On the Acadia National Park bucket list is to be the first person (or more accurately, among the first group of people) in the USA to see the sun on that day.
Checking off that item requires an early morning drive to the top of Cadillac Mountain.
Leading a small workshop on this day meant my priority was to make sure each participant was in their preferred location with their camera set up and ready for the action to start.
With that goal accomplished, I moved into the next-best location and locked a Canon EOS R5 and RF 15-35mm F2.8 L IS USM Lens
on a Really Right Stuff TVC-24L Mk2 Carbon Fiber Tripod and BH-40 Ball Head into a sunrise-ready position.
During this setup, the incredible scene unfolding on the horizon had my attention.
A tiny crescent moon is a great supporting element.
Combine that feature with a strong, colorful pre-sunrise or post-sunset gradient in the sky and throw in some water and mountains, and images I like are easy to create.
While this scene was in my locked-down composition, even 35mm does not render the moon a substantial size in the frame.
Fortunately, the Canon RF 70-200mm F2.8 L IS USM Lens and another R5 were in my MindShift Gear BackLight 26L.
What was not along was my second tripod, and I did not want to lose the locked-down composition held by the first.
So, I sat down on the rocks, rested arms on knees, and began shooting with the settings that would have been used if tripod-mounted.
Those settings were ISO 100 for the least noise, f/8 for considerable depth of field and reduced vignetting, and the shutter speed necessary to yield a right-aligned histogram.
That shutter speed was 2.5 seconds, a very long 70mm exposure without a tripod.
Amazingly, all of the dozens of images captured at this and, later, faster shutter speeds were sharp.
There was no need to use a higher ISO or a wider aperture setting — or a tripod.
This is impressive performance from the R5 and RF 70-200 combination.
It is often easy to create nice landscape images with telephoto focal lengths, and the Canon RF 70-200mm F2.8 L IS USM Lens is a great landscape lens.
This image is simple — minimalistic.
The dark mountain provides a base to the image, and the waterline is positioned approximately 1/3 into the frame.
The position of the 3.2% waning crescent moon and silhouetted evergreen trees work together to create an overall balance to the scene.
While many rules can be used for composition, overall balance is what I usually look for first.
Go big. A larger version of this image is available on Flickr.
Here are the details of the Christmas-grade camera and lens instant savings Sony introduced today.
The $500.00+ savings on the a7R III and a7R IV are especially enticing.
Note that addition free items are available in many of these deals at B&H.
Firmware update for the SIGMA MOUNT CONVERTER MC-11 EF-E
Thank you for purchasing and using our products.
We are pleased to announce that a firmware update for the SIGMA MOUNT CONVERTER MC-11 EF-E is now available.
·SIGMA MOUNT CONVERTER MC-11 EF-E
[Benefits of the update]
·It makes the converter compatible with the SIGMA 18-200mm F3.5-6.3 DC MACRO OS HSM | Contemporary in Canon EF mount, that has the latest firmware Ver.2.03
·It makes the converter compatible with the SIGMA 70-200mm F2.8 DG OS HSM | Sports in Canon EF mount, that has the latest firmware Ver.1.02.
·It makes the converter compatible with the SIGMA 100-400mm F5-6.3 DG OS HSM | Contemporary in Canon EF mount, that has the latest firmware Ver.2.07.
·It makes the converter compatible with the SIGMA 150-600mm F5-6.3 DG OS HSM | Sports in Canon EF mount, that has the latest firmware 2.02.
·It makes the converter compatible with the SIGMA 20mm F1.4 DG HSM | Art in Canon EF mount, that has the latest firmware 2.01.
[How to update]
Connect the SIGMA MOUNT CONVERTER MC-11 to a computer with the included USB cable, then open SIGMA Optimization Pro*. If there is a newer firmware version available than the one currently installed on your converter, you will see the message ‘There is the latest firmware for the converter’. Click ‘Yes’ to update.
?Before attaching the updated SIGMA MOUNT CONVERTER MC-11 to the camera body, please remove the battery pack from the camera then reinsert.
Discover the new Manfrotto Professional Batteries and Chargers
The NEW Manfrotto Professional Batteries and Chargers go above and beyond your average charging solution! With higher quality batteries, and faster, more efficient charging to ensure content creators are never without the power they need.
Peak performance, durability & quality! The Manfrotto Professional rechargeable batteries offer an ultra-high capacity of 2000 mAh for a wide range of Canon and Nikon cameras. Using Lithium ion technology, you can recharge the battery at any point.
Injected with silicone for a shock-absorbing construction, Professional batteries are built to withstand extreme tough environments, and are drop proof up to 9ft! Never lose your batteries to the bottom of your bag again, thanks to the signature Manfrotto red coloured housing.
Think all batteries are the same? Think again.
The Manfrotto ProCUBE is a DSLR twin charger made for a range of Canon, Nikon or Sony fit batteries. It features quick top up charge, a high-end LCD display, battery health check and can charge 1 or 2 batteries simultaneously! Each ProCUBE comes with a 12V car lead, an integrated 2.4A USB charger, numerous battery plates, and AA tray which charges 4 x AA batteries simultaneously.
The tray can also be used to store AA batteries when not in use, which makes the Manfrotto ProCUBE perfect for travelling, and is supplied with interchangeable US, Euro and UK plug heads.
No matter where your work takes you, you’ll never be without power!
Sometimes, an ultra-wide-angle lens becomes a requirement to get the shot.
Sometimes, a wide aperture is also required.
Both were requirements down in Monument Cove, Acadia National Park, on this night.
The Sony FE 12-24mm f/2.8 GM Lens had the credentials to get the job done.
As I climbed down into the cove, the plan was to capture the monolith in front of the milky way.
Upon arrival, I decided that the rock on the other side of the frame also had great character and wanted it included in the image.
Even at the extreme 12mm full-frame angle of view, keeping everything seen here in the frame meant my back was against the rock wall.
The milky way is typically photographed against a black sky.
However, if the sky is dark and the milky way is in view, it can be photographed at the end of the blue hour.
This image was captured about 7 minutes after "nautical end."
Despite a bit of light showing in the sky, it was very dark in the cove, and the f/2.8 aperture proved very helpful, keeping the ISO setting down to a still-high 8000.
This pic especially looks better big. A larger version of this image is available on Flickr.
Think Tank Photo has just released their new The Essentials Convertible Rolling Backpack. This rolling backpack goes where other rollers can’t. Roll it easily over smooth surfaces, or simply deploy the backpack straps to carry it over rough terrain.
Sized to meet most airline carry-on requirements, the Essentials fits two DSLR or Mirrorless bodies, a mounted 70–200mm, multiple lenses, and a 16-inch laptop. And because it’s from Think Tank, the bag will roll long into the future.
Use our link to get the detail and to receive a free Think Tank product and free U.S. shipping on all orders over $50.00.
As usual, this gear is being sold to raise funds.
Most items are in excellent condition, and a pair of excellent Canon EF lenses and some cameras are on this list.
Check the list to see if anything fits into your kit.
Update: Canon USA has published a press release that does not require translation:
Canon U.S.A. Announces Three New Industrial Imaging Sensors
MELVILLE, NY, October 19, 2020 – As imaging sensors continue to be an essential component of industrial processes, Canon U.S.A., Inc., a leader in digital imaging solutions, is excited to announce three new CMOS (complementary metal-oxide semiconductors) sensors: the ultra-high-resolution LI8020 series, the ultra-high sensitivity LI3030 series, and the LI7050SAC. These sensors help expand the company’s lineup of industrial vision products while offering integrators and end-users additional capabilities when developing solutions for various applications.
The LI8020SAC (color)/LI8020SAM (monochrome) ultra-high resolution CMOS sensor features a pixel pitch of 1.5 µm (micrometer) and a resolution of approximately 250 million pixels, which provides detailed images in a wide range of applications and situations. The sensor will help meet the needs of manufacturers to inspect flat panel displays, which frequently exhibit 4K and sometimes even 8K content. The sensor can also be a tool for video production, digital archiving, wide-area monitoring, and the medical industry by providing ultra-high resolution and ultra-high-speed signal readouts. Due to the ultra-high pixel count of the sensor, images can be captured that maintain incredible image quality, even if an area of the moving or still image has been cropped and enlarged using an electronic zoom.
The new sensor can capture video at an ultra-high-resolution that is approximately 125 times higher than Full HD (1920 × 1080 pixels) and about 30 times higher than 4K (3840 × 2160 pixels). Still images can be captured at a speed of approximately five frames per second even when reading all the pixels. A fast signal readout of 1.25 billion pixels per second helps to avoid the potential of any signal delay or deviation. The rapid signal readout is achieved by advancing circuit miniaturization and signal processing technology. When the Read Return on Investment (Region of Interest) feature is utilized, the frame rate of the sensor can be increased by selecting an area and reducing the amount of information to be read. If a user doesn’t need the input of every pixel, the ROI readout function allows you to read every pixel at five fps, 8K at 24 fps, 4K at 30 fps, and Full HD at 60 fps. The sensor also features a "thinning-out read function" that enables high-speed readout by reducing the number of vertical pixels to be read out of the full shooting area, allowing selection of an output data format that suits users’ needs.
The LI3030SAI (RGB-IR)/LI3030SAM (monochrome) sensor is a 35mm full-size ultra-high sensitivity CMOS sensor with a large pixel size of 19 µm that allows for image capturing in low-light environments where it can difficult for the naked eye to identify the subject. The sensor can read 2160 × 1280 pixels, which is wider than Full HD (1920 × 1080 pixels), enabling it to be a suitable solution for astronomical observation applications and the monitoring and industrial applications that require high-resolution images with a specific aspect ratio.
Compared to similar Canon models, the sensitivity of the LI3030SAI and LI3030SAM sensor is approximately 2.3 and 3 times higher in the near-infrared range, respectively. The sensitivity capabilities of the LI3030SAI allow users to see the pupil of a human-eye through sunglasses. The LI3030SAM sensitivity capabilities enable users to capture monochrome moving images and can reduce the appearance of dust, enhancing astronomical observation. By assigning one pixel of the color filter as a pixel for the near-infrared region, it is possible to simultaneously acquire color and near-infrared motion images with a single sensor even under low-light conditions. In addition, since the differences in the reflectance and absorbance of light in the near-infrared region can be detected from weak signals and the state of the inside of a substance can be observed, the sensor can be used in a wide range of industrial and medical fields. Use-case examples include long-distance monitoring at night, observation of crop growth in a wide area, inspection of foreign matter contamination in food factories, and visualization of biological tissues.
The LI7050SAC is a high resolution CMOS sensor that is ideal for security camera use because of its high sensitivity and price point. Featuring a pixel pitch of 4.1 µm and a resolution of approximately 2.12 million pixels, the sensor provides a High Dynamic Range (HDR) of equivalent to up to 20 stops with frame rates of 30fps and 60fps. What’s more, the sensor features a 54,000 green sensitivity level and can read 1936 × 1096 pixels, which is slightly higher than HD resolution.
For more information on Canon sensors including how to talk to a sales representative, please visit canon-cmos-sensors.com.
Released "LI8020SAC / LI8020SAM", an ultra-high resolution CMOS sensor with approximately 250 million pixels
October 19, 2020
Canon Marketing Japan Inc.
As a new product of APS-H size (about 29.4 x 18.9 mm) CMOS sensor, Canon will release "LI8020SAC (color) / LI8020SAM (monochrome)" capable of imaging about 250 million pixels (19,568 x 12,588 pixels) in 2020. It will be released in late October of the year.
LI8020SAC / LI8020SAM
The new product is an ultra-high resolution CMOS sensor with approximately 250 million pixels, which enables you to capture detailed information in an image while shooting a wide range.
In addition, by setting the pitch of one pixel to 1.5 µm (micrometer), we have achieved approximately 250 million pixels in APS-H size, making it possible to use it for various purposes.
It can be used for various purposes such as FPD (flat panel display) inspection, which has become higher definition due to the development of 4K / 8K video technology, industrial inspection, video production, digital archive, wide area surveillance, microscope, etc. Meet the needs of users.
Get detailed information even in a wide range of shooting with ultra-high resolution of about 250 million pixels
The new product is capable of imaging at ultra-high resolution of about 250 million pixels, which is about 125 times that of full HD (1,920 x 1,080 pixels) and about 30 times that of 4K (3,840 x 2,160 pixels), and can be taken in any shooting range.
Sufficient resolution can be obtained by trimming the area and enlarging it with an electronic zoom.
Achieves ultra-high-speed signal reading of approximately 1.25 billion pixels / second
With CMOS sensors, the amount of signal increases as the number of pixels increases, causing signal delays and slight timing deviations.
The new product has an ultra-multi-pixel structure of approximately 250 million pixels, but by refining the circuit and advancing signal processing technology, it has achieved an ultra-high-speed signal readout of approximately 1.25 billion pixels per second.
This enables ultra-high resolution imaging at a speed of approximately 5 frames / sec even when all pixels are read out.
Supports data output according to user needs with "ROI read function" etc.
The new product is equipped with a "ROI (Region of Interest) read function" that selectively reads only an arbitrary area.
If you want to read only a specific area at high speed, you can use the "ROI read function" at 24 fps for 8K (7,680 x 4,320 pixels), 30 fps for 4K (3,840 x 2,160), and 60 fps for full HD (1,920 x 1,080).
Video recording is possible.
It also has a "thinning out reading function * " that thins out the entire image area in the vertical direction to read out, so you can select the data output method that suits your needs.
* 4 patterns of thinning are possible. 1/3 is about 15fps, 1/5 is about 25fps, 1/7 is about 35fps, and 1/9 is about 45fps.
CMOS sensor market trends
Digital technologies such as image processing are also undergoing rapid evolution as high-definition technology is advancing for FPD inspection equipment.
High resolution is also required for CMOS sensors, which are the eyes of inspection equipment, and manufacturing sites are demanding inspection equipment equipped with ultra-high resolution sensors.
In addition, ultra-high resolution sensors are expected to be used in applications such as wide area monitoring. (Research by Canon)
In my Canon EOS R5 and EOS R6 Setup Guide, I indicated that "Focus bracketing" and "Number of bracketed shots" were included on the My Menu tab 2.
The R5 is my first daily-use camera to have this feature (one of the first Canon EOS cameras to get it), and I've been anxious to put this feature to use in the field.
Remembering that the feature is now a couple of button presses away is the first in-the-field challenge.
The Mount Desert Island Historical Society beautifully maintains the Somesville Bridge, Selectmen's Building, and the surrounding grounds.
This includes planter boxes that always hold attractive flowering plant arrangements in the fall.
These planters beg to be included in the frame, but including the plants, the bridge, and the building in the same frame requires extreme depth of field for all details to be sharp.
Extreme depth of field generally requires a very narrow aperture, and a very narrow aperture generally results in a diffraction-softened image.
Focus bracketing solves this problem.
For this picture, the focal length that best composed the scene was first selected, and the Really Right Stuff TVC-24L Mk2 Tripod with an
RRS BH-40 Ball Head was moved into a somewhat awkward position to lock the composition down.
ISO 100 was selected for the least noise, f/11 was selected to gain a significant depth of field for each image (f/8 would have been a good alternative in hindsight), and the shutter speed, 1/10 sec., was selected for the final exposure brightness,
just bright enough to cause minor overexposed highlights on the bridge (blinking during image review).
The R5's "Focus bracketing" was enabled and the "Number of bracketed shots" was set to 15.
With the lens in AF mode, the focus spot was placed over the closest subject, the ornamental cabbage flower.
When the shutter release was pressed using the 2-second self-timer mode, the camera took a series of images.
While I selected 15 bracketed shots in the menu, the camera knew that only four were required for this scenario.
In Canon Digital Photo Professional (DPP), the four RAW images were selected, and the Tools > Depth Compositing > Start depth compositing tool menu option was selected.
The default settings were used to output a 16-bit TIFF file that only required minor adjustments unrelated to focus.
My wife thinks the cabbage is too big relative to the background elements, but moving into the street to capture a more distant view was not a good idea from a safety perspective,
and that perspective would have resulted in sidewalk and other less attractive elements being included in the frame.
Harder to argue against is that the flowers provide lots of color in the frame.
Regardless, hopefully the ease of creating a focus bracketed image with the Canon EOS R5 and EOS R6 is illuminated.
A larger version of this image is available on Flickr.
I can attest to the sleeping qualities of the tundra.
In general, I avoid photographing wildlife from a downward angle, and unless obstructions such as tall grass are present, you will often find me photographing wildlife from a squatted or seated position.
However, when the subject is lying down on the ground, it can be especially challenging to get down to their level.
In this case, I was flat out, lying down on the tundra alongside this huge bull moose.
With the tundra under me, I have seldom had such a comfortable shooting position — a very welcomed restful position after hiking the miles necessary to get to this location.
Shooting handheld, taking advantage of the excellent image stabilization this camera and lens provide, gave me the ability to get into unique positions very quickly on this adventure.
A larger version of this image is available on Flickr.
Earlier this week (I just returned from leading a photo workshop in Acadia National Park and am catching up), DJI announced a pair of new gimbals:
DJI’s Ronin Series Grows Stronger, Lighter, and Smarter with New DJI RS 2 and RSC 2 Gimbals
Two Stabilization Systems Offer Reworked Designs and New Creative Functions to Become Workhorses for Filmmakers and Content Creators
October 14, 2020 – DJI, the global leader in civilian drones and creative camera technology, today expands the legacy of the highly popular and prestigious DJI Ronin series, by introducing the rebranded DJI RS 2 and DJI RSC 2. Redesigned and reimagined, both systems offer the filmmaking and content creation community an extremely robust, versatile, and professional 3-axis camera gimbal for their various needs. DJI RS 2 brings added strength and agility to creators using heavier camera systems such as DSLR and compact cinema cameras. At the same time, DJI RSC 2 was created to be more portable, meeting the needs of mirrorless and more compact camera operators.
“DJI’s first Ronin-S and the original Ronin-SC created so much excitement when they launched that we immediately went back to the drawing board to figure out how to make our products even better,” said Paul Pan, Senior Product Line Manager. “Just like with the first version, we took time to research how our professional customers use their Ronin products and what new features they wanted in the next generation of a handheld gimbal. Yet again, the result is the culmination of user feedback, years of design and development, and significant advancements in stabilization technology. Now we are excited to showcase two new filmmaking tools designed to meet the needs of a wide array of filmmakers. From cinema cameras to mirrorless systems, we have a solution for you.”
DJI RS 2: Masterfully Crafted
Considering a tremendous amount of feedback from professional operators, DJI RS 2 incorporates carbon fiber in vital structural components, reducing weight down to 1.3 kg (2.86 lbs) while remaining highly durable. Pushing the innovation of single-handed gimbal technology even further, DJI RS 2 now supports a tested dynamic payload of 4.5 kg (10 lbs) for creators to use heavier camera and lens combinations while still achieving up to 12 hours of battery life. A new quick-charge function directly to the battery handle has been added for urgent situations, providing an extra two hours of battery life with just a 15-minute charge.
DJI RS 2 continues pushing gimbal technology forward with the ability to support heavier payloads while capturing ultra-smooth cinematic footage. Based on years of experience developing predictive technology, a newly optimized Titan Stabilization Algorithm reduces the need for manual user input while compensating for user movement and optimizing the gimbal tilt and angle. Additionally, a new SuperSmooth mode provides another level of camera stability, especially for compensating longer focal length lenses of up to 100mm.
Simple to set up, easy to operate, and highly customizable, DJI RS 2 was created to allow filmmakers to adapt their system to their filming needs while feeling confident it will easily integrate into their workflow. Axis locks enable easier transportation and balancing, while a dual-layer camera mounting plate is compatible with both the Arca-Swiss and Manfrotto standard. A fine-tune balancing knob allows for even more precise balancing of the camera payload. The built-in 1.4” color touchscreen can display camera data, gimbal settings, or a live feed from the camera. Supporting 11 different languages, the ultra-bright screen can also initiate key functions such as ActiveTrack and intelligent shooting modes. The built-in front dial above the trigger allows for precise focus control and complements a DJI Focus Wheel mounted on the RSA port to create two-channel focus and zoom. DJI RS 2 also turns into a versatile tool that can be attached and used with other systems such as jibs, car attachments, and sliders. Two RSA ports double as NATO ports so that users can mount accessories and attachments such as grips and a remote controller.
DJI RSC 2: Filmmaking Unfolds
A completely new and portable folding design makes DJI RSC 2 easy for creators to carry everywhere without adding additional weight to the gear list. Additionally, the folding design provides creative ways to use the gimbal such as vertical filming without additional accessories, as well as a new Briefcase mode, where the main gimbal arm can be loosened and slung forward to provide unique shooting angles. Durable materials like steel are used on vital and frequently used components, while lightweight materials such as aluminum reduce overall weight. DJI RSC 2 weighs in at 1.2 kg (2.65 lbs), nearly 35% less than the original Ronin-S, and has a folding footprint of 180×190 mm, the same size as a sheet of A5 paper. The built-in battery offers an impressive 12 hours of battery life and – like DJI RS 2 – the new quick-charge function directly to the battery handle has been added for urgent situations.
DJI RSC 2 remains lightweight and portable, featuring stronger motors to support a tested payload of up to 3 kg (6.6 lbs). This increased dynamic payload supports popular mirrorless cameras along with heavier combinations like the Panasonic S1H and a 24-70mm lens. Using the same advanced technology as DJI RS 2, the newly optimized Titan Stabilization Algorithm generates a new level of stability – smoothing out fine details in conjunction with the motorized gimbal for some of the most advanced stabilization on the market. DJI RSC 2 is compatible with a wide array of camera models so users can get the most out of the system. Axis locks enable easier transportation and balancing, while a dual-layer camera mounting plate is compatible with both the Arca-Swiss and Manfrotto standard. A 1” built-in OLED screen displays camera data with the ability to adjust settings directly.
Multifaceted Gimbals Supported by an Advanced App and Accessories
DJI RS 2 and RSC 2 were designed to expand beyond single-handed stabilization into tools that can be customized with additional accessories to achieve the desired shot. These accessories include a cheese plate, Focus Wheel, 3D Focus System, Twist Grip Dual Handle, RavenEye Image Transmission System, Tethered Control Handle, counterweight systems, and more. For remote operation, both DJI RS 2 and DJI RSC 2 can use ActiveTrack 3.0 when the RavenEye Image Transmission System is connected, sending a 1080p/30fps low-latency feed to a mobile device using the Ronin app from up to 200 meters away.
Vital features and functions can now be controlled and adjusted over long distances with the Ronin app such as gimbal movement using the virtual joystick and Force Mobile, where the gimbal mimics the mobile device’s movement. For solo operators using manual-focus lenses, the 3D Focus System uses state-of-the-art TOF sensors mounted above the camera to provide autofocus. This enables a single shooter to capture smooth and cinematic footage using a manual lens, without relying on a second camera operator or focus puller.
Pre-Programmed Movements and Features That Make Stories Come to Life
DJI RS 2 and RSC 2 expand on their predecessors’ suite of creative modes, movements, and features with tools to help capture content that stands out, including:
*New* Time Tunnel: The system performs a 360-degree roll while capturing a hyperlapse, adding a level of creativity to footage.
Flashlight: The system tilts the camera all the way forward so users can grip the base like a flashlight.
One-Tap Portrait Mode: The gimbal quickly orients the camera into vertical shooting for professional-level social media content.
Panorama: After configuring sensor and focal length, choose a start and stop point for panoramas up to gigapixel size.
Roll 360: The gimbal enters into the Flashlight position and rolls the camera system 360 degrees.
Timelapse: This classic feature shows subtle changes over durations of your choosing.
DJI Care Refresh
DJI Care Refresh is now available for both DJI RSC 2 and RS 2. For an additional charge, DJI Care Refresh offers comprehensive coverage as well as up to two replacement units within one year. Receive your replacement even sooner with DJI Care Refresh Express. DJI Care Refresh also includes VIP after-sales support and free two-way shipping. For a full list of details, please visit https://www.dji.com/service/djicare-refresh.
Price and Availability
DJI RS 2 and DJI RS 2 are available for purchase today from authorized retailers and on www.store.dji.com. Each product offers purchase options for a standalone gimbal and a combination pack that includes additional accessories. The standalone DJI RS 2 is available for the retail price of $849 USD, and the standalone DJI RSC 2 is available at the retail price of $499 USD. The Pro Combo includes additional accessories such as a phone holder, Focus Motor, RavenEye Image Transmitter, dedicated carrying case, and more. The DJI RS 2 Pro Combo is priced at $999 USD, and the DJI RSC 2 Pro Combo is priced at $739 USD. Full details on this can be found below.
Don’t miss our special pricing on select Sony cameras and lenses through October 18. Get deep discounts on cameras with deals like $1000 off the Sony a9,
$500 off the Sony a7R series and $100 off the Sony ZV-1.
Save even more with our current discounts on lenses including $300 off the Sony 24-105 f/4 G, $200 off the Sony 16-35mm f/2.8 G Master,
Sony 24-70mm f/2.8 G Master and Sony 70-200mm f/2.8 G Master and $50 off the Sony 20mm f/1.8 G.
See a snapshot of some of the deals below and visit our Promos page for a complete list of special pricing.
"Take your photography to the next level with the skills, ideas, and tools you need to create astonishing photos."
Get over $2,700.00 worth of resources for only $89.00!
A great part of this event is the impact on those in need, with ten percent of the bundle revenue ($8.90 per sale) going directly to charities.
With the popularity of this bundle, the charity revenue is very significant.
With every good story, there’s often a better backstory.
The same is true with the BackStory Series of camera backpacks.
The BackStory’s rear-panel opening offers complete access to your gear while a top panel provides quick access to your camera and speeds your workflow. A deep front compartment with zippered mesh pockets has ample room for personal gear, including a 10” tablet and laptop (size specific). And with its plush shoulder harness and removable waist belt, the BackStory is comfortable enough to wear all day.
The day before my arrival, still late summer, Rocky Mountain National Park received a wintry weather blast that included a snowstorm.
With a clearing storm forecasted for the next morning, heading to a high elevation mountain lake for a dramatic landscape image seemed the right plan.
That excitement ended abruptly.
Instead of an amazing set of landscape images, I was delivered dense cloud cover, continuous snow, and brutal winds.
However, the sunset conditions easily made up for the AM troubles.
The wind became still, and the remaining clouds took on great color.
There are times in the field when you know that you are capturing an image that you will be excited about.
This was one of those times.
I quickly shot a variety of images from my rock perch, capturing bracketed exposures, varying the focal length, and fine-tuning the composition.
This selected image was a single exposure captured at an extremely wide 12mm focal length, enabling the large rocks on the lower right side of the frame to be included along with the high clouds and their reflections.
A fully-level camera keeps especially the trees on the left side of the frame straight.
What do I like least about this composition?
The wide-angle focal length makes the distant mountain appear small in relation to the foreground.
I decided that there was enough valuable supporting detail in the frame to offset that deficit (and I zoomed in to capture that image also).
Unknown to me this evening was that the snowstorm had cleaned the air of wildfire smoke and that this would be the last time I would see an even marginally photogenic sunrise or sunset for the duration of my time in Colorado.
A larger version of this image is available on Flickr.
Read the details of this promotion at Amazon,
but the basics are: get Prime (free trial available) and sign up for the Prime Rewards Visa card to get 10% back on a long list of items, including some great cameras and lenses.
Is the Canon EOS R5 a good wildlife camera? Absolutely.
I had the opportunity to select any camera available for an over-two-week wildlife photo trip.
The pair of Canon EOS R5 bodies already in my kit, and I am left extremely impressed as I review the images from this trip.
Here are 7 reasons why I find the Canon EOS R5 to be the ultimate wildlife camera:
1. The AF System Rocks, Especially the Animal Eye AF Feature
Most notably, the eye-in-focus rate from the EOS R5 was considerably higher than my experience with any camera prior.
Keeping a wildlife subject's eye in focus is a critical challenge of wildlife photography, and keeping the ideal focus point on a wildlife subject's eye is a key to that challenge.
When a bird or animal turns its head, the ideal composition typically changes just as fast as the head turned, often requiring the AF point to be moved completely across the frame.
Swimming ducks can change directions almost instantly.
Too often, the subject changes position again before the AF point is in the required new position.
Hence, the shots are missed.
In a large percentage of scenarios, the R5's animal eye AF system eliminates the AF point challenge, permitting the photographer to concentrate on proper scene framing with the eye being tracked throughout nearly the entire frame.
I have photographed a variety of birds and animals with the R5, including whitetail and mule deer, elk, moose, coyote, ground squirrels, turkeys (ever try to focus on a feeding turkey's head?), green herons, magpies, whistling swans, frogs, and even stuffed animals.
The only subject in that list to confound the R5's animal eye AF enough for me to not trust using it nearly 100% of the time was the moose, and with the dark hair surrounding that animal's eye, it is hard to fault the R5 for that one.
Even when not using eye AF, this camera's AI Servo AF tracked moving subjects very accurately
2. The Frame Rate is Fast
Animals move, and capturing the ideal body, leg, and wing position can be critical.
The challenge is even greater when multiple subjects are in the frame.
Capturing the movement sequence can also be desired.
Even when the subjects are standing still (or bedded), there can still be movement in the frame.
A drip of water falling from a duck's bill can make the difference between a good shot and a great shot.
A moose's big eyebrow lifting even slightly can allow a catchlight or a larger catchlight, increasing the value of the image.
If the eye goes closed during a blink (I'm amazed at my ability to time a single shot with a bird closing its necessitating membrane), the image is not likely as attractive to me as an alert, open eye.
A fast frame rate can catch the pinnacle point in time.
Fully supporting the fast frame write is the deep buffer coupled with the fast card write speed.
Even when writing to SD cards, I barely reached the buffer full state only once.
3. The EVF is Excellent with Lack of Blackout
When shooting in continuous mode, electronic viewfinders typically freeze or blackout while each frame is being captured, and it is very difficult to track a moving subject without being able to see it.
The R5 does not have that problem.
In addition, the resolution of this EVF is high enough to be able to see when a catchlight appears in the animal's eye along with other important details.
4. The Image Quality is Excellent, Ultra-High Resolution Included
The R5 delivers crisp, high-resolution image quality that is ready to be printed large, and when focal length limited in the field, the EOS R5 provides adequate resolution to crop deeply.
5. The Grip is Adequately-Sized and Comfortable
Spending many hours a day with the camera in hand was not unusual on this trip, and having a significantly-sized, expensive lens hanging from it was the norm.
A sore hand developing could cause problems for the remaining days, and a grip slip could spell doom for especially the lens, a big problem when a replacement is not readily available.
I find the R5 grip to be comfortable and sure.
6. The Weather Sealing and Build Quality can Save the Day
While the R5 is not built up to the standard of Canon's 1-series cameras, it is solidly built with good weather sealing.
The weather is not controllable, and when photographing wildlife, unfavorable conditions are not uncommon.
I photographed in a snowstorm in CO, and while photographing moose in Alaska, it was raining lightly nearly the entire time.
Sometimes I used a rain cover in AK, but not always.
That this camera is relatively light is a definite bonus when it is being carried for many hours and many miles.
7. The Controls are Intuitive and Customizable
The faster I can adjust the camera settings that are important to me, the faster I can get back in the game.
The set of controls provided on the R5 are just right for changing the important wildlife photography-related settings, especially with the M-Fn button programmed to provide the ideal subset of options.
I was fortunate to spend nearly 7 hours with the Rocky Mountain National Park bull elk in the image accompanying this post.
Few elk have antlers that are larger, more symmetrical, and more perfectly shaped than his set.
My time with this brute included the dreaded mid-day hours where harsh shadows and heat waves tend to rule.
Amazingly, the edge of a large cloud remained still, blocking the sun during nearly this entire time.
The provided light was bright and soft while the heatwave issue was significantly reduced.
In this case, the denser portion of the cloud darkened the background, providing a high contrast that, along with the shallow depth of field from the Canon EF 600mm f/4L IS III USM Lens,
makes the subject stand out.
I prefer to photograph wildlife at their level and often like to be even lowered than eye level to give them a larger appearance (and increase the odds of a catchlight appearing).
The low flora in this meadow accommodated a squatted shooting level nicely.
Is the R5's battery life adequate?
The pair of Canon LP-E6NH packs in the
Canon BG-R10 Battery Grip delivered 4,300 images before giving up on this day.
It is easy to add another battery or two to a pocket if this volume is not adequate for your needs.
How do EF lenses perform on the Canon Mount Adapter EF-EOS R?
After mounting the adapter, I forgot that it was there.
The lens seemed normal during use, and the R5 delivered a considerably higher in-focus rate than I am used to.