Canon and Sony News for Apr 2022 (Page 2)
Most often, a wildlife silhouette opportunity comes unexpectantly and is fleeting.
Because the sky is typically very bright relative to the subject, the camera's meter usually selects silhouette exposure settings that lead to underexposed images, and correcting the underexposed images during post-processing yields increased noise.
To quickly acquire the right camera settings this opportunity, rules are ideal. For example, with a blue sky in the background, instruct the camera to create exposures X number of stops higher than it thinks is necessary.
Unfortunately, too many rules are needed to accommodate all scenarios. The primary reason that auto exposure + EV rules do not work is that the percentage of the frame filled with the subject and foreground changes dramatically, possibly during the same opportunity if varying exposures with a zoom lens. Also affecting the exposure rule is the sky color, ranging from bright white to deep blue or even the darkness of storm clouds.
While spot metering on the focus point can result in a more stable exposure basis for rules to work from, even animal color varies. For example, black bears are considerably darker than mule deer.
Mirrorless cameras with electronic viewfinders programmed to show the actual image brightness make establishing the ideal silhouette exposure settings considerably faster and easier than doing the same with a DSLR. While I often have the EVF histogram turned off due to interference with my brain's compositional abilities, that tool clearly shows the selected exposure, especially the bright side's available dynamic range. Even without the histogram enabled, the brightness can be discerned by looking at the brightest areas on the EVF.
What is the ideal silhouette exposure? That answer depends on the final look desired. If the animal and foreground are to be pure black, expose the sky to the preferred brightness. If a high key look is desired, expose for a normal animal brightness, letting the sky become blown — pure white and blinking on the LCD.
To gain the most post-processing latitude or if you don't want to decide what the final image should look like while frantically trying to capture the momentary opportunity, use the expose to the right strategy. Create an exposure that pushes the histogram graph lines to the right edge of the chart. There will likely be some small areas of the image showing over-exposed blinkies during image review, but not large areas of blinkies indicating loss of detail. The goal is to retain detail in the highlights while capturing as much detail as possible in the shadows.
If photographing landscape, an HDR technique would be implemented for this scenario. Unfortunately, animals tend to move before the multiple exposures can be recorded. If your animal is motionless and your camera is locked down on a tripod, bracketing exposures is a great option.
The expose to the right option was chosen for this bull moose image capture. The sky is bright but still blue. Using Photoshop, the moose was selected and brightened slightly.
The Canon EOS R5 and RF 100-500mm F4.5-7.1 L IS USM Lens get the credits for this capture. This combination is perfect for many wildlife photography pursuits.
A larger version of this image is available here.
ISO 800
8192 x 5464px
Sony astrophotography lens recommendations are now available on the Sony Lens Recommendations page.
While creating the Sony list was easy, the Canon line-up has more room for improvement. New to the Best Canon Lenses page:
Best Canon Astrophotography Lens (Mirrorless)
Best Canon Astrophotography Lens (DSLR)
Just posted: Sony a9 II Review page.
Order the Sony a9 II from B&H | Adorama | Amazon USA | WEX
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From Canon USA:
Canon Announces New Flex Zoom Lens Series of EF Cinema Lenses with Wide T2.4 Aperture Designed for Full-Frame Cameras
MELVILLE, NY, April 12, 2022 – Canon U.S.A., Inc., a leader in digital imaging solutions, announced today the launch of a new series of lenses for the company’s EF Cinema Lens lineup — the Flex Zoom Lens series of lenses, which were developed to create cinema-style productions with greater workflow efficiency. The first lenses in the series are the CN-E20-50mm T2.4 L F/FP wide-angle zoom lens and the CN-E45-135mm T2.4 L F/FP telephoto zoom lens.
Designed in the pursuit of cinematic beauty, the new large-aperture lenses feature both high-level optical design and performance while maintaining the style and ease-of-use of Canon’s EF Cinema lens series. With the introduction of the zoom lenses featuring focal length ranges of 20-50mm for wide-angle and 45-135mm for telephoto, Canon now offers zoom lenses that cover the same range as its six existing prime (single focal length) lenses. The versatility of these new lenses supports efficient production workflows for a wide range of scenarios, including film, TV programs, commercials, and much more.
When paired with full-frame or large-format cameras, these lenses fully leverage the cameras’ signature shallow depth-of-field look and provide smooth and natural background blur, helping to produce powerful storytelling imagery. The lenses also maintain a bright T2.4 aperture1 across their entire zoom ranges allowing for image capture in both natural light and darker environments. This feature helps to reduce the need for intricate lighting setups, enabling more efficient and cost-effective video production workflows.
Engineered with an optical configuration that creates the optimal placement of lens elements, including a large-aperture aspherical lens and an anomalous dispersion glass lens, the CN-E20-50mm T2.4 L F/FP and the CN-E45-135mm T2.4 L F/FP lenses help reduce the potential for color smudging and chromatic aberrations. This enables them to maintain high optical performance from the center of the image to the periphery when paired with 8K cameras.
In addition to supporting EF-mount data transmission2, the new lenses are also compatible with /i Technology3 from Cooke Optics. With this capability, recording metadata such as focus, zoom, aperture, and lens model can be transmitted via the lens mount for visualization on the camera itself. This additional information helps to contribute to more efficient workflows not only during on-location recording, but also during post-production and editing.
Pricing and Availability
The Canon CN-E20-50mm T2.4 L F/FP wide-angle zoom lens and Canon CN-E45-135mm T2.4 L F/FP telephoto zoom lens are scheduled to be available in early June 2022 and early September 2022 for an estimated retail price of $21,999.00.*
Orders
Order the new Canon CN-E 20-50mm & 45-135mm Lenses from B&H.
# # #
1 The f-number of a lens refers to the level of brightness calculated based on focal length and lens aperture. The t-number, more commonly used to describe the brightness of cinema lenses, incorporates a lens’ f-number along with the measure of light transmission.
2 Only compatible with EF mount cameras
3 Only compatible with PL mount cameras
* Specifications, availability and prices are subject to change without notice. Actual prices are set by individual dealers and may vary.
There is a Sony Alpha 9 II in my hands, and it is time to set up this camera for use. Following are the 36 steps taken to prepare an out-of-the-box a9 II for use.
- Charge the battery
- Record serial number, and add camera to insurance policy
- If desired, download and install Capture One (for Sony) and/or Sony Imaging Edge (unless your current favorite RAW image processing software supports this camera)
- Insert charged battery, and power on the camera
- Set the language, time zone, date, time, timeformat
- Insert memory card(s)
- Select M mode 1, press the "MENU" button, and configure the camera as follows:
- Shooting Menu 1, Tab 1: File Format: RAW, RAW File Type: Lossless Comp (full image quality, reduced file size, ensure your software supports this format)
- Shooting Menu 1, Tab 1: RAW File Type: Uncompressed (full image quality)
- Shooting Menu 1, Tab 1: JPG File Type: Extra Fine (though I seldom shoot in JPG format)
- Shooting Menu 1, Tab 2: Lens Compensation: Shading, Chromatic Aberration, and Distortion Comp: All Off (I use the RAW processing software to enable desired lens compensation, with CA correction frequently selected)
- Shooting Menu 1, Tab 3: Bracket Settings: Bracket order: ->0>+ (considerably enhances image selection for HDR processing)
- Shooting Menu 1, Tab 4: Focus Area: Flexible Spot S (this selection frequently changes to match the needs of a shoot)
- Shooting Menu 1, Tab 5: Priority Set in AF-S: AF
- Shooting Menu 1, Tab 5: Priority Set in AF-C: AF
- Shooting Menu 1, Tab 5: Switch V/H AF Area: AF Point Only
- Shooting Menu 1, Tab 6: Face/Eye AF: Face/Eye Frame Disp: On
- Shooting Menu 1, Tab 9: Spot Metering Point: Focus Point Link
- Shooting Menu 1, Tab 12: Creative Style: NT (Neutral), Sharpness = 1 (the Neutral setting provides a lower contrast histogram. I usually process with the Natural creative style in Capture One)
- Shooting Menu 1, Tab 13: Peaking Setting: On
- Shooting Menu 2, Tab 5: Release w/o Lens: Disable
- Shooting Menu 2, Tab 5: Release w/o Card: Disable (why is this not the default?)
- Shooting Menu 2, Tab 7: Grid Line: Rule of Thirds (aids in composition)
- Shooting Menu 2, Tab 7: DISP Button: Monitor: Uncheck For viewfinder, press [enter]
- Shooting Menu 2, Tab 9: Dial Setup: TV/Av (I adjust the shutter speed more frequently and urgently than the aperture, and the front dial is easier to access quickly)
- Shooting Menu 2, Tab 11: Audio signals: Off (how to turn off the loud and usually-annoying AF beep sound)
- Network Menu, Tab 2: Airplane Mode: On
- Playback Menu, Tab 4: Display Rotation: Off (image fills LCD)
- Setup Menu, Tab 1: Delete confirm.: "Delete" first
- Setup Menu, Tab 2: Touch Operations: On
- Setup Menu, Tab 2: Touch Panel/Pad: Touch Panel+Pad
- Setup Menu, Tab 2: Touch Pad Settings: Touch Position Mode: Relative Position, Operation Area: Right 1/2 (avoids nose touches)
- Setup Menu, Tab 5: Copyright Info: Write Copyright Info: On, Set Photographer: [your name], Set Copyright: [as desired], Write Serial Number: On (note: entering this information without a touchscreen may be a painful process)
- Setup Menu, Tab 5: Format (ensure that there are no important files on the card(s) prior to formatting)
- My Menu: Format Steady Shot Anti-flicker Set. Flash Comp. Face/Eye Subject, Bracket Settings
- With a lens mounted and a subject in focus, adjust the viewfinder diopter until the scene is sharp
I make additional menu and other setting changes based on current shooting scenarios, but this list covers my initial camera setup process.
To copy this configuration means you intend to shoot as I do - including in RAW-only format. While this setup works great for me, you should adjust the setup to your needs.
If you can't remember your menu setup parameters, keeping an up-to-date list such as this one is a great idea. Anytime the camera is set to the factory state, such as when being serviced or when acquiring an additional camera, you will be ready to create your setup quickly, while ensuring that an important setting is not omitted. If you purchase another same or similar camera, setup will be fast and identical. Consider saving the camera settings to a card (Setup/Tools menu, tab 7, Save/Load Settings on card) for an easy restore.
More Information
Order the Sony Alpha 9 II at B&H | Adorama | Amazon | WEX.
Rent the Sony Alpha 9 II from Lensrentals.
The remoteness of the beautiful Ibex Dunes in Death Valley National Park is a big advantage and a big drawback.
The advantage part is that few people make the effort required to get there, and the Ibex dune field is often untracked.
The drawback is that these dunes are located near ... well, nothing. The drive from Furnace Creek took nearly two hours, with very few services encountered on the way, and the last 10 miles are narrow dirt and sand roads that require differing vehicle classes depending on the current conditions (including at an intermittent stream crossing).
The adventure does not stop upon arrival. The dunes are over a mile from the road, but they are massive and easily visible from the road (a generous term for it by this point — more like a trail), and the hike to the dunes is not difficult. In contrast to the size of the dunes, the vehicle is tiny and may not be visible from the dunes. A small angular mistake on the way out could mean a significantly longer walk and perhaps a night in the desert.
That adventure aspect was avoided with a GPS pin, an old-school compass reading, and a feature on the mountain opposite the dunes noted.
On this afternoon, a solitary set of tracks led through the low area between the untouched northern and southern dune fields. After photographing my way around the dunes, I settled into the selected sunset location to catch the day's last rays.
As I shared in the last dune image, the Canon RF 24-70mm F2.8 L IS USM Lens on a Canon EOS R5 proved the optimal choice in the Death Valley National Park dunes. While focal lengths outside this range had compositional opportunities, the 24-70mm angles of view enabled emphasis on the close subjects while keeping the background details relatively large in the frame.
The R5's focus bracketing feature made complete depth of field easily obtained for every image. Four f/11 images were required for this 48mm focus stacked final photo.
A larger version of this image is available here.
ISO 100
7982 x 5324px
While the individual grains of sand in a dune likely have some color variation, those grains blend together at typical landscape photo distances, leaving most dunes a single color. A single color does not alone make an interesting photo. Therefore, shadows rule in the dunes — they are necessary to add intrigue.
Shadows are created by uneven lighting, and the early and late sun angle brings on the desired strong directional lighting (barring clouds).
Taking a dune image to the next step means finding great shadows, and footprint shadows do not fit into my "great" definition (unless the footprints are an intentional part of the composition).
Rarely is wind appreciated for photography, and it is especially unwelcomed when photographing landscapes. However, I celebrated as a significant wind storm blew through during the drive from Las Vegas to Death Valley National Park. The dust and sand were dense enough to severely impact visibility at times, rocking, and properly initiating the brand new Toyota RAV 4 rental SUV.
Why celebrate a wind storm in the desert? The wind erased ALL of the Death Valley dunes' footprints, replacing them with fresh, seemingly unending and highly photogenic ripples in the sand.
The Canon RF 24-70mm F2.8 L IS USM Lens on a Canon EOS R5 proved the optimal choice in the Death Valley National Park dunes. While focal lengths outside this range had compositional opportunities, the 24-70mm angles of view enabled emphasis on the close subjects while keeping the background details relatively large in the frame.
Still, the depth of field available (at apertures not impacted by diffraction) from this focal length range was often insufficient. The R5's focus bracketing feature was the solution to that problem. With focus bracketing enabled, the smallest increment specified, and the number of shots set far above what was ever needed (the camera automatically stops at infinity), the R5 proved itself foolproof, automatically delivering the complete required range of sharp focus bracketed images at nearly a 100% rate (and I probably caused the 1 or two insufficient sets). Walk up to a scene, select the composition, position the focus point on the closest subject (the closest sand), and press the shutter release. This strategy takes away the careful attention to the depth of field otherwise required and facilitates images not otherwise possible.
Do you ever struggle to obtain the ideal white balance? I do, and this image challenged me. Unfortunately, adding the needed contrast creates a bright yellow glow that I've been attempting to neutralize. This image is one of those likely to get re-adjusted in the weeks and months to come.
A larger version of this image is available here.
ISO 100
8200 x 5464px
Check out the new Benro GH5C Mini Carbon Fiber Gimbal Head, now in stock at B&H.
From Sigma:
Firmware update for SIGMA Global Vision lenses in SONY E-mount
We would like to announce that a new firmware update is now available for SIGMA Global Vision lenses in SONY E-mount listed below.
[Applicable product]
·SIGMA 16mm F1.4 DC DN | Contemporary in SONY E-mount
·SIGMA 30mm F1.4 DC DN | Contemporary in SONY E-mount
[Benefits of the update]
The specification has been changed so that the focus position of the lens when the ON/OFF (power) switch is turned “ON”, or when the camera is restored from power save, is set to the same shooting distance when the ON/OFF (power) switch was turned “OFF” or when power save was activated.
——————————————————————————————————————
[Applicable product]
·SIGMA 56mm F1.4 DC DN | Contemporary in SONY E-mount
[Benefits of the update]
·The focus position of the lens when the ON/OFF (power) switch is turned “ON” or when the camera is restored from power saving has been changed to the specification that the focus position is set to the shooting distance right before the ON/OFF (power) switch is turned “OFF” or power saving is activated.
·Improved feeling of the MF operation of the lens.
——————————————————————————————————————
[Applicable product]
·SIGMA 35mm F2 DG DN | Contemporary in SONY E-mount
[Benefits of the update]
·It reduces the AF drive sound.
[How to update]
Please select the appropriate product from the following page, go to the download page, click “Sony E-mount” and follow the update procedure.
*After the update is complete, be sure to remove the battery pack from the camera and reinsert it.
Get your Sigma Lens at B&H.
A new Sigma Mount Converter MC-11 firmware update is available.
From Sigma:
Thank you for purchasing and using our products.
We would like to announce the availability of a new firmware update for the SIGMA MOUNT CONVERTER MC-11.
[Applicable Products]
·SIGMA MOUNT CONVERTER MC-11 EF-E
·SIGMA MOUNT CONVERTER MC-11 SA-E
[Benefit of the update]
It has improved the phenomenon whereby the lens’s optical stabilizer effect differs depending on the shutter type and drive mode used.
[How to update]
Connect the SIGMA MOUNT CONVERTER MC-11 to the computer with the USB cable provided, and start SIGMA Optimization Pro*. If there is a newer firmware than the connected mount converter firmware, a dialog box will appear with the message “The latest converter firmware is available. Click “Yes” to update the firmware.
Get the Sigma Mount Converter MC-11 at B&H.
Just posted: Manfrotto 645 FAST Twin Leg Video Tripod Review.
Another high value product from Manfrotto.
Order the Manfrotto 645 FAST Twin Leg Video Tripod from B&H | Adorama | Amazon USA | WEX
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From Capture One:
Feature walkthrough
Keystone Tool redesign
The Keystone Tool has been redesigned with a new user interface. Additionally, Auto Keystone has been added for all camera models, allowing a swift and precise perspective correction of most images.
Tool design
The Keystone Guides have been redesigned to easily place them with greater precision. Additionally, the precision of the guides can be fine-tuned using the keyboard arrows when a guide is selected.
The content of the Keystone Tool has been split into two tabs, ‘Guides’ and ‘Sliders’. Guides offer fully automatic and guided keystone options, while Sliders offer manual adjustments.
The new adjustment ‘Skew’ has been introduced to accommodate a wider range of perspective corrections.
Auto Keystone
Let Capture One detect and correct the perspective automatically. By pressing the ‘Auto’ button in the Keystone Tool, lines in the image(s) are automatically detected, evaluated, and used for the correction. The result is a swift automatic correction with high precision.
By default, Auto Keystone will correct Vertical Keystone. This can be changed by simply selecting one of the other two guide modes to activate the cursor tool. The icon within the ‘Auto’ button will change accordingly and pressing it will instantly apply the desired correction. Auto Keystone works on batches of images.
Auto Keystone can also be triggered from the regular Auto Adjust functionality in the main toolbar. To do this, tick Keystone in the drop-down menu of Auto Adjust. Note that only Vertical Keystone is available from Auto Adjust.
If Capture One is unable to detect suitable lines in the image, pressing ‘Auto’ will have no effect.
Read more here.
General user experience improvements and tweaks
Apple Silicon (M1) performance improvements
The following areas have been improved:
Preview generation is up to 100% faster.
Luma Mask rendering is up to 300% faster. This makes it faster to render the initial Luma Mask and significantly faster to tweak the luminosity range afterward.
Feather and Refine Mask are up to 1.000% faster.
Fujifilm X-Trans raw loading is up to 100% faster, making the preview generation and rendering when zooming feels significantly faster on images from Fujifilm APS-C cameras.
Improved Auto Rotate
The algorithm behind Auto Rotate has been improved, providing more accurate results on images where clear lines are visible. This makes it more valuable with, for example, landscape images with clear horizons.
Crop Aspect Ratio behavior
Changing the Aspect Ratio from the Crop Tool will now immediately apply this ratio to the selected image. This makes it easier and more intuitive to work with different aspect ratios, as you don’t have to make a change to the crop for the new ratio to apply.
Easier access to drop-down menus
Drop-down menus that were previously only accessible by long-pressing their icons are now easier to open. Most icons have gotten a downwards arrow that will open the menu, and all menus can be opened by right-clicking their icons.
New default sorting option
Collections will now sort by Date instead of Name by default. This default can be changed in General Preferences, where both the sorting criteria and direction can be customized. This only affects new collections.
Capture One Live add-on
Live Sessions can be now configured to last for 1, 3, 5, 7, or 14 days. You can choose between the different options upon starting a new Live Session that suits both your and your collaborator’s needs.
License changes
Capture One Fujifilm/Sony/Nikon converted to Pro
Subscription users of Capture One Fujifilm/Sony/Nikon will automatically have their license upgraded to Capture One Pro at no additional cost. Perpetual owners will need to upgrade via the upgrade store.
Read more here.
The Capture One 22 (15.2.0) release notes provide the full details on this update.
Get Capture One at B&H.
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Just posted: Manfrotto 608 Nitrotech Fluid Video Head Review.
This head has a solid feature set and strong performance for the price.
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Image quality test results from the Canon EOS R5 are now available in the Canon RF 28-70mm F2 L USM Lens Review.
To get your comparisons started:
Canon RF 28-70mm F2 L USM Lens compared to the RF 24-70mm F2.8 L IS USM Lens
Order the Canon RF 28-70mm F2 L USM Lens from B&H | Adorama | Canon USA | Amazon USA | WEX
Rent the Canon RF 28-70mm F2 L USM Lens from Lensrentals.
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Check out the tiny (1.9 x 1.2 x 0.8" / 47.3 x 30.4 x 20 mm) transmitters in the new DJI MIC wireless microphone kit:
DJI Mic Now Available
DJI’s first dedicated audio recording system is self-contained and starts up instantly
April 4, 2022– DJI Mic, the first dedicated audio recording product from the world’s leader in civilian drones and creative camera technology, is now available for purchase in the United States.
Overview
DJI Mic is a dual wireless microphone system solution for recording crystal-clear audio at long distances. With 5.5-hours of battery life and a total of 15 hours with the charging case, DJI Mic is ideal for shooting a vlog, interviews, or any kind of content creation that requires high-quality audio. The system consists of two microphone transmitters, a receiver, and an ultra-compact charging case that fits easily into your bag or pocket. It is compatible with smartphones, cameras, DJI OM 5, and DJI Action 2 for high-quality audio.
Key Features
- Easy Setup: An extra ultra-portable charging case stores the transmitters and receiver and fast-pairs the system just by opening it.
- Intuitive Design: The transmitters attach via back-clip or magnetic plate. The receiver's built-in touchscreen gives easy access to channel selection, input/output settings, and other essential operations.
- Portability: Weighing just 30 grams, the transmitter easily clips onto a shirt collar.
- 250m Max Wireless Transmission Range: Using DJI's latest encryption technology, DJI Mic is capable of recording crisp audio at distances of up to 250 meters (tested in unobstructed environments in direct line of sight).
- Dual-Channel Recording: DJI Mic comes with two transmitters with built-in microphones, capable of simultaneously recording the sound from two audio sources. Each transmitter has built-in storage of up to 14 hours (8GB) and supports backup recording, ensuring that your audio files are safe and easy to access. Files can be transferred via the USB Type-C Cable and appears as a drive when connected to your PC or Mac. Files are 48,000 Hz, 24-bit mono WAV format.
- Compatibility: The DJI Mic receiver supports USB-C, Lightning, and 3.5mm TRS interface output, making it compatible with most smartphone, camera, and laptop models.
- Battery Life: The transmitters and receiver both boast a 5.5-hour battery life and a total of 15 hours with the compact charging case.
- Variable gain control: DJI Mic has flexible variable gain control from two independent audio sources.
- Safety Track: A secondary audio track is recorded as a backup with a lower volume of -6 dB (different from the main audio track), which helps to safeguard your audio in case of unforeseen issues.
- Multi-level Control: Adjust input and output sensitivity between -12dB ~ 12dB and find the perfect setting for your surroundings.
- Microphone Furry Windscreen: Effectively suppresses wind and noisy environments while still recording clear sound.
In the Box
- DJI Mic Transmitter x2
- DJI Mic Receiver x1
- DJI Mic Charging Case x1 (Weight: 242g; LWH: 103x61x41 cm)
- DJI Mic Camera Cable (3.5mm TRS) x1
- DJI Mic Smartphone Connector (Type-C) x1
- DJI Mic Smartphone Connector (Lightning) x1
- Charging Cable x1
- DJI Mic Windscreen x2
- DJI Mic Magnetic Plate x2
- DJI Mic Carrying Bag x1
Orders
Order the DJI MIC Wireless Microphone Kit at B&H.
"The DJI Mic Wireless Microphone Kit from DJI enables vloggers and other creators to capture two-channel audio with their action camera at distances up to 820'. This wireless mic kit consists of two transmitters, one receiver, a portable charging case, cables, wind socks, and 3.5mm TRS to USB adapters."
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