Sony News (Page 10) RSS Feed for Sony News

 Sunday, November 22, 2020

As long as the correct exposure and basic compositional skills are applied, it is hard to take a bad picture of the milky way.

Here is a list of steps for photographing the milky way.

  1. You need to be able to see the milky way, and it is not always visible. Find that schedule. The Photographer's Ephemeris and similar apps are useful for this. Mid-late summer is ideal.
  2. You need a dark sky. Dark as in no city lights, even in the distance, is most important, and no moon or a small moon is also helpful. Plan for the dark sky location and moon schedule.
  3. You need a clear sky. Heavy cloud cover is a milky way photography show-stopper.
  4. A camera is required. Most modern interchangeable lens cameras will work fine, but with equivalent lenses, the full-frame models have an advantage.
  5. The camera requires a lens, and lens selection is critical. The lens needs a wide aperture to create a bright enough image in an exposure short enough that star trails do not appear within the acceptable ISO range of the camera. Think f/2.8 as a minimum, and f/1.4 is awesome. A wide-angle focal length is needed to get enough of the milky way in the frame. While 35mm can work, go with 28mm and wider (full-frame equivalent). Stars are pin-sharp and you want a lens that renders them pin-sharp fully into the corners at the wide-open aperture. That lens does not exist, but some lenses are considerably better than others for this purpose.
  6. Mount the camera and lens on a solid tripod and head.
  7. While the milky way looks great without any other supporting environment, an attractive foreground can make such an image stand out, as illustrated in this image.
  8. Focus the camera. If the moon or another very distant light is visible, autofocus on it, and then switch to MF. Otherwise, or alternatively, use manual focus (pick a bright star and fully zoom in to focus manually).
  9. Set the camera to manual exposure, and remember that your LCD is going to appear very bright in the dark.
  10. Use a wide-open aperture.
  11. Set the shutter speed. Basically, use the longest possible shutter speed that does not create offensive star trails. Consider starting at 20 seconds for a 24mm lens on a medium resolution imaging sensor. Higher resolution imaging sensors more readily show star trails and require shorter exposures for equivalent pixel-level results. Review the shot until the ideal duration is established.
  12. Set the ISO. Too high is the setting most often needed. At f/2.8, ISO 12800 is probably needed. At f/1.4, try ISO 3200 or 6400.
  13. Set the drive mode to 2-second self-timer.
  14. Frame the scene as well as possible (it will be very dark), capture an image, adjust the camera, and repeat that process until perfection is achieved.
  15. When the composition is just right, cue the meteorite to streak through an ideal area of the composition. Want a meteorite in the frame? The odds for any given frame to have a meteorite in it is low, but selecting a date within a known annual meteor shower, such as the Leonids, greatly increases the odds. After establishing the perfect shot, set the camera's drive mode to high speed, plug in a remote release with a locking button, lock the remote's shutter release down, and walk away. Tending a second camera setup is a good use of this time. If available, a bowl of ice cream is also entertaining. Come back to adjust the composition for the milky way's movement across the sky (I know, the earth is what moves).

Amazingly, and out of the norm for me, was seeing a meteorite streak by while the shutter was OPEN, without using the continuous drive mode technique. While I welcome meteorites, I do not fancy satellites. They get removed (this is easy with Photoshop's healing brush and clone tools).

As mentioned, the earth rotates, causing the milky way to move across the sky like everything else up there. On this evening, I followed the heart of the milky way around Bear Lake in Rocky Mountain National Park until Hallett Peak was a foundational element in the composition. Despite the 4:30 AM alarm, it was well after midnight before exhaustion overcame excitement.

What is my favorite milky way lens? Currently, the Sony FE 24mm f/1.4 GM Lens holds that title for me. The 24mm focal length fills a significant portion of the frame with the heart of the milky way. The f/1.4 aperture is extremely wide, permitting lower ISO settings for less noise. This lens's image quality at f/1.4 is excellent. The size is compact enough that I can take it along as a lens dedicated to this purpose.


A larger version of this image is available on Flickr.

Post Date: 11/22/2020 7:00:00 AM CT   Posted By: Bryan
 Saturday, November 21, 2020

From Sigma:

Firmware update for SIGMA Global Vision lenses in Canon EF mount

We would like to announce that a new firmware update is now available for SIGMA Global Vision lens in Canon EF mount listed below.

For customers who own the SIGMA USB DOCK UD-11 and applicable products listed below, please update the firmware via SIGMA Optimization Pro.

[Applicable product]

  • SIGMA 12-24mm F4 DG HSM | Art in Canon EF mount

[Benefits of the update]

  • It has optimized exposure during viewfinder shooting when used in combination with Canon EOS 90D and EOS-1D X Mark III.
  • It has fixed a rarely-occurring communication problem during Live View shooting when mounted on the EOS-1D X Mark III.

[Applicable product]

  • SIGMA 24-35mm F2 DG HSM | Art in Canon EF mount

[Benefits of the update]

  • It has optimized exposure during viewfinder shooting when used in combination with Canon EOS 90D and EOS-1D X Mark III.
  • It has fixed a rarely-occurring communication problem during Live View shooting when mounted on the EOS-1D X Mark III.
  • It has reduced the operating sound of the lens diaphragm blades when attached with the SIGMA MOUNT CONVERTER MC-11 EF-E and used for shooting movies.
  • It has reduced the operating sound of the lens diaphragm blades when used for shooting movies on Canon cameras. *
    *The degree of improvement differs depending on the camera used.

[Applicable product]

  • SIGMA 24mm F1.4 DG HSM | Art in Canon EF mount

[Benefits of the update]

  • It has optimized exposure during viewfinder shooting when used in combination with Canon EOS 90D and EOS-1D X Mark III.
  • It has reduced the operating sound of the lens diaphragm blades when attached with the SIGMA MOUNT CONVERTER MC-11 EF-E and used for shooting movies.
  • It has reduced the operating sound of the lens diaphragm blades when used for shooting movies on Canon cameras. *
    *The degree of improvement differs depending on the camera used.

[Applicable product]

  • SIGMA 50-100mm F1.8 DC HSM | Art in Canon EF mount

[Benefits of the update]

  • It has optimized exposure during viewfinder shooting when used in combination with Canon EOS 90D.

[Applicable product]

  • SIGMA 60-600mm F4.5-6.3 DG OS HSM | Sports in Canon EF mount
  • SIGMA 35mm F1.4 DG HSM | Art in Canon EF mount

[Benefits of the update]

  • It has optimized exposure during viewfinder shooting when used in combination with Canon EOS 90D and EOS-1D X Mark III.

[How to update]

Connect the lens to a computer via the SIGMA USB DOCK UD-11 (sold separately), then open SIGMA Optimization Pro*. If the lens firmware isn’t the latest version, the following message will appear: ‘The latest lens firmware is available’. Click ‘Yes’ to update.

* Before updating lens firmware using the SIGMA USB DOCK UD-11, please ensure you update SIGMA Optimization Pro to the latest version.

SIGMA Optimization Pro download page: https://www.sigma-global.com/en/download/lenses/sigma-optimization-pro/

 

Firmware update for SIGMA 16mm F1.4 DC DN | Contemporary in Sony E-mount

[Benefits of the update]

To update the firmware, please refer to the following link: https://www.sigma-global.com/en/download/lenses/firmware/

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

 

Firmware update for the SIGMA MOUNT CONVERTER MC-11 EF-E

[Benefits of the update]

  • It makes the converter compatible with the SIGMA 12-24mm F4 DG HSM | Art in Canon EF mount, that has the latest firmware Ver.2.01
  • It makes the converter compatible with the SIGMA 24-35mm F2 DG HSM | Art in Canon EF mount, that has the latest firmware Ver.2.01
  • It makes the converter compatible with the SIGMA 50-100mm F1.8 DC HSM | Art in Canon EF mount, that has the latest firmware Ver.2.03
  • It makes the converter compatible with the SIGMA 60-600mm F4.5-6.3 DG OS HSM | Sports in Canon EF mount, that has the latest firmware Ver.1.03
  • It makes the converter compatible with the SIGMA 24mm F1.4 DG HSM | Art in Canon EF mount, that has the latest firmware Ver.2.02
  • It makes the converter compatible with the SIGMA 35mm F1.4 DG HSM | Art in Canon EF mount, that has the latest firmware Ver.2.02

[How to update]

Connect the SIGMA MOUNT CONVERTER MC-11 to a computer with the included USB cable, then open SIGMA Optimization Pro*. If there is a newer firmware version available than the one currently installed on your converter, you will see the message ‘There is the latest firmware for the converter’. Click ‘Yes’ to update.

Before attaching the updated SIGMA MOUNT CONVERTER MC-11 to the camera body, please remove the battery pack from the camera then reinsert.

*Please be sure to update SIGMA Optimization Pro to the latest version when updating the MC-11 firmware.

Posted to: Canon News, Nikon News, Sony News   Category: Sigma News
Post Date: 11/21/2020 8:33:11 AM CT   Posted By: Bryan

There is something incredibly photogenic about a huge, dangerous animal emerging from dense cover. Seeing the large paddles approaching through the brush is a bucket list-grade experience.

Often, the key to wildlife photography is predicting where the animal is headed, selecting a photogenic environment along that path, and being in that place with a ready camera. Though highly simplified, that plan sometimes works, as in this case. Getting non-obstructed moose images meant finding the next opening on the moose's route.

The Canon EOS R5 and Canon RF 100-500mm F4.5-7.1 L IS USM Lens were a perfect handheld combination for this run-and-gun pursuit.


A larger version of this image is available on Flickr.

 
Camera and Lens Settings
159mm  f/5.0  1/500s
ISO 2500
8192 x 5464px
Post Date: 11/21/2020 7:00:00 AM CT   Posted By: Bryan
 Friday, November 20, 2020

From Kenko Tokina Co., Ltd.:

Tokina atx-i 17-35mm F4 FF sales date announcement

Nov 20, 2020

Kenko Tokina Co., Ltd. is pleased to announce the sales release of Tokina atx-i 17-35mm F4 FF lens.

Sales will commence on December 11, 2020.

Tokina atx-i 17-35mm F4 FF is designed to fit Full Frame DSLR cameras and supports Nikon F and Canon EF mounts. With its wide angle properties this lens is a perfect gear for shooting landscapes, street snap, architecture and time-lapse. Constant f/4 aperture, robust design while maintaining a reasonable size and weight provide a new option for professional photographers who are especially active in travel.

Highlighted Features

  • Compact lightweight and robust design - perfect for landscape, architecture, street snap and travel photography.
  • Precise AF actuated by combination of Tokina GMR sensor and SD-M (Silent Drive-Module).
  • Low vignetting, extremely low distortion and good sharpness throughout the image.
  • Moisture protection.
  • One-Touch Focus Clutch system.

B&H carries Tokina lenses.

Roadmap (November 2020 update)

Tokina Lens Roadmap

Posted to: Canon News, Nikon News, Sony News   Category: Tokina News
Post Date: 11/20/2020 8:04:52 AM CT   Posted By: Bryan
 Wednesday, November 18, 2020

The Sony FE 28-60mm f/4.5-5.6 Lens Review is mostly completed. This time the lab test results are following the field testing. Stay tuned for those.

This tiny, affordable lens is a good performer.

Initially, the Sony FE 28-60mm f/4.5-5.6 Lens is only available in a kit with the Sony a7C. This kit is in stock at B&H | Adorama | Amazon USA | WEX

Eventually, the Sony FE 28-60mm f/4.5-5.6 Lens will be individually available. B&H says preorders start Feb 15th. Adorama is not saying. Amazon USA is taking preorders now with Feb 1st listed as the release date. WEX is taking preorders.

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 11/18/2020 9:22:06 AM CT   Posted By: Bryan
 Tuesday, November 17, 2020

I like frogs, and I know that I'm not the only photographer who does. If one owns a big, expensive supertelephoto lens, it is easy to use it for any subject that comes along, including skitish frogs. However, most of us will not find photographing frogs high enough on the justification list for the purchase of such a lenses.

Fortunately, there are two very affordable long focal length frog photography lens options available. Canon's RF 600mm F11 IS STM and RF 800mm F11 IS STM Lenses are able to nicely capture these subjects from non-threatening distances.

These lenses are simple to use — F/11 and be there simple. Having a single aperture setting available simplifies exposure settings, and the relatively deep depth of field makes keeping the subject in focus easy. These are aspects that casual photographers and beginners, including kids, can appreciate.


A larger version of this image is available on Flickr.

 
Camera and Lens Settings
600mm  f/11.0  1/30s
ISO 160
5472 x 3648px
Post Date: 11/17/2020 8:10:53 AM CT   Posted By: Bryan
 Thursday, November 12, 2020

When Canon introduced the RF 600mm F11 IS STM and RF 800mm F11 IS STM Lenses, a primary shortcoming was recognized. The F11 in the name gave many of us reason to pause – who would want a lens that only opens to f/11?

When shooting birds at relatively close distance with a long focal length, it is challenging to keep the entire head and bill in focus, and a narrow aperture is the solution. This lens is built for that specific solution, and bird photography is a good use for this lens.

The f/11 fixed aperture brings significant benefits, including light weight, compact size, and low price, and these features meet a range of other needs. Those not able to (or do not want to) carry heavy gear around, those not able to afford the expensive glass, beginners, kids, etc. are loving this lens and its 600mm sibling. These new RF lenses fill that niche.

The Canon EOS R5's animal eye AF performs incredibly well with this and other bird subjects. While the f/11 max aperture reduces the camera's AF area (and pushes ISO settings up), there was no need to select a specific AF point to keep this little green heron's eye in focus within that area. Simply frame and shoot. The bird turned its head? Frame and shoot. It's game-changing.


A larger version of this image is available on Flickr.

 
Camera and Lens Settings
800mm  f/11.0  1/250s
ISO 5000
8192 x 5464px
Post Date: 11/12/2020 9:13:47 AM CT   Posted By: Bryan
 Wednesday, November 11, 2020

When the conditions at a destination are not as we expected or as we hoped they would be, we tend to get discouraged. However, when those circumstances are unusual, we can capture images that look different. With the extreme number of images being captured today, different is very positive.

The massive wildfires in the western USA were timed with the elk rut in Colorado this year, and the resulting smoke was not a welcome aspect of this Rocky Mountain National Park trip. While the smoke eliminated sky and sunlight color at sunrise and sunset and prevented clear viewing of the milky way and stars, the look of wildlife images captured under a late morning sun was different — and improved. As seen here, the harsh shadows were strongly reduced, and the background has an interesting low contrast appearance that makes the closer subject stand out in the image.

This image is an 86MP panorama captured with the Canon EOS R5 and Canon EF 600mm f/4L IS III USM Lens. At this moment, the bull came in too close for a 600mm lens to capture the composition I wanted.

When over-focal-lengthed for a situation, attempt to capture the composition's in-motion portion in a single frame. For wildlife and portrait photography, the in-motion part usually includes the head and may include the entire body. For landscape, the in-motion subjects may be a stream or an ocean. After capturing the in-motion portion of the composition, quickly capture the desired additional pieces of the frame in subsequent images, ideally using the same focal length (easy with a prime lens), the same focus distance (switching the lens to MF after the first capture makes this easy), and, preferably, the same exposure settings (manual exposure makes this easy but brightness differences can be resolved when editing the individual RAW files). If there is potential subject motion not contained in the first frame (the back legs of the bull in this example), the immediate second frame should capture that potential motion.

Later, stitch the images together using your favorite image processor. The image shared here was manually merged in Photoshop. The images were stacked, and the hard edges between the frames were removed using a layer mask with a soft-edged brush painting black over the edge of the top image mask.

Another teaching point from this image is the camera position. By photographing from down low, more of the elk is shown against the mountain vs. the meadow and the already-large animal is made to appear even larger.

An exceptional subject always helps overcome any shortcomings in an image. Shown here is, among the animals I've photographed, my all-time favorite set of antlers. The overall size is huge with good mass, the points are long, and the symmetry is impressive. I can't wait to see what this bull grows next year.


A larger version of this image is available on Flickr.

Post Date: 11/11/2020 10:12:20 AM CT   Posted By: Bryan

From Sony:

Sony Opens Registration for “Creative Space” Online Creator Event

Free Event for Visual Creators will be hosted December 5th – 6th

SAN DIEGO – November 10, 2020 – Sony Electronics Inc. today opens registration for the second annual “Creative Space” — a digital event open to all levels of photographers, videographers and all other forms of imaging enthusiasts. Taking place throughout the day on December 5th – 6th, the digital event will bring together an extraordinary community of visual creators eager to learn, get inspired and connect with like-minded creators from all over the world.

Creative Space offers the opportunity for participants to learn from and connect with some of the imaging industry’s biggest names, offering many opportunities to expand their own individual network and win any of a host of great prizes provided by Sony and their event partners from the industry. This event is open to all guests, at no cost for attendance.

To register for this event, please visit www.alphauniverse.com/creativespace.

Posted to: Canon News, Nikon News, Sony News   
Post Date: 11/11/2020 9:28:17 AM CT   Posted By: Bryan
 Tuesday, November 10, 2020
Posted to: Canon News, Nikon News, Sony News   Category: Apple News
Post Date: 11/10/2020 8:17:21 PM CT   Posted By: Bryan

Hypothetically speaking: Let's say that you visit your daughter at college. She is on the track and field team but will not be running the time trial event occurring while you are there due to her having overtrained. You, of course, brought a camera kit, but without expectation of your daughter running, you packed light.

Upon arrival, you learn that she is going to do "a few laps." Fortunately, your light kit included the Canon RF 70-200mm F2.8 L IS USM Lens, an impressive lens that is sports-capable, and you were able to capture some nice pics of your daughter on the track. Since you were actively photographing, you also captured some nice pics to share with her teammates.

The 20-fps drive mode meant that the perfect body position could be captured in every pass, despite the relatively short optimal framing window the 70-200mm focal length range offers. Perfect body position except that you were positioned near the starting line where your daughter glanced at her watch as each lap was completed. Eye detection AF meant the framing was the photographer's primary remaining job to be concentrated on during the race. Well, their primary job until having to process the over 1,000 in-focus images delivered by the Canon EOS R5's 20 fps drive mode in a short time.

The image quality at 20 fps was superb until the sun began to set. Then the flickering stadium lighting began to show some mild banding in your full electronic shutter images. Fortunately, only the last lap was affected by this condition (which could have been avoiding by using the still-fast mechanical first curtain shutter).

After the time trial ended, cool-down runs were over, and the team meeting was finished, your daughter says, "Hey Dad, can you take a team photo?" Your only valid response to this question is "Sure!" As you care about your images, you are not willing to make this a simple snapshot. That these kids have worked hard for years to make this team makes a good team photo especially important.

Your first assessment is the available lighting. This one is easy. The sun set a long time ago, and the only lights available (you did not bring strobes) are the four large stadium lights, two evenly located on each side of the field.

You know that the image background is very important and decide that the home stadium seating provides a clean, non-distracting background, along with giving the image a relevant location.

To get balanced lighting and a symmetrical background, you move the 19-member team down to the centerline of the soccer field inside the track. As mentioned already, and as is frequently the case, the stadium lighting was the flickering type. The Canon EOS R5 and R6 can avoid that issue for you, but a 1/100 second shutter speed is slow enough for the flicker to not cause a problem without using the flicker avoidance feature.

The team was very cooperative with great attitudes. Upon seeing how the double-cross lighting with the stadium background looked in the image review, the excitement increased, and additional photo requests begin flowing in: individuals, with friends, with boyfriends, with roommates, silly photos, tough and serious poses, etc.

The RF 70-200 was again the perfect lens option. The widest focal length is long enough to force adequate subject distance to eliminate group photo perspective issues, including the people in the front row appearing much larger than those in the back row (keeping the rows close to each other also helps in this regard). The individual and small group images were also easily captured by this focal length range.

Your dinner was late this evening.

After spending many hours processing and uploading the images to a private SmugMug gallery for the teammates to access, you wonder if it was such a good idea to take the camera in the first place.

Of course, it was.

OK, maybe I am not hypothetically speaking in this case. However, this scenario is a quite common one — be ready for it. Consider using the same lens and easy subject-on-night-sports-field strategy for your athlete subjects.


 
Camera and Lens Settings
95mm  f/4.0  1/100s
ISO 1250
5464 x 8192px
Post Date: 11/10/2020 9:10:14 AM CT   Posted By: Bryan

With a Sony a7C in hand, it is time to set up the camera for use. Following are the 28 steps I took to make an out-of-the-box Sony a7C ready for use.

  • Charge battery
  • Download and install Capture One (for Sony) and/or Sony Imaging Edge (unless your current favorite RAW image processing software supports this camera)
  • Insert charged battery and power on the camera
  • Set the timezone, date, time, timeformat
  • insert memory card (don't forget to format it)
  • Scroll through all of the menu tabs to configure the camera as follows:
  • Camera Menu 1, Tab 1: Quality: RAW
  • Camera Menu 1, Tab 1: RAW File Type: Uncompressed (unless taking advantage of the about-50% smaller RAW file size)
  • Camera Menu 1, Tab 2: Long Exposure NR: Off
  • Camera Menu 1, Tab 2: Lens Comp.: All Off
  • Camera Menu 1, Tab 3: Bracket Settings: ->0>+ (makes selecting images for HDR processing easier)
  • Camera Menu 1, Tab 4: Priority Set in AF-S: AF
  • Camera Menu 1, Tab 4: Priority Set in AF-C: AF
  • Camera Menu 1, Tab 4: Focus Area: Flexible Spot: S
  • Camera Menu 1, Tab 4: Swt. V/H AF Area: AF Point Only
  • Camera Menu 1, Tab 5: Face/Eye AF Set.: Face Dtct Frame Disp: On
  • Camera Menu 1, Tab 8: Spot Metering Point: Focus Point Link
  • Camera Menu 1, Tab 11: DRO/Auto HDR: Off
  • Camera Menu 1, Tab 11: Creative Style: Neutral, Sharpness = 1 (This provides a lower contrast histogram. I usually process with the Natural creative style in Capture One)
  • Camera Menu 2, Tab 5: Release w/o Lens: Disable
  • Camera Menu 2, Tab 5: Release w/o Card: Disable (why is this not the default?)
  • Camera Menu 2, Tab 7: Grid Line: Rule of 3rds Grid
  • Camera Menu 2, Tab 10: Audio signals: Off (How to turn off the loud and usually-annoying AF beep sound)
  • Playback Menu, Tab 3: Display Rotation: Off (use full LCD for image review)
  • Setup Menu, Tab 1: Delete confirm: "Delete" first
  • Setup Menu, Tab 3: Touch Panel/Pad: Touch Panel+Pad
  • Setup Menu, Tab 3: Touch Panel/Pad Settings: Touch Pos. Mode: Relative Position; Operation Area: Whole Screen
  • Setup Menu, Tab 5: Copyright Info: Write Copyright Info: On, Set Photographer: {name}, Set Copyright: {name}
  • My Menu: Format; Silent Shooting; SteadyShot; Face/Eye AF Set; Live View Display

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 similar to how I shoot - including in RAW-only format. While my setup works great for me, your best use of this list may be for tweaking your own setup.

If you can't remember your menu setup parameters, keeping an up-to-date list such as this one is a great idea. Anytime your camera is reset-to-factory state for some reason, such as when being serviced, you will be ready to restore your setup quickly while ensuring that you do not miss an important setting. If you purchase another same or similar camera, you will be able to set it up quickly.

More Information

Sony a7C

Order the Sony a7C at B&H | Adorama | Amazon | WEX.
 
Rent the Sony a7C from Lensrentals.

Post Date: 11/10/2020 8:09:06 AM CT   Posted By: Bryan

From Sony Global:

Sony Launches Drone Project

Tokyo, Japan – Sony Corporation (“Sony”) today announced that it has launched a new project for drones in the field of AI robotics.

The recent proliferation of drones has contributed greatly to the delivery of previously unseen images, as well as to workflow efficiency and energy savings in the industrial sector. Sony has assigned the "Airpeak" brand to reflect its aspiration to contribute to the further evolvement and the creation of the unprecedented value through its imaging and sensing technology as well as 3R technologies (Reality, Real-time and Remote) in the drone area.

Airpeak will support the creativity of video creators to the fullest extent possible, aiming to contribute to the further development of the entertainment industry as well as to improved efficiency and savings in various industries. Airpeak will also promote this project to enable drone-use with the highest level of safety and reliability in the environments where this has been difficult in the past.

Sony will continue to post project-related information and obtain feedback from drone users through co-creation activities to prepare for the launch of the project in the spring of 2021.

The company soon plans to begin seeking for the partners in the professional space who can collaborate on the project.

Post Date: 11/10/2020 8:04:50 AM CT   Posted By: Bryan
 Saturday, November 7, 2020

With a very early alarm in the past and the road lottery ticket on the windshield, a friend and I drove the lead vehicle deep into Denali National Park this morning. We were focused on photographing the Denali peak at first light, but with color in the sky and fog in the foreground, I couldn't resist pausing for a few moments to capture this image.

This scene is one of the many reasons the Canon RF 100-500mm F4.5-7.1 L IS USM Lens is part of my standard landscape kit. With the mentioned goal remaining a high priority, this was a jump out of the car, sit, shoot, and jump back in the car scenario. With no time for tripod setup, the Canon EOS R5 and RF 100-500 combination IS was counted on to make the shot sharp, and it did.

When driving by a scene that calls for a photo, I often regret not heeding that call. The captured image is usually worth far more than the very little time and effort the stop typically requires. This was one of the latter cases. Within three minutes of stopping, we were back on the road.


A larger version of this image is available on Flickr.

 
Camera and Lens Settings
118mm  f/8.0  1/25s
ISO 200
8192 x 5464px
Post Date: 11/7/2020 8:20:31 AM CT   Posted By: Bryan
 Thursday, November 5, 2020

From Reikan:

Reikan has released a major update to its automated focus calibration and testing software FoCal for both Nikon and Canon cameras.

Reikan FoCal 2020 Calibration Check

FoCal 2020 includes the unique ability for users to compare lens calibration and focus test results directly with results from other FoCal users around the world, helping to answer the age old question, "Is my camera/lens a good copy?".

Reikan FoCal 2020 Animation

New features in FoCal 2020 include "Calibration Check", a rapid test to quickly determine whether a particular camera/lens combination would benefit from lens calibration and "MultiTest". The MultiTest function is the most comprehensive way to test lens calibration available across the entire aperture range. Looking at all apertures means FoCal is able to calculate the ideal focus adjustment not just when the lens is 'wide open' but also what happens across the most commonly used apertures.

Get Reikan FoCal at B&H.

Posted to: Canon News, Nikon News, Sony News   Category: Reikan News
Post Date: 11/5/2020 10:51:10 AM CT   Posted By: Bryan
 Wednesday, November 4, 2020

Already in stock: The affordable DJI Mini 2. From DJI:

Meet DJI Mini 2, The Ultra-Light, Feature-Packed, Easy-To-Fly Drone You’ve Been Waiting For

Weighing Under 249 Grams, DJI Mini 2 Now Has State-Of-The-Art OcuSync Transmission, Robust Motors, and a 4K Camera

November 4, 2020 – Today, DJI, the global leader in civilian drones and creative camera technology, launched DJI Mini 2, a high-performance camera drone that packs impressive new features into a small, portable design in the safest drone category weighing less than 249 grams. The successor to DJI’s original Mavic Mini, DJI Mini 2 is easy to fly, with improved imaging capabilities, powerful flight performance, and significantly enhanced transmission technology for longer and more reliable connection. Intelligent, pre-programmed modes have been optimized so that you can capture eye-catching footage with just a few taps while beginner tutorials and learning tools help get new pilots up to speed on how to fly this fun new drone. Supported with a wide array of fun, safe, and creative accessories, DJI Mini 2 users can make the system their own with personalized items or show it off with the illuminated display case.

“Mavic Mini was a monumental breakthrough for DJI and for drone pilots across the world, as its unprecedented combination of weight, safety, performance, and overall value became the entry point for countless new drone pilots and fans,” said DJI President, Roger Luo. “DJI Mini 2 enhances those key aspects, packing larger drone performance in an approachable, small design in the safest drone category that is perfect for beginners and will also impress more experienced pilots.”

Mini Design, Impressive Results

Just like the original Mavic Mini, DJI Mini 2 features the iconic folding design that makes traveling with a drone incredibly easy. The lightweight system adds minimal weight to your bag and can easily be brought with you in case the opportunity to fly arises. Small yet mighty, DJI Mini 2 has impressive upgrades to vital flight performance features compared to the original version. OcuSync 2.0 transmission technology has now been incorporated. OcuSync 2.0 is DJI’s world-renowned transmission technology responsible for ensuring stable, long distance, and reliable connection between the remote controller and the drone. Dual-frequency technology automatically switches between channels to help against interference. DJI Mini 2 has a maximum transmission range of 10 km1, which is a 150% increase in transmission range when compared to the original Mavic Mini. Upgraded motors provide 31 minutes of flight time, faster acceleration and speed, along with the ability to withstand winds up to 24mph.

Surprisingly Easy to Fly, Reassuringly Safe

DJI Mini 2 was made to be fun to fly, simple to operate, and safe for everyday use, whether that is daily life or an exciting adventure. A live feed from the drone’s camera is sent to your mobile phone so that you can see exactly where Mini 2 is and what it sees. Simplified buttons and functions keep things streamlined and easy to understand compared to more advanced drones. Like all DJI drones, high-grade positioning and vision sensors help Mini 2 hover precisely in place. GPS keeps track of where the drone is while the vision sensors on the bottom map out the ground below it and assist automated landing. DJI drones are renowned for their safety features so that both new and experienced pilots can enjoy the flying experience. Some of these features include GEO fencing, which keeps drones out of sensitive areas like airports, Return to Home, a feature that can be activated so the drone returns to the pilot, and Altitude Lock, an adjustable limit on how high the drone can go. Together, these modes and features make DJI Mini 2 not only a thrill to fly but safe for all skill levels.

Vivid Photos, Steady Video Footage All At Your Finger Tips

Capture those moments in detail with the help of the 1/2.3-inch sensor capable of recording 12-megapixel images and a maximum video resolution of 4K/30fps @100 Mbps. Additionally, images can be saved in standard JPEG as well as RAW for advanced users who want to edit footage further. Shake-free, smooth footage is possible because of the class-leading 3-axis gimbal, which compensates for drone movement, wind, and more. While recording in 1080p resolution, pilots can get closer to their subject without actually having to move the drone thanks to the 4X Zoom (2X lossless in quality) option. Pre-programmed intelligent modes mean the drone does the hard work of capturing beautiful footage with set movements and imaging features. Make your content stand out with just a tap thanks to these pre-set modes including:

  • QuickShots: Pre-programmed movements and image capture modes.
    • Dronie: DJI Mini 2 flies backward and upward, with the camera tracking your subject. Set a height limit of 40, 60, 80, 100, or 120 ft.
    • Helix: DJI Mini 2 flies upward and away, spiraling around your subject. Set a height limit of 40, 60, 80, 100, or 120 ft.
    • Rocket: DJI Mini 2 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 ft.
    • Circle: DJI Mini 2 will circle around your subject at a constant altitude and distance.
    • Boomerang: DJI Mini 2 flies a boomerang-like oval flight path around your subject, starting and stopping video in the same place.
  • Panoramas: Capture a wider perspective with select pano modes.
    • Sphere: DJI Mini 2 automatically captures twenty-six images and stitches them together for a crystal-clear image.
    • 180°: Captures seven photos for sweeping landscape images.
    • Wide-Angle: Captures a wide 3x3 image consisting of nine images.
  • Image modes: Different photo modes for different scenarios.
    • AEB Triple Shot: Auto Exposure Bracketing (AEB) takes three images of varying exposure and merges them for a vivid image. This can be edited further to bring out a High Dynamic Range (HDR) image in post-processing.
    • Timed Shots: Give yourself a few extra seconds before taking that photo with timed shots.

Easy To Create, Easier To Share With The World

Sharing is caring, and the DJI Fly app and DJI Mini 2 have a ton of enhancements that make sharing immediately on social media easy and intuitive. Now, your cell phone can connect directly to the drone without the remote controller, and after capturing that shareable footage, download images at a high-speed rate of 20 MB/s once landed safely. Once the images are downloaded to your phone, apply your own edits with the dedicated editing tools in the DJI Fly app or use the new Enhanced Photo option, which applies edits automatically to make it pop. Video footage can take up a lot of space so now, pilots can choose to trim it before downloading using Trimmed Download. DJI Mini 2 is not only simple to fly and fun to operate, the footage you record with it can be shared with all your followers in a matter of seconds.

Add-Ons To Make DJI Mini 2 Your Own

New and updated accessories for DJI Mini 2 help get the most out of its size. These accessories include:

  • 360° Propeller Guards: Make the DJI Mini 2 even safer with propeller guards that completely cover the full propellers.
  • DJI Mini Bag +: Colorful and fashionable, the new carrying bag adds flair to your outfit.
  • Charging Display Case: Show off your DJI Mini 2 in an illuminated clear, bell jar.
  • DIY Creative Kit: Personalize your Mini 2 with custom stickers or blank stickers to create your own artwork.
  • Snap Adapter: An adapter that snaps on to the top of the Mini 2 that allows for the attachment of a small LED screen that messages can be written on.

DJI Care Refresh

DJI Care Refresh is now available for DJI Mini 2. For an additional charge, DJI Care Refresh offers comprehensive coverage as well as up to two replacement units within one year. The 2-year plan provides 3 replacement units in 2 years and extends the original warranty period by one more 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.

Price and Availability

DJI Mini 2 is available for purchase today from authorized retail partners. DJI Mini can be purchased in two options. The standard package includes DJI Mini 2, remote controller and one battery for the retail price of $449. The Fly More Combo is also available, which includes three batteries, charging hub, DJI Mini 2, a carrying case and remote controller for the retail price of $599.

In Stock – Order Now!

B&H and Adorama have the DJI Mini 2 in stock!

Learn more at B&H Explora.

Posted to: Canon News, Nikon News, Sony News   Category: DJI News
Post Date: 11/4/2020 7:35:30 PM CT   Posted By: Bryan

Somewhat off-topic, but interesting nonetheless — from Canon USA:

NEW INDUSTRIAL MACHINE VISION CAMERAS FROM CANON UTILIZE NEXT-GEN 19 MICRON SENSOR TECHNOLOGY FOR COLOR LOW-LIGHT IMAGE CAPTURE

Industrial and Modular Camera Design Offers Choice of Lens Mounts and Video Output

MELVILLE N.Y., November 4, 2020 — Canon U.S.A., Inc., a leader in digital imaging solutions, today introduced the Company’s next generation of multi-purpose cameras, the ML-100, and the ML-105 , which deliver amazingly high sensitivity to capture Full HD Color video with a minimum subject illumination of less than 0.0005 lux (at maximum 75 dB gain setting, equivalent to an ISO sensitivity of over 4,500,000). With the ability to capture color low-light images, these multi-purpose cameras can be utilized in industrial system design, where seeing color images is critical during day and night.

Canon’s new series of multi-purpose industrial machine vision cameras employ a next-generation 19um, 35mm full-frame CMOS sensor. The modular design of the cameras allows implementation and integration into industrial machine vision environments.

The ML series is available in two models with two different lens mounts and two video output configurations to choose from, for a total of four camera options. The ML-100 camera features a CoaXpress terminal, which allows for the transmission of video, camera-control data and power on a single coaxial cable, ideal for use in industrial systems. The CoaXpress terminal produces 12-bit RAW data output at up to 73 fps and allows for more flexibility during processing. The ML-100 features approximately 2.74 million pixels of maximum video output and supports Region of Interest, which can improve frame rate output up to 164 fps at 720p resolution. The ML-105 camera features a 3G/HD-SDI video terminal and can be suited for standard video environments where Canon image processing, including YCC 4:2:2 10-bit output, is required. The ML-105 features the Canon DIGIC DV4 Image Processor, capable of delivering Full HD resolution at 60fps. Both cameras can be ordered with either an EF or M58 mount for total system design flexibility.

The EF mount gives customers the ability to choose from Canon’s still and cinema lens lineup, while the M58 offers lens customization and design choice to the user.

The M58 mount version of the Canon ML-100 multi-purpose camera is scheduled to be available at the end of December 2020. The other three models are scheduled to be available in April 2021

Post Date: 11/4/2020 1:11:52 PM CT   Posted By: Bryan
 Monday, November 2, 2020

Do adapted EF lenses work well with the Canon EOS R5 and EOS R6? Yes! Adapted EF lenses will continue working as well on a Canon EOS R-series camera as they always did on your favorite DSLR. With the improved AF performance of the latest mirrorless models, you might find your EF lenses performing even better than before. A significant EF lens kit should not be a hindrance to a mirrorless migration.

I love clean wildlife portraits with beautiful frame-filling subjects. Our workshop crew referred to this bull elk as "Incredibull". For 2020, this elk was sporting a huge, symmetrical 6x6 rack – easily one of the best-looking racks I've seen. I look forward to seeing what 2021 brings for this beast.

The soft portrait lighting seen here is courtesy of a lenticular cloud hovering over the meadow. With the edge of the cloud covering the sun, soft, bright light was provided for most of the over 7 hours I spent with this bull and his cows.


A larger version of this image is available on Flickr.

Post Date: 11/2/2020 8:48:45 AM CT   Posted By: Bryan
 Friday, October 30, 2020

In the 2.5 Seconds, 70mm, No Tripod, Cadillac Mountain Moonrise post, I shared that I had locked a Canon EOS R5 and RF 15-35mm F2.8 L IS USM Lens on a Really Right Stuff TVC-24L Mk2 Carbon Fiber Tripod and BH-40 Ball Head into a sunrise-ready position. It seemed logical to share the image that setup captured next.

I love photographing when the sun is below me and visible. In this case, a location with significant unshaded area (sloping toward the sun) (and void of people) was selected. Granite rock provides a solid foundation, and the evergreens on the right aid in framing the scene.

When the sun is in the frame, an HDR capture is often the ideal strategy. This capture involved using auto exposure bracketing (AEB) set to 5-shots 1-stop apart with the exposure adjusted so the brightest and darkest images had detail in the shadows and highlights, respectively. With the 2-second self-timer enabled, the shutter release simply needed to be pressed for the bracketed sequence to be captured, followed by shooting a few more frames with the other camera. Repeat until the scene decreased in photogenic value.

I use a variety of HDR software but selected Lightroom for this one. The set of images that seemed optimal (the sun reflecting in the water influenced this choice) were selected and processed.

You likely already noticed that this image is not in the typical out-of-the-camera 3:2 aspect ratio. There are two ways to get the aspect ratio shared here. Ideal from a final resolution perspective is to stitch multiple images together. Capturing and processing an HDR pano adds complications, and with the ultra-high resolution of the R5, the other option, cropping, proved easier with a very sufficient final resolution. The primary reason for this final aspect ratio was that the cropped away sky was not adding value to the image.

Some minor cleanup in Photoshop resulted in the picture shared here.

Why f/16? At 15mm, f/11 would have provided adequate depth of field for this scene and exhibited less softening from diffraction, but f/16 is a compromise that provides a stronger sunstar, a strong element in this image.


Go big. A larger version of this image is available on Flickr.

Post Date: 10/30/2020 8:00:00 AM CT   Posted By: Bryan
 Tuesday, October 27, 2020

On the Acadia National Park bucket list is to be the first person (or more accurately, among the first group of people) in the USA to see the sun on that day. Checking off that item requires an early morning drive to the top of Cadillac Mountain. Leading a small workshop on this day meant my priority was to make sure each participant was in their preferred location with their camera set up and ready for the action to start. With that goal accomplished, I moved into the next-best location and locked a Canon EOS R5 and RF 15-35mm F2.8 L IS USM Lens on a Really Right Stuff TVC-24L Mk2 Carbon Fiber Tripod and BH-40 Ball Head into a sunrise-ready position.

During this setup, the incredible scene unfolding on the horizon had my attention. A tiny crescent moon is a great supporting element. Combine that feature with a strong, colorful pre-sunrise or post-sunset gradient in the sky and throw in some water and mountains, and images I like are easy to create.

While this scene was in my locked-down composition, even 35mm does not render the moon a substantial size in the frame. Fortunately, the Canon RF 70-200mm F2.8 L IS USM Lens and another R5 were in my MindShift Gear BackLight 26L. What was not along was my second tripod, and I did not want to lose the locked-down composition held by the first. So, I sat down on the rocks, rested arms on knees, and began shooting with the settings that would have been used if tripod-mounted. Those settings were ISO 100 for the least noise, f/8 for considerable depth of field and reduced vignetting, and the shutter speed necessary to yield a right-aligned histogram.

That shutter speed was 2.5 seconds, a very long 70mm exposure without a tripod. Amazingly, all of the dozens of images captured at this and, later, faster shutter speeds were sharp. There was no need to use a higher ISO or a wider aperture setting — or a tripod. This is impressive performance from the R5 and RF 70-200 combination.

It is often easy to create nice landscape images with telephoto focal lengths, and the Canon RF 70-200mm F2.8 L IS USM Lens is a great landscape lens. This image is simple — minimalistic. The dark mountain provides a base to the image, and the waterline is positioned approximately 1/3 into the frame. The position of the 3.2% waning crescent moon and silhouetted evergreen trees work together to create an overall balance to the scene. While many rules can be used for composition, overall balance is what I usually look for first.


Go big. A larger version of this image is available on Flickr.

 
Camera and Lens Settings
70mm  f/8.0  2.5s
ISO 100
8192 x 5464px
Post Date: 10/27/2020 7:00:00 AM CT   Posted By: Bryan
 Thursday, October 22, 2020

From Sigma:

Firmware update for the SIGMA MOUNT CONVERTER MC-11 EF-E

Thank you for purchasing and using our products.

We are pleased to announce that a firmware update for the SIGMA MOUNT CONVERTER MC-11 EF-E is now available.

[Applicable product]

·SIGMA MOUNT CONVERTER MC-11 EF-E

[Benefits of the update]

·It makes the converter compatible with the SIGMA 18-200mm F3.5-6.3 DC MACRO OS HSM | Contemporary in Canon EF mount, that has the latest firmware Ver.2.03

·It makes the converter compatible with the SIGMA 70-200mm F2.8 DG OS HSM | Sports in Canon EF mount, that has the latest firmware Ver.1.02.

·It makes the converter compatible with the SIGMA 100-400mm F5-6.3 DG OS HSM | Contemporary in Canon EF mount, that has the latest firmware Ver.2.07.

·It makes the converter compatible with the SIGMA 150-600mm F5-6.3 DG OS HSM | Sports in Canon EF mount, that has the latest firmware 2.02.

·It makes the converter compatible with the SIGMA 20mm F1.4 DG HSM | Art in Canon EF mount, that has the latest firmware 2.01.

[How to update]

Connect the SIGMA MOUNT CONVERTER MC-11 to a computer with the included USB cable, then open SIGMA Optimization Pro*. If there is a newer firmware version available than the one currently installed on your converter, you will see the message ‘There is the latest firmware for the converter’. Click ‘Yes’ to update.

?Before attaching the updated SIGMA MOUNT CONVERTER MC-11 to the camera body, please remove the battery pack from the camera then reinsert.

*Please be sure to update SIGMA Optimization Pro to the latest version when updating the MC-11 firmware.

Posted to: Canon News, Nikon News, Sony News   Category: Sigma News
Post Date: 10/22/2020 9:49:53 PM CT   Posted By: Bryan

From Manfrotto:

Discover the new Manfrotto Professional Batteries and Chargers

The NEW Manfrotto Professional Batteries and Chargers go above and beyond your average charging solution! With higher quality batteries, and faster, more efficient charging to ensure content creators are never without the power they need.

Professional Batteries

Peak performance, durability & quality! The Manfrotto Professional rechargeable batteries offer an ultra-high capacity of 2000 mAh for a wide range of Canon and Nikon cameras. Using Lithium ion technology, you can recharge the battery at any point.

Injected with silicone for a shock-absorbing construction, Professional batteries are built to withstand extreme tough environments, and are drop proof up to 9ft! Never lose your batteries to the bottom of your bag again, thanks to the signature Manfrotto red coloured housing.

Think all batteries are the same? Think again.

ProCUBE Chargers

The Manfrotto ProCUBE is a DSLR twin charger made for a range of Canon, Nikon or Sony fit batteries. It features quick top up charge, a high-end LCD display, battery health check and can charge 1 or 2 batteries simultaneously! Each ProCUBE comes with a 12V car lead, an integrated 2.4A USB charger, numerous battery plates, and AA tray which charges 4 x AA batteries simultaneously.

The tray can also be used to store AA batteries when not in use, which makes the Manfrotto ProCUBE perfect for travelling, and is supplied with interchangeable US, Euro and UK plug heads.

No matter where your work takes you, you’ll never be without power!

Check out the new Manfrotto Professional Batteries and Chargers at B&H.

Posted to: Canon News, Nikon News, Sony News   Category: Manfrotto News
Post Date: 10/22/2020 8:59:31 PM CT   Posted By: Bryan

Sometimes, an ultra-wide-angle lens becomes a requirement to get the shot. Sometimes, a wide aperture is also required. Both were requirements down in Monument Cove, Acadia National Park, on this night. The Sony FE 12-24mm f/2.8 GM Lens had the credentials to get the job done.

As I climbed down into the cove, the plan was to capture the monolith in front of the milky way. Upon arrival, I decided that the rock on the other side of the frame also had great character and wanted it included in the image. Even at the extreme 12mm full-frame angle of view, keeping everything seen here in the frame meant my back was against the rock wall.

The milky way is typically photographed against a black sky. However, if the sky is dark and the milky way is in view, it can be photographed at the end of the blue hour. This image was captured about 7 minutes after "nautical end." Despite a bit of light showing in the sky, it was very dark in the cove, and the f/2.8 aperture proved very helpful, keeping the ISO setting down to a still-high 8000.


This pic especially looks better big. A larger version of this image is available on Flickr.

Post Date: 10/22/2020 8:59:38 AM CT   Posted By: Bryan
 Wednesday, October 21, 2020
Posted to: Canon News, Nikon News, Sony News   Category: Manfrotto News
Post Date: 10/21/2020 7:38:34 AM CT   Posted By: Bryan
 Tuesday, October 20, 2020

ProMediaGear has just introduced the BH50 Ball Head. Get more details on ProMediaGear's website.

Posted to: Canon News, Nikon News, Sony News   Category: ProMediaGear News
Post Date: 10/20/2020 3:38:50 PM CT   Posted By: Bryan

From Think Tank Photo:

Think Tank Photo has just released their new The Essentials Convertible Rolling Backpack. This rolling backpack goes where other rollers can’t. Roll it easily over smooth surfaces, or simply deploy the backpack straps to carry it over rough terrain.

Sized to meet most airline carry-on requirements, the Essentials fits two DSLR or Mirrorless bodies, a mounted 70–200mm, multiple lenses, and a 16-inch laptop. And because it’s from Think Tank, the bag will roll long into the future.

Use our link to get the detail and to receive a free Think Tank product and free U.S. shipping on all orders over $50.00.

Post Date: 10/20/2020 2:27:01 PM CT   Posted By: Bryan
 Monday, October 19, 2020

Update: Canon USA has published a press release that does not require translation:

Canon U.S.A. Announces Three New Industrial Imaging Sensors

MELVILLE, NY, October 19, 2020 – As imaging sensors continue to be an essential component of industrial processes, Canon U.S.A., Inc., a leader in digital imaging solutions, is excited to announce three new CMOS (complementary metal-oxide semiconductors) sensors: the ultra-high-resolution LI8020 series, the ultra-high sensitivity LI3030 series, and the LI7050SAC. These sensors help expand the company’s lineup of industrial vision products while offering integrators and end-users additional capabilities when developing solutions for various applications.

LI8020SAC/LI8020SAM

The LI8020SAC (color)/LI8020SAM (monochrome) ultra-high resolution CMOS sensor features a pixel pitch of 1.5 µm (micrometer) and a resolution of approximately 250 million pixels, which provides detailed images in a wide range of applications and situations. The sensor will help meet the needs of manufacturers to inspect flat panel displays, which frequently exhibit 4K and sometimes even 8K content. The sensor can also be a tool for video production, digital archiving, wide-area monitoring, and the medical industry by providing ultra-high resolution and ultra-high-speed signal readouts. Due to the ultra-high pixel count of the sensor, images can be captured that maintain incredible image quality, even if an area of the moving or still image has been cropped and enlarged using an electronic zoom.

The new sensor can capture video at an ultra-high-resolution that is approximately 125 times higher than Full HD (1920 × 1080 pixels) and about 30 times higher than 4K (3840 × 2160 pixels). Still images can be captured at a speed of approximately five frames per second even when reading all the pixels. A fast signal readout of 1.25 billion pixels per second helps to avoid the potential of any signal delay or deviation. The rapid signal readout is achieved by advancing circuit miniaturization and signal processing technology. When the Read Return on Investment (Region of Interest) feature is utilized, the frame rate of the sensor can be increased by selecting an area and reducing the amount of information to be read. If a user doesn’t need the input of every pixel, the ROI readout function allows you to read every pixel at five fps, 8K at 24 fps, 4K at 30 fps, and Full HD at 60 fps. The sensor also features a "thinning-out read function" that enables high-speed readout by reducing the number of vertical pixels to be read out of the full shooting area, allowing selection of an output data format that suits users’ needs.

LI3030SAI/LI3030SAM

The LI3030SAI (RGB-IR)/LI3030SAM (monochrome) sensor is a 35mm full-size ultra-high sensitivity CMOS sensor with a large pixel size of 19 µm that allows for image capturing in low-light environments where it can difficult for the naked eye to identify the subject. The sensor can read 2160 × 1280 pixels, which is wider than Full HD (1920 × 1080 pixels), enabling it to be a suitable solution for astronomical observation applications and the monitoring and industrial applications that require high-resolution images with a specific aspect ratio.

Compared to similar Canon models, the sensitivity of the LI3030SAI and LI3030SAM sensor is approximately 2.3 and 3 times higher in the near-infrared range, respectively. The sensitivity capabilities of the LI3030SAI allow users to see the pupil of a human-eye through sunglasses. The LI3030SAM sensitivity capabilities enable users to capture monochrome moving images and can reduce the appearance of dust, enhancing astronomical observation. By assigning one pixel of the color filter as a pixel for the near-infrared region, it is possible to simultaneously acquire color and near-infrared motion images with a single sensor even under low-light conditions. In addition, since the differences in the reflectance and absorbance of light in the near-infrared region can be detected from weak signals and the state of the inside of a substance can be observed, the sensor can be used in a wide range of industrial and medical fields. Use-case examples include long-distance monitoring at night, observation of crop growth in a wide area, inspection of foreign matter contamination in food factories, and visualization of biological tissues.

LI7050SAC

The LI7050SAC is a high resolution CMOS sensor that is ideal for security camera use because of its high sensitivity and price point. Featuring a pixel pitch of 4.1 µm and a resolution of approximately 2.12 million pixels, the sensor provides a High Dynamic Range (HDR) of equivalent to up to 20 stops with frame rates of 30fps and 60fps. What’s more, the sensor features a 54,000 green sensitivity level and can read 1936 × 1096 pixels, which is slightly higher than HD resolution.

For more information on Canon sensors including how to talk to a sales representative, please visit canon-cmos-sensors.com.

 
Original post:

From Canon Japan via Google Translate:

Released "LI8020SAC / LI8020SAM", an ultra-high resolution CMOS sensor with approximately 250 million pixels

October 19, 2020

Canon Inc.
Canon Marketing Japan Inc.

As a new product of APS-H size (about 29.4 x 18.9 mm) CMOS sensor, Canon will release "LI8020SAC (color) / LI8020SAM (monochrome)" capable of imaging about 250 million pixels (19,568 x 12,588 pixels) in 2020. It will be released in late October of the year.

LI8020SAC / LI8020SAM

Main features

The new product is an ultra-high resolution CMOS sensor with approximately 250 million pixels, which enables you to capture detailed information in an image while shooting a wide range. In addition, by setting the pitch of one pixel to 1.5 µm (micrometer), we have achieved approximately 250 million pixels in APS-H size, making it possible to use it for various purposes. It can be used for various purposes such as FPD (flat panel display) inspection, which has become higher definition due to the development of 4K / 8K video technology, industrial inspection, video production, digital archive, wide area surveillance, microscope, etc. Meet the needs of users.

Get detailed information even in a wide range of shooting with ultra-high resolution of about 250 million pixels

The new product is capable of imaging at ultra-high resolution of about 250 million pixels, which is about 125 times that of full HD (1,920 x 1,080 pixels) and about 30 times that of 4K (3,840 x 2,160 pixels), and can be taken in any shooting range. Sufficient resolution can be obtained by trimming the area and enlarging it with an electronic zoom.

Achieves ultra-high-speed signal reading of approximately 1.25 billion pixels / second

With CMOS sensors, the amount of signal increases as the number of pixels increases, causing signal delays and slight timing deviations. The new product has an ultra-multi-pixel structure of approximately 250 million pixels, but by refining the circuit and advancing signal processing technology, it has achieved an ultra-high-speed signal readout of approximately 1.25 billion pixels per second. This enables ultra-high resolution imaging at a speed of approximately 5 frames / sec even when all pixels are read out.

Supports data output according to user needs with "ROI read function" etc.

The new product is equipped with a "ROI (Region of Interest) read function" that selectively reads only an arbitrary area. If you want to read only a specific area at high speed, you can use the "ROI read function" at 24 fps for 8K (7,680 x 4,320 pixels), 30 fps for 4K (3,840 x 2,160), and 60 fps for full HD (1,920 x 1,080). Video recording is possible. It also has a "thinning out reading function * " that thins out the entire image area in the vertical direction to read out, so you can select the data output method that suits your needs.

* 4 patterns of thinning are possible. 1/3 is about 15fps, 1/5 is about 25fps, 1/7 is about 35fps, and 1/9 is about 45fps.

CMOS sensor market trends

Digital technologies such as image processing are also undergoing rapid evolution as high-definition technology is advancing for FPD inspection equipment. High resolution is also required for CMOS sensors, which are the eyes of inspection equipment, and manufacturing sites are demanding inspection equipment equipped with ultra-high resolution sensors. In addition, ultra-high resolution sensors are expected to be used in applications such as wide area monitoring. (Research by Canon)

Post Date: 10/19/2020 8:20:20 AM CT   Posted By: Bryan

In my Canon EOS R5 and EOS R6 Setup Guide, I indicated that "Focus bracketing" and "Number of bracketed shots" were included on the My Menu tab 2. The R5 is my first daily-use camera to have this feature (one of the first Canon EOS cameras to get it), and I've been anxious to put this feature to use in the field. Remembering that the feature is now a couple of button presses away is the first in-the-field challenge.

The Mount Desert Island Historical Society beautifully maintains the Somesville Bridge, Selectmen's Building, and the surrounding grounds. This includes planter boxes that always hold attractive flowering plant arrangements in the fall. These planters beg to be included in the frame, but including the plants, the bridge, and the building in the same frame requires extreme depth of field for all details to be sharp. Extreme depth of field generally requires a very narrow aperture, and a very narrow aperture generally results in a diffraction-softened image.

Focus bracketing solves this problem.

For this picture, the focal length that best composed the scene was first selected, and the Really Right Stuff TVC-24L Mk2 Tripod with an RRS BH-40 Ball Head was moved into a somewhat awkward position to lock the composition down. ISO 100 was selected for the least noise, f/11 was selected to gain a significant depth of field for each image (f/8 would have been a good alternative in hindsight), and the shutter speed, 1/10 sec., was selected for the final exposure brightness, just bright enough to cause minor overexposed highlights on the bridge (blinking during image review). The R5's "Focus bracketing" was enabled and the "Number of bracketed shots" was set to 15.

With the lens in AF mode, the focus spot was placed over the closest subject, the ornamental cabbage flower. When the shutter release was pressed using the 2-second self-timer mode, the camera took a series of images. While I selected 15 bracketed shots in the menu, the camera knew that only four were required for this scenario.

In Canon Digital Photo Professional (DPP), the four RAW images were selected, and the Tools > Depth Compositing > Start depth compositing tool menu option was selected. The default settings were used to output a 16-bit TIFF file that only required minor adjustments unrelated to focus.

My wife thinks the cabbage is too big relative to the background elements, but moving into the street to capture a more distant view was not a good idea from a safety perspective, and that perspective would have resulted in sidewalk and other less attractive elements being included in the frame. Harder to argue against is that the flowers provide lots of color in the frame. Regardless, hopefully the ease of creating a focus bracketed image with the Canon EOS R5 and EOS R6 is illuminated.


A larger version of this image is available on Flickr.

Post Date: 10/19/2020 7:10:07 AM CT   Posted By: Bryan
 Saturday, October 17, 2020

Earlier this week (I just returned from leading a photo workshop in Acadia National Park and am catching up), DJI announced a pair of new gimbals:

DJI’s Ronin Series Grows Stronger, Lighter, and Smarter with New DJI RS 2 and RSC 2 Gimbals

Two Stabilization Systems Offer Reworked Designs and New Creative Functions to Become Workhorses for Filmmakers and Content Creators

October 14, 2020 – DJI, the global leader in civilian drones and creative camera technology, today expands the legacy of the highly popular and prestigious DJI Ronin series, by introducing the rebranded DJI RS 2 and DJI RSC 2. Redesigned and reimagined, both systems offer the filmmaking and content creation community an extremely robust, versatile, and professional 3-axis camera gimbal for their various needs. DJI RS 2 brings added strength and agility to creators using heavier camera systems such as DSLR and compact cinema cameras. At the same time, DJI RSC 2 was created to be more portable, meeting the needs of mirrorless and more compact camera operators.

“DJI’s first Ronin-S and the original Ronin-SC created so much excitement when they launched that we immediately went back to the drawing board to figure out how to make our products even better,” said Paul Pan, Senior Product Line Manager. “Just like with the first version, we took time to research how our professional customers use their Ronin products and what new features they wanted in the next generation of a handheld gimbal. Yet again, the result is the culmination of user feedback, years of design and development, and significant advancements in stabilization technology. Now we are excited to showcase two new filmmaking tools designed to meet the needs of a wide array of filmmakers. From cinema cameras to mirrorless systems, we have a solution for you.”

DJI RS 2: Masterfully Crafted

Considering a tremendous amount of feedback from professional operators, DJI RS 2 incorporates carbon fiber in vital structural components, reducing weight down to 1.3 kg (2.86 lbs) while remaining highly durable. Pushing the innovation of single-handed gimbal technology even further, DJI RS 2 now supports a tested dynamic payload of 4.5 kg (10 lbs) for creators to use heavier camera and lens combinations while still achieving up to 12 hours of battery life. A new quick-charge function directly to the battery handle has been added for urgent situations, providing an extra two hours of battery life with just a 15-minute charge.

DJI RS 2 continues pushing gimbal technology forward with the ability to support heavier payloads while capturing ultra-smooth cinematic footage. Based on years of experience developing predictive technology, a newly optimized Titan Stabilization Algorithm reduces the need for manual user input while compensating for user movement and optimizing the gimbal tilt and angle. Additionally, a new SuperSmooth mode provides another level of camera stability, especially for compensating longer focal length lenses of up to 100mm.

Simple to set up, easy to operate, and highly customizable, DJI RS 2 was created to allow filmmakers to adapt their system to their filming needs while feeling confident it will easily integrate into their workflow. Axis locks enable easier transportation and balancing, while a dual-layer camera mounting plate is compatible with both the Arca-Swiss and Manfrotto standard. A fine-tune balancing knob allows for even more precise balancing of the camera payload. The built-in 1.4” color touchscreen can display camera data, gimbal settings, or a live feed from the camera. Supporting 11 different languages, the ultra-bright screen can also initiate key functions such as ActiveTrack and intelligent shooting modes. The built-in front dial above the trigger allows for precise focus control and complements a DJI Focus Wheel mounted on the RSA port to create two-channel focus and zoom[1]. DJI RS 2 also turns into a versatile tool that can be attached and used with other systems such as jibs, car attachments, and sliders. Two RSA ports double as NATO ports so that users can mount accessories and attachments such as grips and a remote controller.

DJI RSC 2: Filmmaking Unfolds

A completely new and portable folding design makes DJI RSC 2 easy for creators to carry everywhere without adding additional weight to the gear list. Additionally, the folding design provides creative ways to use the gimbal such as vertical filming without additional accessories, as well as a new Briefcase mode, where the main gimbal arm can be loosened and slung forward to provide unique shooting angles. Durable materials like steel are used on vital and frequently used components, while lightweight materials such as aluminum reduce overall weight. DJI RSC 2 weighs in at 1.2 kg (2.65 lbs), nearly 35% less than the original Ronin-S, and has a folding footprint of 180×190 mm, the same size as a sheet of A5 paper. The built-in battery offers an impressive 12 hours of battery life and – like DJI RS 2 – the new quick-charge function directly to the battery handle has been added for urgent situations.

DJI RSC 2 remains lightweight and portable, featuring stronger motors to support a tested payload of up to 3 kg (6.6 lbs). This increased dynamic payload supports popular mirrorless cameras along with heavier combinations like the Panasonic S1H and a 24-70mm lens. Using the same advanced technology as DJI RS 2, the newly optimized Titan Stabilization Algorithm generates a new level of stability – smoothing out fine details in conjunction with the motorized gimbal for some of the most advanced stabilization on the market. DJI RSC 2 is compatible with a wide array of camera models so users can get the most out of the system. Axis locks enable easier transportation and balancing, while a dual-layer camera mounting plate is compatible with both the Arca-Swiss and Manfrotto standard. A 1” built-in OLED screen displays camera data with the ability to adjust settings directly.

Multifaceted Gimbals Supported by an Advanced App and Accessories

DJI RS 2 and RSC 2 were designed to expand beyond single-handed stabilization into tools that can be customized with additional accessories to achieve the desired shot. These accessories include a cheese plate, Focus Wheel, 3D Focus System, Twist Grip Dual Handle, RavenEye Image Transmission System, Tethered Control Handle, counterweight systems, and more[2]. For remote operation, both DJI RS 2 and DJI RSC 2 can use ActiveTrack 3.0 when the RavenEye Image Transmission System is connected, sending a 1080p/30fps low-latency feed to a mobile device using the Ronin app from up to 200 meters away.

Vital features and functions can now be controlled and adjusted over long distances with the Ronin app such as gimbal movement using the virtual joystick and Force Mobile, where the gimbal mimics the mobile device’s movement. For solo operators using manual-focus lenses, the 3D Focus System uses state-of-the-art TOF sensors mounted above the camera to provide autofocus. This enables a single shooter to capture smooth and cinematic footage using a manual lens, without relying on a second camera operator or focus puller.

Pre-Programmed Movements and Features That Make Stories Come to Life

DJI RS 2 and RSC 2 expand on their predecessors’ suite of creative modes, movements, and features with tools to help capture content that stands out, including:

  • *New* Time Tunnel: The system performs a 360-degree roll while capturing a hyperlapse, adding a level of creativity to footage[3].
  • Flashlight: The system tilts the camera all the way forward so users can grip the base like a flashlight.
  • One-Tap Portrait Mode: The gimbal quickly orients the camera into vertical shooting for professional-level social media content.
  • Panorama: After configuring sensor and focal length, choose a start and stop point for panoramas up to gigapixel size.
  • Roll 360: The gimbal enters into the Flashlight position and rolls the camera system 360 degrees.
  • Timelapse: This classic feature shows subtle changes over durations of your choosing.

DJI Care Refresh

DJI Care Refresh is now available for both DJI RSC 2 and RS 2. For an additional charge, DJI Care Refresh offers comprehensive coverage as well as up to two replacement units within one year. Receive your replacement even sooner with DJI Care Refresh Express. DJI Care Refresh also includes VIP after-sales support and free two-way shipping. For a full list of details, please visit https://www.dji.com/service/djicare-refresh.

Price and Availability

DJI RS 2 and DJI RS 2 are available for purchase today from authorized retailers and on www.store.dji.com. Each product offers purchase options for a standalone gimbal and a combination pack that includes additional accessories. The standalone DJI RS 2 is available for the retail price of $849 USD, and the standalone DJI RSC 2 is available at the retail price of $499 USD. The Pro Combo includes additional accessories such as a phone holder, Focus Motor, RavenEye Image Transmitter, dedicated carrying case, and more. The DJI RS 2 Pro Combo is priced at $999 USD, and the DJI RSC 2 Pro Combo is priced at $739 USD. Full details on this can be found below.

Orders

Order the DJI RS 2 and DJI RS 2 at B&H or Adorama.

Learn more at B&H Explora

[1] Compatibility varies by camera model. Please check the Ronin Series Compatibility Search at www.dji.com.

[2] The 3D Focus System will be available at a later date after launch.

[3] Time Tunnel for DJI RSC 2 will be available at a later date via firmware update.

Posted to: Canon News, Nikon News, Sony News   Category: DJI News
Post Date: 10/17/2020 3:44:40 PM CT   Posted By: Bryan
 Friday, October 9, 2020

From Think Tank Photo:

With every good story, there’s often a better backstory.

The same is true with the BackStory Series of camera backpacks.

The BackStory’s rear-panel opening offers complete access to your gear while a top panel provides quick access to your camera and speeds your workflow. A deep front compartment with zippered mesh pockets has ample room for personal gear, including a 10” tablet and laptop (size specific). And with its plush shoulder harness and removable waist belt, the BackStory is comfortable enough to wear all day.

Learn more about the BackStory Series at Think Tank Photo.

Don't Forget

Through Oct 16th, save 15% on select rolling cases at Think Tank Photo.

Think Tanks Photo's gear is top quality, and now is your chance to score some awesome gear at a big discount.

You'll get a free gift and free shipping when using our links for your purchase ($50.00 minimum purchase required).

Post Date: 10/9/2020 9:39:30 AM CT   Posted By: Bryan
 Thursday, October 8, 2020

The day before my arrival, still late summer, Rocky Mountain National Park received a wintry weather blast that included a snowstorm. With a clearing storm forecasted for the next morning, heading to a high elevation mountain lake for a dramatic landscape image seemed the right plan. That excitement ended abruptly. Instead of an amazing set of landscape images, I was delivered dense cloud cover, continuous snow, and brutal winds.

However, the sunset conditions easily made up for the AM troubles. The wind became still, and the remaining clouds took on great color.

There are times in the field when you know that you are capturing an image that you will be excited about. This was one of those times. I quickly shot a variety of images from my rock perch, capturing bracketed exposures, varying the focal length, and fine-tuning the composition. This selected image was a single exposure captured at an extremely wide 12mm focal length, enabling the large rocks on the lower right side of the frame to be included along with the high clouds and their reflections. A fully-level camera keeps especially the trees on the left side of the frame straight.

What do I like least about this composition? The wide-angle focal length makes the distant mountain appear small in relation to the foreground. I decided that there was enough valuable supporting detail in the frame to offset that deficit (and I zoomed in to capture that image also).

Unknown to me this evening was that the snowstorm had cleaned the air of wildfire smoke and that this would be the last time I would see an even marginally photogenic sunrise or sunset for the duration of my time in Colorado.


A larger version of this image is available on Flickr.

Post Date: 10/8/2020 1:01:58 PM CT   Posted By: Bryan
 Tuesday, October 6, 2020

Just posted: Sony FE 12-24mm f/2.8 GM Lens Review.

Simply outstanding lens.

The Sony FE 12-24mm f/2.8 GM Lens is in stock at B&H | Adorama | Amazon USA | WEX

Save the tax, use the B&H Payboo payment card (at B&H, I use this card exclusively)

Rent the Sony FE 12-24mm f/2.8 GM Lens from Lensrentals.

Please share!

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 10/6/2020 9:56:06 AM CT   Posted By: Bryan
 Monday, October 5, 2020

Image quality test results have been added to the Sony FE 12-24mm f/2.8 GM Lens Review.

This lens is an outstanding performer — and very fun to use.

The Sony FE 12-24mm f/2.8 GM Lens is in stock at B&H | Adorama | Amazon USA | WEX

Rent the Sony FE 12-24mm f/2.8 GM Lens from Lensrentals.

Please share!

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 10/5/2020 7:40:29 AM CT   Posted By: Bryan

B&H has information about the (finally) coming soon Android-powered Zeiss ZX1 Digital Camera live on their site.

Posted to: Canon News, Nikon News, Sony News   Category: Zeiss News
Post Date: 10/5/2020 8:08:02 AM CT   Posted By: Bryan
 Saturday, October 3, 2020

Is the Canon EOS R5 a good wildlife camera? Absolutely.

I had the opportunity to select any camera available for an over-two-week wildlife photo trip. My choice? The pair of Canon EOS R5 bodies already in my kit, and I am left extremely impressed as I review the images from this trip.

Here are 7 reasons why I find the Canon EOS R5 to be the ultimate wildlife camera:

1. The AF System Rocks, Especially the Animal Eye AF Feature

Most notably, the eye-in-focus rate from the EOS R5 was considerably higher than my experience with any camera prior. Keeping a wildlife subject's eye in focus is a critical challenge of wildlife photography, and keeping the ideal focus point on a wildlife subject's eye is a key to that challenge. When a bird or animal turns its head, the ideal composition typically changes just as fast as the head turned, often requiring the AF point to be moved completely across the frame. Swimming ducks can change directions almost instantly. Too often, the subject changes position again before the AF point is in the required new position. Hence, the shots are missed.

In a large percentage of scenarios, the R5's animal eye AF system eliminates the AF point challenge, permitting the photographer to concentrate on proper scene framing with the eye being tracked throughout nearly the entire frame. I have photographed a variety of birds and animals with the R5, including whitetail and mule deer, elk, moose, coyote, ground squirrels, turkeys (ever try to focus on a feeding turkey's head?), green herons, magpies, whistling swans, frogs, and even stuffed animals. The only subject in that list to confound the R5's animal eye AF enough for me to not trust using it nearly 100% of the time was the moose, and with the dark hair surrounding that animal's eye, it is hard to fault the R5 for that one.

Even when not using eye AF, this camera's AI Servo AF tracked moving subjects very accurately

2. The Frame Rate is Fast

Animals move, and capturing the ideal body, leg, and wing position can be critical. The challenge is even greater when multiple subjects are in the frame. Capturing the movement sequence can also be desired. Even when the subjects are standing still (or bedded), there can still be movement in the frame. A drip of water falling from a duck's bill can make the difference between a good shot and a great shot. A moose's big eyebrow lifting even slightly can allow a catchlight or a larger catchlight, increasing the value of the image. If the eye goes closed during a blink (I'm amazed at my ability to time a single shot with a bird closing its necessitating membrane), the image is not likely as attractive to me as an alert, open eye. A fast frame rate can catch the pinnacle point in time.

Fully supporting the fast frame write is the deep buffer coupled with the fast card write speed. Even when writing to SD cards, I barely reached the buffer full state only once.

3. The EVF is Excellent with Lack of Blackout

When shooting in continuous mode, electronic viewfinders typically freeze or blackout while each frame is being captured, and it is very difficult to track a moving subject without being able to see it. The R5 does not have that problem. In addition, the resolution of this EVF is high enough to be able to see when a catchlight appears in the animal's eye along with other important details.

4. The Image Quality is Excellent, Ultra-High Resolution Included

The R5 delivers crisp, high-resolution image quality that is ready to be printed large, and when focal length limited in the field, the EOS R5 provides adequate resolution to crop deeply.

5. The Grip is Adequately-Sized and Comfortable

Spending many hours a day with the camera in hand was not unusual on this trip, and having a significantly-sized, expensive lens hanging from it was the norm. A sore hand developing could cause problems for the remaining days, and a grip slip could spell doom for especially the lens, a big problem when a replacement is not readily available. I find the R5 grip to be comfortable and sure.

6. The Weather Sealing and Build Quality can Save the Day

While the R5 is not built up to the standard of Canon's 1-series cameras, it is solidly built with good weather sealing. The weather is not controllable, and when photographing wildlife, unfavorable conditions are not uncommon. I photographed in a snowstorm in CO, and while photographing moose in Alaska, it was raining lightly nearly the entire time. Sometimes I used a rain cover in AK, but not always.

That this camera is relatively light is a definite bonus when it is being carried for many hours and many miles.

7. The Controls are Intuitive and Customizable

The faster I can adjust the camera settings that are important to me, the faster I can get back in the game. The set of controls provided on the R5 are just right for changing the important wildlife photography-related settings, especially with the M-Fn button programmed to provide the ideal subset of options.

 
I was fortunate to spend nearly 7 hours with the Rocky Mountain National Park bull elk in the image accompanying this post. Few elk have antlers that are larger, more symmetrical, and more perfectly shaped than his set. My time with this brute included the dreaded mid-day hours where harsh shadows and heat waves tend to rule. Amazingly, the edge of a large cloud remained still, blocking the sun during nearly this entire time. The provided light was bright and soft while the heatwave issue was significantly reduced. In this case, the denser portion of the cloud darkened the background, providing a high contrast that, along with the shallow depth of field from the Canon EF 600mm f/4L IS III USM Lens, makes the subject stand out.

I prefer to photograph wildlife at their level and often like to be even lowered than eye level to give them a larger appearance (and increase the odds of a catchlight appearing). The low flora in this meadow accommodated a squatted shooting level nicely.

Is the R5's battery life adequate? The pair of Canon LP-E6NH packs in the Canon BG-R10 Battery Grip delivered 4,300 images before giving up on this day. It is easy to add another battery or two to a pocket if this volume is not adequate for your needs.

How do EF lenses perform on the Canon Mount Adapter EF-EOS R? After mounting the adapter, I forgot that it was there. The lens seemed normal during use, and the R5 delivered a considerably higher in-focus rate than I am used to.

Get your Canon EOS R5:

Body: B&H | Adorama | Amazon USA | WEX

w/ RF 24-105 L: B&H | Adorama | Amazon USA


A larger version of this image is available on Flickr where it looks considerably better.

Post Date: 10/3/2020 12:00:00 AM CT   Posted By: Bryan
 Wednesday, September 30, 2020

I've just returned from 17 days of field testing in some great locations with the Canon EOS R5 (best camera ever), Canon RF 100-500mm F4.5-7.1 L IS USM Lens (awesome lens), and an assortment of other gear.

A solid set of images of this huge Alaska Yukon moose was the reward for packing gear nearly three miles into the Alaska mountains. On this afternoon, the cloudy sky created soft, shoot-from-any-direction lighting, and the light rain saturated the fall-colored foliage and hemlock backdrop. I couldn't have scripted a scenario much better than this.

Working in the thick forest meant a zoom focal length was required clear obstructions while facilitating ideal framing that included, at times, a significant amount of the environment around the subject(s). The need to move and work fast meant there was no time for tripod setup. While the RF 100-500 does not have the widest aperture, its image stabilization system coordinating with the R5's in-body image stabilization meant that nearly all of my images were sharp. I came away very impressed and have been re-training my brain to shoot handheld at longer shutter speeds throughout the trip. That is when the animal was motionless.

When photographing wildlife, I usually use manual exposure mode with the aperture wide open (unless the scenario dictates otherwise) along with auto ISO. These settings enable the top dial to be quickly rolled to the minimum shutter speed required to stop any camera or subject motion (or until ISO 100 is reached) in the current shooting scenario. Often, after getting the insurance shots with a relatively fast shutter speed, I capture images at progressively longer exposures attempting to better what has already been captured. Exposure compensation was adjusted as appropriate as moose are very dark animals, encouraging the camera to overexpose the scene.

For this shoot (and for most wildlife photography), AI Servo AF was used, readying the camera for any movement the animal makes. For the moose photos, touch and drag AF was used with the small AF point selected. While this camera's animal eye AF is awesome (game-changing for most wildlife photography, including birds), the black around the moose's eye caused animal eye AF challenge enough times that I opted for the also-good alternative selection method. When I did my job correctly, nearly all images were focused correctly.


A larger version of this image is available on Flickr (with the catchlight in the eye much more visible).

 
Camera and Lens Settings
118mm  f/4.5  1/500s
ISO 1600
7757 x 5174px
Post Date: 9/30/2020 9:29:27 AM CT   Posted By: Bryan

We don't cover Olympus products here at this time, but it is still interesting to keep up on the industry news. From Olympus:

September 30, 2020

Olympus Agreed on Transfer of Imaging Business with JIP

Tokyo, September 30, 2020 – Olympus Corporation (“Olympus”) today concluded a definitive agreement with Japan Industrial Partners Inc. (“JIP”) regarding the transfer of the Olympus Imaging business. Under the agreement, Olympus will transfer its Imaging business to a newly established wholly-owned subsidiary of Olympus (the "New Imaging Company"), through an absorption-type split. This is to be followed by transferring 95% of the shares of the New Imaging Company on January 1, 2021, to OJ Holdings, Ltd., a special purpose company established by JIP.

Olympus began the manufacture and sale of cameras using the Zuiko lens in 1936 and became one of the world’s leading camera makers. Olympus was among the first companies to make small, lightweight compact cameras with professional quality, such as the award-winning Olympus ‘OM’ and ‘Pen’ series. Driven by the desire to make people's lives more fulfilling around the world, the company applied innovative technology and unique product development to distinguish itself in a highly competitive industry.

In recent years, however, the market has shrunk rapidly due to the evolution of smartphones, leading to a significant downturn for the digital camera market globally. Despite taking various steps to improve its cost structure and efficiency, Olympus’ Imaging business recorded operating losses for three consecutive fiscal years up to March 2020.

Under such circumstances, Olympus concluded that, by carving-out the Imaging business and operating the business under JIP, its business structure would become more compact, efficient, and agile, and it is the most appropriate way to realize self-sustainable and continuous growth. With a loyal following and long history of innovative products, the New Imaging Company would be committed to building on Olympus’ accumulated expertise and to continue providing customers with innovative, high quality cameras under the new business structure.

“I would like to express my heartfelt gratitude to all our customers for their patronage and support of Olympus products, and for their passion devoted to photography. I have the utmost confidence that this transfer is the correct step forward in sustaining the value of our products and services,” said Yasuo Takeuchi, President and CEO of Olympus Corporation.

“At the same time, I am certain that this opportunity is the best choice for our long-time patrons, new customers and photography enthusiasts. Under the new company, the development, manufacturing, sales and service functions will continue tight collaboration to introduce new products that will satisfy customers,” Takeuchi added.

The agreement applies to Olympus’ global Imaging business, which includes all R&D and manufacturing facilities currently dedicated to its Imaging business. The New Imaging Company will continue to provide high-quality, highly reliable products. Built on a solid foundation, including the Zuiko and OM brands, which are grounded in optics and digital imaging technologies cultivated by Olympus over many years, the New Imaging Company will be appropriately positioned to further pursue new developments.

Head of sales and marketing, R&D and designing departments for imaging products will be relocated to the headquarters of the New Imaging Company in Hachioji, Tokyo. Production will continue at the location in Dong Nai province, Vietnam, where imaging products are currently manufactured. The New Imaging Company will continue to provide customer support for the imaging products which have been manufactured and sold by Olympus.

Following the transfer of the Imaging business, Olympus will concentrate on Medical and Scientific Solutions, in our ongoing efforts toward making people's lives healthier, safer and more fulfilling.

Information on the New Imaging Company is as follows.

  • Company name: OM Digital Solutions Corporation
  • Location: Hachioji, Tokyo
  • Representative Director: Shigemi Sugimoto
  • Business operations: Operations involving the manufacture and sale of digital cameras (primarily mirrorless interchangeable lens cameras), interchangeable lenses, IC recorders, and other audio products
  • Capital: Not fixed

For the details about the company split and the transfer of shares, please refer our corporate disclosure “Signing of Definitive Agreement for Divestiture of Imaging Business.” (https://www.olympus-global.com/news/ir/2020/)

B&H carries Olympus products.

Posted to: Canon News, Nikon News, Sony News   Category: Olympus News
Post Date: 9/30/2020 8:45:44 AM CT   Posted By: Bryan

From Sigma:

New Product Announcement Sigma 105mm F2.8 DG DN DN Macro Art

A | ART

SIGMA 105MM F2.8 DG DN MACRO

Designed exclusively for full-frame mirrorless cameras

Make everyday details more magnificent.

  1. Everything required in a mid-telephoto macro lens has been achieved at highest levels
  2. SIGMA Art line class optical and AF performance
  3. A full range of functionalities and an excellent build quality

Supplied accessories: Case, Hood (LH653-01)

Available mount: L-Mount, Sony E-mount

* The appearance and specifications of the product are subject to change.

*This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation.

* L-Mount is a registered trademark of Leica Camera AG.

Performance exceeds expectations

SIGMA Art line introduces a supreme edition to classic macro lenses

Mid-telephoto macro lenses give photographers a boost to creativity and a versatile working distance, which makes the lenses a favorite among professionals as part of their basic gear. Introduced as the first macro lens for mirrorless cameras in the Art line of lenses for mirrorless cameras, the 105mm F2.8 DG DN MACRO | Art packs the highest level of performance expected of a mid-telephoto macro lens into its body, from its superb optical performance to excellent build quality.

Beyond being a high-spec macro lens that excels in a wide range of settings, the SIGMA 105mm F2.8 DG DN MACRO | Art is ideal for macro shooting or portraits. It can also give photographers an opportunity to rediscover a new way of looking at or enjoying things such as unexpected beauty or something precious in everyday life through its perspective that is unique to a macro lens. It provides performance that goes far beyond the expectation or imagination of what a "classic mid-telephoto macro lens" can be.

[Key features]

1. Everything required in a mid-telephoto macro lens has been achieved at highest levels

The latest optical design of the 105mm F2.8 DG DN MACRO | Art ensures exceptional sharpness at all shooting distances from extreme close-up, which is crucial in macro shooting, all the way up to infinity. In addition, its aberration correction places a particular focus on longitudinal chromatic aberration which cannot be handled by the in-camera aberration correction. The superior optical design produces clear images with both delicate rendering and free of color bleeding.

Bokeh was one of the focuses in the 105mm F2.8 DG DN MACRO | Art design, which figures largely in mid-telephoto shooting. The ample volume of peripheral light helps create beautiful bokeh circles, while natural bokeh effect in the background, as well as foreground, gives more flexibility to photographic expressions. Furthermore, when equipped with the TC-1411 (1.4x) or TC-2011 (2.0x), SIGMA's latest models of teleconverters designed exclusively for the use with L-Mount lenses, it allows photographers to shoot macro at even higher macro magnifications while keeping the working distance.

The 105mm F2.8 DG DN MACRO | Art has achieved everything that is required of a mid-telephoto macro lens at the highest levels.

2. SIGMA Art line class optical and AF performance

The SIGMA Art line lenses prioritize optical performance above all else in their design. This applies to the 105mm F2.8 DG DN MACRO | Art, which produces outstanding rendering performance from the center of the frame all the way up to the edges. It excellently handles comatic aberration, which often happens at the edges. On the other hand, its abilities to minimize ghosting and flare, which have been validated through rigorous testing from the early stages of its development, ensures that it performs well in backlit conditions.

On top of optimization for the latest functionalities, such as face/eye detection AF, which is something mirrorless camera systems do well, it incorporates a powerful Hyper-Sonic Motor (HSM) in its focus motor system to achieve high-precision, quiet AF operation.

All of these elements are brought to life using advanced production technology at the Aizu Factory, SIGMA's only production site, giving the 105mm F2.8 DG DN MACRO | Art the highest levels of performance worthy of the SIGMA Art line.

3. A full range of functionalities and an excellent build quality

On its body, the 105mm F2.8 DG DN MACRO | Art features a focus limiter setting which comes in handy during macro shooting and the AFL button* to which users may assign select functions. The aperture ring, which is designed to help users work intuitively, has a setting to turn ON or OFF the clicking sound that isn’t required by some users when shooting macro. It also comes with a switch for a ring lock system. Its enhanced functions allow users to customize their shooting operations in accordance with their shooting styles.

The lens also has a dust- and splash-proof structure which is built to handle all manner of shooting conditions. The rings and switches, meanwhile, have a build quality that is superb in terms of durability, as well as how they work and how they feel.

With levels of user-friendliness, adaptability to the environment, and smoothness of operation that are designed for professional uses, the 105mm F2.8 DG DN MACRO | Art pushes the boundaries for photographers and gives them wider creative possibilities.

*Limited to compatible cameras. Also, the functions depend on the camera.

[Additional features]

  • Lens construction: 17 elements in 12 groups, with 1 SLD lens
  • Compatible with high-speed autofocus
  • Compatible with lens-based optical correction
    * Function available on supported cameras only. Available corrections may vary depending on the camera model.
  • Dust-and splash-proof
  • Water- and oil-repellent coating
  • Super Multi-Layer Coating
  • Aperture ring
  • Aperture ring click switch
  • Aperture ring lock switch
    * When turned ON at the position A, the aperture ring is locked at A. When turned ON at a position other than A, it is locked within the range between the maximum to minimum apertures and will not engage at the position A.
  • AFL button
  • Focus limiter switch
  • Focus Mode Switch
  • Lens Hood
  • Compatible with SIGMA TELECONVERTER TC-1411, TC-2011 (sold separately / for L-Mount only)
  • Compatible with SIGMA USB DOCK UD-11 (sold separately / for L-Mount only)
  • Designed to minimize flare and ghosting
  • Support DMF, AF+MF
  • Every single lens undergoes SIGMA's proprietary MTF measuring system "A1"
  • 9-blade rounded diaphragm
  • High-precision, durable brass bayonet mount
  • "Made in Japan" craftsmanship
  • The HSM (Hyper Sonic Motor)

[Key specifications]

The figures below are for L-mount.

Lens construction: 12 groups, 17 elements (1 SLD lens) |

Angle of view: 23.3°|Number of diaphragm blades: 9 (rounded diaphragm)|

Minimum aperture: F22|Minimum focusing distance: 29.5cm / 11.6in.|

Maximum magnification ratio: 1:1|Filter size:f62mm|

Maximum dimensions x length: f74mm×133.6mm / f2.9x5.3in.|

Weight: 715g / 25.2oz.

[Accessories: Supplied] Name of product / barcode

Lens Hood (LH653-01): 0085126 938598

[Accessories: Optional] Name of product / barcode

SIGMA TELE CONVERTER TC-1411 L-Mount:0085126 825690

SIGMA TELE CONVERTER TC-2011 L-Mount:0085126 826697

SIGMA USB DOCK UD-11 L-Mount:0085126 878696

SIGMA WR PROTECTOR 62mm :0085126 930936

SIGMA PROTECTOR 62mm :0085126 931063

SIGMA WR UV FILTER 62mm :0085126 930677

SIGMA WR CIRCULAR PL FILTER 62mm :0085126 930806

ELECTRONIC FLASH MACRO EM-140 DG SA-STTL* :0085126 922641

*for SIGMA fp only

Preorders

Preorder the Sigma 105mm f/2.8 DG DN Macro Art Lens for Sony E from B&H | Adorama

Posted to: Sony News   Category: Sigma News
Post Date: 9/30/2020 8:31:46 AM CT   Posted By: Bryan

On my last afternoon in Alaska, I spent some time with professional photographer Michael Mauro. Check out our conversation in the latest, just-released edition of the Wild and Exposed podcast.

While there, sign up for a free Wild and Exposed podcast subscription, featuring "Tales from the Wilderness".

Post Date: 9/30/2020 7:52:56 AM CT   Posted By: Bryan
 Tuesday, September 29, 2020

Friend of the site Manuel Delgado shares: LaCie 1big Dock SSD Pro Review

When speed is important, this drive is a great option.

Order the LaCie 1big Dock SSD Pro from B&H | Adorama | Amazon

Post Date: 9/29/2020 8:35:53 AM CT   Posted By: Bryan
 Sunday, September 27, 2020

From Tamron:

Tamron Announces the World’s Smallest and Lightest Telephoto Zoom Lens for Sony E-mount Full-Frame Mirrorless Cameras

September 24, 2020, Commack, New York – Tamron announces the launch of the 70-300mm F/4.5-6.3 Di III RXD (Model A047), a telephoto zoom lens for Sony E-mount full-frame mirrorless cameras. The lens will be on sale on October 29, 2020 at approximately $549.00; however, due to the current global health crisis, the release date or product supply schedule can change.

While Tamron has manufactured many popular telephoto zoom lenses that extend to 300mm for DSLR cameras, the new 70-300mm is the first model designed for full-frame mirrorless cameras. Developed with the concept of bringing the joy of easy telephoto shooting to photographers everywhere, it’s the world’s smallest and lightest 70-300mm zoom lens— just 5.8 in. in length and weighing a mere 19.2 oz.— and delivers exceptional image quality.

Its Moisture-Resistant Construction provides greater protection when shooting outdoors and the lens shares the 67mm filter diameter common to all members of Tamron’s lens series for full-frame mirrorless cameras. The lens also takes full advantage of in-camera features, including Sony’s Fast Hybrid AF and Eye AF that support a fantastic shooting experience. The 70-300mm F4.5-6.3 is a highly practical lens that makes the excitement of telephoto shooting easier than ever before across a diverse range of shooting styles including landscapes, sports and other athletic events, wildlife, portraits, and more.

PRODUCT HIGHLIGHTS

1. A telephoto zoom so compact you will want to carry it around everyday

Tamron has adopted a dedicated design for mirrorless cameras and achieved a compact size once again by fixing the aperture at F6.3 at the telephoto end. The maximum diameter is 77mm. Measuring just 5.8 in. and weighing a mere 19.2 oz., this 70-300mm F4.5-6.3 is the world’s smallest and lightest telephoto zoom lens for full-frame mirrorless cameras. Compatible with Sony’s popular E-mount cameras, it has been developed with the concept of enabling photographers to experience the universe of full-scale, full-frame 300mm telephoto photography more easily.

The AF drive system incorporates the exceptionally quiet RXD (Rapid eXtra-silent stepping Drive) stepping motor. Because this lens is compatible with Sony camera features, including in body image stabilization and Eye AF, you can enjoy comfortable, high-speed, high precision telephoto photography, even handheld.

Experience the excitement of bringing distant subjects closer as well as the perspective flattering characteristics achieved by full-scale telephoto photography more easily than ever before. For landscapes, sports, birds, and wildlife as well as closer subjects such as portraits and street scenes, this lens expands the range of telephoto photography.

2. Superior optical performance and supreme lightweight portability

Pursuing lightweight design as a top priority, Tamron has created a compact 70-300mm F4.5-6.3 zoom lens that makes 300mm telephoto shooting easy and fun. The superb optical design is based on a rigorous simulation process using state-of-the-art design technologies. As a result, Tamron has successfully struck a balance between extreme lightness (19.2 oz.) and compactness (5.8 in.), incorporating a slim lens barrel with a maximum diameter of 77mm— all without sacrificing high image quality. The optical design includes 15 elements in 10 groups, with an LD (Low Dispersion) lens element precisely arranged to suppress axial chromatic and other aberrations that are likely to happen with telephoto zoom lenses. At 300mm, a commonly used telephoto zoom focal length, the design delivers excellent resolution from edge-to-edge. Overall, the efficient optical construction (which also contributes to its light weight), plus Tamron’s BBAR (Broad-Band Anti-Reflection) Coating with its well-established reputation for anti-reflection properties, combine to enable the photographer to capture extremely clear, crisp images across the entire zoom range. While the lens features an advanced design with excellent core image quality, optical performance can be enhanced even further by employing the lens correction features found on Sony cameras.

With the introduction of this lens, all photographers, from first-time users of dedicated telephoto zoom lenses to experienced enthusiasts seeking a compact, lightweight telephoto zoom, can comfortably enjoy the advantages of a powerful, versatile zoom without worry about size or weight. Photographers who are shooting with in-camera image stabilization or using a tripod, can reduce the burden of their gear. Moreover, the 70-300mm F4.5-6.3 maintains excellent balance even when used with the APS-C sized E-mount cameras that are smaller than full-frame cameras (e.g., Sony a6500); consequently, users can also enjoy photography with an even greater equivalent telephoto zoom appearance of approximately 450mm.

3. The RXD stepping motor unit is exceptionally quiet

The AF drive incorporates a sensor that accurately detects the position of the lens while the RXD motor unit delivers optimized AF control. This achieves very fast and accurate autofocus operation and allows users to maintain tack-sharp focus on continuously moving subjects shot at the telephoto zoom position. Thanks to the exceedingly quiet AF, the lens can be used discreetly in concert halls and other situations that require low noise levels, and for video recording.

4. A full family of superb, compact lenses made especially for mirrorless cameras

The 70-300mm F4.5-6.3 shares the same uniform 67mm filter diameter as other members of Tamron’s series of full-frame mirrorless camera lenses. When using an assortment of these lenses, users can easily interchange filters (e.g., PL, ND, etc.) and lens caps, thereby increasing convenience and minimizing costs as it is unnecessary to purchase a collection of different size filters.

Tamron’s lineup of lenses with 67mm filter diameter for full-frame mirrorless cameras (in the order they were launched):

  • 28-75mm F/2.8 Di III RXD (Model A036) / High-speed standard zoom lens
  • 17-28mm F/2.8 Di III RXD (Model A046) / High-speed ultra-wide-angle zoom lens
  • 24mm F/2.8 Di III OSD M1:2 (Model F051) / Prime lens
  • 35mm F/2.8 Di III OSD M1:2 (Model F053) / Prime lens
  • 20mm F/2.8 Di III OSD M1:2 (Model F050)/ Prime lens
  • 70-180mm F/2.8 Di III VXD (Model A056) / High-speed telephoto zoom lens
  • 28-200mm F2.8-5.6 Di III RXD (Model A071)/ All-in-one zoom lens

5. Moisture-Resistant Construction for added protection

Seals are located at the lens mount area and other critical locations to deter 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.

6. Compatible with camera-specific features and functions

Tamron’s new 70-300mm F4.5-6.3 is compatible with many of the advanced features that are specific to certain mirrorless cameras. These include the following:

  • Fast Hybrid AF
  • Eye AF
  • Direct Manual Focus (DMF)
  • In-camera lens correction (shading, chromatic aberration, distortion)
  • Camera-based lens unit firmware updates
  • Features vary by camera. Please consult your camera’s owner’s manual for details. (As of August 2020)

SPECIFICATIONS

Model : A047
Focal Length : 70-300mm
Maximum Aperture : F4.5-6.3
Angle of View (diagonal) : 34°21'-8°15' (for full-frame mirrorless format)
Optical Construction : 15 elements in 10 groups
Minimum Object Distance : 31.5 in. (WIDE), 59.1 in. (TELE)
Maximum Magnification Ratio : 1:9.4 (WIDE) / 1:5.1 (TELE)
Filter Size : Ø67mm
Maximum Diameter : Ø77mm
Length* : 5.8 in.
Weight : 19.2 oz.
Aperture Blades : 7 (circular diaphragm)**
Minimum Aperture : F22-32
Standard Accessories : Round-shaped hood, Lens caps
Compatible Mounts : Sony E-mount

* Length is the distance from the front tip of the lens to the lens mount face.

** The circular diaphragm stays almost perfectly circular up to two stops down from maximum aperture.

Specifications, appearance, functionality, etc. are subject to change without prior notice.

This product is developed, manufactured, and sold based on the specifications of E-mount disclosed by Sony Corporation under license agreement with Sony Corporation.

Preorders

Preorder the Tamron 70-300mm F/4.5-6.3 Di III RXD Lens at B&H | Adorama | WEX

Posted to: Sony News   Category: Tamron News
Post Date: 9/27/2020 4:34:08 PM CT   Posted By: Bryan
 Tuesday, September 15, 2020

From Sony:

Sony Electronics Introduces Alpha 7C Camera and Zoom Lens, the World’s Smallest and Lightest[i] Full-frame Camera System

New HVL-F28RM Compact Flash is also Announced

SAN DIEGO, CA – September 14, 2020 – Today, Sony Electronics Inc. announced several additions to an already impressive imaging lineup — the Alpha 7C full-frame camera (model ILCE-7C), the FE 28-60mm F4-5.6 (model SEL2860) zoom lens and HVL-F28RM flash.

The Alpha 7C is the world’s smallest and lightest[ii] full-frame body with uncompromising performance, featuring advanced AF (autofocus), high-resolution 4K video[iii] capabilities and more. When paired with the world’s smallest and lightest[iv] FE 28-60mm F4-5.6 standard zoom lens, this versatile combination delivers an experience unlike any other, maximizing portability and versatility without sacrificing any of the power of full-frame imaging. The HVL-F28RM flash allows users to broaden their photo expressions with outstanding compactness, and an intelligent light intensity control linked to camera face detection[v].

“We are committed to creating the best tools possible, based on the needs of our customers,” said Neal Manowitz, deputy president of Imaging Products and Solutions Americas, Sony Electronics. “The new Alpha 7C camera and FE 28-60mm F4-5.6 zoom lens pack many of our most advanced imaging technologies in a brand new design that is the smallest and lightest full-frame camera and lens system in the world. This opens up a new world of possibilities for creators, giving them the uncompromised power of a full-frame system in the palm of their hand.”

New Alpha 7C: Uncompromised Full-frame Performance in a Compact Design

he new Alpha 7C combines Sony’s full-frame image quality, advanced AF capabilities and versatile video shooting functions in a stunningly light and compact design. The new camera features a 24.2MP (approx. effective) 35mm full-frame back-illuminated Exmor R™ CMOS sensor and BIONZ X™ image processing engine, offering high sensitivity, outstanding resolution, 15-stop[vi] wide dynamic range and high-speed image data processing.

Measuring only 4.9 inches x 2.8 inches x 2.2 inches (124.0mm x 71.1mm x 59.7mm) and weighing just 18oz (509g)[vii], the Alpha 7C is similar in size and weight to an APS-C camera[viii], with only 1 percent more weight than the Alpha 6600. The Alpha 7C achieves the world’s smallest and lightest compact bodyii through upgraded 5-axis in-body stabilization and shutter units, and the utilization of magnesium alloy monocoque construction, often used in the bodies of cars and aircraft. Even in this compact body, the Alpha 7C features a 5-step[ix] stabilization effect that allows for shooting snaps without a tripod. Moreover, despite the compact body, the high-capacity NP-FZ100 battery provides enough power for long shooting durations and to capture up to an industry-leading[x] 740 images[xi]when using the LCD monitor, or 680 imagesxi when using the viewfinder.

Outstanding Full-frame Image Quality

Sony’s new Alpha 7C combines high resolution with low noise for excellent image quality at all sensitivities, offering the user stunning image quality for shooting everyday photography and movies such as nature, portraits, sports, street photography and more. Standard ISO extends up to 51,200 and is expandable from ISO 50-204,800[xii] for low-light environment captures with low noise. The Alpha 7C also supports 16-bit processing and 14-bit RAW output[xiii] for natural gradations.

Advanced Autofocus

Using AI-driven functions, the Alpha 7C’s Real-time Tracking[xiv] maintains accurate focus automatically while the shutter button is half-pressed. In addition, “Tracking On + AF-On” is now assignable to a custom key and can be activated at once while the AF-ON button is pressed. Moreover, the intended subject can be specified just by touching it on the monitor when “Touch Tracking” has been turned ON via the menu and is available for both stills and movies. The Alpha 7C’s AF functions also feature Real-time Eye AF for both humans and animals[xv] to achieve fast and accurate focus[xvi]. When using Real-time Tracking while “Face/Eye Priority in AF” is ON with a human subject, the subject’s eye and face is detected and locked on in real-time with extremely high tracking precision.

The Alpha 7C provides wide, fast, reliable AF that locks onto the intended subject instantly without losing focus, thanks to its 693-point focal-plane phase-detection AF system covering approximately 93 percent of the image area, with an additional 425 contrast-detection points to ensure reliable focus, even in busy environments.

The Alpha 7C also features continuous shooting at up to 10 fps[xvii] with AF/AE (autoexposure) by using a newly developed shutter unit and refined image processing system. It is also possible to shoot continuously at up to 8 fpsxvii in live view mode, with minimal viewfinder/monitor display lag for easy, stable framing, even with intense subject motion. The Alpha 7C allows up to approximately 223 JPEG (Fine L) images, 115 compressed RAW images, or 45 uncompressed RAW images to be captured in one continuous burst[xviii], and achieves highly accurate and reliable AF precision in light down to EV-4[xix]. These features make it easier to capture fast moving subjects in challenging environments.

Expanded Video Capabilities

Full-frame full-pixel readout without the need for pixel binning makes it possible to capture more than twice[xx] the amount of data required for 4K video (QFHD: 3840 x 2160)iii, which is then oversampled to produce high quality 4K footage with exceptional detail and depth. In addition, the Alpha 7C supports HDR (HLG[xxi]) and S-Log/S-Gamut profiles, Slow & Quick motion, high-speed full HD recording at 120 fpsiii and other advanced video features for additional creative freedom.

Furthermore, the Alpha 7C features Real-time Eye AF (human) for video shooting. The eye is automatically tracked with high precision and reliability so that the operator can concentrate on the content rather than focus operation. Users can also customize AF Transition Speed in seven settings, and AF Subject Shift Sensitivity in five settings, in their preferences. Touch Tracking functionality is also available for movie shooting.

The Alpha 7C features a side-opening vari-angle LCD monitor, making it easy to record selfies, overhead shots, low ground-level shots or whatever the user requires. The MOVIE button has been positioned on the top of the camera making it easier to operate while recording in selfie mode. The new Alpha 7C not only records high-quality video, but also high-quality audio. A digital audio interface has been added to the camera’s Multi Interface (MI) Shoe, allowing the ECM-B1M Shotgun Microphone or XLR-K3M XLR Adaptor Kit can be connected to input digital audio signals directly to the MI shoe for cleaner, clearer audio recordings. Like other MI shoe accessories, no cables or batteries are required, providing unrestrained freedom for Alpha system moviemaking. Headphone and microphone jacks are also provided to accurately monitor recorded sound, and metadata attached to movie footage shot vertically on the camera allows the footage after transfer to the smartphone or similar device, to also be replayed and edited in the vertical position.

Designed for Reliable Operation

The Alpha 7C is designed with the user in mind. The touch panel LCD monitor is a large touch-sensitive 3.0 type with approximately 921 thousand dots, providing optimal visibility even in bright outdoor conditions, and supporting touch focus, tracking and shutter operations. The Alpha 7C also features a high-quality view mode for finer, more natural detail in addition to a 2.35 megadot (approx.) XGA OLED Tru-Finder™ EVF. The Alpha 7C offers functions that simplify operation during and after shooting, such as Fn button customizations and more. It is also dust and moisture resistant[xxii] to support shooting needs in challenging environments.

To simplify workflow needs, Wi-Fi compatible wireless-communication functions allows images and movies to be directly transferred[xxiii] to a smartphone or tablet for convenient sharing, viewing or saving. In addition to the conventional 2.4GHz band, support for the 11ac standard allows transfer via 5GHz band (IEEE 802.11a/b/g/n/ac)[xxiv] so that users can select that stable and high-speed transfer with low interference. A USB Type-C® connector that supports SuperSpeed USB 5Gbps (USB 3.2) is also provided, allowing fast transfer of images during PC remote shooting and power supply from external mobile batteries.

New FE 28-60mm F4-5.6: The World’s Smallest and Lightestiv Full-frame Zoom Lens with High Image Quality

The new FE 28-60mm F4-5.6 offers the world’s smallest and lightestiv form factor in a standard zoom lens, delivering high optical performance that achieves the high-resolution depiction of full-frame everywhere in the image. Optimal arrangement of the three aspherical lens elements effectively suppresses aberrations throughout the zoom range and realizes high resolution from corner to corner. A minimum focus distance of 0.99 foot (0.3m) (wide-angle) to 1.48 feet (0.45m) (telephoto) delivers close-up capability, making it perfect for everyday use or vlogging with a gimbal or grip.

At 5.9oz (167g) and 2.6 inches dia. x 1.8 inches length (66.6 mm dia. x 45 mm length), along with its mechanical and optimal optical design that features a retracting structure, the FE 28-60mm F4-5.6 achieves unrivaled compactness and lightness, allowing users to easily carry it all the time. From everyday shooting to scenery, portraits and travel, it’s the ideal lens for any type of on-the-go shooting in a wide variety of environments. When combined with the Alpha 7C, the combination achieves uncompromising full-frame performance with the world's smallest and lightest full-frame camera and lens systemi. Even with its compact size and light weight, the FE 28-60mm F4-5.6 is dust and moisture resistantxxii and accepts a variety of 40.5mm filters.

The FE 28-60mm F4-5.6 delivers high-speed, high-accuracy AF allowing for Real-time Tracking and Real-time Eye AF, using a linear motor. In addition to Sony’s advanced AF capabilities, the FE 28-60mm F4-5.6 features an internal focus design which leaves the lens length unchanged with focus motion and close-up shots, enabling users to easily capture a wide variety of content from regular movie shooting to comfortable vlogging.

New HVL-F28RM: Compact Flash with Light Intensity Control Linked to Camera Face Detectionv

The HVL-F28RM is a compact flash designed to match Sony’s mirrorless cameras for a compact, manageable system, and offers the type of reliable, stable performance that only a genuine Sony product can provide. When compared to the HVL-F32M, the HVL-F28RM features a 12 percent reduction in volume and 7 percent reduction in weight. This compact, easy-to-use flash unit delivers the capabilities and dependability to meet the needs of both professional and advanced amateur content creators.

The HVL-F28RM offers consistent GN28[xxv] light output, optimized light distribution and continuous flash performance that won’t interrupt the user’s workflow, as well as stable radio wireless communication and multi flash radio control. The new flash also features Sony’s newly introduced flash control linked to camera face detectionv advanced technology. When used with a compatible camera, the balance between the light falling on the subject’s face and ambient light is evaluated to automatically adjust accurate white balance so that the subject’s face is rendered with natural, lifelike color. In addition, flash compensation, light ratio, and other detailed flash parameters can be controlled directly from a compatible camera[xxvi]. A camera custom key can be assigned to call up the flash parameter display so that adjustments can be made while looking through the viewfinder and gripping the camera. Flash parameters are shown in the selected camera display language.

A newly developed “Metal Shoe Foot with Rugged Side Frame”[xxvii] that also houses the unit’s electrical contacts offers improved resistance to physical shock and impact from all directions. The Multi Interface foot is fabricated from metal for higher strength. The HVL-F28RM also features a dust and moisture resistantxxii design. When the HVL-F28RM is mounted and locked onto the Alpha 7C, Alpha 7S III, Alpha 7R IV and Alpha 9 II, durability to dust and moisture is improved, even when used in challenging outdoor environments.

The HVL-F28RM also features simple, intuitive operation with minimal controls including +/- light level buttons, pairing button, test button and lock lever. Plenty of light is available for bounce applications. The flash angle can also be set as required via 0, 20, 40, 60, 80, and 120 degree click stops for easy positioning. The new flash also features a built-in wireless radio trigger for reliable flash triggering when mounted on a compatible cameraxxvi and paired with an off-camera unit. When used as a transmitter, the HVL-F28RM can control up to 15 flash and/or receiver units in 5 groups[xxviii] at distances of up to 114 feet (35 meters)[xxix] for extraordinary lighting control and versatility. The HVL-F28RM is powered by two AA (LR6) alkaline or NiMH batteries. A fresh pair of alkaline batteries can provide power for up to 110 continuous flashes (1/1 manual flash with alkaline batteries)xxix.

Pricing and Availability

The new Alpha 7C compact full-frame camera will be available in late October and will be sold for approximately $1,799.99 USD and $2,399.99 CAD. It will be sold at a variety of Sony's authorized dealers throughout North America.

The FE 28-60mm F4-5.6 zoom lens will be available in early 2021 and will be sold for approximately $499.99 USD and $649.99 CAD. It will be sold at a variety of Sony's authorized dealers throughout North America.

A new kit featuring the Alpha 7C compact full-frame camera and FE 28-60mm F4-5.6 zoom lens will also be available in late October and will be sold for approximately $2,099.99 USD and $2,699.99 CAD. It will be sold at a variety of Sony's authorized dealers throughout North America.

The HVL-F28RM flash will be available this winter and will be sold for approximately $249.99 USD and $329.99 CAD. It will be sold at a variety of Sony's authorized dealers throughout North America.

Exclusive stories and exciting new content shot with the new camera, lens and Sony's other imaging products can be found at www.alphauniverse.com, a site created to educate and inspire all fans and customers of Sony a - Alpha.

###

Notes:

i. An Alpha 7C with an FE 28-60mm F4-5.6 lens mounted. Among full-frame interchangeable-lens digital cameras, in combination with an interchangeable zoom lens. As of Sept. 2020. Sony survey.

ii. Among full-frame interchangeable-lens digital cameras with optical in-body image stabilization mechanism, as of Sept. 2020. Sony survey.

iii. A Class 10 or higher SDHC/SDXC card is required for XAVC S format movie recording. UHS speed class 3 or higher is required for 100 Mbps recording.

iv. Among interchangeable zoom lenses for 35mm full-frame format digital camera bodies, as of Sept. 2020. Sony survey.

v. This function is only compatible with Alpha 7C as of Sept. 2020

vi. When shooting still images. Sony test conditions.

vii. With battery and memory card included

viii. Compared to the size of Alpha 6600, 120.0mm x 66.9mm x 59.0mm and a weight of 503g (With battery and memory card included).

ix. CIPA standards. Pitch/yaw shake only. Planar T* FE 50mm F1.4 ZA lens. Long exposure NR off.

x. Among full-frame mirrorless interchangeable-lens digital cameras with autofocus function, as of Sept. 2020. Sony survey.

xi. CIPA standards.

xii. ISO expandable to 50 – 204,800 for stills, 100 – 102,400 for movies.

xiii. Limited to 12-bit when compressed RAW is used for continuous shooting, BULB shooting, or when long-exposure noise reduction is [ON].

xiv. “Tracking” in the menu.

xv. Available on still images only.

xvi. Accurate focus may not be achieved with certain subjects in certain situations.

xvii. Up to 10 fps in continuous “Hi+” mode, and up to 8 fps in continuous “Hi” mode. UHS-II compatible SDXC memory card required. Sony test conditions. Maximum fps will depend on camera settings.

xiii. Continuous “Hi+” mode. UHS-II compatible SDXC memory card required. Sony test conditions.

xix. ISO 100 equivalent, F2.0 lens.

xx. 24p recording. Approx. 1.6x at 30p.

xxi. HDR (HLG) images can be viewed by connecting the camera directly to a Sony TV that supports HDR (HLG) playback.

xxii. Not guaranteed to be 100% dust and water resistant.

xxiii. Smartphone or tablet must have Imaging Edge Mobile installed. Please use version 7.2 or later.

xxiv. Models sold in some countries/regions support IEEE 802.11b/g/n (2.4 GHz) wireless LAN only. 5GHz communication may be restricted in some countries and regions.

xxv. 50 mm, at ISO 100 in meters

xxvi. Visit Sony support webpage for functional compatibility information.

xxvii. Design registration application pending.

xxviii. In group flash mode. 3 groups (A-C) in TTL or manual flash mode.

xxix. Sony internal test conditions.

Preorders

Preorder the Sony a7C at B&H (Explora) or Adorama.

Posted to: Sony News   Category: Sony Announcements
Post Date: 9/15/2020 3:51:17 PM CT   Posted By: Bryan
 Monday, September 14, 2020

The new Sony concept Alpha camera will be announced tonight at 18:00 PDT (September 15th, 10:00 JST / 01:00 UTC).

Watch the announcement via this post. Preorder the new camera at B&H.

Posted to: Sony News   Category: Sony Announcements
Post Date: 9/14/2020 4:05:21 PM CT   Posted By: Bryan
 Wednesday, September 9, 2020

From the "Interesting" department:

"Crews at the Department of Energy's SLAC National Accelerator Laboratory have taken the first 3,200-megapixel digital photos—the largest ever taken in a single shot—with an extraordinary array of imaging sensors that will become the heart and soul of the future camera of Vera C. Rubin Observatory."

Learn more about this expensive camera here. (thanks Trent)

Posted to: Canon News, Nikon News, Sony News   
Post Date: 9/9/2020 8:57:35 AM CT   Posted By: Bryan

I recently shared an adapter modification that permitted Canon RF extenders to be used behind all (most?) Canon EF lenses — and Canon EF lens and EF extender combinations. The next idea was to push the overall focal length using double extenders.

The image shared with this article shows the following setup, from right to left, then down:

Doing the math:

600mm x 2 x 2 = 2400mm

That is an impressive focal length.

I originally inserted a Canon EF 12mm Extension Tube II behind the EF 2x, enabling a Canon EF 1.4x III Extender to be added to the optical path. That addition would have resulted in an awesome 3360mm lens, but the extension tube broke the electronic connection required for this lens to focus, even manually. The resulting combination was useless, aside from looking amazing.

Back to the 2400mm setup. The second equation this combination creates is considerably less exciting:

F/4 - 2 stops - 2 stops = f/16

The first equation results in an incredible number that is offset to some extent by the result of the second equation. Remarkable is that the EOS R5 focuses this combination very quickly in good light, avoiding focus hunting if the subject is not too significantly out of focus. Keeping a 2400mm lens still enough for sharp images remains a challenge, and with two 2x extenders in the optical path, this rig is not too sharp. Here is a 100% crop processed from a RAW image in Canon Digital Photo Professional (DPP) using the Standard Picture Style with Sharpness = "1" (0-10 scale).

Sharpness at 2400mm

On the fun side of the equation, the awkwardly-shaped 92.7% waning moon nearly fills the 2400mm frame. At this magnification, the thermal irregularities in Earth's atmosphere are apparent even in the viewfinder. And, the moon has to be tracked continuously to keep it centered in the frame (after the challenge of finding it in the frame has been met).

Moon at 2400mm

Please share!

Post Date: 9/9/2020 8:03:38 AM CT   Posted By: Bryan

From Sony:

Be ready for the announcement of the new concept Alpha.

September 14th, 18:00 PDT, September 15th, 10:00 JST / 01:00 UTC

Posted to: Sony News   Category: Sony Announcements
Post Date: 9/9/2020 7:58:35 AM CT   Posted By: Bryan
 Tuesday, September 1, 2020

From Sony:

Sony Electronics Announces New LA-EA5 Lens Adaptor for A-Mount Lenses

New Adaptor Enables Advanced Autofocus Capabilities When Attaching A-mount Lenses to Latest E-mount Bodies

SAN DIEGO – September 1, 2020 – Today, Sony Electronics Inc. announced the new LA-EA5, a 35mm Full-frame A-mount lens adaptor that allows users to easily pair advanced E-mount camera bodiesi with A-mount lensesi.

Using the new LA-EA5 A-mount adaptor, users can now access the acclaimed autofocus and high-speed shooting capabilities found in Sony’s latest E-mount camera bodiesi with A-mount SSM (Super Sonic wave Motor) and SAM (Smooth Autofocus Motor) lensesii, as well as A-mount lenses that do not have internal focus motors.

Full support is provided for focal plane phase-detection AFiii, wide-area focal phase-detection AFiii coverage, Real-time Eye AF for both humans and animals, Real-time Tracking and AF/AEiv (auto exposure) tracking for SSM/SAM lenses on nine most recently introduced E-mount camerasi at up to 11fpsv depending on the camera model. When used with the Alpha 7R IVvi or Alpha 6600vi, for the first time, these capabilities are possible with lenses that do not have internal focus motors, such as the Sonnar T* 135mm F1.8 ZA and Planar T* 85mm F1.4 ZA.

Sony LA-EA5 Lens Adaptor for A-Mount Lenses Technical Illustration

The LA-EA5 combines a compact design, featuring an aperture drive unit and a newly developed compact AF drive unit. To ensure comfortable operation when used on an E-mount camera body, the new adaptor’s diameter matches that of the A-mount, perfectly aligning with the edges of the mount. The LA-EA5 allows easy operation on full-frame E-mount bodies, even when a vertical grip is attached to the camera body.

Pricing and Availability

The LA-EA5 is available in October 2020 for a suggested retail price of $249.99 USD and $329.99 CAD.

Order the Sony LA-EA5 A-Mount to E-Mount Adapter at B&H.

Notes

i As of Sept. 2020, focal plane phase-detection AF is supported for SSM/SAM lenses on the Alpha 7 III, Alpha 7R III, Alpha 7R IV, Alpha 6100, Alpha 6400, Alpha 6600, Alpha 9, Alpha 9 II, and Alpha 7S III. Focal plane phase-detection is supported for lenses that do not have internal focus motors on the Alpha 7R IV and Alpha 6600.

ii STF lenses are manual focus only. Teleconverters are not supported.

iii Autofocus is not available during movie recording.

iv For AE tracking, the aperture is fixed for the first frame while shutter speed and ISO are used for exposure adjustment.

v Maximum continuous shooting speed is 10 fps with the Alpha 7R IV, Alpha 9, and Alpha 9 II, and 11 fps with the Alpha 6600. Continuous shooting speed may change depending on the attached lens.

vi The Alpha 7R IV must be updated to software V1.20 or later, and the Alpha 6600 must be updated to software V1.10 or later.

Posted to: Sony News   Category: Sony Announcements
Post Date: 9/1/2020 9:25:36 AM CT   Posted By: Bryan
 Monday, August 31, 2020

Just posted: Sigma 24-70mm f/2.8 DG DN Art Lens Review.

Why is this a bestselling lens? Read this review to find out.

The Sigma 24-70mm f/2.8 DG DN Art Lens is in stock at B&H | Adorama | Amazon USA | WEX

Rent the Sigma 24-70mm f/2.8 DG DN Art Lens from Lensrentals.

Please share!

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 8/31/2020 8:28:05 AM CT   Posted By: Bryan
 Saturday, August 29, 2020

From Google:

Photos often represent our most important memories—from everyday moments to the biggest events in our lives—and it should be easy for you to access them in Google Photos and beyond. Since launching our Google Photos partner program two years ago, we’ve worked with hundreds of partners to build high-quality and secure integrations so that you can enjoy your photos and videos in more of the products and services you use. With Google Photos you can create prints and photo books with Popsa, digitize your memories with YesVideo, display your photos on a Nixplay Smart Photo Frame and more.

If you own a DSLR or point-and-shoot camera, you know that getting your photos backed up can be a process. You often need cables or adapters to take them off of your camera or SD card and save them, and it might take a number of steps to get it all done. We’ve worked with Canon so you can easily upload the moments captured on your Canon devices directly to Google Photos over Wi-Fi—no plugging in your camera or taking out your SD card.

With the latest version of the image.canon app (available on Android or iOS) and a compatible Canon camera, you can choose to automatically transfer original quality photos to Google Photos, eliminating the hassle of using your computer or phone to back them up.

In addition to a compatible Canon camera and the image.canon app, you’ll also need a Google One membership to use this feature. To help get started, Canon users will get one month of Google One free, providing access to up to 100 GB of cloud storage, as well as other member benefits, such as premium support from Google experts and family sharing.

So whether you’re backing up your photos from your Canon camera, printing with Popsa or digitizing your memories with YesVideo, Google Photos can help. Head over to our Works with Google Photos site to learn about the hundreds of apps and services you can use to get the most out of your photos.

Posted to: Canon News, Nikon News, Sony News   Category: Google News
Post Date: 8/29/2020 8:55:54 AM CT   Posted By: Bryan
 Wednesday, August 19, 2020

Photoshop & Lightroom along with Camera RAW have been updated with support for the Canon EOS R5 and Canon EOS R6 as well as the new RF lenses. (thanks Morris & Doug)

Posted to: Canon News, Nikon News, Sony News   Category: Adobe News
Post Date: 8/19/2020 10:27:57 AM CT   Posted By: Bryan
< Previous     1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 |    Next >
Archives
2022   Jan   Feb   Mar   Apr   May   Jun   Jul
2021   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2020   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2019   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2018   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2017   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2016   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2015   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2014   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2013   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2012   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2011   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2010   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2009   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2008   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2007   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2006   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2005   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
Help  |  TOU  |  © 2022 Rectangular Media, LLC  |  Bryan CarnathanPowered by Christ!