Join Daniel Norton OnSet as he creates dappled patterns of light for a fun portrait look.
Often times when we are using natural light, we see patterns coming through trees/fences etc and use that light to accent our portraits.
With this technique you can do it in a consistently repeatable fashion.
Approximately 70 Percent of Press Photographers at the Games used Canon ILC Cameras and Lenses
MELVILLE, NY, November 12, 2019 – During the 2019 Rugby World Cup imaging professionals from around the world gathered across Japan to shoot all of the exciting and history-making action of the tournament’s knock out stage.
Canon Inc., is excited and proud to announce that approximately 70 percenti of those imaging professionals used Canon ILC cameras and lenses to capture the timeless memories and moments of the most celebrated Rugby tournament in the world.
Canon understands that in order for professional photographers to be able to reach their goals at these world class events they need the support of digital imaging companies, like Canon.
The company provided state-of-the art technology, top performance and most importantly customized and comprehensive on-site service and support.
Canon Professional Services (CPS) was active behind the scenes at the tournament assisting photographers with their equipment needs to help ensure they had “zero downtime” and never missed the opportunity to capture the defining moments of the tournament.
At each of the tournament venues, CPS was able to provide efficient and timely maintenance and repair of equipment.
Additionally, CPS was able to go above and beyond and provide on-site emergency repair and equipment loans to professional photographers in need.
“Getty Images was delighted for the opportunity to continue working with an official Rugby World Cup Partner, such as Canon Inc.
Our photographers demand cutting edge technology and a camera they can rely on,” said Paul Gilham, Director of Getty Images “Canon’s amazing service and support during the tournament in Japan helped to ensure our photographers were equipped to capture the images that will tell the story of the Rugby World Cup, creating a lasting legacy of the iconic moments.”
Canon will continue to strive towards the goal of providing powerful and reliable digital imaging products and world class service and support at sporting events across the globe.
This commitment Canon believes will help to further advance the photographic vision of imaging professionals today and in the future.
Battery powered flashes are great for shooting portraits on location.
There's plenty to choose from and they vary between small speedlights and bigger, more powerful monolights.
In theory more power means more light and that's usually a good thing for location portraits but can a speedlight be used to light location portraits like a monolight?
That's the question Gavin Hoey puts to the test in this video.
Gavin sets each flash the challenge of being used as a simple fill flash, creating dramatic skies by "over powering" the ambient light and finally getting some beautiful shallow depth of field portraits using HSS (high speed sync) flash.
The results might surprise you!
White Plains, NY USA – Today Benro announced the S PRO series of video fluid heads.
S PRO is the successor to the original S series of flat base video fluid heads which grew popular among wedding filmmakers, documentarians, and other small video crews.
Built for a range of video cameras and accessories, the S PRO series supports up to 17.6 lb./8kg.
Equipped with a flat base, the S PRO video heads are a versatile creative tool allowing you to mount the head separately on sliders, jibs, or monopods.
Each video head includes two accessory mounts for attaching monitor arms or audio recorders directly to the head.
The S PRO also feature metal ratchet style knobs and an improved CNC machined aluminum sliding camera plate.
Built for a range of video cameras and accessories, the S8 PRO video head supports up to 17.6 lb./8kg.
Equipped with a 75mm flat base with a 3/8"-16 thread, the S8 PRO is a versatile creative tool allowing you to mount the head separately on sliders, jibs, or monopods.
Other features include: pan & tilt lock, continuous pan & tilt drag, 8-step counterbalance (0-7), illuminated bubble level and two 3/8"-16 accessory mounts for attaching monitor arms or audio recorders directly to the head.
This allows you to attach accessories without needing a cage or rig to do so.
Tilt range for the S8 PRO is +90°/-75°.
The forward 90 degree tilt helps with table top setups.
The S8 PRO also features metal ratchet style knobs and an improved CNC machined aluminum sliding camera plate.
75mm Video Head – The S8PRO is a 75mm head with continuous tilt drag, pan drag, tilt lock and pan lock.
Two Accessory Mounts – Two 3/8”-16 mounts for attaching accessories.
Flat Base Versatility – Can be used on other flat surfaces with its 3/8”-16 mounting thread such as sliders, jibs and half ball adapters.
17.6lb/8kg weight capacity – Supports cameras both large and small.
8 Steps of Counterbalance (0-7) – The S8PRO has 8 individual steps of counterbalance to help properly balance your camera rig.
Ideal for a small video cameras and mirrorless rigs with accessories, the S6 PRO video head supports up to 13.2 lb./6kg.
Equipped with a 65mm flat base with a 3/8"-16 thread, the S6 PRO is a versatile creative tool allowing you to mount the head separately on sliders, jibs, or monopods.
Other features include: pan & tilt lock, continuous pan & tilt drag, 6-step counterbalance (0-5), illuminated bubble level and two 1/4"-20 accessory mounts for attaching monitor arms or audio recorders directly to the head.
This allows you to attach accessories without needing a cage or rig to do so.
Tilt range for the S6 PRO is +90°/-75°.
The forward 90-degree tilt helps with table top setups.
The S6 PRO also features metal ratchet-style knobs and an improved CNC machined aluminum sliding camera plate.
75mm Video Head – The S6PRO is a 65mm flat base (will pair with 75mm half ball) head with continuous tilt drag, pan drag, tilt lock and pan lock.
6 Steps of Counterbalance (0-5) – The S6PRO has 6 individual steps of counterbalance to help properly balance your camera rig.
13.2lb/6kg weight capacity – Supports cameras both large and small.
Flat Base Versatility – Can be used on other flat surfaces with its 3/8”-16 mounting thread such as sliders, jibs and half ball adapters.
Two Accessory Mounts – Two 1/4”-20 mounts for attaching accessories.
Despite its small size, the S4 PRO is a versatile video head with additional counterbalance.
The S6 PRO video head supports up to 8.8 lb./4kg.
Equipped with a 60mm flat base with a 3/8"-16 thread, the S4 PRO is a versatile creative tool allowing you to mount the head separately on sliders, jibs, or monopods.
Other features include: pan & tilt lock, fixed pan & tilt drag, additional counterbalance (1-2), bubble level and two 1/4"-20 accessory mounts for attaching monitor arms or audio recorders directly to the head.
This allows you to attach accessories without needing a cage or rig to do so.
Tilt range for the S4 PRO is +90°/-75°.
The forward 90-degree tilt helps with table top setups.
The S4 PRO also features metal ratchet-style knobs and an improved CNC machined aluminum sliding camera plate.
60mm Video Head – The S4PRO is a 60mm flat base (will pair with 75mm half ball) video head with fixed tilt drag, pan drag, tilt lock and pan lock.
2 Steps of Counterbalance (1-2) – The S4PRO has 2 individual steps of counterbalance to help properly balance your camera rig.
8.8lb/4kg weight capacity – Supports cameras both large and small.
Flat Base Versatility – Can be used on other flat surfaces with its 3/8”-16 mounting thread such as sliders, jibs and half ball adapters.
Two Accessory Mounts – Two 1/4”-20 mounts for attaching accessories.
You are going to notice that the results from these two cameras appear remarkably similar.
They are using the same imaging sensor and the same DIGIC processor and are expected to have identical image quality.
As this is a very time consuming test, including carefully capturing 180 images and prepping a crop from each, I opted to fully test only one of the cameras (the 90D) and show the same results for the M6 II.
A full narrative of the results is coming soon.
In the meantime, create your own comparisons including a look at dynamic range using the +/- exposure variations.
Sigma Announces New 24-70mm F2.8 DG DN Art Zoom Lens for Full Frame Mirrorless Cameras; Available in Sony E-mount and L-mount
November 6, 2019
Sigma Corporation today made the following announcement:
Launch of the 24-70mm F2.8 DG DN Art Zoom lens for full frame mirrorless cameras, leveraging the top-level Art zoom performance, featuring:
Best-in-class optical performance
Compatibility with the latest full-frame mirrorless camera bodies
Flexibility for various uses and photographic environments
Sigma 24-70mm F2.8 DG DN Art Lens
This second newly-designed Art zoom lens from Sigma is a large-aperture standard zoom for full-frame mirrorless camera systems and is available in Sony E-mount and L-mount. The Sigma 24-70mm F2.8 offers best-in-class performance due to a sophisticated optical design that delivers high resolution throughout the entire zoom range. This new Art zoom lens from Sigma follows the debut of the lauded 14-24mm F2.8 DG DN Art zoom for mirrorless cameras.
The Sigma 24-70mm F2.8 DG DN Art lens exerts superiority in mirrorless camera-dedicated designs, resulting in a reduced lens size and weight while achieving uniformity and high resolution from the center to the periphery throughout the zoom range. Compatibility with the latest mirrorless camera bodies and functions assists in various photographic environments and meets the high demands of both professional and advanced amateur photographers.
Key features include:
Best-in-class optical performance. The F2.8 Art flagship zoom lens series is developed to achieve superior optical performance. By employing three aspheric lenses, this zoom lens thoroughly subdues aberrations such as axial chromatic aberration or sagittal coma aberrations, which are difficult to correct in post-processing, tailors the resolution and achieves uniformity and superior optical performance from the center to the periphery throughout the zoom range. In addition to Super Multi-Layer Coating, Sigma’s proprietary Nano Porous Coating is employed to achieve high-contrast and clear image quality. This lens is designed to be less affected by strong incident light such as flare.
Ensuring compatibility with the latest full-frame mirrorless camera bodies. The Sigma 24–70mm F2.8 DG DN ensures compatibility with various types of the latest full-frame mirrorless camera bodies for Sony E-mount and L-mount, (including the new Sigma fp camera), capable of exerting the best performance under any photographic circumstances.
Flexibility for various uses and photographic environments. Featuring a dust and splash-proof body and zoom lock mechanism for preventing the lens barrel from extending unexpectedly, the 24-70mm F2.8 meets a wide range of needs for a variety of photographic environments. The maximum magnifications are 1:2.9 at the wide-angle end and 1:4.5 at the telephoto end, which provides a wider range of expression for close-up photography. The minimum focusing distance is 18 cm at the wide-angle end.
Zoom lock switch
Lens hood with a lock
Mount with dust- and splash-proof structure
Compatible with the Lens Aberration Correction
Available Mount conversion service
Designed to minimize flare and ghosting
Evaluation with Sigma’s own MTF measuring system: A1
11-blade rounded diaphragm
High-precision, rugged brass bayonet mount
“Made in Japan” craftsmanship
The Sigma 24-70mm F2.8 DG DN Art will be available in L-mount and Sony E-mount in mid-November 2019 through authorized US dealers. Pricing will be announced at a later date.
CAPTURE THE BEAUTY OF THE NIGHT SKY WITH CANON’S FIRST FULL-FRAME MIRRORLESS CAMERA FOR ASTROPHOTOGRAPHY
Introducing the EOS Ra Camera with Specialized Filtration that Delivers Four Times Greater Hydrogen-alpha Wavelength (656.3 nm) Transmittance Compared to the EOS R
MELVILLE, N.Y., November 5, 2019 — In the words of poet Quintus Ennius, “No one regards what is before his or her feet; we all gaze at the stars.”
Helping to gaze and capture the beauty of the stars and beyond, Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the company’s first full-frame mirrorless camera for astrophotography, the EOS Ra.
This new camera was built off the EOS R system combining new features, such as four times greater transmittance of hydrogen-alpha (Ha) light of 656.3 nm compared to the original EOS R.
For astrophotographers and hobbyists who enjoy capturing the detailed splendor of the night sky, the new EOS Ra will be an ideal camera to shoot with.
“Since the introduction of the EOS R full-frame mirrorless camera system last fall, Canon has remained committed to launching a line of impressive and innovative EOS R models and a strong variety of RF lenses and accessories to meet the needs of every skill level of photographer,”
said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc.
“As a group of photographers who are passionate about capturing what we can’t see with our naked eyes, the new EOS Ra is designed for astrophotographers looking to capture vivid imagery of the night sky.”
Targeting the needs of astrophotographers, the new EOS Ra full-frame mirrorless camera incorporates many advanced features of the EOS R, such as RF mount design, a 30.3MP CMOS sensor, high-precision electronic viewfinder, high-sensitivity, low-noise performance and 4K time-lapse shooting.
Optional accessories include an AC adapter kit, which allows the camera to be powered through an AC wall outlet or a battery-powered inverter, a BG-E22 battery grip and three EF-EOS R mount adapters to accommodate the entire range of over seventy EF & EF-S lenses.
Other features include:
Enhanced transmission of Ha rays (656.3 nm wavelength) through an infrared cutoff filter, helping to capture high-precision images of the deep-red wavelengths emitted by nebulae in vivid color, without any special camera alterations.
A 30x maximum magnification, allowing users to make extremely precise manual focus adjustments*.
Support for all Canon RF, EF and EF-S lenses (with the use of an optional EF-EOS R mount adapter), including more than 70 lenses from the EF series as well as RF series lenses, which deliver superb image quality. The variety of lenses, such as the large-diameter f/1.2 lenses, ultra-wide-angle lenses, and super-telephoto EF lenses, among others, are all well suited to help photographers to choose the best match for their specific astrophotography purposes.
Availability and Pricing
The Canon EOS Ra full-frame mirrorless camera is scheduled to be available in mid-December 2019 for an estimated retail price of $2,499.00 for the body only**.
* This magnification ratio applies to the camera only. Not supported by EOS Utility.
**Specifications, availability and prices are subject to change without notice. Actual prices are set by individual dealers and may vary.
Preorders for the Canon EOS Ra open on Tuesday Nov 19 At 12:01AM EST.
If you are going to make one of these cameras yours, stop back here and use one of these links to place your order:
Canon’s first full-frame mirrorless camera dedicated to deep sky and night sky photography
Capture the intricacies of a starry night sky with the new EOS Ra camera — Canon’s first full-frame mirrorless camera dedicated to deep sky and night sky photography.
Building on the success of the EOS R, the EOS Ra offers 30x magnification in both the viewfinder and in Live View shooting for more accurate focus.
Modified Filter for Enhanced Night Sky Recording
Positioned in front of the CMOS imaging sensor, The EOS Ra’s infrared-cutting filter is modified to permit approximately 4x as much transmission of hydrogen alpha rays at the 656nm wavelength, vs. standard EOS R cameras.
This allows for a higher transmission of deep red infrared rays emitted by nebulae, without requiring any other specialized optics or accessories.
This image was one of my Katmai National Park goals.
I wanted a straight-on, tightly-cropped bear face image and the image shared here was my favorite from this trip.
The bear was huge.
The September coat was beautiful.
The pose was almost perfectly straight-on with some catchlights in the eyes.
The water drops falling from the bear's snout show that it is active.
No, that is not lipstick and yes, it is looking at me.
Fortunately, these bears like the taste of salmon and not that of people.
Picture yourself sitting alongside a remote creek in Katmai National Park filling memory cards while photographing these giant bears catching salmon, playing, fighting, etc.
That's the opportunity I had and that is the opportunity you have in September 2020!
Plan on joining me for the Brown Bear Chasing Salmon, Remote Katmai National Park, Alaska instructional photo tour.
Plan to increase your wildlife photography skills while capturing portfolio-grade images on this bucket-list-grade trip!
Learn more here.
A larger version of this image is available on Flickr.
Photoshop, now available on your iPad; Adobe Fresco available on your iPad and Windows devices; the Creative Cloud Desktop app; Adobe Aero; the new cloud documents system; and a major update to Photoshop on your desktop.
I am thrilled to invite you to join us at the beginning of something new.
The official debut of Photoshop on the iPad and the cloud documents system, a major new release of Photoshop, a new AR app called Adobe Aero; Adobe Fresco on Windows; and quite a lot more.
Today marks a significant evolution of Photoshop.
Photoshop on the desktop– We are shipping a major update to Photoshop today with many fabulous performance improvements, new Sensei AI and machine learning magic, new industry-leading editing capabilities, and an integrated cloud documents system to seamlessly save your PSDs across all your devices with Photoshop, with no importing or exporting required. This is the same world class Photoshop that powers your creative work, with lots of new added goodness. Download here.
Photoshop on the iPad– Version 1.0 launches today. This is just the beginning of our journey to expand Photoshop to devices, increasing your choices on how to work using Photoshop. We are launching the first version on the iPad, starting with Photoshop’s top workflows, compositing, masking and retouching, with more to come. Over time, we’ll add more capabilities and workflows as we learn more about how customers use Photoshop on a mobile device. With Photoshop on the iPad, you can open and edit your PSDs anytime, anywhere. You can see and edit your layered documents and create with many of your favorite Photoshop features using mobile and touch. It is reimagined with a new user experience completely redesigned for the iPad with touch and mobility top of mind. Photoshop on your iPad seamlessly connects to Photoshop on your desktop through the new integrated cloud documents system. More info here.
Cloud documents– Cloud documents undergoes a major expansion today to support the PSD format. This is a new system that first launched in Adobe XD last year. Today’s evolution enables you to seamlessly save your PSDs among your Photoshop apps and Adobe Fresco, and adds support for Adobe Aero, the new Creative Cloud desktop app and Assets.Adobe.com. For Photoshop, you can access and edit the same document across surfaces without unnecessary imports, conversions, quality loss or exports- no pixel destruction!Also shipping today and connected to Photoshop via cloud documents:
Adobe Fresco– the new painting and drawing app for the iPad that also uses PSDs and links to Photoshop and the cloud documents system. Today it also launches on Windows. (Download on Windows | iPad)
Adobe Aero– a new mobile iOS app for designers to create, share and view interactive, immersive experiences set in Augmented Reality. Make your layered PSDs interactive starting today! Whaaaaat? Try it out! Download here.
Creative Cloud Desktop– the new desktop application that is a portal to your Creative Cloud world of apps, services, collaboration and more.
For the product team, shipping our first version of Photoshop on the iPad and the cloud documents system is a huge milestone that comes after more than a year of intense work.
It is a great burst of energy for us into the world.
For you, the customer, this first 1.0 version is just the starting line.
We plan to shape this new experience together with you, our customers.
Here’s more about the Photoshops, the cloud document system, and the associated apps that we are releasing today:
The journey begins with Photoshop on the iPad
When we started this project, it was hard for me to envision how we would reimagine the Photoshop desktop interface into a beautiful, performant experience optimized for pencil and touch on a smaller screen, while also retaining the power, depth and flexibility of Photoshop.
Photoshop on the iPad is built using the same code base as Photoshop on the desktop.
This means you can open and edit the same PSD in Photoshop on your desktop or iPad without worrying about conversions, compressions, imports or exports.
Photoshop on the iPad supports large files and many, many layers, just like Photoshop on your desktop, preserving your data across devices.
The edits you make, whether making layer adjustments, masking, or spot healing, will produce the same results across devices because the app is powered by the same desktop engine.
One very important thing to note: This is the beginning.
The first version of Photoshop on iPad is focused on compositing, basic retouching, and masking, common tasks and workflows that we know will be useful for most Photoshop users.
Over time, we’ll add more capabilities and workflows as we learn more about how customers use Photoshop on a mobile device.
We plan to add new capabilities as quickly as possible on a regular cadence of releases, which will begin after MAX 2019.
We’re releasing with a set of features we know all Photoshop users will need and plan to add capabilities as we see how customers use Ps on the iPad.
While leveraging the same code base helps accelerate development, we’re also deeply committed to rethinking every experience for the pencil and touch screen to give you the best Photoshop experience possible no matter what environment you work in.
We know we have more work to do and we encourage you to share what’s important to you after you’ve tried the product.
To orient you, the standard Photoshop toolbar is on the left, modernized for touch.
Layers are on the right, modernized for a smaller screen to maximize canvas space.
You can also see a detailed layers panel, just like desktop if that’s your preference.
All your work is automatically saved to the cloud using a new system we are also introducing today that we call cloud documents (details on that below).
All your cloud documents are PSDs and are automatically saved across all your Photoshops and available to edit everywhere Photoshop is.
So whether you flip over to check your email, head back to the home screen, or walk away from your iPad, you won’t lose your work.
We have some in-app tours and video tutorials to get you started and a new home button that takes you to where you can continue existing projects or start new ones.
Currently you can export to PNG, JPEG, PSD, TIFF.
The help icon, which is the ? in the top right corner, takes you to help and community forums where we’d love for you to participate.
Today, Photoshop on the iPad is available to all Creative Cloud customers who have a subscription to Photoshop.
Existing Photoshop subscribers: Simply download Photoshop on your iPad from the iOS app store (also on your iPad), log in with your Adobe ID and take it for a whirl. It is included in your subscription.
Cloud documents provide a streamlined method to work, share and manage creative documents across devices.
This system is deeply integrated into Photoshop on the desktop and iPad, Adobe Fresco and Adobe Aero.
Cloud documents enable you to work on your projects seamlessly across apps.
Instead of exporting and importing files, simply connect to the internet, open your PSD from the app Home Screen and pick up where you left off.
If you’ve been using Adobe XD, this workflow will be familiar as we use the same system for XD files.
We are thrilled to integrate the cloud document capabilities into Photoshop and expand our support to PSDs today.
(When a PSD is in the cloud, we’ve changed the extension to PSDC, “C” for cloud.
It retains all the same characteristics and capabilities of an offline PSD.) Saving your creative work as cloud documents will enable exclusive benefits:
Work from anywhere and access your creative work across devices like Photoshop on your desktop, iPad and Adobe Fresco and Adobe Aero
Work on one PSD file on Photoshop on your desktop, on Photoshop on your iPad and Fresco on your iPad, with all your edits seamlessly saved to that file from these apps via autosave
Easily find creative files directly from within your application’s Home
Peace of mind. Your documents are automatically saved and you are using the most up-to-date version
Home is easy to navigate to in Photoshop on the desktop, iPad and Fresco with similar tools and capabilities in all the apps.
Some key details about cloud documents:
You can also choose to save your Photoshop desktop PSDs locally on your computer or in a different cloud storage location, exactly the same as in prior versions of Photoshop.
You can use Photoshop on your desktop or iPad while offline. For Photoshop on the desktop, working offline is exactly the same as in prior versions of Photoshop.
Cloud documents in Photoshop desktop and Photoshop on the iPad and Fresco are auto-saved.
All documents in Photoshop on your iPad and Fresco are default cloud documents and default auto-saved to the cloud. You can export them to your device or other storage locations any time.
Cloud documents, like libraries and synced files, are part of the Creative Cloud services ?included with your membership and count toward your Creative Cloud storage?allocation.
Learn even more about what’s new in this version of Photoshop here.
On February 19, we will celebrate Photoshop’s 30th birthday.
We now have many customers who were born after Photoshop and have never been without it.
I’m so incredibly proud to be part of a product that continues to be the tool used by millions of creative people worldwide to bring their imaginations to life.
Today that tool gets even better.
First, you will be thrilled with some of the improvements we’ve added using our Sensei technology of artificial intelligence and machine learning- particularly new capabilities in the Object Selection Tool and Content-Aware-Fill.
Many aspects of the user experience and engine have been re-architected for speed including places like the Home screen where you can see and open your PSDs; and the File > New dialog, which now launches almost instantaneously.
Opening files on the Mac is also speedier now.
The home screen looks different because we’ve added things like access to cloud documents.
We also have a “What’s new” tour so you can very easily see what we’ve added to each release as we are now constantly shipping new capabilities.
We’ve cut out steps to navigate through multiple panels and dialogs by repackaging top tasks into a central location.
These properties are shown contextually for the given content selected.
Document properties like canvas size, color mode, background fill, and toggles for rulers, grids and guides.
Pixel layer properties like transform options, alignment options, background removal and select subject shortcuts.
Type properties like selecting tracking, leading, aliasing options, OpenType features and more.
We’ve also added new quick action buttons to accelerate common tasks.
For example you can now one-click to remove background or select subject while in the pixel layer properties panel or quickly convert text layers into a frame or shape.
Preset Panels: Swatches, Gradients, Patterns, Shapes and Styles
Preset workflows have received a complete overhaul.
These improvements make up some of the all-time top requests across all customer types.
New beautiful, modern default content like gradients and patterns (we know you’ll miss the old ones).
New, dedicated panels for gradients, patterns and shapes.
Manage your presets by organizing them into groups. Drag and move to rearrange and re-order.
New behaviors, like drag and drop gradients, patterns and swatches onto the canvas.
Quickly try different looks by clicking through your presets to see a live preview on canvas.
Don’t like the changes? The familiar legacy presets can still be accessed and loaded via the contextual panel menu item “Legacy presets.”
Object Selection Tool
This tool has been promoted to the top spot under the magic selections tool icon.
We use Sensei AI machine learning to enable you to automatically select single, multiple or parts of objects in an image; speeding up complex selections.
Select Subject gets better edges, is faster on a Mac and we’ve reduced the size of the Sensei AI machine learning model on disk without reducing quality so we can also run it on Photoshop on iPad and achieve identical results on both platforms (this feature coming to iPad soon).
We’ve added three ways to identify where in your image you want it to look for source pixels as fill content.
Auto: intelligently select source pixels by analyzing pixels near the selection
Rectangular: Chooses pixels nearby
Custom: gives you full control. You identify exactly which pixels to fill from
Smart Object Convert to Layers
Convert a Smart Object back into its component layers to fine-tune your designs—and do it all in one place, without having to switch between document windows.
Right-click any existing Smart Object and use the menu item ‘Convert to Layers’ to unpack the layers.
This is a specific response to requests from some of our power users and we worked very closely with them to get it right.
Now you can take better advantage of the depth maps coming out of your camera.
You can set a focal point to choose what to blur and keep in focus (foreground, background, etc).
We’ve also made it speedier with GPU improvements.
Transform Warp Enhancements
We’ve added much more flexibility and control to transform warp with the ability to drag with bezier curves.
We’ve added preset grids: 3×3, 4×4, 5×5 defaults.
You can also create your own custom-sized grids (20×4 for example) and add and move your own new gridlines and anchor points.
There’s also a new keyboard shortcut (option/alt).
This supports multiple undos to remove gridlines as you add them.
And you can shift/drag to select multiple points for more control over creative warping.
32-Bit HDR Images
We’ve added adjustment layers for curves and brightness / contrast for 32-bit images.
Consistent Transform Behavior
Proportionally transform multiple layers, regardless of the type, without using Shift.
However, if you prefer the legacy behavior, simply click the link in the transform option bar to revert back to legacy behavior (all layers free transform by default).
With a single click, you can set up Photoshop to your preferred transform behavior.
Smart Object and Layer Comp Tracking
Now save the variation of a Layer Comp within a Smart Object to save time from manually setting each variation.
Paint/erase with the same brush: Use the (~) key to toggle between painting and erasing with the same brush tip. This is a popular customer request also available on the iPad.
Faster layer navigation: Option/single click on a layer and zoom to that layer to help with faster navigation, especially with complex layered-documents.
Quickly rotate the brush tip by using the left and right arrow keys when a brush tool is active.
And So Much More
…Document tab improvements, native animated GIF support, better handling of scratch disks out of space…
Does the Canon EOS R firmware update v.1.4.0 make a difference?
Absolutely! Your EOS R got a free upgrade.
It's been a month since Canon EOS R Firmware v.1.4.0 was made public and I've been asked about its performance (more than once).
Quite simply, this update brings a great improvement to the AF system.
Prior to installing the update, I created a controlled eye-detection AF test.
The test was not highly technical – the longest distance that the EOS R would show a stationary subject's eye being detected by a specific lens and focal length was determined and recorded.
It was not difficult to determine whether or not the new firmware delivered an advantage.
That test revealed that v.1.4.0 shows the eye detection box in the viewfinder from a distance 3x farther away (3x-smaller eyes) than the previous firmware version did.
The difference is very obvious.
While I was happy with the R's eye-detection AF performance prior to loading the update, it is especially reassuring to see your subject's eye being indicated in the viewfinder and this update is a good one.
That your camera gets this update for free is especially good.
Here’s a sneak peek at an intelligent, Adobe Sensei-powered feature headed to Photoshop soon.
Meredith Stotzner shares how the new Object Selection Tool speeds up your selection workflow by snapping to the object you want to select using machine learning technology.
Introducing DJI’s most compact and portable drone yet.
At just 249 grams, the ultralight Mavic Mini delivers a 30-minute max.
flight time, 4km HD video transmission, and powerful safety features.
Capture every vivid detail in 2.7K Quad HD video and enjoy simplified recording and editing with the new, hyper-intuitive DJI Fly app.
Whether you’re trekking through the mountains, enjoying a day at the beach, or just lounging in your own backyard, Mavic Mini was made to elevate the experience.
New AF 14mm F2.8 Full Frame
Compact and Weather Sealed
The World’s First Autofocus 14mm RF Mount Prime
(New York, New York) October 25, 2019 – ROKINON has announced its new AF 14mm F2.8 Full Frame Ultra-Wide Lens specifically designed for Canon RF mount. Its 113.9 degree ultra-wide angle view, is currently the widest available for any autofocus prime lens available for Canon R series mirrorless cameras. ROKINON’s array of wide angle lenses are highly regarded for their high performance, value and affordability, and this AF 14mm is no exception.
Currently, Canon R series camera users have to utilize an EF/EFS type lens plus an expensive mount adapter to enjoy the performance of an autofocusing ultra-wide angle prime lens. The resulting size and weight is not ideal for a mirrorless camera. The new AF ROKINON is designed exclusively to prioritize the user experience of mirrorless cameras. By reducing the length of the flange back, its overall length and weight were also reduced to enhance balance and usability. A reduction in the weight of the focusing lens also allows for faster and quieter AF performance.
Optically, this AF ROKINON 14mm RF mount lens offers a bright f2.8 aperture and a rounded seven blade aperture for pleasing bokeh and star effects. Its 14 element/10 group design utilizes UMC anti-reflective coatings plus six special elements (3 Aspherical, 1 High Refractive Index, and 2 Extra-low Dispersion) to provide minimum distortion and outstanding full frame image quality from corner to corner.
Additional features include a Manual / Auto Focus switch, dust and moisture resistant weather sealing, a built in lens hood, high strength aluminium alloy housing, and a rear filter holder to allow use of gel filters without vignetting.
The AF Rokinon 14mm F2.8 Full Frame ultra-wide for Canon RF mount will be available from authorized Rokinon dealers in December with a MSRP of $799.00.
Take To The Skies With Mavic Mini, DJI’s Lightest And Smallest Foldable Drone
The ultra-light Mavic Mini makes drone flight easier and safer than ever
October 30, 2019 – DJI, the global leader in civilian drones and aerial imaging technology, today opens a new frontier in drone possibilities with the DJI Mavic Mini, an ultra-light folding drone designed to be the everyday FlyCam. Weighing just 249 grams, Mavic Mini is portable, easy to fly, designed for safety and perfect for everyone who wants to experience the fun of flying.
Mavic Mini builds on the technological innovations in DJI’s renowned series of folding Mavic drones, from the original Mavic Pro through Mavic Air and Mavic 2, to pack professional-quality drone features into the lightest possible frame. That puts Mavic Mini in the safest drone category, which in many areas exempts it from regulations that apply to other, heavier drones. Drone pilots must always understand and follow local laws and regulations.
Mavic Mini’s high-grade camera captures compelling footage in high definition, and its new DJI Fly app’s suite of creative features seamlessly transforms photos and videos into professional-quality productions. Its enhanced, stable flight performance provides more opportunities to explore using one of the longest flight times for a drone of its size. Users can unleash their imagination with Mavic Mini’s exciting accessories, including a DIY Creative Kit and a 360° Propeller Guard for added safety.
“To design a drone as lightweight, compact yet capable as Mavic Mini was one of the most challenging projects we’ve ever tackled at DJI,” said Roger Luo, President, DJI. “Distilling top-of-the-line features into a palm-of-your-hand drone is the culmination of years of work, and we are ecstatic to bring a new class of drone to the DJI lineup. Mavic Mini’s long flight time, ultra-light weight and high-quality camera makes it DJI’s everyday drone – and most importantly, it’s easy to fly, no matter your experience level with drones.”
Portable and Safe
Mavic Mini is the smallest and lightest DJI drone ever made, and is the perfect creative tool for life’s daily adventures, whether seeing your everyday world from a new perspective or capturing incredible views of your getaways with friends and family. Mavic Mini incorporates DJI’s renowned safety technology, including geofencing to help drone pilots avoid restricted areas; AeroScope remote identification to help protect sensitive locations; built-in altitude limits; and automatic return to the launch point if the drone loses connection to the controller or reaches critically low battery level.
Mavic Mini is the first DJI drone to weigh below 250 grams, which aviation regulators around the world consider to be safest category for drone flight. In many countries, drones below 250 grams are considered safe enough that they can be used in new and exciting ways. Users should consult their country’s drone laws and regulations to learn more about what they can do there with Mavic Mini.
An Optimal Flight Experience
Created to be the drone for everyone, even those new to drones, Mavic Mini is simple to operate and fly using the dedicated remote controller. The ultra-light design and high-grade motors provide Mavic Mini with up to 30 minutes of flight time, giving users with more time to explore and capture content. A Wi-Fi transmission signal delivers stable control and an HD live feed for a clear, confident flying experience. GPS receivers and downward visual sensors detect the ground below Mavic Mini, enabling precise hovering, stable flying and accurate landing both indoors and out.
Quality Content Captured with Ease
Mavic Mini offers pilots the ability to capture high-quality footage including 2.7K video at 30 frames per second, 1080p at 60 frames per second, or 12-megapixel photographs using the 1/2.3-inch sensor. A three-axis motorized gimbal supports and stabilizes the camera, ensuring the footage is smooth and cinematic, making it perfect for sharing on social media.
Advanced Features Created to Inspire
The new DJI Fly app is intuitively designed, simplifying the flying and content capturing experience so that pilots of all skill levels can make the most of Mavic Mini. Dedicated tutorials are included to help new pilots learn about flying, and pre-set editing templates add a new level of creativity to the footage. New pilots can choose to fly in Position (P) mode for basic operation, more experienced pilots can unlock more capabilities in Sport (S) mode, and content creators can choose CineSmooth (C) mode to lengthen braking time for smoother shots and more cinematic footage. Pilots can also choose from several pre-programmed flight maneuvers known as QuickShots. Simply tap the desired mode and Mavic Mini will automatically create stunning, cinematic content:
Rocket - Mavic Mini flies straight up into the air with the camera pointing downward following your subject. Set a height limit of 40, 60, 80, 100, or 120 feet.
Circle - Mavic Mini will circle around your subject at a constant altitude and distance.
Dronie - Mavic Mini flies backward and upward, with the camera tracking your subject. Set a height limit of 40, 60, 80, 100, or 120 feet.
Helix - Mavic Mini flies upward and away, spiraling around your subject. Set a height limit of 40, 60, 80, 100, or 120 feet.
Get Creative with New Accessories
Exciting and unique accessories allows pilots to get the most out of their Mavic Mini. Customers can choose from options including:
360° Propeller Guard: Provides a 360° guard for added safety.
Charging Base: Charge and display Mavic Mini with this unique, illuminated station.
Propeller Holder: Travel easier with Mavic Mini with the propeller holder that locks the props into place.
DIY Creative Kit: Personalize your Mavic Mini with custom stickers or draw your own design.
Snap Adapter: Attach a toy building brick or a mini LED display to Mavic Mini to write custom messages.
Mini Travel Bag: Bring Mavic Mini everywhere with the custom bag that fits Mavic Mini and the controller perfectly.
Two Way Charging Hub: Charge up to three Mavic Mini batteries or use the charging hub as a power bank.
Detailed information on these accessories can be found here: www.dji.com/mavic-mini
Price and Availability
Mavic Mini will be available for pre-order beginning October 30 at store.dji.com, flagship stores and authorized retailers and partners. Mavic Mini will come in two purchase options, the standard version which includes Mavic Mini, remote controller, one battery, extra propellers and all necessary tools and wires for $399 USD. Or the Mavic Mini Fly More Combo which includes all of the components from the standard version with the addition of the 360° Propeller Cage, Two-Way charging Hub, three batteries in total, three sets of extra propellers and a carrying case for the price of $499 USD. Mavic Mini will begin shipping on November 11. Accessories for Mavic Mini will be available for pre-order beginning October 30. For additional information on both Mavic Mini and its accessories, please visit: www.dji.com/mavic-mini
DJI Care Refresh
DJI Care Refresh is now available for Mavic Mini. For an additional $39 USD. 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
Mavic Mini Wi-Fi system has a maximum range of 4 km when unobstructed, free of interference, and FCC compliant. Maximum flight range specification is a proxy for radio link strength and resilience. Always fly your drone within visual line of sight unless otherwise permitted and check local laws and regulations in the region being operated.
From an email I received from Canon Europe yesterday:
IT'S TIME TO SAY FAREWELL TO IRISTA
Sadly, we’ve decided to close down Irista. We would like to thank you for using it over the years; we hope that you’ve enjoyed the service.
Your account will remain unaffected until 31 January 2020, when it will close. On this date, your details and data will be deleted. Before this happens, you can download your photos and videos by following these three simple steps*:
1. Sign in to your Irista Account using your Canon ID,
2. Click the link next to “Download All Photos & Videos”,
3. Download ZIP files to your computer**.
Safely store your downloaded images with Adobe Lightroom (1TB) and enjoy a complimentary 2-month membership***. You can use up to 1 terabyte of storage, as well as edit, organise and share your photos from anywhere.
To redeem, click here, and use your unique code: [provided in email]
*You can download your photos and videos on a computer or laptop, not through the app.
**There may be multiple ZIP files depending on the number of photos and videos you have.
Relevant information from the presentation material:
"In the third quarter, our sales of interchangeable-lens cameras decreased 7% to 980
thousand units due to the impact of market contraction, mainly for entry-level DSLRs.
Amid market contraction, price competition surrounding higher-end full-frame models
intensified due to the energy that each manufacturer is putting into this segment. In this kind
of environment, and due to our stance to prioritize profitability, we posted third-quarter unit
sales of higher-end models that were below our plan. However, we did expand sales, mainly
for a popularly priced mirrorless camera that has secured the number one market share
position, both in and outside of Japan. Furthermore, thanks to positive feedback we have
also received for new mid-range cameras, we decided to maintain our full-year unit sales
"As for the full-frame mirrorless camera that we introduced last year, up to and including the
third quarter, we have broadened our lineup of dedicated lenses by four in 2019. As a result,
we have seen a steady rise in our lens-attach ratio. In the fourth quarter, through the launch
of two new lenses, we will solidify the base from which we will expand sales of higher-end
mirrorless cameras and use this opportunity to further strengthen activities aimed at
"Specifically, we will actively expand kit sales, which include higher-end cameras with the new
lenses that were launched. Among them, we are seeing strong orders, particularly in North
America, for the kit that includes a high-magnification zoom lens which covers a wide-range
of image capturing situations from wide-angle to telephoto. On top of this, we are raising
the appeal of our products, continuously making improvements to software which has a
significant impact on performance, such as making available firmware upgrades that further
improves the accuracy of autofocus. On top of these measures, we will work to encourage
potential customers to purchase our products with a focus on digital marketing, through
such activities as partnering with professional photographers using social media, and
distributing videos that highlight the strengths of our optical technology."
"For the professional market, we are steadily enhancing our support system for sporting
events, both in Japan and in other markets. And on this front, we are already earning high
praise from professional photographers. Additionally, we will respond to the needs of
professionals by launching a new flagship model as part of our EOS-1 series at the beginning
of next year."
"As for the full-year, although we kept our projection for unit sales unchanged, we expect
sales and profit to be below our previous outlook due to changes in product mix and
additional investments to expand sales in the fourth quarter."
"As for compact cameras, we kept our previous full-year unit sales projection as our results
have been in line with expectations. Even in the shrinking market, we exceeded the third
quarter unit sales of last year of premium G series models that offer advanced video features,
bringing new young people into our ecosystem. We will continue efforts to expand sales of
our G series, which has relatively higher margins, and link this to improved profitability."
After getting to the Vessel, located in Hudson Yards near the Jacob Javits convention center in Manhattan, New York City, getting in is the next step (though photographing the exterior of this structure is also fun) and getting in requires a ticket.
Vessel Tickets are free, but they must be sourced for a particular entry time slot.
Tickets are available online, beginning 14 days in advance, and on site (though they can sell out).
Reasonably-priced Flex Pass tickets are available up to 6 months in advance and permit one-time entry at any time on that day.
If making a big effort to get to this location, it might be worth spending a bit to get this ticket.
Once inside, plan on walking a LOT of steps with 2,500 of them available in 154 flights connected to 80 landings.
Even when circling the Vessel at the same level, one must go down and up stairs almost continuously.
From a compositional perspective, the higher the shooting position (the more stairs you climb), the more that stairs and landings are seen in the compositions (as you are inclined to shoot more downward at higher levels).
The lower the shooting position, the more that the copper color and reflections tend to be seen.
The hexagonal shapes created by the flights of stairs and landings appear largest when photographed with a level camera.
A wide range of focal lengths can be used, but ultra-wide-angle focal lengths are really fun to use here.
The 15mm focal length was not too wide and I would have used wider if I had it available (the Canon EF 11-24mm f/4L USM Lens would be especially fun here).
Note that this is a "Tripods and selfie sticks are not permitted" location.
I didn't have a problem with the selfie stick limitation but would have much appreciated having a tripod to work from.
A small amount of (sloped) space available on hand rails enabled use of a Really Right Stuff TFA-01 Ultra Pocket Pod and that along with a
BC-18 Microball worked very well, though very close attention was required to ensure the rig did not tip over the edge.
There is a conventional round handrail throughout the structure, but it is lower than the sloped edge rail, making the RRS clamp I had along unworkable due to the obstructed view.
I love symmetry in compositions and while this structure makes symmetry available, it is a challenging pursuit.
My advice is to frame the scene as symmetrically as possible or make it look like you didn't try to do so.
Either can look great, but a nearly symmetrical image can appear sloppy.
Centering the camera on a landing (watch the floor and railing tiles for centering clues) and ensuring that it is level is a good start to obtaining symmetry.
Fine-tuning may still be required and even if great care is taken in the field, fine-tuning may still be required during post production.
This location can be photographed at any time of the day.
However, the later the night got, the more I liked the results.
The black sky allowed reflections on the structure to pop.
Aircraft (a police helicopter is landing in this image) and vehicle lights can be streaked through the frame after dark.
Fewer people were visiting and the longer exposures permitted by the darkness allowed the people still there to be erased via their movement.
Using strong ND filters is a good mid-day option for obtaining long exposures.
Especially on the higher levels, there are vibrations from people walking, especially when going up and down stairs.
Long exposures can be surprisingly sharp when the vibrations are a short percentage of the overall exposure.
Another strategy for removing people from the composition is to capture multiple images, later blending them to show portions of the frame without people.
Perhaps visiting on a bad weather (think cold, rain, etc.) weekday might gain solitude.
Additional options include embracing the naturally occurring people and taking someone along that you want in your photo (environmental portraits).
If the sun is visible, capture it peeking through the structure using a narrow aperture to create a star effect (wide aperture lenses often work best for this).
I planned to capture the sunset in the background on this afternoon but ... heavy clouds canceled that show.
The elevator rails will likely end up in your wide-angle images, so use them compositionally.
Try centering the rails and also angling them through the side of the frame.
Observe the buildings in the background varying as the structure is circled.
Give consideration to what they look like in the composition.
The blue lights shining upward from the bottom of the structure can be utilized in the frame.
In this case, a narrow aperture turned them into a rather wild-looking bright blue star.
I managed to spend 4 hours at the Vessel before a phone call pulled me away from the fun.
The take-home from this shoot was very good and it was difficult to select one image to share.
The build quality of this lens feels superb, at least as good as the white telephoto L lenses you've used before.
I've seen RF 70-200 mock-ups prior to holding a production model but holding this lens in your hands really drives home how compact and light it is.
New for a 70-200 L lens is that this model extends, allowing it to become considerably shorter at 70mm than the previous models.
The volume difference noticed especially in a backpack is huge.
With a retracted length of 5.75" (146mm), it will fit upright into many lens backpack/case slots.
The extending portion of the lens feels solid with very little play.
The zoom ring is very smooth with the normal L-grade feel.
The lightweight tripod ring is not riding on steel bearings and the friction fit is not especially smooth during rotation.
I originally feared that the compact tripod ring would have too much flex, but reality is that it is very solid, impressively so for the size.
Replacement lens feet will require the entire ring to be replaced.
Image quality will be of utmost importance and to help with that early assessment, I've uploaded some full-size images for you to review.
Keep in consideration that the models being photographed in these images were moving constantly.
The handheld shutter speed was 1/500 (marginal for the action) and the lighting was not optimal, changing in brightness and often strongly-colored for effect (do not use these images for critique of color rendering).
While these are not lab-grade samples, the results are still quite impressive.
Be sure to observe the sharp plane of focus for your judgments.
Note the faces of the models are considerably off-center, showing performance toward the periphery of the image circle.
All images were processed in DPP using the standard picture style with sharpness strength set to "2" (0-10 scale) with all lens corrections disabled.
Images were saved as 70-quality JPGs in Photoshop.
ISO settings were mid-level (not optimal for image quality discernment, light noise reduction has been applied (2,3 or 3,3) and I opted to brighten all images shared here (see setting and adjustments listed for each image).
Still, I think you will like what you see.
In a 70-200mm lens, I expect the 200mm focal length to deliver the softest results.
Thus, I was especially interested to see how 200mm performed in this lens.
The first example was captured at ISO 1000 and processed with +0.33 EV.
Click on the image to download the full size file.
Check out the sharpness of the model's face and follow the sharpness of the dress circles along the plane of sharp focus.
The second example was captured at ISO 1200 and processed with +0.67 EV.
Again, click on the image to download the full size file.
Again, check out the sharpness of the model's face and follow the sharpness of the black sweater along the plane of sharp focus.
Also, check out the lack of color fringing that would be made apparent in the foreground and background blur of the white hairpiece and the reflective silver pieces on the dress.
The 70mm focal length is also important and it is the other full extent of the zoom range, potentially another weak point.
While the details being rendered smaller in the frame is disadvantageous from an apparent-sharpness perspective, the results still look great.
Look at the netting in the hat.
This example was captured at ISO 500 and processed with +0.82 EV.
Portland, OR – Lensbaby – makers of award-winning lenses, optics and accessories for photographers & videographers announces today the availability of the new Color Expansion Pack for its groundbreaking OMNI Creative Filter System by Lensbaby launched in June, 2019.
“Color is a key element to establishing mood.
These multi-color crystals, films and gels allow you to inject a vast range of different tones to dramatically or subtly change the mood in your scene,” says Craig Strong, Lensbaby Chief Creative Officer and Co-Founder.
“Color Expansion Pack tools let you paint in a wide range of colors and reflections, channeling the look of expired film, light leaks and more.
The same scene and framing can have a completely new feel and mood depending on which Color Pack tools you mount to the front of your OMNI Filter.”
The OMNI System is the simple, unique and elegant solution to shooting through handheld objects.
It offers control and repeatability when shooting through crystals and other objects engineered by Lensbaby to create distinct and compelling in-camera effects.
The unique, professional-grade system is unlike anything currently on the market and geared to work on existing manual and autofocus prime and zoom lenses.
This is the second expansion pack offered for the OMNI system.
More will be offered in 2020.
The Color Expansion Pack includes a vast array of tools to organically introduce color and mood into imagery.
It includes two multi-color crystals, two sets of multi-color films, one set of color gels and a diffraction film that creates crisscross rainbows.
The Color Expansion Pack will be available for pre-order on October 24, 2019 and will be available for demonstration at PHOTOPLUS 2019 in New York City through October 26.
The OMNI Color Expansion Pack retails for $59.95.
The OMNI Creative Filter System retails for $99.95 and the Crystal Expansion Pack retails for $49.95.
Color Expansion Pack Details
The Color Expansion Pack includes the following Effect Wands and Filters in a custom-designed pouch:
A Crystal Multicolor Teardrop and Crescent wand, each with a unique spectral coating resulting in constantly changing prismatic colors on top of the crystals’ multi-faceted fractal effects
Set of five smooth-surface Lumi Films in a range of colors and hues which add color, light leaks, expired film effects & more
Set of four textured Lumi Films which create flare effects from the texture, also in a range of colors and hues which add color, light leaks and expired film effects
Set of five Color Gels, each of which adds a single swath of color overlay
Crisscross Rainbow film that creates a patterned rainbow effect
ntroducing the NTG5 location sound shotgun microphone, a new addition to the best-selling RØDE shotgun microphone range.
Featuring a groundbreaking acoustic port design providing a superior progressive wave interference, ultra-lightweight construction and crystal clear, broadcast-grade sound, the NTG5 is a revolution in shotgun microphone design aimed at the professional user.
Key features of the RØDE NTG5 include:
Revolutionary acoustic design, delivering a natural, uncoloured sound.
Extremely lightweight (just 76g) short shotgun microphone (just 203mm), making it far easier to handle on set than other shotgun mics, especially when used on a boom pole.
Tailored frequency response and very low self-noise of just 10dbA, making it ideal for location recording, professional filmmaking, and other critical recording situations.
Highly directional supercardioid polar pattern and smooth off-axis response.
RF-bias technology and conformal coating ensure superior performance in adverse weather conditions.
Comes in a complete location recording kit with windshield, pistol grip and other accessories – the NTG5 is ready to take into the field right out of the box.
The RØDE NTG5, the perfect location recording mic.
THE RF FAMILY GROWS BY TWO: CANON RF 70-200MM F2.8L IS USM LENS IS THE WORLD’S SHORTEST AND LIGHTEST LENS IN ITS CLASS [i] AND RF 85MM F1.2L USM DS IS THE FIRST LENS TO FEATURE DEFOCUS SMOOTHING
New RF L-Series Lenses Aim to Provide Impeccable Performance, Handling and Unique Features to Photographers Shooting with EOS R and EOS RP Cameras
MELVILLE, N.Y., October 24, 2019 – Completing the “trinity” of RF lenses for the EOS R Full-Frame mirrorless camera system, Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the RF 70-200mm F2.8L IS USM telephoto lens.
Additionally, the company also announced its first lens to feature Defocus Smoothing lens coating, the Canon RF 85 F1.2L DS.
The ninth and tenth lenses in the RF family are both powerful tools for photographers using the EOS R or EOS RP cameras, in particular, those shooting sports or wildlife photography with the RF 70-200mm F2.8L or portrait photography with the RF 85mm F1.2L USM DS.
Short and Light With All The Might: Canon RF 70-200mm F2.8L IS USM
The new lens features a large and bright f/2.8 aperture, which, along with the 70-200mm focal zoom ranges, presents an ideal workhorse lens for professional and amateur photographers shooting sports, wildlife, wedding and event action.
The new RF lens is 27 percent shorter and 28 percent lighter than its EF counterpart [ii] with a large portion of the lens element arrangement closer to the camera body.
This arrangement is designed to provide photographers with a more balanced feel and experience even at telephoto end of the zoom range.
Additionally, the shorter and lighter design allows the lens to be more easily stowed away in a camera bag when not in-use.
A first for Canon lenses, the new RF 70-200mm F2.8L IS USM features two Nano USM motors providing an even greater level of high-speed autofocus for still image shooting and quiet and smooth autofocus for video shooting.
The lens also incorporates a floating focus control, another Canon first, that drives the two lens groups individually while using the two aforementioned Nano USM motors.
The floating focus lens element shortens focusing distance and help reduce breathing, providing users with fast, consistent and reliable performance.
Additional Features of The Canon RF 70-200mm F2.8 L IS USM Include:
Customizable control ring that allows photographers to adjust exposure compensation, shutter speed, aperture or ISO
17 lens elements in 13 groups including two aspherical lenses, one super UD lens and four UD lenses, that help to reduce chromatic aberration
CIPA standard five stops of image stabilization (IS) including three IS modes with dual-sensing and combination IS
12-pin communication system
L-Series dust and weather resistant build with fluorine coating
Subwavelength Structure Coating (SWC) helps minimize lens flare and ghosting
Teaching an Old Dog a New Trick: Canon 85mm F1.2L USM DS
Canon has a rich history spanning over 40 years of producing 85mm lenses with f/1.2 apertures, and the new Canon RF 85mm F1.2L USM DS is no different, or is it?
The lens ushers in a new lens coating from Canon, Defocus Smoothing [iii], designed to enhance the appearance of bokeh in the images captured with the lens.
DS coating is a vapor-deposited coating technology that is applied to the front and rear surfaces of a specific lens element inside the lens.
The coating allows off-axis flux to pass through the periphery of the lens that gradually decreases the transmittance of light, which results in images with beautifully blurred backgrounds.
In addition, the new lens features a bright f/1.2 aperture which, along with the 85mm focal length, encompasses an ideal lens for portrait photographers.
85mm is often the preferred focal length selected by photographers when shooting portraits because it provides an appropriate depth and perspective of the subject relative to the background, helping to capture high-quality imagery with beautiful and desirable bokeh.
The focal length also allows for the photographer and subject to maintain optimum distance apart to support strong communication, while not being too close.
Additional Features of The Canon RF 85mm F1.2L USM DS Include:
Minimum focusing distance of 2.79 feet/0.85 meters
Customizable control ring that allows photographers to adjust exposure compensation, shutter speed, aperture or ISO
One Aspheric lens and one UD Lens, along with BR optics that help to reduce chromatic aberration
12-pin communication system
L-Series dust and weather resistant build with fluorine coating
Air Sphere Coating (ASC) that helps minimize lens flare and ghosting
Pricing and Availability
The Canon RF 70-200mm F2.8L IS USM and RF 85mm F1.2L USM DS lenses are scheduled to be available late November 2019 and December 2019, respectively for an estimated retail price of $2,699.00 and $2,999.00 respectively [iv].
[i] Among 70-200mm lenses, as of October 24th, 2019, based on Canon’s research.
[ii] When compared to Canon EF 70-200mm f/2.8L IS USM III
[iii] Due to Defocus Smoothing, transmittance of the lens periphery decreases due to the DS coating. Brightness of the lens at maximum aperture is about 1 1/3 stops darker than f/1.2
[iv] Specifications, availability and prices are subject to change without notice. Actual prices are set by individual dealers and may vary.
Specifiations and Product Images
Specs and product images have been uploaded to the respective product pages:
POWERFUL, FASTER AND RUGGED: CANON ANNOUNCES THE DEVELOPMENT OF THE EOS-1D X MARK III CAMERA
MELVILLE, N.Y., October 24, 2019 – Canon U.S.A. Inc., a leader in digital imaging solutions, today announced that its parent company, Canon Inc. is developing the highly anticipated Canon EOS-1D X Mark III Camera – the successor to the world-renowned and award-winning EOS-1D X Mark II.
Ideal for sports and wildlife, the flagship DSLR is being engineered and designed using feedback from the worldwide community of EOS-1D X and EOS-1D X Mark II photographers.
Continuing Canon’s rich heritage of creating first-rate optical products, the EOS-1D X Mark III offers an enhanced autofocus system, with dramatically improved still and video image quality and communication.
When using this camera, professionals will have the confidence they will get ‘the shot’ and can deliver it at a competitive speed – faster than ever before – ideal for the increasingly fast-paced industry.
“The innovations put forth by the new EOS-1D X Mark III will set the new standard for professional DSLR cameras and further cement Canon’s commitment to its professional photographers,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc.
“In developing the new camera, Canon listened to extensive user-feedback from professionals out in the field.
The result is a camera that has evolved from its predecessor and maintained the overall quality that professional photographers have come to expect from the Canon EOS-1D series.”
Need for Speed
The Canon EOS-1D X Mark III will be blisteringly fast - offering exceptional precision, reliability, high-performance autofocus and subject tracking – providing photographers with a tool that will help to capture the shot they are chasing.
The camera’s new autofocus algorithm will improve stability and tracking when using both the Optical Viewfinder and in Live View shooting mode, using Deep Learning Technology and adapting to help facilitate accurate focus tracking for every shot.
When using the optical viewfinder the camera will use a new autofocus sensor, with approximately 28 times the resolution in the center of the EOS-1D X Mark II.
Offering the ability to autofocus in even brighter and darker situations than before and with greater precision, the camera will have a range of autofocus capabilities, which will enable the photographer to get their shot.
In Live View mode, users will be able to make use of 525 AF areas using the Dual Pixel CMOS AF system will cover approximately 90x100 percent of the image sensor.
The camera will support significantly faster frame rates with full AF and AE, using either the optical viewfinder (up to approximately 16fps mechanical shutter) or Live View (up to approximately 20fps mechanical or electronic shutter).
Additionally, the camera’s dual CFexpress card slots will enable more than five times the RAW burst depth of its predecessor.
Powered to Dominate
The development of EOS-1D X Mark III is a clear example of Canon’s commitment to pushing the boundaries of innovative imaging products featuring optically excellent technology.
The camera will support an all new, Canon-developed, CMOS sensor and DIGIC processor, that will deliver greater image quality, at even higher ISOs, with the ability to capture stills in 10-bit using the HEIF (High Efficiency Image File) file format.
HEIF produces wider dynamic range and greater color representation compared to JPEG.
The power of 4K resolution brings stories to life – shoot 4K videos including 4K60p with 10-bit 4:2:2 Canon Log internal recording.
For professionals, content delivery is just as important as image capture – the EOS-1D X Mark III will make it easy, featuring built-in Wi-Fi® and Bluetooth® low-energy connectivity in addition to GPS technology.
To keep pace with ever-shortening deadlines, the camera will transfer data at more than twice [i] the speed of the EOS-1D X Mark II when using the built-in Ethernet connection, or the new optional wireless file transmitter – the WFT-E9,
which is also compatible with Canon’s recently launched Cinema EOS C500 Mark II camera.
Coupled with simpler network set-up the camera will greatly enhance the professional workflow.
A Familiar Feel with Improved Attributes
Existing EOS-1D series users will be familiar and comfortable handling the EOS-1D X Mark III allowing seamless navigation with trusted ergonomics – whilst the magnesium alloy body will offer the durability expected from Canon’s EOS-1D cameras.
Professional photographers can trust the same impressive build-quality as the EOS-1D X Mark II – with phenomenal weather-sealing, standing up to harsh conditions, including wind, rain and humidity.
With incredible low-light shooting capabilities, the camera will now feature select illuminated buttons that allow for precision operation in challenging, dark and dimly lit conditions.
The camera will also offer a new additional control for selecting AF points, built into the AF-ON button, allowing photographers to change AF points on-the-fly for the best composition – further helping to simplify their work.
In addition, dramatically improved battery life – with the same LP-E19 – will allow professionals to shoot for longer periods of time, without having to change batteries, helping reduce the chance of missing a shot.
[i] Transfer speeds may be adversely affected depending on the usage environment.
MELVILLE, N.Y., October 24, 2019 – It’s almost impossible to scroll through your social feeds or visit a website and not encounter a video catching your eye – some online video platforms can see 500 hours of video uploaded every minute .
With so many platforms for innovative vloggers and content creators to share their work, Canon U.S.A., Inc., a leader in digital imaging solutions, is making it easier for them to produce and
distribute quality content with the introduction of creator kits for three of the Company’s newest cameras – EOS 90D, PowerShot G7X Mark III and EOS M200.
Included in each creator kit is a new Canon accessory.
Small and mighty, the new Stereo Microphone DM-E100 doesn’t require a battery as it is powered when it’s plugged directly into the microphone jack of the EOS 90D.
The new Tripod Grip HG-100TBR includes Wireless Remote BR-E1 that snaps directly into the tripod, providing the ability to release the shutter and start/stop recording video remotely.
The grip can rotate 360 degrees for selfies as well as 90 degrees making it ideal for vertical video with both the PowerShot G7 X Mark III and EOS M200.
Details for each content creator kit are as follows:
EOS 90D Video Creator Kit - For the Advanced Video Creator
October 22, 2019, Commack, NY - Tamron announces the launch of three prime lenses for Sony E-mount full-frame mirrorless cameras: 20mm F/2.8 Di III OSD M1:2 (Model F050), 24mm F/2.8 Di III OSD M1:2 (Model F051), and 35mm F/2.8 Di III OSD M1:2 (Model F053).
The 24mm and 35mm lenses will be available on November 20th and the 20mm will be available in January 2020.
All three lenses will be available in the USA for approximately $349.
20mm F/2.8 Di III OSD M1:2 (Model F050)
24mm F/2.8 Di III OSD M1:2 (Model F051)
35mm F/2.8 Di III OSD M1:2 (Model F053)
Having already produced award-winning zoom lenses in this mirrorless category, we turned our attention toward prime lenses.When using a prime lens, the photographer must decide the composition based on their distance from the subject.
This puts the joy of capturing the image exactly as envisioned and the pure fun of shooting on a different level.
The three new models include a 20mm focal length (Model F050) to fully explore the world of ultra-wide-angles, a 24mm focal length (Model F051) as the perfect general-purpose wide-angle lens, and the versatile 35mm focal length (Model F053) that is ideal for everyday/every subject use.
Developed under the concept of "letting as many as possible learn the joy of prime lenses in a more accessible way," each lens strikes a balance between gorgeous image rendering and superior operation.
We matched the same filter size (f67mm) for all three prime lenses as well as the two previously launched zooms and achieved our aim of compactness.
Furthermore, the 20mm, 24mm and 35mm lenses are all capable of focusing very close, to an unprecedented in this category magnification ratio of 1:2.
Other features include Moisture-Resistant Construction (for outdoor shooting) and a Fluorine Coating on the front element for easy maintenance and fingerprint removal.
They also support various camera features offered by certain Sony cameras, such as Fast Hybrid AF and Eye AF, and offer a multitude of advanced functions to ensure a pleasant shooting experience and fantastic results.
This series of highly practical lenses lets photographers enjoy the photographic expression of wide-angle lenses, often regarded as the sweet spot for most photographic pursuits, plus unprecedented light weight and full-blown performance.
1. Enhanced close-focusing capability expands lens usefulness and versatility
These prime lenses focus very close. The MOD (Minimum Object Distance) for the 20mm, 24mm and 35mm is 4.3, 4.7 and 5.9 inches respectively. Plus, the maximum magnification ratio for all three is 1:2. This remarkable performance allows users to create compositions that emphasize perspective (closer subjects are larger and distant ones are smaller) and that are unique to wide-angle lenses.
Being able to get in close is one of the most desirable specifications for a wide-angle lens. With dramatic closeup shooting performance for full-frame lenses, the series unleashes an unprecedented level of shooting freedom. Plus, by moving close to the subject, stronglyblurred backgrounds are easier to attain.
2. A compact, lightweight 67mm filter diameter system offering excellent portability
Weighing in at 7.8 oz for the 20mm (Model F050), 7.6 oz for the 24mm (Model F051) and 7.4 oz for the 35mm (Model F053), the lenses are exceptionally light, allowing photographers to enjoy shooting comfortably without hesitating about whether to carry the lens. All three lenses combined weigh under 1.5 pounds! Meanwhile other lenses in Tamron's lightweight full-frame mirrorless series such as the 28-75mm F/2.8 (Model A036) standard zoom or 17-28mm F/2.8 (Model A046) ultra-wide-angle zoom make the perfect companions to broaden the range of shooting possibilities.
As testament to their compactness, all three new models feature the same 67mm filter diameter as Tamron's zoom lenses for full-frame mirrorless cameras. This significantly reduces cost and packing space when working with PL, ND and other filters. Even the front lens caps are the same size, eliminating the hassle of sorting caps when switching lenses. These features combine to produce a highly convenient and mobile system that adds more fun to photography.
3. Superb high-resolution performance that matches the latest high-resolution image sensors
The sophisticated optical formula created with the latest lens design technologies boasts exceptionally high rendering performance from edge to edge thanks to the optimal arrangement of LD (Low Dispersion) and GM (glass-molded aspherical) lens elements. Any remaining minor distortions sometimes common in wide-angle lenses are corrected using in-camera functions. Additionally, Tamron's legendary BBAR (Broad-Band Anti-Reflection) Coating effectively reduces ghosting and flare. With excellent resolving power achieved through uncompromising optical performance and camera-based distortion correction, these lenses can be used with complete confidence for a wide range of applications from casual family snaps to serious professional photography.
4. Consistent 64mm (2.5 in) overall length facilitates ease-of-use
All three lenses are the same length: 2.5 in. Achieving excellent balance with Sony E-mount cameras, these compact lenses employ a front element extension system but are designed to maintain the same exterior length during focusing operations. Therefore, there is less chance of an extended front element accidentally coming into contact with a subject during closeup shooting. And optional manual focusing is easier because the focus ring is positioned toward the front of the lens within natural reach of the thumb and index finger.
5. Silent autofocus driven by OSD (Optimized Silent Drive) DC motor
The AF drive system employs an OSD to ensure quiet operation. In comparison to conventional AF types with built-in DC motors, Tamron was able to greatly reduce the drive noise as well as vastly improve AF performance and speed. The lower ambient noise level is sure to be appreciated by video shooters. Overall, this prime lens series provides superlative AF precision for exact focus even when shooting moving subjects, as well as outstanding accuracy and tracking capability. Additionally, this prime series supports various AF features offered by certain Sony cameras, including Fast Hybrid AF, Eye AF, and Direct Manual Focus (DMF) to ensure a pleasant shooting experience.
6. Moisture-Resistant Construction and Fluorine Coating
Environmental seals are located at the lens mount area and other critical locations to prevent infiltration of moisture and/or rain drops and afford Moisture-Resistant Construction. This feature provides an additional layer of protection when shooting outdoors under adverse weather conditions.Also, the front surface of the lens element is coated with a protective fluorine compound that has excellent water- and oil-repellant qualities. The lens surface is easier to wipe clean and is less vulnerable to the damaging effects of dirt, moisture or oily fingerprints, allowing for much easier maintenance. These protective features are keenly important for lenses that allow you to get in close to a subject.
7. Compatible with main camera-specific features and functions
All three of Tamron's new prime lenses are compatible with many of the advanced features that are specific to certain mirrorless cameras. These include the following:
Tamron Announces the Development of Compact and Lightweight High-Speed Telephoto Zoom Lens for Sony E-Mount Full-Frame Mirrorless Cameras
Much-anticipated third model in its series of F/2.8 high-speed zoom lenses delivers superb optical performance with extremely quiet, fast focus
October 23, 2019, Commack, NY - Tamron announces the development of a new high-speed telephoto zoom lens for Sony E-mount full-frame mirrorless cameras, the 70-180mm F/2.8 Di III VXD (Model A056).
Availability of this new zoom is planned for Spring 2020.
The lens will be on display at the upcoming Photo Plus Expo in New York City this week and Salon de la Photo in Paris next month.
Developed under the concept of "making high-speed zoom lenses user-friendly," Model A056 features a compact and lightweight design, an ideal match for full-frame mirrorless interchangeable lens cameras.
The 67mm filter diameter is the same as all other Tamron lenses in this series.
The optical design includes several specialized glass elements that contribute to the lens's superb imaging performance and its very short 33.5 in MOD (Minimum Object Distance) expands overall versatility.
The lens adopts Tamron's newly developed VXD (Voice-coil eXtreme-torque Drive) linear motor focus mechanism that produces a quiet, quick autofocus drive.
Other features that support a great shooting experience include a Moisture-Resistant Construction helpful for outdoor shooting and Fluorine Coating for easy maintenance.
In addition, Model A056 is fully compatible with various camera-specific features including Fast Hybrid AF and Eye AF.
This new model joins the 17-28mm F/2.8 Di III RXD (Model A046) and the 28-75mm F/2.8 Di III RXD (Model A036) and brings Tamron's total of F/2.8 zoom lenses for full-frame mirrorless cameras to three.
These results, processed using the site's standard Canon Digital Photo Professional RAW processing parameters (including a very low "1" sharpening strength setting) facilitate comparisons with other cameras.
I suggest using the f/4 or f/5.6 aperture test result to ensure that a very sharp lens setting was in front of the camera.
Comparing the 90D to the 80D is a good starting point.
Here we see the higher resolution 32 MP imaging sensor showing its advantage over the previous-standard 24 MP sensor.
Another interesting comparison is between the 90D's f/5.6 and f/8.0 results.
These show the effects of diffraction starting to show at f/8.
The effect is especially noticeable at f/11 where dimishing returns are being seen from this sensor's extreme resolution.
Note that the higher resolution sensors results will be at least as good as (and very potentially better than) lower resolution images captured at the same aperture setting when compared at the same overall output size.
Want to try a 90D?
Use coupon code FALLYALL (one use per customer) to save 15% on LensRentals.com orders arriving by 10/25/2019.
Rent the Canon EOS 90D.