Dynamic range of sensors varies from camera to camera. You might be surprised by the (updated) chart below because the dynamic range of sensors is not as directly related to camera costs as you might think. You’ll notice that some mid level DSLRs are way ahead of the curve over other camera’s pro level cameras when it comes to dynamic range of the sensor.  This test was conducted by DXOmark.com and you can go there to read about how the tests were conducted.

|||—— UPDATED FOR NEW CAMERAS TESTED BY DXOmark.com —–|||

What is important and relevant to HDRI is the dynamic range of your sensor. It really matters.  Unless you taking large and tight brackets of each scene then it really, really, REALLY matters even moreso than you think.  If you are following a technique taught by someone using say a D3x and they tell you all you need is X shots, but you are using a camera at the bottom of the chart below and taking the same number… there is no way you can match that person’s results. Its mathematically impossible.

I get asked all the time how many shots do I take when I shoot, but nobody asks me with what camera.  Everyone assumes they are all about the same for HDR.  They aren’t.

Gear used for capturing brackets for HDR is even more critical if you are only taking 3 shots.  It will directly impact the quality of your HDR file. IF YOU ARE SHOOTING FOR VFX WORK THIS IS SLIGHTLY LESS CRITICAL THAN IF YOU WILL BE TONEMAPPING FOR REALISM (only slightly less though).

I’ve captured and tonemapped over 13,000 images for architecture, real estate and commercial shoots.  I’ve forfeited all my vacation time the last 4 years just to do intensive testing about what works better.  Gear, post production, you name it.

I’m pretty obsessive compulsive about trying to get a realistic looking image for real estate interiors and I’ve bought and/or rented about 40% of the cameras on this list below. DXOmark.com seems on the mark as far as my personal results are concerned.

Dynamic Range of Camera Sensors (I chose to focus on modern day digital models only)

No test is perfect. DXOmark has attempted to do this objectively, but because ISO/Noise and how cameras can handle scenes, colors and other differing factors, this should not be the only way to base your purchasing decision.  For example…

Someone could use the Canon 1000D (also known as the Canon XS) plus a piece of gear to get pro HDR captures.

If you bought that entry level Canon 1000D/XS for $400+ and a PROMOTE CONTROL for $299, (which will soon be adding HDR Timelapse to its functions in addition to HDR capture and standard Timelapse), then you could take very large and tight brackets with the Promote Control attached to your 1000D/XS that will capture well beyond what the in camera AEB capabilities of every single camera on that chart above.  Yes, including a D3x or 1Ds Mark III.  Sometimes the piece of “kit” you add to the mix can make a lower end device perform very well (dynamic range speaking here).  Of course the pixel quality of a D3x/1DsMarkIII is easily better than a Canon XS, but at the cost of $8000 it should be.

I’ve recently used the Pentax k-x a bit more to test out the in camera HDR feature.  At first I was under whelmed, but like usual, I messed with settings on my own until I got results I’m happy with.  Maybe not elated with, but happy/satisfied.  First I’ll post a few images, then I’ll explain how I tweaked camera settings to get to a warm, happy place.  Again, these shots were not single frame captures, they utilized the Pentax k-x merge to HDR (in camera) feature and then I tweaked them quickly in post. (They were all taken with the Pentax K-x “kit” lens)

I initially discussed the Pentax k-x some time ago and you can see my comments and test shots from that post: http://hdriblog.com/pentax-k-x-initial-test/

I still do not like the results from using the “HDR Strong” which is also HDR 2 under the two in camera HDR settings.  ”HDR Standard” which is also HDR 1 under the menu settings is less dramatic and the following workflow is what I used to get the image results above.

If you’ve never tried this k-x setting you need to do a few things to your camera settings…

1. Press the MENU button to go into the Menu settings and change file format to JPEG and press the menu button again to get back to the typical LCD settings.

2. Then press the INFO button which is just above the Menu button. On the top line over to the right four squares is the menu option “HDR OFF“.  You can change this option two ways.  You can highlight that option and then use the scroll wheel with your thumb moving it to the right to flip to HDR 1, then HDR 2  –OR– you can highlight HDR OFF and press the OK button and then a screen pops up with the three options and just select the one you want and hit OK again.  Obviously, the fastest way to do this is the first way I described.  Highlight HDR OFF and then use the scroll wheel to change it to HDR 1 or HDR 2.  You’ll see shortly why that scroll wheel is the better option.

Each of the images above are a combination of two captures that I brought into photoshop.  Those two captures which were shot from the EXACT same location on a tri-pod were taken by….

1. First taking a shot using the “HDR-1″ setting (also called HDR Standard).
2. Press and hold the shutter so that it takes the 3 consecutive shots (it is auto bracketing and will then immediately process the three shots over the next 10-12 seconds).
3. Then hit the INFO button & scroll the wheel to the right once to select “HDR-2″ (also called HDR Strong) and again press/hold the shutter to fire off the second bracket.

Now here’s the key… Before taking each exposure I forced the exposure compensation to at LEAST +1EV for each of the above outside shots and adjusted the interior shots up by almost +2EV.  That can be changed by using your right index finger and holding down the button just to the left of the shutter then use your right thumb to scroll the wheel to the right to increase the EV number.  Why do this? …

.. because I found if you fire off the camera when in either of the two HDR modes with exposure compensation set at ZERO, the merge to HDR and in camera tonemapping seems to over crush the highlights and you end up with very “dirty” mid tones and darker shadows than you would want ideally.

The camera is of course firing off three images. One under exposed, one middle, one over exposed.  It then merges those 3 bracketed shots to HDR in-camera, it then processes and tonemaps the HDR and saves the result as a JPEG.  You can’t get anything but a JPEG as a final file (unfortunately).

When I got back from shooting, I would then open the first shot (HDR 1 / HDR Standard) in photoshop.  Then FILE>PLACE the second image  (HDR  2 / HDR Strong) over top of the first image. I then drop the opacity of the top layer (HDR Strong) to about 30% as a starting point and then change its blend mode in the layers palette to either OVERLAY or SOFT LIGHT.  Then I just adjust opacity of that layer up or down to get the feel of the image to a satisfying level.  Save and export.

You may find that you like the HDR Strong layer better than the HDR Standard (your call and whatever floats your boat).  If so, simply reverse the layers so that the bottom layer is HDR Strong image and with the standard NORMAL blend mode and then have the top level be the HDR Standard image and change its opacity and blend mode as described above.

GOTCHAS - If you moved the camera slightly when you switched the camera menu settings between shots, you may need to use Photoshop’s align feature.  You click the bottom layer and shift select the other layer so they are both selected.  Then from the file menu EDIT>AUTO ALIGN LAYERS to have photoshop align the pixels.

UPSIDE:
You don’t need to do any MERGE to HDR and tonemapping because the Pentax k-x HDR Mode is doing that for you.

DOWNSIDE:
Fast moving objects make this two pronged approach a challenge and works best with static scenes. You need to use a tri-pod for best results. The time the k-x takes to process each shot can slow you down when shooting like this. You need a program that utilizes blend modes like Photoshop or a free application like GIMP (which is an open source, photoshop “like” app).

Medium format, meet HDR. HDR meet medium format.

PENTAX 40 megapixel 645D Medium Format SLR Camera $9400 US Dollars

HDR NOTES OF INTEREST
1. Shoots a bracket, merges to HDR and merges IN CAMERA
2. Single shot Dynamic Range Expansion to handle highlights and Shadows

Pentax has finally released the Pentax 645D which is a 40mp medium format camera. Rather than list the massive breakdown of the camera specs I’ll simply link the press release below.
http://www.pentax.jp/english/news/2010/201008.html

The in-camera HDR capture/merge function is of course of particular interest to me, but I’ve yet to find what controls one has (for example: amount of bracketing/steps).

Other noteworthy features listed (but no juicy specifics) are:

INTERVAL SHOOTING

EXPOSURE BRACKETING

EXTENDED BRACKETING

I’ll post more if I find specifics, but don’t get too excited.  The release is initially limited to sales in Japan only.

I’ll be in Vegas for a week in April. I only needed to be there for NAB, but extended the time I’ll be there a little before and after to have time to play (errrr…. work).  My idea of playing is about as geeky as it gets.  I’ll be torturing my gear on some HDR Timelapse and some other shoots I’m considering setting up to test speedlites.

I’m doing this because I never have time to do this when I am grinding through shoots on a weekly basis.  I’ll have the time to do so when I’m away.  I’ve always been curious about comparing cameras shot in the same light with the same lens to see what differences you get. I’m not bringing all my gear, but enough to be considered certifiably insane.

I’ll be messing around with the following cameras during the shootout:

Canon T2i / 550D
Pentax K-x
Sigma SD9
Sigma SD14
Nikon D3

I already use the D3 and SD14 extensively on a weekly basis for HDR work (real estate), but will be torturing them in different ways on the trip.  I’ll shoot the D3 and SD14 for HDR Timelapse simultaneously side by side, both with wide angle lenses. I expect the results will be like shooting with two different film stocks, but I’ll find out for sure in post.

Also I will be swapping out (removing) the Sigma SD14 SA mount and installing a custom Nikon F-mount on the SD14 using a 3rd party solution. I have three SD14 bodies so I’m willing to risk bricking one for the team.  This will allow me to test the Canon T2i and Sigma SD14 using Nikkor Primes (in the case of the canon, via a F-mount to EF mount adaptor).

So I’ll be testing the Canon T2i vs the Sigma SD14 with the following Nikkor Primes (which have aperture rings):

20mm f/2.8D
24mm f/2.8 AI-S
28mm f/2.8 AI-S
50mm f/1.4 AI-S
85mm f/1.4D
105mm f/2.5  AI-S

I’ll be curious to see which camera resolves detail better… the latest 2010 release from Canon ( T2i / 550D ) or the 3 1/2 year old Sigma SD14 that tied the Canon 5D in multiple head to head image tests worldwide.  Also (and more important to me in many ways) I want to see which camera captures more dynamic range per shot (single shots).  And finally, I’ll fire off brackets with the same settings on each camera to then merge to HDR to see if there are differences there as well.  I’ll do this while testing various white balance settings, including custom white balance settings on each camera.

Just so that I don’t completely geek out the entire trip I’m also planning to setup some kind of high fashion shoot with Las Vegas models – MUAs and Hair Stylists.  I’ll test out some multiple speedlite setups on some models as guinea pigs as I have on models in the past (all my model shoots are actually new gear test shoots and I tell them this up front).

Past guinea pigs:
http://digitalcoastimage.com/models.html

I might add something else to the mix, but so far these are tests I plan to do for sure.

Sigma 8-16mm f/4.5-5.6 DC HSM for APS-C sized sensors has just been announced by Sigma. Sure to be a favorite for landscape and architectural photographers.

Probably the most encouraging thing about the release is how several of the lens elements have been upgraded over coatings used for their other wide angle offerings.  Performance from this lens should be solid, but I’ll be reviewing it once I’ve gotten my hands on one and shot with it.

Also, generally the widest end of a zoom will be a tad soft in the corners so this lens “should” improve in quality as you zoom in a tad.  It might be possible that at 10mm it will be sharper than Sigma’s current APS-C wide angle zoom offering (which I own and use on a Sigma SD14).  I’ll be able to compare the Sigma 8-16mm f/4.5-5.6 DC HSM to the Sigma 10-20mm f/4-5.6 DC HSM head to head.

The Sigma 8-16mm f/4.5-5.6 DC HSM is equal to the following 35mm equivalent on the following cameras:

Nikon APS-C cameras = 12-24mm (35mm equivalent)
Pentax APS-C cameras = 12-24mm (35mm equivalent)
Sony APS-C cameras = 12-24mm (35mm equivalent)
Canon APS-C cameras = 12.8-25.6mm (35mm equivalent)
Sigma DSLRs = 13.6-27.2mm (35mm equivalent)

Sigma has also announced the following lenses:

Sigma 85mm f/1.4 EX DG HSM

Sigma 70-200mm f/2.8 EX DG OS HSM

Sigma 50-500mm f/4.5-6.3 DG OS HSM

Sigma 17-50mm f/2.8 EX DC OS HSM

NEW CAMERAS

Sigma SD15 ==> which now has 5 AEB at +/-3.0EV (that’s huge!!!)

Sigma DP1x

Sigma DP2s

And finally, last but not least, they have updated their RAW processing software program SIGMA Photo Pro to 4.0 which now is multi-core aware and is claiming it will improve IQ for all cameras.

Dynamic range of a camera’s sensor varies per model. Some manufacturers are better than others. The chart below shows scientific, but real world results of testing a camera sensor’s dynamic range. The tests were done by DXOmark.

Bigger is better when it comes to Dynamic Range of a sensor. It means you can capture more shadow detail and more highlights in a single shot. If you shoot architecture or landscapes you already appreciate the challenge of capturing a high contrast scene that has a massive dynamic range.

For HDR captures, this is incredibly relevant because an HDR file is only as good/clean as the RAW data you feed into the merge.

You can see below that Fuji was WAY ahead of it’s time with the S3 & S5 (fuji’s S3/S5 results apply when using the extended dynamic range feature which is controlled by a camera setting). It is no wonder that so many wedding shooters swore by that camera for shooting beach weddings and other high contrast scenes. As of now only the D3x can better the dynamic range of a S3 or S5 in one single shot.

The relevance to High Dynamic Range Imaging is the following. Lets say you capture a bracketed sequence with only 3 shots. Which of those cameras above do you think will give you the best data to work with when merged to HDR? Remember, an HDR file is only as good/clean as the RAW data you feed into the merge. If each RAW shot you feed into a merge to HDR has by itself a large dynamic range, then you increase the quality of the HDR file.

This is why I groan when I see someone shooting with a Nikon D3x or Fuji S5 Pro say you only need to take X shots to get X results.  Each camera is completely different in terms of its ability to capture dynamic range so when you limit your bracket to only 3 shots, the dynamic range of your sensor becomes incredibly relevant. As you fill in the gaps and take more shots with tighter EV steps it fills in data gaps and provides cleaner RAW data for the entire range.

I first touched on the subject of dynamic range of camera sensors about six months ago and there is a little more insight in that post which is linked HERE.  Other articles surrounding dynamic range, auto bracketing and FPS capture are linked as follows:

Autobracketing for HDR – Camera Specs

Fastest DSLRs for HDR Capture (wide AEB range only)

When I see someone say their HDR files and tonemapped images have noise issues, my first question is? How many shots did you take and what EV step between?  Because I can tell you I have ZERO, NONE, NADDA, ZILCH, GOOSE EGG issues with noise in my files.

Why?  Because I bracket big and tight.  Sometimes I’ll bracket a scene with 13 images at .7EV between steps or even more shots with only .3EV steps between.  And yes, it takes a lot longer to merge to HDR, but it also means the averaging that occurs in software from darks to lights between the RAW data you feed it will result in BOTH cleaner data (less noise) and milder hue/saturation shifts (better color reproduction).

I get asked weekly how my images look so free of noise, natural and how I control saturation levels.  That last paragraph is HALF the battle folks.  It took me about 2000 HDRs to finally figure that out and even though I recently crossed 13,000 commercially delivered images tonemapped from HDRs, I’m still learning and tweaking.  I’m far from satisfied with my own results.  It is a constant challenge for myself even to fight “overcooking” images to the point that a client comments “it looks fake”.

It is critical that you understand my goal is to get to the point that someone can’t tell I’ve employed a High Dynamic Range Imaging workflow / pipeline. I’m not there yet.  If your goal is to create colorful and possibly more saturated images than I am gearing for then you might not want to bracket tighter like I do because when luminance ranges get stretched in software using only 3 shots from an AEB sequence it by default will create hue shifts and saturation issues that you might actually want for your images (particularly if you are going for artistic and/or grunge looks).

Even if you don’t shoot for HDR I hope the chart at least enlightens you to the abilities of those camera models.  I’ve purposely eliminated the medium format cameras that DXOmark has on their site.  If you go to their site and want to check these stats out yourself then look for the following tab on their site (image below). When you do, that data will populate the field on the right so you can see the various cameras and how they stack up.  The X axis shows time so you can see when each was released in comparison to others.

The Pentax K-x arrived today.  I don’t want to ramble on about all the features and such yet because I have not played with it enough to pass judgement on it yet.  I just want to post this three up image of shots I snapped just before a partly cloudy sunset ended here today.  It shows (top to bottom) HDR Capture Mode “Strong”, then HDR Capture Mode “Standard”, then no HDR Mode and just one simple frame.

The image is of one of the public beach access points here.   It has not only rained at this location recently, but one of the natural dune lakes that sits against the beach (100 yards north of the gulf) broke through one of its natural walls (sand) some dark brackish waters spilled onto the beach.  Hence the wet and dirty strip of sand you’ll see.  It is a naturally occurring thing here where some of these lakes sit.  Only Australia has similar dune lakes naturally occurring like we have here along the Emerald Coast of North West Florida.  The lakes are large and beautiful and allow you to canoe vast areas just hundreds of yards from the gulf of mexico.  They run right up against many beach points.

When it rains here, certain dune lakes will sometimes overflow and spill into the gulf itself and salt water and lake waters will flow back and forth and then seal back up again when weather calms down.  Sometimes a lake wall just oozes a little lake water onto the beach area as it did this time.  It happens a few times a year and within a few weeks the powdery white sand covers the darker sand back up again as if it never happened.  This generally occurs in the fall/spring outside of tourist season.  However, we have had unusually horrible weather here the last two weeks with virtually no sun and many rainy days.  The dune lakes have filled up and this particular one spilled over onto this beach.

I say all this because I don’t want you to think those dark areas are an artifact from the HDR mode versions captured (below).  The HDR mode and tonemapping did NOT have to do with this strip of dark sand.  It was the lake overflow.

The images below were simply resized down.  All three are JPEGs right out of camera.  The HDR mode fires off a 3 frame AEB and the final image is a tonemapped JPEG.  I purposely chose a shot that is not something any camera sensor can handle in one shot.  The image on the bottom is one simple frame with no HDR mode.  As you can see, the sun despite being shielded slightly by clouds, still blows out badly and much of the water reflection is also blown out.  The middle image is using the camera’s HDR Mode set to “Standard” and the top image is using the camera’s HDR mode set to “Strong”.  No photoshop or post tweaks.  The saturation differences are a result of the merging (tonemapping) process and I can’t control that.  Although I did have the camera setting set to “standard” for color.  I’ll experiement with “Vibrant” and the like in the future to see variations.

I was in a rush and by mistake I had the camera set to auto white balance (ugh!!!).  So color differences are probably even less scientific between shots given that idiotic oversight.  BTW, this was not a planned shoot… I just rushed down when the cloud cover broke and snapped a few shots.  I shot in Aperture priority mode for each.  The clouds moved of course… the HDR Capture Mode takes 3 shots bracketed and then it takes about 10+ seconds for the camera to merge the shots before you can retake another shot, so there is no way to show you a true comparison with the sky moving as briskly as it was.  The 3 shot burst itself is quick.  The camera sports a 4.7 fps speed, but the merging process takes time.

So what you see below is not bracketed shots taken into post, merged and then tweaked.  These are right out of camera JPEGs, but there is obviously some tone mapping operator doing some work in camera.  The “Strong” is definitely too intense for my commercial work and “Standard” while less intense is borderline workable for what I do… but I’ll wait until I’ve put it through a bunch of tests and interior architectural shoots.

K-x quick test of HDR Capture Mode

Weather is supposed to stay crappy here for almost another week so it may be some time before I get around to getting this camera pushed through a true test run and then posting results.  But I will ASAP.

For instant gratification, the K-x rocks.  No long merge to HDR time in post.  Just shoot and in 10-12 seconds you can see the JPEG and change your settings to reshoot.  Oh, and that reminds me to mention that you can of course use the exposure compensation….

… the Pentax K-x allows for +/- 3.0EV so you can easily control where the base exposure will begin.  And of course I’ll be experimenting with taking multiple HDR captures taken at various +/-EV settings and then use those JPEGs to merge in post to see if anything interesting comes from it or if it is not beneficial.  We’ll see.  Merging tonemapped jpegs?  Can you say “artifacts”?  Probably.  But I just have to do it for the hell of it.

Oh #2… the AEB function allows for a traditional 3 AEB burst at +/-3.0EV.  You can bracket as little as .3 and it goes up by steps of .3 right up to a full +/-3.0 EV like a Canon 7D or Sigma SD14 does (both of them shoot a 3 AEB which can max out at +/-3.0EV).

More to come when weather breaks for the better.

Jack Howard has put together a great list of top class HDR capable cameras over at Adorama’s Learning Center.  Check out the list here:   2009 HDR All-Stars

——————-

For you iPhone addicts, check out the very interesting app that allows you to take two images and they get tonemapped in the iPhone.  The app is called TrueHDR =  http://pictional.com/TrueHDR/Videos.html

——————-

Here is a recent shoot I did for an existing client. On this shoot I used a D3 exclusively and many of the shots required a range of -5 to +5 EV in total.
Builder Shoot (Gallery Link)

——————-

Here is a link to a High Dynamic Range Image sequence.  It is a “tilt” sequence I shot at a local garden near a state park.  This series was shot with a D3 and each frame is actually 7 images spaced 1EV apart and then tonemapped before being placed one after the other in post.

The amount of quality lost when exporting to a web video format is horrifying, but I have no choice.  The full 1080p version has no loss of color, detail/clarity or color shifts.  That said, here is the link to the web clip:
HDR Video (link to landing page)

Rather than hash out every single detail, I’ll link to Pentax USA’s site below to the K-x.  However, a few notable features that I’m amazed to see on a $599 DSLR+Kit Lens combo:

• Sensor shift stabilization (up to 4 stops) for stills AND video
• 720p HD at 24fps
• 4.7 FPS in continuous shutter
• 1/6000 second shutter
• HDR Capture Mode (processed in camera for you to a JPEG)

The Pentax K-x I kind of let slip by without mention.  It also has the HDR capture mode of the K-7 (where it takes 3 bracketed shots and auto processes in camera to a tonemapped JPEG).  However, it does NOT have the AEB capabilities of the K-7, but for 1/2 the price of a K-7 of course there are always compromises. I just saw that the K-x + kit lens is only $599 so I am just going to have to get one and post a review on it in the next 30 days.

Hell, the thing even does 720p at 24fps native. Probably not super high quality, but at this price point… a no brainer for a small form factor DSLR.

More info here: http://www.pentaximaging.com/slr/K-x_Black/

Pentax has released a pretty juicy K-7 plus lens(es) rebate. Buy a Pentax K-7 and get $100 off each pentax lens on the rebate form (listed on the PDF and below).  You can buy up to five pentax lenses under the rebate which means you could save up to $500 on Pentax glass.

The rebate is in the form of a visa gift card.  The K-7 has dropped since its introductory price as well making this a great time to jump in if you are looking for a digital system and you like the K-7 features.

PENTAX K-7 REBATE

K-7 Lens Kit w/DA 18-55mm WR $100.00
UPC Code: 027075155305– Product Code: 17831

DA ★ 50-135mm F2.8 ED (IF) $100.00
UPC Code: 027075129276 – Product Code: 21660

DA ★ 55mm F1.4 $100.00
UPC Code: 027075147348 – Product Code: 21790

DA ★ 200mm F2.8 ED (IF) SDM $100.00
UPC Code: 027075139213 – Product Code: 21700

DA 15mm F4.0 ED Limited $100.00
UPC Code: 027075147362 – Product Code: 21800

DA 21mm F3.2 AL Limited $100.00
UPC Code: 027075122161 – Product Code: 21590

DA 35mm F2.8 Macro Limited $100.00
UPC Code: 027075141209 – Product Code: 21730

DA 40mm F2.8 Limited $100.00
UPC Code: 027075111004 – Product Code: 21550

DA 70mm F2.4 Limited $100.00
UPC Code: 027075124783 – Product Code: 21620

DA 10-17mm Fisheye F3.5-4.5 ED (IF) $100.00
UPC Code: 027075117280 – Product Code: 21580

DA 12-24mm F4.0 ED AL (IF) $100.00
UPC Code: 027075114173 – Product Code: 21577

DA 14mm F2.8 ED (IF) $100.00
UPC Code: 027075042568 – Product Code: 21510

DA 16-45mm F4.0 ED, AL $100.00
UPC Code: 027075079762 – Product Code: 21507

DA 17-70mm F4.0 ED (IF) SDM $100.00
UPC Code: 027075141223 – Product Code: 21740

DA 18-55mm F3.5-5.6 AL WR $100.00
UPC Code: 027075154407 – Product Code: 21880

DA 18-55mm F3.5-5.6 AL II $100.00
UPC Code: 027075139220 – Product Code: 21717

DA 50-200mm F4.0-5.6 ED WR $100.00
UPC Code: 027075154308 – Product Code: 21870

DA 50-200mm F4.0-5.6 ED $100.00
UPC Code: 027075113695 – Product Code: 21567

DA 55-300mm F4.0-5.8 ED $100.00
UPC Code: 027075141186 – Product Code: 21720

D FA 50mm F2.8 Macro $100.00
UPC Code: 027075108639 – Product Code: 21530

D FA 100mm F2.8 Macro $100.00
UPC Code: 027075108622 – Product Code: 21520

FA 50mm F1.4 $100.00
UPC Code: 027075030534 – Product Code: 20817