I recently mountain biked to a nearby wildflower field and spent a very enjoyable end of day with the Samyang 135mm f/2 ED UMC Lens (and a large black bear that also showed up). The Samyang 135 is not a macro lens (it's not a good bear lens either), but this lens is great at creating a strong background blur and that is precisely what I wanted this evening.
The sun had set, giving me even, low contrast lighting, and the wind had practically stopped, allowing sharp images to be made without clamping the flower stems in place. I worked along the edge of the field (to avoid damaging the flowers), looking for compositions that could work. This white-trimmed brilliant red poppy caught my attention and I found an angle and background combination that I liked.
When photographing people and wildlife with shallow depth of field, the eye(s) are nearly always the right focus point. When there are no eyes, more difficult decisions sometimes need to be made. In this case, I set the lens to its minimum focus distance and moved in so that the front edge of the upper set of petals was in sharp focus. I later second-guessed my decision and focused on the top edge of the closer flower petal, but ... in the end, I liked the first choice best. The very shallow depth of field covers more of the flower and the stem (also known as a leading line) is more prominent in this version.
The Samyang 135mm f/2 ED UMC Lens performed excellently for me this evening. This lens holds lots of creativity-unleashing potential (and it is a very good value).
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Samyang 20mm f/1.8 ED AS UMC is a wide angle manual focus lenses for DSLR cameras with full frame sensor size. The flow of light is devised based on the uniqueness of the distance from glass to sensor in mirrorless cameras to create optimal performance.
The bright f/1.8 aperture secures a fast shutter speed even under the restricted lighting conditions to offer best quality images. It will brighten up your everyday snapshots. Also it creates an outstanding out-of-focus look by highlighting the main object effectively. In between ultra-wide 16mm and wide-standard 24mm, 20mm lens is a perfect fit to explore wide angles not only for shooting indoor images such as concerts and interior photos but also street snaps. The 0.2m of minimum focusing adds versatility to the lens.
Based on Samyang Optics’ exceptional optical technology, Ultra Multi Coating and two aspherical lenses and three extra-low dispersion have been included among 13 glasses in 12 groups to minimise aberration and unnecessary light dispersion, delivering high resolution from the centre to the corners of the image.
Samyang 20mm f/1.8 is compatible with 10 camera mounts: Canon EOS, Nikon AE, Pentax K, Sony E, Canon M, Fujifilm X, Samsung NX, Sony E, FT, MFT.
Pricing and availability have yet to be announced.
Sigma has firmware updates available for the following lenses:
Sigma 35mm f/1.4 DG HSM Art
Sigma 17-70mm f/2.8-4 DC Macro OS HSM Contemporary
Sigma 18-300mm f/3.5-6.3 DC Macro OS HSM Contemporary
SIGMA 120-300mm f/2.8 DG OS HSM Sports
All three firmware updates resolve an underexposure issue when the lens is used with a Nikon D500. The 120-300mm f/2.8 DG OS HSM Sports firmware update is only required if using a TC-1401 or TC-2001 teleconverter with the lens.
Sigma Global Vision lenses (like the ones above) can be updated using Sigma USB Dock. Before updating, be sure to download and install the latest version of Sigma Optimization Pro.
If you do not own a USB Dock, you can send your lens to a Sigma Service Center and have its firmware updated free of charge. However, considering the cost of shipping a lens insured and the universal nature of the dock, simply buying the USB Dock seems to be the most practical way to update your lens' firmware.
As Laci Perényi prepares for his tenth summer Olympic Games, CPN writer Mark Alexander spoke with the celebrated sports photographer and Canon Explorer about his relationship with one of the greatest shows on earth...
Laci Perényi's boundless energy is matched by seemingly endless experience, giving the German photographer an unbeatable temperament that inspires confidence. He has witnessed Olympic history first-hand, capturing moments of heroic success and failure in stunning detail and beautifully timed observation. He is a staple of the sports photography industry and a character to boot.
MELVILLE, N.Y., August 3, 2016 – Canon U.S.A., Inc., a leader in digital imaging solutions, will be bringing their service and support expertise to Brazil to help maximize the uptime and performance of its users' professional imaging equipment. From pro DSLR cameras and EF lenses to broadcast television lenses, Canon's award-winning service and support staff will be providing preventative maintenance and repairs to help professionals who have put their trust in Canon imaging equipment.
Canon's team of over 70 highly trained technicians and support staff will be in Brazil for nearly a month to support professional photographers and broadcasters, just as they do throughout the year. Canon Professional Services (CPS) is set to provide comprehensive equipment maintenance and repairs, extensive equipment loans and expert technical support.
"Canon is proud to offer professional photographers and broadcasters high quality image-making solutions that are thoughtfully designed and versatile so that they can capture sharp, clear, detailed images and video," said Elizabeth Pratt, director, Professional Client Development and Support, Canon U.S.A. "Knowing that iconic images will be captured, seen and shared by people around the world really drives Canon to provide professionals with not only high quality equipment but the customer support they need to help ensure they never miss a beat if anything happens to their equipment."
Canon EOS DSLR cameras and EF lenses are the camera and lenses of choice of a majority of the top U.S.-based news agencies and professional sports photographers.
The Associated Press will be using Canon cameras and lenses exclusively, including cameras which are integrated with advanced robotics systems. The robotic camera systems can be mounted both in the rafters high above a field of play and underwater in pools, all fully controlled remotely over a network. "High-speed and high-performing digital imaging solutions like the EOS-1D X Mark II camera and L-series EF lenses are key to our team's success," said Santiago Lyon, vice president and director of photography, Associated Press. "Canon provides innovative technology and world-class optics that give us the solutions we need to create compelling images."
A majority of Reuters photographers from around the world will be using Canon DSLR cameras and lenses and trust Canon products and award-winning support team to keep them up and running. "Photographing large sporting events for thousands of news outlets and an audience of billions requires meticulous planning and technical resilience. The staff and engineers from CPS help ensure that the Canon cameras used by the world's top sports photographers receive precision treatment that allows them to take pictures that capture key moments and illustrate the spirit of competition," said Kevin Coombs, editor-in-chief for Thomson Reuters.
The Canon EOS-1D X Mark II DSLR camera and ultra-wide zoom EF 11-24mm f/4L USM lens were selected to be used for Getty Images' new high-tech, remote-controlled underwater robotic system. The camera provides Getty Images with a fully networkable solution that features precise white balance, a blazing fast frame rate and impressive low-light capabilities, which make the camera ideal for capturing fast action. When combined with the durable and rugged EF 11-24mm f/4L USM lens, the system will allow Getty Images to capture images at extremely wide perspectives with incredible sharpness and minimal distortion from the center of the image to the periphery, all across the entire zoom range. "As the world's leading visual communications company, we believe that our world class sports photographers must have the most up-to-date photographic technology that empowers them to do their job, and to do it exceptionally well. Getty Images is using Canon's EOS-1D X Mark II cameras and EF 11-24mm f/4L USM lenses in a unique, remotely-controlled underwater camera system that gives us the flexibility to follow and capture action from beneath," said Ken Mainardis, vice president of Sport at Getty Images. "We recently used the new underwater system and the images were remarkable. We're looking forward to using our Canon gear to capture more fantastic underwater imagery."
"The European Pressphoto Agency (EPA) will have a photographic team of 40 capturing incredible moments. Months ago, EPA's entire U.S. contingent switched over to the Canon EOS System," explained Gernot Hensel, EPA's long-standing head of sports and deputy editor-in-chief. "The EPA team is comprised of colleagues from all over the world, and the majority of them will be using Canon equipment, including robotic systems, to capture the action."
Simon Bruty, an award-winning sports photographer and Canon Explorer of Light is one of the best sports photographers in the world. "As a professional photographer, I have to be able to capture every moment of the action because a hundredth of a second can mean the difference between capturing or missing the winning moment or race finish, and Canon cameras, like the new EOS-1D X Mark II, deliver the stunning image quality and speed I need while working," said Mr. Bruty. "The 14 frames per second that the EOS-1D X Mark II camera can capture, which enables over 12 seconds of continuous RAW shooting without buffering, means that I could shoot an entire 100 meter dash without taking my finger off of the shutter release. If I shot in JPEG mode and have a large enough memory card, I could do it for the entire 2+ hours of a marathon race!"
In this week's episode, we discuss the practical ways to shoot and light a car scene. Most scenarios require actors in a car to focus on the scene, not the road, so the safest way is to shoot the car scene inside a stationary vehicle. See Hollywood examples and learn from our guest expert Julia Swain on how you can light a car scene without ever leaving the garage.
Intro: Beta Firmware Version 3.818 addresses compatibility with newer Nikon gear introduced since the launch of ControlTL Firmware version 3.800, and includes some minor improvements.
New Key Feature:
The following Nikon gear is now supported in this beta firmware release:
Nikon SB-5000 (remote only – see operational consideration)
These cameras will work in the ControlTL system with normal operational considerations. Read more about the general Nikon Operational Considerations on the PocketWizard Wiki.
SB-5000 Operational Consideration: The Nikon SB-5000 should only be used as a remote Speedlight on a FlexTT5 (set to TTL, not REMOTE per normal ControlTL operation). We do not recommend using the SB-5000 as a MASTER Speedlight on your camera’s ControlTL radio at this time. It might work as a MASTER on select cameras, but not others. If you use it as MASTER in your setup and it only emits a tiny burst of light at trigger time, it is not compatible. We hope to address this consideration in a future firmware release.
D7200/D5500 Operational Consideration: Rear curtain sync mode with these cameras only works with remote flash, not with on camera flash.
Nikon FlexTT5 radios can now have Custom IDs installed, regardless of firmware version. Visit this page for more information:
As of this date, the latest camera firmware from Nikon has been tested*, including:
And others like the Df, D810, D750 etc.
Fixed a minor issue regarding the Sekonic RT32-CTL module. You can now use the meter to trigger a remote Speedlight on a FlexTT5 without first having to trigger the remote from a camera.
* Please make sure to update your camera to the latest firmware.
To install PocketWizard ControlTL MiniTT1 / FlexTT5 Nikon Beta Firmware v.3.818, you must enable Beta Firmware access.
Enabling Beta Firmware
How to enable the beta firmware options.
To enable access to beta firmware, open the PocketWizard Utility, and navigate down to the blue gear in the bottom left corner of the window.
Navigate over to the "Firmware Updates" tab.
Navigate down to the bottom and check "Yes, I would like to have access to Optional and Beta Test firmware."
Navigate to the Update Tab.
Click "Check for Updates."
For complete details on updating firmware v.3.818, see here.
I may be sounding like a broken record here, but Samyang has once again delivered a well-constructed manual lens with good image quality and an enticing price. Those shooting the night sky with an APS-C sensor camera will especially appreciate this lens' class-leading coma results.
Samyang 35mm F1.2 ED AS UMC CS is a standard angle manual focus lenses for mirrorless cameras with APS-C sensor size. The flow of light is devised based on the uniqueness of the distance from glass to sensor in mirrorless cameras to create optimal performance.
The bright F1.2 aperture secures a fast shutter speed even under the restricted lighting conditions to offer best quality images. It will brighten up your everyday snapshots. Also it creates an outstanding out-of-focus look by highlighting the main object effectively. The versatility of 35mm angle of view is also a charm. It liberates your daily images including landscapes, streets, portraits and even lunch tables and brings the essence and joy of manual focusing to life.
Based on Samyang Optics’ exceptional optical technology, Ultra Multi Coating and two aspherical lenses have been included among nine glasses in seven groups to minimise aberration and unnecessary light dispersion, delivering high resolution from the centre to the corners of the image. Along with portability of mirrorless lens, the 62mm of wide filter diameter brings the maximum amount of light into the lens to create the best work of light in photography.
Samyang 35mm F1.2 is compatible with four camera mounts: Sony E, MFT, Fujifilm X and Canon M.
Note: Pricing and availability information is currently unavailable.