The Adobe DNG Converter is a free utility that enables you to easily convert camera-specific raw files from more than 600 cameras to the more universal DNG raw format.
Digital Negative was developed to address the lack of an open standard for the proprietary and unique raw files created by each digital camera. DNG allows photographers to archive their raw camera files in a single format for easy cataloging and access in the future. With the format specification freely available, any developer can build software that supports and takes advantage of DNG. For more information, visit the Digital Negative page.
Support for the following cameras has been added. Visit the Camera Raw page for a complete list of supported cameras.
Sigma Adds the 85mm F1.4 DG HSM Art, 12-24mm F4 DG HSM Art, and 500mm F4 DG OS HSM Sport Lenses to Its Global Vision Line
Outstanding optical performance, ultra-wide zoom range, and versatile flagship sports lens headline the Sigma line-up at Photokina 2016
Cologne, Germany – September 19, 2016 – Sigma Corporation of America, a leading camera, DSLR lens, flash and accessories manufacturer, unveiled its new 85mm F1.4 DG HSM Art, 12-24mm F4 DG HSM Art and 500mm F4 DG OS HSM Sport Global Vision lenses at the Photokina 2016 event (hall 4.2, stands B020, B028 and C029).
“We are thrilled to announce three state-of-the-art additions to the Global Vision line. The Sigma 85mm 1.4 Art has been a highly requested lens and we are very confident those customers who have been waiting for us to deliver this lens will be more than pleased with the superior optical performance and zero compromise,” states Mark Amir-Hamzeh, president of Sigma Corporation of America. “In addition, the re-engineered 12-24mm F4 and highly competitive 500mm F4 Sport lens both embody the world-class performance our Global Vision lenses are known for. We look forward to seeing the incredible images our customers will create using these new Sigma lenses.”
Sigma 85mm F1.4 DG HSM Art – The Ultimate Portrait Lens
Delivering the ultimate in creative expression, the new Sigma 85mm F1.4 Art lens is engineered to support the highest resolution sensors on the market with an exceptional degree of sharpness. The high-performance optical system is purpose-built by Sigma R&D to produce the attractive bokeh effect sought after by discerning photographers. The lens’ advanced architecture features two SLD (special low dispersion) glass elements and one glass element with a high rate of anomalous partial dispersion and refraction. A re-engineered AF system brings 1.3X the torque of its predecessor, while other features such as a full-time manual focus override have been added, which can be controlled when the focus ring is rotated, even during continuous AF.
The Sigma 85mm F1.4 DG HSM Art lens supports Canon, Nikon and Sigma mounts. The Nikon mounts feature a brand new electromagnetic diaphragm.
The Sigma 85mm F1.4 Art lens will be available in late October and retails for a recommended street price of $1199.00 USD.
Sigma 12-24mm F4 DG HSM Art Ultra-Wide Angle Zoom for the Era of Ultra-High Resolution Digital Cameras
Boasting the renowned Global Vision image quality from center to edge, the new Sigma 12-24mm F4 features the largest aspherical glass mold in the industry, offering photographers an ultra-wide angle zoom with virtually no distortion, flare or ghosting. Encompassing the long history of Sigma wide angle lens development expertise, the new 12-24mm F4 performance highlights include constant F4 brightness and the brand new Sigma AF system with 1.3X torque boost. The 12-24mm F4 features lens elements made with FLD (“F” Low Dispersion) glass, which is equivalent to calcium fluorite in performance. Combined with an optimized power distribution, the result is outstanding image quality from center to edges. With a minimum focus distance of 9.4 inches at 24mm, photographers can compose incredible close-up shots with expansive backgrounds.
The all new Sigma 12-24mm F4 DG HSM Art lens supports Canon, Nikon and Sigma mounts. The Nikon mounts feature the brand new electromagnetic diaphragm.
The Sigma 12-24mm F4 Art lens will be available in late October and retails for a recommended street price of $1599.00 USD.
Sigma 500mm F4 DG OS HSM Sport Lens - Pro Fast-Aperture Prime Super Telephoto
The flagship Sigma super telephoto 500mm F4 Sport lens incorporates the very latest in Sigma optical technology and innovation. Designed for the professional sports and wildlife shooter, the ultra-durable lens features magnesium alloy components, a carbon fiber hood, a water and oil resistant front element, and is dust and splash proof. The 500mm F4 features a drop-in rear filter slot for polarizers, UV and other critical filters. To help prevent damage during shooting and maintenance, the lens is also compatible with the exclusive SIGMA Protector LPT-11 (sold separately).
The lens incorporates two FLD and one SLD glass elements, while the optimized power distribution helps minimize spherical aberration and axial chromatic aberration. The optical system also effectively minimizes transverse chromatic aberration, which can affect the edges of the shots taken in the telephoto range. In addition, image quality remains exceptional when the lens is used with a Sigma Telephoto Converter (sold separately).
Other key performance features include Sigma's two-mode Optical Stabilizer for enhanced performance when shooting handheld for still subjects or panning and tracking for moving subjects. There is also a customizable AF "return" function for setting the focus position of one's choice and returning to that preset distance. The all new Sigma 500mm F4 supports Canon, Nikon and Sigma mounts. The Nikon mounts feature the brand new electromagnetic diaphragm. The Sigma 500mm F4 Sport lens, in Canon and Sigma mounts, will be available in late October. The Nikon mount will be available in late November. The 500mm F4 will retail for a recommended street price of $5999.00 USD.
All Sigma Global Vision lenses, including the new 85mm F1.4 DG HSM Art, 12-24mm F4 DG HSM Art, and 500mm F4 DG OS HSM Global Vision lenses, can be updated with the latest lens firmware from a workstation or laptop using the Sigma Optimization Pro software and Sigma USB Dock (sold separately).
The SIGMA Corporation is pleased to announce the SIGMA 12-24mm F4 DG HSM | Art, an ultra-wide-angle zoom for DSLRs with full-frame sensors. This new lens offers an optimal package of center-to-edge image quality, minimized distortion, and a minimal focusing distance.
To achieve these qualities without compromise, the SIGMA 12-24mm F4 DG HSM | Art incorporates the latest lens design, advanced materials such as low-dispersion glass and cutting-edge large-diameter molded glass aspherical lens processing methods.
Release date and price: TBD Accessories: Case Corresponding AF mounts: SIGMA, Canon and Nikon
SIGMA 85mm F1.4 DG HSM | Art
The SIGMA Corporation is pleased to announce the ultimate lens for portraits, the SIGMA 85mm F1.4 DG HSM | Art which offers outstanding resolution with minimized chromatic aberrations.
Outstanding resolution and the attractive bokeh effect that large-diameter lenses offer. Fulfilling the exacting standards of the Art line, the SIGMA 85mm F1.4 DG HSM | Art delivers both of these elements at the highest level. The bokeh effect is so precise, you can focus on the pupil of the subject’s eye while blurring the eyelashes. Adding to the effect, the area in focus is extremely high-resolution while the bokeh area is very attractive in appearance. The SIGMA 85mm F1.4 DG HSM | Art incorporates 14 lens elements in 12 groups, a remarkable structure that helps the lens deliver ultra-high-resolution. This lens is therefore an excellent match for full-frame DSLRs offering 50-megapixel or higher resolution.
Release date and price: TBD Accessories: Case, Hood (LH927-02) Corresponding AF mounts: SIGMA, Canon and Nikon
SIGMA 500mm F4 DG OS HSM | Sports
The SIGMA Corporation is pleased to announce the flagship lens of the Sports line, SIGMA 500mm F4 DG OS HSM | Sports which has both outstanding functionality for challenging shoots and top-level optical performance.
The SIGMA 500mm F4 DG OS HSM | Sports incorporates SIGMA’s latest technologies and delivers a full range of advanced features and functions: enhanced dust- and splash-proof construction, Optical Stabilizer (OS) system, SIGMA Tele Converter compatibility, AF function switch, SIGMA’s latest-generation Hyper Sonic Motor (HSM), and more. Combining top-level optical performance with functionality for challenging shoots, the flagship lens of the Sports line, SIGMA 500mm F4 DG OS HSM | Sports sets a new standard for high-performance telephoto lenses.
Release date and price: TBD Accessories: Case, Hood (LH1388-01),WR Protector,Lens is equipped with fixed tripod socket. Corresponding AF mounts: SIGMA, Canon and Nikon
A vlog is really a video-based blog and can be about anything. Like a written blog, it contains the ideas, activities and opinions of a particular person or people. It can be an edited version of their daily lives, a combination of commentary and gameplay (some of the most successful vloggers in the world are gamers), or a more focused “show” that teaches others certain techniques such as how to do makeup, exercise, brew beer or in my vlog, the craft of video production and filmmaking.
In 2008, I started theC47 as an educational brand that was focused on teaching the craft of video production and filmmaking. I recently launched a new weekly vlog called “Random Acts Of…” on theC47’s YouTube channel. Basically, it covers Random Acts Of… Lighting, Composition, Camera Movement, Lighting Control, Gear and anything else that interests me as a producer, DP and all around tinkerer.
You shouldn’t start a vlog with the intention of making lots of money. It can help people build their brands, but it’s the passion for the subject matter and a commitment to creating ongoing content that are key – and the one thing many successful vloggers seem to have in common. If the content they create is interesting, and it is posted regularly (generally daily or at least weekly), they can find an audience over time.
Not long ago I was walking down a street near my home when an abandoned, overgrown lot grabbed my attention. While the lot wasn't what I would call "scenic" with its fallen branches and litter, the tall weeds in the middle of the lot intrigued me. A short time later I was contacted by a model wanting some images to add to her portfolio and I she liked my suggestion of using an overgrown lot for our backdrop.
As I mentioned, the vacant lot on the whole did not look very good. As such, I decided to use two techniques to minimize the impact of the shooting location and draw focus to the tall weeds which I really liked: a long focal length and a wide aperture.
I had originally planned on using the Canon EF 85mm f/1.2L II USM, a very wide (f/1.2 - f/1.8) aperture and a 4-stop neutral density filter (to allow me to achieve a shutter speed below the 5D III's max flash sync speed) for the shoot. Unfortunately, I had temporarily misplaced my 4-stop ND filter. Without a 4-stop ND filter at hand, I decided to use the EF 70-200mm f/2.8L IS USM (predecessor to version II) paired with a 2-stop ND filter instead.
My inability to find the 4-stop ND filter actually turned out to be a blessing in disguise. The 85L II has a field of view (FOV) of roughly 28° while the 70-200L IS has a FOV of 12° at 200mm. The smaller field of view meant that I could capture a smaller slice of the background in each frame. And when coupled with a wide f/2.8 aperture (with background elements a decent distance from my subject), the background became a creamy blur of color which didn't include recognizable [distracting] elements. Another benefit of the 70-200mm lens in this particular case was an increased working distance (with similar framing) that allowed me more opportunities to capture blurred foreground elements as well.
Expand your video and filmmaking experiences with XEEN cinema lenses. With a T2.6 and outstanding optical performance for 4K+, focus on the Mise-en-scène of the images you want to create.
XEEN lenses feature declicked gear rings in identical locations, so that changing lenses is no longer a hassle. Mounts are interchangeable, meaning each lens can be used on a variety of cameras. The XEEN series aims to delivers unparalleled performance with affordability to satisfy the needs of videographers and filmmakers, regardless of the situation or equipment.
Ultra Wide Angle in 106.9°
Designed for Films – 114mm Front Size, High-durability, FFG, Declicked aperture
This article is the second of a two-part article on Photographing People and their Pets for the Advanced Amateur or Aspiring Pet Photographer. You can read part one here.
The following info is a list of tools and techniques that might be difficult to find elsewhere. In the nearly 30 years of specializing in photographing people and their pets, I’ve not seen a printed list or series of videos that cover this particular material. And even if you could find some of this information as it pertains to photographing animals, it wouldn’t be a matter of who’s right or wrong, but whether or not you consider using the following tools to develop the suggested techniques. If you do, you’ll be well on your way to creating not only sellable images, but images of style and distinction you can be proud of... and images your clients will treasure for a lifetime!
A 24mm f/1.4 prime lens is equally at home in a wedding photographer's gear bag as it is perched upon a tripod and pointed up toward the night sky. It's an excellent lens for indoor events (like parties) where ambient light is low.
For those looking to invest in a 24mm f/1.4 prime for Canon DSLRs, two candidates likely to be considered are the Canon EF 24mm f/1.4L II USM and Sigma 24mm f/1.4 DG HSM Art lenses. Today, we're going to see how these lenses compare to one another so that you can make the right investment for your needs.
First, let's first look at image quality. At f/1.4, the Canon 24L II is sharp in the center but the mid-frame and corners are noticeably softer. The Sigma 24 Art trails the Canon in center sharpness wide open, but it features a more even sharpness across the entire frame which results in the mid-frame and corners being sharper than the Canon. By f/2, the difference between the two lenses in the center is negligible but the Sigma is still clearly sharper in the corners.
Both lenses feature similar size and weight and accept 77mm front filters. If weather sealing is a high priority, the Canon 24L II is the lens you want. Otherwise, let's look at some other differentiating factors.
As usual with third party lenses, you can expect the Sigma 24 Art to focus less consistently compared to the Canon. Live View focusing can be used to increase focus accuracy (as the actual sensor data is being used for focusing), but Live View focusing may not be suitable in some situations.
However, in this particular case, a 24mm lens' relatively short focal length helps mitigate focus inaccuracies to some degree as depth of field (DOF) is derived from the relationship between sensor size, focal length, aperture and distance to subject. Let me share an example.
With a subject positioned 5 feet away while using a full-frame camera with a 50mm focal length and an f/1.4 aperture, the in-focus DOF would be about 3 inches (7.62 cm). If using a 24mm focal length under the same circumstances, DOF would increase to 1.12 feet (34.14 cm).
Of course subject framing would not be the same with different focal lengths being used, but suffice it to say that shorter focal lengths will give you more DOF at typical working distances.
As is typical of Canon vs. third-party lens comparisons, one big differentiating factor is price. Right now the Sigma 24 Art is only 55% the cost of the Canon counterpart. This represents a significant savings that could easily be applied to other lenses or desired accessories.
To summarize, if you need weather sealing and consistent AF, the Canon 24L II is the best 24mm f/1.4 lens to add to your kit. Otherwise, the Sigma makes a strong case for saving a decent amount of cash while investing in your 24mm prime.
Notice about compatibility between Canon EOS 5D Mark IV and Tamron lens products
Dear users and potential purchasers of Tamron interchangeable lenses.
Thank you for using Tamron products.
We would like to ask you that, when using a Tamron lens with Canon EOS 5D Mark IV camera that has been released in this September, you turn OFF the “Lens aberration correction” function included in the camera’s menu prior to use.
We have learned the issue that when you attach the Tamron SP 90mm F/2.8 Di MACRO 1:1 VC USD (Model F017) on the EOS 5D Mark IV, it takes several seconds to turn on the power of the camera at the first.
We sincerely apologize to all users and potential purchasers for any inconvenience the issue may cause.
A notice regarding compatibility issue with the EOS 5D Mark IV and availability of firmware update service (about AF functions on Live View mode)
Dear users and potential purchasers of Tamron interchangeable lenses for Canon.
Thank you for using Tamron products.
We wish to notify you that the AF functions of the following interchangeable lenses for Canon, which have been produced before May 11th, 2015 and have not updated firmware when there were the firmware update service announcements below, do not function in Live View mode when used on the EOS 5D Mark IV which went on sale on September 8th, 2016 in Japan.
*Please see the below links for the previous firmware update service announcements regarding the EOS Rebel T6s/EOS 760D (EOS 8000D) / the EOS Rebel T6i/ EOS 750D (EOS Kiss X8i), the EOS 5Ds / the EOS 5DsR, the EOS 80D, EOS-1D X Mark II, and the firmware update service for SP 150-600mm F/5-6.3 Di VC USD (Model A011) for panning shot.