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Kết nối thương hiệu

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Kết nối thương hiệu

Timhang24h.com - website mua bán và giới thiệu sản phẩm uy tín, chất lượng, chuyên nghiệp cho cộng đồng thương mại điện tử Việt Nam.

Kết nối thương hiệu

Timhang24h.com - website mua bán và giới thiệu sản phẩm uy tín, chất lượng, chuyên nghiệp cho cộng đồng thương mại điện tử Việt Nam.

Thursday, July 5, 2012

BIMOTA DB1R WORKS RACER



Bimota DB1R
There are few motorcycles more exotic than a Bimota. And this machine, which has just gone up for sale, is one of the most covetable Bimotas of all—the 1986 DB1R racer. Built in conjunction with Ducati, it’s one of the four factory bikes campaigned by Davide Tardozzi, Malcolm Tunstall of Syd’s Cycles, and Dale Quarterley.
Power comes from a Ducati 750F1 motor, fettled by Ferracci and equipped with hotter cams and a boost in displacement to 853cc. Like the wheels, the valve covers are magnesium to save weight. Output is around 90hp, a considerable figure for a tiny 300 lb (136 kg) bike. The clutch is an NCR/Bimota item, with mechanical rather than hydraulic actuation.
Bimota DB1R
This DB1R is the one Quarterley rode to victory at Sears Point, with slightly lower footpegs than the other works racers (Quarterley is 6’4”) and a custom Supertrapp exhaust built for extra clearance around the shifter pedal. Handling is reportedly excellent, with an unusually short wheelbase of just 54”. Then, of course, there are the DB1R’s looks. The all-enveloping fiberglass bodywork was ahead of its time, and is still instantly recognizable today.
Bimota DB1R
The bike is in New York, and owner Gregory Rathe has just put it up for sale. The asking price is $80,000, which compares well with the Tardozzi DB1R, which is listed for $200,000 in Japan. If you’re interested, email Gregory here.
Bimota DB1R
Bimota DB1R

BMW R75/6 CAFE RACER



BMW cafe racer
1970s-era BMW airheads respond well to the cafe racer treatment. But you don’t often see one with a mono-shock conversion. This 1976 R75/6 is owned by graphic designer Casey Wilkinson of the motorcycle-mad Wilkinson Brothers, and he spotted it at the AMA Vintage Motorcycle Days. Despite having 100,000 miles on the clock, Casey bought it, and started drawing up a racy profile for his new acqusition. He mocked up a subframe and swingarm with quarter-inch steel round bar, and shaped a new tailpiece with insulation foam board.
BMW cafe racer
This served as a template and guide for metal fabricator Cliff Meyer of Meyerbuilt Metalworks. Cliff stayed true to the mock-up, but carefully addressed each mounting point and joint, improving the overall strength and fitment. His hand-formed aluminum tailpiece is a work of art.
BMW cafe racer
“The goal of this project was to compensate for a limited budget with elbow grease and creativity,” says Casey. So the foot controls are made from bicycle freestyle pegs and hand-cut aluminum flat stock, finished with plumbing nipples for the toe pegs. The rear shock is from a Suzuki GSX-R750 and the headlight rock guard is an aftermarket MG auto part, fastened to the bucket with springs.
BMW cafe racer
The stock motor chugs away with shorty Dunstall-style mufflers and K&N pod filters. It’s a daily rider with more of a flickable-fun persona than its original touring stance.
BMW cafe racer
For a temporary solution, an old motorcycle jacket serves as the seat cover. The tailpiece houses a teensy lithium ion battery, and the top fork brace was CNC’d by ToasterTan Custom Braces. The logo “Good Spark Garage” comes from the Wilkinson Brothers’ moto-culture blog (which is highly recommended). “If we had more equipment and time, perhaps Wilkinson Bros could evolve into a custom bike shop,” Casey wonders.
He’s off to a good start with this BMW cafe racer; hopefully we’ll see more customs from the Wilkinson Brothers in the future.
BMW cafe racer

SHAW F1-XLR NIGHTSTER




Harley Nightster custom
EXCLUSIVE Harley’s evergreen Sportster is probably the world’s most commonly modified bike. So it’s hard to create anything truly original. But the AMD Championship-winning workshop Shaw Speed & Custom has pushed the boundaries once again with this Nightster-based custom, the F1-XLR.
This time, inspiration comes from 1920s Harley-Davidson board racers—with the classic Shaw recipe of old meets new. And if the smoky grey paintwork looks familiar, that’s because it’s the same paint used by the McLaren Formula One team.
Harley Nightster custom
This English-built Nightster is a prototype: the first fruit of an unusual new project that Shaw is working on with an Australian businessman. It’s designed to explore how vintage racing influences can be incorporated into the contemporary Sportster platform.
Harley Nightster custom
For the F1-XLR, Shaw has improved the breathing of the Nightster’s 1200 V-twin with a ram-air intake and a one-off set of custom pipes. Extra detailing includes modified Covington rocker covers, bigger pushrod tubes and a shortened cam cover. The oil reservoir has been relocated to the split-design gas tank.
Upside-down forks—from a VRSCF V-Rod Muscle—are matched to clip-on bars, holding an anodized master cylinder and switch housings from Performance Machine.
Harley Nightster custom
Shaw has heavily modified the seat area of the original Nightster frame, removing the fender rails and upper rear subframe and installing a small race-style rear fender. An extended swingarm is anchored by WP shocks, and the bike has been converted to chain drive. Tall 21-inch Performance Machine wheels (front and rear) add to the boardtrack feel, with big 13-inch rotors and six-pot calipers on braking duties up front.
The result is lean and classy and with more than a touch of practicality. Could this Nightster be the machine that scoops the AMD Championship for Shaw a second time? I’d like to think so.
PS: Join Bike EXIF on Facebook for a steady flow of the world’s best customs and classics. With over 65,000 fans, it’s the most popular custom motorcycle page by far.
Harley Nightster custom

Suzuki Launches 2013 RM-Z250 and RM-Z450 lighter and faster


Wednesday, June 27, 2012

Sony Invests In Smartphone Image Sensors


Sony will be raising US$1 billion for the productions of its next-generation ‘stacked CMOS’ image sensors at its Nagasaki Technology Center.  Sony will be building a plant that will produce 60,000 wafers per month. The announcement includes ¥45bn already committed in the company’s capital expenditure plans in May 2012.
Sony’s stacked CMOS design makes for better sensors because it puts the sensor circuitry for each pixel behind the photo-sensitive region, rather than on the same level – increasing the area of each pixel that is light-sensitive. The approach will initially be used for cameraphone sensors.
Cameras on smartphones are bound to get better and better.
Here’s the press release:
“
June 22, 2012, Tokyo, Japan – Sony Corporation (“Sony”) today announced that it plans to invest in Sony Semiconductor Corporation’s Nagasaki Technology Center (“Nagasaki TEC”) from the first half of the fiscal year ending March 31, 2013 through the first half of the fiscal year ending March 31, 2014, to increase the production capacity for stacked CMOS image sensors.*1
This investment is intended to provide for new wafer processing equipment for stacked CMOS image sensors, and to increase and transform wafer lines capable of manufacturing CMOS image sensors.
With this development, Sony plans to increase total production capacity for CCD and CMOS image sensors to approximately 60,000 wafers per month by the end of September 2013.*2
In light of the rapidly expanding demand for smartphones and tablets, Sony plans to continue to solidify its leading global position in CMOS image sensors by strengthening its production capabilities for stacked CMOS image sensors, which provide greater performance in a more compact form. Furthermore, Sony intends to accelerate its growth strategy by incorporating superior core technologies, including stacked CMOS image sensors, into a wide range of products for its digital imaging and mobile businesses, which are priorities within its electronics business.
The investment amount is approximately 80 billion yen, of which, the amount to be invested in the current fiscal year ending March 31, 2013 (approximately 45 billion yen) was included in the forecast of the capital expenditures for semiconductors in the current fiscal year announced at the annual earnings release on May 10, 2012. In addition, Sony will utilize a governmental subsidy in its investment plan which will be provided by the Ministry of Economy, Trade and Industry in Japan, through the “Subsidy for Domestic Location Promotion Projects” program.

Photographer Gives Advice On How To Be Better


Here’s a write up from Steve Giralt, a photographer from Miami, in which he tells photographers that you have to push yourself to be better.
“
There are so many things to do and never enough time to do them. You talk about starting that new personal photography project, about updating your website, or wanting to call those prospective new clients. You know that these things need to be done if you are to succeed and you really want to do them. Yet, more often than not, you decide they can wait until tomorrow.
I’m just as guilty as the next guy. I often scribble down an idea for a shoot, or think about submitting those new images to my stock agency, or doing so many other things that rarely seem to get done. Why is it so hard sometimes to get yourself in gear and get things done? What is it that makes it so easy to put things off until another day?
Trying to start out or move up in photography business is just like trying to start a diet and exercise routine. It’s easy to tell yourself that you are going to start a new routine tomorrow, or next week, or next month. You may even go as far as telling friends that you are going to do it. The reality is that most of the time you never start, or you start out good for a couple weeks but end up back to your old routines before you know it. I’ve been there and done that many times.
I attribute some of my success in the photography business to the fact that I have gained and lost lots or weight in my life. The discipline necessary to lose weight is very similar to the disciple you need as a self-employed photographer. As an example, when I was 20 years old, I lost 60 lbs over a 6 month period by eating a perfect diet and running 5 days a week. I also got straight As in college that semester and moved up the ladder at work. It was an eye-opening experience to a kid who previously hadn’t really understood what having self-confidence meant and who also didn’t really have a clear goal of what he wanted to do when he grew up.
After that experience, I learned that I could do just about anything as long as I made sacrifices and painfully dedicated myself to doing what I set out to do. Yes, I said painfully. If you don’t understand what I mean by painfully, it means with suffering, difficulty, agony, and actual pain. The same kind of painful dedication that triathletes, marathon runners, and so many other athletes know so well. But it’s a pain of love, not the kind of pain that comes when you have to do something you hate doing. It’s a pain that has a great reward.
Scams that promise the ability to lose weight without doing anything difficult are likely to never work. The funny thing is that this doesn’t stop people from trying them. The idea of an easy way out is amazingly appealing to people. The same things goes with people who think that there is such a thing as becoming an overnight success in the photography business. It just doesn’t happen. You make it in this industry by consistently working hard and shooting great work. No workshop, lecture, book, blog, or seminar is going to make you a successful photographer without you putting in the hard work.
There is a difference between being a good photographer and being a successful photographer who runs a great business. I know lots of amazing photographers who are broke. The difficult thing about the photography business is you have to apply yourself just as hard to both the photography and business aspects. If you’re painfully dedicated to just one, that still doesn’t guarantee you anything. Now, if you are truly dedicated to both, then you’re very likely to succeed as long as you’re smart about what it is you’re doing.
The tricky part is knowing what you need to do exactly. I know lots of people who go to the gym religiously for years and still don’t lose any weight. I know lots of photographers who work really hard, but are still waiting for their big break. It’s not just about dedicating yourself to the task at hand, but about being aware of what you should be doing in order to succeed. Are you networking enough, marketing correctly, presenting your work well, shooting enough new work, and running your business right? If you don’t know if you’re doing it right, this is where workshops, books, lectures, blogs, and other things may help.
I find that setting goals is an important step in succeeding in this business. Just as people who want to lose weight set a goal, you need to also set goals for your business. Someone who is 150 lbs overweight, may start with saying they want to lose 20 lbs., then go from there. Same goes for the person who wants to shoot fashion photos for Vogue. Maybe you start with having a goal to shoot for an editorial fashion magazine first, then you’ll continue to work towards your end goal of shooting for Vogue. I find having the dream goal is necessary, but I find setting and achieving the smaller goals to be more important. Sometimes you just need a few successes in order to get the ball rolling.
People talk about doing lots of things. I love when I’m talking to photo assistants who have this great, detailed plan of what they want to do so that they can stop assistant and start shooting full-time. Six months later, I see this same assistant and they are still in the same place and have totally forgotten about the amazing plan they had. The reality is, if they had actually painfully dedicated themselves to accomplishing that plan, they would have a chance at reaching their goal. Talking about doing something great, and actually doing something great are two very different things. Photo talk is cheap!

Photographer Creates ConditionOne, A 180-Degree Video Player


There’s a pretty cool app available for the iPad and iPhone created a by a photographer.
Danfung Dennis is a photographer who covered the conflicts in war-zones such as Afghanistan and Iraq. He was even nominated for an 2012 Academy Award for his work called “Hell And Back Again”, a documentary on the war. Now he has created ConditionOne, a video player for the iPad and iPhone that offers a full 180 degree view, allowing the user to pan or tilt the device to look around inside the video.
Here’s the full report from TechCrunch:
“
So you open up the player, either through the C1 app or inside a branded application, and calibrate by pressing a little cross hair button that pops up. After setting your positioning, you can move the iPad around in front of you (similar to how you would with an AR app) and look around 180 degrees while the video is playing.
Brands are able to use an API to bake the viewer right into their own app, or market their content as a stand-alone product.
Brands and media companies can license the software from C1 to distribute content through the ConditionOne player, and then create real-life experiences for their users and consumers. The key here is that the C1 player doesn’t require any new camera hardware or interrupt the usual work flow of photographer or filmmaker, making it an attractive avenue for brands. A number of companies have signed on to joint the ConditionOne pilot program, including Mercedes, Discovery Communications, XL Recordings, The Guardian, and Popular Science.
In fact, Popular Science has just released a ConditionOne-equipped app that takes you through the ATLAS Large Hadron Collider.

Schneider Kreuznach Makes Lenses For Mirrorless Market


Schneider Kreuznach announced that the company will be making camera lenses for mirrorless systems. The company has even released images of the proposed 14mm F2.0 lens for the Micro Four Thirds system. This move allows Schneider to enter the independent lens market that builds autofocus lenses for mirrorless systems, following the launches of lenses for Micro Four Thirds and Sony NEX from Sigma and a NEX 18-200mm from Tamron. The lenses will be made in Germany.
Here’s the press release:
“
BAD KREUZNACH, June 14, 2012.
Jos. Schneider Optische Werke GmbH based in Bad Kreuznach, Germany, and its subsidiaries have recorded an increase in operating results by around 14 %. Total sales of 85.5 million euros in 2011 were roughly at prior-year level. Continual growth at the company’s Bad Kreuznach headquarters contributed 51.7 million euros to Group sales, up 6 percent versus the prior-year period. “We have been making major investments at the Bad Kreuznach location and are pleased to see that the headquarters has recorded further growth,” said Schneider Group’s managing director Dr. Josef Staub.
Particularly the growing demand in the Automotive sector for highprecision test and measurement technology plus the overall Inspection market, for instance in the field of LCD and solar production, account for significant increases in the Industrial segment which the company expects to show continuing growth potential. The simple compact cameras business on the other hand is declining. “This does not come as a surprise. We are placing a strong focus on the innovative market for mirrorless system cameras with their interchangeable lenses and have appropriate developments in the pipeline,” Dr. Staub added. Schneider- Kreuznach will launch the first lens of an all-new range of mirrorless system cameras this fall. To develop and produce these high-end lenses the company is planning additional capital expenditures at the Bad Kreuznach location. In the wide range of the Consumer market, the group has already been active with B+W filters. In addition, the portfolio was enhanced by lens attachments for Apple’s iPhone last year.

Sigma Reveals Latest Macro Superzoom Lens


Sigma revealed its latest Macro superzoom lens – the compact 18-250mm F3.5-6.3 for APS-C DSLRs. This latest Sigma lens has a new design and it’s smaller than the existing lens. It has a ‘Thermally Stable Composite’ (TSC) construction. Sigma said the TSC is a material currently used exclusively by brand and ergonomically designed to cut down barrel expansion or contraction with extreme temperature variation. The Sigma Macro superzoom lens is priced at £499.99 and will be available in the UK by the end of next week Sigma, Canon and Nikon mounts only. Pentax and Sony fit to follow shortly.
Here’s the press release:
“
Ronkonkoma, NY, June 15, 2012 – Sigma Corporation of America, a leading researcher, developer, manufacturer and service provider of some of the world’s most impressive lines of lenses, cameras and flashes, is pleased to announce the availability of its new Sigma 18-250mm F3.5-6.3 DC Macro OS HSM lens starting in July 2012. Pricing is still pending.
The addition of the 18-250mm F3.5-6.3 DC Macro OS HSM speaks to Sigma’s versatile product lineup with this multipurpose zoom lens that offers Optical Stabilization (OS)* and covers wide angle to telephoto to macro photography. It differs from Sigma’s current 18-250mm F3.5-6.3 DC OS HSM lens with its even more compact size, its macro capability with a maximum magnification ratio of 1:2.9 and the use of Thermally Stable Composite (TSC) material currently used only by Sigma.
TSC, which is incorporated into the lens barrel and is often compared to polycarbonate, has a high degree of elasticity and exhibits little variation in its structure in extreme temperature conditions. This means that internal barrel expansion and contraction due to extreme temperature variations is less prevalent. TSC also contributes to the lens’ size reduction. The non-macro 18-250mm F3.5-6.3 without TSC weighs 22.2 ounces and is 3.1 by 4 inches in diameter, whereas the new macro lens is 16.6 ounces and 2.9 by 3.5 inches in diameter.
“We’re constantly trying to improve and expand our lens lineup, and this addition is no exception,” said Mark Amir-Hamzeh, president of Sigma Corporation of America. “By redesigning the lens and adding TSC, we are able to offer this very compact, feature-rich lens that is flexible enough to tackle a range of photography, including landscape, sport and macro. This is key for the everyday photographer who wants to travel light but pack the punch of a complete camera bag.”
Sigma optimized this lens’ power arrangement by incorporating double-sided aspherical lenses and reexamining the design to achieve a more compact filter diameter. The lens has an approximate 13x high zoom ratio with a filter size of 2.8 inches in diameter. Sigma’s unique OS system, as well as one Special Low Dispersion (SLD) glass and three aspherical lens glasses, compensate for camera shake and enable correction of color aberration, respectively.
The new 18-250mm F3.5-6.3 DC Macro OS HSM lens is also equipped with Super Multi-Layer Coating to reduce flare and ghosting, a Hyper Sonic Motor (HSM) to ensure fast and quiet auto-focusing, and a rounded, seven-blade diaphragm to create an attractive round blur to the out of focus areas. The lens features a brass-made bayonet mount applied on the surface to reinforce strength for long-term use and enable high accuracy and solidity.
This lens will be available in Sigma, Sony, Nikon, Canon and Pentax mounts, starting with Canon mounts coming in July, 2012. Pricing and all availability for other mounts have yet to be announced.
To locate an authorized Sigma dealer nearest to you, visit http://www.sigmaphoto.com/where-to-buy-sigma. For information about Sigma Corporation of America, visit www.sigmaphoto.com.

Nikon Reveals Lens for Full Frame Cameras


Nikon revealed its latest lens – the AF-S Nikkor 24-85mm F3.5-4.5G ED VR. It’s a relatively affordable, stabilized, variable aperture standard zoom lens for full frame cameras. The latest Nikkor lens is designed to commemorate the Japanese company’s 70 millionth Nikkor lens since 1933, and the 30 millionth silent-wave motor lens since the system’s introduction in 1996. This Nikkor camera lens for full frame cameras may lead the way to the rumored affordable full-frame body, since it’s hard to imagine large numbers of D800 owners using such a lens, with its $599 price point, as a daily lens. Congratulations, Nikon!
Here’s the press release:
“
MELVILLE, N.Y. (June 14, 2012) – Today, Nikon Inc. announced the addition of two new lenses to the legendary NIKKOR lineup, the AF-S DX NIKKOR 18-300mm f/3.5-5.6G ED VR and the AF-S NIKKOR 24-85mm f/3.5-4.5G ED VR lenses. The new 18-300mm VR lens is a versatile and compact 16.7X all-in-one super zoom DX-format lens, while the new 24-85mm VR lens is an ideal standard zoom for any FX-format photographer. These optics were designed to meet the needs of all types of photographers, from those looking to capture everything from family outings to elusive wildlife and stunning landscapes. The new 18-300mm and 24-85mm lenses deliver the performance and superior image quality that photographers of all levels have come to expect from NIKKOR lenses whether capturing still images or HD videos.
To capture stunningly sharp images with excellent clarity and color reproduction or HD video that exhibits sharp critical focus with a dramatic depth of field, the new 18-300mm VR and 24-85mm VR lenses will empower photographers with a variety of exclusive core NIKKOR technologies. Both lenses are equipped with Nikon’s Vibration Reduction (VR) II image stabilization system which provides the equivalent of a shutter speed approximately four stops faster. The built-in Vibration Reduction will help photographers create blur-free images and video while shooting handheld and in challenging lighting conditions. Two focus modes, manual-priority autofocus (M/A) and manual focus (M), are easily selected in both lenses as well. When either lens is in manual-priority autofocus (M/A) mode, users will be able to instantly switch from autofocus to manual focus operation by simply rotating the focus ring, even during AF servo operation. Additionally, both lenses feature an internal focusing system, providing fast focus without changing the length of the lens while retaining working distance through the focus range, and Nikon’s Silent Wave Motor (SWM) technology designed to deliver fast, accurate and quiet AF performance. The lenses also boast Nikon’s Super Integrated Coating (SIC) which provides superb color reproduction, color consistency and reduced flaring.
“Whether a pro on assignment, a photo enthusiast or an indie cinematographer, all Nikon users appreciate and rely on the vast selection and reliability of NIKKOR lenses for all of their imaging needs,” said Bo Kajiwara, director of marketing, Nikon Inc. “The new AF-S DX NIKKOR 18-300mm VR and AF-S
NIKKOR 24-85mm VR lenses are fully optimized to capture stunning images and videos while meeting the growing needs of photographers of all levels around the world.”

The NIKKOR 18-300mm VR Lens: Nikon’s Longest Focal Range

Building on the popularity and versatility of Nikon’s telephoto zoom lens lineup which includes both the NIKKOR 18-200mm f/3.5-5.6 and 28-300mm f/3.5-5.6 VR lenses, the new 18-300mm f/3.5-5.6G ED VR lens is Nikon’s longest focal range ever, with an astounding 16.7X ultrahigh-ratio zoom range. The DX-format 18-300mm VR lens is surprisingly compact, lightweight and covers a focal range from wide-angle 18mm to super-telephoto 300mm, equivalent to a focal length of 27mm to 450mm in FX/35mm format. At the 300mm focal length setting, the lens’ large f/5.6 aperture enables photographers to shoot at faster shutter speeds with shallow depth-of-field. This new super telephoto zoom lens is ideal for taking stills when travelling and for all around general photography including landscapes, portraits and distant subjects. The 18-300mm lens is also excellent for recording HD video as it can be used for wide establishing shots, medium close-up shots and extreme telephoto sequences when the users want to separate the subject from the background.
The construction of the AF-S DX NIKKOR 18-300mm f/3.5-5.6G ED VR lens consists of 19 optical elements in 14 groups with three Extra-low Dispersion (ED) glass elements that effectively minimize chromatic aberration, even at the widest aperture settings, and three aspherical lens elements that virtually eliminate aberrations at wide aperture settings. The new lens also incorporates a nine rounded blade diaphragm to help achieve a natural looking dramatic separation between subject and background.
The AF-S DX NIKKOR 18-300mm f/3.5-5.6G ED VR also has a dedicated zoom lock switch which secures the lens barrel at its minimum length and will prevent the lens from sliding during transportation. Additionally, the 18-300mm VR lens is ideal for capturing close-ups with great detail, as it offers a 1.48 ft. minimum focusing distance at 300mm, as well as a maximum reproduction ratio of 1:3.2X.

The NIKKOR 24-85mm VR Lens: The Standard Zoom for FX Shooters

Ideal for photographers seeking an FX-format compatible standard zoom lens, the new AF-S NIKKOR 24-85mm f/3.5-4.5G ED VR lens delivers sharp, crisp and high-quality images and can be assigned as an everyday walkabout lens. Covering the frequently used focal-length range of 24mm to 85mm, this lens is a great companion for any FX-format shooter and is ideal for shooting stills of landscapes, architecture, head and shoulder portraits, candid shots or group shots. For HD video shooters, the 24-85mm VR lens is a natural choice when filming landscapes, large groups of people or when wide field establishing shots or medium close-ups are needed. The 24-85mm lens is a great everyday lens that is compact, lightweight and easy to carry on any photo assignment or family adventure.
In addition to the lens’ built-in Vibration Reduction (VR) technology, the AF-S NIKKOR 24-85mm f/3.5-4.5G ED VR lens features Auto Tripod detection which recognizes when the camera is mounted on a tripod, even during HD video recording, to help deliver specialized VR correction. The lens construction of the 24-85mm VR lens consists of 16 optical elements in 11 groups with one Extra-low Dispersion (ED) glass element, three aspherical lens elements and a seven rounded blade diaphragm.

Price and Availability

The AF-S DX NIKKOR 18-300mm f/3.5-5.6G ED VR lens will be available at the end of June 2012 for the suggested retail price (SRP) of $999.95*. The AF-S NIKKOR 24-85mm f/3.5-4.5G ED VR lens will also be
available at the end of June 2012 and will have a suggested retail price (SRP) of $599.95*. For more information on these new NIKKOR lenses and other Nikon products, please visit www.nikonusa.com.
*SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time. Specifications, equipment and release dates are subject to change without any notice or obligation on the part of the manufacturer.