Youtube daily report Mar 28 2018

Hey, it's Joe Crump.

Today I'm going to show you how to generate seller leads for 35¢ apiece.

And I'm going to show you how to do it with the Automarketer.

So let's go over to the computer and take a look.

Okay, I'm inside the Automarketer now and I'm going to show you how to generate motivated

seller leads for 35¢ each.

And we're inside the Automarketer section of the Automarketer.

This is the section that goes into craigslist and other for sale by owner sites.

It scrapes information from there.

It then sends a text message to the people that are asking to sell their home and saying

that we'd like to buy their home, except we want to do it on a rent to buy basis.

And let me show you real quickly how this process works so you can see for yourself

what this thing does.

It's set up so that we have different types of campaigns that can go out.

We can pick the phone number that it goes out from, so if you want to pick a phone number

with a different Area Code and work in a different area you can do that.

Then you can pick the housing, we're going for real estate for sale by owners, and then

in this account we're doing Indianapolis.

But you can pick any area that you want that's in craigslist.

And once you do that you can also pick the minimum and maximum price, how many bedrooms

minimum that you want, minimum square footage.

And then you can use Key Words to include or exclude key words from your campaigns if

you choose to do that.

Normally, we don't do that unless we're doing something special, or we're trying

something different.

And then we can send out a text message or a voice blast, one of those two things in

the Automarketer.

We've got ways to do emails, too, with broadcast, but not to the leads that are coming out of

craigslist because all we get are anonymized email addresses from there.

So this is a sequence, though, a three-month sequence that's going to go out.

So we'll pick these leads, it's going to automatically scrape these leads and start

sending the first message on Day One, which is going to say, "I saw the home you advertised

and wondered if you'd consider selling it rent to buy?

If so, please let me know."

This is all done for you.

And then they're going to respond.

And 80% to 90% of our responses are going to say, "No, I'm not interested."

Now, the other 10% to 20% are going to say, "Yes," or "Maybe," or "Give me $20,000

and I'll do it," and then you can get on the phone with them and put the deals together.

Let me show you again the numbers that we're getting on these leads.

This one we've scraped 3,100 and it sent out 525 in this account.

Now, the reason this is so much smaller than this is because it looks for duplicates, it

looks for other problem type of leads, it looks for properties that don't have phone

numbers, you know, those it can't send to.

But it's going to send out, it sent out 525 and it got 313 and leads.

That's a 59% response rate and they're 7¢ apiece, so if, you know, if you, say that

one in five you know, 20%, is a lead, that's 35¢ per lead that said, "Yes."

And we also, you can see here we have Clicks.

These are the people that have clicked on the links.

If I go back to this I can show there's a three-month campaign, so every, at the beginning

we send out a couple of them in the first week, three of them, I think, in the first

week.

And then after that it sends out one a week, and after that for three months.

And in the ones that we're sending out, it has links to the clone sites and it's

going to send out the link so that they can actually go look at the clone site and be

sold on the idea of working with you.

When those leads come back they're going to come back into the Lead Management System

here and then we're going to see them on this list.

And this is the Lead Dashboard, which, you know, breaks it all down into, you know, each

lead into a separate section.

But you can also click on the name and it will expand it into a full blown sheet that

has lots of information.

You can also put the information in about their property.

So if they've called about a property, you can type in the information about the property

and it'll give you the Lead Questionnaire.

And you can fill out this Lead Questionnaire.

And if you have all this information in the property and all the things that you need

to know about this property, you're going to be able to make an offer on that property.

You can also see the information that came in from the ad and you can click there and

view it on craigslist if it's still on craigslist.

If it's not on craigslist anymore, it'll just show that it's no longer there.

But that's why we also gather this information so that you'll have that even over the three

month period after it's been taken off of craigslist.

So you've got some good information here.

So these are the leads that you're going to get for 35¢ apiece.

Not too bad.

For more infomation >> How To Generate Motivated Seller Leads For 35 Cents Each - Duration: 5:37.

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最惨烈明星事故，安以轩没了鼻孔，唐嫣膝盖消失，关晓彤7个脚趾 - Duration: 3:01.

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[28/03] England 1-1 Italia || Highlight&Allgoal || Friendly International 2018 (Reup) - Duration: 10:25.

Goal: England: Jamie Vardy: 26' Italia: Lorenzo Insigne 87'(P)

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Cómo reducir la sudoración en los pies con 5 remedios caseros - Duration: 7:59.

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DIY Slide Wire Canopy Kit

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41歲「大S」驚傳癲癇復發！突然昏倒緊急送醫病況不明！曾發作三次，媽媽出面哀傷證實！ - Duration: 3:19.

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41歲「大S」驚傳癲癇復發！突然昏倒緊急送醫病況不明！曾發作三次，媽媽出面哀傷證實！ - Duration: 6:00.

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Si Laeti­cia s'est impliquée dans la carrière de son mari, était-ce par jalou­sie pour Natha­lie - Duration: 2:56.

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Quel sera le futur de la médecine ? | The Flares - Duration: 15:34.

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Modelka Cara Delevingne randí s dcerou Michaela Jacksona (†50): Žhaválesbická líbačka - Duration: 1:45.

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MINI 1.6 COOPER S PEPPER | OPEN DAK | LEDER | NAVI | XENON - Duration: 0:55.

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With Eye on Lunar Mission, ISRO To Test High Thrust Vikas Engine - Duration: 4:37.

GSLV-F08 mission carrying the 2-tonne class GSAT-6A communication satellite will open

a new chapter for the Indian Space Research Organisation.

With an eye firmly on the "all-important" Chandrayaan-2, the space agency is trying

out a few critical components, which include induction of high-thrust Vikas engine and

electromechanical actuation system in place of electrohydraulic actuation in the rocket's

second stage.

The next generation Vikas engine developed by the Liquid Propulsion Systems Centre (LPSC)

is being flown for the first time.

LPSC director V Narayanan told Express that the improved engine would give a significant

advantage in terms of enhancing payload capability.

"Usually, the chamber pressure is 58 bar, but with the use of high-thrust Vikas engine,

we will achieve 62 bar, which is a 6% increase in thrust that gives us 70 kgs of additional

payload gain in this mission.

Right now, we are going to use the high-thrust Vikas engine only in the second stage.

Basically, we are validating it.

For Chandrayaan-2 mission, we will be using five such engines aiming for a payload gain

of around 250 kgs," Narayanan said.

Another important experiment that the national space agency is attempting is last depletion

mode shutdown.

Generally, scientists store extra propellant in the tank and cut off the upper cryogenic

stage after reaching desired velocity.

However, this time they are attempting to deplete the liquid oxygen, which means using

up another 60-70 kgs of propellant in order to achieve 4-5 seconds of additional burn

duration.

Narayanan said this would be the best way of mission planning and optimum utilisation

of propellants.

"All these new things are being done keeping lunar mission in the mind and ISRO's bigger

game plan to increase GSLV payload capability.

For Chandrayaan-2, we are formulating a perfect combination.

The four strap-ons and second stage will be boosted with high-thrust Vikas engines; cryogenic

upper stage will be loaded with enhanced propellants of 15 tonnes instead of current 12.8 tonnes

and will be operated with 9.5 tonne thrust compared to the present 7.5."

ISRO chairman K Sivan told Express that the high-thurst Vikas engine has been under development

for the past three years and is robust.

It has cleared several tests, he said.

"It was developed as part of ISRO's plans to have GSLV launches with heavier payloads.

GSLV Mk 2 and GSLV Mk 3, when stabilised, will have huge international demand.

"On introduction of electromechanical actuation system in place of electrohydraulic actuation

in the second stage of the rocket, Sivan said the new system is simpler and more robust,

which increases the vehicle's reliability.

The GSLV-F08 launch is scheduled from the second launch pad at Satish Dhawan Space Centre,

Sriharikota at 4.56 pm.

It is the 12th flight of GSLV and sixth flight with indigenous Cryogenic Upper Stage.

The payload GSAT-6A is a high power S-band communication satellite.

It will be India's second predominantly S-band communications satellite — the first

being the GSAT-6.

It will complement GSAT-6, which has been orbiting Earth since August 2015.

The purpose of the satellite is to provide a platform for developing technologies such

as demonstration of 6m S-Band 'Unfurlable Antenna', handheld ground terminals and

network management techniques.

These are useful in satellite-based mobile communication applications.

According to Liquid Propulsion Systems Centre director V Narayanan, the Chandrayaan-2 mission

will see use of five next generation Vikas engines.

"We are aiming for a payload gain of around 250 kgs," he said.

Salient features of Satellite 1.

Provides mobile communication for India through multi-beam coverage facility.

2.

6m diameter unfurlable antenna for use communication link.

3.

0.8m fixed antenna for hub communication link.

For more infomation >> With Eye on Lunar Mission, ISRO To Test High Thrust Vikas Engine - Duration: 4:37.

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[4K the-robot Review] Canon EF-S 18-135mm f/3.5-5.6 IS USM - Duration: 5:12.

The EF-S 18-135mm f/3.5-5.6 IS USM is the third version of the 7 times telephoto-zoom,

made for Canon's APS-C cameras. Yes, "version" that's different from "generation".

With three identical models, all sporting the same focal lengths, and optical formulas,

the only difference lies beneath the AF tech, each with its own motor.

At 10.3 x 7.6cm closed, or 15.2 x 7.6 open at 135mm, at 515 grams, the first thing we

notice is the new design, well thought and built; a step ahead most kit zooms.

Canon now employs the satin plastic, smoother on your fingers, and less shiny than previous

plastics. And gone are the silver embellishments, with an all black rubber and plastic design,

discreet and easier to use, without excesses.

In your hands the ergonomics are perfect with APS-C cameras, all with the same sober design

since the T6i.

The camera and lens are dense within you fingers, filling every dip of your hands, nice to handle

during all-day jobs.

Near the middle barrel, a 90º zoom ring turns on a precise, smooth movement, not heavier

nor lighter at any length. That is an important feature to support the unique, PZ-E1, Power

Zoom accessory, a portable SERVO zoom motor operated by batteries. It's possible to

give home made movies, a more professional finishing, far superior to manually operating

the zoom ring.

The NANO USM is nothing more the a linear motor, driven by ultrasonic energy, and it

repeats the same marvelous focusing achieved, by the also NANO USM, new 70-300mm II.

On the everyday usage, it is scary fast! With any EOS camera, the slight press on the AF

button, instantly locks focus. It's extremely flexible to shoot moving subjects, never missing

the moment.

Canon also kept the same I S module from the STM lens, promising up to 4 stops of compensation.

And finally at the front, it uses large 67mm filters, compatible with most zooms of this

class. Overall Canon delivers a fair 599 dollars product, with a well made built and smooth

operation.

With a 16 elements in 12 groups optical formula, 1 ultra low dispersion, and a molded aspherical

glass for aberration control, the EF-S 18-135mm USM, doesn't bring anything new to the segment,

identical since the first 2009 version.

Wide open, the resolution and sharpness vary from 18mm to 135, with an excellent wide angle

performance at the center, losing resolution only by the corners.

From 24, 35 and 70mm, the resolution is more than sharp for everyday details, clearly rendering

rock textures, trees and fine details. But at 135mm the resolution drops at f/5.6, functional

only for smaller prints.

Stopping down slightly improves file sharpness, enough for this generation's APS-C sensors.

Another correction suggested is the geometry, visible on both ends. At 18mm, an enormous

bubble forms around the top and lower lines, visible even on busy landscapes, almost like

a fisheye lens.

But at the end of telephoto, at 135mm, the distortion reverses and gets a visible pincushion

effect.

Finally colors and bokeh are in agreement with Canon's intermediary lineup. Tones

are muted, and require a heavy handed compensation, to stand out in paper or web publishing, very

different from what I get from the L-series, more saturated from the camera.

At least the color balance is faithful to other Canon lenses, and I didn't find major

shifts in hue, always delivering the most colorful albums from any review.

But the background blur leaves much to be desired, as the 135mm depth of field is not

short enough, compared to longer telephotos. Only on very close shooting distances, lower

than a meter, that we get smooth, defocused backgrounds.

The EF-S 18-135mm, I S USM, is a nice addition to Canon's lineup, bringing new features

to the APS-C market, in spite of keeping the same old optical formula.

The design school changed for the better, to support its biggest headlines: the NANO

USM auto focusing, ultra-fast and precise, never before seen at this price point; and

the PZ-E1 SERVO motor for zooming.

However the curious optical design, kept the same formula for a third time, with plenty

of room for improvement. So I recommend it solely for its flexibility, not it's optical

performance. What matter the most is it's insanely fast auto focusing, for this price

point, that offers new possibilities for amateurs. And for that, it's unique on Canon's lineup.

Nice shooting!

For more infomation >> [4K the-robot Review] Canon EF-S 18-135mm f/3.5-5.6 IS USM - Duration: 5:12.

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Best Laid Plans - Duration: 42:35.

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bone idioms | Body parts idioms | Body Idioms | online idiom classes day-7 by study king

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Melania Trump à la rescousse de son mari, qui "respecte les femmes" - Duration: 6:23.

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Six p'tits canards | Comptines | LittleBabyBum! - Duration: 2:13.

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LEGO® Ninjago® Ride Ninja ...

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Redirect Disney Pixar's Coco FULL MOIVE REACTION 4000 subscriber special - Duration: 1:34.

how's it going everybody my name is Billy I hope you are all doing well this

is a redirect video to my reaction to the movie Coco yes people I've

decided to do a movie reaction this is my 4,000 subscribers special I wanted to

do a special because I feel that 4000 is quite a large number to me personally

and like that was like a goal for me and I finally reached it and I can't thank

you guys enough so I wanted to do something a little bit different and

yeah I'm going to be reacting to a full movie now I've never watched a movie

before right and recorded so um the sound in it was a little bit fidgety

throughout the video at the end I think the video went pretty okay despite the

fact that my camera cut out at the near and I hope that won't bother you guys

this movie has a lot of culture in it I learned some new things about Mexican

culture that I didn't know in this movie so it certainly was great anyway this is

not a review the link will be in the description below to Google Drive so

if you guys want to feel free to check it out this is a fairly new movie it

came out not too long ago and yeah I heard great things and I really wanted

to see it so yeah my reaction to it is in the description and yeah guys that's

basically all from me I hope you'll have a wonderful fantastic day or night

wherever you guys are and my name is Billy and Billy is now out take care

guys bye

For more infomation >> Redirect Disney Pixar's Coco FULL MOIVE REACTION 4000 subscriber special - Duration: 1:34.

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Wheels On The Bus | Nursery Rhymes Cartoons for Babies by Little Treehouse - Duration: 1:02:00.

The wheels on the bus go round and round,

Round and round,

Round and round,

The wheels on the bus go round and round,

All through the town.

The wheels on the tractor go round and round,

Round and round, round and round,

The wheels on the tractor go round and round,

All through the town.

The wheels on the fire tractor go round and round,

Round and round, round and round,

The wheels on the fire tractor go round and round,

All through the town.

The wheels on the tax go round and round,

Round and round, round and round,

The wheels on the tax go round and round,

All through the town.

The wheels on the stroller go round and round,

Round and round, round and round,

The wheels on the stroller go round and round

All through the town.

The wheels on the train go round and round

Round and round, round and round,

The wheels on the stroller go round and round

All through the town.

The wheels on the motorcycle go round and round

Round and round, round and round,

The wheels on the motorcycle go round and round

All through the town.

The wheels on the train go round and round

Round and round, round and round,

The wheels on the train go round and round

All through the town.

The wheels on the bike go round and round

Round and round, round and round,

The wheels on the bike go round and round

All through the town.

The wheels on the monster truck go round and round

Round and round, round and round,

The wheels on the monster truck go round and round

All through the town.

The wheels on the bus go round and round,

Round and round, round and round,

The wheels on the bus go round and round,

All through the town.

For more infomation >> Wheels On The Bus | Nursery Rhymes Cartoons for Babies by Little Treehouse - Duration: 1:02:00.

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Click-B's Kim Sang Hyuk Confirms He Is In A Relationship - Duration: 2:09.

Click-B's Kim Sang Hyuk Confirms He Is In A Relationship

Love is in the air for original Click-B member Kim Sang Hyuk!.

On March 28 KST, a source from his agency Koen Stars confirmed reports that he is currently dating.

They stated, Kim Sang Hyuk has been in a relationship with a normal civilian in her 30s since the beginning of this year.

They are currently dating happily just like any other couple.

They are not at the stage where they are thinking of marriage.

We ask for your support..

Soompi. Display. News. English.

300x250. BTF Soompi. Mobile. English.

300x250. ATF.

Kim Sang Hyuk originally debuted in 1999 as a member of Click-B.

He is currently known for appearing on various programs as a panelist or a guest.

He is also a regular panel member on I See Your Voice 5..

Source ().

For more infomation >> Click-B's Kim Sang Hyuk Confirms He Is In A Relationship - Duration: 2:09.

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TARNISHED STAR - Israel's Cover-up of Nazis for WMDs Part 1 by. Michael V. Palumbo Ph. D. - Duration: 16:31.

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Lavender's Blue Dilly Dilly | Junior Squad | Cartoon Video For Children by Kids Tv - Duration: 1:01:31.

Lavender's blue, dilly, dilly

Lavender's green

When I am King, dilly dilly,

You shall be Queen.

Who told you so, dilly dilly,

Who told you so?

T'was my own heart, Dilly dilly,

That told me so.

Call up your men, Dilly dilly,

Set them to work.

Some with a rake, Dilly dilly,

Some with a fork,

Some to make hay, Dilly dilly,

Some to thresh corn,

Whilst you and I, Dilly dilly,

Keep ourselves warm.

If you for ill, Dilly dilly,

As it may happe.

You Shall be care, Dilly dilly,

Under the top.

Who told you so, Dilly dilly,

Pray tell me why?

That you might drink, Dilly dilly,

When you are dry.

Lavender's blue, Dilly dilly,

Lavenders green.

When I am King, Dilly dilly,

You shall be Queen.

Who told you so, Dilly dilly,

Who told you so?

T'was my own heart, Dilly dilly,

That told me so.

For more infomation >> Lavender's Blue Dilly Dilly | Junior Squad | Cartoon Video For Children by Kids Tv - Duration: 1:01:31.

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Remède à base d'herbes et de fruits pour arrêter de fumer - Duration: 8:57.

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How To Generate Motivated Seller Leads For 35 Cents Each - Duration: 5:37.

Hey, it's Joe Crump.

Today I'm going to show you how to generate seller leads for 35¢ apiece.

And I'm going to show you how to do it with the Automarketer.

So let's go over to the computer and take a look.

Okay, I'm inside the Automarketer now and I'm going to show you how to generate motivated

seller leads for 35¢ each.

And we're inside the Automarketer section of the Automarketer.

This is the section that goes into craigslist and other for sale by owner sites.

It scrapes information from there.

It then sends a text message to the people that are asking to sell their home and saying

that we'd like to buy their home, except we want to do it on a rent to buy basis.

And let me show you real quickly how this process works so you can see for yourself

what this thing does.

It's set up so that we have different types of campaigns that can go out.

We can pick the phone number that it goes out from, so if you want to pick a phone number

with a different Area Code and work in a different area you can do that.

Then you can pick the housing, we're going for real estate for sale by owners, and then

in this account we're doing Indianapolis.

But you can pick any area that you want that's in craigslist.

And once you do that you can also pick the minimum and maximum price, how many bedrooms

minimum that you want, minimum square footage.

And then you can use Key Words to include or exclude key words from your campaigns if

you choose to do that.

Normally, we don't do that unless we're doing something special, or we're trying

something different.

And then we can send out a text message or a voice blast, one of those two things in

the Automarketer.

We've got ways to do emails, too, with broadcast, but not to the leads that are coming out of

craigslist because all we get are anonymized email addresses from there.

So this is a sequence, though, a three-month sequence that's going to go out.

So we'll pick these leads, it's going to automatically scrape these leads and start

sending the first message on Day One, which is going to say, "I saw the home you advertised

and wondered if you'd consider selling it rent to buy?

If so, please let me know."

This is all done for you.

And then they're going to respond.

And 80% to 90% of our responses are going to say, "No, I'm not interested."

Now, the other 10% to 20% are going to say, "Yes," or "Maybe," or "Give me $20,000

and I'll do it," and then you can get on the phone with them and put the deals together.

Let me show you again the numbers that we're getting on these leads.

This one we've scraped 3,100 and it sent out 525 in this account.

Now, the reason this is so much smaller than this is because it looks for duplicates, it

looks for other problem type of leads, it looks for properties that don't have phone

numbers, you know, those it can't send to.

But it's going to send out, it sent out 525 and it got 313 and leads.

That's a 59% response rate and they're 7¢ apiece, so if, you know, if you, say that

one in five you know, 20%, is a lead, that's 35¢ per lead that said, "Yes."

And we also, you can see here we have Clicks.

These are the people that have clicked on the links.

If I go back to this I can show there's a three-month campaign, so every, at the beginning

we send out a couple of them in the first week, three of them, I think, in the first

week.

And then after that it sends out one a week, and after that for three months.

And in the ones that we're sending out, it has links to the clone sites and it's

going to send out the link so that they can actually go look at the clone site and be

sold on the idea of working with you.

When those leads come back they're going to come back into the Lead Management System

here and then we're going to see them on this list.

And this is the Lead Dashboard, which, you know, breaks it all down into, you know, each

lead into a separate section.

But you can also click on the name and it will expand it into a full blown sheet that

has lots of information.

You can also put the information in about their property.

So if they've called about a property, you can type in the information about the property

and it'll give you the Lead Questionnaire.

And you can fill out this Lead Questionnaire.

And if you have all this information in the property and all the things that you need

to know about this property, you're going to be able to make an offer on that property.

You can also see the information that came in from the ad and you can click there and

view it on craigslist if it's still on craigslist.

If it's not on craigslist anymore, it'll just show that it's no longer there.

But that's why we also gather this information so that you'll have that even over the three

month period after it's been taken off of craigslist.

So you've got some good information here.

So these are the leads that you're going to get for 35¢ apiece.

Not too bad.

For more infomation >> How To Generate Motivated Seller Leads For 35 Cents Each - Duration: 5:37.

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👎 3 gros MENSONGES des Profs de Yoga ! - Duration: 7:37.

For more infomation >> 👎 3 gros MENSONGES des Profs de Yoga ! - Duration: 7:37.

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For more infomation >> Votre groupe sanguin dit des choses incroyables sur votre santé - Duration: 4:58.

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For more infomation >> Six p'tits canards | Comptines | LittleBabyBum! - Duration: 2:13.

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For more infomation >> Le père de Laeti­cia Hallyday fâché avec Johnny depuis 5 ans - Duration: 1:21.

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실물과 가장 흡사하다고 난리 난 '여신' 모모랜드 '낸시' 직캠 - Duration: 2:03.

For more infomation >> 실물과 가장 흡사하다고 난리 난 '여신' 모모랜드 '낸시' 직캠 - Duration: 2:03.

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For more infomation >> Top 20 FREE FPS Games For Android 2018 (OFFLINE) - Duration: 12:08.

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Metros in the snow at De Akkers (5300 & 5700-series) - Duration: 1:42.

Station De Akkers

For more infomation >> Metros in the snow at De Akkers (5300 & 5700-series) - Duration: 1:42.

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For more infomation >> Jaguar F-PACE SVR | Power, Performance and Practicality - Duration: 2:57.

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[4K the-robot Review] Canon EF-M 11-22mm f/4-5.6 IS STM - Duration: 4:47.

The EF-M 11-22mm f/4-5.6, is a tiny wide-angle zoom lens, made for Canon's EF-M mirrorless

mount, used on all EOS M cameras. "Tiny" is an understatement. At just 6.1 x 5.8 cm,

it's 30% smaller than the already portable EF-S 10-18mm IS STM, also made for the APS-C

format but for DSLR cameras; and 70% smaller than its closest equivalent for full frame

cameras, the EF 16-35mm f/4 IS.

Using a collapsible design, that must be extended prior to use, there's a slider releasing

the zoom barrel from the locked position, to the widest setting, expanding the lens

to 73mm; with a secondary lock in place. Around the streets you can leave it at 11mm, to shoot

at will, but when it's time to put it away, you can close it to just 5cm.

In your hands the ergonomics defies Canon's engineering, so portable yet so comfortable.

Here shown on the classic EOS M, a thin and portable camera, with no right hand grip to

hold on to, it's amazing how well balanced the 11-22 is, hard to slip from your fingers;

even during zoom operations.

The satin metal finishing is a premium that Canon apparently offer on all EF-M lens, and

the grooved metal ring is enough to grip your fingers, rotating from 11mm to 22mm at just

25º.

At the front, the manual focusing ring is all metal, and must be activated by the camera's

interface. Inside the EF-M 11-22mm, uses the smooth and

silent STM stepping motor, great for video recordings. And when it's time to shoot

pictures there's little to complain: noiseless and absolutely 100% precise.

Also this EF-M 11-22, was Canon's first wide-angle lens to implement the stabilizer,

promising up to 3 stops of optical compensation, effortlessly delivered. And at the front it

uses bizarre 55mm filters, not shared by another EF lens. It brings the wide-angle focal range

to a portable package, together with a 35mm equivalency for street photography: tiny,

portable, easy to use; straight to the point.

With a 12 elements in 9 groups optical formula, two UD low-dispersion pieces, and two aspherical,

the EF-M 11-22mm, was curiously the first zoom lens to showcase what the future would

bring, to the Canon wide angle range. What impresses the most, is the high resolution

and contrast, that together reach unprecedented levels of sharpness, on Canon's EOS system.

Even wide open the files are ready to print, with intact details in textures, graphics

and organic subjects, that easily generate moiré, even on less demanding cameras.

Stopping down has little impact on the overall details and resolution, although it fixes

some of the corner vignetting, that is pronounced even two, or three stops down. However the

geometric distortion is practically nonexistent, and just at 11mm we see a slight barrel, applied

to horizontal lines.

On the other hand, one thing that really doesn't work on this lens is the flaring control,

the internal light reflections that can be used for creative effects, or should be aesthetically

pleasing when unavoidable; it is not! Especially wide open, the flaring looks bad from cheaper

optics, with badly shaped sun stars, and weird blobs of colors, that reminds us of bad smartphone

cameras.

Finally colors and bokeh, are reasonable on this zoom lens; not so intense, not truly

poor. Landscapes including the blue sky and green trees, the sunset colors look mundane

on this lens, requiring heavy handed adjustments. It's interesting the see the color loss,

when we compare prime and zoom lenses, and yet another reason to purchase more expensive

lenses.

The EF-M 11-22mm, is a curious review because It's small without being cumbersome, an

achievement by itself. Every single picture of this review came out in perfect focus,

something the EF M always does, and I don't get from Fuji and Sony. And it's also easy

to forget it's perfect image quality, matching larger DSLRs, besides pushing the optical

design to its limits.

Be it for professionals that are looking for an easy to use tool, to spend the weekend

with, or for amateurs wishing to master wide-angle compositions, both without breaking the bank,

the EF-M 11-22mm is a great option. Who would say so much quality would fit in such a portable

lens?

Add it to your kit and nice shooting!

For more infomation >> [4K the-robot Review] Canon EF-M 11-22mm f/4-5.6 IS STM - Duration: 4:47.

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[4K the-robot Review] Sony E 55-210mm f/4.5-6.3 OSS - Duration: 4:53.

The E 55-210mm f/4.5-6.3 OSS introduced in late 2011, is a standard-telephoto zoom lens,

made for Sony's E-mount mirrorless cameras.

At 10.6 x 6.2cm, of 345 grams of mostly plastics, the build is nice for its price, certainly

a step ahead most APS-C zooms on the market.

In your hands the usability is mixed, as we can't unfortunately bend the laws of physics.

While the zoom operation is made using an enormous 6cm rubberized ring, incredibly quiet

and smooth, it's impossible not to notice the E 55-210 weird ergonomics, when mounted

on the camera; given it's extra 4.5cm when extended!

At the front the rubberized manual focusing ring repeats the same usability found on all

E-mount lenses: no buttons nor physical switches, with virtual controls on the camera's interface.

The AF and stabilization, must be set on the camera's menu, that depend on each model;

asking for some of the photographer's patience.

Mounted on the A6500, we have to search tab after tab for even basic adjustments, spreading

over confusing menus that takes away any agility to the controls.

However its using a linear auto-focus motor, absolutely quiet and smooth, allowing for

the dynamic manual focus on the focusing ring, dubbing as a standard full time manual.

It's also interesting to see how effortlessly the linear motor drives the focusing group,

that can "lock" on the correct subject at the blink of an eye; it's very quick!

Sony also implemented the Optical SteadyShot, that promises up to 4-stops of compensation;

easily delivered by this lens.

It's impressive how it performed, easily surpassing long exposures as low as one tenth

of a second.

Finally at the front, the 49mm filters impacts on the image quality with strong vignetting.

They fix on a plastic thread that itself fits a lens hood thread, allowing both to be used

at the same time.

Overall it's an "accessible" lens with something extra, interesting for the notably

superior build quality on the APS-C market, smooth operation, and easy to use controls;

appreciated by amateurs and professionals at this price point.

With a 13 elements in 9 groups optical formula, two low-dispersion lenses, and a central focusing

group, adding an aspherical lens for overall frame resolution, the E 55-210 OSS, was ahead

of its time being the first entry-level telephoto zoom to offer such technologies.

Although far from perfect, there's little to complain about the photographic results:

the center frame resolution is good, ranging from "acceptable" to plain bad around

the corners, no matter the focal length; its sharpness is on the smoother side, not really

delivering this generation's resolution needs; the chromatic aberrations are indeed

kept to a minimum, thanks to the low-dispersion glasses, never seen before at this price point;

and the geometric distortions are also low, not really an issue except for some vignetting.

Wide open, the resolution is what I call fair at this price point.

Around the center frame the details can be impressive, as long as we don't shoot at

the closest range.

However outside of the frame center, near the edges, wide open it just doesn't work:

there's never a sharp detail, no matter the focal length or the focusing distance.

Stopping down is a welcomed idea, to enhance the resolution, despite never really delivering

prime resolution like some "modern" zooms.

With the demanding 24 megapixels APS-C sensors, the photos look coming from a "cheap"

lens, just like most low-cost standard-telephoto zooms.

Chromatic aberrations are visible, showing smeared purple tubes.

On the other hand the aspherical focusing group does a good job dealing with lateral

chromatic aberrations: it's practically invisible even near the frame corners, perfect

to shoot urban landscapes with lots of straight, high contrast lines.

Finally the colors and bokeh are another surprise.

The saturation looks incredibly faithful once you push the raw files in post.

It is also very natural in its green and blue renderings, great for landscapes; balanced

to the same Kelvin value of Canon's L series.

And the bokeh looks as good as it can be: as the focal length is very long, it's easy

to isolate your subject in front of a blurred background.

Sony was certainly paying attention to the boh queh when it designed this lens, even

implementing a rounded 7-blade aperture to keep the background as organic as possible.

With a 348 dollars price tag, this zoom lens fulfills its place on the APS-C E-mount, serving

as the only telephoto lens you'll ever need on your kit.

Have fun with this zoom and nice shooting!

For more infomation >> [4K the-robot Review] Sony E 55-210mm f/4.5-6.3 OSS - Duration: 4:53.

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재규어, F-페이스 SVR 공개..국내 출시 계획은? - Duration: 5:49.

For more infomation >> 재규어, F-페이스 SVR 공개..국내 출시 계획은? - Duration: 5:49.

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[4K the-robot Review] Canon EF 70-300mm f/4-5.6 IS II USM - Duration: 5:04.

The Canon EF 70-300mm f/4-5.6 IS II USM, launched in September 2016, is the next generation

of the exactly same specification launched in 2005. With an all-new NANO USM auto focus,

an updated 4-stops stabilizer, and a new design, it's the first Canon zoom lens to sport

a dedicated LCD screen; made to display focusing and zoom infos.

At 14.5 x 7.8cm closed at 70mm, or 21.5cm extended at 300mm, all at an incredible 710

grams of plastics, the first thing we notice on the new 70-300, is how it grew compared

to the previous generation. In your hands it is smoother to the touch, better to balance

with larger EOS full frame cameras, and the zoom movement is reasonably heavy on my brand

new copy.

To the left, the physical switches for the I S, and AF, showcase Canon's new design

school, with flushed buttons on the side. Above them, for the first time we find a MODE

button, that controls one of the 70-300 II novelties: a LCD screen instead of a distance

window, showing distance on both feet and meter markings, together with an interactive

depth of field scale, that changes depending of the focal length.

The focal length mode repeats the numbers printed on the barrel, and can automatically

calculate the equivalency to the 35mm format, when mounted on APS-C, or APS-H cameras. And

the stabilizer mode shows the volume of compensation in both axis, useful to keep the lens steady

when shooting low-light scenes.

Canon's new NANO USM is nothing more than a linear motor, driven by ultrasonic vibrations,

and one of the fastest AF systems I've ever used. Here tested with the top of the line

EOS 5DS, is when we see how Canon's phase-detection is blistering fast, focusing almost instantly,

no matter the subject distance.

Also Canon updated the Image Stabilizer, bringing at least 4-stops of compensation, delivered

in the most elegant way: noiseless, smooth, quiet and instantaneous.

In reality I could easily achieve one forth shutter speeds at 70mm; almost half a second

handheld, not really carrying about my posture.

And finally at the front, the filters grew to 67mm, the same size found on the L-series.

With a 17 elements in 12 groups formula, two more than the older version, the new 70-300mm

optical performance seems intact over time. The resolution is good at most apertures,

but never as clean as the equivalent primes. Under perfect situations, it's easy to render

details in trees, rock textures, the skin on portraits, almost at the same level of

much more expensive lenses.

Stopping down has no impact on optical performance, once the maximum aperture is already quite

small. I didn't notice any improvement in corner resolution, nor aberration fixing,

varying from f/4 to f/8. The only visible gain is the reduced vignetting at f/7.1.

On a positive note, the 70-300mm II is practically free of geometric distortion, at least at

normal working distances, outside of the minimum 1.2 meters.

It's specially useful for landscapes, not messing the horizon at all focal lengths,

one less box to tick during post processing.

On the other hand, product photography do reveal a slight barrel distortion at 70mm,

and some pincushion at 300mm, standard zoom behavior near the minimum focusing distance.

Finally the colors and bokeh, are the last highlight of the new design, always a happy

story on Canon's telephotos. The straight-out-of-camera saturation is quite muted, but tones are very

neutral; the idea is to post-process prior to publishing.

However the background out of focus quality is smoother, thanks to the new circular 9-blade

aperture. Even at f/8 the depth of field is quite short at 300mm, so the circular aperture

makes a positive difference.

The EF 70-300mm f/4-5.6 II, far surpasses the natural upgrade designation, as Canon

updated nearly everything on its usability, design, build, AF, IS…

It's a completely revamped product, filled with never-seen-before ideas, on the EF lineup.

But the image quality is barely acceptable, not really delivering what the high resolution

market needs; and that's the 5DS with its 50 megapixels. While most photos showcase

great contrast, color tones and aberration control, frankly the EF 70-300 II USM was

the worst lens tested so far on this camera, and that says a lot about it.

For the rest of the market, the 70-300 II is a new paradigm in ergonomics and focusing

performance, never seen before from Canon. It's a pleasure to use, so nice shooting!

For more infomation >> [4K the-robot Review] Canon EF 70-300mm f/4-5.6 IS II USM - Duration: 5:04.

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[4K the-robot Review] Sigma 85mm f/1.4 DG HSM - Duration: 5:15.

The 85mm f/1.4 DG HSM, is probably the most anticipated lens, on Sigma's Global Vision

Art lineup. At 9.4 x 12.6cm,1 kilo of metal, plastics, rubbers and lots of glass, the first

and foremost important thing is its size; GIGANTIC for the 85mm focal length! Yes, it's

the most important info on this review because it justifies every design decision.

In your hands, it's uncomfortable and questionable; despite the identical design to other Art

lenses. We start with a brass metal mount, covered by a metallic barrel, that leads to

a very short rubberized tube, that supports both the distance window, and the control

panel; finishing on the largest manual focusing ring I've ever seen.

At 6.6cm total, with 5cm of rubberized area, this ring is tall and pronounced, partly easy

to use given its size; partly counter-ergonomic, as it dominates about 70% of the lens barrel.

It's simply too easy to accidentally turn it, and get the photo out of focus, making

it hard to decide how to hold the lens.

On the other hand, using the next generation's HSM motor, thinner despite the higher torque,

Sigma solves on the Art lens all the problems of the Canon L f/1.2. The optical formula

is larger, but the AF is much faster.

Here tested with Canon's top-of-the-line EOS 5DS, the single focus ratio was absolutely

100%, and always instantaneous. Yes, you heard that right about Sigma's auto-focusing capabilities:

100% and always instantaneous!

Even under short depths of field, absolutely no picture in single focus came out of focus

with the 85mm Art; impressive for a large aperture lens.

From infinity to the 0.85cm minimum focusing, the Sigma the full 150º focusing turn in

about 0.8 seconds, and those shooting indoor sports can see the Sigma as the best option

for a large aperture, short-telephoto lens.

Finally at the front, it accepts bizarre 86mm filters; never seen before on my kit. It is

the pinnacle of what's possible with the oversized optical formula, setting itself

apart from the crowd with the large optics, just unthinkable for its price.

With a 14 elements in 12 groups design, two low-dispersion pieces, one aspherical lens

and integrated coating on all glasses, the Sigma 85mm f/1.4, bets on a genuine short-telephoto

formula, basically developing a miniature 300mm f/2.8.

Missing are the high-end FLD elements, that Sigma promises the same performance of fluorite

glass, and in practice we get an accessible high performance telephoto lens.

Wide open the resolution is de facto the highest I've ever seen.

With an absolutely precise focusing system, and here tested on the 50 megapixels Canon

EOS 5DS, it's bizarre to see so many details from such large aperture, thanks to the fully

flattened image plane.

Such performance is great to shoot landscapes under low light and with lower ISOs, when

we can also notice how the 85 Art suffers from low astigmatism, and sagittal coma flare;

despite the strong vignetting, at about -1 stops around the edges.

Given the short depth of field, we can also see some axial chromatic aberrations, that's

not as clean as the 50 f/1.4 Art. It's easy to see fine colored lines surrounding strong

edges, better handled by telephotos lenses using fluorite elements.

Stopping down, offers little improvement for the resolution, and further showcases the

Sigma 85mm Art telephoto formula. As it's physically long, the depth of field doesn't

really change when we stop it down. What goes away is the heavy vignetting, as soon as f/2,

and some of the chromatic aberrations, gone by f/4. Again, it's interesting to shoot

some faraway landscapes, but not the best use of this lens; any low-cost prime, or zoom

lens, delivers the same level of resolution when stopped down, so prefer this Sigma for

what it does best: perfect low-light shots wide open, at f/1.4.

But there's a visible loss of contrast when used without the supplied lens hood, due to

the excessive 14 elements formula.

Geometrical and spherical distortions are nearly absent, given the perfect focal plane,

thanks to the low-curvature giant glass elements, directly affecting the bokeh; a bit poor on

this Sigma.

The 9 blade aperture do keep a smooth background on all f/stops, but the larger-than-life glass

elements repeat most high contrast lines. The results: the bokeh lacks character, as

every other telephoto lens.

Finally the colors are Sigma's last shortcoming, clearly "muted" compared to other 85mm's

on the market.

My advice is to carefully evaluate your need for just more resolution, as this Sigma doesn't

really deliver the look, of a double Gauss optical 85mm, and it can look distinctly flat

on portraits.

And nice shooting!

For more infomation >> [4K the-robot Review] Sigma 85mm f/1.4 DG HSM - Duration: 5:15.

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BBB19: Inscrições abertas! - Duration: 1:49.

For more infomation >> BBB19: Inscrições abertas! - Duration: 1:49.

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[4K the-robot Review] Mitakon CREATOR 35mm f/2 - Duration: 4:40.

The Mitakon 35mm f/2, is the third and most recent ultra-low-cost fixed lens, from Zhong

Yi Optics.

At just 6.8 x 6.5cm, of 310 grams of only metal and glass, the 35mm f/2 reasonably well

built, although relatively fragile given the overall design.

It impresses by its high quality engraved and painted markings, with the same manufacture

care seen on Nikkor's Ai-s, and Voigtländer's, but here at a fraction of the price.

In your hands, the ergonomics are a bit tight, given the CREATOR's 35mm short length.

As it is also very light, the hands support will be oriented to the camera grip, as the

lens doesn't push the equipment downwards.

With an all-manual operation, the aperture and focus are done via two "naked" metal

rings, not rubberized, that unfortunately don't comfortably grip the fingers; they

will slip when used with sweaty hands.

At the rear, the aperture control is made by a 0.7cm thin ring, standard for those used

to manual lenses.

It turns smoothly from f/2 to f/22, with very light clicks between full stops, allowing

for special effects during video recording, putting to use the near circular 9-blades

aperture.

An important usability note, is the presence of a data chip on the lens mount, that sends

maximum aperture and focal length infos, to the camera's metering, allowing for some

confusion during use.

On Canon's EOS cameras, you're suppose to leave the camera always at f/2, and adjust

only the lens; never to tell the camera the selected lens value, as it will result on

darker exposures.

Finally at the front, it accepts 55mm filters, the same as the 85mm f/2, and 135mm f/2.8

II.

It's hard to see a full lens lineup sharing the same filter size, but Mitakon managed

to make it.

They screw on a high quality metal thread, that is as thick as the lens barrel itself,

very robust.

The Mitakon 35mm feels like a "A+" school project given the simplicity.

You can see the Chinese are paying attention to the CREATOR lineup, stepping up their game

for even less money.

With a simplified 7 elements in 5 groups optical formula, non aspherical nor low dispersion

elements, the Mitakon CREATOR 35mm f/2, has to make do with a simple double-Gauss, wide

angle optical formula.

Wide open the performance is expected, the glasses dubious quality treated with primitive

coatings don't guarantee a perfect light path, and the photos can easily look like

a dream, given the low contrast on wide areas of highlights and shadows.

It's interesting to see how the stripped down optics work, and why the first parties

invest so much in high technology coatings; non present on this Mitakon, with its poor

contrast and colors.

Although plenty of details are rendered, on whatever falls in the very short f/2 depth

of field, they indeed require contrast, sharpness and color enhancements, done by software.

Stopping down makes things slightly better, but not even at f/8 the overall performance

is improved.

The longer depth of field allows for more elements in focus, and the image plane area

is larger, enhancing edge details.

However it's still possible to study the CREATOR 35mm double-Gauss formula, as not

even at f/8, the extreme outer edges lack resolution; the lack of aspherical pieces

are evident on the smeared edges, as the light is focused at another distance.

The contrast and saturation are still poor, as stopping down doesn't make the low-quality

glasses any purer.

Lateral chromatic aberrations are the formula's highlight, as the double-Gauss design was

meant to eliminate them.

Finally colors, bokeh and flaring are the worst.

Colors flirt with chaos, under Canon's EOS color science: the yellowish glasses makes

it hard to balance green and blues, that are on the same channel used by Canon's debayer,

for skin tones.

The bokeh is also relatively poor from the basic double-Gauss, showing "cat's eyes"

on the edges of highlights.

But the flaring gets the prize as the worse aberration from this CREATOR, and the uncoated

metal barrel partially reflects the light in a rainbow-like shower.

The lack of included lens hood makes things worse, and I can only recommend covering the

lens with your hands.

This lens is worth the mechanics that no other brand delivers at this price point, and for

those interested in photography, it might be a great idea as a gift.

Just mount it on the camera, and nice shooting!

For more infomation >> [4K the-robot Review] Mitakon CREATOR 35mm f/2 - Duration: 4:40.

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Six p'tits canards | Comptines | LittleBabyBum! - Duration: 2:13.

For more infomation >> Six p'tits canards | Comptines | LittleBabyBum! - Duration: 2:13.

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[4K the-robot Review] Canon EF 24-105mm f/4L IS II USM - Duration: 4:40.

The EF 24-105mm f/4 L IS II USM is the unexpected second generation of the f/4 standard-zoom,

from Canon's professional L series. "Unexpected" because it updates a not-so-old lens, the

identical 24-105mm L, dated from just 2005.

At 8.3 x 11.8cm, of 795 grams, of mostly plastics on the outside, and maybe metals on the inside,

the first thing we notice is how it grew, compared to the previous generation. Not just

an aesthetic update with Canon's new type family, and the external non-scratching plastic,

the growth is justified on the all-new internal mechanics, that require larger barrels to

support bigger bearings.

In your hands the ergonomics are vastly superior, with a rear zoom ring, and a frontal focusing

ring. The fluid zoom motion is practically linear from 24 to 105mm, with an internal

single cam design. The front focusing ring received less updating, still smooth and light,

something only the L series can guarantee. The 110º turning motion is about the same

as the older lens, from infinity to minimum at 0.45cm, but completely quiet on the newer

version.

Inside the AF and stabilizer motors naturally got updated, but are even more questionable

given the short life cycle of the original 24-105 L.

The classic lens was already great: instant focusing from a ring-type USM, silent and

precise, but the new image stabilizer, got a rating up to 4 stops; slightly better than

the 2005 at 3 stops.

Finally at the front the 24-105mm L II, accepts the same 77mm filters from the older lens,

great to update without breaking the bank. The first and last glass elements are fluorine

coated, that repeals water and grease, making it easier to clean. And mechanically the 24-105mm

is an updated lens, with the same robust built from all lenses. But it's not a mandatory

update to the older version, despite being welcomed on the current and future EOS lineup.

With 17 elements in 12 groups, four glass-molded aspherical, and Canon's new Air Sphere Coating,

the EF 24-105mm f/4L II, is largely the same as the 2005's 24-105. Canon's promise

is clear: to enhance corner luminosity, reducing vignetting; and extra contrast.

The fair resolution at any zoom position, and as soon as wide open, has always been

the highlight of the 24-105 f/4. Be it the classic version, that beat the also classic

24-70 f/2.8 L, or the newer version II with Air Sphere and less glasses, the easiness

of a modern, practical and high resolution formula, is still the best part of this model.

Stopping down slightly enhances the frame resolution, that looks sharp at f/8, fun for

pixel peeping at 100% zoom on the computer's screen, or for large format printing of any

sorts of jobs.

Chromatic aberrations appear mostly on the range limits, with colored lines on contrast

edges, from wide angle and telephoto shots. Easily spotted even on wide angle primes,

the lateral aberrations appear on architectural lines of buildings, and trees against the

bright sky, both asking for software compensations prior to publishing; a task as hard as a single

click on Photoshop.

From standard to telephoto, aberrations appear only when the light source is included in

the frame, with strong purple lines, around contrast edges.

Geometrical distortions are still very visible, seen as an giant bubble on the wide angle;

unacceptable for precision work, as the software correction dismisses a large portion of pixels,

from the frame edges.

And the colors and bokeh are typically "zoom L", neutral for when you don't need it;

but pretty when they take over the image. The strong tones are Canon's signature on

all lenses that, together with EOS cameras and its color science, deliver the market's

deepest reds, sided by absolute greens and blues; all fantastic!

The background blur also pleases those looking to explore the full frame look, when purchased

as a kit, with proper circular highlights for a diffuse, smooth, colorful and high contrast

bokeh.

While it's not worth as an upgrade for those using the previous model, that was already

modern, those new to the L series, should opt for the new model. Nice shooting!

For more infomation >> [4K the-robot Review] Canon EF 24-105mm f/4L IS II USM - Duration: 4:40.

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[4K the-robot Review] Rokinon 12mm f/2.8 ED AS IF NCS UMC - Duration: 4:52.

The Rokinon 12mm f/2.8, is the second stereographic fisheye lens we see. Despite the same 180º

diagonal angle of view, as the also fisheyes Canon EF 15mm f/2.8, and EF 8-15mm f/4L, not

all fisheye lenses are designed the same way.

At 8.5 x 9cm with the lens hood and frontal cap attached, or at just 6.9 by 7.2cm without

both covers, both at 515 grams, the Rokinon 12mm f/2.8, is a serious lens at the very

least, thought for those working with larger full frame cameras.

In your hands, the weight translates into a robust all-metal built, with just a few

plastic finishings, together with rubberized rings,

The manual focusing ring dominates the barrel, comfortable and precise to use, well balanced

with most full frame DSLRs. Your fingers smoothly sit on top of a generous rubber grip, surrounding

a ring with infinity to 20cm distance markings, clear and printed on the barrel, mandatory

for precision work.

At the rear, near the camera mount, the aperture ring is just 8mm long and all plastic, not

as comfortable as the focusing ring. It features clicks between every half stop, except from

f/2.8 and f/4.

When it's time to shoot, the EF, Pentax, Sony A, and Sony E mount versions are all-manual;

only the Nikon version gets an AE chip, to be used with auto-exposure.

Finally at the front, the 69mm glass element can't support filters, an usual problem

with fisheye lenses. Although the lens hood is removable, there's no filter thread like

most rectilinear wide angles. Not even the gel holder is found at the mount.

Also nothing is declared about its weather resistance, with a standard "naked" metal

mount at the rear, expected from a 499 dollars lens.

Everything is simple and easy to use on the Rokinon 12mm f/2.8, and it sports a robust,

trust worthy built. During my tests it felt as durable as the Canon EOS 5DS used, both

tough inside my backpack, keeping up with long trails and cold nights, during astrophotography

sessions.

With an outstanding 12 elements in 8 groups optical formula, three extra-low dispersion,

two aspherical and a nano coating system, the Rokinon 12mm is an impressive feat.

Although it's raw resolution is lower than Canon's 8-15mm f/4L, it's so close it's

hard to complaint; not for on third of the price. The chromatic aberrations are virtually

identical between the two, and the flaring looks pleasing. If it wasn't for a slight

drop in contrast when backlit, there's no doubt the Rokinon could compete, head-to-head

with first party options.

That's not to say the Rokinon resolution is perfect. While it's incredibly sharp

at the center frame, even wide open, at the f/2.8 corners it lack details, about 12% of

the overall frame.

No matter the varying distances between subjects, from the middle to the edges, a normal difference

for such wide frames, the corners shows severe smearing from a less-than-perfect optical

design, also lacking the contrast shown on more expensive lenses.

Stopping down exponentially enhances the resolution, as close as Canon's top-of-the-line zoom,

making it easy to recommend the Rokinon, given the stereographic projection.

At f/8, the resolution is excellent near 98% of the frame, incredible to see on Canon's

5DS 50 megapixels monster. It's EVERY branch on a faraway tree, leaf veins and rock textures,

all ready to print straight out of the camera.

Chromatic aberrations are inevitable on all fisheye lenses, and the Rokinon stands by

the rule. The frame edges show thick magenta, and green line on contrast areas, like window

frames and trees against the bright sky, on the same level as Canon's; all must be fixed

via software prior to publishing.

Finally the colors and flaring are interesting. The tones are well balanced with the rest

of the market, and I didn't see any shift in hue from the Rokinon, compared to Canon's;

both easy to process in post.

The 7 straight-blades aperture gives distinct 14 stars highlights, nice to creatively position

the sun or various light source within the frame.

So light reflections get random color bubbles, that otherwise would look bad on different

focal lengths; not on this fisheye.

It's a good low-cost performance, that's not that low-cost at all: you're paying

for high performance glasses, the novelty geometry, and high-tech treatments, and receiving

plenty of resolution to work with.

So it's an easy lens to recommend, unique on the fisheye market. Nice shooting!

For more infomation >> [4K the-robot Review] Rokinon 12mm f/2.8 ED AS IF NCS UMC - Duration: 4:52.

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[4K the-robot Review] Canon EF-S 18-135mm f/3.5-5.6 IS USM - Duration: 5:12.

The EF-S 18-135mm f/3.5-5.6 IS USM is the third version of the 7 times telephoto-zoom,

made for Canon's APS-C cameras. Yes, "version" that's different from "generation".

With three identical models, all sporting the same focal lengths, and optical formulas,

the only difference lies beneath the AF tech, each with its own motor.

At 10.3 x 7.6cm closed, or 15.2 x 7.6 open at 135mm, at 515 grams, the first thing we

notice is the new design, well thought and built; a step ahead most kit zooms.

Canon now employs the satin plastic, smoother on your fingers, and less shiny than previous

plastics. And gone are the silver embellishments, with an all black rubber and plastic design,

discreet and easier to use, without excesses.

In your hands the ergonomics are perfect with APS-C cameras, all with the same sober design

since the T6i.

The camera and lens are dense within you fingers, filling every dip of your hands, nice to handle

during all-day jobs.

Near the middle barrel, a 90º zoom ring turns on a precise, smooth movement, not heavier

nor lighter at any length. That is an important feature to support the unique, PZ-E1, Power

Zoom accessory, a portable SERVO zoom motor operated by batteries. It's possible to

give home made movies, a more professional finishing, far superior to manually operating

the zoom ring.

The NANO USM is nothing more the a linear motor, driven by ultrasonic energy, and it

repeats the same marvelous focusing achieved, by the also NANO USM, new 70-300mm II.

On the everyday usage, it is scary fast! With any EOS camera, the slight press on the AF

button, instantly locks focus. It's extremely flexible to shoot moving subjects, never missing

the moment.

Canon also kept the same I S module from the STM lens, promising up to 4 stops of compensation.

And finally at the front, it uses large 67mm filters, compatible with most zooms of this

class. Overall Canon delivers a fair 599 dollars product, with a well made built and smooth

operation.

With a 16 elements in 12 groups optical formula, 1 ultra low dispersion, and a molded aspherical

glass for aberration control, the EF-S 18-135mm USM, doesn't bring anything new to the segment,

identical since the first 2009 version.

Wide open, the resolution and sharpness vary from 18mm to 135, with an excellent wide angle

performance at the center, losing resolution only by the corners.

From 24, 35 and 70mm, the resolution is more than sharp for everyday details, clearly rendering

rock textures, trees and fine details. But at 135mm the resolution drops at f/5.6, functional

only for smaller prints.

Stopping down slightly improves file sharpness, enough for this generation's APS-C sensors.

Another correction suggested is the geometry, visible on both ends. At 18mm, an enormous

bubble forms around the top and lower lines, visible even on busy landscapes, almost like

a fisheye lens.

But at the end of telephoto, at 135mm, the distortion reverses and gets a visible pincushion

effect.

Finally colors and bokeh are in agreement with Canon's intermediary lineup. Tones

are muted, and require a heavy handed compensation, to stand out in paper or web publishing, very

different from what I get from the L-series, more saturated from the camera.

At least the color balance is faithful to other Canon lenses, and I didn't find major

shifts in hue, always delivering the most colorful albums from any review.

But the background blur leaves much to be desired, as the 135mm depth of field is not

short enough, compared to longer telephotos. Only on very close shooting distances, lower

than a meter, that we get smooth, defocused backgrounds.

The EF-S 18-135mm, I S USM, is a nice addition to Canon's lineup, bringing new features

to the APS-C market, in spite of keeping the same old optical formula.

The design school changed for the better, to support its biggest headlines: the NANO

USM auto focusing, ultra-fast and precise, never before seen at this price point; and

the PZ-E1 SERVO motor for zooming.

However the curious optical design, kept the same formula for a third time, with plenty

of room for improvement. So I recommend it solely for its flexibility, not it's optical

performance. What matter the most is it's insanely fast auto focusing, for this price

point, that offers new possibilities for amateurs. And for that, it's unique on Canon's lineup.

Nice shooting!

For more infomation >> [4K the-robot Review] Canon EF-S 18-135mm f/3.5-5.6 IS USM - Duration: 5:12.

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[4K the-robot Review] Sigma 17-50mm f/2.8 EX DC OS HSM - Duration: 5:03.

The Sigma 17-50mm f/2.8 EX DC OS, is one of the most requested lens. Replicating the large

aperture spec from first parties, the 399 dollars Sigma is a tempting option for those

looking for a large aperture zoom, but can't really afford one.

At 8.3 x 9.1 cm of 565 grams of mainly plastics, the first thing we notice is the return of

Sigma's tacky design, still not in any of the Global Vision series.

The 17-50mm is an ergonomic nightmare, given its various steps, all embellished with golden

rings and markings, that won't stand a month before scratching. While it's reasonably

tough with solid barrels and rings, it's distinct on Sigma's current lineup, as it's

not as elegant as newer Art lenses.

In your hands, the ergonomics are a mix of pleasure and chaos, given the smoothness of

some rings; and the questionable corner-cutting decisions on others. As it's small at just

9cm, when closed at 17mm, the zoom ring sits at the middle of the main barrel, turning

counter-clockwise at about 45º .

However at the front, the manual focusing ring doesn't support the full time operation

and, besides needing to be disengaged from the motor via a switch, it is connected to

the motor during AF; is spins on the outside, greatly reducing the area we can grab on to.

Inside Sigma implemented two automatized motors, one hypersonic motor and other for the optical

stabilizer, that again are a mix of good and bad.

The headliner without a doubt is the stabilizer: with up to 4 stops, it's implementation

is flawless for its silence, speed and precision, in fact compensating for the camera's movement.

But the focusing motor is not the best, as it's not very fast nor silent, once it uses

a simplified version of the HSM.

A micro motor turns internal clogs that, again, spins the outer ring, and the overall usability

is harmed. If focusing is too important for you, then the first party options are indeed

better, with USM at Canon's and AF-S at Nikon.

Finally at the front, the 17-50mm f/2.8 grows to a plastic bump, that holds the large, vignette

free 77mm filters on the inside; and offers a thread to attach the included lens hood.

With a 17 elements in 13 groups optical formula, three aspherical and two FLD, the highlight

is the high technology glasses, that indeed deliver resolution, contrast and sharpness

that I didn't see on "oficial" products.

At f/2.8 it has some moments of brilliance, rendering edge details of fine lines, textures,

graphic elements and contrast, no matter the focal length.

Stopping down slightly enhances the contrast and the resolution, peaking as soon as f/4

up to f/7.1, when diffraction takes its toll. On such settings, it virtually behaves like

a prime in resolving power, flirting with much more expensive lenses to work with large

prints.

Chromatic aberrations are not a problem, although visible with complicated light situations.

The lateral aberrations can easily happen on high contrast edges, mostly on buildings,

or organic backlit subjects, that ask for software compensations.

On out of focus spots, axial aberrations can be seen on subdue tones, that display colored

purple halos on contrast areas, together with a loss in resolution. Geometric distortions

are practically invisible, especially on normal working distances. At 17mm, it is possible

to see a centered bulge on straight lines, obvious on architectural subjects. And at

50mm a slight pincushion distortion drops the lines to the frame center, visible mostly

on the horizon.

Finally vignetting, colors and bokeh, are all standard on this zoom: they happen when

you need them, and it obviously can't compete with most primes.

The vignette is very discrete at f/2.8: Sigma did a good job using larger glass elements,

that render plenty of light around the frame's corners; even larger aperture primes suffer

more from this issue than this zoom.

Colors are saturated and neutral from the multi-coated elements, balanced to Canon's

redish color science.

But the out of focus quality is kind of a mixed bag, sometimes useful, sometimes not.

The 7-blade aperture can't really keep a circular shape beyond f/4, rendering an heptagon

on highlights.

The various aspherical elements show strong edges on the bokeh lights, looking like rolled

condoms at close range distances.

And when at the minimum focusing distance and at the maximum focal length, the bokeh

unites to the poor chromatic aberrations, making the effect look even worst.

So I recommend using the 17-50mm for what it is: an all-in-focus zoom lens. It is an

easy recommendation for all, especially those looking for raw optical performance, and nice

shooting!

For more infomation >> [4K the-robot Review] Sigma 17-50mm f/2.8 EX DC OS HSM - Duration: 5:03.

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Top 20 FREE FPS Games For Android 2018 (OFFLINE) - Duration: 12:08.

For more infomation >> Top 20 FREE FPS Games For Android 2018 (OFFLINE) - Duration: 12:08.

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When Battle Royale Mod Meets Millennium Dawn Mod_HOI4 Timelapse - Duration: 4:02.

Recording Mistake, I Swear To God! No Cheat Were Use (Dont Mind The Subtitle Behind, That's Editing Mistake :/