Canon and Sony News for May 2017 (Page 3)

From Photokina:

photokina will take place annually as of 2018. It will in future thus optimally reflect the fast-paced nature and the ever briefer innovation cycles of an increasingly digitalised industry. As of 2019 the trade fair will also have a new date in May. In addition to innovations from the core areas of the imaging workflow, the entire range of products, applications and services of relevance for imaging shall in future be presented in Cologne. With these changes, the transformation process begun in 2016 shall be consistently continued: under the umbrella of "Imaging Unlimited", photokina last year inspired both exhibitors and visitors and accessed new target groups for the industry.

"The digital transformation of the imaging industry is advancing, and thus opening up new perspectives and value creation potential. The new date and the annual cycle should in future make photokina even more attractive to all providers of the imaging ecosystem. In this way, we show the specialised trade, the media and our users an even broader bandwidth of state-of-the-art products, applications and services in Cologne which especially suits the young imaging culture," Rainer Führes, chairman of the board of the photography industry association (PIV) is pleased to state.

The imaging ecosystem today also includes, in addition to the core areas from the imaging workflow, trend areas like virtual and augmented reality, cloud computing, as well as image recognition and holography. The growing flood of images and videos must be processed and administered, so that archiving and content management, social media and communities are coming increasingly into focus. Apps and software solutions have become indispensable both for professional use and for the end consumer. Smart home applications and computer-generated imaging are once again increasing in importance. photokina should in future serve as an important international innovation platform.

Katharina C. Hamma, Chief Operating Officer of Koelnmesse GmbH, has a positive perspective on the future of the trade fair: “photokina 2016 has shown us that this traditional brand in our portfolio has lost nothing of its attraction worldwide and in the region. The new concept has been a complete success. photokina has continued to develop further over time, as have the products, services and the market environment presented there. Now we are taking the next logical step by offering a digitally powered product environment an attractive annual platform for presenting the latest innovations and for entering into discussion with traders, specialist users and end customers."

For the 2018 event, only the series of days is changing: it will take place from Wednesday, 26.09. to Saturday, 29.09, and thus enables a more compact, more intensive trade fair experience.

Adorama will be issuing a full refund to one lucky Sony a9 preorder customer who places their order before May 25 (when the Sony a9 is scheduled to being shipping).

Sony a9 Features

• 24MP Full Frame Camera
• 693-point focal-plane phase-detection AF
• 20fps continuous shooting with AF/AE tracking
• 30ms lag time shutter
• Fast shutter release at 1/32000 sec., achieved silently
• Blackout-free shooting
• Body-integrated 5-axis image stabilization
• Full-frame 4K Movies
• FTP transfer via LAN terminal on the camera body / Dual slots for convenient data management
• Silent shutter (on/off)
• Up to 480 frames on a single charge
• Built-In Viewfinder
• Wi-Fi: Yes

Just posted: Sigma 135mm f/1.8 DG HSM Art Lens Review.

You are going to want this one.

The Sigma 135mm f/1.8 DG HSM Art Lens is in stock at B&H | Amazon | Adorama.

Be sure to share this review with your circle of friends!

From DJI:

New Procedure Requires Login After Update; Password Reset Available

DJI will soon introduce a new application activation process for international customers. This new step, to take effect at the end of next week, ensures you will use the correct set of geospatial information and flight functions for your aircraft, as determined by your geographical location and user profile. All existing flight safety limitations, such as geofencing boundaries and altitude limits, remain the same.

Even if you have registered when activating your aircraft upon purchase, you will have to log in once when you update the new version of DJI GO or GO 4 App. If you have forgotten your password since your initial login, you can reset it using a function within the DJI GO and DJI GO 4 apps.

You will need a data connection to the Internet for your smartphone or tablet when you log in, in order to verify the account information and activate the updated software or firmware. If this activation process is not performed, the aircraft will not have access to the correct geospatial information and flight functions for that region, and its operations will be restricted if you update the upcoming firmware: Live camera streaming will be disabled, and flight will be limited to a 50-meter (164-foot) radius up to 30 meters (98 feet) high.

The feature applies to all aircraft (except standalone A3 and N3) that have been upgraded to the latest firmware or when using future versions of the DJI GO and GO 4 apps.

DJI encourages pilots to always follow applicable laws and regulations in the countries where they operate, and provides information about these regulations on its FlySafe website at flysafe.dji.com.

by Sean Setters

Off-camera flash and light modifier solutions for studio photography can range from relatively inexpensive to I-need-to-take-out-a-second-mortgage expensive. With more of us able to afford the lower end of that spectrum, it's nice to know that you can get very good studio results with economical gear.

A couple of weeks ago I posted an image demonstrating how inexpensive LED lights could be used for creative portraiture. Today we'll be looking at another example of this technique along with an in-depth look at the gear necessary to produce similar images.

Let's take a look at the gear I used for a portrait session this weekend aside from the 5D Mark III, 85L II & 580EX speedlite flash (you could easily substitute any camera body, wide aperture telephoto prime and shoe mount flash for similar results) along with some links to gear which will provide comparable results and/or functionality at a fraction of the cost.

Lighting & Background Gear Used & Budget Alternatives

As for the setup, one light stand and the background holder were supporting the collapsible background while another light stand with an extension arm and super clamp were holding the LED string lights in place. As for the main lighting on the subject, the flash was placed camera left and reflected into the white umbrella. The subject's fiancée held a white foam core board camera right to provide a degree of fill light.

But how about that background? Is it strictly necessary? While extremely convenient (and highly recommended), you could use a large piece of black fabric, black paper or otherwise shoot in an indoor location with more distance between the subject and the background (leaving the background unlit and, therefore, black at the camera's max flash sync speed). Therefore, if you have a substitute for the background, you can shave off another $69.99, for a total of $118.84.

If your DSLR features a master pop-up flash and your off-camera flash features built-in wireless (optical) communication, you can deduct another $29.00 for a ridiculously low final cost of $89.84.

That's right; assuming you have a camera, wide aperture telephoto prime and shoe mount flash already in your kit, you could theoretically create shots very similar to the examples above for less than $100.00, or to put it another way, less than the MSRP of Canon's least expensive lens. Of course, more expensive gear typically equates to higher quality and/or added convenience, but... for those on a budget, high quality portraiture is likely well within reach.

Image quality results have been added to the Sigma 100-400mm f/5-6.3 DG OS HSM Contemporary Lens page.

I have been anxiously awaiting these results. While Canon already makes a phenomenal 100-400mm lens, the Sigma weighs less and costs FAR less.

Especially considering the price differential, I think you will find the Sigma 100-400mm vs. Canon 100-400mm image quality comparison very interesting. Be sure to compare the Sigma to the many other telephoto zoom lenses we've tested.

Sigma 100-400mm f/5-6.3 DG OS HSM C Lens is in stock at B&H | Amazon | Adorama.

From the Anya Anti YouTube Channel:

Today I want to show how to make a creative bokeh background for your indoor photoshoots out of studio paper backdrop. Also a little making of My Universe photo. Let me know if you have any questions!

B&H carries black background paper.

From Nikon:

Nikon Corporation (Kazuo Ushida, President, Tokyo) announced today the reorganization of its corporate structure as outlined below, scheduled for June 29, 2017.

The Core Technology Division is to be closed, establishing the Research & Development Division and the Production Technology Division

Nikon has decided to close the Core Technology Division and establish the Research & Development Division which dedicates to research and development, and the Production Technology Division which integrates the functions of group production strategy planning and production technology development, etc.

With this change, Nikon reorganizes the corporate structure in a way that clarifies functions and responsibilities in order to revitalize the group-wide research and development structure and enhance the efficiency of the production system.

Establishing the Healthcare Business Unit

Nikon is integrating the Medical Business Development Division and Microscope Solutions Business Unit, to establish a new Healthcare Business Unit. This will enable the company to integrate/optimize organizations and functions rapidly, creating business synergy.

Nikon will boost existing businesses and accelerate creation/nurturing of new businesses in the healthcare, medical and biological fields, which are anticipated to grow in the future.

Closing the Business Support Division

To optimize group-common functions regarding procurement, engineering and logistics, as well as quality- and environmental-management, Nikon has decided to close the Business Support Division and relocate each function formerly handled by it.

New organization

B&H has the newly announced Sony FE 16-35mm f/2.8 GM and FE 12-24mm f/4 G lenses available for preorder.

From Canon USA:

Service Notice: Remote shooting with Camera Connect App with camera running Firmware Version 1.1.1

Thank you for using Canon products.

A communication error has been discovered when using the EOS 7D Mark II running Firmware Version 1.1.1, which version was released on April 27, 2017, in combination with the Wi-Fi Adapter W-E1.

We sincerely apologize for any inconvenience caused to customers, and we ask for your ongoing patience.

Phenomenon

Remote shooting with the Camera Connect App is not possible after connecting the EOS 7D Mark II to a smartphone via the Wi-Fi Adapter W-E1.

Affected Product

EOS 7D Mark II Digital SLR Camera: Units that have been updated from Firmware Version 1.0.5 or earlier to Firmware Version 1.1.1

*This phenomenon will not occur if the camera meets either of the two conditions below:

• If the camera has been updated from Firmware Version 1.1.0 to Firmware Version 1.1.1.
• If the camera was already equipped with Firmware Version 1.1.1 at the time of purchase.

We are currently making preparations to correct this phenomenon with the release of a firmware update in early June. In the meantime, please use the workaround method described below.

Workaround

• Firmware Version 1.1.1 will no longer be available for download, and Firmware Version 1.1.0 will be made available for download again.Users whose camera is affected by this phenomenon are asked to download Firmware Version 1.1.0 and install Firmware Version 1.1.0 onto the camera. Download Firmware Version 1.1.0 from the Canon USA website.
• If you want the improvements and fixes provided in Firmware Version 1.1.1* applied to your camera, please contact the Canon Customer Support Center in your region and make a request for your camera to be re-updated to Firmware Version 1.1.1.
• *Improvements and fixes provided in Firmware Version 1.1.1:
• Enhances reliability of communications when transferring images using Wireless File Transmitter WFT-E7A.
• Corrects the phenomenon of Err70 which occurs with certain combinations of settings.
• Corrects the very rare phenomenon in which the shutter can no longer be released.
• Enhances reliability of operations for specific custom function settings.

Support

If you have not already done so, please register the EOS 7D Mark II. By registering, we will be able to notify you via email about future announcements.

This information is for residents of the United States and its five territories only. If you do not reside in the USA or its five territories, please contact the Canon Customer Support Center in your region.

Thank you,
Customer Support Operations
Canon U.S.A., Inc

by Sean Setters

While a bare flash can work well in certain situations, more often than not, obtaining the best results will require shaping, restricting or coloring the light coming from your flash (whether it be the shoe-mount or studio variety).

Let's look at our Top 10 Light Modifiers to explore all the great possibilities available for crafting the perfect light.

Collapsible reflectors come in a variety of shapes, sizes and surfaces, and are used to reflect a light source (sun, Speedlite or studio flash) onto your subject. Simple, convenient, inexpensive and easy to pack are hallmarks that have made collapsible reflectors ubiquitous in the photography industry. Popular reflective surface options include white, silver and gold (including combinations of those surfaces).

Don't have a collapsible reflector but need something in a pinch? Use a piece of white foam core board or a suspended bed sheet for near-similar results.

Like collapsible reflectors, umbrellas also come in a variety of shapes (really), sizes and reflective surfaces. The most common umbrellas are white (which can be used in reflected or shoot-through orientation) ranging in size from 43 - 60", though larger and smaller versions can easily be found. Umbrella surfaces mirror those found in collapsible reflectors, mainly the aforementioned white, silver & gold, and oftentimes umbrellas come with a fixed or removable black backing to prevent light spillage (of course, limiting the umbrella's use to reflective orientation only with the black backing in place). Some black backed umbrellas are compatible with removable front diffusion panels for even, softbox-like light quality (more on that later). Mimicking the shape of the sun, a traditional umbrella produces a natural looking round catchlight in the subject's eye(s) unless the umbrella spokes are are clearly discernable (especially a possibility when shooting closer headshots). An umbrella makes a great outdoor flash modifier, with one caveat. Be sure to heavily sandbag your light stands when using umbrellas outside. The umbrella's round, concave shape means that a slight breeze can easily cause your rig to topple over if not properly secured.

Surprising to some is that photographic umbrellas can vary significantly in shape. For instance, parabolic umbrellas are deeper than traditional ones and tend to be more efficient at bouncing light with the tradeoff of a more focused projection. Some umbrellas can be made square by adjusting segments of their support frame while other umbrellas feature a rectangular design that makes them better suited for shooting in locations with low ceilings.

Considering how inexpensive most umbrellas are, and how easily they can dramatically improve the light falling on your subject, there's little reason not to have one (or several) in your lighting toolkit.

Generally speaking, a softbox is a rectangular, box shaped light modifier with one (or more) diffusion panels covering the face of it. A softbox is typically affixed to a light via a proprietary speed ring, so be sure to select a compatible model when purchasing your softbox. Because of the diffusion panel(s), softboxes generally produce a very even lighting over the entire surface of the front diffusion panel. Softboxes work especially well in studio conditions because they produce a very soft yet directional light (especially when fitted with an optional grid). A rectangular or square softbox creates a catchlight in the subject's eyes that is reminiscent of a window pane, though the catchlight of a softbox + grid combination may appear conspicuously artificial.

Not all softboxes are rectangular. A subset of softboxes, called octaboxes (or octagonal softboxes), are more rounded with 8 sides instead of 4. These particular softboxes provide the benefits of traditional softboxes (less light spill) with the round(ish) shape benefits of an umbrella.

A standard reflector is a relatively small, metal, silver-lined, narrow bowl-shaped device that is generally included in a studio light kit. Standard reflectors feature a port for simultaneous use with umbrellas (somewhat limiting spill). When used without an umbrella, the standard reflector produces a hard (clearly defined), somewhat harsh quality of light (similar to sunlight on a clear day). While this type of light may not be optimal for most main light portrait needs, the standard reflector can provide a great on-location rim light or background light.

On the other end of the studio light reflector spectrum, a beauty dish is a special type of reflector designed specifically for portraiture which produces a circular shaped, semi-hard quality of light with soft edges. Typical beauty dishes are wide bowl shaped reflectors ranging in size from 16-28" (the most common sizes being 20-22"), are silver or white lined and are optimally used relatively close to the subject (a distance between 1x and 1.5x the diameter of the dish). Prices for beauty dishes vary widely, and my particular favorite – the Mola Demi – is not inexpensive, but having owned and used one for several years (with Opal Diffusion Glass), I can say without hesitation that it is a great investment.

A ring light is, as the name suggests, a circular shaped light that is more often than not used with the camera lens shooting through the middle of it. Ring lights can either be specifically designed studio lights, macro lights or ring light modifiers.

Because the light is positioned around the lens, a ring light produces a very flat, non-directional type of lighting. If used as a main light, it's generally more flattering than an accessory hot shoe flash pointed straight at your subject, but it really shines (pun intended) as an "invisible" fill light when used with other light sources. By "invisible," that is to say that the fill light doesn't leave tell-tale shadows that indicate its use aside from a subject-shaped shadow (halo) around your subject with an unlit background close behind your subject. Note that a ring light does produce a rather conspicous circular catchlight in the subject's eye(s).

Color gels can be used to change the color of your flash to a) match the ambient light or b) add a creative color to your image. The former, referred to as "color correction" gels, allow you to calibrate your flash's light output with the color of the ambient light, thereby making simple global color corrections seamless in post processing. Otherwise, if the color of your flash's output does not match the ambient, obtaining correct color balance in post processing can be a tricky and time consuming task (and sometimes, nearly impossible).

The latter group, "creative" gels, allows you to change background colors or add interesting color to your subject lighting. Using color through the use of gels is a great way to differentiate your work from other photographers, and considering the low cost of color gels (both color correction and creative), every flash wielding photographer should have a myriad of gels in their lighting kit.

A grid is simply a set of tube-like structures affixed to the front of a flash (as demonstrated above) or otherwise attached to the front of another light modifier (such as a softbox). The purpose of a grid is to restrict the light output to a smaller area, allowing for more finite control over the light's spread. Grids with circular tubes like the one shown above will produce a round spotlight with moderately soft edges and work great as subject-to-background separation tools when directed at the background (especially when combined with colored gels). Grids are also great for hair/special emphasis lights when reducing light spillage is a priority.

Like a grid, a snoot is designed to restrict a light's output to a smaller area. However, unlike a grid, the edges of the light pattern projected by a snoot will have a hard edge. Uses for snoots mirror uses for grids, with the the hard edge being the main differentiator.

A flag (or gobo) is simply a device (typically black) that blocks light from hitting a certain area of your composition. Flags come in variety of shapes and sizes and commonly feature an arm that is designed to be held by a grip head and/or grip arm making positioning with a light stand an easy task.

Don't have a professional gobo handy? Try using a creatively mounted piece of black foam core board.

A cuculoris/cookie is a special type of flag which has a pattern cut out of it. When placed in front of a light source, a cookie will create a decorative shadow pattern on surfaces and/or subjects in the path of the light. Cookies are often used to simulate light filtering through window panes or foliage, but abstract patterns are very common as well.

With a lens attached to the front, the Spiffy Gear Light Blaster is able project a scene printed on transparent film onto a surface. The creative possibilities for devices such as these are endless, yet using them effectively takes a bit of know-how. For instance, if using the Light Blaster to project a scene onto the background, optimal results can only be obtained if the light hitting your subject is restricted from hitting the background (using some of the other tools listed above and careful positioning). See our full review for more details on the Light Blaster.

You can also find old carousel slide projectors on eBay for similar results, without the ability to vary the light output (unless ND filters are used).

So there you have it, our list of the Top 10 Light Modifiers for Off-Camera Flashes & Studio Lights. Did we miss something important? Sound off in the comments.

Update: The I AM NIKON Blog is live again.

The I AM NIKON Blog page has been suspended (see screenshot above). Going to the site results in a page that lists the possible reasons for the suspension:

• This is a new domain name and you have not yet validated your contact details.
• This domain has recently been modified or transferred and you have not yet validated your contact details.
• An annual validation email was sent to your contact details but you have not responded.

As the blog has been active for quite some time, that basically rules out the first possible reason. My guess is that someone at Nikon forgot to respond to the annual validation email. :-) [Sean]

From the Photoshelter YouTube Channel:

Travel and landscape photographer Ken Kaminesky answers our Question of the Week: "How do you keep your love of photography alive?" For Ken, it's all about finding inspiration and stepping outside of your comfort zone.

From Sony:

New 16-35mm F2.8 GM Completes the E-mount F2.8 G Master “trinity”; 12-24mm F4 G covers widest angle among all full-frame E-mount lenses

SAN DIEGO, May 17, 2017 – Sony Electronics, a worldwide leader in digital imaging and the world’s largest image sensor manufacturer, has today announced two new additions to their growing lineup of full-frame E-mount lenses.

The new lenses include the FE 16-35mm F2.8 GM large aperture wide-angle zoom lens (model SEL1635GM) and the FE 12-24mm F4 G ultra wide-angle zoom lens (model SEL1224G). The FE 16-35mm F2.8 GM lens brings the incredible high-resolution and beautiful bokeh of Sony’s flagship G Master series to a wide 16-35mm focal length for exceptional landscapes, cityscapes, portraits and more, while the 12-24mm F4 G, Sony’s widest full-frame E-mount lens to date, offers a dynamic new perspective for all Sony E-mount shooters. In total, Sony’s full-frame E-mount lens lineup now covers from ultra-wide 12mm to super-telephoto 800mm (with teleconverter) focal length range.

New FE 16-35mm F2.8 GM Wide-Angle Zoom Lens

The new FE 16-35mm F2.8 GM wide-angle zoom joins the acclaimed FE 24-70mm F2.8 GM and FE 70-200mm F2.8 GM OSS to round out Sony’s lineup of F2.8 large aperture zoom lenses. Equipped with a variety of Sony’s most advanced lens technologies, it is the first wide-angle G Master model, making it ideal for an extensive variety of shooting situations - landscapes, architecture, close up portraits, sports, action and much more. It is also exceptionally lightweight and compact, maximizing portability and usability.

The new lens features exceptional corner-to-corner sharpness, with an optical design that includes five aspherical elements, two of which are Sony’s original XA (extreme aspherical) elements that reduce aberration and delivers the ultimate resolution throughout the entire zoom and aperture range. The front XA element on the FE 16-35mm F2.8 GM is the largest XA element ever produced, ensuring optimum quality. Additionally, two ED (Extra-low-Dispersion) glass elements keep chromatic aberration to a minimum while maximizing resolution, and Sony’s original Nano AR coating suppresses internal reflections to ensure excellent image contrast and clarity.

The lens features a near circular aperture shape at all settings, and the combination of the aforementioned XA element with its 11 blade aperture design produces images with sharply focused subjects and beautifully defocused backgrounds or “bokeh”. It also has two DDSSMs (Direct Drive SSM) that compose a floating focusing system and ensure that AF acquisition is speedy and quiet, making it an ideal choice for shooting still images as well as movies.

The FE 16-35mm F2.8 GM is also dust and moisture resistant1, has a fluorine coating on the front lens that helps to both prevent dust or grease marks and remove them easily if they do become a trouble. There is also a customizable focus hold button and a hood release button.

New FE 12-24mm F4 G Ultra-Wide-Angle Zoom Lens

A uniquely designed ultra wide-angle zoom lens, the new FE 12-24mm F4 G lens produces outstanding image quality in a compact, lightweight design, weighing in at approximately 20 oz. Sony’s widest full-frame E-mount lens, it offers a dynamic perspective for landscape, architecture and interior photography, and is well-suited for both stills and video shooting.

The lens features an innovative optical design with four aspherical elements that ensure excellent corner to corner sharpness and resolution. Additionally, the lens has three ED glass elements and one Super ED glass element that minimize chromatic aberration throughout the entire image, and also includes Sony’s original Nano AR coating.

The new FE 12-24mm F4 G lens includes a DDSSM (Direct Drive SSM) for fast, quiet and precise AF performance, plus a customizable focus hold button and focus mode switch. It is also dust and moisture resistant1.

Pricing and Availability

The new FE 16-35mm F2.8 GM Wide-angle Zoom Lens will ship this August and will be sold for about $2,200 US and $3,000 CA. The new FE 12-24mm F4 G Ultra wide-angle Zoom Lens will ship this July sold for about $1,700 US and $2,300 CA.

B&H will carry the Sony FE 16-35mm f/2.8 GM and FE 12-24mm f/4 G lenses.