Canon and Sony News for Oct 2020 (Page 2)
In my Canon EOS R5 and EOS R6 Setup Guide, I indicated that "Focus bracketing" and "Number of bracketed shots" were included on the My Menu tab 2. The R5 is my first daily-use camera to have this feature (one of the first Canon EOS cameras to get it), and I've been anxious to put this feature to use in the field. Remembering that the feature is now a couple of button presses away is the first in-the-field challenge.
The Mount Desert Island Historical Society beautifully maintains the Somesville Bridge, Selectmen's Building, and the surrounding grounds. This includes planter boxes that always hold attractive flowering plant arrangements in the fall. These planters beg to be included in the frame, but including the plants, the bridge, and the building in the same frame requires extreme depth of field for all details to be sharp. Extreme depth of field generally requires a very narrow aperture, and a very narrow aperture generally results in a diffraction-softened image.
Focus bracketing solves this problem.
For this picture, the focal length that best composed the scene was first selected, and the Really Right Stuff TVC-24L Mk2 Tripod with an RRS BH-40 Ball Head was moved into a somewhat awkward position to lock the composition down. ISO 100 was selected for the least noise, f/11 was selected to gain a significant depth of field for each image (f/8 would have been a good alternative in hindsight), and the shutter speed, 1/10 sec., was selected for the final exposure brightness, just bright enough to cause minor overexposed highlights on the bridge (blinking during image review). The R5's "Focus bracketing" was enabled and the "Number of bracketed shots" was set to 15.
With the lens in AF mode, the focus spot was placed over the closest subject, the ornamental cabbage flower. When the shutter release was pressed using the 2-second self-timer mode, the camera took a series of images. While I selected 15 bracketed shots in the menu, the camera knew that only four were required for this scenario.
In Canon Digital Photo Professional (DPP), the four RAW images were selected, and the Tools > Depth Compositing > Start depth compositing tool menu option was selected. The default settings were used to output a 16-bit TIFF file that only required minor adjustments unrelated to focus.
My wife thinks the cabbage is too big relative to the background elements, but moving into the street to capture a more distant view was not a good idea from a safety perspective, and that perspective would have resulted in sidewalk and other less attractive elements being included in the frame. Harder to argue against is that the flowers provide lots of color in the frame. Regardless, hopefully the ease of creating a focus bracketed image with the Canon EOS R5 and EOS R6 is illuminated.
A larger version of this image is available on Flickr.
ISO 100
8125 x 5419px
+Focus+Stacking+at+the+Somesville+Bridge+and+Selectmen%27s+Building "Share on Pinterest!"){kind=small}
Earlier this week (I just returned from leading a photo workshop in Acadia National Park and am catching up), DJI announced a pair of new gimbals:
DJI’s Ronin Series Grows Stronger, Lighter, and Smarter with New DJI RS 2 and RSC 2 Gimbals
Two Stabilization Systems Offer Reworked Designs and New Creative Functions to Become Workhorses for Filmmakers and Content Creators
October 14, 2020 – DJI, the global leader in civilian drones and creative camera technology, today expands the legacy of the highly popular and prestigious DJI Ronin series, by introducing the rebranded DJI RS 2 and DJI RSC 2. Redesigned and reimagined, both systems offer the filmmaking and content creation community an extremely robust, versatile, and professional 3-axis camera gimbal for their various needs. DJI RS 2 brings added strength and agility to creators using heavier camera systems such as DSLR and compact cinema cameras. At the same time, DJI RSC 2 was created to be more portable, meeting the needs of mirrorless and more compact camera operators.
“DJI’s first Ronin-S and the original Ronin-SC created so much excitement when they launched that we immediately went back to the drawing board to figure out how to make our products even better,” said Paul Pan, Senior Product Line Manager. “Just like with the first version, we took time to research how our professional customers use their Ronin products and what new features they wanted in the next generation of a handheld gimbal. Yet again, the result is the culmination of user feedback, years of design and development, and significant advancements in stabilization technology. Now we are excited to showcase two new filmmaking tools designed to meet the needs of a wide array of filmmakers. From cinema cameras to mirrorless systems, we have a solution for you.”
DJI RS 2: Masterfully Crafted
Considering a tremendous amount of feedback from professional operators, DJI RS 2 incorporates carbon fiber in vital structural components, reducing weight down to 1.3 kg (2.86 lbs) while remaining highly durable. Pushing the innovation of single-handed gimbal technology even further, DJI RS 2 now supports a tested dynamic payload of 4.5 kg (10 lbs) for creators to use heavier camera and lens combinations while still achieving up to 12 hours of battery life. A new quick-charge function directly to the battery handle has been added for urgent situations, providing an extra two hours of battery life with just a 15-minute charge.
DJI RS 2 continues pushing gimbal technology forward with the ability to support heavier payloads while capturing ultra-smooth cinematic footage. Based on years of experience developing predictive technology, a newly optimized Titan Stabilization Algorithm reduces the need for manual user input while compensating for user movement and optimizing the gimbal tilt and angle. Additionally, a new SuperSmooth mode provides another level of camera stability, especially for compensating longer focal length lenses of up to 100mm.
Simple to set up, easy to operate, and highly customizable, DJI RS 2 was created to allow filmmakers to adapt their system to their filming needs while feeling confident it will easily integrate into their workflow. Axis locks enable easier transportation and balancing, while a dual-layer camera mounting plate is compatible with both the Arca-Swiss and Manfrotto standard. A fine-tune balancing knob allows for even more precise balancing of the camera payload. The built-in 1.4” color touchscreen can display camera data, gimbal settings, or a live feed from the camera. Supporting 11 different languages, the ultra-bright screen can also initiate key functions such as ActiveTrack and intelligent shooting modes. The built-in front dial above the trigger allows for precise focus control and complements a DJI Focus Wheel mounted on the RSA port to create two-channel focus and zoom[1]. DJI RS 2 also turns into a versatile tool that can be attached and used with other systems such as jibs, car attachments, and sliders. Two RSA ports double as NATO ports so that users can mount accessories and attachments such as grips and a remote controller.
DJI RSC 2: Filmmaking Unfolds
A completely new and portable folding design makes DJI RSC 2 easy for creators to carry everywhere without adding additional weight to the gear list. Additionally, the folding design provides creative ways to use the gimbal such as vertical filming without additional accessories, as well as a new Briefcase mode, where the main gimbal arm can be loosened and slung forward to provide unique shooting angles. Durable materials like steel are used on vital and frequently used components, while lightweight materials such as aluminum reduce overall weight. DJI RSC 2 weighs in at 1.2 kg (2.65 lbs), nearly 35% less than the original Ronin-S, and has a folding footprint of 180×190 mm, the same size as a sheet of A5 paper. The built-in battery offers an impressive 12 hours of battery life and – like DJI RS 2 – the new quick-charge function directly to the battery handle has been added for urgent situations.
DJI RSC 2 remains lightweight and portable, featuring stronger motors to support a tested payload of up to 3 kg (6.6 lbs). This increased dynamic payload supports popular mirrorless cameras along with heavier combinations like the Panasonic S1H and a 24-70mm lens. Using the same advanced technology as DJI RS 2, the newly optimized Titan Stabilization Algorithm generates a new level of stability – smoothing out fine details in conjunction with the motorized gimbal for some of the most advanced stabilization on the market. DJI RSC 2 is compatible with a wide array of camera models so users can get the most out of the system. Axis locks enable easier transportation and balancing, while a dual-layer camera mounting plate is compatible with both the Arca-Swiss and Manfrotto standard. A 1” built-in OLED screen displays camera data with the ability to adjust settings directly.
Multifaceted Gimbals Supported by an Advanced App and Accessories
DJI RS 2 and RSC 2 were designed to expand beyond single-handed stabilization into tools that can be customized with additional accessories to achieve the desired shot. These accessories include a cheese plate, Focus Wheel, 3D Focus System, Twist Grip Dual Handle, RavenEye Image Transmission System, Tethered Control Handle, counterweight systems, and more[2]. For remote operation, both DJI RS 2 and DJI RSC 2 can use ActiveTrack 3.0 when the RavenEye Image Transmission System is connected, sending a 1080p/30fps low-latency feed to a mobile device using the Ronin app from up to 200 meters away.
Vital features and functions can now be controlled and adjusted over long distances with the Ronin app such as gimbal movement using the virtual joystick and Force Mobile, where the gimbal mimics the mobile device’s movement. For solo operators using manual-focus lenses, the 3D Focus System uses state-of-the-art TOF sensors mounted above the camera to provide autofocus. This enables a single shooter to capture smooth and cinematic footage using a manual lens, without relying on a second camera operator or focus puller.
Pre-Programmed Movements and Features That Make Stories Come to Life
DJI RS 2 and RSC 2 expand on their predecessors’ suite of creative modes, movements, and features with tools to help capture content that stands out, including:
- *New* Time Tunnel: The system performs a 360-degree roll while capturing a hyperlapse, adding a level of creativity to footage[3].
- Flashlight: The system tilts the camera all the way forward so users can grip the base like a flashlight.
- One-Tap Portrait Mode: The gimbal quickly orients the camera into vertical shooting for professional-level social media content.
- Panorama: After configuring sensor and focal length, choose a start and stop point for panoramas up to gigapixel size.
- Roll 360: The gimbal enters into the Flashlight position and rolls the camera system 360 degrees.
- Timelapse: This classic feature shows subtle changes over durations of your choosing.
DJI Care Refresh
DJI Care Refresh is now available for both DJI RSC 2 and RS 2. For an additional charge, DJI Care Refresh offers comprehensive coverage as well as up to two replacement units within one year. Receive your replacement even sooner with DJI Care Refresh Express. DJI Care Refresh also includes VIP after-sales support and free two-way shipping. For a full list of details, please visit https://www.dji.com/service/djicare-refresh.
Price and Availability
DJI RS 2 and DJI RS 2 are available for purchase today from authorized retailers and on www.store.dji.com. Each product offers purchase options for a standalone gimbal and a combination pack that includes additional accessories. The standalone DJI RS 2 is available for the retail price of $849 USD, and the standalone DJI RSC 2 is available at the retail price of $499 USD. The Pro Combo includes additional accessories such as a phone holder, Focus Motor, RavenEye Image Transmitter, dedicated carrying case, and more. The DJI RS 2 Pro Combo is priced at $999 USD, and the DJI RSC 2 Pro Combo is priced at $739 USD. Full details on this can be found below.
Orders
Order the DJI RS 2 and DJI RS 2 at B&H or Adorama.
Learn more at B&H Explora
[1] Compatibility varies by camera model. Please check the Ronin Series Compatibility Search at www.dji.com.
[2] The 3D Focus System will be available at a later date after launch.
[3] Time Tunnel for DJI RSC 2 will be available at a later date via firmware update.
Canon has released new versions of its Digital Photo Professional, EOS Utility Picture Style Editor, and EOS Utility software.
Changes for Digital Photo Professional 4.13.10:
- Supports EOS Kiss M2 / EOS M50 II.
Download: DPP 4.13.10, EOS Utility 3.13.10, and Picture Style Editor 1.25.00
(Thanks, Scott)
From Canon:
IMPROVED EYE AUTOFOCUS PAIRED WITH NEW VIDEO AND STREAMING FUNCTIONS MAKE THE NEW CANON EOS M50 MARK II CAMERA A STRONG IMAGING TOOL FOR CONTENT CREATORS AND IMAGING STORYTELLERS
MELVILLE, N.Y., October 14, 2020 –– Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the EOS M50 Mark II Interchangeable Lens Camera, the successor to the #1 selling mirrorless camera in the U.S. market – the EOS M50*. An all-in-one product for content creators with improved video features and autofocus capabilities, the EOS M50 Mark II is the latest, high-quality digital imaging camera in the notable EOS lineup.
“Our customer base includes future content creators and imaging storytellers; it’s in our best interest to continuously provide high-quality products that are easy to use in the creative world of photography and video content creation, as well as streaming,” said Tatsuro “Tony” Kano, executive vice president and general manager of the Canon U.S.A., Inc. Imaging Technologies & Communications Group. “The EOS M50 Mark II continues to pave the way for photography and video enthusiasts to experience a lightweight interchangeable lens camera with many similar features as our full-frame professional mirrorless cameras.”
For the family who strives for high-quality output when capturing their precious moments or for the budding social media creator, the added and improved capabilities of the EOS M50 Mark II camera make the upgrade to an ILC extremely appealing. The new features include:
- Improved autofocus including eye autofocus for stills and video
- Vertical video shooting support
- Vari-angle touchscreen LCD with newly added tap video record button and movie self-timer for better vlogging experience
- High quality webcam capability, when used with compatible services, with the free EOS Webcam Utility software or Clean HDMI output
- Wireless YouTube Live streaming capability**
- The ability to tap the screen to auto focus on your subject while looking through the EVF, helping to control who the main focus of the image is
The EOS M50 Mark II camera is inclusive of many of the beloved features of its predecessor. Overall, the EOS M50 Mark II is a well-balanced package deal for those interested in both still photography and videography – including those with sparks of social media content creation, thanks to the 4K UHD 24p. Providing a 24.1MP APS-C CMOS sensor, DIGIC 8 image processor and built in Wi-Fi® and Bluetooth® technology, as well as access to image.canon cloud service for better workflow, the EOS M50 Mark II camera remains compact and a lightweight addition to your carry bag.
Pricing and Availability
The Canon EOS M50 Mark II camera is scheduled to be available in Late November 2020 at an estimated retail price of $599.99^ – body only, $699.99^ for the camera body plus EF-M 15-45mm lens kit and $929.99^ for the camera body plus EF-M 15-45mm and EF-M55-200mm double zoom lens kit.
Orders
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* Source: The NPD Group, Inc. U.S. Retail Tracking Service, Mirrorless Detachable Lens Cameras, Based on camera family unit sales, Jan. 2020 - Aug. 2020 combined.
** The live streaming service available with this product is for live streaming on YouTube only. To use live streaming, you need to have an active YouTube account and an image.canon account. Please be aware that YouTube may change, stop, or terminate its services, including live streaming, at any time without notice. In accordance with YouTube’s "Restrictions on live streaming" users must have a minimum of 1,000 channel subscribers in order to live stream from a mobile device (including camera products with live streaming capability). For up-to-date information from YouTube on restrictions, please visit https://support.google.com/youtube/answer/2853834?hl=en. Canon makes no representations or warranties with respect to any third party product or service, including live streaming.
^ Availability and specifications are subject to change without notice.
From Canon:
PHOTOGRAPHERS: EXPAND YOUR CREATIVITY AND VERSATILITY TO ANOTHER DIMENSION WITH NEW SPEEDLITE EL-1
MELVILLE, N.Y., October 14, 2020 –– As a photographer, the equipment you invest in needs to measure up to the standards you set forth as a creator. In the true spirit of exemplary creativity, Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the Speedlite EL-1. This new generation professional speedlight provides higher performance and reliability unlike ever before, in comparison to previous models, with a new rechargeable Li-ion battery and newly designed user-friendly interface.
“As an extended form of expression, we understand that integrating a flash into your photography is an art form, and having the right equipment to meet your artistic demands is imperative to client service,” said Tatsuro “Tony” Kano, executive vice president and general manager of the Canon U.S.A., Inc. Imaging Technologies & Communications Group. “We’re excited to bring the Speedlite EL-1 into our product catalog which continues to offer photographers, who are experts in their field, the right high-quality professional imaging tools of the trade.”
The Canon Speedlite EL-1 works seamlessly with EOS cameras and is ideal for any photographer who works in portrait, still-life, wedding or in-studio photography. It’s also a resourceful tool for those photographers who work for news agencies, red carpet events or entertainment reporters. Its durability and reliability are at the core of the newest features, which include:
- A powerful rechargeable Li-ion Battery Pack providing high speed recycle and increase in number of flashes while utilizing the Canon LC-E6 battery charger
- An increased continuous firing number of approximately 170 thanks to a new active cooling system
- Wireless second-curtain sync
- New joystick, FE one-touch memory, LED modeling lamp and user interface display design
- A high-durability Xenon glass flash tube to provide higher accuracy and durability of the flash head
Additionally, the Speedlite EL-1 provides an expanded power range for versatility of exposure with “micro flash” minimum flash output as low as 1/8192 power, a zoom flash head that covers a wide focal length range of 24-200mm, bounce angle expanded to 120° and the same level of weather-sealing comparable with the EOS-1D camera series. Also included are two color filters and a bounce adapter for additional lighting control making the EL-1 a strong addition to the evolving catalog of Canon Speedlite flashes.
Pricing and Availability
The Canon Speedlite EL-1 is scheduled to be available for in-store purchase in February 2021 at an estimated retail price of $1,099.00*.
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* Availability, pricing and specifications are subject to change without notice.
Orders
From Canon:
CANON DEBUTS THE COMPANY’S FIRST-EVER, COMPACT TELEPHOTO MONOCULAR, THE POWERSHOT ZOOM
MELVILLE, N.Y., October 14, 2020 –– Hiking, birdwatching and nature gazing, consumers are embracing the beauty of the outdoors this season and beyond. With this in mind, it is important to have a convenient and intuitive imaging tool to explore the world. Developed to showcase an impressive telephoto reach in a user friendly, compact design, Canon U.S.A., Inc., a leader in digital imaging solutions, today launches the PowerShot ZOOM, the company’s first telephoto monocular.
The lightweight telephoto monocular sports 100mm, 400mm and 800mm telephoto viewing capability1 with a one-touch switch, and is equipped with impressive instant zoom capability to help users view distant subjects. Additionally, the monocular can capture images and videos to a micro SD card, and by pairing it with a compatible smart device2 and the Canon Camera Connect app3, these files can easily be downloaded. This pairing feature transforms the PowerShot ZOOM monocular into a friendly companion to compatible smartphones for viewing and capturing super-telephoto scenes.
"In today’s ever-changing world, consumers are looking for intuitive and portable imaging tools to view telephoto scenes up close and with ease,” said Tatsuro “Tony” Kano, executive vice president and general manager of the Imaging Technologies & Communications Group of Canon U.S.A., Inc. “Built for those users who enjoy outdoor activities, the PowerShot ZOOM monocular delivers a small, compact viewer with a long focal length. We are eager to see how consumers use this tool and the convenience it will add to their daily lives."
In addition to its zoom capability, compact size and ability to pair with compatible smartphones, the PowerShot ZOOM telephoto monocular also features:
- Auto focus when viewing through the electronic viewfinder (EVF) and recording images and video with face tracking
- Optical Image Stabilization for shake correction
- 0.39 inches, 2.36 million dots EVF
- 12-megapixel still-image capture
- Full HD video capture up to 30p (29.97)
- Wi-Fi®, Bluetooth® connection with the Canon Camera Connect app and use of compatible mobile devices2
- Live view and download of photos and videos with the use of the Canon Camera Connect app3
- USB C terminal for charging and supplying power
- Micro SD memory card slot
Price & Availability
Available in white, the Canon PowerShot ZOOM compact telephoto monocular is scheduled to be available in late November 2020 for an estimated retail price of $299.99*. For more information, please visit usa.canon.com.
Orders
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*Availability and specifications are subject to change without notice.
1 35mm film equivalent focal length. Both 100mm and 400mm uses optical lens and 800mm uses 2x digital zoom.
2 Compatible with iOS® versions 12.4/13.7, Android™ smartphone and tablet versions 6.0/7.0/7.1/8.0/8.1/9.0/10. Data charges may apply with the download of the free Canon Camera Connect app.
3 This app helps enable you to upload images to social media services. Please note that image files may contain personally identifiable information that may implicate privacy laws. Canon disclaims and has no responsibility for your use of such images. Canon does not obtain, collect or use such images or any information included in such images through this app. Compatible with select smartphone and tablet devices (Android™ version 5.0 or later and the following iOS® devices: iPhone 4s or later, iPad 3rd gen. or later, iPod Touch 5th gen.or later) equipped with Bluetooth® version 4.1 or later and the Camera Connect App Ver. 2.7.10. This application is not guaranteed to operate on all listed devices, even if minimum requirements are met.
From Think Tank Photo:
With every good story, there’s often a better backstory.
The same is true with the BackStory Series of camera backpacks.
The BackStory’s rear-panel opening offers complete access to your gear while a top panel provides quick access to your camera and speeds your workflow. A deep front compartment with zippered mesh pockets has ample room for personal gear, including a 10” tablet and laptop (size specific). And with its plush shoulder harness and removable waist belt, the BackStory is comfortable enough to wear all day.
Learn more about the BackStory Series at Think Tank Photo.
Don't Forget
Through Oct 16th, save 15% on select rolling cases at Think Tank Photo.
Think Tanks Photo's gear is top quality, and now is your chance to score some awesome gear at a big discount.
You'll get a free gift and free shipping when using our links for your purchase ($50.00 minimum purchase required).
The day before my arrival, still late summer, Rocky Mountain National Park received a wintry weather blast that included a snowstorm. With a clearing storm forecasted for the next morning, heading to a high elevation mountain lake for a dramatic landscape image seemed the right plan. That excitement ended abruptly. Instead of an amazing set of landscape images, I was delivered dense cloud cover, continuous snow, and brutal winds.
However, the sunset conditions easily made up for the AM troubles. The wind became still, and the remaining clouds took on great color.
There are times in the field when you know that you are capturing an image that you will be excited about. This was one of those times. I quickly shot a variety of images from my rock perch, capturing bracketed exposures, varying the focal length, and fine-tuning the composition. This selected image was a single exposure captured at an extremely wide 12mm focal length, enabling the large rocks on the lower right side of the frame to be included along with the high clouds and their reflections. A fully-level camera keeps especially the trees on the left side of the frame straight.
What do I like least about this composition? The wide-angle focal length makes the distant mountain appear small in relation to the foreground. I decided that there was enough valuable supporting detail in the frame to offset that deficit (and I zoomed in to capture that image also).
Unknown to me this evening was that the snowstorm had cleaned the air of wildfire smoke and that this would be the last time I would see an even marginally photogenic sunrise or sunset for the duration of my time in Colorado.
A larger version of this image is available on Flickr.
ISO 100
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I'll start by saying, "in-depth" is relative in this case. The Canon RF 100-500mm F4.5-7.1 L IS USM Lens and Canon EF 100-400mm f/4.5-5.6L IS II USM Lens are two of the best telephoto zoom lenses ever made. As long as the lens will mount on your camera (the RF lens requires a Canon EOS R-series camera), there is no bad choice to be made here. Overall, these lenses are similar in so many regards that it is a stretch to create an "in-depth" comparison.
Let's start by looking at the name. Obvious is that the RF lens has a considerably longer focal length range. The 400mm vs. 500mm difference is illustrated in the RF 100-500mm Lens review. The 500mm focal length is very noticeably longer than the 400mm focal length, and I can think of no reason to not prefer the longer range. That is, no reason as long as the maximum aperture remains similar at 400mm.
We know from the name that the RF 100-500's max aperture is narrower at the 500mm end, and the unusually narrow to-f/7.1 spec gives us pause. The Dual Pixel CMOS AF system in Canon's R-series cameras autofocus lenses with narrow apertures very adequately, making very narrow openings quite usable, but we still want to know if the aperture opening size was being sacrificed at the 400mm focal length to keep this lens compact and light.
What is the Canon RF 100-500mm F4.5-7.1 L IS USM Lens's maximum aperture opening at 400mm? The early answers were:
Answer 1: When the camera is set to 1/3-stop increments, the maximum 400mm aperture reported to the camera is rounded to f/6.3.
Answer 2: When the camera is set to 1/2-stop increments, the maximum 400mm aperture reported to the camera is rounded to f/5.6.
While the max aperture does not change in these modes, the rounding of the actual opening size does, and the true aperture is likely between these two numbers, holds for only a short range of focal lengths, and the 1/3-stop difference in noise made visible by an offsetting 1/3-stop ISO change will matter to few. For the RF lens, Adobe software says that 400mm is f/6.2 (and that 500mm is 7.0).
Here is a comparative look at the max aperture step-down by focal length for these two lenses:
| Model | f/4.5 | f/5.0 | f/5.6 | f/6.3 | f/7.1 |
| Canon EF 100-400mm L IS II | 100-134mm | 135-311mm | 312-400mm | ||
| Canon RF 100-500mm L IS | 100-150mm | 151-253mm | 254-362mm | 363-471mm | 472-500mm |
While the RF 100-500 holds f/4.5 modestly deeper into the focal length range, the EF 100-400 L II holds a modest advantage at the longer focal lengths. Still, the differences are minor.
Back to the focal length range available: both lenses accept extenders, enabling the native focal length range to be significantly lengthened. Noteworthy is that the RF lens will not zoom wider than the marked 300mm native focal length while an extender is mounted. Extenders are primarily used for obtaining a focal length not native to the lens, meaning the 300mm wide end limitation is not important. The RF 100-500 better avoids the need for extender use, but being able to zoom out is sometimes helpful when an extender is mounted, such as when finding a subject in the viewfinder, and being able to fully zoom out makes the lens significantly more compact. Very noticeable is that the 100-500 range can be extended substantially longer than the 100-400mm range, up to 1000mm vs. 800mm. The max aperture of 500mm with extenders becomes rather narrow, though as we just looked at, the difference at the equalized 400mm focal length is minor.
Let's look at the image quality comparison next. The RF lens has less lateral CA in the periphery at 100mm and might be slightly sharper at this focal length at f/4.5. That is the only even somewhat noteworthy difference I see in the shared focal length range. Comparing the image quality from these two lenses at f/8 will hurt your eyes.
Of high interest to many of us is the RF 100-500mm lens at 500mm vs. EF 100-400mm with 1.4x at 560mm comparison. In this comparison, the RF lens is sharper, especially in the center of the frame. The EF lens leapfrogs the RF lens focal length, but the RF lens has a wider aperture. Mount 1.4x extenders behind both lenses and the EF lens appears to hold a very slight edge. Keep in mind that the comparison is now 700mm f/10 vs. 560mm f/8, not especially apples-to-apples. I'm not a fan of the 2x extender behind either of these lenses, but they perform very similarly in the 1000mm vs. 800mm comparison.
The RF lens shows fewer flare effects in our testing (having one less lens element is likely advantageous) and has modestly more peripheral shading with a wide-open aperture at 100 and 200mm.
Looking at specs and measurements, the Canon RF 100-500mm F4.5-7.1 L IS USM Lens vs. Canon EF 100-400mm f/4.5-5.6L IS II USM Lens comparison shows the RF lens slightly longer and noticeably lighter.
As illustrated in the image included with this article, today's length equation is:
EOS R5 + Canon RF 100-500mm L IS Lens = Canon EOS 5Ds R + Canon EF 100-400mm L IS II Lens
The EOS R5's extended viewfinder rises modestly higher than the 5Ds R's viewfinder, but this increase is advantageous in use.
Let's change the RF vs. EF equation to weights:
In ounces: (26.0 + 48.2) - (32.8 + 56.1) = 74.2 - 88.9 = -14.7 oz
In grams: (738 + 1,365) - (930 + 1,590) = 2,103 - 2,520 = -417g
Overall, the RF lens and R camera combination gives us an additional 100mm of focal length range in a similar-sized package that weighs nearly a pound (over .4 kg) less. Primarily, this line summarizes the significant differences between these lenses.
The RF lens has a control ring, providing additional functionality. The EF lens requires a Canon Mount Adapter EF-EOS R to mount on an R-series camera, and an adapter with a control ring is available to equalize this difference. With the RF lens control ring positioned where the EF lens's switches are located, the RF lens switches required a move and are now located between the zoom torque adjustment ring and the focus ring. The RF lens focus ring and zoom rings are modestly smaller in length, and the focus distance window is omitted on RF lenses.
The EF lens tripod foot is removable (and has a lower profile), while the RF lens's entire tripod ring is removable. I prefer the RF design for stability.
The RF lens has a slightly higher maximum magnification (0.33x vs. 0.31x), but both lenses have a great capability in this regard. The RF lens's image stabilization system is rated at 5-stops vs. the EF lens's 4-stop rating.
The RF lens paint color is whiter (the new white) than the EF lens's color, and RF lens hood is primarily white, while the EF lens hood is black. The RF lens zoom torque adjustment ring is now fully ribbed, and the RF lens barrel holds a more constant diameter over its length. Both lenses are well-built and fast-focusing.
The RF lens costs more, but neither lens is inexpensive. If paying this much, the difference is relatively small. Factor in the cost for an adapter for the EF lens to mount on an R-series camera, and the net difference is even less.
Order the Canon RF 100-500mm F4.5-7.1 L IS USM Lens at B&H | Adorama | Amazon USA | WEX
Reviews
Canon RF 100-500mm F4.5-7.1 L IS USM Lens
Canon EF 100-400mm f/4.5-5.6L IS II USM Lens
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Just posted: Sony FE 12-24mm f/2.8 GM Lens Review.
Simply outstanding lens.
The Sony FE 12-24mm f/2.8 GM Lens is in stock at B&H | Adorama | Amazon USA | WEX
Save the tax, use the B&H Payboo payment card (at B&H, I use this card exclusively)
Rent the Sony FE 12-24mm f/2.8 GM Lens from Lensrentals.
Please share!
Canon has released a new version of Digital Photo Professional (DPP).
Changes for Digital Photo Professional 4.12.70:
- Digital Lens Optimizer correction accuracy has been improved.
- Support for reduced restrictions on Cloud Processing (30 images per month -> 30 images per day) has been added.
Download: Canon DPP 4.12.70
(Thanks, Scott)
Image quality test results have been added to the Sony FE 12-24mm f/2.8 GM Lens Review.
This lens is an outstanding performer — and very fun to use.
The Sony FE 12-24mm f/2.8 GM Lens is in stock at B&H | Adorama | Amazon USA | WEX
Rent the Sony FE 12-24mm f/2.8 GM Lens from Lensrentals.
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Is the Canon EOS R5 a good wildlife camera? Absolutely.
I had the opportunity to select any camera available for an over-two-week wildlife photo trip. My choice? The pair of Canon EOS R5 bodies already in my kit, and I am left extremely impressed as I review the images from this trip.
Here are 7 reasons why I find the Canon EOS R5 to be the ultimate wildlife camera:
1. The AF System Rocks, Especially the Animal Eye AF Feature
Most notably, the eye-in-focus rate from the EOS R5 was considerably higher than my experience with any camera prior. Keeping a wildlife subject's eye in focus is a critical challenge of wildlife photography, and keeping the ideal focus point on a wildlife subject's eye is a key to that challenge. When a bird or animal turns its head, the ideal composition typically changes just as fast as the head turned, often requiring the AF point to be moved completely across the frame. Swimming ducks can change directions almost instantly. Too often, the subject changes position again before the AF point is in the required new position. Hence, the shots are missed.
In a large percentage of scenarios, the R5's animal eye AF system eliminates the AF point challenge, permitting the photographer to concentrate on proper scene framing with the eye being tracked throughout nearly the entire frame. I have photographed a variety of birds and animals with the R5, including whitetail and mule deer, elk, moose, coyote, ground squirrels, turkeys (ever try to focus on a feeding turkey's head?), green herons, magpies, whistling swans, frogs, and even stuffed animals. The only subject in that list to confound the R5's animal eye AF enough for me to not trust using it nearly 100% of the time was the moose, and with the dark hair surrounding that animal's eye, it is hard to fault the R5 for that one.
Even when not using eye AF, this camera's AI Servo AF tracked moving subjects very accurately
2. The Frame Rate is Fast
Animals move, and capturing the ideal body, leg, and wing position can be critical. The challenge is even greater when multiple subjects are in the frame. Capturing the movement sequence can also be desired. Even when the subjects are standing still (or bedded), there can still be movement in the frame. A drip of water falling from a duck's bill can make the difference between a good shot and a great shot. A moose's big eyebrow lifting even slightly can allow a catchlight or a larger catchlight, increasing the value of the image. If the eye goes closed during a blink (I'm amazed at my ability to time a single shot with a bird closing its necessitating membrane), the image is not likely as attractive to me as an alert, open eye. A fast frame rate can catch the pinnacle point in time.
Fully supporting the fast frame write is the deep buffer coupled with the fast card write speed. Even when writing to SD cards, I barely reached the buffer full state only once.
3. The EVF is Excellent with Lack of Blackout
When shooting in continuous mode, electronic viewfinders typically freeze or blackout while each frame is being captured, and it is very difficult to track a moving subject without being able to see it. The R5 does not have that problem. In addition, the resolution of this EVF is high enough to be able to see when a catchlight appears in the animal's eye along with other important details.
4. The Image Quality is Excellent, Ultra-High Resolution Included
The R5 delivers crisp, high-resolution image quality that is ready to be printed large, and when focal length limited in the field, the EOS R5 provides adequate resolution to crop deeply.
5. The Grip is Adequately-Sized and Comfortable
Spending many hours a day with the camera in hand was not unusual on this trip, and having a significantly-sized, expensive lens hanging from it was the norm. A sore hand developing could cause problems for the remaining days, and a grip slip could spell doom for especially the lens, a big problem when a replacement is not readily available. I find the R5 grip to be comfortable and sure.
6. The Weather Sealing and Build Quality can Save the Day
While the R5 is not built up to the standard of Canon's 1-series cameras, it is solidly built with good weather sealing. The weather is not controllable, and when photographing wildlife, unfavorable conditions are not uncommon. I photographed in a snowstorm in CO, and while photographing moose in Alaska, it was raining lightly nearly the entire time. Sometimes I used a rain cover in AK, but not always.
That this camera is relatively light is a definite bonus when it is being carried for many hours and many miles.
7. The Controls are Intuitive and Customizable
The faster I can adjust the camera settings that are important to me, the faster I can get back in the game. The set of controls provided on the R5 are just right for changing the important wildlife photography-related settings, especially with the M-Fn button programmed to provide the ideal subset of options.
I was fortunate to spend nearly 7 hours with the Rocky Mountain National Park bull elk in the image accompanying this post.
Few elk have antlers that are larger, more symmetrical, and more perfectly shaped than his set.
My time with this brute included the dreaded mid-day hours where harsh shadows and heat waves tend to rule.
Amazingly, the edge of a large cloud remained still, blocking the sun during nearly this entire time.
The provided light was bright and soft while the heatwave issue was significantly reduced.
In this case, the denser portion of the cloud darkened the background, providing a high contrast that, along with the shallow depth of field from the Canon EF 600mm f/4L IS III USM Lens,
makes the subject stand out.
I prefer to photograph wildlife at their level and often like to be even lowered than eye level to give them a larger appearance (and increase the odds of a catchlight appearing). The low flora in this meadow accommodated a squatted shooting level nicely.
Is the R5's battery life adequate? The pair of Canon LP-E6NH packs in the Canon BG-R10 Battery Grip delivered 4,300 images before giving up on this day. It is easy to add another battery or two to a pocket if this volume is not adequate for your needs.
How do EF lenses perform on the Canon Mount Adapter EF-EOS R? After mounting the adapter, I forgot that it was there. The lens seemed normal during use, and the R5 delivered a considerably higher in-focus rate than I am used to.
Get your Canon EOS R5:
Body: B&H | Adorama | Amazon USA | WEX
w/ RF 24-105 L: B&H | Adorama | Amazon USA
A larger version of this image is available on Flickr where it looks considerably better.
ISO 250
8192 x 5464px
From Canon USA:
Five New Photographers Added to Famed Canon Explorers of Light Program
MELVILLE, NY, October 1, 2020 – Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the addition of five photographers to its famed Explorers of Light (EOL) program. Lara Jade, Lynsey Weatherspoon, Kahran & Regis Bethencourt (CreativeSoul), and Atiba Jefferson will join 33 other photographers in the program. Each photographer brings their own refreshing blend of art and creativity by capturing life and culture from perspectives that are uniquely their own.
For more than 25 years, members of Canon’s EOL program have shared their knowledge and vision with the photographic community and consumers alike. Whether it is photojournalism, fashion, outdoor and nature, sports, or portraiture, their collective visions have given us unique perspectives of the world and helped hone the skills of professional photographers and enthusiasts through a series of educational initiatives within the program. As photography has evolved over time, so too has Canon’s EOL program, embracing new talent with new perspectives while honoring the masters before them with the exclusive title of Canon Legend.
“We are pleased and proud to welcome these talented photographers to Canon’s iconic Explorers of Light program,” said Tatsuro "Tony" Kano, executive vice president and general manager of the Canon U.S.A., Inc., Imaging Technologies & Communications Group. “The Canon EOL program is a platform for some of the most successful and influential photographers to showcase their vision, knowledge, and know-how through a variety of educational initiatives. As new generations of creatives use photography to explore new perspectives on the world, Canon will continue to provide the support needed to tell their stories.”
Lara Jade: Fashion / Beauty
- About Lara: Lara Jade is a British born fashion photographer and educator based in NYC. She started her career as a self-portrait photographer and eventually found her feet in the fashion and beauty world. She is inspired by feminine strength, unique beauty, and timeless style.
- Notable clients include Vogue Japan, Harper’s Bazaar UK, Bobbi Brown, and Monique Lhuillier.
- What’s in Her Bag?: EOS 5DS, EOS 5D Mark IV, RF 50mm f/1.2, RF 24-70mm f/2.8, EF 85mm f/1.2, EF 50mm f/1.2, EF 24-70mm f/2.8L II, EF 100mm f/2.8L Macro, Canon Mount Adapter EF-EOS R
- Thoughts on Photography: “Fashion photography isn’t just about selling a product—it’s much more than that. You strive to capture iconic imagery and be a convincing storyteller no matter the project. There are so many elements that have to be right to create a successful and memorable fashion image!”
Lynsey Weatherspoon: Portrait, Editorial
- About Lynsey: Lynsey Weatherspoon is a portrait and editorial photographer based in both Atlanta, GA and Birmingham, AL. Her work has appeared in The New York Times, USA Today, NPR, Wall Street Journal, Washington Post, TIME, ESPN and ESPN-owned The Undefeated. The fingerprint of heritage can be found on assignments and personal projects featuring Black Lives Matter, Gullah Geechee culture, unsung players in the Negro Baseball League, and the last of dying breed – a shoe cobbler. Her work has been exhibited at The African American Museum in Philadelphia and Photoville NYC. She is an awardee of The Lit List, 2018. Her affiliations include Diversify Photo, Authority Collective, and Women Photograph.
- What’s in Her Bag? EOS 5D Mark IV, EOS 5D Mark III, C100 Mark II, EF 24-70mm f/2.8 II, EF70-200mm f/2.8 II, EF 50mm f/1.4, EF 40mm f/2.8, EF 100mm f/2.8, Speedlite 600EX-RT flash
- Thoughts on Photography: “As a photographer and artist, my priority is to archive the moment when someone realized that they were making a difference through their life’s journey and telling their story. Images can be described in such a way that it affects the hearts of those who see them. In that instance, the purpose of being a photographer comes full circle.”
Kahran / Regis Bethencourt (CreativeSoul): Cultural Storytellers
- About CollectiveSoul: World-renowned child photographers, Regis and Kahran Bethencourt are a husband and wife duo and the imaginative forces behind Atlanta, GA-based CreativeSoul Photography. The pair gained global recognition with their AfroArt series. The collection, which showcases the beauty and versatility of afro hair, was conceived as a way to empower kids of color around the world. The couple recently authored the coffee table book, “Glory” which brings to life past, present, and future visions of black culture. With more than eleven years of working with hundreds of children, families, and brands, they specialize in child and lifestyle photography while incorporating authentic visual storytelling.
- What’s in their Bag?: Canon EOS R5, EF 24-70 mm f/2.8L II, 85mm f/1.8
- Thoughts on Photography: “As artists, we are constantly responding to the world around us. We don't want to just question traditional standards of beauty - we want to shatter them.”
Atiba Jefferson: Sports, Culture, and Portraits
- About Atiba: Atiba Jefferson is an American photographer. Born in Colorado Springs he grew up skateboarding there then move to California in 1995, and now is living and working in Los Angeles, CA. Although perhaps best known for his 25 years of skateboarding photography, over the years he has worked for all the major skateboard publications and now works at Thrasher Magazine. Atiba has a deep history in basketball as well, being a staff photographer for the LA Lakers during the Shaq and Kobe years and shooting more SLAM magazine covers than any other photographer. Other subjects include music and life in general. Atiba has also photographed for commercial clients such as Supreme, adidas, Nike, Converse, Reebok, ESPN, Gatorade, Mountain Dew, Oakley, Panasonic, Pepsi, Canon, and Netflix.
- What’s in His Bag?: EOS R5, EOS R6, G5X Mark II, R 50mm f/1.2, R 24-70mm f/2.8, EF 70-200mm f/2.8, EF 8-15mm Fisheye f/4, R/EF lens adaptor, Speedlite 600 EX
- Thoughts on Photography: “What I love the most about photography is the moment in time you capture that will never happen again. It’s magic. I also believe you are only as good as your subject so I’m so honored when people allow me to take their photograph. I see pictures everywhere I look. Photography is in my blood, which means I haven’t really worked a single day in 25 years.”
For additional information and samples of work, please visit: https://www.usa.canon.com/internet/portal/us/home/explore/explorers-of-light
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