There are two different versions of the lens, one built for the full-size iPad and the other built specifically for the iPad mini. The full-size iPad version sports a 10x zoom, while the iPad mini lens has a 12x zoom. The lens also comes with a minimalistic case for your iPad that allows you to attach the lens to the tablet.

The two lenses also have manual focus rings on them so that way you can adjust the photos to your liking, offering you a bit of manual control over the iPad’s camera app, which leaves a lot to be desired in that respect. The lens is about the size of a small handheld flashlight, and it quickly screws on and off the iPad shell for easy storage when you’re not using it.

As for price, you’re looking at $25 for one of these lenses, which isn’t too terrible, considering that a smartphone lens from the same company is around the same price. As far as compatibility, Photojojo says that the full-size iPad lens will only work with the 3rd- and 4th-gen iPads, although you may be able to squeeze it on the iPad 2 if you really wanted to.

You’ll find nothing less than one of the best experiences you’ve ever had with a handheld video camera using this beastly 20x wide-angle (35mm equivalent: 26.8mm – 536mm) f/1.8 HD Video Lens. This lens uses same Hi-UD (Hi Index Ultra Low Dispersion) technology you’ll be finding in Canon’s XF professional camcorder line as well as a new 8-blade circular aperture using the same tech found in Canon’s EF series lenses. You’ve also got a dedicated manual focus ring as well as a custom key – make it work!

You’ve got a whole new HD CMOS PRO Image Sensor here that works in combination with your new DIGIC DV 4 Image Processor and SuperRange Optical Image Stabilization for what Canon notes will be “high sensitivity and wide dynamic range while providing images with low noise, more depth, and enhancing vibration control.”

With this camera’s new Dual Recording feature you’ll be able to grab both 1080/60p MP4 (35Mbps) and AVCHD Progressive (28 Mbps). You’ll also find cinematic recording at Native 24p, a set of two SD memory card slots (amazing!) and Relay Recording. With Relay Recording your recording will instantly start on one SD card after the first has been filled – greatness!

• 0.24-inch high-resolution (1.56-million-dot) angle-adjustable color viewfinder (CVF) with a large-sized eyecup
• 45-degree angle CVF tilt
• built-in Remote Control Terminal (with LANC protocol support)
• manual color temperature adjustment (2,000K-15,000K in 100K increments)
• color bars with test tone
• manual shutter speed and aperture control
• all new zoom lever

And Wi-fi connectivity allows you to work with Canon’s new set of remote controls – you’ll be able to control your recordings from a web browser while using your PC, smartphone, or tablet. You’ll also be able to use Canon’s Movie Uploader app for iOS – easy and free!

The Canon VIXIA HF G30 camcorder will be available in June starting at an estimated retail price of $1,699.99 USD. We’ll be checking it out soon – stay tuned for SlashGear for all the most excellent Canon action, back to front!

The company says that its updated 30 mm F1.4 DC HSM lens will be available in late March for $499 for cameras using Sigma, Canon, and Nikon mounts. The company’s 30 mm F2.8 DN and 19 mm F2.ADN lenses will both be available for Micro Four Thirds and Sony E-Mount camera systems in late March for $199.

Sigma says that the 19 mm F2.8 DN lens is a wide-angle offering equivalent to 38 mm on the Micro Four Thirds system and 28.5 mm on the E-mount system. The minimum focusing distance for the lens is 7.9-inches. The 30 mm F2.8 DN lens has an angle of view equivalent to 60 mm for Micro Four Thirds cameras and 45 mm on e-mount cameras. It features a minimum focusing distance of 11.8-inches.

The 30 mm F1.4 DC HSM lens uses a new optical configuration of eight elements in nine groups with rounded aperture blades. The angle of view is equivalent to 45 mm on a 35mm camera and the focusing distance is 11.8-inches. The lens is designed to minimize field curvature and prevent loss of image quality at the edges of photographs. It uses a double-aspheric lens to minimize distortion.

[via Sigma]

This device works with an all-glass 18.5mm (28mm equivalent) prime lens with no less than a f/2.8 aperture to back it up. You’ll be working with quick AF performance at 4 frames per second bursts, a collection of fabulous scene modes, and wi-fi connectivity if you do so wish to have it. To grab that connectivity you’ll beed to pick up the also relatively new WU-1a Wireless Mobile Adapter – a tiny little bug you’ll love plugging in to the side of your brand new COOLPIX.

You’ll be working with a manual focus ring, full manual exposure controls, and the ability to shoot in real-deal completely RAW/NEF if you’d like. Your manual exposure controls allow you to shoot in P, S, A, or M, your desire being its reality – and there’s a collection of accessories coming on as well. You’ll be working with a DF-CP1 Optical Viewfinder, a UR-E24 Adapter Ring for all the filters and lens hoods you want, and a hearty HN-CP18 metal Lens Hood.

There’s a full-size hot shoe port as well if you’re all about the Nikon Speedlight collection – go wild! This device will be revealed in both Black and Silver when it’s ready – inside March 2013 for the market at a suggested retail price of $1099.95 USD. We’ll be seeing this device released at all your favorite fine camera shops and, if you’re lucky, we’ll be reviewing it here on SlashGear too, soon!

The Alpha A58 featured in the image above will have a 20 Megapixel sensor with an improved dynamic range, and 8 frames per second shooting speed. It will have a new 18-55mm, f/3.5-5.6 II kit lens. It should be priced somewhere between $600-$700. The NEX-3N will have a 16 Megapixel sensor and is priced around $500-$600. The NEX-3N’s main selling point is the electronic zoom dial featured on the camera.

There will also be 3 lenses available for these cameras. There will be a Zeiss 50mm f/1.4 with a price-point of $1600 to $1700, an 18-55mm II for A mount priced at around $200 to $300, and a 70-400G F4.5-5.6 II priced at a whopping $2400 to $2500. While they may make you a better photographer, the price points of these lenses are pretty steep.

There is no release date yet for these cameras, and it has been speculated that the camera wouldn’t be announced until April, but considering that so many details about these cameras have already been leaked, we may be seeing an announcement for them in the upcoming weeks. Sony is hoping that the refresh of its Alpha camera series will somewhat quell the decline in its digital camera sales.

[via Peta Pixel]

The 30mm f/1.4 lens is designed for large-aperture APS-C format cameras, and the angle of view is equivalent to 45mm on a 35mm camera. The lens promises to deliver the highest level of image quality, thanks to a Hyper Sonic Motor for quiet, high-speed autofocusing, as well as a 9-blade rounded diaphragm that creates a bokeh effect. It also has a brass bayonet mount designed to withstand long-term use. The lens has been specifically optimized to reduce field curvature and improve focusing capabilities.

The 60mm f/2.8 DN lens is designed for Micro Four Thirds cameras, as well as Sony E-mount shooters. It has an angle of view equivalent to 120mm on the Micro Four Thirds system and 90mm on the E-mount system (35mm equivalent focal length). The lens contains Special Low Dispersion (SLD) glass, which helps minimize chromatic aberration. The lens is specifically created for telephoto shooting and portrait work, and it will be available in both silver and black.

Sigma’s other new 30mm lens is a f/2.8 lens also meant for Micro Four Thirds and Sony E-mount cameras. This lens is meant for everyday shooting and is engineered as an all-around lens that you can anywhere. It’s also perfect for casual and formal portraiture, and documentary photography. The lens includes a double-sided aspherical lens that improves its optical performance.

Last, but not least, the 19mm f/2.8 DN is yet another Micro Four Thirds and E-mount lens that has an angle of view equivalent to 38mm on the Micro Four Thirds system and 28.5mm on the E-mount system (35mm equivalent focal length). This lens is designed for street shooting, as well as landscape, architecture, and studio work.

Pricing and availability on these lenses have yet to be disclosed, but Sigma says that the 30mm f/1.4 lens is expected to arrive in a couple of months, while we have yet to hear a release window for the other three lenses.

This lens will be shipping in March of 2013 and will have its own unique (and optional) hood (LH-61E), case (LSC-0918), and protection filter (PRF-D58 PRO). Combined with the fabulous Olympus OM-D and its 5axis IS, you’ll be working with no less than what Olympus tags as hand-held super zoom shooting – capture the Birds of Paradise with ease. The images you see above and below are connected to the OM-D as well – bask in the lovely glow of this hot combination.

This lens has a 16 – 4.1 degree angle of view, 18 lens throughout it in 13 groups including a Super ED lens, 2ED lenses, and 3 HR lenses, and its all works as micro four-thirds system standard – connect at will. The focal length of 75-300mm on this beast is equivalent to a 35mm 150-600mm, and you’ll find that the closest focusing distance you’re going to get is 0.9m – that’s with 75mm focal length. When you’re outside of a 75mm focal length, you’ll be focusing in at 1.5m at least.

The maximum aperture on this amalgamation of photography excellence is f4.8 at 75mm and f6.7 at 300mm, while the minimum aperture is always f22. The diameter you’re working with for filters is 58mm while the actual final size of the lens is 69 (diameter) x 116.5mm, with a final weight at 423g. Inside the box you’re going to get a front Lens Cap (LC-58E), Lens Rear Cap (LR-2), and both an instructions manual and an Olympus Worldwide Warranty Card. This lens will be available in March of this year for an estimated price of $549.99 USD – get pumped up!

The lens is constructed mostly from metal parts and features the same Snapsnot Focus mechanism with a distance indicator as already seen on the premium 12mm lens, which allows for easy pan focusing with the built-in distance indicator. Extra-low reflection optical coatings were also applied to the lens to help reduce lens flare and ghosting, even when shooting against the light.

The focus ring on the new lens can be used to quickly snap between manual- and auto-focus modes, and sliding the ring back reveals range markings on the lens barrel that include distance and depth-of-field scales, which act as useful guides when optimizing the focal distance. There’s also a high Refractive index lens to help reduce aberrations.

The lens measures less than two inches long, which makes it compact and easy to carry around. The Olympus M.Zuiko Digital ED 17mm f/1.8 lens will be priced at around $500, and should be available sometime next month. A release date and price in the UK is still yet to be determined by Olympus.

It can maintain its f/4 maximum aperture throughout the zoom range, and is made up of 15 lens elements split into 12 groups. The aperture is a 9-blade circular and Canon has used inner focusing and a ring-type ultrasonic motor for quieter use, though which supports manual override at any time.

The EF 24-70 f/4L IS USM measures in at 93mm long, is dust and water resistant, and comes with a pouch and reversible lens hood. It’ll hit shelves in December, priced at $1,499.

As for the Canon EF 35mm f/2 IS USM prime, that’s the fruits of the company’s work to improve picture quality around the edges of the frame, as well as make for a faster, quieter lens than its predecessor. It has optical image stabilization and the same manual focus override support as the new zoom, a circular aperture diaphragm, and has been coated for flare reduction.

It will go on sale, again in December, priced at $849.99.

The Spark is priced well at $80 and is available for Canon and Nikon DSLR cameras. The lens is designed to let photographers capture creative images that have a sweet spot of focus surrounded by artistic blur. The Spark is a manual focus lens that photographers squeeze to focus and then tilt to move the sweet spot of focus around the image.

The Spark is a lightweight lens that uses a 50 mm selective focus multi-coated class doublet optic. The optic features a fixed f/5.6 aperture making it easy to use. Photos taken using the lens have a clear sweet spot of focus and that sweet spot of focus is surrounded by gradually increasing blur.

The focus range is about 13-inches to infinity according to Lensbaby. The lens is compatible with the Lensbaby Optic Swap System, and all Lensbaby 37mm threaded accessories. The lens will be available on September 18 online and in retail stores.

Olympus M.Zuiko Digital ED 60MM F2.8 Macro Lens

The macro lens we’re looking at here is a single focal-length lens with weather-proofing along with 13 lens elements. You’ve got 13 lens elements in 10 groups of lenses inside this beast with special glass materials such as ED (Extra-low Dispersion), HR (High Refractive index) and E-HR (Extra-High Refractive index) – each added to bring you to a new level of professional greatness. You’ll be all but eliminating the chromatic aberrations you’re likely used to from other telephoto macro lenses, and you’ll be good to go for HD video as well.

This macro lens works with an Olympus developed MSC (Movie & Still Compatible) autofocusing mechanism with inner focus system for ultra quick and completely quiet focusing on the go. There are three different modes of focus range that you can work with for photography, those being the following: close-up (focusing distance between 19 and 40 cm), normal (distance from 19 cm to infinity) and far view (distance from 40 cm to infinity). There’s also an optional LH-49 Lens Hood made specifically for the macro lens at hand, and there’s also the FR-2 Macro Ring in play here which enables compatibility with the RF-11 Ring Flash and the STF-22 Twin Flash Set.

Limited Edition M.ZUIKO DIGITAL ED 12mm f2.0 in Black

This lens is the M.ZUIKO DIGITAL ED 12mm f2.0 large-aperture, wide-angle, single-focal-length interchangeable lens you’ve grown to love with a lovely black color in a limited edition release. This release has a snap ring for pan focus with distance indicators in place and the unit has a wide angle of 12mm. Inside you’ve also got the OlympusMSC (Movie & Still Compatible) mechanism which allows quiet, fast autofocusing for still photography and in video. This black version of the lens is sold in a kit with the LH-48 Metallic Lens Hood (Black), the LC-48 Metallic Lens Cap (Black), and the PRF-D46PRO Protection Filter.

M.ZUIKO DIGITAL 17mm f1.8 in Development

Olympus has also let it be known that they’ve got a M.ZUIKO DIGITAL 17mm f1.8 in development, coming soon with an emphasis on snapshots and street shooting. You’ll be working with a high-quality metallic outer finish and what Olympus says is a focal length equivalent to 34mm on a 35mm camera. More details will be coming soon from Olympus as they get closer to a release date, that being somewhere inside the first half of 2013.

Pricing and Release

The Olympus M.ZUIKO DIGITAL ED 60mm f2.8 Dust-and-Splash-Proof Macro lens is coming in October and will be available for approximately $499.99 USD. The Olympus M.ZUIKO DIGITAL ED 12mm f2.0 lens limited edition Black unit will be out in early October (here in 2012 as well) for an estimated street price of $1,099.99 USD. Stay tuned for more Olympus action as the camera crew brings on more heat through the year!

Canon built its 80 millionth EF lens on August 3 of this year. The company hit the 10 million mark in 1995, and by 2001 had constructed 20 million EF lenses. Canon took another five years to reach the 30 million mark and in 2008, the company had produced 40 million EF lenses. When Canon’s EOS Digital SLR cameras took off, production of EF lenses boomed as well with the 50 million unit milestone coming in 2009.

That means between 2008 and 2009 Canon constructed 1 million EF lenses thanks to its popular digital cameras. By January of 2011, the number of EF lenses constructed had reached 60 million and only nine months later, production had reached 70 million. It has now been nine months since that 70 million mark was hit in 2011, and Canon is celebrating 80 million lenses produced in its EF series.

The EF lens was first introduced with the EOS SLR camera system in March of 1987. Canon says that its line of EF lenses has included a number of world’s first technologies, including the Ultrasonic Motor, Image Stabilizer, and multilayered diffractive optical (DO) elements. The current Canon line of EF lenses has 76 models.

Inside this lens you’ve got Panasonic’s MEGA O.I.S. (Optical Image Stabilizer) which will make clear shots of any situation, even if someone sneaks up behind you to flash a hand in front of your shot – no more blur for you! You’ve also got a stepping motor for smooth action in both photos and video. This lens is made for the LUMIX G series, of course, so it’ll bring on added benefits for that lineup.

NOTE: Have a peek now at our hands-on experience with a whole collection of Panasonic devices revealed this week!

With the LUMIX G line of cameras, this lens will work with its high-speed, high precision AF System as well as every other feature listed above and below. This lens is composed of 12 elements in nine groups, working with two aspherical lenses for uniform sharpness as well as one UHR (Ultra High Refractive Index) lens. You’ll have smoothness in even the out-of-focus areas with this lens’ seven aperture blades while a multi-coated lens element will make sure you’ve got minimal ghost and flare.

This lens will be available in black or silver with a “sophisticated metal look” and its pricing as well as its availability will be announced soon.

Panasonic has added some incorporated some tricks into the lens as well. Nano Surface Coating helps to reduce ghosting and flares, and the Optical Image Stabilizer aims to compensate for shaking or subtle movements. The company says it should help with a wide variety of movements, in clear and low-light situations.

The lens is comprised of 14 lenses in 9 groups, with two lenses helping to reduce chromatic aberrations while ensuring corners and edges remain sharp. The addition of 4 aspherical lenses has helped to keep the overall size of the lens down too, measuring 73.8mm and weighing around 305g. Panasonic say the lens will be available in August in the United States, but didn’t mention pricing.

This new interchangeable lens camera will be out in April of this year complete with an 18-55mm kit zoom lens for a total of $800 USD (that’s model SLT-A57K) or just as a body without lens for “about $700″ as Sony notes (that being model SLT-A57). You’ll also have the option of adding on a brand new battery-powered LED video light starting with the release of this model for about $250 from Sony as well, this model being HVL-LE1 and recommended by Sony for this camera specifically.

The camera is built with a fabulous 16.1 effective megapixel Exmor APS HD CMOS sensor teamed up with the newest BIONZ engine on the market. This processor is the same one found in Sony’s flagship a77 and high-end a65 cameras, and promises you a sensitivity range of ISO 100-16,000. The camera also has 2x Clear Image Zoom for all your digital zoom needs, using Sony’s “By Pixel Super Resolution Technology” to retain full pixel resolution even after images are cropped and zoomed. It’s like magic!

SGNL by Sony brings a video of the camera being used here!

This model has the ability to shoot images, again, at 12 frames per second as well as Full HD video at 60p, 60i, or 24p frame rates, the former achieved with the camera’s new Tele-zoom Continuous Advance Priority AE mode. With this mode you’re also able to maintain continuous auto focus as well as auto exposure with fixed aperture – this fixed mode allows you either f/3.5 or the maximum aperture of whichever lens you’re using, whichever is smaller. The image size you’ll be getting in this mode is right around 8.4 megapixels.

For your Full HD movies you’ll be working with AVCHD Version 2.0 (Progressive) format so you’ll be able to get your Full HD quality at a fabulous 60p frame rate. You can also shoot at 24p for a “rich, cinematic look” if you’re that kind of shooter – then of course you’ve got a cool set of P/A/S/M shooting modes for all your “creative expression,” as it were.

To capture fantastic photos galore you’ll be using the same 15-point AF system that the a65 uses, this giving you TTL phase detection autofocus for those times you just really need to get on top of that focused shot on the double. Object Tracking AF is bumped up so you’ll get perfect facial focus whenever you’re in the right position, and the biggest bump is here as well: Auto Portrait Framing. Taking your photos after they’re shot and checking out how it’d best be cut down to create a perfect composition, Auto Portrait Framing uses face detection and the compositional “rule of thirds” you may have heard of in photography school and trims your photo down, keeping the original on file as well.

You’ll be having all this fun with your gigantically lovely Tru-Finder electronic viewfinder. This sweet little beast give you ultra-detailed 1440k dot resolution and, again, a 100% field of view. You can also choose to use your angle-adjustable 7.5 cm (3.0-type) Xtra Fine LCD display as well if a viewfinder doesn’t strike your fancy. Seem like the setup for you? All of this will be available in April of 2012 – can’t wait!

This camera is ultra powerful at 22 megapixels, 61pt AF, and having the ability to capture 6.9fps. If these specs remain true, we could be looking at a replacement for the 7D. Shipping for this unit will likely be taking place in late March or early April. This camera does not trump the Nikon 36mp D800, so it seemed important for the man Masaya Maeda of Canon to destroy rumors that Canon was falling beyond recently:

“Regarding how Canon responds to the competition from Nikon’s D800 and the concern of the successor of 5D Mark II, Maeda indicates that although he cannot leak information about un-announced product, the way Canon develops new product is to satisfy the needs of professional photographers. For instance, the introduction of EOS-1D X is to satisfy professional photographers to photoshoot sports events like the Olympics, in terms of their requirement of high FPS and high image quality under high ISO settings. If Canon thinks the market wants the high resolution models such as the 30+ MP of Nikon’s D800, they can easily develop such products…” – Maeda

This quote comes from Canon Rumors where they’ve also got a tip that the 5D Mark II could remain “current” enough to gain additional hardware and attention from Canon even when the III is out and about. This would be great news for owners of the 5D Mark II and those who still want to pick one up now that the price will inevitably go down. Seeya then!

[via Canon Rumors]

Five multi-coated glass elements, in four groups, are sandwiched inside, with a dial on the front used to adjust the aperture. Lensbaby is positioning the new model for portrait photographers as well as those wanting tilt-shift style shots; there’s a simulator here which can mimic the sort of effects it’s capable of.

Close ups of 17-inches are supported, and because the Edge 80 mounts on Lensbaby’s existing lens bodies it’s overall a cheaper way of outfitting your camera bag with kit; assuming, of course, that you want more than one single effect. The lens bodies themselves start at $150 for the Muse.

Inside, Sony has used eleven elements in ten groups, three of which are Extra-low Dispersion glass. The company has also debuted a new Nano AR Coating system which promises to reduce internal reflections by up to 80-percent over earlier models, cutting down on lens flare and ghosting. The carbon-fiber lens hood is also lined with black velvet fibers, so as to absorb incident light.

On the outside, there are interlocking seals front and back to keep out dust and moisture, which Sony says are good enough to keep driving rain from ruining your shot. There’s also a new autofocus drive, up to four times as fast as regular Sony lenses for tracking speedy subjects.

A smattering of buttons – including four focus-hold buttons, evenly spaced around the barrel – round out the main features. The 34 cm long lens will go on sale in March, built to order and with pricing on request.

The 24-70mm zoom lens is a popular size, though not a cheap one if you go with first-party glass. Neither the Canon L-series F/2.8 lens ($1300 street) or Nikkor F/2.8 ($1900 street) comes with anti-vibration technology, which the two companies have focused on longer telephoto lenses thus far. Considering that Tamron’s budget competitor Sigma sells their copy of the 24-70mm lens for about $900, expect the SP 24-70mm F/2.8 Di VC USD to come at or near that price. There is no previous generation in this size for Tamron.

The company claims that its new image stabilization improved on the original VC design by using a reverse-mounted magnet and coil system, which attached the lens element directly to the coil. The lighter coil and magnet allows for a considerably more compact lens than other 24-70mm options, a design choice that Tamron employs in other models as well. Two extra refractive index elements help to keep chromatic aberration low.

For those without budgets that extend into five digits, Tamron makes some solid lenses. Typically they can’t quite match the clarity and definition on Canon and Nikon’s high-grade glass (even if Tamron claims “resolution at the top of its class”). They excell at cheap all-in-one zooms typified by their 18-270mm range, which I can personally report is quite satisfactory. Canon shooters looking for a top-end alternative might want to hold on to their wallets, though: the camera maker is rumored to have its own 24-70mm with anti-vibration technology in the pipeline.

[via Cnet]

This device will be looking rather similar to the current 7D and the 5D Mark II of course, but with a slightly larger display than either of them, appearing also to have a different aspect ratio than we’re currently used to seeing on either device. There’s a few button re-arrangements as well, starting with a “rate” button on the left, a joystick on the removable battery grip on the bottom, and no pop-up flash anywhere to be seen, not one!

There’s a brand new scroll wheel here, a slightly modified interface on the display if you look VERY closely, and the secondary display at the top of the camera does not appear to be active at all. Also that Canon 200-400mm lens is an absolute beast, and the source speaking with the photographer here in-person says that that piece of the equation should be released in March or April – soon!

[via Aperture Academy]

In fact, the lenses are actually more expensive than the C300 itself, each carrying a sticker in excess of $40k. The Canon CN-E 14.5-60mm T2.6 L S Cinema Zoom Lens with EF Mount comes in at $42,750, as does the Canon CN-E 14.5-60mm T2.6 L SP Cinema Zoom Lens with PL Mount. $44,650 gets you the Canon CN-E 30-300mm T2.95-3.7 L S EF Mount Cinema Zoom Lens or the Canon CN-E 30-300mm T2.95-3.7 L SP PL Mount Cinema Zoom Lens.

Inside the C300 there’s an 8.29-megapixel Super 35mm CMOS sensor, while on the outside there’s a 4-inch rotating 1.23-megapixel LCD preview display and dual-CompactFlash memory card slots. Recording is in Canon’s 4:2:2 50 Mb/s MPEG-2 XF codec, and if the Cine lenses are looking too rich for your blood then you’ll be pleased to hear that the company’s existing DSLR lenses are supported too.

Sample clips from the EOS C300 can be found here.

[via CanonRumors - thanks Paul!]

The Galaxy Nexus’ 1080p HD video recording mode is used, for maximum detail in the final clip (despite multiple angles being recorded at once) and Kogeto says it plans to offer other versions to suit different Android devices in due course. Meanwhile, the firm is hoping to license the tech to manufacturers, in the hope that they integrate it into their own phones.

You can see what sort of final clips are possible at Kogeto’s online “dotspots” sharing hub: remember, you can not only play the clips normally but drag them left and right while the footage is still running. The Kogeto ICONIC is expected to go on sale in the first half of 2012, priced at $79.

[via Android Community]

Rumors are continuing to mount for Nikon’s latest DSLR monster, christened the D4. The last we heard it was going to be unveiled at the event in Hong Kong this Friday, along with a spiffy new 85mm f/1.8 lens. Now some financial press cables spotted by Nikon Rumors suggest that the camera will go on sale sometime in February. An exact date wasn’t provided, but the suggested retail price is listed at a whopping $6000. THat puts the D4 in between the current D3x and D3s models.

For that kind of money you’d expect top-notch specs, and sure enough, that’s what you get. The Nikon D4 is said to use a 16.2 megapixel full frame sensor with a lightning-fast 10 frames per second shooting speed, and an ISO range from 100 to 102,400. On the video side of things, the D4 gets the standard 1080p recording at up to 30fps, with the added benefit of H264 B frame compression. The viewfinder uses the sought-after pentaprism design with 100% coverage of the shooting target, and photographers can use 51 separate points of autofocus. Other little touches include illuminated buttons and face detection.

If you’re not interested in the new camera body there’s a Nikkor AF-S 85mm f/1.8G lens to look forward to, which will cost around $500 separately. There’s still no actual photos of the uber-camera floating around, but we shouldn’t have long to wait. You’ve got between now and February to finalize a second mortgage to finance your newest piece of photographic excess.

[via The Verge]

The wheel looks like a rotary dial and features ten different filters, including a Dual Image Lens that produces two identical images like a 2-way split image filter, a Triple Image Lens that does the same but three ways, and a Quadruple Image Lens again four ways.

It also has a 60mm Macro Lens for taking photos roughly 60mm in distance from the lense, a Green Filter, a Red Filter, a Red Filter with a clear heart shape center, and a Yellow and a Blue filter each with a clear circular spot in the center.

The Holga iPhone Lens Filter Kit SLFT-IP4 is available now and retails for $29.99. The case it self comes in five different colors of black, white, silver, red, and blue. For examples of what each of the filters would look like, you can visit the Holga product page.

[via TUAW]

Without the relatively recent invention of the smartphone, none of this would have been possible – and indeed without the invention of several components that aren’t yet a reality, neither will this concept turn into something we can actually use. As you’ll quickly come to understand, the actual working nature of this device takes a back seat to what’s perhaps possible in the future should things like completely transparent computer chips and wires. What we DO have here though is something I’d certainly love to try out if and when it does come to fruition in the future for the invisible photographer in all of us.

The forefinger module senses whether your finger is straight, bent, or bent with the rest of your fingers. If you bend only the one finger, the other piece of the puzzle takes a photo. If you bend several fingers, you’ll begin to take a video. The thumb module has only a camera lens and an on/off button visible and is responsible for both collecting the media and transporting the resulting files to your smartphone. From there you can do whatever you want with the files as they sit on your smartphone while the Air Clicker remains free and clear.

Try not to think too hard about how impossible this is at the moment, instead imagine a world with no bulk and jump around in anticipation!

[via Yanko Design]

Canon Chairman and CEO Fujio Mitarai stood in front of the in Hollywood noting that the camera is not only well-suited for accurate color correction, but is especially well made for skin tones. The C300 will be costing $20,000 USD in stores starting in 2012 and will be completely unaffordable by the likes of you and me. Word also states that the undeniably powerful sensor in addition to the versatile form factor are far more likely to be deciding factors for those in a position to purchase this camera.

The sensor is a Super 35mm CMOS and is capable of bringing 4k resolution with this devices many various EF zoom lenses. Lenses come in several sizes: two 14.5-60mm lenses, two 30-300mm lenses, three EF prime lenses at 24mm, 50mm, and 85mm. The CMOS sensor is able to deliver 1920 x 2160 pixels in greens and 1920 x 1080 pixels in reds and blues, incorporating approximately 8.29 million effective pixels with “a pixel size that is larger than that for conventional professional camcorders.”

Note also that both the Canon EOS C300 (EF mount) and the Canon EOS C300 PL (PL mount) will cost $20,000 while the EF will be available in January and the PL will be available inside March, both of them 2012. For a look at how awesome this camera can be, have a peek at the short film Mobius as filmed with the camera released by Canon this week. Vincent Laforet, the director of the film, used a pre-production unit of the C300 to film the movie, and below the film you can find a behind the scenes film as well:

This is one of those projects that was once a Kickstarter sort of situation, where before it had enough cash to get started, the designer headed to the world forum to get money from people who wanted to see the design become a reality. As it stands, this project has 1,300 backers with a total of $68,201 raised, so you know good and well that people thought the idea rocked. What’s going on right now is that the design rests with BiteMyApple where they’re currently in the process of getting more OLLOCLIPS shipped in from the manufacturer.

The three lenses start with the Fisheye – in this lens you’ve got an approximately 180 Degree field-of-view that’ll have your aquatic friends wishing they could breath without gills so they could see the results of the photos taken with the lens inspired by their own eyes. Next there’s the Wide-Angle lens which lets you see double the field of view that the iPhone 4 and iPhone 4S can see – pump up the visual volume! Finally there’s the Macro lens which is a 10X multiplier that lets you get inside 12-15mm of your subject with clarity.

The Fisheye and the Wide-Angle lens sit on opposite sides of the OLLOCLIP while the Macro lens is concealed within the clip, able to be used once you unscrew the Wide-Angle lens that is normally attached to it. To switch between either the Wide or the Maco lens and the Fisheye, you’ve only to flip the entire clip around to the other side. Simple as can be!

This little monster can be found over at BiteMyApple for $67.99, and again, at the time this post is made, they’re currently awaiting a new shipment so they can sell them to YOU!

The catch for Canon micro four thirds camera users is that even if they had a lens on with aperture control, the aperture settings didn’t work. The lenses need power to make the aperture function. If you are, a user that is in this boat the new LiveLens adapter will bring your aperture control back. The adapter snaps on the front of your camera and you can mount the lenses directly to it.

You can then control the aperture using a little screen on the adapter. The downside is that you lose your automatic focus capability. The adapter is for video shooters where you are using manual focus so that loss isn’t such a big deal. The adapter is expensive at $488 but if you have a bunch of lenses you want to use this may be the best route to go.

[via Wired]

The kit has multiple parts that are packed inside a rugged Pelican case to keep it all safe. It includes two Lensbaby lenses for PL mount cameras with a Muse PL with Double Glass and the composer Pro PL I already mentioned. It also has a Composer Pro with a Canon mount for DSLR video shooters. The kit also includes a number of interchangeable optics that are used with the lens mounts for all sorts of creative options.

Optics in the kit includes the Sweet 35, Double Glass, Plastic, and Single Glass. The optics allow for different effects like blur and creative focus. It also has the Fisheye, Soft Focus, and Pinhole/Zone plate Optics. You can check out all that is included in the $2,900 kit on the official kit page.

I’m going to redirect your attention back to the original announcement post for all the extra specification details you might need that aren’t listed here in the post, just so you know what you’re getting into. See that ginormous pile of lenses? That’s certainly one of the camera’s biggest strengths: versatility. Then there’s the big 3-inch AMOLED display on the back, a hypersonic dust reduction mode for cleaning the sensor, and several completely NEW lenses just for this release including 18-100mm, 16mm, 60mm, and 85mm focal length.

One of the most indicative of power photo comparisons Pozadzides does for his hands-on post is a comparison of chocolate photographed by two different combos. First there’s the Canon 1D Mark IV and a 50mm 1.4 Sigma lens, then the Samsung NX200 with a 60mm 1.4 lens. The first camera is right around $5,000 to purchase, while the NX200 is much closer to $1,000. Then there’s a gallery of photos taken by Pozadzides that shows a whole slew of different lighting conditions, combos, and environments of all sorts.

At this point I should remind you to head back to Pozadzides’ original post to see the rest of his hands-on look at the device since he’s so generously allowed this album to be public, then you should also take a look at our OWN hands-on with the device here, complete with awesomely loud surroundings at IFA 2011:

[via GeekBeat]

The update helps the lenses to perform better in tracking focus for video recording, silent auto focus, and exposure control. The stability of the optical image stabilizer is also enhanced for video recording. The lenses that are being updated will fit the entire 2011 line of G series digital cameras including the LUMIX GF3, LUMIX GF2, LUMIX GH2 and LUMIX G3.

The new firmware brings the lenses to version 1.1 and supports the following lenses:

• LUMIX G 14mm / F2.5 ASPH. (H-H014)
• LUMIX G VARIO 14-42mm / F3.5-5.6 ASPH. / MEGA O.I.S. (H-FS014042)
• LUMIX G FISHEYE 8mm / F3.5 (H-F008)
• LUMIX G VARIO 100-300mm / F4.0-5.6 / MEGA O.I.S. (H-FS100300)
• LUMIX G VARIO 7-14mm / F4.0 ASPH. (H-F007014)
• LUMIX G VARIO 14-45mm / F3.5-5.6 ASPH. / MEGA O.I.S. (H-FS014045)
• LUMIX G VARIO 45-200mm / F4.0-5.6 / MEGA O.I.S. (H-FS045200)

The video you’re about to watch is quite loud, so make sure you’ve got your headphones turned down somewhat, then get your sharp listening ears out because there’s a massive amount of what I’d call “bonus” noise going on here because everyone is so excited to see all the new gadgets – ravenous fans, I tell you! What you’re going to get a look at here is the NX200, a camera capable of an ISO range of 100-12,800 and the recording of Full HD movies.

Lenses of all sorts come capable of working with this device, all of them part of the Samsung i-Function family, each of them putting the controls for camera settings on the lens itself so you’re able to access them without taking your hands off the controls. Additionally, i-Function 2.0 lenses allow the control of smart filters amongst other functions directly from the lens in Lens Priority mode.

You’ll be getting a quick journey through the device through its rear-facing 3-inch AMOLED display while our Samsung presenter flips the hardware around with great ease. An interchangeable lens compact camera with great potential!

The camera has a 5x optical zoom, a 26mm wide-angle lens, and lovely drag and scroll menu options for a fun and completely customizable experience. You’ll be able to use a new Live Panorama function, complete with connections to 3D HDTV, you’ll be looking at images and panoramic shots in-depth and with fabulous detail. You’ll have access to Smart Filter giving you a menu of 14 artistic effects, Funny Face and Water Paint included.

Samsung’s new MV800 POS will cost you a clean $279 when it’s all said and done. Will the 26-130mm, f.3.3-5.9 lens give you all you want in a single camera? Or will you decide that you’d rather hit up the Android devices Samsung is pushing as a replacement for said single cameras? Interesting, isn’t it, that they’d introduce a camera and a camera replacement on the same day. Have a look at the official intro video below:

As you may already know, we certainly enjoy Lumix. Our review of the LUMIX DMC-GF2 should be evidence enough of that. What we’re pretty dern excited to hear about today is that the lens we spoke about in the first piece of this post will be coming out both on its own and as part of a kit which will upgrade the name of the GF3 to a much more hardcore GF3X. This camera is capable of recording 1920 x 1080 Full High Definition video in AVCHD format, is certainly one of the smallest profiles on a camera with such enticing specs, and it comes in black – and now silver as well!

In the GF3X full package deal, you get a camera and lens combination that allows you to grab Light Speed AF of approximately 0.1 second. That’s fast, man, real fast. With this combination you’re also getting POWER O.I.S. (Optical Image Stabilizer) so you’ll be able to take high-class photos even in the lowest of light situations. Of course finally there’s the easy-to-operate zoom lever right down the side of the lens barrel along with the manual focus you’ve grown to love. All the options fitting of a cool customer of Panasonic.

The LUMIX GF3X will be available in a black body and black lens or a silver body and silver lens kits options in October 2011 for a suggested retail price (SRP) of $749.99. Check out more information on the 14-42 lens in the post about the just-announced Panasonic Lumix X Series. Lots to be seen!

Both this first unit, again called the LUMIX G X VARIO PZ 14-42mm for short, and the second unit, the LUMIX G X VARIO PZ 45-175mm, are both coming out with nano surface coatings for reduction of ghosting and lens flare, and both of them with optical image stabilization. Now remember here I said “for short”, as the full names of lenses as powerful as these are prone to gigantic full names.

They read like so:

The full name for the first lens, as spoken about above, is LUMIX G X VARIO PZ 14-42mm/F3.5-5.6 ASPH./ POWER O.I.S. (H-PS14042).

Th full name of the second lens, as mostly spoken about below, is LUMIX G X VARIO PZ 45-175mm/F4.0-5.6 ASPH./POWER O.I.S. (H-PS45175).

Both are massive mouthfuls to speak of, and both are made for masterpieces. This second lens, the only in the 45-175mm range, is being billed as “the world’s smallest digital interchangeable power zoom lens”. It’s got the ability work with its internal zoom motor that’ll allow you to adjust your focal length using its side-mounted rocker. What Panasonic calls this lens kit’s “Multi-Actuator Floating Inner Focus System” controls three lens groups separately and as a result, as Panasonic puts it, “achieves a reduction in both size and weight without compromising picture quality.” The rest of this kit’s specifications read like a comic book description of Iron Man’s mobile suit:

The new lens system features two Extra-low Dispersion (ED) lenses which suppress chromatic aberration and contribute to high descriptive performance across the entire zoom range 45-175mm. The POWER O.I.S. (Optical Image Stabilizer) integrated into the LUMIX G X VARIO PZ 45-175mm/F4.0-5.6 ASPH./POWER O.I.S. makes it easy to shoot sharp images even in low-lit situations. With improved sensitivity of the gyro sensor, the new POWER O.I.S. also suppresses large, slow movements two times more effectively** while small, fast movements are compensated for by the conventional MEGA O.I.S.

LUMIX G X VARIO PZ 45-175mm/F4.0-5.6 ASPH./POWER O.I.S. contains seven aperture blades to help produce an attractive smoothness in out-of-focus areas even while shooting at large aperture. Adopting an inner focus system driven by a stepping motor, the lens’ superior optical design supports Light Speed AF of approximately .15 seconds and fast aperture control results in a shortened shutter time lag of approximately 20% when compared to the LUMIX G VARIO 45-200mm/F4.0-5.6/MEGA O.I.S.

Sound massively impressive to you? The first lens will be available as either a separate unit, all by itself for an SRP of $399.99 in October 2011 and will be compatible with the DMC-G3, the DMC-GF3, and the DMC-GF2 with a firmware upgrade. You can also get a combination of the first lens and the Lumix GF3, a combination therefor called the LUMIX GF3X, for a suggested retail price (SRP) of $749.99.

The second lens, aka the 45-175mm lens in this situation, will be available in either black or silver starting in September 2011 for an SRP of $449.99.

This little camera has a 24.3MP image sensor with high performance and a bunch of creative options. The case of the camera is magnesium alloy for strength and lightweight. The interchangeable lens camera weighs 10.3-ounces. The NEX-5N is a similar camera with a resolution of 16.1MP. This camera can also shoot full HD video at 60 frames per second.

The A77 DSLR camera claims to have the world’s fastest continuous autofocus performance. It can capture full image resolution of 24MP at 12 frames per second with full phase detection auto focus. The camera also introduces the first 3-way adjustable screen that can tilt and pivots freely. The A65 camera has the same Translucent Mirror Technology and can shoot 10fps with a 2-way adjustable screen. Along with the cameras, new lenses have been unveiled along with a NEX-VG20 camcorder.

This little cutie is a pretty darn good replica of the original version which, believe it or not, is a whole lot bigger. As the artist shows, you don’t necessarily have to plop a drop of mixed alchol in there, you can use this little guy for everything from jellybeans to SD cards – or a single roll of film would work too. Can you imagine all the things you’d think of to drop in?

Then again, you could toss back a few shots of whiskey and go on a photo hunt, I suppose that wouldn’t be the worst idea should you remain safe on the jaunt. The best part about this entire situation is that the shot glasses are for sale, they’re inexpensive, and they come in a set of three. Just head over to the Awesomeness section at Photojojo and drop $18 for the win!

And don’t forget to pick up a set for your ol’ friend yours truly!

What this will get you is a teeny tiny mirrorless camera with a brand new mirror, SLR-speed focussing, and an overall sweet result. Contrast detection in AF used in cameras that normally have no mirror is quite slow at the moment, especially when you’re considering you’re using lenses made to rock and roll. Now you’ve got a small gun messing with the big guns, if you know what I mean. Does this mean the device you’re rolling with is still a mirrorless camera? You be the judge of that – we’re calling it an advanced frankenstein.

This type of new mirror is called a “pellicle mirror”, and isn’t actually all that new when you consider it’s been being used for more than 40 years by the Pellix 45 made by Canon in 1965. This camera was the first to use such a mirror and it’s been used sparsely since – of course you can see the mirror type in action again in the Sony A55 and A33 DSLRs of 2010, too. Why on earth this solution hadn’t been used in lens adapters up until now – we cannot say. It’s sort of like pop art – it seems so obvious, but the first person to do it gets credit!

[via PhotoRumors]

Polaroid has unveiled the Studio Series 58mm 2.2x Telephoto and 0.43x Wide Angle Lens Travel Kit that sells for $49.99. The lenses mount onto the existing lens on your camera and converts it over or more zoom. The Polaroid Studio Series 0.3x HD Ultra fisheye lens adapter is also offered in 37mm and 52/58mm versions. They will fit on any camcorder or DSLR lens and offers 180-degree field of view. The lens is priced at $269.99.

The most interesting of the lenses is the 900mm Mirror Lens for outdoor and sports shooting. It uses reflection optics and lenticualr light refraction such as a telescope uses. The lens is priced at $299.99. These lenses are very cheap and should be appealing to photographers wanting more lens options at a lower price than buying a new camera or DSLR lens.

With a clever little gear system in place on this invention comes a simple twist to open, a flower that reveals the lens in a series of transformermers. So simple it’s hard to believe that such a thing hasn’t already been created for the good of humanity. Imagine using such a worm gear system and Thermoplastic Elastomer to block the sun while you take your ultra high-quality photographs and videos without needing the super expensive equipment that the super pros use.

This design is a winner of one of the 2011 Spark Awards and has been featured on Yanko Design and soon quite a few other sites now that we’ve published it – how would you like to own such a contraption as this? The first step to getting anything produced is convincing someone to invest in it. Show the world you’re interested and said items will come to you! This device again is just a concept at the moment but we’re sure its designers Rhie Hyi Joong & Lee Sang Hwa would be overjoyed to have it made and sold.

[via Yanko Design]