Nikon News (Page 7)
I can't think of anything that saturates the landscape like rain, which, in this case, exaggerated the fall foliage color. Fall foliage arrives during the summer in Denali National Park, but I suppose the meaning supersedes that technicality.
The big ram alone makes a great subject, but the background takes the image to the next level, making it stand out for selection over a vast number of alternative choices.
As often happens these days, the Canon EOS R5 Mark II and RF 100-500mm F4.5-7.1 L IS USM Lens made it in the pack, and this combination left no regrets.
A larger version of this image is available here.
ISO 500
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Zeiss posted a teaser on their Instagram page, hinting at a new Otus lens.
"Get ready for owlsome news! ZEISS Otus 1.4/85"
Get your Zeiss lenses at B&H.
In the recently shared Bull Elk Among the Pines image, I suggested that thinking like a landscape photographer should be a top priority, seeing and capturing the environmental wildlife photo option when the right scenario unfolds. Still, I can't resist the in-your-face shot when it is availed.
The Canon EOS R5 Mark II and RF 100-500mm F4.5-7.1 L IS USM Lens teamed for this image. The compact size and light weight of this combination made it ideal for the long hike required to get to this enormous bull, the focal length range enabled fast adjustment to quickly capture a wide range of compositions, and the delivered image quality is outstanding.
A larger version of this image is available here.
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Tamron shared the Full Year 2024 Financial Results.
The report shows strong numbers and a positive outlook. However, the "Photographics Products (Own-Brand)" increases are not coming from America or Europe.
Just posted: Kondor Blue 501 Arca-Type Pivot Camera Plate Review.
John Reilly shares the solution to his fluid head mounting problem.
Support this site by ordering the Kondor Blue 501 Arca-Type Pivot Camera Plate (or anything else) from B&H | Adorama | Amazon (all available countries)
"Your Ultimate Camera Companion" [Lowepro]
Learn more about the Lowepro ProTactic Lite SLX 120 AW III Sling Bag (Black, 5L) at B&H (in stock, used model available at huge savings).
Entire careers are made around photographing vehicles, so most of us will not go beyond dabbling in this genre. Still, dabbling is great fun (and could generate a profit if you get good at it).
To get started, you need a vehicle subject. Fortunately, these are plentiful and available nearly everywhere. Find something old, new, special (such as because you own it), or just for sale. The car can be yours, a friend's, a client's, or someone willing to trade car time for pictures.
Next, you need a place to put the car, and the background matters. Even with the car filling the width of the image (with some breathing room on both sides and the bottom), the background (and some foreground) is often a huge percentage of the image. A supportive background will minimally be nondistracting, especially void of strongly contrasting lines intersecting the perimeter of the vehicle that compete for attention. Even if blurred, the background should be void of clashing colors. Mow the grass and remove leaves and other distractions/detractions.
Even small cars are large, so a large space is optimal, and that option is often outdoors, including in yards, parking lots, etc. For inside shoots, find a large garage (including a commercial parking garage), warehouse, airplane hanger, etc.
Clean the car. Of course, one of Bryan's Laws of Photography is that if you wash the car, it will rain. Still, give it a go.
Show love to the wheels and tires as they are the car's soul and have a primary role to play. Tire shine will give the tires a deep, rich, better-than-new look, but understand the penalty. The tire shine I've used holds dirt and makes the tires virtually uncleanable, creating an always-dirty look. The easiest way to get them clean is to replace them.
In some locations and times of the year, insects landing on the vehicle can be problematic, and they seem to be attracted to a clean vehicle. Usually, they are easy to remove in post-processing, but when they start accumulating in greater numbers or land on features that are not easily replaced by the healing or cloning brush tools, chasing them away is a better idea.
Cars (most, at least) are reflective, so consider what is reflecting in the body and windows. A large open space often works well, leaving primarily the sky to reflect. Also, consider using a circular polarizer filter.
Lighting a large subject is challenging. The easiest high-quality lighting is a broad sky immediately after the sun sets or, for those preferring to get started early, before the sun rises. A cloudy day and a low sun at your back also work well. Light painting the exterior at night provides a different look and, potentially, a different look to every image.
Especially if shooting at dawn or dusk, turn on the car lights to add life to the vehicle. Adding a touch of interior light can work well.
Camera selection is easy. Unless the car is in motion, even entry-level cameras can perform this job well.
Lens selection is more critical, but there are many good options depending on the desired look.
The basics always apply, and perspective plays an especially big role for big subjects that are easy to get close to. 2x farther from the camera means 2x smaller in appearance. If the camera is close to the front of the car, the back of the car will be rendered considerably smaller. That size difference is OK if that is the look you want.
Shooting from a high position, such as from a ladder, enables a top view with reduced perspective distortion (and a different looks at the vehicle's shape). Shooting at car level from the front, back, or side and not too close can reduce visible perspective distortion, and moving back is always certain to reduce perspective distortion.
Select the focal length or focal length range that supports the desired perspective and composition within the working space. Select the aperture for thedesired depth of field and background blur.
This BMW image was captured just after sunset on a clear day, with the car strategically positioned to show only sky reflection in the windows. The 85mm f/1.2 combination yielded a strong background blur despite the relatively distant subject. The slightly forward of straight on camera position meant that most of the visible portion of the car was within the plane of sharp focus.
A larger version of this image is available here.
ISO 100
8192 x 5464px
Just posted: Canon RF 16-28mm F2.8 IS STM Lens Review.
This lens is a great addition to the RF lineup.
Support this site by ordering the Canon RF 16-28mm F2.8 IS STM Lens (or anything else) from B&H | Adorama | Canon USA | WEX | Camera Canada
Rent the Canon RF 16-28mm F2.8 IS STM Lens from Lensrentals.
From Canon USA:
Canon Launches imagePROGRAF PRO-310 Inkjet Printer
MELVILLE, N.Y., January 30, 2025 – Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the launch of the imagePROGRAF PRO-310 Professional Inkjet Printer, a 13-inch device for professional and prosumer photographers, students, and others looking for a home printer that can generate excellent color reproduction while possessing longevity and durability.
The imagePROGRAF PRO-310, designed to provide superior light resistance for long-term preservation of high-quality printed works, adopts the newly developed pigment ink, "LUCIA PRO II"1 – featuring 10 colors – to help meet the needs of professional photographers who want to print high-quality photos while preserving the appeal of their work for the future.
“The PRO-310 is designed to assist our customers achieve vivid colors while offering easy and efficient output, and we are excited to deliver the ability for users to make professional-looking prints and layouts to help meet their dynamic needs and continue to deliver exceptional results.” said Shuji “Steve” Suda, vice president of Canon U.S.A., Inc.
Designed for excellent color reproduction
The Canon imagePROGRAF PRO-310 adopts a newly developed LUCIA PRO II1 pigment ink system designed to help improve the image quality from previous models while also enhancing resistance to light. Improved black density on art paper was achieved by changing the formulation and material of matte black ink. The reformulated Chroma Optimizer is designed to give the surface a clear coat of transparent ink that helps suppress bronze phenomena and helps reduce uneven glossiness.
Improved longevity and durability
The pigment ink, "LUCIA PRO II," adds wax to ink to help provide scratch resistance, designed to make it easier to handle in framing, packaging, transportation, display, and other situations where the print could be easily damaged, while allowing for long-term appreciation and preservation.
For efficiency, a nozzle recovery system works to help ensure that is a clog is detected in one nozzle, other will automatically compensate, contributing to the reduction in the frequency of head cleanings while working to prevent print waste due to banding.
A built-in skew correction mechanism straightens paper fed diagonally from the top tray or manual feed tray, working to reducing printing errors by stabilizing output for thick paper and other paper types.
Canon is proud to announce the imagePROGRAF PRO-310 has registered for EPEAT Gold designation as a product, which, if awarded, would show that it has met EPEAT’s most demanding set of criteria for sustainability leadership in electronics1. The new model contributes to Canon’s commitment to sustainability by eliminating the use of polystyrene foam in product packing in favor of recyclable corrugated cardboard.
Availability and Pricing
The Canon imagePROGRAF PRO-310 is scheduled to be available February 2025 for a Manufacturer's Suggested Retail Price (MSRP) of $899.99
Orders
The Canon imagePROGRAF PRO-310 Inkjet Printer is in stock at B&H.
# # #
*Actual prices set by dealer and may vary. Specifications and availability are subject to change without notice.
1 Newly developed ink (released in January 2024) is used for 10 colors. Matte Black uses the same ink as imagePROGRAF GP-4000/2000 (released in September 2021).
2 Electronic Product Environmental Assessment Tool. An environmental assessment system established by GEC (the Green Electronics Council), American NPO, for the purpose of developing and promoting the market for environmentally friendly products.
Nextorage has announced 6 new CFexpress 4.0 Type B memory cards, 3 in the Advanced Edition series, and 3 in the Standard Edition series.
"Both series utilize TLC NAND Flash Memory and support the CFexpress 4.0 standard, offering backward compatibility with CFexpress 2.0 host devices. The NX-B3AE Series complies with VPG400 standards for stable video recording, while the NX-B3SE Series is ideal for still images especially for portraits, landscapes, and product shots." [Nextorage]
Check out the fast new Nextorage NX-B3AE Series CFexpress 4.0 Type A Memory Cards at B&H.
Check out the also fast Nextorage NX-B3SE Series CFexpress 4.0 Type A Memory Cards at Amazon.
Image quality test results are now available on the Canon RF 16-28mm F2.8 IS STM Lens page.
The expected step-above image quality is seen in these results.
Compared to the Canon RF 15-30mm F4.5-6.3 IS STM Lens
Compared to the Canon RF 14-35mm F4 L IS USM Lens
Compared to the Canon RF 15-35mm F2.8 L IS USM Lens
There are many additional relevant comparisons available.
Please share!
Support this site by ordering the Canon RF 16-28mm F2.8 IS STM Lens (or anything else) from B&H | Adorama | Canon USA | WEX | Camera Canada
Rent the Canon RF 16-28mm F2.8 IS STM Lens from Lensrentals.
I usually instruct my wildlife photography workshop participants to first think like a landscape photographer, prioritizing seeing and capturing the environmental wildlife photo option when the right scenario unfolds. While I love tight wildlife portraits, those are often more readily available than an image of the animal in a beautiful landscape.
Following such advice is complicated by using a long focal length prime lens, especially those in the 600mm F4 class. While these lenses create the best tightly framed, blurred background wildlife imagery, prime lenses require sneaker zoom to adjust the amount of the scene in the composition, and wildlife is not often patient enough to wait for the long sneaker zooming this narrow angle of view requires to sufficiently change the composition.
The long-lens environmental portrait strategy that more frequently works is watching for distant animals. On this afternoon, my crew was photographing a relatively close bull when another bull appeared far behind us at almost the perfect distance for 600mm. I say almost because the composition was slightly tight. Capturing some additional canvas in subsequent images enabled stitching a slight panorama that provided a little breathing room to the pines.
A common problem with long focal length long-distance photography is heat shimmer. While this image is mostly void of that problem, small indications of it still exist.
Join me to photograph the elk rut in Rocky Mountain National Park this September (2025). I recently learned that a repeat tour participant had to cancel their reservation for both weeks due to medical reasons, so I have one opening for each or both weeks of this not previously announced yet filled tour.
Special Offer: Sign up for both weeks and get two bonus days plus transportation from and to Denver.
Learn more: Elk Rut in Rocky Mountain National Park Photo Tour
Contact me for more information or to sign up.
A larger version of this image is available here.
ISO 640
8907 x 6054px
A huge bull elk is a spectacular sight, especially when it is in rut mode. What if that was the view in your camera's viewfinder? I have that opportunity for you.
Join me to photograph the elk rut in Rocky Mountain National Park this September (2025). I just learned that a repeat tour participant had to cancel their reservation for both weeks due to medical reasons, so I have one opening for each or both weeks of this not previously announced yet filled tour.
Special Offer: Sign up for both weeks and get two bonus days plus transportation from and to Denver.
Learn more: Elk Rut in Rocky Mountain National Park Photo Tour
Contact me for more information or to sign up.
The 1/125 sec. shutter speed used for this image is often too slow to stop the motion of wildlife. However, elk are usually relatively still when bugling.
With the camera in manual exposure mode with auto ISO selected and the top dial configured for shutter speed, a quick roll of the dial enabled fast adjustment to a slow shutter speed when the elk's motion paused. The result was the camera immediately auto selecting a considerably lower and less noisy ISO setting than was in use moments before.
Aperture is the third image brightness component of manual exposure. I photograph wildlife with a wide-open aperture unless increased depth of field is desired, such as when multiple animals are in the frame.
A larger version of this image is available here.
ISO 1000
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We're going to like this lens. The Canon RF 16-28mm F2.8 IS STM Lens page has information about (including MTF charts) and expectations for this model.
Support this site by ordering the RF 16-28mm F2.8 IS STM from B&H | Adorama | WEX
Please share!
From Canon USA:
Canon U.S.A. Announces the New RF16-28mm F2.8 IS STM Lens: Elevating Content Creation for the Next Generation
MELVILLE, NY, January 22, 2025 – Canon U.S.A., Inc., a leader in digital imaging solutions, is excited to unveil the new RF16-28mm F2.8 IS STM lens, joining the Canon RF28–70mm F2.8 STM as a more affordable f/2.8 zoom option for Canon mirrorless users. Designed for modern content creators, this lens delivers outstanding image quality, portability, and versatility—ideal for use across both photo and video.
Whether filming cinematic video or shooting intimate photo portraits, the RF16-28mm F2.8 IS STM provides sharp details and vibrant colors to elevate content with ease. Its compact, durable design makes it the perfect companion for creators working in both urban environments and remote locations, offering performance typically reserved for larger lenses.
Engineered for professionals and beginners alike, the RF16-28mm F2.8 IS STM combines fast autofocus, smooth aperture control, and outstanding optics. With the wide f/2.8 constant maximum aperture and ultra wide-angle zoom coverage, it captures high-resolution, crisp footage, while minimizing technical challenges, allowing creators to expand their creative vision. The lens also features focus breathing correction, which smooths video transitions during focus changes—an essential asset for filmmakers aiming for a polished, professional look in evolving shooting environments.
Additionally, the lens incorporates advanced stabilization systems for both stills and video. Coordinated control with Peripheral IS minimizes distortion at the edges of wide-angle shots, providing clear, crisp images across the entire frame. For video, coordinated control with Movie Digital IS enhances stabilization, making it perfect for handheld or highspeed shots, keeping footage steady and smooth even when walking or shooting in changing settings.
As demand for dynamic, high-quality content continues to grow, the RF16-28mm F2.8 IS STM stands out as an indispensable tool for photo and video content creators, landscape and travel enthusiasts, and everyday photographers alike—and the flexibility to meet the needs of today’s fast-paced digital world.
Pricing and Availability
The Canon RF16-28mm F2.8 IS STM Lens is available and currently scheduled to ship on February 11, 2025, for an estimated retail price of $1,149.00*.
* Specifications, availability and prices are subject to change without notice. Actual prices are set by individual dealers and may vary.
Interesting release from Canon Inc.:
Canon develops CMOS sensor with 410 megapixels, the largest number of pixels ever achieved in a 35 mm full-frame sensor
TOKYO, January 22, 2025— Canon Inc. announced today that it has developed a CMOS sensor with 410 megapixels (24,592 x 16,704 pixels), which is the largest number1 of pixels ever achieved in a 35 mm full-frame sensor. This sensor is expected to be used in applications that demand extreme resolution in various markets including surveillance, medicine, and industry.
The newly developed CMOS sensor features a resolution equivalent to 24K (198 times greater than Full HD, and 12 times greater than 8K). This enables users to crop any part of the image captured by this sensor and enlarge it significantly while maintaining high resolution. While many CMOS sensors with a super-high pixel count are medium-format or larger, this extreme resolution sensor is compacted into a 35 mm full-frame format. This allows it to be used in combination with lenses for full-frame sensors, and it is expected to contribute to the miniaturization of shooting equipment. As data readout of a CMOS sensor tends to take longer as the number of pixels increases, achieving a CMOS sensor with a super-high pixel count requires advanced signal processing technology. The newly developed sensor employs a back-illuminated stacked formation in which the pixel segment and signal processing segment are interlayered and also includes a redesigned circuitry pattern. As a result, the sensor is capable of achieving a super-high readout speed of 3,280 megapixels per second, delivering video at 8 frames per second2.
This sensor3 also features a “four-pixel binning” function that virtually treats four adjoining pixels as one, thereby improving sensitivity and making it possible to capture brighter images. When this function is in use, the sensor can capture 100-megapixel video at 24 frames per second.
By leveraging the technology it has accumulated over many years as a leading imaging company, Canon has developed breakthrough products including CMOS sensors with super-high pixel count and ultra-sensitivity, and SPAD sensors, which detect faint traces of light even in dark areas. Canon will continue to advance its technology and contribute to the transformation and further development of society.
Additional information
The sensor is scheduled to be displayed at the Canon booth at SPIE Photonics West, a leading global conference for optics and photonics held in San Francisco from January 28-30, 2025.
1 As of January 21, 2025 (According to a survey by Canon).
2 Applies to both color and monochrome sensors
3 Monochrome sensor only
This line is worth checking out: see the new Pelican ATX and HYBRID TRVL Cases with ModPak Storage System at B&H (Explora article).
Or, jump directly to the B&H new Pelican product list.
Learn more about the new DarkLight 14L and 20L Tactical Camera Backpacks at Think Tank Photo.
Don't forget that you'll get a free gift and free shipping when using this site's links for your purchase at Think Tank Photo ($50.00 minimum purchase required).
When your target subject can be found in a variety of locations, try the location with the most attractive environment first. The low growth in this field turns red and purple in the fall, making it a perfect choice for white-tailed deer photography. And, the subjects were cooperative this afternoon.
One of the cool features deer (and many other animals) possess is the ability to make their hair stand straight out. Yeah, what if people could do that? This buck marched in from far across the field to exert his dominance over another buck I was photographing, and as the dominant buck approached, he raised his hair to appear larger and more intimidating.
While this shot seems not to have required the performance of the Canon EOS R1, this was the only moment the buck looked at me with both ears forward, and the R1's fast continuous frame rate ensured that the perfect look was captured.
Deciding where to place the buck in the frame was continuously on my mind as it approached. Usually, I prefer to leave more space toward the side of the frame the body is facing and more space toward the side the head is looking at.
In this case, the head is facing the camera, calling for a centered framing, and the background has the symmetry that usually supports a centered subject. The deer's body is moderately pointed toward the viewer's left, calling for a little extra space on the left side for an overall balanced image.
Other moments with different angles and background variations called for other framing, and the R1's Eye Control and Eye Detection AF allowed instant changes.
A larger version of this image is available here.
ISO 2000
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On March 13-14, 2025, a total lunar eclipse will dazzle North and South America, and much of the rest of the world will enjoy a similar show on Sep 7–8, 2025.
Here is what you need to know.
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Upon finding this whitetail buck eating berries, I knew the shot I wanted. Patience paid off, and he eventually chose to eat the overhead berries to check that box.
I frequently talk about the background of an image, and here the green lichens-covered tree trunks add color that is indicative of this park. The lens took care of blurring those trees and the rest of the background, making the deer and berries he was eating stand out.
I was alternating between the EOS R1 and the EOS R5 Mark II on this trip, looking for performance differentiators, especially in regard to AF. The two cameras' AF systems performed similarly, with little difference being realized.
A larger version of this image is available here.
ISO 100
8192 x 5464px
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