"Expect the Unexpected"
"Make plans to join us for a uniquely immersive and engaging digital experience, guaranteed to inspire. Three full days of luminary speakers, celebrity appearances, musical performances, a global collaborative art project, and 350+ sessions — and all at no cost."
Register now to build your schedule and get sponsor giveaways.
The Canon EOS R5 arrived just in time to capture the spectacular night show Comet NEOWISE was providing. Sorry that the noise test results for this camera were delayed by a day, but this was an opportunity I couldn't pass up (at least I waited until after the R5 review was finished to process this image).
The first challenging comet photography decision to make was the desired composition. Including landscape or filling the frame with the comet were the options, and the latter option was chosen. After determining that NEOWISE would nearly fill a 200mm frame, the Canon EF 200mm f/2L IS USM Lens was the chosen lens. The wide f/2 aperture is excellent for use in the dark, and the impressive sharpness of this lens at f/2 means that stars (over 7,000 software-recognized in this frame) remain pin sharp.
The next decision was whether or not to utilize an equatorial tracking mount. A 200mm lens directed at the comet's location in the sky with an ultra-high-resolution imaging sensor behind the lens meant that relatively short images, about 2 seconds, were the limit before star trails became noticeable. On the equatorial mount, 13-second images showed no motion, and this was the option taken. Though the 200 f/2L is rather heavy for the Sky-Watcher Star Adventurer Astro Package, this affordable mount along with the Star Adventurer Mini Latitude (EQ) Base and Counterweight Kit were up to this task. With that much weight riding on it, this mount works best on a solid tripod, and the Robus RC-8860 Vantage Carbon Fiber Tripod was a perfect choice. B&H had just sent me a Robus RTH-1050 Ball Head. It works great, so that option was mounted on the Sky-Watcher.
The R5 was set to manual exposure with 13 seconds, f/2, and ISO 1250 selected. High-speed continuous shooting in 1st curtain shutter mode (this is where I learned that the full electronic shutter does not allow exposures longer than 0.5-seconds). A Canon Timer Remote Controller TC-80N3 was plugged in, and its shutter release was locked on. With the Star-Watcher Star Adventurer polar aligned, the lens framing the comet, including the extensive tail that was not readily seen in the viewfinder, and the camera continuously capturing images, I walked away, watching the comet through binoculars and enjoying a bowl of ice cream.
Despite the night having a clear forecast, clouds showed up in the frame a significant amount of the time prior to the comet setting (while the rest of the sky remained clear). Fortunately, 45 images captured contiguously were able to be made cloud-free with slight cropping. 45 x 13 seconds = 9.75 minutes of exposure, long enough to produce a nearly noise-free image and long enough to capture the color in the ion tail.
While the air traffic is not currently as strong as usual, more satellites than ever are in the sky. Nearly every image had at least one satellite, and some photos had as many as three satellites streaking through. I opted to crop out the clouds before processing the RAW image into 16-bit TIFF files and then removed the streaks using the healing brush tool in Photoshop.
The next task was to stack the images. Stacking comet images is a level of challenge higher than stacking star images due to the comet moving at a slightly different rate than the stars. I know, it is the earth that moves the most, but from an earth-bound perspective, the stars and comet are moving. Stack the comet, and the stars become streaked. Stack the stars, and the comet is stretched. Fortunately, some very smart people created DeepSkyStacker software with an option to align both the comet and the stars.
DeepSkyStacker does a superb job, but you would not know that when looking at the default image created. The low-contrast 32-bit image requires "stretching", contrast significantly increased with colors pulled out. The only adjustments made to this image were contrast (levels and curves to stretch the low contrast 32-bit stacked image), saturation (+10 and -60 in PS), and a white balance adjustment (cooled the image slightly).
I love NEOWISE's colored ion tail, pushed away from the sun by solar winds and separated from the dust tail. BTW, the name NEOWISE uses all capital letters because it is an acronym, named after the device that discovered it.
Now, NEOSWISE is gone, effectively, forever. Comet NEOWISE was awesome but will not be seen again for another 6,800 years. Hopefully, another comet will entertain us in the night sky long before that.
The larger version of this image available on Flickr looks considerably better.
Sony "Kando Everywhere" Registration Opens
Free Online Event For Content Creators To Be Held August 15-16 Now Open For Registration
Registration Opens for Sony’s Digital “Kando Everywhere,” a Free Online Event for Content Creators
SAN DIEGO – August 11, 2020 – Sony Electronics Inc. will continue their annual “Kando Trip” event tradition with “KandoEverywhere” — a two-day online event taking place this weekend, August 15th – 16th. The digital event is open to all guests, at no cost for attendance, and will feature a variety of educational workshops, keynotes presentations and panel discussions led by Sony ambassadors, community leaders, partner sponsors and others.
Highlights of the weekend include:
Several giveaways will be made available for attendees as well, including one-year memberships to Pro Support and Adobe Creative Cloud, limited edition signed prints from Epson and a variety of Sony Alpha cameras and lenses — including the highly anticipated new Alpha 7S III camera. To register for this event, please visit AlphaUniverse.com/kando-everywhere.
Evil has found Canon USA. Bleeping Computer is reporting that Canon USA has suffered a significant ransomeware attack. Read the full report here.
Affected Canon USA websites include:
Sigma Announces the 85mm F1.4 DG DN | Art Lens
The Definitive Portrait Prime for the Mirrorless Age
Ronkonkoma, NY - August 6, 2020 - Redefining the portrait lens category, the Sigma 85mm F1.4 DG DN | Art lens is a completely new design for full-frame mirrorless cameras, as the "DN" designation indicates. Announced today by Sigma Corporation, this is a complete reinvention of the definitive fast-aperture portrait prime that pairs class-leading optical performance with a compact, dust-and splash-proof design. Offered in both L-Mount and Sony E-Mount, this lens features a completely new optical formula that includes five Special Low Dispersion Elements and one aspherical element for exceptional edge-to-edge image sharpness. This new optical formula also thoroughly corrects aberrations, resulting in visually pleasing images with no color bleed, even at maximum aperture. Plus, the 11-blade rounded diaphragm ensures smooth, attractive bokeh. The 85mm F1.4 DG DN | Art lens is handcrafted to the most exacting optical and mechanical tolerances in Sigma's Aizu, Japan production facility.
"Briefly put, the Sigma 85mm F1.4 DG DN | Art pairs large-aperture, professional-caliber optical performance with a lightweight, sturdy, and compact body, a combination which has long been difficult to achieve," reports Mark Amir-Hamzeh, President of Sigma Corporation of America. "This vision is finally realized with the new 85mm F1.4 DG DN | Art lens."
A smaller focusing lens is paired with the stepping motor, which is optimized for both phase detection and contrast detection autofocus, allowing for this lens to be notably smaller than the 85mm F1.4 DG HSM | Art lens — over an inch shorter and more than a pound lighter than the previous version — while achieving a higher degree of edge-to-edge sharpness from F1.4 and through the entire aperture range.
The Sigma Art line has been consistently redefining both imaging excellence and pleasing in-the-hand experience, and this new lens continues that legacy. Dust and splash-proof design, aluminum and TSC (Thermally Stable Composite) construction, a brass bayonet, plus well-damped switches and rings demonstrate the level of build quality that the Art name represents. Additional benefits include an aperture ring that allows for clicked and de-clicked operation, a programmable AFL button on the lens barrel, and a new Iris Ring Lock Switch that prevents unintended movement of the aperture ring during image capture.
This combination of imaging characteristics, build quality, and compact size for its focal length and aperture combine to make this the class-defining portrait lens for full-frame mirrorless camera systems.
This is a top-selling lens. Our review of the Sigma 24-70mm f/2.8 DG DN Art Lens was interrupted by the new Canon gear arrival, but the test results are very helpful in telling this lens's story.
I recommend reading this one — Breakthrough always supports its claims. Also, be sure to compare prices.
From Breakthrough Filters:
“Breakthrough R” Drop-In Filter System for Canon R-series cameras.
San Francisco, California – Breakthrough Filters today unveiled a new drop-in filter system called “Breakthrough R”, comprising 27 filters designed specially for Canon R-series cameras, such as the Canon R5 and R6. Every filter manufactured by Breakthrough Filters is now available as a “R” drop-in filter, including a number of all-new filters such as the world's first Variable ND which covers 2 to 11-stops, without an "X Pattern", Black & White Polarizers and Infrared.
“Breakthrough R” Drop-In Filters feature a rugged, weather-sealed construction designed to withstand the elements with dust and water resistance. And to make identifying filters fast and easy, each filter is color coded. Multiple “Breakthrough R” filters are easily stored in an all-new compact travel friendly cases that fits up to 5 filters. And an improved, larger adjustment wheel makes fine tuning polarization smoother than before.
Largest Selection of Drop-In Filters
The new “Breakthrough R” Drop-In filter system has a wide range of 27 filters to choose from – Neutral Density, Polarizers, Dark CPLs, Infrared, Night Sky, VNDs and Black and White Polarizers.
X4 CPL Performance: Highest Transmission, Lowest Color Cast
Performance is critical to pros, whether they’re shooting detailed landscape images or 8K video. The X4 CPL is the most color neutral polarizer, with an unrivaled light transmission of 50.24%.
When compared to industry leading filter manufacturers of both circular and drop-in polarizers, the X4 CPL R ranks number one for light transmission and color cast performance, followed only by the Canon Drop-In CPL at 43.06%.
The result of a higher light transmission is faster shutter speeds, which can translate into sharper images and the ability to use a lower ISO when shooting video.
X4 Neutral Density Performance: Sharpest and Most Color Neutral ND Filters
Canon does not currently offer solid ND drop-in filters, however, optical performance of the X4 ND exceeds industry leading manufacturers such as Singh-Ray, B+W, Lee and many others. The X4 ND has the most neutral color transmission throughout the visible range and well into infrared.
X4 ND R filters are available individually or as part of a set and come in 3, 6, 10, 15 and 20-stop densities.
Dark CPLs, Night Sky and Infrared
Breakthrough Filters is announcing a number of other “Breakthrough R” filters available for pre-order, including Dark CPL R in 3, 6 or 10-stop densities. The Night Sky R drop-in filter eliminates artificial light pollution between 570 and 610 nanometers within the visible light spectrum and the Infrared 720 R drop-in Infrared filter cuts visible light up to 720 nanometers.
Breakthrough VND-R: World's Largest Density Range
Breakthrough Filters is announcing a VND filter system with the largest density range of 2 to 16-stops, which comprises two filters: VND-R and Dark VND-R.
The VND-R is the first Variable ND to feature 2 to 11-stops in one filter – without the "X Pattern". The effective density range of the Dark VND-R is 10-16-stops, with one stop of overlap between VNDs.
To limit the negative consequences of the "X Pattern" caused by cross-polarization, brands of Variable ND filters make numerous VND filters, each with a small density range, thereby requiring numerous VNDs to cover a large density range.
For the first time, the VND-R Filter System allows photographers and filmmakers to make exposure changes faster and more conveniently without the need to constantly change filters.
Comparing color and transmission performance of the many Variable ND filters on the market, the Canon Drop-In VND performs impressively, easily outperforming every Variable ND on the market for color cast and overall transmission performance, ranking second only to the Breakthrough VND-R.
Even on super-wide lenses such as the Canon 11-24mm, Sigma 12-24mm, Tamron 15-35mm, the VND-R and Dark VND-R perform exceptionally well without any visible "X Pattern".
The VND-R and Dark VND-R are available for pre-order individually or as a "VND-R Set".
Black & White Polarizers
In Black & White photography a circular polarizer is often stacked with colored filters, however with the all-new Black & White Polarizers the photographer is able to achieve the same result with a single filter.
Yellow, Red, Orange and Green Polarizers can be purchased individually, or bought as a set, and is available for pre-order.
Pricing and Availability
Watch for this: Breakthrough Photography will soon be introducing a weather sealed EF to RF Drop-In Filter Mount Adapter.
Tamron Announces the Development of the World’s Smallest and Lightest1 Telephoto Zoom Lens for Sony E-mount Full-Frame Mirrorless Cameras
70-300mm F/4.5-6.3 Di III RXD (Model A047)
August 3, 2020, Commack, NY - Tamron announces the development of a new telephoto zoom lens for Sony E-mount full-frame mirrorless cameras, the 70-300mm F/4.5-6.3 Di III RXD (Model A047). The lens is planned to launch in Fall 2020.
1 Among 300mm-capable telephoto zoom lenses for full-frame mirrorless cameras (As of July, 2020: Tamron)
While Tamron has manufactured many popular telephoto zoom lenses that extend to 300mm for DSLR cameras, the new 70-300mm F4.5-6.3 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 at 5.8 in., 19.2 oz. and maximum diameter of 77mm, 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.
Specifications, appearance, functionality, etc. are subject to change without prior notice.
Canon and Sony have both introduced new instant savings promotions today. The best time to buy new Canon and Sony gear is when instant savings is available, and made obvious in this round is that promotions (especially on lenses) can change.
Canon R-series camera owners (and those planning to be an R-owner) should pay special attention to the four RF lenses included in this promotion.
|Canon EOS-1D X Mark II||$1,500.00||B&H | Adorama | Amazon|
|Canon EOS 5Ds||$200.00||B&H | Adorama | Amazon|
|Canon EOS 5D Mark IV||$150.00 - $200.00||B&H | Adorama | Amazon|
|Canon EOS 6D Mark II||$200.00 - $400.00||B&H | Adorama | Amazon|
|Canon EOS 7D Mark II||$250.00 - $450.00||B&H | Adorama | Amazon|
|Canon EOS 90D||$100.00||B&H | Adorama | Amazon|
|Canon EOS 80D||$100.00 - $550.00||B&H | Adorama | Amazon|
|Canon EOS 77D||Up to $600.00||B&H | Adorama | Amazon|
|Canon EOS Rebel T7i / 800D||$100.00 - $350.00||B&H | Adorama | Amazon|
|Canon EOS Rebel T6 / 1300D||$150.00 - $200.00||B&H | Adorama | Amazon|
|Canon EOS Rebel SL3 / 250D||$100.00 - $200.00||B&H | Adorama | Amazon|
|Canon EOS R||$200.00||B&H | Adorama | Amazon|
|Canon EOS M50||$50.00 - $120.00||B&H | Adorama | Amazon|
|Canon EF-S 10-22mm f/3.5-4.5 USM Lens||$220.00||B&H | Adorama | Amazon|
|Canon EF 11-24mm f/4L USM Lens||$300.00||B&H | Adorama | Amazon|
|Canon EF 16-35mm f/4L IS USM Lens||$100.00||B&H | Adorama | Amazon|
|Canon EF 17-40mm f/4L USM Lens||$300.00||B&H | Adorama | Amazon|
|Canon EF-S 17-55mm f/2.8 IS USM Lens||$280.00||B&H | Adorama | Amazon|
|Canon EF 70-200mm f/4L IS USM Lens||$100.00||B&H | Adorama | Amazon|
|Canon EF 70-200mm f/4L USM Lens||$50.00||B&H | Adorama | Amazon|
|Canon EF 70-300mm f/4-5.6 IS II USM Lens||$50.00||B&H | Adorama | Amazon|
|Canon EF-S 24mm f/2.8 STM Lens||$20.00||B&H | Adorama | Amazon|
|Canon EF-S 35mm f/2.8 Macro IS STM Lens||$50.00||B&H | Adorama | Amazon|
|Canon EF 50mm f/1.2L USM Lens||$100.00||B&H | Adorama | Amazon|
|Canon EF 85mm f/1.4L IS USM Lens||$100.00||B&H | Adorama | Amazon|
|Canon EF 85mm f/1.8 USM Lens||$70.00||B&H | Adorama | Amazon|
|Canon RF 24-70mm F2.8 L IS USM Lens||$100.00||B&H | Adorama | Amazon|
|Canon RF 24-240mm F4-6.3 IS USM Lens||$200.00||B&H | Adorama | Amazon|
|Canon RF 70-200mm F2.8 L IS USM Lens||$100.00||B&H | Adorama | Amazon|
|Canon RF 35mm F1.8 IS STM Macro Lens||$50.00||B&H | Adorama | Amazon|
|Sony a7R IV||$300.00 - $600.00||B&H | Adorama | Amazon|
|Sony a7R III||$300.00 - $600.00||B&H | Adorama | Amazon|
|Sony a7R II||$400.00 - $600.00||B&H | Adorama | Amazon|
|Sony a7 III||$100.00 - $300.00||B&H | Adorama | Amazon|
|Sony FE 16-35mm f/2.8 GM Lens||$100.00||B&H | Adorama | Amazon|
|Sony FE 16-35mm f/4 ZA OSS Lens||$100.00||B&H | Adorama | Amazon|
|Sony FE 24-70mm f/4 ZA OSS Lens||$100.00||B&H | Adorama | Amazon|
|Sony FE 24-105mm f/4 G OSS Lens||$200.00||B&H | Adorama | Amazon|
|Sony FE 70-300mm f/4.5-5.6 G OSS Lens||$100.00||B&H | Adorama | Amazon|
|Canon Speedlite 600EX II-RT Flash||$100.00||B&H | Adorama | Amazon|
|Canon Speedlite 430EX III-RT Flash||$50.00||B&H | Adorama | Amazon|
Highly Anticipated Sony Alpha 7S III Combines Supreme Imaging Performance with Classic “S” Series Sensitivity
New Alpha 7S III Empowers Creators with 4K 120Pi Video, 10-bit 4:2:2 Recording, 15+ Stop Dynamic Rangeii, Improved AF Performance and More
Alpha 7S III Overview
Alpha 7S III
SAN DIEGO – July 28, 2020 –Today, Sony Electronics Inc. announced the long-awaited addition to its acclaimed Alpha 7S full-frame mirrorless camera series? — the Alpha 7S III (model ILCE-7SM3).
Featuring a brand new 12.1MP (approx., effective) back-illuminated full-frame image sensor with ultra-high sensitivity and 15+ stop wide dynamic rangeii, a host of impressive video recording capabilities including 4K 120pi and 10-bit 4:2:2 color depth, a new heat dissipating mechanism, dual slot relay recording enabling over one-hour of 4K 60p movie shootingviii, a new autofocus system, and touch screen interface and side flip LCD screen, the new Alpha 7S III will become the ultimate creative tool for video professionals and all types of hybrid still/video shooters.
“The Alpha 7S III is the ultimate representation of Sony’s passion to solve our customers’ pain points,”, said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics. “We are always listening to our customers’ feedback, pushing hard to deliver innovation that goes far beyond their expectations. There is no better example than this new camera. Combining classic S series sensitivity with a feature set, performance level and user experience that is simply unmatched in the market today — at any price level — the Alpha 7S III opens up a new world of possibilities for today’s creators.”
The system architecture for the new Alpha 7S III has been completely redesigned to deliver exceptional video and still shooting performance. The new 35mm full-frame 12.1MP (approx., effective) back-illuminated Exmor R™ CMOS image sensor reduces rolling shutter by up to three timesiv and utilizes a variety of advanced light-gathering techniques to ensure high-sensitivity with low noise, allowing users to shoot in low-light situations without needing large-scale lighting setups. In addition to improved image quality, this new image sensor includes a focal plane phase-detection AF system for the first time in an S-series camera. To compliment the new sensor, the Alpha 7S III also includes a new BIONZ XR™ image processing engine that provides up to eight times more processing poweriii, minimizes processing latency, and enables many of the hallmark still and imaging features of the camera. The new system also includes the world’s brightestx and largestx 9.44 million-dot (approx.) OLED electronic eye-level viewfinder and is the world’s first camerax with dual CFexpress Type A card slots, enabling high-speed data transfer in a compact size.
Professional Video Workflow Solutions
The Alpha 7S III offers in-camera 4K recording up to 120 frames per secondi, 10-bit depth and 4:2:2 color sampling, producing stunning video recording. The new camera offers a more flexible and efficient post-production workflow with a variety of advanced movie recording modes such as All-Intraxiii and MPEG-H HEVC/H.265 coding (XAVC HS™)xiv. The Alpha 7S III makes it easy to integrate video recordings with other professional camcorders by providing three color gamut settings S-Gamut, S-Gamut3, and S-Gamut3.Cine, allowing users to easily match footage shot on the Alpha 7S III with footage shot on the professional camcorders simplifying multi-camera post-production workflow. In addition to S-Log3 gamma curves, the Alpha 7S III supports an HLG (Hybrid Log-Gamma) picture profile with minimum post-production. The Alpha 7S III also allows up to 4K 60p 16-bit RAW outputxv to an external recorder via HDMI Type-Axvi connector, offering additional post-production flexibility.
Improved Image Quality
The new CMOS image sensor and BIONZ XR™ image processing engine in the Alpha 7S III delivers legendary S-series sensitivity with significantly enhanced color reproduction and texture renderings for improved overall image quality. The base ISO has been lowered to 80, resulting in a normal range of 80-102,400 (expandable to 80-409,600 for video and 40-409,600 for stills) to provide more flexible ISO plus wide dynamic range with low noise at all settings. It offers improved image quality by approximately 1 stop of noise reductioniv in the middle and high sensitivity ranges.
The colors and textures of foliage, human skin, and more are ideally and consistently reproduced without dependence on light sources. Gradation rendering has also been refined for better looking skin tones and highlight roll-off in portraits. It also improves AWB (Auto White Balance) performance with a new “Visible light + IR Sensor” that helps to achieve more precise white balance under artificial lighting, including fluorescent and LED lights.
Advanced Autofocus Performance for Hybrid use
For the first time in an Alpha 7S series camera, the Alpha 7S III offers Fast Hybrid AF by combining phase-detection and contrast-detection AF, giving it the ability to track subjects over a wide area with outstanding speed, precision and smoothness, even when using a narrow depth of field. Fine focus expression is possible with Sony’s E-mount lenses.
For environments with a lot of movement, Real-time Tracking and Real-time Eye AF are available to maintain constant focus on the intended subject. Sony’s advanced Real-time Eye AF improves detection performance by 30% over the previous systemiii, thanks to the new image processing engine. It ensures accurate, reliable detection, even when the subject’s face looks away. Real-time Tracking is initiated simply by touching the subject on the screen. Real-time Eye AF is automatically initiated when an eye is detected.
Flexible Autofocus Settings for Movie Shooting
Based on customer feedback, the camera includes several AF features for professional users including AF Transition Speed in seven settings, to easily create rack-focus transitions, and five AF Subject Shift Sensitivity settings, which allows the user to customize how easily AF will switch or stay with the locked-on subject. Touch Tracking allows user to not only initiate Real-time Tracking, but also compose and shoot while using a gimbal or while shooting solo. It’s now possible to Touch Focus during manual focus mode on the LCD screen or remotely from the Imaging Edge Mobile applicationxvii.
New Heat-dissipating Structure
The Alpha 7S III’s design has been updated to ensure effective heat dissipation and minimizes overheating — even during extended continuous recording sessions at 4K 60p 10-bit 4:2:2 video lasting an hour or moreviii. A newly developed unique heat dissipating structure keeps the image sensor and image processing engine temperatures within their normal operating ranges, preventing overheating while maintaining compact body dimensions. The new heat-dissipating structure requires no fan or cabinet vents allowing Alpha 7S III to maintain dust and moisture resistancexviii.
Movie Assist Functions
For video on-the-go, the Alpha 7S III is the first Alpha series camera to include Active Modeix with 5-axis optical in-body image stabilization to support especially difficult handheld movie shooting. It is also the first Alpha series E-mount body to feature a side-opening vari-angle rear screen, perfect for gimbal-mounted shots, complicated angles, handheld operation and more. The screen rotates sideways, up and down, and features a 3.0 type 1.44 million-dot (approx.) touch panel LCD monitor, for optimal visibility even in bright outdoor environments.
In addition, the Alpha 7S III provides a selection of new Creative Look with 10 presets that can be used for both photo and video shoots, making it easy to create interesting moods right in the camera to be used as is or customized by the user.
A digital audio interface has been added to the camera’s Multi Interface (MI) Shoe for clearer audio recordings from a compatible Sony external microphone. Used with Sony’s XLR-K3M XLR Adaptor Kit, the Alpha 7S III provides 4-channel 24-bit digital audio recording capability in an Alpha series camera for the first time. Like other MI shoe accessories, no cables or batteries are required, providing unrestrained freedom for Alpha system moviemaking.
Additional movie assist functions include a redesigned monitor display with a bold, clearly visible red frame that makes it clear when recording is in progress even when mounted on a rig or gimbal, custom zoom settings, adjustable white balance while recording, display rotation, interval recording, still extraction from movies and more.
Outstanding Still Image Photography
The Alpha 7S III includes a fast Hybrid AF system with 759 phase-detection AF points covering 92% of the image sensor. The camera can also achieve high AF precision to accurately and reliably focus in light down to EV-6xix,where subjects are difficult to see clearly even with the naked eye. Users can continuously shoot more than 1,000 uncompressed RAWxii images at up to 10fps, or up to 8fps in live view mode, with either the mechanical or electronic shutter.
The Alpha 7S III also includes the world’s firstx 9.44 million-dot (approx.), 0.64 type Quad-XGA electronic viewfinder with a high-definition OLED display and refined. The Alpha 7S III viewfinder offers a 0.90x viewfinder magnificationxx, 41° diagonal field of view, 25mm high eyepoint for clear, low-distortion corner to corner viewing. It is also dust, fog and moisture resistantxviii, extremely responsive, and has switchable modes for different subject types. Every aspect of the Alpha 7S III viewfinder has been designed and refined for a professional workflow.
For the first time in one of Sony’s digital cameras, the Alpha 7S III includes HEIF (High Efficiency Image File Format) allowing for smooth 10-bit gradations and advanced compression technology to maintain image quality while significantly reducing file size and saving storage space. HEIF stills shot in this mode can be played back on a compatible Sony HDR (HLG) TV via a direct HDMI Type-A connection from the Alpha 7S III, delivering true-to-life dynamic rangexxi.
Versatile Design Made for the Pros
CFexpress Type A for High-speed Data Transfer
In another world’s firstx, the Alpha 7S III features two CFexpress Type A compatible media slots which also support UHS-I and UHS-II SDXC/SDHC cards, enabling high write-and-read speeds while keeping the camera body compact in size. CFexpress Type A cards are ideally suited to high-speed continuous RAW still image shooting as well as 4K 120pi movie recording at high bit ratesxxii, providing next-generation write speeds that can quickly clear the buffers of cameras that generate high volumes of still image and movie data. High-speed data transfer to a PC is possible at about 1.7 times fasterxxiii than that of SD card. The dual slots can be set to relay mode for extended continuous recording of even the highest bit rate data as well as simultaneous recording and sort by format type recording.
Revised Menu System with Enhanced Touch Screen
The Alpha 7S III also features a revised menu structure for easier navigation and touch-responsive menu operation for faster, more intuitive control. For creators who shoot both stills and movies, separate settings can now be stored for stills and movie shooting for quick transition between the two.
High Reliability Gives Creators New Freedom
Professional users need more than just refined features and performance. They also need the reliability and durability demanded of any professional tool. The Alpha 7S III features a redesigned grip for greater comfort and a secure hold, an improved dust removal feature, plus dust and moisture resistance xviii that maximizes reliability in challenging environments. It includes a durable, reliable HDMI Type-A connector, and is the first Alpha series camera to support USB PD (Power Delivery), allowing higher power to be supplied from an external source so that users can continue to record for extended periods with minimal internal battery usage.
Advanced Connectivity for Professional Working Environments
The Alpha 7S III has been designed and configured to support photo and video journalists and sports shooters who need to deliver stills or movies as quickly as possible with several advanced connectivity options. The camera supports 5GHzxxiv/2.4GHz wireless LAN (IEEE 802.11ac) and offers MIMO (multiple-input and multiple-output) to improve communication quality by using multiple antennas, doubling in speed when compared to the Alpha7R IV. It also carries new USB tethering supportxxv. When connected to a 5G (5th generation technology standard for cellular networks) compatible device via USB cable, it is possible to use 5G network for fast and stable FTP file transferxxvi. USB to high-speed wired LAN connectivityxxvii also offers stable and fast FTP transfer for both movies and stills. A USB Type-C™ connector that supports fast SuperSpeed USB 5Gbps (USB 3.2) data transfer is provided, enabling high-speed PC Remote (tethered) data transfer available for smooth handling of large image files.
Pricing and Availability
The new Alpha 7S III Full-frame Interchangeable Lens Camera will be available in September 2020 for approximately $3,499.99 USD and $4,799.99 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 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.
Sony Announces World’s First CFexpress Type A Memory Card with High-speed Performance and Tough Durability
Up to 700MB/s[i] write speed and 800MB/si read speed
Compact design and advanced functionality
Effective heat dissipation design
TOUGH specification construction ensures high durability and dust/water resistance
Supported by File Scan Utility memory diagnostic software and Memory Card File Rescue data recovery software
SAN DIEGO – July 28, 2020 – Today, Sony Electronics Inc. announced a new generation of media — the world’s first[ii] CFexpress Type A memory cards, in both 80GB and 160GB, (CEA-G80T and CEA-G160T) as the most recent addition to Sony’s TOUGH specification cards. Delivering high transfer speed, durability and reliability, Sony’s new CFexpress Type A cards offer professional and stress-free performance for photographers and content creators
Both the CEA-G80T (80GB) and CEA-G160T (160GB) use the latest flash memory control technology to achieve write speeds as high as 700MB/si and read speeds as high as 800MB/si, greatly reducing buffer clearing times for efficient, stress-free shooting. The CFexpress Type A cards are ideally suited for high-speed continuous shooting of more than 1,000 uncompressed RAW still images, as well as 4K 120p movie recording at high bit rates with the Slow & Quick Motion functioniii when paired with new Alpha 7S III, which features two CFexpress Type A compatible media slots, that also support UHS-I and UHS-II SDXC/SDHC cards, for simultaneous media capture or extended continuous recording of even the highest bit rate data. Compliance with the VPG400 video performance guarantee profile specification ensures stable video recording at 400 MB/s—creating a smooth workflow for professional creators.
Effective Heat Dissipation DesignThe new CFexpress Type A memory cards are equipped with a heat sink to transfer heat generated by the card to the exterior when transmitting large amounts of data at high speed, using Sony's original alloy with excellent thermal conductivity. This enables users to record for long periods of time[iv] even when recording 4K 120p video internally.
Keeping up with Sony’s TOUGH specifications, the new CFexpress Type A memory cards feature bending and impact resistance to protect precious data, even when frequently changing cards in the harshest environments. They are up to five times more resistant to drop impact and up to ten times more resistant to bending, compared to CFexpress Type A requirement standards, for outstanding durability. In addition, thanks to a specialized internal structure, they achieve an IPX7 water ingress protection rating and an IP5X dust ingress protection rating (IP57) for enhanced durability.
Accidents happen. Sony’s Memory Card File Rescue[v] data recovery software allows users to recover accidently deleted RAW images and 4K video from memory cards. In addition, Sony’s Media Scan Utility[vi] media diagnostic software will be updated to support CFexpress Type A cards allowing users to diagnose and receive a warning before the number of read/write cycles approaches the card’s limit.
CFexpress Type A/SD Card Reader
Optimized for the new CFexpress Type A memory cards, the CFexpress Type A/SD card reader (MRW-G2) provides SuperSpeed USB 10Gbps (USB 3.2 Gen 2) transfer speed, via its USB Type-C® connector, allowing creators to establish an efficient workflow when dealing with high-resolution images files, 4K video and other types of high-volume data. When combined with a CFexpress Type A card, it allows users to transfer data approximately 2.8 times faster than with conventional mediavii. The MRW-G2 card reader can be used with CFexpress Type A and SDXC/SDHC (UHS-I and UHS-II) memory cards.
Pricing and Availability
CFexpress Type A memory cards and card reader will be available in September 2020. See below for suggested retail pricing:
(US) – CEA-G80T/CEA-G160T: $199.99 USD / $399.99 USD (CA) – CEA-G80T/CEA-G160T: $259.99 CAD / $519.99 CAD (US) – MRW-G2: $119.99 USD (CA) – MRW-G2: $159.99 CAD
Notes Alpha 7S III
[i] 10% of view cropped [ii] S-Log3 movies, Sony internal tests [iii] When compared to the BIONZ X™ image processor [iv] When compared to Alpha7S II [v] 40 to 409,600 for stills and 80 to 409,600 for movies. Sony test conditions [vi] When shooting full-frame still images. The number of AF points used depends on the shooting mode. [vii] This function does not track animal eyes [viii] Sony test conditions. XAVC S-I 10-bit 4:2:2, 25 deg C (ambient, camera when recording started), Auto Power Off Temperature: High. The value will vary depending on the shooting conditions. Movie shooting past an hour will continue until battery ends. [ix] In active mode, the shooting angle of view is slightly narrowed. If the focal length is 200 mm or more, it is recommended to set to standard [x] As of July 2020, Sony survey. Among full-frame mirrorless cameras [xi] Up to 10fps in continuous “Hi+” mode, and up to 8fps in continuous “Hi” mode Maximum fps will depend on camera settings [xii] Requires CFexpress Type A memory card [xiii] When XAVC S-I 4K or HD is selected via the file format menu [xiv] Requires compatible memory card [xv] Atomos Ninja V HDR monitor-recorder support planned. As of July 2020 [xvi] Sony’s Premium High Speed HDMI Cable DLC-HX10 recommended [xvii] Imaging Edge Mobile Ver. 7.4 or later required [xviii] Not guaranteed to be 100% dust and moisture proof [xix] ISO 100 equivalent, F2.0 lens, AF-S mode [xx] 50mm lens, infinity, -1m-1 diopter [xxi] Desktop application “HEIF Converter” for displaying and editing HEIF format is planned to launch in September 2020 [xxii] 4:2:2 10-bit All-I, when recording slow motion [xxiii] Sony test conditions. [xxiv] 5 GHz communication may be restricted in some countries and regions [xxv] Power Delivery supported smartphone is required [xxvi] Does not guarantee connection with all smartphone. FTP file transfer by USB tethering that utilizes 4G network is also possible [xxvii] A compatible USB-Ethernet adapter is required
Notes CFexpress Type A Memory Card:
[i] Actual performance may vary and is dependent on environment and usage. [ii] As of July 2020, Sony Survey [iii] 10-bit depth and 4:2:2 color sampling, All Intra recording, when shooting in slow motion. [iv] Depends on camera performance [v] Does not support data recovery for Content Protected and Game Data files. Not all data may be recoverable. [vi] MRW-G2 CFexpress Type A/SD card reader is required for CFexpress Type A card diagnosis. Diagnosis is not possible with readers from other manufacturers or a direct camera connection. [vii] Sony test conditions. Compared to Sony’s SDXC UHS-II memory card.
B&H and Adorama are taking Sony Alpha a7S III Mirrorless Digital Camera orders.
Learn more about the Sony a7s III at B&H Explora.
Learn more about the Sony a7s III at Adorama.
Tune in tomorrow, Tuesday, July 28, 2020 at 10:00 AM EDT for the Sony Alpha a7S III announcement.
B&H and Adorama will be taking Sony Alpha a7S III Mirrorless Digital Camera orders.
Manfrotto has announced a pair of new gimbals and a boom using their new Fast technology.
Check these out at B&H:
Also check out the new Manfrotto Fast Tripods.
AP to Equip all Visual Journalists Globally with Sony Imaging Products
Sony Electronics to become AP’s exclusive global imaging provider for photo and video journalism
July 23, 2020 - Sony Electronics Inc. a global leader in imaging, and The Associated Press, the trusted global news organization, announced today a new collaboration that will make Sony the exclusive imaging products and support provider for AP news photographers and video journalists around the world.
With journalists in nearly 250 locations in 100 countries, AP provides factual, compelling journalism in all formats, including 3,000 photos and 200 videos each day. The news agency has a distinguished history of powerful visual journalism, winning the 2020 Pulitzer Prize for Feature Photography -- AP’s 54th Pulitzer and 32nd for photography -- and garnering recognition from the Royal Television Society for excellence in video.
A wide variety of Sony’s imaging solutions products will begin delivery immediately, including the full-frame mirrorless Alpha™ cameras, 4K XDCAM video cameras and an assortment of Sony’s 57 E-mount lenses including G Master™ models.
“We are extremely honored to announce this collaboration with The Associated Press, an organization with an incredible history in journalism that continues to raise the bar for global news reporting and delivery,” said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics. “The Associated Press is a universally trusted brand for news information in the world. We are honored to equip AP’s journalists with our technology and support, giving them the opportunity to capture, transmit and deliver imagery in ways they never could before.”
“Sony’s history of innovation aligns well with AP’s, and with our vision for the future of visual journalism,” said Derl McCrudden, AP deputy managing editor for visual and digital journalism. “AP is committed to providing the best imagery to our member news organizations and customers across the globe. Adopting Sony’s cutting-edge equipment and technology allows us to do that, by enabling our photographers and video journalists to be faster and more flexible, ultimately creating better visual journalism.”
When the transition to Sony is complete, AP’s video journalists and photographers will for the first time be equipped with the same brand of cameras, allowing for seamless collaboration among the news agency’s journalists as they tell the world’s stories in whatever medium is right for the moment.
AP visual journalists will be able to share Sony’s cameras and lenses, as well as the images they capture, to produce a news report unhindered by technical limitations.
"The new mirrorless technology in Sony’s cameras allows for a completely silent operation, meaning our photojournalists can work in environments without interrupting the scene around them,” said AP Director of Photography J. David Ake. “This is a huge leap forward in photojournalism."
In addition to delivery of product, AP and Sony will work together to improve workflow and efficiency of field operations, including testing of 5G capabilities.
Sony offers 5G through its Xperia™ product line, which uses technology from its cameras, professional monitors and audio devices.
Back to the future. I didn't see this one coming, though we talked about this lens design after the Canon RF 600mm F11 IS STM Lens and Canon RF 800mm F11 IS STM Lens announcement. From Kenko Tokina Co., Ltd.:
Kenko Tokina Co., Ltd. is pleased to announce the sales release of Tokina SZX SUPER TELE 400mm F8 Reflex MF lens.
Sales will commence on August 7, 2020.
Tokina SZX SUPER TELE 400mm F8 Reflex MF is a 400mm super tele lens that adopts catadioptric type optical design with a constant F8 aperture. The lens offers compact alternative to standard tele photo lenses as more and more photographers are looking for easy-to-carry gear. 400mm F8 Reflex MF is designed keeping in mind active travel photographers seeking for outdoor landscape, wild nature or birds by providing compact and lightweight lens to be rediscovered in the new era of also compact but high-tech mirrorless cameras.
Tokina SZX SUPER TELE 400mm F8 Reflex MF adopts 0.75mm pitch and 42mm thread mount standard, that allows this lens to be attached to any camera by using different mount adapters.
Tokina SZX SUPER TELE 400mm F8 Reflex MF can be required in Solo and Kit packages as below:
Mount adapters can be also purchased separately:
Mark your calendar for 10:00 AM EDT on July 28, 2020 for the Sony Alpha a7S III announcement.
The manufacturer specifications for this relatively compact new lens are loaded on the site. Check out these comparisons, paying attention to the size and weight:
Though its price is high, the Sony FE 12-24mm f/2.8 GM Lens will attract attention.
Sony Electronics Grows Lens Line-up with Launch of 12-24mm G Master, the World’s Widest Full-frame Zoom with a Constant F2.8 Aperture
SAN DIEGO – July 7, 2020 – Sony Electronics Inc. today announced an exciting new addition to its full-frame lens line-up with the introduction of the FE 12-24mm F2.8 GM (model SEL1224GM) Large-aperture Ultra-wide Zoom lens. This compact and versatile lens is ideal for shooting landscapes, astrophotography and architecture while providing extra mobility for active sports shooters who want to capture ultra-wide perspectives. As part of Sony’s flagship G Master series lenses, users can be completely confident that it delivers outstanding image quality up to an ultra-wide 12mm angle of view with F2.8 constant aperture and beautiful bokeh effects.
The introduction of the FE 12-24mm F2.8 GM now extends the F2.8 range of Sony’s G Master series zoom lenses all the way from 12mm to 200mm[ii] and at 12mm, offers the world’s widest range of zoom at F2.8. At this focal length, it is possible to emphasize distance and create dynamic perspectives that are beyond the scope of the human eye, opening the door to new avenues of creative expression.
“We are excited to introduce the new FE 12-24mm F2.8 GM as the 57th lens in Sony’s E-mount line-up”, said Neal Manowitz, deputy president of Imaging Products and Solutions Americas, Sony Electronics. “It is important for us to continue to push boundaries in the industry to develop the best tools for our customers. By extending our range of G Master constant F2.8 zoom lenses out to 12mm, we are excited to see how these new innovations will help our customers create like never before.”
The FE 12-24mm F2.8 GM benefits from innovative construction that delivers outstanding corner-to-corner image quality throughout the entire zoom range. It features three precise XA (extreme aspherical) elements including the largest XA element ever made for an a - Alpha brand lens. These XA elements, with an additional aspherical element, effectively suppress astigmatism, coma and field curvature right out to the image edges. Furthermore, three ED (Extra-low Dispersion) glass elements plus two Super ED glass elements, powerfully control chromatic aberration and combine to deliver corner-to-corner clarity while minimizing color fringing.
An extremely effective floating focus mechanism divides the lens’s focus group into two independently controllable groups, ensuring both outstanding close-up performance and maximum sharpness at any distance. The two independently controlled groups help realize a constant 11” (28 cm) minimum focusing distance throughout the zoom range, and because it is an internal focus lens, its length remains constant, so its center of gravity varies very little and is always optimally balanced in the hand.
The signature bokeh effects of Sony’s G Master series lens are achieved through the fine tuning of the lens’s spherical aberration characteristics during both the design and manufacturing process. At the same time, the extremely high surface precision of the lens’s XA elements effectively suppresses spherical aberration and, in combination with a 9-blade circular aperture, further enhances its exquisite bokeh.
The FE 12-24mm F2.8 GM employs four original high-speed, high-thrust XD (extreme dynamic) Linear Motors to ensure that it is compatible with the speed performance of both current and future camera bodies. With two XD Linear Motors for each of the lens’s focus groups, autofocus is fast and precise. New control algorithms maximize the response of the system while achieving flawless synchronization between the two focus groups. Further benefits include extremely quiet operation with minimal vibration and lower power consumption.
A brand-new Nano AR Coating II that can be evenly applied to large lens elements or highly curved element surfaces has been used for the first time on the FE 12-24mm F2.8 GM. It suppresses internal reflections, minimizes flare and ghosting for clear, crisp imagery and despite the lens's wide angle of view, Nano AR Coating II maintains high clarity and contrast throughout the entire image, even in difficult light.
The constant F2.8 maximum aperture at all focal lengths ensures that exposure is stable when zooming. As a result, this means that shutter speed and ISO sensitivity can remain constant while shooting movies. The creative opportunities afforded by shooting movies at a 12mm angle of view with F2.8 constant aperture in full-frame are boundless, and when used on an APS-C or Super 35 camera, the wide end of the zoom range becomes equivalent to 18mm, providing a useful zoom range for moviemaking.
Weighing only 1.87 lbs (847 g), the FE 12-24mm F2.8 GM offers numerous features for full professional control of shots. These include a customizable focus-hold button, focus-mode switch, zooming ring and focusing ring that are positioned for easy operation while shooting. The Linear Response MF ensures that the focus ring responds directly to the most subtle adjustments when focusing manually so control feels immediate and precise. It is dust and moisture resistant [iii] and the front lens element features a fluorine coating that repels water, oil, and other contaminants, making it easier to wipe off any fingerprints from the lens surface. The rear filter holder accommodates standard sheet-type ND, color correction and other filters for expanded expressive capability. A cutting template for sheet filters is supplied.
Pricing and Availability
The FE 12-24mm F2.8 GM is available in in August 2020 for a suggested retail price of $2,999.99 USD and $3,999.99 CAD.
 Compared to interchangeable constant F2.8 zoom lenses for 35mm full-frame format digital cameras. As of July 2020. Sony survey.
 SEL1224GM, SEL1635GM, SEL2470GM, SEL70200GM
For those of us residing in the USA, today we celebrate our country's independence.
Take some time to study the history, including what our forefathers said, did, and wrote on this day, one that is foundational to our country.
Independence Day (aka, the 4th of July) is often celebrated with friends, family, grilled food, and fireworks. The effect seen in this fireworks image is from manually adjusting focus during a long exposure. Check out the following tips articles and the gear list below them.
Fireworks Photography Tips
Just posted: Tamron 70-180mm f/2.8 Di III VXD Lens Review.
Excellent lens. Great value.
You are going to like these results.
Expect the full review to be completed very soon.
Interesting news from Olympus:
Olympus Corporation ("Olympus") and Japan Industrial Partners, Inc. ("JIP") hereby announce that, today, the parties signed a memorandum of understanding to carveout Olympus’s Imaging business to a new company (“NewCo”) and subsequently transfer its shares to a fund managed, operated or otherwise handled by JIP (the "Transaction").
After the due diligence and further discussions and negotiations, the parties are aiming to sign a legallybinding definitive agreement for the Transaction (the "Definitive Agreement") by September 30, 2020. We will promptly make further announcement if any matters relating to the Transaction that needs further announcement occur.
1. Background and Purpose of the Transaction
Olympus's Imaging business began with the manufacture and sale of a camera using the photographic lens Zuiko in 1936. Through innovative technology and unique product development capabilities, Olympus has developed and launched various products, aiming to contribute to make people’s lives more fulfilling. Those products include: Olympus Pen, the innovative half-sized camera; Zuiko Pearlcorder, the world's first micro-cassette tape recorder; and Olympus OM-D series, the mirrorless interchangeable lens camera.
Olympus has implemented measures to cope with the extremely severe digital camera market, due to, amongst others, rapid market shrink caused by the evolution of smartphones; Olympus has improved the cost structure by restructuring the manufacturing bases and focusing on high-value-added interchangeable lenses, aiming to rectify the earning structure to those that may continue generating profit even as sales dwindles. Despite all such efforts, Olympus’s Imaging business recorded operating losses for 3 consecutive fiscal years up to the term ended in March 2020.
Under such circumstances, Olympus considers that, by carving-out the Imaging business and by operating the business with JIP, the Imaging business’s corporate structure may become more compact, efficient and agile and it is the most appropriate way to realize its self-sustainable and continuous growth and to bring values to the users of our products as well as our employees working in the Imaging business. Olympus therefore has decided to sign the memorandum of understanding for the Transaction.
JIP has strong track records in supporting strategic carve-outs that realize growth potential and encourage autonomous growth. By adding support from JIP, the NewCo, as the successor of reputable brands such as “OM-D” and “ZUIKO,” will utilize the innovative technology and unique product development capabilities which have been developed within Olympus, and will realize continuous growth of the business by bringing better products and services to the users and customers and by making itself a productive and rewarding work place for its employees.
2. Imaging Business after the Transaction
NewCo will succeed and maintain the research and development functions and manufacturing functions globally as reformed under the contemplated structuring reforms to continue to offer high-quality, highly reliable products; and also continue to provide supports to the imaging solution products that have been distributed by Olympus.
3. Outline of the Transaction
The specifics of the Transaction shall be decided in the Definitive Agreement after careful examination and consultation between the parties. The parties currently consider the outline of the Transaction shall be as follows.
The parties will proceed with the actions and procedures for Transactions in full compliance with applicable laws including consultation obligations and other requirements under local employment laws.
(1) Structure : (i) Olympus’s Imaging business will be transferred to the NewCo by way of company split or otherwise, and then, (ii) shares in the NewCo will be transferred to a new company to be established by JIP.
(2) Signing of Definitive Agreement : Scheduled to be signed by September 30, 2020
(3) Closing : Olympus and JIP strive to close the Transaction by December 31, 2020.
4. Structuring Reform
Prior to the closing of the Transaction, Olympus plans to implement structuring reforms to the Imaging business aiming to change the business structure of Imaging business to be more profitable and sustainable. We are currently investigating costs and other impacts of the structuring reform. If any future event which requires disclosure arises, Olympus will announce it promptly.
From Sigma Corporation of America:
Sigma Unveils 100-400mm F5-6.3 DG DN OS Contemporary Telephoto Lens for Full-Frame Mirrorless Cameras; Mirrorless-Exclusive Teleconverters; USB Dock for Sigma Mirrorless Lenses; and F1.4 Mirrorless L-Mount Lens Trio
June 18, 2020, 9:30 a.m. EDT
Sigma Corporation today made the following announcements:
Sigma 100-400mm F5-6.3 DG DN OS Contemporary - Compact Size, Ultra Telephoto Performance
The 100-400mm F5-6.3 DG DN OS Contemporary lens is Sigma’s first full-frame mirrorless telephoto zoom lens. Designed from the ground up for mirrorless camera systems, its new optical formula ensures edge-to-edge sharpness and high-contrast image quality throughout its entire focal range. The lens construction is made up of 16 groups and 22 elements, with one FLD and four SLDs used for the effective correction of aberrations and distortions. Its superior image quality and compact size make it an excellent companion lens to the previously released full-frame mirrorless zooms from Sigma, the 14-24mm F2.8 DG DN Art and 24-70mm F2.8 DG DN Art. It will be available in Sony E-mount and L-mount.
The fifth Sigma lens designed specifically for full-frame mirrorless camera systems, the 100-400mm F5-6.3 DG DN OS Contemporary further expands the possibilities of mirrorless camera photography. Thanks to the stepping motor system that is optimized for both phase detection AF and contrast AF, the Sigma 100-400mm F5-6.3 DG DN OS Contemporary makes shooting video with eye-tracking AF very smooth. It consistently achieves high levels of optical performance and makes the most of its capabilities as a zoom lens at every focal length from wide to close-up shots to telephoto photography.
When paired with the new Sigma Teleconverter TC-1411 and/or TC-2011 (sold separately / for L-Mount only), which were exclusively developed for the use with mirrorless cameras, the Sigma 100-400mm F5-6.3 DG DN OS Contemporary gives photographers a "super telephoto" range with a focal length of up to 800mm while still benefiting from a compact lens and effective AF. It functions as a 140-560mm F7-9 AF ultra-telephoto lens with the Sigma Teleconverter TC-1411, and as a 200-800mm F10-12.6 AF ultra-telephoto lens with the Sigma Teleconverter TC-2011.
The Sigma 100-400mm F5-6.3 DG DN OS Contemporary will be available on July 10, 2020 for $949.00 USD.
Sigma USB Dock UD-11 - Easily Update Lens Firmware and Customize Settings
Designed exclusively for Sigma L-Mount and Canon EF-M Mount mirrorless lenses, the Sigma USB Dock UD-11 allows users to update firmware and customize settings on lenses in these lineups.
In addition to firmware updates, users can adjust the sensitivity of MF function* speed. It employs the new USB Type-C connection.
*Scope of adjustment varies depending on specifications of the individual product.
The Sigma USB Dock UD-11 will be available on July 10, 2020 for $59.00 USD.
Sigma Mirrorless Teleconverter TC-1411 and TC-2011
The Sigma Teleconverter TC-1411 and TC-2011 are designed exclusively for use with Sigma L-mount mirrorless lenses. Mounted between a lens and the camera body, the TC-1411 magnifies the focal length of the camera by 1.4x, and the TC-2011 by 2x. Designed to complement Sigma’s renowned optical formulas, these teleconverters preserve the image quality of the lens while extending the focal length for added zoom capability.
The new teleconverters have a dust- and splash-proof construction comparable to that of the Sigma Sports line lenses, and can withstand harsh outdoor shooting environments when combined with a dust- and splash-proof camera body and lens. Lightweight and compact, these accessories will upgrade lens performance to an "ultra telephoto" focal length without the need for additional lenses.
The Sigma Teleconverter TC-1411 and TC-2011 will be available on July 10, 2020 for $399.00 USD (TC-1411) and $429.00 USD (TC-2011).
F1.4 Mirrorless Trio Now Available in Native L-Mount - Compact, Affordable, High Quality
Sigma’s F1.4 Mirrorless Trio - the 16mm, 30mm, and 56mm F1.4 DC DN Contemporary lenses - each benefit from a fast aperture of F1.4 to achieve sufficient amount of bokeh and admirable brightness even with APS-C size cameras, which tend to have smaller bokeh effects compared to 35mm full size systems. Each lens has a compact and lightweight body that is perfect for daily use as they cover the range from true wide angle to normal to portrait. Stepping motors ensure smooth, swift, quiet autofocus for both still and video capture. In addition to the upcoming L-Mount variations, these products are available for Sony E-mount, Canon EF-M mount and Micro Four Thirds camera systems.
Sigma F1.4 Mirrorless Trio lenses will begin shipping on July 10, 2020. Pricing detailed above.
From Kenko Tokina Co., Ltd.:
Dear customers. Thank you all for supporting Tokina brand.
On March 6, 2020 in commemoration of the 70th Tokina anniversary we made a development announcement of Tokina new lens line-up 2020 that thankfully attracted great attention of amateur and professional photographers. We received a lot of supportive messages from all around the world that is greatly appreciated.
The development process is constantly changing, so here we would like to update the lens roadmap as below. We are doing our best to introduce our new products to the market as soon as possible. Thank you for your patience.
Notes: The release schedule is tentative. Product design may be changed without preliminary notification.
Tokina atx-i 11-20mm F2.8 CF worldwide sales date announcement
Jun 18, 2020
Kenko Tokina Co., Ltd. is pleased to announce the sales release of Tokina atx-i 11-20mm F2.8 CF. The Tokina atx-i 11-20mm F2.8 CF is the third renewed long seller AT-X 11-20 F2.8 PRO DX (11-20mm f/2.8) model to fit contemporary DSLR cameras in newly launched atx-i series.
Sales will commence on July 10, 2020.
The Tokina atx-i 11-20mm F2.8 CF is designed as an ultra wide angle zoom lens for APS-C sensor DLSR cameras. It is the only f/2.8 fast ultra wide angle zoom lens for APS-C sized DSLR cameras on the current market*.
Focal length 11-20mm that covers equivalent angle of wide prime 18mm, 21mm, 24mm, 28mm lenses makes this lens attractive to be chosen after standard zoom lens or initially possessed wide angle zoom kit lens.
A constant maximum aperture of f/2.8 throughout the entire zoom range is realized to achieve great results in low light conditions, for depth of field control and easy manual shooting, while maintaining a reasonable size and weight.
* At present time April, 2020
"Regarding SD memory cards of SF-M series, SF-M series TOUGH specification, and SF-G series TOUGH specification, recorded data on the card may be damaged or data may not be recorded correctly when shooting video on a camera* in video speed class mode.
* The camera compatible with video speed class V60/V90 etc. as recommended recording media."
Visit Sony's service notice page to identify and replace affected cards.
Much is said about using photography to tell stories, but another great aspect of photography is creating stories. I'm not talking about deceptive reporting and the like, but setting the goal to be photos, and enjoying an adventure unfolding, the story, while capturing them.
There was an exceptionally long off-trail hike in north-central PA involving a couple of deep canyons and lots of waterfalls that I had been planning to take for a long time. The schedule for this spring looked favorable for making that adventure happen, and I selected what appeared to be the perfect waterfall photography day. The weather forecast indicated full cloud cover and some light rain could be expected.
Then my youngest daughter asked if she could go along, and after my enthusiastic, positive response, I was then asked if three of her friends could also come along. After warning them over the duration and exertion this hike entailed, all were set on going. All four of the girls were distance runners, so I expected they were physically up to the hike. They were advised to bring the appropriate gear and supplies for an entire day that could include rain, and I welcomed the additions to the adventure.
We arrived at the start location late in the morning, and a beautiful waterfall greeted us a short distance into the forest. I hurriedly set up the camera (four girls were waiting for me), established the right settings, and captured some nice images. We then bushwhacked, rock-hopped (including creek crossings), and hung on the side of very steep terrain for, according to my daughter's Garmin watch, three miles until we arrived at another impressive waterfall. I captured more images, and we ate lunch.
That was the last time the camera came out of my MindShift Gear BackLight 26L. The rain started and quickly exceeding the forecasted slight-chance volume. The sky became very dark, and the rain didn't relent until it was nearly dark out.
Waterfalls require a cliff for the water to fall over, large falls require big cliffs and the falls that we continued to encounter had larger-than-needed cliffs. Getting around waterfalls meant moving downstream a distance until the wet sides were climbable (without ropes). How steep were the canyons, and how much time did we spend on them? At the end of the adventure, the girls were complaining that their arms hurt more than their legs, a sure sign that a good adventure happened.
At about 8 miles into the hike, a key landmark was missing. I had spent hours researching the hike, but this missing landmark was a key to finishing the hike as planned. There was no signal to locate ourselves via a smartphone, so I relied on a previously downloaded topographic map and a conventional compass to continue our route. While I knew we wanted to go east, I was not precisely sure how far north we had traveled. If I didn't guess correctly, we could miss the canyon we needed to find. Hedging enough to be safe, we walked southwest across the vast, densely forested, flat mountaintop. Note that walking through such terrain under a cloudy sky without a navigational aid is a sure way to get lost.
About 2 miles into the compass-directed portion of the dark and rainy adventure, the girls were becoming nervous, and one member of our team was staying immediately behind me. Eventually, we encountered a swampy area with a little flowing water, and I relented to traveling due east following that flow as the water had to be going down into the canyon we were hunting.
After a considerable distance down the steep mountain, we arrived at the targeted creek. While there was some relief among our group, deep, forested canyons are dark, and the what if we don't make it out before dark question began to be raised — repeatedly. I assured the group that we would light up the dark (I like the Black Diamond Spot 325 Headlamp BTW), and that we had the supplies necessary to make it out.
Still, the challenge of hiking the sides of the waterfall canyons increased while the light levels decreased. Finally, I declared that everyone had to begin wading across the streams. Yes, building rock bridges was fun, but it was time-consuming, and darkness was approaching.
Amazingly, we arrived back at the first waterfall at the precise time I had guessed to the group to expect to return. My distance estimate was not quite as accurate, with the Garmin indicating 13.1 miles of distance with 3,500' (1.07 km) in elevation change. The excitement brought on by the accomplishment and relief hitting the girls simultaneously made the adventure worthwhile, and all were ready to sign up for the next adventure. Interesting is that the next day their arms were sorer than their legs — due to holding onto trees and rocks while navigating the steep terrain.
No girls were harmed in the creation of this image, but photographically, the adventure was not so productive, with most of the waterfalls being from the sky. However, I know where some great images are, and will likely return for at least a partial repeat hike.
What will your story be? Use photography as a purpose for creating a story!
Here is one of the last photos I captured on this journey: Girl on a Waterfall Adventure.
Tamron Announces Launch of the World's First All-In-One Zoom Lens Starting at F2.8 for Sony E-mount Full-Frame Mirrorless Cameras
June 10, 2020, Commack, NY - Tamron announces the launch of the 28-200mm F/2.8-5.6 Di III RXD (Model A071), an all-in-one zoom lens for Sony E-mount full-frame mirrorless cameras. The lens is scheduled to be available on June 25 at $729. Due to the spread of COVID-19, the release date or the product supply schedule could be delayed.
In 1992, Tamron demonstrated breakthrough innovation with the release of the AF 28-200mm F/3.8-5.6 Aspherical (Model 71D), a compact and lightweight all-in-one zoom lens. The amazingly compact size, light weight and reasonable price made the lens immediately wildly popular with photographers around the world. In the years since, Tamron has continued to be a pioneer in the category, releasing epoch-making all-in-one zooms tailored to each era, including the recent 18-400mm F/3.5-6.3 Di II VC HLD (Model B028) that boasts the world's highest magnification of 22.2x and which currently enjoys robust sales. The new 28-200mm F2.8-5.6 is a distillation of all Tamron's accumulated all-in-one zoom expertise and has been specifically developed as an all-in-one zoom for daily use on a full-frame mirrorless camera. Tamron chose Model A071 as the model name in a nod to "71" representing the world's original compact all-in-one zoom.
Maximum aperture in zoom range among currently available all-in-one interchangeable zoom lenses with a zoom ratio of 7x or higher (As of May 2020: Tamron)
 Among interchangeable lenses for DSLR cameras (As of May 2017: Tamron)
The 28-200mm F2.8-5.6 is the first all-in-one-zoom in the world to achieve a maximum aperture of F2.8 at the 28mm wide-angle end. To assure superb optical performance, it features a precise arrangement of special lens elements that accommodate the increasingly high resolutions of today's digital cameras. Enabling high quality image rendering throughout the zoom range, the lens responds to users' photographic expressions in powerful style. Moreover, with its 4.6" length, 20.3 oz. weight, and filter diameter of a mere 67mm, the 28-200mm F2.8-5.6 offers excellent portability. When combined with a compact, lightweight full-frame mirrorless camera, it allows photographers to capture virtually every scene they encounter in daily use, travel, sports and nature.
The 28-200mm F2.8-5.6 takes the convenience of an all-in-one zoom (which incorporates various angles of view from wide to telephoto in a single lens) and adds a fast-maximum aperture of F2.8 and superb image quality to enhance the potential for photographic applications. Breaking conventional limitations and broadening the horizons of photographic possibilities, this zoom lens writes a new chapter in the history of the all-in-one zoom lens.
1. The world's first F2.8 all-in-one zoom lens for full-frame mirrorless cameras
A remarkable first for an all-in-one zoom lens: the 28-200mm F2.8-5.6 achieves a fast F2.8 aperture at the 28mm wide-angle end. Additionally, maximum apertures at intermediate zoom ranges are F3.5 at 50mm, F4.5 at 100mm, and F5.6 at 150mm through 200mm. As an unprecedented all-in-one zoom that combines fast aperture with compact size, the 28-200mm F2.8-5.6 delivers greater versatility and usefulness than ever before available.
2. Lightweight and compact size for superior mobility
Tamron's series of full-frame mirrorless camera lenses, starting with the 28-75mm F2.8 (Model A036), has been developed with the overall goal of balancing high performance with convenience. In addition to the series-standard 67mm filter diameter, and leveraging the camera integrated image stabilization, engineers concentrated on achieving compact size and light weight. Length is just 4.6", maximum diameter is 74mm, and the weight is a mere 20.3 oz. With a size that offers excellent portability, the lens lightens your load, allowing you to travel comfortably and shoot unencumbered.
3. Uncompromising image quality that lets you focus on creativity
This new zoom lens contains 18 elements in 14 groups. A generous assortment of special lens elements that includes GM (Glass Molded Aspherical), hybrid aspherical, XLD (eXtra Low Dispersion) and LD (Low Dispersion) lens elements is precisely arranged to effectively control chromatic and other aberrations, enabling high resolving power. Meanwhile, the BBAR (Broad-Band Anti-Reflection) Coating provides powerful anti-reflection properties to effectively reduce ghosting and flare, resulting in clear and crisp images. In-camera correction features are utilized to mitigate distortion and shading to achieve uniformly high image quality from edge-to-edge at all zoom settings. Tamron has concentrated all its all-in-one zoom technologies into achieving optical performance that sets a new standard among existing all-in-one zoom lenses. From casual snaps to serious photos, this single lens lets you enjoy a wide range of shooting situations with complete freedom of composition.
4. Superior up-close shooting performance
The 28-200mm F2.8-5.6 delivers superior close-up shooting performance for an all-in-one zoom. At the 28mm wide-angle end the MOD (Minimum Object Distance) is 7.5", achieving a maximum magnification ratio of 1:3.1. This performance, combined with the fast F2.8 aperture, allows users to move in close so that the subject is large while simultaneously showcasing a beautifully blurred background. Close-up shooting is remarkable at the telephoto end as well, with an MOD of 31.5" and maximum magnification ratio of 1:3.8. Users can capture impressive images with highly blurred backgrounds and create exceptional compositions.
5. 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, allowing users to maintain tack-sharp focus on continuously moving subjects or when filming video. The exceedingly quiet operation is an important advantage because it virtually eliminates extraneous sounds during video recording. In addition, the compact configuration of the RXD AF drive system contributes to the unprecedented size and weight reduction.
6. A full family of superb, compact lenses made especially for mirrorless cameras
The 28-200mm F2.8-5.6 zoom is based on Tamron's stratagem of creating a series* of lenses for full-frame mirrorless cameras that leverage the characteristics of compact camera bodies. Consequently, photographers can more easily enjoy various combinations of interchangeable lenses. For example, when the Model A071 is combined with the 17-28mm F2.8 (Model A046), the combined weight of the two lenses is less than 35.1 oz. This lightweight, portable zoom set covers everything from wide-angle to telephoto with a zoom range of 17-200mm. Additionally, when combined with a lens from Tamron's series of fixed focal lenses such as the 20mm F2.8 (Model F050) or 24mm F2.8 (Model F051), the weight is less than 28.2 oz., expanding the possibilities of shooting at the wide-angle end without adding excessive weight or bulk.
All lenses in the series share the common filter diameter of 67mm, thereby eliminating the hassle associated with using different size filters and lens caps. Costly filters (e.g., PL, ND, etc.) can be shared instead of buying separate units for each lens. In this way, Tamron has expanded its series of lenses to make it truly practical to carry multiple lenses at the same time.
* Tamron lineup of lenses with 67mm filter diameter for full-frame mirrorless cameras: 28-75mm F/2.8 Di III RXD (Model A036), 17-28mm F/2.8 Di III RXD (Model A046), 20mm/24mm/35mm F/2.8 Di III OSD (Model F050/F051/F053), 70-180mm F/2.8 Di III VXD (Model A056)
7. Moisture-Resistant Construction, Fluorine Coating, and Zoom Lock switch
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. Also, the front surface of the lens element is coated with a protective fluorine compound that has excellent water- and oil-repellant qualities. The lens surface is easier to wipe clean and is less vulnerable to the damaging effects of dirt, moisture or oily fingerprints, allowing for much easier maintenance. Additionally, the handy Zoom Lock switch prevents unwanted barrel extension during transportation.
8. Compatible with main camera-specific features* and functions
Tamron's new 28-200mm F2.8-5.6 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 May 2020.)
Focal Length: 28-200mm
Maximum Aperture: F/2.8-5.6
Angle of View (diagonal): 75°23'-12°21' (for full-frame mirrorless format)
Optical Construction: 18 elements in 14 groups
Minimum Object Distance: 0.19m /7.5 in (WIDE), 0.8m /31.5 in (TELE)
Maximum Magnification Ratio: 1:3.1 (WIDE) / 1:3.8 (TELE)
Filter Size: Ø67mm
Maximum Diameter: Ø74mm
Length*: 4.6 in
Weight: 20.3 oz.
Aperture Blades: 7 (circular diaphragm)**
Minimum Aperture: F/16-32
Standard Accessories: Flower-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 which was disclosed by Sony Corporation under the license agreement with Sony Corporation.
Delkin First to Market with 2TB CFexpress Memory Card
POWAY, CA, JUNE 10, 2020 - Delkin Devices, a manufacturer of flash storage solutions and camera accessories, announced today the newest addition to their ever-growing line of memory-based products: CFexpress™ Type-B memory cards. The latest high-speed memory card format, Delkin CFexpress™ cards deliver unrivaled performance at speeds suitable for professional photographers and videographers, while meeting the extensive demands of today's broadcast, cinema and photography industries. Delkin now boasts a complete line of memory card choices for nearly every type of camera/camcorder in the market.
Utilizing a 3rd generation PCI Express interface (as well as supporting NVM Express), Delkin's CFexpress™ memory cards boast recording speeds surpassing 1430MB/s for flawless cinema-quality video capture, including 8K, 6K & 4K at high frame rates and bitrates. They also support RAW continuous-burst shooting without delay, never missing those precious split-second moments! This is especially valuable during special events like weddings, sporting events, concerts and other situations that can't be redone.
"4K is standard today, 6K is on the rise, and now we're making our way to 8K" says Jenn Sherry, Delkin's Retail Sales & Marketing Manager, "Technology is constantly evolving and as cameras become more advanced, so will the storage solutions associated with them. The possibilities of what CFexpress™ can offer are exciting, and we're looking forward to see what our cards will enable both photographers and videographers to capture.
Each CFexpress™ card has undergone extensive testing to ensure full functionality and performance in today's high-end cinematic hosts, including ones from Canon (C500 Mark II & 1D X Mark III), Nikon (Z6 & Z7), and Panasonic (Lumix DC-S1 & S1R). Testing is currently ongoing in the Canon C300 Mark III & R5, as well as the Nikon D6. Data-intensive capture modes, such as Raw video, would require memory cards like CFexpress™ in order to guarantee continuous recording and safe storage. It is important to note though that CFexpress™ cards are not backwards compatible with either CompactFlash or CFast 2.0 hosts.
As a bonus, every CFexpress™ card is serialized, like your camera, and backed by Delkin's "48-Hour Replacement Guarantee" policy for the ultimate coverage. Not offered anywhere else in the world, Delkin will replace any non-working CFexpress™ card within 48 hours or less (not including weekends), prior to receiving the non-working card. Cards can also be replaced over-the-counter at any authorized Delkin CFexpress™ reseller.
Delkin CFexpress™ Type-B memory cards have the most extensive capacity coverage, ranging from 64GB to 2TB, and are sold through authorized camera stores worldwide. For more information on Delkin CFexpress™ or other memory products, please visit www.delkindevices.com.
Sean's recent Filming an ISS Transit of the Moon article reminded me to check for an upcoming locally-viewable International Space Station transit. Amazingly, there were two ISS solar transits scheduled for the next week, with my back yard being the perfect location for the alignment I wanted for both transits.
Sean's How to Photograph an International Space Station Lunar Transit article was directly applicable, with a solar filter being an additional requisite.
Only the sun was going to be illuminated in the frame, and the space station is especially small. I combined the longest focal length lens combination I have, the Sony FE 600mm f/4 GM OSS Lens and Sony FE 2x Teleconverter, with the highest resolution ILC camera available, the Sony a7R IV. This combination was then mounted to the most solid tripod and head in my kit, the Wimberley WH-200-S Sidemount Head on a Robus RC-8860 Vantage Carbon Fiber Tripod.
The ISS moves across the sky very rapidly, leading me to select a 1/2000 shutter speed to avoid motion blur. With the transit duration predicted to be a mere 0.52 seconds, timing the shot was crucial. From testing, I knew this camera with a V60 SDXC card loaded would capture an over-four-second burst before the buffer filled. At just under two seconds before the transit start time, I pressed and held the release button on the Vello ShutterBoss Remote Switch.
The a7R IV's high speed+ mode netted three images that included the ISS in front of the sun. That count seemed a little weak in the composite (the space stations were "spaced" too far apart), so some additional space stations were cloned into the final image.
A larger version of this image is available on Flickr.
June 2, 2020
Tamron Co., Ltd.
Notice about 70-180mm F/2.8 Di III VXD (Model A056) Operation
Dear Tamron product users and potential purchasers,
Thank you for choosing Tamron products.
We would like to announce that we found the performance of the floating system which corrects the field curvature may be insufficient (*) in a part of our 70-180mm F/2.8 Di III VXD (Model A056) products for SONY mirrorless cameras.
For affected products, we will inspect them and either readjust or exchange them.
How to check affected products
To confirm if your product is one of those affected, please click the Check Serial Number button below and enter the serial number of your lens. If your lens is affected, please follow the instructions provided. If your lens is not affected, you may continue to use it without concern.
Location of your lens serial number (6-digit number):
Engraved, at backside of TAMRON logo
Printed at label on the top of packaging box
We sincerely apologize to all users and potential purchasers for any inconvenience this issue may cause. We appreciate your continued support for our products.
(*) Supplement of the issue
Model A056 achieves a high optical performance utilizing the aberration correction by the floating system. By optimizing the value for each lens, we can achieve the maximum effectiveness. We found that some lenses have already been shipped out without the value being optimized.
From ProGrade Digital:
PROGRADE DIGITAL ANNOUNCES FASTER CFEXPRESS™ TYPE B MEMORY CARDS AND HIGHER CAPACITIES WITH READ SPEEDS OF 1,700MB/S AND REFRESH PRO™ SOFTWARE SUPPORT*
CFexpress Cobalt Cards Provide Minimum Sustained Write Speeds of 1,400MB/s plus ability to monitor card health and refresh cards to factory-fresh condition
San Jose, CA June 09, 2020, 8:00 am —ProGrade Digital, Inc., founded with a mission to provide the highest quality professional grade digital memory cards and workflow solutions, announces its new CFexpress™ Type B cards. First demonstrated by the company in April 2018 at the National Association of Broadcasters Show (NAB) Las Vegas, CFexpress Type B offers next generation memory card performance by leveraging PCIe, Gen 3 interconnect with NVMe 1.3 host controller interface. ProGrade Digital CFexpress cards provide read speeds up-to 1,700MB/s, and burst write speeds up-to 1,500MB/s. Two performance levels are available: Cobalt label: delivers minimum sustained write speed of 1400MB/s for both 325GB and 650GB cards – specifically designed for high resolution video capture and long, sustained burst image capture applications; Gold label: delivers minimum sustained write speeds up to 400MB/s depending on card capacity – ideally suited for a broad range of still and moving image capture applications.
ProGrade Digital CFexpress Gold label cards are available now at progradedigital.com, B&H Photo and Video, Adorama.com and Amazon in most countries around the world. Cobalt label cards will be shipping by late June.“Since demonstrating the capabilities of CFexpress in early 2018, ProGrade Digital has been evolving this technology from the first cards introduced at the end of 2019 to these new, fasterand lower power cards we are shipping today,” said Wes Brewer, founder and CEO of ProGrade Digital. “We are now able to offer the widest range of CFexpress card choices to meet both current and future needs of all leading-edge imaging applications. Coupled with our new CFexpress Thunderbolt 3 and USB 3.2 Gen 2 high speed readers and our Refresh Pro performance restoration and health monitoring software application, our customers have a complete solution for capturing and downloading still and video images as well as enhancingtheir digital imaging workflow.”
ProGrade Digital CFexpress portfolio:
CFexpress Type B Cobalt and Gold both deliver:
The CFexpress Type B form factor is gaining broad industry adoption due to its backward compatibility with XQD, and its open industry standard support from major device manufacturers.
All ProGrade Digital memory cards have a laser-etched serial number on the back and readers have a printed serial number. A customer can register their serial number at https://progradeditigal.com/register to stay up to date on the latest technology developments.
*Refresh Pro functionality requires ProGrade Digital Refresh ProTM software application and a ProGrade Digital card reader.
by Sean Setters
Bruce, a site visitor, forwarded us a post by weather.com – ISS Crosses in Front of the Moon Captured in Rare Video. Coming across the weather.com post, Bruce had been reminded of an article we posted 2 years ago offering tips for photographing the International Space Station as it crosses the moon. And after seeing the video, I was eager for my own opportunity to film the ISS transiting the moon.
As luck would have it, an ISS transit of the moon visible from a location near me (about 1/2 mile away) was scheduled to occur the very next evening at 10:44 PM Eastern Time. With a calendar entry set to remind me an hour before the event, I was ready to narrow down what gear to take.
As the Canon EF 300mm f/4L IS USM is the longest telephoto lens I own, using it was an easy choice. But my previous experience photographing an ISS transit with a 300mm lens left me wanting for a longer focal length/closer view. Since then, I had picked up two key pieces of gear that would help me get a more magnified view of the moon in my video – a Canon EF 1.4x II Extender (predecessor to version III) and a Canon EOS R.
But how would an EOS R help me get a more magnified view? The 4K crop factor (1.75x), a bane to those who desire ultra-wide angles of view, is a big benefit when one is focal length deficient for a particular endeavor. The setup left me with a manageable 725mm equivalent focal length (300mm x 1.4 x 1.75).
Unfortunately, a limitation of utilizing 4K for capturing the event would be the 30 fps frame rate. I seriously considered setting the camera to high frame rate recording (120 fps), but the camera can only record at a max resolution of 720p in that mode and movie cropping (to provide a similar magnification) is unavailable. In other words, I was faced with a choice of either capturing high resolution video at a higher magnification or lower resolution video at a lower magnification but with a 4x faster frame rate (useful for creating a slow-motion effect). In the end, I opted for shooting in 4K to record the moon as large in the frame as possible with a resolution that would enable me to scale the video with decent quality.
Because it was so close to my home, I arrived at the shooting location only about 15 minutes before the event. I set up my Induro tripod, attached the EOS R to the tripod's Arca Swiss Z1 ball head, and proceeded with adjusting the camera settings accordingly. Up until that moment, I hadn't yet decided on what shutter speed strategy to use. Typically speaking, your shutter speed should be set to a reciprocal of double the frame rate (for 30 fps video, a 1/60 sec is optimal). However, I at that time I wasn't absolutely certain that I wouldn't want to slow down the 30 fps video a bit in post. Knowing that the transit would occur very quickly, I was concerned that if I did slow down the video, the ISS's fast motion would leave little of its detail remaining if using a 1/60 sec shutter speed. However, using a much faster than twice-the-reciprocal-framerate shutter speed can lead to an unnatural look. In a spur of the moment decision (and with transit time quickly approaching), I set my camera to the following settings to gain the desired exposure while maintaining a near multiple of my 30 fps frame rate: f/6.3, 1/250 sec, ISO 100.
About a minute before the transit was scheduled to take place, I hit the record button and anxiously awaited the ISS's crossing. Roughly a minute after the event time, I stopped the recording. Even though I had been watching the moon throughout the recording, I never saw the transit take place until I was processing the video in Premiere Pro a short time later.
And speaking of processing, I actually produced two versions of the video. The one below is the first option I produced. The ISS's fast motion and shape reminded me of an Imperial TIE Fighter from Star Wars, so I thought the dramatic music seemed appropriate:
However, knowing the cinematic-style music may not be for everyone, I created the second version (featured at the top of this post) with different music. I recommend watching the embedded videos full screen on the highest resolution setting using the largest display available to you. Otherwise, you may not be able to see the transit in the normal magnification portion of the video.
So which version do you prefer? Let us know in the comments.
Just posted: Wimberley WH-200-S Sidemount Head Review.
The WH-200-S is an excellent choice for big lens needs.
Firmware update for SIGMA 14-24mm F2.8 DG DN | Art for Sony E-mount
Thank you for purchasing and using our products.
We are pleased to announce that a new firmware update for the SIGMA 14-24mm F2.8 DG DN | Art for Sony E-mount is now available.
Benefit of the update
To update the firmware, please refer to this link.
Want a really strong, high-quality tripod for a reasonable price? The RC-8860 might have your name on it.
The Robus RC-8860 Vantage Series 5 Carbon Fiber Tripod is in stock at B&H and Amazon USA
With a front/dual channel toggle switch, microphone input, and a low price point, this microphone will soon be the favorite of many vloggers.
That is a lot of stairs.
I previously shared a Hudson Yards Vessel image (with a longer story) but decided to add another to the RF 15-35 gallery. The Vessel is full of symmetry, and the elevator provides an eye-catching contradictory element. In the other Vessel image shared, using the elevator rails compositionally was suggested, and this image illustrates that suggestion. Aside from some background subjects and incidentals, the elevator rails are this image's only non-symmetrical element, and being different stands out.
Being different also makes the Canon RF 15-35mm F2.8 L IS USM Lens a standout.
Portland, OR – Lensbaby – makers of award-winning DSLR & mirrorless lenses, optics and accessories announces today that it is launching into summer with a creative bang, giving away over $7,500 in prizes in its “#shootextraordinary Summer Giveaway."
Michael Anthony, VP of Sales and Marketing, says “As a brand, we feel like now more than ever we have a responsibility to bring some light and inspiration to creatives. This contest is not only about doing something fun, but supercharging someone’s creative life and challenging photographers everywhere to capture the extraordinary.” #shootextraordinary Summer Giveaway partners, along with Lensbaby, include Sony, Holdfast, Level Up, Magmod and SLR Lounge.
Entry begins Tuesday, May 26 through June 19th at 11:59 a.m. Winners will be announced on June 20th, the first day of summer. Enter via the contest page here.
Grand Prize (One Winner):
No purchase is necessary to win. Winners will be selected by random draw. Must be 18 to enter. Prizes cannot be redeemed for cash or exchange.
From Canon USA:
YOU ASKED, CANON DELIVERS: THE EOS WEBCAM UTILITY BETA SOFTWARE* NOW AVAILABLE FOR MAC OS1 USERS
MELVILLE, N.Y., May 27, 2020 –– After tens of thousands of downloads and comments from Canon brand loyalists, the EOS Webcam Utility Beta software* has expanded, and is now available for macOS users. Unveiled today by Canon U.S.A., Inc., a leader in digital imaging solutions, for select EOS Interchangeable Lens Cameras (ILC) and PowerShot cameras, this beta version solution converts a compatible Canon camera into a webcam through a simple USB connection. Users were heard through multiple Canon social media channels, customer comments and media inquiries.
Similar to the Windows operating system version released April 28, the new macOS compatible software solution requires one single USB plug (which may need to be purchased separately) to connect the compatible camera to the computer. Once the software is downloaded and the camera is configured within a video conferencing application, the user will have improved video appearance while participating in video conferencing and virtual meetings.
To learn more, including whether your Canon EOS ILC or PowerShot camera is compatible, and to download the EOS Webcam Utility Beta software for both macOS and Windows, visit Canon.us/eoswebcamutility.
If you’d like to ask questions or provide feedback pertaining to the EOS Webcam Utility Beta software for macOS, please visit our forum, Canon.us/forum-eoswebcamutilitymac.
* EOS Webcam Utility Beta software is a Beta version and it may contain errors. This Software is for use in the United States of America only, and will not be supported outside that area.
1 The following macOS versions are supported: macOS 10.15 Catalina, macOS 10.14 Mojave, macOS 10.13 High Sierra
View the step-by-step tutorial.
New Video-Forward Design and Compact Body Packed with Advanced Imaging Technology and Easy-to-Use Functionality
SAN DIEGO – May 26, 2020 – Sony Electronics Inc. today has announced the new pocket-sized digital camera ZV-1 (hereafter referred as “ZV-1”) – a lightweight, compact “all-in-one” style solution. Designed from the ground up for content creators and vloggers, the ZV-1 combines easy-to-use features with uncompromising imaging technology, making this the perfect tool for any content creator at all skill levels. “Sony’s new ZV-1 was purpose-built to meet the needs and demands of today’s video creators,” said Neal Manowitz, deputy president of Imaging Product and Solutions Americas at Sony Electronics. “We are always listening to our customers, and this camera is the result of direct feedback from our extended community. Featuring an innovative design plus many new technologies, settings and modes, it will allow creators to make content in ways they have never been able to before.” The ZV-1 features a 1.0-type stacked Exmor RS® CMOS image sensor with DRAM chip and 24-70mm[i] F1.8-2.8 ZEISS® Vario-Sonnar T* large-aperture lens creating beautiful background bokeh (background blur), allowing the subject to stand out from the background. The camera locks on to and tracks subjects with high accuracy and speed using Sony’s leading-edge autofocus system. The ZV-1 also includes the latest-generation BIONZ X™ image processor with front-end LSI delivering high resolution as well as low noise for superior image quality. It also combines this exceptional imaging technology with high-quality and versatile audio options. The ZV-1 is Sony’s first compact camera with a side-opening Vari-angle LCD screen, making it easier to compose your shots in selfie mode while connecting external audio accessories. To meet any video need, the ZV-1 contains advanced video features including 4K movie recording[ii] and in-body image stabilization.
Meeting the Needs of Today’s Content Creators
Quickly Switch Between two modes of Background Bokeh
The ZV-1 offers a simple solution to easily switch between two levels of background bokeh while recording. Using the new Background Defocus function, users can rapidly adjust the optical aperture between more and less background defocusing blur without losing focus on the subject. Located on top of the camera, this Bokeh button is easily accessible and makes selfie shooting operation a breeze.
Focus on the Subject You Want
The ZV-1 makes it easier than ever to shoot product reviews and similar video content. Gone are the days of placing a hand behind an object to prompt the camera to bring it into focus thanks to a new Product Showcase Setting, which allows for quick and smooth focus transitions between the subject’s face and the object placed in front of the lens. Building on the leading-edge technology developed for a™ (Alpha brand) and RX series cameras, this new compact camera includes advanced autofocus (AF) allowing it to lock on and track subjects with high accuracy and speed while recording. For maintaining focus on the intended subject or subjects in busy environments, Real-time Eye AF[iii] and Real-time Tracking AF for video allows the ZV-1 to seamlessly switch focus between multiple subjects while controlling the AF speed and tracking sensitivity.
Prioritize Your Face
Extreme changes in lighting, like walking outside on a sunny day and suddenly moving from a bright location into shade, are no problem for the ZV-1 thanks to the new Face Priority autoexposure (AE) function. It detects and prioritizes the subject’s face and adjusts the exposure to ensure the face is depicted at an ideal brightness in any environment. This AE technology also suppresses an abrupt change in exposure if the subject quickly turns away from the frame to eliminate unexpected blown-out or extremely dark shots. In addition, the camera features a new advanced color science that has been re-engineered to optimize skin tones for any subject in both still and video modes.
Crystal Clear Audio
High quality content requires clear, excellent audio quality, and the ZV-1 is well-equipped to produce just that with reliable and versatile audio options. The ZV-1’s onboard mic features Sony’s latest Directional 3-capsule Mic which was designed for forward-directional audio capture, allowing for clear capture of the subject’s voice while minimizing background noise, especially when operating in selfie mode. For added flexibility, the ZV-1 also features an industry standard mic jack (3.5mm) and Multi Interface Shoe™ (MI shoe) making it easy to connect a wide range of external microphones. The ZV-1 is also supplied with a wind screen[iv] accessory that fits on the MI shoe to minimize wind interference.
Design and Functionality Optimized for Vlogging
The ZV-1 was designed with content creators and vloggers in mind. This compact, lightweight (approx. 294g / 105.5mm x 60.0mm x 43.5mm) camera is the first Sony compact camera with a flip-out, tiltable LCD Screen, allowing creators to simplify their setup by utilizing the MI shoe for optional external mics without the need of an additional mounting bracket. Comfortably operate the ZV-1 with one hand thanks to the easy-to-hold comfortable grip and a large movie REC button located on the top of the camera for quick access to video recording, as well as a recording lamp on the front of the camera that indicates if the camera is actively recording.
The ZV-1 also includes advances in image stabilization, ensuring steady video even when shooting hand-held while walking. When recording in HD (Active mode), optical and electronic stabilization methods are combined to reduce shaking up to 11 times[v] that of standard SteadyShot™ image stabilization. When shooting 4K video using Optical SteadyShot (Active mode), there is improvement in stabilization effect of up to 8 times[vi] that of standard SteadyShot. The ZV-1 is also compatible with the GP-VPT2BT Shooting Grip with Wireless Remote Commander, offering additional stability and comfort combined with cable-free Bluetooth® connectivity.
Class-Leading AV Features
Despite the small form factor there are a multitude of pro-level movie making capabilities, including:
Live Streaming with the ZV-1
Transform the ZV-1 into a webcam by connecting it to a PC[xv] via USB, which allows content creators to interact with their followers in real-time while also utilizing the advanced imaging technology and unique features of the ZV-1. Sony’s new PC software will be available in July 2020.
New Vlogger Accessories Kit
Sony will also be introducing a Vlogger Kit (ACCVC1), which includes a GP-VPT2BT Shooting Grip with Wireless Remote Commander and 64GB Ultra High Speed Media Card. The grip is compatible with a variety of Sony cameras[xvi]. Pair this kit with an external microphone (sold separately), such as Sony’s Stereo Microphone (ECM-XYST1M), for a convenient and simple vlogging setup.
Pricing and Availability
The Digital Camera ZV-1 will be available in June 2020 for a special introductory price of approximately $749 USD through June 28, 2020. After that, the price will increase to approximately $799 USD. The ZV-1 will be available in Canada for approximately $999 CAD.
The ACCVC1 Vlogger Kit will be available in June 2020 with a special introductory offer of $50 off when purchased together with ZV-1 (at participating retailers) through June 28, 2020 in U.S. and June 25, 2020 in Canada, and can be purchased separately for approximately $149 USD and $199 CAD.
Exclusive stories and exciting new content shot with the new camera 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’s a - Alpha brand.
Thank you for purchasing and using our products.
We are pleased to announce that a new firmware update for the SIGMA 14-24mm F2.8 DG DN | Art for Sony E-mount is now available.
Benefit of the update
To update the firmware, please refer to this link.
For further information, please contact your nearest authorized SIGMA subsidiary / distributor. We appreciate your continued support for our company and products.
Just posted: Sony FE 2.0x Teleconverter Review.
Sometimes, using a 2x is the right option.
Just posted: Sony FE 1.4x Teleconverter Review.
This is a high-performing compact teleconverter that makes a great addition to a kit that includes one of the compatible Sony telephoto lenses.
From the Adobe Photoshop YouTube Channel:
Learn how to improve your layer effects and styles with these 10 tips. For more in-depth tutorials, training, techniques, and shortcuts for working with Adobe Photoshop and Lightroom, check out Julieanne’s blog.
Notice about 70-180mm F/2.8 Di III VXD (Model A056) Operation
Dear Tamron product users and potential purchasers. Thank you for your interest in Tamron products.
We would like to announce that we found some issues with our new lens, 70-180mm F/2.8 Di III VXD (Model A056) for SONY mirrorless cameras, which will be released on May 14, 2020.
Applicable camera models: a7 II
Please turn the inner body image stabilizer function “OFF” when you use this lens at less than an 85mm focal length.
Applicable camera models: a7, a7 II, a7R, a7R II, a7S, a7S II, a5000, a5100, a6000 a6300, a6500, NEX-3N, NEX-5R, NEX-5T, NEX-7, NEX-F3, NEX-6
We are currently working on the cause of the error and expect this to be solved with a firmware update. Early June is the target date for the release of the firmware update.
Regarding the firmware updating process, please be assured that the process is accomplished directly through the SONY camera and supported by the Sony firmware updating function. As soon as the process is finalized, we will explain the process in detail on our website.
We sincerely apologize to all users and potential purchasers for any inconvenience this issue may cause.
Notice about 17-28mm F/2.8 Di III RXD (Model A046) Operation
Dear Tamron product users and potential purchasers.
Thank you for your interest in Tamron products.
We would like to announce that we found an issue with our 17-28mm F/2.8 Di III RXD (Model A046) for SONY mirrorless cameras.
Applicable camera models: a7, a7 II, a7R, a7R II, a7S, a7SII, a5000, a5100, a6000, a6300, a6500, NEX-3N, NEX-5R, NEX-5T, NEX-7, NEX-F3, NEX-6
We are currently working on the cause of the error and for the solution to this matter. We expect this issue to be resolved very shortly and we will release a firmware update at that time.
Regarding the firmware updating process, please be assured that the process is accomplished directly through the SONY camera and supported by the Sony firmware updating function. As soon as the process is finalized, we will explain the process in detail on our website.
We sincerely apologize to all users and potential purchasers for any inconvenience this issue may cause.
Just posted: Robus RCM-439 Carbon Fiber Monopod Review.
No-brainer. Just get one.
Just posted: Sony FE 70-300mm f/4.5-5.6 G OSS Lens Review.
This is a useful lens to have available in the kit.
I've wanted to refresh the site's logo for a long time and recently was able to make that happen. I know, this isn't the most timely post (the new logo went up a bit over a week ago), but for those who have not been on the site for the last week, check it out.
Additional (ongoing) site changes have also been made, primarily to improve the mobile experience. There's always much more to do.
From the Adorama YouTube Channel:
Feathering a light is so much more than simply turning it away from your subject. In this video photographer, Gavin Hoey takes you through why feathering light is an essential studio lighting skill and how he uses it to control light in his small home studio.
Although the most common way to feather a light is to move it horizontally, Gavin also shows you how vertical feathering can open up more lighting options. He also bursts a popular portrait myth that feathering a light will give a softer light.
From the Adorama YouTube Channel:
In this video, Pye shows you 5 great tips for photographing portrait subjects in urban locations using nothing but natural light. You can create these shots using any gear!
Production Equipment Used: