’ve got pretty much no issues at all with its image quality. But the reason why it’s not getting the Editor’s Choice award is because at this point, I think that Sigma makes such great glass that it’s normal to expect this. This is the company that made an 18-35mm f1.8 lens and a 24-35mm f2 lens. their innovation game is strong in terms of traditional features like a Sigma 14mm f1.8 DG HSM Art being created. But I’d like to see more. For example, IRIX lenses have a clicky area that tells me when something is an infinity. The writing can also glow under a black light. Considering that this lens is designed to be used for astrophotography, I’m shocked that the text doesn’t glow in the dark at all. It would make heading out to the shoreline and looking at the text on the lens so much easier.

Still though, as far as sharpness, colors, and overall image quality go, this lens can’t be beat.

The Sigma 14mm f1.8 DG HSM Art wins five out of five stars. Want one? Check out Amazon for the latest prices.

The Sigma 14mm f1.8 DG HSM Art is such a fun lens to use! The Sigma 14mm f1.8 DG HSM Art lens is the fastest aperture wide angle lens that you can currently find on the market, and it's perfect in so many ways for the photographers that do astrophotography as well as those who photograph interiors in low lighting.