CLICK HERE to pre-order the 24-70 from B&H

No doubt in anticipation of the forthcoming Canon 5D mk3, Canon has updated the last “mk1″ L lens in it’s lineup of pro-grade f/2.8 zooms: the venerable workhorse, 24-70 f/2.8 L USM.

Isn’t she a beauty?  Apparently this new version is even lighter than the old version, by a whole 5 oz! (YAY!!!)

It will probably set you back “only” $2300.  OUCH.  For a lens without stabilization, and a jump to 82mm filter threads, …this baby had better be FLAWLESSLY sharp, with super creamy bokeh!  We’ll find out soon enough; it will be available as early as April of this year.

Indeed, the new short-and-stubby design has brought us to the 82mm filter thread size, instead of the previous pro standard of 77mm.  This makes the THIRD 24-70 2.8 lens to hit 82mm filter threads, the two others being the latest  Sigma 24-70 and (also brand new) Tamron versions.  Currently the only other mainstream Canon lens with 82mm filter threads is the 16-35 f/2.8 L mk2.

Also,  I notice that it appears that the lens hood will mount on the moving part of the lens barrel; if the lens barrel moves at all.  If this is the case, then I fear the hood will be much smaller and less effective at both stopping flare, and protecting against bumps.  (The current 24-70 L has a nice beefy hood that acts as an airbag against any impact on that side of the lens.)  I guess it’s a good thing they’ve apparently improved the build quality, and included a zoom lock switch plus fluorine glass coatings to discourage finger smudges etc.

All in all, I’m sure the lens is sharp as a tack and (almost) worth every penny!  You can pre-order the new 24-70 L HERE from B&H…  :-)

You might be interested to know that the new Tamron 24-70 2.8 DOES have stabilization, though.  If the price is right, (sub-$1K?) …I’m sure that MOST hobbyists will prefer this option, even many professionals too!  Check out the Tamron press release HERE.

NOW, back to new Canon lenses!

The other two new Canon lenses, which I am actually quite excited about as an outdoor photographer and low-light photojournalist, are the 28mm and 24mm f/2.8′s, both with IS! (Image Stabilization)  This is a HUGE first for Canon, or ANY other company for that matter; to have full-frame primes with stabilization!   (Aside from Sony of course, which has sensor-based stabilization that works when using ANY lens!)

As much as I find myself often *requiring* a 24-70 2.8 to get a job accomplished, I do love primes.  They’re so small and light and sharp, …and now they’re stabilized!  Honestly if I were an outdoor photographer with a 5D mk2, I’d be jumping for Joy right now..  Now all Canon needs to do us update their aging 50mm f/1.4…  (with or without IS, I don’t care!)

The 24mm f/2.8 IS will retail for $850, and the 28mm f/2.8 IS will retail for $800.  You can Pre-order the 24mm HERE, and the 28mm HERE, from Adorama.   That’s pretty pricey, but again I’m betting that these are going to be some of the ONLY lenses capable of fully utilizing the next generation of high-resolution DSLR sensors!  With the megapixel race continuing, we are actually out-resolving our lenses quite often.  The Canon 50mm f/1.4 is a great example of this-  it just wasn’t made to resolve tons of megapixels in the extreme corners on a full-frame camera.  Canon will probably update the 50mm f/1.4 some time this year, maybe in tandem with the 5D mk3 announcement which should be coming in 2-3 weeks…  (Otherwise, honestly, I usually recommend the Sigma 50 f/1.4 to most Canon users.  It’s so sharp, and quality-built!)

Happy shooting,
=Matt=

(Get it HERE at Amazon, …when it becomes available!)

• $2999!!!  ($3299 for the version without an AA filter, for extreme-detail landscape photography)

• 36 Megapixel CMOS sensor (Pprobably made by Sony, but perfected by Nikon.  Don’t expect the Sony equivalent to come close in low-light performance, if the D3X vs A900 was any indication…)

• ISO 100-6400 native, with “LO” at 50 and “HI-HI-2″ at 25,600

• Same new AF design as the D4, same 51-point configuration but supposedly much improved over the previous generation. (It has face detection?)

• 4 FPS in FX mode without a battery grip, 6 FPS with DX crop mode with the battery pack (16 megapixels)

• 100% viewfinder, instead of 98% like on the D700

• 3.2″ LCD display (up from 3.0″ in previous generations)

• Built-in HDR function, like the D4 and the Canon 1DX.  Cool!

•  200,000 click shutter life (up from 150,000 clicks from most previous “semi-pro” bodies)

• Dual Card slots, CF + SD

• 1080p HD video at 30 FPS, 720p video at 60 FPS etc.

• Slightly re-organized control buttons, including a “REC” button near the exposure mode button, and a “Still / Video” switch where the Dynamic AF selector used to be.

• USB 3.0 connection  (Great for tethering, for those crazy peeps who want to shoot 14-bit un-compressed 36 megapixel RAW images!)

• New battery style, with a lower rating that the D700.  (HOWEVER, Nikon claims that it will last LONGER in fast-paced shooting environments, even though that’s not really what the D800 is made for lol)

• No word yet on a model without the AA filter, if such an option exists it will either e announced within a few minutes, or much later. (Days / Weeks / Months

…Finally, two and a half years after the release of Nikon’s highly successful D700, we have a successor.  …Or do we?  THIRTY SIX MEGAPIXELS?  To most, this isn’t so much of a D700 replacement as it is a D3X replacement.  Basically Nikon has replaced, in fact totally blown away, their $8,000 D3X flagship with a $3,000 camera.  Say WHAT?

Actually, Nikon has had a long history of  NOT being afraid to develop a more affordable camera that totally under-cuts it’s previous, more expensive model.  First, in 2003 the D70 versus the D100. Then, the D300 versus the D2X.  Then, the D700 and the D3.  Now, the D800 and the D3X.  This is one of the reasons why I like Nikon as a brand- they always outdo themselves, on a level that I can afford.

Either way, the difference between “upgrade” and “replacement” is becoming very clear:  Yes, the D800 is an upgrade from the D700 in almost every way.  But does such a quantum leap in resolution qualify as everyone’s concept of a “replacement”?  I guess it depends on how you shoot.

On the one hand, anyone who shoots JPG can simply turn the resolution way down, and be happy.  However for those who shoot RAW, and especially high-volume professional work, …well then the D800 will TRIPLE your workflow capacity requirements.  That, and it shoots at a slightly slower speed, (the D700 can reach 8 FPS when using a battery grip) …and will probably not be much (if any) of an improvement in the high ISO / low-light department.

Simply put, the D700 is a photojournalism /sports camera, a great backup to a D3 or D3s.  The D800 is a behemoth of a landscape / studio camera.  Could you still use it for weddings?  Certainly; I’m sure MANY will.  But personally?  I could go either way, since the improvements in video performance are not really important to me.  I could be just as happy with a used D3, or heck just a 2nd D700 to compliment the one I’ve already got.  The D800 looks like a sweet camera, and I’d love to have one.  But at least half of the features are things I either don’t need to get my work done, or simply don’t care about at all.  I’d rather have sheer speed, and absolute low-light capability.

So, who’s gonna buy one?  It does look pretty sweet, I must say…  Personally, I’m going to wait until later this month when Canon announces the 5D mk2 replacement, hopefully it gives Nikon a run for their money!!

If you’re still itching for more info on the Nikon D800, check out DP Review’s hands-on preview HERE.

Take care,
=Matt=

Unfortunately we don’t yet know anything about the sharpness, (duh!) and neither do we know my other two favorite specs, the weight and price.  However, one spec that I *AM* excicted about is, the new autofocus system that is designed similarly to Canon’s USM and Nikon’s SWM.  (Ultrasonic, Hypersonic, whatever you wanna call it)

Tokina has made some killer lenses over the years, from the famous 12-24 DX that rivaled Nikon’s 12-24 DX but for way less $$, to the newer and equally if not MORE popular Tokina 11-16 f/2.8, the ONLY ultra-wide crop-sensor lens available, and a lens that rivals even full-frame ultra-wide sharpness! Last but not least, the Tokina 100mm f/2.8 macro is a great alternative macro lens, built solid like an L lens and bristling with corner-to-corner sharpness.  Oh, and my personal favorite, the Tokina 17mm f/3.5 ATX Pro- a classic, older lens that makes a great wide-angle prime on crop-sensors, or an even more awesome ultra-wide prime on full-frame cameras!  (The widest prime available that offers filter threads, by the way, and 77mm not 82mm!)

However, Tokina’s one downfall has been a lack of the newer style of autofocus, like Canon’s USM and Nikon’s SWM or Sigma’s HSM.  This isn’t really a big deal on the wider lenses since the older style of AF can totally handle it, but when you get to the longer focal lengths you start to notice a difference. That is why I didn’t mention the Tokina 16-50 2.8 or the 50-135 2.8, both which are still amazingly sharp and built to that rugged standard that Tokina prides themselves in.  For more telephoto third-party lenses, I usually recommend the Sigma EX alternatives…

So, that’s why this is big news.  Tokina is finally beginning to offer next-generation lens technology, in addition to their usual standards of amazing sharpness and rugged quality.  As usual time will tell whether or not the lens is actually sharp, and whether or not the new AF system actually works well.  But for now I’m at least excited to see how the lens turns out!

At the very least, the release of this lens is a VERY good sign that Nikon will soon be making a 70-200 f/4 VR of their own.  For those of you elitists who prefer only name-grand glass lol, this is at least a rumbling in the right direction!  Keep your eyes peeled in case Nikon (and Canon) have more pro or semi-pro lenses to announce at the upcoming CP+ trade show in Japan this next week.

BTW, I need to clarify one reason why this particular lens and aperture excites me-  As a landscape photographer by hobby, I just kinda don’t care for f/2.8.  All it does is add extra weight for an aperture that I’m never going to use.  Canon has already proven with their 70-200 f/4 that you can get FLAWLESS sharpness out of an f/4 zoom, even though f/4 is usually designated as “amateur” glass.  So, that’s why I’m interested in f/4 zooms.  Size, weight, and price but WITHOUT sacrificing sharpness.  For landscape and other types of photography.  HOWEVER, for my full-time job, (portraits and weddings) …I do still often need f/2.8 at my disposal.  If this is the case but you’re still on a ~$1000 budget, then you can try one of the un-stabilized f/2.8′s like the older Canon 70-200 2.8 L, or the Nikon 80-200 2.8…

Take care,
=Matt=

 Tokina 11-16 f/2.8 on a Canon 7D

100% crop from 11mm and f/5.6

Tokina 17mm f/3.5 on a Nikon D70

Product Name: Black Rapid Snap-R
Cost: Point and Shoot Version $39.95
Cost: Larger Mirror & Mirrorless Camera Version $44.95
Website/Purchase: Purchase on Amazon

For an on-the-go camera bag, it really doesn’t get any better than the Snap-R Camera Bag and Strap System by Black Rapid. It is one of the most innovative and functional mini camera cases on the market. Pair its small size and sleek appearance, and you have my favorite point and shoot and micro dslr camera case currently on the market. So if you choose not to continue reading this review, or watching the video just know that it is SLR Lounge Approved!

Overview: The Snap-R Camera Bag and Strap System is yet another innovative product by Black Rapid. Upon first sight, I was under the impression that it was just another point and shoot case. However, I was pleasantly surprised when I was shown its functionality.

There are two versions of the Snap-R Camera Bag. The standard point and shoot version which is a bit smaller and is priced at $40, and the mirror/mirrorless camera version that is designed for advanced point and shoot systems which is priced at $45.

Both have the exact same functionality, so your only choice is really in choosing the proper size for your camera.

Functionality: What makes this mini camera bag and strap system so innovative is that while the camera is housed inside of the case, it is also tethered and attached to the sling strap. This does two things. First it allows you to quickly pull the camera out, slide the camera up and down on the strap to shoot at will just like a standard Black Rapid strap. In addition, it acts as a safety measure in preventing your camera from falling if it slips from your grip.

If at anytime you would like to shoot without the case, you can also remove the case from the strap, connect the strap clips and then you have a fully functional standard Black Rapid sling strap for your point and shoot camera.

On the front and back of the case are two zipper accessory pockets perfect for storing smaller items like SD cards, AA batteries, camera batteries, IDs, etc.

Conclusion: Owning the Snap-R case along with several other Black Rapid straps probably definitely would qualify me as being a Black Rapid fan-boy. But, as long as they keep coming out with innovative pieces of engineering like the Snap-R case, I can’t ever see that being a bad thing. The Snap-R case is a wonderful value at its price point, and it makes the perfect gift for the photo enthusiast in your life. I am proud to give it a 100% SLR Lounge approved stamp! Enjoy!

Post Production Pye
SLR Lounge Senior Editor
Partner of Lin and Jirsa Photography

• 16 megapixels
• ISO 100-12,800 native, ISO 50 & 25,600-204,800 in “LO” and “HI” modes
• 10 FPS, 11 FPS without autofocus,
• 1080p video, w/ un-compressed output via HDMI
• Video crop modes, up to 100% sensor magnification (2.7x crop) at 1080p
• Some sort of in-camera HDR mode
• In-camera time lapse compositing, for the in-camera intervalometer
• XQD & CF memory card slots (XQD is a new format designed by the creators of CF)
• Significant improvements in metering and autofocus
• An AMAZINGLY advanced remote control system (using the WT-5 accessory) for iPads and smartphones
• Oh, and illuminated buttons!  COOL!
• $6000 USD price tag

Pre-order it HERE on Amazon, or HERE at Adorama, …or get the 85mm f/1.8 AFS-G here on Amazon, too.  (At $500, it sure is a lot more affordable than the D4!)

Let’s compare that to Canon’s 1DX, briefly:

• 18 megapixels
• ISO 100-54,200 native, ISO 50 & 108,400-204,800 in “LO” and “HI” modes
• 12 FPS, 14 FPS without autofocus(?)
• 1080p video
• Some sort of in-camera HDR mode, but no time lapses etc.
• New 61 point AF system and new 100,000 pixel metering system
• $6800 USD price tag

On paper, you could argue that Canon is a winner, given the number of specs that are slightly higher than the Nikon.  OR you could argue that for $800 less, Nikon has come up with a camera that is perfectly capable of doing everything that the 1DX can do, plus some more if you’re into obscure things like time lapses and such.

Really quick, the couple things I found interesting:

• Of course, the Nikon D4′s built-in time lapse conversion. I shoot my time lapse files in JPG anyways, I know some people have always shot RAW time lapse frames, but with Nikon’s Active D-lighting system being SO good, I feel I can get JPG files with plenty of dynamic range and detail. So even though it’s mostly a novelty feature, it’s still REALLY cool and I hope to see it in all future cameras!

• Nikon’s video cropping sounds really cool. Basically, you can record full 1080p video either from the FX frame, or in DX crop mode, or as a 100% crop from the original 16 megapixels, which comes out to 2.7x crop. Um, that’s like turning your 85mm f/1.4 into an 85-230mm f/1.4 zoom! WOW, 230mm f/1.4? Yes, please!

• Un-compressed HDMI video output. …You know, to be honest I just kinda wrote off Nikon as a contender in the realm of professional video, but with the handful of ingenious functions I feel like 5D mk2 users might just get a LITTLE jealous. As far as I know Canon doesn’t have either of these features, the only video related advantages Canon might have are in the actual quality of the video, or some more obscure H264 recording format related settings that I haven’t read up on.

• In fact the only real aspect where the Canon 1DX might truly pull ahead of the Nikon D4 is, of course, the real-world image quality. On paper for example, the 1DX’s native ISO goes two stops higher than the D4, even thoughboth camera’s “HI” modes stop at the same sensitivity. Maybe the Canon is a whole two stops better with ISO in low light, maybe it’s actually just a little, or maybe the Nikon is still better. Canon has a history for achieving great high ISO performance with older generation cameras, back when Nikon was still languishing in DX land with CCD sensors, so now in 2012 I sure wouldn’t put it past them to pull ahead of Nikon, slightly. I won’t speculate any more than I must, I hate to judge image quality by specs on paper.

• My previous concerns about Nikon adding too many video-related buttons are no longer an issue. In a video I saw on Youtube, you can see that the D4 menu allows for a LOT of button customization. This is one of the main reasons why I shoot on Nikon; the button customization is just phenomenal and it allows me to shoot so much more effortlessly on a D700 than with, say, a 5D mk2.

Either way, 2012 DSLR flagships look awesome. Nothing too revolutionary, but a lot for us to hope we see in future, more affordable camera models. I’m looking forward to seeing what Nikon’s D800 and Canon’s 5D mk3 look like! ;-)

Here’s a video shot on the D4: with a particularly impressive slow-mo capture of a kayaker going over a waterfall. The D4 is supposed to only be able to do 60 FPS at 720p, but in viewing the 1080p render on Youtube I’d say it looks pretty nice…

The Nikon D4 and the 85 f/1.8 AFS-G are both available for pre-order on Amazon.com already:

…And it will be available SOON at B&H Photo and Adorama…

Take care,
=Matt=