Novoflex Adapter Puts Any Nikon Lens On Your Canon DSLR

Novoflex has announced their EOS/NIK-NT adapter, which allows Canon EOS DSLR owners to mount all Nikon lenses to their camera, including G series lenses. The EOS/NIK-NT adapter allows for metering in aperture priority, as well as maintaining infinity focus. The EOS/NIK-NT differs from Novoflex’s EOS/NIK adapter only in its added ability to mount G series lenses

Press Release

July 2010: Novoflex, Germany’s premier manufacturer of quality digital and analog accessories, announces
the availability of a new lens adapter to mount all Nikon lenses, including the G series, to any Canon EOS
mount camera body.

The new adapter is made to very precise and high standards to ensure exact infinity focus on the
Canon camera. With the EOS/NIK-NT adapter automatic exposure metering via stop-down metering is
possible as is aperture priority auto exposure. The new adapter features a lever on the side of the adapter to let users control the aperture on G series lenses. For users of non-G series Nikon lenses Novoflex also offers their original Nikon to Canon adapter, the EOS/NIK.

The adapter’s high precision manufacturing assures precise infinity focus and ensures that the
lenses deliver their full quality to the digital chip.

Novoflex also offers a full range of lens to body adapters for most 35mm and DSLR cameras as
well as for Leica M cameras. Also available are adapters to use most 35mm SLR and DSLR lenses as
well as Leica M lenses on MFT camera bodies! Novoflex also offers a range of adapters for the new
Samsung NX cameras and will soon introduce new adapters for other camera systems.

These adapters allow the switching of lenses from one camera system to another as well as the
use of lenses from Hasselblad, Pentax and Mamiya lenses on 35mm SLR and DSLR cameras as well as
MFT and Samsung NX camera bodies!

The adapters are available now from HP Marketing Corp. dealers in the USA.

Sony Unveils NEX-VG10: NEX Based Camcorder

Sony has introduced the NEX-VG10, a camcorder strongly based on their new NEX still digital cameras, offering videographers the ability to use E-mount lenses (and A-mount via adaptor) and the same 14.2 megapixel sensor as found on the NEX still cameras. The NEX-VG10 shoots 1080i video at 60 fps (or 50 fps outside the U.S.), offers a 3 inch 920k display, an ISO range up to 12,800, and for sound purposes, a “Quad Capsule Spatial Array Stereo Microphone”, which includes four separate omnidirectional microphones for “exceptionally clear stereo audio”.

The NEX-VG10 also shoots still images, but does not provide the ability to shoot in RAW. Frame rates are stuck at 60, there is no 24 fps option for example, still this is a bit of a groundbreaking product at the moment, which sort of turns things on their heads. While many would-be filmmakers are reaching towards still cameras to gain the ability to change lenses while shooting video, Sony has now brought the capability to a camcorder, a form factor much more suitable for actually shooting video, and has done it essentially with the exact same technology from the NEX-3/5 cameras (even the interface is the same). Pretty cool.

The NEX-VG10 ships in September for $2000. More details in the press release below.

Additional Media

Press Release

SAN DIEGO, June 13, 2010 Following the 25th anniversary of its industry-leading Handycam product line, Sony today announced the innovative NEX-VG10 Interchangeable Lens HD Camcorder.

The new NEX-VG10 is the world’s first consumer camcorder with interchangeable lenses and the first Handycam camcorder to feature an extra-large ExmorTM APS HD CMOS sensor.

“The NEX-VG10 takes Sony’s Handycam line to the next level by allowing unprecedented artistic expression that isn’t possible with conventional consumer video cameras,” said Andy Bubala, director of Sony’s camcorder business. “With this camcorder, video enthusiasts and photographers can now capture cinematic full HD movies and premium stereo sound.”

Sony’s NEX-VG10 Interchangeable Lens HD Handycam Camcorder is equipped with the same ExmorTM APS HD CMOS sensor used in the “NEX-5″ and “NEX-3″ digital cameras and compatible with the high grade “E-mount” series of smaller, lighter lenses optimized for video shooting with silent operation and AF. It is also compatible with a wealth of “A-mount” interchangeable lenses used by Sony’s existing alpha DSLR camera lineup via a mount adapter (sold separately), including award winning Sony G Lenses and Carl Zeiss branded lenses.

Coupled with Sony’s powerful BIONZ processor, the camcorder’sExmorTM APS HD CMOS sensor realizes high resolution video and 14 megapixel still images. Approximately 19.5 times bigger than the standard sensor found in conventional camcorders, the APS HD CMOS sensor enables an extremely shallow depth of field. This allows videographers to achieve cinematic results with stunning background defocus (bokeh). Users can also enjoy DSLR-quality photo capture with features like Auto HDR, Handheld Twilight, and Anti Motion Blur, as well as catch fast action sequences with a continuous burst rate of up to seven fps.

The NEX-VG10 can capture full 1920×1080 high definition video at up to 24Mbps for amazing clarity and detail, ideal for recording on to Blu-ray DiscTM media. It also comes with an E-mount 18-200mm lens optimized for video shooting that offers a powerful 11x optical zoom in addition to a silent auto-focus system and Optical SteadyshotTM image stabilization with Active Mode for superior versatility.

Satisfying the needs of serious videographers, sound quality matches the stellar imaging performance of the NEX-VG10. Its Quad Capsule Spatial Array Stereo Microphone uses advanced processing algorithms to combine signals from four individual microphone capsules.The result is exceptionally clear stereo audio with high directional response, allowing videographers to capture more sound from their subject and less background noise. The camcorder also features dedicated inputs for optional external microphones and headphones to monitor sound levels.

The camcorder’s TruBlackTM technology brings remarkably higher contrast and brightness to its 3.0″ Xtra Fine LCDTM swivel display, delivering more natural, realistic colors and easier viewing in bright conditions. The LCD is supplemented by a high-resolution adjustable electronic viewfinder that helps framing, monitoring and capturing clear images.

Compact and easy to handle, the NEX-VG10 gives videographers the flexibility of a removable lens with the ergonomics and operability of a Handycam camcorder. An intuitive jog dial and hotkeys make it easy to navigate menus and adjust shooting parameters, including full manual control of Iris, Shutter Speed, Gain and White Balance for professional results.

Dual accessory shoes (Alpha Hot Shoe/Universal Cold Shoe) allow for many still photography and video accessories, such as the ECM-CG50 shotgun microphone and external flash lighting. There’s also a choice of rechargeable battery options, including the NP-FV100 that provides up to 315 minutes of continuous HD shooting (may vary), and a specially designed soft carrying case.

Included with purchase as a download voucher ($99 value), Sony Vegas Movie Studio HD Platinum 10 video editing software includes powerful tools for video compositing, color correction and sound mixing to produce cinema-quality HD movies with ease. You can also share your creations via DVD, Blu-ray DiscTM media, or upload to the web all from one simple program.

The NEX-VG10 accepts both Memory Stick PRO DuoTM (including Memory Stick PRO-HG DuoTM) and SD (including both SDHC and SDXC formats) media. Users can record up to four hours of high definition footage (1920×1080, FH mode) when using the 32GB memory card.

Sony’s Memory Stick PRO-HG Duo HX offers an industry leading 30MB per second transfer rate, which means Handycamusers can upload video clips in a fraction of actual playback time.

Price and Availability

The NEX-VG10 will be available in September for about $2,000 and presales on www.sonystyle.com will begin July 14. They will also be available at Sony Style retail stores and at authorized dealers nationwide.

The Likea MPH: Absolutely Nothing At All Like An Actual Leica

Yes, the above is the Likea MPH, a pinhole camera DIY kit that checks in at a mere $20. Despite the packaging and name-play, the Likea MPH isn’t actually anything like an actual camera, other than the fact that it does require film.

Everything you need is in the box bar film, a little glue or tape and the pinhole element. Honor tradition by cutting your own from a pop can. MPH components are scored and die cut from tough, coated 210 gsm card and can be reloaded and reused again and again. The MPH shoots on same 35mm film as your F5 or MP, so you can have anyone from Costco to your favorite lab handle processing and printing.

Operation of the MPH is as bare-bones as it gets:

Pared down to the absolute essentials, the LIKEA MPH does away with the superfluous. Hand assembled by your good self, the MPH dismisses that which is not absolutely necessary. No battery, no light meter, no mechanical shutter, no embellishment – just your eye, a lightproof box and the emulsion.

The keeper rate is unknown, but I’d expect to take a good many horrible photos along the way….

Spotted at Leica Rumors.

Additional Media

Apple iHand, The Right Way To Hold Your iPhone 4

Saw this and had to post it.

Nikon D3s Also Taking Stunning Photos in Space

Nikon has been proudly promoting a nice collection of photographs taken from space at the International Space Station (ISS) with their D3s DSLR camera. According to Nikon, NASA has ordered 11 Nikon D3s camera for use on the ISS, which join a collection of Nikon D2Xs DSLR cameras, and a whole host of Nikkor glass and Nikon speedlights. Of course no surprise, ordering a bunch of Nikon D3s cameras for the International Space Station means they aren’t waiting for UPS, instead delivery comes in the form of the Space Shuttle Discovery. And yes, according to Nikon, these are the same Nikon D3s cameras available to earth-bound photographers.

Check out the slideshow of images below, and get further details in the press release that follows.

Nikon D3S Digital SLR Camera (Camera Body) at B&H Photo Get theNikon D3S Digital SLR Camera (Camera Body) and support this site at the same time, by making your purchase through the link above at B&H Photo Video.

Press Release

Nikon To Introduce The Latest Images From Space Captured With Nikon D3S Digital-SLR Cameras And NIKKOR Interchangeable Lenses Ordered By NASA
MELVILLE, NY (July 7, 2010) – The images exhibited were captured with equipment, including Nikon D3S digital-SLR cameras, NIKKOR lenses, Speedlights and other accessories, kept aboard the ISS. To date, NASA has captured more than 700,000 images with Nikon equipment carried into space. Among these many images, those rare and precious photos that can only be captured from space, as well as those captured under the extremely low-light conditions of space that exhibit the superior image quality of D3S noise suppression features are introduced.

Nikon has spent many years contributing to NASA’s study of space through the development and manufacture of advanced and extremely durable cameras and NIKKOR lenses. Production of NIKKOR lenses, which make the most of Nikon’s optical technologies, reached fifty million units last September. Nikon’s history with NASA began with the Nikon Photomic FTN?, a modified Nikon F camera that was used aboard the Apollo 15 in 1971. Nikon’s relationship with NASA continued even with the transition to digital when NASA placed orders for Nikon D2XS digital-SLR cameras in 2008. These cameras are still being used in space today. In 2009, NASA ordered eleven D3S cameras and seven AF-S NIKKOR 14-24mm f/2.8G ED lenses for use in recording activities aboard the Space Shuttle and International Space Station. The D3S cameras were the same products available to consumers with no special modifications, and they were delivered to the ISS via the Space Shuttle Discovery launched on April 5, 2010.

Nikon products kept aboard the ISS

• 1 Nikon D3S digital-SLR camera: Delivered to the ISS via the Discovery with Space Shuttle mission STS-131, which returned on April 20, 2010. Images are primarily those of the surface of the earth and nighttime scenes. Standard consumer product (no modifications).
• 8 Nikon D2XS digital-SLR cameras: Modified according to NASA specifications for recording extravehicular activities (EVA)
• 7 SB-800 Speedlights
• 4 D2XS eyepieces: Eyepieces made exclusively for NASA Special eyepiece viewfinders that enable image framing and verification through a space helmet with extravehicular activities.
• Miscellaneous (filters, cables, etc.)

Primary images captured by Nikon products

Image of extravehicular activities on the STS-131 mission. View of astronauts, as they work to tie down an Ammonia Tank Assembly on the International Space Station during STS-131 spacewalk.

Nikon’s history with NASA

1971: Nikon Photomic FTN* (NASA specifications) was used on Apollo 15
1980: The “Small Camera”, based on the Nikon F3 and equipped with a motor drive, and the F3 “Big Camera”, which utilized long film, were delivered to NASA. The “Small Camera” was used aboard the Space Shuttle Columbia launched the following year.
1991: The Nikon F4 and F4S were delivered to NASA
1999: The Nikon F5 and AI AF Nikkor lens were carried aboard the Space Shuttle Discovery to photograph extravehicular activities (EVA)
2008: D2XS digital-SLR cameras were delivered to NASA. Eight D2XS cameras are still used in space to document activities such as inspections and maintenance operations.
In addition, approximately 15 types of lenses, more than 35 all together, are kept aboard the International Space Station for intra- and extravehicular photography that supports NASA’s space activities.

*Nikon F equipped with Photomic FTN viewfinder that supports TTL center-weighted metering.

Gary Fong Introduces GearGuard

Gary Fong, the guy who brought you the “Lightsphere” flash accessory, has announced a new line of camera an photography equipment security devices. Dubbed “GearGuard”, the announcements today center on the GearGaurd Camera Body Lock, which locks the camera to any fixed object, and the GearGuard Bag Lock which as you’d expect, keeps prying hands out of your camera bags. Both items check in at an affordable $9.95.

More details in the press release below

Additional Media

Press Release

Gary Fong Introduces GearGuard, A New Line Of Integrated Security Protection Products For Photo Equipment

Affordable and Easy to Attach GearGuard Products Protect Photography Equipment from Theft; Enable Photographers to Concentrate on Shooting, Not Security

New York, NY – July 6, 2010 – Gary Fong, Inc., developer and manufacturer of cutting-edge photography equipment designed to help photographers experience new levels of creativity, today launched a new line of innovative products with the introduction of GearGuard, a series of camera and equipment security devices that provide photographers with a seamless theft prevention system for their gear. The flagship products in this new line include the GearGuard Camera Body Lock and the GearGuard Bag Lock, both of which are designed to safeguard a camera from the constant snatch-and-grab threat faced by photographers.

With the GearGuard Camera Body Lock in place, the camera body can be secured to any fixed object granting the photographer the freedom to focus on the moment at hand, rather than worry about equipment disappearing. Constructed of an impervious plastic compound, the twin-plate design provides a solid anchoring point through which the GearGuard Security Cable is threaded and affixed to any anchor point using the GearGuard Combination Lock. The Camera Body Lock attaches to the camera’s tripod mount and can remain attached during shooting without interfering with the photographer’s process. The screw, which attaches the lock to the camera body, features a threaded port, enabling the camera to maintain full compatibility with a tripod, ballhead or quick release plate.

The GearGuard Bag Lock further prevents roaming hands from stealing by breaching a camera bag and restricting access to the bag’s quick-release buckles. This two-piece clip slides together over the buckle and is fitted with the Combination Lock, much like the Camera Body Lock, enabling a photographer to pass through congested areas without concern for theft. Alternatively, users can leave their bags tethered to a permanent anchor using the Security Cable, knowing that the gear will remain where it was left.

“For years, photographers have had serious concerns about the vulnerability of their equipment to theft while they’re busy shooting an event or working with customers, and we all have horror stories about expensive gear turning up missing. Whether you measure the value of your camera and gear in hundreds or thousands, our compact GearGuard products will ensure safe travel and storage at an affordable price,” said Gary Fong, internationally renowned photographer and CEO of Gary Fong, Inc. “With the launch of our GearGuard line, photographers can safely devote their full attention to their craft rather than continually worrying about their costly equipment.”

Both the GearGuard Camera Body Lock and the Bag Lock (which is sold as a set of two units) are available for $9.95 MAP. The Combination Lock and 36” steel security cable is sold separately and is also available for $9.95 MAP.

In the near future, the company plans to expand the GearGuard line to round out this comprehensive integrated security system. For more information or to purchase GearGuard products, please visit http://www.garyfong.com.

To better connect with potential users, Gary Fong, Inc. is now using Microsoft Tag scanning technology. To use the re-printable tag included below to view the demonstration video:

• Download the tag-reading app from: http://www.gettag.mobi/
• Open the app and scan the image below with your mobile device’s camera
• View the Gary Fong demo video to learn more about the GearGuard product line

About Gary Fong
Since 1993, Gary Fong, Inc. has quickly positioned itself as one of the leading developers and manufacturers of cutting-edge photography equipment designed to help photographers experience new levels of quality in their work. The legendary Lightsphere, recently updated with the Lightsphere Collapsible, has enabled photographers to create studio-quality lighting effects with very little equipment. Gary Fong, Inc. continues to invent new ways to meet its customers’ changing needs and give amateurs the tools necessary to elevate their photography to the next level. For more information, visit http://www.garyfong.com/.

Now Posted: Our Review of the Canon 18×50 IS All Weather Binoculars

Our review of the Canon 18×50 IS All Weather Binoculars is now up for your reading pleasure. These binoculars offer an amazing 18x view, and feature Canon’s familiar image stabilization, as well as a weather resistant exterior. 18x magnification and no tripod or monopod? Find out in our review right here.

Canon 18×50 IS All Weather Binoculars In Depth Review

A magnified view is one thing, but an 18x magnified view is another thing all together. Typically even at 8x or 10x magnification even a beautiful pair of Swarovski binoculars will succumb to a good deal of stabilization issues, so it’s natural to assume that at 18x, a tripod (forget the monopod!) is all but a necessity.

Enter Canon’s 18×50 All Weather binoculars, that not only provide an amazing 18x reach, but feature image stabilization, promising support free viewing in stunning detail. Even better, the Canon 18×50’s offer the consumer worry-free viewing in rain, sleet, or snow with a robust weather-proof (not water-proof) construction. With obvious appeal for nature viewers, even some light astronomical gazing, the question is do the Canon 18×50 IS binoculars merit your attention?

Canon 18×50 IS Image Stabilized Binoculars at B&H Photo Get the Canon 18×50 IS Image Stabilized Binoculars and support this site at the same time, by making your purchase through the link above at B&H Photo Video.

Specifications

Design

Binoculars or small piece of exercise equipment? No question, the Canon 18×50 IS are a large and heavy pair of binoculars (about 2 1/2 lb.), and while they do indeed come with a neck strap, I question how long one would really want to carry a pair of these around their neck on any sort of extended walk. Instead, as with Canon’s 10×42 L IS WP Binoculars, these are probably best lugged around in a backpack. The weight of them in the hands could be an issue for some as well, we’ll cover the stabilization a bit further down in the review, but most users will be looking for limb support with any extended use. That said, the 18×50’s are very well made binoculars, with a hearty rubber coating that not only provides the 18×50 with some rain resistance, but also offers a good deal of grip, so that the 18×50’s always feel quite secure in the hands.

Ergonomically, the 18×50’s are quite comfortable in the hands, it’s a bulky design, but one that works well for viewing, again assuming one can handle the weight over longer lengths of time. The two eye pieces are easily adjusted for optimal viewing, the image stabilization button is well placed for the index finger to activate it, and the focus ring is easy to reach and rotate, without being too easy to accidentally turn.

Several negatives drag the overall design score down however, and all are a bit disappointing given the cost of the 18×50’s. First you’ll open the box, and assume your binoculars may have accidentally shipped without objective covers. It isn’t an accident, the 18×50’s don’t include them, and since I highly recommend protecting them (they’re not even deeply recessed), you’ll immediately be wanting to buy a pair of protective UV filters (58mm) as an insurance policy against scratching them. Worse, the eyepiece covers are a flimsy and cheap affair, the type that randomly fall off when you’re not paying attention, and so easily lost. The included protective case for the binoculars also borders on the cheap, real protection would be offered by a better case in my opinion. Again, for $1000 plus pair of binoculars, I’d have really preferred better accessories than this.

A couple of design issues are worth pointing out as well. The dioptric correction ring does not lock into place, and can be moved out of position while handling the eyepieces. Not all binoculars offer this, but it is annoying to accidentally move the ring out of your correct position, and subsequently re-adjust your binoculars. Finally the 18×50’s offer very little in the range of eye-cup adjustability, essentially there’s two positions, normal, and literally rolled back, which is recommended for spectacle wearers.

Usage

The use of a pair of 18x binoculars is a compromised experience that one either accepts for the positive, a tremendously magnified (and stabilized in this case) view, or dismisses for the negatives: smaller field of view, shallower depth of field, etc. For starters though, using the Canon 18×50 is a mostly “wow, this is amazing” type experience. As stated above, the 18×50’s fit nicely in the hand, and operation of the unit is easily done with simple movements. Focusing is done quite quickly, but one will be doing it more frequently as the 18x view means things come in and out of focus more frequently than normal.

Eye relief is a minimal 15mm and the non-adjustable eye cups aren’t all that helpful in the viewing pleasure dept. I don’t typically wear glasses, but I frequently found myself rolling over the eye cups, as with them extended, the “porthole” effect is quite noticeable. A big drawback of course of greatly magnified binoculars is less field of view, the 18×50’s offer 3.7 degrees, so in effect you’re having to keep your eye movement minimal to avoid “black-out” in the eye cups, while trying to keep them focused on a small sliver of magnified viewing experience. We take pains to point out this issue, because as amazing as it is to see wildlife, nature, and celestial bodies in great detail, it can also be quite difficult to actually keep them in sight, and with extended time, it can be taxing on the eyes as well.

On the other hand, the view is rather amazing, and Canon’s image stabilization works incredibly well, in large part eliminating the need for external support. Activating the stabilization is simple enough, press the conveniently located button on the top of the binoculars, and the IS is activated for 5 minutes. Lower the binoculars, and in a moment the IS shuts itself off. Pressing the button provides a magical effect of stability vs. shakiness, though due to the 18x magnification it doesn’t seem quite as spectacular as on the Canon 10×42 L IS WP binoculars. It isn’t perfect though, close examination can reveal a “shimmer” effect, and of course the IS can’t keep up with rapid panning or other body movements. Still, we’ve said it before, once you try a pair of binoculars with image stabilization, you won’t go back, and the fact that the 18×50’s are easily usable hand held is a testament to just how effective IS can be.

One last note, the image stabilization feature requires the use of two AA batteries. A pair of alkaline batteries provides about 2 and half hours of use, but we recommend lithiums, which are rated at 8 hours of use. Using the binoculars does not require batteries, and they will function as normal binoculars without them. Additionally, the 18×50’s are “all weather” binoculars. They will hold up fine in a pouring rain (tested), but this is not to be taken as meaning the 18×50’s are “waterproof”, they are not.

Image Quality

Despite not being blessed with the wonderful “L” series glass found in the Canon 10×42 L IS WP binoculars, the 18×50’s are still more than capable of providing a clear, detailed and vivid viewing experience. Sharpness is good across the viewing plane, but unlike the “L” glass there tends to be more color fringing (chromatic aberration), especially at the edges, and the 18×50’s don’t provide the diamond-like clarity offered by the 10×42’s, and certainly not anything like the Swarovski EL 10×42 SwaroVisions . This is largely due to the quality of glass involved, but it doesn’t detract from the viewing experience very much, if at all. Detail abounds even at great distances. The surface of the moon never looked this good before, and we’re nearly able to make out menus in a restaurant half-down the street from our studio window! Part of the wow factor is simple, you’re average binoculars don’t typically reach half this far, and don’t do so as steadily. The 18×50’s can “get you there” and do it without the need of a tripod, and the combined experience can equal a lot of fun, if one can tolerate the caveats mentioned in the “Usage” section of this review.

Conclusion

As we’ve noted, Canon’s effective image stabilization, easily turns a pair of 18x binoculars into a relatively steady viewing device, without the use of a monopod or tripod. Before offering our final verdict, let’s run down the positives and negatives.

Positives

• Amazing 18x magnification.
• Image stabilization eliminates need for external stabilization.
• Excellent overall build quality.
• Good ergonomics for large binoculars.
• Design includes tripod socket. (your arms may need it eventually)
• Weatherproof finish allows use in inclement weather.
• Lenses provide sharp “corner to corner” view.

Negatives

• Big and heavy.
• Doesn’t include caps for objectives.
• Minimal eye relief.
• Flimsy protective carrying case.
• Non-adjustable eye-cups.
• No lock for dioptric correction ring.
• Small field of view.
• Chromatic aberration at the viewing edges, possibly enhanced with IS on.
• Shimmer effect on some subjects from IS.

Verdict

After reviewing and using a number of 10x or 8x magnification binoculars, we’d been pretty excited to play with Canon’s 18×50’s. Without a doubt, 18x magnification can add a great deal of interest in your viewing experience, especially for enthusiasts anxious to point their binoculars to the night sky, and nature watchers keen for a closer look. The Canon 18×50’s satisfies that need, and the image stabilization actually allows you to do so without a monopod or tripod, a blessing in its own right. What we’ve learned though is that even when the issue of stabilization is eliminated from the equation, using a pair of high magnification binoculars is not without its serious viewing problems. For the Canon 18×50’s it means a very restricted field of view, and average at best eye comfort. Further, keeping subjects in focus requires more attention than ever, and finally there’s the simple issue of the 18×50’s just being a large pair of binoculars, so that you may not need a tripod, but you’ll be wanting a lounge chair with arm support while using them. The binoculars do work as advertised though, and for many the amazing view will be well worth the caveats I’ve included. For the money, I’d steer consumers to the excellent Canon 10×42 L IS WP binoculars, which offer a spectacular view, minus the magnification, and its caveats, but for those who can’t live without the more fun, but compromised magnification, we certainly “Recommend” the Canon 18×50 IS All Weather binoculars.

Design: 7
Operation: 8.5
Focusing: 9
Optics: 8
Value: 8

Where To Buy

Canon 18×50 IS Image Stabilized Binoculars at B&H Photo Get the Canon 18×50 IS Image Stabilized Binoculars and support this site at the same time, by making your purchase through the link above at B&H Photo Video.