Canon and Sony News and What's New (Excluding Deals) RSS Feed for Photography Deals Omitted

 Friday, May 13, 2022

"Capture One 22 (15.2.1) is a service pack with important bug fixes and a lens profile" for the Canon RF 70-200mm F2.8 L IS USM Lens.

Get the full details of this update in the release notes.

Get Capture One at B&H.

Post Date: 5/13/2022 7:23:26 AM CT   Posted By: Bryan
 Tuesday, May 10, 2022

Just posted: Pelican 1615 Air Wheeled Hard Case Review.

This case is nearly the same as the Pelican 1637 Air Wheeled Hard Case, with one significant exception — the dimensions.

Order the Pelican 1615 Air Wheeled Hard Case from B&H | Adorama | Amazon USA | WEX

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Post Date: 5/10/2022 8:48:54 AM CT   Posted By: Bryan

Sony's full year 2021 financial results are available on the Investor Relations page.

Presentation (track I&SS for the Imaging and Sensing Solutions segment)
Speech Transcript
Financial Statements
Supplementary Information Webcast

On page 21 of the presentation, Sony forecasts a strong 37% increase for the Imaging and Sensing Solutions Segment in 2022.

Posted to: Sony News   Category: Sony Financial Statements
Post Date: 5/10/2022 8:24:21 AM CT   Posted By: Bryan
 Monday, May 9, 2022

Time to start planning: a total supermoon lunar eclipse is coming on May 15-16, 2022 and, barring clouds, will be visible to a significant population, including most of the USA.

From EarthSky.org:

People in the Americas, Europe and Africa will see the total lunar eclipse during the night of May 15-16, 2022. Plus, on this night, the moon is close: a supermoon.

Penumbral eclipse begins at 1:32 UTC on May 16 (9:32 p.m. EDT on May 15).

Partial eclipse begins at 2:27 UTC on May 16 (10:27 p.m. EDT on May 15).

Totality begins (moon engulfed in Earth’s shadow) begins at 3:29 UTC on May 16 (11:29 p.m. EDT on May 15).

Totality ends at 4:53 UTC on May 16 (12:53 a.m. EDT).

Partial eclipse ends at 5:55 UTC on May 16 (1:55 a.m. EDT).

Penumbral eclipse ends at 6:50 UTC on May 16 (2:50 a.m. EDT).

Maximum eclipse is at 4:12 UTC on May 16 (12:12 a.m. EDT).

Duration of totality: About 85 minutes.

Note: This total eclipse is central. That means the moon passes centrally through the axis of Earth’s dark (umbral) shadow. The moon is in a near part of its orbit – close to Earth – during the eclipse. It’s a supermoon.

Because they are so deep, such eclipses typically have the longest total phases. In this case, the duration of totality lasts almost an hour and a half: 84.9 minutes!

Get the complete lunar eclipse details at EarthSky.org

Plan to participate in this event. Order your long telephoto lens now from B&H to ensure the ability to capture the lunar details in high resolution. You might want to also pick up a tracking mount.

Here is the story behind the Super Wolf Blood Moon Lunar Eclipse 2019 Progression Composite Image.

Use your favorite night sky app (such as Photo Ephemeris) to determine moon's elevation. You need to ensure that the shooting location does not have obstructions that will not block the view during the shooting period.

Many of us will find the moon high in the sky when the eclipse begins and will be shooting nearly straight up during totality. The How to Shoot Upward with a Large Lens While Using a Gimbal Tripod Head article may be helpful.

Post Date: 5/9/2022 1:47:15 PM CT   Posted By: Bryan

Just posted: Cartoni Focus 8 Fluid Video Head Review.

The Focus 8 is entry level into the high-performing Cartoni Focus series.

Order the Cartoni Focus 8 Fluid Video Head from B&H or Adorama.

Please share!

Post Date: 5/9/2022 7:56:56 AM CT   Posted By: Bryan
 Friday, May 6, 2022

Image quality, vignetting, flare, and distortion test results along with specs, measurements, and standard product images are now available on the Sigma 18-50mm F2.8 DC DN Contemporary Lens page.

This lens is available in Sony E and Leica L mounts. Order the Sigma 18-50mm F2.8 DC DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX

Rent the Sigma 18-50mm F2.8 DC DN Contemporary Lens from Lensrentals.

Please share!

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 5/6/2022 8:51:24 AM CT   Posted By: Bryan

Note that the new, faster Delkin Devices 512GB BLACK CFexpress Type B Memory Card is priced at only 499.99. That is less than $1/GB for a fast, premium-grade card.

The new Delkin Devices BLACK CFexpress Type B Memory Cards are in stock at B&H.

From Delkin Devices:

Delkin's New BLACK CFexpress™ Type B Memory Cards Surpass Nikon Z9 Limits

POWAY, CA, MAY 6, 2022 - Delkin Devices, a manufacturer of flash storage solutions and camera accessories, announced today the launch of its latest version of top-selling BLACK CFexpress™ Type B memory cards. With improved speeds, more capacity and guaranteed full compatibility with the latest Nikon Z9 firmware (v2.0), Delkin’s BLACK CFexpress™ cards offer photographers and videographers a solution that is both reliable and trustworthy for professional use.

Specially designed to meet the data-intensive demands of today’s broadcast, cinema and photography industries, Delkin BLACK CFexpress™ Type B cards provide minimum sustained sequential write speeds exceeding 1240 MB/s, guaranteeing flawless cinema-quality video recording, including 8K RAW 12-Bit @ 60fps (2.6 Gbps) in the Nikon Z9. These cards when used in the Nikon Z9 also allow shooters to surpass the maximums stated in the camera manual, capturing an unlimited amount of high-resolution RAW photos in a single press. The cards are also capable of offloading data at speeds reaching up to 1725 MB/s, ensuring the quickest, most efficient data transfer from card to computer for immediate file access and sooner post-production start time.

Delkin Devices BLACK CFexpress Type B Memory Cards

“What is the Delkin Difference?” asks Jenn Sherry, Delkin's Director of Retail Sales & Marketing. She continues, “a handful of key things make us rock. Our Delkin BLACK line offers the World’s Best Warranty for memory cards, the cards come serialized from authorized retailers and we offer customer service in four time zones around the globe. No other memory card company offers that to their customers. If you haven’t purchased a Delkin CFexpress card before, give us a chance. I’m happy to take your call personally and answer any questions.”

Each BLACK CFexpress™ Type B memory card has undergone extensive testing to ensure full functionality in today’s high-end cinematic hosts, including ones from Canon® (C300 Mark III, C500 Mark II, 1D X Mark III, R3, R5 & R5C), Nikon® (D6, Z6 II, Z7 II & Z9), Panasonic® (S1/S1R & GH6) and Phase One® (XF IQ4). It is important to note though that CFexpress™ Type B cards are not backwards compatible with either CFexpress™ Type A, CFast 2.0 or CompactFlash hosts.

In addition to their “Lifetime Warranty” policy, Delkin continues to offer a unique built-in insurance policy for their BLACK memory cards, known as the “48-Hour Replacement Guarantee”. Delkin will replace any non-working BLACK card within 48 hours or less (not including weekends), prior to receiving the non-working card. Cards can also be exchanged over-the-counter at any authorized Delkin BLACK reseller.

Post Date: 5/6/2022 8:37:15 AM CT   Posted By: Bryan
 Thursday, May 5, 2022

Image quality, vignetting, flare, and distortion test results along with specs, measurements, and standard product images are now available on the Sigma 16mm F1.4 DC DN Contemporary Lens page.

This lens is available in Canon EF-M, Sony E, Leica L, Fujifilm X, and Micro Four Thirds mounts.

Save $75.00 instantly via the current Sigma promotion. Order the Sigma 16mm F1.4 DC DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX

Rent the Sigma 16mm F1.4 DC DN Contemporary Lens from Lensrentals.

Please share!

Post Date: 5/5/2022 8:27:25 AM CT   Posted By: Bryan
 Tuesday, May 3, 2022

Image quality, vignetting, flare, and distortion test results along with specs and measurements are now available on the Sigma 30mm F1.4 DC DN Contemporary Lens page.

This lens is available in Canon EF-M, Sony E, Leica L, Fujifilm X, and Micro Four Thirds mounts.

Save $75.00 instantly via the current Sigma promotion. Order the Sigma 30mm F1.4 DC DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX

Rent the Sigma 30mm F1.4 DC DN Contemporary Lens from Lensrentals.

Please share!

Post Date: 5/3/2022 9:20:05 AM CT   Posted By: Bryan
 Monday, May 2, 2022

Image quality test results are available on the Sigma 56mm F1.4 DC DN Contemporary Lens page.

This is a sharp lens that is available in Canon EF-M, Sony E, Leica L, Fujifilm X, and Micro Four Thirds mounts.

Save $75.00 instantly via the current Sigma promotion. Order the Sigma 56mm F1.4 DC DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX

Rent the Sigma 56mm F1.4 DC DN Contemporary Lens from Lensrentals.

Please share!

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 5/2/2022 8:33:51 AM CT   Posted By: Bryan
 Sunday, May 1, 2022

When other serious photographers are photographing you instead of the amazing scene in your viewfinder, your sanity feels questioned.

Despite appearing big in this image, Lathe Arch is relatively small. Making it appear large in the frame requires getting close to it relative to the background. Getting close from the best side of this arch offers very few options, and gaining this vantage point required getting into a small opening between the large, abrasive granite rocks.

The tripod legs were spread straight out, straddling the crevice, and I was thankful for sturdy boots that were not crushing my feet despite being wedged between the rocks. I was mostly hidden from people walking by but was apparently photo-worthy to a couple of photographers that noticed me.

The widest focal length available on the mounted lens was 15mm, and that angle of view was not nearly wide enough to capture the entire arch and the supporting rocks beside it. Thus, a panorama was called for.

I suspected that this scenario was coming and often have a Really Right Stuff MPR-CL Rail with Integral Clamp in the bag. The rail mounted on the vertical side of the L-plate allowed the lens to pivot over its nodal point, ensuring that the foreground details aligned when stitched together. While nodal alignment is not essential when the foreground is distant, this foreground was very close.

There was a lot of blue sky above the arch, but much of that was framed (and cropped) out of this image. The 22mm focal length provided a sufficient vertical angle of view. The finished horizontal angle of view was determined by the sum of the camera angles used for the pano.

The next issue to resolve was the inadequate depth of field. The closest foreground rock was immediately in front of the lens, while Lone Peak and the mountains beside it were far away. This scenario calls for focus bracketing, an easy strategy with the Canon EOS R5.

I considered adding HDR bracketing to the already complicated capture and processing but didn't — and didn't regret that decision. The R5's dynamic range easily handled this scene.

After dialing in a manual exposure that barely avoided red channel overexposure, the camera was rotated to the left-most side of the capture, autofocus was acquired on the nearest point of the rock, and the set of focus bracketed images was captured. The ball head base was not close to level, so the panning base could not be used for the lateral movement. The ball was loosened, and the camera moved using the thirds gridline to locate the next position. Moving the bottom-left thirds gridline intersection to the former position of the bottom-right thirds line intersection provided a considerable 2/3 frame overlap between image sets, with the electronic level ensuring the camera remained level.

A 1/3 overlap is usually adequate, so moving the bottom-left thirds gridline intersection to the former position of the bottom-right line leaving the frame would have been more efficient.

Additional sets of images were captured until the complete width of the pano was finished. The result was five images per focus stack and four focus-stacked image sets for the panorama.

Creation of the final image involved processing the stacks and then creating the panorama from the four stacked images. While this process may sound complicated, it was simple. The computer did all of the work.

Capturing this image was high on the awkwardness scale, but as usual, I barely remember the discomfort, and the image will bring back the great memories of this morning long into the future.


A larger version of this image is available Here.

Post Date: 5/1/2022 7:00:00 AM CT   Posted By: Bryan
 Friday, April 29, 2022

Expectations and additional information are now available on the Sony FE PZ 16-35mm F4 G Lens page.

B&H is indicating that June 24th is the estimated ship date.

Order the Sony FE PZ 16-35mm F4 G Lens from B&H | Adorama | Amazon | WEX

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 4/29/2022 12:46:12 PM CT   Posted By: Bryan
 Wednesday, April 27, 2022

A considerable amount of information is now available on the Sony FE 24-70mm F2.8 GM II Lens page.

The version I and version II lens MTF comparison is especially interesting.

From a specifications perspective, here is the Sony FE 24-70mm F2.8 GM II Lens compared to the Sony FE 24-70mm F2.8 GM Lens.

Preorders begin at 10:00 AM ET on Thu, Apr 28th. I expect this lens to be hard to get for a long time and recommend preordering immediately at that time.

Support this site by ordering the Sony FE 24-70mm F2.8 GM II Lens from B&H | Adorama | Amazon USA | WEX

Please share!

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 4/27/2022 1:49:56 PM CT   Posted By: Bryan

From Sony:

Sony Electronics Introduces New FE 24-70mm F2.8 GM II, the World’s Smallest and Lightest F2.8 Standard Zoom Lens

Newest G Master™ Series Lens in Sony’s Mirrorless E-mount Lineup with Industry-leading Optical Design, Unique Actuator Technologies, Advanced Autofocus and More

SAN DIEGO, CA – April 27, 2022 – Sony Electronics Inc. announced today the 67th lens in its mirrorless E-mount lineup – the highly-anticipated, FE 24-70mm F2.8 GM II (model – SEL2470GM2). Sony developed the world’s lightest F2.8 standard zoom lens[i] using its leading lens technology to deliver stunning resolution and beautiful bokeh known to Sony’s “G Master” series. The FE 24-70mm F2.8 GM II is one of the most versatile lenses in the line-up and was created for photographers, videographers, and hybrid content creators.

“Six years have passed since Sony released the first 24-70 mm F2.8 G Master and in that time, our customers’ needs have changed,” said Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. “We are always listening to our community and have designed the new FE 24-70mm F2.8 GM II around feedback from creators. Knowing the 24-70 mm focal length is extremely popular, it was imperative that we continue improving to bring our most advanced technology to such a critical lens in our customers’ kit. Today, we are thrilled to introduce the world’s smallest and lightest F2.8 standard zoom lens.”

Evolved Image Quality in a Zoom Lens that Rivals Prime Lenses[i]

The FE 24-70mm F2.8 GM II is great for a compact yet versatile set up and allows users to capture extremely sharp, detailed imagery for both stills and video. The new lens features high resolution across the frame—even with the aperture wide open. A completely redesigned optical path features five aspherical elements, including two high-precision XA (extreme aspherical) elements. The FE 24-70mm F2.8 GM II also includes two ED (extra-low dispersion) plus two Super ED glass elements. Combined with a new floating focus mechanism, the lens effectively controls chromatic aberration, astigmatism, distortion and coma so that outstanding resolution is achieved throughout the image area at all zoom and aperture settings.

Even when shooting in challenging lighting conditions, the FE 24-70mm F2.8 GM II achieves excellent clarity by effectively subduing flare and ghosting. This is thanks to Sony’s original Nano AR Coating II, which produces a uniform anti-reflecting coating on the lens surface. The FE 24-70mm F2.8 GM II produces stunning bokeh throughout the zoom range with beautiful and almost perfectly circular bokeh with its advanced optical design and a newly developed 11-blade aperture unit.

In this new 24-70 mm design, this lens delivers outstanding close-up performance with a minimum focusing distance of 8.25 inches (0.21 meters) at 24 mm and 12 inches (0.30 meters) at 70 mm, and with a maximum magnification of 0.32x.

Fast and Precise Autofocus

The FE 24-70mm F2.8 GM II achieves reliable focus by using four of Sony’s original XD (extreme dynamic) Linear Motors, a floating focus mechanism and advanced lens control – even when shooting a fast-moving subject. In addition, the lens supports up to 30 fps[ii] continuous shooting for stills and 4K 120p video recording with autofocus.

The FE 24-70mm F2.8 GM II enables full AF tracking performance even when shooting stills with the aperture stopped down, making it possible to use deeper depth of field to ensure that moving subjects remain in sharp focus when shooting continuously[iii]. The lens’ AF tracking performance while zooming is approximately two times better than the previous model[iv].

Refined Capabilities for Creative Filmmaking

With its constant F2.8 maximum aperture, astounding AF performance, versatile control, and solid reliability, the FE 24-70mm F2.8 GM II is designed for all types of video applications. The FE 24-70mm F2.8 GM II offers extremely quiet AF operation, thanks to the XD Linear Motors and a newly developed aperture unit. Using the latest lens technology, the FE 24-70mm F2.8 GM II reduces focus breathing, focus shift and axial shift when zooming for smooth video footage. This lens also supports the breathing compensation function[v] provided in compatible Alpha series cameras.

As an added benefit for advanced video creation, the newest lens includes Linear Response MF (manual focus) that ensures high repeatability when focusing manually as the focus ring responds directly and repeatedly to subtle control. It also includes an aperture ring making manual aperture/iris control fast, direct, and easy. The dedicated iris ring enables click-less control to achieve smooth depth of field transitions.

Unrivaled Mobility

Designed to perfectly pair with Sony’s compact Alpha™ system E-mount cameras, the FE 24-70mm F2.8 GM II is the world’s smallest and lightesti 24-70 mm F2.8 zoom in its class and offers unprecedented shooting flexibility and freedom in a wide range of situations. The FE 24-70mm F2.8 GM II weighs just 24.6 ounces (695 grams), approximately 20% less (7 ounces) than the original 24-70 mm F2.8 G Master. The lens’ length has been reduced by 16 mm, and overall volume has been reduced by approximately 18%.

Reliability and Improved Control

The new FE 24-70mm F2.8 GM II was developed based on feedback from professionals to offer even better control and usability than preceding models. This model includes:

  • Zoom smoothness switch to adjust zoom ring torque either Tight or Smooth
  • A newly added aperture ring with click ON/OFF switch and iris lock switch
  • Two customizable focus hold buttons
  • The focus ring that responds directly and linearly to subtle control when focusing manually
  • New lens hood design with opening to control circular polarizing filters (dia. 82mm)
  • The center of gravity back toward the mount for improved handling and operation
  • An updated dust and moisture resistant[vi] design provides extra reliability for outdoor use in challenging conditions. The buttons and switches are fitted with rubber gaskets, and a rubber ring seals the lens mount. The front lens element also features a fluorine coating that repels water, oil, and other contaminants, while making it easier to wipe off any contaminants or fingerprints that become attached to the lens surface.

Pricing and Availability

The new FE 24-70mm F2.8 GM II will be available in June for approximately $2,300.00 USD and $3,000.00 CAD and will be sold at a variety of Sony’s authorized dealers throughout North America.

Orders

Preorders begin at 10:00 AM ET on Thu, Apr 28th. I expect this lens to be hard to get for a long time and recommend preordering immediately at that time.

Support this site by ordering the Sony FE 24-70mm F2.8 GM II Lens from B&H | Adorama | Amazon USA | WEX

More Information

Watch the Sony FE 24-70mm F2.8 GM II Lens page for more information.

Videos

A product video of the new FE 24-70mm F2.8 GM II

Notes

[i] MTF chart comparison

[ii] When paired with the Alpha 1. “Hi+” continuous shooting mode. Effective at 1/125 seconds or higher shutter speed. In AF-C mode at shutter speed of 1/250 seconds or higher. The maximum continuous frame rate will depend on the shooting mode.

[iii] With a compatible camera and the camera’s [Aperture Drive in AF] parameter set to [Focus Priority]. See Sony’s support page on the web for camera compatibility info.

[iv] Sony tests. Compared to SEL2470GM.

[v] Compatibility info at: https://www.sony.net/dics/breathing/ Available in movie mode only. Angle of view and image quality may change slightly when this function is used. Compensation may not be able to cover all situations.

[vi] Not guaranteed to be 100% dust and moisture proof

Posted to: Sony News   Category: Sony Announcements
Post Date: 4/27/2022 9:17:54 AM CT   Posted By: Bryan

Check out the just announced edelkrone JibONE v2 Motion Control Jib Arm at B&H.

Posted to: Canon News, Nikon News, Sony News   Category: edelkrone News
Post Date: 4/27/2022 9:54:55 AM CT   Posted By: Bryan
 Tuesday, April 26, 2022

Check out the new, rugged Samsung T7 Shield Portable SSDs with an up to $50.00 introductory savings at B&H.

Posted to: Canon News, Nikon News, Sony News   Category: Samsung News
Post Date: 4/26/2022 12:30:44 PM CT   Posted By: Bryan

I spent part of last week cleaning up the currently available vs. out of stock and discontinued status of the lenses on the site, saying farewell to an especially large number of Canon EF lenses. While some of those lenses should have been discontinued a long time ago, it was sad and nostalgic to let others go.

The bottom line is that, as I said recently, it is time to make the move to mirrorless.

With the EF lineup significantly impacted, I thought it would be interesting to again sort out Canon's 10 oldest lenses. What has changed since the over-4-year-old and over-6-year-old lists?

Here is the bottom 10 list in oldest to youngest sequence.

ModelYear Introduced 
Canon TS-E 90mm f/2.8 Tilt-Shift Lens Buy1991  B&H | Adorama | Amazon
Canon EF 85mm f/1.8 USM Lens Buy1992  B&H | Adorama | Amazon
Canon EF 50mm f/1.4 USM Lens Buy1993  B&H | Adorama | Amazon
Canon EF 135mm f/2L USM Lens Buy1996  B&H | Adorama | Amazon
Canon MP-E 65mm Macro Lens Buy1999  B&H | Adorama | Amazon
Canon EF 75-300mm f/4-5.6 III USM Lens Buy1999  B&H | Adorama | Amazon
Canon EF 17-40mm f/4L USM Lens Buy2003  B&H | Adorama | Amazon
Canon EF-S 17-85mm f/4-5.6 IS USM Lens Buy2004  B&H | Adorama | Amazon
Canon EF-S 10-22mm f/3.5-4.5 USM Lens Buy2004  B&H | Adorama | Amazon
Canon EF 28-300mm f/3.5-5.6L IS USM Lens Buy2004  B&H | Adorama | Amazon

Perhaps my biggest surprise in the above list is that the Canon TS-E 90mm f/2.8 Tilt-Shift Lens is still on the shelf. The Canon TS-E 90mm f/2.8L Tilt-Shift Macro Lens has a feature superset and optical performance far surpassing the old lens. While the L lens's price also far surpasses the old TS-E 90, the 30-year-old lens that won't go away is still rather expensive.

The Canon EF 85mm f/1.8 USM Lens has long been a great value portrait lens, offering good build and image quality and quick USM AF for a low price. 85mm image quality has come a long way since this lens's inception.

While the Canon EF 50mm f/1.4 USM Lens produces soft image quality at wide apertures, it is a small and affordable lens. For years, this was the best Canon lens available in this favorite focal length.

The Canon EF 135mm f/2L USM Lens's ultra-wide aperture and fast AF made it a first choice for its low light and background blur performance. L-grade build quality combined with a relatively low price added to this lens's appeal. This lens's image quality was greatly loved but now surpassed.

The Canon MP-E 65mm Macro Lens is a unique, fun lens that has relatively low popularity.

The Canon EF 75-300mm f/4-5.6 III USM Lens is a great (cheap) option for the manufacturer to add to a camera kit to make the buyer thinks they are getting a better deal.

We loved the Canon EF 17-40mm f/4L USM Lens when it arrived. Eventually, the Canon EF 16-35mm f/4L IS USM Lens arrived with dramatically better image quality. The 17-40 should have been retired many years ago from an image quality perspective. However, it offers an ultra-wide-angle L-zoom lens option to the budget-constrained photographer.

Since its inception, the Canon EF-S 17-85mm f/4-5.6 IS USM Lens has been a good general-purpose lens option for the APS-C kit. This lens features good image quality, a great range of focal lengths, decent build quality, image stabilization, and USM AF.

The Canon EF-S 10-22mm f/3.5-4.5 USM Lens was Canon's first APS-C lens to offer ultra-wide angles of view to the APS-C cameras. It remains beside the EF-S 10-18mm IS STM Lens in the EF-S lineup.

There is no Canon equivalent to the EF 28-300mm f/3.5-5.6L IS USM Lens. While this lens has L-series goodness, a size, weight, and image quality penalty is paid for the long focal length range.

That concludes the 2022 roundup of the oldest Canon lenses.

What was the newest Canon lens to be discontinued? That would be the Canon EF 24-105mm f/3.5-5.6 IS STM Lens, formerly the optimal budget full-frame DSLR kit lens.

Posted to: Canon News   Category: Camera Gear Review News
Post Date: 4/26/2022 12:00:49 PM CT   Posted By: Bryan

Canon has released first quarter 2022 financial results to the Investor Relations page.

Presentation Material
Results
Supplementary Data

Imaging System Relevant Quotes from the Presentation Material

During the quarter, countries prioritized economic activity even as the Omicron variant spread Despite this, the global economy outlook became increasingly unclear due to accelerated inflation caused by supply shortages as well as the Ukraine issues.

In response to continuing parts shortages and logistical constraints, we have worked to maximize production by switching to alternative parts, cultivating new suppliers, negotiating with suppliers and by adopting a flexible production system. As a result, we were able to supply products largely in line with our plan, increasing net sales by 4.4 to 879.4 billion yen, and maintaining momentum, posting our fifth consecutive quarter of sales growth.

While being impacted by increases in material, logistical, and other costs, we promoted further efficiency based on a solid earnings foundation that was established through structural reform and re organizing into industry oriented groups. As a result, we were able to raise our performance even amid the unstable business environment, achieving an increase in profit of 76.1 billion yen in operating profit and 46.0 billion yen in net income.

As for Imaging, although we posted an increase in net sales thanks to growth in interchangeable lens unit sales, profit decreased due to the booking of one off expenses linked to the closing of a factory.

Changes in exchange rates, in particular the yen’s depreciation against the U S dollar, had a positive impact on operating profit of 11.0 billion yen.

As for costs, although the impact was negative due to the rise in parts pricing and logistical costs, we were able to partially offset this impact by raising the price of our products.

As for expenses, while we continued to invest in the development and sales of new businesses, overall expenses decreased due to special factors, including the sale of an office that was determined unnecessary after a review of branch functions by our U.S. sales company and the closing of a production site.

We expect inflation to continue in the form of higher prices for resources, energy, and food, resulting from the conflict in Ukraine and the prolonged impact of COVID 19 For these reasons the IMF lowered its world economic outlook for growth this year to 3.6. However, the movement of countries toward economic normalization is expect to continue.

Under these circumstances, we cannot accurately predict when the parts shortage situation, which is the major reason for the product supply shortage, will settle down, but expect the situation to gradually improve as we enter the second half of the year. However, one year has passed since we started implementing measures such as switching to alternative parts through design change, finding new suppliers, and setting up production structures at multiple sights and company wide efforts are showing steady results.

As for our products, expectations for strong demand remains unchanged and by steadily supplying products, we will link backorders as well as regular orders to sales. Based on this, we raised our projection for sales by 110 0 billion yen, bringing the total close to 4 trillion, as we aim to grow 13.3 to 3 trillion 980.0 billion yen.

As for profit, we expect to increase net income by 17.4 to 252 billion yen and raise operating profit by 27.7 to 360.0 billion yen We will achieve this by offsetting the effects of various cost increases through price increases, cost reductions, and expense savings, based on the solid profit structure we have built up through reforms we have implemented so far.

Changes in exchange rate assumptions, in particular expectations that the yen will remain weak against the U S dollar, is forecasted to have a positive 25.2 billion yen impact on operating profit.

As for costs, we will absorb the significant impact, which mainly consists of international shipping costs, by appropriately reflecting this in our pricing.

Canon Releases Q1 2022 Financial Results – Imaging

Demand, mainly coming from professionals and advanced amateurs, continues to be strong as full frame mirrorless cameras released by each company stimulates the market. As a result, we expect the 2022 market to grow by 5% compared to last year to 5.65 million units, which also includes some carry over from last year due to supply shortages

In the first quarter, unit sales of interchangeable lens cameras were below those of last year due to product supply shortages. However, sales increased due to a rise in average selling prices, as we prioritized the supply of high end models such as the EOS R 5 and EOS R 6 and also due to a significant increase in sales of RF lenses.

For the full year, even as the shortage of parts continues, we will continue to increase our product supply by using parts secured through purchases from new suppliers or by switching to alternative parts. At the same time, we will work to achieve our aim of sales and profit growth, fulfilling backorders to sell 3 million units, 10% more than last year.

This year as well, we will promote the enhancement of our lineup of camera bodies and interchangeable lenses, which include two new Super-telephoto fixed focal length RF lenses announced in February. As long telephoto lenses with focal lengths of 1200 mm and 800 mm, these lenses are extremely compact and lightweight, features that are expected to contribute to more people purchasing them.

Going forward, we will continue to enhance the overall value of the R system, including bodies and lenses to solidify our position as a top manufacturer of mirrorless cameras.

Buy your Canon cameras, lens, and accessories at B&H.

Posted to: Canon News   Category: Canon Announcements
Post Date: 4/26/2022 9:02:25 AM CT   Posted By: Bryan

From Lexar:

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

San Jose, USA, April 25, 2022 – Lexar, a leading brand of flash memory solution, proudly unveils the world’s fastest Lexar® Professional CFexpress™ Type B Card DIAMOND Series and Lexar® Professional CFexpress™ Type A Card GOLD Series at the National Association of Broadcasters (NAB) event this week in Las Vegas, Nevada.

From field to post production, Lexar aims to provide our users products that offer unmatched quality, performance, reliability and compatibility to dramatically accelerate workflow from start to finish.

To meet the demand of high-performance memory solution needed for professional filmmakers and content creators, the Lexar® Professional CFexpress™ Type B Card DIAMOND Series provides unmatched read speeds of up to 1900MB/s, dramatically accelerating your post-production workflow for enhanced productivity. And with blazing-fast write speeds of up to 1700MB/s1, quickly capture smooth RAW 8K, 6K and 4K video with ease. It is also backwards compatible with select XQD® cameras2.

Designed to leverage the capabilities of next-gen cinema cameras and mirrorless camera adopting the CFexpress™ Type A format, Lexar also unveils the Professional CFexpress™ Type A Card GOLD Series. Featuring superior speeds of 900MB/s read, and 800MB/s1 write, this card allows you to capture high-quality images and seamless 8K, 6K and 4K video. Lexar will also launch the CFexpress™ Type A Reader, which supports ultra-high-speed USB 10Gbps transfer protocol via USB Type-C®, in the coming months.

The cards support VPG 400 specification which guarantees a minimum sustained write speed of 400MB/s to capture professional-quality video for compatible host devices. Designed specifically for professional video users, it also ensures that your content is captured seamlessly with no drop frames. Moreover, they are built with the rugged durability you need to capture content even in the harshest of conditions. The cards are designed to be shock and vibration-proof, and resistant to extreme temperatures3. And, for added peace of mind, both cards are backed by a Lifetime Limited Warranty4.

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

Lexar® Professional CFexpress™ Type B Card DIAMOND Series and Lexar® Professional CFexpress™ Type A Card GOLD Series are under development and will be available in Q2 2022.

Lexar is exhibiting at this year’s NAB Tradeshow held at the Las Vegas Convention Center, Las Vegas, NV, from April 24th – 27th.

1 Speeds based on internal testing. Actual sustained speed may vary depending on host device

2 Compatible with firmware enabled CFexpress™ cameras

3 Temperature-proof: Withstands operating temperature range from 14ºF (-10ºC) to 158ºF (70 ºC) and non-operating temperatures from -4ºF (-20ºC) or 185ºF (85 ºC).

Shock resistant (50[G], 11[ms] / half sine wave.Apply the above impact 3 times from each of 3 orthogonal directions.)

Vibration resistant (10[Hz] to 2000[Hz] to 10[Hz], Sweep time: 20 minutes. 12 cycles per axis, (36 cycles for 3 axes) , Test time: 12[hr]).

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

 
So Lexar, owned by Chinese company Longsys, lays claim to the "World's Fastest" title.

If read speed is important to you, this card's claim matters, "... dramatically accelerating your post-production workflow for enhanced productivity." Write speed is the factor in play during capture, and the 1700 part of the "up to 1700MB/s" write speed is also extremely fast.

Temporing is the "minimum sustained write speed of 400MB/s" part. While 400MB/s is the minimum sustained write speed required to obtain the VPG 400 specification, is that the true minimum sustained write speed of this card? If so, the speed is less impressive, as other long-available cards have minimum sustained specs that far surpass this minimum spec.

Get your Lexar CFexpress Card at B&H.

Posted to: Canon News, Nikon News, Sony News   Category: Lexar News
Post Date: 4/26/2022 8:36:38 AM CT   Posted By: Bryan
 Sunday, April 24, 2022

This morning's sunrise delivered the highly desired pink sky to the west as I was overlooking the incredible landscape from Zabriskie Point in Death Valley National Park. That is a perfect combination, right?

What if the colorful sunrise sky color does not match the tone of the landscape? Warming the sky reduced its purpleness, bringing the color tones into closer alignment, but does the pink sky complement the yellow and brown landscape in this example? Or, does that combination clash?

Attractive distant details abound at Zabriskie, making foreground details easy to overlook. This composition takes advantage of the lines and texture in a nearby rolling hill just off the point.


A larger version of this image is available here.

Post Date: 4/24/2022 7:00:00 AM CT   Posted By: Bryan
 Friday, April 22, 2022

Just posted: Cartoni L507 Carbon Fiber 2-Stage SDS Smart Stop Tripod Review.

This is an impressively rigid tripod.

Order the Cartoni L507 Carbon Fiber 2-Stage SDS Smart Stop Tripod from B&H.

Please share!

Post Date: 4/22/2022 8:17:08 AM CT   Posted By: Bryan
 Thursday, April 21, 2022

From Canon USA:

New Canon EOS C300 Mark III and EOS C500 Mark II Firmware Enables Frame.io Camera to Cloud Compatibility

MELVILLE, NY, April 21, 2022 – Canon U.S.A., Inc., a leader in digital imaging solutions, announced today a firmware update for the Canon EOS C300 Mark III and EOS C500 Mark II digital cinema cameras. The new firmware will enable these cameras to be Frame.io Camera to Cloud (C2C) compatible devices. This cutting edge workflow can save valuable time, allowing a collaborative cloud-based workflow in a variety of production environments from scripted motion picture and television production to reality TV, documentary, commercial, and more.

Transferring footage from camera, from on set or location, into the post-production workflow traditionally requires backing up files to a hard drive and carrying or shipping the drives to another location to be ingested for post. C2C workflow sends secure high-quality, low-bandwidth H.264 proxies, 4K 10bit 4:2:2 H.265 (HEVC) files and uncompressed audio files with matching timecode and filenames to the Frame.io cloud platform. Frame.io® is now an Adobe® company.

Using a third-party Wi-Fi, 5G or LTE streaming encoder connected to the camera output, Frame.io C2C workflow can automatically distribute clips to editors (or anyone else who needs them) the moment the Director calls “cut.” This enables immediate review of footage on an authorized user’s device on or off set, anywhere in the world, empowering all stakeholders to watch production and collaborate in real-time.

Availability

The firmware update that will enable Canon EOS C300 Mark III and Canon EOS C500 Mark II digital cinema cameras to leverage third-party encoders for Camera to Cloud is scheduled to be available end of May 2022.*

Order the Canon EOS C300 Mark III and Canon EOS C500 Mark II digital cinema cameras from B&H.

Posted to: Canon News   Category: Canon Firmware Updates
Post Date: 4/21/2022 10:29:40 AM CT   Posted By: Bryan

Just posted: Cartoni Focus 10 Fluid Video Head Review.

This head costs substantially more than the recently reviewed Manfrotto 608 Nitrotech Fluid Video Head, but the Cartoni's fluid motion is better.

This head in the with-tripod kits is on sale at B&H – save $308.00 - $500.00.

Order the Cartoni Focus 10 Fluid Video Head from B&H | Adorama

Please share!

Post Date: 4/21/2022 8:11:15 AM CT   Posted By: Bryan

From Sony Japan (translated):

Dear customers,

Notice and apology for postponement of release of "FE PZ 16-35mm F4 G (SELP1635G)" lens for digital single-lens camera a E mount

Thank you for your continued patronage of Sony products.

At the time of the press announcement on March 22, 2022 (Tuesday), the release date was set to "April 28, 2022 (Thursday)". Digital single-lens camera a E mount lens "FE PZ 16-35mm" Regarding "F4 G", we have decided to postpone the release due to the impact of global distribution delays. The new release date is scheduled for the summer of 2022, but we will announce it as soon as it is confirmed.

We sincerely apologize for the inconvenience caused to customers who are looking forward to the release as it is just before the release. We will do our utmost to deliver the product as soon as possible, and we appreciate your understanding.

[Target product]

Digital single-lens camera a E mount lens "FE PZ 16-35mm F4 G"

[Release date]

At the time of announcement on March 22, 2022 (Tuesday): Released on April 28, 2022 (Thursday) – Scheduled to be released in the summer of 2022

[Acceptance of product orders]

After this announcement, we have decided to suspend the acceptance of orders from our distributors and the acceptance of orders from customers at the Sony store.

* The release date and resumption of order acceptance will be announced on the product information page as soon as it is confirmed.

B&H is indicating June 24th is the estimated ship date.

Order the Sony FE PZ 16-35mm F4 G Lens from B&H | Adorama | Amazon | WEX

Posted to: Sony News   Category: Sony Announcements
Post Date: 4/21/2022 7:42:06 AM CT   Posted By: Bryan
 Tuesday, April 19, 2022

Overall, Canon and Sony offer outstanding camera and lens line-ups. It is hard to go wrong with either choice, and with no unanimous winner declared, neither Canon nor Sony will be referencing this article. However, making Canon or Sony happy is not my job — advising you is — and advantages exist between the brands.

While my kit is primarily based on Canon gear, I maintain a full complement of Sony cameras and lenses to use during evaluations. Having a solid basis from both brands permits a best-of-breed approach.

Aside from a Canon EOS 1Ds Mark III utilized to capture the site's standard lens product images in the studio, the kit is all mirrorless (I know, I should sell that last camera and process R5 images to the 1Ds III pixel dimensions). Most of the best cameras and lenses are mirrorless models; those starting out should opt for a mirrorless kit, and those interested in bettering their kits should begin the migration to mirrorless.

The Canon side of the kit foundation is built on a pair of EOS R5 bodies. The R5 is an outstanding performer, featuring general-purpose utility, outstanding AF performance, and excellent image quality, including high resolution.

A Sony Alpha 1 and a Sony Alpha 7R IV represent sony in the kit. The a1 is Sony's flagship model, featuring up to 30 fps continuous shooting with no viewfinder blackout, 50 MP resolution, and best-available specs and features throughout. The a7R IV's only advantage over the a1 is higher resolution. It would only take a moment of weakness to upgrade the a7R IV to a second a1.

Listing the cameras was easy, and most often, the which camera decision is answered by the lens needed.

Let's look at the lenses, starting with the zoom lenses and following with the prime lens options. The sort within those two categories will be the widest focal length and then the widest aperture.

Sony FE 12-24mm F2.8 GM Lens

Although it does not go to 11mm, this phenomenal zoom lens is smaller and lighter, has a 2x wider aperture, is at least as sharp wide-open as the Canon EF 11-24mm f/4L USM Lens, and has the same price. That Canon lens is another great option.

I primarily use this lens for landscapes, nightscapes, and interior architecture. Note that the Sony cannot utilize front filters, a detraction for certain needs, primarily those requiring a circular polarizer filter. The Canon lens has the same problem; however, the Drop-In Canon Mount Adapter adds full filter capabilities to this lens.

Canon RF 15-35mm F2.8 L IS USM Lens
Sony FE 16-35mm F2.8 GM Lens

The RF 15-35 is my go-to landscape lens, and it works well for other needs, including capturing the big view at events, etc. Because this focal length range is so important to me, I also have the most equivalent lens on the Sony side, the Sony FE 16-35mm F2.8 GM Lens. If a Sony camera is under evaluation, I'll take the Sony option without hesitation.

Canon RF 24-70mm F2.8 L IS USM Lens
Canon RF 24-105mm F4 L IS USM Lens
Canon RF 28-70mm F2 L USM Lens

The general-purpose focal length range tends to get a lot of use, and there are currently three superb-performing options in the kit. Initially, only the RF 24-70mm F2.8 had membership, and the results from this lens never disappoint. However, a wider aperture or lighter, more compact option was often needed.

The RF 28-70 F2 had been on the want list since it first arrived, but I waited long enough to ensure the high cost was justified. As it turns out, I waited too long, and this lens was still back ordered when a large indoor music festival assignment hit the calendar, providing the incentive to order. Unfortunately, the lens arrived about a month after the concert. Still, other needs for the f/2 lens are steadily arriving, especially the event coverage it is perfectly suited for.

While the RF 24-70 F2.8 is not a large or heavy lens, a modestly lighter option can make a big difference when hiking long distances, and the RF 24-105mm F4 recently joined the kit to facilitate some hiking needs later this year.

A phenomenal general-purpose zoom lens is arguably Sony's biggest opportunity.

Canon RF 70-200mm F2.8 L IS USM Lens
Canon RF 70-200mm F4 L IS USM Lens

My uses for the 70-200mm focal length range include portraits, events, landscapes, and product images. Until recently, the relatively compact and lightweight F2.8 lens was the kit's solo 70-200mm option, but some distance hiking needs justified the F4 variant's entry into the kit.

The Sony FE 70-200mm F2.8 GM OSS II Lens is an outstanding option for those with a sony kit, and this lens addition would help round out the Sony kit shared here.

Canon RF 100-500mm F4.5-7.1 L IS USM Lens
Sony FE 100-400mm F4.5-5.6 GM OSS Lens

The RF 100-500 goes almost everywhere with me. This lens is an outstanding choice for landscapes, wildlife, portraits, daytime field sports, and more.

The FE lens fills this important role when working with a Sony camera.

Those with Sony-based kits should also consider the Sony FE 200-600mm F5.6-6.3 G OSS Lens. This lens shifts the focal length range to the long direction, which noticeably increases the size and weight of the lens. Because I most often have a 600mm f/4 lens complementing the long telephoto zoom, I opted for the more compact and wider-angle lens option.

Now we look at the primes, starting with a combined discussion of the widest three lenses.

Sony FE 14mm F1.8 GM Lens
Sony FE 20mm F1.8 G Lens
Sony FE 24mm F1.4 GM Lens

These three lenses will outperform all others matching their focal length, and the ultra-wide apertures make them the ultimate astrophotography lenses. These three lenses are in the pack if I'm photographing the night sky.

Sony FE 35mm F1.4 GM Lens

A 35mm prime lens most often joins the pack when portraits are scheduled. The strong background blur and low-light capabilities of the f/1.4 aperture are extremely attractive features, with the 35mm angle of view facilitating a great perspective for full-body portraits.

Canon's EF 35mm f/1.4L II USM is an outstanding lens, both optically and physically. However, the Sony lens is smaller, lighter, and less expensive. I purchased the Sony lens to review and kept it.

Canon RF 50mm F1.2 L USM Lens

When this lens arrived in the Canon USA refurbished inventory, I couldn't resist adding it to the kit. Reviewing the RF 50mm F1.2 revealed it the incredible-performing 50mm lens we had long waited for.

The focal length and aperture make the RF 50mm F1.2 an ideal portraiture and event lens.

Later, Sony introduced the FE 50mm F1.2 GM Lens. It is also an outstanding choice, slightly smaller and less expensive. In this decision, select the lens that matches your camera.

Especially with the RF 85mm F1.2 and RF 28-70 later joining the kit, my 50mm prime lenses do not see much use. Thus, I don't own models from both brands, and the RF 50mm lens is at the top of the consideration to sell list.

Canon RF 85mm F1.2 L USM Lens

This lens joined the most wanted list immediately upon providing the image quality test results, where it showed a stunning improvement over its EF predecessor. This lens is so optically high-performing that it is currently used for image quality testing of Canon EOS R-series cameras.

If portrait photography is on your list, the RF 85mm F1.2 lens is an outstanding choice, one that makes low light a non-issue.

Canon EF 100mm f/2.8L IS USM Macro Lens

The only non-mirrorless lens in this list, the adapted EF 100mm L macro is an outstanding performer. I may upgrade to the Canon RF 100mm F2.8 L Macro IS USM Lens someday, but I'm not yet over the RF lens's focus shift issue.

Sony FE 135mm F1.8 GM Lens

Similar to the RF 85 F1.2 to the Canon system is the FE 135mm F1.8 to the Sony system. The 135mm focal length is superb for portraits (and products), and the extremely high optical quality is the reason this lens is used for Sony Alpha camera image quality testing.

Canon RF 400mm F2.8 L IS USM Lens

Periodically, I decide that I could get along without a 400mm f/2.8 lens in the kit. Then life happens, and I realize how important this lens is to the needs coming in. A 400mm f/2.8 lens is used primarily for sports and wildlife photography, but it gets called upon for portraits since it is already in the kit. This lens delivers differentiating results in all its uses, with the background blur strength surpassing nearly all other options.

Sony-based kits should opt for the also-superb FE 400mm F2.8 GM OSS Lens. I like the Canon option very slightly better, with better image stabilization performance being the biggest differentiator.

Canon RF 600mm F4 L IS USM Lens
Sony FE 600mm F4 GM OSS Lens

Wildlife and sports are among my primary photographic pursuits, the 600mm f/4 is the best option for those needs, and this option for both brands is covered in the kit.

The Canon lens's image stabilization system is better, but I'll pick the Sony option for a sharpness advantage if extenders/teleconverters are needed.

Canon RF 1.4x Extender
Canon RF 2x Extender
Sony FE 1.4x Teleconverter
Sony FE 2x Teleconverter

I like carrying and using the RF 1.4 with the RF 400 F2.8, and I like using the FE 2x with the FE 600 F4 when photographing the sun and moon. Otherwise, getting closer is usually better than using extenders, and in this kit, extenders and teleconverters are most frequently used for lens image quality testing.

Which lens will be added to the kit next? It probably has not been announced yet.

Post Date: 4/19/2022 10:30:29 AM CT   Posted By: Bryan
 Monday, April 18, 2022

Most often, a wildlife silhouette opportunity comes unexpectantly and is fleeting.

Because the sky is typically very bright relative to the subject, the camera's meter usually selects silhouette exposure settings that lead to underexposed images, and correcting the underexposed images during post-processing yields increased noise.

To quickly acquire the right camera settings this opportunity, rules are ideal. For example, with a blue sky in the background, instruct the camera to create exposures X number of stops higher than it thinks is necessary.

Unfortunately, too many rules are needed to accommodate all scenarios. The primary reason that auto exposure + EV rules do not work is that the percentage of the frame filled with the subject and foreground changes dramatically, possibly during the same opportunity if varying exposures with a zoom lens. Also affecting the exposure rule is the sky color, ranging from bright white to deep blue or even the darkness of storm clouds.

While spot metering on the focus point can result in a more stable exposure basis for rules to work from, even animal color varies. For example, black bears are considerably darker than mule deer.

Mirrorless cameras with electronic viewfinders programmed to show the actual image brightness make establishing the ideal silhouette exposure settings considerably faster and easier than doing the same with a DSLR. While I often have the EVF histogram turned off due to interference with my brain's compositional abilities, that tool clearly shows the selected exposure, especially the bright side's available dynamic range. Even without the histogram enabled, the brightness can be discerned by looking at the brightest areas on the EVF.

What is the ideal silhouette exposure? That answer depends on the final look desired. If the animal and foreground are to be pure black, expose the sky to the preferred brightness. If a high key look is desired, expose for a normal animal brightness, letting the sky become blown — pure white and blinking on the LCD.

To gain the most post-processing latitude or if you don't want to decide what the final image should look like while frantically trying to capture the momentary opportunity, use the expose to the right strategy. Create an exposure that pushes the histogram graph lines to the right edge of the chart. There will likely be some small areas of the image showing over-exposed blinkies during image review, but not large areas of blinkies indicating loss of detail. The goal is to retain detail in the highlights while capturing as much detail as possible in the shadows.

If photographing landscape, an HDR technique would be implemented for this scenario. Unfortunately, animals tend to move before the multiple exposures can be recorded. If your animal is motionless and your camera is locked down on a tripod, bracketing exposures is a great option.

The expose to the right option was chosen for this bull moose image capture. The sky is bright but still blue. Using Photoshop, the moose was selected and brightened slightly.

The Canon EOS R5 and RF 100-500mm F4.5-7.1 L IS USM Lens get the credits for this capture. This combination is perfect for many wildlife photography pursuits.


A larger version of this image is available here.

 
Camera and Lens Settings
270mm  f/5.6  1/200s
ISO 800
8192 x 5464px
Post Date: 4/18/2022 10:21:08 AM CT   Posted By: Bryan
 Thursday, April 14, 2022
 Wednesday, April 13, 2022

Sony astrophotography lens recommendations are now available on the Sony Lens Recommendations page.

While creating the Sony list was easy, the Canon line-up has more room for improvement. New to the Best Canon Lenses page:

Best Canon Astrophotography Lens (Mirrorless)
Best Canon Astrophotography Lens (DSLR)

Post Date: 4/13/2022 9:32:15 AM CT   Posted By: Bryan
 Tuesday, April 12, 2022

Just posted: Sony a9 II Review page.

Order the Sony a9 II from B&H | Adorama | Amazon USA | WEX

Rent the Sony a9 II from Lensrentals.

Please share!

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 4/12/2022 9:01:38 AM CT   Posted By: Bryan

From Canon USA:

Canon Announces New Flex Zoom Lens Series of EF Cinema Lenses with Wide T2.4 Aperture Designed for Full-Frame Cameras

MELVILLE, NY, April 12, 2022 – Canon U.S.A., Inc., a leader in digital imaging solutions, announced today the launch of a new series of lenses for the company’s EF Cinema Lens lineup — the Flex Zoom Lens series of lenses, which were developed to create cinema-style productions with greater workflow efficiency. The first lenses in the series are the CN-E20-50mm T2.4 L F/FP wide-angle zoom lens and the CN-E45-135mm T2.4 L F/FP telephoto zoom lens.

Designed in the pursuit of cinematic beauty, the new large-aperture lenses feature both high-level optical design and performance while maintaining the style and ease-of-use of Canon’s EF Cinema lens series. With the introduction of the zoom lenses featuring focal length ranges of 20-50mm for wide-angle and 45-135mm for telephoto, Canon now offers zoom lenses that cover the same range as its six existing prime (single focal length) lenses. The versatility of these new lenses supports efficient production workflows for a wide range of scenarios, including film, TV programs, commercials, and much more.

When paired with full-frame or large-format cameras, these lenses fully leverage the cameras’ signature shallow depth-of-field look and provide smooth and natural background blur, helping to produce powerful storytelling imagery. The lenses also maintain a bright T2.4 aperture1 across their entire zoom ranges allowing for image capture in both natural light and darker environments. This feature helps to reduce the need for intricate lighting setups, enabling more efficient and cost-effective video production workflows.

Engineered with an optical configuration that creates the optimal placement of lens elements, including a large-aperture aspherical lens and an anomalous dispersion glass lens, the CN-E20-50mm T2.4 L F/FP and the CN-E45-135mm T2.4 L F/FP lenses help reduce the potential for color smudging and chromatic aberrations. This enables them to maintain high optical performance from the center of the image to the periphery when paired with 8K cameras.

In addition to supporting EF-mount data transmission2, the new lenses are also compatible with /i Technology3 from Cooke Optics. With this capability, recording metadata such as focus, zoom, aperture, and lens model can be transmitted via the lens mount for visualization on the camera itself. This additional information helps to contribute to more efficient workflows not only during on-location recording, but also during post-production and editing.

Pricing and Availability

The Canon CN-E20-50mm T2.4 L F/FP wide-angle zoom lens and Canon CN-E45-135mm T2.4 L F/FP telephoto zoom lens are scheduled to be available in early June 2022 and early September 2022 for an estimated retail price of $21,999.00.*

Orders

Order the new Canon CN-E 20-50mm & 45-135mm Lenses from B&H.

# # #

1 The f-number of a lens refers to the level of brightness calculated based on focal length and lens aperture. The t-number, more commonly used to describe the brightness of cinema lenses, incorporates a lens’ f-number along with the measure of light transmission.

2 Only compatible with EF mount cameras

3 Only compatible with PL mount cameras

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

Posted to: Canon News   Category: Canon Announcements
Post Date: 4/12/2022 8:54:45 AM CT   Posted By: Bryan
 Monday, April 11, 2022

There is a Sony Alpha 9 II in my hands, and it is time to set up this camera for use. Following are the 36 steps taken to prepare an out-of-the-box a9 II for use.

  1. Charge the battery
  2. Record serial number, and add camera to insurance policy
  3. If desired, download and install Capture One (for Sony) and/or Sony Imaging Edge (unless your current favorite RAW image processing software supports this camera)
  4. Insert charged battery, and power on the camera
  5. Set the language, timezone, date, time, timeformat
  6. Insert memory card(s)
  7. Select M mode 1, press the "MENU" button, and configure the camera as follows:
  8. Shooting Menu 1, Tab 1: File Format: RAW, RAW File Type: Lossless Comp (full image quality, reduced file size, ensure your software supports this format)
  9. Shooting Menu 1, Tab 1: RAW File Type: Uncompressed (full image quality)
  10. Shooting Menu 1, Tab 1: JPG File Type: Extra Fine (though I seldom shoot in JPG format)
  11. Shooting Menu 1, Tab 2: Lens Compensation: Shading, Chromatic Aberration, and Distortion Comp: All Off (I use the RAW processing software to enable desired lens compensation, with CA correction frequently selected)
  12. Shooting Menu 1, Tab 3: Bracket Settings: Bracket order: ->0>+ (considerably enhances image selection for HDR processing)
  13. Shooting Menu 1, Tab 4: Focus Area: Flexible Spot S (this selection frequently changes to match the needs of a shoot)
  14. Shooting Menu 1, Tab 5: Priority Set in AF-S: AF
  15. Shooting Menu 1, Tab 5: Priority Set in AF-C: AF
  16. Shooting Menu 1, Tab 5: Switch V/H AF Area: AF Point Only
  17. Shooting Menu 1, Tab 6: Face/Eye AF: Face/Eye Frame Disp: On
  18. Shooting Menu 1, Tab 9: Spot Metering Point: Focus Point Link
  19. Shooting Menu 1, Tab 12: Creative Style: NT (Neutral), Sharpness = 1 (the Neutral setting provides a lower contrast histogram. I usually process with the Natural creative style in Capture One)
  20. Shooting Menu 1, Tab 13: Peaking Setting: On
  21. Shooting Menu 2, Tab 5: Release w/o Lens: Disable
  22. Shooting Menu 2, Tab 5: Release w/o Card: Disable (why is this not the default?)
  23. Shooting Menu 2, Tab 7: Grid Line: Rule of Thirds (aids in composition)
  24. Shooting Menu 2, Tab 7: DISP Button: Monitor: Uncheck For viewfinder, press [enter]
  25. Shooting Menu 2, Tab 9: Dial Setup: TV/Av (I adjust the shutter speed more frequently and urgently than the aperture, and the front dial is easier to access quickly)
  26. Shooting Menu 2, Tab 11: Audio signals: Off (how to turn off the loud and usually-annoying AF beep sound)
  27. Network Menu, Tab 2: Airplane Mode: On
  28. Playback Menu, Tab 4: Display Rotation: Off (image fills LCD)
  29. Setup Menu, Tab 1: Delete confirm.: "Delete" first
  30. Setup Menu, Tab 2: Touch Operations: On
  31. Setup Menu, Tab 2: Touch Panel/Pad: Touch Panel+Pad
  32. Setup Menu, Tab 2: Touch Pad Settings: Touch Position Mode: Relative Position, Operation Area: Right 1/2 (avoids nose touches)
  33. Setup Menu, Tab 5: Copyright Info: Write Copyright Info: On, Set Photographer: [your name], Set Copyright: [as desired], Write Serial Number: On (note: entering this information without a touchscreen may be a painful process)
  34. Setup Menu, Tab 5: Format (ensure that there are no important files on the card(s) prior to formating)
  35. My Menu: Format Steady Shot Anti-flicker Set. Flash Comp. Face/Eye Subject, Bracket Settings
  36. With a lens mounted and a subject in focus, adjust the viewfinder diopter until the scene is sharp

I make additional menu and other setting changes based on current shooting scenarios, but this list covers my initial camera setup process.

To copy this configuration means you intend to shoot as I do - including in RAW-only format. While this setup works great for me, you should adjust the setup to your needs.

If you can't remember your menu setup parameters, keeping an up-to-date list such as this one is a great idea. Anytime the camera is set to the factory state, such as when being serviced or when acquiring an additonal camera, you will be ready to create your setup quickly, while ensuring that an important setting is not omitted. If you purchase another same or similar camera, setup will be fast and identical. Consider saving the camera settings to a card (Setup/Tools menu, tab 7, Save/Load Settings on card) for an easy restore.

More Information

Sony Alpha 9 II

Order the Sony Alpha 9 II at B&H | Adorama | Amazon | WEX.

Rent the Sony Alpha 9 II from Lensrentals.

Post Date: 4/11/2022 1:51:00 PM CT   Posted By: Bryan

B&H will close on Friday through the next week in observance of the Passover holiday. Place your Order now.

SuperStore/Phone/Email/Chat

B&H will be closed from Fri Apr 15 until Sun Apr 24.

Online Orders

Online ordering will pause during the following holiday observance periods:

7:30pm ET Fri Apr 15 until 9pm Sun Apr 17
7:30pm ET Thu Apr 21 until 9pm Sat Apr 23

Shipping

Orders placed before 12pm ET Thu Apr 14 will be processed prior to the holiday closing. Orders placed after this time will be processed when we reopen on Sun Apr 24.

Order now.

Posted to: Canon News, Nikon News, Sony News   
Post Date: 4/11/2022 8:40:18 AM CT   Posted By: Bryan
 Sunday, April 10, 2022

The remoteness of the beautiful Ibex Dunes in Death Valley National Park is a big advantage and a big drawback.

The advantage part is that few people make the effort required to get there, and the Ibex dune field is often untracked.

The drawback is that these dunes are located near ... well, nothing. The drive from Furnace Creek took nearly two hours, with very few services encountered on the way, and the last 10 miles are narrow dirt and sand roads that require differing vehicle classes depending on the current conditions (including at an intermittent stream crossing).

The adventure does not stop upon arrival. The dunes are over a mile from the road, but they are massive and easily visible from the road (a generous term for it by this point — more like a trail), and the hike to the dunes is not difficult. In contrast to the size of the dunes, the vehicle is tiny and may not be visible from the dunes. A small angular mistake on the way out could mean a significantly longer walk and perhaps a night in the desert.

That adventure aspect was avoided with a GPS pin, an old-school compass reading, and a feature on the mountain opposite the dunes noted.

On this afternoon, a solitary set of tracks led through the low area between the untouched northern and southern dune fields. After photographing my way around the dunes, I settled into the selected sunset location to catch the day's last rays.

As I shared in the last dune image, the Canon RF 24-70mm F2.8 L IS USM Lens on a Canon EOS R5 proved the optimal choice in the Death Valley National Park dunes. While focal lengths outside this range had compositional opportunities, the 24-70mm angles of view enabled emphasis on the close subjects while keeping the background details relatively large in the frame.

The R5's focus bracketing feature made complete depth of field easily obtained for every image. Four f/11 images were required for this 48mm focus stacked final photo.


A larger version of this image is available here.

Post Date: 4/10/2022 7:00:00 AM CT   Posted By: Bryan
 Friday, April 8, 2022

While the individual grains of sand in a dune likely have some color variation, those grains blend together at typical landscape photo distances, leaving most dunes a single color. A single color does not alone make an interesting photo. Therefore, shadows rule in the dunes — they are necessary to add intrigue.

Shadows are created by uneven lighting, and the early and late sun angle brings on the desired strong directional lighting (barring clouds).

Taking a dune image to the next step means finding great shadows, and footprint shadows do not fit into my "great" definition (unless the footprints are an intentional part of the composition).

Rarely is wind appreciated for photography, and it is especially unwelcomed when photographing landscapes. However, I celebrated as a significant wind storm blew through during the drive from Las Vegas to Death Valley National Park. The dust and sand were dense enough to severely impact visibility at times, rocking, and properly initiating the brand new Toyota RAV 4 rental SUV.

Why celebrate a wind storm in the desert? The wind erased ALL of the Death Valley dunes' footprints, replacing them with fresh, seemingly unending and highly photogenic ripples in the sand.

The Canon RF 24-70mm F2.8 L IS USM Lens on a Canon EOS R5 proved the optimal choice in the Death Valley National Park dunes. While focal lengths outside this range had compositional opportunities, the 24-70mm angles of view enabled emphasis on the close subjects while keeping the background details relatively large in the frame.

Still, the depth of field available (at apertures not impacted by diffraction) from this focal length range was often insufficient. The R5's focus bracketing feature was the solution to that problem. With focus bracketing enabled, the smallest increment specified, and the number of shots set far above what was ever needed (the camera automatically stops at infinity), the R5 proved itself foolproof, automatically delivering the complete required range of sharp focus bracketed images at nearly a 100% rate (and I probably caused the 1 or two insufficient sets). Walk up to a scene, select the composition, position the focus point on the closest subject (the closest sand), and press the shutter release. This strategy takes away the careful attention to the depth of field otherwise required and facilitates images not otherwise possible.

Do you ever struggle to obtain the ideal white balance? I do, and this image challenged me. Unfortunately, adding the needed contrast creates a bright yellow glow that I've been attempting to neutralize. This image is one of those likely to get re-adjusted in the weeks and months to come.


A larger version of this image is available here.

Post Date: 4/8/2022 8:55:59 AM CT   Posted By: Bryan
 Thursday, April 7, 2022

Check out the new Benro GH5C Mini Carbon Fiber Gimbal Head, now in stock at B&H.

Posted to: Canon News, Nikon News, Sony News   Category: Benro News
Post Date: 4/7/2022 9:09:22 AM CT   Posted By: Bryan

From Sigma:

Firmware update for SIGMA Global Vision lenses in SONY E-mount

We would like to announce that a new firmware update is now available for SIGMA Global Vision lenses in SONY E-mount listed below.

[Applicable product]

·SIGMA 16mm F1.4 DC DN | Contemporary in SONY E-mount
·SIGMA 30mm F1.4 DC DN | Contemporary in SONY E-mount

[Benefits of the update]

The specification has been changed so that the focus position of the lens when the ON/OFF (power) switch is turned “ON”, or when the camera is restored from power save, is set to the same shooting distance when the ON/OFF (power) switch was turned “OFF” or when power save was activated.

——————————————————————————————————————

[Applicable product]

·SIGMA 56mm F1.4 DC DN | Contemporary in SONY E-mount

[Benefits of the update]

·The focus position of the lens when the ON/OFF (power) switch is turned “ON” or when the camera is restored from power saving has been changed to the specification that the focus position is set to the shooting distance right before the ON/OFF (power) switch is turned “OFF” or power saving is activated.
·Improved feeling of the MF operation of the lens.

——————————————————————————————————————

[Applicable product]

·SIGMA 35mm F2 DG DN | Contemporary in SONY E-mount

[Benefits of the update]

·It reduces the AF drive sound.

[How to update]

Please select the appropriate product from the following page, go to the download page, click “Sony E-mount” and follow the update procedure.

*After the update is complete, be sure to remove the battery pack from the camera and reinsert it.

Get your Sigma Lens at B&H.

Posted to: Sony News   Category: Sigma Firmware Updates
Post Date: 4/7/2022 8:08:49 AM CT   Posted By: Bryan

A new Sigma Mount Converter MC-11 firmware update is available.

From Sigma:

Thank you for purchasing and using our products.

We would like to announce the availability of a new firmware update for the SIGMA MOUNT CONVERTER MC-11.

[Applicable Products]

·SIGMA MOUNT CONVERTER MC-11 EF-E
·SIGMA MOUNT CONVERTER MC-11 SA-E

[Benefit of the update]

It has improved the phenomenon whereby the lens’s optical stabilizer effect differs depending on the shutter type and drive mode used.

[How to update]

Connect the SIGMA MOUNT CONVERTER MC-11 to the computer with the USB cable provided, and start SIGMA Optimization Pro*. If there is a newer firmware than the connected mount converter firmware, a dialog box will appear with the message “The latest converter firmware is available. Click “Yes” to update the firmware.

Get the Sigma Mount Converter MC-11 at B&H.

Posted to: Sony News   Category: Sigma Firmware Updates
Post Date: 4/7/2022 7:58:53 AM CT   Posted By: Bryan
 Wednesday, April 6, 2022

Just posted: Manfrotto 645 FAST Twin Leg Video Tripod Review.

Another high value product from Manfrotto.

Order the Manfrotto 645 FAST Twin Leg Video Tripod from B&H | Adorama | Amazon USA | WEX

Please share!

Post Date: 4/6/2022 8:22:04 AM CT   Posted By: Bryan

From Capture One:

Feature walkthrough

Keystone Tool redesign

The Keystone Tool has been redesigned with a new user interface. Additionally, Auto Keystone has been added for all camera models, allowing a swift and precise perspective correction of most images.

Tool design

The Keystone Guides have been redesigned to easily place them with greater precision. Additionally, the precision of the guides can be fine-tuned using the keyboard arrows when a guide is selected.

The content of the Keystone Tool has been split into two tabs, ‘Guides’ and ‘Sliders’. Guides offer fully automatic and guided keystone options, while Sliders offer manual adjustments.

The new adjustment ‘Skew’ has been introduced to accommodate a wider range of perspective corrections.

Auto Keystone

Let Capture One detect and correct the perspective automatically. By pressing the ‘Auto’ button in the Keystone Tool, lines in the image(s) are automatically detected, evaluated, and used for the correction. The result is a swift automatic correction with high precision.

By default, Auto Keystone will correct Vertical Keystone. This can be changed by simply selecting one of the other two guide modes to activate the cursor tool. The icon within the ‘Auto’ button will change accordingly and pressing it will instantly apply the desired correction. Auto Keystone works on batches of images.

Auto Keystone can also be triggered from the regular Auto Adjust functionality in the main toolbar. To do this, tick Keystone in the drop-down menu of Auto Adjust. Note that only Vertical Keystone is available from Auto Adjust.

If Capture One is unable to detect suitable lines in the image, pressing ‘Auto’ will have no effect.

Read more here.

General user experience improvements and tweaks

Apple Silicon (M1) performance improvements

The following areas have been improved:

Preview generation is up to 100% faster.

Luma Mask rendering is up to 300% faster. This makes it faster to render the initial Luma Mask and significantly faster to tweak the luminosity range afterward.

Feather and Refine Mask are up to 1.000% faster.

Fujifilm X-Trans raw loading is up to 100% faster, making the preview generation and rendering when zooming feels significantly faster on images from Fujifilm APS-C cameras.

Improved Auto Rotate

The algorithm behind Auto Rotate has been improved, providing more accurate results on images where clear lines are visible. This makes it more valuable with, for example, landscape images with clear horizons.

Crop Aspect Ratio behavior

Changing the Aspect Ratio from the Crop Tool will now immediately apply this ratio to the selected image. This makes it easier and more intuitive to work with different aspect ratios, as you don’t have to make a change to the crop for the new ratio to apply.

Easier access to drop-down menus

Drop-down menus that were previously only accessible by long-pressing their icons are now easier to open. Most icons have gotten a downwards arrow that will open the menu, and all menus can be opened by right-clicking their icons.

New default sorting option

Collections will now sort by Date instead of Name by default. This default can be changed in General Preferences, where both the sorting criteria and direction can be customized. This only affects new collections.

Capture One Live add-on

Live Sessions can be now configured to last for 1, 3, 5, 7, or 14 days. You can choose between the different options upon starting a new Live Session that suits both your and your collaborator’s needs.

License changes

Capture One Fujifilm/Sony/Nikon converted to Pro

Subscription users of Capture One Fujifilm/Sony/Nikon will automatically have their license upgraded to Capture One Pro at no additional cost. Perpetual owners will need to upgrade via the upgrade store.

Read more here.

The Capture One 22 (15.2.0) release notes provide the full details on this update.

Get Capture One at B&H.

Post Date: 4/6/2022 8:05:27 AM CT   Posted By: Bryan
 Tuesday, April 5, 2022

Just posted: Manfrotto 608 Nitrotech Fluid Video Head Review.

This head has a solid feature set and strong performance for the price.

Order the Manfrotto 608 Nitrotech Fluid Video Head from B&H | Adorama | Amazon USA | WEX

Please share!

Post Date: 4/5/2022 8:05:54 AM CT   Posted By: Bryan
 Monday, April 4, 2022
Posted to: Canon News   Category: Camera Gear Review News
Post Date: 4/4/2022 8:04:32 AM CT   Posted By: Bryan

Check out the tiny (1.9 x 1.2 x 0.8" / 47.3 x 30.4 x 20 mm) transmitters in the new DJI MIC wireless microphone kit:

DJI Mic Now Available

DJI’s first dedicated audio recording system is self-contained and starts up instantly

April 4, 2022– DJI Mic, the first dedicated audio recording product from the world’s leader in civilian drones and creative camera technology, is now available for purchase in the United States.

Overview

DJI Mic is a dual wireless microphone system solution for recording crystal-clear audio at long distances. With 5.5-hours of battery life and a total of 15 hours with the charging case, DJI Mic is ideal for shooting a vlog, interviews, or any kind of content creation that requires high-quality audio. The system consists of two microphone transmitters, a receiver, and an ultra-compact charging case that fits easily into your bag or pocket. It is compatible with smartphones, cameras, DJI OM 5, and DJI Action 2 for high-quality audio.

DJI MIC Wireless Microphone Kit in Charging Case

Key Features

  • Easy Setup: An extra ultra-portable charging case stores the transmitters and receiver and fast-pairs the system just by opening it.
  • Intuitive Design: The transmitters attach via back-clip or magnetic plate. The receiver's built-in touchscreen gives easy access to channel selection, input/output settings, and other essential operations.
  • Portability: Weighing just 30 grams, the transmitter easily clips onto a shirt collar.
  • 250m Max Wireless Transmission Range: Using DJI's latest encryption technology, DJI Mic is capable of recording crisp audio at distances of up to 250 meters (tested in unobstructed environments in direct line of sight).
  • Dual-Channel Recording: DJI Mic comes with two transmitters with built-in microphones, capable of simultaneously recording the sound from two audio sources. Each transmitter has built-in storage of up to 14 hours (8GB) and supports backup recording, ensuring that your audio files are safe and easy to access. Files can be transferred via the USB Type-C Cable and appears as a drive when connected to your PC or Mac. Files are 48,000 Hz, 24-bit mono WAV format.
  • Compatibility: The DJI Mic receiver supports USB-C, Lightning, and 3.5mm TRS interface output, making it compatible with most smartphone, camera, and laptop models.
  • Battery Life: The transmitters and receiver both boast a 5.5-hour battery life and a total of 15 hours with the compact charging case.
  • Variable gain control: DJI Mic has flexible variable gain control from two independent audio sources.
  • Safety Track: A secondary audio track is recorded as a backup with a lower volume of -6 dB (different from the main audio track), which helps to safeguard your audio in case of unforeseen issues.
  • Multi-level Control: Adjust input and output sensitivity between -12dB ~ 12dB and find the perfect setting for your surroundings.
  • Microphone Furry Windscreen: Effectively suppresses wind and noisy environments while still recording clear sound.

DJI MIC Wireless Microphone Kit Parts

In the Box

  • DJI Mic Transmitter x2
  • DJI Mic Receiver x1
  • DJI Mic Charging Case x1 (Weight: 242g; LWH: 103x61x41 cm)
  • DJI Mic Camera Cable (3.5mm TRS) x1
  • DJI Mic Smartphone Connector (Type-C) x1
  • DJI Mic Smartphone Connector (Lightning) x1
  • Charging Cable x1
  • DJI Mic Windscreen x2
  • DJI Mic Magnetic Plate x2
  • DJI Mic Carrying Bag x1

Orders

Order the DJI MIC Wireless Microphone Kit at B&H.

"The DJI Mic Wireless Microphone Kit from DJI enables vloggers and other creators to capture two-channel audio with their action camera at distances up to 820'. This wireless mic kit consists of two transmitters, one receiver, a portable charging case, cables, wind socks, and 3.5mm TRS to USB adapters."

Posted to: Canon News, Nikon News, Sony News   Category: DJI News
Post Date: 4/4/2022 8:34:38 AM CT   Posted By: Bryan
 Sunday, April 3, 2022

Zabriskie Point in Death Valley National Park is one of those locations that evokes the kid in a candy store emotion for landscape photographers.

Ordering the chaos in a beautiful scene is a frequent landscape photography challenge. While details abound at Zabriskie Point, these details are more easily ordered than most. In addition, there are so many strong shapes and colors here that direct light becomes much less important. While Zabriskie Point's morning and evening light is especially attractive, some of my favorite images were taken before sunrise and after sunset.

Having so many great compositions makes selecting a few favorites to share a mental challenge. Of course, culling many images would have been easier if I had approached the area in an orderly manner. Instead, I opted to revisit subjects for a fresh take, ensuring an open mind to find the best options. Still, I'm certain that a return trip would generate new compositions in this target-rich environment.

A pair of Canon EOS R5 bodies with Canon RF 24-70mm F2.8 L IS USM and Canon RF 70-200mm F2.8 L IS USM Lenses mounted provided the ideal angle of view range for this location and, of course, outstanding image quality.


A larger version of this image is available here.

Post Date: 4/3/2022 7:00:00 AM CT   Posted By: Bryan
 Thursday, March 31, 2022

A June sunrise image of The Loche in Rocky Mountain National Park requires a 2.7 mi, 1,056 ft elevation gain hike in the middle of the night. Getting location information on a relatively remote lake early in the season is challenging, but there was a report of open water, so my daughter and I set off for an adventure.

Upon arrival, the report proved technically correct. However, ice prevailed in the target location. While the ice would have been an OK foreground (these mountains can make nearly any foreground work), a reflection was the big benefit of hiking to a lake.

Moving to a nearby small area of open water accomplished the reflection goal. Here, a twisted tree and its roots, along with rocks flowing into the scene, provided additional foreground entertainment at this location.

Back to the leading question: Why don't I use graduated neutral density (GND) filters?

I'll start with the answer to a more basic question, what is a graduated neutral density (GND) filter?

Since Wikipedia already created this answer, I'll share it here:

"A graduated neutral-density filter, also known as a graduated ND filter, split neutral-density filter, or just a graduated filter, is an optical filter that has a variable light transmission. Typically half of the filter is of neutral density which transitions, either abruptly or gradually, into the other half which is clear. It is used to bring an overly-bright part of a scene into the dynamic range of film or sensor. For example, it can be used to darken a bright sky so that both the sky and subject can be properly exposed. ND filters can come in a variety of shapes and sizes and densities and can be used in all types of photographic applications from still photography, motion photography and scientific applications."

Here is the big problem. In general, graduated ND filters have straight lines of transition. However, these filters are primarily needed outdoors, and the outdoor landscape transition from dark to bright is seldom a straight line — unless a large body of water or a great plain fills the background. It is unrealistic to create filters for every horizon shape, and especially wide-angle zoom lenses usually have focal lengths with geometric distortion that further complicates the needed transition shape.

While soft transition GND filters better hide the dark to light transition, the final image seldom hides the unnatural brightness change.

Round threaded GND filters are available, and logically using one requires the brightness transition to be placed in the middle of the frame — another big limitation. To vary the location of the brightness change requires rectangular filters sized much larger than the front of the lens. While the density transition is still in the center of these filters, the larger size means they can be positioned off-center, placing the brightness transition anywhere desired.

Rectangular GND filters can be handheld during the shot, though avoiding movement against the lens requires a steady hand, and holding the filter slightly off of the lens permits light leaks (that may or may not matter). A filter holder provides a better solution optically, but the large rectangular filters require even larger filter holders.

Purchasing the complete set of transition types (hard to soft) and densities required to ideally mix the various lighting levels encountered, along with a filter holder, is expensive. In addition, the functional set is somewhat burdensome to carry and time-consuming to set up.

What is the alternative? Capture the scene in two or more exposures (if necessary, as processing a single image to differing brightness may be adequate), and blend the results using an HDR technique. A straight transition line is no longer important, and the adjusted areas do not need to be contiguous. Any brightness transition rate can be used (hard to soft), and the rate can vary in a single image.

Additionally, all focal lengths and lens sizes are supported, from a circular fisheye to the longest telephoto lens available.

I can often tell when a GND filter was used for an image, and usually, the result is not my favorite. Not everyone shares my view, and that is OK.

There are a lot of graduated ND filters sold, and sometimes only a graduated ND filter can get the job done properly. A primary advantage of graduated neutral density filters is that action transcending the density change (waves on an ocean, for example) remains perfectly aligned. Another big filter advantage is that post-processing is greatly reduced or eliminated, and those recording video or JPG format still images need to capture the final brightness.

Circling back to the image shared here. There are no graduated neutral density filters in the shape of the shadow line. Also, the perfect filter to match the digital graduated neutral density processing needed to darken the sky, excluding the tree. That filter, of course, does not exist. Thus, I don't carry it — or any other variant.


A larger version of this image is available here.

Post Date: 3/31/2022 7:00:00 AM CT   Posted By: Bryan

Sony Alpha 7 IV firmware update version 1.0.1 is available for download.

Firmware Version 1.0.1 incorporates the following fixes and enhancements:

  1. Improves the accuracy of the Eye AF feature
  2. Fixes an issue where you may not be able to take photos when using a SEL2860 lens
  3. Improves the operational stability of the camera

Get the Sony Alpha 7 IV at B&H.

Posted to: Sony News   Category: Sony Firmware Updates
Post Date: 3/31/2022 7:32:48 AM CT   Posted By: Bryan

The Canon EOS R3 (used or renewed? 6ave does not regularly sell used gear) is in stock at Amazon USA via 6ave (not Canon USA authorized) at a premium price.

Learn more: Canon EOS R3 Review

Posted to: Canon News   Category: In Stock Notices
Post Date: 3/31/2022 7:22:03 AM CT   Posted By: Bryan
 Wednesday, March 30, 2022

Just posted: Rokinon (Samyang) AF 14mm F2.8 Lens for Canon RF and Sony E Review.

This lens looks nice physically.

Order the Rokinon AF 14mm F2.8 Lens from B&H | Adorama | Amazon USA

Rent the Rokinon AF 14mm F2.8 Lens from Lensrentals.

Please share!

Post Date: 3/30/2022 9:07:37 AM CT   Posted By: Bryan
 Tuesday, March 29, 2022
 Monday, March 28, 2022

Image quality test results from the Canon EOS R5 are now available on the Canon RF 24-105mm F4L IS USM Lens Review.

The tested lens is a Canon USA refurbished model, again showing that these lenses are high-performers (and, as always, it appears as new).

Planning for some long hikes later this year, I purchased this lens to cut some weight in the pack.

Order the Canon RF 24-105mm F4L IS USM Lens from B&H | Adorama | Canon USA | Amazon USA | WEX

Rent the Canon RF 24-105mm F4L IS USM Lens from Lensrentals.

Please share!

Posted to: Canon News   Category: Camera Gear Review News
Post Date: 3/28/2022 9:33:13 AM CT   Posted By: Bryan
Posted to: Canon News, Nikon News, Sony News   Category: Sigma Rebates
Post Date: 3/28/2022 9:23:19 AM CT   Posted By: Bryan
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