Leica 'R' CAMS Explained

Shows Black Tab on Right (Cam) but both Chrome Cams are missing

Two Cam Lens (Left) One Cam Lens (Right)

Three Cam Lens, Third Cam is the Black Tab above the Chrome Second Cam

One Cam - Leica R lenses for Leicaflex cameras with external meter are single-cam lenses (one axial cam.)

Two Cam - Leica R lenses for TTL meter Leicaflex cameras are two-cam lenses (two axial cams.)

Three Cam - Leica R lenses for Leica-R cameras (R3 - R8) are three-cam lenses (two axial & one rotational cam.)

R Only - Leica R series lens for use on the Leica R series only. This lens clearly states this on the side of the lens.

You may use any 1, 2 or 3 Cam lens on any SLR body without worry of damaging your camera or lens.

There are four lens versions:

One axial cam for use with the original Leicaflex (external metering).

Two axial cams for all Leicaflex cameras.

Two axial & one rotational cam for use on all Leicaflex and Leica R cameras.

R Cam Only with only the rotational cam, for use on the Leica R only.

However, all reflex lenses will work on any Leicaflex or Leica R camera body. If you use a one or two cam lens on a Leica R body, you must stop down the lens to take a meter reading. Otherwise the reading will be wrong. Likewise using a one cam lens on a Leicaflex with TTL metering.

If an R lens without rotational cam is used accidently on a Leica R camera, it will produce incorrect exposure. But it does not cause any physical damage to camera or lens. Simply stop down to take a correct exposure reading. A Leica R lens without a rotational cam is a Leicaflex lens.

CONVERSION OF LEICAFLEX LENSES FOR USE ON LEICA R MODELS

Existing LEICAFLEX lenses can be fitted with an additional cam for the full utilization of the LEICA R exposure facilities. The use of modified lenses on all LEICAFLEX models remains unrestricted. Modification can be made through Leica or third party Leica service facility.

CONVERSION OF LEICA R LENSES FOR ADDITIONAL USE IN LEICAFLEX MODELS

From the stated serial numbers onwards, the following lenses fit on all LEICA R models but no longer on the LEICAFLEX models. Most of these lenses can be equipped with the control cams necessary for use on the LEICAFLEX models by the Technical Service of Ernst Leitz GmbH or in authorized workshops.

CAN BE EQUIPPED FOR LEICAFLEX MODELS:

28 mm ELMARIT-R f/2.8 from 3367501

35 mm ELMARIT-R f/2.8 from 3332801

50 mm SUMMILUX-R f/1.4 from 3291801

60 mm MACRO-ELMAR-R f/2.8 from 3335501 for SL/SL2 models

80 mm SUMMILUX R f/1.4 from 3267301

90 mm SUMMICRON-R f/2 before 3381677

90 mm ELMARIT-R f/2.8 from 3384201 for SL/SL2 models only

Leica 135mm F2.8 Elmarit-R

The 135mm Elmarit-R has a reputation for oustanding Sharpness & Contrast, even wide open. At F4 the lens is performing already at its maximum. It is perfect for portraits and for close up photography. Its flat field and ability to work well with the Elpro attachments allows this lens to become a stellar performer, even at 1:3 magnification. It was produced in two versions with two different optical formulas. Both versions utilized 5 elements in 5 groups, but the later version had a completely different optical formula. Another Great Leica lens when you need the extended reach of the 135mm focal length.

Leica 100mm F2.8 APO-Macro-Elmarit-R

This lens is recognized as the Finest lens ever created by Leica or any Manufacturer. As many manufacturers these days are throwing around the word APO in the marketing of their lenses, Leica takes this designation very seriously. The APO-Macro-Elmarit 100mm is corrected completely through the Infrared range, allowing you to shoot Infrared film without re-adjusting the lens focus. Therefore, Infrared markings on the lens have been done away with. The lens is characterized by evenness of field, absolute film sharpness from edge to edge and No Loss of quality when used wide open at F2.8. The color balance of the lens is perfectly neutral. The lens is somewhat large and heavy but is easy to handle and perfectly balanced on the SL or R body cameras. Flare reduction is top notch as the front element is deeply recessed within the lens barrel and the built in Hood allows convenient added protection against flare when you need it. The focusing mechanism is internal and as such, the front of the lens does not rotate allowing easy use of 60mm Polarizing filters. The lens focuses to 1/2 lifesize and to 1:1 (lifesize) with the optional Leica APO-Elpro Adapter for this lens. The minimum focusing distance is 45cm, allowing you ample room between yourself and subject. The lens was made in both R and ROM mounts. The std. R mount is no longer available, but Leica will convert this lens for use on the Leicaflex SL series cameras for a reasonable fee. Nothing wiggles or feels flimsy on this lens. It is the Landcruiser of lenses.

Leica 90mm F2.8 Elmarit-R

This is the most popular Telephoto lens for the Leica R system. The Lens is small, easy to carry & handle, very sharp & contrasty and Fast enough for most situations. The 90mm Elmarit has an outstanding reputation and is perfect for portraits as well as scenics when you want to get in a little closer to fill the frame. It was produced in two versions with two different optical formulas. The first version utilized 5 elements in 4 groups, while the later version utilized 4 elements in 4 groups. This lens is also great for close ups. With the addition of the Elpro, a magnification of 1:3 is produced which will fill the frame with most subjects. The lens also has a flat field by design, lending itself well to macro photography. This is a very verstile lens.

Leica 60mm F2.8 Macro-Elmarit-R

Two versions of this lens were produced, but only the cosmetics changed as the optical group was identical. The first version can be used with All Leicaflex and R models, whereas the second version can only be used on the R series cameras. The deeply recessed lens elements greatly reduced flare and the use of a hood is generally not needed. The lens formula has been optimized for near range photography, but you will find that this lens also produces fantastic results at infinity. The primary difference between Macro lenses and ordinary lenses is Flatness of field and the optical formula that is changed for optimum close distance photography. The lens will focus to 1:2 lifesize and with the Macro extension will focus down to 1:1. The second version utilized the Macro-Adapter-R in place of the extension of the earlier model and therefore can only be used with the R series cameras. Working distance is tight when getting close to the 1:2-1:1 ratios, but the extra depth of field as opposed to the 100mm Macro lens is a very welcome addition. This lens is capable of first class results and along with the 100mm Macro creates a perfect kit for exploring the world of close up photography.

Leica 50mm F2 Summicron-R

The 50mm Summicron is the Swiss Army Knife of lenses. You can it for almost any subject. Allowing you to fill a frame easier than with the 35mm lens, the 50mm lens is easier to use and a cinch to get great results. The optical design of the Summicron 50mm is absolutely legendary, and the performance of this lens is unmatched. Sharp from edge to edge, a total absence of distortion, and superb contrast at any aperture set this lens apart from all other 50mm lenses. The 50mm Summicron was produced in three versions. The optical design was changed with the second version. Note the beautiful golden coatings in the early 50mm Summicron pictured above. For most people, the 50mm Summicron is the first step into the Leica system. Once this lens is put to use, you to will become like the rest of us and only shoot Leica. This is why there is always an abundance of used Nikon and Canon gear on the market! This is your starting point, but luck is on your side because prices on used Leica R system lenses are very reasonable. So count your blessings and join the Leicaphiles. As someone once said "I'll see you on the other side".

Leica 35mm F2 Summicron-R

The 35mm Summicron is the most widely used lens of any Leica system. The slightly wide perspective lends itself well to most subject matter. The Leica Summicron is legendary among lenses, an the R version of this lens is no exception. There were basically two versions of this lens. The early version was substantially heavier and incorporated two extra elements when compared to the later/current version of this lens. The early version also had a wider focusing ring than the second version allowing for a better and more secure grip. It can be argued as to which one is better, but let me assure you that either one of these lenses will perform way beyond the limitations of any other 35mm lens. Once again, using the lens wide open at F2 yields perfectly sharp and contrasty pictures. Apertures are only used for creative control, not to make the image quality better as is the case with all other manufacturers lenses. The Leica R system is todays best bargain, and the 35mm Summicron is a good place to start along with a nice Leicaflex SL. Soon the prices will go up on Leica SLR equipment as people come to realize how fantastic this system really is.

Leica 28mm Elmarit-R

Two versions of this lens were produced, and the optical formula was finally changed 1994. The hood on the first version was supplied with a small thumbwheel screw on the side to provide a means for rotating a polarizing filter while the hood was attached. When the 35mm Summicron is not quite wide enough, the 28mm Elmarit fills the gap. Considered to be the most useful true wide angle lens, the 28mm Elmarit should be a part of every persons kit. The lens is very compact and with the use of Leica adapter 22228, the lens can also be used on your M system camera bodies. This lens is an excellent performer producing very sharp and contrasty negatives as can be expected from all Leica designed lenses. The close focusing range of only 30cm makes this lens very useful for a variety of subjects when out in the field with tremendous depth of field at your fingertips.

Why do R lenses come in 2/3-CAM or ROM mounts?

Single cam

The original Leicaflex Standard camera, released in 1964, used a cam arrangement inside the lens mount to mechanically communicate the aperture information from each lens to the camera body (similar to the way the Nikon AI mount does it). As there was only one cam, ergo… "single cam".

2-cam

When the Leicaflex SL, with its integrated TTL light meter, was introduced in 1968, a new lens cam was added for aperture indexing. To maintain backward compatibility with older Leicaflex cameras, new lenses were released with two cams, so they could aperture-index on both old and new Leicaflex bodies.

3-cam

In 1976 Leica released the R3, the first of its R series SLR cameras designed in collaboration with Minolta. Because the new camera(s) had auto exposure features, this meant adding another cam, bringing the total to three. This third cam is a black stepped affair, located next to and just inside the chrome 2nd cam.

R-only

An added complication is that some newer R lenses are sold as 3rd cam only. These will only mount on R bodies and are easy to distinguish as they have a collar around the base of the stainless steel lens mount flange, to prevent you from mounting them onto older Leicaflex bodies.

Leica Lens Serial Numbers -> Production Year

Leica Bruger Information -> Objektiv serienr. If you have a serial number of a Leica lens, this list will tell you when it was produced (1933-2000). This list covers lenses from the Leica R series (SLR), the Leica M and the screw mount series (Rangefinder).If you furthermore wish to determine which the model or generation you have of that particular vintage Elmar, Elmarit, Summicron ... or perhaps which hood is designed for your particular leica lens - then look at the pointers at the bottom of this page.
If you are looking to determine the age of your vintage Leica camera based on serial number, you may find some of the references on the Link page useful. [Danish] Liste over Leica objektivers produktionsår med udgangspunkt i serienummeret (1933 and 2000).

Leica M/R/SM Serialnumbers
Start - End: Production year
156 001-195 000: 1933
195 001-236 000: 1934
236 001-284 600: 1935
284 601-345 000: 1936
345 001-416 500: 1937
416 501-490 000: 1938
490 001-538 500: 1939
538 501-565 000: 1940
565 001-582 294: 1941
582 295-593 000: 1942
593 001-594 880: 1943
594 881-595 000: 1944
595 001-601 000: 1945
601 001-633 000: 1946
633 001-647 000: 1947
647 001-682 000: 1948
682 001-756 000: 1949
756 001-840 000: 1950
840 001-950 000: 1951
950 001-1 051 000: 1952
1 051 000-1 124 000: 1953
1 124 001-1 236 000: 1954
1 236 001-1 333 000: 1955
1 333 001-1 459 000: 1956
1 459 001-1 548 000: 1957
1 548 001-1 645 300: 1958
1 645 301-1 717 000: 1959
1 717 001-1 827 000: 1960
1 827 001-1 913 000: 1961
1 913 001-1 967 100: 1962
1 967 101-2 015 700: 1963
2 015 701-2 077 500: 1964
2 077 501-2 156 300: 1965
2 156 301-2 236 500: 1966
2 236 501-2 254 400: 1967
2 254 401-2 312 750: 1968
2 312 751-2 384 700: 1969
2 384 701-2 468 500: 1970
2 468 501-2 503 100: 1971
2 503 101-2 556 500: 1972
2 556 501-2 663 400: 1973
2 663 401-2 731 900: 1974
2 731 901-2 761 100: 1975
2 761 101-2 809 400: 1976
2 809 401-2 880 600: 1977
2 880 601-2 967 250: 1978
2 967 251-3 013 650: 1979
3 013 651-3 087 000: 1980
3 087 001-3 160 500: 1981
3 160 501-3 249 100: 1982
3 249 101-3 294 900: 1983
3 294 901-3 346 200: 1984
3 346 201-3 383 200: 1985
3 383 201-3 422 890: 1986
3 422 891-3 455 870: 1987
3 455 871-3 478 900: 1988
3 478 901-3 503 150: 1989
3 503 151-3 540 467: 1990
3 540 468-3 583 830: 1991
3 585 831-3 610 680: 1992
3 610 381-3 644 475: 1993
3 644 476-3 677 030: 1994
3 677 031-3 730 290: 1995
3 730 291-3 770 920: 1996
3 770 930-3 818 624: 1997
3 818 625-3 857 849: 1998
3 857 850-3 882 996: 1999
3 882 997 ->: 2000 ->

Leica R Mount SLR Lenses

While the Leica screw-mount and M bayonet

mount rangefinder lenses are familiar to most camera collectors, Leitz also produced a wide range of lenses for its single lens reflex cameras. These cameras have a long history, starting out with the original Leicaflex , the auto-exposure R3, the famous all-mechanical R6, and continuing on to the current Leica R9 which accommodates an 11-megapixel digital back.

With the exception of auto-focus, the Leica SLR system is just as advanced as their equivalents from Canon or Nikon. However, because Leica always stood for precision, ruggedness, reliability, and mechanical perfection above everything, they never went towards the lightweight plastics and looser focusing tolerances that auto-focus cameras entailed. Thus, all Leica R lenses are manual focus only. For the same reasons, Leica has not produced as many zoom lenses as its Japanese competitors. In fact, a couple of Leitz's SLR zooms are actually Minolta designs. Ask around, it's easy to find out which.

Leica R Lenses

For the most part, R lenses are interchangeable with any age Leica SLRs. Except for the newest ROM lenses which should not be used on Leicaflex cameras, at most you lose the ability to matrix meter, or to meter at full aperture (stop-down metering only).

There are some series variations in Leica R-Mount lenses:

• One-cam (Original Leicaflex). This is the silver-chrome triangular cam marked (1) on the photograph right. Leica doesn't recommend using 1-cam or 2-cam lenses on the R8 or R9.
• Two-cam (Leicaflex SL/SL2). This is the silver-chrome triangular cam at the top-left (11 o'clock) position in Exhibit A (behind the 3rd cam in the Exhibit B). Leica doesn't recommend using 1-cam or 2-cam lenses on the R8 or R9 because the cam may damage the ROM contacts if it's out of spec.
• Three-cam (Leica R series). The 'R-cam' or third cam is the stepped black metal cam barely visible in Exhibit A, right next to the silver wedge-shaped 2nd cam. The third or R-cam is used on R-series cameras (R3-R7). Three-cam lenses are the most compatible as they can be used on any Leica SLR ever made. In response to my lousy photo, reader Ken O'Kelley sent me a much better photo (Exhibit B) of the 3rd cam.
• R-only (Leica R series only). These lenses only have the stepped R-cam and cannot be used on the older Leicaflex cameras. Leica changed the mount slightly so they will not even mount on a Leicaflex. You need to make sure that you can see cams 1 and 2 if you want to use newerlenses on older bodies.
• ROM lenses: the latest lenses designed for use with the Leica R8 and R9 cameras which had electronic contacts between the camera body and lens. This allows the lens to transmit additional data to the camera. ROM lenses cannot be used on the original Leicaflex series as they will not even mount due to a slight bayonet change. They have the R-cam so they can be used on any R series Leica.

Upgrading older lenses / Using adapters

Although older lenses were originally made with 1- or 2-cams, Leica offered an upgrade service to bring them up to 3-cams (you can also modify a R-only or ROM-only lens backwards to 3-cam as well, although you lose the ROM contacts if you do this). So just because a lens has 3-cams doesn't mean that it is a second-generation lens. You have to use other factors in determining the lens version such as the distinct profile of each version, the serial number, the presence or absence of a built-in lens hood; or the weight.

Many people use their Leica R lenses on Canon SLRs (including digital SLRs such as the Canon EOS 20D) with an adapter that is widely available (see CameraQuest.com for a source in the USA). I use mine with the Hansa adapter which I bought in Japan (picture right). If you have an adapter, it does not matter if you have 1, 2, 3, or ROM cams on your R lens if you are using it on another camera system since you will always be shooting using open-aperture metering. The system works fantastically well. I have some photographs using the 180mm Elmarit on my gallery page.

In order for an adapter to work, there are two factors. The first is the body "lens registration" distance or the distance from the lens mount to the film surface. The second is the mount "throat size" or the diameter of the mount. For an adapter to slip in between the body and lens of differing manufacturers, the registration distance of the lens must be greater than the registration distance of the body; and the throat-size of the lens must be smaller than the throat size of the body mount.

New Sigma 50-150 & 70-200

Sigma today announced two new telephoto zooms - one for APS-C cameras and one for full-frame. The APO 50-150mm F2.8 II EX DC HSM uses no less than four SLD elements in its design to minimize aberrations and HSM focusing to keep the noise down. Internal focus and zoom ensure there is no change to the size of the lens during use. The APO 70-200mm F2.8 II EX DG MACRO HSM has a modified layout to improve close-up performance to make better use of the maximum 1:3.5 subject magnification ratio. Pricing and availability are to be announced but click though for specifications.

Large aperture telephoto zoom lens designed exclusively for digital SLR cameras and reveals its strength in close-up photography

APO 50-150mm F2.8 II EX DC HSM

The Sigma Corporation is pleased to announce the launch of the new APO 50-150mm F2.8 II EX DC HSM lens.

This large aperture telephoto zoom lens is designed exclusively for digital SLR cameras with APS-C size sensors and its compact, lightweight body provides freedom of movement and versatility. The minimum focusing distance of 100cm/39.4in. and the high-resolution power layout have improved the strength of the lens in close-up photography. This lens offers a large aperture of F2.8 and its large depth of field offers greater freedom of creative expression. It has a maximum aperture of F2.8. Four SLD glass elements are used for maximum correction of chromatic aberrations. The super multi-layer lens coating reduce flare and ghosting and ensure sharp images throughout the entire zoom range. The lens design incorporates an inner focusing and inner zooming system. As the overall length of the lens does not change during focusing and zooming, convenient handling is ensured. The HSM (Hyper Sonic Motor) system allows quiet and high-speed auto focusing with full time manual focus override by just rotating the focusing ring. The addition of the optional 1.4x EX DG APO or 2x EX DG APO Tele Converters produce a 70-210mm F4 AF tele-zoom lens and a 100-300mm F5.6 AF ultra-telephoto zoom lens respectively.

*Vignetting will occur if the lens is used with digital cameras with image sensors larger than APS-C size or 35mm SLR cameras.

Sigma APO 50-150mm F2.8 II EX DC HSM Features

• Compact, lightweight, large aperture telephoto zoom lens.
• SLD （Special Low Dispersion） glass elements and the super multi layer lens coating assured high image quality throughout the entire zoom range.
• The new lens design ensures high image quality at the minimum focusing distance of 100cm/39.4in.
• Equipped with HSM (Hyper Sonic Motor) with full-time manual focus override.
• Compatible with Sigma 1.4x EX DG and 2x EX DG APO Tele-Converters.

Press release:

Large aperture zoom lens with improved optical performance

APO 70-200mm F2.8 II EX DG MACRO HSM

The Sigma Corporation is pleased to announce the launch of the new APO 70-200mm F2.8 II EX DG MACRO HSM.

This large aperture zoom lens has improved optical performance and retains close-up ability with a minimum focusing distance of 100cm/39.4in and maximum magnification ration of 1:3.5. This lens is suitable for taking all type of subjects such as portraits, landscape, and close-up pictures. Two SLD (Special Low Dispersion) and three ELD (Extraordinary Low Dispersion) glass elements provide excellent correction for all types of aberrations. High image quality is assured throughout the entire zoom range. The super multi-layer coating reduces flare and ghosting. This lens incorporates HSM (Hyper Sonic Motor), which ensures a quiet and high-speed AF as well as full-time manual focusing capability. The lens design incorporates an inner focusing and inner zooming systems. The overall length of the lens does not change during focusing and zooming, ensuring convenient handling. A removable tripod collar (TS-21) is included as a standard component. When this lens is used with the optional 1.4x EX DG APO or 2x EX DG APO Tele Converters, it becomes a 98-280mm F4 AF telephoto zoom lens or a 140-400mm F5.6 AF telephoto zoom lens respectively.

Sigma APO 70-200mm F2.8 II EX DC HSM Features

• Improved optical performance with a minimum focusing distance of 100cm/39.4in and maximum magnification of 1:3.5.
• Two SLD and three ELD glass elements provide excellent correction for all types of aberrations.
• Super multi-layer coating reduces flare and ghosting.
• HSM ensures quiet, high speed autofocus with full time manual focusing.
• APO Tele Converter is available.

Tamron builds 'D40-friendly' 18-250

Tamron has announced a new version of its popular 18-250 superzoom with an in-built focus motor evidently aimed at users of Nikon's D40 and D40x DSLRs. These two cameras lack legacy lens support in the form of a mechanical focus coupling - an omission widely criticized due to the reduced range of available lenses. Other specs appear to be unchanged from the existing version. Due to go on sale in Japan on December 13th, pricing and worldwide availability are yet to be announced.

A Compact, Lightweight and Ultimate High Power Zoom Lens Boasting the 13.9X Zoom
Power Designed Exclusively for APS-C Sized Digital SLRs

Mr. Morio Ono, of Tamron Co., Ltd., announced that the company will release the AF18-250mm F/3.5-6.3 Di-II LD Aspherical (IF) Macro, a lightweight, compact and ultra high power zoom lens designed exclusively for digital SLR cameras with APS-C sized image sensors with a built-in motor for Nikon (Model A18N II).

The AF18-250mm F/3.5-6.3 Di-II LD Aspherical (IF) Macro is the ultimate high power zoom lens boasting the world’s greatest zoom ratio* of 13.9X, a milestone that Tamron, the pioneer of high power zoom lenses, has achieved by commanding its technologies to further expand the capabilities of high power zoom lenses.

Nikon ViewNX 1.0.3

What's New?

Modifications enabled with Ver. 1.0.3 (Mac OS):

• A thumbnail of the first frame of .MOV, .AVI, .WMV, and MPEG-1 movie files recorded by Nikon digital cameras, or created with a Nikon application, is now displayed in Thumbnail Grid mode. In addition, an icon indicating that the file is a movie is displayed at the bottom of movie thumbnails.
• Playback of .MOV, AVI, WMV, and MPEG-1 movie files recorded by Nikon digital cameras, or created with a Nikon application is now possible in the image view area.
• New Folder, Delete, and Output (Convert Files…, Email…, Print…, SlideShow…) options have been added to the Thumbnail area context menu* in Thumbnail Grid and Image Viewer modes.
• Delete, Output (Convert Files…, Email…, Print…), Next, and Previous options have been added to the Image View area context menu* in Image Viewer mode.
• A Copy Camera Settings option has been added to the Camera Settings palette context menu*. This option copies camera settings to the computer’s clipboard.
• Items in the Camera Settings tab of the Camera Settings palette have been rearranged for increased clarity. Camera Settings: File, Camera, Exposure, Flash, Image Settings, Picture Control, Optimize Image, GPS. However, as camera settings may differ depending upon the selected image file, all of the items listed above may not be displayed.
• When multiple images are selected in the Thumbnail area of Thumbnail Grid mode, the total file size of all selected images is now displayed in the status bar.
• An Eject option has been added to the Folder palette context menu*.
• When the Folder palette is displayed, you can now use the TAB key to switch between the Folder palette and Thumbnail area.
• Operation has been changed with multiple display systems so that Full Screen mode is now displayed on the primary monitor.
• When image files with which IPTC information had been embedded using a third-party application, such as Adobe Photoshop CS3, were opened in ViewNX, ViewNX quit unexpectedly. This issue has been resolved.
• Compensation to correct for loss of marginal lumination is now automatically applied to RAW images captured with the D3 and the following lenses:

  • AF-S VR Zoom-Nikkor 70-200mm f/2.8G IF-ED
  • AF-S Zoom-Nikkor 80-200mm f / 2.8D IF-ED
• When camera settings for images captured with the PC Micro-Nikkor 85mm f/2.8D were displayed, "G" was sometimes displayed in the lens name despite the fact that this is a D-type lens. This issue has been resolved.
• When Show file information was enabled (checked) for slideshows, image shutter speed and aperture settings were not displayed. This issue has been resolved.
  *A context menu is the menu displayed when the CONTROL button is held down and the mouse button is clicked on a Macintosh.

Modifications enabled with Ver. 1.0.3:

• A thumbnail of the first frame of .MOV, .AVI, .WMV, and MPEG-1 movie files recorded by Nikon digital cameras, or created with a Nikon application, is now displayed in Thumbnail Grid mode. In addition, an icon indicating that the file is a movie is displayed at the bottom of movie thumbnails.
• Playback of .MOV, AVI, WMV, and MPEG-1 movie files recorded by Nikon digital cameras, or created with a Nikon application is now possible in the image view area.
• When images are selected and drag and drop operation is performed holding right mouse button down, a menu displaying Copy Here, Move Here, and Cancel options is now displayed at the destination.
• Images displayed in Full Screen mode can now be moved to the Recycle Bin by pressing the DELETE key on the keyboard.
• New Folder, Delete, and Output (Convert Files…, Email…, Print…, SlideShow…) options have been added to the Thumbnail area context menu* in Thumbnail Grid and Image Viewer modes.
• Delete, Output (Convert Files…, Email…, Print…), Next, and Previous options have been added to the Image View area context menu* in Image Viewer mode.
• A Copy Camera Settings option has been added to the Camera Settings palette context menu*. This option copies camera settings to the computer’s clipboard.
• Items in the Camera Settings tab of the Camera Settings palette have been rearranged for increased clarity. Camera Settings: File, Camera, Exposure, Flash, Image Settings, Picture Control, Optimize Image, GPS. However, as camera settings may differ depending upon the selected image file, all of the items listed above may not be displayed.
• When multiple images are selected in the Thumbnail area of Thumbnail Grid mode, the total file size of all selected images is now displayed in the status bar.
• An Eject option has been added to the Folder palette context menu*.
• When the Folder palette is displayed, you can now use the TAB key to switch between the Folder palette and Thumbnail area.
• Operation has been changed with multiple display systems so that Full Screen mode is now displayed on the primary monitor.
• When image files with which IPTC information had been embedded using a third-party application, such as Adobe Photoshop CS3, were opened in ViewNX, ViewNX quit unexpectedly. This issue has been resolved.
• An issue that prevented proper installation of ViewNX to systems to which certain software had been installed has been resolved.
• When certain software was installed after ViewNX had been installed, ViewNX failed to start properly. This issue has been resolved.
• Compensation to correct for loss of marginal lumination is now automatically applied to RAW images captured with the D3 and the following lenses:

  • AF-S VR Zoom-Nikkor 70-200mm f/2.8G IF-ED
  • AF-S Zoom-Nikkor 80-200mm f / 2.8D IF-ED
• When camera settings for images captured with the PC Micro-Nikkor 85mm f/2.8D were displayed, "G" was sometimes displayed in the lens name despite the fact that this is a D-type lens. This issue has been resolved.
• When Show file information was enabled (checked) for slideshows, image shutter speed and aperture settings were not displayed. This issue has been resolved.

Click here for further information or to download Nikon ViewNX 1.0.3 (Mac OS)

Click here for further information or to download Nikon ViewNX 1.0.3 (Windows)

Camera Raw 4.3.1 update

This new version of the Camera Raw plug-in replaces the original Camera Raw plug-in that was installed with Adobe Creative Suite 3, Adobe Photoshop CS3, Adobe Photoshop Elements 5.0 and 6.0 and Premiere Elements 3.0 and 4.0 software.

Important notice:
Read the following installation instructions carefully. Incorrect installation will prevent Adobe Bridge and Camera Raw 4.3.1 from reading raw images correctly.

Support for the following camera has been added in this update. Visit the Camera Raw page for a complete list of supported cameras.

• Canon EOS 1Ds Mark III
  
• Canon PowerShot G9
  
• Nikon D3
  
• Nikon D300
  
• Olympus E-3
  
• Olympus SP-560 UZ
  
• Panasonic DMC-L10
  

Refer to the following ReadMe file for other updates in this version:

• Camera Raw 4.3.1 ReadMe
  

The Camera Raw 4.3.1 plug-in is not compatible with versions of Photoshop earlier than Photoshop CS3 or versions of Photoshop Elements earlier than Photoshop Elements 4.0 for Macintosh or Photoshop Elements 5.0 for Windows, or Premiere Elements 3.0 for Windows. The latest versions of the Camera Raw plug-in available for previous Adobe software titles are listed below:

Mac

• Photoshop CS2: Camera Raw 3.7
  
• Photoshop Elements 3.0: Camera Raw 3.6
  

Windows

• Photoshop CS2: Camera Raw 3.7
  
• Photoshop Elements 4.0: Camera Raw 3.7
  
• Photoshop Elements 3.0: Camera Raw 3.6
  

File Information

Product	Photoshop
Version	CS3
Platform	Windows
File Name	Camera_Raw_4_3_1.zip
File Size	3.3MB
	Proceed to Download

System requirements

See the system requirements for Adobe Creative Suite 3 software, Photoshop CS3, Photoshop Elements 5.0 or 6.0, or Premiere Elements 3.0 or 4.0 for Windows.

Installation Instructions

After downloading a ".zip" file, use the operating system or a utility such as WinZip or PKZIP to access the file's contents.

Need help with downloading? See our Downloading Help documents.

To install with Adobe Creative Suite 3 or Photoshop CS3:

1. Exit Photoshop CS3.
2. Open My Computer.
3. Double-click Local Disk (C:).
4. Navigate to: (Please read directory carefully)

Program Files\Common Files\Adobe\Plug-Ins\CS3\File Formats

5. Move the existing Camera Raw.8bi plug-in to another location (for example, a new folder on your desktop). Ensure you keep this version in case you need to revert back.

6. Copy the Camera Raw plug-in, Camera Raw.8bi, from the download into the same folder as Step 4.

7. Launch Photoshop CS3 or Adobe Bridge.

NOTE: If generic camera thumbnails appear in Adobe Bridge, follow the these steps:

1. Check to make sure the plug-in was installed in the correct directory in step 4 above.
2. Start Bridge.
3. Choose Tools > Cache > Purge Central Cache.

Important: Purging the Central Cache deletes cached thumbnail information for all folders. It also deletes labels, ratings, and rotation settings for read-only files (for example, files on a CD or locked files) or file formats that don't have XMP support.

To install with Adobe Photoshop Elements 6.0:

1. Exit Photoshop Elements
2. Open My Computer
3. Double-click Local Disk (C:)
4. Navigate to: (Please read directory carefully)

Program Files\Adobe\Photoshop Elements 6.0\Plug-Ins\File Formats

5. Move the existing Camera Raw.8bi plug-in to another location (for example, a new folder on your desktop). Ensure you keep this version in case you need to revert back.

6. Copy the Camera Raw plug-in, Camera Raw.8bi, from the download into the same folder as Step 4.

7. Launch Photoshop Elements.

To install with Adobe Premiere Elements 4.0:

1. Exit Premiere Elements
2. Open My Computer
3. Double-click Local Disk (C:)
4. Navigate to: (Please read directory carefully)

Program Files\Adobe\Adobe Premiere Elements 4.0\Plug-Ins\Common\PSA

5. Move the existing Camera Raw.8bi plug-in to another location (for example, a new folder on your desktop). Ensure you keep this version in case you need to revert back.

6. Copy the Camera Raw plug-in, Camera Raw.8bi, from the download into the same folder as Step 4.

7. Launch Premiere Elements.

Download at here

AF-S DX VR 18-55/3.5-5.6 G

这 是一款内置 SWM 和减震功能为特点的新型 DX 尼克尔标准变焦镜头。这款轻盈、小巧的经济型3倍变焦尼克尔镜头提供了很多的功能，并覆盖 18 至 55mm的最常用焦段。将这款镜头安装在任一 DX 格式尼康数码单镜反光相机上时，视角相当于35mm格式胶片相机或尼康 FX 格式相机 27 至 82.5mm 的视角。

　　尼康的 VR（减震）系统将有效降低相机摇晃带来的照片模糊情况，它提供了相当于提高 3 档快门速度的拍摄效果。 它还支持在黄昏、夜晚，甚至光线很差的室内环境下手持相机拍摄。尼康 VR 功能的另一个主要特点是可以提供稳定的取景器影像，这也使得取景和构图的过程更流畅和精确。

　　为提供优良的光学性能，尼康公司为新型的镜头设定了非常严格的测定标准，以达到较高的图像分辨率。新开发的光学系统 用于优化尼康数码单镜反光相机，该系统结合了可最大程度降低各种变形的混合非球面镜头元件。尼康的超级综合镀膜技术可提供优秀的色彩平衡和还原，并将鬼影 和眩光减小到最低程度。

　　镜头内的超轻便宁静波动马达（SWM）提供了超快、超安静的自动对焦操作。7 叶圆形光圈使焦外成像显得更为自然丰满。此外，在整个变焦范围内，它具有 0.28 m 的最近对焦距离。

　　小巧尺寸的机身尺寸73 x 79.5 mm 和约 265 g 的重量提供了优质的手感且便于携带。

　　AF-S DX 尼克尔18-55mm f/3.5-5.6G VR 是 DX 尼克尔镜头产品家族又一创新性成果，它为摄影者提供了较强的拍摄灵活性，从而拓宽了其应用范围。

　　注：此镜头专为尼康DX格式和尼康FX格式数码单镜反光相机而设计并优化，当与FX格式数码单镜反光相机搭配使用时，相机的DX裁切模式会自动启用，并相应改变图像获取范围。DX尼克尔镜头与 35mm [135] 或 IX240 格式胶片相机并不兼容。

　　主要特性：

　　1、3 倍变焦镜头包含最常用的变焦范围 18 至 55mm（视角相当于 FX 或者 35mm 格式相机中 27 至 82.5mm 的焦距的视角）

　　2、VR 操作使得在相当于降低 3 档的快门速度仍能获得锐利影像

　　3、专为尼康数码单镜反光相机设计的光学系统提供了优良的光学性能

　　4、混合非球面镜头减少了镜头像差

　　5、高性能的尼康超级综合镀膜技术可提供优异的色彩还原，并将鬼影和眩光减小到最低程度。

　　6、尼康独有的宁静波动马达（SWM）提供了超快、超安静的自动对焦操作

　　7、7叶圆形光圈使焦外成像显得更为自然

　　8、整个变焦范围内都可获得 0.28 m 的最近对焦距离

　　9、可使用尺寸为 52mm 的滤镜附件

　　10、符合人体工学设计的镜筒带有防滑表面，手感舒适；独立的变焦环和对焦环提供专业程度的精确表现

主要规格指标

镜头型号：	Nikon AF-S DX VR 18-55/3.5-5.6 G
发布日期：	2007-11-20
厂家推荐价格：
卡口类型：	DX
适用卡口：
镜头结构：	11/8
非球面镜片数量：	1
ED镜片数量：
镜头焦距(mm)：	18.0-55.0
最大光圈(f/)：	3.50-5.60
最小光圈(f/)：	22.00-26.00
等效135焦距(mm)：
视角(°)：	76.0-28.0
光圈叶片：
最大放大倍率：	0.310
最近对焦距离(m)：	0.28m
驱动马达：
滤镜直径(mm)：	52
遮光罩：
外观尺寸(DxL)(mm)：	73.0x79.0
重量(g)：	265