Canon News (Page 24) RSS Feed for Canon News

 Wednesday, September 7, 2022

Especially for those of following the camera industry for many years, the lack of third-party autofocus lenses for the Canon RF mount seems unusual.

We expected to, minimally, have RF-mount AF lenses from the big lens companies like Sigma and Tamron by now. In talking to marketing reps at these companies, no comments were provided, though I (and likely everyone else) sense a strong desire to have products in this market.

Another data point is that the RF-mount version of the Rokinon (Samyang) AF 14mm F2.8 Lens (the mount versioned reviewed here) has gone missing. Also, there are no other brand RF-mount AF lenses available at B&H.

A statement German Photografix Magazine attributes to Canon Germany confirms what many of us were thinking:

"SHENZHEN JUEYING TECHNOLOGY CO.LTD, manufactures auto focus lenses for Canon RF mount under the brand name “Viltrox”. Canon believes that these products infringe their patent and design rights and has therefore requested the company to stop all activities that infringe Canon’s intellectual property rights."

That statement provides an improved understanding of where the third-party RF mount AF lens market currently stands. However, it does not tell us what the future holds.

Will Canon begin disclosing the RF mount specifications under licensing agreements? That is the position Sony is currently taking (and likely profiting from). Or, will the RF mount remain a protected, proprietary, closed system?

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Posted to: Canon News   
Post Date: 9/7/2022 8:48:11 AM ET   Posted By: Bryan

From Canon USA:

Canon Expands Product Line-Up for Broadcast and Filmmaking

Canon’s New Tools Give Broadcasters and Filmmakers Enhanced Camera Functionality and the Flexibility to Create High-Quality 4K Content, Within Multiple Streamlined Workflows

MELVILLE, NY, September 7, 2022 – Canon U.S.A., Inc., a leader in digital imaging solutions, today strengthened its cinema and broadcast offering, in line with user needs, with a suite of products. This includes the CINE-SERVO 15-120mm T2.95-3.95 EF/PL (CN8x15 IAS S), Canon’s latest 8K CINE-SERVO lens for a broad range of productions; the EU-V3, a modular expansion unit for the EOS C500 Mark II and EOS C300 Mark III cameras; a Cinema EOS firmware update; and the DP-V2730[i], a 27-inch 4K professional reference display that may seamlessly fit into workflows of broadcasters and filmmakers.

Capture the World Cinematically: CINE-SERVO 15-120mm T2.95-3.95 EF/PL (CN8x15 IAS S)

With a superb combination of focal range, compact size, and lightweight, the CINE-SERVO 15-120mm T2.95-3.95 EF/PL (CN8x15 IAS S) supports Super 35mm and Full-Frame[ii] sensor cameras, making it ideal for a range of cinema and broadcast productions. With its versatile focal range from a wide 15mm, up to an impressive telephoto range of 120mm, the lens can further extend up to 180mm via the built-in 1.5x extender. To support future productions, 8K optical performance can be maintained across the full focal length, providing consistently high image quality across the entire frame.

The CINE-SERVO 15-120mm T2.95-3.95 EF/PL (CN8x15 IAS S) features Canon’s renowned warm color science, matching the existing range of Canon’s cinema lenses – and an 11-blade aperture, producing a beautiful, round bokeh. Offering outstanding optical performance – and breathtaking image quality for HDR, 4K, and 8K productions – the lens supports EF mount communication and advanced metadata capture with support for Cooke /i Technology™. The PL mount version of the lens is also the first Canon CINE-SERVO lens to enable both ZEISS eXtended Data™ (XD) communication and Cooke /i Technology™. Featuring the same 16-bit encoder found in Canon’s broadcast and existing CINE-SERVO lenses, which provides accurate lens position, zoom, focus, and iris metadata, the information and communication functions between the lens and camera are paramount for VFX, virtual, and cinema productions.

The high-end CINE-SERVO 15-120mm T2.95-3.95 EF/PL (CN8x15 IAS S) is available in both EF and PL mount, featuring a powerful and detachable servo motor drive unit. This adds to the versatility of the lens as it allows for live production and documentary-friendly Studio and Field- operation. The drive unit’s ergonomic hand grip and zoom rocker make on-the-go, shoulder/ENG-style shooting easy. With the drive unit’s two 20-pin ports for attaching zoom and focus controls and a third 20-pin that provides 16-bit encoded metadata for virtual systems, the lens also fits nicely into a tripod-mounted studio-style configuration.

EU-V3: Modular Expansion Unit for Live Production, Compatible with The EOS C500 Mark II and EOS C300 Mark III Cameras

With the increased move towards large format sensor cameras for broadcast, events, and live sports production – providing viewers with a unique perspective when watching their favorite teams play – Canon has listened to user requirements with the EU-V3 expansion module for both the EOS C500 Mark II and EOS C300 Mark III. Building on both cameras’ modular design, it expands and supports specific functionality for multi-camera and live productions.

For studio and live production use, the EU-V3 has a 4-pin XLR DC power input for constant power to both the expansion module and the camera body – no need for external batteries to power the devices.

The EU-V3 also offers an SDI return video feature, allowing real-time monitoring of a live broadcast feed from a production switcher. The return output destination can be selected from the VIDEO, EVF-V50, MON/HDMI, and SDI-OUT terminals. The EU-V3 also enables Tally support to alert the camera operator and the subject being captured. Both SDI Return video and Tally functions are essential for informing camera operators and their subjects of when their camera feed is live and the current status of the production.

The lens focus position can also be displayed on-screen when using the EU-V3 – with compatible broadcast and CINE-SERVO lenses via 12-pin serial communication. The Focus Position Meter, which users can choose to display along the top or right side of the screen, allows users to register multiple focus positions on a distance scale and highlights when the focus is achieved during manual operation – such as when selecting the finish line for a race.

The EU-V3 can be combined with the CINE-SERVO 15-120mm T2.95-3.95 EF/PL (CN8x15 IAS S) lens on the EOS C500 Mark II and EOS C300 Mark III cameras.

Cinema EOS Firmware: Expanding Horizons

A new Cinema EOS Firmware update is being introduced to strengthen the capabilities for the live production market for both the EOS C500 Mark II and EOS C300 Mark III cameras – enabling both cameras to be used within live environments and multiple workflows. Key updates include:

  • Implementing XC protocol: integration into multi-camera solutions, supporting direct control via RC-IP100 remote camera controller (sold separately) and ethernet connections.
  • Strengthening of AF features: 120p / 100p AF support, alongside face detection during Slow and Fast Shooting Mode.
  • Audio 4ch display: the audio level display will show all four audio channels when this mode is selected.
  • New accessory and lens support: allowing the EOS C500 Mark II and EOS C300 Mark III camera to work perfectly with both the CINE-SERVO 15-120mm T2.95-3.95 EF/PL (CN8x15 IAS S) lens and EU-V3, as well as support for the Flex Zoom series of lenses.

DP-V2730: 4K HDR Display For The New Generation

An advanced professional 4K HDR monitor, the DP-V2730, has a 4K UHD display engine and 1,000 cd/m² full-screen peak brightness, with Canon’s local dimming technology giving an ultra-low black level of 0.001 cd/m². A great option for both filmmakers and broadcasters, the DP-V2730 has a 27-inch screen that achieves high brightness with minimal noise, which is ideal for both on-set and post-production environments, and meets Dolby Vision certification standards and EBU TECH3320 user requirements[iii]. The DP-V2730 features a suite of award-winning monitoring tools such as a waveform monitor, histogram, frame luminance monitor, RGB parade, and much more – all driven by Canon’s latest processing platform. The display is a great companion for broadcast and filmmaking, delivering high-end 4K HDR performance for on-set video villages, on-location production facilities, and is ideal for virtual post-production editing, VFX, and color grading.

The DP-V2730 has an HDMI input and 12G-SDI terminals (4x Inputs and 5x Outputs) capable of delivering 4K60P 4:2:2 10-bit or 4K30P 4:4:4 12-bit signals, ideal for seamless integration into multiple workflows. The DP-V2730 can also easily be linked to a compatible computer, tablet, or smartphone plus multiple Canon Displays (via a LAN connection) with the Remote Control Web UI. This touch-optimized interface provides live image viewing, detailed signal information and direct control over inputs, monitoring tools, and settings. A paid license is required to activate this feature. Users can also access 4-way SDI input switching via a paid upgrade that supports various workflows, such as sending an output feed to a director’s monitor, external recorder, or live streaming solution.

Canon CINE-SERVO 15-120mm T2.95-3.95 EF/PL (CN8x15 IAS S) Key Features:

  • Wide angle 15-120mm, with 8x magnification
  • High-quality optics for HDR, 8K and 4K capture
  • Built-in 1.5x extender – providing reach up to 180mm
  • Full frame sensor coverage (with 1.5x extender engaged)
  • Modular design with a removable drive unit
  • Interchangeable lens mount from EF to PF
  • First CINE-SERVO lens to support ZEISS extended Data (XD)

Canon EU-V3 Key Features:

  • Constant DC IN power – no need for external batteries
  • Return SDI Signal Input
  • Remote B (RS-422)
  • Ethernet
  • Tally Signal Support (XC Protocol)
  • V-mount battery plate (with D-TAP)
  • 12-pin Lens Terminal
  • DC OUT 12V-2A

Canon Cinema EOS Firmware Update:

  • XC protocol support
  • 120p / 100p AF support
  • Face detection during Slow and Fast Mode Shooting
  • Audio 4ch display
  • Flex Zoom Series and CN8x15 IAS-S E1/P1 lens support

Canon DP-V2730 Key Features:

  • 27” 4K UHD HDR Display
  • 1000 cd/m2 brightness and 0.001 cd/m2 black levels
  • Award-winning monitoring tools
  • Achieves Dolby Vision certification standards and EBU TECH3220 user requirements.
  • 12G-SDI and HDMI connectivity

Pricing and Availability

The CINE-SERVO 15-120mm T2.95-3.95 EF/PL (CN8x15 IAS S) cinema lens and EU-V3 accessory are scheduled to be available in November and December 2022 for an estimated retail price of $30,999.00 and $2,999.00 respectively.

The Canon Cinema EOS Firmware Update is scheduled to be available in October 2022 free of charge.

The Canon DP-V2730 reference display is scheduled to be available in March 2023 for an estimated retail price of $18,999.00.[iv]

Orders

Order the just announced Canon gear at B&H.

[i] This device has not been authorized as required by the rules of the Federal Communications Commission. This device is not, and may not be offered for sale or lease, or sold or leased, until authorization is obtained.

[ii] Covers many Full-Frame sensors when the 1.5x optical extender is in the optical path

[iii] Grade 1A rating achieved for contrast ratio, peak luminance, black level, and luminance uniformity.

[iv] Specifications, availability and prices are subject to change without notice. Actual prices are set by individual dealers and may vary

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Posted to: Canon News   Category: Canon Announcements
Post Date: 9/7/2022 9:19:04 AM ET   Posted By: Bryan

From Sigma Corporation of America:

SIGMA Announces Development of 65mm T1.5 FF CINE Prime and 65mm T2.5 FF CINE Classic Prime Lenses, Plus Individual Purchase Option of All CINE Classic Prime Lenses

New lenses to debut at IBC 2022

Ronkonkoma, NY – September 7, 2022 – SIGMA Corporation of America, the US subsidiary of SIGMA Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan) is pleased to announce the development of the 65mm T1.5 FF CINE Prime lens, an addition to the SIGMA CINE LENS Full Frame Prime line, as well as the 65mm T2.5 CINE Classic Prime lens. With the addition of these new 65mm lenses, SIGMA now offers a total of eleven full-frame compatible prime lenses in each line ranging from 14mm to 135mm, covering the full range of standard cine focal lengths.

Additionally, effective with the introduction of the 65mm T2.5 FF CINE Classic Prime, lenses in this line may now be purchased individually. Prior to this announcement, the FF CINE Classic Prime lenses were offered exclusively for purchase as a ten-lens bundled kit.

Pricing and availability of the 65mm T1.5 FF CINE Prime will be announced at a future time. Pricing and availability of all individual CINE Classic Prime lenses will be announced at a future time.

Both new lenses will be on display at SIGMA Booth 12.C35 at IBC 2022, Amsterdam, the Netherlands, from September 9th to 12th, 2022.

Development of FF High Speed Prime Line 65mm T1.5 FF Announced

SIGMA Corporation (CEO: Kazuto Yamaki) is pleased to announce its development of the FF High Speed Prime Line 65mm T1.5 FF, an addition to the offering of SIGMA CINE LENS interchangeable lenses for movie production. The 65mm T1.5 FF is a FF High Speed Prime Line lens that is compatible with large format digital cinema cameras. This is a prime lens that incorporates an optical system specially designed for cinema lenses to meet the stringent demands of this audience. As one of the few options compatible with the latest digital cinema cameras with large image sensors, it further expands the possibilities of movie production in the digital age. With the addition of the 65mm T1.5 FF, SIGMA will have a total of eleven 35mm full-frame compatible prime lenses ranging from 14mm to 135mm. The 65mm T1.5 FF announced at this time will be exhibited at IBC 2022, which is scheduled to take place in Amsterdam, the Netherlands, from September 9th to 12th, 2022.

FF High Speed Prime Line
65mm T1.5 FF
Launch: TBD
Accessories: Cap, Lens Support Foot (SF-31) supplied
Lens Mounts: PL (/i Technology compatible), EF and E-mount

* The appearance and specifications of the product are subject to change.
* /i is a registered trademark of Cooke Optics Limited used with permission.
* For detailed specifications, please refer to the product specifications.

#SIGMA #SIGMA65mmT15FF #SIGMACINELENS

[ SPECIFICATIONS ]

Model Name 65mm T1.5 FF
Product Line FF High Speed Prime Line
Edition Number 023
Lens Mount PL Mount (/i Technology compatible), Canon EF Mount, Sony E-Mount
Focal Length 65mm
Aperture T1.5 – T16
Diaphragm Blades 9 (rounded)
Close Focus *1 0.65m / 2'2"
Magnification Ratio 1:7.9
Image Circle FF f43.3 mm
Front Diameter f95mm / 3.7"
Filter Size M 86 x 1.0mm
Length *2 PL Mount (/i Technology compatible): 120.6mm / 4.8"
Canon EF Mount: 128.6mm / 5.1"
Sony E-Mount: 154.6mm / 6.1"
Weight *3 TBD
Angle of View FF *4: 31°
S35 *5: 21.4°
APS-C *6: 20.7°
Lens Support Foot LENS SUPPORT FOOT SF-31

* 1 Close focus distance is measured from the image plane
* 2 Front to mount flange
* 3 Without lens support foot
* 4 Horizontal angle of view for a full-frame camera aperture (aspect ratio 1:1.5, dimensions 36mm x 24mm / 1.42" x 0.94")
* 5 Horizontal angle of view for a super 35 digital cinema camera aperture (aspect ratio 1:1.8, dimensions 24.6mm x 13.8mm / 0.97" x 0.54")
* 6 Horizontal angle of view for an APS-C camera aperture (aspect ratio 1:1.5, dimensions 23.7mm x 15.7mm / 0.93" x 0.62")

Development of FF Classic Prime Line 65mm T2.5 FF Announced

SIGMA Corporation (CEO: Kazuto Yamaki) is pleased to announce the development of the 65mm T2.5 FF from the SIGMA CINE LENS "FF Classic Prime Line". The Classic Prime Line 65mm T2.5 FF adopts an optical system designed exclusively for the 65mm T1.5 FF cinema lens, but like the previously released FF Classic Prime Line lenses, the optical system is centered upon uncoated lenses. This configuration makes it possible to achieve both the high resolution that SIGMA CINE LENS is known for, as well as classic image expression with low contrast and beautiful flaring and ghosting effects. With the addition of the 65mm T2.5 FF Classic Prime Line lens, SIGMA now offers a total of 11 of these expressive 35mm full-frame prime lenses ranging from 14mm to 135mm. Both new 65mm cine lenses announced at this time will be exhibited at IBC 2022, scheduled to take place in Amsterdam, the Netherlands, from September 9th to 12th, 2022.

FF Classic Prime Line
65mm T2.5 FF
Launch: TBD
Accessories: Cap, Lens Support Foot (SF-31) supplied
Lens Mount: PL (/i Technology compatible)

* The appearance and specifications of the product are subject to change.
* /i is a registered trademark of Cooke Optics Limited used with permission.
* From conventional cine lenses, it is not possible to apply for the Mount Conversion Service for this "FF Classic Prime Line".

#SIGMA #SIGMAClassicPrimeLine #SIGMACINELENS

[ SPECIFICATIONS ]

Model Name 65mm T2.5 FF
Product Line FF Classic Prime Line
Edition Number 023
Lens Mount PL Mount (/i Technology compatible)
Focal Length 65mm
Aperture T2.5 – T25
Diaphragm Blades 9 (rounded)
Close Focus *1 0.65m / 2'2"
Magnification Ratio 1:7.9
Image Circle FF f43.3 mm
Front Diameter f95mm / 3.7"
Filter Size M 86 x 1.0mm
Length *2 120.6mm / 4.8"
Weight *3 TBD
Angle of View FF *4: 31°
S35 *5: 21.4°
APS-C *6: 20.7°
Lens Support Foot LENS SUPPORT FOOT SF-31

* 1 Close focus distance is measured from the image plane
* 2 Front to mount flange
* 3 Without lens support foot
* 4 Horizontal angle of view for a full-frame camera aperture (aspect ratio 1:1.5, dimensions 36mm x 24mm / 1.42" x 0.94")
* 5 Horizontal angle of view for a super 35 digital cinema camera aperture (aspect ratio 1:1.8, dimensions 24.6mm x 13.8mm / 0.97" x 0.54")
* 6 Horizontal angle of view for an APS-C camera aperture (aspect ratio 1:1.5, dimensions 23.7mm x 15.7mm / 0.93" x 0.62")

Announcement of the Start of Individual Sales of FF Classic Prime Line

SIGMA Corporation (CEO: Kazuto Yamaki) is pleased to announce that the FF Classic Prime Line, the latest lineup of SIGMA CINE LENSES will be available for sale individually. The FF Classic Prime Line will be exhibited at IBC 2022, scheduled to take place in Amsterdam, the Netherlands, from September 9th to 12th, 2022.

LAUNCH: TBD

#SIGMA #SIGMACINELENS #SIGMAClassicPrimeLine

[ Common Specifications ]

Lens Mount PL Mount (/i Technology compatible)
Diaphragm Blades 9 (rounded)
Image Circle FF f43.3 mm
Front Diameter f95mm / 3.7"

Get your Sigma Cinema Lens at B&H.

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Posted to: Canon News, Sony News   Category: Sigma News
Post Date: 9/7/2022 7:36:07 AM ET   Posted By: Bryan
 Friday, September 2, 2022
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Posted to: Canon News   Category: Camera Gear Review News
Post Date: 9/2/2022 8:07:13 AM ET   Posted By: Bryan
 Sunday, August 28, 2022

When two wide-angle f/1.4 lenses promoted as ideal for photographing the milky way (an addicting pursuit) show up in the same box with a dark, cloudless sky predicted for the next evening, you drop everything and drive hours to the darkest sky location in the region. In this case, that location was Cherry Springs State Park, an International Dark Sky Park, near Coudersport, PA. After a few hours of sleep and especially after loading the photos from the memory cards, you forget about arriving home at 2:30 AM.

The two lenses were the Sigma 20mm F1.4 DG DN Art Lens and the Sigma 24mm F1.4 DG DN Art Lens. The 20 and 24mm ultra-wide-angle focal lengths are ideal for framing the heart of the milky way, and the ultra-wide f/1.4 aperture allows sufficient light to reach the imaging sensor in the exposure time necessary to prevent star trails.

Here is the Cherry Springs State Park Milky Way at 24mm.


A larger version of this image is available here.

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Posted to: Canon News, Sony News   Category: Photo Tips and Stories
Post Date: 8/28/2022 7:00:00 AM ET   Posted By: Bryan
 Saturday, August 27, 2022

Be the first to check out when B&H opens at 9:00 PM ET tonight:

B&H has a 9+ rated (<2k shutter count) used Canon EOS R5 in stock. Save $585.00 vs. new.

Learn more: Canon EOS R5 Review

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Post Date: 8/27/2022 8:38:43 AM ET   Posted By: Bryan
 Thursday, August 25, 2022

DJI just introduced the Avata FPV Drone. Check it out at B&H.

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Posted to: Canon News, Sony News   Category: DJI News
Post Date: 8/25/2022 12:40:49 PM ET   Posted By: Bryan
 Wednesday, August 24, 2022
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Posted to: Canon News, Sony News   Category: Camera Gear Review News
Post Date: 8/24/2022 7:00:00 AM ET   Posted By: Bryan

Note that these cards are reasonably priced and currently on sale. From Lexar:

LEXAR UNVEILS THE WORLD’S FASTEST CFEXPRESS TYPE B CARD DIAMOND SERIES

Key Features:

  • Superior performance with transfer speeds of up to 1900MB/s, write speeds up to 1700MB/s and minimum sustained write speeds of 1600MB/s1
  • With read speeds of up to 1900MB/s1, dramatically accelerating your post-production workflow from start to finish
  • Features blazing-fast write speeds of up to 1700MB/s1 to capture smooth 8K RAW video. It is also compliant with VPG 400 video class
  • Features PCIe Gen 3×2 and NVMe protocols for smooth, high-speed recording of high-quality images and 8K video
  • Backwards compatible with select XQD® cameras2
  • Lifetime limited warranty3

San Jose, USA, August 24th, 2022 – Lexar, a leading brand of flash memory solution, proudly unveils the world’s fastest Lexar® Professional CFexpress™ Type B Card DIAMOND Series, designed for professional filmmakers and content creators.

Unleashing blazing fast speeds of up to 1900MB/s read and 1700MB/s1 write, you can experience the unmatched performance of the Lexar® Professional CFexpress™ Type B Card DIAMOND Series. With minimum sustained write speed of 1600MB/s1, dramatically accelerate your post-production workflow for enhanced productivity.

Featuring PCIe Gen 3×2 and NVMe high-speed protocols, the Lexar® Professional CFexpress™ Type B Card DIAMOND Series allows you to capture the highest quality RAW, ProRes, and 8K video with ease. This card also supports VPG 400 specification for professional-quality video, enabling seamless and sustained performance when content is written to the card.

For added versatility, the DIAMOND Series is backwards compatible with select XQD® cameras2, enabling existing devices with next-generation performance. And, the cards are designed to be shock and vibration-proof, and resistant to extreme temperatures* for added durability.

“Lexar has a long history of providing industry leading memory solution for professional users and we are excited to continue this tradition with the world’s fastest Lexar® Professional CFexpress™ Type B Card DIAMOND Series. This card will dramatically help professionals speed up their workflow while providing the quality, performance and reliability they’ve come to expect from Lexar.” said Joel Boquiren, General Manager of Lexar.

Lexar® Professional CFexpress™ Type B Card DIAMOND Series will be available in this month for purchase online at an MSRP of xxx:

Availability and Introductory Sale

Lexar Professional CFexpress Type B DIAMOND Series Cards are in stock and on sale at B&H.

Notes

1 Up to 1900MB/s read transfer, write speeds lower. Speeds based on internal testing. Actual sustained speed may vary depending on host device.

2 Compatible with firmware enabled CFexpress™ cameras

3 Limited lifetime warranty is limited to 10 years from purchase in Germany and regions not recognizing lifetime warranty

*Shock resistant (1500G, duration 0.5ms, Half Sine Wave) and vibration resistant (10~2000Hz, 1.5mm, 20G, 1 Oct/min, 30min/axis(X,Y,Z)). Based on internal testing. Actual performance may vary.

Temperature-proof: Withstands operating temperature range from 14ºF (-10ºC) or 158ºF (70 ºC) and non-operating temperatures from -13ºF (-25ºC) or 185ºF (85 ºC).

CFexpress™ Type B cards are only compatible with devices that support the CFexpress™ format. Highest transfer speed achieved only when used with a CFexpress™ Type B reader, indicated by a boxed USB logo on the product. Contact your device manufacturer for details.

Lexar is not liable for any loss of data or images.

Actual usable memory capacity may vary. 1GB equals 1 billion bytes.

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Posted to: Canon News, Sony News   Category: Lexar News
Post Date: 8/24/2022 8:09:48 AM ET   Posted By: Bryan
 Tuesday, August 23, 2022

Check out the new mid-sized Robus RTH-1030 Triple Action Ball Head at B&H.

The Robus brand offers excellent quality for a reasonable price.

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Posted to: Canon News, Sony News   Category: Robus News
Post Date: 8/23/2022 9:28:09 AM ET   Posted By: Bryan
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Posted to: Canon News, Sony News   Category: SanDisk News
Post Date: 8/23/2022 9:02:17 AM ET   Posted By: Bryan

While announcing the Canon EOS R10, promoting the camera as the least expensive R-series option seemed logical. However, the Canon EOS RP was only $20.00 more expensive. That price differential is meaningless to anyone investing in a camera at the quality level we are discussing.

Let's make some lists highlighting many of the differences between these models.

Here are some of the R10 advantages:

  • DIGIC X vs. DIGIC 8
  • Higher density imaging sensor provides greater reach
  • HEIF and Dual Pixel RAW formats available
  • Joystick multicontroller
  • EVF magnification 0.95x vs. 0.70x
  • EVF has greater nose relief
  • Built-in flash
  • X-Sync 1/200 with mechanical shutter, 1/250 electronic 1st curtain vs. 1/180sec
  • Superior AF system featuring Subject Tracking and Eye Detection AF independant from AF area selection
  • Continuous shooting up to 15 fps with mechanical shutter for 460 JPG or 29 RAW images vs. 4 fps for card capacity limited images (fast memory cards can far exceed specifications)
  • Continuous shooting up to 30 fps with electronic shutter
  • RAW burst mode and preshooting
  • 4K 30 fps with 6k oversampling and Full HD 120 fps vs. 4k 24p and Full HD 60 fps
  • Max movie duration of up to 2 hours vs. 29:59
  • Max Live View frame rate 120 fps vs. 59.97 fps
  • HDMI Micro out vs. HDMI Mini
  • Power switch is accessible to grip hand
  • Longer battery life: 290 vs. 210 with EVF, 450 vs. 250 with LCD
  • Slightly different shape: 4.8 x 3.5 x 3.3" vs. 5.22 x 3.35 x 2.76" (122.5 x 87.8 x 83.4mm vs. 132.5 x 85.0 x 70.0mm)
  • Slightly Lighter: 15.1 vs. 17.1 oz (429 vs. 485g)
  • Slightly Less expensive

Here are the RP advantages.

  • Slightly higher resolution (26.2 MP vs. 24.2 MP, here is that comparison)
  • Larger imaging sensor with larger pixels shows less high ISO noise, including less high ISO noise at the pixel level (here is that comparison)
  • AF working range down to EV -5 vs. EV -4
  • Metering Range to EV -3 vs. -2
  • ISO 100-40000 (in 1/3-stop or whole stop increments), expanded to L:50, H1: 51200, H2: 102400 vs. 100-32000 (in 1/3-stop or whole stop increments), H1: 51200
  • 3 Custom Modes vs. 2

As seen in the product images, the controls for these cameras do not differ greatly.

Those shooting fast action will find the R10 better suited to their needs. Portrait photographers will appreciate the better image quality the RP delivers.

More Information

Canon EOS R10 Review
Canon EOS RP Review

Orders

Support this site by ordering the Canon EOS R10 at B&H | Adorama | Canon | Amazon | WEX.

Rent the Canon EOS R10 from Lensrentals.

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Posted to: Canon News   Category: Camera Gear Review News
Post Date: 8/23/2022 8:23:33 AM ET   Posted By: Bryan
 Monday, August 22, 2022

The simultaneously announced Canon EOS R7 and Canon EOS R10 are the first APS-C imaging sensor format cameras in the Canon R-series. With identical era technology, they provide an interesting comparison.

Here are a pair of lists highlighting many of the differences between these models.

These are some of the R7 advantages:

  • Significantly higher resolution (32.5 MP vs. 24.2 MP, here is that comparison), with greater reach
  • 5-axis IBIS (In-Body Image Stabilization) provides approximately 7-stops of shake correction (increases with lens IS coordination) and auto image level
  • AF working range down to EV -5 vs. EV -4
  • Mechanical shutter to 1/8000 and electronic shutter to 1/16000 vs. 1/4000 for both
  • EVF magnification of 1.15x vs. 0.95x
  • Rear LCD with 1.62m dots vs. 1.04m
  • X-Sync of 1/250 vs. 1/200 with mechanical shutter and 1/320 vs. 1/250 with electronic 1st curtain
  • Continuous shooting up to 30 fps with electronic shutter for 224 JPG or 51 RAW images vs. 23 fps. for 70 JPG or 21 RAW images (fast memory cards can far exceed these specifications)
  • Rear control dial vs. top control dial
  • 4K 60 fps with 7k oversampling vs. 4K 30 fps with 6k oversampling
  • Movie position on the power switch
  • Canon Log 3
  • Movie record duration up to 6 hours vs. up to 2 hours
  • Water & dust resistance specified vs. not specified
  • Dual side-accessible memory card slots vs. single slot in battery door under camera
  • Larger LP-E6NH battery provides longer life (EVF: 500 vs. 290 shots, LCD: 770 vs. 450 shots) than LP-E17
  • Shutter Durability Rating specified at 200,000 vs. not specified
  • Dual Pixel RAW format

Here are the R10 advantages.

  • Considerably less expensive
  • Built-in flash
  • Smaller: 4.8 x 3.5 x 3.3" vs. 5.2 x 3.6 x 3.6" (122.5 x 87.8 x 83.4mm vs. 132.0 x 90.4 x 91.7mm)
  • Lighter: 15.1 vs. 21.6 oz (429 vs. 612g)

As seen in the product images, the controls for these cameras differ somewhat.

It is easy to justify the higher cost of the R7, but if those benefits are not important, the R10's advantages just might be.

More Information

Canon EOS R7 Review
Canon EOS R10 Review

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Posted to: Canon News   Category: Camera Gear Review News
Post Date: 8/22/2022 7:00:00 AM ET   Posted By: Bryan
 Friday, August 19, 2022

What would a comparison between the more expensive, larger-sensored R6 and the higher resolution, faster-shooting R7 look like? Soon after the Canon EOS R7 announcement, I put a comparison with the Canon EOS R6 on the to-do list.

Let's make some lists highlighting many of the differences between these models.

Here are some of the R7 advantages:

  • Significantly higher resolution (32.5 MP vs. 20.1 MP, here is that comparison) with greater reach
  • Modestly superior AF system featuring Subject Tracking and Eye Detection AF independant from AF area selection
  • Electronic shutter with up to 1/16000 vs. 1/8000 (the R7's mechanical shutter also tops out at 1/8000)
  • Viewfinder magnification 1.15x vs. 0.76x
  • X-Sync of 1/320 with electronic 1st curtain shutter vs. 1/250
  • Continuous shooting up to 15 fps with mechanical shutter vs. 12 fps.
  • Continuous shooting up to 30 fps with electronic shutter vs. 20 fps.
  • RAW burst mode and preshooting
  • Movie mode setting on power switch that is accessible to grip hand
  • Movie recording up to 6 hours vs. up to 29:59
  • Canon Log 3 vs. Canon Log
  • Dual Pixel RAW format
  • Auto image level
  • USB 3.2 Gen 2 vs. USB 3.1 Gen 2
  • Slightly Smaller: 5.2 x 3.6 x 3.6" vs. 5.45 x 3.84 x 3.48" (132.0 x 90.4 x 91.7mm vs. 138 x 97.5 x 88.4mm)
  • Slightly Lighter: 21.6 oz (612g) vs. 24.0 oz (680g)
  • Less expensive

Here are the R6 advantages.

  • Battery grip available (the R7 should have this option)
  • Larger imaging sensor with larger pixels shows less high ISO noise at the pixel level (here is that comparison)
  • AF working range down to EV -6.5 vs. EV -5
  • Metering Range to EV -3 vs. -2
  • Larger image buffer — 1,000+ JPG or 240 RAW images vs. 224 JPG or 51 RAW images (fast memory cards can far exceed these specifications)
  • ISO 100-102400 (in 1/3-stop or whole stop increments), L:50, H1: 204800 vs. 100-32000 (in 1/3-stop or whole stop increments), H1: 51200
  • 0.5" (12.7mm) EVF with 3.69 M dots vs. 0.39" (9.9mm) with 2.36M dots

As seen in the product images, the controls for these cameras differ significantly.

The primary choice here is between the R6's larger sensor featuring lower noise and a stronger background blur vs. the R7's higher resolution, modestly more advanced AF system, faster shooting capabilities, and lower price. Both options have merit the choice.

More Information

Canon EOS R7 Review
Canon EOS R6 Review

Orders

Support this site by ordering the Canon EOS R7 at B&H | Adorama | Canon | Amazon | WEX.

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Posted to: Canon News   Category: Camera Gear Review News
Post Date: 8/19/2022 7:00:00 AM ET   Posted By: Bryan
 Thursday, August 18, 2022

With eight years separating their introductions, the Canon EOS R7 and Canon EOS 7D Mark II are significantly different cameras. However, both cameras were designed to deliver high-performance at a reasonable price — and both have a "7" in their moniker.

Let's look at a comparison highlighting many of the differences between these models.

Here are some of the R7 advantages:

  • Significantly higher resolution (32.5 MP vs. 20.2 MP, here is that comparison) with greater reach
  • 5-axis IBIS (In-Body Image Stabilization) provides approximately 7-stops of shake correction (increases with lens IS coordination) and auto image level
  • DIGIC X vs. Dual DIGIC 6
  • Vastly superior AF system featuring Eye Detection AF and near full-frame coverage, functioning in light level ranging from EV -5 to EV 20 vs. -3 - 18 and with apertures as narrow as f/22
  • Silent electronic shutter with up to 1/16000 vs. mechanical shutter to 1/8000 (the R7's mechanical shutter also tops out at 1/8000)
  • Metering Range to EV -2 vs. 0
  • EVF with up to 120 fps refresh rate, OVF emulation, considerably more information configurably available, greater nose relief, and 1.15x magnification vs. OVF with 1.00x
  • Vari-angle touch screen 2.95" (7.5 cm) LCD with approx. 1620k dots vs. 3.0" (7.7cm) LCD with approx. 1040K dots
  • X-Sync of 1/320 with electronic 1st curtain shutter (both cameras X-Sync at 1/250 with the mechanical shutter)
  • Has CRAW compressed file format available vs. reduced resolution M-RAW and S-RAW (R7 CRAW files are smaller than 7D II RAW images, despite the 32.5 MP vs. 20.2 MP difference)
  • Continuous shooting up to 15 fps with mechanical shutter for 224 JPG or 51 RAW images vs. 10 fps for 130 JPG or 31 RAW images (fast memory cards can far exceed these specifications)
  • Continuous shooting up to 30 fps with electronic shutter for 126 JPG or 42 RAW images (fast memory cards can far exceed these specifications)
  • RAW burst mode and preshooting
  • 4K UHD (3840 x 2160) 60 fps movies and Full HD up to 120 fps, recording up to 6 hours vs. Full HD (1920 x 1080) 60 fps for up to 29:59
  • Canon Log 3
  • ISO 100-32000 (in 1/3-stop or whole stop increments), H1: 51200 vs. 100-16000 (in 1/3-stop or whole stop increments), H1: 25600, H2: 51200
  • Built-in Wi-Fi (vs. Wireless File Transmitter WFT-E7) and Bluetooth
  • HEIF and Dual Pixel RAW format available
  • USB 3.2 Gen 2 vs. USB 3.0
  • USB Power
  • Dual UHS-II SD memory card slots vs. one CF and one UHS-I SD slot
  • HDMI Micro out vs. HDMI mini out
  • Utilizes newer RF mount, compatible with all RF lenses in addition to adapting to all 7D II compatible lenses
  • Smaller: 5.2 x 3.6 x 3.6" vs. 5.9 x 4.4 x 3.1" (132.0 x 90.4 x 91.7mm vs. 148.6 x 112.4 x 78.2mm)
  • Much lighter: 21.6 oz (612g) vs. 32.10 oz (910g)

That list is solid, but the old 7D Mark II holds some advantages.

  • Battery grip available (the R7 should have this option)
  • Cross-type AF points sensitive to lines of contrast in two directions
  • Exposure compensation of -5 to +5 EV vs. -3 to +3 EV
  • OVF with instant response
  • Top LCD panel (I don't find these to be as important on mirrorless cameras)
  • Higher level of weather sealing
  • N3-type remote control terminal vs. E3
  • Built-in GPS
  • Built-in pop-up flash with remote flash master control capabilities
  • PC Terminal socket
  • Anti-reflection LCD surface
  • Longer battery life with viewfinder use — 670 vs. 500 shots.

As seen in the product images, the controls for these cameras differ greatly.

Introducing a new camera does not make an old camera perform worse. However, the newer cameras' features are often highly attractive.

When the Canon EOS 90D was introduced, the 7D II recommendation was challenged. With the R7, there is no question about which camera I prefer — get the R7. Of course, the 7D Mark II being discontinued makes the decision even easier, unless that camera's considerably lower used price attracts you.

More Information

Canon EOS R7 Review
Canon EOS 7D Mark II Review

Orders

Support this site by ordering the Canon EOS R7 at B&H | Adorama | Canon | Amazon | WEX.

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Posted to: Canon News   Category: Camera Gear Review News
Post Date: 8/18/2022 12:44:09 PM ET   Posted By: Bryan

Thanks to suggestions and comments, clarifications and additional information have been added to the Does an APS-C Format Imaging Sensor Increase Reach? EOS R7 vs. R5 Comparison article.

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Posted to: Canon News, Sony News   Category: Camera Gear Review News
Post Date: 8/18/2022 10:55:21 AM ET   Posted By: Bryan
 Wednesday, August 17, 2022

Let's talk about "reach", which I'll loosely define as the number of pixels remaining in the desired composition, rendering a subject large when the image is viewed at 100% resolution. Longer focal lengths are the ideal method for accomplishing "reach" with any camera, but the term "reach" is usually reserved for when the longest available lens focal length is not long enough for the desired composition.

This article evolved from its conception, and with crop factors, focal lengths, extenders (teleconverters), pixel density, and reach in the discussion, I take on the challenge of omitting confusion.

To get started, I'll share the original purpose behind this article. A friend is on a mission to obtain sharper, higher-resolution images of distant birds. He is using an EOS R5, currently Canon's highest resolution mirrorless camera, with a Canon EF 600mm f/4L IS III USM Lens and EF 1.4x III Extender mounted.

The primary question is, will the Canon EOS R7 and 600mm F4 lens provide better final image quality than the R5, 600mm F4 lens, and 1.4x extender combination? I'll answer that specific question while providing more widely relevant information.

An important clarification is that an APS-C imaging sensor's smaller size does not provide more "reach" than a full-frame imaging sensor. Instead, it crops away a portion of the image circle. While the cropping provides a significant 1.6x narrower angle of view, simulating better reach in the viewfinder, a higher pixel density on the imaging sensor is what provides reach. That most APS-C imaging sensors have a higher pixel density than the full-frame camera models means that photographers touting APS-C cameras as having a reach advantage are usually right, regardless of why they think that.

Mounting a 1.4x extender behind the lens on a full-frame camera makes up for much, but not all, of the full-frame vs. APS-C angle of view difference just discussed. That comment addresses the final framing available but not the reach. When focal length limited, the max available framing is often less important as cropping is likely still necessary. Again, for this article's primary purpose, we are looking for the option that affords the most reach.

For reach, high pixel density is paramount.

A simple way to measure pixel density is to view the pixel size spec. For example, the EOS R5 has a 4.39µm pixel size, and the Canon EOS R7's spec is 3.20µm. Modern image sensors are gapless, so a smaller pixel size correlates to a higher pixel density, and in this example, the R7 has a significantly higher pixel density than the R5.

Interesting is that the R7 pixels are 1.37x smaller than the R5 pixels — creating R7 reach nearly equivalent to that of the R5 with a 1.4x mounted behind the same focal length. The full-frame camera will provide a wider angle of view (1.4x vs. 1.6x) and will provide more pixels overall (45 MP vs. 32.5 MP). Still, when the images are zoomed in to a 100% pixel level view, individual subjects are contained in approximately the same number of pixels from both options. Crop both images to the same composition within the APS-C angle of view, and the images will be nearly identical — assuming that the pixels from both solutions have equivalent quality.

Pixel-level image quality can vary from factors that include low pass filter strength (or lack of this filter), processing applied to the base RAW image, etc.

Another important clarification is that global statements about extender performance must be carefully crafted, as every extender model performs differently with every lens it is mounted behind. Magnifying the image circle of a lens that barely out resolves the imaging sensor may push it past that resolving point, resulting in some amount of blur imparted in an image.

I've long wanted to create an exhaustive extender comparison, but that means testing every camera, lens, and extender combination available, an unrealistic endeavor that is sure to have results impossible to describe concisely. Testing only the lens manufacturer's latest extender models with each lens test provides relevant, valuable results.

When comparing reach, the pixel-level image quality matters, and the R7 and R10 are both excellent in this regard. Always true is that extenders magnify lens aberrations. However, so do higher density imaging sensors.

Another universal truth is that 1.4x extenders reduce the maximum aperture, the focal length to entrance pupil diameter ratio, by one stop (and a two-stop reduction comes with 2x extenders). That one stop is approaching the difference in the amount of light captured by an APS-C sensor vs. the full-frame variant — before any cropping.

Extenders can impact geometric distortion. For example, the Canon RF 1.4x Extender introduces modest barrel distortion. Barrel distortion magnifies the details in the center of the frame more than those in the periphery. In that case, is the 1.4x rating is from the center of the frame (with the periphery magnification something less), or is the magnification rating an average over the entire frame?

Extenders impact AF performance.

"While it’s apparently less than was the case with EF-mount tele extenders and AF, there’s a designed-in reduction in actual AF drive speed of a lens with extenders mounted. This isn’t a design flaw, but rather a feature to ensure consistent AF, and ability for the AF drive to stop at the precise point of sharpest detected focus. Obviously, there’s also the issue of light loss with extenders, and while modern R-series cameras can technically AF at effective max apertures down to f/22, it’s clear that any modern AF system performs better with more light hitting the AF sensor, or image sensor in the case of mirrorless cameras." [Rudy Winston, Canon USA]

As a generalization, smaller pixels create a lower signal-to-noise ratio (SNR) and show more noise visible at a 100% resolution view. While that aspect does not distinguish between full-frame and APS-C imaging sensor sizes, APS-C imaging sensors often have higher pixel densities. This means that 100% view comparisons typically show full-frame models outperforming APS-C models.

Because of its larger size, a full-frame format (35mm) imaging sensor captures over a stop more light than an APS-C format sensor, with equivalent output size reflecting that difference in noise levels.

If cropping the full-frame image to the APS-C angle of view or narrower, the sensor size advantage evaporates, and in that case, f/4 is twice as wide as the f/5.6 max aperture of the 600 F4 + 1.4x combination.

Higher density imaging sensors show the effects of diffraction more readily, with slight effects beginning to show at about f/5.2 for the R7. However, those photographing long-distance subjects with long telephoto lenses likely want the widest aperture available, avoiding diffraction issues.

Should I get a higher pixel density camera or a longer focal length lens is a legitimate question. When getting to the long telephoto focal lengths, with reach as a goal, the camera option may be smaller, lighter, and less expensive.

A variation of that decision and the specific comparison investigated by this article is: should I get an EOS R7 or a 1.4x extender for a full-frame camera? Both options meet the same need.

When focal length limited with the highest resolution full-frame camera model, moving to a longer focal length lens with equal or better image quality is the ideal solution. However, such a lens is not always available, and it may be extremely expensive if it is — potentially far more costly than the R7.

In the case of the Canon RF 600mm F4 L IS USM Lens, Canon offers longer lenses, but with integrated 2x extenders, the Canon RF 800mm F5.6 L IS USM and Canon RF 1200mm F8 L IS USM Lenses do not have equivalent image quality and they are extremely expensive.

Let's take a look at a single APS-C vs. full-frame plus 1.4x comparison.

Note that I am testing the RF versions of the 600 F4 and 1.4x as they are what I currently have. The RF 600mm F4 and EF 600mm F4 III lenses have the same optics, and the RF 1.4x has only a slight optical advantage over the EF 1.4x III.

The images below were processed identically to the samples in the image quality test tool, with the low contrast neutral picture style and a very low sharpening value selected. However, the target was photographed at the same distance for both cameras and framed from farther than the standard framing distance.

Here is the R7 vs. R5 resolution comparison using the proper chart framing.

Numerous other camera combinations can be tested, but with the densest imaging sensor available, the R7 will rule all of them at this time, slightly besting the M6 II and the 90D.

Back to the promised test images:

Canon EOS R7 Compared to Cropped R5 with 1.4x Extender

R7 600mm: f/4 | f/4.5 | f/5.6 | f/8
R5 840mm: f/5.6 | f/6.3 | f/8 | f/11

The R7 image appears to have very slightly better resolution, and the R5 result's details are slightly larger, though I doubt these slight differences will be noticed in real-world images. The R5 image has more pixels and a modestly wider angle of view, but the R5 + 1.4x and the R7 have about the same reach.

When composed and cropped identically, the background blur created by 600mm f/4 should be similar to that of the 840mm f/5.6. At the same APS-C or wider angles of view, the R7 should take some high ISO noise advantage from the wider aperture enabling a lower ISO setting, and the R7 should avoid the (minor) AF performance penalty imparted by the extender.

Obtaining a sharp image requires all subject details to remain within the indivdual pixels capturing them during the entire exposure. In other words, motion blur is created by subject details crossing into adjacent pixels while the shutter is open. As imaging sensor pixel density increases, so does the shutter speed required to avoid camera and subject motion blur. The image brightness effect from increasing the shutter speed will often be offset by increasing the ISO setting, which increases noise.

However, increasing the focal length has the same effect. So in the end, the option with the most reach will have the highest shutter speed requirement.

Sometimes the camera settings required for a situation include a shutter speed sufficient for stopping motion at the lowest-noise ISO setting, making this point irrelevant.

Did you notice the diffraction softness showing in the R7 f/8 result vs. f/5.6?

Usually, a lens produces better image quality in the center of the image circle than in the periphery. APS-C imaging sensors utilize only the optimal center of the imaging circle. However, extenders magnify the center of the image circle, also utilizing the sweet spot. Thus, both options avoid the worst aberrations.

Here is a periphery comparison from the test described above:

Canon EOS R7 Compared to Cropped R5 with 1.4x Extender

R7 600mm: f/4 | f/4.5 | f/5.6 | f/8
R5 840mm: f/5.6 | f/6.3 | f/8 | f/11

These results tell a story similar to the first results.

Hopefully, the mix of information presented in this article was helpful. A conclusion from this discussion is that the Canon EOS R7 (or another high-density APS-C format camera) is a viable alternative to a 1.4x extender on a full-frame model when significant cropping (APS-C angle of view or smaller) will be required. That's just in case you needed an excuse to get this high-performance camera.

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Posted to: Canon News, Sony News   Category: Camera Gear Review News
Post Date: 8/17/2022 7:30:00 AM ET   Posted By: Bryan
 Tuesday, August 16, 2022

Just posted: Lowepro Powder Backpack 500 AW Review.

The Powder 500 AW is a great ultralight multipurpose photography backpack.

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Posted to: Canon News, Sony News   Category: Camera Gear Review News
Post Date: 8/16/2022 7:00:00 AM ET   Posted By: Bryan
 Thursday, August 11, 2022

Just posted: ProMediaGear GKJRC Katana Gimbal Head Review.

I borrowed this awesome-looking gimbal head along with the ProMediaGear GKC Katana Gimbal Head to test the Canon RF 800mm F5.6 L IS USM Lens. The reviews of the same product type from the same manufacturer will read similarly.

The GKJRC Katana is the smaller, lighter, and less expensive option.

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Posted to: Canon News, Sony News   Category: Camera Gear Review News
Post Date: 8/11/2022 10:55:53 AM ET   Posted By: Bryan

Just posted: ProMediaGear GKC Katana Gimbal Head Review.

I borrowed this gimbal head along with the ProMediaGear GKJRC Katana Gimbal Head Review to test the Canon RF 800mm F5.6 L IS USM Lens. The reviews of the same product type from the same manufacturer will read similarly.

The GKC Katana is the larger, heavier, and more expensive option. Few tripod heads are as strong and rigid as this one.

Order the ProMediaGear GKC Katana Gimbal Head from ProMediaGear | B&H | Adorama | Amazon USA

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Posted to: Canon News, Sony News   Category: Camera Gear Review News
Post Date: 8/11/2022 10:55:00 AM ET   Posted By: Bryan
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