These adorable little fawns were playfully bounding all around and then stopped in an ideal location to check me out.
Few animals are cuter than whitetail fawns.
With the fawns beyond the idea 400mm range, it was great to have the 1.4x extender available with only a throw of the switch.
There would not have been time to mount an external 1.4x extender in this situation.
With the sun shining, not a cloud in the sky and the local vegetation finally awakening from its wintry slumber, I thought it would be a good time to venture out with my Super Color IR-converted EOS 7D to see what I could find.
Not wanting to stray too far from home, I ended up at a nearby defunct dairy farm where – fun fact – they filmed a couple of scenes from the movie Forrest Gump.
One of the greatest things about having a camera in your hands is that it feels like a you have passport for exploration, sparking the impulse for embarking on new adventures.
Unfortunately, my exploration on this day revealed that the area is not as scenic as it was at the time the movie was filmed.
A nearby dike failed many years ago flooding the low-lying areas with salt water, killing many of the trees such as the one above, the catalyst for my spending a few minutes capturing its curvy branches in isolation against a distant background and rich, blue sky.
I had originaly planned on desaturating the yellow tones so that the vegetation would appear white (the more traditional IR look I had in mind when setting off from my studio), but doing so resulted in the tree no longer standing out as well, so I instead opted to leave the grass and shrubs yellow after switching the red and blue color channels (more IR image processing in the IR Conversion Review).
In this video, SLR Lounge teams up with B&H to give you 5 long-exposure tips to maximize creativity. From creating silky smooth water effects to capturing subjects under the Milky Way, you’ll learn a handful of techniques that will raise your photography game.
As we continue to maintain the site's sharpening standard for Canon images, one needs to keep the differences in the results of this setting between cameras in perspective.
Here is a Canon EF-M vs. EF 200mm f/2L lens comparison with the L at f/4, an extremely sharp lens and aperture combination.
The little 32 is a remarkably sharp lens.
Years ago, you could expect good reasonable customer service from almost any photography gear manufacturer.
Today, however, that isn't necessarily the case.
Therefore, we like to draw attention to companies that offer more than just great products, but seem to go above and beyond the competition to support their customers' needs.
I recently posted an image of a surfer taken at nearby Tybee Island.
While I experienced many technical difficulties during that session, one thing I didn't mention was what I noticed as I loading up the car and getting ready to leave.
After brushing the sand off the Matthews Maxi Kit Steel Stand I had been using, I placed it in the trunk of my car.
As the light stand hit my trunk, sand started pouring out one of the legs.
That's when I realized an end cap on one of the light stand's legs was missing.
After all of the frustration I had endured throughout the session, I didn't really feel like combing the beach to find my missing end cap.
Regardless, back to the beach I went.
The rising tide which had been encroaching on our shooting location shortly before packing up had erased the telltale signs of the exact spot where my light stand had been.
There was no hope of finding the relatively small plastic end cap, assuming it had been lost on the beach and not somewhere else before I had arrived.
I gave up after only a few minutes of aimless searching.
Once I arrived home, I immediately put a ring of gaffer tape around the leg that was missing an end cap to alert me of the missing accessory which could result in a scratched surface if the stand were used on certain types of flooring.
While doing so prevented me from using the stand on a floor where it may cause damage (wood, tile, etc.), the gaffer tape obviously didn't fix the problem.
What I needed was another end cap.
My Experience with Matthews Studio Equipment's Customer Service
When I called the Matthews Studio Equipment phone number, an operator answered the phone and asked which department I would like to be connected with.
First off, an actual operator answering the phone was a refreshing change from the typical automated answering service that I end up screaming at in vain before my call is finished.
I told the operator my problem, and she politely said, "You need the parts department. I'll connect you now."
Well, that was easy enough.
Unfortunately, with Matthews Studio Equipment being in California, it was roughly lunchtime when I called and no one answered.
However, the mailbox message requested that I leave my name and phone number and that someone would call me back, which I did.
Fast forward to the end of the California workday (5:00pm their time, 8:00pm Eastern Time) and I get a call from Stuart in the Matthews Parts Department.
I told him that I needed the end cap for a Matthews Maxi Kit Steel Stand, part #387485 because one of mine was missing.
He said, "Ok. I have a few of those right here. What's your email? I'll need you to send me your mailing address."
At this point, I'm a bit confused. I realize the plastic end caps for my light stand are probably not an expensive accessory, but I'm wondering when he's going to tell me the price of the items, how much shipping will be and how exactly I will pay for the desired gear.
I assume all the details will be in the soon-to-arrive email.
A few minutes later, Stuart's email arrived with no subject line and a simple "Hello" in the body, to which I replied with my address and the following:
Just let me know how much I owe you and the preferred method of payment and I'll make it happen.
His reply came the following morning right as the California workday began.
I will mail these out to you today free of charge. No payment needed.
Have a good day
Again, I realize these end caps (they sent a set of 3) weren't expensive items. In fact, shipping them to me likely cost as much (if not more) than what a company might typically charge for them.
But that's not the point.
When you purchase high quality products from a well-known and well-respected manufacturer like Matthews Studio Equipment, you get the type of customer service that their reputation is built upon.
Yes, their equipment is priced a little higher than its competitor's products, but you'll likely find dealing with Matthews' customer service to be easier/more pleasant than dealing with the customer service department of a competing (cheaper) brand based in different part of the world.
And even if those other brands offer similar customer service, it's highly unlikely that a replacement part coming from – for example, Asia – will arrive as quickly as one coming from California (for USA citizens, at least).
My replacement feet arrived a few days later.
My light stand is now whole again, and I take comfort in knowing that Matthews Studio Equipment's reputation for excellence and commitment to its customers is well earned.
For your light stand and other studio equipment needs, Matthews gear should be at the top of your short list. They'll take care of you.
Whereas the standard DJI Ronin-S comes with a focus wheel, control cables, a power adapter, and other accessories, the Essentials Kit includes the gimbal and the key accessories required to go out and begin shooting. There's a difference of only several accessories, accompanied by a substantially more affordable cost, and you can always add a focus wheel or other accessory at a later point.
The Christmas cactus that spends most of the year looking rather mundane, essentially green foliage in a pot, finally opened a single bloom.
These blooms last only a couple of days, they are irresistibly-beautiful, and I decided that testing the Canon EOS RP's focus stacking feature was a good excuse to photograph this one.
Just add water, because water usually makes an image better.
I was staying ahead of this bull and his harem in a large meadow for perhaps 30 minutes when we arrived at a small pond that I didn't even know existed.
At the other side of the pond (my side) was a tall, steep bank down to a stream at the bottom.
While determining if this bull's nose-up threatening pose was meant for me or the cows he was tending, I captured a large number of frames with the 600mm focal length quickly becoming too long.
Just as I was about to go down the bank, the bull turned back to the cows and the opportunity stayed alive.
It was a hot morning and the elk were cooling themselves in the water.
Especially fun was that some of the calves were using their hooves to splash water onto their backs.
It was an awesome experience.
Professional photographer Andy Marcus shares 5 quick tips on how to prepare for a wedding shoot. From bringing all the right equipment to backing up your photos, these practices are a must for running your wedding-photography business.
Topaz Labs provided us with a pre-release copy of Sharpen AI a while back so we could try it out.
Loading a slightly blurry portrait into the software and seeing the results left me extremely impressed.
In fact, Topaz is using the exact portrait I tested the software with as a sample image on Sharpen AI's product page.
Because of downsizing, the image above doesn't really showcase what Sharpen AI can do. Here's a closer look at the difference.
To get an even better idea of the difference, download the rull resolution original image here and then run it through the trial version of the software. Pay special attention to the subject's face/glasses and necklace pendant after adjusting Sharpen AI's parameters.
The great thing about machine learning algorithms is that they get better over time. I'm excited to see how far this type of technology will take us considering how well it works right now. [Sean]
From Topaz Labs:
We've all had the disappointing moment where your "perfect photo" is blurry, out-of-focus, or just not quite sharp enough.
You viewed the image in your camera and thought you had captured the perfect moment, only to be disappointed once you see the photo on your computer screen.
Now there's a solution.
Introducing Sharpen AI
Sharpen AI is the only sharpening tool to understand the difference between detail and noise by learning through millions of images.
This means it will focus on sharpening the things you actually want to sharpen, rather than artifacts or noise.
Use it to create beautifully sharp images from even handheld, low-light, and fast-moving photos - try Sharpen AI today!
Get Sharpen AI today for the special introductory price of $59.99, originally $79.99, available until March 15th.
Sharpens and Defines
Most commercial sharpening tools will sharpen everything in your image - including noise.
Sharpen AI only sharpens the things you want and brings out the detail and definition in your shot.
It only sharpens the good stuff.
When shooting a moving object or in a low-light scenario, motion blur is a common problem.
Sharpen AI uses machine learning to stabilize motion blur in your images for a crisp clear result.
Theoretically, there is no way to recover lens blur in your photos.
Sharpen AI remembers patterns in your image and can rescue a blur within ten pixels.
When your image is just slightly out of focus, Sharpen AI provides the solution.
How does this compare to other products?
Unlike other sharpening products, like Photoshop Shake Reduction, Sharpen AI is the first product to use machine learning to fill in the details that other sharpening tools leave out.
The AI technology delivers a crisp, clear image that is full of detail.
On February 28, 2019, Samyang Optics, a global optics brand, launches its first two lenses in Canon RF mount: : MF 14mm F2.8 RF MF 85mm F1.4 RF, as part of the ‘Spring Collection’.
Responding quickly to the latest camera market with advanced technology
As there are currently no Canon EOS R EOS RP camera lenses from brands other than Canon itself, Samyang’s new RF mount launch announcement is a fast response to customer demmarket trends.
It also proves the competitiveness of Samyang as a leading optical manufacturer.
Launching two RF mount lenses from the viewpoint of end users
Samyang’s existing line-up includes a wide variety of lenses, from ultra-wide angle to telephoto.
Their first two RF mount lenses reflect key models in the existing wide-angle telephoto lens line-up, which shows Samyang’s commitment development strategy, based on consumer demconvenience.
The Samyang MF 14mm F2.8 RF is an ultra-wide-angle, manual-focus lens with excellent sharpness, even at its maximum aperture.
The 115.7° wide angle of view is suitable fshooting landscapes, interiors, etc.
the lens hood effectively blocks unwanted light so you can shoot freely.
The Samyang MF 85mm F1.4 is a cherished lens design, loved by photographers fits beautiful bokeh.
The new MF 85mm F1.4 RF is ideal ftop quality portraiture still images with its vivid colours smooth out-focus quality.
Both lenses minimise aberration unnecessary light dispersion through the use of Samyang’s exceptional optical technology Ultra Multi Coating (UMC).
In addition, a new exteridesign weather sealing provide a contemporary simple look that matches well with mirrorless cameras, along with protection from light rain snow.
The first two RF lenses from Samyang will be displayed at CP+ 2019 (an international comprehensive camera photo imaging show in Japan / Feb 28th – Mar 3rd) Samyang will provide hands-on experience to visitors during the show.
New AI-Integrated Platform Can Help Photographers Advance Their Craft, Save Time with an Improved Workflow as well as Easily Organize and Share Their Photos
MELVILLE, NY, February 27, 2019 – In 2017, approximately 1.2 trillion photos were taken; turning millions of people into prolific photographers1, who are spending a tremendous amount of time arranging and searching through their library of photos.
To help photographers streamline their workflow and continually improve their craft, Canon U.S.A., a leader in digital imaging solutions, today announced the company’s first online photo-community platform – RAISE.
This new platform utilizes artificial intelligence (AI) to help photographers organize and categorize their photos through auto-tagging.
Features and benefits of RAISE include:
Organize – Through the use of Canon’s AI engine, photos uploaded to the platform can be auto-tagged through category and subject tags, as well as photo-centric tags such as the composition, style, emotion and color. Users can upload high-resolution JPEG images to the platform and all photographers retain ownership of all images uploaded to RAISE.
Explore – Photographers can receive insights from the RAISE community to learn and help improve their skills to step-up their photography. They can also draw inspiration from the platform with a feed personalized for them based on their own uploaded photos, tags and preferences.
Share – Photographers can create Collections within RAISE to privately share with current and prospective clients as well as loved ones, who may not be a part of the RAISE community. A photographer’s work can also be shared publically within the community to receive recognition as well as photo-centric compliments from other photographers, like “great lighting,” beautiful composition,” etc.
An Adobe Lightroom plugin version of RAISE, which is compatible with Adobe Lightroom Classic CC, is currently scheduled to be released next month.
This will further enhance the usability of the RAISE features such as auto-tagging images within a user’s Lightroom library through RAISE collections in the platform.
“Creativity is born from community – from collaboration with like-minded individuals,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc.
“With RAISE, we are building that community for photographers.
Through this new platform, photographers from all different professional backgrounds and skill sets can come together to share their talents and connect with others in the community.
Simply put, we hope RAISE will inspire the next generation of photographers to RAISE the bar and propel their creativity to new heights.”
The new platform along with Canon’s latest solutions will be showcased at this year’s Wedding Portrait & Photography Show (WPPI) in Las Vegas from February 27 - March 1 in the Canon booth #121.
For more information about RAISE and/or to join the community, please stop by the Canon booth at WPPI or visit, raise.usa.canon.com.
Being a surfer enthusiast in Savannah, GA is a rough life; the waves found along Tybee Island (the nearest beach) are rarely conducive to "hanging ten."
Such is the story of Dagny, someone who loves to surf but rarely finds conditions here favorable for her pursuit.
On this day, however, the waves were "ok" and Dagny had just finished about an hour of surfing along a nearby shoreline.
She had obviously been having fun.
I, on the other hand, had been plagued by one issue after another since arriving at the beach at 9:00am. Let me explain.
When I arrived at the south end of Tybee Island to meet Dagny at 9:00am, there was a fairly dense fog along the shoreline.
Dagny wanted to do some surfing but also wanted a picture, so the first question to answer was, "Which do we do first?"
Since the waves were looking good to Dagny and the fog was looking questionable from a photographic standpoint, I told her to go ahead and surf and I would signal to her when I was ready to start shooting.
This would allow me time to scout out a suitable location, set up my lighting gear and hopefully give the fog some time to clear.
In hindsight, telling Dagny to hit the waves ahead of our shoot had another great benefit; it allowed me time to methodically work through the problems I was destined to face without having an increasingly impatient subject stare on with resentment for stealing her away from the best waves of the day.
When shooting at the beach, I generally prefer to transport only the items I intend on actually using to the sandy location.
This approach lessens the amount of cleanup necessary once the shoot is finished.
However, a downside of this technique is that if technical issues are experienced, one is required to go all the way back to the car to retrieve backup items.
As I would come to realize, that's a pretty major downside.
After scouting out a good location on the beach, I went back to my car in a [relatively] nearby parking lot to plan out my gear needs.
At that time, it was still quite foggy and I was unsure if it would clear completely before we started shooting. I decided that limiting the amount of space between the subject and me would be a good idea for optimal contrast.
Therefore, I opted for a Sigma 50mm f/1.4 DG HSM Art Lens on my Canon 5D Mark III instead of the Canon EF 135mm f/2L USM Lens I had originally planned on using.
Backup #1 [Lens]: Sigma 50mm f/1.4 DG HSM Art Lens (for Canon EF 135mm f/2L USM)
To allow me to shoot at my max flash sync speed (for these studio strobes, that's 1/160 sec), I put a 4-stop neutral density filter on the lens knowing that it wouldn't be enough density to allow me to use a wide-open aperture at my base ISO (100), but it would allow me to use a wider aperture than I would have been able to without the ND filter in place.
I'm always leery about using a softbox and/or umbrella on the beach because, even with sand bags in use, the large surface area of those modifiers can cause significant problems when wind is added to the equation.
However, I love the soft light I get with softboxes and umbrellas, so they are generally my first choices if the weather allows for their safe use.
The beach wasn't as windy as it has been in the past, but... I still didn't think it was a good idea to attach what amounts to a sail to my light stand.
Therefore, I opted to mount a Mola Demi Beauty Dish (with Opal Diffuser) to my White Lightning X3200 studio strobe, powered by a battery pack.
The 22" diameter, sturdy metal modifier has proven to be a solid choice in the past in windy conditions, so I was glad I brought it.
After transporting my light stand, studio strobe, beauty dish, battery pack, power cord, radio trigger with cord and two sand bags to the beach, I plugged everything in, turned on the battery pack/strobe/radio trigger and pushed the "Test" button on my trigger to fire the strobe.
Ok Sean, let's work the problem. Are the trigger and receiver on the same frequency? Yes. Am I sure I turned on the trigger? It doesn't appear to be blinking (a sign that it's on). I pressed the receiver button again (which should trigger the strobe in addition to turning the unit on), but nothing happens.
"Ahh, the batteries in my receiver are dead."
So, off to the car I went. While I did have some extra batteries in the car, I chose instead to grab a different radio receiver as the batteries are somewhat difficult to replace in these things.
And, back to the beach.
Backup #3: Radio Receiver #2 (for Radio Receiver #1)
With the new radio receiver plugged into the studio strobe (and blinking), and everything powered on again, I hit the test button on my trigger and... again, nothing.
However, a quiet moment between the waves and various beach sounds reveals a barely audible beeping coming from my battery pack.
It doesn't usually beep, so my guess is that it's trying to tell me something (later tests would reveal that my battery pack's battery had just failed).
Once again, it's time to go back to the car with a nearly 20 lb battery pack so that I can return with its replacement (an identical unit).
Backup #4: Battery Pack #2 (for Battery Pack #1)
After returning to the beach with the new battery pack, plugging everything back in and turning everything back on, I hit the test fire button on my trigger.
This is getting old. At this point, everything I've replaced has been a validated problem.
The radio receiver's batteries were dead and the unit was replaced with a working one.
The battery pack's battery had failed (even though it had been charging all night).
Now, even with those issues resolved, my strobe still wouldn't fire.
In one last Hail Mary attempt, I dragged my White Lightning x3200 back to the car to replace it with a Whilte Lightning Ultrazap 1600 that I had also brought along.
Backup #5 [Studio Strobe]: White Lightning Ultrazap 1600 (for White Lightning x3200)
After returning to the beach with the new studio strobe, I once again plugged everything up, turned everything on and hit the test fire button.
Success! The flash fired just as Dagny was walking to our shooting location. She needed a break from surfing, and her timing could not have been better.
Camera settings for the shot atop this post were f/3.2, 1/160 sec., ISO 100 (with a 4-stop ND filter).
The fog had mostly cleared by the time this image was taken, so I wouldn't have technically needed to use the Sigma 50mm Art lens in place of the Canon 135mm f/2L, but I liked the view I was getting at 50mm, so I think it worked out for the best.
I performed basic edits in Adobe Camera RAW and changed the color tones of the highlights and shadows and, after importing to Photoshop CC, I used the Content Aware Move Tool to reposition the three birds for better framing (they were originally more spread out and lower/closer to the left edge of the frame).
I also used the Content Aware Healing brush to remove a very long zipper pull that was flapping in the wind.
If you'd like to see what it was like on the shoot after all the problems had been worked out, check out this behind-the-scenes video.
This was one of those shoots where it seemed that everything that could go wrong did go wrong. However, having a backup of everything (I also had a backup camera along) meant that I could deal with the problems that cropped up and ultimately capture an image that I was very proud of.
When shooting on-location, do yourself a favor – bring a backup of every vital piece of equipment you're taking. You'll often find yourself falling back on one of your backups.
And someday, you may find yourself needing a backup for everything.
A larger version of the image can be seen on Flickr.
Long ago, it seemed worthwhile to include camera model product image comparisons in the camera reviews.
Eventually, we had enough to-scale camera images available to put together a trio of comparison pages showing front, back, and side views.
Today, the available images were overwhelming the simple tools and the next iteration of the comparisons is now live, condensed into a single tool: Camera Images Comparisons Tool.
The tool is not perfect (some views are missing images that were not made available to us), but especially with the new "overlay" feature, I think you will find it very useful.
February 25th, 2019, Seoul, South Korea - Global optics brand, Samyang Optics is pleased to unveil the ‘WORLD'S WIDEST PRIME LENS- DISTORTION-FREE’ (except fish-eye lens) – XP 10mm F3.5 Canon full-frame DSLR cameras (XP 10mm F3.5 for Nikon F will be launched within a few months as well).
XP 10mm F3.5 lens from Samyang encapsulates the brand's universally respected optical technology, especially in the wide angle lens category.
XP 10mm F3.5 provides ultimate ultra-wide-angle coverage up to 130° angle of view with crystal image quality.
A Single lens captures it all – Distortion Free
As the demo premium lenses high-end cameras increases, XP 10mm F3.5 elevates the quality of images provides a burst of creativity the users with its high resolution of more than 50 megapixels distortion free that you can create an outstanding landscape architecture shots.
This lens features a total of 18 lenses in 11 groups.
7 special optic lenses maximizing the image quality from corner to centre in vivid colours.
The use of 3 aspherical lenses, 1 high-refractive lens, 3 extra-low dispersion lenses minimizing distortion extremely various aberrations.
Flare ghost effects are also well-controlled by ultra-multi-coating technology from Samyang.
Now you can capture a wide landscape with 130° angle of view architecture indoors as well in high resolution with distortion-free.
The XP 10mm F3.5 is expected to be the perfect lens for a broader range of photographer cinematographer who wishes to create professional photos videos in exceptional high resolution solid body quality made with metal.
Available in this spring
The absolute resolution XP 10mm F3.5 lens will be available soon at a suggested retail price of EUR 1,099.00.
When photographing non-voice-controllable subjects, the potential of capturing all subjects in the frame with good body positions decreases exponentially with the number of subjects.
With a single subject, capturing a good body position is sometimes challenging but often not too difficult to accomplish.
Add a second subject and the challenge doubles and it doubles again when a third subject is in the frame.
While not every subject in the frame is required to have the ideal pose, it certainly helps when all have one.
I had been hanging with these big boys for several minutes.
When enough distance separated them, it was not too hard to find individual subject poses worth photographing.
When both bulls were in the frame, good opportunities became scarce with the second bull often becoming a distraction to the first.
Photographing groups of animals includes increased challenge, but that challenge serves to make the rewards of success higher.
A larger version of this image is available on Flickr.
Today, Samyang announced via Facebook that it will be releasing 8 new lenses this spring. Samyang's tagline for the new lenses is "A New Perspective," possibly hinting at lenses with specs not currently seen in the marketplace today.
Feb 22, 2019 – Inspired by the focal length and aperture of the widely acknowledged Tokina AT-X 16-28mm F2.8 PRO FX lens, Tokina opera 16-28mm F2.8 FF has been developed with the same concept as the already released opera 50mm F1.4 FF, to offer the photographers another contemporary tool for professional photography.
Super wide angle, superior resolving ability coupled with high contrast and beautiful bokeh rendering, fast f/2.8 constant aperture throughout the zoom range and accurate AF drive system make this lens attractive for photographers who specialize in landscape, interior architect, documentary, environmental style portrait and night sky/time lapse photography genres.
Sales start date worldwide: March 15th, 2019
EAN code: 4961607 634660 (for Canon EF mount full frame)
EAN code: 4961607 634677 (for Nikon F mount full frame)
If you have a couple of minutes, take a look at this For the Love of the Craft feature of Abe Curland, an affiliate account manager at B&H.
Abe has been our own affiliate contact at B&H for several years, and he's always been a delight to work with.
We would like to send our heartfelt "congrats" to him for B&H's recognition of his love of photography and his ability to connect with his affiliates.
In this video, photographer Pye Jirsa describes several tips for shooting portraits at night. While several of the techniques described are relatively common, the whip-pan effect Jirsa illustrates makes watching this video especially worthwhile.
Upon being handed a Canon EOS RP to evaluate, I immediately set up the camera for use.
Following are the 42 steps I took to make an out-of-the-box EOS RP ready for use.
Open the box, find the battery, place it in the charger and plug it in.
While the battery is charging, unpack the other items you want from the box.
Download and install the
Canon Solution Disk software on your computer, gaining support for the latest camera(s).
Canon Digital Photo Pro (DPP) and EOS Utility are the options I manually include in the install.
Attach the neck strap.
Insert the battery (after charging completes) and power the camera on.
The date, time and timezone setup screen will show at the first startup. Use the rear cross keys and set button to update this information.
Insert a memory card (don't forget to format the card via the tools menu option before taking pictures).
Set the camera's mode to Av, Tv or M (some modes provide only a small subset of available menu options).
Scroll through all of the menu tabs to configure the camera as follows:
Shooting Menu, Tab 1: Image quality: Use top dial to set RAW to "RAW" and Cross Keys to set JPEG to "-" (RAW image files provide the highest quality and are especially valuable for post processing work)
Shooting Menu, Tab 1: Image review: 4 sec. (or sometimes off to increase shooting speed in the field)
Shooting Menu, Tab 1: Release shutter without card: Disable (only in a retail store do you want to press the shutter release without saving the image file)
Shooting Menu, Tab 2: Lens Aberration Correction: All options "OFF" (though Chromatic Aberration correction is a good option to leave enabled for most)
Shooting Menu, Tab 3: Photo ISO speed settings: ISO speed range: L(50) – H2(102400) (settings used for testing, adjust to your tolerance)
Shooting Menu, Tab 4: White balance: AWB W (White) (I seldom use another white balance setting while shooting, though I often adjust modestly during post processing)
Shooting Menu, Tab 4: Picture Style: Neutral with Strength = 1 (Note: the low contrast "Neutral" picture style provides a histogram on the back of the camera that most-accurately shows me blown highlights and blocked shadows on the camera LCD. I usually change the Picture Style to "Standard" in DPP after capture.)
Shooting Menu, Tab 5: Long exp. noise reduction: Auto (when active, LENR captures a dark image that is used to correct the long exposure noise in the primary image)
Shooting Menu, Tab 5: High ISO speed NR: Off (or Low) (noise reduction is destructive to images details – I prefer to add noise reduction sparingly during post processing)
Shooting Menu, Tab 6: High speed display: ON (note that the camera must be set to Servo AF and high speed continuous frame rate to enable this option)
Shooting Menu, Tab 7: Touch & drag AF settings: Touch & drag AF: Enable (allows a thumb drag across the rear LCD to quickly move the AF point while looking through the electronic viewfinder)
Playback Menu, Tab 4: Playback information display: 1 and 3 enabled (avoids too many playback information options)
Tools Menu, Tab 4: Shooting info. display: Histogram disp: Brightness/RGB: RGB, Display size: Small (I want to see the brightness levels of each channel separately and don't want the graph to take up much space in the display)
Tools Menu, Tab 6: Copyright information: enter as desired
Custom Functions Menu, C.Fn I: Exposure: 3: Bracketing auto cancel: OFF (I want to control when AEB (Auto Exposure Bracketing) is enabled and disabled)
Custom Functions Menu, C.Fn I: Exposure: 4: Bracketing sequence: -0+ (if images are captured in brightness sequence, they are easier to work with during post processing. Capturing the darkest image first means that I quickly get at least the first frame)
Custom Functions Menu, C.Fn II: Autofocus: 6: Orientation linked AF point: 1:Separate AF pts: Pt only (instructs camera to individually save the selected AF points for vertical and horizontal orientation)
Custom Functions Menu, C.Fn III: Operation/Others: 4: RF lens MF focus ring sensitivity: Linked to rotation degree (I do not like most variable speed AF rings)
Custom Functions Menu, C.Fn III: Operation/Others: Customize buttons: Up, Down, Left and Right buttons: Direct AF point selection
Custom Functions Menu, C.Fn III: Retract lens on power off: OFF (avoids having a carefully-selected focus distance resetting when camera auto powers off)
My Menu: Add the first tab; Register the following options for Tab 1: Format card, Image review (disable when speed is needed), Expo. simulation, Long exposure noise reduction, Date/Time/Zone (great for monitoring what time it is), Expo.comp./AEB (found back up near the top of the list) (nothing in my My Menu is found on the Quick Control display as those functions are already quickly accessed)
With a lens mounted and a subject focused on, adjust the viewfinder diopter until the scene is sharp
Many other menu and other setting changes are made based on the current shooting scenario, but this list covers my initial camera setup process.
To copy this configuration would mean that you intend to shoot similar to how I shoot – including shooting in RAW-only format.
While my setup works great for me, your best use of this list may be for tweaking your own setup.
If you can't remember your own menu setup parameters, keeping an up-to-date list such as this one is a good idea.
Anytime your camera is reset-to-factory state for some reason, such as when being serviced, you will be ready to restore your setup quickly while ensuring that you do not miss an important setting.
If you purchase another same or similar camera, you will be able to quickly set it up.
Operating conditions of the Nikon “Z 6” and SIGMA’s interchangeable lenses for NIKON F mount, and firmware update for SIGMA 24-70mm F2.8 DG OS HSM | Art for NIKON F mount
Thank you for purchasing and using our products.
We would like to announce that the operating conditions of SIGMA’s interchangeable lenses for NIKON F mount on the Nikon “Z 6” and their “Mount Adapter FTZ” are the same as when they are used in combination with the Nikon “Z 7” and their “Mount Adapter FTZ” that we announced on October 26th, 2018.
Furthermore, we would like to announce that a new firmware update for SIGMA 24-70mm F2.8 DG OS HSM | Art for NIKON F mount improves on the phenomenon particular to the lens when it is used in combination with the Nikon “Z 7” or “Z 6” and their “Mount Adapter FTZ”.
For customers who own the SIGMA USB DOCK and applicable product listed below, please update the firmware via SIGMA Optimization Pro. Before updating the firmware using the SIGMA USB DOCK, please ensure to update SIGMA Optimization Pro to Ver. 1.5.0 or later.
SIGMA 24-70mm F2.8 DG OS HSM | Art for NIKON F mount
Benefit of the update
When the lens is used in combination with the Nikon “Z 7” or “Z 6” and their “Mount Adapter FTZ”, it has corrected the phenomenon whereby it may occasionally show overexposure when narrowing down the aperture from F5.6 while shooting.
Firmware update for SIGMA MOUNT CONVERTER MC-11 EF-E
Thank you for purchasing and using our products.
We are pleased to announce that a firmware update for the SIGMA MOUNT CONVERTER MC-11 EF-E is now available.
This firmware makes the SIGMA MOUNT CONVERTER MC-11 compatible with the latest firmware of SIGMA interchangeable lenses.
For customers who own the SIGMA MOUNT CONVERTER MC-11 EF-E, please update the firmware via SIGMA Optimization Pro? by connecting it to a computer using the supplied USB Cable.
Before updating the SIGMA MOUNT CONVERTER MC-11 firmware, please ensure SIGMA Optimization Pro has been updated to ver. 1.5.0 or later.
SIGMA MOUNT CONVERTER MC-11 EF-E
Benefit of the update
It has become compatible with the 17-70mm F2.8-4 DC MACRO OS HSM | Contemporary for CANON EF mount, that has the latest firmware Ver.2.01.
It has become compatible with the SIGMA 18-200mm F3.5-6.3 DC MACRO OS HSM | Contemporary for CANON EF mount, that has the latest firmware Ver.2.01.
It has become compatible with the SIGMA 18-35mm F1.8 DC HSM | Art for CANON EF mount, that has the latest firmware Ver.2.02.
It has become compatible with the SIGMA 50-100mm F1.8 DC HSM | Art for CANON EF mount, that has the latest firmware Ver.2.02.
It has become compatible with the SIGMA 100-400mm F5-6.3 DG OS HSM | Contemporary for CANON EF mount, that has the latest firmware Ver.2.04.
Now included are ISO noise test results and a look at the dynamic range (with comparisons available).
A handful of sample pictures and product images have been added, many additional details have been included and a few corrections were made.
Remember, if you purchase an EOS RP + lens kit before March 30, you'll get to take advantage of up to $300.00 in instant savings and free gear.
Today Aaron shows you how easy it is to make your own custom brushes in Photoshop!
Learn how to turn any shape into a brush and how to add randomness as you paint, perfect for creating realistic atmospheric effects like rain, fog, and snow.
Best of all, our new custom snow brush is included for free in the sample image download!
February 20, 2019, Saitama, Japan - Tamron Co., Ltd. (President & CEO: Shiro Ajisaka), a leading manufacturer of optics for diverse applications, announces the development of two new lenses for full-frame DSLR cameras—the 35-150mm F/2.8-4 Di VC OSD (Model A043) zoom lens and the SP 35mm F/1.4 Di USD (Model F045) fixed focal lens; and a new high-speed ultra wide-angle zoom lens for Sony E-mount full-frame mirrorless cameras—the 17-28mm F/2.8 Di III RXD (Model A046).
Tamron will display these new lenses at CP+ 2019, the World Premiere show for camera and photo imaging, beginning February 28 through March 3, 2019 at Pacifico Yokohama.
35-150mm F/2.8-4 Di VC OSD (Model A043) For Canon and Nikon mount
SP 35mm F/1.4 Di USD (Model F045) For Canon and Nikon mount
17-28mm F/2.8 Di III RXD (Model A046) For Sony E-mount (full-frame)
Fast compact Portrait Zoom breaks new ground: 35-150mm F/2.8-4 Di VC OSD (Model A043)
The new compact Model A043 is designed for fast handling and easy transport, and features a zoom that extends from 35mm to 150mm, incorporating the 85mm focal length (often regarded as optimum for portrait shooting).
It offers a fast F/2.8 aperture at the wide-angle end while maintaining a bright F/4 at the telephoto end.
For close-focusing, the MOD (Minimum Object Distance) is 0.45m (17.7 in) across the entire zoom range.
Delivering superb image quality, precisely placed LD (Low Dispersion) glass elements and aspherical lenses quash degrading optical aberrations.
Furthermore, the Model A043 incorporates the Dual MPU (Micro-Processing Unit) system, which assures optimal AF performance and effective vibration compensation.
Note: All DSLR camera functions are possible when the Model A043 is attached to a mirrorless camera via the manufacture’s adapter.
Fast fixed focal lens boldly demonstrates Tamron’s lens-making expertise: SP 35mm F/1.4 Di USD (Model F045)
Tamron’s SP lens series was born in 1979, based on the concept of delivering lenses for taking the perfect picture for those who love photography.
This year marks the 40th anniversary of the series.
In celebration, Tamron has developed the Model F045, the distillation of Tamron’s accumulated lens-making expertise and craftsmanship.
This orthodox fixed focal lens, which some consider the most basic of all interchangeable lenses, is the embodiment of all optical technology and manufacturing knowhow Tamron has developed to date.
The Model F045’s unprecedented high-resolution image quality and beautiful, appealing background bokeh lets photographers capture any scene down to the finest details.
The external lens barrel was developed through tireless pursuit of operability and durability, focusing constantly on the needs of photographers.
This lens is equipped with a fast F/1.4 aperture and high-speed, high-precision AF functionality offering exceptional reliability, plus various other features for increased convenience, making it the perfect everyday lens for your creative pursuits.
It is ideally suited for nearly every photographic genre, including photojournalism, landscape, sports, street life, wedding groups and family snapshots.
Note: All DSLR camera functions are possible when the Model F045 is attached to a mirrorless camera via the manufacture’s adapter.
High-speed ultra wide-angle zoom lens for Sony E-mount cameras is extremely compact and lightweight: 17-28mm F/2.8 Di III RXD (Model A046)
The Model A046 achieves an astonishingly small diameter for a high-speed ultra wide-angle zoom lens, as witnessed by its modest 67mm filter size.
Its unprecedented light weight and compact size provide excellent balance when used with a full-frame mirrorless camera, making it easy to carry, and enabling it to cater to a wide range of scenes and shooting conditions.
The Model A046 offers a fast F/2.8 aperture throughout the entire zoom range, and delivers high-resolution and contrast edge to edge.
The combination of ultra wide-angle focal length, fast constant F/2.8 aperture and an MOD (Minimum Object Distance) of 0.19m (7.5 in) at the wide-angle end encourages richly expressive and creative photography in a multitude of scenarios.
The Model A046’s AF drive system is powered by the RXD (Rapid eXtra-silent stepping Drive) stepping motor unit, enabling it to deliver high-speed, high-precision and superbly quiet operation suitable for shooting video as well as still photographs.
Specifications, appearance, functionality, etc. of the above-mentioned three products are subject to change without prior notice.
You guys have watched us gut a lot of lenses and cameras over the years.
So I thought it would be fun for you to see us put one together from scratch.
Compared to many of the lenses we’ve taken apart, this is all mechanical lens is rather simple: no focus motors, image stabilizers, etc.
But even a simple lens is a very complex structure.
This post will probably give you a good idea of how much mechanical design is required to make even a very basic lens.
The lens is also unique; it’s a prototype C-4 Optics 4.9mm f/3.5 circular fisheye.
It’s a massive lens giving a 270-degree field of view, meant for immersive video and specialty shots.
To give you an idea of what 270 degrees means, the lens sees behind itself.
An ultra-wide 15mm fisheye lens gives a 180-degree field of view while an 11mm rectilinear lens is less than 120 degrees.
The closest thing that’s existed to this is the 1970s classic Nikkor 6mm f/2.8 fisheye, which gave a 220-degree field of view, weighed 5 kg, and can be rarely found for $100,000 and up these days.
The C-4 optics lens weighs every bit as much as the Nikkor, but should be far sharper, have less distortion and vignetting, and cost somewhat less than those do today.
(‘Somewhat’ being defined as ‘less than half’.)
The EOS 6D Mark II is the smallest, lightest and least expensive latest-model Canon full frame DSLR and the EOS RP enters the market as the smallest, lightest and least expensive Canon full frame mirrorless interchangeable lens camera (MILC).
With the EOS RP using a slightly-modified EOS 6D Mark II sensor, these two cameras produce nearly identical image quality.
However, the difference between DSLRs and MILCs is rather big with the difference between electronic viewfinders and optical viewfinders being a primary difference.
That page discusses the advantages and disadvantages of each design and I'll forgo most additional discussion in that regard in this comparison.
Let's dive into the advantages of each camera model:
Canon EOS RP Advantages
DIGIC 8 vs. 7
More AF points (via viewfinder): 4,779 vs. 45
Eye AF vs. no
100% viewfinder coverage vs. 98%
Lower light AF working range: EV -5 vs. EV -3
Lower light exposure metering: EV -3 vs. EV 1
.CR3 RAW file type with C-RAW vs .CR2 with M-RAW, S-RAW
Headphone jack vs. no
Supports SD/SDHC/SDXC UHS-II vs. UHS-I
Smaller size: 5.22 x 3.35 x 2.76" vs. 5.67 x 4.35 x 2.94" (132.5 x 85.0 x 70.0mm vs. 144.0 x 110.5 x 74.8mm)
Lighter weight: 17.1 oz vs. 26.98 oz (485 vs. 765g)
Can utilize RF lenses
Canon EOS 6D Mark II Advantages
Cross-type AF points vs. single-line-sensitive
Has greater auto exposure compensation range: +/-5 EV vs. +/-3 EV
Faster continuous shooting rate: 6.5 fps vs. 5 fps (4 fps with Servo AF)
Shorter viewfinder blackout during continuous shooting
Has built-in GPS vs. optional accessory
Has much longer battery life: Approx. 1200 vs. 250
Uses N3 type remote controls vs. E3
Has top LCD and more buttons
With these two cameras having the same heart, the imaging sensor, producing similar image quality, it is especially interesting to compare these two models.
If photographing action is on your to-do list, the 6D Mark II is probably better-suited for your needs and some of the other 6D II advantages are important for certain uses.
The travel-friendly smaller size and lighter weight along with the wallet-friendly lower cost are going to win the RP a lot of hearts as will some of its other features including the larger, full-coverage viewfinder and 4k video.
The purchase of either of these models over the other can be justified, but I expect the RP to quickly become the more popular option.
Holidays offer great opportunities for gift giving and flowers, although possibly a bit cliché, are still very often appreciated, which is why a bouquet of flowers has been sitting on our living room hutch since Valentine's Day.
But while flowers are intended to be enjoyed by the recipient, there's no reason why we as photographers can't take advantage of the beautiful subjects at hand to add some colorful floral images to our portfolios.
A few evenings ago after my wife had retired for the evening, I took her bouquet into the studio to try one of my favorite techniques for photographing flowers – focus stacking.
After perusing the options available in the bouquet, I settled on a type of flower that I've photographed before, a type of Peruvian lily.
The colorful, elongated spots found on the leaves as well as the easily visible inner structures of these flowers make them ideal candidates for photographing.
I set up my Canon EOS 5D Mark III and Canon EF 100mm f/2.8 Macro USM + 36mm extension tube on a sturdy tripod and Arca-Swiss Z1 ball head set to f/9, 1/160 sec, ISO 100 and tried several compositions with the Peruvian lily that caught my eye. A studio flash on each side of the bouquet provided the light required for a proper exposure at those settings, and Magic Lantern's Focus Stacking feature was used to increment focus for the focus bracketed images.
After capturing all of the variations, I brought the images into Canon's Digital Photo Professional to see which one (or ones) might work well for further processing.
Finding a series that I really liked, I opened the relevant RAW files in Helicon Focus (my preferred focus stacking software), compiled the images and output the result as a DNG.
Looking closer at the result in Photoshop CC, I realized that I hadn't captured enough depth-of-field in my focus bracket to fully cover the parts of the plant I wanted in focus.
As such, instead of having crisp lines in places where I wanted to emphasize details, I had soft transitions that didn't seem to meld with the rest of the focus stacked image.
From a photographic standpoint, my attempt at a pleasing focus stack image was a failure. But then I had a moment of inspiration.
My wife is a huge fan of impressionist paintings.
In fact, not more than a couple of weeks ago she insisted we see (aka, dragged me to) the impressionist art exhibit that was showing at the Jepson Center for the Arts ("Monet to Matisse: Masterworks of French Impressionism").
The nice thing about impressionism is that crisp details are not a notable quality of the creative movement; in the case of my image, I could use impressionism to hide the major flaw in my image.
Keep in mind, rarely is an image made visually palatable if you have to "save it in post."
But in this case, it seemed to work just fine.
After searching for several years for a Photoshop plug-in that could convincingly turn an image into a painting, I finally found Topaz Impression and never looked back.
It's been an excellent find and has opened up a new door for monetizing my images.
Or in this case, just saving one.
As the long-awaited Canon full frame mirrorless camera line is beginning to fill out, the first two models are worth comparing.
The Canon EOS R vs. Canon EOS RP comparison using the site's specifications tool shows most of the differences between these cameras.
Those and a handful of others are included below.
EOS R Advantages
Higher resolution: 30.4 MP vs. 26.2 (6720 x 4480 vs. 6240 x 4160 px)
Dual Pixel RAW file format vs. no
More dynamic range
More AF points: 5,655 vs. 4,779
Lower AF working range: EV -6 vs. EV -5
Faster shutter speed available: 1/8000 vs. 1/4000
Faster X-Sync shutter speed: 1/200 vs. 1/180
Larger, higher resolution EVF: 0.5" (1.27cm) OLED color EVF, 3.69M dots (with more nose relief) vs. 0.39" (1.0cm) OLED color EVF, 2.36M dots
Larger, higher resolution LCD: 3.15" (8.01cm), approx. 2.10M dots vs. 2.95" (7.50cm) approx. 1.04 million dots
Better LCD Coatings: Anti-reflection and anti-smudge vs. anti-smudge only
Faster continuous frame rate: 8 fps vs. 5 fps, with AF tracking: 5 fps vs. 4 fps
Has a programmable Multi-Function Bar vs. no
Has a top LCD vs. dedicated mode dial
Better video capabilities including higher frame rate video and more compression options: Up to 10-bit Canon Log vs. 8-bit no log
USB 3.0 vs. 2.0
Longer battery life rating: approx. 370 shots vs. 250
Higher shutter durability rating: 200,000 vs. 100,000
Closes shutter on power-off vs. no
Has access to a PC Terminal via Battery Grip BG-E22 vs. no
Has a battery grip available vs. extension grip
EOS RP Advantages
Significantly lower price
Smaller size: 5.22 x 3.35 x 2.76" vs. 5.35 x 3.87 x 3.32" (132.5 x 85.0 x 70.0mm vs. 135.8 x 98.3 x 84.4mm)
Lighter weight: 17.1 vs. 23.3 oz (485 vs. 660g)
Has focus bracketing vs. no
Has Eye-tracking Servo AF vs. not until later in 2019
More Diopter Correction: -4 to +2 m-1 vs. -4 to +1 m-1
The EOS R is a higher-end model and that shows very strongly in its list of advantages.
However, the first three RP advantages are very significant ones.
Those on a tight budget are going to be favoring the RP.
While the EOS R is itself a relatively small and light camera, the RP easily bests it in these categories and those traveling, hiking, etc. may be willing to forgo the R's benefits to also give up some size and weight.