Canon and Sony News for May 2022 (Page 2)
Just posted: Cartoni Focus 8 Fluid Video Head Review.
The Focus 8 is entry level into the high-performing Cartoni Focus series.
Order the Cartoni Focus 8 Fluid Video Head from B&H or Adorama.
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Image quality, vignetting, flare, and distortion test results along with specs, measurements, and standard product images are now available on the Sigma 18-50mm F2.8 DC DN Contemporary Lens page.
This lens is available in Sony E and Leica L mounts. Order the Sigma 18-50mm F2.8 DC DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX
Rent the Sigma 18-50mm F2.8 DC DN Contemporary Lens from Lensrentals.
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Note that the new, faster Delkin Devices 512GB BLACK CFexpress Type B Memory Card is priced at only 499.99. That is less than $1/GB for a fast, premium-grade card.
The new Delkin Devices BLACK CFexpress Type B Memory Cards are in stock at B&H.
From Delkin Devices:
Delkin's New BLACK CFexpress™ Type B Memory Cards Surpass Nikon Z9 Limits
POWAY, CA, MAY 6, 2022 - Delkin Devices, a manufacturer of flash storage solutions and camera accessories, announced today the launch of its latest version of top-selling BLACK CFexpress™ Type B memory cards. With improved speeds, more capacity and guaranteed full compatibility with the latest Nikon Z9 firmware (v2.0), Delkin’s BLACK CFexpress™ cards offer photographers and videographers a solution that is both reliable and trustworthy for professional use.
Specially designed to meet the data-intensive demands of today’s broadcast, cinema and photography industries, Delkin BLACK CFexpress™ Type B cards provide minimum sustained sequential write speeds exceeding 1240 MB/s, guaranteeing flawless cinema-quality video recording, including 8K RAW 12-Bit @ 60fps (2.6 Gbps) in the Nikon Z9. These cards when used in the Nikon Z9 also allow shooters to surpass the maximums stated in the camera manual, capturing an unlimited amount of high-resolution RAW photos in a single press. The cards are also capable of offloading data at speeds reaching up to 1725 MB/s, ensuring the quickest, most efficient data transfer from card to computer for immediate file access and sooner post-production start time.
“What is the Delkin Difference?” asks Jenn Sherry, Delkin's Director of Retail Sales & Marketing. She continues, “a handful of key things make us rock. Our Delkin BLACK line offers the World’s Best Warranty for memory cards, the cards come serialized from authorized retailers and we offer customer service in four time zones around the globe. No other memory card company offers that to their customers. If you haven’t purchased a Delkin CFexpress card before, give us a chance. I’m happy to take your call personally and answer any questions.”
Each BLACK CFexpress™ Type B memory card has undergone extensive testing to ensure full functionality in today’s high-end cinematic hosts, including ones from Canon® (C300 Mark III, C500 Mark II, 1D X Mark III, R3, R5 & R5C), Nikon® (D6, Z6 II, Z7 II & Z9), Panasonic® (S1/S1R & GH6) and Phase One® (XF IQ4). It is important to note though that CFexpress™ Type B cards are not backwards compatible with either CFexpress™ Type A, CFast 2.0 or CompactFlash hosts.
In addition to their “Lifetime Warranty” policy, Delkin continues to offer a unique built-in insurance policy for their BLACK memory cards, known as the “48-Hour Replacement Guarantee”. Delkin will replace any non-working BLACK card within 48 hours or less (not including weekends), prior to receiving the non-working card. Cards can also be exchanged over-the-counter at any authorized Delkin BLACK reseller.
Image quality, vignetting, flare, and distortion test results along with specs, measurements, and standard product images are now available on the Sigma 16mm F1.4 DC DN Contemporary Lens page.
This lens is available in Canon EF-M, Sony E, Leica L, Fujifilm X, and Micro Four Thirds mounts.
Save $75.00 instantly via the current Sigma promotion. Order the Sigma 16mm F1.4 DC DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX
Rent the Sigma 16mm F1.4 DC DN Contemporary Lens from Lensrentals.
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While I'm sure the new show will offer great opportunities, I'm going to miss the old PhotoPlus Expo.
PHOTOPLUS Embraces New Identity as Create NYC, Relocates to Brooklyn to Welcome Creator Community
MAY 2, 2022
After two years of in-person event cancellations due to the COVID-19 pandemic, PHOTOPLUS is proud to return this year as Create NYC Powered by PHOTOPLUS. To be held from September 29 to October 1, 2022, the three-day event leaves the Jacob Javits Convention Center for the Duggal Greenhouse in Brooklyn, NY.
The photography industry’s premier trade show morphs into a festival experience. Create NYC immerses attendees in anything and everything Image Culture. It celebrates all visual storytellers whose work crosses various platforms, expresses shared experiences, inspires dialogue for change, and blurs the lines between art and cultural relevance.
Create NYC puts education and experience first, featuring a main stage of dynamic speakers who will strike meaningful conversations about the impact of imagery on society. Additionally, the event will offer attendees the opportunity for intimate educational moments through creator walks, sessions, and lab-style workshops – all known as Creator Experiences led by engaging visual creatives, including photographers, filmmakers, editors, artists, and more.
Tickets for Create NYC will be available starting June 13. Unlike in previous years, ticket quantities will be limited.
“The decision to reimagine PHOTOPLUS into Create NYC was in response to demand from a rapidly growing emerging creator community,” said Create NYC Show Director Joseph Kowalsky. “The definition of an imaging professional and visual storyteller has broadened. Create NYC aims to be the home for all using imaging technology to create stories that trigger emotion and impact society.”
About Create NYC Powered by PHOTOPLUS: A 3-day experience based in Brooklyn, NY, that celebrates the world of Image Culture, shedding light on visual storytellers that transcend the boundaries of the frame, page, or screen to broaden and share collective experiences, inspire meaningful conversation and change, and act as the bridge between artistic work and cultural relevance.
About Emerald: Emerald’s talented and experienced team grows our customers’ businesses 365 days a year through connections, content, and commerce. We expand connections that drive new business opportunities, product discovery, and relationships with over 140 annual events, matchmaking, and lead-gen services. We create content to ensure that our customers are on the cutting edge of their industries and are continually developing their skills. And we power commerce through efficient year-round buying and selling. We do all this by seamlessly integrating in-person and digital platforms and channels. Emerald is immersed in the industries we serve and committed to supporting the communities in which we operate. As true partners, we create experiences that inspire, amaze, and deliver breakthrough results.
Image quality, vignetting, flare, and distortion test results along with specs and measurements are now available on the Sigma 30mm F1.4 DC DN Contemporary Lens page.
This lens is available in Canon EF-M, Sony E, Leica L, Fujifilm X, and Micro Four Thirds mounts.
Save $75.00 instantly via the current Sigma promotion. Order the Sigma 30mm F1.4 DC DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX
Rent the Sigma 30mm F1.4 DC DN Contemporary Lens from Lensrentals.
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Image quality test results are available on the Sigma 56mm F1.4 DC DN Contemporary Lens page.
This is a sharp lens that is available in Canon EF-M, Sony E, Leica L, Fujifilm X, and Micro Four Thirds mounts.
Save $75.00 instantly via the current Sigma promotion. Order the Sigma 56mm F1.4 DC DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX
Rent the Sigma 56mm F1.4 DC DN Contemporary Lens from Lensrentals.
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When other serious photographers are photographing you instead of the amazing scene in your viewfinder, your sanity feels questioned.
Despite appearing big in this image, Lathe Arch is relatively small. Making it appear large in the frame requires getting close to it relative to the background. Getting close from the best side of this arch offers very few options, and gaining this vantage point required getting into a small opening between the large, abrasive granite rocks.
The tripod legs were spread straight out, straddling the crevice, and I was thankful for sturdy boots that were not crushing my feet despite being wedged between the rocks. I was mostly hidden from people walking by but was apparently photo-worthy to a couple of photographers that noticed me.
The widest focal length available on the mounted lens was 15mm, and that angle of view was not nearly wide enough to capture the entire arch and the supporting rocks beside it. Thus, a panorama was called for.
I suspected that this scenario was coming and often have a Really Right Stuff MPR-CL Rail with Integral Clamp in the bag. The rail mounted on the vertical side of the L-plate allowed the lens to pivot over its nodal point, ensuring that the foreground details aligned when stitched together. While nodal alignment is not essential when the foreground is distant, this foreground was very close.
There was a lot of blue sky above the arch, but much of that was framed (and cropped) out of this image. The 22mm focal length provided a sufficient vertical angle of view. The finished horizontal angle of view was determined by the sum of the camera angles used for the pano.
The next issue to resolve was the inadequate depth of field. The closest foreground rock was immediately in front of the lens, while Lone Peak and the mountains beside it were far away. This scenario calls for focus bracketing, an easy strategy with the Canon EOS R5.
I considered adding HDR bracketing to the already complicated capture and processing but didn't — and didn't regret that decision. The R5's dynamic range easily handled this scene.
After dialing in a manual exposure that barely avoided red channel overexposure, the camera was rotated to the left-most side of the capture, autofocus was acquired on the nearest point of the rock, and the set of focus bracketed images was captured. The ball head base was not close to level, so the panning base could not be used for the lateral movement. The ball was loosened, and the camera moved using the thirds gridline to locate the next position. Moving the bottom-left thirds gridline intersection to the former position of the bottom-right thirds line intersection provided a considerable 2/3 frame overlap between image sets, with the electronic level ensuring the camera remained level.
A 1/3 overlap is usually adequate, so moving the bottom-left thirds gridline intersection to the former position of the bottom-right line leaving the frame would have been more efficient.
Additional sets of images were captured until the complete width of the pano was finished. The result was five images per focus stack and four focus-stacked image sets for the panorama.
Creation of the final image involved processing the stacks and then creating the panorama from the four stacked images. While this process may sound complicated, it was simple. The computer did all of the work.
Capturing this image was high on the awkwardness scale, but as usual, I barely remember the discomfort, and the image will bring back the great memories of this morning long into the future.
A larger version of this image is available Here.
ISO 100
11479 x 5089px
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