Sigma has announced that its 28mm F1.4 DG HSM in Sony E-mount is scheduled to start shipping later this month.
Note that the biggest downside of the Sigma 28mm Art Lens – AF performance – is avoided when the lens is used on mirrorless cameras (or in Live View on DSLRs), and what you're left with is an extremely high quality lens with excellent image quality.
Benro BVX consists of two new professional heavy-duty carbon fiber video tripod and head combinations:
The BVX16CFK provides 8-steps of counterbalance (steps 1-8) and the BVX25CFK has 16 individual steps of counterbalance allowing you to dial in the right amount of counterbalance required for each setup. Each step is repeatable which helps save time when changing lenses or adding accessories. The pan drag and tilt drag mechanisms each provide 6 individual steps (1-6) of drag adjustment to help fine tune the smooth movements. A sliding top plate with a snap-in style quick release can be shifted forward or backward to help properly balance your camera rig.
“After years of our customers requesting a video tripod that could support heavier payloads for things like teleprompters or beefy camera rigs with long lenses, Benro has delivered just that. We’re super pleased with the way the product turned out and so are the pros that have been testing it for months on the road.”The carbon fiber tripod is a 2 stage, 3 section tandem style which incorporates a 100mm bowl. The leg locks are oversized levers that can be operated while wearing gloves. The lower stage leg lock lever has an additional lip, which can be opened and closed with your foot. This allows you to hold onto your camera rig while adjusting the height of the tripod. Each tripod includes a floor spreader, a telescoping pan arm and a padded carrying case.
- Brian Hynes, Brand Manager
BVX16CFK Features & Benefits:
BVX25CFK Features & Benefits:
B&H has the Rode Wireless GO Compact Wireless Microphone System available for preorder with free expedited shipping.
This looks to be a very interesting and welcomed addition to the [usually costly] wireless microphone market space.
by Sean Setters
My wife, Alexis, rarely asks me to take a photo for her. She is generally satisfied with documenting everyday life with her smartphone, so when she asks me to photograph a particular subject, I usually take notice and fulfill the request as soon as possible. But I admit to dragging my feet a bit when my wife noticed one of her aloe plants blooming and said, "You should take a picture of that."
Personally speaking, I didn't find the aloe plant's bloom to be very intriguing, which is probably why I didn't immediately rush to photograph it. It doesn't feature colorful petals or otherwise interesting elements that typically make blooms ideal photographic subjects. To my eye, the aloe bloom's shape reminds me of a tall, thin pine tree, a not-very-compelling subject, especially considering the background context provided by my back yard (again, not very photogenic). However, when my wife sent me a reminder the following morning, "You should take a pic of that aloe bloom!," her use of an exclamation point was a clear sign that she was very serious about the suggestion. So, I dropped what I was doing to satisfy her request.
To photograph the bloom, I moved the aloe plant's pot from the back porch to a spot in the yard where sunlight would be hitting the bloom but not the background, allowing me to use the difference in luminosity to make the subject stand out. With the Canon EF 100mm f/2.8 USM Macro mounted to my Canon EOS 5D Mark III, I also used a wide f/2.8 aperture and a distant background to further accentuate the subject/background separation. Other than moving the plant (which was actually quite cumbersome and somewhat heavy), the image was relatively simple to capture. I proudly sent her the result of my efforts, having precisely fulfilled her request.
First, she hadn't asked for a photo of the plant with the bloom. She had twice asked for a picture of the bloom. Plus, from my perspective, the plant doesn't change very much day-to-day. If she wants to see the plant, she can just open back door and walk the 10 paces to its home on the porch. The bloom was what made the plant different from its typical appearance, that is what she asked me to photograph and that is indeed what I documented.
But that's not what she – in this case, the client – wanted. And if I had been more inquisitive from the get-go, I would have had more context and could have discerned exactly what she desired in the image. As it turns out, this particular aloe plant used to be her grandmother's who passed away a couple of years ago. And in all the years her grandmother owned the plant, the family had never known it to bloom. So while the bloom was indeed special, the plant itself garnered feelings of great sentiment, giving the bloom much more important context.
After realizing exactly what my wife wanted, I dragged the plant into my studio for a formal portrait session involving three studio lights, two shoe-mount flashes and my favorite mottled gray collapsible background. So why not photograph the plant outside? Because the increased camera-to-subject distance would require an increased subject-to-background distance to achieve a similar background blur, and the background distance, in this case, wasn't variable. I was already using nearly the full width of my backyard when I photographed the isolated bloom; photographing the whole plant would have left the backyard – including my neighbor's house and fence – too recognizable.
The resulting studio image can be seen below.
Of course, the initial failure to capture what my wife really wanted did not have devastating consequences as I was able to rectify the situation with another (more complex) photo shoot the following day. However, the lesson learned from this ordeal is quite clear, and it will surely pay more tangible dividends down the line. Don't take seemingly simple requests at face value; always dig deeper to ascertain the precise needs of your client, potentially avoiding the wasted time, effort, frustration – and dissatisfaction – resulting from not fulfilling those needs the first time around.
From the B&H YouTube Channel:
Photographer Tim Grey gives us some HDR photography tips & tricks and discusses how to use Adobe Lightroom to combine multiple images into a single, more detailed high-dynamic-range photo. Tim also demonstrates the use of Auto Align and de-ghost features to best process your HDR images in post.Want to create an HDR panoramic image? If so, Adobe released a Lightroom CC update a few months ago that made the process significantly easier.
Roger Cicala over at Lensrentals has spent years perfecting his lens MTF testing procedures and has begun sharing the results of his work with us. The-Digital-Picture.com's Camera Lens MTF Measurements Comparison Tool has been refreshed with the latest results, currently including Canon and Zeiss prime lenses with many more results coming soon.
Note that only wide-open aperture results will be shared. Zoom lenses will have results for multiple focal lengths.
The Profoto Connect trigger's press release hit our email inbox early yesterday, but after looking into the product, I wasn't quite sure what to make of it. Being keenly interested in lighting and lighting gear, a button-free trigger that required your smartphone to manually adjust your flash's power levels seemed a bit ridiculous. Profoto is an industry standard for a reason. They have a knack for developing highly reliable, extremely useful lighting solutions. But I can't help but think this product misses its mark.
Who wants to be constantly pulling out their phone during a photo shoot? I know I don't. So whom exactly is this product for? The video above provides some clues.
Profoto believes that those who have so far been intimidated by off-camera lighting may appreciate a simple, no-fuss sort of trigger. But would somone who is tepid about trying off-camera lighting lay down nearly $1,000.00 for a Profoto A1 and then another $300.00 for the Connect trigger? And from a practical standpoint, if you're going to handhold your flash like the photographer in the video, why not simply use your camera brand's flash and an inexpensive TTL Flash Cord to trigger it?
I think this product could have been so much better. Imagine if it had featured a touch sensitive scroll wheel around the top of the device with a small display in the middle. With something like that, a user could easily change power levels of individual flashes (maybe a double finger tap would allow you to cycle among them?) using the display as a reference, all while maintaining the hook of a "button free" trigger. But then, the Connect would basically be a redesigned Air Remote, so Profoto would have to limit its functionality in some way for differentiation (shorter range, fewer channels, etc.).
If you're seriously considering investing in a Profoto lighting kit, including the excellent B1X and B2 (or even the A1) flashes, I highly suggest you spring for the slightly more expensive Profoto Air Remote instead. [Sean]
Profoto Connect Highlights
In this video, Aaron Nace of Phlearn demonstrates how to create custom keyboard shotcuts in Photoshop. For what it's worth, I set up a keyboard shortcut long ago for "Trim" (ALT+F1, Windows) because I use that Photoshop tool daily while working with the site. [Sean]
This update adds functions optimized for the shooting environment and makes changes to the specifications. As a result, some changes have been made to camera operation methods and other items. Check the main changes noted below before executing the update.
IMPORTANT: Note that once the update is installed, you cannot return to the previous version.
Initialization of the camera settings
All setting values of the camera are initialized because of an update that adds functions and makes major changes to the specifications. Even if camera settings for the camera's system software (firmware) Ver.4.10 or earlier have been registered to the memory card using Memory (Camera Settings1 / Camera Settings2), those settings cannot be restored to a camera using system software (firmware) Ver.5.00 or later. We recommend you write down frequently used camera settings and other important information prior to executing the update.
Changes to the MENU configuration
Camera functions have been added and deleted, so the configuration of the setting items displayed when the MENU button is pressed has been changed accordingly. We recommend you check the MENU configuration prior to shooting. For the setting item details, click here.
Added functions and changes to specifications
Functions optimized for the shooting environment have been added. Accordingly, the function names and operation methods have been changed. In addition, some functions have been deleted. Be sure to check the change content details prior to installing the update. For the changes to functions made by this update, click here and scroll to the Changes to functions made by this update section of the page.
Download: Sony a9 Firmware v.5.00
From the B&H YouTube Channel:
Portrait photographer Peter Hurley gives 5 quick tips on taking better headshots. Peter talks about the importance of keeping things simple and making sure your subjects look confident and approachable in their photos. Check out the video for more great advice!
Just posted: Sigma 28mm f/1.4 DG HSM Art Lens Review.
The rut is the perfect time to get great bull elk poses. This bull was without a harem but staying close to a larger bull that has one. These satellite bulls are constantly watching for their opportunities to move in.
What is the best technique for composing an image of an entire animal? While this answer can quickly become complicated and is situationally dependent, a simple strategy that often works is to center the entire animal in the frame and open up to the side it is looking toward. In this example, the elk is looking almost straight at me, but with its head angled slightly toward the right of the frame, adding weight to that side, I positioned the elk slightly to the left of center to create an overall balance.
Picture yourself here! As recently shared, I have added a second week for the Rocky Mountain National Park workshop. Photographers at all skill levels are invited to join!
Photographers at all skill levels are also invited to join me for these tours:
Sun, June 9 to Wed, June 12, 2019 and/or Wed, June 12 - Sat, June 15, 2019
Sun, November 10 to Wed, November 13, 2019 and/or Wed, November 13 - Sat, November 16, 2019
Contact me to sign up!
A larger version of this image is available on Flickr.
Newsday has reported that 60 employees – formerly of Canon USA's Melville, NY location and primarily in the camera division – have been laid off.
The site goes on to say:
Canon employed 1,569 people in Melville in 2017, according to the most recent state records. It must report its local employment annually to the state and to Suffolk County, both of which aided in the construction of Canon’s $500 million headquarters near Exit 49 of the Long Island Expressway.Read the entire article at Newsday.
The company moved from Lake Success to Melville in 2013 after a 25-year search for a new home. It has exceeded the employment promises made to the state and Suffolk so far. State records show Canon's employment cannot fall below 1,360 people or it would have to pay back some of the grant money and tax-break aid it has received.
LEE Filters has introduced its new LEE100 Filter Holder system and it looks very interesting (check out the video for more details).
From Think Tank Photo:
Santa Rosa, Calif. – Studio photographers know that lighting stands are heavy, cumbersome and hard to transport. In fact, transporting light stands is as much about protecting your car and your fingers as it is easily moving them. The Stand Manager 52 rolling case is an ideal solution for storing and transporting stands of any kind.
With a truly innovative design – the Stand Manager 52 has both internal tiedowns and exterior compression straps to secure your stands. With four padded handles, wheels and rear skid rails, the case is also easy to load while transporting to and from your location shoot. The Stand Manager 52 is one of the most durable and protective cases you can own.
“C-stands are heavy, oddly shaped and difficult to transport,” said Doug Murdoch, Think Tank Photo’s President and lead designer.
“With the Stand Manager 52, you can fit up to 4 Cstands in a highly durable rolling case, making them much easier to transport.”
Exterior: All fabric exterior treated with DWR while fabric underside is coated with PU for superior water resistance, 1680D ballistic nylon, YKK RC Fuse (abrasion resistant) zippers, replaceable shock-absorbing wheels, antique plated metal hardware, nylon seatbelt webbing, 3-ply bonded nylon thread
Interior: 200D poly, 420HD nylon, 1680D ballistic nylon, honeycomb ABS, high-density closed cell foam, 3-ply bonded nylon thread
Exterior Dimensions: 12.5” W x 54” H x 4.5–8” D (31.8 x 137.1 x 11.4–20.3 cm)
Interior Dimensions: 12” W x 52 H x 4–7.5” D (30.5 x 132 x 10.1–19 cm)
Weight: 12.1 lbs. (5.5 kg)
What is the current best-selling lens at B&H? This one. This comparison will begin to explain why:
Build your own comparisons. As always, share this with your friends!
Just posted: Sigma 40mm f/1.4 DG HSM Art Lens Review.
New integration with Final Cut Pro X Marks First-Ever Apple-Developed Compatibility with Loupedeck+
HELSINKI, Finland – March 14, 2019 – Loupedeck, the custom photo and video editing console built with an intuitive design that makes editing faster and more creative, has announced Final Cut Pro is now available integration as the first Apple-developed suite made compatible for Loupedeck+, alongside additional integration with Adobe Audition.
Following the successful launch of the Loupedeck+, and its initial integration with Adobe Premiere Pro CC, Final Cut Pro and Adobe Audition integrations are the next step in delivering an increasing level of functionality and flexibility the video and audio editing communities require with the Loupedeck+.
Final Cut Pro users using Loupedeck+ will be able to:
Adobe Audition users using Loupedeck+ will be able to:
“Our customers have been eager for Apple-integration with the Loupedeck+ since it was launched,” said Mikko Kesti, Founder and CEO of Loupedeck. “Final Cut Pro X was the logical choice given its wide adoption in the editing community and we felt it was an important next step for us as we look to continue our mission of delivering a well-rounded experience for users and helping to improve their workflows. Not only will they get the benefits of Loupdeck+’s intuitive design and approachable tools, they’ll get increased functionality across the range of video editing products they might be using.”
As with the 55mm Otus, this is the lens upon which the others are compared. We've updated our test results to the highest resolution camera available, making comparisons with other 5Ds R-tested lenses easier.
I'll get your comparisons started:
Zeiss 85mm f/1.4 Otus compared to Canon EF 85mm f/1.4L IS Lens
Zeiss 85mm f/1.4 Otus compared to Sigma 85mm f/1.4 Art Lens
Zeiss 85mm f/1.4 Otus compared to Sony FE 85mm f/1.4 GM Lens
Zeiss 85mm f/1.4 Otus compared to Tamron 85mm f/1.8 VC Lens
Zeiss 85mm f/1.4 Otus compared to Zeiss Milvus 85mm f/1.4 Lens
Firmware update for SIGMA’s interchangeable lenses for CANON EF mount
Thank you for purchasing and using our products. We would like to announce that a new firmware update for SIGMA’s interchangeable lenses for CANON EF mount listed below 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. In addition, it improves the functionality. Furthermore, there is an improvement to the phenomena particular to some lenses when they are used in combination with the Canon “EOS R” and their “Mount Adapter EF-EOS R”, or “Control Ring Mount Adapter EF-EOS R”. This was previously reported in our announcement of January 16th, 2019.
For customers who own the SIGMA USB DOCK and applicable products listed below, please update the firmware via SIGMA Optimization Pro. Before updating the firmware using the SIGMA USB DOCK, please ensure to update SIGMA Optimization Pro to Ver. 1.5.0. or later..
SIGMA 30mm F1.4 DC HSM | Art for CANON EF Mount Update
SIGMA 24-70mm F2.8 DG OS HSM | Art for CANON EF Mount Update
SIGMA 60-600mm F4.5-6.3 DG OS HSM | Sports for CANON EF Mount Update
SIGMA 120-300mm F2.8 DG OS HSM | Sports for CANON EF Mount Update
SIGMA 150-600mm F5-6.3 DG OS HSM | Contemporary for CANON EF Mount Update
SIGMA 85mm F1.4 DG HSM | Art for CANON EF Mount Update
* Compatible Canon camera models:EOS R**, 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)
** 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.
Download: SIGMA Optimization Pro
Watch as Julieanne Kost demonstrates three color toning methods in Photoshop CC.
Portland, OR – Lensbaby – makers of award-winning lenses, optics and accessories announces today the availability of its new wide angle tilt lens. The Composer Pro II with Edge 35mm Optic is available for use on Canon EF, Nikon F, Sony E, Fuji X, and Micro 4/3 interchangeable lens cameras. The Edge 35mm Optic is also available separately for anyone who already owns a Lensbaby Composer Pro or Composer Pro II lens body. Fans of this style of selective focus photography have been requesting a wider option beyond the company's existing 50mm and 80mm lenses.
The Composer Pro II with Edge 35 Optic is a 35mm f/3.5 tilting lens designed for those looking for a wider focal length to create unique in-camera shots with a slice of tack-sharp focus and detail. By tilting this lens, users can place a slice of sharp focus through objects in both the foreground and background of an image at the same time, bordered by smooth blur. This in-camera effect helps artists tell their story in an uncommon way.
“Over the past 15 years, we’ve made optical tools to help you discover unique ways of seeing your world. A 35mm tilt lens, despite being our most requested new product offering since we introduced the Edge 80 in 2012, has been elusive and the results of our efforts have paid off in a lens that is far better than we thought possible when starting our design process. It was worth the wait,” said Craig Strong, Lensbaby Chief Creative Officer and Co-Founder.
The Composer Pro II swivels and tilts on a smooth metal ball and socket design, providing a fast and intuitive way to switch between traditional straight lens photos and tilt photography. Tilting the lens up or down results in a horizontal slice of focus; left or right a vertical slice; diagonally for a diagonal slice. After setting the tilt, rotating the focus ring moves that slice of focus through the image, from one side of the frame to the other.
“The Edge 35 has changed my traveling & portrait sessions for the better. I'm able to get into tight spaces and buildings and still be able to show the whole aspect of the story I'm trying to create,” said renowned portrait, travel and lifestyle photographer Stephanie DeFranco. “I find the wider slice of focus makes it easier to find the area I want to draw the viewer’s eye toward. With its 35mm focal length, this optic lets me create the same dreamy feel as the Edge 50 and Edge 80, but because of the wider slice of focus, also allows me to include more of a scene in the story.”
The Composer series of lenses are lenses that tilt to move a spot or slice of focus anywhere in the frame. They feature Lensbaby’s Optic Swap System. Users can simply purchase one lens, made up of a lens body with an included optic, for their camera system, then, swap out the optic that it came with for a new optic to completely change the effect and focal length of their Lensbaby lens.
The Composer Pro II with Edge 35 Optic will be available in April for $449.95, and by itself as an Optic for those who already own a Composer series lens, for $249.95.
Composer Pro II with Edge 35 Optic Product Specifications
Adobe has released Photoshop CC (v.20.0.4) which fixes the issues found below. You can initiate the update using the Creative Cloud app management console.
Photoshop CC March 2019 (version 20.0.4) Release
This is the lens upon which the others are compared. We've updated our image quality test results for this lens to the highest resolution camera available, making comparisons with other 5Ds R-tested lenses easier.
Zeiss 55mm f/1.4 Otus compared to Canon RF 50mm f/1.2L Lens (different res cameras)
Zeiss 55mm f/1.4 Otus compared to Sigma 40mm f/1.4 Art Lens
Zeiss 55mm f/1.4 Otus compared to Sigma 50mm f/1.4 Art Lens
Zeiss 55mm f/1.4 Otus compared to Tamron 45mm f/1.8 VC Lens
Zeiss 55mm f/1.4 Otus compared to Zeiss Milvus 50mm f/1.4 Lens
by Sean Setters
During their visit this past weekend, my wife's parents bought us an orchid that now resides on our dining room table. While we often have an orchid around the house, the intriguing pattern on this particular orchid's blooms along with its conspicuous location meant that it wouldn't take me long before I was motivated to drag it into the studio to see what I could do with it.
In terms of difficulty, I'd rank orchids in the medium range as far as flowering subjects go. I find flowers with deeper structures to be more difficult to capture in a captivating way, but the unique shapes found in orchid blooms, along with the blooms close proximity to one another, can make them challenging to photograph.
So what trait makes an orchid an excellent subject for the budding (pun intended) flower photographer? In a word – longevity.
Typically speaking, an orchid will bloom once or twice a year and those blooms will last anywhere from 2-4 months. To put that into perspective, a rose bloom typically lasts only about a week (to be fair, though, some rose plants bloom repeatedly). Even the low end of an orchid's longevity range provides a busy photographer with ample opportunities to photograph the plant before its blooms disappear. In fact, one of the busiest photographers I know often uses orchids in the sample photos of his reviews.
For the image atop this post, I used a Canon EOS 5D Mark III and Canon EF 100mm f/2.8 USM Macro Lens set to f/8, 1/160 sec, ISO 100. I captured 19 incrementally focused frames using Magic Lantern's Focus Stacking feature (use Magic Lantern at your own risk – the Canon EOS RP has a focus bracketing feature built-in). The lighting was provided by two radio triggered studio lights placed to the left and right of the camera (the right one was behind the subject) with gridded strip boxes.
For a larger resolution version of the image, check out my Flickr photostream.
After putting the Sony 135mm f/1.8 GM through LensRentals MTF tests, Roger Cicala immediately sent a note of congratulations to some of his Sony contacts. Why? As Roger puts it in the LensRentals Blog post:
In the center, that’s the highest MTF I’ve seen on a non-supertelephoto lens. The highest. Let’s put particular emphasis on the purple line, which is 50 lp/mm. That’s a higher frequency than any manufacturer tests (that we know of), appropriate for fine detail on the highest resolution cameras. We would consider an MTF of 0.5 at 50 lp/mm to be very acceptable. This is hugely better, nearly 0.8 in the center. We’ve never seen that kind of resolution before.The lens performed so well that Roger decided to test the lens at 100 lp/mm, something they don't usually do unless a lens is designed for 150+ MP sensors.
The MTF drops away from the center, of course, but even at the very edges, the readings are still quite high.
At 100 lp/mm the Sony 135mm f/1.8 GM has a higher MTF than most excellent primes do at 50 lp / mm. If you don’t speak MTF, basically that means this lens can resolve fine details that would be a blur on excellent lenses.Roger would go on to say:
...in a couple of years if you are shooting a 90-megapixel camera, this lens will be the one that wrings the most detail out of that sensor. Right now it looks at your 43 megapixels and goes, “that’s cute.”You can read the entire article on the LensRentals Blog.
For easy portrait lighting, simply find a window without direct sunlight shining through it. In this example, the model is holding a sheer curtain over the window to eliminate background distractions that would otherwise be visible behind her.
While it may seem that the ultra-light, compact, extremely affordable Canon EOS RP would not make sense behind the large, heavy, ultra-high-end Canon RF 28-70mm f/2L USM Lens, this combo worked extremely well together. Servo AF with eye-detection was used for this entire shoot with near-perfect results.
Save money on the camera to make the lens more affordable? Save weight in the camera to offset some weight of the lens?
By now, it's common knowledge that a laser shining directly onto your camera's sensor will lead to its demise. However, it seems that some lasers can also damage a sensor when reflected off of even non-mirrored surfaces, such as human skin.
Videographer Andy Boyd learned this lesson the hard way when filming a tattoo removal procedure with his Sony a7S II. With each burst of the laser, you can clearly see the sensor sustaining damage.
So take heed – if observing any medical procedure using lasers, wear eye protection and leave your camera at home.
In addition to the Image quality test results, vignetting, flare, and distortion test results along with specs, measurements, and standard product images have been added to the Sigma 28mm f/1.4 DG HSM Art Lens page.
These adorable little fawns were playfully bounding all around and then stopped in an ideal location to check me out. Few animals are cuter than whitetail fawns.
With the fawns beyond the idea 400mm range, it was great to have the 1.4x extender available with only a throw of the switch. There would not have been time to mount an external 1.4x extender in this situation.
Are you joining me to photograph these beautiful creatures (and likely black bear) in "Shenandoah National Park this June? We'll have a great time looking for these subjects, learning photography, and more than a little gear talk is likely. Also check out my other Instructional Photo Tours.
A larger version of this image is available on Flickr.
March 8, 2019 – The SIGMA Corporation is pleased to release the SIGMA CINE LENS 28mm T1.5 FF.
Sigma 28mm T1.5 FF
Preorder: Sigma 28mm T1.5 FF Lens – B&H
by Sean Setters
With the sun shining, not a cloud in the sky and the local vegetation finally awakening from its wintry slumber, I thought it would be a good time to venture out with my Super Color IR-converted EOS 7D to see what I could find. Not wanting to stray too far from home, I ended up at a nearby defunct dairy farm where – fun fact – they filmed a couple of scenes from the movie Forrest Gump. One of the greatest things about having a camera in your hands is that it feels like a you have passport for exploration, sparking the impulse for embarking on new adventures.
Unfortunately, my exploration on this day revealed that the area is not as scenic as it was at the time the movie was filmed. A nearby dike failed many years ago flooding the low-lying areas with salt water, killing many of the trees such as the one above, the catalyst for my spending a few minutes capturing its curvy branches in isolation against a distant background and rich, blue sky. I had originaly planned on desaturating the yellow tones so that the vegetation would appear white (the more traditional IR look I had in mind when setting off from my studio), but doing so resulted in the tree no longer standing out as well, so I instead opted to leave the grass and shrubs yellow after switching the red and blue color channels (more IR image processing in the IR Conversion Review).
You can find a higher resolution sample of this image on my Flickr Photostream.
In addition to the Image quality test results, vignetting, flare, and distortion test results along with specs, measurements, and standard product images have been added to the Sigma 40mm f/1.4 DG HSM Art Lens page.
Still, this is a very impressive-performing lens.
From the B&H YouTube Channel:
In this video, SLR Lounge teams up with B&H to give you 5 long-exposure tips to maximize creativity. From creating silky smooth water effects to capturing subjects under the Milky Way, you’ll learn a handful of techniques that will raise your photography game.
by Sean Setters
Years ago, you could expect good reasonable customer service from almost any photography gear manufacturer. Today, however, that isn't necessarily the case. Therefore, we like to draw attention to companies that offer more than just great products, but seem to go above and beyond the competition to support their customers' needs.
Today's case in point: Matthews Studio Equipment.
I recently posted an image of a surfer taken at nearby Tybee Island. While I experienced many technical difficulties during that session, one thing I didn't mention was what I noticed as I loading up the car and getting ready to leave. After brushing the sand off the Matthews Maxi Kit Steel Stand I had been using, I placed it in the trunk of my car. As the light stand hit my trunk, sand started pouring out one of the legs. That's when I realized an end cap on one of the light stand's legs was missing. After all of the frustration I had endured throughout the session, I didn't really feel like combing the beach to find my missing end cap. Regardless, back to the beach I went.
The rising tide which had been encroaching on our shooting location shortly before packing up had erased the telltale signs of the exact spot where my light stand had been. There was no hope of finding the relatively small plastic end cap, assuming it had been lost on the beach and not somewhere else before I had arrived. I gave up after only a few minutes of aimless searching.
Once I arrived home, I immediately put a ring of gaffer tape around the leg that was missing an end cap to alert me of the missing accessory which could result in a scratched surface if the stand were used on certain types of flooring. While doing so prevented me from using the stand on a floor where it may cause damage (wood, tile, etc.), the gaffer tape obviously didn't fix the problem. What I needed was another end cap.
My Experience with Matthews Studio Equipment's Customer Service
When I called the Matthews Studio Equipment phone number, an operator answered the phone and asked which department I would like to be connected with. First off, an actual operator answering the phone was a refreshing change from the typical automated answering service that I end up screaming at in vain before my call is finished. I told the operator my problem, and she politely said, "You need the parts department. I'll connect you now." Well, that was easy enough. Unfortunately, with Matthews Studio Equipment being in California, it was roughly lunchtime when I called and no one answered. However, the mailbox message requested that I leave my name and phone number and that someone would call me back, which I did.
Fast forward to the end of the California workday (5:00pm their time, 8:00pm Eastern Time) and I get a call from Stuart in the Matthews Parts Department. I told him that I needed the end cap for a Matthews Maxi Kit Steel Stand, part #387485 because one of mine was missing. He said, "Ok. I have a few of those right here. What's your email? I'll need you to send me your mailing address."
At this point, I'm a bit confused. I realize the plastic end caps for my light stand are probably not an expensive accessory, but I'm wondering when he's going to tell me the price of the items, how much shipping will be and how exactly I will pay for the desired gear. I assume all the details will be in the soon-to-arrive email. A few minutes later, Stuart's email arrived with no subject line and a simple "Hello" in the body, to which I replied with my address and the following:
Just let me know how much I owe you and the preferred method of payment and I'll make it happen.His reply came the following morning right as the California workday began.
Hello SeanAgain, I realize these end caps (they sent a set of 3) weren't expensive items. In fact, shipping them to me likely cost as much (if not more) than what a company might typically charge for them. But that's not the point. When you purchase high quality products from a well-known and well-respected manufacturer like Matthews Studio Equipment, you get the type of customer service that their reputation is built upon. Yes, their equipment is priced a little higher than its competitor's products, but you'll likely find dealing with Matthews' customer service to be easier/more pleasant than dealing with the customer service department of a competing (cheaper) brand based in different part of the world. And even if those other brands offer similar customer service, it's highly unlikely that a replacement part coming from – for example, Asia – will arrive as quickly as one coming from California (for USA citizens, at least).
I will mail these out to you today free of charge. No payment needed.
Have a good day
My replacement feet arrived a few days later. My light stand is now whole again, and I take comfort in knowing that Matthews Studio Equipment's reputation for excellence and commitment to its customers is well earned.
For your light stand and other studio equipment needs, Matthews gear should be at the top of your short list. They'll take care of you.
Just posted: Really Right Stuff TFC/TVC-34/34L Mk2 Tripod Review.
This is my primary tripod. It's awesome.
From the product description:
Whereas the standard DJI Ronin-S comes with a focus wheel, control cables, a power adapter, and other accessories, the Essentials Kit includes the gimbal and the key accessories required to go out and begin shooting. There's a difference of only several accessories, accompanied by a substantially more affordable cost, and you can always add a focus wheel or other accessory at a later point.DJI Ronin-S Essentials Kit Highlights
Just add water, because water usually makes an image better.
I was staying ahead of this bull and his harem in a large meadow for perhaps 30 minutes when we arrived at a small pond that I didn't even know existed. At the other side of the pond (my side) was a tall, steep bank down to a stream at the bottom. While determining if this bull's nose-up threatening pose was meant for me or the cows he was tending, I captured a large number of frames with the 600mm focal length quickly becoming too long. Just as I was about to go down the bank, the bull turned back to the cows and the opportunity stayed alive.
It was a hot morning and the elk were cooling themselves in the water. Especially fun was that some of the calves were using their hooves to splash water onto their backs. It was an awesome experience.
Due to additional interest in the Rocky Mountain National Park Instructional Photo Tour, an additional set of 2019 dates has been added. Can you go from Sun, September 15 to Sat, September 21, 2019?! The rut should be going strong. Let me know ASAP!
A larger version of this image is available on Flickr.
From the Adobe Photoshop YouTube Channel:
In this Photoshop Magic Minute, learn Meredith Stotzner’s keyboard shortcut for seeing the Brush Dimensions, Opacity, and Hardness in previews.
From the B&H YouTube Channel:
Professional photographer Andy Marcus shares 5 quick tips on how to prepare for a wedding shoot. From bringing all the right equipment to backing up your photos, these practices are a must for running your wedding-photography business.
Topaz Labs provided us with a pre-release copy of Sharpen AI a while back so we could try it out. Loading a slightly blurry portrait into the software and seeing the results left me extremely impressed. In fact, Topaz is using the exact portrait I tested the software with as a sample image on Sharpen AI's product page.
Because of downsizing, the image above doesn't really showcase what Sharpen AI can do. Here's a closer look at the difference.
The great thing about machine learning algorithms is that they get better over time. I'm excited to see how far this type of technology will take us considering how well it works right now. [Sean]
From Topaz Labs:
We've all had the disappointing moment where your "perfect photo" is blurry, out-of-focus, or just not quite sharp enough. You viewed the image in your camera and thought you had captured the perfect moment, only to be disappointed once you see the photo on your computer screen. Now there's a solution.
Introducing Sharpen AI
Sharpen AI is the only sharpening tool to understand the difference between detail and noise by learning through millions of images. This means it will focus on sharpening the things you actually want to sharpen, rather than artifacts or noise. Use it to create beautifully sharp images from even handheld, low-light, and fast-moving photos - try Sharpen AI today!
Get Sharpen AI today for the special introductory price of $59.99, originally $79.99, available until March 15th.
Sharpens and Defines
Most commercial sharpening tools will sharpen everything in your image - including noise. Sharpen AI only sharpens the things you want and brings out the detail and definition in your shot. It only sharpens the good stuff.
When shooting a moving object or in a low-light scenario, motion blur is a common problem. Sharpen AI uses machine learning to stabilize motion blur in your images for a crisp clear result.
Theoretically, there is no way to recover lens blur in your photos. Sharpen AI remembers patterns in your image and can rescue a blur within ten pixels. When your image is just slightly out of focus, Sharpen AI provides the solution.
How does this compare to other products?
Unlike other sharpening products, like Photoshop Shake Reduction, Sharpen AI is the first product to use machine learning to fill in the details that other sharpening tools leave out. The AI technology delivers a crisp, clear image that is full of detail.
Download a free trial of Topaz Sharpen AI to see the results for yourself.
Just posted: Sigma 70-200mm f/2.8 DG OS HSM Sports Lens Review.
From Sony USA:
Sony Electronics Inc. today announced the development of the CFexpress Type B memory card (CEB-G128), a new ultra-fast next generation memory card  that is ideal for professional and industrial use. With its super-fast speed of up to 1700MB/s (read) along with highly reliable toughness, this memory card supports the future evolution of digital devices.
Enhancing Sony’s high performance, value-added memory card line-up, the CFexpress Type B is designed based on a new specification which adopts the latest interface, PCIe  Gen3, standardized by the CompactFlash Association.
The Sony CFexpress Type B memory card offers a 128GB capacity, with higher capacity models of 256 GB and 512 GB planned for the future.
The Sony CFexpress Type B memory card is roughly 3 times faster than Sony’s fastest CFast memory card (with 530MB/s read speed). With a write speed of up to 1480MB/s, this card meets future requirement needs for secure industry data-recording or requirements from professionals to capture hi-resolution images or high-bitrate video.
With a read speed of up to 1700MB/s, even large-sized data files can be transferred quickly, when compared to existing memory cards. For example, when making copies or backing up large-sized data from multiple memory cards, transfer time will be dramatically reduced enabling greater efficiency.
The new CFexpress Card Reader, MRW-G1, is optimized for Sony CFexpress Type B memory card and takes full advantage of the card’s fast read speed. This reader is also compatible with Sony XQD card G series and M series.
The Sony CFexpress Type B memory card has superior strength, surpassing the CFexpress standard by a factor of three, being able to withstand 70N of force in bend, and five times greater reliability for enduring falls from up to 5m high.
The card is also temperature proof , X-ray proof , anti-static  and has a UV guard so it can support usage in tricky or tough environments .
Peace of mind
Media Scan Utility and Memory Card File Rescue are available as a free download to Sony CFexpress card users.
Media Scan Utility is PC software that automatically scans your Sony CFexpress memory card every time you connect it to a PC via your MRW-G1 card reader8. The software keeps you informed of the condition of your card and lets you know if you’re nearing or have reached the flash memory limit.
Memory Card File Rescue eradicates every photographer’s worst nightmare – deleting photos accidentally and losing your precious work. The software recovers accidentally deleted files including RAW or high-resolution images and videos, so your work is safe from whatever obstacles are thrown your way.
The Sony CFexpress Type B memory card and the CFexpress MRW-G1 Card Reader are expected to be available in summer 2019.
 Based on Sony internal testing. Actual performance may vary and is dependent on environment and usage.
 Based on memory card standard announced from the CompactFlash Association in 2017 as the next generation of XQD memory card and CFast memory card. CompactFlash is a trademark of CompactFlash Association.
 PCIe is a registered trademark of PCI-SIG.
 Based on Sony internal testing, memory media can operate in temperatures between -13 degrees Fahrenheit (25 degrees Celsius) and 185 degrees Fahrenheit (85 degrees Celsius). Actual performance may vary based on environmental conditions and usage.
 Based on Sony internal testing, memory media is in conformance with ISO 7816-1 X-ray screen testing. Actual performance may vary based on environmental conditions and usage.
 Based on Sony internal testing, memory media is anti-static certified to IEC 61000-4-2 standard. Actual performance may vary based on environmental conditions and usage.
 Based on Sony internal testing, memory media is in conformance with ISO 7816-1 ultraviolet ray irradiation testing. Actual performance may vary based on environmental conditions and usage.
 MRW-G1 is required to scan Sony CFexpress memory card.
From Canon USA:
New AI-Integrated Platform Can Help Photographers Advance Their Craft, Save Time with an Improved Workflow as well as Easily Organize and Share Their Photos
MELVILLE, NY, February 27, 2019 – In 2017, approximately 1.2 trillion photos were taken; turning millions of people into prolific photographers1, who are spending a tremendous amount of time arranging and searching through their library of photos. To help photographers streamline their workflow and continually improve their craft, Canon U.S.A., a leader in digital imaging solutions, today announced the company’s first online photo-community platform – RAISE. This new platform utilizes artificial intelligence (AI) to help photographers organize and categorize their photos through auto-tagging.
Features and benefits of RAISE include:
An Adobe Lightroom plugin version of RAISE, which is compatible with Adobe Lightroom Classic CC, is currently scheduled to be released next month. This will further enhance the usability of the RAISE features such as auto-tagging images within a user’s Lightroom library through RAISE collections in the platform.
“Creativity is born from community – from collaboration with like-minded individuals,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “With RAISE, we are building that community for photographers. Through this new platform, photographers from all different professional backgrounds and skill sets can come together to share their talents and connect with others in the community. Simply put, we hope RAISE will inspire the next generation of photographers to RAISE the bar and propel their creativity to new heights.”
The new platform along with Canon’s latest solutions will be showcased at this year’s Wedding Portrait & Photography Show (WPPI) in Las Vegas from February 27 - March 1 in the Canon booth #121.
For more information about RAISE and/or to join the community, please stop by the Canon booth at WPPI or visit, raise.usa.canon.com.
by Sean Setters
Being a surfer enthusiast in Savannah, GA is a rough life; the waves found along Tybee Island (the nearest beach) are rarely conducive to "hanging ten." Such is the story of Dagny, someone who loves to surf but rarely finds conditions here favorable for her pursuit. On this day, however, the waves were "ok" and Dagny had just finished about an hour of surfing along a nearby shoreline. She had obviously been having fun. I, on the other hand, had been plagued by one issue after another since arriving at the beach at 9:00am. Let me explain.
When I arrived at the south end of Tybee Island to meet Dagny at 9:00am, there was a fairly dense fog along the shoreline. Dagny wanted to do some surfing but also wanted a picture, so the first question to answer was, "Which do we do first?" Since the waves were looking good to Dagny and the fog was looking questionable from a photographic standpoint, I told her to go ahead and surf and I would signal to her when I was ready to start shooting. This would allow me time to scout out a suitable location, set up my lighting gear and hopefully give the fog some time to clear. In hindsight, telling Dagny to hit the waves ahead of our shoot had another great benefit; it allowed me time to methodically work through the problems I was destined to face without having an increasingly impatient subject stare on with resentment for stealing her away from the best waves of the day.
When shooting at the beach, I generally prefer to transport only the items I intend on actually using to the sandy location. This approach lessens the amount of cleanup necessary once the shoot is finished. However, a downside of this technique is that if technical issues are experienced, one is required to go all the way back to the car to retrieve backup items. As I would come to realize, that's a pretty major downside.
After scouting out a good location on the beach, I went back to my car in a [relatively] nearby parking lot to plan out my gear needs. At that time, it was still quite foggy and I was unsure if it would clear completely before we started shooting. I decided that limiting the amount of space between the subject and me would be a good idea for optimal contrast. Therefore, I opted for a Sigma 50mm f/1.4 DG HSM Art Lens on my Canon 5D Mark III instead of the Canon EF 135mm f/2L USM Lens I had originally planned on using.
Backup #1 [Lens]: Sigma 50mm f/1.4 DG HSM Art Lens (for Canon EF 135mm f/2L USM)
To allow me to shoot at my max flash sync speed (for these studio strobes, that's 1/160 sec), I put a 4-stop neutral density filter on the lens knowing that it wouldn't be enough density to allow me to use a wide-open aperture at my base ISO (100), but it would allow me to use a wider aperture than I would have been able to without the ND filter in place.
I'm always leery about using a softbox and/or umbrella on the beach because, even with sand bags in use, the large surface area of those modifiers can cause significant problems when wind is added to the equation. However, I love the soft light I get with softboxes and umbrellas, so they are generally my first choices if the weather allows for their safe use. The beach wasn't as windy as it has been in the past, but... I still didn't think it was a good idea to attach what amounts to a sail to my light stand. Therefore, I opted to mount a Mola Demi Beauty Dish (with Opal Diffuser) to my White Lightning X3200 studio strobe, powered by a battery pack. The 22" diameter, sturdy metal modifier has proven to be a solid choice in the past in windy conditions, so I was glad I brought it.
Backup #2 [Modifier]: Mola Demi Beauty Dish (for Medium/Large Soft Box or Parabolic Umbrella)
After transporting my light stand, studio strobe, beauty dish, battery pack, power cord, radio trigger with cord and two sand bags to the beach, I plugged everything in, turned on the battery pack/strobe/radio trigger and pushed the "Test" button on my trigger to fire the strobe.
Ok Sean, let's work the problem. Are the trigger and receiver on the same frequency? Yes. Am I sure I turned on the trigger? It doesn't appear to be blinking (a sign that it's on). I pressed the receiver button again (which should trigger the strobe in addition to turning the unit on), but nothing happens.
"Ahh, the batteries in my receiver are dead."
So, off to the car I went. While I did have some extra batteries in the car, I chose instead to grab a different radio receiver as the batteries are somewhat difficult to replace in these things. And, back to the beach.
Backup #3: Radio Receiver #2 (for Radio Receiver #1)
With the new radio receiver plugged into the studio strobe (and blinking), and everything powered on again, I hit the test button on my trigger and... again, nothing. However, a quiet moment between the waves and various beach sounds reveals a barely audible beeping coming from my battery pack. It doesn't usually beep, so my guess is that it's trying to tell me something (later tests would reveal that my battery pack's battery had just failed). Once again, it's time to go back to the car with a nearly 20 lb battery pack so that I can return with its replacement (an identical unit).
Backup #4: Battery Pack #2 (for Battery Pack #1)
After returning to the beach with the new battery pack, plugging everything back in and turning everything back on, I hit the test fire button on my trigger.
This is getting old. At this point, everything I've replaced has been a validated problem. The radio receiver's batteries were dead and the unit was replaced with a working one. The battery pack's battery had failed (even though it had been charging all night). Now, even with those issues resolved, my strobe still wouldn't fire. In one last Hail Mary attempt, I dragged my White Lightning x3200 back to the car to replace it with a Whilte Lightning Ultrazap 1600 that I had also brought along.
Backup #5 [Studio Strobe]: White Lightning Ultrazap 1600 (for White Lightning x3200)
After returning to the beach with the new studio strobe, I once again plugged everything up, turned everything on and hit the test fire button.
Success! The flash fired just as Dagny was walking to our shooting location. She needed a break from surfing, and her timing could not have been better.
Camera settings for the shot atop this post were f/3.2, 1/160 sec., ISO 100 (with a 4-stop ND filter).
The fog had mostly cleared by the time this image was taken, so I wouldn't have technically needed to use the Sigma 50mm Art lens in place of the Canon 135mm f/2L, but I liked the view I was getting at 50mm, so I think it worked out for the best. I performed basic edits in Adobe Camera RAW and changed the color tones of the highlights and shadows and, after importing to Photoshop CC, I used the Content Aware Move Tool to reposition the three birds for better framing (they were originally more spread out and lower/closer to the left edge of the frame). I also used the Content Aware Healing brush to remove a very long zipper pull that was flapping in the wind.
If you'd like to see what it was like on the shoot after all the problems had been worked out, check out this behind-the-scenes video.
A larger version of the image can be seen on Flickr.
SAN DIEGO — February 26, 2019 — Sony Electronics Inc. has today introduced a new Wireless Remote Commander (model RMT-P1BT) via Bluetooth wireless technology that provides a reliable, responsive solution for imaging enthusiasts that want to precisely control their camera[i] during landscape shooting, architectural photography, astrophotography, still motion photography, group portraits and more.
The new RMT-P1BT wireless remote commander operates via Bluetooth connectivity, eliminating the need for wires, cables or receivers to connect the remote directly to the camera. The remote features an extremely fast response, within approximately 0.05 seconds[ii] release time-lag, that ensures the shutter can be released with precise accuracy. There is also an LED light that indicates operating status to camera by flashing or lighting continuously. Additionally, the remote is designed to resist dust and moisture[iii] plus hot and cold[iv] temperatures, offering reliable operation in a wide variety of environments and weather conditions.
To maximize control over camera functionality, the new RMT-P1BT wireless remote commander features focus buttons for manual control over subtle focus changes, a remote C1 custom button that can be adjusted[v] based on users preferences. It also includes Start/Stop movie recording and control over power-zoom or digital-zoom functionality, making it the ideal accessory for remote movie shooting. For photographers that prefer to shoot on “Bulb” exposure mode, the remote commander can be set to open and close the shutter with respective clicks of the main button, eliminating the need to press and hold the button throughout exposure time.
Pricing and Availability
The RMT-P1BT Wireless Remote Commander will ship in April 2019 for approximately $80 US and $110 CA. The remote commander will be sold at a variety of Sony’s authorized dealers throughout North America.
From Sony Europe:
Sony today introduced a highly anticipated addition to their acclaimed G Master series of full-frame E-mount interchangeable lenses – a 135mm F1.8 full-frame, large-aperture telephoto prime lens (model SEL135F18GM).
Equipped with Sony’s most advanced optical technologies, the new lens is built to meet the extremely high standards of Sony’s G Master series. The new FE 135mm F1.8 GM offers exceptionally high resolution and exquisite bokeh, two qualities that are signature attributes of Sony’s flagship G Master brand. The new lens combines rapid autofocus (AF) acquisition with a lightweight, portable design and a variety of professional functions, making it a versatile, high-performance tool for professional portrait photographers, wedding photographers, sports photographers and a wide variety of imaging enthusiasts.
“Sony’s commitment to growing our FE lens and E-mount lens line-up remains stronger than ever,” said Yann Salmon-Legagneur, Director of Product Marketing, Digital Imaging at Sony Europe. “Our 31st native full-frame mirrorless lens, the highly anticipated 135mm prime brings the acclaimed G Master quality to another popular focal length for both professionals and enthusiasts to enjoy. This brings the total number of Sony’s native Alpha E-mount lenses to 49. We will continue to drive market-leading innovation in all aspects of our imaging business, giving our customers the opportunity to capture and create like they never have before.”
Realising consistently high resolution across the entire frame, even at F1.8, the FE 135mm F1.8 GM boasts an innovative optical design that places XA (extreme aspherical) and Super ED (Extra-low Dispersion) glass elements in the front group to effectively suppress all common telephoto lens aberrations. Additionally, the Super ED element plus one ED glass element are strategically positioned to compensate for axial chromatic aberration, minimize colour fringing and maximise overall resolution, ensuring outstanding image quality. For impressive clarity, Sony’s unique Nano AR Coating is applied to reduce flare and ghosting that can occur when shooting backlit portraits.
The new telephoto prime lens utilises its XA element, refined with Sony’s latest bokeh simulation technologies during the design and manufacturing stages, to control spherical aberration and achieve exquisite bokeh. In addition, an 11-bladed circular aperture mechanism contributes towards achieving extremely natural and beautiful background defocus. The exciting new model also features dual-autofocus groups in a floating focus arrangement for improved close-up capability, allowing a minimum focus distance of just 0.7 metres and a maximum magnification of 0.25x.
To ensure that this lens can keep up with fast-moving portrait or sports subjects, the FE 135mm F1.8 GM has been equipped with a total of four of Sony’s proprietary XD linear motors—two for each group—that achieve rapid, reliable and speedy AF tracking and performance. There is also a control algorithm that helps to maximise control response and ensure quiet, low-vibration AF. All of this exceptional performance is packaged in a compact, lightweight body weighing in at 950g.
The FE 135mm F1.8 GM includes a number of professional controls that enhance ease of operation for both stills and movie shooting. These include an aperture ring that allows direct, intuitive aperture control and a focus ring that features Linear Response MF for fine, responsive manual focus control. There is also a focus range limiter switch, two customisable focus hold buttons, and a focus-mode switch that makes it possible to quickly select auto or manual focus to match changing shooting conditions.
New Circular Polarising Filters
In addition to the new FE 135mm F1.8 GM Lens, Sony has also announced a new line-up of Circular Polarising Filters. The new filters, including models for lens diameters 49mm, 55mm, 62mm, 67mm, 72mm, 77mm and 82mm, preserve image quality and resolution about twice[i] as effectively as Sony’s existing circular PL filter line-up, making them a perfect partner for Sony’s flagship G Master series lens. They also feature a ZEISS T* Coating to minimise flare and a slim filter design to prevent image vignetting and maximise overall performance.
Pricing and Availability
The FE 135mm F1.8 GM will ship in Europe in April 2019, priced at approximately €2,000.00.
The new circular polariser filters will ship in Europe in April 2019, priced at approximately:
Note: Preorders for the Sony FE 135mm F1.8 GM Lens will begin Thursday, Feb 28 at 10:00am ET.
[i] Depends on model and focal length of lens attached
Long ago, it seemed worthwhile to include camera model product image comparisons in the camera reviews. Eventually, we had enough to-scale camera images available to put together a trio of comparison pages showing front, back, and side views. Today, the available images were overwhelming the simple tools and the next iteration of the comparisons is now live, condensed into a single tool: Camera Images Comparisons Tool. The tool is not perfect (some views are missing images that were not made available to us), but especially with the new "overlay" feature, I think you will find it very useful.
Check it out now: Camera Images Comparisons Tool