Canon News (Page 21) RSS Feed for Canon News

 Monday, November 12, 2018
From Tokina:
 
Thank you for using Tokina lenses.
 
We have thoroughly tested all current Tokina interchangeable lenses (Canon EF mount) with the Canon EOS R mirrorless camera and the Canon EF-EOS R mount adapter.
 
The results confirm that the current Tokina lens models showed no issues in general operations, with the following exception:
 
Issue: the image Cropping/Aspect ratio would be fixed at "1.6x (Crop)" and cannot be set at "Full (3:2)".
 
We are currently preparing a firmware to fix the issue, which will be specifically notified about in due time.
 
Furthermore, when using Tokina APS-C format lenses (Tokina DX lenses), in case the Cropping/Aspect ratio is set otherwise, it is necessary to reset it on "1.6x (Crop)" manually. When shooting with a different Cropping/Aspect ratio setting, vignetting is likely to occur.
 
For any questions about compatibility of Tokina interchangeable lenses with Canon EOS R mirrorless cameras, please contact us via contact form.
Posted to: Canon News
Post Date: 11/12/2018 7:11:54 AM CT   Posted By: Sean
 Friday, November 9, 2018
For those familiar with Photoshop, you'll feel right at home with Photopea, a photo editing solution that has many of the same basic tools as Photoshop but runs in your internet browser window.
 
Photopea Screenshot

Using Photopea, you can open and edit PSD, XCF, Sketch, XD, CDR as well as popular image file formats and save them as PSD, JPG, PNG or SVG files. And yes, it supports layers and masks.
 

I must admit to being very skeptical when I was first introduced to this in-browser editor, but it didn't take long for me to be impressed by its functionality and design. Of course, it's not as full-featured as Photoshop CC, but it's still one of the coolest things I've seen in a while. I highly suggest you bookmark the page and keep it handy for those times you need to do some quick editing on a machine where Photoshop isn't (or otherwise can't be) installed. [Sean]
Post Date: 11/9/2018 9:15:02 AM CT   Posted By: Sean
From X-Rite:
 
X-Rite, the leading brand of color management solutions for the photography and video, announces an exclusive offer in partnership with MZed. Consumers will receive either a free full course ($199 value) with the purchase of an i1Display Pro, i1 Filmmaker Kit or ColorChecker Video XL; or free course module ($79 value) with the purchase of a ColorChecker Passport Video or ColorChecker Video. Both the full course and the modulecan be streamed or downloaded. Offer expires December 31st, 2018.
 
To claim a free course/module from MZed, just follow these simple steps:
 
  • Go to http://www.xritephoto.com/mzed-promo.
  • Fill in required info and upload a proof of purchase.
  • Once verified, an email will be sent with a special link.
  • Click the link to get your course or module and download/stream through MZed for free.
The Mastering Colorfull course (or module) will be free to use with no subscription charges. Customers will have 45 days from their purchase date to submit a redemption request. This offer is available in the U.S. and Canada until December 31st, 2018.
Category: X-Rite News
Post Date: 11/9/2018 8:12:17 AM CT   Posted By: Sean
 Thursday, November 8, 2018
The EOS R represents Canon's initial foray into the mirrorless camera market and many may be wondering how it stacks up against Sony's feature-packed, budget-priced a7 III. If you fall into that group, read on as we compare these two cameras.
 
Sony a7 III & Canon EOS R Shared Primary Features
 
  • Mirrorless camera technologies
  • Metering Range: EV -3 to EV 20
  • Shutter Speed Range: 30-1/8000, Bulb
  • 4K Video Recording: 4K (16:9) 3840 x 2160 at 30p
  • USB 3.0, HDMI mini out (Sony: Type D, Canon: Type C) , External Microphone In / Line In (Stereo mini jack), Headphone socket (Stereo mini jack)
  • Operating Environment: 32–104°F / 0–40°C
Primary Advantages of the Sony a7 III:
 
  • Compatible with more native-mount lenses
  • Sensor Stabilization: 5-axis Optical In-Body Image Stabilization vs. 5-Axis Movie Digital IS Image Stabilization
  • Tracks eye in Single-Shot and Continuous AF vs. One Shot only *
  • More Metering Zones: 1200-zone vs. 384-zone
  • Higher ISO Setting: 204800 vs. 102400
  • Better Dynamic Range
  • Wider Exposure Compensation: +/- 5 EV vs. +/- 3 EV
  • Faster x-sync: 1/250 sec vs. 1/200
  • Faster Burst Shooting: 10 fps vs. 8 (One Shot mode), 5 with AF Tracking
  • No crop-factor in 4K vs. 1.75x crop
  • Better Slow Motion Video: 1920 x 1080 at 120 fps with sound/AF tracking vs. 720p at 60 fps with no sound/AF tracking
  • Wi-Fi, Bluetooth and NFC vs. Wi-Fi and Bluetooth only
  • Dual Memory Cards: Memory Stick/SD (UHS-I) + SD (UHS-II) vs. SD (UHS-II) only
  • Higher Battery Life: 610 shots vs. 370
  • Slightly Smaller: 5.0 x 3.9 x 3.0" (126.9 x 95.6 x 73.7mm) vs. 5.35 x 3.87 x 3.32" (135.8 x 98.3 x 84.4mm)
  • Lower cost
Primary Advantages of the Canon EOS R:
 
  • Higher Resolution: 30.4 MP vs. 24.2
  • More AF Points: 5,655 points vs. 693
  • More Sensitive AF: EV -6 to +18 vs. EV -3 to +20
  • Faster AF in One Shot mode
  • Wider Auto ISO Range: ISO 100-40000 vs. 100-12800
  • Higher Resolution Viewfinder: 0.5" (1.27cm) OLED EVF, 3.69m-dots vs. 0.5" (1.3cm) OLED Tru-Finder EVF, 2.36m-dots
  • Larger, Higher Resolution LCD: 3.15" Touch Screen (8.01cm) Clear View LCD II, 2.1m-dots vs. 2.95" (7.49cm) Touch Screen TFT, 921.6K dots
  • Vari-angle LCD vs. tilt only
  • Top LCD vs. none
  • Higher Bit-Rate 4K Video: 480 Mbps (ALL-I) vs. 100 Mbps
  • Larger RAW Buffer: 47 RAW images vs. 40
  • Manual focus guide/focus peaking vs. focus peaking only
  • Better performance with adapted lenses
  • Better/more intuitive menu system
  • Better grip
Who should opt for the Sony a7 III?
 
If you're looking to upgrade to a full frame camera and don't already have a large collection of Canon lenses, or otherwise want to get more serious about photography and prefer to skip on an APS-C sensor body, the Sony a7 III has a lot to offer, including a very reasonable price tag. Sony's IBIS (In-Body Image Stabilization) technology enables up to 5-stops of camera shake compensation with any lens that's mounted to the camera and represents huge advantage for the a7 III. Those shooting static subjects in low-light situations or when using a narrow aperture to obtain a desired depth of field, especially when a non-stabilized lens is mounted to the camera, will greatly appreciate the a7 III's sensor stabilization.
 
Are you a wedding photographer? The a7 III's dual memory card slots can protect once-in-a-lifetime images from being lost due to a corrupted memory card, and the camera's higher dynamic range could come in handy for events needing great exposure latitude. Another a7 III features that wedding/event/festival photographers will surely appreciate include is its significantly longer battery life compared to the EOS R.
 
Fast action shooters will be able to capture a higher percentage of peak-action shots with the a7 III's 10 fps burst rate with AF tracking compared to the EOS R's 5 fps under the same circumstances, while the camera's eye tracking AF will ensure that the subject remains properly focused. Note: The a7 III's continuous burst rate drops to 8 fps with viewfinder Live View (for easier subject tracking) in use.
 
Videographers who want to shoot slow motion video can utilize the a7 III's 120 fps Full HD frame rate to capture smooth, slow motion video with sound and AF tracking. The EOS R's resolution at 120 fps tops out at 720p and sound recording/AF tracking is not supported. Want to get the most out of your high quality, wide angle lenses when shooting in 4K? The a7 III samples the entire width of the full frame sensor when shooting in 4K, meaning your wide angle lenses produce an uncropped field of view, perfect for capturing expansive views. Recording in 4K on the EOS R, on the other hand, results in a 1.75x crop factor for your lenses. That means that a 16-35mm lens mounted to the EOS R produces a full frame equivalent field of view of 28-61.25mm in 4K mode.
 
Who should opt for the Canon EOS R?
 
If you're highly invested in the Canon EOS system but want to give mirrorless a try, getting the Canon EOS R will allow you to gradually build up a mirrorless kit, taking full advantage of the new RF lenses coming down the pipeline, while being able to fully utilize your existing DSLR lenses in the meantime.
 
Speaking of lenses, at this time, Sony has 43 FE lenses that can natively fit on the Sony a7 III. Of those, 25 cover the entire full-frame sensor. Other lenses (such as Canon EF) can be used on Sony cameras via adapters, but adapted lenses don't perform nearly as well as their native counterparts on Sony alpha-series cameras. However, while the currently announced pool of Canon RF lenses is small by comparison, Canon's EF-EOS R adapters allow nearly full functionality with EF/EF-S/TS-E and MP-E lenses (EF-S lens use results in a cropped recorded image). With Canon EF-series lenses performing similarly to RF lenses on the EOS R, the pool of lenses available for EOS R customers considerably increases. In fact, if you add up all the different EF/EF-S/TS-E and MP-E lenses which have been produced since the EF mount was introduced and add the announced RF lenses, you'd have more than 175 lenses to choose from, 149 of which cover the entire full frame sensor.
 
From an ergonomics perspective, the EOS R features a deeper grip and raised buttons that are easier to find without having to look at the body. The new Multi-Function Bar may take some getting used to (some may not like it), but many photographers will find the Control Ring found on the new RF lenses helpful for changing a preferred setting. For those used to glancing at a top LCD to check camera settings, the EOS R has you covered.
 
Landscape photographers can enjoy the benefits of the Canon Drop-in Filter Mount Adapter EF-EOS R with their EOS R to enable a circular polarizer or variable ND filter to be used with any of their EF-series lenses. With most ultra-wide angle lenses being incompatible with front filters, the Drop-In Filter Mount Adapter will prove to be a vital component of many landscape shooters' kits.
 
If you're a portrait shooter, you'll likely prefer the EOS R's faster AF performance in One-Shot mode compared to the Sony a7 III which defocuses/refocuses with every shot even if your subject hasn't moved. Those shooting portraits will also enjoy the bokeh-accentuating, shallow DOF (Depth of Field) capabilities that Canon's RF and EF mounts offer, including lenses featuring extremely wide f/1.2 apertures.
 
Vloggers and those shooting self-portraits will find the EOS R's vari-angle LCD much better for self-framing compared to the a7 III's tilt-screen.
 
* Canon claims a future firmware update will enable Eye AF with AI Servo mode.
 
Summary
 
The Canon EOS R and Sony a7 III are both incredible cameras at good-value prices and either can be a great option for most needs.
 
Relevant Info
 
Post Date: 11/8/2018 12:10:35 PM CT   Posted By: Sean
From Flickr:
 
On November 1, 2018, we announced how we’d begin bringing Flickr back to its roots: an active, photo-sharing community. This meant upgrading our Pro accounts and changing Free accounts to encourage photographers to use Flickr again for interaction and inspiration and not just for backup storage. A big part of that inspiration comes from those of you who have shared your photography with Creative Commons licensing. And from historical, governmental, and nonprofit organizations that have shared amazing photos via The Flickr Commons. Those photos, and your ability to share them, are important to us. That hasn’t changed.
 
Those photos aren’t going anywhere. To understand what does change, though, we first need to understand what The Flickr Commons and Creative Commons are.
 
The Commons Difference
 
The Flickr Commons is for photos that come from institutions that want to share their digital collections with as many people around the world as they can. These tend to be historical images whose copyright has expired or government images that are automatically in the public domain since taxpayers have technically already paid for them.
 
Photos from NASA, The Smithsonian, The National Archives UK, and The British Library, for example, have been shared in The Flickr Commons. As part of The Flickr Commons, all these organizations already were Pro or have received a free Pro account from us, so they have unlimited storage.
 
The Creative Commons (CC) organization has developed a suite of licenses that give individual photographers or groups great tools for licensing their photography for others to freely use. The photographer keeps their copyright and gives the public an easy way to use their images as long as the license terms are followed.
 
The Flickr Commons and Creative Commons are different, thus our storage changes affect each differently (or not at all).
 
Are Commons Photos Being Deleted?
 
No. And once more for good measure: no, Commons photos are not being deleted.
 
The Flickr Commons photos (those uploaded by the archival, governmental, etc. institutions we are working with) are safe. We are extremely proud of these partnerships. These photos won’t be deleted as a result of any of our announced changes. The only reason they’d disappear is if the organization that uploaded them decided to delete them.
 
Photos that were Creative Commons licensed before our announcement are also safe. We won’t be deleting anything that was uploaded with a CC license before November 1, 2018. Even if you had more than 1,000 photos or videos with a CC license. However, if you do have more than 1,000 photos or videos uploaded, you’ll be unable to upload additional photos after January 8, 2019, unless you upgrade to a Pro account.
 
Bottom line: Flickr Commons photos will not be deleted. Anything uploaded with a CC license before November 1, 2018, won’t be deleted, but users will need to upgrade to Pro to upload more than 1,000 photos or videos.
 
What About Non-Profits?
 
We know and understand that there are groups out there that work hard to scrape together every nickel and dime to run their organization. And we want to help remove any stress that may come from finding a place to host photos. We’ve worked with 501(c)(3) charitable organizations for years at SmugMug to provide them with unlimited, free storage, and we’ll be doing the same at Flickr.
 
Organizations such as the United Nations Children’s Fund (UNICEF), 350.org, and Second Harvest are already using Flickr to share photos of the amazing work they do. And now we’ll be working with them to ensure Pro isn’t a cost they need to worry about.
 
In fact, you can fill out the form from this page with information about your 501(c)(3) organization or international charity, and we’ll work with you to get your free Pro account set up.
 
The Future of the Commons
 
Freely licensed photos are deeply important to us. After SmugMug acquired Flickr, one of the first meetings we had was with Ryan Merkley, the CEO of Creative Commons. We want to keep that partnership alive and strong, and we are actively working on how to grow it for the future.
 
“We’ll be working with Flickr to look for ways to continue growing and archiving the commons,” Merkley said. “When Flickr users apply CC licenses to their works, they are inviting everyone to use their works freely and with very few restrictions. That’s an incredible gift to the world, and that generosity should be acknowledged and preserved into perpetuity for everyone to enjoy.”
 
Whatever changes come in the years going forward, the importance of these photos will always matter to us. We not only want to preserve the photos we have, we want to keep partnering with organizations such as libraries, museums, and government agencies to contribute to The Flickr Commons as well. And we will continue to work hard to keep these photos safe and available for the world to view and enjoy.
Category: Flickr News
Post Date: 11/8/2018 6:10:20 AM CT   Posted By: Sean
 Wednesday, November 7, 2018
From Benro:
 
The Benro RedDog R1 is a 3-axis gimbal stabilizer with a unique swivel handle designed for different filming angles and compact for travel.
 
Unlike other gimbal stabilizers, which allow for straight holding only, the Benro R1 allows for both Upright and Carry handling modes. Upright Mode is suitable for high angle and medium angle filming. Carry Mode is best for low angle filming. Combining these options will help you get the most out of your stabilizer. "The R1 has a great balance to it especially when using the swivel handle for waist height and low to the ground shots. It is much more comfortable to hold and operate for long shoots or multiple takes and we think that today’s filmmakers and content creators will love this unique feature," says Brian Hynes, Benro’s USA Brand Manager.
 

Ideal for cameras up to 2.9 lbs, the R1 features CNC machining with an innovative design. It’s collapsible handle, makes it perfect for traveling light. The R1's ergonomic silicon grip provides comfortable handling at all times. By turning the button on the handle, you can quickly and easily convert your R1 from high angle to low angle mode, making it simple to track low moving objects, or achieve a low 360°shot comfortably by putting less strain on your wrist, and giving you incredible results.
 
Universal Follow Mode
 
With Universal Follow Mode (Pink), it provides smooth camera movements towards the direction your aiming. You would use this mode when circling around a subject, or making several dynamic camera movements following a subject
 
Locked-down mode
 
Locked-down mode (Blue) keeps the camera locked on a subject while moving the gimbal. With this mode you can replicate movements similar to a jib or slider.
 
Horizontal follow mode
 
Horizontal follow mode (Red) provides smooth movement based on where you move the camera horizontally. You would use this mode when doing a lot of dynamic panning movements around corners.
 
By using the directional button in conjunction with these modes, you can flawlessly control your movements. The threaded receiver allows for additional attachments, giving you even more flexibility with your shots. The companion smart phone app allows you to calibrate your R1, operate it remotely, adjust parameters, update the firmware create a panorama or create a beautiful time-lapse with dynamic motion.
 
For advanced camera control you can directly operate the photo shutter/focus, video record, and zoom for Sony and Panasonic cameras making filming more convenient. The underside of the Benro R1 handle has a ¼”-20 threaded hole for mounting the stabilizer to a tripod. This allows you to connect the camera at a particular spot while still using the various modes such as Pan track or Lock mode.
 
The Benro R1 is ideal for multiple camera types such as: mirrorless, smartphones and action cameras. Boost your production value while traveling light and compact, with the Red Dog R1 Stabilizer.
 
Features & Benefits
 
  • Swivel Handle – The unique swivel handle is designed for different filming angles and is compact for travel.
  • Long Battery Life – The R1 will last for 12 hours on a single charge.
  • Smartphone App – Calibrate your R1, remotely control your stabilizer and camera, and upgrade your firmware all via the Benro Red Dog App.
  • Three Shooting Modes – Your R1 has 3 modes: Universal Follow Mode, Locked-Down Mode and Horizontal Follow Mode. Each mode allows you to control how the gimbal functions for different shooting scenarios.
  • Quick Storage Case – The included carrying case allows you to retain the individual axis positions which will save you a lot of setup time at your next location.
The Benro R1 is currently available for $399.00 USD.
 
B&H has the Benro Red Dog R1 Handheld Stabilizer available for special order.
Category: Benro News
Post Date: 11/7/2018 11:12:44 AM CT   Posted By: Sean
by Sean Setters
 
Very soon after we learned that we'd be having a baby, Alexis asked me to create a series of images showing her progression over the next 9 months. She doesn't ask me to take pictures of her often, so I took her request very seriously. After she showed me some examples of pregnancy progression photos she liked from Pinterest (no doubt the inspiration for this request), we decided a plain white background and strong rim lighting combined with a dark outfit would work well for the concept.
 
For this particular series of images, I used 3 studio lights and 1 shoe-mount flash for the lighting. One monolight was in a 4 x 6' (1.2 x 1.8m) softbox that served as the background and the other two were camera left/camera right slightly behind the subject, diffused by gridded strip boxes. The fill light was provided by a Canon Speedlite 580EX flash that was reflected into a white umbrella and boomed above my Canon 5D Mark III & Sigma 50mm f/1.4 DG HSM Art Lens which was mounted on a tripod.
 
Unfortunately, I was not terribly organized at the beginning of this endeavor. I remember thinking, "This is a pretty simple setup. I can recreate it without any problems." That thought proved to be quite inaccurate. As my mind was quickly bombarded with an overwhelming amount of information on raising a newborn, it apparently left little room for the details of the lighting setup I was certain I'd remember. As such, I found myself analyzing the first month's image on the second month and taking test shots to ensure consistency. After that, I decided to document the entire setup to streamline future sessions in the series.
 
So, here are a few things to keep in mind when creating a similar pregnancy progression photo:
 
  • Choose a stretchy outfit that can grow with the subject, or choose plain clothing that can be duplicated in larger sizes as time progresses.
  • Take time creating the first image to ensure it's exactly what you want. Choose a pose/hand placement that can remain consistent as your subject's belly begins to fill out.
  • Choose a background that's plain and evenly lit so that compositing the final image is easier.
  • Use a tripod and lighting equipment that you'll have continuous access to over the next 10 months (use studio lights or flashes; do not rely on window light which can vary).
  • Record the following details after the first shoot:
    • Camera/lens used and camera settings
    • What your subject was looking at/exact direction of the subject's gaze
    • Distance between the camera to the subject and height of the camera on the tripod
    • Distance between the subject and the background
    • Position/types of lights and modifiers in relation to your subject
    • Power level of all lights utilized for the session (use manual power settings, not TTL)
  • Use your records to recreate the photo setup each month.
If recording all the measurements above seems a bit too tedious, you maybe be able to simply mark subject/lighting/camera placement with gaffer tape on the floor (assuming the tape won't need to be removed within the required time period) and/or taking pictures of the setup from several angles with your smartphone for referring back to.
 
From a business standpoint, a series like this would require 10 separate sessions, generating constant revenue for the photographer over the gestational period. With the all the details well documented after the first session, future sessions could be relatively quick and easy to set up and capture.
 
My wife loved the final image so much that we had a matted 12x36" version of it printed. It now hangs over the changing table in the nursery.
 
Alexis's Pregnancy Progression Framed

Of course, a pregnancy progression series requires a long term commitment to achieve optimal results, but I think you'll find the final image created well worth the effort.
 
A larger version of Alexis's Pregnancy Progression image can be seen on Flickr.
Post Date: 11/7/2018 8:00:46 AM CT   Posted By: Sean

 
From the Adobe Creative Cloud YouTube Channel:
 
In this fast-paced, information-packed session for advanced Photoshop users, join Adobe Digital Imaging Evangelist Julieanne Kost as she showcases her favorite Photoshop techniques, little-known features, and hidden gems to empower you to create your best work faster than ever. If you’re a photographer, an illustrator, or a designer looking for serious insights and solid skills that you can put to use immediately, then this is a session you can’t afford to miss!
 
Julieanne will cover topics that include:
 
  • Tips for customizing Photoshop for the work you create
  • Layers, masking, and compositing secrets
  • Using Smart Objects, Smart Filters, and libraries to edit nondestructively
  • Vector shapes, layer styles, paths, and type shortcuts
  • Content-Aware, Camera Raw, adjustment layers, and more timesaving features
B&H carries Adobe Photography Plan subscriptions.
Post Date: 11/7/2018 7:24:45 AM CT   Posted By: Sean
From Tokina:
 
Thank you for Your constant support to Tokina brand.
 
We found functional issue with Tokina opera 50mm f/1.4 FF (Canon EF mount) and Canon EOS-1D X Mark II combination, that results in exposure problem.
 
We are asking for your cooperation in contacting the camera shop where the lens was purchased, or your local Tokina official distributor for further firmware upgrade procedure.
 
Should you have any other questions, contact us via contact form.
Posted to: Canon News
Post Date: 11/7/2018 6:08:42 AM CT   Posted By: Sean
 Tuesday, November 6, 2018
B&H has the IRIX 150mm f/2.8 Macro Lens available for preorder with free expedited shipping.
 
Product Highlights
 
  • Aperture Range: f/2.8 to f/32
  • Neutrino Coating
  • 1:1 Magnification, 1.1' Minimum Focus
  • Manual Focus Design with Focus Lock
  • Depth of Field and Focus Distance Scales
  • Dragonfly Weather-Sealed Constructio
Categories: Preorders, IRIX News
Post Date: 11/6/2018 1:57:34 PM CT   Posted By: Sean
Photographing in the fog brings both positive and negative factors into play.
 
Starting out with the positive: Fog can reduce contrast, making it easy to layer near and far subjects. When fog reduces contrast enough, it completely eliminates the view of objects beyond some distance. That can make a close subject stand out strongly, as illustrated with this image. Fog also provides a very even light on a subject.
 
Perhaps the biggest fog downside I regularly encounter is the difficulty of locating subjects. If they are not able to be seen, they are not able to be photographed. Also, fog blocks a lot of light, often making the scene very dark.
 
The black bear cub in this image was coming around stalks of corn, following its mother. The glance upward toward the mother bear was nicely timed with a paw in the air. You know that bonus points are awarded for each paw/hoof/foot captured in the air, right? All four off the ground is usually the ultimate capture.
 
Depending on the distance to the subject, the density of the fog and your desired look for the final image, contrast, clarity and/or dehaze post processing adjustments will likely be found welcomed for your in-the-fog captures. Also note that circular polarizer filters act as fog erasers and can be a huge advantage for cutting the effects of fog during capture.
 
Fog or not, it is hard to go wrong with the cuteness of a little black bear cub in the frame.
 
A larger version of this image is available on Flickr.
 
Camera and Lens Settings
600mm  f/4.0  1/1600s
ISO 2800
5014 x 7545px
Post Date: 11/6/2018 11:33:24 AM CT   Posted By: Bryan
Just posted: Canon RF 50mm f/1.2L USM Lens Review.
 
Great lens.
 
The Canon RF 50mm f/1.2L USM Lens is in stock at B&H | Amazon | Adorama | WEX.
 
Rent the Canon RF 50mm f/1.2L USM Lens from Lensrentals.
Posted to: Canon News
Post Date: 11/6/2018 7:22:22 AM CT   Posted By: Bryan
 Monday, November 5, 2018
The Sigma 40mm f/1.4 DG HSM Art Lens is available for preorder at B&H and Adorama.
 
Product Highlights
 
  • Aperture Range: f/1.4 to f/16
  • Three FLD Elements, Three SLD Elements
  • One Aspherical Element
  • Super Multi-Layer Coating
  • Hyper Sonic AF Motor, Manual Override
  • Weather-Sealed, Protective Front Coating
  • Rounded 9-Blade Diaphragm
  • Compatible with Sigma USB Dock
Categories: Preorders, Sigma News
Post Date: 11/5/2018 2:47:02 PM CT   Posted By: Sean

 
From the Adorama YouTube Channel:
 
In Ep 140 David Bergman shows you how to use an 18% gray card to get perfect exposures every single time.
 
Related Products at Adorama:
 
Want more information on how a gray card can be used for white balancing? Check out our Gray Card Review.
Post Date: 11/5/2018 11:10:19 AM CT   Posted By: Sean
From Canon USA:
 
Canon EOS C200 / EOS C200B
 
Firmware Version 1.0.5.1.00 incorporates the following enhancements and fixes:
 
  • A Continuous Recording function has been added allowing for nonstop recording.*1
  • Peripheral illumination / chromatic aberration correction has been added for the following lenses:
    • EF Cinema Lens: CN-E20mm T1.5 L F
    • EF Lens: EF 70-200mm f/4L IS II USM
  • For LUTs that can be applied to output footage, official support for the ITU-R BT.2100 standard and ITU-R BT.2408 report have been added for the following terminals:
    • SDI terminal
    • HDMI OUT terminal
      Changes have been made so that the [HDR: PQ] and [HDR: HLG] base luminance corresponds to Diffuse White (100%) being 203nits*2.
  • Support for the [Reset] function that resets the clip number when the reel number is set, has been added.
  • When using an assignable button, the White Balance setting will be maintained after the power has been turned off.
  • Fixes a phenomenon that occurs on cameras with firmware versions 1.0.3.1.00 to 1.0.4.1.00 in which resolution appears to be reduced in SD card recordings and in external outputs when shooting with specific menu settings*3.
*1 When using the continuous recording function, only MP4 format / 1920x1080 resolution is possible.
*2 The HLG output is the brightness in the case of displaying on a 1000nits monitor.
*3 Specific menu settings:
- When [Resolution/Color Sampling] is set to [3840x2160 YCC420 8 bit].
- When [Resolution/Color Sampling] is set to [1920x1080 YCC420 8 bit], and [Slow Motion Recording] is activated.
- When [Resolution/Color Sampling] is set to [1920x1080 YCC420 8 bit], and the digital tele-converter and EF-S lens correction are activated.
 
Download: Canon EOS C200 / EOS C200B Firmware v.1.0.5.1.00
 
B&H carries the Canon EOS C200 / EOS C200B Cinema Cameras.
Posted to: Canon News
Post Date: 11/5/2018 6:29:12 AM CT   Posted By: Sean
 Sunday, November 4, 2018
Upon locating these intriguingly-curved aspen trees in the San Juan Mountains near Ophir, CO (south of Telluride), I had hours of entertainment before me. Aspen tree trunks are beautiful and their fall leaf color is amazing. With the numerous curving trunk shapes (likely caused by an avalanche when the trees were younger), there were seemingly endless angles and perspectives to use for images here. Helping was that the lighting/weather was constantly changing, ranging from snowing to sun shining bright enough to create shadows with subsequent images appearing different without even moving the camera. It was perfect.
 
I have many hundreds of images to choose from (I'll likely share more). Many of them were captured with a wide angle zoom lens, but this particular perspective seemed ideal for 50mm and I happened to have the Canon RF 50mm f/1.2L USM Lens in the MindShift Gear FirstLight 30L backpack I was carrying. I originally thought this image was captured with that lens, but ... this happened to be the last image taken with the Canon RF 24-105mm f/4L IS USM Lens prior to mounting the RF 50.
 
Using a "standard" or "normal" focal length makes keeping both very close and very distant subjects in sharp focus a challenge, even at f/16. For this image, I focused on the foreground trees for one frame and on the background trees for a second frame. For a simple focus stacking technique, I loaded the two images as layers in Photoshop and used a layer mask to determine which image the foreground trees were showing from.
 
A larger version of this image is available on Flickr.
Post Date: 11/4/2018 6:30:00 AM CT   Posted By: Bryan
 Saturday, November 3, 2018
From Sigma:
 
Firmware update for the SIGMA 17-70mm F2.8-4 DC MACRO OS HSM | Contemporary for Canon & SIGMA 18-200mm F3.5-6.3 DC MACRO OS HSM | Contemporary for Canon
 
Thank you for purchasing and using our products.
 
We would like to announce that a new firmware update for the SIGMA 17-70mm F2.8-4 DC MACRO OS HSM | Contemporary for Canon and SIGMA 18-200mm F3.5-6.3 DC MACRO OS HSM | Contemporary for Canon is now available.
 
This firmware allows compatibility with Canon’s in-camera Lens Aberration Correction function to enable correction matching the optical characteristics of each lens. It also corrects the phenomenon that abnormal images appear or operation errors occur when the function is enabled.
 
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. 1.4.1 or later for Windows, and Ver. 1.4.0 or later for Macintosh.
 
For customers who do not own the SIGMA USB DOCK, SIGMA performs lens firmware updates free of charge. For further information, please contact your nearest authorized SIGMA subsidiary/distributor.
 
Applicable product
 
  • SIGMA 17-70mm F2.8-4 DC MACRO OS HSM | Contemporary for Canon
  • SIGMA 18-200mm F3.5-6.3 DC MACRO OS HSM | Contemporary for Canon
Benefits of the update
 
  • It has ensured compatibility with Canon’s in-camera Lens Aberration Correction function, which enables correction matching the optical characteristics of the attached lens. **
  • It has corrected the phenomenon that abnormal images appear or operation errors occur when Canon’s in-camera Lens Aberration Correction function is enabled.
** EOS-1DX mark II, EOS 5Ds, EOS 5DsR, EOS 5D mark IV, EOS 6D mark II, EOS 80D, EOS 8000D (EOS Rebel T6s, EOS 760D), EOS 9000D (EOS 77D), EOS Kiss X8i (EOS Rebel T6i, EOS 750D), EOS Kiss X9i (EOS Rebel T7i, EOS 800D), EOS Kiss X9 (EOS Rebel SL2, EOS 200D)
 
B&H carries the following:
 
Post Date: 11/3/2018 9:27:52 AM CT   Posted By: Sean
 Friday, November 2, 2018
Need to fund more gear to review. Check out my used gear for sale list again. Prices on remaining items have been nicely dropped and some great gear, including a Canon 200-400 f/4L IS and Really Rright Stuff TVC-34 Carbon Fiber Tripod, is available.
Post Date: 11/2/2018 7:00:00 AM CT   Posted By: Bryan
 Thursday, November 1, 2018
From Flickr:
 
Let’s be candid. Flickr at its best is a place to connect, to discover, and to evolve as photographers and lovers of photography. This is the world’s largest photographer-focused community. Here, together, this newly-independent community can shape the future of photography itself.
 
Today we are announcing updates to Flickr’s Pro and Free account offerings.
 
Flickr Pro is better than ever. For only $49.99 per year, get unlimited storage, ad-free browsing, advanced stats, an unmatched community, and more.
 
  • Unlimited Storage. The only limit is your imagination. Upload as many photos as you can take, always at true full resolution.
  • Ad-free Browsing. Focus on what matters. A fully ad-free Flickr experience for you and your visitors.
  • Advanced Stats. See which of your photos are trending now, and which have performed the best over the life of your Flickr Pro account.
Plus all these great new Pro-only features.
 
  • Premier Support - Skip the line. Flickr Pros now receive priority assistance from our new world-class support team. Available now.
  • More Partner Discounts - Save on photography essentials. Discounts on Creative Cloud from Adobe, 50% off a custom portfolio site on SmugMug, gear from Peak Design, and many more. Coming November.
  • Advanced Stats on Mobile - Stats in your pocket. All the photo stats you know and love, available in-app. Coming November.
  • Increased Exposure - All Pro members as of January 1, 2019 are eligible for priority exposure in the next iteration of Explore. Coming early 2019.
  • New 5K Photo Display Option - Look your best. Your images are beautifully optimized for any screen, from smartphone to jumbotron. Pro images display at resolutions up to 5K. Coming early 2019.
  • 10 Minute Videos - More time to tell your story. Play back videos for up to 10 minutes, increased from 3. Coming early 2019.
Hands down the best deal in photos.
 
Unlimited storage, ad-free browsing, and a global community of over 100 million photographers for less than half the cost of Apple, Amazon, or Google. Sign up today and get 30% off the first year. Discount available through November 30.
 
Free accounts will soon be limited to 1,000 photos or videos. Flickr isn’t Flickr without the contributions and participation of our free members, and we remain committed to a vibrant free offering.
 
If you are a free member with more than 1,000 photos or videos, you will have ample time to upgrade to Pro (for 30% off your first year) or download your photos and videos. Read more about this decision.
 
New simple login! Coming in January, there will be no need for a Yahoo account to use Flickr.
Category: Flickr News
Post Date: 11/1/2018 2:18:32 PM CT   Posted By: Sean
From Skylum:
 
Skylum releases the free update to Luminar and brings the AI Sky Enhancer designed to add detail and drama to the sky with just one slider.
 
Bellevue, WA – November 1, 2018 — Skylum Software today released the new free update to its award-winning photo editor Luminar and presented the AI Sky Enhancer filter. Developed in the company’s AI Lab, the AI Sky Enhancer adds depth, definition, and detail to the sky almost instantly, with only a swipe of a slider.
 
AI Sky Enhancer is a revolutionary new tool for automatically enhancing skies and making them beautiful without the need for creating masks and layers. This will save photographers an enormous amount of time in post processing while expanding the benefit of achieving dramatic skies to photographers who may lack the skillset needed to create these results.
 
Hundreds of thousands of photos incorporating varying degrees of tonal skies were used to “train” a deep neural network that powers the AI Sky Enhancer filter and allow Luminar to analyze the image and detect (and adjust) only the sky. The result is complete, automated control of the sky, from sunsets, blue skies, partly sunny, storm clouds, or virtually any other sky scene imaginable.
 
“Skylum continues to build Luminar into the most comprehensive photo imaging software available in the marketplace,” explains Alex Tsepko, CEO of Skylum Software . “Our goal is to create a software solution that is effective, innovative and fun while incorporating a value proposition that never requires an annual subscription fee. Our addition of Luminar 3 with Libraries will reset the standard for end-to-end imaging software solutions.”
 
The new AI-powered filter comes ahead of Luminar 3 with Libraries, which will begin its roll-out to Luminar owners on December 18 . Skylum made the unprecedented decision to include every new feature of Luminar – big or small – at no additional cost to customers through 2019. This includes Luminar 3 with Libraries, which will allow photographers to organize, browse, and edit images on-the-fly. And, Luminar customers will never pay an annual subscription fee.
 
New and current users of Luminar will also receive a value-add promotional package including a three-month Pro Membership to ViewBug ($42), two-month Pro Membership to KelbyOne ($40); a choice of any e-book from Rocky Nook ($40), Awesome Landscapes Tutorial from Daniel Kordan ($80), and a $20 gift card toward the purchase of any Manfrotto / Gitzo product valued at $125 or more.
 
Luminar is available to new customers for $59. Current users of other Skylum software titles including Aurora HDR , Photolemur and Skylum legacy products can purchase Luminar for a special price of $49.
 
Note: Use coupon code THEDIGITALPICTURE to save $10.00 on your Skylum Luminar purchase.
 
AI Sky Enhancer joins Accent AI and Foliage Enhancer currently available in Luminar, to create a fast and extremely powerful trilogy of single slider solutions for automatic image correction.
 
Other key features and functions available in Luminar include (for Mac and Windows):
 
  • NEW Faster opening of RAW-files. You can now open raw files much faster thanks to improvements in our RAW engine.
  • NEW DNG Camera Profiles (DCP). Are you looking for truly professional control over your RAW files? Then give DNG Camera Profiles a try. Luminar recognizes the industry standard DCP files that you may already have on your computer (or have bought from third parties).
  • IMPROVED Filter Performance. You can now add or subtract filters more quickly to an image.
  • IMPROVED LUT Mapping. You can now easily scroll through your LUTs in the LUT Mapping filter.
  • IMPROVED Batch Processing. Windows users gain the useful Batch Processing improvements. These include the ability to “Replace or Skip Files” when saving the file with the same name when Batch Processing. Additional options include the ability to create JPEG and TIFF files as well as improved reliability when renaming and numbering files on export.
  • NEW Plugin Support. The following third-party plugins can now be used via the Plugins menu: Imagenomic Noiseware 5, Imagenomic Portraiture 3, Imagenomic Realgrain 2, and DxO FilmPack 5.
  • IMPROVED Image History. It is now possible to use the “Save History” option when saving a file with the “Windows Compatible” option. Additionally, White Balance presets are now displayed in an image’s history with the preset name when using the RAW Develop and Develop filters.
  • IMPROVED Blending Modes. When you choose a blending mode for an Adjustment or Image Layer, the experience is even easier. Just hover your mouse over a blending mode and it updates in real-time. This is an easy way to simply mouse-over the list to find the perfect blending mode.
Post Date: 11/1/2018 1:36:11 PM CT   Posted By: Sean
From Canon USA:
 
Patented Sensor Technology Now Available for Industrial Vision Applications
 
MELVILLE, N.Y., November 1, 2018 – Image sensors are an important driving force behind many of today’s successful brands, ranging from consumer products to industrial solutions. Today, Canon U.S.A, a leader in digital imaging solutions, announces that it is now offering select CMOS (complementary metal-oxide semiconductors) sensor products for sale to the industrial marketplace. Manufacturers, solutions providers and integrators who are searching for advanced components to create their own unique products and solutions can now utilize Canon’s patented technology to help them create these products and solutions and expand their business potential.
 
“For several decades, Canon has been a leader in developing and manufacturing advanced CMOS sensors with state-of-the-art technologies, which until now, were for exclusive use in Canon products,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “It was a natural evolution to expand into a new business platform that leverages our expertise in sensor manufacturing to target the growing market demands for high-quality industrial imaging solutions.”
 
Launching this new business, Canon will be showcasing its CMOS sensors at VISION, the world’s leading trade fair for machine vision, on Tuesday, November 6 through Thursday, November 8, 2018, in Stuttgart, Germany. Attendees are invited to visit Hall 1 - Stand 1G74 to explore Canon’s CMOS sensor products and the variety of applications that can potentially be enhanced, including machine vision, inspection, surveillance, drones, traffic-monitoring systems and other industrial applications.
 
Canon sensors on display include:
 
  • 3U5MGXS CMOS Sensor - with an electronic global shutter, and an all pixel progressive reading at 120fps, the Canon 3U5MGXS CMOS 5MP sensor offers fast image capture with low power consumption. This helps to accurately capture images of subjects moving at high speeds without distortion to meet such industrial needs as medical imaging and inspecting parts during the manufacturing process. The Canon 3U5MGXS is now available.
  • 35MMFHDXSCA CMOS Sensor - featuring an enormous 19um pixel pitch, the 35MMFHDXSCA CMOS sensor is capable of capturing color images in exceptionally low-light environments where the naked eye struggles to distinguish objects. Using new pixel and readout circuitry technologies that deliver a 2.76 megapixel resolution, these sensors can support a wide range of applications which require ultra-high sensitivity image capture, including defense, astronomy, surveillance and industrial operations. The Canon 35MMFHDXSCA is now available.
  • 120MXS CMOS Sensor - by incorporating close to the same number of pixels as photoreceptors in the human eye, the Canon 120MXS CMOS sensor delivers ultra-high 120 MP resolution at 9.4fps in a compact APS-H format. This sensor targets the needs of the inspection, aerial mapping, life sciences, digital archiving and transportation industries. The Canon 120MXS is now available.
  • 2U250MRXS CMOS Sensor – with a readout speed of 1.25 billion pixels per second, the prototype 2U250MRXS CMOS sensor, delivers ultra-high 250MP resolution in a compact APS-H format. Through advancements in circuit miniaturization and enhanced signal processing, this sensor delivers high resolution with incredible sensitivity and low noise.
For more information on Canon sensors, please visit canon-cmos-sensors.com.
Posted to: Canon News
Category: Canon USA News
Post Date: 11/1/2018 8:50:05 AM CT   Posted By: Sean
Post Date: 11/1/2018 7:18:32 AM CT   Posted By: Bryan
 Wednesday, October 31, 2018

 
From the Vox YouTube Channel:
 
Horseshoe Bend used to be a little-known roadside view of the Colorado River in Page, Arizona. But over the past few years, the spot has witnessed a dramatic increase in popularity. The main culprit for that uptick? Instagram. It’s now one of many hidden treasures across America that have become too popular for their own good — requiring extensive redesign to protect the visitors and the environment. With visitation at a record 84 million in 2017, America’s national parks are more popular than ever — and social media is rewriting the rules of how and why people visit them.
Post Date: 10/31/2018 12:47:19 PM CT   Posted By: Sean
I have to wonder what a model thinks when the assignment to wear a parachute dress at Dragon's Teeth (Kapalua, Maui, HI) comes in. "I get to wear an enormous dress designed to blow in the wind while standing barefoot on sharp rocks in extreme wind next to an ocean with occasional rogue waves that send salt water spray over everything nearby for an entire very hot, sunny day!" Pick me! Pick me! [Finding Nemo]
 
This model obviously accepted Canon's request and she managed the assignment very professionally. Parachutes are designed to ease the landing, but in this case, the parachute was more likely to cause a liftoff (followed by a perilous landing). I would have been more comfortable if she had a crash pad beside her, but she stayed on her feet through even the strongest wind gusts.
 
A 50mm lens does not create the extreme background blur that long telephoto lenses can create, but the 50mm angle of view allows a closer camera position that provides a more intimate look while the f/1.2 aperture still provides a strong background blur that makes the subject stand out. The look is unique in a very positive way.
 
The extremely wide f/1.2 aperture allows handholding in very low light levels but with a white dress in the sun, even a 1/8000 shutter speed is not always fast enough to avoid blown highlights at f/1.2 and ISO 100. In direct sunlight, a neutral density filter or, as used in this example, a circular polarizer filter on the lens.
 
When water is on the horizon, I usually want the image framed with the horizon level. Electronic viewfinder levels have greatly improved my original captures in this regard, but with the wind and unstable footing, I still managed to get a small degree of tilt that needed to be corrected in this image.
 
An ultra-wide aperture lens is generally selected to make use of those ultra-wide apertures. Often, especially with 50mm ultra-wide aperture lenses, the image quality at the widest apertures is not good and often describable as "dreamy". While dreamy can be nice on occasion, it is not usually what I am going for. With this lens, f/1.2 results are very sharp, showing good resolution and contrast. I have not hesitated to use this lens wide open and ... haven't stopped it down very often. The Canon RF 50mm f/1.2L USM Lens is a compelling reason to get a Canon EOS R camera.
 
A larger version of this image is available on Flickr.
 
Camera and Lens Settings
50mm  f/1.2  1/8000s
ISO 100
4448 x 6672px
Post Date: 10/31/2018 9:32:37 AM CT   Posted By: Bryan
 Tuesday, October 30, 2018
B&H has the new Apple iPads, MacBook Air Notebooks and Mac MINIs available for preorder with free shipping.
 
Want to know what's new? See the details here.
Category: Preorders
Post Date: 10/30/2018 3:04:30 PM CT   Posted By: Sean
After spending over a decade trying to establish milkweed plants on our property (what monarch caterpillars eat), healthy plants finally emerged a couple of years ago – in the flower beds next to our house, not close to where we were trying to grow them. While most "weeds" are not welcome in the flower beds, we embraced what we got and allowed them to prosper in place.
 
This year, milkweed plants started growing randomly throughout the yard, though frequent lawn mowing kept their visibility near nothing. After an especially long period of rain, the yard crop started showing leaves and my observant daughter spotted a monarch laying eggs on them. Prior to the next lawn cutting, she and my wife removed over 40 eggs from the rogue plants.
 
Most of the eggs were transferred to the being-tolerated flower bed plants and several were raised indoors, which produces perfect specimens for photographic purposes. The ideal time to photograph butterflies is just after they emerge as their wings are in perfect condition and they remain mostly still for a couple of hours. Knowing when that time is coming involves observing the monarch chrysalis color. Newly-formed chrysalises are bright green in color, but they turn very dark just prior to emergence of the butterfly stage.
 
I saw this opportunity coming and had some gear ready. When your camera is an EOS model with a hot shoe, the set of lighting accessories available, both Canon brand and third party options, is vast. For this image, I used a Canon Macro Ring Lite MR-14EX II Flash for a very even light on the subject. With the dual MR-14EX flash tubes configured for equal power, this flash creates a flat light, often void of shadows. When the subject is as vibrantly-colored as this one, flat lighting works quite well.
 
The background is a piece of orange paper (I tried a variety of colors) being held with a Delta 1 Grip-It Single Arm with 1" Clamp (extremely useful accessory) and lit with a remotely-controlled Canon Speedlite 600EX-RT Flash. Alternatively, I could have used a white paper and gelled the flash to create the desired color.
 
The background light being positioned behind the foreground light meant that it did not influence the lighting on the subject and the background being far enough behind the foreground meant that the foreground light did not influence the background brightness.
 
While I didn't expect the Canon EOS R to have any trouble with Canon's Speedlite system (other EOS models don't), it is always nice to have reassurance, especially for a new camera line. Or, maybe this test was just the excuse I needed to spend a couple of hours photographing the monarch.
 
At macro focus distances, depth of field becomes very shallow. One of the keys to capturing this image was to align the camera so that the wing was perfectly parallel to the imaging sensor, perpendicular to the center of the lens' image circle. Still, f/16 was needed to obtain the depth of field necessary to keep almost the entire butterfly sharp.
 
A larger version of this image is available on Flickr.
Post Date: 10/30/2018 8:07:31 AM CT   Posted By: Bryan
 Monday, October 29, 2018
Just posted: Canon RF 24-105mm f/4L IS USM Lens Review.
 
This is the ideal general purpose lens for the EOS R.
 
The Canon RF 24-105mm f/4L IS USM Lens is currently available in the Canon EOS R kit and individually available for preorder at B&H | Amazon | Adorama | WEX.
 
Rent the Canon RF 24-105mm f/4L IS USM Lens from Lensrentals.
Posted to: Canon News
Post Date: 10/29/2018 9:02:31 AM CT   Posted By: Bryan
 Sunday, October 28, 2018
Landscapes, weddings, architecture, real estate, photojournalism – all are great reasons to have a wide angle zoom in your kit. Now the big question becomes, "Which one?" For Sony shooters, the FE 16-35mm f/2.8 GM and FE 16-35mm f/4 ZA OSS will likely be at the top of the wide angle zoom considerations list.
 
Before we dig deeper into this comparison, regular site visitors may notice that text below sounds a lot like our Sony FE 24-70mm f/2.8 GM vs. Sony FE 24-70mm f/4 ZA OSS Lens comparison. Well, there's a good reason for that – the 16-35mm lenses listed above share many of the same benefits and drawbacks as their 24-70mm counterparts when compared against one another. Therefore, much of the content of the 24-70mm comparison applies equally to the Sony FE 16-35mm f/2.8 GM and Sony FE 16-35mm f/4 ZA OSS lenses.
 
So, without further ado, let's take a look at these two 16-35mm lenses to see which one proves to be the best investment for your needs.
 
Sony FE 16-35mm f/2.8 GM and Sony FE 16-35mm f/4 ZA OSS Shared Primary Features
 
  • Mount: Sony E (full frame)
  • Focal Length Range: 16-35mm
  • Minimum Aperture: f/22
  • Max Magnification: 0.19x
  • Dust and moisture resistant construction
Primary Advantages of the Sony FE 16-35mm f/2.8 GM Lens
 
  • Wider Max Aperture: f/2.8 vs. f/4
  • More Aperture Blades: 11 vs. 7
  • AF/MF Switch vs. N/A
  • AF Hold Button vs. N/A
Primary Advantages of the Sony FE 16-35mm f/4 ZA OSS Lens
 
  • Built-in Optical SteadyShot Stabilization vs. N/A
  • Smaller: 3.07 x 3.88” (78 x 98.5mm) vs. 3.48 x 4.79” (88.5 x 121.6mm)
  • Lighter: 18.3 oz (518g) vs. 24 oz (680g)
  • Costs significantly less
Other Differences: Sony FE 16-35mm f/2.8 GM vs. Sony FE 16-35mm f/4 ZA OSS
 
  • Elements/Groups: 16/13 vs. 12/10
  • AF Motor: Dual Direct Drive SSM vs. Linear
  • Front Filter Size: 82mm vs. 72
Image Quality Differences: Sony FE 16-35mm f/2.8 GM vs. Sony FE 16-35mm f/4 ZA OSS
 
The FE 16-35mm f/2.8 GM lens is slightly sharper in the center at 16mm and 20mm f/4 and the FE 16-35mm f/4 ZA OSS lens is slightly sharper in the corners. The f/2.8 lens center of the frame advantage grows slightly at 24mm and more than slightly at 28mm. At 35mm f/4, the f/2.8 lens turns in a far better performance. These differences are minimalized at f/5.6, but the f/2.8 remains a much better choice at 35mm.
 
As one would expect, the f/2.8 lens shows less vignetting at f/4. By f/8, the differences are minor. The f/2.8 lens has more barrel distortion at 16mm, but less pincushion distortion in some of the mid focal length comparisons.
 
Who should opt for the Sony FE 16-35mm f/2.8 GM?
 
There are many drawbacks to an f/2.8 constant max aperture lens compared to an f/4 constant max aperture lens, including increased size, weight and cost. However, the Sony FE 16-35mm f/2.8 GM's twice-as-wide max aperture will allow you to freeze motion in half as much light at the same ISO setting compared to the FE 16-35mm f/4 ZA OSS. If you're a wedding/event photographer, or prefer not to pack a tripod for nighttime cityscape/street photography adventures, the increased size/weight/cost associated with the f/2.8 lens will prove more than worthwhile.
 
Who should opt for the Sony FE 16-35mm f/4 ZA OSS?
 
If you don't often need to capture moving subjects in low-light situations, and can tolerate higher ISO use when the need arises, then the Sony FE 16-35mm f/4 ZA OSS offers many of the benefits of the Sony FE 16-35mm f/2.8 GM at less than half the price. For static subjects, when combined with Sony alpha-series cameras' IBIS (In-Body Image Stabilization), the Sony FE 16-35mm f/4 ZA's Optical SteadyShot should provide even more effective stabilization compared to a lens without built-in IS.
 
As you can see by the product pictures and specs listed above, the size and weight differences between these lenses are not insignificant. Photographers who will benefit from the FE 16-35mm f/4 ZA OSS's smaller size/lighter weight include anyone carrying their gear for long periods of time (for backpacking, vacations, long events, etc.) and those wanting to pack more gear in a similar amount of space.
 
Summary
 
With many full frame Sony a-series cameras having built-in sensor stabilization, one of the Sony FE 16-35mm f/4 ZA OSS Lens's major benefits – optical stabilization – is diminished. However, it does have a few advantages remaining over the Sony FE 16-35mm f/2.8 GM that will make it desirable for many photographers – smaller size, lighter weight and a much lower cost. In addition to the 1-stop wider max aperture, most photographers will prefer the FE 16-35mm f/2.8 GM's image quality over the f/4 lens. For those photographing moving subjects and/or utilizing the entire focal length range on a regular basis, such as wedding/event photographers, will find the Sony FE 16-35mm f/2.8 GM to be a worthy investment. Otherwise, the Sony FE 16-35mm f/4 ZA OSS is available for significantly less.
 
Relevant Info
 
Post Date: 10/28/2018 7:31:21 AM CT   Posted By: Sean
 Saturday, October 27, 2018
I was in Aspen, Colorado for two nights and the primary goal was to capture another set of classic Maroon Bells lake reflection images that included the amazing fall aspen color. After arriving at the hotel late in the evening on the first night, I set the alarm for 2:40 AM and went to bed. Probably no one thinks getting up at 2:40 AM is fun and ... that I was dragging my wife and youngest daughter with me ... raised questions about my sanity. Still, this is one of the most beautiful locations in the country and I calculated that it was going to be worth the sleep deprivation (and potential grief from the family) to get the perfect position along Maroon Lake.
 
Upon stepping outside, the heavy cloud cover was obvious and occasional light rain followed us. Landscape photographers live for the openings in breaking storm clouds and I stayed with the plan. I was one of the first photographers to arrive at the side of the lake, but I immediately encountered disruption of the plan. The first issue was that a rope now lines the path around the lake, preventing close access to the water. The second issue was that the lake level was extremely low. The restricted access and now-distant, very shallow lake combined to provide a dirt/stone former lake bottom as the image foreground and the lake was now small enough that the reflections were rather unexciting at the proximity available. In addition, the aspen leaves had changed (and many dropped) about a week early this year, courtesy of the drought that also accounted for the drained lake.
 
I continued to stay with the plan, remaining standing in my spot, alongside a large number of other photographers, from about 3:30 AM until close to 9:00 AM, waiting for a break in the clouds. That never happened and I finally decided that a decent photo was not likely to happen. The hike I promised the girls was looking like a great option and that became the plan.
 
After all of the early AM effort, the best scene of the day showed up in front of us while hiking near the far side of the lake. An opening in the clouds allowed sunlight to penetrate, brightly lighting a grove of aspens that were still holding their brilliantly-colored leaves. The key to getting my favorite Maroon Bells image on this trip was just being out in a great location, watching for something good to happen.
 
The Canon EOS R and RF 24-105mm f/4L IS USM Lens were perfect hiking companions.
 
A larger version of this image is available on Flickr.
Post Date: 10/27/2018 9:32:58 AM CT   Posted By: Bryan
 Friday, October 26, 2018
From Tamron:
 
Tamron 70-210m F/4 Di VC USD Firmware v.2
 
This update improves the following:
 
  • AF follow-up performance
A separately sold TAP-in Console is needed for an update.
Post Date: 10/26/2018 7:13:37 PM CT   Posted By: Sean
After a casual portrait session with the R and the RF 50mm f/1.2L Lens I thought I'd share a quick update on the Canon EOS R's Eye AF performance.
 
This indoor, ambient window light session netted 157 images. Of these images, 10 were 2/3 body portraits, 82 included head and shoulders (or were framed slightly wider) and 64 were headshots with a significant number of those being close to minimum focus distance. All images were captured at f/1.2 for the shallowest, most-AF-challenging depth of field possible and eye detection AF was exclusively in use.
 
Of the 157 images, ten were focused on eyelashes (usually acceptable, mostly close to the iris), two were focused a similarly-short distance behind the iris and only two images misfocused beyond iris-to-eyelash distance. The other 143 were optimally focused on the iris.
 
That the camera was being handheld with me in a somewhat squatted position and the subject standing (sometimes leaning against a wall) meant that our movement could easily have caused any of the less-than-perfect results. I remain very pleased with the EOS R's portrait AF capabilities and the RF 50mm f/1.2L is a very impressive lens, perfect for portraits.
 
The Canon EOS R is in stock at B&H | Amazon | Adorama | WEX.
 
Rent the Canon EOS R from Lensrentals.
 
Camera and Lens Settings
50mm  f/1.2  1/400s
ISO 200
4480 x 6720px
Posted to: Canon News
Post Date: 10/26/2018 9:52:21 AM CT   Posted By: Bryan
From Tamron:
 
Dear users and potential purchasers of Tamron interchangeable lenses.
 
Thank you for using Tamron products and for your continuous support.
 
We would like to announce that we have clarified compatibility in general operations(*1) of following Tamron Di & Di II lenses on Canon EOS R, which was newly released on October 25, 2018, with Canon Mount Adapter(*2).
 
Compatible models in general operations(*3)
 
  • SP 15-30mm F/2.8 Di VC USD G2 (Model A041) for Canon
  • SP 24-70mm F/2.8 Di VC USD G2 (Model A032) for Canon
  • SP 70-200mm F/2.8 Di VC USD G2 (Model A025) for Canon
  • SP 35mm F/1.8 Di VC USD (Model F012) for Canon
  • SP 45mm F/1.8 Di VC USD (Model F013) for Canon
  • SP 85mm F/1.8 Di VC USD (Model F016) for Canon
  • SP 90mm F/2.8 Di MACRO 1:1 VC USD (Model F017) for Canon
  • 17-35mm F/2.8-4 Di OSD (Model A037) for Canon
  • 70-210mm F/4 Di VC USD (Model A034) for Canon
(*1) Defined to work on existing DSLR cameras
(*2) Canon "Mount Adapter EF-EOS R"
(*3) With the latest version of lens firmware
 
About other Tamron models, we will make a further announcement of the compatibility at our support web page once the operation tests are completed.
 
Thank you for your patience and understanding in this matter.
Posted to: Canon News
Post Date: 10/26/2018 7:43:59 AM CT   Posted By: Sean

 
From the Adobe Photoshop YouTube Channel:
 
Learn Meredith Stotzner’s trick for switching between the Dodge and Burn Tools in Photoshop without disrupting your workflow.
 
B&H carries Adobe Photography Plan subscriptions.
Post Date: 10/26/2018 7:39:28 AM CT   Posted By: Sean
From Sigma:
 
Thank you for purchasing and using our products.
 
We would like to announce that, as of this moment SIGMA’s interchangeable lenses for Canon mount in the current lineup do not have any issues with general operation when they are used on the “EOS R”, released by Canon Inc., via their “Mount Adapter EF-EOS R”.
 
In addition, please note the information below when using our lenses.
 
1. With SIGMA’s interchangeable lenses, the Digital Lens Optimizer located within the in-camera Lens Aberration Correction function cannot be used. Therefore, please set the Digital Lens Optimizer to [OFF] before shooting.
 
When the Digital Lens Optimizer is switched [OFF], but “Peripheral illumination correction”, “Chromatic aberration correction” and “Distortion correction”, located within the in-camera Lens Aberration Correction function is switched [ON], the appropriate corrections can be achieved in accordance with the optical characteristics of each lens. This is applicable to lenses listed below which were released after March, 2018, or those of which firmware has been updated to Ver.2.0 or later.
 
Contemporary line
 
  • SIGMA 17-70mm F2.8-4 DC MACRO OS HSM | Contemporary *
  • SIGMA 18-200mm F3.5-6.3 DC MACRO OS HSM | Contemporary *
  • SIGMA 18-300mm F3.5-6.3 DC MACRO OS HSM | Contemporary *
  • SIGMA 100-400mm F5-6.3 DG OS HSM | Contemporary
  • SIGMA 150-600mm F5-6.3 DG OS HSM | Contemporary
Art Line
 
  • SIGMA 18-35mm F1.8 DC HSM | Art
  • SIGMA 50-100mm F1.8 DC HSM | Art
  • SIGMA 12-24mm F4 DG HSM | Art
  • SIGMA 14-24mm F2.8 DG HSM | Art
  • SIGMA 24-35mm F2 DG HSM | Art *
  • SIGMA 24-70mm F2.8 DG OS HSM | Art
  • SIGMA 24-105mm F4 DG OS HSM | Art
  • SIGMA 14mm F1.8 DG HSM | Art
  • SIGMA 20mm F1.4 DG HSM | Art
  • SIGMA 24mm F1.4 DG HSM | Art
  • SIGMA 30mm F1.4 DC HSM | Art *
  • SIGMA 35mm F1.4 DG HSM | Art
  • SIGMA 50mm F1.4 DG HSM | Art
  • SIGMA 70mm F2.8 DG MACRO | Art
  • SIGMA 85mm F1.4 DG HSM | Art
  • SIGMA 105mm F1.4 DG HSM | Art
  • SIGMA 135mm F1.8 DG HSM | Art
Sports Line
 
  • SIGMA 60-600mm F4.5-6.3 DG OS HSM | Sports
  • SIGMA 120-300mm F2.8 DG OS HSM | Sports *
  • SIGMA 150-600mm F5-6.3 DG OS HSM | Sports
  • SIGMA 500mm F4 DG OS HSM | Sports *
* These lenses will be compatible with the in-camera Lens Aberration Correction function by a firmware update to Ver.2.0 which will be announced in the future.
 
When lenses other than those listed above are used, “Peripheral illumination correction”, “Chromatic aberration correction” and “Distortion correction”, located within the in-camera Lens Aberration Correction function, may cause images to appear abnormal. Therefore please set these correction functions to [OFF] before shooting.
 
2. When SIGMA’s DC lenses are used, “1.6x (Crop)” will not be set automatically. Please select “1.6x (Crop)” manually.
 
We will continue verification and provide updates on the operating condition at a later date.
Posted to: Canon News
Post Date: 10/26/2018 6:44:59 AM CT   Posted By: Sean
From the Canon Digital Learning Center:
Halloween is right around the corner, and what a great holiday for photographic inspiration: From cute kids in costumes to spooky haunted houses; eerie glowing jack-o’-lanterns to pastoral pumpkin patches – Halloween offers an endless variety of unique subjects.
Read the entire article on the Canon Digital Learning Center.
Post Date: 10/26/2018 5:45:49 AM CT   Posted By: Sean
 Thursday, October 25, 2018

 
From the Adorama YouTube Channel:
 
Join Daniel Norton OnSet as he shows you how to create images with the feel of window light but the control of flash. This technique will allow you to shoot any time of day or night and create stunning window light portraits.
 
Adorama carries the Profoto B1X.
Post Date: 10/25/2018 10:13:54 AM CT   Posted By: Sean
When the Canon EOS R was announced, many of us were wondering how accurately and consistently Sigma and other third party lenses would autofocus when used on this mirrorless body. As the dust settled on the initial EOS R review tasks, I brought in a Sigma 50mm f/1.4 DG HSM Art Lens to spend some time with. The results from just over 400 AF test images were excellent. The image shared here, a 100% resolution crop, is one from a set of ten and I added all 10 to the autofocus section of the R review, but ... they all look identical. The results from numerous scenarios, including lighting conditions ranging from very low to very bright using AF points from center to corner (80% x 80% coverage for this lens on the adapter), all appeared similarly consistent. While the test results from one lens model does not mean that all lens models will perform identically, this is one of the lenses I've had AF consistency problems with in the past and these results put a very positive outlook on other lens models performing similarly.
 
The Canon EOS R is in stock at B&H | Amazon | Adorama | WEX.
 
Rent the Canon EOS R from Lensrentals.
Posted to: Canon News
Post Date: 10/25/2018 6:45:00 AM CT   Posted By: Bryan
From Canon:
 
MELVILLE, N.Y., October 24, 2018 – Canon U.S.A., Inc., a leader in digital imaging solutions, will be showcasing its latest in high-quality digital imaging products, including the Company’s first full-frame mirrorless camera, the EOS R, at PhotoPlus Expo 2018. The brand-new EOS R is the latest revolution in the company’s long history of innovative and award-winning camera systems, featuring the newly designed RF mount, which uses groundbreaking RF lenses and has full compatibility with the existing range of EF lenses. Canon will also have its complete line of digital imaging solutions on display, including EOS DSLRs, EF Lenses, PowerShot Digital Cameras, Digital Camcorders and imagePROGRAF PRO Professional Inkjet Printers. Additionally, Canon will host educational seminars and will have its Canon Professional Services team on-site in the Jacob K. Javits Convention Center in New York City, October 25 – 27, 2018 in booth #121.
 
“The unique and interactive setting of PhotoPlus Expo serves as an opportunity for the photography community to come together to experience firsthand the newest technology in the industry,” said Kazuto Ogawa, president and COO, Canon U.S.A., Inc. “Canon is excited to welcome attendees into our booth and provide hands-on time with the products that help to capture and commemorate cherished memories, as well as exhibit the many ways Canon supports photographers through educational workshops and our world-class service and support.”
 
For many visitors to the Canon booth, PhotoPlus Expo will serve as their first opportunity to experience the EOS R camera and RF lenses. Attendees will be able to test the new camera system through various shooting opportunities, mini workshops and educational sessions with Canon technical specialists and trainers in the Canon Live Learning studio. Canon trainers are also leading five Midtown-area Photo Walks throughout the Expo; spots are limited (register here).
 
Canon Explorers of Light and other imaging professionals will be on the Canon stage for live-shoots and lectures featuring the best Canon digital imaging solutions. There will also be an in-booth gallery featuring images by Explorers of Light printed on the imagePROGRAF PRO-1000. In addition, Explorers of Light Lindsay Adler, Jimmy Chin and Joel Grimes will each sign 100 custom printed photographs for attendees, which will be available on a first come, first served basis.
 
New to the Canon booth, the state-of-the-art aRchive gallery will feature work from cultural influencers and storytellers like Nicole Issacs, Jake Guzman and Katie Goldie, using augmented reality technology to add to the experience. In order to view the gallery, visitors will need to download the aRchive app from the Google Play or Apple App stores.
 
Visitors to the Canon Professional Services counter will have the opportunity to learn more about the industry-leading program and offerings supporting photographers, including repair discounts, expedited service and evaluation loaners for CPS Gold, Platinum and Cinema members. Guests who renew or sign up for a paid CPS membership during the show will receive a 10 percent discount and free show-exclusive gift. To learn more about Canon Professional Services, please visit www.usa.canon.com/aboutcps..
 
The CPS Lounge will be open again this year, where Platinum, Gold, Cinema and Enterprise CPS members can have their Canon equipment (up-to-two current Professional DSLR bodies or lenses) cleaned and checked during Expo hours on Thursday, Oct. 25, and Friday, Oct. 26, in Room 2D12.
 
CPS Lounge Hours during PhotoPlus Expo 2018:
 
Oct. 25: 10:00 AM-5:00 PM
Oct. 26: 10:00 AM-5:00 PM
Oct. 27: 10:00 AM-2:00 PM (equipment pickup only, no new items accepted)
 
Visit the CarePAK PLUS counter to learn more about the current promotion for free 13 months of accidental damage protection with the purchase and registration of select Canon cameras and lenses through January 5, 2019. Exclusive for PhotoPlus Expo, visitors can get their badge scanned to enter for the chance to win a free upgrade to 49 months coverage plus Image Recovery.
 
Follow Canon throughout the PhotoPlus Expo show @CanonUSApro. To see the full details of Canon’s presence at PhotoPlus Expo, including the Canon stage speaker schedule, please visit: usa.canon.com/photoplus2018
Category: Canon USA News
Post Date: 10/25/2018 6:06:55 AM CT   Posted By: Sean
 Wednesday, October 24, 2018
There are a few features that make a camera especially well-suited for capturing sports and other challenging action.
 
A fast frame rate is one such feature. A camera that can capture images in rapid succession is more likely to capture the perfect subject position than a camera that captures images at low frequency. For this feature, the EOS R has a relatively fast frame rate, but only when not tracking and adjusting the focus distance. Not all action involves changing focus distances (such as the wave crashing example in the Canon EOS R review), but if your subject is moving enough to leave the camera's initially-focused depth of field, as is typical for many sports, continuous focusing is required and in that focus mode, the EOS R's 5 fps frame rate is on the slow side of the spectrum.
 
Another feature required for photographing subjects in motion is maintaining a continuous view of that subject in the viewfinder. Optical viewfinders have a short blackout period for each image captured (while the mirror is raised) and cameras with short blackout specs are more-highly desired than those with long ones. Electronic viewfinders, with few exceptions, have a pause in the EVF video feed as each image is captured and the duration of this pause can hinder a photographer from keeping a subject properly framed. This pause is only a minor issue for subjects moving directly toward or away from the camera, but keeping subjects properly-framed as they are moving from side-to-side or moving erratically becomes a challenge with most EVFs, including the EOS R's.
 
If the subject focusing distance is changing, especially if it is changing rapidly, autofocus tracking and prediction performance becomes critically important. If the subject is out of focus, the image, regardless of the frame rate it was captured at, is likely going to be deleted.
 
The Canon EF 70-200mm f/2.8L IS II USM Lens and its just-introduced replacement, the Canon EF 70-200mm f/2.8L IS III USM Lens are ultra-popular sports lenses and I mounted one on the EOS R to photograph a cross country meet with. While this lens is not going to create the focus challenge that, for example, the Canon EF 400mm f/2.8L IS II USM Lens will when compared at the same distance, focusing on a very close and fast-approaching runner at 200mm f/2.8 is quite challenging to an AF system. I thought the EOS R did a great job on this cloudy day that included some light rain earlier in the meet. A high percentage of my images were sharp (when I kept the subject properly framed).
 
Note that, while the image shared here appears very sharp at this resolution, my 1/1250 shutter speed was not quite fast enough to stop the lateral motion at this distance. Though the image is properly focused, the motion blur degraded image sharpness slightly at full resolution. I was starting a burst capture when the subjects came close to being ideally framed and continued to photograph until they passed by.
 
Another feature that is often helpful for action photography is the ability to sustain the frame rate for a large number of images. The EOS R's buffer depth, when using a fast memory card, is very good, allowing a relatively long period of action to be captured. While usually not as desirable as a fast frame rate, a large buffer can increase the number of great shots captured in a burst and I can credit the image shared here to that feature.
 
For those using the shutter release to time their captures or to time the first capture in a high speed frame rate sequence, a short shutter lag is important. The EOS R checks that box and the fast AF makes timing single shots quite successful.
 
Overall, the EOS R is lacking a few key features to make it the ideal sports and action camera. It is not that camera, but it can certainly do that job if needed. I don't recommend purchasing an EOS R for dedicated sports and action photography, but the EOS R stands ready to fill in for the occasional action needs it encounters. Of course, if your action is not leaving the established depth of field, the EOS R can do 8 frames per second and that rate is quite fast, making it suitable for such needs.
 
Camera and Lens Settings
200mm  f/2.8  1/1250s
ISO 250
4480 x 6720px
Posted to: Canon News
Post Date: 10/24/2018 8:34:47 AM CT   Posted By: Bryan
 Tuesday, October 23, 2018
From Tiffen:
 
Filter Kits created for the DJI Mavic Air, Mavic 2 Pro, Mavic 2 Zoom, Inspire 2 are available now
 
HAUPPAUGE, NY- October 23, 2018 - Tiffen Filters, a division of The Tiffen Company for optical photographic filters and lens accessories, introduces their new collection of drone filter kits. Filter kits will be available for the DJI Mavic 2 Zoom, DJI Mavic 2 Pro, DJI Mavic Air, and DJI Inspire 2. Established filter kits for the DJI Phantom 4 Pro already exist and are available for purchase.
 
The filters have a multilayer and hydrophobic coating. Its surface is waterproof and contains scratch prevention technology. The filters guarantee ultra-low reflection rates and they have unmatched color fidelity. Its 4K high definition optical glass has a ten-year warranty.
 
With Tiffen’s exclusive kit of aerial filters for DJI, drone operators will have the opportunity to capture in flight content like never before. When used in conjunction with the award winning filter technology engineered by Tiffen, the high quality performance of the DJI 4K camera system is taken to the next level, broadening the horizons for content creation.
 
B&H carries Tiffen filters for DJI drones.
Category: Tiffen News
Post Date: 10/23/2018 11:53:21 AM CT   Posted By: Sean
From SIGMA:
 
Places Sigma lenses plus unparalleled service and technical support in the heart of the TV & film production community
 
Burbank, CA – October 23, 2018 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, is pleased to announce the opening of its brand new west coast showcase in Burbank, California. A modern space for its world-class products, services and support, visitors can experience first-hand the popular Sigma Cine and Global Vision lenses through product demonstrations, seminars and special events. “Having a physical presence in the greater Los Angeles area has long been a vision of ours. The new west coast Sigma center has been years in the making and to finally open it to the public is very exciting,” said Kazuto Yamaki, CEO of Sigma Corporation. “We are thrilled to be a part of this creative community, and we look forward to the new relationships Sigma will develop with filmmakers and cinematographers, right in their backyard.”
 
Join Sigma at Its Grand Opening Event!
 
To celebrate the opening of the Sigma west coast office, Los Angeles area cinematographers and filmmakers are invited to attend the special reception hosted by Sigma Corporation of America on Saturday, November 3rd from 5-8pm PDT. In addition to the open bar with rare sake tasting, scrumptious food from local food trucks, Sigma swag and giveaways, attendees will have a chance to see product demos and a special work showcase by DP Timur Civan as the first official Sigma Cine Pro. As a Sigma Cine Pro, Timur will become a valuable resource to filmmakers, presenting informative lectures, seminars and workshops to cinematographers across the US. He has worked with clients as diverse as Louis Vuitton, Pepsi, Samsung, Toyota, Home Shopping Network, Vox Media and many more. His unique approach and technique are at the cutting edge of visual storytelling, and Sigma Cine lenses are always there to help bring his creative vision to life. Timur will be in attendance and available to answer any questions about Sigma lenses and how they facilitate his creative expression.
 
B&H carries Sigma lenses.
Category: Sigma News
Post Date: 10/23/2018 11:31:39 AM CT   Posted By: Sean
From Laszlo Pusztai, creator of Shuttercount and Kuuvik Capture:
 
Shuttercount 3.4
 
We did it again! Canon introduced a new shutter actuation counter method for its mirrorless cameras, starting with the M50. The just released version of ShutterCount supports this new method, as you can see on the following screen shot.
 
ShutterCount is the first and only app that can do it.
 
Instead of giving a shot-by-shot counter, the M50 (Kiss M in some markets) and the EOS R will give a value measured in thousands. ShutterCount displays it similar to the 1-series cameras do it in their menu: <= 2000 means the counter is between 1000 and 2000, <= 15000 means the counter is between 14000 and 15000, etc.
 
The Distribution Chart and live view counters are not available for mirrorless cameras, since all photos are taken in live view mode.
 
Being Wi-Fi capable, both the EOR R and the M50 are also supported in the iOS version of the app.
 
Speaking of mirrorless, we also certified the app with the Nikon Z 7. Just like all other Nikons, the Mac version supports this camera via image files.
 
The Mac version adapts to Dark Mode in macOS 10.14, and the iOS version supports the large screen size of iPhone XS Max and XR.
 
Version 3.4 is a free update for existing users on both operating systems. New users can purchase the app in the respective App Store. Live View Pack and Plus Pack are available as in-app purchases.
 
Download: Shuttercount v.3.4 (MacOS | iOS)
 


Kuuvik Capture 4.1
 
I’m happy to announce that Kuuvik Capture 4.1 is available on the Mac App Store with full Canon EOS R support.
 
The EOS R is a special camera – having the fastest multi-point live view among the whole Canon repertoire, it is eminently suitable for use with tilt/shift lenses or view cameras.
 
It’s not just the speedy multi-point live view that makes the R a great companion to the Cambo Actus-G digital view camera, but the RF mount’s reduced flange focal distance (20mm instead of 44mm for the EF mount) allows you to use shorter lenses. A Rodenstock HR Digaron-S 60mm f/4 for example. Well, it will once Cambo starts selling an RF bayonet holder.
 
For those of you who aren’t aware of multi-point live view in Kuuvik Capture: it’s a unique feature (that is, no other app offers such a thing) allowing you to select up to three points on the live image and display them simultaneously in 5x magnification. An indispensable tool for product photographers.
 
You can learn more about the multi-point live view in my free eBook, Kuuvik Capture Inside Out.
 
Besides EOS R support, there are a few fixes and support for macOS Mojave’s Dark Mode in this release.
 
Kuuvik Capture 4.1 is available on the Mac App Store. It is a free update for users who purchased the app earlier from there. You can see the complete list of new features and changes in the release notes.
 
Download Kuuvik Capture 4.1 for MacOS
Post Date: 10/23/2018 9:01:47 AM CT   Posted By: Sean
 Monday, October 22, 2018
by Sean Setters
 
Oatmeal raisin, white chocolate macadamia nut or classic chocolate chip? No, I'm not referring to one of those types of cookies. In lighting terms, a "cookie," or cucalorus, is a "...device for casting shadows or silhouettes to produce patterned illumination." [Wiki]
 
A cookie is placed between your light source and the subject or background and casts a desired pattern of highlight and shadow. What can be used as a cookie? Fabrics with interesting weaves, potted plants, venetian blinds and matte black cinefoil with custom cut-out designs are popular choices. In the example above, I used an old lace curtain suspended between my main flash (camera right) and the subject, producing the interesting effect (a flash positioned camera left/low provided fill light).
 
So the next time you're looking to create a unique portrait, look around your home or antique/fabric stores for items that can be used to cast an interesting pattern of light onto your scene.
Post Date: 10/22/2018 10:09:21 AM CT   Posted By: Sean
As usual, this gear is being sold to fund new gear for review. Check the updated list to see if anything fits into your kit!
 
Bryan's Used Gear for Sale
Post Date: 10/22/2018 8:21:38 AM CT   Posted By: Bryan
From Nissin:
 
Nissin i400 – For Canon, Nikon, Sony, Fujifilm & Olympus/Panasonic Camera Systems
 
The pocket-sized powerful mini
 
The pocket-sized Nissin i400 weighs only 7.2 oz. (1), and is perfect for use as a fill-in flash even on the sunniest of days. Its compact dimensions make the i400 the ideal flash for family outings, indoor/outdoor shootings and is especially suitable for traveling. Professional functionality: Syncs up to 1/8000 sec. (3); flash output GN 40 at 105 mm; simple operation panel with two selector dials to operate the flash; flash head tilts up and rotates to make bounced lighting more versatile by utilizing more angles.
 
Selector dial - simple and innovative
 
The Nissin i400 has two selector dials, a function dial and a power dial. The small lamps indicate the current settings so that even beginners can quickly get started.
 
Professional flash head design
 
The flash head rotates 180° horizontally from left to right, and tilts upwards to 90° making bounce shooting more arbitrary and maximizing the angles that can be used.
 
Metal hotshoe and quick release button(3)
 
The i400 has a durable metal hotshot (not available for the Sony version due to limitation of the Multi Interface Shoe design) and features a quick release button. It is easy to attach to your camera and reduces the risk of damage caused by frequent or quick installation.
 
Automatic mode
 
Use this setting when you use your camera in the automatic mode. The camera and flash will communicate to produce the proper amount of flash output for the scene.
 
TTL flash level compensation
 
The power of the flash can be regulated using the TTL flash level compensation. Whereas the total exposure is controlled by the camera's EV compensation function, the flash can compensate for exposure on the main subject only, with little impact on the exposure of the background scene. The flash power level can be adjusted from -2EV to +2EV in 0.5EV steps.
 
Manual mode
 
This mode allows the user to determine the output of the flash and set it manually from full power, 1/1 , down to 1/256 power.
 
Four AA batteries (not included)
 
The i400 operates with 4 AA batteries. This lessens recycling time and reduces the need to change batteries frequently.
 
Technical Information
 
  • For Canon, Nikon, Sony, Fujifilm & Olympus/Panasonic camera systems (4)
  • GN 40 (105 mm) / GN 27 (35 mm) at ISO 100
  • Focal length coverage 24 - 105 mm (35 mm CCD format)
  • Built-in wide angle diffuser
  • Professional flash head design
  • Built-in AF assist light (5)
  • Metal hotshoe (3) and quick release button
  • High-Speed synchronization
  • Operates with only four AA batteries (not included)
(1) Weight excluding batteries.
(2) The maximum synchronization speed depends upon the camera model - High speed sync is available only for compatible cameras. Please refer to the compatibility chart.
(3) Not available for Sony cameras.
(4) Please refer to the compatibility chart.
(5) If camera body emits an AF assist light, it will not activate the AF light on the i400.

 
B&H carries the Nissin i400 Flash.
Category: Nissin News
Post Date: 10/22/2018 8:09:13 AM CT   Posted By: Sean
Purchase an eligible product between now and January 5, 2019 and you'll get 13 months of Canon CarePAK PLUS damage and spill protection at no additional cost.
 
CarePAK PLUS Benefits Include
 
  • Protection from Accidental Damage
  • Coverage from Normal Wear and Tear
  • Free Two-Way Shipping
  • $0 Deductible
  • Service & Support Directly from Canon
  • Priority Service
  • Camera Maintenance with Sensor Cleanings
  • Transferable
Eligible Canon Products
 
EOS REOS 6D Mark IIEF 24-70mm f/2.8L II USM
EOS-1D X Mark IIEOS 80DEF 70-200mm f/2.8L IS II USM
EOS 5D Mark IVEOS 77DEF 70-200mm f/2.8L IS III USM
EOS 5D Mark IIIRF 28-70mm F2 L USMEF 50mm f/1.2L USM
EOS 5DsRF 50mm F1.2 L USMEF 85mm f/1.2L II USM
EOS 5Ds REF 16-35mm f/2.8L II USMEF 85mm f/1.4L IS USM
EOS 6DEF 16-35mm f/2.8L III USMEF 100mm f/2.8L Macro IS USM
EOS 7D Mark IIEF 17-40mm f/4L USMEF 100-400mm f/4.5-5.6L IS II USM

Post Date: 10/22/2018 6:31:18 AM CT   Posted By: Sean

 
In this video, Joel Grimes suggests ways to keep your strobe from rotating while affixed to the end of a boom pole. While the first technique (grinding the stud) he suggests will work, it's not the ideal method. In fact, of the three methods he suggests, none of them are as good as the simplest answer – get a baby drop-down pin.
 
The drop-down mounts to the end of your boom and allows you to affix your strobe and modifier so that they're hanging vertically, avoiding the stresses that cause your strobe to twist if mounted directly to the boom pole. Plus, since the drop-down pin swings freely, it stays in place (hanging straight down) as you change the angle of the boom. A drop-down pin has been part of my kit for many years now; it has a permanent home in my monolight bag and is utilized any time I pull out the boom. [Sean]
Post Date: 10/22/2018 6:16:11 AM CT   Posted By: Sean
 Sunday, October 21, 2018
I signed up for an east Maui rainforest waterfall hike and knew that the path could be wet and muddy. What I didn't know was that, thanks to a just-previous hurricane, "wet" meant I would be fording swift rain-swollen streams up to waist-deep with the MindShift Gear Trailscape 18L camera backpack being held overhead. That certainly upped the hike's entertainment value (and provided a new understanding of how well Gore-Tex trail-running shoes hold water).
 
Having both stories and images always makes an adventure better.
 
The Canon EOS R and Canon RF 24-105mm f/4L IS USM Lens were used to capture this idyllic Hawaiian rainforest waterfall. Aiding was a Breakthrough Photography circular polarizer filter, cutting reflections and increasing saturation. These filters are nearly a requirement for waterfall photography. An f/8 aperture would have provided adequate depth of field for this 29mm image, but the narrower f/11 opening permitted a longer exposure, creating a more strongly motion-blurred waterfall.
 
A larger version of this image is available on Flickr.
Post Date: 10/21/2018 7:00:00 AM CT   Posted By: Bryan
 Saturday, October 20, 2018
An evening sail was part of the Canon Hawaii 2018 announcement event and I saw a great sunset in the making as the boat was coming ashore, returning to the beach in Lahaina. I hurried down the ladder and ran across the beach to find a clear composition. With a Canon EOS R and Canon RF 24-105mm f/4L IS USM Lens in hand, the rest was easy.
 
Photographing the ocean (usually) is a type of action photography as the scene is constantly changing. Water reflects and smooth water provides the best definition of whatever is being reflected. Although they nicely reflect sky color in general, most oceans I've visited are far from smooth. However, the thin layer of water remaining on the sand immediately after a wave recedes is often quite smooth and can provide some definition of the colorful clouds, the subject most often desired to be reflected. Consider timing the capture of some of your beach images for this wave position.
 
Another beach photography consideration is what the leading edge of the waterline looks like. I like the frothy white roll clearly delineating the sand and water as seen in this image, but other options can also work well.
 
I always find a great sunset to be photographically irresistible. Islands often have very long distance views of the setting (or rising) sun, making them ideal locations for watching this time of the day through a viewfinder.
 
A larger version of this image is available on Flickr.
 
Camera and Lens Settings
24mm  f/11.0  1/250s
ISO 400
6655 x 4453px
Post Date: 10/20/2018 9:30:47 AM CT   Posted By: Bryan
 Friday, October 19, 2018

 
From the Adobe Photoshop Lightroom YouTube Channel:
 
With this new command in Adobe Camera Raw, you’ll be able to create beautiful, raw, high-dynamic-range panoramas using Merge to HDR Panorama.
 
B&H carries Adobe Photography Plan subscriptions.
Post Date: 10/19/2018 9:38:54 AM CT   Posted By: Sean
< Previous     1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 |    Next >
Archives
2020   Jan
2019   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2018   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2017   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2016   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2015   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2014   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2013   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2012   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2011   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2010   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2009   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2008   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2007   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2006   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2005   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
Help  |  © 2020 Rectangular Media, LLC  |  Bryan CarnathanPowered By Christ!