Sunday, December 25, 2011

Precision Design 0.25x Super AF Fisheye Lens for Canon Rebel T1i, T2i, T3, T3i, XS, XSi, EOS 50D, 60D, 7D, 5D, 1D, 1Ds Mark II III IV Digital SLR Cameras

!±8± Precision Design 0.25x Super AF Fisheye Lens for Canon Rebel T1i, T2i, T3, T3i, XS, XSi, EOS 50D, 60D, 7D, 5D, 1D, 1Ds Mark II III IV Digital SLR Cameras


Rate : | Price : | Post Date : Dec 25, 2011 10:44:12
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The all-glass high resolution optics of the Precision Design .25x Super Fish Eye is manufactured in Japan and have been engineered to do one thing and do it well; reduce the focal length of a lens by .25X to provide an amazing fish eye view. Depending on the camera model and lens it's mounted on, the image can cover the entire frame edge to edge or provide a circular image fully contained within the frame. Mounted to a zoom lens, the Precision Design .25X can often offer ultra wide angle, diagonal fisheye (full frame) and circular fisheye images. Close focusing is almost to the front of the optic and there's huge depth of field.

The .25X can be a great tool for real estate agents or for just having fun! If you plan on doing panoramic or full room shots, just stand your tripod in a corner facing the center of a room. It can capture almost EVERYTHING, floor to ceiling, wall to wall, except what is directly behind the camera. Just import the resulting image into a panoramic editor or "stitching program" (your digital camera probably came with one), convert it to a QuickTime VR file, and have a virtual view of the room.

The Precision Design .25X is the affordable fisheye optic for useful, unusual and fun pictures you otherwise wouldn't be able to obtain.

WILL WORK WITH ANY LENS WITH A FILTER SIZE OF 52mm, 55mm, 58mm & 62mm (lens is 58mm, 3 adapter rings included) which includes most Nikon, Canon, Olympus, Minolta Maxxum / Sony Alpha, Pentax, Tamron, Sigma, Tokina and other major brand lenses.

This 0.25x Super Fisheye Lens can mount to almost any digital or film SLR lens made with optional adapter rings.

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Thursday, December 15, 2011

Olympus SEMA-1 Mic Adapter Set for Olympus E-PL1 Micro Four Third Interchangeable Lens Digital Camera

!±8± Olympus SEMA-1 Mic Adapter Set for Olympus E-PL1 Micro Four Third Interchangeable Lens Digital Camera

Brand : Olympus | Rate : | Price : $60.95
Post Date : Dec 16, 2011 00:00:21 | Usually ships in 24 hours


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Saturday, December 10, 2011

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Thursday, December 1, 2011

VANCOUVER HOCKEY RIOT CAR TRASHING DOWNTOWN POST OFFICE 2011

Vancouver hockey riot 2011 in downtown Vancouver, 15 June, 2011, Georgia Street outside the Post Office. First car to be trashed at start of riot. To see another video of car being set on fire go here: youtu.be Video by Terry David Silvercloud (Butch) with a Sony Nex-5 with 16mm lens, ultra-wide lens adapter, and microphone attachment.

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Monday, November 28, 2011

Tokina Multicoated 72mm Wide Angle Lens 0.5x with Front Filter Thread 105mm Made in Japan

!±8± Tokina Multicoated 72mm Wide Angle Lens 0.5x with Front Filter Thread 105mm Made in Japan


Rate : | Price : | Post Date : Nov 28, 2011 22:55:14
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Friday, November 25, 2011

Kodak Playsport, macro and advanced bend lens Adapter test

Kodak Playsport, macro and wide angle adapter test. Putting on a lens adapter to get the wide angle and super close up macro. For a review and a link to get the lens click bellow. saltyshores.com www.saltyshores.com

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Tuesday, November 22, 2011

OCCUPY VACATES VANCOUVER ART GALLERY

Occupy Vancouver pulls up the Occupy Camp at the Art Gallery on 21 November, 2011 and sets out to set up camp at the Court House grounds. The Court House is provincial land and the court injunction for the Art Gallery does not apply any more. Butch follows the protesters as they leave the Art Gallery. Video by Terry David Silvercloud (Butch) of Butch News with a Sony Nex-5 with 16mm lens, ultra-wide lens adapter, accessory microphone all wrapped under plastic in the rain on a Slik Lighty Pod 200 mono pod.

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Wednesday, November 16, 2011

Sony BRC Series HD Cameras and the EVI-HD1 - Their Impact on Future Video Conferencing Trends

!±8± Sony BRC Series HD Cameras and the EVI-HD1 - Their Impact on Future Video Conferencing Trends

Infocomm 2008 kicked off their 3-day conference last Wednesday (June 18, 2008) with a vengeance. Held at the Las Vegas Convention Center, I had the opportunity to fly out for their opening day to see what the latest trends are and to get a first hand glimpse of new products in action. Upon arrival to the LVCC, the size of the convention was overwhelming to say the least and that was before thousands of people flocked to the doors after the ribbon cutting ceremony.

Broken up into two different halls and occupying over 1,050,000 sq. ft., there were at least 950 exhibitors showcasing their latest and greatest audio visual and electronic products to a floor of at least 15,000 people in attendance. This number does not include the plethora of meeting rooms being used for several technology seminars and workshops in addition to key note speaker presentations.

Although there were several different products showcased, one of the primary buzzwords for the conference was "Telepresence". "Telepresence" is defined as "a set of technologies which allow a person to feel as if they were present, to give the appearance that they were present, or to have an effect, at a location other than their true location." ( Wikipedia 2008 ) In a nutshell, the term "telepresence" is an updated term that seems to be replacing "Video Conferencing" as technology continues to advance. With telepresence, the person not in the office comes through in almost a 3D fashion making it seem as though they are actually present when they are not. Video conferencing is less technical and the people on the other end are included in a video fashion.

Walking through the "Telepresence Pavilion", the two new and most popular VC systems came courtesy of Polycom and Sony. Although the Polycom telepresence systems were exhibited in abundance, the Sony EVI-HD1 and BRC series of cameras were equally showcased as the latest and greatest HD cameras available for video conferencing/telepresence applications.

SONY EVI-HD1

Built upon the great success of the EVI-D70 and EVI-D100, Sony's first high-definition EVI robotic camera was designed for videoconferencing, distance learning, houses of worship and corporate training. This single chip-based, pan/tilt/zoom camera features multi-format capabilities to output both standard- and high-definition video so users can easily migrate from standard-definition to HD.

The new EVI-HD1 model uses a 1080i CMOS sensor that delivers exceptional high-definition resolution in 720p, 1080i or 1080p. The camera can be used with compatible codec's and systems from other manufacturers, due to its ability to output standard-definition video (YC and composite), high-definition analog component (Y, Pub, Pr) or digital HD-SDI. For companies outfitting conference rooms with 16:9 widescreen displays, the EVI-HD1 camera outputs 16:9 images in 480i or HD formats. The camera also incorporates a 10x optical zoom lens with a 70-degree horizontal field of view and is equipped with high-torque, high-speed direct drive motors that enable smooth, fast and quiet pan/tilt operations, making it ideal for conference rooms and courtrooms.

The camera's pan/tilt/zoom controls can be operated by an easy-to-use supplied IR Remote Commander® unit or via the RS-232C interface (VISCA(TM) protocol) with a host of commercially available controllers. The EVI-HD1 can also be controlled from an optional RM-BR300 Remote Control Unit. The ergonomically designed joystick and feature-rich control panel of the RM-BR300 provide superb operability in various remote video-shooting applications.

BRC SERIES

The Sony BRC Series consists of three revolutionary Pan/Tilt/Zoom (PTZ) color video cameras, each especially designed for remote video shooting applications. Both the BRC-H700 and BRC-300 have already been highly successful worldwide, satisfying user needs for high-definition (HD) and standard-definition (SD) applications, respectively.

With a number of useful features and excellent picture quality, the BRC Series is ideal for a variety of remote video shooting applications, such as in houses of worship, auditoriums, teaching hospitals, corporate boardrooms, and at sporting events, trade shows, and concerts. Furthermore, it is an excellent choice for broadcast applications, such as the recording of television programs or as a weather camera. Since the BRC Series consists of three cameras each with specific benefits, users can choose the most appropriate solution for their specific application needs.

The Sony high definition BRC-H700 offers high picture quality and high sensitivity with three 1/3-type HD CCDs and a resolution of 1,120,000 total pixels. It is ideal for users demanding extremely clear HD images with great detail, and because of its high sensitivity, it can be operated in shooting environments without ideal lighting. Furthermore, it has the widest viewing angle in the BRC Series, allowing users to capture wide areas of a scene such as audiences at concerts or in auditoriums.

The Sony standard-definition BRC-300 incorporates three 1/4.7-type Advanced HADTM CCD sensors with a total of 1,070,000 pixels. It is an ideal camera for cost-effective SD applications - and it can capture images in both 4:3 and 16:9 aspect ratios, the latter offering a wider viewing angle. Furthermore, the BRC-300 is the smallest camera in the BRC Series, making it ideal in environments that require the camera to be positioned unobtrusively.

Sony also recently introduced the new HD/SD BRC-Z700, equipped with three 1/4-type HD ClearVidTM CMOS Sensors. This camera is both HD and SD capable, enabling versatile operations and allowing users to easily migrate from SD to HD picture quality. What's more, the BRC-Z700 incorporates a newly designed smooth PTZ mechanism for precise camera control.

On display at the Sony booth last week, the BRC-H700 and BRC-Z700 gave visitors an inside look into why these two cameras are rapidly becoming the true leaders in the High Definition Video Conferencing/ Telepresence world:

The BRC-H700 and BRC-Z700 each have sixteen presets (BRC-300 has six presets) to which predefined Pan/Tilt/Zoom positions and other parameters can be allocated. These presets can be recalled at the touch of a button to easily capture video from pre-specified areas. They can also be controlled from either the supplied IR Remote Commander(TM) Unit or optional RM-BR300 Remote Control Unit. The ergonomically designed joystick and feature-rich control panel of the RM-BR300 provide superb operability in various remote video-shooting applications
Users can transmit uncompressed digital data including external sync and camera control signals via an optical multiplex unit such as the BRU-H700 and BRU-300. With only a single cable connection between the camera and the HD optical multiplex unit, the system is extremely easy to install.
Flexibility Third party switchers and multiplexers work very well with the BRC cameras. Sierra Video Systems and AMX switchers and multiplexers were on display at the show and work very well with the BRC cameras. Sony adaptor cards are available or third party adaptor cards can be used to accommodate the user's video interface

Users can run fiber cables up to: 500 meters in length for the BRC-300 and1000 meters in length for both the BRC-H700 and BRC-Z700.

With everything the Sony BRC series of industrial cameras has to offer not only for HD Video Conferencing/ Telepresence but for a plethora of other applications, an increasing number of people are beginning to integrate these cameras into their current video conferencing set-ups. The new HD cameras from Sony are changing the dynamics of video conferencing due to the drastically improved picture quality one sees when moving from standard definition to high definition.

Another reason to consider moving to a Sony HD camera is the impending mandatory change of broadcasting from analog to digital in 2009. Due to this change in technology, it may prove beneficial for users to begin looking at their current technologies early enough to assess where they need/want to be in conjunction with what they have to do in order to get there. Displays are quickly moving towards HD-capable which could leave analog users in a bind if they do not follow suit with compatible equipment. Whether it be purchasing an analog to digital converter box or replacing the company's analog equipment with HD, the fact remains that technology is moving forward and those who sit up and take notice will be the ones to succeed over the competition.


Sony BRC Series HD Cameras and the EVI-HD1 - Their Impact on Future Video Conferencing Trends

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Tuesday, October 25, 2011

Two Lenses, Six Reasons to Own Them

!±8± Two Lenses, Six Reasons to Own Them

Given the current state of the art, a case could be made that a photographer was there today, with only two goals - a wide angle to moderate telephoto zoom and a short telephoto zoom along. That would be a mistake. They are good and flexible as a zoom lens of today, there are some valid reasons for choosing the first lens on some occasions. I admit it, 90 percent of the time I had a zoom on my rig to be linked, but while researching and shooting photos for this story, which Irediscovered the joy of shooting with lenses with fixed focal length, for the reasons stated below. Follow with me to see why you should consider a couple of lenses to your arsenal. For many of you, you already have!

Let me first explain that this product from us, we have not tried full-frame digital cameras. While the debate on the breaks beyond the scope of this article, is the fact that the 1.5 conversion factor of many cameras are ideal for youPortrait photographers who love the look of lenses with focal length and speed innovation. It can achieve the look at an unprecedented price in the days of the medium format.

So here's what I'm suggesting is an unbeatable cost-butt combo take on it - a 50mm f/1.8 or faster lens and a 80 - 105 mm f/2.8 lens or faster. On my camera Nikon D300, the numbers from a 75mm lens, and a 120 to 160 mm lens than the 35mm or full frame. You can get a lot of damage with this combo. Here's whyyou should consider this dynamic duo for yourself.

One: Results. Let's start at the heart of the matter. If you can't cook the bacon, the stove ain't no good! And the combination of a short to medium length telephoto with a wide opening is a sure fire recipe for super results in the hands of a skilled shooter. One of the cornerstones of professional outdoor portraiture is the ability to separate the subject from the background. By shooting with these lenses wide open or close to it, throwing backgrounds and foregrounds out of focus is almost automatic.

The longer lens partner is obviously easier because of the larger image size at any given distance and narrower angle of view. Remember, all lenses have the same perspective, to change perspective, you must change distance. Also remember, two images taken with two different lenses at the same distance with the same f/stop will have the same depth of field, one will just have a larger image size. That's why we love long lenses - to get further away from our subject for great perspective and have an image we don't have to crop!

Two: Price: Here's the best part - these lenses are free! OK, maybe not for everyone or someone who's new to the game. But for those of us who have been shooting 35mm for years, we may already have these lenses! I know I did. I still have a Nikon 50mm f/1.8 lens (used to have a 1.4, darn) that came with one of several Nikons I used to own. And I bought a Tamron 90mm f/2.8 Macro lens that gets me to 1:1 years ago for shooting flowers and wedding detail shots. Both lenses are excellent performers. I'd guess the Nikon 1.8 glass is better than the 1.4 version, slower lenses usually are, and the Tamron 90 is known for it's sharpness, so this is a great combo.

A little checking found used Nikon 1.8's for about and new ones for about 5. The Tamron lens can be had for about 0 new and 0 used. Nikon also makes an 85mm lens in 1.8 and 1.4 varieties. The fast version is about 0 new, the slower only about 0. For portraits, I'd say the 1.8 is plenty fast, only buy the 1.4 if you do weddings in low light. It's not a price issue, these prices are peanuts compared to medium format, but the super fast lenses usually make sacrifices in quality to attain the speed. Buy new or do some checking around on SHUTTERBUG, KEH, and other sources to find the combo that's right for your shooting needs and equipment.

Three: Availability. Since these lenses I described were originally designed for 35mm film cameras, there are plenty of them around. I found some in the camera store across the street. Other professional will have them laying around, be smart and go buy them cheap off them! As mentioned above check SHUTTERBUG, KEH, EBAY, and others for used lenses, or buy them new from your local camera store (you won't find them at Best Buy!) or one of the SHUTTERBUG advertisers. An important point here. If buying a new zoom lens, it pays to get one designed for digital, I've done my own testing and there is a difference. The fixed focal length lenses I'm discussing here have all performed admirably for me, so don't hesitate to buy them.

Four: Focal Length: As discussed above, this lens combo is ideal for the digital cameras that have a conversion factor of about 1.5. The 85mm focal length will of course be fine with a full frame cameras, but one lens does not a combo make! Full frame shooters may want to consider finding an 85 and 135 lens to approximate the results we're describing here. But those of us with the smaller sensors are able to find great inexpensive lenses in ideal focal lengths for portraiture. The 50 (75) length is great for shooting where space is at a premium and the 90 (135) length is about the ideal combination in terms of length, price, weight and performance.

Five: Weight. Weight is the enemy of pictures taken. Think about it. If you're like me, the thought of hanging a big, heavy zoom around your neck all day doesn't sound like fun. If I ain't having fun, I don't want to take many photos. In the studio is one thing, but running around at a park or beach with heavy lenses and a tripod doesn't appeal to me. I usually shoot with a bare minimum of equipment and rarely use a tripod, so weight is important to me. Will an 80-200mm f/2.8 lens take care of most of my shooting needs? Absolutely! But at over 2.5 pounds, it's an albatross around my neck! Compare that to the 5.5 oz. of the 50mm lens, or the 13.2 oz of the Nikon 85mm f/1.8 lens. Remembering that you must carry backup gear, that allows me to carry a pretty small bag and shoot pretty freely with my subject. See the smile on my face?

Six: Maximum Aperture. Here's one of the best parts - that big old f/stop. Working at f/1.8 was only a dream in medium format and f/2.8 was only on the 'normal' lens. There are of course two big reasons we love the fast lenses - the shallow depth of field and the ability to shoot in low light, even at slower ISO's. The shallow depth creates a great look that sends sharp backgrounds and foregrounds packing. The speed extends my shooting day into the time where the light is usually at it's best - the tail end of the day around and even after sunset.

I prefer not to use flash on my outdoor portraits and beach portraits are very popular in my area (East Coast). The only way I can hold detail in both my subject and the water and sky in the background without a flash is to wait until the brightness range is lowered at the end of the day. (That again is beyond the scope of this article, I'll address it later.) In many cases I'll shoot with my f/2.8 lenses until it's so dark I'll grab the 1.8 and finish the shoot with that. I'll usually start shooting at ISO 100 and end up at ISO 400. When I hit about a 30/th of a second at f/1.8, I'm done, remember I'm not using a tripod unless it's a group. Any darker than that and I'll probably wander into the ocean anyway!

Conclusion: While full frame shooters can play in this group with a few different rules, the cameras with the smaller sensors are a bonanza for portrait shooters who want to be able to assemble a collection of lightweight, fast, and inexpensive lenses capable of producing fantastic results. The two lens combo described above should be capable of handling just about any portrait assignment that doesn't call for a wide angle lens, and most traditional portraits don't. Put together your own combo and have some fun!


Two Lenses, Six Reasons to Own Them

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