Tamron SP 90mm f/2.8 Di VC USD Macro lens for Canon

Built upon the outstanding optical performance of the legendary Tamron 90mm Macro
The advanced construction includes one LD (Low Dispersion) specialized glass element that maximally limits the dispersion properties of light and two XLD (eXtra Low Dispersion) glass elements that correct dispersion properties to an even greater extent. The special elements optimally compensate for on-axis and lateral chromatic aberrations from macro shooting range to infinity. Furthermore, the design ensures the best imaging performance at any range by adopting the Floating System which shifts the location of a group of elements to the best possible position as the focusing group travels relative to shooting distances. From 1:1, life-size close-ups to the most distant horizon, this new 90mm Macro lens achieves outstanding image quality.

VC enhanced with shift compensation
An accelerometer has been integrated into Tamron’s highly accredited VC (Vibration Compensation) to compensate for shakes on the x-y plane. In unison with a gyro sensor, the accelerometer detects and enables motion compensation for camera shake, providing maximum efficiency in image stabilization optimized for all distance ranges from infinity to macro.

USD actuator maximized for macro photography is fast, accurate and quiet
The control software program for the USD (Ultrasonic Silent Drive) actuator has been revised to provide substantially improved focusing speed and accuracy when using AF. The USD quickly addresses any out-of-focus condition caused by back-and-forth camera movement (which commonly occurs during macro photography) ensuring better results when shooting at close range.

Moisture-Proof and Dust-Resistant Construction
Areas of possible ingress surrounding switches and the boundary between the focus ring and the lens barrel are protected by special seals. These provide stronger protection against the intrusion of dirt, dust and moisture compared to the Moisture-Resistant Construction used previously. This additional protection assures even more wide-ranging opportunities for using this lens.

A durable Fluorine Coating on the front element repels water and fingerprints
The water and oil repellant coating applied to the front element surface allows instant removal of dirt or smudges with ease. The coating also provides a reasonable level of durability, and will sustain its effectiveness for years.

Advanced coating technology reduces flare and ghosting
Two advanced coating technologies, both providing outstanding anti-reflection performance, are applied to critical element surfaces for maximum light transmission. eBAND (Extended Bandwidth & Angular-Dependency) Coating boasts outstanding anti-reflection performance across nearly the entire range of visible rays, and BBAR (Broad-Band Anti-Reflection) Coating utilizes traditional multi-layered, anti-reflection technology. This combination virtually eliminates extraneous reflections and substantially reduces ghosting and flare which enables the lens to achieve flawless, crystal clear images.

Use of circular aperture to achieve beautiful, rounded blur effects (bokeh)
When shooting a scene that includes a point-source of light in the subject background, marvelously tuned blur (bokeh) can be obtained without generating undesirable polygonal shapes of aperture patterns thanks to the circular aperture. The 9-blade diaphragm retains a nearly perfect circular opening even when stopped down by two stops.

Focusing options perfectly suited to a macro lens
The new 90mm macro has a focus limiter that makes it possible to shorten the time for accurately focusing on a subject when the working range is known. The lens also features an Internal Focusing system, so the overall length of the lens never changes, not even when focusing. As a result, the user is assured of a comfortable working distance of at least 139 mm (5.5 in.) from the front of the lens. In addition, the lens is equipped with a Full-time Manual Focus override mechanism which makes it possible to flexibly choose focal points. Even with the AF driving system in action, it is possible to instantaneously override it to make manual fine focusing adjustments without switching the AF-MF mode back and forth.

Compatibility with TAMRON TAP-in Console
Always as new as tomorrow: You can update firmware, customize autofocus positions and adjust the mechanical setup and preferences of the 90mm lens by simply attaching it to the TAMRON TAP-in Console and connecting it via USB to a personal computer. (The TAP-in Console is an optional accessory that will be released in March.)

Specifications

* Length is the distance from the front tip of the lens to the lens mount face.
** The Sony mount version does not include VC since Sony digital SLR bodies incorporate built-in image stabilization functionality.

ZOOM H6 Handheld Audio Recorder

Four interchangeable input capsules—X/Y, MS, Shotgun, and Dual XLR/TRS Combo—make the H6 the ultimate chameleon of the audio world, and its advanced preamps make it the best-sounding one too.
Whatever your application—live recording, professional film/video work, or broadcast ENG (electronic news gathering), etc.—the H6 can handle it with ease.

INPUTS
The H6 offers four main inputs (1-4), plus two additional inputs (L, R) that are derived from whichever capsule (X/Y, MS, Shotgun, or Dual XLR/TRS Combo) is plugged into the unit. The supplied XYH-6 X/Y capsule also provides a secondary input for connecting an external mic- or line-level signal via a stereo 1/8" Mic/Line In mini phone jack. When a connection is made to that jack, signal from the X/Y microphones is muted.
All four main H6 inputs (inputs 1-4) are combo connectors that can accept either XLR or 1/4" balanced or unbalanced phone cables. They can handle both micand line-level signals, which means that you can connect either external microphones or line-level devices like mixers, portable music players, electronic keyboards, or electric guitars or basses with active electronics (passive electric guitars or basses can also be connected with the use of a mixer or effects device). Internal switching contacts automatically detect the circuit of choice.
On the H6, all connectors use the industry standard Pin 2 hot on XLR connectors and Tip hot on TRS connectors.
Each of the six inputs (that is, 1-4 as well a L, R) has a dedicated gain control knob. In addition, the four main inputs and the EXH-6 capsule feature a -20dB pad, allowing you to prevent distortion even when high-level signals are introduced. In fact, with the use of the Pad switch, the H6 can input a signal 30dB louder and 14dB softer than any other Handy Recorder model. In addition, all capsules utilize higher voltage preamps (5 volts instead of the more commonly used 3 volts) for distortion free recording, even at high volumes. A built-in instrumentation amp allows signals to be transmitted with minimal noise even when long cables are used.
If you're using high-quality condenser (powered) microphones with the H6, no problem—a simple menu option allows the unit to provide Phantom Power (either +12, +24, or +48 volts) to any or all of the main inputs (inputs 1-4). Inexpensive condenser microphones requiring Plug-In Power (2.5 volts) can be connected to the X/Y capsule's stereo 1/8" Line In jack.

OUTPUTS
The H6 Line Out is an unbalanced stereo 1/8" phone jack, located on the bottom of the H6, beneath the LCD display. It carries the analog stereo output signal, as determined by the H6's internal mixer.
The H6 USB port, located on the side panel to the right of the LCD display, provides a digital output of either a stereo mix or the six individual input signals, depending upon the setting of the "Audio Interface" function in the USB menu.
In addition, the H6 provides a headphone output with a dedicated volume control, located on the side panel to the left of the LCD display. Connect your headphones to the stereo 1/8" mini phone jack for private monitoring of the stereo output signal.
The H6 even has a built-in speaker, located on the underside of the unit, for fast monophonic monitoring of the recorded signal without the need to make any connections whatsoever. This speaker is automatically disconnected when connection is made to either the Line Out or Headphone output.

A little X, a little Y, a whole lotta stereo.
The X/Y miking technique is optimal when you want to cover a wide area and still capture sound sources in the center with clarity and definition, making it great for all types of live stereo recording.
The supplied XYH-6 X/Y capsule adds two matched high-quality unidirectional microphones to your H6. This kind of microphone is most sensitive to signal coming from directly in front, and less sensitive to signal coming from behind or from the sides; in technical terms, they are said to utilize a cardioid polar pattern. These mics have the largest diaphragm size (0.579" = 14.6mm) of any ever available on a portable recorder.
Playing back stereo X/Y tracks in mono results in a fuller sound than you would get with one microphone, but if mono compatibility is critical (for example, in television production), the Mid-Side (MS) mic technique can be a better choice.

Mid-side mic magic
Enter MS ("Mid-Side") recording: an incredible technique that allows you to actually adjust the width of the stereo image after it has been recorded, making it especially useful for film, video and television projects. Sound like magic? Read on.
Although the H6's supplied MSH-6 MS capsule appears to be just one microphone, it actually contains two mic elements, positioned directly on top of one another. One of the microphones inside the MSH-6 is unidirectional (that is, it is mostly sensitive to signal coming from directly in front, and less sensitive to signal coming from behind or from the sides) while the other is bi-directional (that is, it is mostly sensitive to signals coming from directly in front and directly behind, and less sensitive to signal coming from the sides).
Inside the H6 MS capsule, the directional ("Mid") mic faces forwards while the bi-directional ("Side") mic is set perpendicular to it, like this:
The basic concept behind MS recording is that the Mid microphone picks up signal coming from the center, while the Side microphone creates ambience and directionality by adding or subtracting information from either side.
The Mid-Side technique works well whenever you need a variable amount of room sound. It can also be used for studio recording, and its convenience and flexibility make it a good option for rehearsal and live concert recording as well.

Main Features
- Interchangeable input capsules that can be swapped out as easily as the lens of a camera
- Six-track simultaneous recording
- Four mic/line inputs with XLR/TRS combo connectors
- Gain controls (real knobs!) and -20dB pads for each input
- Phantom power for all main inputs: +12/+24/+48V
- Large full-color LCD display, angled so it's easy to read in all environments
- Records directly to SD, SDHC and SDXC cards up to 128GB
- Up to 24-bit/96kHz audio in BWF-compliant WAV or a variety of MP3 formats
- Auto-record, Pre-record and Backup-record functions mean that you'll never miss that perfect take
- Multitrack to stereo internal mixdown
- Independent monitor and playback mixes
- Virtual VU meters
- Voice memo and up to 99 marks per recording
- Overdubbing, up to 99 takes
- Built-in effects, including low-cut filtering, compression and limiting
- Onboard MS decoding
- Normalize, Divide and Trim editing
- Chromatic tuner and metronome
- Loop Playback with user-defined start and stop points
- Variable playback speed, from 50% to 150%
- Variable pitch per track without affecting playback speed
- USB port for data exchange to and from computer
- Multichannel and stereo USB audio interface for PC/Mac/iPad
- Camera strap mounts
- Mounts directly to DSLR or camcorder with optional HS-01 Hot Shoe Mount adapter
- Accepts standard AA alkaline or NiMH rechargeable batteries
- Over 20 hours of operation with 4 AA alkaline batteries

Included Accessories
- Operation manual
- XYH-6 X/Y mic capsule
- MSH-6 MS mic capsule
- SD card (2GB)
- AA size (LR6) battery x 4
- Cubase LE Software
- WSH-6S Foam Windscreen
- USB Cable
- Case

Inputs L/R

XY mic (XYH-6)
Mic Type: Unidirectional
Sensitivity: –41 dB, 1 kHz at 1 Pa
Input Gain: –∞ to 46.5 dB
Maximum Sound Pressure Input: 136 dB SPL

[MIC/LINE IN]
Connector: 1/8" stereo mini jack
Input Gain: –∞ to 46.5 dB
Input Impedance: 2 kΩ
Plug-in Power: 2.5V supported

MS mic (MSH-6)
Mic Types: Unidirectional and bi-directional
Sensitivity: –37 dB, 1 kHz at 1 Pa (unidirectional),–39 dB, 1 kHz at 1 Pa (bi-directional)
Input Gain: –∞ to 42.5 dB
Maximum Sound Pressure Input: 120 dB SPL (unidirectional),122 dB SPL (bi-directional)

Shotgun mic (SGH-6 [Option])
Mic Type: Unidirectional (mic unit × 3)
Polar Pattern: Super-cardioid
Sensitivity: –39 dB, 1 kHz at 1 Pa (each mic unit)
Input Gain: –∞ to 50 dB
Maximum Sound Pressure Input: 122 dB SPL (unidirectional)

Inputs 1 to 4
Connectors: XLR/TRS combo jacks
(XLR: 2 hot TRS: TIP hot)
Input Gain (PAD OFF): –∞ to 55.5 dB
Input Gain (PAD ON): –∞ to 35.5 dB
Input Impedance 6.8kΩ
Maximum Input Level: +22 dBu (PAD ON)
Phantom Power: +12V +24V +48V
Equivalent Input Noise (EIN): –120 dBu or less

Outputs

Line Out
Connector: 1/8" stereo mini jack
Rated Output Level: –10 dBu(when output load impedance is 10 kΩ or more)

Phone Out
Connector: 1/8" stereo mini jack
Output Level: 20 mW + 20 mW (into 32Ω load)

Built-in Speaker
400 mW/8 Ω mono speaker

Recording Formats

WAV setting]
Sampling Frequency: 44.1/48/96kHz
Bit Rate: 16/24-bit (Mono/Stereo, BWF-compliant)
Maximum Simultaneous Recording Tracks: 8 tracks (6 tracks + L/R backup)

Backup recording: 12dB lower than set L/R input gain

[MP3 setting]
Sampling Frequency: 44.1kHz Bit Rate: 48–320 kbps
Maximum Simultaneous Recording Tracks: 2 track

Recording Time (with 2GB card)

03:08:00 (44.1kHz/16-bit WAV)
34:43:00 (128kbps MP3)

Display
2.0-inch full-color LCD (320 × 240 pixels)

USB
[Mass Storage Class operation]
Class: USB2.0 High Speed

[Audio Interface operation: Multi-track mode]
Class: USB2.0 High Speed
Inputs Outputs: 6 2
Sampling Frequency: 44.1/48/96kHz
Bit Rate: 16/24bit

Note: Use with Windows requires a driver, but Macintosh does not.

[Audio Interface operation: Stereo mode]
Class: USB2.0 Full Speed
Inputs Outputs: 2 2
Sampling Frequency: 44.1/48kHz
Bit Rate: 16 bit

Note: iPad operation supported in stereo mode only.

Battery Life(with alkaline battery)

XY mic, 44.1kHz/16-bit (stereo × 1): 21 hours
XY mic and Inputs 1, 2, 3 and 4 used, 96kHz/24-bit (stereo × 3): 9 hours 45 minutes

Note: The above times are estimates. Approximate continuous recording times when using battery power were calculated using our own testing method. They may differ greatly depending on operating conditions.

Power
AA size (LR6) battery × 4
AC adapter: AD-17 (DC5V/1A/USB-type) (optional)
USB bus power

Dimensions
H6: 77.8mm（W）x 152.8mm（D）x 47.8mm（H）
XYH-6: 78.9mm（W）x 60.2mm（D）x 45.2mm（H）
MSH-6: 58.0mm（W）x 67.6mm（D）x 42.1mm（H）

Weight
H6： 280g (without batteries)
XYH-6： 130g
MSH-6： 85g

Included Accessories
Operation manual, XYH-6 X/Y mic capsule, MSH-6 MS mic capsule, SD card (2GB), AA size (LR6) battery × 4, Cubase LE Software, WSH-6S Foam Windscreen, USB Cable, Case